Early Ch#lukya Icons

Aschwin Lippe

Artibus Asiae, Vol. 34, No. 4. (1972), pp. 273-330.

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 ASCHWIN LIPPE

EARLY CHALUKYA ICONS

Vv hen we look for the principal cult image in the sanctum of a Chdukya temple, we notice
that in the early Vaisnava caves (Badami I11 and 11) there is no trace of it. The altar or
pedestal (pttha) is cut from the live rock. It may have carried a stone or wood image. The caves
as well as the early structural temples all were later converted to the Saiva cult and provided
with a linga.
We have shown elsewhere1 that the main reliefs of Badami cave 111 (A.D. j78) are not all
of this date; there are two replacements (Narasiqha and Hari-Hara) and two additions (Trivi-
krama and Astabhiijasviirni). It is unusual to encounter Hari-Hara-whom we primarily asso-
ciate with Saiva worship-in a Vaisnava temple.2 The two remaining original images are
Vaikuntha-Niiriiyana and VarHha; we can only speculate as to the identity of the other two.
Among the bracket sculptures, however, most of which represent mithtlnas, we can identify
Siva and PHrvati (four times), Ardhaniiriivara, as well as Kiima and Rati.
Garuda appears under the cornice. The ceiling reliefs of the verandah have Visnu in the
center, surrounded by eight Dikpdas; he is flanked by Siva (with GaneSa and Gwas) and
Brahmii (with four regents) and, beyond, Indra and Varqa. The hall ceiling has Brahmii in the
center medallion, surrounded by four regents.
The principal reliefs in Badami cave I1 (ca.600) are Trivikrama and Variiha; Visnu on
Garuda adorns the verandah ceiling. The small panels on the bracket-capitals and below include
Siva and Piirvati, Durgii Mahisiisura-mard*, LakuliSa (seated, with club in right hand), KHrtti-
keya, KPma and Rati. Nateia appears in the small kdtl above the Trivikrama panel.
As for the early structural temples, the Rock Temple or Upper Sivdaya (probably before
640) has three principal relief panels which represent Kfsna Govardhana (south), Variiha (west)
and Narasirpha (north). The Vaisnava subshrine at Mahakut (early 8th century) has Variiha
(south), a standing Visnu (west) and an Ugra-Narashpha (north).
Garuda-generally holding two serpents by their tails-appears on the lintel of the shrine
doors (and often hall doors as well) of nearly all structural temples, with the exception of the
ViriipHksa. This has, at least for the earlier temples, been interpreted as a token of original
Vaisnava dedication. However, the motif also appears in Saiva temples; not only on the shrine
door of the Pattadakal Mallikiirjuna (Garuda without Niigas) but on the shrine and hall doors
of the Mahakut MallikHrjuna. In the Miikiiteivara, the lintel is concealed but we do see the
Aschwin Lippe, "Additions and Replacements in Early ChLlukya Temples", Arcbives of Asian A r t , zj (1969-1970),

pp, 6-25.

This also occurs in the Adi-Variha cave temple at Mamallapuram.

NHgas below. Apparently, the motif was a purely decorative device already at an early stage.
This is confirmed by Garuda's appearance over the windows of the Mahakut MHkqeSvara and
Mallikiirjuna as well as the NHganiitha at Nagral.
Only where the religious significance of Garuda on the "dedication block" is enhanced by
other Vaisnava motifs, can we safely assume that the temple originally was of the Vaisnava
persuasion. This leaves us in doubt with temples like the Huccimalli-Gudi. However, we believe
that this temple was only later converted to the Saiva cult. The loosely fitted, shallow gable
medallion is of a different stone; NateSaYsfoot rests on the Dwarf of Ignorance.3 The Kiirttikeya
panel in the porch ceiling is flanked by two uneven, empty slabs; its composition relates it to
the later ceiling panels of temple no.9, etc.4 Stylistically, it seems to belong with the loose
NateSa and SaptamPtykP reliefs in the same temp1e.s This leaves us with the ceiling relief which
contains the three principal gods and Indra as regents.
These data suggest that the early Vaisnava worshippers were sectarian but not intolerant.
This tolerance was, as we know, extended to the Jains as well as to the Buddhists.
Another group of temples shows a larger degree of syncretism. The temple next to the Lad
Khan still is devoted to Siirya-NPriiyana. The remains of the gable medallion show a stand-
ing Siirya; a seated one appears above Garuda on the lintel of the sanctum door. The ori-
ginal PPpanPtha is known to have been dedicated to the same god; in the niches of the am-
bulatory around the sanctum there are a standing Siva with a rosary (south), Visnu with a cross
disc (north), and Siirya (on the principal west side). Recently, the Lad Khan was assigned the
same original denornination.6 There is a Sfirya in his chariot on the west side of the roof shrine,
along with a Yaksi (north) and a standing Visnu (south); he does not wear the northern vest.7
We would like to add two more temples to this group. On the Durga templegopura, in the
crowning mahra-kudu above the miniature shrines, we see a seated Siirya. Incidentally, the
Garuda on this gateway holds three-bodied Niigas by their tails, just like the one on the hall
door.
In the ~ ~ l e ~ i t t i - S i v d aabove
y a , the Garuda over the sanctum door, we can barely discern
a Siirya with his seven horses; he appears to be flanked by Ganas.
The porch and gallery sculptures of the Durga temple are equally divided between Vaisnava
and Saiva icons (counting Hari-Hara as Saiva); the ritually most important western niche as well
as the two adjoining ones are empty.
On the north wall of the ~Zle~itti-Siviila~a hall there is a standing Visnu, on the south wall
a standing Siva. The uimina niches are too narrow to contain any sculpture panels. On the hall
ceiling we see Visnu on Garuda. In the Lad Khan hall, under the roof shrine, a coiled-up NPga
king holds two lotus buds (like Siirya), as in the Piipaniitha inner hall.
As for the Saiva temples, Badami cave I and the Aihole cave have, in the cella, a liriga on a
3 This southern feature does not appear before the eighth century. K. R. Srinivasan, "Some Aspects of Religion As
Revealed By Early Monuments And Literature Of The South", Journal of the Madras Universify, XXXII (1960) no.1,
p. 1go.
4 Aschwin Lippe, "Some Sculptural Motifs on Early Chiilukya Temples", Arfibus Asiae, XXIX (1967) no. I, pp. 5-24.
5 R. S. Gupte, Aihole (London, I g67), fig. 97.
6 S.R.Balasubrahmanyam, "The Date of the LLd Khan (Sfirya-NHrHyana) Temple at Aihole", Lnlif Kalci, No. 10 (1961).
He consequently assigned the temple to the reign of PulakeSin I (after 543); see, however, Lippe, "Additions" p. 13.
7 See Lippe, "Additions", p. I 3, no. 5 I. The Alampur Sfirya wears neither vest nor boots; that in the Ellora KailLsanHtha
has boots but no vest.
square pedestal (pj?ba), cut from the live rock. The spout points south-west (to the right) at
Badami, north-west (to the left) at Aihole.
We recall that at Elephanta, the altar or pedestal (with spout) is rock-cut, the linga of dif-
ferent stone inserted. In the Ellora RPmeSvara (XXI) and Dhumar Lena (XXIX) as well, the
altar is cut from the live rock, the linga inserted; the spout is pointing north (to the left). The
LqkeSvara and some shrines of the GaneSa-lena group have, in addition, a MaheSa-miirti relief
on the back wall.
In the south, Somaskanda reliefs on the back wall appear at the end of the seventh century,
inserted lingas since the early eighth; in the Piindya caves the latter are rock-cut.8
The principal icons of Badami cave I (ca. 62j) are Hari-Hara and ArdhanPriSvara-a com-
bination prominent at Mahakut (below). Hari-Hara represents syncretism although he can per-
haps be interpreted as being predominantly Saiva. A Nandi has been placed in the hall.
The small relief panels include Visnu on Ananta, Visnu between his consorts, Narasiqha
seated, Lakqmi between the elephants, as well as Siva on Mt.KailPsa, the marriage of Siva and
PPrvati etc. Flanking the cave is the superb relief of NateSa-Siva in the Cosmic Dance. Be-
tween the NateSa relief and the main cave, the DurgP shrine is carved out. Inside this subshrine,
the goddess Durgii, killing the Buffalo-Titan, is flanked by KPrttikeya and GaneSa.
The conjunction of DurgP with GaneSa and KPrttikeya is repeated in the Pgndya cave-
temple of Tirupparankunram (773).9 We remember that in the RHmeSvara (Ellora XXI), she is
placed opposite KPrttikeya; in the verandah of Ellora cave XVII, opposite GaneSa.
In the Pattadakal SangameSvara two niche-shrines are provided for DurgP and GaneSa in
the vestibule walls, facing each other. The same pattern is followed in the ViriipPksa and Malli-
kiirjuna. The two icons have been added later in the PPpanPtha (inner hall) and Aihole temple
no. 9 (proto-vestibule), inspired by the above examples. Their juxtaposition recalls Ellora
cave XVII.
GaneSa and KPrttikeya at Elephanta (east shrine) are combined with the Miit~kPgroup; in
Ellora XXII and XV (vestibule) with Laksmi.
In the Aihole cave GqeSa and KPrttikeya accompany NateSa and PPrvati; this group is
flanked by the Seven Mothers (see below).
Kirttikeya on his peacock already appeared in the two Vaisnava caves: as regent of the
north, six-headed, on the hall ceiling of cave 111,and below LakuliSa on a pilaster of cave 11.
We have mentioned the KPrttikeya relief on the porch ceiling of the Huccimalli-Gudi. He also
appears on a pilaster, flanking a window-niche, of the NHganHtha. We know that the Chdukya
kings claimed to be protected by him and to have been nourished by the Seven Mothers.10 A
splendid standing KPrttikeya accompanied by his peacock is worshipped in a niche off the en-
trance of the Bala-BrahmP temple (ca. 67-80) at Alampur (Fig. I). On another, somewhat later
Alampur KPrttikeya (now in the Hyderabad Museum) the god holds his pet cock, a southern
feature.
The seated GqeSa in Badami cave I (Fig. 2) has two arms, the left holding a bowl of sweet-
meats and the right his broken tusk. A thick, pearl-stringed sacred cord falls over his upper arm.

8 K.R. Srinivasan, I. c.
Ibid., pp. 174-1 71.

I0 Hyderabad grant of 612; Epigrapbia Indica XVIII, 26c-I.

We note his simple lotus crown, which recalls that of the cave I11 Narasipha. The Eastern
ChHlukyan GaqeSa at Biccavolu also is two-armed, and wears a lotus crown.I1 The GqeSa in
the verandah of Ellora cave XVII (Fig. 3), opposite DurgZ, strongly resembles that at Badami,
but has four arms-a later feature-and a more elaborate crown. We recall that GqeSa is
shown two-armed at Udayagiri, Nachna, Elephanta, TaneSara, and Aurangabad, and two-
armed and crowned on a loose image at Bhumara. He is four-armed on the h d w of Bhumara
and Deogarh, and at JogeSvari and Ellora XXII. He is four-armed and crowned on a loose
image with jata-makuta at Deogarh, and at Ellora XXI and XIV. A loose GaneSa at Mahakut
is two-armed and has no crown.12 The standing GaneSa in the Aihole cave is still two-armed,
but wears a jewelled crown.
GaneSa is conspicuously absent in the early Pallava rock-cut temples. He first occurs, along
with the Seven Mothers, in the cloister of the KailHsanHtha at KHfichi (ca. 720). He does, how-
ever, appear in the P@dya cave temples of the eighth century. In the Late Pallava and Early
Chdla structural temples, GaneSa has his subshrine or, in the larger buildings, his devakdstha
niche on the south side of the mavdapa. The corresponding niche on the north wall was occupied
by Durgn.
We may conclude that GaneSa was a northern element which travelled south with the
Chglukyas.
The Aihole Saiva cave (RHvan Phadi) has, in the entrance hall (porch), reliefs of ArdhanHri,
Gangiidhara and Hari-Hara (as well as two DvHrapdas); in the large lateral cell NateSa, accom-
panied by PHrvati, GaneSa, KHrttikeya (and Bhyngi), is flanked by the Seven Mothers, standing
and dancing13 (Figs.4, j). The sculpture panels in the vestibule are VarHha and DurgP MahisH-
sura-mardi$; the ceiling roundels contain Visnu on Garuda and Indra on his elephant. There
is a platform with Nandi opposite the cave entrance and, beyond, a truncated stambha.
The Seven Mothers are a northern feature. Standing and dancing, they appear in Gujarat,
Rajasthan and Malwa, as well as in the Elephanta, JogeSvari, and Aurangabad caves. Seated,
we find them in Ellora XXI, XXII, XIV, and XVI. In the south, they are absent in the Pallava
cave tempels and ruthas. We first see them (seated) in the later part of the KHiichi KailHsa (ca.
720).
They do appear in the cave temples of the Muttarayars and PHndyas (eighth-ninth century)
and in the structural temples of the Transition and Early Chbla period.14 Viniidhara Siva (Dak-
siniimfirti) often replaces Virabhadra. This also is the case at Alampur (Bala-BrahmH) and in
Ellora cave XXI (RHmeSvara).
Although the Seven Mothers are named as patron deities of the Chdukyas, we find them in
a prominent position only in the Aihole cave and in the Bala-BrahmH temple at Alampur
(seated; Figs. 6, 7). Several loose slabs with the seated Mothers at Aihole15are small and sculp-
turally undistinguished.
II C. Sivaramamurti, "Early Eastern Chiilukya Sculpture", Bulletin, Madras Government Museum, 7, no. 2 (195 7), pl. 7b.

12 Lalit KalrS, I I (1962), pl. XXXV/z.

13 P.Rambach and V. de Golish, The Golden Age of Indian A r t (Bombay, 195 I), pls. 14-11 should be reversed; the cast is,

from left to right, beginning with pl. I 5 : Brihmi, MaheSvari, Kaumiri, Vaivnavi; on pl. 14: (PHrvati), Vadhi, IndranI,
Cgmundl. See also Zimmer, p1.123.
14 K. R. Srinivasan, I. c.

I5 In the Huccimalli-Gudi and Tarabasappa, seated above their vehicles, and outside the Aihole Mallikirjuna, seated as
well; Gupte, loc.cit. figs.97, 75; pp.91, 81, 59. Also no.10 (Galagnitha group), see p.29.
 The group in the Aihole cave is unique insofar as it is not flanked by Virabhadra (or Vhiid-
hara) and GaneSa as is the rule.
The placing of Siva in the centre of the group is almost unique as well. This configuration
is echoed in the beautiful Vadaval (North Gujarat) group (early ninth century) where Viniidhara
stands in the middle; the group is flanked by GaneSa and the emaciated Bhairava. Soundara
Rajan explains the Vadaval composition as the result of Chdukya-Riistrak~tainfluence.16 In
view of the early Chdukya expansion into Gujarat this is quite convincing.
We might add here that in the Aihole cave the Mothers are two-armed; BrZhmi has four
heads (three are visible); Variihi has a boar head. At Vadaval, MaheSviiri and Kaumiiri (as well
as GaneSa) still have two arms, the others four; Briihmi and Variihi have not changed but Cii-
mundg is emaciated. Each is accompanied by her mount.
In Ellora caves XXII, XIV and XVI as well as at Alampur all the goddesses are four-armed;
Briihmi has four heads, Variihi a boar face, and Cimundii is emaciated (Ellora) or otherwise
frightening looking. In cave XXI (RiimeSvara) however, only Ciimundil, Kaumiiri and Briihmi
have four arms; all the Mothers-including Ciimundii-are lovely young women with varying
hairdoes and jewels, accompanied, but for Briihmi, by their children. Even VarHhi does not
yet have the "fierce face" prescribed by the Agamas. The group is flanked by a four-armed
GaneSa (with low crown) and a four-armed VinZdhara.
At Aihole between the heads of Kaumiiri and Vaisnavi we find an adoring Bhrngi or Kiila
figure. A small, emaciated Bhrngi or Kiila dances behind or at the feet of NateSa in the Ele-
phanta and Ellora XXI, XIV, and XVI panels. The skeletal Kda and Kiili appear in con-
junction with the Sapta Matrkii reliefs at Ellora XXI, XXII, XIV, and XVI. In our area we
encounter them on the gate of the Mahakut temple compound. The small Bhyngi/Kda as
dancer appears again on the porch ceiling relief of Aihole no.9, and on the Padma-Brahmii of
733-742 at Alampur.17
To return to the sculptures of the Aihole Saiva cave, the image of Siva Galigiidhara is sur-
mounted by the river-goddesses in triple form, recalling the panel at Elephanta. The other
reliefs will be discussed below in iconographical sequence. Stylisticallythese reliefs show certain
southern features: the elongation of the figures, the very tall crowns, the loops at the hem. As
we shall see below, another southern trait is the presence of the lion in the DurgH panel.
The "spoke-halo" indicates a date after the Pallava invasion, while the presence of the
VarZha scene is the stamp of a Chdukya dedication. Thus the Aihole cave may be placed in
time somewhere between the restoration of the Chdukyan empire by Vikramiiditya I in Gj4/j
and the full blossoming of the revival that culminated in the great Pattadakal temples. Vikramii-
ditya took the title Parama-MaheSvara, or "devout worshipper of Siva." In G70/1 and 674 he
campaigned in the South and at some time captured the Pallava capital Kgiichipuram. Perhaps
we can place the excavation of this cave between 670 and 680.
The earliest of the Mahakut temples, the MiikiiteSvara (early seventh century) has, in its
niches (Fig. 8), five two-armed images of Siva including ArdhaniiriSvara (vimina, north). The

16 K. V. Soundara Rajan, and R. T.Parikh, "A Magnificent Saptamgtrika Group and Phvatl from Vadaval, North Gujerat",
Prince of Wales Museum Bullefin, 7 (I 959-1 962).
17 Bhpigi also occurs in the Ardhanal panel of Badami cave I and on the Un%MaheSvara ceilings of the Badami Jarnbu-
linga and of Aihole nos.7, 5 , 9.
 SangameSvara and at least four subshrines have a standing Siva (south), Ardhaniiri (west) and
Hari-Hara (north). There is a curious ambiguity between the images of Ardhaniiri and Hari-
Hara. The latter is shown in the "double-bend" stance of the former; Visnu apparently being
conceived as Mohini.
The standing Siva of the SangameSvara appears in an unusual form-probably influenced
by the LakuliSa concept (Fig. 9). He is standing with erect phallus on the Dwarf of Ignorance,
clad apparently in nothing but his locks, his jewels, the sacred cord (falling to his knee), a belt
with tiger-skin, a short loin-cloth, and a snake coiling up behind his right shoulder. His right
hand is in the mzldrl of charity; the left holds a battle-axe with serpent; his hair is pulled together,
on top of the head, in a knot resembling an zl~qi~a. Iconographically, the SangameSvara image
strangely recalls the Gudimallam litiga which generally is dated much earlier. The Dwarf of
Ignorance (Apasmiira) is a southern feature of the eighth century; in Mahakut he also occurs
on the corresponding relief of the southeast subshrine (note the four-armed guardians) and on
a loose panel. We recall that a four-armed Siva in the porch of the Aihole Durga-temple stands
on the Dwarf, while the Siva reproduced in the report of I 874 has no Dwarf but loose hair and
a broad topknot; he is flanked by female dancers.18A four-armed Siva with matted hair, stepping
on the Dwarf, appears on the Viriipiiksa (vimZ~asouth, center) as well. A two-armed crowned
Siva, an axe in his left hand, stands on the Dwarf on the Pattadakal Jambulinga (south).
A standing LakuliSa, with a club in his right hand, appears on the south wall of another
small subshrine, parallel to the Nandi-pavilion of the MiikiiteSvara. Like this we see him at
Pattadakal, on the SangameSvara (upper tier, south) as well as the Viriipiiksa and Mallikiirjuna
(vimzna, south); in the last instances standing on the Dwarf.
In the Mahakut Mallikiirjuna (late seventh-early eighth century) Visnu is omitted from the
three ceiling reliefs but does appear on the north wall of the hall. All other icons are four-armed
images of Siva, including Ardhaniiri. Thus, the Mallikiirjuna is syncretistic, as is the Pattadakal
SangameSvara which has a solitary Variiha (north) among its Saiva icons. There are more
Vaisnava icons on the Viriipiiksa and Mallikiirjuna (ca. 74j).19
We see that the evidence provided by the Saiva temples confirms the picture of a gradually
increasing syncretism, which we have gleaned from the Vaisnava shrines.
In this context, we recall that the Elephanta cave temple as well as the Ellora RiimeSvara
(XXI) are pure Saiva; the presence of LakuliSa on the architrave of the main entrance indicates
the PiiSupata sectarians. The Dhurnar Lena (XXIX) still follows the same general pattern. La-
kuliia is represented, and there are no Vaisnava icons. However, as Mr. Sen Gupta has shown,~~
in the Kalyiinasundaramiirti panel the formerly insignificant role of Visnu has become more
important: Visnu and Laksrni have taken the place of Piirvati's parents, and Visnu gives the
bride away. This development is attributed to the growing influence of the A g a m as compared
to the earlier P.w-2pa.r. In this context, Sen Gupta places the panel in Badami cave I between the
RiimeSvara and the Dhumar Lena. In the Riivana-ka-Khai (XIV), LakuliSa is no more in evi-

18 Lippe, "Additions", p. 17, nos. 59 and Go.

19 At least one replaces an original Saiva icon; cf. K.V. Soundara Rajan, "A V i $ ~ uSculpture from the Virfipgk~aShrine at
Pattadakal", Journal of Indian Mu~eums,XIV-XVI (I 95 8-1960).
20 R.Sen Gupta, "The Panels of Kalyanasundaramurti at Ellora", Lalit-Kah, 7 (1960), pp. 14-18.
dence. Here, as well as in the DaS Avatiira (XV), one side of the hall has Vaisnava, the other
Saiva icons.
In the Chdukya kingdom, the shift from Vaisnava to Saiva predominance seems to have
set in with the restoration by Vikramiiditya (ca. 654/5) who took the title, "devout worshipper
of Siva". Vijayiiditya (696-733) built the Pattadakal SqgameSvara. We know the interest
which he showed, through his beloved hetaira Viniipoti, in the temples of Mahakut.
As we pointed out elsewhere,21 there is a NateSa in the central miniature hda-shrine above
the sanctum door of the Niiganiitha (Nagral). We also encounter NafeSa above the sanctum door
of the Tarabasappa (Aihole) and Galagniitha (Pattadakal) as well as above the hall door of the
Jambuniitha (Badami) which is dated 699.22 We suggest that this feature indicates an original
Saiva denomination.
The Pattadakal Viriipiiksa and Mallikiirjuna have splendid Nandi-mdndapas which obviously
were inspired by that of the Kiifichi Kailiisaniitha (ca. 70-725). There are Nandi-map&pas in
front of the Mahakut MiikiiteSvara (Fig. 10) and Mallikiirjuna (Fig. I I ) as well, and Nandis on
open platforms in front of the Mahakut SangameSvara and the subshrines as well as the Chikka-
Mahakuta temple and the Aihole cave.
Loose Nandi images have been placed, withouth a proper base or platform, in the hall of
Badami cave I, the Lad Khan, Huccappaya-Matha, Mallikiirjuna (Aihole), the porch of the
Jyotirlinga (Aihole) and Niiganiitha, the inner hall (vestibule) of the Piipaniitha.
In the former Vaisnava temples Nandi obviously was a later addition. But there is no trace
of a platform in front of Badami cave I, or the Niiganiitha. We cannot be completely sure that
the Nandi in front of the Aihole cave is of the same period. The Nandi-mapdapa of the Mahakut
Mallikiirjuna has bracket capitals which differ from those of the temple. The coffee-colored
bull is of a different stone; its hump is highly stylized. The treatment of the neck folds and the
head ornament as well as the high polish make us think of the Piipaniitha Nandi, while the
elongated campanula-shaped bells recall those of the Niiganiitha one.
In the RiimeSvara (Ellora XXI) there is an elevated platform carrying a Nandi; both are
cut from the live rock. Cave XXII has a rock-cut platform with a Nandi of different stone. At
Elephanta and in the Dhumar Lena (Ellora XXIX) there are low, round platforms which ori-
ginally may have carried Nandis but not a trace of them is left. In the DaS Avatiira (Ellora XV)
which was converted from Buddhism, he has been placed, without a base, in the center aisle
of the upper storey. In the slightly later Kailiisa (ca. 7j 4-773) there is a regular Nandi-mapdapa.
Some caves of the GaneSa-lena group have rock-cut Nandis in front.
The open Nandi-mapdapa of the K a c h i Kailiisa belongs to the later phase of construction
(ca. 721). Rock-cut Nandis occur in the Eastern Chdukya (Bhairavakonda) and Piindya caves
(eighth century).
All this perhaps indicates that the early Saiva temples did not yet have a special place for
Nandi. In this case, the Nandi of the Mahakut MiikiiteSvara (and probably the Mallikiirjuna)
would be a later addition as well.

Lippe, "Supplement", I. c.

The Jambuniitha or Jambuliriga has in the meantime been published in detail; Odile Divakaran, "Le Temple de Jam-

bulinga ?Badami",
i Arts AJiatiques, 20 (1970).

 We mentioned only in passing the intricate ceiling reliefs with the regents, the beautiful
bracket and pillar mithanas, the lively secondary reliefs with Ganas or narrative scenes-none
of which are icons properly speaking.
As for the small narrative panels, it is significant that the exploits of Krsna, the Abhira hero,
are illustrated already in the Badami caves; we first encounter them at Deogarh. In our area,
we also find the Krsna legend on the Rock Temple and on some panels built into the gate of
the Badami fort (Fig. 12) as well as on the Pattadakal Mallikgrjuna. The Rimqi,a, which we
first saw at Nachna, is illustrated on the Rock Temple and, perhaps, the MHkiiteSvara (Saiva
legends; Fig. I 3); also in the Durga temple, the PHpanHtha, Viriipiiksa (south) and Mallikiirjuna;
the Mabhibbhirata on the ViriipHksa (north).
In the south, Kysna scenes do not occur in the early period. The only exceptions are the
famous Govardhana relief in the Krsna-magQapa at Mamallapuram and a relief relating to the
Kdyamardana on an upper tier of the Dharmargja-ratha. In the Krsna-man&zpa we recognize
Krsna, Balariima and Krsna's beloved, Nappinai (RHdhP).
The Govardhana scene appears on a panel of the Upper SivHlaya (Rock Temple) at Badami.
At Ellora, we find it in the DaS AvatHra (XV); the Kiilyamardana in the KailHsanHtha (XVI).
Both motifs belong to the South Indian tradition of Krsna as the amorous cowherd.
In the south the great epics RZmqZpa and Mahibbhirata are not represented before the early
Ch6la temples of the ninth-tenth centuries.23
Vargha, the boar auatira of Visnu, rescuing the goddess Earth from the primordial waters,
was close to the heart of the early Chllukya kings. He is prominent in cave 111and 11at Badami.
The figure recalls the majestic relief at Udayagiri (cave 5) which is attributed to Candragupta 11's
time (ca. A.D.425). At Udayagiri, the colossal two-armed Variiha steps with his left foot on
the coils of Adi-Sesa. He wears no crown; the sacred cord-a thick garland-falls over his
upper arm to below the knee. The broad-shouldered, powerful torso is more modelled than at
Badami. The god's right hand rests on his hip, his left one on his knee; with his right tusk he
has just lifted the Earth's limp body-half resting on his shoulder, her feet supported by a rising
lotus-while to the right of the center group the king and queen of the ocean look on in ado-
ration. Gods, demigods and Rsis populate the back panel. "Victorious is the god in the form
of Vahha, the pillar of the mansion of the three worlds, who when he raised up the earth shook
the mountains by the knocks from his tough snout."24
In the corresponding relief in cave I11 at Badami (dated 578) Variiha still is stepping on
the coil of Sesa (Fig. 14).The latter is placed, together with a dwarf, between the legs of the
god while the king and queen of the ocean balance the group at the right and left. Two divine
couples are floating immediately above the boar's head, crowning the powerful group.25
Variiha's back hands hold up his emblems; the front right hand still rests on the hip while the
front left holds a lotus pedestal on which the goddess is standing, her hand resting confidently
on his shoulder. The thick, pearl-stringed sacred cord again is draped over his arm; the attached
garland, now broken, falls to his ankles, resting on the foot. He wears rich jewelry, as well as a

23 K. R. Srinivasan, l. c.

24 C . Sivaramamurti, "Iconographic Gleanings from Epigraphy", Arts Asiatiques 4 (1957)~no. 1, p. 49.

25 T.A.Gopinatha Rao, Elements of Hindu Iconography, (Madras, 1914-1916) I , pt. I, p. 140 erroneously places Brahma and

Siva with their consorts on the proper right and left of Vargha.
jewelled crown and braided hair; the goddess Earth has neither crown nor halo. The stance
still is erect; the torso of the god more cylindrical and less modelled than at Udayagiri.
In cave I1 at Badami (Fig. I j ; ca. boo), the composition is more diagonal. Variiha steps on a
lotus pedestal next to the rulers of the ocean who are grouped, with an attendant, to the right,
in awe and adoration. Both Variiha and the Earth wear crowns; the latter also has a halo. The
celestial beings above have changed their position in a way perhaps influenced by the concept
of the Ayudba-puru~as;they are smaller and less significant. The god's front right hand rests
on a scarf next to his hip, while the front left hand holds a lotus-pedestal on which stands the
goddess who leans tenderly toward the boar head, her right arm resting on the tusk. Variiha's
back hands hold his emblems. The thick sacred cord still falls over his lower arm but the gar-
land has disappeared.
We note that, in several respects, the panel of cave 111 is closer to the Udayagiri tradition
than that of cave 11, and the latter to some of the later reliefs described below.
In the Aihole Saiva cave called RSivan Phadi (Fig. 16; late seventh century) Variiha's foot
does not step any more on lotus or Niiga coil. The left heel is raised from the ground in a stance
resembling a dance pose. Sesa has disappeared; the rulers of the ocean rising from the waters
are placed to the right, behind each other. There are no attending deities or spirits. Variiha's
body is more slender; the torso flatter; the chest muscles are not modelled but underlined. The
god's lower left hand supports the feet of the Earth who is seated on his upper arm and turns
toward him, her hand resting on his shoulder. Both god and goddess wear a crown but no halo.
Variiha's braids seem to have been replaced by looped ribbons which curl up behind his head.
The conch floats in the air without any visible support. The wheel-disc is balanced on the
finger tips and points at the spectator, as at Mamallapuram (Variiha cave 11). The thick sacred
cord falls over Variiha's arm (as in Badami 111and 11); the attached garland from the bell-clasp
hangs to his ankle (as in Badami 111). A heavy flower garland falls from his shoulder to his hip,
where his front right hand rests on it.
In the relief of the Durga temple at Aihole (Fig. 17; first half eighth century) Variiha once
more steps on the coil of the adoring king of the ocean who is placed to the right, with his
queen. The composition has a strong diagonal thrust which recalls Badami cave 11. Once more,
there are no attending deities or spirits. The goddess is seated gracefully on VarSihaYsupper left
arm, her hand resting on his shoulder; her right foot probably was supported by his lower left
hand as in the Aihole cave. Another feature both panels share is the conch floating in the air.
(In the Piiqdya cave panels at Namakkal both disc and conch float in the air.) The wheel-disc
points forward, as at Badami. The sacred cord again falls over his arm to the hip; the garland
has disappeared. Variiha's crown is short and cylindrical. We note the modelled and underlined
chest muscles and the resilient stance. A certain smoothness and playfulness differ markedly
from the heavy and majestic aspect of the icons in the Badami and Aihole caves.
In the southern niche of the Vaisnava shrine (Fig. I 8 ; first half eighth century) in the back
row of the Mahakut Saiva temple compound, the god steps, as at Marnallapuram, on the cobra-
hood over the head of the king of the ocean behind whom his queen leans forward, touching
the divine foot. The Earth again sits on VarSiha's upper left arm (as in the Aihole cave and the
Durga temple); his lower left hand here holds the conch. The wheel-disc is balanced on the
finger tips of his upper right hand; the edge points in the direction opposite to the face of the
 god. Variiha wears a necklace of bells; the sacred cord again falls over his arm; the attached
garland has disappeared. No attending deities are in evidence. Variiha's stance is somewhat
limp; we also notice the pronounced stomach roll. The modelling of the body, the angle of the
head and of the lifted leg are close to the Variiha panel on the Ellora Kailiisaniitha (XVI) of
about 750 or later.
We might add here that in the Riivana-ka-Khai (XIV; Fig. 19) at Ellora, Variiha steps
on the Niiga coil as in Badami cave 111;the arrangement of the accompanying figures is the same
as well. Only the position of the Earth who gracefully leans on the boar's snout is close to
Badami 11, while the sensuous modelling of her body recalls the Yaksis and goddesses of the
RiimeSvara (Ellora cave XXI). In both composition and style, the panel seems to be derived
from Badami cave 111.In Ellora cave XV (DaS Avatiira)-about 725 -, Variiha wears a crown
(as at Aihole) and has six arms; the Earth is crowned and seated (as at Aihole). Stylistically,
the relief might be placed between the panels in the Durga temple and in the Mahakut subshrine.
At Pattadakal, in the Virfipiiksa panel of ca. 740, Variiha's position is reversed; his foot steps
on the Niiga hood, as at Mahakut and at Mamallapurarn; the conch seems to float in the air, as
in the Aihole cave and Durga temple, and at Namakkal. The Virfipiiksa relief probably was
influenced by Pallava icons like the one at Mamallapuram and, in its turn, inspired the Variiha
panel on the Ellora Kailiisa.
In Badami cave 11, the verandah relief opposite Variiha represents Visnu Trivikrama, the
story of his dwarf or Viimana incarnation (Fig. 20). In the lower right of the panel we see the
dwarf under his parasol, in front of Bali, king of the Asuras, who carries a vessel from which
he is going to pour the water consecrating his gift over the feet of the dwarf-the ultimate
source of the Ganges river.26 Bali's wife is standing behind him, and behind this group there
are four crowned Asuras. We notice that Bali, with an antelope skin over his shoulder, is other-
wise clad and has his hair done in the way of the Buddha. Toward the left of the relief, the dwarf
has been transformed into a towering giant, covering the earth with his right foot and reaching
across heaven with the left. "Victorious is the foot of Hari, the pillar of the mansion of the
three worlds, the bridge of the sky-ocean, the fire consuming sins, beautiful like the stalk of
the lotus composed of the universal globe."27
A crowned Asura, in vain, holds on to his leg, while another brandishes his sword at the
god. The first Asura has been identified as King Baliz* or, with more likelihood, as the Daitya
Namuchi.29 Another Asura is hurtling down from the skies, head first, just below Visnu's
raised foot. Two figures flying in the skies are visible in the upper right corner, above the face
of the demon Riihu. The one next to the crescent moon probably represents Candra; to his left
we see Jiimbaviin, the king of the bears who was subdued by Krsna.30
We note that in Badami I1 the crown is closer to those of the Vaikuntha Niiriiyaqa and the

26 A.Zigmund-Cerbu, "A Propos d'un Vajra Khmer", Arfibw Asiae, 24 ( I ~ G I )p.431.

,

27 Sivaramamurti, I. c., p. 39.

28 J.N.Banerjea, The Devebpment of Hindu IconograpbJ, (Calcutta, 1976) p. 419. The attire, however, is dXerent from his

other appearance on this panel.

29 Gopinatha Rao, I.c. I, pt. I , p. 173.
30 See Banerjea, I. c. p. 418, and Gopinatha Rao, I. c. re Mamallapuram. Gopinatha Rao erroneously identified both figures
as Siirya and Candra, while R.D.Banerji ("Basreliefs of Badami", M A S I no.23 (1928), p. 19) mistakes them for hostile
Asuras. The bear's head and the crescent are clearly discernible.
ceiling Visnu of cave 111than to that of the Trivikrama. The halo is without spokes and less in
evidence; the chest muscles are slightly accentuated or underlined; the knees are emphasized
but not "patched in". In cave I11 the wheel-disc is held by the finger tips; in cave I1it is balanced
on the top of the fingers. The figures of Bali and his queen are more plump and heavy in cave 11.
The god faces the spectator.
The huge Trivikrama relief (Fig. 21) flanking the fa~adeplatform of cave I11 is in our opinion
an addition dating from the period of Pallava occupation and thus later than the one in cave 11.
In cave 111, the scene is realized in a more dramatic way. The story again begins at the lower
right, with the dwarf (now destroyed) under his parasol facing King Bali who holds the water
vessel. This figure, wearing a samghiti with an antelope skin over his shoulder, also has an
zqzi;a, and consequently even more clearly suggests the Buddha than the corresponding one
in Cave 11.31 Behind him, we see a crowned figure trying to arrest his arm, probably Sukra, the
spiritual preceptor of the Asuras, and finally Bali's queen, VindhyHvali.
We remember the legend that Lord Visnu incarnated himself as the Buddha in order to
delude the Asuras. The use of the Buddha figure for King Balioz obviously symbolizes the vic-
tory of the Hindu renaissance over Buddhism.
To the left, the dwarf has become the gigantic eight-armed Trivikrama covering the uni-
verse in three steps. Aiming his wheel-disc, he points at the frightening mask of the demon RPhu;
an Asura holds on to his garland. The crescent of the moon is visible on a cloud above. Near
the top, three flying figures are rushing to the right. All three wear the same cylindrical crown;
the first two a "spoke-halo" as well. The second has a bear head; the third has tusks and a
beak-like nose. They again have been interpreted as Asuras,33 but it seems more likely that they
are Visnu's allies. The first, closest to the moon crescent, probably is Candra; the second the
bear king JHmbaviin; the third perhaps Garuda (he resembles the Garuda under the cornice).
An armed Asura is falling from the skies to the right; behind, we see a youthful figure with a
noose, ready to bind the defeated Bali. He generally is identified as Garuda but we believe him
to be Siirya, which is confirmed by the real halo which he alone wears.34
The majesty and awesome power of the god in action are expressed in an extraordinary and
unforgettable way. The relief seems to illustrate the climax of battle; as that of cave I1 does the
apotheosis of the victor.
The Pallava relief panel at Mamallapuram (VarHha-mag&zpa) is close to Badarni, especially
to cave 11. The god again faces the spectator; the disc is in a frontal position, held at the rim.
The beautiful relief retains much of the grandeur if not the power of the conception. The
RHstrakfita versions at Ellora are more static (KailPsa) or lacking in majesty (Da9 Avatgra).
On the VirtipPksa (Fig. 22), the scene has been compressed into a vertical panel, influenced
by Pallava icons at KSchi.
The leg is raised almost vertically; the foot, in an extraordinary acrobatic pose, touches the
stretched-out hand pointing to heaven. The diagonal thrust of arm and leg are balanced by the
crowned head inclined in the opposite direction. The same stance-and the same soaring mo-
31 Compare the corresponding relief at Rajim where the Brahmin dwarf V h a n a is shown with sapgbdfi, curled hair and
u,r&a; M.C.Dikshit, Sirpur and Rajim Temples (Bombay, 1960)~
pl. 72.
3' Banerji, I. c. p. 32.
33 Ibid., 1.6. p. 32.
34 See also Lippe, "Additions", pp.7-8, and "Supplement", Arcbives, 24.
mentum-are realized in the superb bronze icon at Singanallur (Coimbatore) which probably
dates from the Pallava period.
Hari-Hara (Siva and Visnu combined) first appears in one of the large verandah reliefs of
Badami cave I (Fig. 23). He is flanked by PPrvati and Nandi (with a human body) on the Siva
side, and by Laksmi and Garuda (without wings) on that of Visnu; two Vidyiidhara couples
are floating above. The upper left hand of the god holds a conch, the upper right a battle-axe
entwined by a snake; the goddesses are holding lotus flowers. The god is "thrilled by the arrows
of side-long glances of Sri and Gauri"; the goddesses ''anxious that this union will deny them
the embrace of their lords". 35
The Hari-Hara in the verandah of cave I11 (Fig. 24) is, in our opinion, a replacement of the
original panel and dates from the period of Pallava occupation. The consorts of the two fused
gods as well as their vehicles and the VidyPdhara couples above have disappeared. The upper
left holds the conch, the upper right the battle-axe entwined with a snake; the lower left rests
on the hip, the lower right holds an unidentified object.
The crown is taller, the "spoke-halo" oval, the body more cylindrical, the legs are tubular;
the knees are outlined; the string attached to the thick sacred cord starts from a bell-clasp and
falls, more deeply, to the feet; the jewelry is more elaborate, the scarves less three-dimensional;
a snake writhes from the belt.
In the Aihole Saiva cave (RPvan Phadi), the four-armed Hari-Hara (Fig. 2 j) is elongated and
slender and wears a tall crown and "spoke-halo". He carries, in his back hands, serpent and
conch; the front right hand is raised in abhqa mtldri. A garland attached to the heavy sacred
cord which is draped over the arm, falls to his ankle.
In the so-called Durga temple, the eight-armed Hari-Hara (Fig. 26) is flanked by a Ga@ and
a female attendant (the spirit of the mace ?);two flying female spirits rise over his upper hands.
The remaining left hand holds, from top to bottom, the disc, the bow, the head of the attend-
ant and the conch. The simple halo is oval; the sacred cord falls to the feet. The crown is less
high than in the Aihole cave and Badami 111; the disc is held high, edge forward, in the back
left hand and the conch low, spiral up, below the hip in the front left, as on examples from
Rajasthan.36 The latter feature is the only occurrence in our area. The body is shorter and
heavier than in the Aihole cave and Badami 111; the modelling of the chest is close to that of
the Miilegitti icons. The simple oval halo also recalls the latter, as well as Badami I. The pose
of the Gwa resembles the corresponding figure on the Narasirpha relief of Badami 111; the
composition of the panel with the four attendant figures is strongly reminiscent of the Visnu
relief on the ~iile~itti-Siviila~a.
At Mahakut, in the northern uima'na niche of the SangameSvara (Fig. 27) and at least four
subshrines, we encounter Hari-Hara icons of a completely different character. The stiff and
static posture has been replaced by the "double bend" (duibhanga) with the strong dkhanchement
of an Ardhanzri. As we mentioned above, Visnu probably is conceived as Mohini. The expres-
sion is softened, the body flattened and more fluid; the stance-one foot turned sideways-
more awkward. The front right hand is lowered and holds a serpent; the back right holds the

35 Sivaramamurti, I. c. p. 39.
36 Lalit Kala, 6 (195 9), pl. XVII/I.
short battle-axe (without snake); the scarf around the thighs has become completely flat. In one
relief of this type, in a subshrine of the east row, the deity leans on Nandi.
We might mention here the gargoyle-rainspout inserted above the socle cornice in the niche-
panel, below the actual sculpture. In the subshrines as well, large openings are cut out of the
lower part of the sculpture panel which seem to be part of the original composition. The same
goes for the northern panel of the Vaisnava subshrine where the opening is cut out between
Narasipha's legs.
In Pallava country Hari-Hara first occurs in the DharmarPja-ratha and the Adi-~ariihacave
temple at Mamallapuram.
We first encounter the androgynous Siva ArdhaniiriSvara as a bracket figure in the verandah
(porch) of Badami cave 111(Fig. 28). The body is slender and shows a naturally flowing move-
ment of the hip which is repeated by the inclined head; but the stance is somewhat stilted, the
right leg does not come forward. The female breast is emphasized by the sacred cord. The god
holds a mirror in the upper left (female) hand (as at Elephanta). A serpent writhes around the
battle-axe (as in Badami cave I); another from the scarf around his hips. The thick cord falls
over the arm, the attached garland to the ankle. The accompanying figures are an attendant and
a dwarf; Gana-atlantes hold up the pedestal.
In the verandah (porch) of cave I (Fig. 29), Ardhaniiri is the center of a large panel opposite
Hari-Hara. He is accompanied by Nandi and the emaciated ascetic Bkrigi on the male side and
by a female attendant (holding a bowl) on the other; again, Vidyiidhara couples float above. The
lovely, heavy-limbed attendant makes us think of a PHmati deprived of her divine nature. The
god's upper right hand holds battle-axe and snake; the upper left a lotus flower; the two lower
hands a utpi. His left, female hip is broader and juts out, emphasized by his stance. The right,
male leg (clad in a skin) strides forward, balancing the movement of the hip. On the whole,
however, the two components are not well fused and the body is essentially male.37 What has
been described as the deity's one female breast is, in fact, the resonator of the vtpi-placed
like this as a kind of visual pun.38
In the Aihole cave, ArdhanPri is two-armed (Fig. 30); the left hand holds a lock of divine
hair, the right a trident-spear entwined by a serpent. The stance has loosened and become more
graceful; it approaches a dance pose. The right foot is partly lifted off the ground. The female
breast is large and heavy; the body tall and slender, the crown very tall. The thick sacred cord
falling over the upper arm seems to end in a serpent. We notice the "spoke-halo." PHmati's lion
is present on the base panel, next to a Siva-Gana.
The four-armed Ardhaniiri on a porch pillar of the Durga temple (Fig. 3 I ) seems to be deriv-
ed from both the Aihole cave relief and that of Badami 111. The stance resembles that of the
former; the right leg is turned sideways and bent more sharply. The chest muscle on the male
side is modelled and underlined. The upper left hand holds a lock of hair (as at Aihole); the
lower left rests on the head of a dwarf. The upper right holds a short battle-axe (as at Badami),
the lower right rests on the raised knee. Another dwarf attendant flanks the deity on the male

37 This was pointed out by Muriel Neff in Marg 13, no.4 (September I~Go),p.40.
38 Compare the VbHdhara in the Ellora RiimeSvara (R.S. Gupte and B.D.Mahajan, Ajanta and Ellora (Bombay, 1962),
pl.CXXII1, fig.2).
 side. The thin sacred cord falls to the thigh but not over the arm. The corresponding sculpture
in the Durga temple porch is an Ugra-Narasimha.
Ardhaniiri occupies the northern vimZna niche of the Mahakut MPkCteSvara (Fig. 3 2). He is two-
armed; the right hand holds the trident-spear (as in the Aihole cave), the left a flower(?). The
garland attached to the sacred cord falls to his calf (as at Badami), while a writhing serpent is
wound like a scarf around his hips.
In the Mahakut SangameSvara, Ardhaniiri occupies the principal western niche (Fig. 3 3). He
has two arms; the left fondles a lock of hair; the support of the right-probably a dwarf woman
as on the MallikPrjuna-has disappeared. The stance is most graceful and shows a complete
"double-bend" (dvibhanga). Crown and coiffure are less high than at Badami. The sacred cord
is shorter and thinner and does not fall over the arm; there is no more attached garland or chain.
Nor is there battle-axe or trident and snake. The border of the sari is indicated by a raised,
curved line running down to the ankle; the patterns of sari and "tiger-skin" loincloth are carefully
engraved. The female breast is underlined by heavy "beauty-folds" (as in the Durga temple);
the male chest muscle is lightly accentuated, so is the stomach; the unclad male knee is outlined.
The "double-bend" pose is more natural and graceful than in the previous examples but what
has been gained in loveliness has been lost in power. The general character is the opposite of
Badami I-it is essentially female.
ArdhaniiriSvara also occurs in the western niches of several subshrines (west row) at Maha-
kut. In all respects, these icons are somewhat cruder versions of the SangameSvara relief. The
"beauty-folds" are less accentuated while the male breast is sharply underlined. The halo again is
oval. In the Mahakut Mallikiirjuna, Ardhaniiri once more occupies the center of the northern wall
of the vim&za.The deity is four-armed. The first right hand rests on the head of a Gana; the
back one carries a short battle-axe. The right hands hold, respectively, scarf and lock of hair.
The sacred cord falls over the arm. While the stance resembles that of the SangameSvara relief,
it is more awkward; the body is short and plump without the grace of the former.
The changing place of Ardhaniiri reflects the ambiguity between this icon and Hari-Hara.
We know that in the somewhat later Lalitii cult of the south the two concepts were actually
equated.39 At Pattadakal, a four-armed Ardhaniiri is placed on the west wall of the SangameSvara
(on the upper storey as well) and the MallikIirjuna; on the north wall of the Vifipiiksa and the
KadsiddheSvara (two-armed, cross-legged, with Nandi). We note that in the Viriipiiksa-where
he also appears on the east porch facing north-Ardhaniiri is placed on the same north wall
with Hari-Hara; this cannot be the original configuration.
The Viriipiiksa Ardhaniiri, four-armed again and without the emphasized curve of the
(female) left hip, is closer to the straight and static icon on the Dharmariija-ratha at Mamalla-
puram (which, however, has a pronounced "stomach-roll").
DurgH MahisIisura-mardini is the form in which the goddess delivered the helpless gods,
and the world, from the tyranny of the Buffalo-Titan. In Badami cave I, the heavy-breasted
goddess is four-armed (Fig. 34). Shown at the scale of divine power, she holds the buffalo by its
tail, lifting the hindquarters off the ground, so that it dangles somewhat limply from her hand,
like a stuck pig. Her right hand holds %a's trident-spear piercing the animal's head which she
presses down with her right foot. The upper right hand holds Visnu's wheel or disc, the upper
left his conch.
In one of the small relief panels of Badami cave I1 DurgH once more appears with four arms;
the position of the buffalo is reversed.
The position of goddess and buffalo in Badami cave I is the same as on the fa~aderelief of
the Candragupta cave no.6 (ca.4zj) at Udayagiri in Bhopal. (On another-contemporary-
Udayagiri relief, the position of the buffalo is reversed.) The Badami relief probably inspired
one at Alampur (now in the museum) which is practically identical (with the only difference
that the trident's prongs are used as the weapon). The Bhumara DurgP medallion stands about
half-way between Udayagiri and Badami; the four-armed goddess holds sword and shield in
her back hands; the position of her feet and of the buffalo is the same as here. In the Elephanta
fragment, the buffalo is held by its jaw, and the animal's position is reversed. The low-slung
scarf is echoed in Badami cave I.
The four-armed DurgH of the RHmeSvara cave (XXI) at Ellora holds a sword in her lower
right hand; the trident-spear and the upper right wielding it have broken off. The upper left
hand holds a shield(?), the lower grasps the buffalo by the snout. Position and stance of goddess
and Titan are the same as at Elephanta and, but for the reversed buffalo, at Badami. The DurgH
in Ellora cave XVII is, iconographically, derived from the RHmeSvara relief. Stylistically, she
is close to Badami I; we note the loop of the scarf. The accompanying Gana recalls the atten-
dants on the panels of the Mdegitti-SivHlaya at Badami.
In the Aihole Saiva cave (RHvan Phadi) DurgH Mahis~sura-mardinihas eight arms (holding
in the right hands sword, bird, disc, and trident; in the left ones conch, shield, and bow) and is
accompanied by her lion mount (Fig. 3 1). She forces the buffalo's head back, holding it by the
snout (as in the RHmeSvara and Elephanta icons), and pins him down with her left knee while
she pierces the raised hind-quarters with Siva's trident-spear; her right hip juts out in a power-
ful curve. The wheel is held, by the (now missing) finger-tips, edge forward. The bird in one
of her right hands apparently is a parrot.40
The somewhat heavy grace and awkward stance of the goddess still recall Badami cave I.
At the same time, the composition is more balanced and also more complicated: goddess and
Titan seem to be locked in a deadly dance.
In the so-called Durga temple, the goddess again has eight arms and is accompanied by her
lion (Fig. 36). On her right, she carries sword, thunderbolt, disc, and trident; the remaining left
hands hold bell and conch. The buffalo's head rears up and back; it probably was held down by
one of the missing left hands (as at Elephanta). The buffalo's body faces left, as in Badami
cave I. The rump is pinned down by her left foot while she pierces the chest with her trident-
spear. The disc-aimed at the enemy-and conch are balanced on the finger tips. The curve
of the right hip and leg is similar to the more awkward movement in the Aihole cave relief,
but the elements of the composition are better integrated. The movement of her body is elegant
and graceful, jubilant in victory, but without the awesome majesty of the cave icons.
On both the Aihole cave and the Durga temple reliefs we note the presence, as a spectator,
of Durga's lion who, at Mamallapuram, enters the fight, carrying the goddess to victory. In an
K .V. Soundara Rajan, "The Devi Cult Nucleus at Jagat, Rajasthan", Vi~buerbvaranandIndological Journal I, pt. I (March
4O

1963).
Alampur relief (now in the local museum) which otherwise is not too far removed from the
conception and style of the Aihole cave panel, he actually sinks his teeth into the buffalo's hind-
quarters. In another Alampur relief (also in the museum)41-perhaps slightly later-the lion
is passive while the severed buffalo's head has been replaced by the human body of the Titan-
a concept that was to enjoy wide and lasting popularity.
The Mamallapuram formula was repeated in the Kailiisa panel at Ellora. In the reliefs of
Elephanta, Ellora XXI (RiimeSvara), and XVII, as well as at Badami, the lion is not represented.
He is, however, present in Ellora cave XIV4l (Fig. 37) where he has joined the fray, as at Alampur.
The same configuration occurs somewhat later at Chandravati and elsewhere in Rajasthan and
Central India. We may conclude that the lion in this context is a southern element that migrated
north with the Chdukyas.
On the Pattadakal Viriipiiksa, beneath the panel of Visnu Astabhfijasviirni, a Tamil iconic
form, there is a small relief of Durgii Mahisiisura-mardini, where the goddess is flanked by two
kneeling devotees. One worships her, while the other is about to cut off his own head to lay at
her feet. Above, in the background, we see the lion on her right and an antelope on her left.
Below the latter, a standing female raises her hand in adoration. This is another southern iconic
type which we know from Pallava and Early Chdla art: Durgii as Korravai, goddess of a tribe
of cattle thieves and professional soldiers. The buck as her second mount is a particular Tamil
configuration. The adoring female may represent the donor of the temple, Queen Lokama-
hiidevi.
One of the two shrine niches in the vestibule of the Pattadakal Viriipiiksa contains an extra-
ordinary statue of Durgii killing the Buffalo Titan, carved in the round (Fig. 3 8). Unfortunately
the face of the goddess is much damaged. Sculpturally and iconographically the group realizes
a bold new concept. Durgii is standing behind the kneeling demon, who is shown in human
form, in profile. His head is pressed down by the left foot of the goddess, who pierces his neck
with the trident and his chest with the sword. The head of the dying Titan is sinking toward the
ground. His buffalo horns are the only remnant of his beastly nature. The eight arms of the
goddess with their manifold weapons form a kind of halo around her triumphant figure.
Siva in the Cosmic Dance, eighteen-armed and accompanied by the bull Nandi, a two-
armed GaneSa, and a drummer appears in the extraordinary relief of Badami cave I (Fig. 39). He
dances on a low square "double-lotus" pedestal, his left foot raised in the cattlra pose; a left arm
swings in front of the chest. Siva's uppermost hands grasp a cobra43 stretched behind his head
and halo. In his other hands he holds, on his right, drum, noose and rosary; on his left skull-
cup, vtgz and trident. Piirvati is not represented.
The last feature as well as serpent and v i g i recur on an early BhuvaneSvara relief of the ten-
armed NateSa which appears to be derived from the Badami panel (Nandi is missing); it is now
kept in the compound of the MukteSvara temple. The serpent held over the head already occurs
on the earliest Pallava NateSa at Syamangalam (early seventh century).
In the somewhat earlier cave 11, the NateSa motif is represented in a small h d u medallion

41 Aschwin Lippe, Tbe Freer Indian Sculpiurer (Washington, I 970). figs. I 8, I 9.

The two opposite Durgl panels in cave XIV (Rlvaa-ka-Khai) are further set back than the other reliefs and may be
later replacements.
43 Not an elephant skin, as described by Banerji, 1.c. p. 3 ; cf. Gopinatha Rao, II/I, pp.267-268.
Fig. I KHrttikeya image in subshrine, Bala-Brahmii temple, Alampur
(Photographs copyright Aschzvin Lippe)
Fig. 2 GaneSa image, lateral shrine, Badami cave I

290
Fig. 3 GaneSa image in verandah, Ellora cave XVII

29 =
Fig. 4, 1 Seven Mothers o n side wall, Saiva cave, Aihole

292
Fig. 5

=93
Fig. 7 Vaisnavi, detail of Seven Mothers, Bala-Brahmz temple, Alampur

29j
 I . .

. i'

Fig. 8 Siva image, south wall of vimrina, MgkiifeSvara temple, Mahakut

296
Fig. g Siva on Dwarf of Ignorance, southern niche of vimcina, Sangamelvara temple, Mahakut

297
 Fig. 10 Nandi image in magdapa, MHkiiteSvara, Mahakut

Fig. II Nandi image in manbpa, Mallikarjuna temple, Mahakut

298
1x03 !urspeg ' d ~ ~ a l t rom!
8 pajrasu! saua3s t?u$ix z I '8!,~
Fig. 14 Variiha group, verandah, Badami cave I11

300
Fig. 19 VarHha group, Ellora cave XIV (RZvana-ka-Khai)

303
Fig. 20 Visnu Trivikrama group in verandah, Badami cave I1
Fig. 21 Trivikrama group, facade platform, Badami cave I11

3oj
Fig. 22 Trivikrama group in eastern fa~adeniche, VirClpHksa temple, Pattadakal

306
Fig. 23 Hari-Hara group in verandah, Badami cave I
Fig. 24 Hari-Hara image in verandah, Badami cave I11

308
Fig. zj Hari-Hara (right figure) in Saiva cave, Aihole

3O9
Fig. 26 Hari-Hara group in north gallery, Durga temple, Aihole

310
Fig. 27 Hari-Hara image, northern niche of vimZna, SangameSvara temple, Mahakut
Fig. 29 ~ i v aArdhanHriSvara group, verandah of Badami cave I
 ,
A *
Fig. 30 Siva ArdhaniiriSvara image, Saiva cave, Aihole. Courtesy Dept. of Archaeolog
Fig. 31 ~ i v ArdhanHriSvara
a o n porch pillar, Durga temple, Aihole

315
Fig. 32 ~ i v ArdhanHriSvara
a in northern vimc3na niche, MHkiiteSvara, Mahakut

316
Fig. 3 3 ~ i v ArdhanariSvara
a in western uimcina niche, SangameSvara, Mahakut

317
Fig. 34 Durgs Mahisssura-mardini group, lateral shrine, Badami cave I

318
Fig. 3 5 DurgP slaying Buffalo Titan, vestibule, Saiva cave, Aihole

3 I9
Fig. 36 DurgZ slaying Buffalo Titan, north gallery, Durga temple, Aihole

3 20
Fig. 37 Durga slaying Buffalo Titan, detail, Ellora cave XIV
Fig. 38 Durga slaying Buffalo Titan, vestibule of the ViriipHksa temple, Pattadakal

322
Fig. 39 NafeSa group o n lateral facade, Badami cave I
0
Ti-

&
5
Fig. 41 Dancing Siva group on ceiling of inner hall, PHpanstha, Pattadakal

321
Fig. 42 Dancing ~ i v group
a on porch ceiling, PHpanHtha, Pattadakal

326
over the Variiha panel. The main differences are the number of arms, which here number but
ten, and the absence of the snake-perhaps necessitated by the small space. The right foot is
raised; and no arm swings in front of the chest. All these features are the same on the Bhumara
medallion. A two-armed NateSa appears on a narrative panel of the MPkiiteSvara at Mahakut
(Fig. I 3).
Among the NateSa reliefs at Ellora, the one in cave XIV (Riivqa-ka-Khai) is most closely
related to Badami and was apparently influenced by it. On the other hand, the snake behind
the head is missing; so are Nandi and GaqeSa. Piirvati and Kumiira are present, as well as
Bhrngi (Kiila?), two additional musicians and a Gana(?); so are the presiding gods above. All
these features clearly point to the influence of the Elephanta and RiimeSvara panels or their ico-
nographic traditions. On the Riivana-ka-Khai (XIV) panel, Piirvati holds Kumiira by the hand
and leans on a dwarf woman. This formula probably also was used at Elephanta where GaqeSa
appears in the upper left, as in the RiimeSvara. In the Riivana-ka-Khai, the "triple-bend" pose
of the dancing god has more counter-point than at Badami; the powerful movement is echoed
in the awed and withdrawing attitude of Piirvati.
In the NateSa relief of the Dhumar Lena cave (XXIX), Nandi is represented, as in Badami,
while the presence of the Devas above, and of PPrvati and other attendant figures again points
to the Elephanta tradition. Compared to the Badami panel, the Dhumar Lena NateSa is awk-
wardly short and thick-limbed; the artist has not been able to distribute and attach the arms in a
satisfactory manner.
In the Aihole cave, Siva (ten-armed) dances in the catura pose, the right foot lifted slightly
off the ground (Fig. 40). Once more he is holding a serpent over his head behind the tall crown;
others serve him as sacred cord and belt. There is no vipi, and no pedestal. The god is flanked
on his left by KPrttikeya (KumPra) and PPrvati; on his right by m e g a and Vaignavi, above
whom (partly hidden in the photograph) we notice Kda (or Bhrngi). We note the absence of
Nandi. The group continues on both side walls with the other six of the Seven Mothers.
Compared to the Badami relief, the movement is more accentuated, the body more long-limbed,
the crown much more elongated. We notice the "spoke-halo", which we associate with the
period during and after Pallava occupation.
On the ceiling of the inner hall of the PPpanPtha (Pattadakal), the god (Fig.41) has four
arms; the back ones holding trident and writhing serpent, the front left ingaja-basta; one foot
is lifted off the ground. He is dancing on top of the Dwarf of Ignorance, ApasmPra-a southern
feature which we first encounter in the eighth century (Mogalrajapuram, Tirupparankunram
etc.).44 Piirvati, standing on a double lotus, seems to have joined her lord's dance. Nandi is
present, as well as three musicians with drum, flute, and cymbals.
The other NateSa relief on the porch ceiling of the temple (Fig.4~)-which belongs to the
second architectural phase-has about the same composition. Siva (eight-armed) supported by
the Dwarf, is flanked by two musicians; Nandi is lacking. Flying Vidyiidhara couples, oriented
at a right angle, flank the group. The bodies of god and goddess are more slender and elongated
than in the earlier relief in the inner hall; the violent movement of the dance is indicated by the
scarf swinging upward. Siva's front left arm apparently was not in thegajn-basta position.

44 K. R. Srinivasan, l. s.
 The lovely hall-ceiling relief of the Mallikiirjuna (Pattadakal) has a different cast (Fig.43).
The god has eight arms, the front left is ingaja-basta; another left hand holds the bull-standard.45
He again dances on the Dwarf. The rather awkwardly placed feet of Piirvati seem to rest on the
heads of the Dwarf and of a Gana squatting next to him. The limbs of god and goddess are
slender, the stomachs gently swelling; the "triple-bend" pose is accentuated in a gracefully flow-
ing rhythm. On Siva's right, Nandi is led by a Gana. We recognize some of the Devas; next to
Nandi, there is Agni on his ram and, further up, the head of GaneSa. On the opposite side, the
musician is beating his drums. Above, a figure riding a monster with gaping mouth probably
represents Varuna on the makara; at the top, we recognize BrahmH on his haha. The position
of GaneSa and the presence of the Devas point to the Elephanta-RiimeSvara tradition.
In the NateSa relief on the porch ceiling of temple no. 9 at Aihole (Fig. 44)-which belongs
to the second phase of this temple-the violent movement and exaggerated "triple-bend" pose
of the god recall the DaS Avatiira panel; the position of his arms is similar to the Piipaniitha
porch ceiling; one foot is lifted, while the other rests on the Dwarf. We note the slightly swelling
stomach. One hand rests on Nandi, while GaneSa floats in the air in the upper left as in the
Mallikiirjuna-perhaps an influence of the Elephanta and RiimeSvara tradition. Piirvati shrinks
back as in the Riivana-ka-Khai (and at Elephanta?); her hand rests on the head of a dwarf woman
as, perhaps, in the same relief; her left arm holds a baby Kiimara. A small Gana(?) sits next to
her. At the feet of the god squats the emaciated saint, Bhrngi (Kiila?), whom we encountered
on the Elephanta and Ellora reliefs as well as in the Aihole cave.
We suggest as a sequence for the large NateSa panels: Badarni I-Aihole cave-Piipaniitha
inner hall- Mallikiirjuna hall-Piipaniitha porch- Aihole 9 porch.
If not the Dhumar Lena, at least the Riivana-ka-Khai panel was, in style, pose and cast,
influenced both by Elephanta and Badami. The relief of the DaS Avatiira can be related to the
porch ceilings of the Piipaniitha and of Aihole 9. The latter panels had, in their turn, been
influenced by the Riivana-ka-Khai and, also, by the southern tradition which already is evident
in the ceilings of the Piipaniitha inner hall and the Mallikiirjuna hall.

45 AS at Tirupparankunram; C.Sivaramamurti, Kalugumalai (Bombay, 1961),p.33.

330