All these symbols and mudras form the pool of Indian art language. They are commonly employed by the Hindu, Buddhist and Jaina traditions.
According to Tantrasara Vishnu has 19 mudras (shankha, chakra, Gadha, padma etc.), which mean attributes; Shiva has 10 mudras (yoni. Trishula, linga tc.); Ganesha has 7(ankusha, dantha, modaka etc.); Saraswathi has 7(maala, pusthaka, veena, etc.); and Agni has 7 (flames,
horns etc,) and so on. The Tantrika also include Jata, Tilaka, Bhasma, Chandana etc.
Mudras are again classified into those that convey a message (sankethica), which are mostly single hand mudras. The next are the vastu rupa mudras which suggest as if the diety is holding in his or her hands some object. And, the third is ayudha grahana , where the diety
actually holds an ayudha.
Among the Sankethica mudras, the better known are the Abhya mudra with right palm fingers pointing upward assuring protection; Varada mudra with the fingers pointing down ward in act
of giving; Vyakhna mudra as if teaching or explaining as in images of Dakshinamurty and the Buddha; and ala_padma with raised palm conveying happy welcome as in the images of
dwarapalakas, the guards at the sanctum.
The common examples of Vastu rupa mudra are those of Saraswathi or Dakshinamurthy with hands in such a position as if the deity is playing on the veena. The other examples are those of Rishba_rudha Shiva as if Shiva is reclining against his ride the bull; of Sri Rama as if he is holding the bow; and of Shiva as if he is holding the damaru, a sort of drum (damaru hastha).
Vrishbharuda shiva - as if reclining against Nandi
The Ayudha mudras are those where the deity actually holds an object such as pasha (rope), ankusha(goad or hook) as in the case of Ganapathi; Danda , a staff in the
hands of Skanda(danda hastha) *****
In Hindu Iconography, Paada mudras the position of the lower limbs and the feet are as important as the hand gestures (hastha mudras).It is the paada mudra that suggest movement
or
animation
or stillness of the image. The samarangana Sutradhara lists six paada mudras: Vaishnavam (one leg straight and another slightly curved- adidaivatha form of Vishnu); Sampadanam (standing erect with legs joined and body weight distributed evenly); Alidanam (Standing like
an archer, with right leg drawn forward); Prathyalidanam (opposite of Alidanam- left foot in front); Ardhasam or Mandalam (one leg is thrown out and the other remains stable – as in
Nataraja or Vishakadeva); and there are the legs folded in sitting postures as in Udarabhandam (as in Ganesha) and in paada-patta or Yoga –patta (as in Yoga Nrusimha )
*****
Kirita, makuta and Jatamakuta
The headgear is a distinctive feature of the Indian icons. The kiritas or the makuta (crown) or the
jatamakuta (coiled mop of hair atop the head) emphasise the nature (sattva, rajas or tamas) and the
nobility of the image. The Hoysala School of sculpture in particular adorns its images with elaborate and highly ornate crowns, rich in design.
Usually, highly ornate kirita, makuta adorns images of Vishnu and his aspects. A simpler crown of the Karanda class is meant for lesser deities. The female deities such as Saraswathi
and Savithri have kesha_bandha or Kuntala type of crowns. The divinities such as Rathi and others are given crowns of Jataa, mauli, makuta and kuntala type.
Jataa_makuta, coiled hair mopped on top of head is for the images of Shiva, Brahma, the Buddha and the sages.
Nataraja’s hair is flying in the wind as he swirls in his tandava dance. His hair is prasarith jata, the flying hair.
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Alankara -ornamentation:
The shilpis took great delight in adorning the image with rich and finely carved ornaments. While the other segments of the carving are regulated by the prescriptions of the Sahastras
and the tradition, the Alankara element offers the artists abundant scope to exercise their imagination and to display their ingenuity. Therefore, the amazing varieties, the patterns and
the desingns of ornaments that one comes across in the Indian sculpture are virtually limitless.
The major deities, both male and female, are adorned with rich ornaments; the minor deties and humans are provided modest ornaments. Often, the ornaments serve as the costume of
the image.
The term used for ornamentation is Alankara which encompasses forms of beauty and visual appeal in all forms of Indian art including poetry and music. Alankara is not merely bejeweling but it also implies enhancing the grace and beauty of the image and to enchant and please the eyes of the beholder. Alankara also conveys the nobility, the grandeur and the lovely nature of
the adorable image. The Hoysala sculptures in particular are rich in ornamentation.
Specific names are given to the ornaments that adorn various body- parts of image. The ornaments below or around the neck are Kanti (like a collar), Skandamaala (necklaces)
and manihara (strings of precious stones or beads).
In the abdomen region, are the Yajnopavitha (sacred thread), Kati bandha or kati sutra (waist belt).
The feet are adorned with paada jalaka (ornament made of strings), nupura (the bells) and rings that decorate the toes.
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The iconography of Sri Venkateshwara in the Tirumala temple needs to be discussed separately.
There are no known descriptions or specifications of the iconography of the Sri Venkateshwara idol in any texts of the Shilpa shastra. Till about the Vijayanagar period there were no temples of Sri Venkateshwara, out side Tirumala, Tirupathi and Mangapura regions.
The idol does not also fall within the interpretations of any of the known schools of architecture such as Pallava, Chalukya, and Chola etc. That might be because the image of Sri
Venkateshwara predates all such schools.
The sanctum at Tirumala is eka murthy griha a sanctum housing a single deity; Sri Vekateshwara is standing alone, not accompanied by his consorts. The icon is made of hard- black - polished stone (often described as saligrama shila) .Though the precise measurements
of the image of the deity cannot be ascertained, it is said, it stands more than six feet in height, with the Kirita , the crown, measuring about twenty inches high; and the idol is mounted on a pedestal of about eighteen inches. The pedestal with lotus motif is almost at the ground level. The total height of idol is estimated to be a little more than eight feet (A person of
The idol, crafted with great skill, is wonderfully well proportioned and is very pleasing to look at. It has four arms though its two upper hands are always kept covered (for whatever reason).
Of the other two hands, the right hand is in Varada mudra, in a posture of benediction, blessing the devotees. The left hand is almost near the left knee in Katyavalambita mudrawith
the thumb almost parallel to the waist, as if to assure that the mire of the samsara , the mundane existence , is only knee deep for those who submit to him and seek salvation.
The face of the idol has exquisite features. The forehead is prominent and wide with no visible signs or insignia. The expression on its face is beatific and adorable; the eyes are wide open, looking straight ahead with a calm delight (Sama dristi); the eye brows are arched; the cheeks are full; the nose tends to appear a bit flat; the full lips are just about to break into a smile; and
the chin is strong.
The crown adorning the head of the image measures about 20 inches to 2 feet. Its shape is not that of a traditional crown; but resembles a heap of twisted –coiled hair (ushnisha jatadhara)
and with a few strands of curly hair resting on the back of his shoulders.
The chest (surmised to be about 40 inches) is adorned with armaments (haara) in three strings and another necklace. The sacred thread is coming down and across from the top of its left shoulder and is extending below the waist band (udara bhandha). It is said there are insignia
Sri_nivasa. The girth at the waist is estimated to be about 27 inches. (There has never been a formal measurement of the idol. These measurements are merely suggestive.)
The arms are adorned with ornaments. The flowing robes are tied into ornate bunches at the waist. The feet are decorated with finely crafted rings and bracelets.
The idol radiates a sense of great beauty, peace, fulfillment and joy. It beams with a certain calm and majesty. It is aptly described as divya_mangala_vigraha, the all auspicious
representation of the Supreme Being.
Continued Next: Iconometry References:
Shilpa Soundarya By KT Pankajaksha
The Lord of Seven Hills By Prof. SKR Rao
Line drawings of kirita and ornament By the renowned Shilpi and Yogi Sri Siddalinga Swamy Of Mysore
Line drawings from Shilpa Soundarya Links for Previous posts
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Temple and Township
Vastu Purusha Mandala
Temple layout
Some essential aspects of temple structure
Next posts Iconometry Norms and Measurements in temple architecture
Talamana Devalaya Vastu Creative Iconography Temple Architecture