Search of an Ancient Image in Historic Kalyan

Kalyan (Dis. Thane) is a famous port since ancient time. Settled on the creek-bank of Ulhasriver that ends in the Arabian sea, it was an important mercantile centre in the Kushan-Satvahan period. The ports adjoining sea like Kalyan (Kalian), Chaul, Sopara, Bharuch had contacts with the towns Paithan (Pratishthan), Nevasa (NidhiNivas), Ter (Tagar), Bhokardan (Bhogvardhan), Nasik (Nasikya) of Dakkhan plateau. It was a flourishing city on the trade route extended till Rome.1

An inscription speaks about Kalyan resident AnandputraUpasakApren who has donated for cave and mandap at Kanheri in the reign of Satvahan ruler GautamiputraSatkarni. It is clear from the inscriptions of Kanheri and Junnar that the wealthy merchants of Kalyan used to give lot of donations. Such a donation has given by Venhunandi, Vishnunandi (father) and their family. A person Swamidutta, also a lady Damila (Bhoigee) donated for a cave and a tank at Kanheri. Guilds of traders were known as ‘Shreni’. Goldsmith Shivmitra from Kalyan gives a donation for the Bhikshusangha of four directions. This gift has been given for the construction of water-tank, benches, steps (Chakam-Chankam) in the premises of Stupa, Chaitya. There is also mention of donations given for the accommodation and food for Bhikkhus (Bhojan-Chatus) in the neighbouring Gandharika (Gandhari) area. Sulasdatta, son of Hernik from Kalyan gives donations for the development of chaitya at Junnar. There is also mention of Sanghak – the son of a goldsmith.2 These inscriptions prove the splendour of Kalyan and the region’s prosperity. The Buddhist impact of Satvahan- Kshatrap age continued till Shilahar period. Still the Vedic dharma received royal patronage. It is evident from the Naneghat inscription.3Kushan, Shung rulers in the north and after Satvahanas, Kalchuri and specially Traikutak dynasty’s copper plates show that the contemporary kings Dehsen and Vyaghrasen had considered themselves as “ParamVaishnav”.4 On these circumstances, here is a special mention of Vishnu image which is now placed at a temple known as “Nava Vishnu Mandir” in the ‘Bajarpeth’. Currently this image is treated as ‘Dwarkadhish’.

Nava- ShrivishnuMandir –

From Kanheri caves we get inscriptional confirmations about the habitations at Kalyan during Satvahan period and thereafter. And M. N. Deshpande has reported

1 contemporary archaeological evidences like pottery from Gandhari area. However, there was no other remarkable support available till now. Various water reservoirs from this area show the characteristic feature of habitation. Among these, except ‘Kala Talav’, the BhataleTalav beside Durgadi fort and another lake at the place of present SubhashMaidan are completely dried.5 There used to be a lake called ‘LendiTalav’ at the location of present ‘SubhashMaidan’. The abovementioned Vishnu image is found from the same lake. It was recovered around 120 years ago and the then reputed Gujrati community (PushtipanthiLohanaSamaj) set up the Nava Vishnu Mandir in the premises of this lake and installed the image. In the memory of the place where this image recovered, a square with footmarks (paduka) and a small room have been constructed in the same premises. There is an old banyan tree which is considered auspicious. The centenary of Dwarkadhish was celebrated on Samvat 2053, VaishakhVadya 8, Thursday i.e. May 29, 1997.

Sthanak image of Vishnu –

The main temple of Dwarkadhish is at Dwarka. There are temples of Dwarkadhish at Dakora (Gujrat) and Kakroli (Rajasthan) also. The image at Kalyan is a Sthanakmurti and stands in sampad position. VishnudharmottarPuran describes how to create the Vishnu images.6 This life-size image is about 155 x 70 x 25cm. The four handed figure holds chakra in upper left, shankh in lower left, gada in upper right and his lower right hand is in abhaymudra. The Gadadevi and Shankhpurush emerged from Gada and Shankh are shown at his right and left respectively. The round face, smile (thin lips), straight nose, half-closed eyes and tall cap like headgear are the characteristics. Three decorative motifs are carved on the headgear one above other. The main motif is Triratna which is designed with precious stones and lace of pendants. The headgear can be called as ‘RatnaMukut’ also. The prabha can be seen around the face. He is less ornamented, wearing ekavali, bajuband, valay and anklets.7

The Gadadevi is standing in the tribhanga mudra. The right hand is shown in Lolahast mudra whereas the left hand shown in kartari mudra is busy in holding the garment on left shoulder. Hair is tied in a bun and a headgear is worn over it. She is adorned with big earrings, kantha, bajuband and anklets. The lower garment is sliding on the legs. While round face, short figure, long curly hair with headgear, arm touching folded hand, knee length lower garment that slips (Mukt dam) till

2 legs are the characteristics of Shankapurush. It shows that the image is from the transit phase between the period after Kushan and before the developed style after Gupta. About Gadadevi and the gada, it has to be mentioned that Vishnu’s gada is known as ‘Kaumodaki’. There is Sudarshan chakra in the other hand. Vishnu’s shankh is known as ‘Panchjanya’.8 The gada in the hand of this image doesn’t look like mudgal-shaped gada of Kushan period, whereas it looks like somewhat developed. Due to all these specifications, this image can be taken as an important step in the development of iconography. It can be from the 5th-6th century especially, 550 CE. In this regard, according to Dr. A. P. Jamkhedkar, this image represents the Kalachuri style. Faithfully preserved by the devotees, this image is an asset of the history of Kalyan. This is brought to the light for the first time. After sudden discovery of distinctive Shankh (conch), I revisited all the temple- sculptures in Kalyan and this Vishnu image was noticed.

Significant Shankh –

Mr.PandurangBalkavde first noticed this conch preserved in the SaiDham temple at Kalyan since four generations. Then Shrikant Pradhan studied it. This conch is 17cm long and 10cm high. To simplify understanding of the carving on this conch, it is marked and photographed accordingly. The order is given ahead; there are four main bands of carving. First, (F) shows the designs started from a crocodile’s mouth. (E) Vidyadhar coming out of crocodile’s mouth. A couple seating in Sukhasan is shown onwards. The lady, resting her hand on the ground hearing something from her master. There is another couple with an attendant who is paying attention to them. (This carved band is around 24x3cm). Onwards, there are two (B) geometrical designed bands. Band (A) and below that, a line of 11 elephants can be seen. In the band (C), a hunting scene is shown. A running figure, 2 tigers, a worrier with a sword, a horse rider,2 elephants can be seen. Here a torch and a spear bearer is also depicted. Seems they are all trying to save themselves. This whole band reveals a story. It measures about (33x3cm). This depiction is closer to the Kanheri and Ajanta style of art and might be from the 5th century. Afterwards, there is circular designed band and below that a bloomed lotus and Vidyadhar. Later on the carving ends in 3 little bands. According to Dr.ArvindJamkhedkar, the carved bands especially the crocodile,vidyadhar, geometric designs place this conch in the latter half of the 5th century i.e. around 475 CE. The carving resembles with the painting style of Ajanta cave no. 1.

3 In relation with Kalyan’s history, Bahaman is ruled here.9 Also there are reports about Portuguese set the city on fire in 1570 because of which sultans of Bijapur, Ahmadnagar and Zamorine of Kalikat together attacked Goa.10 Thus, the city prospered in Satvahan period continued to be remarkable in 5th-6th century as it is seen from this life-size Vishnu image. As a consequence of later period destructions, the image had to take shelter of Lendilake. This way the image and abovementioned conch might be shifted from their places. It has to be mention that in spite of foreign invasions and natural calamities, the people of Kalyan saved their history! This is the only ancient Vishnu image in Maharashtra which is being regularly worshipped.

Acknowledgement -

The Trustees,Shri Nava vishnuMandir immensely helped me in this research. I am thankful to them for making me available the ‘PrabhushriDwarkadhishShatabdiMahotsavPustika’ (booklet) dated 29.5.1997 for more information. I am also grateful to Mr.ChintamanPhadke for showing me the conch to study and photograph.

4 1Dev, S.B. Maharashtra: EkPuratattaaviyaSamalochan, Mumbai 1968,pp 10-15

2Luders Appendix, EpigraphiyaIndica, Delhi 10, 1909-10. Inscription No 986, 998, 1000, 1001, 1013-14, 1024. See. Dev, S. B. Maharashtra Va Goa ShilalekhanchiVaTamrapatanchiSuchi. Mumbai 1994. Inscription No 134, 136, 147, 156, 165, 176-177, 360, 362.

3Luders Appendix, EpigraphiyaIndica, Naneghat Inscription No. 10, 1909-10. pp 121, No. 1116 & 1117

4Pandit, S. Age of Traiputas Coin: Inscription and Art. New Delhi: 2012. pp 27-32. Pathak A.S. (Edt) Maharashtra State Gazetteer, History: Ancient Period. Mumbai 2014. pp 382-383

5Gazetteer of Bombay Presidency, Thane District Gazetteer: Places of Interest, Mumbai. Vol: 14. 1882. (Reprint) 2000 pp 119-120

6Vishnudharmottar-Puran, Third Khand (Ed) Priyabala Shah, G.O.S. Baroda, 1958, Adhaya 85, Verses 2-14.

7 Similar Vishnumurti from Panvel is now at Thiba Palace, Ratnagiri. These two images are anatomically alike. There is another image of Vishnufrom Elephanta in ChhatrapatiShivajiMaharajVastuSangrahalaya which dates back to 6th century. It ismutilated above waist though Shankhpurush and Gadadevi are visible.

8Deglurkar, G.B. VishnumurtiNamastubhyam. Shridwarkadhish Charities: Karnala, Dis. Raigad, 2007. pp 27-30. Joshi, N. P. BhartiyaMurtiShastra. Maharashtra VidyapeethGranthNirmitiMandal: Nagpur. pp 46-53.

9Pathak,A. S. (Ed), State Gazetteer –Medieval Period,Mumbai 2014, pp 363, 379.

10Shevel Inscriptions,pp259-260. ChitravSiddheshwarshastri, PrachinBhartiyaSthalkosh, Vol: 1, Pune 1965, p 390.