Vaishnavism in South‐Western Maharashtra: Vitthal‐ Rukmini Temple at Deur, Satara

Ganesh D. Bhongale1

1. Department of A.I.H.C. and Archaeology, Deccan College Postgraduate and Research Institute, Pune – 411 006, Maharashtra, India (Email: ganeshbhongale333@ gmail.com)

Received: 29 August 2018; Revised: 03 October 2018; Accepted: 12 November 2018 Heritage: Journal of Multidisciplinary Studies in Archaeology 6 (2018): 720‐738

Abstract: The present paper highlights a temple which is not discussed in the realm of the Vaishnavite tradition of Early Medieval South‐Western Maharashtra. If we delve further in the nature of Brahmanism during this period, Shaivism was in its fully developed form in that region as compared to rare occurrence of Viṣṇu temples. The temple discussed here stands on high platform pertaining exterior and interior plain walls and decorative pillars with diverse iconography. This temple is perhaps a rare example where the iconographic combination of Hayagriva and Surya is depicted, hinting at the possibility of prevalence of joint worship of Hayagriva and Surya. The prominent nature of Vaishnavite iconography suggests that this temple is associated with Viṣṇu. It is rare to find independent Viṣnụ temple during this period, hence this temple is probably the only temple of Visṇ ̣u in South‐Western Maharashtra.

Keywords: Vaishnavism, Vitthal‐Rukmini Temple, Satara, Maharashtra, Surya, Hayagriva, Krishna

Introduction The region of south‐western Maharashtra forms an important geographical entity of western Deccan. This region has witnessed a political presence of all important Early Medieval dynasties. Their presence can be testified through their written records and monumental activities. The period onwards, 10th century CE observed to be the period of large‐scale building activity of the temples in this region and elsewhere in Maharashtra. These temples exhibit the scenario of the contemporary different genre of religious faiths and beliefs. During this period the Brahmanism and the Jainism can be noticed gaining the constant political patronage for building temples and their subsequent sustains in the form of donations. If we go in further details of the nature of Brahmanism during this period it seems that Shaivism was in its fully developed form with its identical nature of various sects and sub‐sects. The region under consideration also went through the same process. There is a number of Śiva temples still surviving and also documented and studied by previous scholars (Naik 1947, Deglurkar 1974, Deo 1993, Deshpande 1977, Jamkhedkar 2002, Welankar 2003). In comparison to Śiva temples, the temples of Viṣṇu are rarely noticed. The present paper highlights one such Bhongale 2018: 720‐738 temple which is not discussed in the realm of the Vaishnavite tradition of Maharashtra (Jamkhedkar 1993, Welankar 2003). The temple is located at village Deur (17° 50ʹ N; 74° 05ʹ E). The village Deur is situated in Koregaon taluka of Satara District. It is around 20 km from Satara located on a Satara‐Baramati‐Phaltan state highway no. 61. The present settlement of Deur village is on the left bank of river ‘Vasana’ a tributary of river Krishna.

The village Deur has its own historical significance due to its surviving temples and other monuments of historical importance such as palace, medieval market etc. The village is known in surrounding region for the goddess ‘Mudhaidevi’. The goddess Mudhaidevi is supposed to be a tutelary deity of ‘Bhosale’ family, one of the branches of Bhosale’s of Shahaji and Shivaji. This branch of Bhosale family later migrated and settled at Nagpur. The same later became familiar as prominent chiefdom of Maratha confederacy in Vidarbha region and generally known as ‘Nagpurkar Bhosale’. In medieval records, it is mentioned that the village Deur, was mokasa of the Raghuji Bhosale. In 1728 CE, Chhatrapati Shahu Maharaj from Satara offered village Deur in the form of mokasa to Bhosale family (Kale1936:42), therefore, this village is considered as a native of the Bhosale’s of Nagpur. These details are mentioned in ‘Nagpurkar Bhoslyanchi Bakhar.’ This family is still remembered as ‘Deurche Raje’ (King of Deur). This honor to Bhosale family residing at Nagpur was conferred upon by British around 1857 CE (Kale 1936:243).

Previous Studies The site Deur and its surrounding are directly and indirectly referred in previous researches. These have appeared in the annual reports of archaeological explorations, individual explorations and followed by a few masters and doctoral dissertations. The brief information of Vitthal‐Rukmini temple is given in a doctoral dissertation ‘Archaeology of Deccan’ (Naik 1947). The observations and comments given by Naik are instrumental for the dating and general understanding of the Vitthal‐Rukmini temple.

The work of K. R. Kapre (1961) ‘Archaeology of Ancient Place Names in the Deccan’ gives information of places which were mentioned in epigraphic records. This work is not limited in locating the places mentioned in inscriptions, but it also tried to establish the antiquity of the place mentioned into the record on the basis of archeological remains. The reference of Deur in his work found in the context of Kalleshvar Mahadev temple, this particular temple before Kapre was mentioned by A. V. Naik (Kapre 1961: 164; Naik 1947: 554‐555). Another important work by S.R. Deshpande (1977) also studied the Vitthal‐Rukmini temple at Deur in the milieu of the sculptural depictions at this site in his Doctoral thesis ‘Yadava Sculpture’. These are few studies mentions the direct reference to the site of Deur and its temple.

Vitthal‐Rukmini Temple The Vitthal‐Rukmini temple is situated in the center of village Deur; it is built on a mound of alluvial deposition of river Vasana. The main road of village passing through

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the medieval market (Bajarpeth) reaches the front of the temple. In front of the temple has an open space, this open space is now occupied by a giant pipal tree. This pipal tree is now surmounted by a cemented platform which is built using masonry stones, originally was part of a temple.

Plan of the Temple In the plan (Figure 1), this temple is pancaratha consist bhadra, upabhadra and karna respectively. It is a class of nirandhara. In its major architectural components, it includes massive rectangular prakā rā wall surmounting the entire temple. This prākarā wall is joint by heavy prakā rapravē śmaṇḍapaa towards the east of the temple, following this; it has a separate maṇḍapaa (garuḍamaṇḍapa?) joint with the main shrine through the jagati ̄ (low platform). This maṇḍapa is succeeded by narrow empty open corridor leads into the mukhamaṇḍapaa, then guḍhamaṇḍapa, antaral̄ and garbhagriha.

Interior surface of the temple inside the prakā rā is covered with placing of masonry bedrock. After passing through the prakā rapravē śmaṇḍapaa it enters an open platform in front of the maṇḍapaa. This open platform has staircases on its either side to come on a surface.

Figure 1: Plan of Vitthal‐Rukmini Temple

Exterior of the Temple The elevation of this temple is simple consists of a low jagati ̄ with three simple courses. It contains a kharśila,̄ kumbh and kapotpalī . The adhiṣṭhanā of this temple is simple without any decorative features containing few moldings. These moldings do not bear any classified features. These moldings have covered the portion of garbhagriha and

722 Bhongale 2018: 720‐738 mukhamaṇḍapaa. The adhiṣṭhanā is followed by plain jangha ̄ (mandovara) wall. This wall of jangha ̄ is simple in nature without any artistic and decorative features. The jangha ̄ wall turned into simple broad pattikā ̄ above which has two layered varand̄ ̣ika.̄ These layers of varand̄ ̣ika ̄ are covered by the canopy (chhajja).̄ This canopy has a design of up warded loops. This chhajja ̄ is succeeding through the kapotali.

The present śikhara of this temple observed to be restored in a Late Medieval period. The entire śikhara now is cemented with plaster. Due to this plastering, it is quite difficult to ascertain its original nature. However, some of the open patches of without plaster reveals that, originally it was built by bricks. The shape and size of a brick and its construction method shows affinity to Late Medieval period. Hence, perhaps this śikhara was restored and rebuilt around 17th– 18thcentury CE.

The low jagati ̄ of this temple is built with an extra projected space that formed an inbuilt pradakṣinapath̄ . The main bhadra projection of garbhagriha has a 3 devakoṣṭas (niches). These niches constitute three directions that are north, south, and west. These devakoṣṭas are empty; however, the architectural design of these devakoṣṭas suggets its relation with the traditional form of temple architecture. It is built on projected kapotali. This kapotali has formed the base for the pilasters. These pilasters are square in its base, octagonal in middle, and circular at the capital (stambhaśīrṣa). The canopy of the devakoṣṭa represents the design of phamsanakā ̄ra type of śikhara, which has a kalaśa in a centre on its topmost layer. The exterior of guḍhamaṇḍapa is also built in plain masonry stone. The nat̄ ̣yamaṇḍapa/garuḍamaṇḍapa is located on the front side of the temple. It is built on the same jagati ̄ but slightly detached from the mukhamaṇḍapaa with narrow open space.

The entry of the guḍhamaṇḍapa is followed through the mukhmaṇḍapaa with two pilasters and two free standing pillars. This mukhamaṇḍapaa is enclosed through the balustrade (kakṣāsana). The vedika ̄ portion of this kakṣāsana has several rathikas̄ with the depiction various types of miniature motifs and designs such as lotus, figurines of ascetics and the motifs of doors.

Interior of the Temple The garbhagriha of the temple is square in plan. It has four pilasters in its four corners which are merged in the wall of garbhagriha. The walls of garbhagriha are plain without any niches. The southern side wall, it has a small tank. This tank probably was made intentionally to store water for the ritual purpose. The north wall has a space for the outlet of drainage water. The garbhagriha has pedestal setting to its west wall. This pedestal has a depiction of Lakshmi on its front side in its center. The careful observation of the design and its pattern of moldings suggest that this pedestal is original pedestal of the temple.

The doorjamb of the garbhagriha is simple having only ones śakhā .̄ That is of stambḣ variety. The lalāṭabimbȧ is similar to that of the main entrance having an image of Ganesh. The antaral̄ is simple rectangular in plan having plain walls. The ceiling of it is flat with three layers of concentric squares.

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Figure 2: Pillar of Vitthal‐Rukmini Temple

The guḍhamaṇḍapa of the temple is square in shape. The walls of the guḍhamaṇḍapa are surmounted with twelve pilasters at regular intervals. The central space of the guḍhamaṇḍapa is occupied by four free standing pillars (Figure 2). These pillars are of the rucaka variety. These pillars are square at base, having circular as well as octagonal shafts followed by sculptural reliefs. These sculptural depictions contain various decorative motifs and symbols. Some of the brackets of these pillars embody the narrative panels like Vali‐Sugriv combat scene (Figure 3), Anantshayana Viṣṇu (Figure 4), Nṛisimha (Figure 5), kicaka, a pair of a peacock, kirtimukha etc. The capital of the pillars is marked by the depictions of several types of bharavā hakas.̄

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Figure 3: Vali‐Sugriv Combat Scene

Figure 4: Anantshayana Vishnu

Figure 5: Nṛisimha

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Figure 6: Doorjamb of guḍhamaṅḍapa of Vitthal‐Rukmini Temple

Figure 7: Surya Image

The doorjamb (Figure 6) of guḍhamaṇḍapa is more decorative than the garbhagriha. It contains five śakhā ̄s namely puṣpa, nara, stambhȧ , valli, and vyalā . It is a class of nandini ̄ type. The pedyā portion of the door has a depiction of vaiṣnavạ dvarapā lā , cāmardharinī ,̄ and female holding a pot. It is possible that the female images holding a pot on either side can be river goddesses. The udumbarȧ part of doorjamb on either side of mandarakā has a depiction of Surya and Hayagriva. These deities are depicted in small rathikas̄ . The image of Surya is on the left side, shown standing in samapada, in the chariot drawn by seven horses, holding padmas, in both hands (Figure 7). On right side has a depiction of

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Hayagriva; it is with four hands, shown standing in samapada, holding cakra, gada,̄ śankha and bijpurak (Figure 8). These images of Surya and Hayagriva are flanked by several small rathikās with the depiction of ganas with musical instruments. The lalāṭabimbȧ of this door bears an image of Ganesh in central rathika.̄ This rathika ̄ is flanked by horizontal rows of malā dhā rī just above the naraśakhā .̄ The uttaranḡ of the door has a rathikas̄ with the depiction of the lotus in low relief. The lalat̄ ̣abimbȧ and uttarānga, is differentiated through the canopy (chhajja).̄ Below this canopy facing towards the surface has a picturesque depiction of Krishna in its Kaliyamardanā (Figure 9) form.

Figure 8: Hayagriva Image

Figure 9: Kaliyamardana Krishna

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Above the uttarānga has a horizontal beam over this beam contain an inscription in bold letters in the nagarī script (Naik 1947: 555). This inscription is severely damaged due to the black paint. Therefore, it is difficult to decipher properly. Few of the letters can be identifiable. On the basis of palaeography of identifiable letters, it seems that this inscription was inscribed in the later period. However, Naik commented that the palaeography of this inscription match with the Devanagari inscriptions of 13th /14th century CE (Naik 1947: 555). Along with this, there is another inscription engraved on the left side of guḍhamaṇḍapa over the east facing the wall. This inscription also severely damaged due to lime plaster. The inscription is in Devanagari script contains five lines. The inscription is beyond decipherment.

Nat̄ ̣yamanḍ ̣apa/Garuḍamaṇḍapa? In front of the Vitthal‐Rukmini temple, has a nat̄ ̣yamaṇḍapa or garuḍamaṇḍapa? The nat̄ ̣yamaṇḍapa and the Vitthal‐Rukmini temple are attached to each other through the low platform (jagati).̄ However, it is separated through the narrow open corridor in between mukhamaṇḍapa and nat̄ ̣yamaṇḍapa. This so called nat̄ ̣yamaṇḍapa seems to be originally open maṇḍapa; this open maṇḍapa has two openings on either side facing towards the north and south respectively, whereas this maṇḍapa is close on the eastern side. Nevertheless, some later construction also can be observed on the north‐west corner of the maṇḍapa. The north‐west corner is closed by a brick wall. Due to this, it has formed a separate chamber. It was deliberately made recently to make a separate shrine of Lakshmi‐Narayana.

The pillars of this maṇḍapa are simple without any decoration. However, the capitals of these pillars have a representation of various types of bharavā hakas̄ . These depictions of bharavā hakas̄ and their iconographical arrangements are quite similar with the bharavā hakas̄ of guḍhamaṅḍapa. Some of the beams of the pillars have a decorative feature. Such as the beam fixed towards the north‐west side has a concentric carving of lotus in a circular fashion in its centre. This lotus is flanked by the decorative makara. These makaras are shown riding by human figures. Similar type of beam on the west corner has a lotus medallion in low relief in its centre. This lotus is flanked by the figurines of kinnara on its either side. The close observation of the arrangement of ceiling suggests that this maṇḍapa was at some extent restored after the construction of the temple. There are so many dismantled masonry stones reused for the reconstruction of this nat̄ ̣yamaṇḍapa. Hence, the original features and design is difficult to figure out. The beam over the southern corner has a depiction of Rama and Lakshman, below this beam has some decorative motifs such as one side has a pair of hamsȧ and another has a pair of kinnara.

The east facing a wall of nat̄ ̣yamaṇḍapa has vatā yanā . The lower part of this vatā yanā has a geometric design. Its top has a decorative beam. This decorative beam has four layers divided through the depiction of geometric designs, such as the swastika motif and diamond shaped design. This beam has three rathikas;̄ these rathikas̄ in its both the sides are in a rectangle shape, whereas the rathika ̄ in the centre is square. The rathika ̄ on the southern side has a depiction of Viṣṇu; it is shown standing in samapada, holding padma,

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śankha, cakra and gada.̄ This order of attributes according to the tradition of Agnipurana is suitable with the form of ‘Keshva’ (Rao 1914:229; Joshi 2013:105; Gupte 1972:95‐97). The rathika ̄ in the centre has a depiction of three headed Brahma. It is with four hands holds akṣamalā , śṛuk, danda, and kamaṇḍalu. The rathika ̄ on the extreme left (Northern side) has a depiction of Shiva. This four‐handed deity is shown with the traditional attributes. The upper right hand holds Ḍamaru,̄ the upper left hand holds triśul, the object in lower two hand are un identical due to weathering and the layers of vermilion applied on in over the period of time. Above this beam has a separate stone, which has the depiction of Ganapati sitting in ardhaparyankasanā . It has four hands, holds padma, paraśu, ankuśa, and modaka respectively (Figure 10).

Prakā rā ‐Praveśmaṇḍapa This Vitthal‐Rukmini temple has a massive prakā rā (embankment). This prakā rā wall is severally damaged and collapsed due to the natural and manmade interventions. However, still, it is retaining its original features shows its functional importance in context to the temple of Vitthal‐Rukmini. This prakā rā wall has a separate praveśdvarā . The platform of this prakā rā wall is built on the high platform. This can be observed through the numerous stairs of praveśmaṇḍapa of prakā rā . The massive praveśmaṇḍapa gives an elegant look to the entire temple complex. This praveśmaṇḍapa is enclosed by a kakṣāsanas, has two pilasters on its front, four on its middle and four pilasters are attached to the prakā rā wall. On either side of the doorjamb of entry has a devakoṣṭa. The devakoṣṭa on the right side (south) has a pedestal without any image, whereas the devakoṣṭa on the left side (north) is empty. The pattern of devakoṣṭa is similar like a devakoṣṭas of sanctum sanctorum. The designs of pillars at praveśmaṇḍapa are similar to the design of pillars in the nat̄ ̣yamaṇdapạ and guḍhamaṇḍapa. The design and decorative features are simple without any carving. However, these pillars have a various type of bharavā ̄hakas depicted on its capital.

The platform of the prakā rā wall has seven courses (layer) of masonry stones, visible from its southern side. The layer number five, six, and seven with their design are identical with inside mouldings of jagati ̄ (platform). The lower layer of this platform on southern side has a depiction of Veṇugopal and Nṛisimha in rathika.̄ These rathikas̄ are not original from this place, perhaps these masonry beams are reused while restoration of the platform. On the northern side of prakā rā wall has a fragment of pillar capital containing bharavā hakas̄ . This part also seems to be reused in prakā rā wall.

Bharavā hakas̄ The pillars and pilasters of Vitthal‐Rukmini temple at Deur are embellished with the depictions of various types of bharavā hakas.̄ In architecture, their position is commonly observed at various locations i.e. at the base of the structure, on kakṣāsana, ceiling, pillar and pilaster. The iconography of bharavā hakas̄ at this temple is an important feature to understand the artistic tradition of late 13th/14th century CE. These bharavā hakas̄ are depicted in different postures and gestures, varied types of musical instruments and with multiple hands. The depictions of bharavā hakas̄ are noticed from the early

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architectural tradition. Subsequently, in brahmanical temple architecture, it becomes an integral part of the visual representation. Traditionally in a study of temple art, these bharavā hakas̄ are considered as semi divine figures, includes in a class of yakṣa and ganas. The pillars and pilasters of medieval structural temples of Maharashtra have a depiction of various types of bharavā hakas̄ in ample numbers. However, in an absence of any systematic study on this type of imagery, it is difficult to comment anything about it. Nevertheless, on a certain epigraphic reference found in Maharashtra, it can explain that the imagery of bhāravahakas̄ was may be inspired by the contemporary pattern of worship of a particular deity. In the pattern of worship, two major form of worship was in practice. In this was an angabhoga and rangabhoga.

It is also commonly observed that the usage of particular donations was for the fulfilment of above‐mentioned duties for the deity (Tulpue1963, Shah 2009). Specially, in an offering of rangabhoga there used to be a tradition of performance of devotional songs and dance in front of the deity. There is a possibility that the depiction of bharavā hakas̄ with the various types of musical instruments perhaps was inspired through this practice. One such instance is noticed where the special grant has been offered to the group of musicians. In this inscriptional record, it mentions the certain details such as the performer and their musical instruments (Dikshit 1951).

At Deur, broadly, there are four types of bharavā hakas̄ that can be observed. The type one consists the depictions of different deities in a form of bharavā hakas.̄ The type two includes the depictions of bharavā hakas̄ with different types of musical instruments, type third consist the bharavā hakas̄ with other objects and type four comprises the miscellaneous bharavā hakas.̄

In this temple, the majority of bharavā hakas̄ is noticed with different types of musical instruments. It covers all 4 classes of traditional classification of musical instruments. These are tata (vibratory instruments) this class consists all the instruments which have a string and produce sound by vibrating string. e.g. vina.̄ The anaddha (percussive) it consists the instrument in which the sound is produced by the percussion of skin stretched on hollow vessels e.g. a drum. The susira ̄ (pneumatic) in this category it consists the instrument in which sound produce by blowing in that instrument e.g. flute. The ghana (concussive) the instruments in which sound produce by the concussion of solid metal plates are included in this category e.g. cymbals.

The Deities as Bharavā hakas̄ The deities as bharavā hakas̄ are comparatively rare phenomena in Indian temple sculptural art. However, it is commonly observed in the late phase of the Early Mediaeval period. In Maharashtra, the deities as bharavā hakas̄ are noticed in few temples. The deity Hanuman and Ganesh are commonly noticed as bharavā hakas.̄ Whereas, other deities are seen rarely. At Vitthal‐Rukmini temple the same can be observed along with Hanumanā and Ganeśa there is a depiction of Nṛivaraha,̄ Bṛhama and Vāmana as bharavā haka.̄

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Ganeśa (Pilaster no. 4, East Facing): The south face of this pilaster has a depiction of kiṛtimukhā . Whereas, the east face has a depiction of Ganeśa. It is sitting in sukhasanā . It has two hands in which the right hand is holding broken teeth. The trunk of the deity is depicted turned towards his left, wearing an adhovastra. He is shown wearing an ornate mukuṭa, wearing a galahā rā , keyū rā , nupurā

Nṛivarahā (Guḍhamaṇḍapa, Pillar no. 2, East Facing): The depiction of Nṛivarahā at Deur is one of the magnificent sculptures. It is shown in flying posture with four hands. The lower right hand holds padma, upper right gada.̄ Whereas, the upper left hand is raised upward bent form elbow holing an śankha, lower left holds cakra. The boar head of the deity is shown prominently with an open eye. The ear of deity is in low relief wearing a bold circular karṇakuṇḍala. The deity has a prabhavalaya.̄ In other ornaments of the deity includes harā , keyū rā and mekhala ̄ (Figure 11).

Figure 10: Ganeśa as Bharavā hakas̄ Figure 11: Nṛivarahā as Bharavā hakas̄

Bṛhama (Nat̄ ̣yamaṇḍapa/Garuḍamaṇḍapa? Pillar no. 12, South Facing): The depiction of Bṛhama is an important depiction at this temple. It is one headed Bṛhama depicted sitting in ardhapadmasanā . The deity is with four hands. The upper hands are shown bearing a load of the superstructure. The lower right hand holds an akṣamalā ̄ and kamaṇḍalu and lower left book. The deity is depicted with elongated beard and eyes are closed. The deity is shown wearing a circular karṇakuṇḍala. It is shown wearing a bold harā keyū rā and perhaps adhovastra (Figure 12).

Vamanā (Nat̄ ̣yamaṇḍapa/Garuḍamaṇḍapa? Pillar no. 13, South Facing): The representation of the deity Vamanā is another interesting depiction at Vitthal‐Rukmini temple, Deur. The deity is standing in dvibhangȧ . It is with two hands right hand is broken perhaps originally was holding chatra. In left hand holds a kamaṇḍalu. The deity is shown with pot‐bellied wearing a hara,̄ keyū ra,̄ yaj̣napavitā and adhovastra (Figure 13).

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Figure 12: Bṛhama as Bharavā hakas̄ Figure 13: Vamanā as Bharavā hakas̄

Hanumanā (Nat̄ ̣yamaṇḍapa/Garuḍamaṇḍapa? Pillar no. 13, North‐West Facing): The deity Hanumanā is depicted standing in alī d̄ ̣hamudra.̄ It is with two hands right hand is in hṛidayaspṛśmudra.̄ Whereas, the left hand is in so‐called capeṭdanmudrā ̄. The image is painted with vermillion, indicates its present worship. The deity is depicted with bold eyes and monkey face. The tail of the deity is shown turned upward form its left side. The deity is wearing a karaṇḍamukuṭa, circular bold karṇakuṇḍalas, galahā r̄ a, keyū rā and hāra (Figure 14).

Figure 14: Hanumanā as Bharavā hakas̄ Figure 15: Kṛiśana as Bharavā hakas̄

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Kṛiṣṇa (Nāṭyamaṇḍapa/Garuḍamaṇḍapa? Pillar no. 14, East Facing): The image depicts an important episode of Kṛiṣṇa’s life. It is a representation of Kṛiṣṇa uprooting a tree to liberate the cursed Yaksha who was in the form of trees. It is in flying posture with two hands. The right hand of the deity is broken whereas, left hand holds a tree. The branches of the tree can be seen on its left side. The deity is wearing a typical crown which is commonly noticed in an image of Kṛiṣṇa. In another ornaments, it is shown wearing harā , nupurā and adhovastra (Figure 15).

Suṛya (Nat̄ ̣yamaṇḍapa/Garuḍamaṇḍapa? Pillar no. 5, East Facing): This image of deity Surya is significant as bharavā hakā at Vitthal‐Rukmini temple since the image of Suṛya is also depicted on an uduṃbara part of the doorjamb at guḍhamaṇḍapa. The deity is shown sitting in sukhasanā has two hands. The hands are depicted holding a sanalakamal̄ an important attribute of Suṛya. The deity is wearing a kirī t̄ ̣mukut̄ ̣a, bold circular karṇakuṇḍalas, keyurā , adhovastra, and harā with a bold roundish bead in its centre (Figure 16).

Figure 16: Suṛya as Bharavā hakas̄

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Bharavā hakas̄ with Musical Instruments Bharavā hakas̄ Blowing Conch: There are total five bharavā hakas̄ depicted blowing conch. These are in guḍhamaṇḍapa and nat̄ ̣yamaṇḍapa/garuḍamaṇḍapa. These appear on pilasters and pillars. These are in sitting and flying posture and has four hands. In which the four hands are shown their upper two are lifting a load. Whereas, the lower two hands are depicted holding śankha (conch). The ornaments shown wore by them are circular headgear, kuṇḍala, keyū r,̄ nupurā and adhovastra.

Bharavā hakas̄ Playing Vin̄ ̣a ̄ (Lute): There are total eleven images of bharavā hakas̄ shown playing vin̄ ̣a.̄ In which praveśamaṇḍapa has three images. However, the nat̄ ̣yamaṇḍapa/garuḍamaṇḍapa contains a total of four images. Whereas, the mukhamaṇḍapa and guḍhamaṇḍapa has two images of bharavā hakas̄ playing a vin̄ ̣a.̄ Among these, three are depicted in flying posture and remaining five are shown sitting in sukhasanā . All of them unanimously have two hands engaged in playing vin̄ ̣a.̄ They are shown wearing adhovastra and the flying uttariya can also observed. In other ornamental details, they are shown wearing kuṇḍala, keyū rā , galahā rā , and nupurā .

Bharavā hakas̄ Playing Tutarī ̄ (Trumpet): The bharavā hakas̄ depicted playing tutarī ̄ are total six in number. In which three are located on pillars and pilasters of guḍhamaṇḍapa respectively. Whereas, two are seen in praveśmaṇḍapa and a single image is in nat̄ ̣yamaṇḍapa/garuḍamaṇḍapa. However, in these bharavā hakas̄ playing tutarī ,̄ they vary in numbers of hands. The three images are having four hands, two images are having two hands and a single image is exceptionally having six hands. The images which are having two hands are shown holding a tutarī ,̄ depicted in sitting and flying posture. Whereas, the images having four hands, engaged in two different activities such as the upper two hands are busy with bearing a load and other two hands holds a tutarī .̄ The image of bharavā hakā having six hands is shown eventful in different acts. Such as upper two hands are in load bearing, middle tow hands holding a tutarī ̄ and lower left hand resting on the thigh and holds kamaṇḍalu. The lower right hand holds own right feet. The details of ornaments and drapery are observed the same as above.

Bharavā hakas̄ Playing Drum: There are total eight bharavā hakas̄ playing the drum in which three are in guḍhamaṇḍapa and praveśmaṇḍapa and a single image is in mukhamaṇḍapa and nat̄ ̣yamaṇḍapa/garuḍamaṇḍapa. These images are noticed as shown in sitting as well as in flying posture. Among these two images are having four hands whereas the other six contains only two hands. The images with four hands are engaged in two different activities. The upper two hands bearing a load and with lower two hands playing a drum. The images with two hands are commonly observed only playing a drum. The details of ornaments and drapery are observed the same as above.

Bharavā hakā Playing Ghaṭaṁ: There is a single image of bharavā hakā which is depicted playing the musical instrument ‘ghaṭam’.̇ It is located at the pillar of mukhamaṇḍapa. The image is shown in a sitting posture has two hands. Both hands of the bharavā hakā are engaged into the playing of ghaṭam.̇ The details of the ornaments and

734 Bhongale 2018: 720‐738 drapery are same as above. The musical instrument ghaṭam ̇ was quite popular in Indian sculptural tradition generally shown with images of Śiva while depicting him in naṭarajā form.

Bharavā hakā Playing Bell: There are two images which are depicted playing a bell. It is located at guḍhamaṇḍapa and praveśmaṇḍapa. In these, the image at praveśmaṇḍapa is depicted in flying posture and the image at guḍhamaṇḍapa in sitting posture. Both these images are having two hands engaged into the playing of the bell. These are shown wearing adhovastra. In other ornamental details, they are shown wearing kuṇḍala, keyū rā , galahā rā , and nupurā .

Bharavā hakā Playing Castanets or Clappers: There is a single image depicted playing typical musical instrument castanets. This is noticed at the pillar of praveśmaṇḍapa. It is in flying posture has two hands. The hands of the image are engaged into the playing of castanets. The image is also shown wearing a nupurā . This typical popular instrument of music, in the local language, is known as ‘cipalya’.̄

Bharavā hakas̄ Playing Ban̄ sari̇ (Flute): The three bharavā hakas̄ are depicted playing flute located each one in praveśmaṇḍapa, guḍhamaṇḍapa and mukhamaṇḍapa. All of them are in sitting posture having two hands. The details of ornaments and drapery are observed the same as above.

Bharavā hakas̄ Playing Ṭalā (Cymbals): There is a total of ten bharavā hakas̄ playing cymbal. In which some of the cymbal are big in size some of them are small. These are distributed in guḍhamaṇḍapa, mukhamaṇḍapa, nat̄ ̣yamaṇḍapa/garuḍamaṇḍapa and praveśmaṇḍapa. These are in siting as well as in flying posture. Except for one image other images are depicted with two hands. The images with four hands are engaged in two different activities. The upper two hands bearing a load and with lower two hands playing a drum. The details of ornaments and drapery are observed the same as above.

Bharavā hakas̄ Blowing Śṛiṇga (Horn): The practice of blowing horn is an archaic musical instrument. At this temple, at least two bharavā hakas̄ are noticed shown blowing horn. These are located at nat̄ ̣yamaṇḍapa/garuḍamaṇḍapa and praveśamaṇḍapa. Both the images are in flying posture having two and four hands. The image having four hands is in usual posture. The upper tows hands are bearing a load and lower two hands are holding a horn. The details of ornaments and drapery are observed the same as above.

Bharavā hakas̄ Playing Nupurā : This single image of bharavā hakā depicted playing nupurā is noticed at praveśamaṇḍapa. The image is in flying posture has four hands. In these, the upper two hands are bearing the load of the super structure.

Whereas, the lower hands are engaged into the playing of nupurā . This instrument is circular in shape depicted playing through the hands. The details of ornaments and drapery are observed the same as above.

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Bharavā hakas̄ with Other Objects In this category of the bharavā hakas̄ various types of objects are noticed. These objects signify the artistic experiments in a form of portrayals of bharavā hakas.̄ It includes the bharavā hakā holding a gada,̄ padma, snake, khaḍga, kapalā , shield and a garland (malā dhā rī ). These bharavā hakas̄ are located in all architectural sections of the temple. These are depicted in flying and sitting postures having four and two hands. The details of the ornaments and drapery can be observed the same as cited above.

Miscellaneous Bharavā hakas̄ In this category of bharavā hakas̄ includes the images depicted in different forms. There are total four images which exclusively are in a posture of bharavā hakā without any objects. These images of bharavā hakā are located in guḍhamaṇḍapa, and nat̄ ̣yamaṇḍapa/garuḍamaṇḍapa? In these images, two images, are in sitting posture and two images are depicted in flying posture. In the same way, they are shown with two and four hands. There are total seventeen images of bharavā hakas̄ which can be identifying as an ascetic. These images of ascetics are commonly seen in the sculptural art of the Early Medieval period. These images of ascetic some time identified as ‘siddha’ or the images of sutradharā . The careful observation of the quantity of this type of images suggests that the temple at Deur was following the tradition of iconography which was prevalent during that period. These images are distributed on all architectural components of the temple. All these images of ascetic are depicted in sitting posture in which most common posture is found that is vajṛasanā . Among these, eleven images are having four hands whereas the five images are having only two hands. There is a single image of bharavā hakā depicted in dancing posture. It is in guḍhamaṇḍapa and has two hands shown in dancing gesture. The feet of this bharavā hakā is depicted wearing a nupurā . There is a single image of bharavā hakā that has a symbol of Srivatsa on its chest. It is located on one of the pillars of praveśmaṇḍapa. Similarly, there are single images of bharavā hakas̄ shown in abhayamudrā and dhyanmudrā .̄ These are located at the pillars of nat̄ ̣yamaṇḍapa/garuḍamaṇḍapa?

These images of bharavā hakas̄ at Vitthal‐Rukmini temple suggest the important phenomena of sculptural art during the late phase of the Early Medieval period in Maharashtra. This phenomenon is appearing in complete contradiction to the earlier period where the decoration and ornamentation was generally extensively observed on an exterior of the temple. At Deur, the depiction of various deities in the position of bharavā hakas̄ marks the significant change in an iconographic depiction of deities. Such iconographic depiction is noticed in less number in the early phase. However, gradually it was increased which indicates that the interior of the temple got more attention in sculptural representations. At Vitthal‐Rukmini temple most important attention has been given to the decoration and ornamentation of the pillars and pilasters. There are few temples in Maharashtra and adjoining region of Deur that shows a similar type of artistic activity. These temples are a Jabreshvar temple at Phaltan, Bhairavnath temple at Kikli and slightly far away from the Karneshvar temple at Sangameshvar, dist. Ratnagiri.

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Original Affiliation of the Temple The pedestal present in garbhagriha has a depiction of Lakshmi on its base, suggests that it was meant for the installation of the image of Viṣṇu which is now extinct. The prominent nature of Vaishnavite iconography of the Vitthal‐Rukmini temple also suggests that this temple was originally associated with Viṣṇu. The images of Viṣṇu in its varied forms as discussed above confirms the importance of Viṣṇu in this temple. It is rare to find independent Viṣṇu temple during this period. This temple perhaps is the only temple of Viṣṇu in southern Maharashtra.

Significance of Vitthal‐Rukmini Temple The emergence of Deur is an important religious center that can be traced from the 13th century CE onwards. This temple seems to have played a significant role in the present spread of settlement. The massive structure with the fortification wall suggests that the temple was a major attraction in and around of Deur village. This temple on the basis of its sculptural style can be dated to end of 13th century CE or early decades of 14th century CE (Naik 1947).

There are few peculiar iconographic depictions that can be highlighted in light of certain religious beliefs and ideas. There is an image of Hayagriva and Surya depicted on an uduṃbara portion of doorjamb at guḍhamaṇḍapa. The images of Hayagriva are comparatively rare in Maharashtra (Welankar 2003). The divine association of Hayagriva and Surya is well acclaimed in iconographic tradition (Thangamuthu 1994). The deity Hayagriva is a minor incarnation of Viṣṇu. This form was created to save and preserve the Vedas from the asuara Madhu and Kaitabha (Dutt 1896; Lalye 1973:63; 260). In this instance, Viṣṇu has taken the form of Horse for reciting the hymns of the Vedas. This form of Viṣṇu is closely associated with the deity Surya (Thangamuthu 1994). Therefore, Surya is considered as an important aspect of Viṣṇu and is integral deity within the Vaishnavism. Perhaps the Vitthal‐Rukmini temple at Deur is a rare example where the iconographic combination of Hayagriva and Surya is depicted. This shows that at some extent the joint worship of Hayagriva and Surya was prevalent in the Vaishnavite tradition of southern Maharashtra. The frequent iconographic depiction of deity Hayagriva on the temples of Kalyani Chalukyas and Hoyasalas in Karnataka suggests that the cult of Hayagriva and its worship was prominent during 12th/13th century CE (Padigar 1996). Probably the Vitthal‐Rukmini temple at Deur shows its northern extension of worship of Hayagriva and Surya.

References Deglurkar, G. B. 1974. Temple Architecture and Sculpture of Maharashtra. Nagpur: Nagpur University. Deo, P. 1993. The temples of Marathwada. Jaipur: Publication Scheme. Deshpande, S. R. 1977. Yadava sculpture, (western Maharashtra: 1000AD to1400AD.). Unpublished Ph.D. Dissertation. Pune: Deccan College.

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