Garuda Garvabhangam: an Empirical Study of the Rare Mythological Narrative Art from Medieval Deccan Region
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Garuda Garvabhangam: An Empirical Study of the Rare Mythological Narrative Art from Medieval Deccan Region Chaitanya Arun Sathe1 1. Bal Mukund Lohia Centre for Sanskrit and Indological Studies, Tilak Maharashtra University, Pune – 411 030, Maharashtra, India (Email: [email protected]) Received: 13 July 2019; Revised: 09 September 2019; Accepted: 06 October 2019 Heritage: Journal of Multidisciplinary Studies in Archaeology 7 (2019): 875-886 Abstract: Garuda and Hanuman are believed to be the great devotees of Lord Vishnu in the Vaishnava tradition. Though they both serve to same supreme lord Vishnu and are most worshiped by the Vaishnava followers; there are few unusual mythological stories depicts their conflict. During the research, many such narrative sculptures of medieval period were found across the Deccan region. These art pieces were found mainly in Vaishnava temples, commissioned or patroned by the royalties of the Deccan region and are dated to be of the period of Vaishnava Alvars like Ramanujacharya and Madhwacharya. Although these sculptures are loosely mapped to lesser known stories from Puranic texts or folk lore like Garuda Garvabhangam, the exact literary source of this particular art is obscured. The present paper has made an attempt to document these sculptures, try to identify the scheme of these sculptures, its cultural importance and its traditional source if any. Keywords: Garuda, Hanuman, Vaishnava, Deccan, Alvars, Ramanujacharya, Madhwacharya Introduction In Vaishnava tradition, Hanuman is a divine simian and is considered to be an ardent devotee of lord Ramachandra, while Garuda is celestial-bird mount of lord Vishnu. They both serve to the supreme lord in many causes. Hanuman is one of the central characters of Epic Ramayana, also appears in Epic Mahabharata. Hanuman, who is widely believed to be incarnation of lord Shiva, is very popular in Hinduism and other indigenous religions(Bhandarkar1956; Williams2008).Garuda is most worshipped in Vaishnava tradition, and has mentioned in Vedic literature like- the Rigveda and Shatapatha Brahmana embedded inside the Yajurveda as well as Puranas like- Vishnu, Padma, Garuda etc. (Shastri 1999; Dwivedi 2015) Idol of Garuda can be found in front of temple of Lord Vishnu or sometimes as a vahana of the lord. Hanuman became important in medieval period and has become a cultural icon as symbolic ideal of Shakti and Bhakti. Hanuman and Garuda are both invoked as symbols of devotion, impetuous force, of speed and power (Bharati 1942). In spite of the fact that Hanuman ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 7: 2019 and Garuda are believed to be engaged in eternal service to Lord Vishnu or his incarnations, there are some folk-lore elaborates their conflicts at occasions. Hanuman and Garuda are shown to be in tussle with each other over some fruit-like object. Many of such sculptures of medieval period were found on the Vaishnava temples of Deccan region. The dating of these temples is coinciding with Ramanujacharya and other Alvars. Although the exact source of this story is obscure, but it is observed to be quite popular narrative imagery. Methodology The source of this particular mythological story is not been identified, by entirely or by cultural context by any authoritative body and there is no further academic information on the sculpture, such as its age, identity and its historic importance. The aim of this paper is to propose to ascetain the scheme of this unsual sculpure, its literature source if any and discuss its academic importance. To accomplish the aims, sculptures were photographed inside the temples. In an attempt to identify the said sculptures, author went through various lirerature sources, also a detail visual analysis of the sculptures was done. Author has also made an attempt to iconographically compare these sculptures with other sculptures based on its sylistic features, in order to find a match.The author has searched in the vicinity of the temples to find releveant evidences to support his claim, also interviewed people who has faith in the consubstantial philosophy and tradition. Figure 1: Scene on outer wall of Chennakeshava Temple, Belur, Karnataka 876 Sathe 2019: 875-886 Figure 2: Corner Panel on walls of Figure 2.1: Panel at the Archaeological Lakshmi-Narsimha temple, Haranhalli Museum, Halebidu, Karnataka Figure 2.2: Corner Panel on walls of Figure 2.3: Corner panel on walls of Kedareshwara at Nagalapura, Tumkur Chennakeshava temple, Nagalapura 877 ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 7: 2019 Findings The aimed narrative sculpture is on wall-panels of various temples across Deccan region. The scheme of the panel shows two celestial figures, identified as Hanuman and Garuda are fighting over an object what look like a linga or dicotyledon seed, placed in between them. They both have laid their hand on it, and that ovoidal object is shown to be split into two halves. Instead of both shown fighting, some sculptures depict them to be holding or carrying that ovoid object. Instead of Garuda and Hanuman, sometimes two simian figures are shown carrying the said ovoidal object. These depictions are commonly seen carved on the corner panels of Hoysala temples dated around thirteenth century. Many a times lord Vishnu is shown watching the scenario from a distance (Figure 2.1, Figure 2.2 and Figure 2.3). During the research, Similar depictions are found in several temples across the Deccan region and are dated to be of medieval period i.e. twelfth century to seventeenth century AD. It is also observed that most of such sculptures are present in the temples which are dedicated to lord Vishnu or his incarnations and many of these temples are commissioned or patroned by the royalties of that region. While doing the research the author found several sculptures with same theme. It is being observed by the author that most of these sculptures are found in Karnataka and are dated to be of Hoysala period (Foekema,1996). Besides Karnataka few sculptures were also found in Andhra Pradesh and Maharashtra. The aimed sculptures are discussed below in the chronological order. Scheme of the imagery is found to be very similar in all the panels. Figure 3: Sculpture carved on the stone Figure 4: Carved inside of the Ugra- gate of Lakshmi-Narsimha temple, Javagal Narsimha Temple, Ahobilam, Kurnool The Narrative sculpture in Figure 1, is carved on the walls of Chennakeshava temple, Belur, Karnataka. It is been divided in to two storeys-upper and lower. Below panel shows Hanuman to the left-side and Garuda to the right-side fighting over an ovoid object, which is split in two halves. Lord Vishnu and goddess Lakshmi are shown on the 878 Sathe 2019: 875-886 on the panel above. This temple is commissioned by Hoysala King Visnuvardhana I in AD 1117 to celebrate his victory over Cholas. According to a later mythology, Vishnuvardhana was previously follower of Jainism and he built this temple to mark his conversion to Sri Vaishnavanism after coming under influence of Alvar Ramanujacharya (Hardy1995). Figure 4.1: On Temple wall of Krodha- Figure 4.2: Inside the temple of Narsimha, Ahobilam Ahobila-Narsimha, Ahobilam Figure 5: Carved on the wall of Rameswara Figure 6: Present on decorative pillar temple, Sagar, Shimoga, Karnataka of Bhoga-Narsimha temple, Raher The Sculpture shown in Figure 2, is a corner panel, carved on the temple wall of the Lakshmi-Narasimha temple at Haranhalli, Karnataka. It was built by Hoysala king Vir Someswara in AD 1235. This sculpture is slightly different from other panels under discussion. It depicts two monkey-like figures with prominent tails, holding an ovoid object with both of their hands. A Garuda sculpture is placed on the right side of the observed panel separately and it is not a part of the same story. This theme seems to be common during Hoysala period as similar sculptures are found in several contemporary Vaishnava temples. See (Figure 2.1, Figure 2.2 and Figure 2.3) (Hardy1995). 879 ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 7: 2019 Figure 7: Carved on the walls of Figure 8: Narrative Sculpture carved on Hanumanappa temple at Budarsingi, decorative pillar of Bhairavanath temple, Dharwad, Karnataka Kikali, Satara, Maharashtra Figure 9: sculpture carved on pillar of Figure 10: Decorative panel carved on outside inside Sri Prasanna Rameswara of Chennakeshava Temple, Somanathpura, temple, Devarunda, Karnataka Karnataka The carving in Figure 3, is found on the side wall of stone gate of the Lakshmi- Narasimha temple at Javagal, Karnataka. This temple is also built by Hoysala King Vir Someswara in AD 1250. This panel is very small as compared to other panels. In here Hanuman is shown picking-up a bi-cotyledon fruit from the ground while Garudais shown holding him by the wrist. Both figures are shown in attacking posture with raised hands in slapping gesture. The Sculpture seen in Figure 4, is found in the Ugra-Narsimha temple at Ahobilam, Kurnool, Andhra Pradesh. This temple complex is built by King Vikramaditya of Western Chalukyas of Kalyn. This sculpture has Hanuman and Garuda depicted on the either side, holding a linga-like object with their hands. Prominet ridge is clearlly visible on this ovoid object. Similar sculptures can be found on the walls of Krodha-Narsimha temple and Ahobila Narsimha temple at Ahobilam as well. (Figure 4.1 and Figure 4.2) Ahobilam is considered to be abode of lord Narsimha. Initial