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, (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 . 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,

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Figure 2: Corner Panel on walls of Figure 2.1: Panel at the Archaeological Lakshmi-Narsimha temple, Museum, , Karnataka

Figure 2.2: Corner Panel on walls of Figure 2.3: Corner panel on walls of Kedareshwara at Nagalapura, Tumkur Chennakeshava temple, Nagalapura

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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, 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).

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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 temples at Ahobilam were built by

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Chalukyas in eighth century, most of the current structures were rebuilt by Vijayanagar kings during fifteenth century.

Figure 11: Sketch by a Mysore artist Tippajappa, Mysore, Karnataka (Courtesy: Karnataka State Department of Archaeology)

Figure 12: Folk art ‘Kalsutri Bahulya’ or string puppetry play showing fighting scene between Hanuman and Garuda, Pinguli, Kudal, Maharashtra

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Figure 13: Garuda Garvabhangam story is being performed by artist Kalamandalam Geethanandan in , 2006 (Courtesy: Hindustantime.com)

The Panel in Figure 5 is carved on the wall of Rameswara temple at Sagar, Shimoga, Karnataka. This temple is belived to be built around AD 1500 to AD 1560 by Nayakas of Keladi. This temple is dedicated to lord Shiva. The aimed sculpture shows both, Garuda and Hanuman in an aggressive stance, trying to catch-hold of a ridged fruit. The scheme of the carving is very similar to the sculpture on the entrance of Narasimha temple at Javagal, Karnataka on its stylistic grounds.

The Sculpture in Figure 6 is found on one of the decorative pillars of Bhoga-Narsimha temple at Raher near Nanded, Maharashtra on the banks of Godavari river. This temple was patroned by Kakatiyas under the guidance of popular Vaishnava saint Maaydeva. Temple is dated around thirteenth to fourteenth century AD approximately. Hanuman and Garuda are fighting over a giant fruit, which is placed on a lion motif.

The carving in Figure 7, is present on the temple wall of the Hanumanappa temple at Budarsingi, Dharwad, Karnataka. This sculpture is one latest carving found. There is not

882 Sathe 2019: 875-886 much information is available regarding the patron of this temple. Approximately the temple dated in fifteenth to sixteenth century AD. Hanuman and Garuda are again shown doing a tussle over a fruit, trying to catch hold of it. They both are shown in very aggressive stance with angry expressions on their faces. A fruiting tree is also been placed in between them. The tree is full of fruits, also few birds and animal figurines are shown on it.

The narrative sculpture Figure 8 is found carved inside the Bhairavnath temple, Kikali, Satara, Maharashtra. Essentially this temple is of lord Shiv, but most of the panels depicts narratives from Ramayanam and Bhagavatam. This imagery shows Garuda and Hanuman having a tussle for a giant fruit while lord Vishnu is watching the scene from the side. Also, another monkey figure is shown cheering Hanuman by saluting from behind.

The carving in Figure 9, is found on the wall of Sri Prasanna Rameswara temple, Devarunda, Chikmagalur, Karnataka. This temple is dated in late Vijayanagar period and it is dedicated to Natha-pantha, which was one of the popular cults of tantric Shaivism in medieval Deccan.

The narrative panel in Figure 10, is present on the outer wall of Chennakeshava temple at Somnathpura, Karnataka. The temple is commissioned by Somanatha, who was the general of the Hoysala king Narsimha III in AD 1258. The said frieze is present on the outer wall of the sanctum and depicts two simians carrying lingam like object.

While searching for a literary source for the same story, the author had discovered a similar narration to this depiction. The author also found a sketch by Mysore artist Tippajappa dated approximately AD1870, with similar theme (Figure 11). This narration is popularly known as,’ Garuda Garvabhangam’ or humbling of pride Garuda by hands of Hanuman. This story is extracted from one of the earliest literary works called ‘Ramanucharitham’ written by Cheeraman Kavi in AD 1198. Malayalam poet KalakkathakKunchan Nambiar (AD 1705- AD1770), who is credited with the popularisation of known as Ottan Thullal, has written a script for one of the ottan thullal performances with the same name as- Garuda Garvabhnagam (Department of Public Relations 2015). In this enactment, lord Krishna sees his mount Garuda becoming proud of himself and wants him to be humble, he sends him to bring Hanuman, a devotee of lord Rama. An argument ensues between two devotees of different incarnations of lord Vishnu about whose divine lord is greater, finally they fight, and Garuda is defeated (Sundaram2002).

Reflections of this story are also visible in folk art performances in rural Mahrashtra. Famous traditional string puppetry of Maharashtra-‘Kalsutri Bahulya’, performs play titled,’Hanuman Krishna Bhent’ or encounter between Krishna and Hanuman, where Krishna asks Hanuman to humble pride of Garuda (Verma2011).In order to destroy the ego of Garuda,Krishna asks help from Hanuman, who duly starts destroying Moomuk garden at the city ofDwaraka. On the complaint by soliders,lord Kirshna sends Garuda to

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control him but to no sucsses.(Figure 12) It shows fight between Garuda and Hanuman, performed by vetran Ganpat Sakharam Masge of Dayati Lok Kala Bhavan, Pinguli, Maharashtra. This theme can also be seen percolating in Indian cinema. Some of movies adapting to this theme are- ‘Garuda Garvabhangam’(Tamil) by R. Padmanabhan, released in 1936 and ‘Krishanjaneya Yuddham’(Telagu) by C.S. Rao, released in 1972.In 2006, DVD ofOttan Thullalnarrating the story of Garuda Garvabhngam. It was performed by Acclaimed thullal artistKalamandalam Geethanandan.(Figure 13)(Ottan Thullal, 2006).

Discussion Amongst all of the sculptures, author has observed a common theme depicting a tussle within Garuda and Hanuman over a fruit-like ovoidal object. Garuda and Hanuman are most worshipped entities in Vaishnava tradition and hence such a narrative showing conflicts between them, is very rare and unique. The author has also tried to search for the literature source of this story.

Some of the interpretations of this story found those are as follows- (a). It is a story of Hanuman humbling pride of Garuda. Some scholars claim that source of this narrative in from Canto 10 of Shrimad-Bhagavatam or lesser known folk-lore of Vaishnava tradition (Goswami 2006), (b). It shows fight between Gardua and Hanuman over a Jambu phalam, eventually lord Vishnu splits it in two equal halves with his chakram or discus, (c) It is a cosmic egg- Hiranyagarbha, as describe in Rig-Vedic texts (Sharma:2018, Vyasa: 2013) as well as Puranic texts like-Vishnu Purana and Bhagwat Purana (Shastri 2017; Goswami 2006), (d). Ovoidal object they both carries are a Shiv-lingam, essentially the story of Rameswaram (Bhandarkar 1956), (e). Ovoidal fruit-like object represents universe and two halves of it represents two yugas- Treta and Dvapara respectively (Shastri 2017).

These sculptures are of the same era of Alvars like Ramanujacharya, Madhwacharya and are from Vaishnava tradition. The author had analysed and validated these popular believes with disapproving axiom method. Though this story is said to be of creation of universe, or Hiranyagarbha from Rig Veda as well as from Vishnu Puran, both characters i.e. Hanuman and Garuda are missing from the plot hence this variation is not validated. The ovoidal egg-like object cannot be Shivalingam as most of the depictions are found in the temples of Vaishnva tradition. Other popular stories seem to be from oral tradition and like to have certain variations. It is also observed that most of the sculptures are found in Narsimha temples. The story of Garuda Garvabhgam is arguably fitting to the context well, but it fails to give any explanation regarding the object for which they both are in tussle with. As a directive for future research- (a). To search for traditional folklore with similar context. (b). To analyze whether this story has its philosophical roots in Pancharatra agama or Vishishtadvaita system where the ovoidal object could be viewed as jeevatma or fruit of devotion, ©. To find whether it is presentation of tussle within Vishishtadvaita and Dvaita philosophy as Ramanujacharya is considered to be incarnation of Garuda and Madhwacharya is believed to be incarnation of Vayu or Hanuman. (d). Do these sculptures represents devotion and/or philosophy of Narsimha cult of Deccan region? (Bharati 1942).

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Conclusion Symbols, motifs and deities deeply entrenched in the psyche of common people endure regardless of changed thought processes and philosophies amongst intelligentsia. It is observed that these sculptures were disregarded by many, because of their unprecedented nature and because they do not adhere to any traditional iconographic principles described in corresponding texts. Although there are similar folk-lore or interpretations by some scholars, the exact source of this narrative is obscure. It is also observed that these sculptures are mainly found in Deccan region and that to prominently in Karnataka state. Also, the dating of these sculptures falls in the medieval period. Despite the fact that the literature source of this narrative sculpture is not available the story seems to be very popular in the observed area. These sculptures seem to have a rare style and scheme ever ascertained. These are the rare art specimens with great iconographical significance. The narrative portrays contemporary beliefs, mythology, traditions, folk-lore and doctrine. One must also look forward to various Vaishnava philosophies for an interpretation of the story as a future direction for the research. It is our responsibility to proclaim and celebrate such an antique & remarkable piece of the art history.

Acknowledgement The author wish to thank Prof. Dr. Ambarish Khare and Prof. Dr. Manjiri Bhalerao for their encouragement and support offred during this research; I acknowledge the help and uncoditional support given by Dr.Shrinand Bapat, Bhandarkar Oriental Reasearch Institute, for providing references for this study. I also wish to thank my friends- Padamaja Bhide and Abhay Kulkarni for sharing some of the photographs for my study.

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Hatangadi, S. 1999. Mahanarayana Upanishada. 3rd ed. https://sanskritdocuments.org/ doc_upanishhat/mahanarayana.pdf. Ottan Thullal Garuda Garvabhangam. 2006. dvd. Thiruvananthapuram: Invis Multimedia. Pal, P. 1986. Indian Sculpture: Circa 500 BCE- 700 CE. California: University of California Press. Sharma. N. 2018. Rigveda Samhita, volume 10. New Delhi: Dharma Books. Shastri, J. L. 2017. Brahmanda Purana- part 1 and part 2. Ancient Indian Tradition and Mythology. Vol.22. London: Majestic Books. Sundaram, P. S. 2002. The Kamban Ramyanam. New Delhi: The Penguin Group. Verma, A. 2011. Performance and culture: Narrative, Image and Enchantment in India. London: Cambridge Scholars publications, p.70-73. Vyasa. 2013. Shri Vishnu Purana. Gorakhpur: Geeta Press. Williams, G. M. 2008. Handbook of Hindu Mythology. 2nd ed. Oxford: Oxford University Press.

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