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A Kushan-Period Sculpture from the Reign of Jaya Varman, A.D

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A Kushan-Period Sculpture from the Reign of Jaya Varman, A.D Asianart.com | Articles Asianart.com offers pdf versions of some articles for the convenience of our visitors and readers. These files should be printed for personal use only. Note that when you view the pdf on your computer in Adobe reader, the links to main image pages will be active: if clicked, the linked page will open in your browser if you are online. This article can be viewed online at: http://asianart.com/articles/jaya previous version A Kushan-period Sculpture from the reign of Jaya Varman, A.D. 185 Kathmandu, Nepal. by Kashinath Tamot and Ian Alsop July 10, 1996 This is the latest printed version of our article, which appeared in Orientations, September 2001. It is considerably shorter than the previous version, which has more detail and many more photos and maps; we encourage the reader to visit the previous version as well. The main difference of interpretation between this and the previous is our acceptance of elements of R. Garbini's reading of the inscription (see previous version), with the exception of his reading of the date as 207/ AD 285. We still feel the inscription may be subject to further refinement of interpretation. 1. Discovery In early May 1992 workers digging a trench for the foundation of a house in Maligaon in Eastern Kathmandu stumbled across the most important art historical discovery in the Kathmandu Valley for many years. Lying face-down at a level of about three feet they found a life size (171 x 49 cm) standing male figure carved in pale sandstone. ( fig. 1, 2 and 3) The sculpture is the donation of an early Licchavi or pre-Licchavi monarch, named Jaya Varman in an inscription on the pedestal. Although the identity of the figure is contested, it is our opinion that it is likely Jaya Varman himself who is portrayed. Shortly after it was discovered the image was moved to the archeological garden in Patan. It spent several years in the Conservation Laboratory there before being moved in March 1998 to the National Museum in Chhauni, where it has been well installed in the room containing the earliest stone sculptures of the museum's collections. This statue, carved in a clearly Kushan style and from a stone type favored by Kushan sculptors, joins a very few others of the same general type found in the Kathmandu valley. These few images, which have been dated on stylistic grounds to the early centuries of the Christian era, have long posed a challenge to art historians who have had to analyze their presence in the valley 1.Figure of without any documentary evidence. The inscription on this sculpture, clearly dated to samvat 107, 2. Jayavarman Jayavarman, or most likely corresponding to AD 185, provides this previously missing evidence, and pushes back (side view) of Jayavarman the epigraphical documentation of royal rule in the Kathmandu valley nearly three hundred years. as a yaksha The sculpture was recovered in four large pieces: body from neck to ankles, head, right arm (with hand missing), and pedestal with inscription and feet. The present reconstruction adequately restores what must have been the original figure, minus the missing right hand. The sculpture is carved in the round, but the rear of the image is flat and rather cursorily carved. The figure is shown in a firm stance, fully frontal in disposition, with feet equally spaced and planted without any dehanchement or turning of the body. The left arm is held akimbo at the hip, with the left hand held as a fist against the body; the right arm is broken off but appear to have been held with the elbow tucked back against the body and the forearm; as the right hand is missing it is impossible to ascertain its position. Under the armpit of the right arm is what appears to be the handle of some object that may have been held by that hand, although what exactly the object was cannot be ascertained. 3. Jayavarman (back view) This disposition of the two arms is typical of Kushan sculpture of various subjects (fig. 4, 5) The lower body, from the waist down, is clothed in a dhoti with a central gathering falling straight between the legs. The waist is secured by a belt with ribbons hanging down the figure's right side. The upper body is unclothed except for a scarf across the chest, which appears to continue down over the figure's left shoulder and thence between the arm and body. Jewelry on the chest and upper body consist of a flat necklace folded across the chest and a torque-like thick necklace at the neck, armlets on the upper arm and two bracelets at the left wrist. The ears are adorned with heavy spiral earrings. The head is adorned with an unusual turban or cap; in one place we can 5. Maitreya 4. Attendant or see traces of braiding that suggest a turban. The features of the face are Bodhisattva somewhat eroded but are clear enough to show a wide, open and relatively flat face, with wide, open eyes and fleshy lips (fig 6). The figure is barefoot. The inscription (fig 7) , some 42 cm. in length, is written in Kushan Brahmi script comparable to Kushan epigraphy found elsewhere, and can be read as follows : sam*vat a7 gri- pa 7 d(i)va pka maha-ra-jasya jaya varm(m)a(n*ah*) Admitting that the exact reading and thus meaning of the inscription is still subject to debate, we supply the following tentative translation: (In) the (Shaka) year 107 (AD 185), (on) the 4th (lunar) day of the 7th fortnight of the summer (season) , of the great King Jaya Varman 6. Jayavarman This inscription is the earliest epigraphy of the Nepal Mandala. Prior to this discovery, a broken pillar (detail) inscription of the year 381 [A.D. 459] found in a Pashupati courtyard was the earliest known Licchavi inscription (Rajbanshi, Shyam Sundar 1990. P. 1-2) Before the discovery of the Pashupati inscription, Manadeva's Cangu Narayana pillar inscription of the year 386 [A.D. 464] was accepted as the earliest inscription for about a century. The earliest inscribed and dated stone sculptures were the pair of Trivikrama (Visnuvikranta) figures of A.D. 467, one from Dhobicaur, Lajimpat now in the National Museum and the other at Tilganga, Pashupati. 7. Inscription It is quite natural that the appearance of an inscription of such unprecedented age would cause some controversy among scholars: the sculpture and its inscription have attracted considerable notice among the scholarly community in Nepal, and several articles in Nepali and English have been published. There is no debate among the Nepali scholars that the date inscribed is 107, consisting of the letter "a", representing 100, followed by the numeral 7. But a team of Italian scholars, Angelo Andrea Di Castro and Riccardo Garbini, have suggested the date is actually 207. It is our belief that this reading is due to damage that occurred to the inscription after it was discovered, but further testing and examination may be needed. Most scholars have accepted this date (107) to be in the same era as other later inscriptions of the early Licchavi period, that is the Saka samvat which began in A.D. 77/78 and is said to have been started by the great Kushan emperor Kaniska. Almost all scholars except Regmi (1992) agree with that the date is meant to be in the Saka samvat, which would place the inscription in A.D. 185 - or 184 if certain interpretations are followed (Regmi believes the era is a later one, and places the inscription in the 4-5th century CE) (Regmi, 1992a. pp 42-46.) It should however be noted that the Saka samvat in its earlier periods is fraught with uncertainty. Although the era of the Saka samvat as employed in later centuries has been determined with comfortable accuracy, it is not entirely certain that the samvat in use in the early Kushan period and employed during the period of Kaniska is the same samvat, and scholars still debate the era of Kaniska's samvat. Estimates of the beginning of that era range from the A.D. 77/78 of the Saka samvat to later beginnings, as late as 128 or 144 A.D. (see Rosenfield, 1967, pp. 254 ff) There are other differences in readings of this inscription. The phrase we show here as gri- pa 7 d(i)va pka, following Garbini (Garbini, p. 13) has been variously interpreted as sri paramadevanka, sri paramadevapka, sri pancadevapka, sri pancadevanka (indeed we originally read it as paramadevapka). This has resulted in various interpretations, leading to an identification of the figure with a yaksa or lord of wealth, or another interpretation of the month and day of the date. While important, the variants in readings and interpretations do not contest the date (with the exception of the Italian 207 reading) or the mention of the "great king Jaya Varman". The area of Maligaon (Maligam or Maga in Newari) and Hadigaon (Narah in Newari) in Kathmandu, where the sculpture was found, is considered by most scholars to be the site of the ancient capital of Licchavi Nepal. The present discovery of course lends further evidence to support this view and to identify it further with pre- Licchavi Nepal. Several Licchavi inscriptions have been found there. Thakur Lal Manandhar believed that the words Magah or Magala (Newari) and Maligaon (Nepali) are derived from the first Licchavi Royal Palace Managrha (Manandhar, 1977, 86-87). Several hundred metres north of the find site of the Jaya Varman statue is the famous Satya Narayana temple at Had*igaon.
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