Orissa Review * January - 2004

Bhairava Worship in Upper Mahanadi Valley

Sasanka S. Panda

Bhairava, Urladani Bhairava Narsinghnath The Nalas were ruling the western and south- Amararyakula) who captured this region and western parts of Orissa in around the 4th-5th ruled in around 5th-6th century A.D. were all century A.D. Their capital was Puskari, which Parama Bhagavatas (devout worshippers of has been identified with the present Podagad Lord Visnu). The Sarabhapuriya power in the Umerkot tahsil area of Nawarangpur declined in around the last quarter of the 6th district. In two copper-plate charters of the century A.D. when the Panduvamsis captured Nalas, namely, Kesaribeda Plates of power in the upper Mahanadi valley. While Arthapati1 and the Rithapur Plates of the founder of this dynasty, Mahasiva Bhavadattavarman,2 it has been mentioned in Tivaradeva, his son Maha Nannaraja and Queen the very first line that they flourished by the Regent Vasata (mother of Balarjuna) were blessings of Mahesvara and Mahasena (Lord staunch Vaisnava (Parama Vaisnava); kings Siva and his son ) - Mahesvara like Chandraguptaraja (whose dignity was Mahasenatisrustha Rajya Bivabhah. Their commensurated with his devotion to the Lord names like Vrsa - dhvaja, (first king), Bhava of Goblins - Bhutapati - Lord Siva)6 and datta denote their devotion to Lord Siva Balarjuna were great devotees of Lord Siva. (Bhava). The name of another Nala king Skanda Although Queen Regent Vasata has mentioned - Varman testify to their reverence to Skanda herself as a great devotee of Lord Purusottama (Kartikeya). In their gold coins also, the figure Nrsimha, she has mentioned herself as the of a couchant humped bull facing right and a 'daughter of the mountain' () and 'the crescent moon behind it are found embossed. mother of him who rides the peacock' The figure of bull, the of Lord (Kartikeya) in verse - 15 of Sirpur Stone Siva is very beautifully executed on these gold Inscription.7 The most powerful Panduvamsi coins found from Edenga4 and Kulia.5 It seems king Mahasivagupta Balarjuna, the son of that during the rule of the Nala kings Saivism Harshadeva, (grand-son of Tivara's brother) got royal patronage. But kings of the dynasty who ruled for more than 58 years was a which succeeded in the upper Mahanadi valley, Parama Mahesvara. It is probable that his i.e. the Parvatadvarakas seem to be the Ranaka (a governor) Durgaraksita, donated worshippers of goddess Stambhesvari (the land in a village called Gudasarkaraka in goddess of pillar or post). Another dynasty, favour of the god Madanarati (Siva). In called the Sarabhapuriyas (or the kings of the village Kodasima he also donated land to the

37 Orissa Review * January - 2004

Saiva ascetic Sadasivacharya, who was a worshipped for increase of religious merits of spiritual successor of Sadyahsivacharya, his (king's) parents. Here also it is mentioned another ascetic instrumental in conversion of that both the Saivacharyas were hailing from the king to the Saivite faith. Sadyahsivacharya Panchayajna Tapovana of Dvaitavana.14 Dr. is said to have hailed from a penance grove S.N. Rajaguru has taken these Saivacharyas to (Tapovana) called Amardaka. This be of the Pasupata School of stone inscription (found from Saivism.15 The royal seals attached Senakapat) begins with the Siddham to the charters of king Balarjuna symbol followed by the Mangala : have the emblems of bull Nandi Namah Sivaya. The Verse-1 and Trisula in front of a constitutes a Mangala in praise of Purnakumbha.16 the god Bhava (Siva) and Verse-2 8 Most probably from the time of of his consort, the goddess Parvati. the Panduvamsi king The second part of the inscription Mahasivagupta Balarjuna (2nd half starts with Verse-22. In the Verse- of the 8th century A.D.), Saivism 23, it has been mentioned that "the was strongly entrenched in the Saiva ascetics had to arrange for a religious arena of the upper sacrificial ceremony (Yaga) as well Mahanadi valley. This trend as for the initiation of people into continued unabated when his the Saiva faith (Diksa) which is successors, known as the capable of securing spiritual Somavamsis, shifted to emancipation, the exposition of the Suvarnapura from Sirpur (Sripura) Saiva doctrine and the running of a sometime in the first half of the 9th free feeding establishment century A.D. They drove out either (Annasya-satram) every year the Bhanja king Ranabhanja or his during the full-moon day of Asadha, 9 successor from that region (Baudh- Kartika and Magha. In his copper- Sonepur region) during the time of plate grants like the Bardula Somavamsi 10 11 the king Plates, Mallar Plates, Bonda Bhairava, Junagarh 12 13 Mahabhavagupta Janmejaya, Plates and Lodhia Plates, the sometime around 850 A.D. It is said Panduvamsi king Mahasivagupta that during his rule Acharya Gaganasiva, a Balarjuna has been mentioned as Parama Saivacharya of the Mattamayura cult of Mahesvara, the devout worshipper of Lord Saivism constructed a of Lord Siva,17 Mahesvara (Siva). Through his last Charter the at Ranipur Jharial which is known as Lodhia plates, he made land grant in Somesvara temple now. All Somavamsi kings Vaidyapadraka village to Lord Isanesvara were Parama Mahesvara (devout worshippers Bhattaraka of Khadirapadraka village for the of Lord Siva). vali, charu, satra, naivedya of the Lord as well as repair of the temple dedicated to him. In The Bhanja kings of Khinjali Mandala, this charter, the sacred feet of Sri Sulapani, who were ousted from the Baudh-Sonepur the disciple of Sri Pramathachaya have been region were great devotees of Bhairava, the

38 Orissa Review * January - 2004

Ugra aspect of Lord Siva. Three kings of this whereas in the left side is a Saivite figure dynasty are known from records : Sri standing in Samabhanga and holding a long Silabhanjadeva Angadi, Satrubhanjadeva staff (Danda). As in another loose panel of Gandhata and Ranabhanjadeva. The last ruler this temple a seated figure of Lakulisa, the great had a long reign of 54 years or so. In the Pasupata teacher is carved alongwith one of invocatory verse of the copper plates of his desciple; at Mohangiri, we find the Bhairva Satrubhanjadeva and Ranabhanjadeva,18 Cult (mostly of sect) accommodating Bhairava is worshipped : Samhara Kala the Pasupata sect of Saivism also. As known Hrutbhug Vikarala Ghora | Samvranta from the copper-plate grants of the Bhanja king Kinkara Krutanta Nitantavinnam Ranabhanjadeva, he has invoked the grace of Vinnandhakasura Mahagahanatapatram | Tad Bhairava and at the same time claims to have Bhairavam Hara Vapurbhavatah Prapatu || been blessed by the Divine Mother Stambhesvari (Stambhesvari Lavdha Vara It seems probable that the Bhanja kings Prasada).22 Like the cult of Bhairava, popularised the Bhairava Cult in the upper Stambhesvari worship was also popular in the Mahanadi valley in the 8th-9th century A.D. upper Mahanadi valley, as known from the As evidenced from stone inscriptions, Teresingha copper-plate grant of Maharaja the Bhairava worship was prevelent in the Tustikara of the Parvatadvaraka dynasty.23 upper Mahanadi valley of Orissa atleast from Learned scholar Dr. L.K. Panda is of the 1st century A.D. The discovery of a two- the view that the Bhairava Cult became popular lined inscription on the pedestal of a standing in Orissa from the 8th century onwards.24 But image of furious looking Batuka Bhairava at it is not so, as we find Bhairava image Junagad in the Kalahandi district by this scholar belonging to the 1st century A.D. at Junagad. in April, 1983 throws new light on the cult of This image of Bhairava in the Batuka Bhairava Bhairava. It is somewhat astounding that Pandit form is stark naked, his Linga and Kosa seen Satya Narayan Rajaguru has deciphered this to be hanging downwards, four-handed, inscription to be written in the Pali Prakrit in holding a long Trisula in his lower right hand, 19 around 1st century A.D. On the broken the bottom portion of it resting near his right pedestal of another Bhairava image of around foot. The eyes of this image is round, having six feet in height, found in the Banka Paik Pada an uncanny look with side-tusks coming out of Junagad town, the last letter of an inscription from both corners of his mouth. This figure has 'Ra' is seen to be engraved. Such 'Ra' alphabet very long ears, flat nose and a big garland of was used during the period from the 4th to 8th skulls apart from a small necklace hanging century.20 Another short stone inscription of the around his neck. His Jatas are forming a 8th century A.D., found in the Dhavalesvara Mandala in the shape of a flat Mukuta. It is of Siva temple at Mohangiri, also in the Kalahandi the height of three feet and is carved on a square district, has been deciphered as Vyuha pedestal where the two-lined inscription in Pali Bhairava by Pandit S.N. Rajaguru.21 In the Prakrit occurs. Besides this Bhairava image, proper right base of the doorjamb of the there are two more Bhairava images of smaller Garbhagrha of this Siva temple, a dancing sizes in the same site, called 'Bhainrogudi', Bhairava figure is carved as Dvarapala, which is situated in the back-side of the

39 Orissa Review * January - 2004

Panchayat Samittee Office of Junagad. One right leg. The conical cap-type Mukuta on the image is of the height of around 16", four- head of this Bhairava image is exactly similar handed, both the lower hands in hanging to the Mukuta of Lord Mahesvara of the Uma- position and seen to be holding a Trisula and Mahesvara image found at Podagad in the a (skull-cup) in his upper right and left neighbouring Nawarangpur district. This image hands. One beast (dog ?) is seated near his left can be dated to the 5th-6th century A.D. An foot. The other image of Bhairava is also a exactly similar huge Bhairava image of the four-handed standing figure of the height of same height is lying flat on the ground at around 30", seen to be adorned Belkhandi, also in Kalahandi with ornaments like stripes of district, amidst sculptures un- necklaces (Haras) around his earthed during excavations by neck, waist-band, bracelets the-then Kalahandi Durbar and Makara Kundalas and Administration in 1946 under seen wearing a loin cloth upto the supervision of the State his knees. He is holding a Archaeologist Mr. Kedar sword (Khadga) in his upper Mahapatra. In the opinion of left hand and a Trisula in his this scholar this Bhairava lower right hand, remaining image of Belkhandi was the two hands being mutilated. central deity and was Side-tusks are also seen worshipped along-with the coming out from both corners Saptamatrkas in the remote of his lips. This figure can be past. This image is also fierce- taken as that of Svarnakarsana looking and four-armed, seen Bhairava, whose appearance to be holding a short trident suggests 'Perfect happiness (Sula) and a Dambaru in his coupled with masterful upper left and right hands authoritativeness.' In another respectively. A skull-cup Bhairava, Sauntpur place of Junagad town, called (Kapala) is in his lower left Banka Paik Pada, this author saw a Bhairava hand, while the lower right hand is in image of around six feet high. Bhairava is Varadamudra. This figure of Bhairava is standing in Samabhanga and is fiece-looking. standing in Dvibhanga posture, being flanked A conical Mukuta (cap-type) is adorning his by two devotees on the pedestal. Very head. He is Urdhvalinga. A Sula and a Kapala peculiarly enough, in both the Uma Mahesvara are in his up-raised left and right back hands images of Belkhandi, Lord Mahesvara is respectively, while the front right hand is in Urdhvalinga like in the cases of Bhairava Katyavalambita. In his front left hand, which images of the upper Mahanadi valley. In is hanging up to his thigh-level, he is holding a another site, called Sankushgad, which is not . Something like a long snake is far off from Belkhandi, a terrifying image of going around his entire body upto the knee- Bhairava of the height of around four feet, level and also coiled in his left hand. A standing in Samabhanga posture is worshipped devotee is standing on the pedestal beside his as the central deity of a temple. His eyes are

40 Orissa Review * January - 2004 round as well as burning and; he is of a front-faced and pot-bellied Yaksa. A Urdhvalinga. Here in this image, the Lord is broken Uma Mahesvara image (up-waist seen wearing Patra Kundalas in his ears, existing) is also found at Sankushgad. As the while a Karanda Mukuta is adorning his head. sculptures of Sankushgad are strikingly similar The Prabha Mandala is semi-oval in shape in workmanship with of Mohangiri images, and has lotus-petal designs in a repeated those can be safely dated to the 7th-8th century course. It is a four-handed figure of Bhairava, A.D.24 Another Bhairava image of the height and objects in the upper and lower right hands of around three feet, standing in the are Dambaru and Aksamala, while in the upper Samabhanga posture and very much akeen to left hand is a Khakhara (alarm staff). The lower the Bhairava image of Sankushgad has been left hand is broken from elbow portion. In the enshrined in a temple by the ex-Zamindar of top-corners of the back-slab, flying Vidyadhara Lanjigad, being shifted from Topigaon. Flying couple are depicted with garland in hands, Vidyadhara couple with garland in hands are female in the right and male in the left side carved on both top-corners of the back slab. respectively. The right side of the slab is Three female devotees, seated in kneeled down carved from top to bottom portions with figures position and Anjalimudra are carved in both of dancing males (Sivaganas). A female sides of the side slab, numbering six devotees devotee is standing in Dvibhanga posture just in total. This image is worshipped as below these Sivaganas in the right side of the Bhairava. Lord. Her left hand is in the Katyavalambita At a distance of around 5km from posture, while in her raised right hand she is Titilagarh town of Balangir district there is a holding a Chauri (fly-whisk). Another standing hillock called 'Bhainro Pahad' near Ghudar female with a lotus-stem in her right hand and village, where Bhairava has been left hand in Katyavalambita is standing beside carved on a huge monolithic rock. To the the other lady. Two more female attendants of proper right of this rock-cut sculpture there are bigger sizes, of the height of about one foot two more rock-cut panels, the lower panel each, standing in Dvibhanga posture are depicting a fighting scene of or Yogesvari depicted in both sides of Lord. They have in with one Asura and seated figures of Matrkas each case, Chauri in one hand and the other Vaisnavi and Mahesvari. To the left of this rock, hand in Katyavalambita. In the extreme left on another rock, rock-cut figures of Matrka side of the pedestal, there is the crouching Varahi, dancing and Ganesa are figure of the bull Nandi, the Vahana of the Lord. carved. Just above the Ekapada Bhairava rock, It is looking up at the Lord with raised head, to the extreme north of the hillock, on another what is described in Matsya Purana as monolithic rock lotus-rosette motif Devaviksanatatparah. In the central portion (Asthadalapadma) and a pair of foot prints are of the pedestal, two smaller front-faced figures carved. In between the rock having the square of a couple are carved, while in the right side, Yantra symbols bearing footprints and the rock one profiled female figure in kneeled down with Ekapada Bhairava, Andhakasura Vadha position and both her hands folded in obeisance and Matrkas figures, on another rock are (Anjalimudra) is carved. To the extreme right carved figure of four-handed Bhairava seated side of the pedestal, there is the seated figure in Utkutikasana with Yogapatta tied around

41 Orissa Review * January - 2004 his thighs and the Vahana dog running nearby. Although this image of Ranipur Jharial has been Scholar L.K. Panda has rightly observed that taken as the aspect of Lord Siva by the representation of a circle having foot-print scholars, this researcher disagrees and thinks of the Saivacharya was very common to the it to be "Urdhvalinga Bhairava" the central tantrika school. deity of the Chausath Yoginipitha. The Lord's left foot is placed on the back of the crouching To the north-west of the Ghudar village, bull Nandi, who is looking up at the Lord with there is a monolithic rocky elevation of about raised head - 'Devaviksanatatparah.' The bull eight feet in height and thirty feet in length on of the Bhairava image of which Saptamatrkas Sankushgad is also depicted in alongwith Bhairava in the same pose. Near the right Urdhvalinga and Ganesa foot of the dancing Bhairava of figures are carved in a panel. Ranipur Jharial, there is a four- Just in the back side of this handed seated figure of rock, another four-handed Ganesa. This dancing Bhairava figure of Bhairava dancing in is wearing a broad necklace, Chatura mode is carved. He armlets, Jatamukuta and has a furious-looking Sankha-Patra Kundalas. A appearance with sunken eyes Sarpa is encircling his waist- and is Urdhavalinga. A Kartri portion and raising its hood (knife) and Sula (trident) are above his left shoulder. He is in his upper right and left hands also holding another snake over respectively, while a Sarpa his head in his upper hands. (snake) is in his lower left They are the famous snakes like hand. Another snake has raised Taksaka and Dhananjaya, who it's single hood just above the Bhairava, Ghudar helped Lord Siva during his right shoulder of this Bhairava fight with Andhakasura. The figure. To this scholar, it seems that, in the Lord is holding a small trident (Sula) in his remote past Ghudar was a great centre of upper left hand and a Dambaru placed on his tantricism, where Ekapada Bhairava was right thigh which he holds in his third right worshipped by the Saivacharyas of the hand. His fourth right hand is below his chest Kapalika sect. portion in Varadamudra. Similarly, in his At Ghudar alone, Ekapada Bhairava upper left hand, he is holding a club (Gada) and another image of dancing Bhairava are and in the third left hand a rosary (Aksamala) depicted with Urdhvalinga. Similarly, at respectively. His eyes are closed. It seems to Ranipur Jharial, a three-headed and eight- be the pacified form of the Lord. Siva in his handed figure of Bhairava in the dancing pose Ugra aspect of Bhairava was a , who of Ananda is enshrined in an open troubled the . A story in Mandapa just in the centre of the circular open- Kathasaritasagara mentions that air temple, where the sixty-four Yoginis are Chandrasvamin saw in the middle hour of the placed in the dancing posture of Adbhu. night a Circle of Matrkas (Matruchakra),

42 Orissa Review * January - 2004 headed by Narayani (Vaisnavi), who were Bhairava images at Belkhandi, Ghudar, impatiently waiting for Bhairava to present him Patnagad and Ranipur Jharial are found amidst with a variety of gifts. Immediately after Saptamatrkas (the Seven Mothers) and with goddess Narayani finished her narration Uma Mahesvara images at Sankushgad, explaining the delay of Lord Bhairava, the Lord Deogaon (Banei) and Topigaon. Camunda of the Circle of Mothers arrived there. The images are found alongwith Bhairava at Junagad Matrkas there-after presented their gifts to him, (Hemgir) and Mahagaon. Lord Mahesvara after which he danced and sported with the (Siva) of the Uma Mahesvara images of Yoginis (Tandavena Ksanam Nrtyannakridad Belkhandi and Topigaon are also Urdhvalinga. Yoginisahah).26 In the Agni Purana, we find An amage of Bhairava, made of soft red sand the mention of Bhairava as the Lord of the stone has been collected from Manikgarh in Mothers (Matrunatha), who is to be Maraguda valley of Nuapada district and kept worshipped at the centre of the mothers in Lokadrusti, a Khariar-based NGO (Matrumadhye Pujyah).27 In the Tantrika (Voluntary Organisation).30 It is an image of texts like Kularnava and Meru two-handed Bhairava standing in Tribhanga, also, Bhairava has been mentioned as the holding a sword (Khadga) in his right hand. central deity, whose position is to be at the His Vahana dog is standing near his left leg. centre of the Circle of Yoginis He is wearing an elongated Mukuta, Kundalas (Yoginichakramadhyastham).28 and a dhoti - type garment. It is of the size of An unique image of four-handed around 8" in height and 6" in breadth. It is dancing Bhairava with Urdhvalinga, which is assigned to the 10th century by Dr. Nagarch.A exactly similar to the dancing Bhairava of four-handed Bhairava image with his Vahana Ranipur Jharial is found in a Siva temple at dog, carved on a stone-block measuring around Mahagaon in Balangir district. But in this case 18" and breadth of 10" is kept in the Siva temple at Chhuriagad in the Kalahandi it is one-headed. The upper right hand of the 31 Lord is in Abhayamudra with one Aksamala district. hanging from it, while the upper left hand is A four-handed standing image of placed on his right thigh. In the lower left hand, Bhairava is fitted to the northern Parsvadevata which is slightly raised, the Lord is holding a niche of the Kosalesvara Siva temple at Kapala, while in his lower right hand is a small Patnagad. In the up-raised left and right hands Khatvanga. Bull Nandi, the Vahana of the Lord are Aksamala and Trisula, while in the lower is seen to be crouching in a profiled posture left hand is a Sarpa. The lower right hand is in behind the Lord, and looking up at his master Varadamudra, touching the mouth of his in Devaviksanatatparah. The Lord is wearing Vahana dog, which is seated near his right leg. Hara and Aksamala (strings of rosary beads) Jatamukuta is adorning the head of the Lord. around his body. He is wearing strings of rosary Exactly similarly Bhairava images are found beads as Kundalas also. A crescent moon as loose sculptures at Sauntpur and Charda. symbol is carved on the left side of the In the image of Sauntpur, the lower left hand of Jatamukuta and the Lord has a pleasant smiling the Lord is broken from elbow portion. In the face. An image of four-handed Camunda is also up-raised upper right hand he is holding a long found in this site.29 spear, while the lower right hand is touching

43 Orissa Review * January - 2004 the mouth of his Vahana dog, sitting near his part of 9th century A.D., when this area was right leg. Object in the up-raised upper left hand ruled by the Bhanja kings of Khinjali Mandala. is not clear. A Jatamukuta adorns the head of Another image of Bhairava, seated in this Bhairava image, who is standing in a Lalitasana is enshrined in a small temple near Dvibhanga posture. Another Bhairava image, the Suresvari temple at Sonepur. It is a four- also standing in Dvibhanga posture is found handed image, holding a long sword (Khadga) at Charda. Both the lower hands are broken. In and skull-up (Kapala) in his up-raised right the up-raised upper left and right hands are and left hands respectively. A long cobra snake Sarpa and spear respectively. (Sarpa) is hold by the Lord in his Instead of Jatamukuta, a lower left hand like a gas baloon, Karanda Mukuta is adorning his the one-hooded snake going up head. His Vahana dog is sitting above his head portion. An front-faced near his right leg, Aksamala is in the lower right looking up at the master.32 Like hand of the Lord. His Vahana dog the Bhairava image of Patnagad, in profile is carved on the the Bhairava images of Sauntpur pedestal. A Karanda Mukuta is and Charda might have been fitted adorning his head. This image to the Parsvadevata niches of can be dated to the Chauhan Siva in the original state. period, i.e. 18th century A.D. A Another unique image of a four- four-handed Bhairava image, just handed Bhairava image, standing in the posture of commencing in the Alidha posture is kept near dance is found at Menda in the Suresvari temple at Sonepur. Sonepur district.32 Another four- In his up-raised upper right hand handed front-faced Bhairava he is holding a long sword image in the stance of dancing is (Khadga) just behind his head. enshrined in a small in the Object in his up-raised upper left same campus of Swapnesvara hand is a skull-cup (Kapala), temple at Puintala in Balangir Bhairava, Charda while in his lower left hand is a district. It is a skeletoned figure. knife (Kartri). His lower right hand is in As in other places, a small image of Uma Katyavalambita. He has slightly raised his left Mahesvara is found in the same temple precinct leg and put it on the head of a prostrate body at Puintala also. This Bhairava image of lying below. It might be that of Kala. His Puintala can be dated to the Bhanja period, Vahana dog is running in profile behind his i.e. first half of 9th century A.D. right leg towards this flatly-lying body. A long While discussing about the independent garland (probably of skulls) is around his neck, loose sculptures of Bhairava, it is important to which is hanging upto the knee-level. Three discuss about two eight-handed image of round of knotted Jata are forming the Bhairava, one enshrined at Deogaon (Balangir) Jatabhara on his head. He is wearing and another in a modern temple to the east of Patrakundalas in his ears. The image can be the Garh (old fort) area of Patnagad town.The dated to the pre-Somavamsi period, i.e. early eight-handed image of Bhairava at Deogaon is

44 Orissa Review * January - 2004 kept in a hut on the embarkment of a huge esoteric rites. It is surprising to be noted that reservoir called Yogisagar, near Deogaon, a in another stone panel now fitted to the outer Panchayat Samittee head-quarters of Balangir eastern wall of the Jagamohana hall of the district. It is of the height of around four feet, Kosalesvara Siva temple at Patnagad (to the dancing on a male figure (Kala), lying flat on proper right of the entrance door to the the pedestal. One Hara made of rosary beads Jagamohana), seven standing maidens are is around his neck. Besides this, a long garland depicted, going in a procession, holding a of skulls (Naramundamala) is hanging from canopy or Chhatra over their heads. The the neck upto the navel portion of the deity. In Aghoramurti of Patnagad was most probably the right hands from top to bottom, he is holding forming a part of the Kosalesvara Siva temple Khadga, short trident (Sula)) and Vajra in its original state.34 respectively, while object in the lowest right Another Bhairava image is worshipped had (fourth) can not be identified as the hand in a small shrine near the Harishankar Temple is broken. In the left hand objects hold from top to bottom are Sankha, Sarpa, Kapala and of Balangir district, which is situated at a Gada respectively.33 The Bhairava image of distance of 40 km from Patnagad town. Other Patnagad is a furious-looking eight-handed two Bhairava images, one found in the image of the height of around 30" and breadth Kosalesvara Siva temple at Kusang and of 18". Objects in his right hands are Danda, another enshrined in a small temple in the Trisula, Musala and Khadga, while in the left Paschima precinct at Sonepur hands are Khetaka, Sarpa, Vajra and Agni. In town seem to belong to the Chauhan period this image, Bhairava is depicted as dancing on i.e. 15th-16th century A.D. The front-faced a male figure (Kala), which is lying flat below, Bhairava image of Kusang is four-handed while raising both his hands over his own head holding a Dambaru in his up-raised upper left in the Anjalimudra in obeisance to the Lord. hand, and Khadga and Kapala in the lower A Karanda Mukuta is adorning the head of right and left hands respectively. Object in the this male lying below. up-raised upper right hand is not clear. This Bhairava image is in a dancing posture called This eight-handed divinity seems to be Adbhu,35 in which heels are kept close and Aghora, an Ugra form of Siva, whose face is knees apart, posed in a manner as if ready to terrible in appearance with side tusks coming commence the dance. The image of Bhairava out in both corners of the lips and the flat figure enshrined in a small temple at Sonepur in the lying below seems to be that of Kala. The Paschima Somanath temple precinct is also Bhairava figure is flanked by seven female four-handed, but standing in an Alidha posture attendants, two standing and three seated in the to the proper right direction. A long Khadga proper left side, and two standing in the proper is in his lower right hand which is resting on right side. These seven maidens are apparently his right shoulder and a Kapala is in his up- the local sculptor's representation of the seven raised upper left hand. Objects in other hands Tantrika maidens namely, Gangi Gauduni, Sua are not clear. Teluni, Jnanadei Maluni, Netai Dhobani, Luhukuti Luhuruni, Sukuti Chamaruni and It is worthy to focuss on a Bhairava Patrapindhi Sauruni, who were experts in the image found in the proper right of the inner

45 Orissa Review * January - 2004 side of the entrance to the Banesvara Siva sitting on the pedestal in profile near the left temple precinct at Deogaon, which is situated foot of the Lord and looking up at the master. at a distance of only 3 km from Banei, a tahsil Another dog is standing near his right foot on head-quarters of Sundargarh district. This the pedestal. This image can be dated to the four-handed ferocious-looking Bhairava image period of the later Kesari (Somavamsi) kings, is worshipped separately. He is in the Alidha who were ruling from Junagad (near posture, carrying a Kapala in his lower left Sukhabandh) in around 13th-14th century A.D. hand, the other hands being broken. A Chamunda image is also found at Patrakundalas are hanging Sukhabandh.37 from his ears and hair is An image of Kala arranged in many knots like Bhairava is enshrined in a that of Buddha. His look is small temple, which is terrible with tusks coming constructed to the proper left out in both sides of his mouth. of the main entrance gate to Two round lotus-rosette motifs are carved in both top the temple premises of corners of the back-slab.36 goddess Samlei at This type of lotus rosette Sambalpur. This beautiful motifs are found in top- image, made of black corners of the back slabs of chlorite, is four-handed, sculptures at Narsinghnath where the Lord is seen to be also and this sculpture can be standing in Samabhanga on dated safely to the post- Kala, a male figure lying Somavamsi period i.e. 12th- prostrate below. In his upper 13th century A.D. and lower right hands are Khadga and Trisula, while A four-handed in the lower left hand is a Bhairava image, dancing by Dambaru. His hair is placing both his feet on the arranged in eight serpentine severed head of a demon is Bhairava, Sonepur coils, fanning out on both enshrined in a small hut, sides of his head. At the top which is constructed in the northern side of the of his coiffure is a crescent moon and the Lord Siva temple at Sukhabandh (near Himgir) in has moustache, as found in other Saivite Sundargarh district. In his up-raised proper divinities of the Chauhan period. right hand he is holding a Khadga, while a Iconographically this image can be dated to severed human head is in his lower proper left the 16th century A.D. This temple of Kala hand. The up-raised upper left hand is in Bhairava faces the east.38 Abhaya and the lower right hand is in Varada. His long hairs are flowing in both sides of his The Bhairava cult of Saivism, which shoulders. He is wearing a long garland of gained strength during the rule of the Bhanjas severed human heads, with a hanging of Khinjali Mandala in the second half of the from it upto the knee-level. His Vahana dog is 8th century A.D. and first half of the 9th century

46 Orissa Review * January - 2004

A.D. continued unabated in this tribal belt of populace. But it seems to be the rock-cut western Orissa for a pretty long period. sculpture of goddess Daksina Kalika, who is In almost all cases the Bhairava images generally depicted as having intercourse on the are Urdhvalinga. Even the Nataraja images of corpse of Siva. The iconography of this Mahagaon, Dungripali (Budhikomna) and goddess corresponds to description found in Ranipur Jharial (both of the Chausath the Karpuradi-, giving the Pitha and the Indralath brick temple) are Mantroddhara of the deity. In her aspect of Urdhvalinga. Mahesvara in the Uma Daksina Kalika, she represents the beneficent Mahesvara images of Topigaon Grantor of Nirvana : "I worship and Belkhandi are also Kali the Destructress of Kala and Urdhvalinga. Shining One, who is the Bija Krim who is Kama who is beyond Kala Images with Urdhvalinga and who is Daksina Kalika."42 have been found as early as the Kushana period. Such images are This procedure of open-air generally found in Assam, Bengal worship of Bhairava alongwith and Orissa. This feature of the Matrkas and Yoginis is Urdhva-Retas is defined as the suggestive of these Pithas indication of the state of possibly used by the perpetual celibacy.39 The story of for sexo-yogic practices. Learned Kamadahana is very popular in scholar Dr. H.C. Das has rightly Hindu mythology and it describes put that "the hypaethral 64 Yogini how Siva destroyed Kama who temple is the expression of intense attempted to distract the Lord form of Tantricism, where who was in deep austerities.40 Bhairava, the central figure is Bhairava, Deogaon (Banei) encircled by terrifying images of Thus Siva is also known in Indian 43 mythology for his supreme control over 64 Yoginis." physical desires. The description of has been Like the Ekapada Bhairava and the found in the Visnudharmottara, prominent Saptamatrkas worshipped on a huge among which are Vatuka Bhairava and monolithic rocky mountain near Ghudar village Svarnakarsana Bhairava etc. Further we know in the Titilagarh sub-division of Balangir about eight forms of Bhairavas named district, an eight-handed dancing Bhairava in Asitanga, Ruru, Chanda, Krodha, Unmatta, Urdhvalinga is carved on a huge monolithic Kapala, Bhisana and Samhara, each one rocky mountain called Tandel Dangar,41 further sub-divided into eight sub-ordinate situated to the west of Dunguripali village near forms, thus making sixty-four in total, whose iconographic details are found in - Budhi Komna in Nuapada district. In another 44 monolithic rock nearby a female deity standing yamala. in the Alidha position is copulating with a male Scholars think that historically the which is lying flat below with Urdhvalinga. It Bhairava cult owes its origin to the Ajaikapada is called goddess Jharni by the local tribal Bhairava (Aja-Ekapada Bhairava) - "The

47 Orissa Review * January - 2004

Bhairava with One Foot." Ekapada Bhairava strengthens the above-cited view that the is a tantrika deity. Associations reflected in Bhairava cult was further popularised by the Tantric literature connect him with the Vedic famous Tantrika teacher Laksminkara, (sister Aja Ekapada, with fire, with sacrifice, with of the celebrated king Indrabhuti of Sambala) the central pillar of the world and, lastly, with the propounder of the Sahajayana stream of the Yoginis. He is the Supreme Lord. Objects tantric in around the 8th century A.D. held in his hands, characterise him as a As mentioned earlier, Bhairava manifestation of Siva. He is Urdhvalinga and alongwith his consort Chamunda are invoked clad by tiger skin on his hip. Stietencron thinks in tantric rituals. In the mythology, on the death the iconography of to have been 45 and dismemberment of , it is stated that derived from this Ekapada Bhairava. It is wherever the dismembered part really an exception that Ekapada of the body of Sati fell, there Bhairava is carved in emerged a Saktipitha, and Siva association with the assuming the form of Bhairavas Saptamatrkas, instead of emerged in the vicinities of the in both the rock-cut Saktipithas to keep a watch over Saptamatrka panels of Ranipur the severed parts of Sati's body. Jharial. But in the rock-cut Prof. Thomas E. Donaldson is of sculptural panel of the view that 'invariably an image Saptamatrkas at Ghudar, which of Bhairava is thus found near or is on a monolithic rock of a within a Sakta compound.'47 paddy field, a four-handed Bhairava is the most fearful form dancing Bhairava with of Lord Siva and according to Urdhvalinga is carved in the Stella Kramrisch, he is Siva first niche of the carved panel. Bhairava, Patnagarh entire, 'whether spoken of as Learned scholar Dr. L.K. Panda goes a emanated from Siva, or seen on little further and says that "sometimes, some the highest level of Siva, as of the Saivacharyas of the Bhairava cult were Kalabhairava, the Great God Kala Bhairava.48 considered to be identical with the Bhairavas." A four-handed Bhairava, standing in In his opinion, "Under the influence of tantric Adbhu posture is found at Ingsa in the Agalpur Buddhism the Saivite teachers of the Bhairava Panchayat Samittee area of Balangir district. cult were worshipping Siva in his terrific A Khetaka (shield) and Khadga (sword) are aspect as Bhairava, surrounded by sixty-four in his lower left and right hands respectively, 46 Yoginis." while a Sula is in his upper left hand. A conical The Aghora aspect of Bhairava Mukuta is adorning his head. It can be dated alongwith seven Tantrika maidens of Kuanri to the 17th-18th century A.D. But a broken Patana (Patnagad) is carved on one stone-slab image (now up-waist existing) of a four-handed found at Patnagad, representing the tradition moustached Bhairava, found at Podagad in the of 'Satbahen' (Seven Sisters) among the tribal Umarkot tahsil area of Nawarangpur district and local populace of western Orissa. It can be assigned to the Nala period, i.e. circa

48 Orissa Review * January - 2004

4th-5th century A.D. The upper right hand of hand, which is raised up is enshrined in a small this image is on the waist, with a long Sula temple which is situated on the embankment of inserted into the space in between the body a pond, in front of the Suresvari temple at and the hand in the elbow portion. Both the Sonepur.52 Both these Ksetrapala images can lower hands are broken, while a Kapala is in be dated to the Bhanja period, i.e. circa 8th- the up-raised upper left hand of the Lord. The 9th century A.D., when Bhairava worship was Kankana tied to both wrists and the Hara at the apex. around the neck of Bhairava are made of strings Bhairavas in the squatting position have of rosary beads. Another image of Bhairava been placed in the Beki portion of the temples was located at Parva near Raighar in the of 11th -12th century A.D. just above the Raha. Dandakaranya area in 1946 by learned scholar Such a Beki-Bhairava is found amidst loose G. Ramdas during exploration in the Podagad sculptures kept in front of the Budhima temple area, which was the capital city at Sonepur town. site of Puskari of the Nala empire Bhairava is still worshipped in in 4th-5th century A.D. He could places like Lanjigad, Madanpur locate a ruined temple of 49 Rampur, Mohangiri, Urladani, Bhairava at Podagad also. Sankushgad, Digsira, Belkhandi, From the Dhyana-sloka Junagad, Topigaon, Medinipur, of Ksetrapala, given by Kamthana and many other places Aghorasivacharya in his of Kalahandi district of Orissa. Vighnesvara- Pratisthavidhi it is This ferocious - looking god has evident that Ksetrapala is none special at Sonepur, other then Bhairava, who protects Sambalpur, Harishankar, Lanjigad, the towns and villages from evil Puintala and Junagad (Himgir). deities and from bad men. His According to the tribal tradition, shrine is to be located in the north- Ekapada Bhairava, Ghudar there are twelve forms of Bhairava, namely, Budha, Agni, east corner of the town or village. In the texts Bali, Betal, Suhar, Sadhan, Kana, Bana, Ran, like Amsumabhedagama, Suprabhedagama Jal, Dand and Hunkar Bhairo. In tribal and Karanagama two types of Ksetrapala, tradition twelve is an auspicious number and Satvika and Rajasika murtis are prescribed 50 their gods are generally grouped in twelve for installation. number, like Barabhai Lanth, Barabhai Such a four-handed image of Bhima, Bara Pahad, Barabhai Maral and Ksetrapala, standing in the Samabhanga Barabhai Bentakar etc. posture is found at Sauntpur, a village situated It can be aptly said that Bhairava or at a distance of 10 km from Balangir town. In Bhainro is a widely popular tribal god, adored his upper hands are Dambaru and Sula, while by all sections of the society in the upper a Gada is hold by both lower hands it being Mahanadi valley atleast from the early placed on the pedestal in between both legs.51 Christian era, i.e. 1st-2nd century A.D. It was One two-handed standing image of Ksetrapala, basically a tribal god and subsequently carrying a long sword (Khadga) in his right assimilated into the Hindu fold.

49 Orissa Review * January - 2004

References : Vol.VI, pp.481-486 ff. (Singhara Plates of Ranabhanja), Ed. by B.C. Mazumdar, Epigraphia 1. Journal of Bihar Research Society, Vol.XXXIV, Indica, Vol.XX, pp.100-104 ff. (Patna Museum pp.33-42ff (Ed. by G. Ramdas); Epigraphia Plates of Sri Vijya Mahadevi, queen of Indica, Vol.XXVIII, pp.12-16ff (Re-edited by Dr. Ranabhanja), Ed. by R.D. Banerji; Journal of D.C. Sircar). Bihar Orissa Research Society, Vol.II, 1916, 2. Epigraphia Indica, Vol.XIX, pp.100-104ff pp.167-177 ff. (Taspaikera Charter of (Edited by Y.R. Gupte). Ranabhanjadeva), Ed. by B.C. Mazumdar; Journal of Bihar Orissa Research Society, Vol.VI, Part- 3. Rajaguru, S.N.; Inscriptions of Orissa, Vol.I, Part- II, pp.266-273 (Dasapalla Plates of Ranabhanja), ii, 1st Edition, 1958, p.111f. Ed. by Vinaytosh Bhattacharya; Epigraphia 4. Journal of the Numismatics Society of , Indica, Vol.XII, pp.325-328 ff., (Baud Grant of Vol.I, pp.29-35. Ranabhanjadeva - 26th R.Y, Ed. by R.D. Banerji; Epigraphia Indica, Vol.XII, pp.321-325 ff. (Baud 5. Prachya Pratibha, Vol.V, p.72f. Grant of Ranabhanjadeva - 54th R.Y.), Ed. by R.D. 6. Epigraphia Indica, Vol.XI, pp.184-201ff. (The Banerji; India Historical Qarterly, Vol.X, pp.473- Sirpur Stone Inscription of Queen Vasata, mother 477 ff. (Baud Plates of Ranabhanjadeva - 58th of Mahasivagupta Balarjuna). Regnal Year), ed. by Adris Banerji; Journal of Bihar Orissa Research Society, Vol.XX, pp.147- 7. Rajaguru, S.N., Inscriptions of Orissa, Vol.IV, 152 ff. (Baud Undated Grant of Ranabhanja), Ed. Bhubaneswar, 1966, p.77f. by A.C. Banerji; The Orissa Historical Research 8. Ibid, p.51f. Journal, Vol.XXIV, XXV & XXVI, 1980 (Kankala Plates of Ranabhanjadeva), pp.45-50, Ed. by H.C. 9. Ibid, p.53f. Panda. 10. Epigraphia Indica, Vol.XXVII, pp.287-91ff. 19. Panda, Sasanka Sekhar; Archaeological Remains (Ed.by P.B. Desai) of the Tel River Valley, Orissa Review, Vol.XLV, 11. Epigraphia Indica, Vol.XXIII, p.113f. No.5, 1988, p.6. 12. Epigraphia Indica, Vol.XXXV, pp.60-65ff (Ed. 20. Ibid. by Prof. V.V. Mirashi). 21. Journal of the Kalinga Historical Research 13. Epigraphia Indica, Vol.XXVII, pp.319-25ff. (Ed. Society, Vols. II & III, 1950, pp.246-247 ff. by L.P. Pandeya). 22. Tripathy, Snigdha; Inscriptions of Orissa, Vol.VI, Bhubaneswar, 1974, p.87. 14. Epigraphia Indica, Vol.XXVI, p.127f. 23. Ibid, Vol.II, 2 (1947), pp.107-109; Ed. by S.N. 15. Rajaguru, op.cit, p.90. Rajaguru. 16. Jain, Balchandra, Utkirna Lekh, (Hindi Book), 24. Panda, Sasanka Sekhar; Some Archaeological Raipur, 1961, p.36. Remains of Kalahandi District, Orissa Review, 17. Epigraphia Indica, Vol.XXIV, pp.239-43ff. Vol.XLV, No.12, July, 1989, pp.47-48 ff. 18. Epigraphia Indica, Vol.XI, pp.99-103 (Sonepur 25. Sastry, R. Ananthakrisna (Ed); Lalita Grant of Satrubhanja), Ed. by B.C. Mazumdar; Sahasranamam, Bhaskararaya's Commentary on Journal of Bihar Orissa Research Society, Vol.II Title-237, Adyar, 1951, p.130. (1916), pp.429-435 ff. (Kumurakela Charter of 26. Sarasvath, K.S.; Kathasaritasagara, Patna, 1961, Satrubhanjadeva), Ed. by B.C. Mazumdar; Orissa Ch.6, Vs. 76-106; C.H. Tawney, The Historical Research Journal, Vol.XI, No.3, Kathasaritasagara, London, 1880, p.552. pp.155-159ff. (Orissa Museum Plates of Ranabhanjadeva), Ed. by Dr. K.C. Panigrahi; 27. Upadhyaya, Baladeva; Agni Purana, , Journal of Bihar Orissa Research Soceity, 1966, p.80.

50 Orissa Review * January - 2004

28. Kularnava, Ch.8, V.32. Also Meru Tantra in Sham 40. Rao, T.A. Gopinatha; Elements of Hindu Sher Dhana's book Brhat Purascaryarnava, 4 Iconography, Vol.I, Part-I, pp.147-149ff. Vols., , Vol.III, p.426. 41. Singh Deo, Jitamitra Prasad; Tantric Sculptures 29. Panda, Sasanka Sekhar; Some Archaeological in Nuapada District - Orissa, The Orissa Remains of Balangir District, Orissa Historical Historical Research Journal, Vol.XLII, Nos. 1-4, Research Journal, Vol.XXXX, No.1-4, 1995, 1998, p.102. p.65. 42. Avalon, Arthur; Hymn to Kali. (Karpuradi 30. Nagarch, Dr. B.L.; Survey Report of Structural Stotra), Commentary by Vimalananda Swamy, Remains in Maraguda Valley (Survey date : Madras, 1965, pp.49-69. 10.05.1991). Dr. Nagarch is the Superintending 43. Das, H.C., Tantric Saivism in Orissa, article Archaeologist, Temple Survey Project, published in " An Interdisciplinary Approach to Archaeological Survey of India (ASI), Bhopal Saivism," ed by Dr. K.C. Mishra and R.K. Mishra, Circle. Pub : Institute of Orissan Culture, Bhubaneswar, 31. Singh Deo, Jitamitra Prasad; Hati Valley Orissa, p.134. Civilization, article published in Kala Jharan, 44. Rao, T.A. Gopinatha, Elements of Hindu Souvenier of Kalahandi Utsav-2000, p.65. Iconography, Vol.II, Part-I, Varanasi, 1971, 32. Panda, Sasanka Sekhar; op.cit. (F.n.29), p.74. pp.177-180. 33. Panda, Sasanka Sekhar; Archaeological Remains 45. Eschmann, A; H. Kulke and G.C. Tripathy; The of Balangir District, The Orissa Historical Cult of Jagannath and the Regional Tradition Research Journal, Vol.XXXVI, No.3 & 4, 1991, of Orissa, Manohar, New Delhi, 1978, pp.120- pp.41-42. 121ff. 34. Panda, Sasanka Sekhar; Kosalesvara Siva Temple 46. Panda, L.K.; op.cit., pp.133-134. of Patnagarh, The Orissa Historical Research 47. Donaldson, Thomas Eugen; Tantra and Sakta Art Journal, Vol.XXXVI, No.1 & 2, 1990, p.65. of Orissa, New Delhi, 2002, p.440. 35. Stietencron, Henry V.; The Saiva Component in 48. Kramrisch, Stella, The Presence of Siva, pp.261- the Early Evolution of Jagannath, article in the 62. book, entitled, "The Cult of Jagannath and the Regional Tradition of Orissa", edited jointly by 49. Journal of Bihar Research Society, Vol.XXXIII, Ancharlott Eschmann, Herman Kulke and Gaya Nos.I & II, pp.7-19. Charan Tripathy, Pub. Manohar Publications, New 50. Rao, T.A. Gopinath, Elements of Hindu Delhi, 1978, pp.120-121. Iconography, Vol.II - Part II, Varanasi, 1971, 36. Panda, Sasanka Sekhar, Antiquities Around Banei, pp.494-498. Orissa Review, Vol.LI, No.10, May, 1995, p.25. 51. Patel, C.B.; Dynastic History of Nalas, Punthi 37. Panda, Sasanka Sekhar, Two Hitherto Unknown Pustak, Calcutta, 1990, p.242. Temple Ruins of Sundargarh District, The Orissa 52. Panda, S.S.; Early Sculptural Art of Historical Research Journal, Vol.XLVI, No.1, Suvarnapura, The Orissa Historical Research 2003, p.63. Journal, Vol.XLIV, Nos.1-4, Bhubaneswar, 1999, 38. Panda, Sasanka Sekhar, Chauhan Temples of p.70. Sambalpur Town, Orissa Review, Vol.LII, No.6, January 1996. 39. Govindarajan, Hema; The Nataraja Image from Asanpat, article published in Dimensions of Indian Art-Pupul Jayakar Seventy', Vol.I, ed. by Writer is researching on the Temple Art of the Upper Lokesh Chandra and Yotindra Nath, Agam Kala Mahanadi Valley of Orissa. He lives at VR-23, Prakashan, Delhi, 1986, p.145. Unit-6, Bhubaneswar

51