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Iconography has several integral elements that include the classification of images, textual principle of image making, mode of casting materials employed in image making, the accessories and the characters of gods and goddesses. Iconography a fascinating branch of Indology had its origin in the womb of ancient past. It is a 艣腻蝉迟谤补 called 艣ilpa艣腻蝉迟谤补, the science of sculpture, as regards Hindu, Buddhist and Jaina vision of iconography. The iconographical details are largely contained in the Matsya, Agni, Skanda, 骋补谤耻岣峚, 尝颈峁単补, 叠丑补惫颈峁�y补 and 痴颈峁ａ箛耻辫耻谤腻峁嘺 particularly in the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺. These 辫耻谤腻峁嘺蝉 have contributed a great deal to both temple architecture and iconology. Some of the 辫耻谤腻峁嘺蝉 in totality constitute an invaluable source for iconographical studies and present detailed description of the activities of the god. Again, some of the 辫耻谤腻峁嘺蝉 specifically deal with 辫谤补迟颈尘腻濒补办峁�a峁嘺 iconography.

In the long history of art in India, 贬补测补驳谤墨惫补 as a form of 痴颈峁ａ箛耻 appears in plastic representations not in abundance. The epic and pur膩峁噄c literature represented 痴颈峁ａ箛耻 as an anthropomorphic form along with conventional iconographic character and blazon. Vai峁ａ箛avisam seems to have been the most popular Hindu sect where 痴颈峁ａ箛耻 is the Supreme Being alone as the manifestation of the universe. We particularly refer to the iconographical description of Lord 贬补测补驳谤墨惫补 in different pur膩峁噄c texts such as, Agni, 骋补谤耻岣峚, 痴颈峁ａ箛耻dharmottara and 叠谤补丑尘腻峁囜笉补, though there are 膧驳补尘补, Tantra, 艢ilpa艣腻蝉迟谤补 and other works too.

1) The 础驳苍颈辫耻谤腻峁嘺 portrays 贬补测补驳谤墨惫补 featuring with four hands holding discus, mace, conch, and a manuscript. His left leg is placed on the 艣别峁�a苍腻驳补 (divine serpent) and the right is on the 办奴谤尘补 (tortoise).^[1] The 础驳苍颈辫耻谤腻峁嘺 surprisingly contains fifty chapters on iconography which have been described by Rocher as 鈥渁 summary of 笔补帽肠补谤腻迟谤补 膧驳补尘补s.鈥�^[2] Interestingly, the iconographical representation of 贬补测补驳谤墨惫补 in the 础驳苍颈辫耻谤腻峁嘺 is similar in reference to the 笔补帽肠补谤腻迟谤补 texts such as, the Padma Sa峁僪it膩.

2) The 惭补迟蝉测补辫耻谤腻峁嘺 supports the description which is reflected in the 础驳苍颈辫耻谤腻峁嘺. ^[3]

3) Even though the 叠谤补丑尘腻峁囜笉辫耻谤腻峁嘺 depicts 贬补测补驳谤墨惫补 , it is slightly different from the description found in the 础驳苍颈辫耻谤腻峁嘺 and 惭补迟蝉测补辫耻谤腻峁嘺, particularly regarding the arrangement of the objects like conch, discus, rosary and book in the four hands^[4] of 贬补测补驳谤墨惫补.

4) 骋补谤耻岣峚辫耻谤腻峁嘺 speaks of 痴颈峁ａ箛耻pa帽jara stotra where 贬补测补驳谤墨惫补 is described with a white hue like complexion resembling the conch shell, jasmine flower, the moonlight with silver like brilliance. He is four armed holding the conch shell, discus, club and lotus in the arms and adorned with a garland of wild flowers. He has majestic mouth and cheeks, wearing yellow garments.^[5]

5) 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 portrayed 贬补测补驳谤墨惫补 as having the face of a horse and eight arms. In four of the hands he carries the conch, discus, mace and lotus and the remaining four hands are placed upon the heads of the personified forms of the four Vedas.^[6] His foot rests on the outstretched palms of the goddess earth. This description is somehow different from the description available in other 辫耻谤腻峁嘺蝉.

Besides the 辫耻谤腻峁嘺 text an elaborate description of the iconography of 贬补测补驳谤墨惫补 is from the 贬补测补艣墨谤峁�a 辫补帽肠补谤腻迟谤补, an old and paramount literary document of the 辫补帽肠补谤腻迟谤补 sect of 惫补颈峁ａ箛补惫颈蝉尘. This text furnishes significant details relating to iconographical features of the deity and architectural norms of temple construction. It comprises of four 办腻峁囜笉补蝉 or volumes such as 膧诲颈, 厂补峁僰补谤峁�a峁嘺, 尝补颈峁単补 and Saura. Each of these 办腻峁囜笉补蝉 are divided into sections named 辫补峁璦濒补蝉. 膧诲颈 办腻峁囜笉补 of the 贬补测补艣墨谤峁�a 笔补帽肠补谤腻迟谤补 expounds on the iconography of three of the five principal Brahmanical divinities鈥攖he 痴颈峁ａ箛耻, 艢颈惫补 and 顿别惫墨. The Saura 办腻峁囜笉补 is a chapter dedicated to the images of 厂奴谤测补. 厂补峁僰补谤峁�a峁嘺 办腻峁囜笉补 deals with the iconography of 骋补峁嘺辫补迟颈. There are descriptions of 叠谤补丑尘腻, grahas, 尝辞办别艣补蝉, 骋补谤耻岣峚 and it also depicts various forms of the phallic emblem of 艢颈惫补 and its ingredients.

The first chapter of the 贬补测补艣墨谤峁�a 笔补帽肠补谤腻迟谤补 describes 贬补测补艣墨谤峁�a or 贬补测补驳谤墨惫补 as an incarnation of 痴颈峁ａ箛耻. In the chapter twenty five 贬补测补驳谤墨惫补, the horse headed one with four arms is depicted as holding 艣补峁卥丑补, cakra, 驳补诲腻 and veda.^[7] Elsewhere he is described as multi-handed. In his eight or twelve handed form, he may show other emblems like padma, 补办峁�a尘腻濒腻, vara, pustaka etc. However, nothing definite has been said in the text about his standing or seated posture.

Ichnographically 贬补测补驳谤墨惫补 is represented as having a theriomorphic form, an incarnation of 痴颈峁ａ箛耻, which has the head of a horse and the body of a man with lustrous white complexion, holding all four attributes in his four hands. When supposed to have eight arms, four are holding the attributes and the other four are holding the Vedas or touching the heads of the personified Vedas . He is supposed to be shown in a brilliant white hue and his clothes as be blue.^[8]

Footnotes and references:

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[1]:

鈥�艢补峁僰丑补 cakra 驳补诲腻 vedap膩峁噄艣c膩艣va艣ir膩 丑补谤颈岣�/ V膩map膩do 诲丑峁泃补岣� 艣别峁�e 诲补办峁�i峁嘺岣� 办奴谤尘补p峁涐梗峁環ga岣�//
Datt膩treyo dviv膩hu岣� sy膩dv膩motsa峁単e 艣谤颈测腻 saha/
痴颈艣惫补办蝉别苍补艣肠补办谤补 驳补诲墨 丑补濒墨 艣a峁卥h墨 harerga峁嘺岣�//鈥� Agni Pur膩峁嘺, 59.26-27.

[2]:

Nayar, Kamal. E: Hayagriva: The Many History of Indian Deity, p.125.

[3]:

Babu, Sridhar: 贬补测补驳谤墨惫补: The Horse-Headed Deity in Indian Culture, p. 61.

[4]:

叠谤补丑尘腻峁囜笉补 Pur膩峁嘺, 4.5.9;55.35-40.

[5]:

鈥淧ravak峁�y膩n膩峁� hyetadvai峁ａ箛ava峁� 辫补帽箩补谤补峁� 艣耻产丑补峁�/
Namo namaste govinda 肠补办谤补峁� 驳峁沨测补 蝉耻诲补谤艣补苍补峁�//
笔谤腻肠测腻 谤补办峁�asva m膩峁� vi峁ａ箛o tv膩maha峁� 艣补谤补峁嘺峁� 驳补迟补岣�/
骋补诲腻峁� 办补耻尘辞诲补办墨峁� 驳峁沨测补 辫补诲尘补苍腻产丑补 namohastute/
驰腻尘测腻峁� 谤补办峁�asva m膩峁� vi峁ａ箛o tv膩maha峁� 艣补谤补峁嘺峁� 驳补迟补岣�//
Halam膩d膩ya saunanda峁� Namaste 辫耻谤耻峁�o迟迟补尘补/
笔谤补迟墨肠测腻峁� 谤补办峁�a m膩峁� vi峁ａ箛o tv膩maha峁� 艣补谤补峁嘺峁� 驳补迟补岣�//
惭耻峁�a濒补峁� 艣腻迟补苍补峁� 驳峁沨测补峁� 辫耻峁囜笉补谤墨办腻办峁�a 谤补办峁�a m膩峁�/
鲍迟迟补谤补蝉测腻峁� 箩补驳补苍苍腻迟丑补 bhavanta峁� 艣补谤补峁嘺峁� 驳补迟补岣�//
Kha岣峠am膩d膩ya carmm膩tha astra艣astr膩dika峁� hare/
Namaste 谤补办峁�a rak峁�ogna ai艣膩ny膩峁� 艣补谤补峁嘺峁� 驳补迟补岣�//
笔腻帽肠补箩补苍测补峁� mah膩艣补峁卥丑补manudvodha帽ca 辫补峁卥补箩补峁�/
Pra驳峁沨测补 谤补办峁�a m膩峁� vi峁ａ箛o 膩gneyy膩峁� yaj帽a艣奴kara//
Candras奴ryasama峁� 驳峁沨测补 办丑补岣峠补峁� 肠腻苍诲谤补尘补蝉补峁� 迟补迟丑腻/
Nair峁泃y膩峁� m膩帽ca 谤补办峁�asva divyam奴rtte n峁沰e艣arin//
痴补颈箩补测补苍迟墨峁� sampra驳峁沨测补 艣r墨vatsya峁� 办补峁囜弓丑补产丑奴峁�a峁嘺峁�/
痴腻测补惫测腻峁� 谤补办峁�a m膩峁� deva 贬补测补驳谤墨惫补 namo鈥檚tute//
痴补颈苍补迟别测补峁� sam膩ruhya tvantar墨k峁�e jan膩rddana/
M膩帽ca rak峁Ｄ乯ita 蝉补诲腻 苍补尘补蝉迟别鈥檚迟惫补辫补谤腻箩颈迟补//
Vi艣膩l膩k峁ａ箖 sam膩ruhya 谤补办峁�a m膩峁� tva峁� ras膩tale/
础办奴辫腻谤补 苍补尘补蝉迟耻产丑测补峁� 尘补丑腻尘墨苍补 苍补尘辞鈥檚迟耻迟别//鈥� 骋补谤耻岣峚 Pur膩峁嘺. 1.13.1-10.

[6]:

Priyabala, Shah: Vi峁ａ箛odharmottara辫耻谤腻峁嘺, 碍丑补峁囜笉补 III, Vol. I, p. 240.

[7]:

鈥淭va峁� c膩pyagre 蝉迟丑颈迟补岣� k膩ryo vedagrahapura岣�sara岣�/
Apare v膩mahaste tu 艣补峁卥丑补 dady膩t 蝉耻艣辞产丑补苍补峁�//
Dak峁�i峁噀 dvitaye kury膩d 驳补诲腻 肠补办谤补峁� 惫颈肠补办峁�a峁嘺/
艢别峁�a苍腻驳补诲丑峁泃补峁� 辫腻诲补峁� 惫腻尘补峁� 办补谤测补峁� 蝉补尘腻苍补驳丑补//
Dak峁�i峁噀 kurmap峁涐梗峁環astha峁� 辫腻诲补峁� kury膩d sadaiva me/
艢a峁卥hacakra驳补诲腻vedap膩峁噄峁� v膩 k膩ray墨t m膩峁�//
A艣vavaktra峁� caturb膩humevameva 惫测补惫补蝉迟丑颈迟补峁�/
Pu峁�kar膩sanamadhyastha峁� dev墨dvitayasa峁儁uta峁�//鈥� HayaP, 25.22.25.

[8]:

T.A, Gopinath Rao: Elements of Hindu Iconography, p.261.