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[Full title: Major Male Divinities (1) Surya]

Accordingly, we would like to initiate our discussion with the most popular finding of this famous archaeological site i.e. with the Surya icons. Presently there are twenty one Surya icons 5 and they are all now conserved to the galleries of the site museum at Madan-Kamdev. Regarding the iconographical identity of these Surya sculptures it should be remembered that the guardian authority of this site Directorate of Archaeology, Assam, had already identified these Surya sculptures and thus leaving a limited scope for us to make a fresh entry into the very subject of their iconographical identities. Under such circumstances, here we would like simply to high light the peculiarities of these Surya icons, (if any), with their respective icono-sculptural analysis, (in 5. Out of these twenty one Surya icons, eight are being the icons of two handed composition and rest of them are being the composition of four hands.

65 brief) to confirm their identity and thus to make a simple documentation of these artefact. Iconographical analysis of Hindu deities, more or less, are possible on Pauranic delineation and accordingly, the locus classicus of our knowledge of solar cult of northern variety is the Bhavishya Purana which gives an account of the origin of the cult, solar deity and his associates, the mode of worship, the solar priest and solar festivals. Apart from that, the Matshya Purana, the Agni Purana, the Samba Purana, the Vishnudharmottara Purana, the Garuda Purana and even the upa-Purana like our own Kalika Purana etc have also provided a good deal of informations regarding the various iconographical traits of Surya icons and vice-versa. Along with these Pauranic information the tretrises like the Brihatsamhita, the Vaikhyanasagama etc. have also made some description about the composing principles of Surya icons. Among these Pauranic and other descriptions, the Matshya Purana," the Kalika Purana 8 and the famous ON 6. Majumdar, R.C.(ed.): The Classical Age(1954), 1988, p.442. Padmasanah padmakarah padmagarbha samadyuti : 7. 8. Saptasca Saptarajuswa dwibhuja - ravi (Matshya Purana-94/1) That means Surya should be seated in Padmasana on a chariot powered by seven horses. He should be dvibhuja and each hand should be decorated with Padma. Padmasanah Padmakarah Padmagarbhasamadyuti Saptascah Saptarajjusca dwibhujo bhaskara Sada! (Kalika Purana 78:47) The description is same as that of the Matshya Purana i.e. he is a two handed deity, sit in Padmasana on a chariot powered by seven horses and his appearances is as bright as that of the Padmagarbha.

66 .10 Brihatsamhita have described Surya as a dvibhuja deity with Padma in his two hands. On the other hand, the Agni Purana¹ the Vishnudharmottara Purana, 11 the Garuda Purana 12 etc. have described Surya as Chaturbhuja or four handed deity. That means, there were two type of Surya images in the imagination of the Hindu theologist and accordingly some aspired him as a two handed deity while some other considered him as being a four handed deity. Apart from these two peculiarities some other important iconographical traits of the Surya icons are as follows Saptascanaicakachakran ca rathan tashya Prakalpayet 13 i) that means he is to be shown on a chariot with one wheel and seven horses. 14 9. Bibhranah Swakararuhe bahubhyan Pankaje mukutdhari Kuntalabhusitabadanah Pralambaharo biyadgabrita (Bri:sam, 58/47) That means sun shall be represented as holding a lotus in each hands (two) as wearing a crown and pendants with a garland hanging from his neck and as surrounded by Devas 10. 11. 12. 13. 14. Iyer, N.C. (tr.): Brihat Samhita, 1987, p.290. Suryajyamadirakhyohantascatuhasta dwisddale (Agni Purana 51:4) This sloka has clearly stated that the deity like Surya, Aryama Agni etc should always be consecrated as the four handed identities. Chaturbahurmahatejah kabacenabhisanbritah (Visnu d Purana 3/67/3) That means his colour is as red as Sindura. He has four arms. He is dressed in northern style and wears armours. He is adorned with all ornaments. Shah, P.(tr.) Vishnudharmottara Purana (III Kanda), 1961, p.149. O Bhagawan Parimitamayukhamalin Sakalajagat Pate Saptascabahana Chaturbhuja Paramasiddhiprada bisphulinga Pingala bhadra ahyehi idamarghyan namah: (Garuda Purana 1/16/23) cited from Comprehensive History of Assam, 1990, Vol.I, p.401. Matshya Purana 261/2. Barpujari, H.K. (ed.): Comprehensive History of Assam, Vol.I, 1990, p.402.

ii) iii) iv) v) 67 Carandu tezasabritau 15 means his feet are said to be covered by effulgence.16 Chdulakacchannpusan 17 means his body should be covered with jacket. 18 Parscayordan pinglau¹⁹ means on his two side there are two of his associates Danda and Pingala. 20 Arunah Sarathiscasya²¹ means Aruna as his charioteer. 22 These are some of the fundamental motif which remain more or less constant to every Surya images from different parts of India only with some elaboration in respect of his attendant. Depending on the easy availability of two handed. Surya sculpture throughout the ranges of north India, some scholars tried to put forward a generalized view regarding the basic iconographical traits of the Surya icons that by and large, it is a two handed deity stand erect on lotus pedestal, holding in his two hands two full blossomed lotuses by stalks and the lotuses rise just above the shoulder. 24 On the other hand, limited availability of four handed Matshya Purana , 261/4. Barpujari, H.K.(ed.): Op-cit, 1990, p.402. 15. 16. 17. Matshya Purana 261/4. 18. Barpujari, H.K.(ed.): Op-cit, 1990, p.402. 19. Matshya Purana 261/5. 20. Barpujari, H.K.(ed.): Op-cit, 1990, p.402. 21. Matshya Purana 261/7. 22. 23. Ibid. 24. Barpujari, H.K.(ed.): Op-cit, 1990, p.402. Bhattacharyaya, B.: Indian Images- The Brahmanic Iconography, 1978, p.34.

68 Surya sculpture has left for us an opportunity to call them as a 'rare' specimen to the entire art heritage of India. 25 The iconographical traits of the north Indian Surya images though have beared no such basic dissimilarities among themselves but, in greater Indian context, there are some sharp differences between the north and south Indian Surya images which is already made confirm by one of the famous iconographer T.A. Ganapati Rao. According to him the south Indian figures of Surya, have their hands lifted up as high as the shoulder, and are made to hold lotus flowers which are only half blossomed; the images have invariably the udara bandha and their legs and feet are always left bare. The north Indan images, on the other hand, have generally their hand at the natural level of hips or the elbows and are made to carry full blown lotuses which rise upto the level of the shoulders and their fore legs have coverings, resembling modern socks more or less in appearance and the feet are protected with a pair of footwear resembling boots. 26 Apart from that he further observed that the upper parts of the north Indian Surya images are generally adorned with a sort of coat but in south India, this portion of the body of the Surya images are always left bare.2 While accepting the observation of T.A.Ganapati Rao, another prominent scholar in this field J.N. Banerjee has stated that the Sun cult in south India had received little importance to the east Iranian form of Sun worship 28 which work as a catalyst for an 25. Majumdar, R.C.(ed.): The Age of Imperial Kanauj, 1993, p.350. 26. Rao, T.A. Ganapati : Element of Hindu Iconography, 1914, Vol.II, 27. 28. Ibid. Part-II, pp.311-312. East Iranian form of sun worship is the main spirit behind the introduction of anthropomorphic form of Surya Upasana in north India. This matter will be taken up in details in our following chapter (v).

69 independent growth of Sun cult there in South India. 29 Now regarding the east Indian varieties of Surya sculpture of medieval period, the same scholar has further stated his observation that there were two types of Surya relief and of them one showing the god standing in the company of his attendant and other showing him seated in padmasana. 30 The majority number of Surya sculpture that has been discovered in Assam are primarily belongs to the first category, however, with some minor variation in respect of absence or presence of attendant, lotus pedestal or plain pedestal, absence or presence of horse or rathas etc. On the light of this discussion when we tried to analyse the various iconographical traits and peculiarities of Surya sculptures available at Madan-Kamdev, we have found two major varieties, some stand here with four handed composition while other have simple two handed composition. A south Indian delineation (as according to the line of proposition made by T.A. Ganapati Rao), in terms of consecrating lotus buds in their hands (instead of being full blown lotuses, an unique identity mark for the north Indian Surya sculptures) is phenomenal characteristic feature of some Surya Sculptures available here at Madan-Kamdev. Highlighting the ideal of south Indian delineation, it is also interesting to observe that the feet of these Surya sculptures left bare, in other word, no sign of shoes or other coverage to their feet are there to observe in case of any of those Surya sculptures now conserve to the galleries of the site museum at Madan-Kamdev. 29. 30. 31. Banerjee, J.N. : Development of Hindu Iconography, 1974, p.441. Ibid. This observation is primarily on the basis of the collection of Assam state museum and few archaeological find spots of Assam.

70 Four Handed Surya: With these primary observations first, we would like to analyse the issues, relating to the four handed Surya sculptures as available now to the site museum at Madan-Kamdev. As already stated-the four handed Surya sculpture is a rare production of Indian aesthetics and thus, their presence here at Madan-Kamdev can be considered as one of the most preciously excavated aesthetic item of this site. Lord Surya with four hands, is a phenomenal representation where the extension of his number of hands can better be assigned to an unique aesthetic concept evolved around the impressive Tantric ideologies of that time 32 which in its turn, has instituted a new direction to the socio-cultural aspect of our study. Whatever might be the fact, this group here at MadanKamdeva comprises of eleven Surya sculptures. Along with their rare four handed stance, this group have beared some specific iconographical traits of their own which further aggravated the uniqueness of these Surya sculptures to the entire Indian aesthetics. Accordingly, the chief identification mark of these Surya sculptures is the lotus bud (instead of being full blown lotuses) and their feet left beared and thus referred to a south Indian inspiration in their composition, as stated earlier. Group-I : Now, to have a comprehensive analysis, we have subdivided the entire collection of four handed Surya sculptures of 32. Agrawal, V.S. : Studies in Indian Art, 2003, p.259.

71 the site museum at Madan-Kamdev in number of groups depending on their stereotype representation as we codified them during the field visit session of our study. Thus, the first group of our discussion comprises of three Surya sculpture (fig 1:1, 1:2, 1:3); all of them suffered from age old erosions, however comparing to other two sculptures, the amount of erosions, in case of the figures no 1:2 look to more devastating as the facial portion of the image is now in a state beyond of its identification. Iconographical traits and present physical conditions of these sculptures in brief are as follows: Fig 1:1 a) Condition: eroded and partially damaged b) Length : 44 cm Width : 17 cm c) Posture : tribhanga ii d) Hands : four e) Emblems : (i) Upper left hand- lotus bud with a stalk (ii) Upper right hand- almost a vanishing sign of lotus bud with stalk (iii) . Left lower hand- erosions have made it quite difficult to identify the exact emblem or mudra of the hand. But it look like to be in inverted Hiranya mudra with two middle finger stressed close to the palm as if in holding something like kamandalu or Japamala. (iv) Lower left hand-completely damaged.

Fig 1:2 72 a) Condition: b) Length: partially eroded, the kiritamukuta and the portion just above the left eye had already been sliced away. 43 cm tribhanga four Width : 17 cm 7 c)Posture d) Hands d) Emblem: (i) Upper left hand-Padma with stalk (ii) Upper right hand - Padma with Stalk (iii) Lower left hand - Completely damaged (iv) Lower right hand - eroded but look to be in Varada mudra Fig 1:3 a) Condition : b) Length: c) Posture : d) Hands : e) Emblem: (i) (ii) This Sculpture has suffered from higher amount of erosion. The facial Portion is totally damaged. Width 21 cm 38 cm tribhanga four Upper left hand - completely damaged Upper right hand - an eroded lotus with stalk (iii) Lower left hand - as if he holds something, but in its present state of condition it is difficult to identify: (iv) Lower right hand-as if in Varada posture Thus, the descriptions have made their iconographical identity bit more confusing in nature, specially because of the existence of Varada mudra as we observed in the right lower hand of (fig 1:2) and an inverted Hiranya mudra where the two middle fingers are being stressed close to the palm as if the deity holds

73 something in his left lower hand as in case of (fig. 1.1). Despite of these confusion, their chief identity mark, of lotus have left for us no other alternative but to accept the identification made by the Directorate of Archaeology, Assam, however with slight modification that all these are the deity of highly prestigious Saura clan of diversified Hindu pantheon. Ornamentation : 33 Coming to this point it is interesting to observed that the their necklaces are of the composition of rectangular beads instead of two tyred flat necklaces as commonly visible in case of majority number of sculptures here at Madan-Kamdev. At the same time these sculptures have also introduced us with some other ornamental items and among them wrist bengles, armlets are the most important ones. Another interesting ornamental item expose to us is the urudamas, used to decorate the portion below the waist level. It survived however, only with a minor sign as in case of (fig 1:1). Thus, the ornaments exerted to the relam of these sculptural compositions are as follows, kiritamukuta, Pushpakundala, two tyred necklaces composed of rectangular beads, wrist bengles, armlets, waist gridles and urudamas. Similarly, in case of habiliment, these sculptures have maintained the sensuous standard with diaphanous garment clinging to the upper part of the body like a wet sit while the lower half are being clad in Indian form of dhoti. 33. These two are the most commonly visible ornaments to all the sculptural product of India, but probably the erosion have erased the sign of these ornament from the body of the majority number of sculpture here at Madan-Kamdev.

74 Physiognomy: Though impressed with a squarish tendency, the warm and full faces of the images can better be said as the ovoid one with slightly pointed delineation of the chin. The highly devastating erosions have made it quite difficult to ascertain the exact nature of the facial appearances of these sculptures. But fortunately the fig 1:2 has provided us with some clues and accordingly, these sculptures have reflected a sense of blissful serenity in their appearance primarily with a dreamy pair of eyes along with normally curve eyebrows and the smiling mouth with small pair of lips. The necks are modelled with deeply incised lines, referring to a fundamental physiognomical character of Gupta classicalism.³ Again the sculptures are galloped in a concept of animation which can virtually be observed in the compositions of chests with the nipples, fleshy abdomen with delicately cared naval and with beautiful executions of legs. Smooth and resilient torso with narrow middle, spreading hips, tapering thigh 35 are some of the other physiognomical features of these sculpture, so to place them in a close proximity to the Dah Parvatia classicalism. It is also interesting to observe that those unknown sculptors have successfully injected a sense of rhythmic movement to the graceful body of these sculptures with the slightest possible bends at the level of knees. In this connection the sculptors have also made an unrest attempt to carve the knees. 36 Along with that the bended legs are being 34. Tomory, E.: A History of Fine Arts in India and the West, 35. 36. 2002,p.193. Barpujari, H.K. (ed.) : Op-cit, 1990, p.457. A 9 th century feature Kramrisch, S. : Pala Sena Sculpture, 1929, Rupam, p.125.

75 delicately put forward which further enhance the aesthetic beauty of these sculptures with a sense of delicious movement to their gracious stances. The museum authority has referred sculptures a being the product of 11 th/12 th centuries. But their physiognomy specially their disproportionate execution along with elongated limbs have raised a question and it seem more appropriate if we call them as a product of 10 th/11 th century rather than 11 th/12 th century. Group-II : Gracing the sculptural collection, another highly eroded Surya sculpture is there to the site museum which has introduced us with some unknown realities specially, regarding the matter relating to its ornamentation. Fig 1:4 a) Condition: highly eroded and broken Width : 21 cm samabhanga b) Length : 43 cm c) Posture : d) Hands e) Emblems: (i) f) Pedestal : four Left upper hand-almost on the verge of its extinction (ii) Right upper hand - lotus bud with long stalk (iii) Left lower hand - completely damage (iv) Right lower hand- erosion have made it quite difficult to identify the exact nature of the hand but still it look to be in Varada mudra. broken full blown lotuses.

76 Thus, the scope for a genuine controversy regarding the identification of this sculpture is also there but still its compositional similarities to other Surya sculpture of this group in terms of emblem, mudra etc are enough to confirm this image as being Surya or a deity belonging to Saura clan in a wider sense of term. An amalaka shaped kiritamukuta, is the basic ornamental peculiarity of this Surya sculpture. In Indian aesthetic, this shape of kiritamukuta, often be regarded as an important determinant in confirming the chronological sequence for any sculptural product and accordingly referred as an indicator of a sculptural product belonging to 12 th century A.D. Except that, however no such other ornamental peculiarities are there to observe in case of the execution of this sculpture. 37 Physiognomy : A meditative approach along with slightly disproportionate elongation of legs are two of the identical physiognomical feature of this sculpture. It has slightly squarish oval face with pointed delineation of the chin, marked by a small pair of lips, expressing no sense of mundane pleasure or blissful serenity as in case of other sculptures, along with delicately carve sloping shoulder, broad chest, narrow middle representing wasp curve are some of the other physiognomical feature of this sculpture. The age long erosions, though now introduced it with a sense of flatness but still the sculptor's attempt to introduced it 37. Bandopadhyay, B. : Metal Sculptures of Eastern India, 1981, p.43.

77 with an ideal of fleshiness, now survived in case of this sculpture only with an outward bulginess of the hip. This is a commonly visible physiognomical feature of majority number of sculptures at Madan-Kamdev. Similarly, the sculpture also exposed a common feature in terms of amalgamation of the concept of linear and sinuous movement specially, in executing projection of hands. Regarding chronology, the museum authority i.e. the Directorate of Archaeology, Assam has already confirm it as being a product of 11 th/12 th century A.D. But its disproportionate elongation has left for us a scope to think about a new chronological slot for this sculpture that it might have been a product of 10 th/ 11 th century A.D. rather than 11 th/12 th century A.D. Group-III : Two other Surya sculpture (fig 1:5 and 1:6) of this rare category can again virtually be place in an another group of sculptural reproduction which have not only enriched the aesthetic collection of the site museum but also have instituted a fresh lease of life to the chronological parameter of the entire continuum of sculptural product available at Madan-Kamdev. Before entering into this matter, the present condition as well as iconographical composition of these two sculptures, in brief, are as follows: Fig 1:5 a) Condition: b) Length c) Posture : eroded 41 1/2 cm Width : 21 cm tribhanga d) Hands : four

e) Emblem: i) ii) Right upper hand iii) Left lower hand Left upper hand - lotus bud with a stalk difficult to identify same iv) Right lower hand - as if in Varada mudra f) Pedestal : Stand on full blown lotus, now in a partially broken state of condition. Fig 1:6 a) Condition: eroded and broken, the facial portion is completely damaged Width: 20 1/2 cm 78 b) Length : c) Posture : d) Hands 41 cm tribhanga four e) Emblem: i) Left upper hand- lotus bud with a short stalk ii) Right upper hand-same iii) Left lower hand- completely damaged iv) Right lower hand-difficult to identity but seem f) Pedestal : to be in Varada mudra. broken Thus, the iconographical traits specially the sign of lotus buds in two upper hand are sufficient enough to call them as being the deities of Surya or the deities of any member of Saura clan popularly known as Dasaditya. Upholding the popular tradition of sensuous representation these two sculptural products have also showed their preferences to the conventional pattern of ornamentation (i.e. to the usual scanty amount of ornamentation as well as to the diaphanous execution of garment). But still, the importance of

79 this segment of study however be referred first to the kiritamukuta which has a small amalaka finial at the top, secondly two tired necklaces, knitted closely with round bids and thirdly, the waist gridle also composed of bids, however, of larger size comparing to the bids used in the necklaces. Physiognomy : The smooth and resilient torsos of these two sculptures have also duly exposed the conventional sense of classicalism a commonly visible physiognomical feature of majority number of sculptures available at Madan-Kamdev. Despite of this classical commonality, there is a minute difference between the two sculptures specially to the matter relating to the execution of narrow middle, which enthralled us with (relatively) a new idea about the linear movement and accordingly, the aptitude of the wasp curve as in case of (fig 1:6) appeared to be simplified to a great extent in the (fig 1:5). The was curve particularly used in framing the narrow middle of a torso seem to have aggravated the tendency of roundness to any sculptural composition. Thus, in reference of these two sculptures, the matter may be sum up in the following words that with the passes of time, those great sculptors might have lost their faith or appetite to the concept of classical roundness as well as to the concept of sinuous beauty. Similarly, it is also interesting to observe that the legs of these two sculptures seem to have lost all form of elasticity under the pressure of a gradually developing concept of stiffness. 38 Regarding this, it should further be remembered that with tapering thigh and An aesthetic feature prone to 10 th/11 th century Dutta, M. Sculptures of Assam, 1990, pp.81-82. 38.

$ ' 80 resilient flesh, these two sculptures, have illustrated the influence of high sounding Dah-Parvatia classicalism and at the same time, it also commemorate an age old classical perception of rhythmic movement by placing one leg slightly forward with a delicate bend at knee. 39 Whatever might be the fact-the lovely upper trunk of the body of these two well proportionate sculptures stand in striking contrast to the increasingly stiff lower half of the body.40 Thus, the two sculptures can amicably be called as being the product of 11 th/12 th century A.D. Group-IV : The stereotyped delineation again inspired to discuss two other four handed Surya sculptures (fig 1:7 & 1:8) conserved in the site museum, in a group. These two though have characteristically maintained the delicate aesthetic trends of this centre of plastic activities, but still their overall compositions virtually referred to some new physiognomical development. But before make an entry into these matters, the present condition and the iconographical traits of these Sculptures, in brief are as follows: 39. 40. Here at Madan-Kamdev- this appeared to be a popular tradition where the sculptor tried to expose their urged to the rhythmic movement within a very limited parameter of aggravated stiffness of legs. This striking contrast between the two half of the bodies is an 11 th century feature Dutta, M. Op-cit, 1990, pp.82-83.

Fig 1:7 81 a) Condition: b) Length : 24 cm c) Posture : eroded, the spotted fungal development on the plastic surface of the image have further degraded the beauty of this sculpture. tribhanga Width : 20 cm d) Hands four e) Emblems: i) upper left hand - lotus bud with a stalk ii) upper right hand same f) Pedestal : Fig 1:8 a)Condition: iii) lower left hand difficult to identify iv) lower right hand - Major portion of it is now damaged. stands on full blown lotus, but unfortunately the feet along with the major portion of the lotus are now completely damaged. slightly eroded, broken just at the level of knees, the portion of the left thigh have also been sliced away. b)Length 30 cm Width: 20 1/2 cm c)Posture d) Hands : e) Emblems: i) ii) tribhanga four Left upper hand- lotus bud with a short stalk Right upper hand-same iii) Left lower hand-completely damaged iv) Right lower hand-damaged Thus, the iconographical traits suggest them as the true representation of the deities of Saura clan, if not directly the Surya.

82 Upholding the same ornamental traditions of this centre of sculptural activities, these two sculptures also have distinctive kiritamukuta at its top with the sign of amalakas. Physiognomy : They also have beared the all possible impressions of Dah Parvatia classicalism which can practically be realized in execution of wasp middle with smooth bulging hips and more appropriately in animated chest and abdomens. The oval orientated round face of the images mated with a blissful expression with thick pairs of lips in smiling context, along with bulging eyes with broad but pointed noose, have duly reflected a sense of regional aesthetic ethos in their execution. The legs have given up all short of elasticity and in place of that a sense of stiffness look to have gained its ground. 41 However, by introducing minimum amount of petrified flesh to the tapering thigh region, the compositions of these sculptures have tried to maintain a good sense of parity with the smooth and resilient upper half of the bodies characteristically sensuous in nature. 42 Over and above the viability of the gliding spirit of the rhythmic contour still be realized in composing these sculptures. Thus, the date of production of these sculptures can be assigned to the early half of 11 th century A.D. 41. 42. By the late 10 th century stiffening of legs - impressed the artist and it became special features of 11 th century Ibid, p.82. The lower half of the body slightly contrast to the elegant upper half of the body-a developing feature of 11 th century Majumdar, R.C.: History of Bengal, 1943, p.543.

83 Group-V : Attracting our attention to the compositional similarities, two other broken four handed Surya sculptures (Fig 1:9, 1:10) are there which showed a sedative shift from delicacy to a sense of rigidity. The present condition and the iconographical traits of these two Sculptures are as follows: Fig 1:9 a) Condition: b) Length : c) Posture : suffered from erosion and broken just below the waist level. 23 1/2 cm and Width : 19 cm tribhanga four d)Hands : e) Emblems: i) Left upper hand - lotus bud with a stalk ii) Right upper hand same iii) Left lower hand - difficult to identify iv) Right lower hand- difficult to ascertain but might be in Varada mudra Fig: 1:10 a) Condition : b) Length : c) Posture : d)Hands : e) Emblems: i) highly eroded, major portion of it goes beyond of its identification, broken just at the level of knees. 31 cm and Width: 22 cm dvibhanga four Left upper hand- erosions have made it quite difficult to identify but still it looks to be a lotus bud with a stalk.

ii) 84 Right upper hand-same condition prevailed but presume to have a lotus bud iii) Left lower hand - difficult to ascertain iv) Right lower hand - completely damaged. Thus, confirming them as being the deities of Surya or any one of the Saura clan, no new introduction or change specifically be observed anywhere to the matter relating to ornamentation and habiliments. bing Physiognomy : Maintaining the tradition of classical simplicity with the same vigour, the physiognomy of this group of sculptures however, looks to be pregnant with some new aesthetic idiom comparing to the other four handed Surya sculptures of the site museum. Accordingly, these flatly conceived sculptures look to have given up the urge for a smooth resilient torso, a classical fascination, identical almost to the entire sculptural compositions at Madan-Kamdev. Simultaneously, the viability of the gliding spirit of rhythmic contours of these elegant looking sculptures also seems to be suffered a severe set back, at the sharp edges of their the compressive, stereotyped rigidity. Again, the sense of mundane pleasure in the facial appearances are being quite contrastly exposed to their traditional robust bodily form with due collaboration of sinuous beauty, a feature commonly observed at Madan-Kamdev. However, the intensity of the sinuous curve specially on the edges of the bodies are minimized and the best prove of this fact can be better be referred to the way of executions

85 of narrow middle where the strength of the wasp curve of the earlier four handed Surya images appeared to be normalized to a great extent. Thus, these two sculptures may be regarded as a product of a transitional period when the artists look to have initiated some unrest but bold experiment with their products where they emphasized more on linear movement rather than the sinuous one. This experiment of this new aesthetic ideology, have attained its culmination to the Kamakhya School of sculptures of 11 th/12 th century. 43 Thus, these group of sculptures can naturally be place slightly earlier to that of Kamakhya sculptures. Two Handed Surya Sculptures : Number of two handed Surya sculptures have also graced the aesthetic collection of the site museum at MadanKamdeva. Depending on the nature of their primary emblems, these sculptures can again categorically be subdivided into two groups, some hold lotus buds in their hands while other carrying full blown lotuses as their emblem. Two Handed Surya Image with Lotus Buds : The Surya images at Madan-Kamdev, carrying lotus buds in their hands can be regarded as the unique sculptural representation to the entire north India, as this feature is primarily prone to south India's Surya images. Regarding the existence of pro-south Indian Surya images, it should however be remembered that the highly ornamental aesthetic tradition of Bengal province, have also accredited with the honour of having both north and Dutta, M. Op-cit, 1990, pp.98-98. 43.

86 south Indian iconographical traits in some of their specific exuberance of Surya images.44 Attracting our attention, this group comprises of two sculptures, of them one survived (fig :2:1) in a good state of condition while other is (fig 2:2) almost on the verge of extinction. Thus the sculpture of our discussion (i.e. the good shaped one) stands here with slightest possible deviation in tribhanga posture. Like others, this sculpture is also carved out on an architectural stone block, length of which is 22 1/2 cm while the width is 18 % cm. Though, the sculpture has broken kiritamukuta, broken pedestal as well as in an eroded state of condition, still it has a charming stance to analyse. ma Giving an impression of a south Indian aesthetic tradition, the right hand of the image being placed just above the level of shoulder, in which he carried a lotus bud with a small stalk. On his other hand, the deity holds a long stalked lotus bud in such a way that the hand itself seems to be in Varada mudra, at the level of thigh. Both hands of the image are being kept slightly away from the body with delicate bends at the level of elbows. The feet of the image rest on a full blown lotus which is now in a broken state of condition. Similarly, the image looks to be a bare footed one, refreshing again a south Indian taste. Regarding ornamentation, the sculpture has a cone shape kiritamukuta, 45 along with karnakundala,two tyred necklace, 44. 45. Majumdar, R.C.: Op-cit, 1993, p. 334. A 10 th century feature Bandopadhyay, B. : Op-cit, 1981, p.36.

87 aivyonghen, 46 waist bengel etc found as usual almost to the all bodies of the sculpture at Madan-Kamdev. At the first sight the image appear to be nude, but this is a mere illusion, a small ridge at the neck (there is the slightest possibility that the ridge being used to represent Upagriva) has made an indication to the existence of a diaphanous garment clinging to the body like a wet sheet. This is a technique to enhance the sensuous charm of the figure. This feature can safely be regarded as an inspiration of highly sophisticated Sarnath idiom. Similarly, a small but sensible mark between the two legs as well as some minor scalloped edges around the waist, have specifically referred to the use of an Indian form of dhoti tied with a Katisutra to clad the lower half of the body. Physiognomy and its analysis be an indispensable part for any sculptural study. On one hand, it offers an opportunity to realise the aesthetic sense of any sculptor, at the same time it has suggested some clues in affixing the chronological slot to any plastic product. Thus, the fully modelled image with bulging appearance in its stance is frankly reminiscent of classical volume. The fleshy rounded face of the image with a slightly pointed delineation of the chin have appreciated a shape of a betal leaf to it. The corroded nature of the image (as incase of other sculpture) has created a complicacy in ascertaining the condition of the eyes that whether it remain open or close, still the persisting bulginess symbolized an 'unsophisticated almost native' trend to work in its produce. The eyebrows are sharp and simple in nature. 47 At the same time aivyonghen - an Indianised form of Iranian waist gridle Srivastava, V.C.: Sun Worship in Ancient India, 1972, p.310. A 10 th century feature - 46. j 47. Bandopadhyay, B. Op-cit, 1981, p.32.

88 lips are also full and its smiling context giving an impression of a joyous state of mind in mundane pleasure. Square shoulder, broad 48 chest with prominent nipples, narrow middle, bulging abdomen with eminently carve naval wide and 'fleshy hip * are some of the other significant physiognomical aspect of this icon. Though the tribhanga posture of the image has not been overstressed, but still it serve its purpose of displacing the weight of the body to other side. This is a peculiar technique often found to the aesthetic product of 9 th century A.D.50 Similarly, the fleshy stance of the image, controlled within a definite outline, have a swelling tendency (around its contour) thus, signaling to a conscious strength from within. This predilection evolved itself into a shape of 'rounded pad', indicating to a sense of petrifaction to seize the soft fleshy character of the image. The left leg of the image has slightly been put forward giving an impression of a movement. In this respect it is also interesting to observe that the sculptor had carefully attempted to execute knees of the leg, so to give an impression of elasticity and pliability.51 The guardian authority of this site, Directorate of Archaeology, Assam has already confirmed the date of its production as 11 th/12 th century a generalised form of estimation made applicable to all available sculpture conserve in the site museum. 48. This is a special feature of Pala-Sena Sculpture 49. 50. 釤┽煥 51. Mukherjee, B.N. : East Indian Art Style, 1980, pp.4-5. Fleshyness in the hip - a late 9 th century feature Dutta, M. : Op-cit, 1990, p.77. Majumdar, R.C.: Op-cit, 1943, p.541. A 9 th century feature Ibid.

89 While accepting this view, we should keep in mind that the sculptures in Madan-Kamdev are in possession of divergent physiognomical status in their stand. The physiognomy of a sculpture seen to be directly proportionate to the chronology of the same. And accordingly, the sculpture can better be presumed as a product of 10 th/11 th (specifically the last part of 9 th century A.D.) century rather than 11 th/12 the Century A.D. The second Surya sculpture (fig 2:1) of this group stand almost in a mutilated state of condition. Like the earlier one, this sculpture is also carved out on the surface of an architectural stone block, length of which is 23 cm while width is 19 cm. Referring to its iconographical trait as well as ornamentation no such new incorporations are there, except a fully developed tribhanga posture on which the image being executed. The physiognomical analysis of this sculpture under its present eroded state of condition is not possible for us. But still emphasized form of tribhanga posture might have referred to a matured form of execution which appreciated the date of its production more near to 11 th/12 th century A.D. Two Handed Surya with Full Blown Lotuses : Depending of the nature of their execution, this group of Surya sculptures at Madan-Kamdev can again be subdivided into two categories for our discussion. The first group comprises of four Surya sculpture which have beared stereotype execution to each other. The basic characteristic feature of this group of Surya sculptures is that they look like to be stand on an asana or on a half grown ratha, the back slab of which, (in turn) assumed almost

90 the shape of a stella. Apart from that they have also successfully exposed, in their stand, the influence of an earth bound (terracotta) aesthetic trend of the soil. Though there are three sculptures in this group, (fig 3.1.,3.2,3.3) only one survived here in a good shape to analyse (fig 3:1). However, it also suffered blows from age long erosions as the sculpture has lost the portion just below the knees alongwith, the finial part of its Kiritamukuta, and most importantly, the right upper side of the back slab, which might have beared the sign of a full blown lotus. With of all these eliminations, this samabhanga posture Surya sculpture now stand here with a length of 30 cm and width of 10 cm. Coming to the point of its iconography, the two hands of the images look to be rested on two elbows of the ratha/asana, holding two full blown lotuses (of plain nature) in his two hands. However, at present, there is only one lotus with a long stalk assigned to the left hand of the image while the sign of other lotus in his right hand,5 52 as stated, has already been eliminated. Thus, the iconographical trait confirmed it as being an image of Surya. In case of ornamentation, as the body of the sculpture being decorated only with usual sign of kiritamukuta, karnakundala, two tyred necklace 53 and waist gridles. Regarding ornamentation our observation has revealed an interesting point 52. The elimination, has made it quite difficult to identify the exact emblem in the right hand of the image, but comparing to other sculptures of this group it being appreciated without any hesitation as a lotus with a long stalk. 53. Two tyred necklace carve not below the chest at MadanKamdeva.

91 that there are no sign of armlet and waist bangles. Though the reason behind this is quite unknown to us possibly the age long 54 erosions are responsible for the same. At the first sight, the upper portion of the image look to be nude, but a small ridge on the neck may be referred as an indication of the existence of a diaphanous garment, an aesthetic ideal hailed from high profile Sarnath idiom, to expose the curve of the body in a sensuous way. Similarly, erosions have rubed out all sign of lower garment except a small ridge between the two legs to highten the scope for the presence of an Indian form of dhoti to clad the body. Coming to the point of physiognomy, the sculpture 55 has a square face, chin just below the lower lips has slightly been over stressed. 56 The eyes are long and open in which the eye lids set against the narrow slit of bulging eye apple. 57 The thick and bulging lips of the image with a smiling context referring to a sense of mundane pleasure. 58 Square shoulder with slightest possible dropping tendency, wide chest and hip, narrow middle 54. The sculptor might have imbibed the idea of limited ornamentation from the Jaina iconographical trait, which showed their preference to a bare bodied execution as we have observed in case of the sculptures of Jaina Tirthankara as available at Surya Pahar in modern Goalpara district. 55. 56. 57. 58. Highlighting a sense of regionalism Mukherjee, B.N.: Op-cit, 1980, p.23. A 10 th century feature Bandopadhyay, B. : Op-cit, 1981, p.32. An 11 th century feature Kramrish, S. : Rupam, 1929, p.123. Blissfull facial expression generally to be found with 11 th century sculpture Dutta, M. : Op-cit, 1990, p.82.

, 92 are some of the other physiognomical features this sculpture. The nipple and navel are prominently executed as an aesthetic technique which might have imbibed from highly sophisticated Pala-Sena art tradition. An emphasis to depict a bulging abdomen appeared to be executed in the form of two fat lobs of terracotta type to the lower half of the abdomen. The sculpture also possessed a stiff column like legs with slightly downward tapering tendency 59 No sign of execution of knees are there to observe. Over an above, a sense of elongation, specially the portion just below the chest, grasp the entire composing outline of the sculpture. The way of execution of the waist gridles, fingers abdomen etc have duly highlighted an influence of an earth bound terracotta tradition. However, this is not a phenomenal appearance. The high profile plastic tradition of early medieval Assam has witnessed number of instance in which existence of popular earth bound trend has found active on the side of high profile aesthetic tradition of that time. The production of this groups of sculptures is the best serve example of this fact. M. Dutta has referred two prime factors for the existence of this aesthetic trend that the temple sculptures as well as architectural decors are always indigenously produce; similarly, in erecting a temple the patronizer with his limited option, have to employ both migrating and local artist and An 11 th century feature , 59. 60. Majumdar, R.C.: Op-cit, 1943, p.543. A 10 th century feature, Again this feature is applicable even to the sculptures (probably) of 11 th century A.D. Bandopadhya, B. Op-cit, 1981, p.32 & Barpujari, H.K.(ed.) : Op-cit, p.470.

93 sometime the probationary artist to serve his purpose." 61 These, have widen the scope for assimilating divergent aesthetic trends and occasional appearance of probationary coarseness to their product. Whatever might be the fact, all the three sculptures of this group can be regarded as the product of 11 th/12 th century .A.D. as physiognomy suggest. Other group of Surya sculptures of this category comprises of number of Surya icons. But, unfortunately all of them are now in a highly eroded state of condition and almost all have lost major parts of their bodies. Under such circumstances, their analysis appeared to be a difficult task to achieve. But, it is good to see that they all have a stereotype executions (fig 4.1, 4.2) which led us to sum up the matter of their analysis only with some basic characteristic features of these sculptures. First of all, they all stands in rigid samabhanga posture. The erect samabhanga posture of sculpture has always been referred to an impression of irrefutable calmness and immutability.62 This derivative can better be used here in presuming the exact appearance of this highly eroded sculpture that if not to the meditative sentiment, the sculptors at least have showed their preference in giving a clam and contemplative appearance to their products. Alongwith that square face of the image with beautiful delineation of the chin,63 bulging eyes (wheather the eyes remain open or close is quite difficult to 61. Dutta, M. Op-cit, 1990, p. 74. 62. 63. Saraswati, S. : Survey of Indian Sculpture, 1975, p. 129. This feature placed those sculptures in a close proximity of the Deopani School. Dutta, M. Op-cit, 1990, pp. 80-81.

94 ascertain), eyebrows with normal curve, broad but pointed nose, heavy lower lips, 64 square shoulder narrow middle 'damaru madhya' 65 with animated chest and abdomen (however the erosions have completely damaged the animated layer of the plastic surface) two column like legs with a sense of petrified flesh are some of the general physiognomical feature of these sculptures. One of the important change that we observe regarding the physiognomy of these sculptures is that the neck became much more shorter comparing to other sculptures. This is probably because of a sense of compression or because of the limited space provided to the sculptor for their executions. Secondly, carrying forward a sense of individuality the Padma of these sculptures have carved out with beautiful execution of petal. Along with that all these sculptures of this group are executed in a short and stout version with minimized length and width as if they are the product of a hasty proposition. Accordingly, they can be referred as the products of clumsy political or hasty political situation of the country as Assam witnessed during 12 th century A.D. Thus, Surya sculptures at Madan-Kamdev have beared some unique characteristic feature of their own. First majority of them decorated with a strange item Vanamala. Vanamala is a specific characteristic feature of the Vishnu icon.66 Under such circumstances, it is quite difficult to ascertain the reason behind 64. 65. 66. A sense of regionalism, Phukan, N. Lokakalpadristi(As), 1987, p. 41. A term generally used to mean the narrow middle of the torso, Saraswati, S.: Op-cit, 1975, p. 126. Bhattacharjee, A. Icon & Sculptures of Early & Medieval Assam, 1978, p.7.

95 67 it's association with Surya images. Still it can be said in reference to a popular religious belief that Surya might have worship here as a deity belonging to popular Vaisanava Cult. This has further aggravated the concept of a south Indian ideal in consecrating these Surya icons where Surya being worship as a deity of Vaisnava Cult.07 Secondly, they are all bare footed sculpture to highlight the influence of south Indian delineation. Thus, with all these peculiarities, Surya sculptures at Madan-Kamdev can be divided into four groups I) Fourhanded Surya sculptures with lotus buds in their hands ii) Two handed Surya sculptures with lotus bud iii) Two handed Surya sculpture of terracotta origin with full blown lotus and ratha like asana iv) Surya sculpture with Samabhanga posture of sophisticated tradition with beautifully carve lotus.