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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
脰狈
6. Majumdar, R.C.(ed.): The Classical Age(1954), 1988, p.442.
Padmasanah padmakarah padmagarbha samadyuti :
7.
8.
Sapt膩艣ca Saptaraju艣wa dwibh奴ja 鈥� ravi (M. P-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
Sapt膩艣cah Saptarajju艣ca dwibh奴jo bhaskara Sad膩! (K.P. 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.