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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-Kamdeva, 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-Kamdeva.
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-Kamdeva.
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.