Revanta from Kakrak (Bamiyan) in Afghanistan - Paper by Dr. Priyatosh Banerjee

Bamiyan was a flourishing centre of Hindu and Buddhist arts during the 7th and 8th century AD. This area has yielded some very outstanding examples of Buddha and Bodhisattva figures as well as áiva, P¡rvati, Ga¸e¿a and S£rya (PL. CLXXVI a) images. The subject of this present discussion is a mural fragment from Kakrak, which is now preserved in the Kabul Museum, Kabul.

The fragment in question depicts a prince-like figure (PL. CLXVII) seated at ease, which has been described in general as a Hunter King by scholars (Rice and Rowland 1971 : 86, Fig. 146). But the figure seems to represent a divinity as it has a halo behind the head. The deity wears a dhoti and a girdle, and high boots as is the case with Surya, the Sn god. His upper garment covers the whole body.

Among his other paraphernalia are a barking dog, on the right side of the pedestal (on which the divinity is seated) and a man with quivers on the left side of the pedestal.

Stylistically, the Kakrak figure under discussion is a product of Kushano-Sasanian art traditions, The crown of the figure is decorated with triple crescent worn by royal personages. The motif shows definitely Sasanian influences.

Regarding the identification of the Kakrak figure I feel inclined to consider it as one of Revanta, who is a son of the Sun god, S£rya. The bow and arrows are common attributes of Revanta, who is fond of hunting. Again, the dogs and pigs form part of his hunting expedition. A barking dog (PL. CLXXVI b) is invariably shown in his hunting scene.

The crown of Kakrak figure, as already mentioned above, is decorated with three crescents - the device which is also used to represent the Sun god, Mithra or a combination of Verethraghna-Mithra personality. Verethraghna is a divine hero of an ancient Iranian cult, and in Avestic religion he is called Bahram. "He merged in some phases into the cult of Mithra, a deity of greater antiquity, a god of the Sun and light represented on the coins of the so-called Napki type issued by the Hepthalite rulers of Ghazmi of the fifth or sixth century A.D.". The Mithra worship was highly popular in Iran and it exercised a great impact on the sun worship of Bamiyan and also India. Revanta, as mentioned above, is one of the sons of Surya. So, the Revanta worship is a by-product of the sun worship. This is why Revanta has many attributes in common with S£rya. They include the girdle, armour, ear-rings, crowns and necklaces.

Revanta was produced by S£rya taking the form of a horse on his consort who was moving in the polar region as a mare. Revanta's main passion was hunting. In the B¤ihat Samhit¡ he is described as "a¿v¡r£·ho m¤·¡di-pariv¡ra" (Revanta should be represented on a horese-back accompanied by a hunting party) (Bhattasali 1921 : 175).

The M¡rk¡nd®ya pur¡¸a provides a detailed account of the origin and character of Revanta. S£rya concentrating his thoughts, beheld his wife in the form of a mare, unassailable by all created beings by reason of her austerities and self-repression. And going to the Northern Kurus, the-sun became a horse and approached her. And she beholding him approaching, because of her fear of a strange male went face to face with him, being intent on guarding her rear. And there upon they joined their noses, when they both met there, and the Sun's glory passed from the Sun's two nostrils into the mare. Two gods were begotten there, the two Ashvins who were the best physicians, namely N¡satya and Dasra, the two sons who issued forth from the mare's mouth; these two are indeed the sons of M¡rta¸·a while he bore a horse's form. And at the termination of the flow of his semen, was born Revanta holding a sword and a bow, clad in armour, riding on horseback and carrying arrows and quiver. (Pargiter 1969 : 575; Sharma 1975 : 27)

Revanta was given by Surya the overlordship of the Guhyakas. Addressing Revanta, the sun god said "My son you will win the overlordship of innumerable multitudes. At the time of natural calamities, like forest fire and big blazes, or apprehended invasions by enemy or loot by free booters, those mortals that invoke thy aid shall be freed from great dangers. When worshipped and propitiated you shall give to your worshippers welfare, riches, happiness, kingdom, health, fame and advancement (Sharma 1975 : 175).

The above discussion indicates that Revanta had certain features in common with Avalokit®¿vara. Revanta, like Avalokit®¿vara, saved his devotees from various calamities.

If we analyse the paur¡nic accounts, we find that Revanta was both a warrior god and a hunter god. In the Kakrak figure we find his princely character more than his hunting aspect. That is why we find him seated. Normally, Revanta figures are equestrian figures as hunters.[i]

Though Revanta is a minor Hindu deity, his cult was known over a wide area. Its presence in Bamiyan is easily explainable in view of the fact that the solar cult with which Revanta is closely associated was very prominent in Afghanistan. It is from Bamiyan that the solar cult travelled to Kucha and Dun-huang.

Revanta, Wall painting kakrak, Afghanistan, Kushano-Sassanian period.

(After Fig. 146, Art in Afghanistan by Francis M. Rice and B.Rowland, 1971)

[i] There are certain texts which, while describing Revanta, do not refer to the hunting scene (Sharma, 1975: 64)