An early cult image of Viśvarūpa, of the Samalaji type, dateable to the 6th century AD; one of the earliest Viśvarūpa sculptures in Western India.

Proportions of the Samalaji and Oganaj Viśvarūpas Comparative Table of Dimensions

The Samalaji and Oganaj Viśvarūpa sculptures are very close in size and relative proportions. The Oganaj image is slightly larger, and the size of the Viṣṇu figure has been considerably enlarged. The symmetry of the original Samalaji sculpture derives from the fact that the width of the base and the height of the Viṣṇu figure are equal; this essential proportion is missing from the Oganaj image.

Note: The dimensions and proportions of the Desai Viśvarūpa must be compared with these two, to establish further chronological evidence.

The iconography of the two sculptures is almost certainly identical; a full comparison will be possible only if the paint can be stripped away and the identities of all the surrounding figures established.

Nr. 02: Oganaj

Tripura Mātā-Tempel

03.  DREIKOPFIGER VIṢṆU

Stein: 112 x 80

urspr. 8 Hande

M. R. Seth High School, Kathlal, Kapadvanj Taluka, Kheḍā District

03.1 DESCRIPTION:

Das Bildnis wurde 1991 erneut untersucht und ausfuhrlich dokumentiert: Viṣṇu with three crowned human heads, perhaps seated (legs broken off at upper thighs); the arms and all attributes are damaged or lost. Only the conch can be distinguished, held in the 2nd left hand. A large semicircular nimbus behind the heads is populated with miniature figures above the level of the shoulders. These consist of a central vertical register of three overlapping figures (all indistinguishable due to damage) on a raised wedge-shaped backing piece; to either side of this originally 4 vertically overlapping pairs were shown in low relief, arranged radially, all of which are too damaged for identification. The proper left side of the nimbus has at some time been cut down and smoothed on a level with the tops of the lower figures. The iconographical conception is that of the Samalaji Viśvarūpas, but the style is considerably later, as can be seen particularly in the treatment of the hair beneath the crown rim and the jewellery.

03.  PRELIMINARY IDENTIFICATION:

A cult image of MAHĀ-VIṢṆU or Viśvarūpa, based on the Samalaji/Oganaj series.

Nr.03: Kathlal

M.R. Seth High School

04.  DREIKOPFIGER VIṢṆU

Marmor: 72,5 x 43

14 Hande

Brahmani Mātā-Tempel, Vadavi, Kadi Taluka, Mahesana District

04.1 DESCRIPTION:

This is a 14-armed image of Vaikuṇṭha seated on anthropomorphic Garuḍa, with the 10 avatāras in the margins and a seated figure at the apex of the arch. The sculpture was found half-buried in the ground beside the south wall of the Brahmani Mātā temple on the outskirts of Vadavi village, on the bank of a lake. It was excavated with the assistance of the Sarpanch (village headman) and cleaned with water from the lake. After photography, the Sarpanch was advised to protect the sculpture by moving it inside the temple, and this was done. The importance of the sculpture was later reported to the Collector of Mahesana, who undertook to move it to a place of safety.

04.2 PRELIMINARY IDENTIFICATION:

Cult image of 14-armed Vaikuṇṭha.

Nr. 04: Vadavi

Brahmani Mātā-Tempel

05. DREIKOPFIGER VIṢṆU

Stein: 68 x 43

20 Hande

Visat Mātā nu Sthanak, Harsundal, Mahesana Taluka, Mahesana District

05.1 DESCRIPTION:

Harsundal village is 20 km south of Mahesana, 6 km from Mandali village, and 4 km west of the Ahmedabad-Mahesana road. At the back of the village stands a platform with a solid wall, painted blue, at the western end, and a cubicle at the centre for the symbol of Visat Mātā. Several loose sculptures from a Solaṅkī temple of the 11th century are cemented into the wall to left and right of the Mātā shrine. These are dominated by two Viṣṇu images, which I designated "A" (Harsundal 1), on the left, and "B" (Harsundal 2), on the right. Both sculptures represent three-faced Viṣṇu seated on anthropomorphic Garuḍa. The animal faces have ringed crowns, the central face a solid crown. The sculptures are of white marble, and severely damaged. They form a matched pair (cp. the sanctum layout at Valam).

Sculpture A (Harsundal 1) is 20-armed. The left face is that of Varāha, the right of Narasiṃha. The two uppermost hands were originally raised above the heads. Viśvarūpa appears seated directly upon Garuḍa, without a throne. All the attributes are destroyed except the eroded remains of the kamandalu in the lowered left hand. The front hands originally made the dhyāna/vyākhyāna-mudrā in front of the body. There are avatāra figures down both margins of the slab.

05.2 PRELIMINARY IDENTIFICATION:

A Solaṅkī-period cult image of 20-armed Viśvarūpa.

Nr. 05: Harsundal

Visat Mātā nu Sthanak

06. DREIKOPFIGER VIṢṆU

Stein: 71 x 42

14 Hande

Visat Mātā nu Sthanak, Harsundal, Mahesana Taluka, Mahesana District

Harsundal village is 20 km south of Mahesana, 6 km from Mandali village, and 4 km west of the Ahmedabad-Mahesana road. At the back of the village stands a platform with a solid wall, painted blue, at the western end, and a cubicle at the centre for the symbol of Visat Mātā.

Several loose sculptures from a Solaṅkī temple of the 11th century are cemented into the wall to left and right of the Mātā shrine. These are dominated by two Viṣṇu images, which I designated "A" (Harsundal 1), on the left, and "B" (Harsundal 2), on the right. Both sculptures represent three-faced Viṣṇu seated on anthropomorphic Garuḍa. The animal faces have ringed crowns, the central face a solid crown. The sculptures are of white marble, and severely damaged. They form a matched pair (cp. the sanctum layout at Valam).

Sculpture B (Harsundal 2) has 14 arms and is inscribed on the base with the word Vaikuṇṭha. The left face is that of Varāha, the right of Narasiṃha. The god appears seated on a throne behind Garuḍa. The front hands are in the dhyāna/vyākhyāna-mudrā. Also preserved to some degree are the gadā and varada-mudrā, as well as the kamandalu. There are avatāra figures down both margins of the slab.

06.2 PRELIMINARY IDENTIFICATION:

A Solaṅkī-period cult image of 14-armed Vaikuṇṭha.

Nr. 06: Harsundal

Visat Mātā nu Sthanak

07. DREIKOPFIGER VIṢṆU

Marmor: 74 x 42

14 Hande

Kotyarka-Tempel, Mahudi, Vijapur Taluka, Mahesana District

07.1 DESCRIPTION:

The Kotyarka temple is a large modern structure, built in the 1930s on the west bank of the Sabarmati river. There are two Solaṅkī sculptures in white marble, set into the outer wall of the sanctum on the east side, flanking the entrance. They both represent three-headed Viṣṇu seated on anthropomorphic Garuḍa, and their dimensions suggest that they form a matched pair (cp. Valam temple), although specific iconographical and even stylistic differences (e.g. the treatment of Garuḍa) could indicate a time-difference. I designated the left-hand image Sculpture "A" (Mahudi 1), and the right-hand image Sculpture "B" (Mahudi 2).

Sculpture A (Mahudi 1) is 14-armed. The left face is that of Varāha, the right of Narasiṃha. The front hands are in the dhyāna/vyākhyāna-mudrā. There are no separate avatāra figures.

07.2 PRELIMINARY IDENTIFICATION:

A Solaṅkī-period cult image of 14-armed Vaikuṇṭha.

Nr. 07: Mahudi

Kotyarka-Tempel

(Majumdar 1940)

Nr. 07: Mahudi

Kotyarka-Tempel

(Maxwell 1991)

08. DREIKOPFIGER VIṢṆU

Marmor: 73 x 41

20 Hande

Kotyarka-Tempel, Mahudi, Vijapur Taluka, Mahesana District

08.1 DESCRIPTION:

The Kotyarka temple is a large modern structure, built in the 1930s on the west bank of the Sabarmati river. There are two Solaṅkī sculptures in white marble, set into the outer wall of the sanctum on the east side, flanking the entrance. They both represent three-headed Viṣṇu seated on anthropomorphic Garuḍa, and their dimensions suggest that they form a matched pair (cp. Valam temple), although specific iconographical and even stylistic differences (e.g. the treatment of Garuḍa) could indicate a time-difference. I designated the left-hand image Sculpture "A" (Mahudi 1), and the right-hand image Sculpture "B" (Mahudi 2).

Sculpture B (Mahudi 2) is 20-armed. The left face is that of Varāha, the right of Narasiṃha. The front hands are in the dhyāna/vyākhyāna-mudrā. There are no separate avatāra figures.

08.2 PRELIMINARY IDENTIFICATION:

A Solaṅkī-period cult image of 20-armed Viśvarūpa.

Nr 08: Mahudi

Kotyarka-Tempel

(Majumdar 1940)

Nr.08: Mahudi

Kotyarka-Tempel

(Maxwell 1991)

09. DREIKOPFIGER VIṢṆU

09.1 DISCRIPTION:

The Kṛṣṇa temple at Valam faces north. It has recently been brightly painted, inside and out, obscuring all sculptural detail (cp. the Oganaj Viśvarūpa). Damaged images have clearly been 'restored' with plaster (e.g. the faces, which would have been broken) before painting, which further complicates interpretation. The temple and its sculpture, which appears to be in its original location is of the Solaṅkī period.

The sanctum interior is lined by many forms of Viṣṇu (the exact number is unknown, as the temple strongbox blocks the northwest corner) and other deities sculpted in relief between pilasters. Of these, the central image on the east and west walls is magnified and set in a large niche with pillars, a chadya and a makara-torana. I designated the figure on the left/east Sculpture "A" (Valam 1), and that on the right/west Sculpture "B" (Valam 2).

Sculpture A (Valam 1) has three faces (Varāha left, Narasiṃha right) and 14 arms, and is seated on anthropomorphic Garuḍa.

09.2 PRELIMINARY IDENTIFICATION:

A Solaṅkī-period cult image of 14-armed Vaikuṇṭha.

Nr.09: Valam

Kṛṣṇa-Tempel

10. DREOKOPFIGHER VIṢṆU

Stein: 100 x 65

20 Hande

Kṛṣṇa-Tempel, Valam, Visnagar Taluka, Mahesana District

10.1 DESCRIPTION:

The Kṛṣṇa temple at Valam faces north. It has recently been brightly painted, inside and out, obscuring all sculptural detail (cp. the Oganaj Viśvarūpa). Damaged images have clearly been 'restored' with plaster (e.g. the faces, which would have been broken) before painting, which further complicates interpretation. The temple and its sculpture, which appears to be in its original location, is of the Solaṅkī period.

The sanctum interior is lined by many forms of Viṣṇu (the exact number is unknown, as the temple strongbox blocks the northwest corner) and other deities sculpted in relief between pilasters. Of these, the central image on the east and west walls is magnified and set in a large niche with pillars, a chadya and a makara-torana. I designated the figure on the left/east Sculpture "A" (Valam 1), and that on the right/west Sculpture "B" (Valam 2).

Sculpture B (Valam 2) has three faces (Varāha left, Narasiṃha right) and 20 arms, and is seated on anthropomorphic Garuḍa.

10.2 PRELIMINARY IDENTIFICATION:

A Solaṅkī-period cult image of 20-armed Viśvarūpa.

Nr. 10: Valam

Kṛṣṇa-Tempel

(Majumdar 1940)

Nr. 10: Valam

Kṛṣṇa-Tempel

(Maxwell 1991)

11. DREIKOPFIGER STEHENDER VIṢṆU

Stein: 91 (Viṣṇu-Figur 76) x 71

urspr. 8 Hande

In situ:

Domresar Talav (Nordufer), Gunja, Visnagar Taluka, Mahesana District.

11.1 DESCRIPTION:

Gunja village is about 10 Km NW of Visnagar in a straight line, but difficult to find by road. The Domresar talav is a large expanse of water beside which the village stands. The remains of a temple stand in the water, linked to the west bank by a stone causeway. There is a considerable mound along the north bank, with a cleft running from the village down to the water, used by the villagers and their cattle. The mound represents the remains of at least one temple, parts of which were found by the waterside. I have reported the position of the sculpture to the Collector of Mahesana, with the recommendation that it be removed to a place of safety before further damage occurs.

The damaged sculpture was found on the east side of the cleft, lying exposed halfway up the slope. It is a block from a temple wall, sculpted on two sides. The front side represents a niche containing a standing figure of Viṣṇu with three heads (Varāha left, Narasiṃha right) and probably eight arms, flanked by the āyudhapuruṣas and two camaradharinis. The side-heads have ringed crowns. Vaikuṇṭha and the cāmara-bearers stand upon lotuses.

11.2 PRELIMINARY IDENTIFICATION

Vaikuṇṭha integrated with the external iconographic programme of an early Solaṅkī Viṣṇu temple (compare Sandera).

Nr. 11: Gunja

Domresar Talav

12. DREIKOPFIGER STEHENDER VIṢṆU

Stein: 50 x 26 (Rahmen 74 x 42)

8 Hande

Viṣṇu-Tempel, Sandera, Patan Taluka, Mahesana District

12.1 DESCRIPTION:

Sandera (Sanderav, Sander) lies 15 km SW of Unjha in a straight line, 8 km SW of Sunak, and some 16 km SE of Patan (Anahilavada, the Solaṅkī capital). It has become an important place of pilgrimage with the rise of the cult of Sanderi Mātā. There are five temples in a compound, all facing east. From south to north: (1.) a large modern structure; (2.) the ancient Viṣṇu temple; (3.) the ancient 'Sūrya' (Śiva) temple; (4.) the modern Sanderi Mātā shrine; and (5.) another old temple at the northern edge of the compound. The Viṣṇu temple consists of maṇḍapa, vimāna, and śikhara. It faces east and has three bhadra images: Narasiṃha (south), Varāha (west), and three-headed Viṣṇu with the faces of these two avatāras (north). It is an early Solaṅkī temple of the 11th century; the Viṣṇu sculpture -- particularly in the position of the front pair of hands, showing separate dhyāna and vyākhyāna-mudrās -- is therefore of great importance to the origin and development of Vaikuṇṭha and Viśvarūpa imagery during the Solaṅkī period. This is one of the very earliest such images of the rising Solaṅkī power, as indicated by its proximity to the capital. Its iconographical logic is explicitly shown by positioning it after those of Narasiṃha and Varāha.

12.2 CHRONOLOGY:

The geographical location of Sandera (see above) places it in the immediate vicinity of the Solaṅkī capital. The temple would most probably have been erected during the reign of one of the major Solaṅkī kings of the 11th century: Bhīma I (ca. AD 1022-1064), Karna (ca. AD 1064-1094), or possibly Jayasiṃha (ca. AD 1094-1143). The lesser rulers of this century were the three successors to the founder of the dynasty, Mularaja: Camunda (ca. AD 996-1022), Vallabharaja (who ruled for only six months during AD 1009/1010), and Durlabha (ca. AD 1010-1022); these are assumed to have been relatively unpretentious, and no inscriptions from their reigns are known.

The known epigraphical evidence most closely associated with the Sandera temple is the Sunak inscription on two copper plates of Maharaja-Trailokyamalla-Karnadeva, ruling in the capital, Anahilapataka, who grants land in Laghu-Dabhi for the maintenance of a tank in Sunaka. Laghu-Dabhi is the modern village of Dabhi, 1.5 kilometres south-west of Sunak; Sandera lies only 3 kilometres beyond it to the south-west. The inscription is dated in the capital, in the reign of Karna, in the Year VS 1148 = AD 1091. (EI I: 316; DHNI: 963-964).

In view of the proximity of Sandera to the capital, and the diminutive size and simplicity of ornament of its Viṣṇu temple, it may be assumed that this shrine was erected in the reign of either Bhīma I (the contemporary of Mahmud of Ghazni, who led his army in the attack on Somnath, passing through Bhīma's domains by way of Anahilapataka and therefore very close to Sandera, in AD 1025), or of Karna; at any event before the imperial expansion of the Solaṅkī kingdom through the conquests of Jayasiṃha (ca. AD 1094-1143). The small Sandera temple, and its image of Vaikuṇṭha, can thus safely be assigned to the period AD 1029-1094. This might reasonably be narrowed down to the reign of Bhima after the invasion of Mahmud and to the period when he is known to have been issuing land grants from the capital (in AD 1029, 1030, and 1036), among others to Vaiṣṇava Brahmans named Vāsudeva and Govinda (DHNI: 948-949). A date in the second quarter of the 11th century (ca. AD 1025-1050) is therefore acceptable.

12.3 PRELIMINARY IDENTIFICATION:

One of the earliest Solaṅkī-period 8-armed standing Vaikuṇṭha images, integrated with a temple iconographic programme (cp. Gunja).

Circa AD 1025-1050+.

Nr. 12: Sandera

Viṣṇu-Tempel

13. DREIKOPFIGER VIṢṆU

Marmor: H. 60

14 Hande

Gaṅgā Mātā-Tempel, Patan, Patan Taluka, Mahesana District

13.1 DESCRIPTION:

Patan is the ancient capital of the Solaṅkīs (Anahilavada). There are very few remains from Solaṅkī times. The Gaṅgā Mātā temple is modern, consisting of many shrines closely grouped within a fairly large compound.

The image of three-headed Viṣṇu, with 14 hands, two of which are raised above the shoulders, is a very late piece in shining white marble. It is installed in one of the peripheral shrines to the left inside the gateway, a few yards from the priest's office. My notes on this image, including the dimensions, were lost later in the day. The sculpture stands on a shelf-like altar, and is about 60 cm in height.

13.2 PRELIMINARY IDENTIFICATION:

A late Solaṅkī-period cult image of 14-armed Vaikuṇṭha.

Nr. 13: Patan

Gaṅgā Mātā-Tempel

(Majumdar 1940)

Nr. 13: Patan

Gaṅgā Mātā-Tempel

(Maxwell 1991)

14. DREIKOPFIGER VIṢṆU

Marmor: 37 x 20,5

20 Hande

Mahā-Lakṣmī-Tempel, Patan, Patan Taluka, Mahesana District

14.1 DESCRIPTION:

Patan is the ancient capital of the Solaṅkīs (Anahilavada). There are very few remains from Solaṅkī times. The Mahā-Lakṣmī temple is modern and prosperous; a sculptured torana and a new doorframe were being erected during my visit. It is a large temple, with three very large sculptures in the elongated sanctum.

To the right of the main entrance, between the corner of the temple and the priests' private entrance, is a small Śiva shrine with a Liṅga and a Nandi bull in the centre of the floor. On a low ledge against the back wall are ranged seven miscellaneous sculptures, all of the Solaṅkī period and in white marble (including Viṣṇu-and-Lakṣmī, Gaṇeśa, Sūrya). The fourth sculpture from the left is a small white marble image of 20 armed, three-headed Viṣṇu, mounted on anthropomorphic Garuḍa.

14.2 PRELIMINARY IDENTIFICATION:

A small Solaṅkī-period cult image of 20-armed Viśvarūpa, probably a domestic icon.

Nr. 14: Patan

Mahā-Lakṣmī-Tempel

15. DREIKOPFIGER VIṢṆU

Marmor

14 Hande

Baroda Museum AC.2.3 aus Dethali, Siddhapur Taluka, Mahesana District

15.1 DESCRIPTION:

A white marble cult image of three-headed Viṣṇu seated on anthropomorphic Garuḍa. The god has 14 arms, the front two hands being held in the characteristic vyākhyāna-/dhyāna-mudrā. The raised rear hands, in later periods represented as empty, here hold pāśa and kheṭaka. Three of the attributes on the right side and one on the left are broken. The remainder are clearly represented and well preserved:

The centre of the base is inscribed with the name VIKUMTHA (cp. the 14-armed inscribed figure at Harsundal, No.6 in this Report).

A Solaṅkī-period cult image of 14-Vaikuṇṭha.

Nr. 15: Baroda (Museum)

aus Dethali

16. DREIKOPFIGER VIṢṆU

Marmor

16 Hande

Watson Museum (Rajkot), aus Siddhapur, Siddhapur Taluka, Mahesana District.

16.1 DESCRIPTION:

A white marble cult image of three-headed Viṣṇu seated on anthropomorphic Garuḍa. The god has 16 arms, the front two hands being held in the stiff and somewhat crudely represented combined vyākhyāna- and dhyāna mudrās. The four-headed, 16-armed, Garuḍa-mounted Viṣṇu is named Trailokyamohana in both the Aparājitapṛcchā (219.38-41) and Rūpmaṇḍana (3.60-62). The same attributes are given in both texts, and in the same order: Right: gadā - vajra [ARP] / cakra [RM] - aṅkuśa - bāṇa - śakti - cakra - varada - yogamudrā // Left: mudgara - pāśa - śārṅga - śaṅkha - padma / abja - kamaṇḍalu / kundika - srnga - yogamudrā.

Some of the attributes in the sculpture are damaged, and the rest are not represented in precisely the order given in the texts. The combined gesture of the front hands, characteristic since the 10th century, is here termed the yoga-mudrā. The curiously shaped object in the uppermost left hand, opposite the mace, is identified by both texts as mudgara, the hammer-weapon. The four heads are given in these texts as human, Narasiṃha. Boar (sukara), and Kapila, as represented in certain Kashmiri icons and prescribed by Viṣṇudharmottarapurāṇa III; Viṣṇu images having the first three faces only (without the Kapila mask at the back) are known in Gujarat. A small seated figure (not mentioned in the texts) appears at the right side of the plinth.

16.2 PRELIMINARY IDENTIFICATION:

A late Solaṅkī-period cult image of 16-armed TRAILOKYAMOHANA.

Nr. 16: Rajkot (Museum)

aus Sidhapur

17. DREIKOPFIGER VIṢṆU

Marmor

16 Hande

Baroda Museum AC.2.48, aus Visala, Mahesana District

17.1 DESCRIPTION:

A white marble cult image of three-headed Viṣṇu seated on anthropomorphic Garuḍa. The god has 16 arms, the front two hands, though damaged, clearly having been held in the combined vyākhyāna- and dhyāna mudrās. The main figure is shown against an arched stele with the ten avatāras represented on the margins, beginning with Matsya and Kūrma on the plinth (cp. Vadavi, No.04 in this Report), the raised uppermost hands are empty. The long object held in one of the left hands is the mudgara, or hammer-weapon, mentioned in the Aparājitapṛchhā and Rūpamaṇḍana.

17.2 PRELIMINARY IDENTIFICATION:

A late or post-Solaṅkī-period cult image of 16-armed TRALOKYAMOHANA.

Nr. 17: Baroda (museum)

aus Visala

18. DREIKOPFIGER VIṢṆU

Marmor 

14 Hande

Baroda Museum, aus Balaram, N. Gujarat (keine prazisere Information vorhanden)

18.1 DESCRIPTION:

A white marble cult image of three-headed Viṣṇu seated on anthropomorphic Garuḍa and flanked by two diminutive standing figures. The god has 14 arms, the front two hands, though damaged, clearly being held in the combined vyākhyāna- and dhyāna mudrās. Behind the main figure, the stele is provided with compartmented margins and an arched top, suggesting that the ten avatāras were to have been represented at the sides; the sculpture appears to be unfinished. Three attributes on the right and one on the left are too damaged to be identified; the remainder are:

The centre of the base is inscribed with the name VAYAKUMTHU (cp. the 14- armed inscribed figures at Harsundal and from Dethali, Nos.6 and 15 in this Report).

18.2 PRELIMINARY IDENTIFICATION:

A Solaṅkī-period cult image of 14-armed Vaikuṇṭha.

Nr.18: Baroda (Museum)

aus Balaram

19. DREIKOPFIGER VIṢṆU

Marmor: H. 36

urspr. 8(?) Hānde

Bombay (PWMWI No. 95), aus Sud-Rajasthan (genauer Fundort unbekannt)

19.1 DESCRIPTION:

This well known and frequently published white marble fragment of a three-headed Viṣṇu image conveys much of the essence of the early Solaṅkī-period sculptural aesthetic, The idealised human and animal faces, the intricately represented crowns and headbands, and the integration of the three heads into a convincing unity, are the work of a master sculptor. It clearly represents an historical moment during the northward expansion of Solaṅkī power into the Abu region of southern Rajasthan in the late 10th or early 11th century, when it was still stylistically acceptable to represent the animal side-heads as large iconogrpahic portraits of the Lion and Boar incarnations, before the compressed abbreviations of these profiles became conventional. The object below the Boar's head is the elbow of the right arm of a figure of Lakṣmī, the god's principal Śakti, who in the complete sculpture would have appeared seated on his left thigh and embracing his neck. This enables a reconstruction of the image-type to be made: Lakṣmī could not appear in this position if Viṣṇu were seated, and he therefore was depicted riding on Garuḍa; and at this early date, before the number of arms was increased to fourteen and the side-faces were compressed, Viṣṇu was probably still eight-armed.

19.2 PRELIMINARY IDENTIFICATION:

Fragment of an early Solaṅkī-period 8-armed Vaikuṇṭha, mounted on anthropomorphic Garuḍa and accompanied by Lakṣmī.

Nr.19: Bombay (Museum)

aus Sud-Rajasthan