Vaishnavism in South Western Maharashtra: Vitthal Rukmini ...Vaishnavism in South‐Western...

Vaishnavism in South‐Western Maharashtra: Vitthal‐

Rukmini Temple at Deur, Satara

Ganesh D. Bhongale1

1. Department of A.I.H.C. and Archaeology, Deccan College Postgraduate and Research

Institute, Pune – 411 006, Maharashtra, India (Email: ganeshbhongale333@ gmail.com)

Received: 29 August 2018; Revised: 03 October 2018; Accepted: 12 November 2018

Heritage: Journal of Multidisciplinary Studies in Archaeology 6 (2018): 720‐738

Abstract: The present paper highlights a temple which is not discussed in the realm of the Vaishnavite

tradition of Early Medieval South‐Western Maharashtra. If we delve further in the nature of Brahmanism

during this period, Shaivism was in its fully developed form in that region as compared to rare occurrence

of Visn u temples. The temple discussed here stands on high platform pertaining exterior and interior plain

walls and decorative pillars with diverse iconography. This temple is perhaps a rare example where the

iconographic combination of Hayagriva and Surya is depicted, hinting at the possibility of prevalence of

joint worship of Hayagriva and Surya. The prominent nature of Vaishnavite iconography suggests that

this temple is associated with Visn u. It is rare to find independent Visnu temple during this period, hence

this temple is probably the only temple of Visn u in South‐Western Maharashtra.

Keywords: Vaishnavism, Vitthal‐Rukmini Temple, Satara, Maharashtra, Surya,

Hayagriva, Krishna

Introduction The region of south‐western Maharashtra forms an important geographical entity of

western Deccan. This region has witnessed a political presence of all important Early

Medieval dynasties. Their presence can be testified through their written records and

monumental activities. The period onwards, 10th century CE observed to be the period

of large‐scale building activity of the temples in this region and elsewhere in

Maharashtra. These temples exhibit the scenario of the contemporary different genre of

religious faiths and beliefs. During this period the Brahmanism and the Jainism can be

noticed gaining the constant political patronage for building temples and their

subsequent sustains in the form of donations. If we go in further details of the nature of

Brahmanism during this period it seems that Shaivism was in its fully developed form

with its identical nature of various sects and sub‐sects. The region under consideration

also went through the same process. There is a number of Śiva temples still surviving

and also documented and studied by previous scholars (Naik 1947, Deglurkar 1974, Deo

1993, Deshpande 1977, Jamkhedkar 2002, Welankar 2003). In comparison to Śiva

temples, the temples of Vis n u are rarely noticed. The present paper highlights one such

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temple which is not discussed in the realm of the Vaishnavite tradition of Maharashtra

(Jamkhedkar 1993, Welankar 2003). The temple is located at village Deur (17° 50ʹ N; 74°

05ʹ E). The village Deur is situated in Koregaon taluka of Satara District. It is around 20

km from Satara located on a Satara‐Baramati‐Phaltan state highway no. 61. The present

settlement of Deur village is on the left bank of river ‘Vasana’ a tributary of river Krishna.

The village Deur has its own historical significance due to its surviving temples and

other monuments of historical importance such as palace, medieval market etc. The

village is known in surrounding region for the goddess ‘Mudhaidevi’. The goddess

Mudhaidevi is supposed to be a tutelary deity of ‘Bhosale’ family, one of the branches

of Bhosale’s of Shahaji and Shivaji. This branch of Bhosale family later migrated and

settled at Nagpur. The same later became familiar as prominent chiefdom of Maratha

confederacy in Vidarbha region and generally known as ‘Nagpurkar Bhosale’. In

medieval records, it is mentioned that the village Deur, was mokasa of the Raghuji

Bhosale. In 1728 CE, Chhatrapati Shahu Maharaj from Satara offered village Deur in the

form of mokasa to Bhosale family (Kale1936:42), therefore, this village is considered as a

native of the Bhosale’s of Nagpur. These details are mentioned in ‘Nagpurkar Bhoslyanchi

Bakhar.’ This family is still remembered as ‘Deurche Raje’ (King of Deur). This honor to

Bhosale family residing at Nagpur was conferred upon by British around 1857 CE (Kale

1936:243).

Previous Studies The site Deur and its surrounding are directly and indirectly referred in previous

researches. These have appeared in the annual reports of archaeological explorations,

individual explorations and followed by a few masters and doctoral dissertations. The

brief information of Vitthal‐Rukmini temple is given in a doctoral dissertation

‘Archaeology of Deccan’ (Naik 1947). The observations and comments given by Naik

are instrumental for the dating and general understanding of the Vitthal‐Rukmini

temple.

The work of K. R. Kapre (1961) ‘Archaeology of Ancient Place Names in the Deccan’

gives information of places which were mentioned in epigraphic records. This work is

not limited in locating the places mentioned in inscriptions, but it also tried to establish

the antiquity of the place mentioned into the record on the basis of archeological

remains. The reference of Deur in his work found in the context of Kalleshvar Mahadev

temple, this particular temple before Kapre was mentioned by A. V. Naik (Kapre 1961:

164; Naik 1947: 554‐555). Another important work by S.R. Deshpande (1977) also studied

the Vitthal‐Rukmini temple at Deur in the milieu of the sculptural depictions at this site

in his Doctoral thesis ‘Yadava Sculpture’. These are few studies mentions the direct

reference to the site of Deur and its temple.

Vitthal‐Rukmini Temple The Vitthal‐Rukmini temple is situated in the center of village Deur; it is built on a

mound of alluvial deposition of river Vasana. The main road of village passing through

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the medieval market (Bajarpeth) reaches the front of the temple. In front of the temple

has an open space, this open space is now occupied by a giant pipal tree. This pipal tree

is now surmounted by a cemented platform which is built using masonry stones,

originally was part of a temple.

Plan of the Temple In the plan (Figure 1), this temple is pancaratha consist bhadra, upabhadra and karna

respectively. It is a class of nirandhara. In its major architectural components, it includes

massive rectangular prakara wall surmounting the entire temple. This prakara wall is joint

by heavy prakarapraveśman d apaa towards the east of the temple, following this; it has a

separate man d apaa (garud aman d apa?) joint with the main shrine through the jagati (low platform). This man d apa is succeeded by narrow empty open corridor leads into the

mukhaman d apaa, then guḍhaman ḍapa, antaral and garbhagriha.

Interior surface of the temple inside the prakara is covered with placing of masonry

bedrock. After passing through the prakarapraveśman d apaa it enters an open platform in

front of the man d apaa. This open platform has staircases on its either side to come on a

surface.

Figure 1: Plan of Vitthal‐Rukmini Temple

Exterior of the Temple The elevation of this temple is simple consists of a low jagati with three simple courses.

It contains a kharśila, kumbh and kapotpali. The adhist hana of this temple is simple without

any decorative features containing few moldings. These moldings do not bear any

classified features. These moldings have covered the portion of garbhagriha and

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mukhaman d apaa. The adhist hana is followed by plain jangha (mandovara) wall. This wall of

jangha is simple in nature without any artistic and decorative features. The jangha wall

turned into simple broad patti ka above which has two layered varand ika. These layers of

varand ika are covered by the canopy (chhajja). This canopy has a design of up warded

loops. This chhajja is succeeding through the kapotali.

The present śikhara of this temple observed to be restored in a Late Medieval period. The

entire śikhara now is cemented with plaster. Due to this plastering, it is quite difficult to

ascertain its original nature. However, some of the open patches of without plaster

reveals that, originally it was built by bricks. The shape and size of a brick and its

construction method shows affinity to Late Medieval period. Hence, perhaps this śikhara

was restored and rebuilt around 17th– 18thcentury CE.

The low jagati of this temple is built with an extra projected space that formed an inbuilt

pradaksinapath. The main bhadra projection of garbhagriha has a 3 devakost as (niches). These

niches constitute three directions that are north, south, and west. These devakost as are

empty; however, the architectural design of these devakost as suggets its relation with the

traditional form of temple architecture. It is built on projected kapotali. This kapotali has

formed the base for the pilasters. These pilasters are square in its base, octagonal in

middle, and circular at the capital (stambhaśi rsa). The canopy of the devakost a represents the design of phamsanaka ra type of śikhara, which has a kalaśa in a centre on its topmost

layer. The exterior of guḍhaman ḍapa is also built in plain masonry stone. The

nat yaman d apa/garud aman d apa is located on the front side of the temple. It is built on the

same jagati but slightly detached from the mukhaman d apaa with narrow open space.

The entry of the guḍhaman ḍapa is followed through the mukhman d apaa with two pilasters

and two free standing pillars. This mukhaman d apaa is enclosed through the balustrade

(kakṣāsana). The vedika portion of this kakṣāsana has several rathikas with the depiction

various types of miniature motifs and designs such as lotus, figurines of ascetics and the

motifs of doors.

Interior of the Temple The garbhagriha of the temple is square in plan. It has four pilasters in its four corners

which are merged in the wall of garbhagriha. The walls of garbhagriha are plain without

any niches. The southern side wall, it has a small tank. This tank probably was made

intentionally to store water for the ritual purpose. The north wall has a space for the

outlet of drainage water. The garbhagriha has pedestal setting to its west wall. This

pedestal has a depiction of Lakshmi on its front side in its center. The careful observation

of the design and its pattern of moldings suggest that this pedestal is original pedestal

of the temple.

The doorjamb of the garbhagriha is simple having only ones śakha. That is of stambh

variety. The lalāṭabimba is similar to that of the main entrance having an image of Ganesh.

The antaral is simple rectangular in plan having plain walls. The ceiling of it is flat with

three layers of concentric squares.


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Figure 2: Pillar of Vitthal‐Rukmini Temple

The guḍhaman ḍapa of the temple is square in shape. The walls of the guḍhaman ḍapa are surmounted with twelve pilasters at regular intervals. The central space of the

guḍhaman ḍapa is occupied by four free standing pillars (Figure 2). These pillars are of the rucaka variety. These pillars are square at base, having circular as well as octagonal shafts

followed by sculptural reliefs. These sculptural depictions contain various decorative

motifs and symbols. Some of the brackets of these pillars embody the narrative panels

like Vali‐Sugriv combat scene (Figure 3), Anantshayana Vis n u (Figure 4), Nrisimha

(Figure 5), kicaka, a pair of a peacock, kirtimukha etc. The capital of the pillars is marked

by the depictions of several types of bha rava hakas.

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Figure 3: Vali‐Sugriv Combat Scene

Figure 4: Anantshayana Vishnu

Figure 5: Nrisimha


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Figure 6: Doorjamb of guḍhamaṅḍapa of Vitthal‐Rukmini Temple

Figure 7: Surya Image

The doorjamb (Figure 6) of guḍhaman ḍapa is more decorative than the garbhagriha. It

contains five śakhas namely puspa, nara, stambha, valli, and vyala. It is a class of nandini type. The pedyā portion of the door has a depiction of vaisnava dvarapala, camardharini , and female holding a pot. It is possible that the female images holding a pot on either

side can be river goddesses. The udumbara part of doorjamb on either side of mandaraka

has a depiction of Surya and Hayagriva. These deities are depicted in small rathikas. The

image of Surya is on the left side, shown standing in samapada, in the chariot drawn by

seven horses, holding padmas, in both hands (Figure 7). On right side has a depiction of

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Hayagriva; it is with four hands, shown standing in samapada, holding cakra, gada, śankha

and bijpurak (Figure 8). These images of Surya and Hayagriva are flanked by several

small rathikas with the depiction of ganas with musical instruments. The lalāṭabimba of this door bears an image of Ganesh in central rathika. This rathika is flanked by horizontal

rows of maladhari just above the naraśakha. The uttarang of the door has a rathikas with

the depiction of the lotus in low relief. The lalat abimba and uttarānga, is differentiated

through the canopy (chhajja). Below this canopy facing towards the surface has a

picturesque depiction of Krishna in its Kaliyamardana (Figure 9) form.

Figure 8: Hayagriva Image

Figure 9: Kaliyamardana Krishna


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Above the uttarānga has a horizontal beam over this beam contain an inscription in bold

letters in the nagari script (Naik 1947: 555). This inscription is severely damaged due to

the black paint. Therefore, it is difficult to decipher properly. Few of the letters can be

identifiable. On the basis of palaeography of identifiable letters, it seems that this

inscription was inscribed in the later period. However, Naik commented that the

palaeography of this inscription match with the Devanagari inscriptions of 13th /14th

century CE (Naik 1947: 555). Along with this, there is another inscription engraved on

the left side of guḍhaman ḍapa over the east facing the wall. This inscription also severely

damaged due to lime plaster. The inscription is in Devanagari script contains five lines.

The inscription is beyond decipherment.

Na t yamandapa/Garudamandapa? In front of the Vitthal‐Rukmini temple, has a nat yaman d apa or garud aman d apa? The

nat yaman d apa and the Vitthal‐Rukmini temple are attached to each other through the low

platform (jagati ). However, it is separated through the narrow open corridor in between

mukhaman d apa and nat yaman d apa. This so called nat yaman d apa seems to be originally

open man d apa; this open man d apa has two openings on either side facing towards the

north and south respectively, whereas this man d apa is close on the eastern side.

Nevertheless, some later construction also can be observed on the north‐west corner of

the man d apa. The north‐west corner is closed by a brick wall. Due to this, it has formed a

separate chamber. It was deliberately made recently to make a separate shrine of

Lakshmi‐Narayana.

The pillars of this man d apa are simple without any decoration. However, the capitals of

these pillars have a representation of various types of bharavahakas. These depictions of

bharavahakas and their iconographical arrangements are quite similar with the

bharavahakas of guḍhamaṅḍapa. Some of the beams of the pillars have a decorative feature.

Such as the beam fixed towards the north‐west side has a concentric carving of lotus in

a circular fashion in its centre. This lotus is flanked by the decorative makara. These

makaras are shown riding by human figures. Similar type of beam on the west corner has

a lotus medallion in low relief in its centre. This lotus is flanked by the figurines of kinnara

on its either side. The close observation of the arrangement of ceiling suggests that this

man d apa was at some extent restored after the construction of the temple. There are so

many dismantled masonry stones reused for the reconstruction of this nat yaman d apa.

Hence, the original features and design is difficult to figure out. The beam over the

southern corner has a depiction of Rama and Lakshman, below this beam has some

decorative motifs such as one side has a pair of hamsa and another has a pair of kinnara.

The east facing a wall of nat yaman d apa has vatayana. The lower part of this vatayana has

a geometric design. Its top has a decorative beam. This decorative beam has four layers

divided through the depiction of geometric designs, such as the swastika motif and

diamond shaped design. This beam has three rathikas; these rathikas in its both the sides

are in a rectangle shape, whereas the rathika in the centre is square. The rathika on the

southern side has a depiction of Vis n u; it is shown standing in samapada, holding padma,

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śankha, cakra and gada. This order of attributes according to the tradition of Agnipurana

is suitable with the form of ‘Keshva’ (Rao 1914:229; Joshi 2013:105; Gupte 1972:95‐97).

The rathika in the centre has a depiction of three headed Brahma. It is with four hands

holds aksamala, śruk, danda, and kaman d alu. The rathika on the extreme left (Northern

side) has a depiction of Shiva. This four‐handed deity is shown with the traditional

attributes. The upper right hand holds Damaru , the upper left hand holds triśul, the object in lower two hand are un identical due to weathering and the layers of vermilion applied

on in over the period of time. Above this beam has a separate stone, which has the

depiction of Ganapati sitting in ardhaparyankasana. It has four hands, holds padma, paraśu,

ankuśa, and modaka respectively (Figure 10).

Pra kara‐Praveśmandapa This Vitthal‐Rukmini temple has a massive prakara (embankment). This prakara wall is

severally damaged and collapsed due to the natural and manmade interventions.

However, still, it is retaining its original features shows its functional importance in

context to the temple of Vitthal‐Rukmini. This prakara wall has a separate praveśdvara.

The platform of this prakara wall is built on the high platform. This can be observed

through the numerous stairs of praveśman d apa of prakara. The massive praveśman d apa

gives an elegant look to the entire temple complex. This praveśman d apa is enclosed by a

kakṣāsanas, has two pilasters on its front, four on its middle and four pilasters are attached

to the prakara wall. On either side of the doorjamb of entry has a devakost a. The devakost a

on the right side (south) has a pedestal without any image, whereas the devakost a on the

left side (north) is empty. The pattern of devakost a is similar like a devakost as of sanctum

sanctorum. The designs of pillars at praveśman d apa are similar to the design of pillars

in the nat yaman dapa and guḍhaman ḍapa. The design and decorative features are simple

without any carving. However, these pillars have a various type of bharavahakas depicted

on its capital.

The platform of the prakara wall has seven courses (layer) of masonry stones, visible from

its southern side. The layer number five, six, and seven with their design are identical

with inside mouldings of jagati (platform). The lower layer of this platform on southern

side has a depiction of Ven ugopal and Nrisimha in rathika. These rathikas are not original

from this place, perhaps these masonry beams are reused while restoration of the

platform. On the northern side of prakara wall has a fragment of pillar capital containing

bharavahakas. This part also seems to be reused in prakara wall.

Bharava hakas The pillars and pilasters of Vitthal‐Rukmini temple at Deur are embellished with the

depictions of various types of bharava hakas. In architecture, their position is commonly

observed at various locations i.e. at the base of the structure, on kakṣāsana, ceiling, pillar and pilaster. The iconography of bharavahakas at this temple is an important feature to

understand the artistic tradition of late 13th/14th century CE. These bharava hakas are depicted in different postures and gestures, varied types of musical instruments and

with multiple hands. The depictions of bha rava hakas are noticed from the early


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architectural tradition. Subsequently, in brahmanical temple architecture, it becomes an

integral part of the visual representation. Traditionally in a study of temple art, these

bha rava hakas are considered as semi divine figures, includes in a class of yaksa and

ganas. The pillars and pilasters of medieval structural temples of Maharashtra have a

depiction of various types of bharava hakas in ample numbers. However, in an absence

of any systematic study on this type of imagery, it is difficult to comment anything about

it. Nevertheless, on a certain epigraphic reference found in Maharashtra, it can explain

that the imagery of bha rava hakas was may be inspired by the contemporary pattern of

worship of a particular deity. In the pattern of worship, two major form of worship was

in practice. In this was an angabhoga and rangabhoga.

It is also commonly observed that the usage of particular donations was for the

fulfilment of above‐mentioned duties for the deity (Tulpue1963, Shah 2009). Specially,

in an offering of rangabhoga there used to be a tradition of performance of devotional

songs and dance in front of the deity. There is a possibility that the depiction of

bha rava hakas with the various types of musical instruments perhaps was inspired

through this practice. One such instance is noticed where the special grant has been

offered to the group of musicians. In this inscriptional record, it mentions the certain

details such as the performer and their musical instruments (Dikshit 1951).

At Deur, broadly, there are four types of bharava hakas that can be observed. The type one consists the depictions of different deities in a form of bha rava hakas. The type two

includes the depictions of bharava hakas with different types of musical instruments,

type third consist the bharava hakas with other objects and type four comprises the

miscellaneous bha rava hakas.

In this temple, the majority of bha rava hakas is noticed with different types of musical

instruments. It covers all 4 classes of traditional classification of musical instruments.

These are tata (vibratory instruments) this class consists all the instruments which have

a string and produce sound by vibrating string. e.g. vina. The anaddha (percussive) it

consists the instrument in which the sound is produced by the percussion of skin

stretched on hollow vessels e.g. a drum. The susira (pneumatic) in this category it consists

the instrument in which sound produce by blowing in that instrument e.g. flute. The

ghana (concussive) the instruments in which sound produce by the concussion of solid

metal plates are included in this category e.g. cymbals.

The Deities as Bharava hakas The deities as bha rava hakas are comparatively rare phenomena in Indian temple

sculptural art. However, it is commonly observed in the late phase of the Early

Mediaeval period. In Maharashtra, the deities as bharava hakas are noticed in few temples. The deity Hanuman and Ganesh are commonly noticed as bharavahakas.

Whereas, other deities are seen rarely. At Vitthal‐Rukmini temple the same can be

observed along with Hanumana and Ganeśa there is a depiction of Nrivaraha, Brhama and

Vamana as bharava haka.

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Ganeśa (Pilaster no. 4, East Facing): The south face of this pilaster has a depiction of

kirti mukha. Whereas, the east face has a depiction of Ganeśa. It is sitting in sukhasana. It

has two hands in which the right hand is holding broken teeth. The trunk of the deity is

depicted turned towards his left, wearing an adhovastra. He is shown wearing an ornate

mukut a, wearing a galahara, keyu ra, nupu ra

Nrivara ha (Guḍhaman ḍapa, Pillar no. 2, East Facing): The depiction of Nrivaraha at Deur is one of the magnificent sculptures. It is shown in flying posture with four hands.

The lower right hand holds padma, upper right gada. Whereas, the upper left hand is

raised upward bent form elbow holing an śankha, lower left holds cakra. The boar head

of the deity is shown prominently with an open eye. The ear of deity is in low relief

wearing a bold circular karn akun d ala. The deity has a prabhavalaya. In other ornaments of

the deity includes hara, keyu ra and mekhala (Figure 11).

Figure 10: Ganeśa as Bha ravahakas Figure 11: Nrivara ha as Bha ravahakas

Brhama (Na tyaman d apa/Garud aman d apa? Pillar no. 12, South Facing): The depiction of Brhama is an important depiction at this temple. It is one headed Brhama depicted

sitting in ardhapadmasana. The deity is with four hands. The upper hands are shown

bearing a load of the superstructure. The lower right hand holds an aksamala and

kaman d alu and lower left book. The deity is depicted with elongated beard and eyes are

closed. The deity is shown wearing a circular karn akun d ala. It is shown wearing a bold

hara keyu ra and perhaps adhovastra (Figure 12).

Va mana (Na tyaman d apa/Garud aman d apa? Pillar no. 13, South Facing): The

representation of the deity Va mana is another interesting depiction at Vitthal‐Rukmini

temple, Deur. The deity is standing in dvibhanga. It is with two hands right hand is

broken perhaps originally was holding chatra. In left hand holds a kaman d alu. The deity

is shown with pot‐bellied wearing a hara, keyu ra, yaj napavita and adhovastra (Figure 13).


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Figure 12: Brhama as Bha ravahakas Figure 13: Va mana as Bha ravahakas

Hanuma na (Na tyaman d apa/Garud aman d apa? Pillar no. 13, North‐West Facing): The deity Hanuma na is depicted standing in ali d hamudra. It is with two hands right hand is

in hridayasprśmudra. Whereas, the left hand is in so‐called capet danmudra . The image is

painted with vermillion, indicates its present worship. The deity is depicted with bold

eyes and monkey face. The tail of the deity is shown turned upward form its left side.

The deity is wearing a karan d amukuta, circular bold karn akun d alas, galahara, keyu ra and hara (Figure 14).

Figure 14: Hanumana as Bha ravahakas Figure 15: Kriśana as Bha ravahakas

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Krisn a (Na tyaman d apa/Garud aman d apa? Pillar no. 14, East Facing): The image depicts

an important episode of Kris n a’s life. It is a representation of Kris n a uprooting a tree to

liberate the cursed Yaksha who was in the form of trees. It is in flying posture with two

hands. The right hand of the deity is broken whereas, left hand holds a tree. The branches

of the tree can be seen on its left side. The deity is wearing a typical crown which is

commonly noticed in an image of Kris n a. In another ornaments, it is shown wearing

hara, nupu ra and adhovastra (Figure 15).

Surya (Na tyaman d apa/Garud aman d apa? Pillar no. 5, East Facing): This image of deity

Surya is significant as bharava haka at Vitthal‐Rukmini temple since the image of Surya

is also depicted on an udumbara part of the doorjamb at guḍhaman ḍapa. The deity is shown sitting in sukhasana has two hands. The hands are depicted holding a sanalakamal

an important attribute of Surya. The deity is wearing a kiri t muku t a, bold circular karn akun d alas, keyu ra, adhovastra, and hara with a bold roundish bead in its centre (Figure

16).

Figure 16: Surya as Bharava hakas


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Bharava hakas with Musical Instruments Bha ravahakas Blowing Conch: There are total five bha rava hakas depicted blowing

conch. These are in guḍhaman ḍapa and nat yaman d apa/garud aman d apa. These appear on pilasters and pillars. These are in sitting and flying posture and has four hands. In which

the four hands are shown their upper two are lifting a load. Whereas, the lower two

hands are depicted holding śankha (conch). The ornaments shown wore by them are

circular headgear, kun d ala, keyu r, nupu ra and adhovastra.

Bha ravahakas Playing Vi n a (Lute): There are total eleven images of bha rava hakas shown playing vi n a. In which praveśaman d apa has three images. However, the

nat yaman d apa/garud aman d apa contains a total of four images. Whereas, the

mukhaman ḍapa and guḍhaman ḍapa has two images of bharava hakas playing a vi n a . Among these, three are depicted in flying posture and remaining five are shown sitting

in sukhasana. All of them unanimously have two hands engaged in playing vi n a. They are shown wearing adhovastra and the flying uttariya can also observed. In other

ornamental details, they are shown wearing kun d ala, keyu ra, galahara, and nupura.

Bha ravahakas Playing Tuta ri (Trumpet): The bha rava hakas depicted playing tutari are total six in number. In which three are located on pillars and pilasters of guḍhaman ḍapa respectively. Whereas, two are seen in praveśman d apa and a single image is in

nat yaman d apa/garud aman d apa. However, in these bharava hakas playing tutari , they vary in numbers of hands. The three images are having four hands, two images are having

two hands and a single image is exceptionally having six hands. The images which are

having two hands are shown holding a tutari , depicted in sitting and flying posture. Whereas, the images having four hands, engaged in two different activities such as the

upper two hands are busy with bearing a load and other two hands holds a tutari . The image of bha rava haka having six hands is shown eventful in different acts. Such as

upper two hands are in load bearing, middle tow hands holding a tutari and lower left

hand resting on the thigh and holds kaman d alu. The lower right hand holds own right

feet. The details of ornaments and drapery are observed the same as above.

Bha ravahakas Playing Drum: There are total eight bha rava hakas playing the drum in which three are in guḍhaman ḍapa and praveśman d apa and a single image is in

mukhaman ḍapa and nat yaman d apa/garud aman d apa. These images are noticed as shown in

sitting as well as in flying posture. Among these two images are having four hands

whereas the other six contains only two hands. The images with four hands are engaged

in two different activities. The upper two hands bearing a load and with lower two hands

playing a drum. The images with two hands are commonly observed only playing a

drum. The details of ornaments and drapery are observed the same as above.

Bha ravahaka Playing Ghatam: There is a single image of bha rava haka which is

depicted playing the musical instrument ‘ghat am’. It is located at the pillar of

mukhaman ḍapa. The image is shown in a sitting posture has two hands. Both hands of the

bha rava haka are engaged into the playing of ghat am. The details of the ornaments and

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drapery are same as above. The musical instrument ghat am was quite popular in Indian

sculptural tradition generally shown with images of Śiva while depicting him in nat araja

form.

Bha ravahaka Playing Bell: There are two images which are depicted playing a bell. It is

located at guḍhaman ḍapa and praveśman d apa. In these, the image at praveśman d apa is

depicted in flying posture and the image at guḍhaman ḍapa in sitting posture. Both these images are having two hands engaged into the playing of the bell. These are shown

wearing adhovastra. In other ornamental details, they are shown wearing kun d ala, keyu ra, galahara, and nupura.

Bha ravahaka Playing Castanets or Clappers: There is a single image depicted playing

typical musical instrument castanets. This is noticed at the pillar of praveśman d apa. It is

in flying posture has two hands. The hands of the image are engaged into the playing of

castanets. The image is also shown wearing a nupu ra. This typical popular instrument of

music, in the local language, is known as ‘cipalya’.

Bha ravahakas Playing Ba n sari (Flute): The three bharava hakas are depicted playing flute located each one in praveśman d apa, guḍhaman ḍapa and mukhaman ḍapa. All of them are in sitting posture having two hands. The details of ornaments and drapery are

observed the same as above.

Bha ravahakas Playing T a la (Cymbals): There is a total of ten bharava hakas playing cymbal. In which some of the cymbal are big in size some of them are small. These are

distributed in guḍhaman ḍapa, mukhaman ḍapa, nat yaman d apa/garud aman d apa and

praveśman d apa. These are in siting as well as in flying posture. Except for one image other

images are depicted with two hands. The images with four hands are engaged in two

different activities. The upper two hands bearing a load and with lower two hands

playing a drum. The details of ornaments and drapery are observed the same as above.

Bha ravahakas Blowing Śrin ga (Horn): The practice of blowing horn is an archaic

musical instrument. At this temple, at least two bha rava hakas are noticed shown

blowing horn. These are located at nat yaman d apa/garud aman d apa and praveśaman d apa.

Both the images are in flying posture having two and four hands. The image having four

hands is in usual posture. The upper tows hands are bearing a load and lower two hands

are holding a horn. The details of ornaments and drapery are observed the same as

above.

Bha ravahakas Playing Nupu ra: This single image of bharava haka depicted playing nupu ra is noticed at praveśaman d apa. The image is in flying posture has four hands. In

these, the upper two hands are bearing the load of the super structure.

Whereas, the lower hands are engaged into the playing of nupu ra. This instrument is

circular in shape depicted playing through the hands. The details of ornaments and

drapery are observed the same as above.


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Bharava hakas with Other Objects In this category of the bharava hakas various types of objects are noticed. These objects signify the artistic experiments in a form of portrayals of bharava hakas. It includes the bha rava haka holding a gada, padma, snake, khad ga, kapala, shield and a garland (maladhari). These bharava hakas are located in all architectural sections of the temple.

These are depicted in flying and sitting postures having four and two hands. The details

of the ornaments and drapery can be observed the same as cited above.

Miscellaneous Bharava hakas In this category of bharava hakas includes the images depicted in different forms. There

are total four images which exclusively are in a posture of bha rava haka without any

objects. These images of bha rava haka are located in guḍhaman ḍapa, and

nat yaman d apa/garud aman d apa? In these images, two images, are in sitting posture and

two images are depicted in flying posture. In the same way, they are shown with two

and four hands. There are total seventeen images of bharava hakas which can be

identifying as an ascetic. These images of ascetics are commonly seen in the sculptural

art of the Early Medieval period. These images of ascetic some time identified as ‘siddha’

or the images of sutradhara. The careful observation of the quantity of this type of images

suggests that the temple at Deur was following the tradition of iconography which was

prevalent during that period. These images are distributed on all architectural

components of the temple. All these images of ascetic are depicted in sitting posture in

which most common posture is found that is vajrasana. Among these, eleven images are

having four hands whereas the five images are having only two hands. There is a single

image of bha rava haka depicted in dancing posture. It is in guḍhaman ḍapa and has two

hands shown in dancing gesture. The feet of this bha rava haka is depicted wearing a

nupu ra. There is a single image of bharava haka that has a symbol of Srivatsa on its chest.

It is located on one of the pillars of praveśman d apa. Similarly, there are single images of

bha rava hakas shown in abhayamudra and dhyanmudra . These are located at the pillars of nat yaman d apa/garud aman d apa?

These images of bharava hakas at Vitthal‐Rukmini temple suggest the important

phenomena of sculptural art during the late phase of the Early Medieval period in

Maharashtra. This phenomenon is appearing in complete contradiction to the earlier

period where the decoration and ornamentation was generally extensively observed on

an exterior of the temple. At Deur, the depiction of various deities in the position of

bha rava hakas marks the significant change in an iconographic depiction of deities. Such

iconographic depiction is noticed in less number in the early phase. However, gradually

it was increased which indicates that the interior of the temple got more attention in

sculptural representations. At Vitthal‐Rukmini temple most important attention has

been given to the decoration and ornamentation of the pillars and pilasters. There are

few temples in Maharashtra and adjoining region of Deur that shows a similar type of

artistic activity. These temples are a Jabreshvar temple at Phaltan, Bhairavnath temple

at Kikli and slightly far away from the Karneshvar temple at Sangameshvar, dist.

Ratnagiri.

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Original Affiliation of the Temple The pedestal present in garbhagriha has a depiction of Lakshmi on its base, suggests that

it was meant for the installation of the image of Vis n u which is now extinct. The

prominent nature of Vaishnavite iconography of the Vitthal‐Rukmini temple also

suggests that this temple was originally associated with Vis n u. The images of Vis n u in

its varied forms as discussed above confirms the importance of Vis n u in this temple. It

is rare to find independent Vis n u temple during this period. This temple perhaps is the

only temple of Vis n u in southern Maharashtra.

Significance of Vitthal‐Rukmini Temple The emergence of Deur is an important religious center that can be traced from the 13th

century CE onwards. This temple seems to have played a significant role in the present

spread of settlement. The massive structure with the fortification wall suggests that the

temple was a major attraction in and around of Deur village. This temple on the basis of

its sculptural style can be dated to end of 13th century CE or early decades of 14th century

CE (Naik 1947).

There are few peculiar iconographic depictions that can be highlighted in light of certain

religious beliefs and ideas. There is an image of Hayagriva and Surya depicted on an

udumbara portion of doorjamb at guḍhaman ḍapa. The images of Hayagriva are

comparatively rare in Maharashtra (Welankar 2003). The divine association of

Hayagriva and Surya is well acclaimed in iconographic tradition (Thangamuthu 1994).

The deity Hayagriva is a minor incarnation of Vis n u. This form was created to save and

preserve the Vedas from the asuara Madhu and Kaitabha (Dutt 1896; Lalye 1973:63; 260).

In this instance, Vis n u has taken the form of Horse for reciting the hymns of the Vedas.

This form of Vis n u is closely associated with the deity Surya (Thangamuthu 1994).

Therefore, Surya is considered as an important aspect of Vis n u and is integral deity

within the Vaishnavism. Perhaps the Vitthal‐Rukmini temple at Deur is a rare example

where the iconographic combination of Hayagriva and Surya is depicted. This shows

that at some extent the joint worship of Hayagriva and Surya was prevalent in the

Vaishnavite tradition of southern Maharashtra. The frequent iconographic depiction of

deity Hayagriva on the temples of Kalyani Chalukyas and Hoyasalas in Karnataka

suggests that the cult of Hayagriva and its worship was prominent during 12th/13th

century CE (Padigar 1996). Probably the Vitthal‐Rukmini temple at Deur shows its

northern extension of worship of Hayagriva and Surya.

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