A Historical Study of Trika Shaivism
by Haroon Rashid Ganai | 2023 | 41,966 words
This essay studies the philosophy and cultural impact of Trika Shaivism—a unique religious tradition that emerged in Kashmir around the mid-9th century A.D—and examines how it evolved from the religious milieu of ancient Kashmir, which was a melting pot of various traditions. The study further focuses on the origins, philosophical nuances, and scri...
Go directly to: Footnotes.
Part 3 - Sculptures found in Kashmir
Late first century B.C. and the early first century A.D. is when the earliest reference to the sculptural manifestations is found in Kashmir. These sculptures are representing Hellenistic (Greek) influences. According to John Siudmak, these sculptures were either not religious or if they were so, they only acted as votive offerings. They fell into two categories-those made locally and those brought from Taxila.[1] Over the years, sculptures from various places related to Kashmir's ancient past especially that of religious orientation have been discovered through excavation and exploration investigations. Besides it a good number of sculptures were collected from the individual possessions and all of them are preserved in various national and international museums. Hence, the site of Huviskapura has revealed sculptures pertaining to Buddhism only. These are following-plaque bearing figure of Buddha in a high relief in which he is seated cross legged doing meditation (Dhyana). Similarly another is Buddha head with cheerful lips and cheeks. Similarly, an oval Buddha head with half-closed eyes. Besides these Buddha’s sculptures it has also revealed a head of a Bodhisattva and heads of many Buddhist monks.[2]
Besides Huviskapura, with regard to the sculptural sanctuary of Sadarhadvana, Shonaleeka Kaul states:
It is from the tiny sculptured sanctuary at Harwan (ancient Sadarhadvana) in the 4th century CE that the first signs of a mixed, eclectic style developing out of the confluence of Gandharan and now Gupta features appear.[3]
Similarly the site of Puranadhishthana (present Srinagar) has also revealed the sculptures pertaining to Buddhism. It has revealed for example the Buddha in Dhyana and Abhaya mudra (pose). Besides it, the three-peaked diadem worn by the Bodhisattva Avalokitesvara.[4] Also grey limestone standing Padmapani, grey limestone fragmentary of Lumbini Garden scene, grey limestone seated Ganesa,[5] and Asta-Matrika (eight mother goddesses). With regard to the sculptures of mother goddesses, Ram Chandra Kak opines that they reflect deep penetration of Gupta art into Kashmir which had left permanent mark upon its craftsmanship.[6] Shonaleeka Kaul also argues that onwards fifth century A.D., the production of Brahmanical sculptures in Kashmir expresses mainly the influence of Gupta Art.[7]
Similarly the site of Vijesvara, corresponds present day Bijbehara in district Anantnag has revealed the sculptures of Sri (goddess of wealth). Besides it, the image of Visnu with lower two hands have fallen off and the upper two hold a Gada and a conch. The site also has revealed another sculpture of Visnu with three peaked Tiara.[8] Besides Visnu, it also revealed sculptures of Kumara, standing Lakshmi, standing Mahesvari, four armed standing mother Goddess, and grey limestone seated Guardian lion.[9]
Similarly, the site of Parihaspora has revealed sculptures of Buddha in the forms like standing crowned Buddha, and seated Buddha. Besides Buddha, It has also revealed the sculptures of Bodhisattvas and in one of the figures of Bodhisattvas has a mark of Srivatsa on a chest, which is generally the auspicious mark of Visnu, reflecting accommodation among religious traditions. The site has also revealed standing and seated Yaksas.
The site of Avantipura has revealed sculptures of Visnu like three headed Visnu-man at centre, lion (Narsimha) on right and boar (Varaha) at left. Another figure of Visnu is crowned with jewelled three peaked tiara and in between the feet of Visnu in the same image is bust of earth goddess (Prithvi). Besides Visnu, another figure which was retrieved from the site is a plastic representation of Ardhnaresvara, actually a hermaphrodite form of Siva with right half a male and the left female. In the same image are Karttikeya and Ganesa standing on left and right respectively. This site has also revealed fragment of the three headed Siva, three headed Siva in Atto-relievo.[10] Besides Siva, we have also standing Brahma, panel of six-armed Kamadeva and consorts.
Pertaining to the period of Didda (980-1003 A.D.) is a bronze sculpture of Bodhisattva Padmapani, in which he is seated on a pedestal and on both the sides are seated two goddesses (Tara and Brikuti).[11] Similarly, pertaining to the Lohara period we have iconographic evidences of various Brahmanical deities retrieved from various sites like Verinag, Sallar, Lokabhawan etc.[12]
The above iconographic representations pertain to Saivism (field visit collection from S.P.S Museum, Srinagar)
The above iconographic representations pertain to Buddhism (field visit collection from S.P.S Museum, Srinagar)
The above iconographic representations pertain to Vaisnavism (field visit collection from S.P.S Museum, Srinagar)
Footnotes and references:
[1]:
John Siudmak, The Hindu-Buddhist Sculpture of Ancient Kashmir and its influences (Leiden: Brill, 2013), 31-33.
[2]:
R.C Kak, Handbook of Archaeology and numismatics in Kashmir (Srinagar: Gulshan Books, 2009), 11-25.
[3]:
Shonaleeka Kaul, The Making of Early Kashmir,144.
[4]:
Kak, Handbook of Archaeology and numismatics in Kashmir, 27-46.
[5]:
Siudmak, The Hindu-Buddhist Sculpture of Ancient Kashmir and its influences, 199-236.
[6]:
Kak, Ancient Monuments of Kashmir, 115-116.
[7]:
Kaul, The Making of Early Kashmir,144.
[8]:
Kak, Handbook of Archaeology and numismatics in Kashmir, 58-63.
[9]:
Siudmak, The Hindu-Buddhist Sculpture of Ancient Kashmir and its influences, 80-129.
[10]:
Kak, Handbook of Archaeology and numismatics in Kashmir, 47-57.
[11]:
Kak, Handbook of Archaeology and numismatics in Kashmir, 68-71.