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A Puranic Iconographical Account of the Image of Sarasvati [sarasvatyah murteh pauranikavivaranam] / By Sri Mohd. Israil Khan; Deptt. of Sanskrit, University of Aligarh, Aligarh. / 285-296

[ lekhe'smin sarasvatya vaidikadevatayah pratimanirmanavidhi- siddhantaprakriyasambandhe yat pauranikam varnanamupalabhyate tasya sayuktikam vivecanam krtam vartate | rksamhitayam nadi, brahmanagranyesu vak, puranesu puvyaktitvayuta devi, ittham sarasvatipadamanekarthaparam | puranesveva tatpratimayah svarupaprakaradinam ca visistavarganamupalabhyate | yatha agni- purane ( a. 46-55 ), matsyapurane (pra . 258-64 ), visnudharmottara- purane ca ( kha. 3 pra . 44 ) devanam pratimayah nirupanam krtamasti | matsyapurane ( 260-44 ) brahmagah pratimayah parsve sarasvatisavitri- pratimayorevamvidho nirmanaprakarah pradarsitah prajyasthalim nyasetparsve vedamsca caturah punah | vamaparsve'sya savitrim daksine ca sarasvatim | " ityadi | puranagata niyamanamamsatah palanam silpakalasastre parilaksyate ityadi sodaharanamatra nirdista vartate | pratimanirmitivicaranam tesam prayogavatipracina iti puragatah parijnatam bhavati | etaccambuvicinrpena nirmapitamrtpratimaya pramanitam bhavati, vamanapuranamapi (Cr. Edn. sa. ma . 16 .4 ) pramanabhutamatra | evam puranakale devi-devanam pratima- sambandhe silpasastriyah vicarah 'dasatala ' prakriya prabhrtayah santi hi srasthatama saragarbhitasca | yatha ( manasara 54 .10 ) 'sarasvatim ca savitrim ca dasatalena karayedi ' ti mahattvapurno vicarah prayogasca pracara- ti sma | sarasvatyah svarupatatpratikatmakata'pi lekhakena pradarsita'sti | srapomayatva - 'vinapustakadharini ' 'vagvaisarasvati-pasca krtisu ganana ityadinam gudhavicaranam soddesyata sarthakata va yathavat vyamjita yattu pracinaparampara'nugunameva | tattadvisayanam varnanavaividhyam, jaina-bauddhavarnanaisca tesam sadrsyam pradarsya lekhakenatra sastriyam matameva pratipaditam | ] srasya In the Rgveda, there are many references which beyond doubt of shadow, prove Sarasvati to be a river'. In the Brahmanas, 1. Cf. RV. I. 3.12; II. 41.16; III. 23.4; V. 42.12, 43.11; VI. 52.6; VII. 36.6, 96. 1-2; VIII. 21. 17-18, 54.4; X. 17.7, 64.9, 75.5 etc.

286 puranam -- PURANA [Vol XI, No. 2 we find her identified with speech completely 'vag vai sarasvati"¹ But a landmark in development has been paved towards the iconographical character of the goddess in her entering the Puranic era. It is the Puranas which at first have anthropomorphised her to the fullest extent and offer to us several iconographical references to her. In the following, it is observed in detail. 1. The prescription for the Image of Sarasvati: Among the Puranas the Agni, Matsya and Visnudhormottara in The Agni Purana spares particular deal with this prominently. its chapters 49-55 on laying down the prescriptions for the images of the various gods and goddesses. In its chapter 49 while describing the image of Brahma, it lays down that the image of Sarasvati and Savitri should be respectively at the left and right sides of the Brahma's image 'ajyasthali Sarasvati Savitri vamadaksine.²' 29 Like the Agni-Purana, the Matsya-Purana maintains the same formula; and for it, it devotes chapters 258-64. Like the AgniPurana, it prescribes how the image of Sarasvati and Savitri should be made with Brahma. It goes on saying that Brahmani (Sarasvati as either wife or daughter of Brahma) should be made like Brahma in all respects to his recognition of iconic features- 'brahmani brahmasadrsi. As to the image of Brahma, it says that it should be made of four heads and there should a watervessel (kamandalu) in one of his hands. He should be made riding a swan or seated on a lotus.4 The image should have a site for oblations of ghee. It should have the four Vedas to its right. To 1. Cf. Sat. Br. II. 5.4.6; III. 1.4.9, 14, 9.1.7, 9; IV. 2.5.14, 6.33; V. 2.2. 13, 14, 3.4.3, 5.4.16; VII. 5.1.31; IX. 3.4.17; XIII. 1.8.5; XIV. 2.1.12. Taitt. Br. I. 3.4.5, 8.5.6; III. 8.11.2. Ait. Br. II. 24; 3.1-2, 37; 6.7. Tunda Br. XVI.5.16. Gop. Br. II. 1.20. Sun. Br. V. 2; XII. 8; XIV. 4. 2. AP. 49.15. 3. MP. 261.24. 4. MP. 260.40.

July, 1969] THE IMAGE OF SARASVATI 287 its left there should be the image of Savitri and to right that of Sarasvati.¹ Like the Agni and Matsya Puranas, the Visnudharmottara Purana spares its Third Khanda exclusively for iconic description. In Adhyaya 44 of this Purana, Brahma has been pictured as sitting in the lotus-posture (Padmasana) and has Savitri placed on his left lap. The striking feature of this description is the absence of Sarasvati who has been represented with Savitri by the Agni as well as the Matsya-Purana. There remains not only a mere Puranic theory, but it has also taken econographical form. The dual image of Brahma and Sarasvati found in the Mathura Sculpture, shows partial acceptance of the formulas laid down by the Puranas-partial, because sometimes the Visnudharmottara-Purana has been followed in depicting only Savitri with Brahma. But such distinction does not always prevail. An obvious attempt has been made at wiping out a distinction and the two goddesses are given their proper places by depicting both of them with Brahma. This feature is available in some of the famous sculptures like "Mirpur Khas in Sindha" and "the early Chola and late Hoysala Schools".5 Besides, the Puranas themselves let us believe that in the Puranic age, the theory of image-making had already been put into practice. This is evident from the following instances. Once the king Ambuvici, after having known the great powers of Sarasvati, had a great regard in his heart for her and consequently, taking the clay out of the Sarasvati river, made an earthen image (Pratima) of her. Similarly in the Vamana-Purana, Sarasvati has been said to 1. MP. 260.44. "srajyasthali nyasetpakham vedamsca caturah punah | vamaparasya savitrim daksine ca sarasvatim || 2. Cf. Dr. Priyabala Shah, Visnudharmottara-Purana, Third-Khanda, Vol. II (Baroda, 1961), p. 140. 3. Cf. Brindavan C. Bhattacharya, Indian Image, Part I, (Calcutta), p. 13. 4. Jitendra Nath Banerjea, The Development of Hindu Iconography, (Calcutta University, 1956), p. 518. 5. Ibid., p. 518. 6. SkP. VI. 46. 16-17.

288 puranam - PURANA [Vol. XI, No. 2 have been installed in the form of linga at the Sthanu-tirtha by Siva himself..1 These instances will suffice to lead us to assume that in the Puranic age, we find not only allusions to the iconic features of various gods and goddesses, but we also witness that these were, by and by, translated into real iconography. 2. The Face In iconography face attains very great importance. It is this alone through which the whole image is 'measured out. According to the Manasara, the image of Sarasvati should be made in accordance with the dasatala system -"sarasvatim ca savitrim dasatalen karyet". The dasatala system is taken to be the supreme one among talamanas-Navatala, Astatala, Saptatala, etc., and according to all these measurement systems, the whole image (Pratima) should be ten times the face. This dasatala system is again divided into the three categories according to its height giving the measurement the various names such as Uttama, Madhyama and Adhama dasatalas. As per rule, the largest dasatala system divides the whole length of the image into 124 proportionally equal parts, the Madhyama into 120 and Adhama into 116.3 The method of making the face is detailed in the same Silpasastra. The three varieties of dasatala system have fully been discussed by Sri Kumara in the Silparatna. As regards the measurement of angulas, a detailed description is given in the Manasara-Silpasastra by Prasanna kumar Acharya.6 1. Van. P. S. M. 19.4 "yatrestva bhagavansthanuh pujayitva sarasvatim | sthapayamasa deveso lingakaram sarasvatim || " 2. Mun AS. 54.19. 3. Prasanna Kumar Acharya, Indian Architecture according to Manasara-Silpasastra, (New York, 1927), pp. 78, 123. 4. Ibid., p. 84. "The face is taken as the standard of the tala measurement and is generally twelve angulas or about nine inches in length. The face is stated to be of vocal shape (Kukkutanda-samakara, lit., 'shaped like the egg of a hen)......". 5. Sil R. 5.1-114. ; 6.1-11. ; 7.1-42. . 6. Prasanna Kumar Acharya, A Summary of the Manasara (A paper submitted to the Lieden University for Ph.D. Degree), p. 35. The paramanu or atom is the smallest unit of measurement. 8 Paramanu 1 rathadhuli (lit. car-dust). 8 Rathadhulis = 1 balagra (lit. hair's end).

July, 1969] THE IMAGE OF SARASVATI 289 This is the detailed description of the face which has a impressive recognition in iconography. But so far as the Puranas are concerned, they actually do not go such a farther extent in connection with the face of a diety. While describing the face of Goddess Sarasvati, they vary to a great extent. Like her father Brahma, she is often mentioned as having upto five faces. According to the Matsya-Purana¹, like Brahma, Brahmani should have four faces. Similarly in the Vayu-Purana, she is described as having four heads. According to the Visnudharmottara-Purana, Sarasvati has only one face." Sri Sutradhara Mandana in his Rupamandana, has described forms of Sarasvati, namely Mahavidya and Sarasvati. There Mahavidya is said to have one face (Ekavaktra)'. Moreover, like Brahma, Sarasvati has also been depicted to have five faces. In this form she has been named "Sarada". Sarasvati in Buddhism has some features similar and some dissimilar those of Brahmanic Sarasvati while describing the farmer's iconic character, it is emphasised that she may have either one or three faces. Like her, Vajrasarasvati has also three faces 'Vajrasarasvatim Srimukham." 8 Balagras 1 liksha 8 Likshas 1 Yuka (lit. a nit). (lit. a lause). 8 Yukas 1 Yava (lit. a barley corn) 8 Yavas 1 angulas (lit. finger's breadth). Three kinds of angulas are distinguished by the largest of which is made of 8 Yavas, the intermediate of 7 Yavas, and the smallest one of 6 Yavas." 1. MP. 261. 24. 2. VP. 23.50. "saisa bhagavati devi tatprasutih svayambhuvah | caturmukhi jagadyonih prakrtirgauh prakirtita || " 3. cf. Dr. Priyabala Shah, op. cit., p. 154. 1 4. Sri Sutradhara Mandana, Rupamandana, (Varanasi, Samvat 2021), p. 88. 5 cf. H. Krishna Shastri, Sauth Indian Image of Gods and Goddesses, (Madras, 1916), p. 187. 6. Binaytosh Bhattacharya, The Buddhist Iconography (Calcutta, 1958), p. 349. 7. Sadh M. 163.

290 puranam - PURANA 3. The Implication of the Faces. [Vol. XI, No. 2 Now the implication of one and four faces are to be seen. It is held that her face represents either Savitri or Gayatri,¹ At one place in the Rgveda, Sarasvati is called 'Saptasvasa" having the seven metres as her sisters where Gayatri is chief among them. All these metres separately or jointly symbolize not only the metres of the Veda, but actually they may be taken as symbolizing the Veda as a whole. This sense of one face of Sarasvati tally with the fact that Vak is said to have been issued from Brahma's mouth. 3 This Vak may be said as symbolizing the Veda; and Sarasvati, who is prominently described in the Puranas as Vak or Vagdevi or the presiding deity of speech, may be said as having embodied Veda herself. Similarly the four faces of hers may also be taken as symbolising the four Vedas in the same way as the four faces of Brahma represent the four Vedas.4 In the Puranas, it is widely held that Brahma has created the whole universe. For this creation, he had a pre-planning through his mind or intellect. This mind or intellect is nothing but the Veda itself which bears the cosmic feature endowed with four-fold nature. This sense goes to the four Vedas and mind can be replaced by the four-fold nature or creation. So the four faces of Brahma imply the four Vedas. Similarly the four faces of Sarasvati undoubtedly stand for the same fact, for she also is said as creating the universe. So far as the three faces are concerned, they may be taken as implying the three principal Vedas-Rgveda, Yajurveda and Samaveda exclusive Atharvaveda which is supposed to be a later compendium. That is why she is called 'Trayi Vidya' representing these three Vedas. She in fact represents all the Vidyas-namely 1. Dr. Priyabala Shah, op. cit., p. 154. 2. RV. VI. 61.10. "u啷抰a na啷慼 pri啷抷a pri啷抷asu啷� sa啷抪tasva啷憇a啷� suju啷憇ta | sara啷�svati啷� stomya啷� bhut || " 3. Bhu. P. III. 12.26; also cf. BuP., I. 3.54.57. 4. Dr. Priyabala Shah, ap. cit., p. 140. "The four faces of Brahman represent the four Vedas; the eastern Rgveda, the southern Yajurveda, the the western Samaveda and the northern Atharvaveda". 5. Vasudeva S. Agrawala, Matsya Purana-A study, (Varanasi, 1963), pp. 15, 28,

July, 1969] THE IMAGE OF SARASVATI 291 Mahavidya, Guhyavidya, Atmavidya, Anviksiki, Yajnavidya, Mahavidya, Trayi, Varta and Dandaniti¹ The conception of the five faces of Sarasvati may be extended to the five Vedas in which Natyasastra is included according to the new conception of the fifth Veda. Perhaps it has been reckoned so, because it embraces all the branches of arts and sciences 2 So this fifth Veda may be said to represent one of the faces of Sarasvati obviously with the fact that she (Sarasvati) is also said to represent the various arts and sciences and, therefore, appropriately is called 'sarvasangitasandhanatala karanarupini.¹ 4. The number of her hands and the objects held by them. The number of hands of Sarasvati differs from place to place in the Puranas. It is really very interesting to take them all into account. In the Puranas, Sarasvati is mostly alluded to as having four hands. But by some of her Puranic epithets like 'Vinapustakadharin³, she seems to have two hands having a lute (Vina) and a book (Pustaka). The Matsya-Purana, while prescribing certain rules for making the images of the various gods and goddesses states that Sarasvati like Brahma, should be made as having four hands.6 Like the Matsya, the Agni-Purana also prescribes that the image of goddess Sarasvati should be made as having a book (Pustaka), a rosary (Aksamala), a lute (Vina) and a water-vessel (Kumbhabja) in her respective hands." In the Visnudharmottara-Purana, as in the other Puranas, a number of references puts forth her iconic character. At one place, she is described as having four hands. In her two right hands, she holds a book and a rosary, while in her two left hands she bears a water-vessel and a lute.8 Elsewhere also she is pictured 1. Vis. P. I. 9.120-21, Pd. P.V. 27.118, also cf. Ramaprasad Chomda, The Indo-Aryan Races, A study of The Origin of the Indo-Aryan peiple and Inititutions, (Rajshahi, 1916), pp. 228-330. 2. Nat 搂. I. 15-6. 3. I. Dowson, A classical Dictionary of Hindu Mythology, (London, 1961), p. 284. 4. BVP. II. 1.34. 5. BVP. II. 1. 35, 2. 55. 6. MP. 261.24. 7. AP. 50. 16. 8. Dr. Priyabala Shah, op. cit., p. 225 12

292 puranam - PURANA [Vol. XI, No. 2 as having four hands, but the order of the emblems held in the right and the left hands differs. In the latter case, Sarasvati is depicted as having a rosary and a trident in her two right hands and a book and a water-vessel in her left hands. Thus Trident has been given in the place of lute (Vina). At another place, she is mentioned as usual to have a book and a rosary in her right hands and 'Vainavi' and a water-vessel in her left hands." The word 'Vainavi' has been read by Dr. Kramrisch as 'Vaisnavi' and by Dr. Priyabala Shah as the staff of Vina made of bamboo.4 Besides, Sarasvati has been reckoned one of the five Prakrtis.5 The Vayu-Purana while describing her as the Prakrti Gau, presents eyes and her as having four mouths, four horns, four teeth, four four hands. Since she herself is the prakrti gau, all the animals are born under her impression as four-footed and four-breasted." In the Skanda-Purana, an earthen image is said to have been made by the king Ambuvici. That image is described to have four hands with a lotus, rosary, water-vessel and a book in the respective hands. This shows the fulfilment of the rules laid down by the Puranas, according to which the image of goddess Sarasvati would have been made. In Jainism, most of the Vidyadevis are four-handed; while in the Buddhism, the case differs. The Buddhistic Sarasvati is said to have either two arms or six arms, and in case she is two armed, 1. Ibid., p. 327. 2. Ibid., p. 154. 3. Ibid., p. 154. f.n. 1. 4. Ibid., p. 154 c. "The word Vainavi requires some classification. I have amended the reading Vainavi into Vinaiva because Sarasvati is traditionally known to carry Vina and not a flute of bamboo which is the usual meaning of the word Vainavi. On further, however, I find that it is not necessary to change the reading into Vainava because, the word Vainavi does not mean Vina. It indicates the staff of Vina which must have been made of bamboo as in the case of the present 'Ekat ra'. 5. BVP. II. 1. 1 ff. 6. VP. 23. 44-45. 7. VP. 23. 88. 8, SKP. VI. 46. 16-19,

July, 1969] THE IMAGE OF SARASVATI 293 she has her four forms under different names. 1 She is also said to have eight² and even ten arms.³ 5. The implication of the objects held in the hands The four arms of Sarasvati, like her four faces, represent the four Vedas¹, and Kamandalu represents, the nector of all Sastras. Since she symbolises the entire knowledge she symbolises all the Sastras, too. She holds a book in one of her hands and this also conveys the same sense. The Skanda-Purana VI. 46. 19, while defining the book in the one of the hands of Sarasvati says 'pustakam ca tatha vame sarvavidyasamudbhavam.' Since other concepts of Sarasvati have developed' from her watery form, e.g. Sarasvati as a river, it is also maintained that Sarasvati has created all the tanmatras 8 which are but essential for the creation of the Universe and of which water is one. As prakrti, she is advocated to have created the Universe. The water is fundamentally necessary for this purpose. It is, perhaps, for this reason that she has water in her water-vessel and thus by it, she, perhaps, also denotes her earliest association with water. This water may not be thought of an ordinary type. It is divine (divya) and it is only in this capacity that it may be thought to have been kept in the watervessel of Sarasvati. 10 Similarly the lute (Vina) held by Sarasvati is also not less important. It is held that the lute represents a kind of achievement or proficiency. 11 This close relation of the lute and the book cannot be ignored. Sarasvati, no doubt, represents the principles of speech and for this very reason, she has been identified with speech (vag vai sarasvati) in the Brahmanas. Now, this speech can 1. cf. Benoytosh Bhattacharya, op. cit., pp. 349-51. 2. Vaik R. 15. 3. H. Krishna Sastri, op. cit., p. 187. 4. Dr. Priyabala Shah, op. cit., p. 184. 5. Ibid., p. 185. 6. Ibid., p. 186. 7. cf. James Hastings, Encyclopaedia of Religion And Ethics, Vol. II, (New York, 1954), p. 196. 8. cf. Vasudev S. Agrawal, op. cit., p. 53. 9. cf. BVP. II. 1. 1. ff. 10. SKP. VI. 46. 19. 11. Dr. Priyabala Shah, op. cit., p. 186.

294 puranam - PURANA [Vol. XI, No. 2 reasonably be divided into sound (dhvani) and word (pada, vakya etc.,). The book in the hand of Sarasvati may also be taken to represent besides what is said above, the second element while the lute in her hand represents the first element. Only the lute, and no other musical instrument has been described in the hand of the goddess. The lute is the most ancient musical instrument and finds mention in the Aitareya Aranyaka. Melody helps mental concentration. The lute is the best instrument resorted to for this because it is highly useful for producing Soma song.¹ Moreover the goddess is said to have a rosary in one of her hands. This rosary in the hand of the goddess usually represents Time.2 purpose, Ait. Br. A P. By P. Bha. P. D. Bha. Gop. Br. M P. Man. A S. Nat. S. Pd. P. Abbreviations Aitareya-Brahmana Agni-Purana Brahmavaivarta-Purana Bhagavata-Purana Devi Bhagavata-Purana Gopatha-Brahmana Matsya-Purana Manasara on Architecture and Sculpture Natya-Sastra Padma-Purana Satapatha-Brahmana R. V. Rgveda Sat. Br. San. Br. Sadh. M. Sil. R. Sk P. Taitt. Br. Tand. Br. Sankhayana-Brahmana Sadhana-Mala Silparatna Skanda-Purana Taittiriya-Brahmana Tandya-Brahmana Vamana-Purana V. P. Vayu-Purana Vam. P. Viak. R. Vis. P. Vaikrta-Rahasya Visnu-Purana 1. cf. D. Bha. III. 30. 2. Dr. Priyabala Shah, op. cit., p. 185.

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