DOI Page / Citation link:
https://doi.org/10.11588/diglit.2371#0173
THE CAVES, MAHAVALDIPUR. 151
another figure, perhaps a female, and above them in the corners
are two smaller figures of Gfandharvas.
On the back wall adjoining this Varaha sculpture is a singularly
interesting representation of Sri or Gfaja Lakshmi, seated on a lotus
flower, with her feet on the sepals of it, and two elephants above
receiving pots of water from two female attendants on each side and
pouring it on the goddess. The execution of this sculpture does
not seem remarkable for its excellence. The interest lies in the
fact of its being the first known example of this Goddess appearing
in a Hindu garb. As above pointed out (p. 72) we know of some
20 examples of her appearance in Buddhist monuments from the
time of the Tope of Bharhut B.C. 150, to 6th or 7th century in the
Panjab. From this time to the present day she is one of the most
frequently represented deities of the Hindu pantheon, but does not
afterwards, so far as is known, appear on Buddhist monuments.
To the right of the shrine is a somewhat similar sculpture, but
perhaps it may rather be considered as a representation of Durga;
though the Sankha and discus rather belong to Lakshmi, four armed,
with umbrella over her head, a deer over her left shoulder, and a tiger
over the other, while four gana, one with a sword, attend her. Below
to the right is a suppliant, and on the left a man grasping his long
hair with one hand and a long sword with the other, as if about to
cut off his locks.1
On the right or south end of this cave is a representation of the
result of the Waman, or dwarf Avatara, differing from similar sculp-
tures at Badami inasmuch that the suppliants are omitted before the
principal figure, which represents Yishnu with eight arms as Trivi-
krama or the three stepper, taking the first step by which according
to the legend he deprived Maha Bali of the dominion of the earth.
The local pandits regard the figure seated at the right foot of
Trivikrama2 as Maha Bali, and the one behind him as his minister
Sukracharya. On the return of the wall and on each side of the
shrine are male dwarpalas or doorkeepers, but inside there is only
a bench without any figure or image in it.
10> 11. These two caves are close together on the west side of
the rocks and face W.N.W. towards the last-mentioned pair of
ttathas. The northern one is an unfinished cave about 36 feet long
1 Can-, Plato MUX., Fig. 1. « Can-, Plate VII. Fig. 1.
another figure, perhaps a female, and above them in the corners
are two smaller figures of Gfandharvas.
On the back wall adjoining this Varaha sculpture is a singularly
interesting representation of Sri or Gfaja Lakshmi, seated on a lotus
flower, with her feet on the sepals of it, and two elephants above
receiving pots of water from two female attendants on each side and
pouring it on the goddess. The execution of this sculpture does
not seem remarkable for its excellence. The interest lies in the
fact of its being the first known example of this Goddess appearing
in a Hindu garb. As above pointed out (p. 72) we know of some
20 examples of her appearance in Buddhist monuments from the
time of the Tope of Bharhut B.C. 150, to 6th or 7th century in the
Panjab. From this time to the present day she is one of the most
frequently represented deities of the Hindu pantheon, but does not
afterwards, so far as is known, appear on Buddhist monuments.
To the right of the shrine is a somewhat similar sculpture, but
perhaps it may rather be considered as a representation of Durga;
though the Sankha and discus rather belong to Lakshmi, four armed,
with umbrella over her head, a deer over her left shoulder, and a tiger
over the other, while four gana, one with a sword, attend her. Below
to the right is a suppliant, and on the left a man grasping his long
hair with one hand and a long sword with the other, as if about to
cut off his locks.1
On the right or south end of this cave is a representation of the
result of the Waman, or dwarf Avatara, differing from similar sculp-
tures at Badami inasmuch that the suppliants are omitted before the
principal figure, which represents Yishnu with eight arms as Trivi-
krama or the three stepper, taking the first step by which according
to the legend he deprived Maha Bali of the dominion of the earth.
The local pandits regard the figure seated at the right foot of
Trivikrama2 as Maha Bali, and the one behind him as his minister
Sukracharya. On the return of the wall and on each side of the
shrine are male dwarpalas or doorkeepers, but inside there is only
a bench without any figure or image in it.
10> 11. These two caves are close together on the west side of
the rocks and face W.N.W. towards the last-mentioned pair of
ttathas. The northern one is an unfinished cave about 36 feet long
1 Can-, Plato MUX., Fig. 1. « Can-, Plate VII. Fig. 1.