Sculptures of Kalki from Kerala: two hitherto undescribed forms.
Kalki is described as the last of the ten avatars of Vishnu. He is to be incarnated at the end of the present aeon, Kaliyuga, as a brahmin called Kalki Vishnungasha in the village Sambhala. (1) He is professedly capable of producing armies and weapons from his imagination to destroy the evil.Sculptures of Kalki found in India have diverse forms. In northern India, he is generally represented as a human riding a horse and brandishing a sword. (2) Such images are found on bas-reliefs now in the Mathura and Lucknow museums, and belong to the 8th century CE. (3) A similar image belonging to the same period is recorded from Mehalave in Kheda district. (4) Four-armed Kalki on horseback with gada (mace) in the upper right hand, chakra (disc) in the upper left, khetaka (shield) in the lower right, and bowl in the lower left, has also been reported from northern India. (5)
In southern India, Kalki is normally represented in hybrid form with human body and horse's head. A standing sculpture of Kalki with horse's head is seen in the Vitthalaswami temple in Vijayanagar. It belongs to the 16th century. (6) A four-armed hybrid form of Kalki is also noticed in southern India. The Hazararama temple in Vijayanagar, for instance, has a four-armed hybrid Kalki image with shankha (conch), chakra, gada, and khetaka as attributes. (7) A door-jamb of the Govindarajaswami temple at Tirupati has a 17th-century seated figure of Kalki with four arms. (8)
Images of Kalki are not abundant in Kerala, unlike other Dashavatara sculptures. A study that I conducted on Vaishnava iconography in Kerala reveals that among the Dashavatara images Krishna was the most favoured form, followed by Vamana and Parashurama, and Kalki the least popular. One finds Kalki images of Kerala either in stone as individual reliefs on pillars, or in wood as individual forms among the srikovil bracket figures. They are also observed in wooden Dashavatara panels, vertical as well as horizontal, on srikovil walls. Wooden sculptures of Kalki are more numerous and varied in Kerala than stone sculptures. My study reveals that there are six forms of Kalki in wood and one form in stone in Kerala:
Stone
Kalki as human on horseback.
Wood
1. Kalki as human on horseback.
2. Kalki with human body and horse head (hybrid form).
3. Kalki inside a termitarium.
4. Kalki inside a cocoon-like termitarium.
5. Kalki in standing posture covered by cloth.
6. Kalki in sitting posture covered by cloth.
Our examples show that both Kalki in human form on horseback as generally found in northern India and Kalki in hybrid form as normally found in southern India occur in Kerala. (9) A 17th-century sculpture in the Tiruppatisaram Vishnu temple in Kanyakumari district of the erstwhile Travancore state (now partly in Tamil Nadu) depicts Kalki in human form on a galloping horse with khadga (sword) in the right hand and reins in the left (figure 1). He is shown wearing flat, turban-like headgear. An 18/19th-century wooden sculpture present on the srikovil bracket of the Tiruvanchikkulam Shiva temple in Thrissur district also has an image of Kalki in human form with khadga and reins in his right and left hands respectively (figure 2). In this sculpture the horse is depicted standing, instead of galloping. The tail of the horse is, sadly, broken. Kalki wears a tall kirita mukuta (type of crown) and coat-like upper garment. The lower garment is short, exposing the prominent leg ornaments. The depiction of these sculptures conforms to that of Kalki given in the Vishnudharmottara Purana which describes him on horseback, two-armed with khadga in his raised hand. (10)
The wooden srikovil bracket in the 19th-century Tiruviluamala Villuadrinatha temple in Thrissur district has a Kalki in hybrid form with khadga held at shoulder level in the right hand and a khetaka in the left in front of his chest (figure 3). A karanda mukuta is shown on his head with raised ears in front, and flowing mane behind the shoulder. He is depicted with ornaments, long and open vanamala (garland of wild flowers), and with a full lower garment. He stands on a padma pitha (lotus pedestal).
It is interesting to note that four-armed Kalki images have not been reported so far from Kerala; they are always found with two arms. The ancient texts which appear to have mainly influenced the sculptors of Kerala are the Vishnudharmottara Purana, Vaikhanasagama, and Agni Purana. (11) They prescribe mainly two hands for Kalki images though the Vaikhanasagama and Agni Purana also mention Kalki forms with four arms. Again in Kerala, Kalki images are seen as part of Dashavatara panels, besides as independent images in brackets representing Dashavatara. In general, all anthropomorphic forms (Vamana, Parashurama, Rama, Balarama, and Krishna) in Dashavatara panels and bracket figures found in Kerala are always depicted with two arms. These would probably be the main reasons why the sculptors preferred to depict Kalki images in Kerala with only two arms.
Another interesting aspect regarding Kalki images of Kerala is the presence of some unique forms of Kalki in some temples of Alappuzha and Kottayam districts. An analysis of relevant literature (12) showed that these forms do not conform to Kalki images reported so far from India. Neither are these forms mentioned in any of the ancient iconographic texts like the Agni Purana, Vishnudharmottara Purana, Skanda Purana, and Vaikhanasagama.
There are mainly two types of these undescribed Kalki images. In the first, Kalki is depicted in human form inside what looks like a termitarium. This is observed either on brackets, or in panels depicting Dashavatara. The Kaviyur Shiva temple in Alappuzha district has a sculpture in the srikovil wall showing Kalki sitting inside a termitarium. An oval aperture reveals the face, bust, and arms, with khadga in the right hand and a squarish khetaka in the left (figure 4). The Trikkodittanam Vishnu temple in Kottayam district has a similar sculpture in the srikovil bracket. The sculpture in the Kaviyur Shiva temple belongs to the 17th century, and in it the termitarium is shown on a padma pitha below a lotus flower. (13) The sculpture in the Trikkodittanam Vishnu temple may belong to the 16th/8th century (assigned on stylistic grounds). This type of Kalki image is also observed in the vertical Dashavatara panel present on the srikovil wall of the Sasthankulangara Narasimha temple in Alappuzha district. Here also the face is exposed. According to Poduval, this temple belongs to the 14th century. (14) But the Kalki image in the Dashavatara panel appears to belong stylistically to the 16th/18th century. Wooden sculptures on the srikovil wall of this temple could probably be a later addition.
There is another Dashavatara panel showing Kalki in the kuttambalam ceiling beam of the Harippad Subrahmanya temple in Alappuzha district (figure 5). Here, Kalki is depicted enclosed in a vertically elongated, cocoon-like termitarium, showing only the face and the right hand holding khadga. On stylistic grounds it can be assigned to the 16th/18th century. In the second variety, Kalki is depicted in human form but with his body covered in pleated clothes. The balikkal mandapam bracket of Vettikulangara Bhagavati temple in Alappuzha district has a 17th/18th century Kalki sculpture of this kind (figure 6). He is shown seated on a pitha with a pleated cloth covering the body with only the face and the front portion unveiled. He holds a khadga in the right hand and a khetaka in the left. He is depicted wearing amlaka-type karanda mukuta, ratna kundala (jewelled earrings), and griva (necklace). The ferocious face of Kalki has bulging eyes, protruding canines, and a long moustache. An aquatic flower is shown in the front. Kalki is sheltered under a nagacchatra (serpent canopy).
The small Dashavatara panel on the ceiling beam of the gopura mandapam in Kandiyur Shiva temple in Alappuzha district has a similar form of Kalki but in standing posture. He has a khadga in his right hand and holds together the ends of the garment that covers his body with the left.
Important ancient iconographic texts other than the Vishnudharmottara Purana describe Kalki as two-armed, endowed with a bow and a quiver of arrows or four-armed, riding on horseback and holding khadga, shankha, chakra, and shara or arrow (Agni Purana; (15) Hayasirsa pancharata); (16) two-armed, holding a khadga in one and khetaka in the other; and four-armed, one horse-faced and the other human-faced, both fierce-looking, with chakra, shankha, khadga, and khetaka. (17) Skanda Purana (9.27.27) (18) says that Kalki should be fair-complexioned, warrior-like and red-eyed with matted hair and sacred thread. It adds that he should hold the khadga but his expression should be free of anger.
From the above details it is clear that the general concept of Kalki prescribed by ancient iconographic texts does not agree with the image of Kalki within a termitarium or covered in pleated cloth described here, though the attributes may provide a certain degree of similarity. This also shows that Kerala has images of Kalki which conform to details described in ancient iconographical texts, as well as those which do not. It indicates the type of tradition Kerala promoted in wooden sculptural art, a tradition dominated and evidently marked by neither northern Indian nor southern Indian influences. (19) The age assigned to these wooden sculptures (16th/18th century) (20) indicates that they are as old as the southern Indian stone images of Kalki, though northern Indian images are much older.
The presence of these distinct forms of Kalki in wood in temples of Alappuzha and Kottayam alone, and their absence in stone in Kerala as well as outside make them quite unique. Unlike temples in other districts of Kerala, the temples of Alappuzha and Kottayam (central Travancore) are embellished with wooden sculptures. These sculptures excel not only in their splendour but also in their diversity. Some temples in Alappuzha and Kottayam are peculiar in having their sanctum sanctorum walls covered with sculpted wooden panels (e.g. Kaviyur Shiva temple in Alappuzha district and Vazhappally Shiva temple in Kottayam district). Perhaps the abundant space available on the surface of the sanctum sanctorum, and the diversity and plentitude of sculptures required to be created to decorate these surfaces, motivated the sculptors to experiment with forms outside the prescription of ancient texts on iconography?
There are two aspects in the concept of Kalki which represent the futuristic form of the tenth avatar of Vishnu: this avatar takes birth to destroy the evil, and it has still not taken birth and so it cannot have a concrete form as the form is not fully known or revealed. The usual images of Kalki do not perfectly accommodate these two aspects. In other words, the human form of Kalki on horseback and Kalki with horse face both represent very concrete forms. These concrete forms do not justify the image attributed to Kalki as a would be avatar though they justify the purpose of this avatar because they have the attribute of khadga, or khadga and khetaka.
The new forms of Kalki described here depict the image of a destroyer of evil as do the other forms of Kalki because they have the attributes khadga and khetaka. At the same time these images can be termed as almost abstract forms of the future avatar of Vishnu because they are shown within a cocoon, a termitarium, or wrapped in pleated cloths generating curiosity about how the image would appear when fully unveiled. These images, hence, become capable of imparting the full concept of the avatar of Kalki: as the destroyer of evil as indicated by the attributes khadga and khetaka, and as the future avatar as indicated by their not being fully visible.
Kalki, being the futuristic form, might have given sculptors more freedom to experiment with and perfect the concept. This might be the possible reason for the evolution of new forms of Kalki images in the local tradition of central Travancore (Alappuzha and Kottayam districts). The depiction of Kalki in these forms is perhaps more meaningful than the other sculptural forms of Kalki found in Kerala and other parts of India, because the body concealed in termitarium or cloth strongly and symbolically suggests an incarnation awaited.
Notes
(1) M.N. Dutt, Mahabharata Vol. II, Parimal Publications, Delhi, 1997 (reprint), p. 284.
(2) K.N. Momin, "Some Sculptures of Visnu from District Kheda--Gujarat", Journal of the Maharaja Sayaji Rao University of Baroda, 1976-77, 25.26(1): 93-95, see p. 94; S.B. Singh, Brahmanical Icons in Northern India, Sagar Publications, New Delhi, 1977, p. 96.
(3) Singh, op. cit.
(4) Momin, op. cit., p. 94.
(5) M. Kirit, Queen's Step well at Patan, Indian Cultural Studies Publication, Bombay, 1991, p. 26.
(6) R.N. Saletore, Vijayanagara Art, Sandeep Prakashan, Delhi, 1982, p. 136.
(7) Ibid.
(8) KM Raman, Sculptural Art of Tirumala Tirupati Temple, Tirumala Tirupati Devasthanam, Tirupati, 1993, p. 81.
(9) P. Nayar, "Vaisnava Iconography of Kerala", unpublished Ph.D. thesis, M.S. University of Baroda, Vadodara, 2000, pp. 163-64.
(10) T.A.G. Rao, Elements of Hindu Iconography Vols. 1 and 2, Motilal Banarsidass, Delhi, 1993 (reprint), Vol. 1, Appendix, p. 49.
(11) Nayar, op. cit.
(12) Rao, op. cit; J.N. Banerjea, Development of Hindu Iconography, University of Calcutta, Calcutta, 1941; K.S. Desai, Iconography of Visnu, Abhinav Publications, New Delhi; 1973, Singh, op. cit; R. Champakalakshmi, Vaishnava Iconography in Tamil Country, Orient Longman Limited, New Delhi, 1981.
(13) K.V. Soundara Rajan, Temple Architecture in Kerala, The Government of Kerala, Trivandrum, 1974, p. 55.
(14) R.V. Poduval, "Travancore wood carving" in The Arts and Crafts of Travancore by Stella Kramrisch, J.H. Cousin. and RM Poduval, Department of Cultural Publication, Kerala. 1999 (reprint), p. 10.
(15) Agni Purana, translated by N. Gangadharan, Vol. 1. Motilal Banarsidass. New Delhi, 1984.
(16) Champakalakshmi, op. cit., p. 148.
(17) Rao, op. cit., p. 223.
(18) Skanda Purana, Sri Venkitesvara Steam, Bombay, 1965, p. 27.
(19) Nayar, op. cit., p. 210.
(20) Soundara Rajan, op. cit., p. 55.
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| Author: | Nayar, Preeta |
|---|---|
| Publication: | Marg, A Magazine of the Arts |
| Geographic Code: | 9INDI |
| Date: | Jun 1, 2007 |
| Words: | 2328 |
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