Chandra Images From Rajasthan

Here's a comprehensive summary of the provided text, "Chandra Images from Rajasthan" by R. C. Agrawala, focusing on the description and analysis of Chandra (Moon God) iconography:

The article by R. C. Agrawala explores various early and medieval sculptural representations of Chandra, the Moon God, particularly focusing on examples from Rajasthan. It begins by referencing earlier published works by Dr. M. R. Majmudar, which include a Gupta stone head from Vidiśā and a medieval marble relief from Vadnagar depicting Chandra alongside Surya. The Vadnagar relief shows Chandra holding a water-pot and a beaded rosary, with a crescent mark signifying his identity.

Agrawala then delves into the iconographic characteristics of Chandra as described in ancient texts and illustrated in sculptures:

• Early Representations: Early representations of Chandra are noted as being scarce. A standing Chandra from Paharpur (Bengal) is described as holding a rosary and a nectar-pot (kundikā), with matted locks and a half-moon mark above his head. The absence of a vehicle in this image is considered significant.

• Textual Descriptions: The Vishnudharmottara Purana is cited, mentioning a four-armed Chandra seated on a chariot drawn by 10 horses. While a late statue in Nagpur Museum depicts this form, contemporary or medieval icons are not widely reported.

• Vehicles (Vahanas) of Chandra: The author discusses various vehicles associated with Chandra, drawing from a study by Mrs. Debala Mitra. These include:

  • Fish: Due to Chandra's association with water.
  • Horse: Mentioned as a vehicle.
  • Animal (possibly lion): Identified in some representations.
  • Ram (mesha): Another cited vehicle.
  • Crocodile (makara): Associated with Chandra, possibly due to his connection with water (like Varuna) and the Purāṇic statement that the Sun and Moon are forms of Agni and Varuna.
  • Swan (Hamsa): The Purāṇa mentions Varuna's chariot drawn by seven swans, and Brahmā is also depicted with a similar chariot. This association, along with literary references linking Brahmā and Chandra, might explain the transference of the swan motif to Chandra in some sculptures. Early Buddhist paintings from Tun-huang are noted as the earliest representations of Chandra riding a chariot of geese or swans.

• Chandra Images from Rajasthan: The core of the paper focuses on Rajasthani examples:

  • Osian:
    • A standing, two-armed Chandra from Temple No. 2 has a crescent mark and carries a kamandalu and aksha-mala. Its vehicle is possibly a lion, though another similar depiction at a roadside temple lacks a vehicle.
    • A significant seated Chandra from Hari Hara Temple No. 1 at Osian is highlighted. This image has matted locks, holds a rosary and water-pot, and importantly, has two swans below its seat. This representation is unusual and might allude to the "sapta-hamsa-ratha" concept, despite being on a Brahmanical temple. The motif is considered to have traveled to Central Asia.
  • Chittorgarh: An 8th-century standing Chandra from the Sun Temple at Chittor is described as two-armed, accompanied by an animal that resembles a "dog," which is unusual. The image also features matted locks, a crescent mark, and carries a rosary and kamandalu. The independent depiction of Chandra in a Surya temple is noted as rare.
  • Pengore (Bharatpur): A Pratihāra period relief discovered at Pengore shows a standing, two-armed Chandra with a water-pot and rosary. A single swan near his right leg is considered interesting.
  • Sikar: A 10th-century panel from Harsha Hill depicts dancing Ganesa, standing Sun, and Moon in a row. Chandra in this panel has a crescent mark, presenting another unusual combination.

• Association with Shiva: Agrawala discusses the possible representation of Sun and Moon as weapons carried by Shiva in early medieval Central Asian paintings and in an early Gupta Shiva-Parvati terracotta from Rangamahals (Bikaner Museum). He suggests that the figure above Shiva's central head in the Bikaner terracotta, previously identified as Ganga or a Gaņa, might actually be a Shiva bust holding the Sun (wheel) and Moon (crescent). This connects to the Chaturmurti aspect of Shiva.

• Varaha and the Sun/Moon Symbols: The paper examines an inscribed Varaha from Mathura Museum (Kushāṇa period) that holds two circular discs with depictions of a male figure on a chariot with horses. Agrawala posits that this might represent Chandra and Surya associated with Mahā Varaha, with the seven and ten horses possibly not fully carved due to space constraints. The Matsya Purāṇa's description of Varaha as the "holder of the eye of the day and night" is cited as a possible reason for this iconography.

• Distinguishing Chandra from Varuna: The article clarifies the distinction between Chandra and Varuna, noting that while both can be associated with swans, Varuna is more prominently depicted with a noose and sometimes a crocodile (makara) as his vehicle. The figure riding a swan on the Kannauj Kalyanasundara slab is more likely Varuna than Chandra.

In conclusion, the paper provides a valuable survey of Chandra's iconography through various sculptural examples, highlighting regional variations and textual influences. It emphasizes the importance of Rajasthani art in understanding the evolution of Chandra's visual representations and his associated symbolism, particularly the evolution of his vehicles and his occasional co-representation with other deities like Surya and Shiva.