Pūtana ̄vadha Panels from the Temples of Osian and Kiradu

The Putana vadha Panels from the Temples of Osian and Kiradu, Rajasthan

Siddhi Bhathgara1, Shrikant Ganvir1 and P. P. Joglekar1

1. Department of Ancient Indian History, Culture and Archaeology, Deccan College

Post Graduate and Research Institute, Deemed to be University, Pune – 411 006,

Maharashtra, India (Email: [email protected]; [email protected]; pramjog@yahoo

.co.in)

Received: 23 August 2017; Revised: 17 September 2017; Accepted: 05 October 2017

Heritage: Journal of Multidisciplinary Studies in Archaeology 5 (2017): 950‐964

Abstract: In the Kṛṣṇalila ’s sculptural depictions, Putanavadha is a fairly repeated incident. Taking this one incident from the series of Kṛṣṇalila depiction, this article attempts to understand the possible relationship between the depictions and textual descriptions. It analyses the composition of the panel in

alignment with the descriptions from the well‐known texts. To further aid the process the episode depicted

in sequence are also considered only to realise their deviation from main sequence followed in the texts.

This makes us consider the possibility of use of other texts as reference points or separate texts being used

by the sculptors.

Keywords: Narrative Panels, Epic, Putanavadha, Kṛṣṇalila , Sculpture, Osian, Kiradu

Introduction Like any culture, storytelling has not only entertaining value but also has an educative

function. Stories related to physical as well as super natural worlds, deities and

demons, malevolent and also benevolent spirits are captivating. These stories and

narratives that take various forms such as folk tales, fables, folk songs and visual

expressions are embedded in the culture and often are transmitted for several

hundreds of years. Narrating stories using visual aids is known from Rajasthan which

has two forms – Phad and Kawad. Also, in Bengal Pat, a hand‐painted scroll is used to

narrate stories related to childhood of Kṛṣṇa (Banerjee 2008). Sculptural narratives in Indian art tradition are known from temples dating to the 5th century CE where

episodes from Pura ṇas as well as epics were depicted. This way of providing narrative

in visual from became popular and an integral part of temples belonging to almost all

regional styles in various regions (Joge et al. 2016).

Narratives depicting the stories related to childhood of Kṛṣṇa (Kṛṣṇali la ) are of immense significance. These narratives not only portray the contemporary religio‐

cultural setting but also help to analyse the distribution and spread of the cult of Kṛṣṇa. The development of Kṛṣṇa narratives can be dated back to the Gupta period. Under the

Bhathgara et al. 2017: 950‐964

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Gupta patronage the concept of Viṣṇu’s incarnation (avatara) evolved due to which

stories about Ra ma and Kṛṣṇa became popular. The style of narration was perhaps

adopted from the Buddhist narrative pattern as has been observed at Sanchi, Bhahrut

and so on (Kala 1988). The earliest and the known examples of Kṛṣṇalila depictions are two Mandor pillars (now in the Sardar Museum, Jodhpur, Rajasthan) dated to about

fourth century CE. Several incidents from the childhood of Kṛṣṇa are depicted (Preciado‐Solis 1984). Kṛṣṇali la depictions are also available from Rang Mahal in

northwestern Rajasthan; in the Viṣṇu Temple at Deogarh (fifth century CE). and Cave

Nos. 2 and 3 at Badami, Karnataka. Such tradition continued in the seventh‐eighth

centuries CE as observed in the Virupa kṣa temple, Papana tha Temple and Mallika rjuna Temple at Pattadakal in Karnataka, Kaila sanatha Temple at Ellora in Maharashtra, the

Lakṣmaṇa temple Khajuraho in Madhya Pradesh, Kosales vara temple, at Baidyanatha,

Odisha and the Osian temples in Rajasthan (Preciado‐Solis 1984). These examples of art

facilitate in comprehending the relationship between the texts and visual imageries.

This article aims at discussing the compositional framework specifically of the

Pu tana vadha panels (a part of Kṛṣṇali la ) from two important art centres of the early

medieval Rajasthan, viz. Osian and Kiradu in Rajasthan (Figure 1).

Figure 1: Location Map of Osian and Kiradu Temples

ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017

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Osian is a small town situated approximately 65 km away from Jodhpur city. It has

more than 30 temples grouped into several temple complexes. Kiradu is situated 25 km

away from Barmer city. Earlier 12 temples were recorded from here, however, at

present only five temples can be seen. These temples range from the early eighth

century CE up to the twelfth century CE in the ancient Maru region. Dhaky (1975) has

classified temple architectural variants as Maru, Maha Maru, Maha Gurjara and Maru‐Gurjara styles. Kṛṣṇali la panels are seen from each of these styles.

Nine Pu tanavadha panels from Osian and Kiradu are discussed in this article. The panels are studied considering their placement on the temple and mode of narration;

similarities and variation in the depiction of the story and iconographic features.

Additionally, the depictions are compared with the stories from the Pura ṇic texts, viz. Brahma Pura ṇa, Harivamsa Puraṇa, Viṣṇu Puraṇa, Bhagavata Pura ṇa, Padma Pura ṇa and Brahmavaivarta Pura ṇa (Tadpatrikar 1930: 274‐277).

Pu tana and Pu tana vadha After the birth of Kṛṣṇa, Putana is the first enemy encountered by him. This encounter

is followed by Yamala rjunoddhara (Kṛṣṇa uprooting the two trees Yamala and Arjuna by

pulling a mortar between them) and S akaṭabhan ga (Kṛṣṇa’s overturning of the cart). All these episodes are seen lacking in the Ghaṭa Ja taka and the Devi Bhagavata Pura ṇa while

it is described in Balacarita (Preciado‐Solis 1984: 56). It is also variously described in

Pura ṇas such as Harivamsa, Brahma, Viṣṇu, Bhagavata, Brahmavaivarta and Padma (Tadpatrikar 1930: 287). Putana is considered to be related or an ally of King Kam sa of Mathura , the maternal uncle and enemy of Kṛṣṇa. Since the prophecy of Kamsa’s

defeat at the hands of Kṛṣṇa, Kam sa wants him dead and is believed to have

commissioned his allies to search him and kill. Harivamsa states that she was the nurse

(Dhatri) of Kam sa while Brahmavaivarta calls her his dear sister, stating that she arrived

as a Brahman i from Mathura , and that she was originally ‘Ratnamala ’ the daughter of Bali, and had a motherly feeling towards Vamana, which led to this incident. Bhagavata

Pura ṇa treats this as an independent incident; Brahma Pura ṇa and Viṣṇu Pura ṇa do not mention involvement of Kam sa, in this affair (Tadpatrikar 1930: 287).

The appearance of Putana is variously described in the Puraṇas. The Harivamsa speaks specifically of a bird, or bird‐like monster that has breasts giving her a horrible form.

Hawley (1987) has discussed about significance of the association of bird or a demon in

form of bird in detail and suggested that Putana herself was in an avian form. The

Harivamsa mentions that she came in the middle of the night flapping her wings in

anger and perched on the axle of the cart where the baby was lying. While everybody

was asleep she gave him her breast full of milk. The Viṣṇu Pura ṇa does not mention

anything about her appearance but only says that she came by night when Kṛṣṇa was

asleep, she gave him her breast.

The Balacarita mentions that the Kṛṣṇa was ten days old when Putana approached him,

by taking the form of Yas oda, but the Bhagavata Pura ṇa refers to her as one that moves


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in the air. She disguises into a very beautiful woman (but does not associate with any

character) and is able to penetrate the village in full view of everybody unlike the other

versions. It also mentions that the Kṛṣṇa was in the house of Nanda and not lying on or

below the cart. According to the above works, Putana , a demoness, went to the

cowherd’s encampment and approaching the baby Kṛṣṇa, tried to suckle him at her poisonous breast; but the child, taking firm hold of her, sucked with such force that he

killed her then and there (Preciado‐Solis 1984: 56). Due to the pain, she makes noise

that awakens the whole village. Padma Pura ṇa and Brahmavaivarta Pura ṇa mention her

cremation by Nanda. Afraid for Kṛṣṇa’s life, Yas oda and Nanda along with the aid of

villagers, perform certain rituals to ward off the negative energy and for the protection

of Kṛṣṇa mentioned in Brahma Pura ṇa, Viṣṇu Puraṇa and Bhagavata Pura ṇa (Tadpatrikar 1930: 287).

Kakar (2016) has provided altogether a different perspective to the story of

Pu tana vadha. He has cited this as an example of what he calls ‘maternal enthrallment’ –

a paradox of the sonʹs desire to get away from the mother and the fear of separation

and the longing for a mother he hates (Kakar 2012). He suggests that Putana vadha episode illustrates how ‘maternal enthrallment’ has deep influence on adult male

attitudes towards women in India. Though we need not agree in entirety with this

modern psychoanalytic attempt of looking at ancient religious myths and fables, the

approach is noteworthy.

Panel Placement and Mode of Narration The panels in the temples under consideration are depicted on the kaṇṭha of the varan d ika, the narathara of the adhiṣṭhaṇa, or the rupadhara of the vedibandha. The narration is mostly from the proper right of the mu laprasa da door, irrespective of the orientation of the temple (Dhaky 1991). It follows the clock‐wise direction of the

pradaksin apatha from left to right. The only exception to this pattern is the Viṣṇu Temple

No. 5, the shrine southeast to the Saciya ma ta Temple at Osian. In above all cases, even

though the placement of various panels is in the left to right direction, the story

narrated within the single frame may or may not follow the order of the

pradaksin apatha. Among different modes of narrations described, two seem prominent

in the temples of Osian and Kiradu. The ‘continuous narrative’ mode depicts

successive episodes of a story or successive events of an episode, within a single frame

repeating the figure of the protagonist in the course of the narrative. In this mode each

event is distinguished based on the body posture or the action of the characters in the

story. The ‘linear narrative’ mode is similar to the continuous narrative, except to

demarcate the successive events an extrinsic criterion such as a pillar is used which

helps in distinguishing between the two successive events (Dehejia 1990: 385‐388).

Description of the Panels Harihara Temple No.1, Osian: It is a west facing, pan cayatana type of temple. On this

temple Kṛṣṇali la panels are seen on the kaṇṭha. This temple is dated to the second

quarter of the eighth century CE (Dhaky 1998: 167). The mode of narration observed


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here is ‘linear narration’ as stories are divided into several frames. In each frame

mostly more than one incident is depicted demarcated by a pillar. The Pu tanavadha panel in consideration is depicted on the left of the temple, i.e. north side on the central

bhadra portion of the kaṇṭha of the varan d ika. In this panel, the incidents are Kam sa killing the goddess (variously named as Eka nam sa, Yoganidra , Durga , etc.), Pu tana vadha, Yamala rjunoddhara read from right to left direction. This pattern is also seen in the Harihara Temple Nos. 1, 2 and 3, and Viṣṇu Temple No. 1.

Putana is seated on a stool in lalita sana; both her hands are raised above to depict the pain caused by Kṛṣṇa due to sucking of her breast (Figure 2). Surprisingly, her facial expressions are subtle, as if in pleasure or peace contradictory to what her body

reveals. She has thick band of jata‐like headgear and hanging karn akund alas. Bracelet is

visible on one of her arms. She is depicted in skeletal form to show blood being

drained out of her body. Baby Kṛṣṇa is standing, in front of the stool she is seated on, holds both her breasts with both his hands while sucking on one of them. His posture

is casual but Putana’s body reveals the effect of Kṛṣṇa’s action.

Figure 2: Harihara Temple No.1, Osian

Harihara Temple No. 2, Osian: This temple is to the west of Harihara Temple No. 1 and

in close proximity to Harihara Temple No. 3. It is a west‐facing, pan cayatana type of

temple, which is placed on a high jagati. It is dated to the third quarter of the eighth

century CE (Dhaky 1998: 182). On this temple Kṛṣṇali la panels are seen on the kaṇṭha of the varan d ika.

Putana has slender body (Figure 3). She is seated casually in the lalitasana, but body is

shown curved from the hips. Her headgear looks like a crown which is now less

visible. Her earrings and necklace are larger and rounded but not clear due to

weathered condition of the stone. Even her girdle seems carved out much clearly

specifically in this temple. Though an attempt is made to show her body in skeletal


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form, it is not clearly conveyed. Unlike, Harihara Temple No.1, figure of Kṛṣṇa stands casually in front of her pulling her breasts with both his hands in an action of drinking

the milk.

Figure 3: Harihara Temple No. 2, Osian

Figure 4: Harihara Temple No. 3, Osian

Harihara Temple No. 3, Osian: It stands east of Harihara Temple No. 2. Unlike the

previous two temples, this is an east‐facing temple. It is dated to the last quarter of the

eighth century CE (Dhaky 1998: 198).Here also the Kṛṣṇali la panels are seen on the kaṇṭha of the varaṇḍika (Figure 4).


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Figure 5: Viṣṇu Temple No. 1, Osian

The pattern observed in earlier two temples remains same, but the depiction style

becomes plainer. Pu tana here is seated in lalita sana on lower stool in a casual stance.

The sculpture is beautifully carved out with proper body proportions and sitting

posture. Her face seems subtle and calm because of which her stance of raised hands

(instead of in pain) seems to suggest as if she is surrendering to Kṛṣṇa. Her headgear

seems to have a jewel at the centre. She wears small rounded kuṇḍalas in her ears. If there were any other accessories, they are not very visible now. Kṛṣṇa stands in front of her in ali d hasana with his left leg bent as if moving forward to catch hold of her breasts

with both his hands while he drinks milk from one of it.

Viṣṇu Temple No. 1, Osian: It is situated on the opposite side of the Harihara complex,

exactly on the back‐side of Harihara Temple No. 3 temple. It is a west facing temple.

On this temple, Kṛṣṇali la panels are seen on the kaṇṭha of the varan d ika. It can be dated to c. 775 CE (Meister 1991: 146). Unlike the previous temples, Putana is seated in

pralambapa dasana (with both legs hanging) on a low stool (Figure 5). Her body is not

shown in skeletal form. The overall depiction suggests that since a common theme was

implemented in the early temples, the sculptors did not experiment much in this

temple. Kṛṣṇa, like in the Harihara Temple No.2, stands in front of Pu tana , pulling both her breasts with both his hands and sucking. Here too, the whole action is not

clearly seen due to the present condition of the panel.

Su rya Temple No.1, Osian: This is a west facing shrine, to the south of the Saciyama ta temple at Osian. The beam below and around the antara l a, show a continuous narrative panel of Kṛṣṇali la scenes (Dhaky 1998: 136). It can be dated to c. 700‐725 CE (Meister

1991: 137). The mode of narration observed here is ‘continuous narrative’ within a large

panel (Figure 6). Here different incidents of the story are not demarcated with any

external element. The change is to be identified based on the body posture and key

components of the story. The Putana vadha episode is depicted on the beam facing east, i.e. the sanctum itself.


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Figure 6: Surya Temple No.1, Osian

Putana’s body form is shown similar to that in Harihara Temple No. 1 in which her

body looks completely sucked out of blood. But there is a difference in the headgear.

Here the faces are not properly carved but simply etched on. Putana is shown in

lalita sana on similar kind of stool, as in the Harihara Temple No. 1, but here the stool is

low. Kṛṣṇa is shown more realistically and side facing; his posture is in pratyali ḍhasana but with his left leg stretched out in front and right knee bent behind. Kṛṣṇa seems to

be sucking on one of Putana’s breasts while holding them with both his hands.

Viṣṇu Temple No. 5, Osian: This temple is situated to the southeast of the Saciya ma ta temple at Osian. Bhandarkar (1912) described this temple as Temple No. 16 which

Handa (1984) renamed it as Viṣṇu Temple No. 5. This temple faces north. It dated to c.

1050‐1100 CE (Tiwari 1999). Here Kṛṣṇali la panels appear on the narathara of the adhist haṇa of the temple (Figure 7). The order of the panel is in apradaksin apatha

sequence, i.e. anti‐clockwise direction. The narration observed here is ‘continuous

narrative’ mode but within a small panel. Putana is shown seating in almost a

squatting position (or an attempt is made to show pralambapadasana?). Here Kṛṣṇa is shown standing in front of her; sucking on her breasts while holding them with both


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his hands. Her headgear is explicitly shown. She wears karn akun d alas and bracelets can

be seen on both her arms. Her body is shown in skeletal form. Her facial form looks

similar to several figures that are depicted on the Somes vara temple, Kiradu, i.e. with

sunken eyes, protruding cheeks. Based on the orientation of the temple all panel are in

right to left sequence and so are the episodes within the panel as opposed to its

expected left to right sequence. Unlike all of the above temples it is not followed by the

Yamala rjunoddhara and S akaṭabhan ga. Here Putana vadha is placed between episodes

depicting Kṛṣṇa’s fight with other animal demon.

Figure 7: Viṣṇu Temple No. 5, Osian


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Figure 8: Viṣṇu Temple, Kiradu

Viṣṇu Temple, Kiradu: This Viṣṇu Temple is the most westerly among the surviving five

temples. It is east facing pan cayatana type of temple. The panels are seen on the

subsidiary shrines. Today only the bases of three shrines remain and most of the parts

of the base are broken, loose or displaced. Hence, it is difficult to identify its location.

Here Kṛṣṇali la panels appear on the narathara of one of the subsidiary shrines. The date for the temple is c. 975‐985 CE (Dhaky 1998: 315).

The mode of narration observed here is ‘continuous narrative’ (Figure 8). The panel

perhaps covered one entire side of the subsidiary shrine. This panel under

consideration is now loosely kept on the proper right (south side) of the temple, i.e.

southeastern subsidiary shrine; facing east. It could be part of the southwestern shrine

which has another set of Kṛṣṇali la panels which seem to be in their original place.

Putana is shown seated in pralambapadasana though no stool is shown explicitly over

here. The panel is partially mutilated and also eroded to some extent. But what

remains reveals that her body is shown in skeletal form with both her hands raised

above, with a small headdress and elongated earrings. Kṛṣṇa is shown lying in her lap,

unlike the depictions in the Osian temples, sucking on her breast and pulling them

with both his hands. His other features are not very evident now.


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Figure 9: Large S iva Temple‐ Somes vara Temple, Kiradu: Narathara

Large S iva Temple (Somes vara Temple), Kiradu: This temple is located on the eastern‐most

side of the ruins and faces west, unlike the Viṣṇu Temple at Kiradu. It was possibly a

pan cayatana shrine. Here Kṛṣṇali la panels appear on both the narathara of the adhiṣṭhaṇa and on the ru padhara (which is placed between man cika and jangha). It can be dated

around 1020 CE (Dhaky 1967: 40‐41). Certain Kṛṣṇali la episodes are repeated twice in

this temple.

Kṛṣṇalila panels in the Narathara (Figure 9): The panels are narrated in ‘continuous

narrative’ mode but within a panel on the narathara of the temple. This narathara is on

the left side, i.e. in the clockwise direction of the pradaksin apatha. The panel is on the

southern wall of the ran gaman d apa portion, facing south.

Putana is beautifully depicted here, perhaps unlike her demoness form. Though her

face is partially mutilated one can notice the rounded karn akuṇd ala, studded necklace and bracelet in her right hand, left arm is now broken. Her lower garment is visible


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perhaps till her ankles. Both her arms are casually raised above her head; her elongated

yet delicate figures can be clearly seen. She has upper garment draping over both

shoulders. She is shown seated on a bench which is partially hidden due to the

protruding form of Putana in pralambapadasana. Kṛṣṇa is shown lying in her lap

comfortably, sucking on one of her breasts and holding them with both his hands. His

face at present is in deteriorated condition. The identification of the panel was not done

initially (Agrawala 1954:350) but added later (Agrawala 2011: 8‐9). The panel itself

reads left to right with Putana vadha episode followed by S akaṭabhan ga and then by Yamala rjunoddhara (partially broken but identified based on what remains of the

sculpture).

Figure 10: Large S iva Temple‐ Somesvara Temple, Kiradu: Ru padha ra


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Kṛṣṇali la panels in the Ru padhara (Figure 10): The mode of narration observed here is

‘linear narrative’ divided into several frames, while in each frame mostly more than

one incident is depicted demarcated by a pillar. It is also on the southern wall, but of

the main man d apa of the temple.

Putana is almost hidden in corner of the panel, but she can be identified due to the

presence of few other Kṛṣṇali la panels. Here within the panel there are two parts of the

story; one where Putana is seated on a stool and Kṛṣṇa (also comfortably lying on her

lap) suckles on one of her breasts with one hand holding her breasts. Next to her is a

standing female figure that at first instance one might indentify as Yas oda . But a closer look at the whole panel shows that it is divided into two parts of a single episode. The

woman standing on the proper left side is holding a pot on her right side; who could be

Putana herself entering the village (as woman or a gopi). The other part shows that she

has already entered Kṛṣṇa’s house and taking him on her lap to suckle him. These are

not two different women based on their features such as lower garment, eyes, face and

the style of the hair. This panel was previously identified as Yas oda caressing Kṛṣṇa and a gopi or milk‐maid of Vraja standing with a vessel on her head (Agrawala 1954:

350).

This incidence resembles the description given in the Balacarita that calls Putana as a

danavī who took the form of a woman to approach the child. In this case, remarkably,

Putana assumed the form of Yas oda herself. So disguised, the demoness was able to

penetrate the village in full view of everybody, unlike the other variants where she

comes by the night (Preciado‐Solis 1984: 56).

The major difference between the depiction on the Osian temples and Kiradu temples

is in the latter case she is shown seated with Kṛṣṇa in her lap. The prominence of the

episode in all these temples irrespective of the actual sequence of the story is worth

taking note.

Discussion A preliminary study of the Putanavadha incident was done to understand the

relationship between various texts and the sculptural depictions. A comparison of the

aforementioned panels and the stories from the sources will help in understanding the

basic relation, with regards to the sequence of the episode, description of the story

versus depiction of the panel and features of the characters.

It can be noted from this study that the episodes of Pu tana vadha, Yamala rjunoddhara and S akaṭabhan ga are depicted in close proximity and mostly in this order. The same

sequence can be observed in temples under discussion except the one at the Somes vara

Temple, Kiradu (narathara) Viṣṇu Temple No. 5, Osian (Kṛṣṇa’s attacking animal‐

demons).

We could relate the panels with the sequence in the texts. Harivamsa suggests the

incident of S akaṭabhan ga is followed by Putana vadha and Yamala rjunoddhara episodes.


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Whereas in the other Pura ṇas like Brahma, Viṣṇu, Bhagavata, Brahmavaivarta, Padma; all have the episodes in the sequence as Pu tana vadha, S akaṭabhanga.and Yamala rjunoddhara. The sequence described in the texts is different from that is shown in the temples at

Osian and Kiradu.

With regards to the appearance of Putana, it cannot be related to Harivamsa but she

does appear like demoness disguised in the form of a woman as described in the other

texts. It is interesting to note that there is close proximity between the depiction of

Putana on the ru padhara of the Somes vara Temple, Kiradu and that of the description in

the Balacarita. However, it needs to be pursued further.

Previous scholarly works on these panels generally associate them with either Viṣṇu Pura ṇa or Bhagavata Puraṇa (Handa 1984; Meister 1972‐73, 1991; Tiwari 1999). Hawley

(2010: 254‐255) suggests that the sculptural sequence on temples from the sixth to the

tenth centuries CE closely relates to either the Harivamsa or the Viṣṇu Pura ṇa. He

further opines that the sculptors did not display the Kṛṣṇa narrative as given in Bhagavata Pura ṇa until the twelfth century CE. When we look at the above panels such

direct association seems questionable. The similarity in the description of the

appearance of Pu tanau tanailarity in the description of the appearance of Pu tanms

quest, because no particular form described in the texts can be specifically identified in

the panels. None of these panels follow the proper sequence as described in any of the

texts.

This study has lead us to a series of questions ‐ (a) can an individual episode help in

getting clue to the text used by the sculptors in absence of characteristic insignia, (b)

have the sculptors in this region used any other regional style, and (c) how much

discretion was given to the sculptor in depicting the narratives. A detailed study

would help us in getting answers to such questions that have emerged from this study.

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Documents

Pūtana ̄vadha Panels from the Temples of Osian and Kiradu