Some Varanasi Images of Gaṇapati and Their Iconographic Problem

Author(s): Prithvi K. Agrawala

Source: Artibus Asiae , 1977, Vol. 39, No. 2 (1977), pp. 139-155
Published by: Artibus Asiae Publishers

Stable URL: https://www.jstor.org/stable/3250197

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 PRITHVI K. AGRAWALA

SOME VARANASI IMAGES OF GANAPATI AND

THEIR ICONOGRAPHIC PROBLEM

T he image of Ganapati is one of the complex problems of Tndian religiou

its origins and iconographical development. The strange physiogno
god with an elephantine head and an enormous belly is, however, an u
respect to the early growth of Indian images. His full-fledged image is not
art of the early centuries of the Christian era.I As it is now generally bel
headed Yaksa type known from Amaravati might have served as a prototyp
figure, which begins to occur only from the fourth century A. D. at Mathura a
In this context a particular reference must also be made to a fragmentary
late Kusan.a period (Mathura Museum, No.2353) showing three horizont
the upper one with the design of a railing, the middle band showing six ar
of five worshippers and the bottom frieze with only partly preserved
figures3 (Fig. I). Owing to the very damaged condition of this bas-relief i
we can hardly be certain whether these elephant-faced figures represented
Gaja-sirsa Yaksas. In the case of the figure in the centre the preserved de
boscis as turned to the proper left, a feature which presumably indicates
iconography of Ganesa as can be found from a comparison of this detail w
Ganesa, datable to the early Gupta period and doubtless one of the ear
known of this deityr (Fig. 2).
The sculptures of this god that are being published here from Varanasi
likely to reveal how a number of curious myths and traits had come soon t
medieval period round the Ganesa's figure of comparatively 'recent' origin
posite nature of this deity but also the diverse myths and religious motifs
ciated with his character in the Puranas indeed contributed in several way
iconography.

Gayela in multiple manifestations

A loose rectangular slab (red sandstone, width 99 cm; ht. 52 cm), presently lying in the
debris under a big Pipal tree adjoining the steps to the Laksmi Kunda pond, Laksmi Kunda
Alice Getty, Ganesa, Oxford, 1936, p. Io.
2 Ibid., p.25; A.K.Coomaraswamy, Yaksa, pt. I, Washington, 1928, pl.23, fig. I.
3 V. S.Agrawala, Matbura Museum Catalogue, Part III: Jaina Tirthankaras and other Miscellaneous Figures, Lucknow, 1g952,
pp. I o6-7.
4 See also pi. 2, a, of Getty's monograph for another similar figure from Mathura.

I39

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Mohalla,
Mohalla, Varanasi.s
Varanasi.sItItisiscarved
carved
onon
both
both
sides
sides
with
with
oneone
faceface
showing
showing
Sesagayi
Sesagayi
Visnu6
Visnu6
and the
and the
other
other aa row
rowofoffive
fiveelephant-headed
elephant-headed figures
figures
(Fig.3).
(Fig.3).
Though
Thoughthe the
carving
carving
is covered
is covered
with with
a a
thick
thick coat
coat of
ofvermilion
vermilionpaint
paint
and
and
is is
badly
badly
injured
injured
in its
in its
details,
details,
the the
relevant
relevant
iconographic
iconographic
features
features of
of exceptional
exceptionalsignificance
significance
cancan
be be
made
made
outout
easily.
easily.
On stylistic
On stylistic
considerations
considerations
the piece
the piece
should
should be
be ascribed
ascribeda adate
dateabout
about
800
800
A.D.
A.D.
andand
presumably
presumably
survives
survives
from
from
an early
an early
Gurjara-
Gurjara-
Pratihara
Pratihara temple
templeatatthe
thesite
sitewhich
whichis is
nownow
altogether
altogether
obliterated.
obliterated.
On the
On carved
the carved
face of
face
main
of main
interest
interest here
herethere
thereappear
appearfive
five
elephant-faced
elephant-faced
figures
figures
seated
seated
closeclose
together
together
in a row
in a (Fig.
row 3).
(Fig.
Of3). Of
them
them four
four are
aredoubtless
doubtlessthe
theimages
images
ofof
god
god
Ganapati,
Ganapati,
seated
seated
in lalita
in lalita
posture,
posture,
and represented
and represented
in four
four almost
almostidentical
identicalmanifestations.
manifestations.Along
Along
with
with
them
them
a fifth
a fifth
figure,
figure,
placed
placed
second
second
from from
the the
proper
proper right,
right,is,
is,curiously
curiouslyenough,
enough,
anan
elephant
elephant
shown
shown
standing
standing
facing
facing
to the
to front.
the front.
The fore-
The fore-
body
body of
of the
theanimal
animalisisquite
quiteinterestingly
interestingly
executed
executed
andand
occupying
occupying
the position
the position
in between
in between
the the
two
two side
side figures
figuresof
ofelephant-headed
elephant-headedGanapatis
Ganapatis
it is
it likely
is likely
to be
tomistaken
be mistaken
on first
on first
sightsight
to be to
a be a
fifth
fifth Ganesa
Ganesain inthe
thegroup.
group.TheThetrunk
trunk
in in
thethe
casecase
of the
of the
animal
animal
figure
figure
handshands
downdown
as coiled
as coiled
below
below to
to the
theright
rightofofititwhereas
whereasthe
the
proboscis
proboscis
of of
thethe
Ganesa
Ganesa
images
images
is shown
is shown
as turned
as turned
pro- pro-
perly
perly to
to their
theirleft.
left.The
Thefour
fourdeity
deity
figures
figures
areare
almost
almost
alike
alike
in form,
in form,
wearwear
sarpa-yatjhopavta
sarpa-yatjhopavta
and and
have two arms. In their left hand is held the sweet-meat bowl while the attribute of their other
hand is unfortunately in each case defaced beyond recognition. As we propose the identifica-
tion of the elephant figure as a theriomorphic representation of Ganapati himself,7 the theme
may be styled as "Panca-Ganesa" for the sake of convenience in description.
The Four Ganapatis and a frontally shown elephant in their group are also to be seen in the
carvings of a red sandstone shrine replica (Fig.4), which we were lucky to locate on a second
visit to the Laksmi Kunda area as fallen close to the above slab. This miniature shrine (or
Sivalad in local terminology) is a very important document of medieval iconography. Stylisti-
cally, it is somewhat later in date than the above described Panca-Ganesa panel and may be
placed about 900 A.D. This presumably tends to suggest that the old structure on whose model
this mniniature shrine was made and consecrated, and possibly to which the loose Panca-Ganega
sculpture belonged, was standing intact till the end of the ninth century.
The shrine replica (ht. 96.5 cm; square in plan, 35.5 cm), is carved on all the four sides,
giving in elevation a view of the walls and spire of a Brahmanical temple. One side represents
the garbhagrha entrance and the other three walls portray Vaisnava and Saiva themes of inter-
esting iconographic details. The front side above the hollow of the garbhagrha entrance shows
on the entablature a series of Eleven Siva-ligas, signifying apparently the host of Eleven
Rudra deities (Fig. 5). The fikhara design being divided into three diminishing stages, with a
ratha offset in the centre, shows above an arrangement of nine panels, each rising step having
three panels. The relief carving is indeed very low and the sculpture has unfortunately suffered
much damage in its details.
On the side being described, the central niche in the first tire shows a seated pot-bellied
deity (Lakuli?a or Brahma?) and the side panels, almost identical with each other in carved
details, exhibit standing male figures with da.da (rod) and rampant Vyalas (leogryphs) facing

s See my earlier note on this panel, "A Panca-Ga,esa Panel from Varagasi", J. Oriental Inst., Baroda, vol. XXV, No. I,
I975, PP- 7I -3-
6 Ibid., Fig. I.
7 Ibid. p. 72; see below p. I42.

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to the outer side. In the second tier the middle panel has a standing male (Karttikeya?) whereas
the topmost figure in the centre is of Devi.
A similar division of the carving appears on the other sides excepting that the walls in these
cases afforded additional space for main portrayals of deities. Placing the miniature shrine as
facing the east, the side that would be to the south, has to show a group of three standing
divinities on the wall portion (Fig.6). Though the surface of the stone is badly injured, they
can be identified as providing a rather rare representation of Ekanamsa, Balarama and Krsna.
The four-armed figure on the left is Balarama having over his head a canopy of serpent-hoods,
in his lower right hand a musala and a hala in his upper left hand. The goddess in the centre is
presumably two-armed Ekanamsa. The third figure is apparently Krsna-as-Visnu with his two
ayudhas (gada and cakra) appearing in human form under his two lower hands. The scene above
on the architrave perhaps showed the Govardhana-lila of which the details are almost ob-
literated.
The next side, which can be called similarly the western face and is the back side of the shrine
(Fig. 7), is comparatively well preserved and displays on the wall portion the same Govardhana-
lila of Krsna. The god is flanked by two female figures and a pair of cows and two small human
attendant figures appear near his feet. We are, however, unable to suggest any specific identity
of the ladies and the dwarfish figures. The lintel above exhibits a group of seven standing male
figures. In details of iconography they seem to be identical to one another, wearing a con-
spicuous kirta-crown and a knee-reaching garland, and having their hands raised up to the
height of the shoulder as holding perhaps lotus-stalks. They may be fairly identified as the
Aditya gods but their number as seven only is somewhat perplexing. The requisite number of
Adityas in medieval iconography is Twelve, but originally, no doubt, they were counted as
seven or eight in the early Vedic Samhitas.8 The nine panels on the sikhara elevation of this side
portrayed the ten incarnations of Visnu, the first two incarnations of the Matsya and Kurma
being represented by the normal figures of a fish and a tortoise, together on the central niche
of the first tier. Among otheher incarnations, Varaha, Nrsimha and Vamana-Trivikrama can
also be recognised in the preserved carving of the sculpture.
The fourth side which would face the northern direction in the above indicated placing of
the shrine, is comparatively better preserved and affords an outstanding study of some aspects
of Saivite iconography (Fig. 9). The main panel shows a finely carved representation of four
divinities. In the centre is the pair of Siva and Parvati who are shown standing in intimate
postures of amorous play. The four-armed lord carries a large trisula in his extra right hand.
While his two left hands are engaged in restin resting the goddess in his arms, he is holding her chin
with his main right hand. The goddess has her left hand dangling near her left thigh and with
her upraised right hand is teasing a serpent over the head of Siva (Fig. IO, 11). The divine couple
is accompanied by two members of their family. On the left is seen the four-armed Ganapati
figure standing gracefully with his face turned towards his parents. By his two upraised hands
a serpent is held stretched over his head. His lower right hand is placed akimbo while in the
corresponding left he seems to carry sweet-meats being lifted up by his trunk. But the standing
youth on the right (Fig. I I) cannot be identified with certainty. Like Siva he too wears matted

8 See A.A. Macdonell, Vedic Mythbology, Strassburg, I 897, p. 43.

I4I

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locks on the head. With his right hand he displays abhaya mudra and carries an ascetic vessel
(kamatdalu) in his left hand. He is perhaps Skanda in his Sanatkumara aspect.
The long horizontal slab of the entablature shows the multiple forms of Ganega (Fig.4).
In the central niche on the first tier of the Sikhara, there appear the head of Rihu and a female
figure having serpentine tail and canopied hoods, to be identified as representing Ketu. The
panel immediately above it is occupied by a standing image of the Sun god. The side panels of
all the three tiers show the remaining six planets completing the list of Nine Planets or Grahas.
Strangely enough, the topmost central niche shows Hanuman in his characteristic stance of
standing with his left foot placed over a demon and right hand upraised. In medieval mythol-
ogy Haniuman had come to be considered as an incarnation of Siva, hence presumably his oc-
currence here.8 a

The group of five elephant-headed figures seen on the shrine replica is more or less similar
in description to the one that occurs on the Panca-Ganesa slab discussed above. But the follow-
ing points may be further noteworthy: (i) There are four figures of Ganapati elegantly seated
in lalita posture in a row; the fifth figure is an elephant which appears on the extreme end and
not in the middle of Ganapatis as in the case of earlier piece. (ii) The deities are four-armed,
and, thus, differ from the two-armed images of the first sculpture. Their attributes seem to in-
clude a battle-axe (paraSu) and a serpent (?) in addition to the bowl of sweet-meats, held in their
normal left hand. Their proboscis in each case is shown as turned properly to their left and
reaching to the bowl. (iii) The elephant is portrayed frontally as in the earlier relief but the
trunk of the animal is here shown turned to its left in imitation of the Ganapati figures. (iv) The
normal right hand of the deities possibly displays abhaya mudrd. No sarpa-yajnopavira (serpent
as sacred thread) seems to be worn.
Besides these Varanasi pieces, two other sculptures are known from Rajasthan as bringing
further evidence of this unusual Panca-GaneSa iconography. A wall panel showing this theme
has been published by R.C.Agrawala from a Siva temple at Jamaroli, near Jaipur.9 But it does
not seem to date earlier than the Iith century. There appear five standing figures including
Four Ganapatis in dancing postures and an elephant (second from the right), all poised on
lotus-flowers. In each case, a mouse, the vehicle of Ganesa, occurs below the figures. That the
elephant in the group represented the god Ganapati himself in animal form is made evident
beyond any confusion by the fact that it also has a halo similar to the human-bodied figures with
elephantine heads.
The other relief of similar interest comes from the eleventh century Rangamandapa of the
SomeSvara temple at Kiradu.o10 But this depicts all the Five Ganapatis in their usual elephant-
faced human form. They are seated in a row representing an identical icon type, but with a
difference in the attributes held by their hands and also the direction in the turning of their
proboscis. In view of these minor details, they may be, however, taken as constituting two
groups in the representation on this relief. The two figures on the left have their trunk turned

8a Haniuman is regarded as Rudramfa, see Narada Purana, II. 79. 353.

9 "Newly discovered Paiica-Ga.nesa from Jaipur, Rajasthan," J. Oriental Inst., Baroda, vol. XXI, Nos. I-2, 1971, p. I07,
pls. I-II.
IO M.A.Dhaky, "Kiradui and the Maru-Gurjara Style of Temple Architecture," Bull. American Academy of Benares, vol. I,
I967, p. 42, fig. 68.

142

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 Fig. i Fragmentary stone relief (I2 " X 27 "), Mathura, showing a row of five elephant-headed beings, probably Vinayakas.
Mathura Museum, No. 23 3 5. 2nd-3rd cent. A.D.

Fig. 3 "Pafca-Ganesa" sculpture, Varanasi. C. 800 A.D.

Fig. 2 Fully evolved icon of Ganesa. Stone,

ht. 8 ", Mathura. Matbura Museum,
No. 758. C. 4th cent. A.D.

Fig. 4 Detail from a miniature shrine (Figs. 4-I ), Varanasi, showing the "Pafica-Ganesa" theme.
C. 900 A.D.

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Fig. 5 Front face, miniature shrine, ht. 96.5 cm, Fig. 6 Side face of miniature shrine, showing Ekanamsa flanked
sandstone. Varanasi. C. goo00 A.D. by Balarama and Krsna. Varanasi. C. 900 A.D.

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 Fig. 8 Detail from Fig. 7, Krsna lifting Mt Govardhana

Fig.
Fig. 77 Back
Backface,
face,miniature
miniatureshrine,
shrine,
showing
showing
Govardhana-lgal
Govardhana-lgal
and Vaisnava incarnations. Varanasi. C. 90o A.D.

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 Fig. io Detail from Fig. 9,
Siva and Parvati in embrace,
accompanied by Ganega

Fig.
Fig. 99 Side
Sideface,
face,miniature
miniatureshrine,
shrine,
showing
showing
Siva'sSiva's
family,
family,
Pafica-GaneSa
Pafica-GaneSa(see(see
Fig.
Fig.
4),4),
Navagrahas
Navagrahas
and and
Hanuman.
Hanuman.
Varanasi. C. 900 A.D.

Fig. I 1 Detail from Fig. 9,

Siva and Parvati in embrace,
accompanied by Sanatkumara-Skanda

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 Fig. 12 Architectural piece from Kadwaha, Guna district, M.P., showing Panica-Ganesa.
Photo Courtesy: American Institute of Indian Studies, Varanasi

Fig. I3 Doorway lintel from Surwaya, Shivapuri district, M.P., showing the Panca-Ganesa group accompanied by a sixth god.
Photo Courtesy: American Institute of Indian Studies, Varanasi

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Fig. 14 Stone stele of worship, from Tewar, Jabalpur district, M.P., showing Andhakantaka, Panica-GaneSa group with
Brahmanaspati, and other Host-deities.
Photo Courtesy: American Institute of Indian Studies, Varanasi

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Fig. 15 Fragmentary relief from Varanasi, showing Visnu, Panca-GaneSa and other Host-deities. In Lucknow Museum,
No. H. I98. C. I3oo A.D.
Photo Courtesy: American Institute of Indian Studies, Varanasi

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Fig. I6 Dvimukha Ganesa with two heads. Varanasi. Fig. I7 Trimukha Ganesa with three heads. Varanasi.
Late medieval period Late medieval period

Fig. I8 Five-faced Ganesa. Varanasi. I6th-I7th ce

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to their
their right,
right,a afeature
featurequite
quite
uncommon
uncommon
in Gan.apati
in Gan.apati
sculptures.,"
sculptures.,"
The rest
The of
rest
theoffigures
the figures
have, have,
however,
however, their
theirproboscis
proboscisturned
turned
properly
properly
to their
to their
left.left.
But But
this this
grouping
grouping
at present
at present
does not
does not
seem
seem to
to be
beof
ofany
anyfurther
furtherbearing
bearing
apart
apart
from
from
its its
comparison
comparison
withwith
otherother
earlier
earlier
sculptures
sculptures
depicting
depicting Panica-Ganesa
Panica-Ganesatheme.
theme.
The
The Varanasi
Varanasisculptures
sculpturesdiscussed
discussed
above
above
areare
undoubtedly
undoubtedly
the the
earliest
earliest
instances
instances
knownknown
of of
this
this subject.
subject.There
Therewe
wefind
find
four
four
seated
seated
Ganapatis
Ganapatis
andand
an elephant
an elephant
as the
as fifth
the fifth
with with
their their
group,group,
but
but with
with no
nodirect
directindication
indication
that
that
thethe
animal
animal
too too
is tois represent
to represent
the same
the same
god theriomorphi-
god theriomorphi-
cally.
cally. But
But in
inthe
thelight
lightofofthe
the
Jamaroli
Jamaroli
relief,
relief,
which
which
clearly
clearly
shows
shows
the animal
the animal
in full
instatus
full status
of of
divinity,
divinity, ititseems
seemspresumable
presumablethat
that
in in
thethe
twotwo
Varanasi
Varanasi
specimens
specimens
also the
also elephant
the elephant
stood stood
for the
for the
god.
god. Sometimes
Sometimesthe
thegod
godGanapati
Ganapatiwas
was
represented
represented
in animal
in animal
form.
form.
This This
is evident
is evident
from from
the the
Vayu PuranaI2 and s a passage inanda Pura. In the Kiradu panel, the ele-
phant was in fact replaced by a fifth human form, thus making a regular group of Five Ganapatis.
An unpublished tenth-eleventh cent. sculpture with Five Ganapatis comes from Kadwaha,
Guna district, Madhya Pradesh, and is being reproduced here from a photograph in the Photo
Archives of the American Institute of Indian Studies, VaranasiI4 (Fig. 12). The piece is too
damaged to allow any detailed study of the figures. The images on the extreme ends are shown
in seated posture whereas the middlhree apatis in the middle appear in dancing attitudes. Pre-
sumably in each case the god's mount was depicted near the feet.
The Panca-Ganesa theme also occurs in the carvings of an eleventh cntury doorway lintel
from Surwaya (Shivapuri district, Madhya Pradesh), lying presently in the fortification com-
pound at the place (Fig. I3). They are seated in lalitasana and each one of them appears to carry
in his two hands a battle-axe and a bowl of sweet-meats. On the extreme right there is a sixth
figure sharing their group. This male person with normal human face sits similar to the Gana-
patis. But nothing definitely can be said as to his connection with the Panca-Ganesa host. Does
he represent a human-faced form of Ganesa himself? Or, is he a Skanda image appwring with
the fivefold manifestation of his brother, or some other deity?
Another example of the Five Ganapatis accompanied by a god as sixth in the group is known
from a stele of the eleventh-twelfth cent. at Tewar, ancient Tripuri, in the Jabalpur district
(Fig. I4). It shows in the centre a high rectangular niche with the figure of Andhakantaka Siva.
Above the niche and on sides are several horizontal panels containing different groups of
divinities. On the left are seen six seated figures, in two rows of three each, representing a
bearded and potbellied god at the beginning of the group and five Ganapatis. This god also
wearsjata-juta with a top-knot and carries a circular lotus with stalk in his upraised right hand.
He can be described as Brahma, but we propose to identify him as Brahmanaspati who is
sometimes regarded in the Puranic texts as a prototype or an aspect of Ganapati.Is Among
other host-deities carved on the slab, the twelve standing male figures in the horizontal space
over the main niche may be described as the Twelve Adityas.

I I Getty, op. it., p. i 6.

12 Vinayaka is mentioned as having elephant form, gajarupi vinayakab, 106. 57.
3 This text (Prabhasa Khanda, I. 325.2) says that Ganega was worshipped as an elephant figure (gaja-rupa) at a place on
the banks of the R$itoya river in Prabhasa.
I4 We are grateful to Director, American Institute of Indian Studies, Varanasi, for the photographs reproduced here by
the courtesy of the Institute as Figs. I 3-I6.
I5 For example, Narada Purana, II. 73. 30.

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 Another stele of the same nature but mutilated is now housed in the Lucknow Museum
(No. H. 198; sandstone, 5 I cm X 49 cm) and is said to come from Varanasi (Fig. I 5). It does not
appear to be earlier than the thirteenth century A.D. and shows on the left a prominent figure
of standing Visnu. The surface is divided into four horizontal bands, the top-most one showing
seven Siva-liigas, which were perhaps originally eleven suggesting the requisite number of
the Eleven Rudras. The bottom panel has preserved five Ganapatis who are two-armed and
identically seated. But in the case of this sculpture we can hardly be sure as to their number,
although the iconographic convention as discussed above appears to favour the Panca-Ganesa
concept.
The Panca-GaneSa representation, now available in more than a dozen examples on reliefs
from Varanasi, Rajasthan and Madhya Pradesh, obviously poses a mythical as well as icono-
graphic problem as to the multiple forms of Ganesa and fixation of their number as five. How-
ever, we are yet to trace any definite textual authority describing clearly this curious aspect,
evidenced by artistic portrayals.
Possibly some light is shed on this puzzle by the inscribed Ghatiyala pillar of Sam. 9I8
(= A.D. 86I). When D. R. Bhandarkar visited the place in I906-07, the column was topped by a
capital having on its four sides four figures of god GaneSa.16 This unique capital has subse-
quently been damaged and no clear idea of the positions of Ganapatis facing the cardinal points
can be had now at the site.17 Though the pillar was surmounted by a quadruple representation
of Ganesa, the inscription in its initial verse pays obeisance to the name Vinayaka in singular.
This no doubt indicates that the four identical images of the god on four sides of the square
capital were all regarded as representing one single god. It is not clear whether the portrayal
of Vinayaka in his tetradic aspect on the four faces of a capital had something to do with the
concept of Direction-deities (Dik-devas) or Direction-elephants (Dig-gajas). But it seems quite
likely that this unusual depiction of the god is allied in nature to the Panca-Ganega concept
found in certain sculptures in several stages of representation. It is unfortunate that no com-
parison of the Panca-Ganega sculptures dealt with here can be made with the Ghatiyala capital
since no photographs of it were ever published and at present the capital is altogether mutilated.
However, we think that this Gurjara-Pratihara capital when intact presumably had also a
fifth figure on its top either of Ganapati or of an elephant representing the deity, which was
already lost when Bhandarkar visited the site. The greater possibility seems to be in favour of the
elephant figure which would indeed conform to the portrayal of Four Ganapatis and an ele-
phant met with in at least three sculptures of more or less contemporary period from Varanasi
and Jamaroli. The theriomorphic form of the god side by side his four elephant-faced images
tends to attach particular significance to the animal aspect, which in fact emphasised at once the
unity of multiple manifestations of the one god.
But the belief in Four Vinayaka gods is traced as far back as the period of the Manava
Grhyasutra,18 in which they are mentioned by their individual names of Salakatankata, Kismad-
dardjaputra, Usmita and Devayajana (II. 14.1) and enjoined to be invoked underfour separate

I6 Progress Report of Archaeological Survey of Western Circle, for theyear 1906-07, pp. 34ff.; Ep.Ind., vol. IX, pp. 27gff.
I7 R.C.Agrawala, "Unpublished Pratihara remains at Ghatiyala, Rajasthan," J. Oriental Inst., Baroda, vol. XII, No. 3, 1963,
pp. 285-6.
18 It is one of the earliest Grhyasuitras datable before 200 B.C.

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formulas (II. 14.27). These Vinayakas appear again in the Yajnavalkya Smrti (I. 285) although
their unity as one Vinayaka appears to have been already achieved by the time of this text
(I.271; 29o).19 The names of the Vinayakas as given by the Smrti were, however, taken by
Sir R. G. Bhandarkar to be six in number,20 and are thus commonly regarded by scholars fol-
lowing him. But Bhandarkar appears to have based his interpretation of six Vinayakas on the
defective reading of the text. The correct textual reading, not only available from manuscripts
but also supported by the old commentary Balakrzdd of ViSvaruiipa,2I reveals onlyfour Vinayakas
even in the Smrti, though the names appear to differ in two cases, namely Mita and Sammita
in place of Usmita and Devayajana. A comparison of the Sutra text with that of the Smrti as
regards two remaining names, shows the error committed by Bhandarkar in counting the
Vinayakas as six in the Smrti.
In the art of Amaravati and Mathura during the first three centuries of the Christian era
the portrayal of Vinayakas-who were originally a team of attacking beings of evil disposi-
tion-appears possibly to render them as elephant-headed demons or Yaksas. The Mathura
relief (Fig. I) described above has a row of elephant-headed beings who may be identified as
Vinayakas or Gane?a figures. The presence of five such beings on this fragmentary relief is
more or less certain. But we can in no way be sure whether any one of them, or rather the chief
of them, was shown altogether theriomorphically on this sculpture.22 The case might have been
even the other way round, i. e. the four Vinayakas on the sides in animal form and their leader
Gan. apati, Lord-of-the-host, in composite elephant-faced human form,23 of whom they were
conceived of as minor manifestations.24
Whatever might have been the initial tradition at the back of the Fivefold Ganesa representa-
tion, the first stage in the medieval iconography of theirs seems to be shown by the two Vara-
nasi sculptures given in Figs. 3 and 4, which depict four seated Ga.napatis and an elephant
posing like them in their group. The Jamaroli sculpture clears whatever doubts can be main-
tained regarding the deity-status of the elephant in the team of Ganapatis; all the five figures
now appear in dancing attitudes and poised on five lotuses along with the vehicle rat repeated
five times near their feet. The next step in iconographic innovation is evidently shown by re-
presentations where the Five Ganapatis occur in their common elephant-headed form. At a later
stage in the development of the myth, sometimes a sixth god was also added to accompany the
group of Five Gan. apatis.

Dvimukha (two-faced) Vinayaka or Gavesa with two trunks

A unique image of double-faced Ganapati (Fig. I6) was found set up in the wall niche of
a building adjoining the Kunda called Suirya Kunda in the Misira-pokhara (Mi6rapuskarani)
19 Ascribed by R.G. Bhandarkar to a date not earlier than the sixth century A.D., Valyavism, Saivism and Minor Religious
Systems (Collected Works of Sir R. G. Bhandarkar, vol. IV, Poona, 1929), p. 2i2; but according to P.V. Kane the Smrti
of Yajniavalkya cannot be placed later than the 3rd cent. A.D.; History of Dharmafastra, vol. I, Poona, 1930, p. I84.
20 R.G. Bhandarkar, op. ci., p. 2II.
21 See Nirnayasagara edition for variants as given in footnotes; for the commentary, the Trivandrum Sanskrit Series edition.
Also Kane, op.cit., p. 18I, f.n.
22 Theoretically an animal representation can always be supposed to constitute the rudimentary stage for the outcoming
type of animal-faced icon.
23 Note the characteristic turn of the proboscis of this central figure.
24 For comparison see Getty, op.cit., p. 38.

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area of Varanasi city. The image is locally known by a very appropriate name of Dvimukha
Vinayaka and is said to have been recorded in the list of the Vinayakas of KaiSl as given by the
Skanda Puran.a. But the name as it occurs presumably for this two-faced aspect in the Kiai-
khanda of this Puran.a is Dvitutda, i.e. 'having two trunks or faces'.2s Getty has described a
double-headed aspect of Ganapati as it was known and worshipped in Bombay,26 but that in
fact is said to have an elephantine head and human face side by side. The Varanasi sculpture,
which may be regarded to date from the late medieval period, shows two elephant-heads, a
variant not yet known in any other representation in India or elsewhere. Unfortunately this image
is covered by a thick coat of sindfira (vermilion) and is not well preserved. The god appears to
sit inmpadmdsana and has four hands. The two normal ones are placed on his folded knees while
the two extra hands appear to carry a battle-axe and a mulaka (radish, or it may be a broken
danta (tooth), or a goad?). Both of his trunks are coiled up in an unusual manner sideways
opposite to each other.

Trimukha or Three-faced Ganesa

The sculpture of a three-faced Ganapati under worship is located in a niche at the Pisaca-
mocana area in the city of Varanasi (Fig. I7). He is four-armed and sits in lalita mudrd. In his
upper right hand the god has a battle-axe and in his upper left a mulaka. His normal right hand
displays the abhaya pose while in his corresponding left hand, placed on his left thigh, he seems
to carry a rosary. Behind his right foot appears the tiny figure of his mouse vehicle. Two ani-
mals shown in a niche of the image-pedestal cannot be properly identified, though they appear
to look like an elephant and a lion.
Of the god's three trunks the middle one hangs down straight while the side ones are
turned to opposite directions.27 Owing to his three-faced form the god is locally called Tiyasuydd
Ganesa and seems to be mentioned by the name Trimukha in the Kasikhanda list of 5 6 Vinayakas
protecting Varanasi. This text also describes his form as having three faces of a monkey, a
lion and an elephant.28 But this textual specification does not seem to tally with our image which,
however, has three elephant-faces. The sculpture may not be earlier than the I 3th-I4th cent. A. D.
Another similar figure of three-faced Ganapati is installed in a shrine at the top of the Tripuran-
taka-tila in the Sigri area of Varanasi.

Five-faced Ga.napati

At least two specimes of the five-faced form of this god are still under worship in the city
of Varanasi. One of them is in a house at Pisaca-mocana (Fig.i8). This image is presumably
represented by the name Paicdasya in the Kasikhanda list (II. 57.83) where immediately preced-

2s Kali-khanla, II. 57. IoI.

26 Op. cit., p. 4. The name given by her as "Ganega-jayanti" or "Jayanti" (see Index, p. 99 of her book) does not seem to
refer to the double-headed aspect of Gan. esa but simply to his Birth-festival.
27 According to Getty (p. 14) this form of Ganapati was not known in India, but she has taken into account the aspect
with three heads as known in Japan.
28 'kapisimhadvipaJnanah,' II. 57. 82.

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ing it occurs the name of Trimukha, who is possibly represented by the present Three-faced
Gane?a icon described above from the same locality.
The god has four arms and sits on a cushion. His normal right hand displays varada mudra
while the corresponding left is placed on his left thigh. His two extra hands carry a goad and a
sarpa (serpent). On either side of the main head, four additional trunks are composed in two
parallel rows. The turn of the god's main proboscis to his right is unusual. The sculpture may
be ascribed to the sixteenth-seventeenth century.
The other five-faced figure is set up in a room over the famous image-cell of Dhundhiraja
Ganesa in the Vishwanath Gali, Varanasi. This marble statue does not seem to be earlier than
the one described above and is known under the name of Paica-suyUd Ganesa. In the arrange-
ment of five heads this figure is comparable with the five-headed Ganesa published by Getty
from Bengal.29
According to the birth-story of Ganesa, as found in the Skanda Puran. a, he was born from
an elephant-headed demoness Malini as a male child with five elephantine faces, which Siva
willed to be reduced to one.30 In the iconographic treatises such as the Silparatna, Rupamandana
and Kriyakramadyoti,31 the five-faced aspect of Gane?a is described under his name Heramba.
As observed by Getty, the five-headed form of this god was most popular in Nepal and had
certain followers in India, but Heramba was practically never found outside of these countries.32
In the light of the Paiica-Ganesa icons, it is now not unreasonable to believe that the god's
five-headed form that came to be popular in the later medieval times, was an iconographic
innovation based on the earlier concept of his fivefold manifestation.

29 Op.tit., p. I5, pl.4 (b).

30 Getty, op.cit., pp. 6-7.
3I T.A. Gopinatha Rao, Elements of Hindu Iconography, vol.I, pt. II, Madras, 1914, Appendix C, p. 7.
32 Op. cit., p. 15.

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