Journal of Bengal Art (ISSN 1607-1344), vol. 21, 2016, pp.

235-40
Editor: Prof Enamul Haque
Publisher: The International Centre for Studies in Bengal Art
Dhaka, Bangladesh © ICSBA (http://www.bengalart.org/)

The Viṣṇu-image from Goda

__________________________________________________________
Sanjay Sen Gupta
Assistant Professor, School of Fine Arts, Amity University Kolkata

In early April 2008, a wooden idol of Lord Viṣṇu was unearthed from a pond at Goda of
Bardhaman in West Bengal, and was primarily shifted to the local Police Station. The
sculpture, presumably made of Śāla-timberi, is assignable to c. tenth-twelfth century AD. It
shows the lord on his mount Garuḍa in Bhogāsanaii.
Such an iconography is not very common in Bengal, as most of the Viṣṇu-
images here have been depicted in Sthānaka-formiii. Only a few abrupt exceptions are in view
at Indian Museum (Kolkata), Asutosh Museum of Indian Art (Kolkata), Bangladesh National
Museum (Dhaka) and Varendra Research Museum (Rajshahi). But, in terms of material and
scale, the one from Goda differs widely from this group (see figure 1):
• the former is made of wood, while the latter is in stone;
• the wooden specimen measures 83½ x 17 x 9 inches – excluding the
detached pedestal measuring 21½ x 17 inches – while the largest of the
stone-pieces is around 40 inches in height.
So, the deity-on-mount from Goda is indeed a unique piece – the only specimen of Pāla-Sena
woodcarving found in West Bengal, till date.iv
The Bardhaman University Museum expressed a primary interest, as reported
in page eight of Ānanda Bāzār Patrikā (Kolkata edition), April 9, 2008, for taking this
specimen to their collection. But, no proceedings took place even in a couple of years, and
the decaying sculpture was left at the Police Station only to be affected by sheer negligence.
I visited Bardhaman Police Station on July 27, 2010, documented the
specimen, and sent a detailed report to Sri Jawhar Sircarv, who forwarded the same to Dr
Gautam Sengupta vi . Their kind responses initiated an inspection on July 28, 2010, by
Archeological Survey of India, Kolkata Circle.vii In their report, dated 30.08.2015, viii they
accepted the specimen as the rarest of Bengal sculptures, which requires immediate attention
and appropriate restoration. They also expressed their eagerness to take up the said
responsibility.
In the mean time, however, The Directorate of Archaeology of Museums,
West Bengal, got involved into this. They took the required measures, and the wooden idol
was brought finally on November 13, 2010, to the State Archeological Museum, Kolkata.

THE CONTROVERSY:
Both the reports mentioned above – one from Ānanda Bāzār Patrikā and the other from ASI,
Eastern Circle – have identified the iconography of the Goda-specimen as Viṣṇu-on-Garuḍa.
The latter has also specified that the art of carving, facial and physiognomical features of the
deity and his mount indicate the composition to be a delineation of tenth-twelfth century AD
and a rare specimen belonging to the Pāla-Sena School.
Journal of Bengal Art (ISSN 1607-1344), vol. 21, 2016, pp. 235-40 2

fig 1a. Viṣṇu-on-Garuḍa – made of wood; c. fig 1b. Viṣṇu-on-Garuḍa – made of stone; c.
tenth-twelfth century AD; from Goda, eleventh century AD; from Niamatpur, Naogaon;
Bardhaman; now at State Archaeological kept at Varendra Research Museum, Rajshahi
Museum, Kolkata (Acc: 2886)

But, even after that, controversies have been raised by some of the learned
scholars, who have various claims on the iconographic appearance of this wooden deity.
However, in spite of various apprehensions, all of them have agreed upon this to be not a
rendering of Lord Viṣṇu – but something else.ix
Indeed, they have their own points of argument:
● two hands of the lord;
● absence of vana-mālāxand yajnopavītaxi;
● absence of śrīvatsaxii mark on the lord’s chest;
● the mount-figure without wings;
● resemblance of the facial features (i.e., nose, lips etc) of the
mount more to a human than a bird like Garur̖a etc.
Even some of them have referred this sculpture to be a part of any Rathaxiii; while others have
insisted it to be an icon of Jaina origin.
Perhaps, these scholars are of opinion that an image of Lord Viṣṇu can never
be rendered without śaṅkha-cakra-gadā-padma, vana-mālā, yajnopavīta or śrīvatsa. Perhaps,
they have never seen a Garuḍa-figure without a bird-like face or flapping wings. In any case,
a lot of references are there that would go against their populist beliefs – advocating in favor
of the deity being Viṣṇu and nothing else.
Journal of Bengal Art (ISSN 1607-1344), vol. 21, 2016, pp. 235-40 3

THE REASONING:
The tradition of Ratha was introduced in Bengal only in the late-fifteenth or early sixteenth
century AD. The style of carving of this era, as manifested through multiple wooden
specimens, was much simplistic and voluptuous in approach. This very style doesn’t match
with that of the Goda-specimenxiv, which bears a different visual appearance altogether.
Even if such a Ratha ever had existed – accommodating this nine-foot wooden
piecexv – it must have been a huge structure, ornamented with many other similar sculptures.
But, a complete absence of any such piece till date in and around the area of Goda leads
towards nothing but further confusion. In addition to this, carving of such a huge, elongated
and intricate sculpture merely to be attached to a processional chariot also seems to be quite
absurd.
Hence, there is every possible doubt whether this sculpture was ever added to
any such Ratha – or such a vehicle had ever existed at all. And it could be surmised that the
deity-on-mount was an independent rendering installed somewhere else for a different
purpose.
In this connection, we must recollect that the use of a mount – be it human,
bird or animal – is difficult to be assigned to a Jaina or a Buddhist origin. Rather, a figure
sitting on the shoulder of another – as manifested in this wooden effigy – is widely prevalent
in the iconography of Brahmanic deities.

DEFENDING THE ARGUEMENT:

The deity-on-mount from Goda is flanked with a Sarpa-chatra or snake hood that signifies
only three icons of the Brahmanic idiom: Viṣṇu, Saṅkarṣaṇa or Balarāma and Manasā.
Among them, Manasā is a female deity which has been depicted in wood only after the
seventeenth century AD; while Saṅkarṣaṇa or Balarāma is never manifested on a mount.
Hence, if the Goda-specimen belongs to the Brahmanic pantheon, then its iconography
appears to be nothing but of Viṣṇu.
● The deity here is bedecked with a head-gear that resembles the Kīriṭa-mukuṭa xvi ,
which is an integral part of Viṣṇu-iconography as specified by the ancient texts like
Mānasara Śilpaśāstraxvii.
● Manifestation of Lord Viṣṇu with two arms is nothing new. Such an iconography has
fairly been common a phenomenon in the sculptural trends of third-seventh century
AD; and has also been documented and approved by the fifth century text Bṛhat
Saṁhitā of Varāhamihira xviii . A third-fourth century specimen kept at the State
Museum of Hyderabad – originally hailed from Yellasvaram of Andhra Pradesh –
would illustrate the same.xix Refer could also be made, in this regard, of a seventh
century sculpture that was hailed from village Rupavasa, near Fatehpur Sikri, Uttar
Pradesh.xx
● A Viṣṇu-icon without Vana-mālā is also not rare in Indian art, since the Indian
Museum, Kolkata, alone provides us with four such specimens. The first one is an
eighth century black-stone found at Chaitanpur of Burdwan,xxi while the second is an
eighth/ninth century Basalt-piece xxii of Viṣṇu-on-Garuḍa collected from Bihar. A
ninth century specimen,xxiii belonging to the Pallava School of southern India (see
figure 2), and another tenth century Basalt-sculpture from Biharxxiv also bear similar
rendering.
Journal of Bengal Art (ISSN 1607-1344), vol. 21, 2016, pp. 235-40 4

● Sculptural-images, depicting the male-deities of the Brahmanic order, usually have

Yajnopavīta chiseled with an engraved line across their chest. The Viṣṇu-image from
Goda also must have had a similar one that has perhaps been removed due to the
surface-damage caused by time and circumstances.xxv However, a faint indication of
such a line is still visible today (see figure 3).

fig 2. Viṣṇu-icon, assignable to c. ninth fig 3. Details of the Viṣṇu-image from Goda
century AD, Pallava School

Now, the present condition of the sculpture, which has already generated such
wide cracks on its body, must be considered. It’s quite possible for it to lose any sort of
surface detail while remaining drowned under loam and water for so many years. Hence, the
argument regarding the absence of Śrīvatsa mark on the chest of the wooden lord doesn’t
appear to be justified at all. And thus, none of the above arguments can restrict the deity from
being identified as Viṣṇu, the savior; while his mount must be accepted as nothing but
Garuḍa.
In the artistic tradition of India, several manifestations of Garuḍa show a
much human character than a bird; xxvi and the wooden image from Goda is not a mere
exception. A ninth century Bhogāsana image of Viṣṇu – for example – from Osian of
Rajasthan shows the mount with a human face and without any wing.xxvii Another specimen
from Bihar, kept in Indian Museum at Kolkata,xxviii also depicts a similar manifestation.
In addition to all these, the pan-Indian iconography and the trade-mark carving
of the Pāla-Sena School – clearly evident on this wooden surface – leave no room for doubt
that the icon from Goda is no other than a Bhogāsana image of Lord Viṣṇu.
Journal of Bengal Art (ISSN 1607-1344), vol. 21, 2016, pp. 235-40 5

NOTES & REFERENCES:

i
Shorea Robusta. Apart from this, the other trees that were prescribed – as suitable for carving – by Bṛhat
Saṁhitā (ch LIX, sūtra 5-6) and Viṣṇudharmottara Purāṇa (Khanḍa III, ch 89, sūtra 9-11 and Khanḍa III, ch 89,
sūtra 13): Anjanā, Ariṣṭa (Xanthium Atrumarium), Arjuna (Terminalia Tomentoza), Aśvattha, Āmra, Cinaka
(Panicum miliaceum), Deva-Vṛkṣa or deodar (Cedrus Deodara), Dhava (Anogeissus Latifolia), Haridrā (Canna
Indica), Jatya (Jasminum grandiflorum), Jivaka, Kadamba (Anthocephalus cadamba), Keśara, Khadirā (Acacia
Catechu/Pennata), Kiṁśuka/Palāśa (Butea frondosa), Madhukā (Cynometra Kamiflora or Bassia Latifolia),
Nandana, Padmaka (Prunus Pudum), Rakta-Candana (Ptyerocarpus Santalum), Sami (Prosopis Spicigera),
sandalwood (Santam Album), Sarja, Śiṁśapā (Dalbergia Sisson), Sindhuka, Syandana (Rathadru or Dalbergia
Ougeinensis), Tinḍuka and Vilva. [see Bhat, Ramakrishna (tr). (1982). Brhat Samhita. Part II. pp 348, 564-569;
also see Shah, Priyabala (tr). (2002). Sri-Visnudharmottara Purana. Third Khanda. pp 214-216]
ii
It’s the seated posture of a deity. Lord Viṣṇu is manifested in two variations of this posture: either on the coil
of Ādiśeṣa or on his mount Garuḍa. [see Dasgupta, Kalyan Kumar. (2000). Pratimāśilpe Hindu Devadevī.
Kolkata: Paścimbaṅga Bāṅglā Ākādemi. p 17]
iii
The erect standing posture of the lord with four hands holding śaṅkha-cakra-gadā-padma (conch-discuss-
mace-lotus). It’s a very common iconography sculpted on both wood and stone during the Pāla-Sena period.
iv
All the other specimens of that era have been found in today’s Bangladesh, and kept at Bangladesh National
Museum.
v
Then the Chief Secretary, Ministry of Culture, Govt of India.
vi
Then the Director General, Archaeological Survey of India.
vii
Letter No KC/LS/ANT/2010-3287, dated 22 Sep 2010, from T J Baidya, Superintending Archaeologist, ASI,
Eastern Circle.
viii
see INSPECTION REPORT ON SEIZED WOODEN IDOL OF VISHNU, KEPT IN BARDHAMAN
POLICE STATION, DIST BARDDHAMAN, WEST BENGAL, by Santanu Maity, Deputy Superintending
Archaeologist (Customs), ASI, Kolkata Circle. Also see INSPECTION NOTE OF SHRI B R
MUKHOPADHYAY, DEPUTY SUPERINTENDING ARCHAEOLOGICAL CHEMIST, OFFICE OF THE
REGIONAL DIRECTOR (EASTERN REGION), ARCHAEOLOGICAL SURVEY OF INDIA, KOLKATA
700001.
ix
see Private Correspondent. (10 November, 2010). Ānanda Bāzār Patrikā (Burdwan edition)
x
An elaborate garland made of different flowers worn by lord Viṣṇu.
xi
It’s a sacred cord of three threads, each of nine twisted strands, wore around the neck and one shoulder by
Brahmin (made of cotton), Kṣatriya (made of hemp) and Vaiśya (made of wool).
xii
One of the 108 names of Lord Viṣṇu – is an ancient and auspicious symbol or mark on the chest of the lord
where his consort Śrī or Lakṣmī resides. It is said that his 10th incarnation, Kalki, will also bear this mark on his
chest.
xiii
Processional cart or chariot.
xiv
The thin and lean structure and painstaking details of the latter resemble more to the aesthetics of Pāla-Sena
school.
xv
As perceived by our learned scholars.
xvi
A tall cylindrical crown, usually worn by lord Viṣṇu.
xvii
Ch 51 (see Acharya, Prasanna Kumar. (1934/1981). Manasara Series. Vol I. New Delhi: Oriental Books
Reprint Corporation. p 71)
xviii
Ch 58, sūtra 31 [see ___________ (tr). (1870/1875). The Brhat-Samhita (or complete system of natural
astrology) of Varahamihira. Vol II. p 47]
xix
It shows the lord holding his Gadā in the right hand, while the left hand is placed on the waist and holding the
Saṅkha (see Dasgupta, Kalyan Kumar. (2000). Pratimāśilpe Hindu Devadevī. Kolkata: Paścimbaṅga Bāṅglā
Ākādemi. p 16).
xx
Here, the lord is holding Saṅkha and Cakraxx in his two hands. See ibid.
xxi
This deity is also wearing a very short dress; while a strange amulet-necklace – instead of Vana-mālā – is
hanging briefly from his neck. (see Dasgupta 2000: p 14, pl 1) The four-armed deity is standing in a
samabhaṅga posture, while the back hands are placed on the heads of the personified form of two of his
attributes – Cakra-puruṣa (the god of disc) and Gadā-devī (the goddess of mace).
xxii
Acc No: 4012/A25167
xxiii
Acc No: 65/11
Journal of Bengal Art (ISSN 1607-1344), vol. 21, 2016, pp. 235-40 6

xxiv
Acc No: 4039/A25294
xxv
It remained under loam and water for many years.
xxvi
see Dasgupta 2000: pp 254-5
xxvii
(see ibid. pp 17-8) The divine mount is carrying his lord on his back.
xxviii
Acc No: 4012/A25167