2013 - Revanta Images Mainly from Bihar and a Special Type of Three Equestrian Deities from North Bengal

Journal ofBengal Art, Vol. 18, 2013, 61-86

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REVANTA IMAGES MAINLY FROM BIHAR AND A SPECIALTYPE OF THREE EQUESTRIAN DEITIES FROM NORTH BENGAL

Gerd J.R. Mevissen

A large number of images depicting the horse-riding god Revanta, one of the sons of Surya, I

are known from different regions of northern India? Strangely enough, images in which Surya

and Revanta are represented together are hardly known. One such image is a bronze of Surya

where a small horse-rider, apparently Revanta, is depicted in front of the pedestal facing his

father, who is accompanied by Pingala and Dandin on his right and left side, respectively. The

image is of Pratihara origin, dates approximately from the 11 th century and is now in the National

Museum, New Delhi.3 Another one was recently found at Makhpa, north of Tekari, Gaya district,

Bihar (Plate 5.1). This unique stone sculpture of Surya is presently fixed in a niche of the

circumambulatory path in a modern temple erected on a small mound near the village.

Apparently, the original head of Sllrya is missing and has been replaced by a much too large head

from another sculpture.

Plate 5.1: Surya in modem temple at Makhpa, Gaya district, Bihar; full view and details (photos:Melzer& Mevissen 2013).

The extraordinary image is shown standing on a chariot drawn by seven horses, directed by a

small figure of Aruna sitting between Surya's booted feet. However, it deviates from usual Surya

images in not showing the god accompanied by Dandin and Pingala, nor by any of his wives, nor

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Plate 5.2: Two Revantas from Bengal. A: from Shamsi, Malda district, West Bengal:Indian Museum, Kolkata, no. 3606 (photo: Melzer 2009). B: Museum and ArtGallery.University of Burdwan (photo: AIlS 32804).

by the female archers. Instead, the principal image is surrounded on each side by numerous

miniature figures, arranged in several horizontal registers. At the bottom on the proper left side is

carved a scene depicting Revanta on horseback, holding the rein of the horse in his left hand and a

bowl in his raised right hand. A male figure stands in front of the horse, apparently offering some

food; another male figure holding a sword in the right hand is shown behind the horse; and a

larger female figure with an offering in her raised right hand stands in front of the group, but is

oriented towards the principal figure of Surya.

The other registers of this image are carved with different figures, many of them offering

garlands. Among these scenes, the one flanking the right thigh of Surya is most noteworthy in

showing a four-handed Mahisasuramardini killing the buffalo demon and to her left a Buddha-like

figure with his right hand in abhayamudrii and his left hand placed in the lap; his legs are

concealed by the high, multi-layered pedestal on which he is seated. This enigmatic Surya image

certainly deserves further studies.

In images representing Revanta as the principal figure, Surya is also rarely shown. As we will

see further on, Surya may occur as a member of the group of planetary deities depicted at the

REVANTA IMAGES MAINLY FROM BIHAR AND A SPECIAL TYPE 63

Plate 5.3: Four Revantas in the Indian Museum, Kolkata. A: no.OS 172 (photo: Mevissen 2009). B: from Telhara, Nalandadistrict, Bihar; no. 4038 (photo: Melzer 2009). C & D:fromUttarPradesh (photos: Mevissen 2009).

upper border of the sculpture, and only three Revanta images are known so far that include

separate larger figures of S[jry~ in the composition."

Typologically, the images of Revanta can be classified according to the number of the

equestrian figures that are depicted in the composition. Revanta himself is generally represented

as a two-armed deity riding on horseback, either to the left or to the right,' invariably wearing

boots and holding a cup or bowl in his right or left hand. Occasionally an attendant (mostly

female) is about to pour some drink from ajar into the cup held by Revanta.

Type 1 images are most numerous; they show the god as the only equestrian figure of the

composition, always in profile, either riding towards the left or right. He is accompanied by

several smaller attendant figures walking beside him, one of whom usually holds an umbrella

above the head of Revanta. One or several dogs and sometimes other animals, especially boars,

are shown at the bottom, indicating that the whole scene represents a hunting party." More than

100 images of Type 1 are known from all parts of northern India. I will illustrate here a few

examples mostly from eastern India, which remained unpublished so far.


Plate 5.4: Five Revantas from Bihar. A: Patna Museum (photo: Mevissen 2013). B:in temple at Makhpa, Gaya district (photo: Melzer 2013). C & D: in shrine atGhosrawan, Nalanda district (photo: Mevissen 2013); E: in Indradamanefara I 5"temple, Ashokdham, Lakhisarai district (photo: Mevissen 2013).

Two Revanta images from Bengal' escaped the attention of previous scholars (Plate S.2A-B).

Both show the god riding towards the proper left. The one marked as 'A' comes from Shamsi,

Malda district, West Bengal, now kept in the storeroom of the Indian Museum, Kolkata;" it

preserves only one small figure in front of the horse, but no animals. The sandstone fragment of-unrecorded provenance illustrated in 'B' belongs to the collection of the Museum and Art Gallery,

University of Burdwan;" it preserves parts of the attendants as well as some animals in the

pedestal.

Of the Revanta images in the Indian Museum, Kolkata, some unpublished sculptures are kept

in the storeroom (Plate S.3A-D). The provenance of 'A' is not known to me; it faces to the proper

left and shows a dog beneath the foot of the god and several musicians as well as an animal in the

pedestal." 'B' is from Telhara in Nalanda district, Bihar;11 we notice a dog attacking a boar

beneath the foot of the god, a Sh0l1 sword fastened to his wrist, and several attendant figures in the

upper part of the sculpture. 'C' and 'D' are said to come from Uttar Pradesh; they both show

Revanta accompanied by several subsidiary figures.l'' The three latter images face to the proper

right.

REVANTA IMAGES MAINLY fROM BII-IAR AND A SPECIAL TYPE

Plate 5.5: Two Revanta triads from Uttar Pradesh. A: in Avijit Lahiri Collection, London(after Bhattacharya 2005: fig. 2). B: from Somnabhar, Sultanpur district (after Sotheby'sLondon, 22nd/23rd October 1992: lot 376).

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Several more images of Type 1 from different places in Bihar have recently come to light

(Plate5.4A-E).13 The one marked as 'A' is a fairly large sculpture presently on display in the

courtyard of the Patna Museum," showing two boars between the legs of the horse, two dogs

chasing a boar in the pedestal, and two birds flanking the ornamented halo of the god;" a sheathed

sword and a whip are hanging from his belt. 'B' is a severely damaged fragment (height ea. 38

cm) kept in the modern temple near Makhpa (where the enigmatic Surya sculpture is located,

mentioned above); it preserves only a standing attendant figure in front of the horse, the hoof of

which is placed on an animal, and some musicians in the pedestal. 'C' is a fragment of the upper


part of a Revanta image with

numerous attendant figures, now fixed

in the wall of an open-air shrine at

Ghosrawan, N~landa district." 'D' is a

fragment of another sculpture

preserved in the same place, showing

a hare between the legs of the horse.

And 'E' is a beautifully carved and

well-preserved architectural piece

(candrasalai presently kept in the

store-room of the large, recently built

Indradarnanesvara temple at

Ashokdham. Lakhisarai district,

showing Revanta with four attendant

figures. but no animals." We notice

that 'A' and 'B' face to the proper right,

whereas 'C' to 'E' face to the proper

ieft.

Type 2 images of Revanta have been

popular especially in the western part

of northern and central India. They

show the equestrian god accompaniedby two additional horse-riders of

almost similar size, both booted, as

well as by his usual entourage of

walking attendants. In most casesRevanta is depicted as the central figure of the three equestrians. The two additional characters

can be identified as Dandin and Pingala, the two acolytes of Revanta's father Surya." All three aregenerally shown in profile, either riding towards the left or towards the right. Most elaborate is a

sculpture of unrecorded provenance now in the Avijit Lahiri Collection, London (Plate 5.5A).19

The group is riding towards the proper right with Pingala at the head and Dandin at the back. This

arrangement is found in most images of Type 2. In front of Pingala is a large figure of his father

Surya standing over a goddess riding a lion, perhaps Durga, Surya is again depicted in the upperregister, as the first member of the row of eight planetary deities (astagrahai, which ends with

the large head of Rahu. 20 On the right, the register continues with Ganesa, Kubera, Abhiseka

Laksmi, another pot-bellied male, and a female holding a curved object. The presence of Ganesa,

Laksmi and the Grahas suggests the wish for success and good luck in the hunting excursion of

Revanta.

Plate 5.6: Two Revanta triads from Bihar. A: present locationunknown (after Nies 2009: 31). B: fragment in moderntemple at Makhpa, Gaya district (photo: Melzer 2013).


Plate 5.7: Three fragments from different Revanta triads. A: Dandin (after Sotheby's London,24th November 1986: lot 153). B: Pingala; Haryana State Museum, Chandigarh (after Handa2006: pI. 291). C: Revanta (afterSotheby's New York, December 1,1993: lot 301).

That the inclusion of numerous subsidiary figures is a general feature of the triple equestrian

type of Revanta images can also be witnessed on an image which, until 1986, was in worship in a

modern shrine at Somnabhar, Sultanpur district, Uttar Pradesh, from where it then found its way

to the London art market (Plate 5.5B).2 1 Here the group moves to the proper left. The row of

deities depicted in the upper register starts with the Navagrahas followed by Abhiseka-Laksrnl

and eight Matrkas; the row at the bottom shows numerous musicians.

Several similar panels of this type are known from different places in northern India. In the

following list, they have been arranged statewise; see e.g. for Haryana: (i) fixed in the wall of a

dharmasald at Kanwari, moving to proper right;" (ii) from Pehowa, preserving Revanta and

Pingala on one fragment, Dandin on another, moving to proper left;23 (iii) from Thanesar,

Kurukshetra, now in the Haryana State Museum, Chandigarh;" UttaranchaI: (iv) in worship in a

temple near Jagesvara, Almora district, moving to proper right;" Rajasthan: (v) from Mallah,

Rajasthan, now in the Bharatpur Museum, with Grahas and Dikpalas, moving to proper right;"

(vi) in an open Devi shrine at Badipur, Kaman, Bharatpur district, with Astagrahas and

Astadikpalas, moving to proper right;" Uttar Pradesh: (vii) in the Government Museum,

Mathura, moving to proper left;28 (viii) in a shrine at Aring, Mathura district, with Navagrahas and

Astavasus, moving to proper left;" (ix) in an open Devi shrine at Mandoi, Mathura district, with a

separate Surya figure in front of Pingala and Astagrahas above, moving to proper right;" (x) two

fragments in a Devi shrine at Mahrana, Mathura district, preserving Pingala and Revanta, with a

separate Snrya figure in front of Pingala, moving to proper right;" (xi) from Bhita, now in the

AlIahabad Museum, with Grahas, moving to proper left;32 (xii) at Musanagar, moving to proper

left;" Madhya Pradesh: (xiii) in a frieze beneath the ceiling in the Siva temple at Padavali,

moving to proper rightr'" (xiv) in a temple at Sohagpur, Shadol district, moving to proper right;35


(xv) in the verandah of Thakur's house at

Arjula, Shahdol district, moving to

proper left;" (xvi) in the State Museum,

Dhubela, moving to proper left;'7 (xvii)

fragment kept in a storeroom at Pathari,

with Navagrahas and Matrkas, moving

to proper right;" (xviii) of unrecorded

provenance, moving to proper left." In

all these panels, Pingala rides in front of

Revanta, often turning his head towards

the god, no matter in which direction the

whole group is moving.

But there are also variations, though

few. In a panel probably from Bihar, the

group moves to the proper left with

DaJJ9in riding in front and Pingala

following at the end (Plate 5.6A).4o A

fragment from Badoh-Pathari, Madhya

Pradesh, now in the National Museum,

New Delhi,41 also moving to the proper

left, again shows Pingala behind

Revanta; the figure of Dandin, which

once must have been in front, is missing.

The same may apply to a fragmentary group moving to the proper right, presently under worship

in a modern Devl shrine at Harnaul, Mathura district, Uttar Pradesh, preserving only Revanta

followed by Pingala(?).42 For a fragment kept in the modern temple at Makhpa, Bihar (see above),

which only preserves two of the three figures riding to the proper right (Plate 5.6B), it is difficult

to tell who is the one riding in front of Revanta, the latter being distinguished by the umbrella

above his head, as the slightly smaller figure in front seems to hold a bowl in his right hand. Both

equestrians show a sword fixed to their saddlecloths, held in place by their left legs. Another

variation is found in a panel of unknown provenance now in the Norton Simon Museum,

Pasadena, where Revanta leads the group moving to the proper right, followed by Pingala and

D di 43anc 1Il.

Plate 5.8 Triple equestrian group (Revanta?), stone,from Shadea, Uttar Dinajpur district, West Bengal;Varendra Research Museum, Rajshahi, no. 1534(photos: A: after Saraswati 1936: pI. 3, fig. 4; B: afterRahman 1998: pI. 336).

In all these images where Pingala is clearly identifyable, he invariably holds a pen and aninkpot, his usual attributes, while the object held by Dandin is either a long staff, a spear, or asword. These features allow us to identify some fragmentary sculptures as parts of former Revanta

REVANTA IMAGES MAINLY FROM BIHARANDA SPECIAL TYPE 69

Plate 5.9: Triple equestrian group (Revanta?), stone; Department of Archaeology, Dhaka, reg. no.DA/R/40 (photos: A: Bhuiyan 2011; B-C: after Hossain 2003: ph. 1-2).

images of the triple equestrian type (Plate 5.7A-C). The figure marked as 'A' holding a sword is

certainly Dandin facing to the proper left, once riding at the head of a Revanta triad." This can be

inferred from the Graha figures of Rahu and Ketu remaining in the upper register, implying

that there was a full group of Navagrahas of which only the last two members survived. The

fragment marked as 'B', now in the Haryana State Museum, Chandigarh," is certainly aPingala from a Revanta triad moving to the proper left, though it remains unclear whether it was

placed before or after Revanta in the original image. And the one marked as 'Cl is the centralRevanta figure of a triad moving to the proper left," again hinted at by the presence of miniature

figures in the upper register, viz. the last three members of a Navagraha group and the first twomembers of a Matrka group.

As already stated, the triple equestrian type of Revanta images was popular mainly in thewestern part of northern and central India. Such images are quite rarely found in Bihar (see

Plate 5.6). The easternmost extension of this type is documented by an elaborate panelfrom Ashokdham-Rajaona, Lakhisarai district, Bihar." It comprises more than forty miniaturefigures arranged in four registers. Dandin holds a sword and rides in front while Pingala

follows at the back. The large urban centre of ancient Krimila, once covering the area ofmodem Lakhisarai town as well as the surrounding villages and located at the crossing pointof major trade routes connecting Gaya and Nalanda in the West with Bengal/Assam in the Eastand Nepal/Tibet in the North,48 would appear predestined to have been a place of worship for

travelling merchants who sought protection from the forest deity Revanta; indeed, this

elaborate image of Type 2 and the other two of Type I (see Plate 5.4E, and note 17) point in

this direction. Whereas Type I images are also found in Bengal, the triple equestrian type does

not seem to have been used further east, i.e. beyond eastern Bihar.

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Plate 5.10: Two triple equestrian groups (Revanta?), metal, from Bangladesh; Private collection,Bangladesh (photos:Melzer and Mevissen 2011).

As we have seen, in both types Revanta is invariably shown holding a cup, mostly in his right

hand, in few examples in his left hand. The cup is surprisingly not described in any of the

weLl- ~textual sources. Only the Pratisthdlaksanasiirasamuccaya mentions a skull vessel with

iAt.to-...?l1 liquor as attribute in the right hand of Revanta and garlic in the left."? The Kdlikd-Purdna

describes a sword in the right and a whip in the left hand/" the Mdrkandeya-Purdna

mentions a sword and a quiver."I;;;

REVANTAIMAGES MAINLY FROM BIH.ARAND A SPECIAL TYPE

Plate 5.11: Triple equestrian group (Revanta?), metal, from Rajshahi, Bangladesh; Art Institute ofChicago, Robert Allerton Purchase Fund, no. 1981.641 (photo courtesy of the Art Institute ofChicago).

Plate 5.1 : riple equestrian group (Revanta?), metal, from Chopra, Uttar Dinajpur district, WestBengal; State Archaeological Museum West Bengal, Kolkata, no. 04.111 (photo: Melzer 2011).

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Plate 5.13: Female rider, probably from a triple equestrian group (Revanta?), metal,from Bangladesh; Private collection, Austria (photos: Poell20l2).

Plate 5.14: Details of the female riders in Plates 5.12 and 5.13 (photos: Poell2012 and Melzer 2011).

REVANTA IMAGES MAINLY FROM BIHAR AND A SPECIALTYPE 73

Now we can proceed to another type ofimages depicting three equestrian figures,which largely remained unidentified so far.

They all hail from Bengal, especially NorthBengal, and seem to date from the latter part of

the 11th century or later. The group is generally

depicted in frontal view; the principal figure in

the centre, always holding a sword in his right

hand, is in most cases larger than the two

additional horse riders, who also carry a sword.All three figures wear boots. One figure is

invariably female. Altogether seven images of

this type have surfaced so far, two stone

sculptures and five metal images."

The first image (Plate 5.8) was noticed by

S.K. Saraswati in March 1935 at Shadea on theChiramati river, present Uttar Dinajpur district

of West Bengal. The slab was then donated tothe Varendra Research Museum, Rajshahi." All

three figures are of the same height; the female

rider is on the proper left; the two male riders

each hold a mace or sword in the right hand

while the left is kept in front of the chest, perhaps holding the reins; the female seems to hold a

bowl or cup in the right hand; her left hand resembles that of the male figures. An umbrella isvisible above each figure.

Plate 5.15: Detail of Kalkin from a Dasavatarapanel from Nalanda, Bihar; Indian Museum,Kolkata, no. 4181 (photo: Mevissen 2009).

The second stone image is now kept in the Department of Archaeology at Dhaka (Plate 5.9);

its exact provenance is unrecorded." The central figure is of much larger size, seems to have afierce facial expression and wears an upavita and a high karandamukuta crowned by an umbrella.

The female figure is again on the proper left. All three figures hold a sword in their right hands

and the rein in the left. The one-line inscription on the upper portion of the pedestal is now

completely eroded. A small kneeling donor figure in aiijali-mudrii is carved in the proper right

corner ofthe pedestal. The upright format of the image with the pointed top and its height indicate

that it once may have been installed in the sanctum of a temple or in a wall niche.

Of the five metal images, the most simple one now belongs to a private collection inBangladesh (Plate 5.10A); its provenance is unrecorded. As in the previous image, the principalfigure is much larger than its two companions and wears an upavita. The female is again placedon the proper left. None of the male figures is bearded. All three figures carry a sword in the righthand and hold the rein in the left. There are no donor figures in the pedestal.


The second metal image, again of unrecorded provenance, is also in a private collection in

Bangladesh (Plate 5.10B). It resembles the previous one, but here the side figures are of almost

equal height. The two male figures are bearded with fierce expressions and both wear high

pointed crowns. As a unique feature, the female occurs on the proper right side of the principal

figure. All three figures are placed on a high, slightly slanting pedestal with decorated mouldings.

Two kneeling donor figures in aiijali-mudrii occur at either end of the stand. Two metal loops,

one above the other, are attached to the back of the principal figure probably to fix the staff of aseparately cast (or wooden) umbrella.

The third metal image is said to come from Rajshahi, Bangladesh; it is now in the Art

Institute of Chicago (Plate 5.11).55 The group is shown against an elaborate throne-back. The

principal figure is slightly larger and bearded, as is the male on the proper right. Both male figures

have large curly hair and wear upavitas, their faces show a fierceful expression. The female is

again on the proper left. All three figures carry a sword in their right hands and hold the rein in the

left. A small kneeling donor figure in aiijali-mudra is shown in the proper right corner of the

pedestal. A very important feature of this image is the long, one-line inscription incised on the

front of the pedestal. Unfortunately the inscription has not yet been read or translated."

The most ornamented and perhaps latest piece was unearthed in 1992 near Chopra in Uttar

Dinajpur district, West Bengal; it now belongs to the State Archaeological Museum West Bengal,

Kolkata (Plate 5.12).57 The principal figure is much larger and has a long pointed beard. The

female is placed on the proper left. All three figures carry a sword in their right hands and have

their left hands in front of the chest, perhaps holding the reins. But the female figure seems to

hold some bigger object, perhaps a bowl or cup. The elaborate parikara is embellished with geese

and flying vidyiidharas and a kirtimukha at the apex. Two tiny donor figures in aiijali-mudra are

kneeling on either side at the bottom of the pedestal. In contrast to all previous images, each

figure is worked as a separate piece placed on a high double-petalled lotus stand (visvapadmai.

Thus, the whole composition consists of at least four separately cast pieces.

The last metal image to be presented here is a single figure of a female rider of unrecorded

provenance (Plate 5.13). It was acquired in Dhaka in 1989 and now belongs to a private

collection in Austria. The figure has a fierce facial expression with bulging eyes, holding a

handle, perhaps of a broken sword, in the right hand and a bowl in the left hand. It is mounted on

a high visvapadma pedestal, to the side of which is attached a small kneeling donor figure in

aiijali-mudrd. If we compare this female rider with the one from the Chopra group (Plate 5.14),

we can well imagine that it may once have belonged to a similar image depicting the triple

equestrians consisting of separately cast figures.

Now, how to identify this group of images? Some of them have previously been identified asrepresentations of Vi~DU'S Kalkin avatdra, mainly because of the horse mount and the swordattribute. Although it is true that Kalkin sometimes holds a sword in his right hand, in most casesthe attribute resembles a mace, which then corresponds to the disk held in his left hand." Sinceonly very few independent images of Kalkin have so far been found from Bengal,59 it would be


rather surprising if the group of three equestrian figures from Bengal were hinting at a cult ofKalkin which is otherwise unknown in this region. None of the triple images shows any specialVisnu sign, e.g. a vaisnava attribute, a srivatsa mark on the chest, or a Garuda in the pedestal.

To make things more complicated, we even find images of Kalkin where he is represented

holding a cup or bowl in one of his hands and with an umbrella above his head, both features

usually related to Revanta images, as e.g. in the Dasavatara panel from Nalanda, now in theIndian Museum, Kolkata (Plate 5.15).60 The same applies to the large four-armed sculpture of

Kalkin in niche 22 of the Queen's stepwell at Patan, Gujarat, which forms part of a full set of

avatdra images." However, in both cases no animals have been depicted between the legs of the

horse." It seems that the presence of animals at the bottom of images depicting equestrian deities

has to be regarded as a major identifying mark of Revanta images according to Type I (and Type2 as well).

In spite of the fact that none of the triple equestrian groups from Bengal shows an animal atthe bottom, for the time being I am inclined to opt for identifying them as a Bengali version of

Revanta images according to Type 2, a type which was so popular in northern and central India,

but so far not known from any region east of Lakhisarai, i.e. eastern Bihar. If they were really

meant to represent Revanta with his retinue, however, they follow a different iconographic

concept than the well-known Revanta images of Type 2 created further west, by depicting the god

in frontal view, by replacing the rather peaceful attendants Dandin and Pingala with a male and a

female attendant, by showing all three figures in fierce and attacking mood, and by supplying all

of them with a sword as their main attribute (i.e., taking the attribute of Dandin in the Type 2

images and giving it to all the three figures).

This image tradition seems to have been developed 111 or after the 11th century and wasapparently confined to a rather limited geographical region, namely North Bengal, as far as can be

judged from the few images with a known provenance. In other instances too, North Bengal has

proved to be very innovative in developing iconographic concepts that came from the west,

especially from Bihar.63 However, unless any textual or epigraphic evidence turns up, we cannotbe completely sure about the identification of this triple equestrian group as Revanta, and that is

the reason why I have retained a question mark in the captions of the respective illustrations.

Acknowledgements

I wish to thank Dr. Gudrun Melzer, Or. Heinrich Poell, Or. Mokammal Bhuiyan and Or. Vinay Kumar

Gupta for generously sharing their photographs, to the authorities of the Art Institute of Chicago for

supplying the photograph reproduced in Plate 5.11 and granting permission to publish it, to the authorities

of the Indian Museum, Kolkata, the State Archaeological Museum West Bengal, Kolkata, and the Patna

Museum for the permission to publish the photographs reproduced in Plates 5.2, 5.3, 5.4, 5.12, 5.14 and

5.15, and to the respective private collectors for the permission to publish the photographs reproduced in

Plates 5.10, 5.13 and 5.14.

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Notes & References:

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I. According to Indian mythology, Surya had several children. The virgin Kunti, future mother of the five

Pandava brothers, became pregnant after having invoked Surya and begot a son, Karna. Surenu or

Sarnjfia, the daughter of Visvakarrnan, bore to her spouse Surya two sons and a daughter: Vaivasvata,

the Manu of the present age; Yama, the god of Death and Dikpala of the South; and Yaml or Yamuna,

the river goddess. By Chaya, the "shadow" of Sarnjfia, he begot three more children: Savarni, the Manu

of the future; Sani or Sanaiscara, the planetary god Saturn; and Tapati, another river goddess. Finally

Snrya and Samjfia, in the form of a stallion and a mare, had three more sons: the horse-faced twins or

Asvinikumaras Nasatya and Dasra, and Revanta. -. For references to studies on Revanta in literature

and epigraphs, see Mevissen 2010a: 29-30, 46, notes 1-7.

2. See Sharma 1971; Sharma 1972-73; Sharma 1973; Sharma 1975; Schmidt 1977; Haque 1992: 195-197,

369-371, nos. 1060-1067,1095, pIs. 172-173; Mevissen 2008a; Handa 2006: 216-219, 231-232, notes

105-129, pIs. 289-293; Gupta 2009; Mevissen 2010a; Gupta 2013a: 265-267, figs. 10.4.1-3; Gupta

2013b.

3. NMD no. 72.275, ht. 24.5 cm. See Sharma 1975: 54, fig. 35; Sharma 1977: 298, fig. 17.

4. See the image in the Avij it Lahiri collection (Plate 5A), and the reliefs from Mandoi and Mahrana,

Mathura district (see notes 30 and 31).

5. Whether the direction faced by the god bears any significance and has geographical, chronological or

symbolical implications, remains to be scrutinized. As correctly observed by Haque (1992: 196), "all

the Bengal [stone] images face to the proper left."

6. A very interesting sandstone fragment from Gandhisagar, Mandasore district, Madhya Pradesh, is kept

in the Y.R. Holkar Museum, Bhanpura. It preserves only the bottom part of a Revanta image including

two hoofs of the horse and two dogs attacking two boars, very lively represented; see AIlS 7647.

7. For an important image recently sold on the Swiss art market, probably from North Bengal, see

Mevissen 20 lOa: 35-36, 50, note 42 (with further references), fig. 3. I!. Its special feature is the

pedestal inscription mentioning the name and profession of the donor, the merchant Vacheka,

indicating that Revanta was especially venerated by travelling merchants who sought protection from

this hunting and forest deity. According to the Samba-Purdna and the Bhavisya-Purdna, "Who

worships Revanta on the road, wanders his way in peace", and the Miirkandeya-Purana tells that "Men

who remember you [Le. Revanta] in the terrors of the wilderness etc., of great conflagrations, of

enemies and robbers, will be delivered from then- great distress" (Schmidt 1977: 142, 154, notes 88

90).

8. IMK no. 3606. Listed in AR-ASJ (1916-17, I: 36, not ill.) as "Kalkin (identified by Pandit B. B.

Bidyabinod ...)", in Haque (1992: 358, no. 708, not ill.) as "Kalki'', and in Mukherjee (2002: 151, no.

672, not ill.) as "Revanta, Shamsi Railway Station, Maldah, West Bengal, 93.5 x 55 cm". This image

(as well as the one from Burdwan, Plate 5.2B) escaped my attention when I listed the Revanta images

from Bengal in Mevissen 20 lOa: 34-38 (see also p. 48, note 22).

9. 18.5 x 10 cm; see AIlS 32804.


10. IMK no. OS 172 (information kindly supplied by Dr. Anasua Sengupta, 2009).

11. IMK no. 4038. Listed in Mukherjee (2002: 137, no. 407, not ill.) as "Kalki avatara, Bihar, 114 x 56

cm".

12. The numbers of both images are not known to me. There are some more sculptures of Revanta in the

collection of the Indian Museum. Most well-known is the one from Chancharipasa, Bangladesh, no.

7587/A24297, 28.6 x 18.2 cm (for references see Mevissen 2010a: 38-30, no. 9, note 52, fig. 3.15; see

also Mukherjee 2002: 151, no. 679, not ill.; AIlS 35321) and another one from Dapthu, Hulasganj,

Jahanabad district, near the border to Nalanda district, Bihar, no. 3777/A24141, 124 x 66 cm (see

Martin 1838, I, pI. XVI.7; Bidyabinoda 1909: 392, pI. XXX; Bloch 1911: 85, not ill.; Buchanan 1936:

239-240; Asher 1970: 107, pI. Il (right); Sharma 1973: 163, fig. 23; Sharma 1975: 57, not ill.; Bautze

Picron 1987: 372, 628, pI. xvi (top right); Bautze-Picron 1989: 279, 287, 291, no. 38, fig. 10;

Mukherjee 2002: 129, no. 240 "Kalki avatara from Bihar", not ill.). On the website of the AIlS (34188,

68388), the latter image is stated to come from Telhara, thus apparently confusing it with the one

illustrated here in Plate 5.3B. -- I don't know ifphotographs of the following sculptures have ever been

published: IMK nos. 5621 (Bloch 1911: 85), 3776 (Bloch 1911: 85), 3775/A22494 (Bloch 1911: 85;

Mukherjee 2002: 129, no. 239 "Kalki avatara, Bihar"); 4133 (Mukherjee 2002: 139, no. 436 "Kalki

avatara (upper portion broken), Bihar, 75 x 81 cm"); see also Schmidt 1977: 156, note 137.

13. For other images from Bihar, see e.g. (i) the relief carved on Jahangira rock, Sultanganj, Bhagalpur

district (Sahai 1961: 211-213, ill.; Sharma 1975: 42, fig. 4); (ii) in the Asian Art Museum, San

Francisco, no. B63 S37+, 107 x 81 cm (Sharma 1975: 56, fig. 37; Schmidt 1977: 147, pI. XI; Bautze

Picron 1995: 53-55, fig. 19; Bautze-Picron 1998: 95-96, notes 13-14, not ilL); (iii) probably from

Aphsad, Nawada district, formerly in the Museum fur Volkerkunde, Berlin, no. IC 34614, now lost (ht.

105 cm, 7th-8th century; H1irtel 1960: 68-70, Tafel36; Sharma 1973: 159, fig. 5; Sharma 1975: 42-43,

fig. 6; Bautze-Picron 1998: 80-81 no. 223 (with further references), 95-96 notes 13-19,234 fig. 223;

MIKDV 2002: 59, ill.); (iv) in 'the National Museum, New Delhi, no. 74.93 (Sharma 1975: 56-57, fig..

38); (v) in the H.P. Poddar Collection, Calcutta (HA 6414, photograph. of 1970); (vi) in the

Kotesvaranath temple, Main, Belaganj, Gaya district (Sharma [2012]: 19, col.pl. [b]); (vii) in the

courtyard of the Koficesvara temple at Konch, Gaya district (photo Mevissen 2011). While the first two

images show the god riding towards the proper left, the latter five are facing to the proper right.

Another image has been reported by P. Gupta ([200 I]: 171, no. 4(ii), not ill.) from Pachamba,

Begusarai, North Bihar. See also notes 14 and 16.

14. Apart from this and the famous, repeatedly published early Revanta image from Pachar, Gaya district

(PM no. 10648; Sharma 1973: 159, fig. 3; Sharma 1975: 42, fig. 5; Schmidt 1977: 146-147, pI. VIII;

Carter 1988: 128-129, pI. La; Akhtar 2001: 69, no. 108, not ill.; Bhattacharya 2005: 433-434, fig. I;

AIlS 37400), the Patna Museum has at least one more Revanta sculpture of unrecorded provenance

(PM no. 11101; Sharma 1973: 161-162, fig. 16; Sharrna 1975: 49, fig. 22; Schmidt 1977: 147, pI. IX;

AIlS 20535). Sharma (1975: 67, note 25) mentions another one bearing the no. 1722.

15. A halo behind Revanta's head occurs also in images from (i) Abaneri, Rajasthan (Sharma 1973: 160,

fig. 8; Sharma 1975: 46, fig. 14); (ii) Sawar, Rajasthan, now in the Rajputana Museum, Ajmer, no. 375

(Sharrna 1973: 160-161, fig. 12; Sharma 1975: 48, fig. 19; AllS 16037); (iii) at Aring, Mathura district,


Uttar Pradesh, showing halos also behind Dandin's and Pirigala's heads (see note 29); (iv) Jauharganj,

Ghazipur district, Uttar Pradesh, now in the Lucknow Museum, no. G.475 (Sharma 1973: 162, fig. 18;

Sharma 1975: 51, fig. 29; AIlS 51676); (v) Badoh-Pathari, Madhya Pradesh, now in the National

Museum, New Delhi (Sharma 1975: 51-52, fig. 30); (vi) Modi, Mandasore, Madhya Pradesh, now in

Y.R. Holkar Museum, Bhanpura (AilS 7647); (vii-viii) Nalanda, Bihar (see note 16 (ii) and note 40).

16. Several Revanta images from Nalanda are preserved in the Nalanda Museum: (i) no. 00037 (ht. 16 cm;

see Banerji 1933: pI. LXV.e; Misra 1998: 147, fig. F.202; AIIS 2101); (ii) no. 10732 (19 x 17 cm; see

Misra 1998: 147, fig. F.201; AIIS 2224); (iii) no. 10786 (ht. 14 cm; see Sharma 1975: 67, note 24, not

ill.); (iv) no. 10789 (ht. 19.5 cm; ibid.); (v) no. unknown (12.5 x 11 cm; see Misra 1998: 147-148, fig.

F.203; AIlS 2100).

17. A badly damaged Revanta fragment from nearby Rajaona, visible on fig. 4 in Asher 1986 (who does

not mention the piece), may also have been part ofa candrauila.

18. According to the Bhavisya-Purdna (1, 79, 57-62), "Hardly born Revanta seized the eighth horse of the

father and escaped, immediately mounting and not releasing it. Surya ordered his two attendants,

Dandanayaka and Pingala, to bring the horse back, not by force, but by finding its weak point. They

could not find a weak point, and thus the peace-giving son of SaJTIjna is still hovering on earth. The

name Revanta is then derived from the probably fictitious root revr plavagatau (to hover, to go) of the

Dhatupatha:" (Schmidt 1977: 141, 154, note 78). See also Bhattacharya 2005: 459.

19. 136 x 76 cm, Pratihara (ea, 8th century), probably from Uttar Pradesh. See Bhattacharya 2005: 454

456, figs. 2-4; Mevissen 2006: 43, no. 70, pI. 61.

20. Only one text is known so far that mentions astral divinities in connection with Revanta. According to

the dhyiina of Haridasva in the Siiryatantra, "Revanta, the best horseman, is travelling in the orbit of

the Constellations, Together with the Lords of the Months and the Year and with four Saktis''

tBoner/SarmalDas 1972: 235; Schmidt 1977: 143).

21. Present location unknown, 53 x 107 cm. See IAAR 1986-87: 87, pI. XXXVI.B; Tewari 1992-93: 160,

196-197, pI. Ill; Sotheby's London, 22nd/23rd October 1992: lot 376; Bhattacharya 2005: 456-457,

fig. 6; Mevissen 2006: 43, no. 82, pI. 60; Joshi/Srivastava 2012: 342, pl. 28 & line drawing 32.

22. 23 x 20 cm. See Handa 2006: 218, pI. 292.

23. Torama period, ca. 12th century. See Sharma 1975: 48-49, fig. 21; Handa 2006: 218, pl. 293. The

missing Dandin is referred to by Handa as being illustrated in pI. 288, but erroneously is not printed

there.

24. HSM no. 13/84; 84 x 67 cm. See Handa 2006: 217, not ill.

25. 38.1 x 50.8 cm. See Sharma 1975: 50, fig. 25; Joshi 1975-76: 70-72, figs.I-2.

26. BhM no. 41/47 or 63, ht. 46 cm, 8th or l Othcentury. See Sharma 1972-73: 21, pI. XXV; Sharma 1973:

161, fig. 13; Sharma 1975: 45-46, fig. 13; Schmidt 1977: 147-148, pI. XIII; Mevissen 2006: 43, no. 80,

pl. 58.

27. See Gupta 2013b: fig. 2.


28. MM no. 68.2, 35.5 x 29 cm. See V.N. Srivastava 1968: 57-58, fig. 4; Sharma 1971: 142 (not ilL);

Sharma 1973: 161, fig. 15; Srivastava/Misra 1973: 64, no. 215, fig. 3; Sharma 1975: 49-50, 66, note

13, fig. 24; Trivedi 1987: 212-213 (not ilL); AIlS 44390.

29. See Gupta 2009a: 61-62, col.pl. 6.11; Gupta 2013a: 265-267, fig. 1004.2; Gupta 2013b: fig. 5.

30. See Gupta 2009a: 62, col.pl. 6.111; Gupta 2013a: 265-267, fig. 1004.3; Gupta 2013b: fig. 3.

31. See Gupta 20 13b: fig. 4.

32. AM no. 402, 63 x 135 cm, ea. 11th century. See Chandra [1970]: 108, no. 260, pI. XCV, fig. 260;

Sharma 1975: 50, fig. 27; Mevissen 2006: 43, no. 81, pI. 59; AilS 13618.

33. See Tiwari/Srivastava 1993-94: 60, phalak 50.

34. PadavalilPadhaoli, Morena district, Siva temple, ceiling, north bay, ea. 900-999 CE; see AIlS 40484.

35. Tehsil mandir, 42 x 76 cm. See Sharma 1975: 53, fig. 32; Desai/Mason 1993: 221 (not ilL); AIlS 7252.

36. 27 x 57 cm. See Desai/Mason 1993: 221 (not ilL); AilS 7269.

37. SMD no. 757, 5804 x 114.3 x 23 cm. See Goswamy 1986: 177, cat. 162, col.pl.; DesailMason 1993:

220-221, cat. 49; Sharma 1998: pI. 123.

38. SeeCasile2008: 116, 118,fig.9.

39. Present location unknown, 36.8 x 57.2 cm. See Sotheby's New York, September 19, 1996: lot 350.

40. Present location unknown, formerly in a private collection in Canada, 43 x 60 cm. See Nies 2009: 30

31 (col.pl.). A fragmentary group from Nalanda, now in the Nalanda Museum (no. 10619; ht. 25 cm)

moving to the proper left may also show Revanta followed by Pingala (damaged); both figures are

haloed; a long inscription is carved in the pedestal. See Sharma 1975: 67, note 24 (not ill.); Misra 1998:

148, fig. F.204.

'41. NMD no. 75.955, ht. 69 cm, ea. 8th century. See Sharma 1975: 51-52, fig. 30.

42. See Gupta 2009: 61, col.pl. 6.1; Gupta 2013a: 265-267, fig. 1004.1; Gupta 2013b: fig. I.

43. NSM no. P.1997A.2, from Uttar Pradesh or Madhya Pradesh. See PAL 2003: 126-127, no. 85;

Bhattacharya 2005: 458-459 (not ill.),

44. Present location unknown, ht. 58 cm. See Sotheby's London, 24th November 1986: lot 153;

Bhattacharya 2005: 456, fig. 5; Mevissen 2006: 43, no. 83, pl, 61. -- Another image holding a sword, of

unrecorded provenance (ht. 47.6 cm, present location unknown; see Sotheby Parke Bernet New York,

December 10, 1980: lot 83; Mevissen 2010a: 31-33, fig. 3.1), could have been a Dandin from a

Revanta triad moving to the proper right, although the remnants of an ornamented halo would not

really tally with Dandin, since even Revanta is rarely shown with a halo (see Plate 5.4A and note 15).

In Mevissen 20 lOa: 33, I remarked on this image: "[I]t may perhaps .not be wrong to identify it as an

independent representation of Kalkin, in view of the fact that it holds a sword in the right hand, similar

to the Kalkin from Arial (Fig. 2) and most of the miniature panels. However, it lacks the srivatsa mark

as well as any other Vaisnava feature. It could also be argued that the figure may once have belonged to

•

80 JOURNAL OFBENGAL ART

a Revanta group of three equestrians. In that case, however, it is probably not a representation of the

god himself. Revanta is only rarely depicted holding a long sword in his right hand (cf. note 8 on p.

46), a feature which, on the other hand, is well known from representations of Dandin in the triple

images. [...] The New York piece could thus have been only the proper left part ofa larger sculpture (or

group of three sculptures), which then would have measured about I m in width. Most probably it was

carved in Bihar in the 8th or 9th century."

45. From Rama Mandir at Chandimandir, Panchkula, Haryana; Haryana State Museum, Chandigarh (no.

1/456; 30 x 20 x 16 cm). See Singh 2003: 84, pl. XLV, fig. 108; Handa 2006: 218, pI. 291.

46. Present location unknown, 33 x 42.5 cm. See Sotheby's New York, December 1,1993: lot 301.

47. Ca. 88 x 150 cm, ea. IOth-l lth century. See Bhattacharya 2005: 457-458, figs. 7-9. Another image of

this type, measuring 65 x 40 cm, has been reported by Claudine Bautze-Picron from Pawapuri near

Rajgir, Bihar (ibid.: 458).

48. See Asher 1986 and Bautze-Picron 1991-92.

49. See Biihnemann 2003: 45, no. 106; see also the illustrations from two Nepalese sets of line drawings on

p. 96, no. 106.

50. See Sharma 1975: 28; Schmidt 1977: 142, 155, note 92.

51. See Sharma 1975: 32-33; Schmidt 1977: 142, 154, note 84. If at all, only very few but later images may

show Revanta holding a sword. For references see Mevissen 201 Oa: 30, 46, note 8.

52. Two other metal images of Revanta from Bengal are known so far. However, they show the god

according to Type I, i.e. without additional riders and accompanied by the usual attendant figures. See

Mevissen 201 Oa: 39-40, 51, notes 53-54 (with further references), figs. 3.16-17.

53. VRM no. 1534, grey sandstone, 30.5 x 50 cm, from Shadea (according to Ranjusri Ghosh [email dated

29 March, 2012], the place is now known as Sandia) on the Chiramati river (two miles north-east of

Baigungaon), Itahar, Uttar Dinajpur; donated to the VRM Rajshahi in 1935 by S.K. Saraswati and OKChakravarty. See Saraswati 1936: 18, pl, 3, fig. 4 "Unidentified group"; Rahman 1998: 340-34 I no.

826 (under "Uncertain and Unidentified Images"), 732, pl. 336 "Three Riders on Horseback".

54. Kept in the office room of the regional Director, Khulna Division, Department of Archaeology, reg. no.

DA/R/40; sandstone, 62 x 31.8 cm. See Hossain 2003: passim, photos 1-2 "fashioned by some local

sculptor belonging to Samatata" (56) "[...] hybrid [...] bears characteristics of Kalki and Revanta [...]

has all no parallel at outside Bengal" (59); Mevissen 2010a: 37-38 no. 7, 51, notes 46-50, pl, 3.13.

55. Art Institute of Chicago, Robert AlIerton Purchase Fund, no. 1981.64 I, 22.6 x 16.9 x 8 cm, "c. 10th

century, Revanta" (http://www .artic.edulaic/collections/artworkl63527?search_no= I&index=4).

56. Inscribed images of Revanta are very rare. So far I know of only five other images: (i) probably from

North Bengal (see note 7); (ii) sculpture in the Department of Archaeology, Dhaka (see Plate 5.9); (iii)

stone plaque, ht. 10.5 cm, from Gaya, now in the AlIahabad Museum, no. 975 (Sharma 1975: 56, fig.

36; for further references and a reading of the inscription by Gouriswar Bhattacharya, see Mevissen

2010a: 34, 49, note 34; AIlS 84142); (iv) stone plaque from Bihar, ht. 12 cm, now in the Museum

REVANTA iMAGES MAiNLY FROM BlHAR AND A SPECiAL TYPE 81

Rietberg, Zurich, Switzerland, no. RVi 216 (for references see Mevissen 201Oa: 33-34, 49, notes 32,

35, pl. 3.8); (v) sculpture in the Nalanda Museum, no. 10619, ht. 25 cm (see note 40).

57. SAMWB no. 04.111. See Bhattacharya 2001: 245-246 "Kalki", pl, 13.1; Mevissen 201Oa: 37,40 no.

12,52 notes 55-57, pl. 3.18.

58. See e.g. the nineteen Ka1kin figures from miniature representations of the dasavataras from Bengal

illustrated in Mevissen 201Ob: 242-243.

59. See e.g. the lost image from Arial in Vikrampur area, Munshiganj district, Bangladesh, one of the rare

independent representations ofa four-armed form of Ka1kin (Mevissen 2010a: 32,47-48, notes 18-21,

pl. 3.2). For references to some images of Ka1kinfrom other regions, see Mevissen 2010a: 48, note 22.

60. iMK no. 4181, 41 x 121 cm, c. 10th century. See Banerji 1933: 103, pI. XLlXa; PdG 1992: 216, no.

149; Mevissen 2010a: 32-33, fig. 3.7. The frequent occurrence of Revanta images in the Na1anda area

(see Plates S.3B & S.4C-D, and notes 16 & 40) may be one of the reasons for this mixture of

iconographic features.

61. Kalkin holds clockwise a sword, a mace, a cakra and a bowl, into which a female pours something

from a pitcher, and an umbrella is held up by an attendant (both features usually found with Revanta

images); see Mankodi 1991: 26 col.ph. X, 100-101 fig. 54, 103-105, 106 col.fig. 59, 108 co1.fig. 61;

Pattanaik 1998: 124, ill.; Michell 2000: 100-101, fig. 81; Moulik 2008: 81, col.ill.; Mukherjee 2010: pl.

1, fig. 1 (left) & pl. 5, fig. 6 (right); Cummins 2011: 234, col.fig. 141-1 (right); Mukherjee 2013: 293,

fig. 101 (right).

62. Another image of an equestrian deity, installed in niche 383 of the Queen's stepwell at Patan, has also

been identified by Mankodi (1991: 229-230, fig. 210) as Kalkin. However, the image does not occur in

the context of other avatdra figures. Moreover, the presence of a dog between the legs of the horse

(which is absent in the previous image), the absence of a sword as an attribute, and the fact that the

deity has only two arms holding a bowl in the right hand would rather point to Revanta. The female

attendant pouring something from a pitcher into the bowl is also depicted here.

63. See e.g. the iconographic concept of the Reclining Gauri that was originally rooted in the Gaya region

and developed into a large-scale cult in North Bengal (Zehmke 1995: 21-37, Kat. 1-62; Mevissen 2003:

460-471, figs. 14-26b), or the Jaina images of North Bengal (Mevissen 2008b; Mevissen in press).

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CONTENTS

Syed Ejaz HussainDiscovery ofHusain Shah's New Inscription and Ruins of A Jami Mosque from Husainabad in Ballia District

of.Uttar Pradesh and Diffusionof the Bengal Art .Heinrich Poell

The Buddhist Monasteries at Sirpur: The SouthernmostOutpost of Eastern Indian Buddhist Art?. Sudipa Ray Bandyopadhyay

Some Imprecatory Scenes in Early Medieval Inscriptions of Eastern IndiaMohammad Rezaul Karim

Sultan GhiyasuddinAzam Shah of Bengal and the Date ofHis Rebellion: A Numismatic StudyGerd J.R. Mevissen

Revanta Images Mainly from Bihar and a Special Type of Three Equestrian Deities from North BengalA KM Yaqub AIi

Stone-CarvingArt of the Select Architectural Members of the Varendra in Medieval Times: A ConceptualApproach

Abhra BoseThe Brass Chariot ofBankati

Sayantani PalReconsidering the Chronology of the Rulers of Faridpur (6th Century)

Zulekha HaqueLiterary Sources of the Terracotta Depictions

Sutapa SinhaA Note on the Coins of the Sultans ofBengal in the Collection ofPatna Museum, Bihar

Madhuparna RoychowdhuryThe Shrine ofKichakesvartat Khiching: The Many Meanings ofa Temple

Shreela BasuThe Terracotta Temple Complex of Sribati

Kumkum BandyopadhyayA Note on the Newly Reported Sculptures from Olpura, District Bhagalpur, South Bihar

Krishnendu RayAspects of Rural Social Life in Early Medieval Bengal: Glimpses from the Saduktikamdmtta of Sridharadasa

(Early 13th Century)Bhogendra Jha

The Newly Discovered Pala-Sena Stone Images from MithilaEnamul Haque

A New Appraisal of Buddhist Temples in Bangladesh (Up To c. 1250CE.)Syamali Das

'Romance and Sentiment' as Expressed in Some Kanthas of BengalMahboob Alam

European Artists in Bengal During the Late 18th to Early Part of the 19thCenturyShyamalkanti Chakravarti

The Non-Hindu Art Motifs in Kalighat PaintingsKallol Dasgupta and Pranab K. Chattopadhyay

A PreliminarySurvey on Metal Images in Sundarban: Metallurgy, Art and IconographyNasir Uddin Mobin

Materials and Componentsof Early Historic Architecturesof Bangladesh: Review ofPre-GuptaPhase. Archeological Materials

Sarita KhettryM]f: A Study of Symbol in Inscriptions of Bengal

Swapna Bhattacharya (Chakraborti)Experincingthe Continuity in Art, Culture & Life in Bengal and Myanmar

2013 - Revanta Images Mainly from Bihar and a Special Type of Three Equestrian Deities from North Bengal

Documents