Vaishnavism in South‐Western Maharashtra: Vitthal‐ Rukmini Temple at Deur, Satara Ganesh D. Bhongale 1 1 . Department of A.I.H.C. and Archaeology, Deccan College Postgraduate and Research Institute, Pune – 411 006, Maharashtra, India (Email: ganeshbhongale333@ gmail.com) Received: 29 August 2018; Revised: 03 October 2018; Accepted: 12 November 2018 Heritage: Journal of Multidisciplinary Studies in Archaeology 6 (2018): 720‐738 Abstract: The present paper highlights a temple which is not discussed in the realm of the Vaishnavite tradition of Early Medieval South‐Western Maharashtra. If we delve further in the nature of Brahmanism during this period, Shaivism was in its fully developed form in that region as compared to rare occurrence of Viṣṇu temples. The temple discussed here stands on high platform pertaining exterior and interior plain walls and decorative pillars with diverse iconography. This temple is perhaps a rare example where the iconographic combination of Hayagriva and Surya is depicted, hinting at the possibility of prevalence of joint worship of Hayagriva and Surya. The prominent nature of Vaishnavite iconography suggests that this temple is associated with Viṣṇu. It is rare to find independent Viṣṇ u temple during this period, hence this temple is probably the only temple of Viṣ ṇu in South‐Western Maharashtra. Keywords: Vaishnavism, Vitthal‐Rukmini Temple, Satara, Maharashtra, Surya, Hayagriva, Krishna Introduction The region of south‐western Maharashtra forms an important geographical entity of western Deccan. This region has witnessed a political presence of all important Early Medieval dynasties. Their presence can be testified through their written records and monumental activities. The period onwards, 10 th century CE observed to be the period of large‐scale building activity of the temples in this region and elsewhere in Maharashtra. These temples exhibit the scenario of the contemporary different genre of religious faiths and beliefs. During this period the Brahmanism and the Jainism can be noticed gaining the constant political patronage for building temples and their subsequent sustains in the form of donations. If we go in further details of the nature of Brahmanism during this period it seems that Shaivism was in its fully developed form with its identical nature of various sects and sub‐sects. The region under consideration also went through the same process. There is a number of Śiva temples still surviving and also documented and studied by previous scholars (Naik 1947, Deglurkar 1974, Deo 1993, Deshpande 1977, Jamkhedkar 2002, Welankar 2003). In comparison to Śiva temples, the temples of Viṣṇu are rarely noticed. The present paper highlights one such
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Vaishnavism in South‐Western Maharashtra: Vitthal‐
Rukmini Temple at Deur, Satara
Ganesh D. Bhongale1
1. Department of A.I.H.C. and Archaeology, Deccan College Postgraduate and Research
Institute, Pune – 411 006, Maharashtra, India (Email: ganeshbhongale333@ gmail.com)
Received: 29 August 2018; Revised: 03 October 2018; Accepted: 12 November 2018
Heritage: Journal of Multidisciplinary Studies in Archaeology 6 (2018): 720‐738
Abstract: The present paper highlights a temple which is not discussed in the realm of the Vaishnavite
tradition of Early Medieval South‐Western Maharashtra. If we delve further in the nature of Brahmanism
during this period, Shaivism was in its fully developed form in that region as compared to rare occurrence
of Visn u temples. The temple discussed here stands on high platform pertaining exterior and interior plain
walls and decorative pillars with diverse iconography. This temple is perhaps a rare example where the
iconographic combination of Hayagriva and Surya is depicted, hinting at the possibility of prevalence of
joint worship of Hayagriva and Surya. The prominent nature of Vaishnavite iconography suggests that
this temple is associated with Visn u. It is rare to find independent Visnu temple during this period, hence
this temple is probably the only temple of Visn u in South‐Western Maharashtra.
Introduction The region of south‐western Maharashtra forms an important geographical entity of
western Deccan. This region has witnessed a political presence of all important Early
Medieval dynasties. Their presence can be testified through their written records and
monumental activities. The period onwards, 10th century CE observed to be the period
of large‐scale building activity of the temples in this region and elsewhere in
Maharashtra. These temples exhibit the scenario of the contemporary different genre of
religious faiths and beliefs. During this period the Brahmanism and the Jainism can be
noticed gaining the constant political patronage for building temples and their
subsequent sustains in the form of donations. If we go in further details of the nature of
Brahmanism during this period it seems that Shaivism was in its fully developed form
with its identical nature of various sects and sub‐sects. The region under consideration
also went through the same process. There is a number of Śiva temples still surviving
and also documented and studied by previous scholars (Naik 1947, Deglurkar 1974, Deo
1993, Deshpande 1977, Jamkhedkar 2002, Welankar 2003). In comparison to Śiva
temples, the temples of Vis n u are rarely noticed. The present paper highlights one such
Bhongale 2018: 720‐738
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temple which is not discussed in the realm of the Vaishnavite tradition of Maharashtra
(Jamkhedkar 1993, Welankar 2003). The temple is located at village Deur (17° 50ʹ N; 74°
05ʹ E). The village Deur is situated in Koregaon taluka of Satara District. It is around 20
km from Satara located on a Satara‐Baramati‐Phaltan state highway no. 61. The present
settlement of Deur village is on the left bank of river ‘Vasana’ a tributary of river Krishna.
The village Deur has its own historical significance due to its surviving temples and
other monuments of historical importance such as palace, medieval market etc. The
village is known in surrounding region for the goddess ‘Mudhaidevi’. The goddess
Mudhaidevi is supposed to be a tutelary deity of ‘Bhosale’ family, one of the branches
of Bhosale’s of Shahaji and Shivaji. This branch of Bhosale family later migrated and
settled at Nagpur. The same later became familiar as prominent chiefdom of Maratha
confederacy in Vidarbha region and generally known as ‘Nagpurkar Bhosale’. In
medieval records, it is mentioned that the village Deur, was mokasa of the Raghuji
Bhosale. In 1728 CE, Chhatrapati Shahu Maharaj from Satara offered village Deur in the
form of mokasa to Bhosale family (Kale1936:42), therefore, this village is considered as a
native of the Bhosale’s of Nagpur. These details are mentioned in ‘Nagpurkar Bhoslyanchi
Bakhar.’ This family is still remembered as ‘Deurche Raje’ (King of Deur). This honor to
Bhosale family residing at Nagpur was conferred upon by British around 1857 CE (Kale
1936:243).
Previous Studies The site Deur and its surrounding are directly and indirectly referred in previous
researches. These have appeared in the annual reports of archaeological explorations,
individual explorations and followed by a few masters and doctoral dissertations. The
brief information of Vitthal‐Rukmini temple is given in a doctoral dissertation
‘Archaeology of Deccan’ (Naik 1947). The observations and comments given by Naik
are instrumental for the dating and general understanding of the Vitthal‐Rukmini
temple.
The work of K. R. Kapre (1961) ‘Archaeology of Ancient Place Names in the Deccan’
gives information of places which were mentioned in epigraphic records. This work is
not limited in locating the places mentioned in inscriptions, but it also tried to establish
the antiquity of the place mentioned into the record on the basis of archeological
remains. The reference of Deur in his work found in the context of Kalleshvar Mahadev
temple, this particular temple before Kapre was mentioned by A. V. Naik (Kapre 1961:
164; Naik 1947: 554‐555). Another important work by S.R. Deshpande (1977) also studied
the Vitthal‐Rukmini temple at Deur in the milieu of the sculptural depictions at this site
in his Doctoral thesis ‘Yadava Sculpture’. These are few studies mentions the direct
reference to the site of Deur and its temple.
Vitthal‐Rukmini Temple The Vitthal‐Rukmini temple is situated in the center of village Deur; it is built on a
mound of alluvial deposition of river Vasana. The main road of village passing through
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the medieval market (Bajarpeth) reaches the front of the temple. In front of the temple
has an open space, this open space is now occupied by a giant pipal tree. This pipal tree
is now surmounted by a cemented platform which is built using masonry stones,
originally was part of a temple.
Plan of the Temple In the plan (Figure 1), this temple is pancaratha consist bhadra, upabhadra and karna
respectively. It is a class of nirandhara. In its major architectural components, it includes
massive rectangular prakara wall surmounting the entire temple. This prakara wall is joint
by heavy prakarapraveśman d apaa towards the east of the temple, following this; it has a
separate man d apaa (garud aman d apa?) joint with the main shrine through the jagati (low platform). This man d apa is succeeded by narrow empty open corridor leads into the
mukhaman d apaa, then guḍhaman ḍapa, antaral and garbhagriha.
Interior surface of the temple inside the prakara is covered with placing of masonry
bedrock. After passing through the prakarapraveśman d apaa it enters an open platform in
front of the man d apaa. This open platform has staircases on its either side to come on a
surface.
Figure 1: Plan of Vitthal‐Rukmini Temple
Exterior of the Temple The elevation of this temple is simple consists of a low jagati with three simple courses.
It contains a kharśila, kumbh and kapotpali. The adhist hana of this temple is simple without
any decorative features containing few moldings. These moldings do not bear any
classified features. These moldings have covered the portion of garbhagriha and
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mukhaman d apaa. The adhist hana is followed by plain jangha (mandovara) wall. This wall of
jangha is simple in nature without any artistic and decorative features. The jangha wall
turned into simple broad patti ka above which has two layered varand ika. These layers of
varand ika are covered by the canopy (chhajja). This canopy has a design of up warded
loops. This chhajja is succeeding through the kapotali.
The present śikhara of this temple observed to be restored in a Late Medieval period. The
entire śikhara now is cemented with plaster. Due to this plastering, it is quite difficult to
ascertain its original nature. However, some of the open patches of without plaster
reveals that, originally it was built by bricks. The shape and size of a brick and its
construction method shows affinity to Late Medieval period. Hence, perhaps this śikhara
was restored and rebuilt around 17th– 18thcentury CE.
The low jagati of this temple is built with an extra projected space that formed an inbuilt
pradaksinapath. The main bhadra projection of garbhagriha has a 3 devakost as (niches). These
niches constitute three directions that are north, south, and west. These devakost as are
empty; however, the architectural design of these devakost as suggets its relation with the
traditional form of temple architecture. It is built on projected kapotali. This kapotali has
formed the base for the pilasters. These pilasters are square in its base, octagonal in
middle, and circular at the capital (stambhaśi rsa). The canopy of the devakost a represents the design of phamsanaka ra type of śikhara, which has a kalaśa in a centre on its topmost
layer. The exterior of guḍhaman ḍapa is also built in plain masonry stone. The
nat yaman d apa/garud aman d apa is located on the front side of the temple. It is built on the
same jagati but slightly detached from the mukhaman d apaa with narrow open space.
The entry of the guḍhaman ḍapa is followed through the mukhman d apaa with two pilasters
and two free standing pillars. This mukhaman d apaa is enclosed through the balustrade
(kakṣāsana). The vedika portion of this kakṣāsana has several rathikas with the depiction
various types of miniature motifs and designs such as lotus, figurines of ascetics and the
motifs of doors.
Interior of the Temple The garbhagriha of the temple is square in plan. It has four pilasters in its four corners
which are merged in the wall of garbhagriha. The walls of garbhagriha are plain without
any niches. The southern side wall, it has a small tank. This tank probably was made
intentionally to store water for the ritual purpose. The north wall has a space for the
outlet of drainage water. The garbhagriha has pedestal setting to its west wall. This
pedestal has a depiction of Lakshmi on its front side in its center. The careful observation
of the design and its pattern of moldings suggest that this pedestal is original pedestal
of the temple.
The doorjamb of the garbhagriha is simple having only ones śakha. That is of stambh
variety. The lalāṭabimba is similar to that of the main entrance having an image of Ganesh.
The antaral is simple rectangular in plan having plain walls. The ceiling of it is flat with
three layers of concentric squares.
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Figure 2: Pillar of Vitthal‐Rukmini Temple
The guḍhaman ḍapa of the temple is square in shape. The walls of the guḍhaman ḍapa are surmounted with twelve pilasters at regular intervals. The central space of the
guḍhaman ḍapa is occupied by four free standing pillars (Figure 2). These pillars are of the rucaka variety. These pillars are square at base, having circular as well as octagonal shafts
followed by sculptural reliefs. These sculptural depictions contain various decorative
motifs and symbols. Some of the brackets of these pillars embody the narrative panels
like Vali‐Sugriv combat scene (Figure 3), Anantshayana Vis n u (Figure 4), Nrisimha
(Figure 5), kicaka, a pair of a peacock, kirtimukha etc. The capital of the pillars is marked
by the depictions of several types of bha rava hakas.
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Figure 3: Vali‐Sugriv Combat Scene
Figure 4: Anantshayana Vishnu
Figure 5: Nrisimha
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Figure 6: Doorjamb of guḍhamaṅḍapa of Vitthal‐Rukmini Temple
Figure 7: Surya Image
The doorjamb (Figure 6) of guḍhaman ḍapa is more decorative than the garbhagriha. It
contains five śakhas namely puspa, nara, stambha, valli, and vyala. It is a class of nandini type. The pedyā portion of the door has a depiction of vaisnava dvarapala, camardharini , and female holding a pot. It is possible that the female images holding a pot on either
side can be river goddesses. The udumbara part of doorjamb on either side of mandaraka
has a depiction of Surya and Hayagriva. These deities are depicted in small rathikas. The
image of Surya is on the left side, shown standing in samapada, in the chariot drawn by
seven horses, holding padmas, in both hands (Figure 7). On right side has a depiction of
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Hayagriva; it is with four hands, shown standing in samapada, holding cakra, gada, śankha
and bijpurak (Figure 8). These images of Surya and Hayagriva are flanked by several
small rathikas with the depiction of ganas with musical instruments. The lalāṭabimba of this door bears an image of Ganesh in central rathika. This rathika is flanked by horizontal
rows of maladhari just above the naraśakha. The uttarang of the door has a rathikas with
the depiction of the lotus in low relief. The lalat abimba and uttarānga, is differentiated
through the canopy (chhajja). Below this canopy facing towards the surface has a
picturesque depiction of Krishna in its Kaliyamardana (Figure 9) form.
Figure 8: Hayagriva Image
Figure 9: Kaliyamardana Krishna
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Above the uttarānga has a horizontal beam over this beam contain an inscription in bold
letters in the nagari script (Naik 1947: 555). This inscription is severely damaged due to
the black paint. Therefore, it is difficult to decipher properly. Few of the letters can be
identifiable. On the basis of palaeography of identifiable letters, it seems that this
inscription was inscribed in the later period. However, Naik commented that the
palaeography of this inscription match with the Devanagari inscriptions of 13th /14th
century CE (Naik 1947: 555). Along with this, there is another inscription engraved on
the left side of guḍhaman ḍapa over the east facing the wall. This inscription also severely
damaged due to lime plaster. The inscription is in Devanagari script contains five lines.
The inscription is beyond decipherment.
Na t yamandapa/Garudamandapa? In front of the Vitthal‐Rukmini temple, has a nat yaman d apa or garud aman d apa? The
nat yaman d apa and the Vitthal‐Rukmini temple are attached to each other through the low
platform (jagati ). However, it is separated through the narrow open corridor in between
mukhaman d apa and nat yaman d apa. This so called nat yaman d apa seems to be originally
open man d apa; this open man d apa has two openings on either side facing towards the
north and south respectively, whereas this man d apa is close on the eastern side.
Nevertheless, some later construction also can be observed on the north‐west corner of
the man d apa. The north‐west corner is closed by a brick wall. Due to this, it has formed a
separate chamber. It was deliberately made recently to make a separate shrine of
Lakshmi‐Narayana.
The pillars of this man d apa are simple without any decoration. However, the capitals of
these pillars have a representation of various types of bharavahakas. These depictions of
bharavahakas and their iconographical arrangements are quite similar with the
bharavahakas of guḍhamaṅḍapa. Some of the beams of the pillars have a decorative feature.
Such as the beam fixed towards the north‐west side has a concentric carving of lotus in
a circular fashion in its centre. This lotus is flanked by the decorative makara. These
makaras are shown riding by human figures. Similar type of beam on the west corner has
a lotus medallion in low relief in its centre. This lotus is flanked by the figurines of kinnara
on its either side. The close observation of the arrangement of ceiling suggests that this
man d apa was at some extent restored after the construction of the temple. There are so
many dismantled masonry stones reused for the reconstruction of this nat yaman d apa.
Hence, the original features and design is difficult to figure out. The beam over the
southern corner has a depiction of Rama and Lakshman, below this beam has some
decorative motifs such as one side has a pair of hamsa and another has a pair of kinnara.
The east facing a wall of nat yaman d apa has vatayana. The lower part of this vatayana has
a geometric design. Its top has a decorative beam. This decorative beam has four layers
divided through the depiction of geometric designs, such as the swastika motif and
diamond shaped design. This beam has three rathikas; these rathikas in its both the sides
are in a rectangle shape, whereas the rathika in the centre is square. The rathika on the
southern side has a depiction of Vis n u; it is shown standing in samapada, holding padma,
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śankha, cakra and gada. This order of attributes according to the tradition of Agnipurana
is suitable with the form of ‘Keshva’ (Rao 1914:229; Joshi 2013:105; Gupte 1972:95‐97).
The rathika in the centre has a depiction of three headed Brahma. It is with four hands
holds aksamala, śruk, danda, and kaman d alu. The rathika on the extreme left (Northern
side) has a depiction of Shiva. This four‐handed deity is shown with the traditional
attributes. The upper right hand holds Damaru , the upper left hand holds triśul, the object in lower two hand are un identical due to weathering and the layers of vermilion applied
on in over the period of time. Above this beam has a separate stone, which has the
depiction of Ganapati sitting in ardhaparyankasana. It has four hands, holds padma, paraśu,
ankuśa, and modaka respectively (Figure 10).
Pra kara‐Praveśmandapa This Vitthal‐Rukmini temple has a massive prakara (embankment). This prakara wall is
severally damaged and collapsed due to the natural and manmade interventions.
However, still, it is retaining its original features shows its functional importance in
context to the temple of Vitthal‐Rukmini. This prakara wall has a separate praveśdvara.
The platform of this prakara wall is built on the high platform. This can be observed
through the numerous stairs of praveśman d apa of prakara. The massive praveśman d apa
gives an elegant look to the entire temple complex. This praveśman d apa is enclosed by a
kakṣāsanas, has two pilasters on its front, four on its middle and four pilasters are attached
to the prakara wall. On either side of the doorjamb of entry has a devakost a. The devakost a
on the right side (south) has a pedestal without any image, whereas the devakost a on the
left side (north) is empty. The pattern of devakost a is similar like a devakost as of sanctum
sanctorum. The designs of pillars at praveśman d apa are similar to the design of pillars
in the nat yaman dapa and guḍhaman ḍapa. The design and decorative features are simple
without any carving. However, these pillars have a various type of bharavahakas depicted
on its capital.
The platform of the prakara wall has seven courses (layer) of masonry stones, visible from
its southern side. The layer number five, six, and seven with their design are identical
with inside mouldings of jagati (platform). The lower layer of this platform on southern
side has a depiction of Ven ugopal and Nrisimha in rathika. These rathikas are not original
from this place, perhaps these masonry beams are reused while restoration of the
platform. On the northern side of prakara wall has a fragment of pillar capital containing
bharavahakas. This part also seems to be reused in prakara wall.
Bharava hakas The pillars and pilasters of Vitthal‐Rukmini temple at Deur are embellished with the
depictions of various types of bharava hakas. In architecture, their position is commonly
observed at various locations i.e. at the base of the structure, on kakṣāsana, ceiling, pillar and pilaster. The iconography of bharavahakas at this temple is an important feature to
understand the artistic tradition of late 13th/14th century CE. These bharava hakas are depicted in different postures and gestures, varied types of musical instruments and
with multiple hands. The depictions of bha rava hakas are noticed from the early
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architectural tradition. Subsequently, in brahmanical temple architecture, it becomes an
integral part of the visual representation. Traditionally in a study of temple art, these
bha rava hakas are considered as semi divine figures, includes in a class of yaksa and
ganas. The pillars and pilasters of medieval structural temples of Maharashtra have a
depiction of various types of bharava hakas in ample numbers. However, in an absence
of any systematic study on this type of imagery, it is difficult to comment anything about
it. Nevertheless, on a certain epigraphic reference found in Maharashtra, it can explain
that the imagery of bha rava hakas was may be inspired by the contemporary pattern of
worship of a particular deity. In the pattern of worship, two major form of worship was
in practice. In this was an angabhoga and rangabhoga.
It is also commonly observed that the usage of particular donations was for the
fulfilment of above‐mentioned duties for the deity (Tulpue1963, Shah 2009). Specially,
in an offering of rangabhoga there used to be a tradition of performance of devotional
songs and dance in front of the deity. There is a possibility that the depiction of
bha rava hakas with the various types of musical instruments perhaps was inspired
through this practice. One such instance is noticed where the special grant has been
offered to the group of musicians. In this inscriptional record, it mentions the certain
details such as the performer and their musical instruments (Dikshit 1951).
At Deur, broadly, there are four types of bharava hakas that can be observed. The type one consists the depictions of different deities in a form of bha rava hakas. The type two
includes the depictions of bharava hakas with different types of musical instruments,
type third consist the bharava hakas with other objects and type four comprises the
miscellaneous bha rava hakas.
In this temple, the majority of bha rava hakas is noticed with different types of musical
instruments. It covers all 4 classes of traditional classification of musical instruments.
These are tata (vibratory instruments) this class consists all the instruments which have
a string and produce sound by vibrating string. e.g. vina. The anaddha (percussive) it
consists the instrument in which the sound is produced by the percussion of skin
stretched on hollow vessels e.g. a drum. The susira (pneumatic) in this category it consists
the instrument in which sound produce by blowing in that instrument e.g. flute. The
ghana (concussive) the instruments in which sound produce by the concussion of solid
metal plates are included in this category e.g. cymbals.
The Deities as Bharava hakas The deities as bha rava hakas are comparatively rare phenomena in Indian temple
sculptural art. However, it is commonly observed in the late phase of the Early
Mediaeval period. In Maharashtra, the deities as bharava hakas are noticed in few temples. The deity Hanuman and Ganesh are commonly noticed as bharavahakas.
Whereas, other deities are seen rarely. At Vitthal‐Rukmini temple the same can be
observed along with Hanumana and Ganeśa there is a depiction of Nrivaraha, Brhama and
Vamana as bharava haka.
Bhongale 2018: 720‐738
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Ganeśa (Pilaster no. 4, East Facing): The south face of this pilaster has a depiction of
kirti mukha. Whereas, the east face has a depiction of Ganeśa. It is sitting in sukhasana. It
has two hands in which the right hand is holding broken teeth. The trunk of the deity is
depicted turned towards his left, wearing an adhovastra. He is shown wearing an ornate
mukut a, wearing a galahara, keyu ra, nupu ra
Nrivara ha (Guḍhaman ḍapa, Pillar no. 2, East Facing): The depiction of Nrivaraha at Deur is one of the magnificent sculptures. It is shown in flying posture with four hands.
The lower right hand holds padma, upper right gada. Whereas, the upper left hand is
raised upward bent form elbow holing an śankha, lower left holds cakra. The boar head
of the deity is shown prominently with an open eye. The ear of deity is in low relief
wearing a bold circular karn akun d ala. The deity has a prabhavalaya. In other ornaments of
the deity includes hara, keyu ra and mekhala (Figure 11).
Figure 10: Ganeśa as Bha ravahakas Figure 11: Nrivara ha as Bha ravahakas
Brhama (Na tyaman d apa/Garud aman d apa? Pillar no. 12, South Facing): The depiction of Brhama is an important depiction at this temple. It is one headed Brhama depicted
sitting in ardhapadmasana. The deity is with four hands. The upper hands are shown
bearing a load of the superstructure. The lower right hand holds an aksamala and
kaman d alu and lower left book. The deity is depicted with elongated beard and eyes are
closed. The deity is shown wearing a circular karn akun d ala. It is shown wearing a bold
hara keyu ra and perhaps adhovastra (Figure 12).
Va mana (Na tyaman d apa/Garud aman d apa? Pillar no. 13, South Facing): The
representation of the deity Va mana is another interesting depiction at Vitthal‐Rukmini
temple, Deur. The deity is standing in dvibhanga. It is with two hands right hand is
broken perhaps originally was holding chatra. In left hand holds a kaman d alu. The deity
is shown with pot‐bellied wearing a hara, keyu ra, yaj napavita and adhovastra (Figure 13).
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Figure 12: Brhama as Bha ravahakas Figure 13: Va mana as Bha ravahakas
Hanuma na (Na tyaman d apa/Garud aman d apa? Pillar no. 13, North‐West Facing): The deity Hanuma na is depicted standing in ali d hamudra. It is with two hands right hand is
in hridayasprśmudra. Whereas, the left hand is in so‐called capet danmudra . The image is
painted with vermillion, indicates its present worship. The deity is depicted with bold
eyes and monkey face. The tail of the deity is shown turned upward form its left side.
The deity is wearing a karan d amukuta, circular bold karn akun d alas, galahara, keyu ra and hara (Figure 14).
Figure 14: Hanumana as Bha ravahakas Figure 15: Kriśana as Bha ravahakas
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Krisn a (Na tyaman d apa/Garud aman d apa? Pillar no. 14, East Facing): The image depicts
an important episode of Kris n a’s life. It is a representation of Kris n a uprooting a tree to
liberate the cursed Yaksha who was in the form of trees. It is in flying posture with two
hands. The right hand of the deity is broken whereas, left hand holds a tree. The branches
of the tree can be seen on its left side. The deity is wearing a typical crown which is
commonly noticed in an image of Kris n a. In another ornaments, it is shown wearing
hara, nupu ra and adhovastra (Figure 15).
Surya (Na tyaman d apa/Garud aman d apa? Pillar no. 5, East Facing): This image of deity
Surya is significant as bharava haka at Vitthal‐Rukmini temple since the image of Surya
is also depicted on an udumbara part of the doorjamb at guḍhaman ḍapa. The deity is shown sitting in sukhasana has two hands. The hands are depicted holding a sanalakamal
an important attribute of Surya. The deity is wearing a kiri t muku t a, bold circular karn akun d alas, keyu ra, adhovastra, and hara with a bold roundish bead in its centre (Figure
16).
Figure 16: Surya as Bharava hakas
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Bharava hakas with Musical Instruments Bha ravahakas Blowing Conch: There are total five bha rava hakas depicted blowing
conch. These are in guḍhaman ḍapa and nat yaman d apa/garud aman d apa. These appear on pilasters and pillars. These are in sitting and flying posture and has four hands. In which
the four hands are shown their upper two are lifting a load. Whereas, the lower two
hands are depicted holding śankha (conch). The ornaments shown wore by them are
circular headgear, kun d ala, keyu r, nupu ra and adhovastra.
Bha ravahakas Playing Vi n a (Lute): There are total eleven images of bha rava hakas shown playing vi n a. In which praveśaman d apa has three images. However, the
nat yaman d apa/garud aman d apa contains a total of four images. Whereas, the
mukhaman ḍapa and guḍhaman ḍapa has two images of bharava hakas playing a vi n a . Among these, three are depicted in flying posture and remaining five are shown sitting
in sukhasana. All of them unanimously have two hands engaged in playing vi n a. They are shown wearing adhovastra and the flying uttariya can also observed. In other
ornamental details, they are shown wearing kun d ala, keyu ra, galahara, and nupura.
Bha ravahakas Playing Tuta ri (Trumpet): The bha rava hakas depicted playing tutari are total six in number. In which three are located on pillars and pilasters of guḍhaman ḍapa respectively. Whereas, two are seen in praveśman d apa and a single image is in
nat yaman d apa/garud aman d apa. However, in these bharava hakas playing tutari , they vary in numbers of hands. The three images are having four hands, two images are having
two hands and a single image is exceptionally having six hands. The images which are
having two hands are shown holding a tutari , depicted in sitting and flying posture. Whereas, the images having four hands, engaged in two different activities such as the
upper two hands are busy with bearing a load and other two hands holds a tutari . The image of bha rava haka having six hands is shown eventful in different acts. Such as
upper two hands are in load bearing, middle tow hands holding a tutari and lower left
hand resting on the thigh and holds kaman d alu. The lower right hand holds own right
feet. The details of ornaments and drapery are observed the same as above.
Bha ravahakas Playing Drum: There are total eight bha rava hakas playing the drum in which three are in guḍhaman ḍapa and praveśman d apa and a single image is in
mukhaman ḍapa and nat yaman d apa/garud aman d apa. These images are noticed as shown in
sitting as well as in flying posture. Among these two images are having four hands
whereas the other six contains only two hands. The images with four hands are engaged
in two different activities. The upper two hands bearing a load and with lower two hands
playing a drum. The images with two hands are commonly observed only playing a
drum. The details of ornaments and drapery are observed the same as above.
Bha ravahaka Playing Ghatam: There is a single image of bha rava haka which is
depicted playing the musical instrument ‘ghat am’. It is located at the pillar of
mukhaman ḍapa. The image is shown in a sitting posture has two hands. Both hands of the
bha rava haka are engaged into the playing of ghat am. The details of the ornaments and
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drapery are same as above. The musical instrument ghat am was quite popular in Indian
sculptural tradition generally shown with images of Śiva while depicting him in nat araja
form.
Bha ravahaka Playing Bell: There are two images which are depicted playing a bell. It is
located at guḍhaman ḍapa and praveśman d apa. In these, the image at praveśman d apa is
depicted in flying posture and the image at guḍhaman ḍapa in sitting posture. Both these images are having two hands engaged into the playing of the bell. These are shown
wearing adhovastra. In other ornamental details, they are shown wearing kun d ala, keyu ra, galahara, and nupura.
Bha ravahaka Playing Castanets or Clappers: There is a single image depicted playing
typical musical instrument castanets. This is noticed at the pillar of praveśman d apa. It is
in flying posture has two hands. The hands of the image are engaged into the playing of
castanets. The image is also shown wearing a nupu ra. This typical popular instrument of
music, in the local language, is known as ‘cipalya’.
Bha ravahakas Playing Ba n sari (Flute): The three bharava hakas are depicted playing flute located each one in praveśman d apa, guḍhaman ḍapa and mukhaman ḍapa. All of them are in sitting posture having two hands. The details of ornaments and drapery are
observed the same as above.
Bha ravahakas Playing T a la (Cymbals): There is a total of ten bharava hakas playing cymbal. In which some of the cymbal are big in size some of them are small. These are
distributed in guḍhaman ḍapa, mukhaman ḍapa, nat yaman d apa/garud aman d apa and
praveśman d apa. These are in siting as well as in flying posture. Except for one image other
images are depicted with two hands. The images with four hands are engaged in two
different activities. The upper two hands bearing a load and with lower two hands
playing a drum. The details of ornaments and drapery are observed the same as above.
Bha ravahakas Blowing Śrin ga (Horn): The practice of blowing horn is an archaic
musical instrument. At this temple, at least two bha rava hakas are noticed shown
blowing horn. These are located at nat yaman d apa/garud aman d apa and praveśaman d apa.
Both the images are in flying posture having two and four hands. The image having four
hands is in usual posture. The upper tows hands are bearing a load and lower two hands
are holding a horn. The details of ornaments and drapery are observed the same as
above.
Bha ravahakas Playing Nupu ra: This single image of bharava haka depicted playing nupu ra is noticed at praveśaman d apa. The image is in flying posture has four hands. In
these, the upper two hands are bearing the load of the super structure.
Whereas, the lower hands are engaged into the playing of nupu ra. This instrument is
circular in shape depicted playing through the hands. The details of ornaments and
drapery are observed the same as above.
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Bharava hakas with Other Objects In this category of the bharava hakas various types of objects are noticed. These objects signify the artistic experiments in a form of portrayals of bharava hakas. It includes the bha rava haka holding a gada, padma, snake, khad ga, kapala, shield and a garland (maladhari). These bharava hakas are located in all architectural sections of the temple.
These are depicted in flying and sitting postures having four and two hands. The details
of the ornaments and drapery can be observed the same as cited above.
Miscellaneous Bharava hakas In this category of bharava hakas includes the images depicted in different forms. There
are total four images which exclusively are in a posture of bha rava haka without any
objects. These images of bha rava haka are located in guḍhaman ḍapa, and
nat yaman d apa/garud aman d apa? In these images, two images, are in sitting posture and
two images are depicted in flying posture. In the same way, they are shown with two
and four hands. There are total seventeen images of bharava hakas which can be
identifying as an ascetic. These images of ascetics are commonly seen in the sculptural
art of the Early Medieval period. These images of ascetic some time identified as ‘siddha’
or the images of sutradhara. The careful observation of the quantity of this type of images
suggests that the temple at Deur was following the tradition of iconography which was
prevalent during that period. These images are distributed on all architectural
components of the temple. All these images of ascetic are depicted in sitting posture in
which most common posture is found that is vajrasana. Among these, eleven images are
having four hands whereas the five images are having only two hands. There is a single
image of bha rava haka depicted in dancing posture. It is in guḍhaman ḍapa and has two
hands shown in dancing gesture. The feet of this bha rava haka is depicted wearing a
nupu ra. There is a single image of bharava haka that has a symbol of Srivatsa on its chest.
It is located on one of the pillars of praveśman d apa. Similarly, there are single images of
bha rava hakas shown in abhayamudra and dhyanmudra . These are located at the pillars of nat yaman d apa/garud aman d apa?
These images of bharava hakas at Vitthal‐Rukmini temple suggest the important
phenomena of sculptural art during the late phase of the Early Medieval period in
Maharashtra. This phenomenon is appearing in complete contradiction to the earlier
period where the decoration and ornamentation was generally extensively observed on
an exterior of the temple. At Deur, the depiction of various deities in the position of
bha rava hakas marks the significant change in an iconographic depiction of deities. Such
iconographic depiction is noticed in less number in the early phase. However, gradually
it was increased which indicates that the interior of the temple got more attention in
sculptural representations. At Vitthal‐Rukmini temple most important attention has
been given to the decoration and ornamentation of the pillars and pilasters. There are
few temples in Maharashtra and adjoining region of Deur that shows a similar type of
artistic activity. These temples are a Jabreshvar temple at Phaltan, Bhairavnath temple
at Kikli and slightly far away from the Karneshvar temple at Sangameshvar, dist.
Ratnagiri.
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Original Affiliation of the Temple The pedestal present in garbhagriha has a depiction of Lakshmi on its base, suggests that
it was meant for the installation of the image of Vis n u which is now extinct. The
prominent nature of Vaishnavite iconography of the Vitthal‐Rukmini temple also
suggests that this temple was originally associated with Vis n u. The images of Vis n u in
its varied forms as discussed above confirms the importance of Vis n u in this temple. It
is rare to find independent Vis n u temple during this period. This temple perhaps is the
only temple of Vis n u in southern Maharashtra.
Significance of Vitthal‐Rukmini Temple The emergence of Deur is an important religious center that can be traced from the 13th
century CE onwards. This temple seems to have played a significant role in the present
spread of settlement. The massive structure with the fortification wall suggests that the
temple was a major attraction in and around of Deur village. This temple on the basis of
its sculptural style can be dated to end of 13th century CE or early decades of 14th century
CE (Naik 1947).
There are few peculiar iconographic depictions that can be highlighted in light of certain
religious beliefs and ideas. There is an image of Hayagriva and Surya depicted on an
udumbara portion of doorjamb at guḍhaman ḍapa. The images of Hayagriva are
comparatively rare in Maharashtra (Welankar 2003). The divine association of
Hayagriva and Surya is well acclaimed in iconographic tradition (Thangamuthu 1994).
The deity Hayagriva is a minor incarnation of Vis n u. This form was created to save and
preserve the Vedas from the asuara Madhu and Kaitabha (Dutt 1896; Lalye 1973:63; 260).
In this instance, Vis n u has taken the form of Horse for reciting the hymns of the Vedas.
This form of Vis n u is closely associated with the deity Surya (Thangamuthu 1994).
Therefore, Surya is considered as an important aspect of Vis n u and is integral deity
within the Vaishnavism. Perhaps the Vitthal‐Rukmini temple at Deur is a rare example
where the iconographic combination of Hayagriva and Surya is depicted. This shows
that at some extent the joint worship of Hayagriva and Surya was prevalent in the
Vaishnavite tradition of southern Maharashtra. The frequent iconographic depiction of
deity Hayagriva on the temples of Kalyani Chalukyas and Hoyasalas in Karnataka
suggests that the cult of Hayagriva and its worship was prominent during 12th/13th
century CE (Padigar 1996). Probably the Vitthal‐Rukmini temple at Deur shows its
northern extension of worship of Hayagriva and Surya.
References Deglurkar, G. B. 1974. Temple Architecture and Sculpture of Maharashtra. Nagpur: Nagpur
University.
Deo, P. 1993. The temples of Marathwada. Jaipur: Publication Scheme.
Deshpande, S. R. 1977. Yadava sculpture, (western Maharashtra: 1000AD to1400AD.).