ICONOGRAPHY of Goa | Goa State PSC (GPSC) Preparation - GPSC (Goa) PDF Download

 Page 1


ICONOGRAPHY  
In the Chapter V the important sects of Hincluism such as 
Vaisnavism, Saivism and Shakti cult have been discussed. In 
the subsequent chapter VI and VII the important female deities 
and male deities have been dealt with. Hence it would be 
appropriate to deal in this chapter the iconography of 
important deities like Visnu, Siva, Ganesh, Kgrtikeya, Brahma,  
Mahishgsuramardini  and Mahishiasuramardini  depicted in boat. and 
Saptamgtrikgs  In Chapter V references to the various aspects 
of. Visnu and his ten incarnations has been made. Therefore, 
only reference to the newly discovered image of Krishna 
holding churning-rod is made in this chapter. As regards the 
iconography of Ravalngth and Vetgla it may be mentioned that 
the majority of the images are similar and these features have 
been dealt with in chapter VII. Therefore, in Saiva 
iconography only important aspects such as different types of 
linggs from Goa, Umgsahitsiva  and Sadgsiva  have been 
discussed. 
Iconography of Navanita-Krishna  (plate. NO.20) 
In April, 1992 in Vichundrem village of Sanguem taluka 
Navanita-Krishna depicted with two.hands, was discovered. In 
his right hand he is holding butter and in his left hand. he is 
holding a churning-rod and this is not intact. This type of 
Page 2


ICONOGRAPHY  
In the Chapter V the important sects of Hincluism such as 
Vaisnavism, Saivism and Shakti cult have been discussed. In 
the subsequent chapter VI and VII the important female deities 
and male deities have been dealt with. Hence it would be 
appropriate to deal in this chapter the iconography of 
important deities like Visnu, Siva, Ganesh, Kgrtikeya, Brahma,  
Mahishgsuramardini  and Mahishiasuramardini  depicted in boat. and 
Saptamgtrikgs  In Chapter V references to the various aspects 
of. Visnu and his ten incarnations has been made. Therefore, 
only reference to the newly discovered image of Krishna 
holding churning-rod is made in this chapter. As regards the 
iconography of Ravalngth and Vetgla it may be mentioned that 
the majority of the images are similar and these features have 
been dealt with in chapter VII. Therefore, in Saiva 
iconography only important aspects such as different types of 
linggs from Goa, Umgsahitsiva  and Sadgsiva  have been 
discussed. 
Iconography of Navanita-Krishna  (plate. NO.20) 
In April, 1992 in Vichundrem village of Sanguem taluka 
Navanita-Krishna depicted with two.hands, was discovered. In 
his right hand he is holding butter and in his left hand. he is 
holding a churning-rod and this is not intact. This type of 
* 	 Krishna images holding churning rod have been classified as 
Kadagolu - Krishna images. 1  The Kannada word for churning-rod 
is Kadagolu. Hence this type of Krishna has been named as 
above. Navanita - Krishna and Kadagolu-Krishna images are of 
infant Krishna and these are associated with his childhood. 
However, Kadagolu-Krishna  from Vichundrem is depicted as an 
adult. He is wearing a crown (Kiritamukuta), bracelets and 
    
anklets. He has been adorned with vaijayanti necklace (eila)  
which has reached below the knees. From the above description 
it is evident that the stone sculpture of Krishna is not 
primarily of Navanita-Krishna nor primarily of Kadagolu-
Krishna but both themes are combined in one. 
Madras Museum has in itS collection bronzes of Navanita-
Krishna. Krishna is shown in these bronzes standing on left 
leg which is bent slightly at the knee-joint. The right leg is 
lifted inwards and is shown in dancing pose. The right hand is 
shown in assurance giving (abhaya) pose or shown holding 
butter (Navanita). The left arm is stretched extended 
outwards. 2  From Dakshina Kannada both Navanita-Krishna and 
Kadagolu-Krishna images have been reported. Among Navanita 
krishna bronzes the earliest belongs to the c. 1500 A. D. 
However, Kadagolu-Krishna bronzes are of c. 1600 A. D. 3  Taking 
the above factors into consideration, the stone sculpture of 
Kadagolu-Krishna from Vichundrem may be the fore-runner of 
these types of icons on the west coast. 
Page 3


ICONOGRAPHY  
In the Chapter V the important sects of Hincluism such as 
Vaisnavism, Saivism and Shakti cult have been discussed. In 
the subsequent chapter VI and VII the important female deities 
and male deities have been dealt with. Hence it would be 
appropriate to deal in this chapter the iconography of 
important deities like Visnu, Siva, Ganesh, Kgrtikeya, Brahma,  
Mahishgsuramardini  and Mahishiasuramardini  depicted in boat. and 
Saptamgtrikgs  In Chapter V references to the various aspects 
of. Visnu and his ten incarnations has been made. Therefore, 
only reference to the newly discovered image of Krishna 
holding churning-rod is made in this chapter. As regards the 
iconography of Ravalngth and Vetgla it may be mentioned that 
the majority of the images are similar and these features have 
been dealt with in chapter VII. Therefore, in Saiva 
iconography only important aspects such as different types of 
linggs from Goa, Umgsahitsiva  and Sadgsiva  have been 
discussed. 
Iconography of Navanita-Krishna  (plate. NO.20) 
In April, 1992 in Vichundrem village of Sanguem taluka 
Navanita-Krishna depicted with two.hands, was discovered. In 
his right hand he is holding butter and in his left hand. he is 
holding a churning-rod and this is not intact. This type of 
* 	 Krishna images holding churning rod have been classified as 
Kadagolu - Krishna images. 1  The Kannada word for churning-rod 
is Kadagolu. Hence this type of Krishna has been named as 
above. Navanita - Krishna and Kadagolu-Krishna images are of 
infant Krishna and these are associated with his childhood. 
However, Kadagolu-Krishna  from Vichundrem is depicted as an 
adult. He is wearing a crown (Kiritamukuta), bracelets and 
    
anklets. He has been adorned with vaijayanti necklace (eila)  
which has reached below the knees. From the above description 
it is evident that the stone sculpture of Krishna is not 
primarily of Navanita-Krishna nor primarily of Kadagolu-
Krishna but both themes are combined in one. 
Madras Museum has in itS collection bronzes of Navanita-
Krishna. Krishna is shown in these bronzes standing on left 
leg which is bent slightly at the knee-joint. The right leg is 
lifted inwards and is shown in dancing pose. The right hand is 
shown in assurance giving (abhaya) pose or shown holding 
butter (Navanita). The left arm is stretched extended 
outwards. 2  From Dakshina Kannada both Navanita-Krishna and 
Kadagolu-Krishna images have been reported. Among Navanita 
krishna bronzes the earliest belongs to the c. 1500 A. D. 
However, Kadagolu-Krishna bronzes are of c. 1600 A. D. 3  Taking 
the above factors into consideration, the stone sculpture of 
Kadagolu-Krishna from Vichundrem may be the fore-runner of 
these types of icons on the west coast. 
b) Iconography of Siva  
In many regions of India Siva was -first worshipped 
aniconically in the form of linga. The antiquity of linga  
worship goes back to Indus Valley Civilisation. The linga was 
depicted on the coins from c. 300 B.C. and the tradition 
continued up.to 400-500 A. D. 4  On the basis of Sanskrit texts 
exhaustive classification of the various types of lingas is 
furnished in EHI vol. IIpt. I. T e lingasare divided into two 
main types - immovable lingas (Achala lingas) and movable 
.lingas (chala lingas). Besides these two main types , the 
references to other types such as metal lingas (lohaja lingas)  
lingas set up by men (manusha linga) are the main types of 
lingas mentioned. 5  
The linga is divided into three parts. The lowest part 
is BrahmabhaKa, the middle portion is Visnubha'ga and the 
topmost portion is pujya-bhaga or rudrabhaga which is meant 
for worship. The other two parts are inserted into yonipitha.  
On the pujya-bhEga the lines called Brahma-Sutras 	 are 
found. 6 	 As regards the application of the above 
classification} to the 	 lingas found in Goa it may be stated 
that the best example of svayambhu linga (self wrought) could 
be Chandreshwar which is the part of hillock itself. The 
reference to the metal linga (lohaja linga) is found in SKH 
and according to this Purana Saptakoteshwar was a linga of 
five metals (panchaloha. Thus it was a lohaja linga. 
7 
 In 
Page 4


ICONOGRAPHY  
In the Chapter V the important sects of Hincluism such as 
Vaisnavism, Saivism and Shakti cult have been discussed. In 
the subsequent chapter VI and VII the important female deities 
and male deities have been dealt with. Hence it would be 
appropriate to deal in this chapter the iconography of 
important deities like Visnu, Siva, Ganesh, Kgrtikeya, Brahma,  
Mahishgsuramardini  and Mahishiasuramardini  depicted in boat. and 
Saptamgtrikgs  In Chapter V references to the various aspects 
of. Visnu and his ten incarnations has been made. Therefore, 
only reference to the newly discovered image of Krishna 
holding churning-rod is made in this chapter. As regards the 
iconography of Ravalngth and Vetgla it may be mentioned that 
the majority of the images are similar and these features have 
been dealt with in chapter VII. Therefore, in Saiva 
iconography only important aspects such as different types of 
linggs from Goa, Umgsahitsiva  and Sadgsiva  have been 
discussed. 
Iconography of Navanita-Krishna  (plate. NO.20) 
In April, 1992 in Vichundrem village of Sanguem taluka 
Navanita-Krishna depicted with two.hands, was discovered. In 
his right hand he is holding butter and in his left hand. he is 
holding a churning-rod and this is not intact. This type of 
* 	 Krishna images holding churning rod have been classified as 
Kadagolu - Krishna images. 1  The Kannada word for churning-rod 
is Kadagolu. Hence this type of Krishna has been named as 
above. Navanita - Krishna and Kadagolu-Krishna images are of 
infant Krishna and these are associated with his childhood. 
However, Kadagolu-Krishna  from Vichundrem is depicted as an 
adult. He is wearing a crown (Kiritamukuta), bracelets and 
    
anklets. He has been adorned with vaijayanti necklace (eila)  
which has reached below the knees. From the above description 
it is evident that the stone sculpture of Krishna is not 
primarily of Navanita-Krishna nor primarily of Kadagolu-
Krishna but both themes are combined in one. 
Madras Museum has in itS collection bronzes of Navanita-
Krishna. Krishna is shown in these bronzes standing on left 
leg which is bent slightly at the knee-joint. The right leg is 
lifted inwards and is shown in dancing pose. The right hand is 
shown in assurance giving (abhaya) pose or shown holding 
butter (Navanita). The left arm is stretched extended 
outwards. 2  From Dakshina Kannada both Navanita-Krishna and 
Kadagolu-Krishna images have been reported. Among Navanita 
krishna bronzes the earliest belongs to the c. 1500 A. D. 
However, Kadagolu-Krishna bronzes are of c. 1600 A. D. 3  Taking 
the above factors into consideration, the stone sculpture of 
Kadagolu-Krishna from Vichundrem may be the fore-runner of 
these types of icons on the west coast. 
b) Iconography of Siva  
In many regions of India Siva was -first worshipped 
aniconically in the form of linga. The antiquity of linga  
worship goes back to Indus Valley Civilisation. The linga was 
depicted on the coins from c. 300 B.C. and the tradition 
continued up.to 400-500 A. D. 4  On the basis of Sanskrit texts 
exhaustive classification of the various types of lingas is 
furnished in EHI vol. IIpt. I. T e lingasare divided into two 
main types - immovable lingas (Achala lingas) and movable 
.lingas (chala lingas). Besides these two main types , the 
references to other types such as metal lingas (lohaja lingas)  
lingas set up by men (manusha linga) are the main types of 
lingas mentioned. 5  
The linga is divided into three parts. The lowest part 
is BrahmabhaKa, the middle portion is Visnubha'ga and the 
topmost portion is pujya-bhaga or rudrabhaga which is meant 
for worship. The other two parts are inserted into yonipitha.  
On the pujya-bhEga the lines called Brahma-Sutras 	 are 
found. 6 	 As regards the application of the above 
classification} to the 	 lingas found in Goa it may be stated 
that the best example of svayambhu linga (self wrought) could 
be Chandreshwar which is the part of hillock itself. The 
reference to the metal linga (lohaja linga) is found in SKH 
and according to this Purana Saptakoteshwar was a linga of 
five metals (panchaloha. Thus it was a lohaja linga. 
7 
 In 
addition to the above lingas, there are lingas from the rock-
cut caves of Aravalem, Surla and Lamgaon (all in Bicholim). In 
rock-cut caves of Mangeshi in Panda only yonjzjaitha is 
remaining . In Consua village of. Mormugao taluka the linga  
from the rock-cut cave was detached from yoni-pitha and was 
lying in a pond in the vicinity of the cave. Subsequently the 
linga from the cave was acquired by the State Museum of Goa in 
1985 	 41--;,> The lingas belonging to Kadambas 
period are displayed at Old Goa Museum. Therefore, the study 
of these lingas facilitate understanding the evolution and 
the date of the lingas from Goa. 
Post-6th century A. D. lingas were divided into only two 
parts (dvibh;gal namely lower longer square part and the 
shorter upper part was cylindrical which was meant for worship 
(pujyabhaga). The lingas of Aravalem Pissurlem and Consua 
are dvibhaga type. The first three lingas are marked on 
vertical side lines (parsva-sutras) but these vertical lines 
are called brahma-sutras according to Matsya Purana. These 
Brahma Sutras are not found on the lingas of Aravalem, 
Pissurlem and Consua. The post 6th century lingas are divided 
into three parts (tridha). References to such tridha linga is 
found in Brihatsamhita. These three parts are namely circular 
top most portion, the middle octagonal portion and the bottom 
square portion. Mitterwallner has taken the above iconographic 
texts into consideration and dated the lingas of Aravalem to 
Page 5


ICONOGRAPHY  
In the Chapter V the important sects of Hincluism such as 
Vaisnavism, Saivism and Shakti cult have been discussed. In 
the subsequent chapter VI and VII the important female deities 
and male deities have been dealt with. Hence it would be 
appropriate to deal in this chapter the iconography of 
important deities like Visnu, Siva, Ganesh, Kgrtikeya, Brahma,  
Mahishgsuramardini  and Mahishiasuramardini  depicted in boat. and 
Saptamgtrikgs  In Chapter V references to the various aspects 
of. Visnu and his ten incarnations has been made. Therefore, 
only reference to the newly discovered image of Krishna 
holding churning-rod is made in this chapter. As regards the 
iconography of Ravalngth and Vetgla it may be mentioned that 
the majority of the images are similar and these features have 
been dealt with in chapter VII. Therefore, in Saiva 
iconography only important aspects such as different types of 
linggs from Goa, Umgsahitsiva  and Sadgsiva  have been 
discussed. 
Iconography of Navanita-Krishna  (plate. NO.20) 
In April, 1992 in Vichundrem village of Sanguem taluka 
Navanita-Krishna depicted with two.hands, was discovered. In 
his right hand he is holding butter and in his left hand. he is 
holding a churning-rod and this is not intact. This type of 
* 	 Krishna images holding churning rod have been classified as 
Kadagolu - Krishna images. 1  The Kannada word for churning-rod 
is Kadagolu. Hence this type of Krishna has been named as 
above. Navanita - Krishna and Kadagolu-Krishna images are of 
infant Krishna and these are associated with his childhood. 
However, Kadagolu-Krishna  from Vichundrem is depicted as an 
adult. He is wearing a crown (Kiritamukuta), bracelets and 
    
anklets. He has been adorned with vaijayanti necklace (eila)  
which has reached below the knees. From the above description 
it is evident that the stone sculpture of Krishna is not 
primarily of Navanita-Krishna nor primarily of Kadagolu-
Krishna but both themes are combined in one. 
Madras Museum has in itS collection bronzes of Navanita-
Krishna. Krishna is shown in these bronzes standing on left 
leg which is bent slightly at the knee-joint. The right leg is 
lifted inwards and is shown in dancing pose. The right hand is 
shown in assurance giving (abhaya) pose or shown holding 
butter (Navanita). The left arm is stretched extended 
outwards. 2  From Dakshina Kannada both Navanita-Krishna and 
Kadagolu-Krishna images have been reported. Among Navanita 
krishna bronzes the earliest belongs to the c. 1500 A. D. 
However, Kadagolu-Krishna bronzes are of c. 1600 A. D. 3  Taking 
the above factors into consideration, the stone sculpture of 
Kadagolu-Krishna from Vichundrem may be the fore-runner of 
these types of icons on the west coast. 
b) Iconography of Siva  
In many regions of India Siva was -first worshipped 
aniconically in the form of linga. The antiquity of linga  
worship goes back to Indus Valley Civilisation. The linga was 
depicted on the coins from c. 300 B.C. and the tradition 
continued up.to 400-500 A. D. 4  On the basis of Sanskrit texts 
exhaustive classification of the various types of lingas is 
furnished in EHI vol. IIpt. I. T e lingasare divided into two 
main types - immovable lingas (Achala lingas) and movable 
.lingas (chala lingas). Besides these two main types , the 
references to other types such as metal lingas (lohaja lingas)  
lingas set up by men (manusha linga) are the main types of 
lingas mentioned. 5  
The linga is divided into three parts. The lowest part 
is BrahmabhaKa, the middle portion is Visnubha'ga and the 
topmost portion is pujya-bhaga or rudrabhaga which is meant 
for worship. The other two parts are inserted into yonipitha.  
On the pujya-bhEga the lines called Brahma-Sutras 	 are 
found. 6 	 As regards the application of the above 
classification} to the 	 lingas found in Goa it may be stated 
that the best example of svayambhu linga (self wrought) could 
be Chandreshwar which is the part of hillock itself. The 
reference to the metal linga (lohaja linga) is found in SKH 
and according to this Purana Saptakoteshwar was a linga of 
five metals (panchaloha. Thus it was a lohaja linga. 
7 
 In 
addition to the above lingas, there are lingas from the rock-
cut caves of Aravalem, Surla and Lamgaon (all in Bicholim). In 
rock-cut caves of Mangeshi in Panda only yonjzjaitha is 
remaining . In Consua village of. Mormugao taluka the linga  
from the rock-cut cave was detached from yoni-pitha and was 
lying in a pond in the vicinity of the cave. Subsequently the 
linga from the cave was acquired by the State Museum of Goa in 
1985 	 41--;,> The lingas belonging to Kadambas 
period are displayed at Old Goa Museum. Therefore, the study 
of these lingas facilitate understanding the evolution and 
the date of the lingas from Goa. 
Post-6th century A. D. lingas were divided into only two 
parts (dvibh;gal namely lower longer square part and the 
shorter upper part was cylindrical which was meant for worship 
(pujyabhaga). The lingas of Aravalem Pissurlem and Consua 
are dvibhaga type. The first three lingas are marked on 
vertical side lines (parsva-sutras) but these vertical lines 
are called brahma-sutras according to Matsya Purana. These 
Brahma Sutras are not found on the lingas of Aravalem, 
Pissurlem and Consua. The post 6th century lingas are divided 
into three parts (tridha). References to such tridha linga is 
found in Brihatsamhita. These three parts are namely circular 
top most portion, the middle octagonal portion and the bottom 
square portion. Mitterwallner has taken the above iconographic 
texts into consideration and dated the lingas of Aravalem to 
the first quarter of the 5th century A.D. 8  
From the writings of the Mitterwallner it is discernible 
that she is not aware of the existence of the rock-cut caves 
of Consua which is in Mormugao taluka. This cave has a square 
yoni-pitha. This could be also classified as dviblQa type and 
has no parsva-sutras on the pujya-bhaga. Moreover, the lower 
part of the linga is not given the perfect square shape and it 
had remained cylindrical and unfinished. The description of 
the Ijilkafurnished above clearly indicates that it is one of 
the earliest lingas from Goa. Incidentally, the linga of 
Consua and the rock-cut cave in which it was worshipped are 
very close to the ancient site of the Mangesh temple of 
Kushasthali. Perhaps gifts made to two Brahmins Govindaswami 
and Indraswami mentioned in the copper plate of Devaraja of 
Siroda copper plate were for worshipping the linga of 
Consua. 9  
Square - yonipithas are found in the rock-cut caves of 
Aravalcm, Consua and Mangeshi. The antiquity of such square 
yonipitha goes back to early Kushana period. 10  As far as Goa 
and Deccan are concerned, such types of yoni-pithas became 
common from c. 400 A. D. These square yoni-pitha was salient 
feature of the linga of the linga of early Chalukyan 
period. 11  Therefore, the lingas with square yoni-pithas could 
be dated from c. 400-700 A. D.