Few days back an ancient magnificent sculpture was recovered from Kakapora area of Pulwama district. This sculpture was identified as that of Vishnu, and State Department of Archaeology claimed it as a significant recovery.
Indeed this is one of the significant archaeological artefact, but not any rarity, because there are scores of such significant artifacts already displayed in the archaeological of the museum at Srinagar.
This artefact is identified as that of deity of Hindu pantheon known as Vishnu. This sculpture is similar to those sculptures already found way back at the archaeological site of Awantipora.
This is a three headed Vishnu with its normal iconographic attributes, holding in left hand the lotus symbol while left hand holds a conch. The sculpture is shown wearing a decorative crescent type crown.
This artefact can probably be dated to the 9th century AD and belongs to the ancient school of sculpture art.
Archaeology literature suggests that in the ancient times the most impressive sculpture school of art evolved at Awantipora, 25 kms from Srinagar. Most probably in the reign of Avantivarman (855-883 AD).
The place still retains the king’s name and the remains of grand temples he built here. The standing remains of those marvellous temples are still extent at the site and attract the attention of tourists. Interestingly these remains are called here pandu laree (the buildings of Pandaws).
But historically speaking these are the remains of some religious structures identified as those of ancient temples and believed to be raised here during Utpala dynasty in 9th and 10th century AD.
It was from these remains that various archaeological artefacts including metallic tools, pottery artifacts and magnificent stone sculptures were way back unearthed during the olden excavations of its archaeological mounds. The excavation then had revealed the remains of magnificent structures, agricultural and domestic metallic tools and a variety of stone sculptures.
The most impressive artefacts were the magnificent stone sculptures of Hindu pantheon comprising variety of deities of Vishnu and Shiva Avtara. These sculptures are dated to have been commissioned here during 9th or 10th century AD during Utpala period (855-939), particularly during the period of Avantivarman.
Most of the finds of Awantipora are housed and showcased in the archaeology gallery of the museum at Srinagar. The sculptures recovered from Awantipora are the most impressive and magnificent relics of Kashmir’s ancient sculpture art.
The archaeologists who have been working on ancient Kashmir sculpture art have identified the ancient school of Avantipiora sculpture art, and distinguished it with other schools of fine art of that period. Robert E. Fisher a European archaeologist provides the following description of this school.
‘Foremost among these images is the four headed, four armed Vishnu that first began appearing in the late eight century toward the end of Karkota period known as the Vaikuntha or Chaturanana image of Vishnu.
This particular form of deity has become common with Kashmir art, it is now best know image from the valley and is often rendered in brass as well. The regally attired figure of Vishnu stands between his two personified attributes Gadanari and Cahkrapurusha, with the earth goddess, Prithvi, emerging between his feet.’
Typically, the deity wears a long garland reaching below the knees and a dagger at his waist (unique to Kashmiri versions) and holds his usual attributes in each of the four hands.
The most distinctive aspect, however, is the four heads, in the front is a placid human face, with a boar and lion on either sides or a ferocious visage behind, and perhaps added by the Pancharatrins to suit their theory of Chaturvyuha, a system already noted in the configuration of Vaishnav temple in Kashmir such as the Avantiswami.
It appears that the ancient Awantipora School besides making Siva images had provided basis for making of beautiful Vishnu images, this trend later got cultivated in the ancient Verinag School of sculpture art. The artists involved in these schools somehow have followed a uniform style.
This distinctive type consisted of highly polished sculptures rarely found among Indian sculptures. These images are impressive as they represent to had been adorned with decorative crowns, necklaces, armlets and other ornaments.
Number of magnificent sculptures are these days showcased in the archaeology gallery of the SPS Museum at Lal Mandi.
One of the fascinating sculptures is of the Vishnu Chaturanana, with its central human head; it forms the heads of lion and boar, the Narsimha and Varaha incarnations of Vishnu.
Its attributes are shown in its hands respectively, the lotus in right and conch in the left one while the missing two originally rested on the heads of his personified mace and wheel. The figure is richly crowned and highly polished. Its crescent type crown is elaborately jewelled.
The sculpture wears two necklaces, one short and other long. The long one has a big pendant hanging from the middle and the pendant’s circle is studded with motifs jewels. He is shown wearing diamond armlet motif.
The sacred thread which runs over the left shoulder and under the right arm falls well below the waistband while the well ornamented garland falls short. The auspicious symbol is shown on the breast of the image, the lower garments consist of a small dhoti.
The artefact recently recovered from its adjoining area has almost got all these features which the other Vishnu images posses. On the bases of its material, typology and iconographic attributes, this sculpture can be said to have been commissioned from the ancient school of Awantipora during the period of Avantivarman.
Although the archaeological artefacts excavated in the olden excavationsat the twin sites of Awantipora are housed and showcased at Srinagar Museum, the magnificent archaeological remains symbolising the influence of ancient Grecian and Roman art and architecture are still well maintained in this historic town of Awantipora. These sites have become the main attractions for local as well as for domestic tourists.
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The facts, analysis, assumptions and perspective appearing in the article do not reflect the views of GK