bhairava worship in upper mahanadi...

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Orissa Review * January - 2004

The Nalas were ruling the western and south-western parts of Orissa in around the 4th-5thcentury A.D. Their capital was Puskari, whichhas been identified with the present Podagadin the Umerkot tahsil area of Nawarangpurdistrict. In two copper-plate charters of theNalas, namely, Kesaribeda Plates ofArthapati1 and the Rithapur Plates ofBhavadattavarman,2 it has been mentioned inthe very first line that they flourished by theblessings of Mahesvara and Mahasena (LordSiva and his son Kartikeya) - MahesvaraMahasenatisrustha Rajya Bivabhah. Theirnames like Vrsa - dhvaja, (first king), Bhavadatta denote their devotion to Lord Siva(Bhava). The name of another Nala king Skanda- Varman testify to their reverence to Skanda(Kartikeya). In their gold coins also, the figureof a couchant humped bull facing right and acrescent moon behind it are found embossed.The figure of Nandi bull, the Vahana of LordSiva is very beautifully executed on these goldcoins found from Edenga4 and Kulia.5 It seemsthat during the rule of the Nala kings Saivismgot royal patronage. But kings of the dynastywhich succeeded in the upper Mahanadi valley,i.e. the Parvatadvarakas seem to be theworshippers of goddess Stambhesvari (thegoddess of pillar or post). Another dynasty,called the Sarabhapuriyas (or the kings of the

Amararyakula) who captured this region andruled in around 5th-6th century A.D. were allParama Bhagavatas (devout worshippers ofLord Visnu). The Sarabhapuriya powerdeclined in around the last quarter of the 6thcentury A.D. when the Panduvamsis capturedpower in the upper Mahanadi valley. Whilethe founder of this dynasty, MahasivaTivaradeva, his son Maha Nannaraja and QueenRegent Vasata (mother of Balarjuna) werestaunch Vaisnava (Parama Vaisnava); kingslike Chandraguptaraja (whose dignity wascommensurated with his devotion to the Lordof Goblins - Bhutapati - Lord Siva)6 andBalarjuna were great devotees of Lord Siva.Although Queen Regent Vasata has mentionedherself as a great devotee of Lord PurusottamaNrsimha, she has mentioned herself as the'daughter of the mountain' (Parvati) and 'themother of him who rides the peacock'(Kartikeya) in verse - 15 of Sirpur StoneInscription.7 The most powerful Panduvamsiking Mahasivagupta Balarjuna, the son ofHarshadeva, (grand-son of Tivara's brother)who ruled for more than 58 years was aParama Mahesvara. It is probable that hisRanaka (a governor) Durgaraksita, donatedland in a village called Gudasarkaraka infavour of the god Madanarati (Siva). Invillage Kodasima he also donated land to the

Bhairava Worship inUpper Mahanadi Valley

Sasanka S. Panda

Bhairava, Urladani BhairavaNarsinghnath

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Saiva ascetic Sadasivacharya, who was aspiritual successor of Sadyahsivacharya,another ascetic instrumental in conversion ofthe king to the Saivite faith. Sadyahsivacharyais said to have hailed from a penance grove(Tapovana) called Amardaka. Thisstone inscription (found fromSenakapat) begins with the Siddhamsymbol followed by the Mangala :Namah Sivaya. The Verse-1constitutes a Mangala in praise ofthe god Bhava (Siva) and Verse-2of his consort, the goddess Parvati.8

The second part of the inscriptionstarts with Verse-22. In the Verse-23, it has been mentioned that "theSaiva ascetics had to arrange for asacrificial ceremony (Yaga) as wellas for the initiation of people intothe Saiva faith (Diksa) which iscapable of securing spiritualemancipation, the exposition of theSaiva doctrine and the running of afree feeding establishment(Annasya-satram) every yearduring the full-moon day of Asadha,Kartika and Magha.9 In his copper-plate grants like the BardulaPlates,10 Mallar Plates,11 BondaPlates12 and Lodhia Plates,13 thePanduvamsi king MahasivaguptaBalarjuna has been mentioned as ParamaMahesvara, the devout worshipper of LordMahesvara (Siva). Through his last Charter theLodhia plates, he made land grant inVaidyapadraka village to Lord IsanesvaraBhattaraka of Khadirapadraka village for thevali, charu, satra, naivedya of the Lord as wellas repair of the temple dedicated to him. Inthis charter, the sacred feet of Sri Sulapani,the disciple of Sri Pramathachaya have been

worshipped for increase of religious merits ofhis (king's) parents. Here also it is mentionedthat both the Saivacharyas were hailing fromPanchayajna Tapovana of Dvaitavana.14 Dr.S.N. Rajaguru has taken these Saivacharyas to

be of the Pasupata School ofSaivism.15 The royal seals attachedto the charters of king Balarjunahave the emblems of bull Nandiand Trisula in front of aPurnakumbha.16

Most probably from the time ofthe Panduvamsi kingMahasivagupta Balarjuna (2nd halfof the 8th century A.D.), Saivismwas strongly entrenched in thereligious arena of the upperMahanadi valley. This trendcontinued unabated when hissuccessors, known as theSomavamsis, shifted toSuvarnapura from Sirpur (Sripura)sometime in the first half of the 9thcentury A.D. They drove out eitherthe Bhanja king Ranabhanja or hissuccessor from that region (Baudh-Sonepur region) during the time ofthe Somavamsi kingMahabhavagupta Janmejaya,sometime around 850 A.D. It is said

that during his rule Acharya Gaganasiva, aSaivacharya of the Mattamayura cult ofSaivism constructed a temple of Lord Siva,17

at Ranipur Jharial which is known asSomesvara temple now. All Somavamsi kingswere Parama Mahesvara (devout worshippersof Lord Siva).

The Bhanja kings of Khinjali Mandala,who were ousted from the Baudh-Sonepurregion were great devotees of Bhairava, the

Bhairava, Junagarh

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Ugra aspect of Lord Siva. Three kings of thisdynasty are known from records : SriSilabhanjadeva Angadi, SatrubhanjadevaGandhata and Ranabhanjadeva. The last rulerhad a long reign of 54 years or so. In theinvocatory verse of the copper plates ofSatrubhanjadeva and Ranabhanjadeva,18

Bhairava is worshipped : Samhara KalaHrutbhug Vikarala Ghora | SamvrantaKinkara Krutanta NitantavinnamVinnandhakasura Mahagahanatapatram | TadBhairavam Hara Vapurbhavatah Prapatu ||

It seems probable that the Bhanja kingspopularised the Bhairava Cult in the upperMahanadi valley in the 8th-9th century A.D.

As evidenced from stone inscriptions,the Bhairava worship was prevelent in theupper Mahanadi valley of Orissa atleast fromthe 1st century A.D. The discovery of a two-lined inscription on the pedestal of a standingimage of furious looking Batuka Bhairava atJunagad in the Kalahandi district by this scholarin April, 1983 throws new light on the cult ofBhairava. It is somewhat astounding that PanditSatya Narayan Rajaguru has deciphered thisinscription to be written in the Pali Prakrit inaround 1st century A.D.19 On the brokenpedestal of another Bhairava image of aroundsix feet in height, found in the Banka Paik Padaof Junagad town, the last letter of an inscription'Ra' is seen to be engraved. Such 'Ra' alphabetwas used during the period from the 4th to 8thcentury.20 Another short stone inscription of the8th century A.D., found in the DhavalesvaraSiva temple at Mohangiri, also in the Kalahandidistrict, has been deciphered as VyuhaBhairava by Pandit S.N. Rajaguru.21 In theproper right base of the doorjamb of theGarbhagrha of this Siva temple, a dancingBhairava figure is carved as Dvarapala,

whereas in the left side is a Saivite figurestanding in Samabhanga and holding a longstaff (Danda). As in another loose panel ofthis temple a seated figure of Lakulisa, the greatPasupata teacher is carved alongwith one ofhis desciple; at Mohangiri, we find the BhairvaCult (mostly of Kapalika sect) accommodatingthe Pasupata sect of Saivism also. As knownfrom the copper-plate grants of the Bhanja kingRanabhanjadeva, he has invoked the grace ofBhairava and at the same time claims to havebeen blessed by the Divine MotherStambhesvari (Stambhesvari Lavdha VaraPrasada).22 Like the cult of Bhairava,Stambhesvari worship was also popular in theupper Mahanadi valley, as known from theTeresingha copper-plate grant of MaharajaTustikara of the Parvatadvaraka dynasty.23

Learned scholar Dr. L.K. Panda is ofthe view that the Bhairava Cult became popularin Orissa from the 8th century onwards.24 Butit is not so, as we find Bhairava imagebelonging to the 1st century A.D. at Junagad.This image of Bhairava in the Batuka Bhairavaform is stark naked, his Linga and Kosa seento be hanging downwards, four-handed,holding a long Trisula in his lower right hand,the bottom portion of it resting near his rightfoot. The eyes of this image is round, havingan uncanny look with side-tusks coming outfrom both corners of his mouth. This figure hasvery long ears, flat nose and a big garland ofskulls apart from a small necklace hangingaround his neck. His Jatas are forming aMandala in the shape of a flat Mukuta. It is ofthe height of three feet and is carved on a squarepedestal where the two-lined inscription in PaliPrakrit occurs. Besides this Bhairava image,there are two more Bhairava images of smallersizes in the same site, called 'Bhainrogudi',which is situated in the back-side of the

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Panchayat Samittee Office of Junagad. Oneimage is of the height of around 16", four-handed, both the lower hands in hangingposition and seen to be holding a Trisula anda Kapala (skull-cup) in his upper right and lefthands. One beast (dog ?) is seated near his leftfoot. The other image of Bhairava is also afour-handed standing figure of the height ofaround 30", seen to be adornedwith ornaments like stripes ofnecklaces (Haras) around hisneck, waist-band, braceletsand Makara Kundalas andseen wearing a loin cloth uptohis knees. He is holding asword (Khadga) in his upperleft hand and a Trisula in hislower right hand, remainingtwo hands being mutilated.Side-tusks are also seencoming out from both cornersof his lips. This figure can betaken as that of SvarnakarsanaBhairava, whose appearancesuggests 'Perfect happinesscoupled with masterfulauthoritativeness.' In anotherplace of Junagad town, calledBanka Paik Pada, this author saw a Bhairavaimage of around six feet high. Bhairava isstanding in Samabhanga and is fiece-looking.A conical Mukuta (cap-type) is adorning hishead. He is Urdhvalinga. A Sula and a Kapalaare in his up-raised left and right back handsrespectively, while the front right hand is inKatyavalambita. In his front left hand, whichis hanging up to his thigh-level, he is holding aKamandalu. Something like a long snake isgoing around his entire body upto the knee-level and also coiled in his left hand. Adevotee is standing on the pedestal beside his

right leg. The conical cap-type Mukuta on thehead of this Bhairava image is exactly similarto the Mukuta of Lord Mahesvara of the Uma-Mahesvara image found at Podagad in theneighbouring Nawarangpur district. This imagecan be dated to the 5th-6th century A.D. Anexactly similar huge Bhairava image of thesame height is lying flat on the ground at

Belkhandi, also in Kalahandidistrict, amidst sculptures un-earthed during excavations bythe-then Kalahandi DurbarAdministration in 1946 underthe supervision of the StateArchaeologist Mr. Kedar NathMahapatra. In the opinion ofthis scholar this Bhairavaimage of Belkhandi was thecentral deity and wasworshipped along-with theSaptamatrkas in the remotepast. This image is also fierce-looking and four-armed, seento be holding a short trident(Sula) and a Dambaru in hisupper left and right handsrespectively. A skull-cup(Kapala) is in his lower left

hand, while the lower right hand is inVaradamudra. This figure of Bhairava isstanding in Dvibhanga posture, being flankedby two devotees on the pedestal. Verypeculiarly enough, in both the Uma Mahesvaraimages of Belkhandi, Lord Mahesvara isUrdhvalinga like in the cases of Bhairavaimages of the upper Mahanadi valley. Inanother site, called Sankushgad, which is notfar off from Belkhandi, a terrifying image ofBhairava of the height of around four feet,standing in Samabhanga posture is worshippedas the central deity of a temple. His eyes are

Bhairava, Sauntpur

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round as well as burning and; he isUrdhvalinga. Here in this image, the Lord isseen wearing Patra Kundalas in his ears,while a Karanda Mukuta is adorning his head.The Prabha Mandala is semi-oval in shapeand has lotus-petal designs in a repeatedcourse. It is a four-handed figure of Bhairava,and objects in the upper and lower right handsare Dambaru and Aksamala, while in the upperleft hand is a Khakhara (alarm staff). The lowerleft hand is broken from elbow portion. In thetop-corners of the back-slab, flying Vidyadharacouple are depicted with garland in hands,female in the right and male in the left siderespectively. The right side of the slab iscarved from top to bottom portions with figuresof dancing males (Sivaganas). A femaledevotee is standing in Dvibhanga posture justbelow these Sivaganas in the right side of theLord. Her left hand is in the Katyavalambitaposture, while in her raised right hand she isholding a Chauri (fly-whisk). Another standingfemale with a lotus-stem in her right hand andleft hand in Katyavalambita is standing besidethe other lady. Two more female attendants ofbigger sizes, of the height of about one footeach, standing in Dvibhanga posture aredepicted in both sides of Lord. They have ineach case, Chauri in one hand and the otherhand in Katyavalambita. In the extreme leftside of the pedestal, there is the crouchingfigure of the bull Nandi, the Vahana of the Lord.It is looking up at the Lord with raised head,what is described in Matsya Purana asDevaviksanatatparah. In the central portionof the pedestal, two smaller front-faced figuresof a couple are carved, while in the right side,one profiled female figure in kneeled downposition and both her hands folded in obeisance(Anjalimudra) is carved. To the extreme rightside of the pedestal, there is the seated figure

of a front-faced and pot-bellied Yaksa. Abroken Uma Mahesvara image (up-waistexisting) is also found at Sankushgad. As thesculptures of Sankushgad are strikingly similarin workmanship with of Mohangiri images,those can be safely dated to the 7th-8th centuryA.D.24 Another Bhairava image of the heightof around three feet, standing in theSamabhanga posture and very much akeen tothe Bhairava image of Sankushgad has beenenshrined in a temple by the ex-Zamindar ofLanjigad, being shifted from Topigaon. FlyingVidyadhara couple with garland in hands arecarved on both top-corners of the back slab.Three female devotees, seated in kneeled downposition and Anjalimudra are carved in bothsides of the side slab, numbering six devoteesin total. This image is worshipped as AgniBhairava.

At a distance of around 5km fromTitilagarh town of Balangir district there is ahillock called 'Bhainro Pahad' near Ghudarvillage, where Ekapada Bhairava has beencarved on a huge monolithic rock. To theproper right of this rock-cut sculpture there aretwo more rock-cut panels, the lower paneldepicting a fighting scene of Kali or Yogesvariwith one Asura and seated figures of MatrkasVaisnavi and Mahesvari. To the left of this rock,on another rock, rock-cut figures of MatrkaVarahi, dancing Chamunda and Ganesa arecarved. Just above the Ekapada Bhairava rock,to the extreme north of the hillock, on anothermonolithic rock lotus-rosette motif(Asthadalapadma) and a pair of foot prints arecarved. In between the rock having the squareYantra symbols bearing footprints and the rockwith Ekapada Bhairava, Andhakasura Vadhaand Matrkas figures, on another rock arecarved figure of four-handed Bhairava seatedin Utkutikasana with Yogapatta tied around

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his thighs and the Vahana dog running nearby.Scholar L.K. Panda has rightly observed thatthe representation of a circle having foot-printof the Saivacharya was very common to thetantrika school.

To the north-west of the Ghudar village,there is a monolithic rocky elevation of abouteight feet in height and thirty feet in length onwhich Saptamatrkasalongwith Bhairava inUrdhvalinga and Ganesafigures are carved in a panel.Just in the back side of thisrock, another four-handedfigure of Bhairava dancing inChatura mode is carved. Hehas a furious-lookingappearance with sunken eyesand is Urdhavalinga. A Kartri(knife) and Sula (trident) arein his upper right and left handsrespectively, while a Sarpa(snake) is in his lower lefthand. Another snake has raisedit's single hood just above theright shoulder of this Bhairavafigure. To this scholar, it seems that, in theremote past Ghudar was a great centre oftantricism, where Ekapada Bhairava wasworshipped by the Saivacharyas of theKapalika sect.

At Ghudar alone, Ekapada Bhairavaand another image of dancing Bhairava aredepicted with Urdhvalinga. Similarly, atRanipur Jharial, a three-headed and eight-handed figure of Bhairava in the dancing poseof Ananda Tandava is enshrined in an openMandapa just in the centre of the circular open-air temple, where the sixty-four Yoginis areplaced in the dancing posture of Adbhu.

Although this image of Ranipur Jharial has beentaken as the Nataraja aspect of Lord Siva byscholars, this researcher disagrees and thinksit to be "Urdhvalinga Bhairava" the centraldeity of the Chausath Yoginipitha. The Lord'sleft foot is placed on the back of the crouchingbull Nandi, who is looking up at the Lord withraised head - 'Devaviksanatatparah.' The bull

of the Bhairava image ofSankushgad is also depicted inthe same pose. Near the rightfoot of the dancing Bhairava ofRanipur Jharial, there is a four-handed seated figure ofGanesa. This dancing Bhairavais wearing a broad necklace,armlets, Jatamukuta andSankha-Patra Kundalas. ASarpa is encircling his waist-portion and raising its hoodabove his left shoulder. He isalso holding another snake overhis head in his upper hands.They are the famous snakes likeTaksaka and Dhananjaya, whohelped Lord Siva during hisfight with Andhakasura. The

Lord is holding a small trident (Sula) in hisupper left hand and a Dambaru placed on hisright thigh which he holds in his third righthand. His fourth right hand is below his chestportion in Varadamudra. Similarly, in hisupper left hand, he is holding a club (Gada)and in the third left hand a rosary (Aksamala)respectively. His eyes are closed. It seems tobe the pacified form of the Lord. Siva in hisUgra aspect of Bhairava was a Yogi, whotroubled the Yoginis. A story inKathasaritasagara mentions thatChandrasvamin saw in the middle hour of thenight a Circle of Matrkas (Matruchakra),

Bhairava, Ghudar

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headed by Narayani (Vaisnavi), who wereimpatiently waiting for Bhairava to present himwith a variety of gifts. Immediately aftergoddess Narayani finished her narrationexplaining the delay of Lord Bhairava, the Lordof the Circle of Mothers arrived there. TheMatrkas there-after presented their gifts to him,after which he danced and sported with theYoginis (Tandavena Ksanam NrtyannakridadYoginisahah).26 In the Agni Purana, we findthe mention of Bhairava as the Lord of theMothers (Matrunatha), who is to beworshipped at the centre of the mothers(Matrumadhye Pujyah).27 In the TantrikaKaula texts like Kularnava and Meru Tantraalso, Bhairava has been mentioned as thecentral deity, whose position is to be at thecentre of the Circle of Yoginis(Yoginichakramadhyastham).28

An unique image of four-handeddancing Bhairava with Urdhvalinga, which isexactly similar to the dancing Bhairava ofRanipur Jharial is found in a Siva temple atMahagaon in Balangir district. But in this caseit is one-headed. The upper right hand of theLord is in Abhayamudra with one Aksamalahanging from it, while the upper left hand isplaced on his right thigh. In the lower left hand,which is slightly raised, the Lord is holding aKapala, while in his lower right hand is a smallKhatvanga. Bull Nandi, the Vahana of the Lordis seen to be crouching in a profiled posturebehind the Lord, and looking up at his masterin Devaviksanatatparah. The Lord is wearingHara and Aksamala (strings of rosary beads)around his body. He is wearing strings of rosarybeads as Kundalas also. A crescent moonsymbol is carved on the left side of theJatamukuta and the Lord has a pleasant smilingface. An image of four-handed Camunda is alsofound in this site.29

Bhairava images at Belkhandi, Ghudar,Patnagad and Ranipur Jharial are found amidstSaptamatrkas (the Seven Mothers) and withUma Mahesvara images at Sankushgad,Deogaon (Banei) and Topigaon. Camundaimages are found alongwith Bhairava at Junagad(Hemgir) and Mahagaon. Lord Mahesvara(Siva) of the Uma Mahesvara images ofBelkhandi and Topigaon are also Urdhvalinga.An amage of Bhairava, made of soft red sandstone has been collected from Manikgarh inMaraguda valley of Nuapada district and keptin Lokadrusti, a Khariar-based NGO(Voluntary Organisation).30 It is an image oftwo-handed Bhairava standing in Tribhanga,holding a sword (Khadga) in his right hand.His Vahana dog is standing near his left leg.He is wearing an elongated Mukuta, Kundalasand a dhoti - type garment. It is of the size ofaround 8" in height and 6" in breadth. It isassigned to the 10th century by Dr. Nagarch.Afour-handed Bhairava image with his Vahanadog, carved on a stone-block measuring around18" and breadth of 10" is kept in the Sivatemple at Chhuriagad in the Kalahandidistrict.31

A four-handed standing image ofBhairava is fitted to the northern Parsvadevataniche of the Kosalesvara Siva temple atPatnagad. In the up-raised left and right handsare Aksamala and Trisula, while in the lowerleft hand is a Sarpa. The lower right hand is inVaradamudra, touching the mouth of hisVahana dog, which is seated near his right leg.Jatamukuta is adorning the head of the Lord.Exactly similarly Bhairava images are foundas loose sculptures at Sauntpur and Charda.In the image of Sauntpur, the lower left hand ofthe Lord is broken from elbow portion. In theup-raised upper right hand he is holding a longspear, while the lower right hand is touching

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the mouth of his Vahana dog, sitting near hisright leg. Object in the up-raised upper left handis not clear. A Jatamukuta adorns the head ofthis Bhairava image, who is standing in aDvibhanga posture. Another Bhairava image,also standing in Dvibhanga posture is foundat Charda. Both the lower hands are broken. Inthe up-raised upper left and right hands areSarpa and spear respectively.Instead of Jatamukuta, aKaranda Mukuta is adorning hishead. His Vahana dog is sittingfront-faced near his right leg,looking up at the master.32 Likethe Bhairava image of Patnagad,the Bhairava images of Sauntpurand Charda might have been fittedto the Parsvadevata niches ofSiva temples in the original state.Another unique image of a four-handed Bhairava image, standingin the Alidha posture is kept nearthe Suresvari temple at Sonepur.In his up-raised upper right handhe is holding a long sword(Khadga) just behind his head.Object in his up-raised upper lefthand is a skull-cup (Kapala),while in his lower left hand is aknife (Kartri). His lower right hand is inKatyavalambita. He has slightly raised his leftleg and put it on the head of a prostrate bodylying below. It might be that of Kala. HisVahana dog is running in profile behind hisright leg towards this flatly-lying body. A longgarland (probably of skulls) is around his neck,which is hanging upto the knee-level. Threeround of knotted Jata are forming theJatabhara on his head. He is wearingPatrakundalas in his ears. The image can bedated to the pre-Somavamsi period, i.e. early

part of 9th century A.D., when this area wasruled by the Bhanja kings of Khinjali Mandala.Another image of Bhairava, seated inLalitasana is enshrined in a small temple nearthe Suresvari temple at Sonepur. It is a four-handed image, holding a long sword (Khadga)and skull-up (Kapala) in his up-raised rightand left hands respectively. A long cobra snake

(Sarpa) is hold by the Lord in hislower left hand like a gas baloon,the one-hooded snake going upabove his head portion. AnAksamala is in the lower righthand of the Lord. His Vahana dogin profile is carved on thepedestal. A Karanda Mukuta isadorning his head. This imagecan be dated to the Chauhanperiod, i.e. 18th century A.D. Afour-handed Bhairava image, justin the posture of commencingdance is found at Menda inSonepur district.32 Another four-handed front-faced Bhairavaimage in the stance of dancing isenshrined in a small shrine in thesame campus of Swapnesvaratemple at Puintala in Balangirdistrict. It is a skeletoned figure.

As in other places, a small image of UmaMahesvara is found in the same temple precinctat Puintala also. This Bhairava image ofPuintala can be dated to the Bhanja period,i.e. first half of 9th century A.D.

While discussing about the independentloose sculptures of Bhairava, it is important todiscuss about two eight-handed image ofBhairava, one enshrined at Deogaon (Balangir)and another in a modern temple to the east ofthe Garh (old fort) area of Patnagad town.Theeight-handed image of Bhairava at Deogaon is

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kept in a hut on the embarkment of a hugereservoir called Yogisagar, near Deogaon, aPanchayat Samittee head-quarters of Balangirdistrict. It is of the height of around four feet,dancing on a male figure (Kala), lying flat onthe pedestal. One Hara made of rosary beadsis around his neck. Besides this, a long garlandof skulls (Naramundamala) is hanging fromthe neck upto the navel portion of the deity. Inthe right hands from top to bottom, he is holdingKhadga, short trident (Sula)) and Vajrarespectively, while object in the lowest righthad (fourth) can not be identified as the handis broken. In the left hand objects hold fromtop to bottom are Sankha, Sarpa, Kapala andGada respectively.33 The Bhairava image ofPatnagad is a furious-looking eight-handedimage of the height of around 30" and breadthof 18". Objects in his right hands are Danda,Trisula, Musala and Khadga, while in the lefthands are Khetaka, Sarpa, Vajra and Agni. Inthis image, Bhairava is depicted as dancing ona male figure (Kala), which is lying flat below,while raising both his hands over his own headin the Anjalimudra in obeisance to the Lord.A Karanda Mukuta is adorning the head ofthis male lying below.

This eight-handed divinity seems to beAghora, an Ugra form of Siva, whose face isterrible in appearance with side tusks comingout in both corners of the lips and the flat figurelying below seems to be that of Kala. TheBhairava figure is flanked by seven femaleattendants, two standing and three seated in theproper left side, and two standing in the properright side. These seven maidens are apparentlythe local sculptor's representation of the sevenTantrika maidens namely, Gangi Gauduni, SuaTeluni, Jnanadei Maluni, Netai Dhobani,Luhukuti Luhuruni, Sukuti Chamaruni andPatrapindhi Sauruni, who were experts in the

esoteric rites. It is surprising to be noted thatin another stone panel now fitted to the outereastern wall of the Jagamohana hall of theKosalesvara Siva temple at Patnagad (to theproper right of the entrance door to theJagamohana), seven standing maidens aredepicted, going in a procession, holding acanopy or Chhatra over their heads. TheAghoramurti of Patnagad was most probablyforming a part of the Kosalesvara Siva templein its original state.34

Another Bhairava image is worshippedin a small shrine near the Harishankar Templeof Balangir district, which is situated at adistance of 40 km from Patnagad town. Othertwo Bhairava images, one found in theKosalesvara Siva temple at Kusang andanother enshrined in a small temple in thePaschima Somnath temple precinct at Sonepurtown seem to belong to the Chauhan periodi.e. 15th-16th century A.D. The front-facedBhairava image of Kusang is four-handedholding a Dambaru in his up-raised upper lefthand, and Khadga and Kapala in the lowerright and left hands respectively. Object in theup-raised upper right hand is not clear. ThisBhairava image is in a dancing posture calledAdbhu,35 in which heels are kept close andknees apart, posed in a manner as if ready tocommence the dance. The image of Bhairavaenshrined in a small temple at Sonepur in thePaschima Somanath temple precinct is alsofour-handed, but standing in an Alidha postureto the proper right direction. A long Khadgais in his lower right hand which is resting onhis right shoulder and a Kapala is in his up-raised upper left hand. Objects in other handsare not clear.

It is worthy to focuss on a Bhairavaimage found in the proper right of the inner

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side of the entrance to the Banesvara Sivatemple precinct at Deogaon, which is situatedat a distance of only 3 km from Banei, a tahsilhead-quarters of Sundargarh district. Thisfour-handed ferocious-looking Bhairava imageis worshipped separately. He is in the Alidhaposture, carrying a Kapala in his lower lefthand, the other hands being broken.Patrakundalas are hangingfrom his ears and hair isarranged in many knots likethat of Buddha. His look isterrible with tusks comingout in both sides of his mouth.Two round lotus-rosettemotifs are carved in both topcorners of the back-slab.36

This type of lotus rosettemotifs are found in top-corners of the back slabs ofsculptures at Narsinghnathalso and this sculpture can bedated safely to the post-Somavamsi period i.e. 12th-13th century A.D.

A four-handedBhairava image, dancing byplacing both his feet on thesevered head of a demon isenshrined in a small hut,which is constructed in the northern side of theSiva temple at Sukhabandh (near Himgir) inSundargarh district. In his up-raised properright hand he is holding a Khadga, while asevered human head is in his lower proper lefthand. The up-raised upper left hand is inAbhaya and the lower right hand is in Varada.His long hairs are flowing in both sides of hisshoulders. He is wearing a long garland ofsevered human heads, with a ghanta hangingfrom it upto the knee-level. His Vahana dog is

sitting on the pedestal in profile near the leftfoot of the Lord and looking up at the master.Another dog is standing near his right foot onthe pedestal. This image can be dated to theperiod of the later Kesari (Somavamsi) kings,who were ruling from Junagad (nearSukhabandh) in around 13th-14th century A.D.A Chamunda image is also found at

Sukhabandh.37

An image of KalaBhairava is enshrined in asmall temple, which isconstructed to the proper leftof the main entrance gate tothe temple premises ofgoddess Samlei atSambalpur. This beautifulimage, made of blackchlorite, is four-handed,where the Lord is seen to bestanding in Samabhanga onKala, a male figure lyingprostrate below. In his upperand lower right hands areKhadga and Trisula, whilein the lower left hand is aDambaru. His hair isarranged in eight serpentinecoils, fanning out on bothsides of his head. At the top

of his coiffure is a crescent moon and the Lordhas moustache, as found in other Saivitedivinities of the Chauhan period.Iconographically this image can be dated tothe 16th century A.D. This temple of KalaBhairava faces the east.38

The Bhairava cult of Saivism, whichgained strength during the rule of the Bhanjasof Khinjali Mandala in the second half of the8th century A.D. and first half of the 9th century

Bhairava, Sonepur

47


A.D. continued unabated in this tribal belt ofwestern Orissa for a pretty long period.

In almost all cases the Bhairava imagesare Urdhvalinga. Even the Nataraja images ofMahagaon, Dungripali (Budhikomna) andRanipur Jharial (both of the Chausath YoginiPitha and the Indralath brick temple) areUrdhvalinga. Mahesvara in the UmaMahesvara images of Topigaonand Belkhandi are alsoUrdhvalinga.

Images with Urdhvalingahave been found as early as theKushana period. Such images aregenerally found in Assam, Bengaland Orissa. This feature ofUrdhva-Retas is defined as theindication of the state ofperpetual celibacy.39 The story ofKamadahana is very popular inHindu mythology and it describeshow Siva destroyed Kama whoattempted to distract the Lordwho was in deep austerities.40

Thus Siva is also known in Indianmythology for his supreme control overphysical desires.

Like the Ekapada Bhairava and theSaptamatrkas worshipped on a hugemonolithic rocky mountain near Ghudar villagein the Titilagarh sub-division of Balangirdistrict, an eight-handed dancing Bhairava inUrdhvalinga is carved on a huge monolithicrocky mountain called Tandel Dangar,41

situated to the west of Dunguripali village nearBudhi Komna in Nuapada district. In anothermonolithic rock nearby a female deity standingin the Alidha position is copulating with a malewhich is lying flat below with Urdhvalinga. Itis called goddess Jharni by the local tribal

populace. But it seems to be the rock-cutsculpture of goddess Daksina Kalika, who isgenerally depicted as having intercourse on thecorpse of Siva. The iconography of thisgoddess corresponds to description found inthe Karpuradi-stotra , giving theMantroddhara of the deity. In her aspect ofDaksina Kalika, she represents the beneficent

Grantor of Nirvana : "I worshipKali the Destructress of Kala andShining One, who is the Bija Krimwho is Kama who is beyond Kalaand who is Daksina Kalika."42

This procedure of open-airworship of Bhairava alongwiththe Matrkas and Yoginis issuggestive of these Pithaspossibly used by the Kapalikasfor sexo-yogic practices. Learnedscholar Dr. H.C. Das has rightlyput that "the hypaethral 64 Yoginitemple is the expression of intenseform of Tantricism, whereBhairava, the central figure isencircled by terrifying images of

64 Yoginis."43

The description of Bhairavas has beenfound in the Visnudharmottara, prominentamong which are Vatuka Bhairava andSvarnakarsana Bhairava etc. Further we knowabout eight forms of Bhairavas namedAsitanga, Ruru, Chanda, Krodha, Unmatta,Kapala, Bhisana and Samhara, each onefurther sub-divided into eight sub-ordinateforms, thus making sixty-four in total, whoseiconographic details are found in Rudra-yamala.44

Scholars think that historically theBhairava cult owes its origin to the AjaikapadaBhairava (Aja-Ekapada Bhairava) - "The

Bhairava, Deogaon (Banei)

48


Bhairava with One Foot." Ekapada Bhairavais a tantrika deity. Associations reflected inTantric literature connect him with the VedicAja Ekapada, with fire, with sacrifice, withthe central pillar of the world and, lastly, withthe Yoginis. He is the Supreme Lord. Objectsheld in his hands, characterise him as amanifestation of Siva. He is Urdhvalinga andclad by tiger skin on his hip. Stietencron thinksthe iconography of Jagannath to have beenderived from this Ekapada Bhairava.45 It isreally an exception that EkapadaBhairava is carved inassociation with theSaptamatrkas, instead ofVirabhadra in both the rock-cutSaptamatrka panels of RanipurJharial. But in the rock-cutsculptural panel ofSaptamatrkas at Ghudar, whichis on a monolithic rock of apaddy field, a four-handeddancing Bhairava withUrdhvalinga is carved in thefirst niche of the carved panel.

Learned scholar Dr. L.K. Panda goes alittle further and says that "sometimes, someof the Saivacharyas of the Bhairava cult wereconsidered to be identical with the Bhairavas."In his opinion, "Under the influence of tantricBuddhism the Saivite teachers of the Bhairavacult were worshipping Siva in his terrificaspect as Bhairava, surrounded by sixty-fourYoginis."46

The Aghora aspect of Bhairavaalongwith seven Tantrika maidens of KuanriPatana (Patnagad) is carved on one stone-slabfound at Patnagad, representing the traditionof 'Satbahen' (Seven Sisters) among the tribaland local populace of western Orissa. It

strengthens the above-cited view that theBhairava cult was further popularised by thefamous Tantrika teacher Laksminkara, (sisterof the celebrated king Indrabhuti of Sambala)the propounder of the Sahajayana stream oftantric Buddhism in around the 8th century A.D.

As mentioned earlier, Bhairavaalongwith his consort Chamunda are invokedin tantric rituals. In the mythology, on the deathand dismemberment of Sati, it is stated that

wherever the dismembered partof the body of Sati fell, thereemerged a Saktipitha, and Sivaassuming the form of Bhairavasemerged in the vicinities of theSaktipithas to keep a watch overthe severed parts of Sati's body.Prof. Thomas E. Donaldson is ofthe view that 'invariably an imageof Bhairava is thus found near orwithin a Sakta compound.'47

Bhairava is the most fearful formof Lord Siva and according toStella Kramrisch, he is Sivaentire, 'whether spoken of asemanated from Siva, or seen on

the highest level of Siva, as MahadevaKalabhairava, the Great God Kala Bhairava.48

A four-handed Bhairava, standing inAdbhu posture is found at Ingsa in the AgalpurPanchayat Samittee area of Balangir district.A Khetaka (shield) and Khadga (sword) arein his lower left and right hands respectively,while a Sula is in his upper left hand. A conicalMukuta is adorning his head. It can be datedto the 17th-18th century A.D. But a brokenimage (now up-waist existing) of a four-handedmoustached Bhairava, found at Podagad in theUmarkot tahsil area of Nawarangpur districtcan be assigned to the Nala period, i.e. circa

Bhairava, Patnagarh

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4th-5th century A.D. The upper right hand ofthis image is on the waist, with a long Sulainserted into the space in between the bodyand the hand in the elbow portion. Both thelower hands are broken, while a Kapala is inthe up-raised upper left hand of the Lord. TheKankana tied to both wrists and the Haraaround the neck of Bhairava are made of stringsof rosary beads. Another image of Bhairavawas located at Parva near Raighar in theDandakaranya area in 1946 by learned scholarG. Ramdas during exploration in the Podagadarea, which was the capital citysite of Puskari of the Nala empirein 4th-5th century A.D. He couldlocate a ruined temple ofBhairava at Podagad also.49

From the Dhyana-slokaof Ksetrapala, given byAghorasivacharya in hisVighnesvara- Pratisthavidhi it isevident that Ksetrapala is noneother then Bhairava, who protectsthe towns and villages from evildeities and from bad men. Hisshrine is to be located in the north-east corner of the town or village. In the textslike Amsumabhedagama, Suprabhedagamaand Karanagama two types of Ksetrapala,Satvika and Rajasika murtis are prescribedfor installation.50

Such a four-handed image ofKsetrapala, standing in the Samabhangaposture is found at Sauntpur, a village situatedat a distance of 10 km from Balangir town. Inhis upper hands are Dambaru and Sula, whilea Gada is hold by both lower hands it beingplaced on the pedestal in between both legs.51

One two-handed standing image of Ksetrapala,carrying a long sword (Khadga) in his right

hand, which is raised up is enshrined in a smalltemple which is situated on the embankment ofa pond, in front of the Suresvari temple atSonepur.52 Both these Ksetrapala images canbe dated to the Bhanja period, i.e. circa 8th-9th century A.D., when Bhairava worship wasat the apex.

Bhairavas in the squatting position havebeen placed in the Beki portion of the templesof 11th -12th century A.D. just above the Raha.Such a Beki-Bhairava is found amidst loosesculptures kept in front of the Budhima temple

at Sonepur town.

Bhairava is still worshipped inplaces like Lanjigad, MadanpurRampur, Mohangiri, Urladani,Sankushgad, Digsira, Belkhandi,Junagad, Topigaon, Medinipur,Kamthana and many other placesof Kalahandi district of Orissa.This ferocious - looking god hasspecial shrines at Sonepur,Sambalpur, Harishankar, Lanjigad,Puintala and Junagad (Himgir).According to the tribal tradition,there are twelve forms ofBhairava, namely, Budha, Agni,

Bali, Betal, Suhar, Sadhan, Kana, Bana, Ran,Jal, Dand and Hunkar Bhairo. In tribaltradition twelve is an auspicious number andtheir gods are generally grouped in twelvenumber, like Barabhai Lanth, BarabhaiBhima, Bara Pahad, Barabhai Maral andBarabhai Bentakar etc.

It can be aptly said that Bhairava orBhainro is a widely popular tribal god, adoredby all sections of the society in the upperMahanadi valley atleast from the earlyChristian era, i.e. 1st-2nd century A.D. It wasbasically a tribal god and subsequentlyassimilated into the Hindu fold.

Ekapada Bhairava, Ghudar

50


References :1. Journal of Bihar Research Society, Vol.XXXIV,

pp.33-42ff (Ed. by G. Ramdas); EpigraphiaIndica, Vol.XXVIII, pp.12-16ff (Re-edited by Dr.D.C. Sircar).

2. Epigraphia Indica, Vol.XIX, pp.100-104ff(Edited by Y.R. Gupte).

3. Rajaguru, S.N.; Inscriptions of Orissa, Vol.I, Part-ii, 1st Edition, 1958, p.111f.

4. Journal of the Numismatics Society of India,Vol.I, pp.29-35.

5. Prachya Pratibha, Vol.V, p.72f.

6. Epigraphia Indica, Vol.XI, pp.184-201ff. (TheSirpur Stone Inscription of Queen Vasata, motherof Mahasivagupta Balarjuna).

7. Rajaguru, S.N., Inscriptions of Orissa, Vol.IV,Bhubaneswar, 1966, p.77f.

8. Ibid, p.51f.

9. Ibid, p.53f.

10. Epigraphia Indica, Vol.XXVII, pp.287-91ff.(Ed.by P.B. Desai)

11. Epigraphia Indica, Vol.XXIII, p.113f.

12. Epigraphia Indica, Vol.XXXV, pp.60-65ff (Ed.by Prof. V.V. Mirashi).

13. Epigraphia Indica, Vol.XXVII, pp.319-25ff. (Ed.by L.P. Pandeya).

14. Epigraphia Indica, Vol.XXVI, p.127f.

15. Rajaguru, op.cit, p.90.

16. Jain, Balchandra, Utkirna Lekh, (Hindi Book),Raipur, 1961, p.36.

17. Epigraphia Indica, Vol.XXIV, pp.239-43ff.

18. Epigraphia Indica, Vol.XI, pp.99-103 (SonepurGrant of Satrubhanja), Ed. by B.C. Mazumdar;Journal of Bihar Orissa Research Society, Vol.II(1916), pp.429-435 ff. (Kumurakela Charter ofSatrubhanjadeva), Ed. by B.C. Mazumdar; OrissaHistorical Research Journal, Vol.XI, No.3,pp.155-159ff. (Orissa Museum Plates ofRanabhanjadeva), Ed. by Dr. K.C. Panigrahi;Journal of Bihar Orissa Research Soceity,

Vol.VI, pp.481-486 ff. (Singhara Plates ofRanabhanja), Ed. by B.C. Mazumdar, EpigraphiaIndica, Vol.XX, pp.100-104 ff. (Patna MuseumPlates of Sri Vijya Mahadevi, queen ofRanabhanja), Ed. by R.D. Banerji; Journal ofBihar Orissa Research Society, Vol.II, 1916,pp.167-177 ff. (Taspaikera Charter ofRanabhanjadeva), Ed. by B.C. Mazumdar; Journalof Bihar Orissa Research Society, Vol.VI, Part-II, pp.266-273 (Dasapalla Plates of Ranabhanja),Ed. by Vinaytosh Bhattacharya; EpigraphiaIndica, Vol.XII, pp.325-328 ff., (Baud Grant ofRanabhanjadeva - 26th R.Y, Ed. by R.D. Banerji;Epigraphia Indica, Vol.XII, pp.321-325 ff. (BaudGrant of Ranabhanjadeva - 54th R.Y.), Ed. by R.D.Banerji; India Historical Qarterly, Vol.X, pp.473-477 ff. (Baud Plates of Ranabhanjadeva - 58thRegnal Year), ed. by Adris Banerji; Journal ofBihar Orissa Research Society, Vol.XX, pp.147-152 ff. (Baud Undated Grant of Ranabhanja), Ed.by A.C. Banerji; The Orissa Historical ResearchJournal, Vol.XXIV, XXV & XXVI, 1980 (KankalaPlates of Ranabhanjadeva), pp.45-50, Ed. by H.C.Panda.

19. Panda, Sasanka Sekhar; Archaeological Remainsof the Tel River Valley, Orissa Review, Vol.XLV,No.5, 1988, p.6.

20. Ibid.

21. Journal of the Kalinga Historical ResearchSociety, Vols. II & III, 1950, pp.246-247 ff.

22. Tripathy, Snigdha; Inscriptions of Orissa, Vol.VI,Bhubaneswar, 1974, p.87.

23. Ibid, Vol.II, 2 (1947), pp.107-109; Ed. by S.N.Rajaguru.

24. Panda, Sasanka Sekhar; Some ArchaeologicalRemains of Kalahandi District, Orissa Review,Vol.XLV, No.12, July, 1989, pp.47-48 ff.

25. Sastry, R. Ananthakrisna (Ed); LalitaSahasranamam, Bhaskararaya's Commentary onTitle-237, Adyar, 1951, p.130.

26. Sarasvath, K.S.; Kathasaritasagara, Patna, 1961,Ch.6, Vs. 76-106; C.H. Tawney, TheKathasaritasagara, London, 1880, p.552.

27. Upadhyaya, Baladeva; Agni Purana, Varanasi,1966, p.80.

51


28. Kularnava, Ch.8, V.32. Also Meru Tantra in ShamSher Dhana's book Brhat Purascaryarnava, 4Vols., Kathmandu, Vol.III, p.426.

29. Panda, Sasanka Sekhar; Some ArchaeologicalRemains of Balangir District, Orissa HistoricalResearch Journal, Vol.XXXX, No.1-4, 1995,p.65.

30. Nagarch, Dr. B.L.; Survey Report of StructuralRemains in Maraguda Valley (Survey date :10.05.1991). Dr. Nagarch is the SuperintendingArchaeologist, Temple Survey Project,Archaeological Survey of India (ASI), BhopalCircle.

31. Singh Deo, Jitamitra Prasad; Hati ValleyCivilization, article published in Kala Jharan,Souvenier of Kalahandi Utsav-2000, p.65.

32. Panda, Sasanka Sekhar; op.cit. (F.n.29), p.74.

33. Panda, Sasanka Sekhar; Archaeological Remainsof Balangir District, The Orissa HistoricalResearch Journal, Vol.XXXVI, No.3 & 4, 1991,pp.41-42.

34. Panda, Sasanka Sekhar; Kosalesvara Siva Templeof Patnagarh, The Orissa Historical ResearchJournal, Vol.XXXVI, No.1 & 2, 1990, p.65.

35. Stietencron, Henry V.; The Saiva Component inthe Early Evolution of Jagannath, article in thebook, entitled, "The Cult of Jagannath and theRegional Tradition of Orissa", edited jointly byAncharlott Eschmann, Herman Kulke and GayaCharan Tripathy, Pub. Manohar Publications, NewDelhi, 1978, pp.120-121.

36. Panda, Sasanka Sekhar, Antiquities Around Banei,Orissa Review, Vol.LI, No.10, May, 1995, p.25.

37. Panda, Sasanka Sekhar, Two Hitherto UnknownTemple Ruins of Sundargarh District, The OrissaHistorical Research Journal, Vol.XLVI, No.1,2003, p.63.

38. Panda, Sasanka Sekhar, Chauhan Temples ofSambalpur Town, Orissa Review, Vol.LII, No.6,January 1996.

39. Govindarajan, Hema; The Nataraja Image fromAsanpat, article published in Dimensions ofIndian Art-Pupul Jayakar Seventy', Vol.I, ed. byLokesh Chandra and Yotindra Nath, Agam KalaPrakashan, Delhi, 1986, p.145.

40. Rao, T.A. Gopinatha; Elements of HinduIconography, Vol.I, Part-I, pp.147-149ff.

41. Singh Deo, Jitamitra Prasad; Tantric Sculpturesin Nuapada District - Orissa, The OrissaHistorical Research Journal, Vol.XLII, Nos. 1-4,1998, p.102.

42. Avalon, Arthur; Hymn to Kali. (KarpuradiStotra), Commentary by Vimalananda Swamy,Madras, 1965, pp.49-69.

43. Das, H.C., Tantric Saivism in Orissa, articlepublished in " An Interdisciplinary Approach toSaivism," ed by Dr. K.C. Mishra and R.K. Mishra,Pub : Institute of Orissan Culture, Bhubaneswar,Orissa, p.134.

44. Rao, T.A. Gopinatha, Elements of HinduIconography, Vol.II, Part-I, Varanasi, 1971,pp.177-180.

45. Eschmann, A; H. Kulke and G.C. Tripathy; TheCult of Jagannath and the Regional Traditionof Orissa, Manohar, New Delhi, 1978, pp.120-121ff.

46. Panda, L.K.; op.cit., pp.133-134.

47. Donaldson, Thomas Eugen; Tantra and Sakta Artof Orissa, New Delhi, 2002, p.440.

48. Kramrisch, Stella, The Presence of Siva, pp.261-62.

49. Journal of Bihar Research Society, Vol.XXXIII,Nos.I & II, pp.7-19.

50. Rao, T.A. Gopinath, Elements of HinduIconography, Vol.II - Part II, Varanasi, 1971,pp.494-498.

51. Patel, C.B.; Dynastic History of Nalas, PunthiPustak, Calcutta, 1990, p.242.

52. Panda, S.S.; Early Sculptural Art ofSuvarnapura, The Orissa Historical ResearchJournal, Vol.XLIV, Nos.1-4, Bhubaneswar, 1999,p.70.

Writer is researching on the Temple Art of the UpperMahanadi Valley of Orissa. He lives at VR-23,Unit-6, Bhubaneswar

bhairava worship in upper mahanadi...

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