© 2018 JETIR July 2018, Volume 5, Issue 7 www.jetir.

org (ISSN-2349-5162)

‘ICONOGRAPHY OF VARAHA IN HOYSALA

ART—A CANONICAL STUDY’
Rekha HG
Research Scholar,
Maharani’s Arts, Commerce and Management College for Women
Research Centre, Bangalore University
And Assistant Professor of History
Government First Grade College
Vijayanagar, Bangalore

ABSTRACT
An incarnation of Vishnu, Varaha is associated with the creation and stabilization of the earth, in which
Varaha is found recovering earth from the depth of waters by thrusting sula in to the body of the demon
Hiranyaksha. Various canonical texts such as Hindu iconography, Prathima kosha, Vishnudharmotthara,
Parasara Samhitha, Vaikshanasagama, Shilpa shastra, Anushumabedagama and Satapatha Brahmana
provide ample information about Varaha. Varaha is shown in human form with a boar’s head; hence he is
frequently called Nr Varaha. Body colour of Varaha is given as dark like collyrium; the body is huge like a
mountain and has multiple hands, some texts like Parasara Samhitha mentions eight to sixteen hands.
According to Hayasira Samhitha the image is to be made in the seven tala.
The Iconography of varaha can be broadly classified in two forms

 Depicting varaha only in the form an animal, wild Boar--zoomorphic

 Depicting varaha having boar head on human body--Anthropomorphic
All the canonical texts mention that Varaha must have four hands, upper right hand carrying Chakra or
disc, upper left hand carry Sanka or conch, lower right hand carry mace and lower left hand carry lotus or
Padma. Varaha is shown in the act of lifting the earth goddesses by one of his arms and embracing her with
the other, the snout is held close to her and sniffing her face. The left hand embraces her at the shoulders
while the right arm holds her thigh firmly. The earth goddess is always shown in a seated posture on the left
side of Varaha. When varaha carries Lakshmi on his arms the earth goddess sit at his feet. The boar
depiction dates back to II CE AD and fully boar variety dates back to pre II CE AD
Hoysalas who ruled southern Karnataka between 1000 AD to 1345 AD, were great temple builders with
their own style of architecture called Hoysala style, with the coming of Ramanujacharya to Hoysala
kingdom, Vaishnavism received great imputes, and many temples were dedicated to Vishnu and Varaha
iconography were chiselled. Present study focuses on canonical text based, various forms of Varaha such as
Bhuvaraha, Swethavaraha, Adivaraha, Nrvaraha, Yagnavaraha, Pralayavaraha varaha and stone wall
sculpture of Varaha Iconography found in Hoysala temples at Belur, Halebidu, Nuggehalli, Kikkeri,
Govindahalli, and at Basaralu.

Key words: Adi varaha, Bhu varaha, Bhudevi, chakra, gada, Hoysalas, Hiranyaksha. Padma,

1. Introduction
Hoysalas, who ruled southern Karnataka between 1000 AD to 1345 AD, were great temple builders with
their own style of architecture called Hoysala style. The Hoysala achievements in the cultural field were
excelling, they flooded their land with innumerable temples of various sects which are known for their style
and decoration. With advent of Ramanujacharya to Hoysala kingdom, Vaishnavism received great imputes,
and many temples were dedicated to Vishnu and Varaha iconography was chiselled.

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An incarnation of Vishnu, Varaha is associated with the creation and stabilization of earth. , in which
Varaha is found recovering earth from the depth of waters by thrusting sula in to the body of the demon
Hiranyaksha. According to the Bhagavatha, the creator at the time of dissolution wondered where the beings
would dwell, the earth having been submerged under the deluge of water. As the creator was brooding over
the problem, from his nostrils issued forth a thumb sized piglet, in a movement it grew in to a size of a
mountain. It then dived into the bowls of the watery mass and brought out the earth and settled her on its
tusks and having settled the earth firmly, and later disappeared. It was then that Vaivatha Manu began his
career and created all beings responsible for the creation of the earth.

2. Objectives of the study

 To study the various forms of Varaha Iconography, based on canonical texts

 To study about the historical over tones of Varaha Iconography
 To study the Varaha Iconography in stone wall sculpture of Hoysala Temples.

3. Scope of the study

The study focuses on the visual and narrative art of Varaha iconography in the different forms based on the
Canonical study, and to study the mod of representation and stages in the evolution of the iconographical
features and peculiarities of the sculptures of Varaha found in temples of Hoysalas at Halebidu, Belur,
Kikkeri, Govindanahalli, Basaralu and Nuggehalli.
4. Data and Methodology
The collection of necessary data is obtained from both primary and secondary sources. The primary data are
obtained from visiting the sites, of Belur, Halebidu, Kikkeri, Nuggehalli, Basaralu, and Govindanahalli.
Archaeological reports, Canonical texts. Secondary data are sources based upon the reviews and references,
books, journals, periodicals and website.

5. Historical Overtones
The theme behind the Varaha episode as told in the ancient Sanskrit literature be it the Vedas, the Puranas
and other texts is the rescue of the earth from deluge or from the bondage of the demon Hiranyaksha, of
these the concept of deluge is of considerable antiquity, while that of Hiranyaksha was introduced during
sufficiently later period. When considering the actual causes for the development of this episode, one has to
peep into the political and other social conditions prevailing in the ancient past. During the ancient past
India was invaded by Persians and Greeks, later Greeks were reduced to power and Chandra Gupta Maurya
established the Mauryan Empire. This concept of throwing away the foreign domination of the country by
the native rulers was amply projected in the episode of the rescue of earth by the boar in the form of Vishnu.
This was to some extant projected in the sculptural art as well. The boar form of Vishnu was as their royal
insignia and even the embossing of their coins with the figure of Varaha. In III cen and VI AD Varaha
Purana was compiled.
During post Gupta period country was subjected to numerous foreign invasion and each time when
native rulers defeated the foreign domination, meant as earth was liberated by Varaha. Many kingdoms had
Varaha as their royal in sigma; even Chalukyas of Badami had Varaha as their royal in sigma.

6. Literary sources
6.1Vedic hymns: Vedic hymns describes the winds as invincible boars with the tusks of Iron, call Rudra the
boar of the upper regions and imagine Vrtra the cloud as a veritable boar the Arthavaveda mentions that
earth was thrown up by the great boar.
6.2Taittiriya Samhita: Taittiriya Samhita contains two legends which involve the incarnation of Prajapathi
as boar, one of them is that the wild boar hid the wealth of the asurasas behind the seven hills and that Indra

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split the hills by means of a magical blade of grass and killed the boar before appropriating the wealth,
another legend relates to the lifting up of the earth by the hundred black boar.
6.3 Upanishads: Upanishads in general the Varaha was referred to along with other animals and specific
reference to the association of Prithvi with the animal is not fully discussed. Mention of Varaha is found in
Chhandoghya Upanishad, Kaustiki and Mukti Upanishad
6.4 Satapatha Brahmana: This text testifies the salvage of earth by the boar who was none else than the
Prajapathi, describes how the fierce boar recovered the earth from the watery mass, narrates that at the
beginning there was only water and that Prajapathi assumed the form of a boar entered into the water depths
and threw up some mud equal to the size of its snout. The texts explain that this mud it was that became the
earth.
6.5Mahabharata: In the Vanaparvan of Mahabharata. Yudhistra the eldest of the Pandava brothers request
Lomasa sage to narrate the episode of the Varaha incarnation. Mahabharata also identifies Varaha with Vira
Kapi who in the Gopatha Brahmana has been identified with sun. Hari Vamsa and Matsya purana accepts
Varaha whom the early texts had described as a form of Prajapathi as an incarnation of Vishnu
6.6 Agnipurana and Padma purana: relates the boar incarnation of Vishnu with the killing of the demon
Hiranyaksha. Hiranyaksha the brother of Hiranyakasipu the son of the Kashapa Prajapathi fought with the
gods and rolled the earth like mat and hid it deep under the ocean. Vishnu appeared in the form of a boar
and recovered the earth. Further the chapter 49 2-3 of Agnipurana spells out the iconographical features of
the terrestrial boar, according to which he should be endowed with a human body carrying a gada and other
weapons in his arms. The divine conch and goddess Lakshmi should be represented as resting on his elbow.
The earth and the serpent Anantha of the nether regions should follow his lead placed near his feet.

7. Forms of Varaha
The Iconographic programme of varaha can be broadly classified in to two forms.

7.1 Zoomorphic or wild Boar sculpture

Figure 1 zoomorphic or wild boar sculpture during pre Guptas era

The above figure Depicts varaha only in the form an animal, wild Boar—zoomorphic sculptured during pre
Gupta era in north India. Varaha is depicted as a free standing boar colossus. The earth personified as the
goddess Bhudevi clings to one of Varaha tusks

7.2 Depicting varaha having boar head on human body--Anthropomorphic

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Figure 2 depicting varaha having boar head on human body at Udayagiri

The above figure is the rock-cut sculpture of Varaha at the Udayagiri Caves, near Vidisa carved when the
city was a provincial capital of the Gupta Dynasty. One of the earliest anthropomorphic sculptures, early
sculptors in Udayagiri and Eran faced the issue of how to attach the boar head to the human body and did
not show a human neck.

Figure 3 depicting varaha having boar head on human body at Badami cave II

At Badami we can see for the first time a well developed Varaha Iconography in the cave II of Badami
Chalukyas. However, in Badami, the problem was resolved by including a human neck. Varaha sculptures
generally look up to the right; there are very rare instances of left-facing Varaha depictions.
All the canonical texts mention that Varaha must have four hands, upper right hand carrying disc
(Chakra), upper left hand carry conch, lower right hand carry mace and lower left hand carry lotus or
Padma. Varaha is shown in the act of lifting the earth goddesses by one of his arms and embracing her with
the other, the snout is held close to the earth goddess and sniffing her face. The left hand embraces her at the
shoulders while the right arm holds her thigh firmly. The earth goddess is always shown in a seated posture
on the left side of Varaha. When varaha carries Lakshmi on his arms the earth goddess sit at his feet. The
boar depiction dates back to pre II CE and fully boar variety dates back to pre IICE
7.3Dharani Varaha One of the forms of Varaha sometimes identified with Bhuvaraha owing to the two
words Bhu and Dharani being synonymous meaning earth goddess. The form is distinguished by god being
accompanied by the earth goddess. She is seated on the left leg of the god, who is also seated embracing the
goddess with his left arm she holds a lotus in one of her two hands. The face of the god must be pleasant and
god must be four armed, the upper hands carry conch and discuss
7.4 Bhu-Varaha According to Parasara Samhitha, Bhu-Varaha is the variant form of the boar incarnation of
Vishnu in which god is shown recovering the earth from the depth of waters. Parasara Samhitha specifies
that this form is to be distinguished by the preference of the earth goddess upon the arms of Vishnu, who is
four armed and carries in the two upper hands conch and discuss. Goddess of earth must be shown
according to Visvaksena Samhita as charming with fresh hair and lotus like face she may be dark in
complexion, she folds her two hands in the gesture of supplication.

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The god holds her in embrace with his left arm, lifting her up high and sniffing her face with his snout he
holds her thighs firmly with his right hand. Alternately the god’s snout may touch her breasts. Bhu Varaha
is always in a standing posture with some bends of the legs
7.5Adi-Varaha: According to Vaikhanasagama the figure of Adivaraha should have the face of the boar in
association with the body of a man. It has four arms two of which hold the Sanka and chakra as usual. The
right leg should be slightly bent and made to rest upon the jewelled hood of the mythical serpent Adisesha,
who must be sculptured as in the company of his wife. Of the remaining two hands the left hand should be
shown as supporting the legs of Bhumidevi seated on the gods’ bent right leg with her own legs hanging
down, while the right hand has to be thrown round the waist of this Bhudevi. The associated figure of
Bhudevi should have her hands in the anjali posture, her face should be slightly lifted up and turned towards
her lord and should be expressive of shyness and joy. The top of her head should reach the chest of the
figure of Varaha and her image should be in accordinance with the Panchatala measures, such is the
description given in the Vaikhanasagama
7.6Nri Varaha According to the Shilparatna Nr Varaha or man-boar image of Vishnu should have his
hands the gada and padma and carry Bhu Devi on the tusk. One of his feet should rest upon the serpent
Adisesha and other on a tortoise or the goddess might be shown as seated upon the left elbow of the Varaha
with a Nilotpala flowers in her hands.
7.7 Swetha Varaha A variant of Adi Varaha is known as Swetha Varaha is known as Swetha Varaha
represented as white complexioned and emerging from the sea with the earth goddess on his tusks or he may
have eight arms carrying in hands discuss, conch, sword, shield mace Sakti and gesture of boon bestowed
and protection the earth goddess is settled on his white tusks. The god here carries the earth goddess on his
white and raised tusks
7.8 Lakshmi Varaha is seated Varaha, were the earth goddess is seated on left lap and Lakshmi on his right
lap embracing both goddess with his normal hands ,in other two hands holding mace and discuss
7.9 Pralaya Varaha the complexion of Pralaya Varaha should be blue. The image has to be clothed in
yellow garments and decked with all usual ornaments. On the right of the Pralaya Varaha on the same seat
Bhudevi should be placed. She has to be of dark complexion and should be wearing all usual ornament. In
her left hand there should be utpala flowers
7.10Yagna Varaha According to Vaikhanasagama, Yagna varaha has four hands. He is always seated on
Simhasana with his left leg resting upon the seat and the right one handing down. Two hands carry shanka
and chakra. To his right side is seated Lakshmi with her right leg dangling, holding lotus in her left hand.
Her right hand rests on the seat. To the left of Yagna Varaha Bhudevi is seated with her left leg dangling.
On her right hand she holds Nilotpala, while the left hands rests on the seat

8. Hoysala Varaha

Figure 4 Hoysala varaha stone wall sculpture at Belur

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Varaha at Belur is the representative of an image which belongs to Chennakeshava temple at Belur, The
characteristic details of ornamentation, the minute and clearly traceable workmanship in the carving the
excellent and beautiful though conventional sculptures of the various figures marks this Varaha image as
belonging to one of the most attractively artistic school. We see Varaha here with twelve hands in the right
six of which he carries the sula thrust into the body of Hiranyaksha. The ankusha, the ghantha the khadga,
the chakra and bana in the order from below: in two of the left hands a fruit and ketaka are seen and
something which is held in the third left hands is not capable of being made out from the plot. The fourth
left hand gives support to the hanging leg of the Devi while the fifth carries the Sanka and sixth is held in
the Vismaya pose. This Varaha is treading upon two asuras. Notice their round eyes and tusks and also the
sword and shield in their hands that are shown as lying crushed under the feet of the deity. In front stands
Bhudevi whose head has been unfortunately broken away, her hands can be seen in anjali posture.

Figure 5 Hoysala varaha stone wall sculpture at Kikkeri

At Kikkeri Brahmeshwara temple, Varaha has a detailed ornamentation, we can see here Varaha with four
hands, back left hand carries the Sanka or conch and in the left front hand of Varaha Bhudevi is seated and
Varaha is sniffing her with his snout. The right upper hand carries mace and the other hand is broken.
Devotees and Garuda are seen praying Varaha for rescuing Bhudevi. Here asura is not been seen treaded by
Varaha

Figure 6 Hoysala varaha stone wall sculpture at Nuggehalli

In Lakshminarashima temple at Nuggehalli, Varaha can be seen with eight hands, four in each, and Bhudevi
is seated on the top left hand, in the left back we can see Varaha with Sanka or conch; in the left below hand
we can see the bow. In the left front hand an animal is found, in the right upper hand we can notice the bana
or arrow and a dagger is also seen. Lower front hand is trusting sula in to the body of Hiranyaksha, at feet of
Varaha asura has been treaded

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Figure 7 Hoysala varaha stone wall sculpture at Hoysaleshwara Halebidu

The Varaha iconography of Hoysala temple at Halebidu is found with eight hands. On the left upper hand
varaha carries the Sanka or conch, in the right upper hand varaha is carrying the chakra, the right lower
hand is trusting the sula in to the body of Hiranyaksha and Varaha has treaded both the legs on the asura(
Demon). Bhudevi is seen seated on upper left arm of Varaha.

Figure 8 Hoysala varaha wall sculpture at Panchalingeshwara temple at Govindanahalli

At Govindanahalli we can notice Varaha sculpture facing right with seated Bhudevi on the top right hand,
usually Bhudevi is always seen seated on the top left arm of Varaha in Hoysala sculptures. Asura lies at the
feet of Varaha, and lord is trusting sula to demon Hiranyaksha.

Figure 9 Hoysala varaha wall sculpture in Mallikarjuna temple Basaralu

At Basaralu, Varaha is sighted in the right side and Bhudevi is seated on left upper hand of Varaha, here
Varaha is seen quite calm, his mouth is not open with range, his tusks are not visible, he is accomplished
with Sanka, Chakra bow, arrow, sula. Here in this sculpture demon is not sighted.

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9. Conclusion
The Hoysala achievements in the cultural field were excelling. They flooded their land with innumerable
temples of various sects which were known for their style and decoration. Among the Hoysalas the reign of
Vishnuvardhana is memorable and with the advent of Ramanujacharya Vaishnavism received great imputes,
Vishnu temples were built and Dasavatara themes were sculptured on the walls, of Hoysala temples. Varaha
iconography with various forms such as Bhuvaraha, Swethavaraha, Adivaraha, Nrvaraha, Yagnavaraha,
Pralayavaraha varaha was chiselled with great ornamentation and with multiple hands. The Iconography of
varaha chiselled by Hoysala was to great extent were canonical texts based such as Bhagavatha Purana,
Harivamsa and Agnipurana etc

10. References

10.1 Canonical Texts

1. Manasara
2. Prathima Kosha
3. Vishnudharmottra
4. Agnipurana
5. Shilparatna

10.2 Archaeological works and Primary sources

1. Government of Karnataka, Annual Report of the Directorate of Archaeology and museums in
Karnataka for the year 1929
2. Ibid 1930
3. Ibid 1931
4. Ibid 1932
5. Annual Report of the Mysore Archaeological Department 1942

10.3 Primary sources, Encyclopaedias

1. Elements of Hindu Iconography vol TA Gopinath Rao vol I
2. Ibid Vol II
3. Ibid Vol IV
4. Encyclopaedia of Indian Iconography Hinduism, Buddhism and Jainism by Prof S.K Ramachandra
Rao Vol I,
5. Ibid Vol II
6. Ibid Vol III
7. Encyclopaedia of Hindu Iconography Early Medieval Vol II- Vishnu by Raju Kalidos
8. Encyclopaedia of Hindu Architecture, Manasara series vol VII edited by Prassana Kumar Acharya
9. Encyclopaedia of Indian Temple Architecture, South India, lower Dravidadesa 200 BC – AD 1324
edited by Michael W Meista
10. M A Dhaky, Encyclopaedia of Indian Temple Architecture, South India. Upper Dravida desa, Later
Phase, American Institute of Indian Studies, IGNC for Arts,
11. , Encyclopaedia of Indian Architecture Hinduism, Jain and Islamic edited by BL Nagarch, KM
Suresh, DP Sharma, Dalavi Qureshi
10.4 Books

1. Dr Priya Bala Shah, Vishnudharmottra Purana ,Parimal Publication, Delhi p- 90-93

2. Parul Dav Mukerji, Vishnudharmotthara, critically edited and translated p- 79-81
3. Srinivas V Padigar, Vishnu Cult in Karnataka, Directorate of Archaeology and Museums Mysore
1916 p-

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4. Shanthi Lal Nagar, Varaha in Indian Art, culture and Literature, Aryan Books International, New
Delhi p-72-74
5. Stella Kramirisch, The Hindu temple I, Motilal Banarasidass Publication, Delhi-
6. Jitendranath Banerjee , Development of Hindu Iconography,
7. Gerard Foekema, Medieval temples of Southern Karnataka, built during Hoysala rule vol 1, Books
and Books New Delhi. p 25
8. S. Settar, Hoysala sculptures in the National Museum Copenhagen p-05
9. Ibid p-76
10. J Gonda Aspects of early Vishnuism Motilal Banarasidass p-2
11. Bharatha Iyer K: Animals in Indian sculpture Bombay 1977 p 35
12 Padmanabha, Hoysala Sculptures a Cultural study: Sundeep Prakasham
13 R Narasmiha Char the Keshava Temple at Belur, Cosmo Publications 1919.p-07
14 S Shetter The Hoysala Temples Kalyan Yathra Publication 1992 p-250
15 Ibid p-32
16 Gonda J Visnavism and Sivaism A Comperative study p-30
17 Chari Srinivasa SM Vaishnavism__Its Philosophy, Theology and Religious Discipline. Mothilal
Banarasidass p-27
18 Gerald Foekema, A complete Guide to Hoysala temples Abhinav Publications p-43
19 KV Soundara Temples of Deccan Archaeological Survey of India p54
20 Dutt MN A prose translation of Vishnupurana Elysium Pressp-41
21 ML Varadpande Mythology of Vishnu and his incarnation Gyan publication-p26
22 Ariel Gluklich Vishnu; the strides of Hindu culture in historical perspectives Oxford University
Press
23 Rekha Rao, Apsaras in Hoysala Art a new Dimension Delhi 2009 p 4-5
24 Jean Deloche: Military technology in Hoysala sculpture, Delhi 1989.

25 Rekha H G, Friezes of Horses as depicted in Hoysala temples, IJIR

10.5 Journals
1. Kala, the Journal of Indian Art History Congress
2. Marg Publication
3. Quarterly journal of Mythic Society

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