Culture – Kalabodh

Ancient Town of Eran…

Dryft Dynamics — Tue, 20 Jun 2023 12:40:29 +0000

Ancient Town of Eran

Introduction
Eran is an ancient town on the banks of river Bina, “16 miles above its junction with the
Betwa, about 50 miles to the north-east of Bhilsa” (Cunnigham,1871, p.76). A town which
often escapes the attention of even the most enthusiastic travellers. However, in this town is embedded rich historical and cultural heritage of our country. “Eran was indeed a historic city site protected on three sides by the river and on the fourth side by a mud rampant and a moat” (Chakrabarti, 2005, p.97). Eran, which was an important town on the route to Ujjaini from the east and linked Mathura to Vidisha from the north (Agrawala, 1977, p.8 ). It was Chnadragupta II who is credited for making towns like Eran, Ujjayini, Vidisha and Mathura into thriving cultural centres (Bajpai, 1973, p.28). The town was an important centre during the Gupta Period and also when the Huns came and established their authority in the region. It houses some inscriptions of great eminence as well as typical Gupta Stye Temples. In this article I will talk about the lesser-known town of Eran in Madhya Pradesh, which during the Gupta period was of paramount importance.

Name
Fleet mentions something rather quite interesting about Eran. He says, “The name is not unique; for the maps show another 1 Eran ’ seven miles almost due west of Bhilsa, and another thirteen mites to the north-east of Bhilsa” (Fleet, 1960, p.18), signifying that at a time, there were at least three towns of the same name around Sagar. Its ancient names were Erakina and Airikina, which come from two very different and interesting sources- Erakina comes from a donative inscription at Sanchi, which reads, Erakina Satilasa danam, translated as ‘The gift of Satila from Erakina’ (Marshall, 1982, p. 314). The name Eirikina is also mentioned in a stone inscription of Saka king Sridharmavarman, where the town of Eran is referred to as an adhisthana. (Bandyopadhyay, 1986, p.289). The other name Airikina comes from a Brahmi inscription on a seal excavated from Eran, upper part of which depicts Gajalakshmi flanked by elephants on each side, while the lower part reads: Airikina Gomika vishayadhikaranasya, which translates as- “the seal of the officer of the Gomika Vishaya of Airikina” (Bajpai, 1988, p.183). Here Gomika refers to a visaya (administrative district). According to K.D. Bajpai, gomika was “included in the bhukti (territorial unit) of Airikina.” In the Gupta Imperial system, a group of visyas together made a bhukti. He further says that probably the ancient town of Airikina, for some time, was a bhukti during the Gupta reign. He also states that Airikina was both a territorial unit (bhukti, pradesa, or Visaya) and a town (nagar or adhishthana) (Bajpai, 2003, p.272). Some coins also mention the name erakanya for the ancient town. Cunningham in his Report suggests that the name comes from eraka, a type of grass, prevalent in this area (Cunnigham,1871, p.77). However, K.P. Jayaswal suggests another theory. According to him, as there is a serpent represented in one of the coins excavated, the name Eraka or Airaka, which also means a serpent. It further goes back to the story of the Mahabharata, where a Naga of the same name existed. He also talks about a Buddhist monk named Maha-Airaka, from the Nasik inscription of Pulumavi. He suggests that the Eran coins derived their name from a person called Airaka, who was the founder of the aforementioned state. The Naga Dynasty of Malwa, contemporary to the Guptas could have had connection with Airikinas (Jayaswal, 1932, p.159).

Inscriptions of Significance
The importance of the site can be understood by the presence of some major inscriptions of Samudragupta, Buddhagupta and Toramana. The inscription of Samudragupta becomes very important while talking about this ancient town. The line 25 of Samudragupta’s inscription uses the word Svabhognagararairikinapradesa, which is translated by Fleet as “In a place in Airikina, the city of his enjoyment.” Bajpai while talking about this inscription interprets bhoga as a territorial unit and explains that words like Bhoga, bhukti, bhogbhaga, bhogika find their mention repeatedly in the Gupta official records, however, Fleet translated it as a territorial unit, rather than enjoyment (Bajpai, 2003, p.271). Interestingly, the earliest epigraphical reference to Maharashtra also comes from Eran. The Eran inscription of Saka king Sridharmavarman, erected by his Senapati Satyanaga, who hailed from Maharashtra, stands as a memorial to those Naga soldiers who had laid down their lives while defending the Adhishthana of Erikina. This inscription is written on a pillar called yasti. Through the inscription Satyanaga expresses his wish that the yasti raised by the Nagas would inspire the future generations the show the same kind of valour during the times of war (Maharashtra State Gazetteers, 1971, p.106).

Vaishnava Faith
Eran being an important seat of the Vaishnava faith (Willis, p.109), has several significant temples which are dedicated to Varaha, Vishnu, Narsimha. The Gupta Temples discovered by Cunningham at Eran have “ground plan of a square or rectangular Garbhgriha, proceeded by a pillared portico” It is believed that the Narsimha temple is the earliest of this group. The colossal Varaha houses the inscription of Toramana, which has helped us to determine its date as 500 A.D. The entire body of this huge Varaha sculpture is covered with figures of sages, divinities etc. While writing about the Varaha, Fleet mentions, “The Boar is covered all over with elaborate sculptures chiefly of Rishis or saints clinging to its mane and bristles. It has
the earth represented as a woman, hanging on in accordance with the legend, to its right hand tusk and over its shoulders there is a small four sided shrine, with a sitting figure in each face of it” (Fleet, 1960, p.159) The colossal Varaha tenderly depicts its relationship with the earth goddess. The face of Earth goddess is composed and her hair are tied up in a neat bun under an ornated turban, while hanging from the Varaha’s right tusk. Catherine Becker believes,“Eran Varaha wears its narrative like a costume” (Becker, 2010, p. 129). According to Huntington, looking at the Eran Varaha one can clearly see the “sculptural ties in the artistic developments” in the 5th early 5th century C.E with Udaygiri at Vidisha (Huntington, 1985, p. 197). However, with the passage of time the temples of Eran endured damages and destruction. The 1920-21 Annual Report of Director General of Archaeology in India also talks about restoring the fractured legs of the Varaha of Eran (Marshall, 1923, p.9). Vishnu Temple- According to Percy Brown the characteristic features of Early Gupta buildings from 4th to 6th Century C.E were- Flat roof, pillared portico, shape of pillars and columns, inter-columnation, the doorway’s design, around the building architrave being continued as a string- course. The Temples at Eran are a perfect embodiment of these features (Brown, 1959, p.109). It has a flat roof, which according to Cunningham is similar to that of Tigowa and Sanchi temples respectively. He also asserts that the original portico of the temple was made in the early Gupta style, as he found a true Gupta pillar near the pilastered capital during his excavations. He also mentions in his report the name Iskta-hara-rahi of a pilgrim from 5th or 6 Century C.E inscribed over there (Cunnigham,1871, p.76). Narsimha Temple- It’s a single room with a front portico consisting of four pillars. The pillars are “pure Gupta type” having a shaft with square abacus of double its breadth, on top of which two lions are placed with only a tree between them (Cunnigham,1871, p.76).
Sati Monuments- Eran has several Sati inscriptions, however the oldest one comes from the time of King Bhanugupta, when his chieftain Gopraja was martyred, his wife self-immolated herself. “This is one of the earliest recorded instances of the practice of Sati” (Shelat, B Adalbert, Gail, Salomon, R, 2005, P. 194) This inscription was not mentioned by Cunningham in his Report and the pillar was later turned into a Shivalinga. The language of the inscription being Sanskrit, it was written in a prose (Fleet, 1960, p.18). Apart from this several other Sati pillars from Early Medieval Period to the Modern Period were discovered from Eran. Unfortunately, some of these were destroyed while at least 10 of these are still preserved and in good condition. (Chadhar, 2005, p.11)

Coins
Eran became an important archaeological site due to several interesting finds including those of “four different classes of old Indian money” i.e. Punch-marked coins, die-struck coins, cast coins and inscribed coins. The earliest Indian inscribed coin bearing the name of its issuer was found at Eran, on which the name of the issuer was mentioned as Dharmapala (Lahiri, 1974 p.81). This is a tribal coin which dates back to pre-Gupta period (Chakrabarti, 2005, p. 97). The famous Dharmapala coin was discovered by Cunningham who believed that Eastern Malwa was under the rule of Dharmapala at the close of 3rd Century B.C.E. This coin is currently housed in the British Museum. Along with Dharmapala’s coin another coin that dates back to 200 B.C.E was excavated which belonged to a ruler named Indragupta. The legend on the coin is in Mauryan Brahmi and reads as Indagutasa (Bajpai, 1988, p.181).

Huns
When the Gupta power diminished over Central India by the end of the 5th Century C.E, the Huns from Central Ais took over, under the leadership of their ruler Toramana. The Huns captured Eran in 510 A.D, and in a fierce battle Goparaja, a valorous chief of the Gupta king Bhanugupta was martyred. However, the Huna King Mihirkula, son of Toramana, was eventually defeated in 528 C.E and the Huns were pushed away from Madhya Pradesh by
Yashodharman, the king of Dasapura (Bajpai, 1973, p.29).

Conclusion
Eran a bustling Gupta town, stand a testimony of the Vaishnava faith prevalent in Central India and also a reminder of the extent of Huna power in ancient India. This town saw the rule of the Guptas, then was subjugated by the Huns and later lost to Yahodharman, reminds us that even the mightiest of kings fall and as beautifully said by Henry Rider Haggard, “The great wheel of fate rolls on like a Juggernaut, and crushes us all in turn, some soon some later- it does not matter when, in the end, it crushes us all.”

References
Agrawala, V.S. (1977). Gupta Art: A History of Indian Art in the Gupta Period 300-600 A.D.
Varanasi: Prithvi Prakashan.
Bajpai, K.D. (1973). “Madhya Pradesh Sculptures Through the Ages” Marg Magazine 26(3)
Bombay
Bajpai, K.D. (1988). Coins and Inscriptions as Source material for early history of Madhya
Pradesh in Sources of History. Calcutta: India Institute of Historical Studies.
Bajpai, K.D. & Bajpai, S.K. (2003). Indological Researches in India: Selected Works of Prof.
K.D. Bajpai. New Delhi: Eastern Book Linkers
Bandyopadhyay, S. (1986). Journal of Ancient Indian History: Volume XV, Parts 1-2,
1985-1986. Calcutta: University of Calcutta
Becker, C. (2010). “Not your average Boar: The colossal Varaha at Eran, An Iconographic
Innovation” Artibus Asiae 70(1)
Brown, P. (1959). Indian Architecture: Buddhist and Hindu Period. Bombay: D.B.
Taraporevala Sons & Co. Private Ltd.
Chadhar, M.L. (2005). “Sati Pillars of Eran” Research Journal of Shodh Sathan Ujjain 14
Cunningham, A. (1880). Tours in Bundelkhand and Malwa in 1874-75 and 1876-77.
Calcutta: Archaeological Survey of India
Chakrabarti, D. (2005). The Archaeology of the Deccan Routes: The ancient routes from the
Ganga plain to the Deccan. New Delhi: Munshiram Manoharlal Publishers Pvt. Ltd.
Huntington, S. (1985). The Art of Ancient India: Buddhist, Hindu, Jain. Japan: John
Weatherhill, Inc.
Fleet, J.F. (1960). Corpus Inscriptionum Indicarum: Inscriptions of the Early Gupta Kings
and their Successors. Varanasi: Indological Book House: Varanasi
Jayaswal, K.P. (1932)., “Airikina and Sanchi” Indian Antiquary: A Journal of Oriental
Research 61. Bombay: British India Press Bombay
Lahiri, B. (1974). Indigenous States of Northern India: Circa 200 B.C to 320 A.D. Calcutta:
University of Calcutta.
Maharastra State Gazetteers: History Part I- Ancient Period (1971)
Marshall, J. (1932). Monuments of Sanchi. New Delhi: Swati Publications
Marshall, J. (1923). Annual Report of Director General of Archaeology in India: 1920-21.
Calcutta: Superintendent Government Printing, India
Shelat, B, Adalbert, J. Gail &Solomon, R. (2006). Script and Image: Paper on Art and
Epigraphy. New Delhi: Motilal Banarasidas
Willis, M.D. (1987). “An Introduction to the Historical Geography of Gopaksetra, Dasarna
and Jejakadesa” Bulletin of the School of Oriental and African Studies University of London.
London: School of Oriental and African Studies.

Mrinalini Pandey is a Consulting Editor at Manjul Publishing House. A Postgraduate in History, Mrinalini has presented one of her research paper at the prestigious Cambridge University. She did a short course on Anglo-Saxon History from Oxford University. She has translated Erich Segal’s Love Story into Hindi and her recent translation of Roald Dahl’s Matilda is in Press now. Recently one of her article was published in Oxford Middle East Review.

Warriors, Servants, Protectors – What exactly…

Dr Arunima Das Chetia — Mon, 20 Mar 2023 12:46:19 +0000

Warriors, Servants, Protectors – What exactly was the purpose of sculptures of Dwarapalakas in ancient Hindu temples? What did their actions signify?

Have you ever wondered about those intricately carved sculptures on the doorways while you enter a temple?
They are known as Dwarapalakas, who are essentially the guardian deities of temple at the entrances. The name Dwarapalakas is a combination of two words – Dwaram and Palakas wherein Dwaram stands for door or entrance and Palakas for guardians (protectors).
They are the indomitable gatekeepers of the temple’s presiding deity. In other words, they are the servants of their masters, and their sole purpose is to protect them. As a rule, they are portrayed as massive and powerful warriors. In most temples, the Dwarapalakas are situated at the entrance to the temple and also at the gateway of sanctum sanctorum (garbha-griha).
Based upon spiritual scriptures like those of the Agamas, Shilpa Shastras, and Vastu Shastras, Dwarapalakas are carved with a deeper meaning in an effort to awaken the spiritual sense. The sculptures
were fashioned in such a way so as to warn people of their thoughts, deeds and actions while beginning their journey on a spiritual path.

Form of Dwarapalaka:
Shilpa Shastras that deal with temple-building architecture specify the type and look of the Dwarapalakas to be put at different points in the temple complex. In most cases, the form of a Dwarapalaka is usually seen with ferocious and fearsome face, fangs, huge eyes, showing mudras symbolic of their presence. They wear a Kirita mukuta, which is occasionally shown with a halo of flames. Usually, there are two mudras – hand gestures given to a sculpture of Dwarapalaka, namely, the Suchi mudra and the Tarjani mudra. The Suchi Mudra is projected by the index figure of either of the hands of Dwarapalakas directing towards the god or goddess inside the temple.

While the Tarjani mudra is depicted with fist closed with the index finger raised. The Tarjani mudra symbolizes the act of vigilance while entering a temple. It reminds the devotees to be careful of their thoughts and actions while entering a pious place. Some Dwarapalakas show the Vismaya hasta symbolising the compassionate nature of the temple deity.

The forms of these sculptures closely resemble to those of the main deity. They are four-handed and the attributes they carry vary based on the creed to which they belong. For instance, the Shaiva Dwarapalaka holds a trident, and a kettle drum in their upper hands while a Vaishnava Dwarapalaka would hold a conch and a discus in their upper hands. In most of the temples, almost all the offerings done to the chief deity is also offered to the Dwarapalakas. The mace is common for the Dwarapalakas of both the creeds, which is held in their lower left hand. They are shown as standing with one of their legs firmly placed on the ground while the other leg is lifted across the other leg and shown as resting upon the mace.

Why do temples need Dwarapalakas?
Typically envisioned as huge and robust warriors, Dwarapalakas are essentially semi-divine beings of a lesser class who constitute the retinue of the deity they serve. Their main function is to protect the temple’s energy and to remind pilgrims that they are in the presence of the divine. As a result, when approaching the main shrine, one should be mindful of any unwanted thoughts and before entering God’s abode and one
should seek permission from the Dwarapalakas by praying to them in their hearts.
They are a reflection of the governing deity’s might, virtue, and splendour as shown through their costumes, weaponry, insignia or symbols. People are warned to act correctly through their finger movements and their eyes. In each case, the Dvarapalas are somehow linked to their principal deity through a Purana legend.
In Hinduism, each sect – Shaiva, Vaishnava & Shakti – have their own Dwarapalakas. For instance, JayaVijaya are Dwarapalakas of Vishnu; similarly Nandi – Mahakala and Shankanidhi-Padmanidhi are Dwarapalakas of Shiva and Shakti respectively.
So the next time you visit a temple, pay close attention to these temple soldiers, and the formidable spirit they exude through their eyes and gestures.

Bibliography:
1. Achari, Ramanujan Rama – Hindu Iconology
2. https://deccanviews.wordpress.com/2021/02/11/dwarapalakas-images-from-hindu-temples/
3. Dr. Manoj, G – Temple Architecture of South India

Harappan Culture: Beginnings Of The Indus…

Dr Sangeeta Dutta — Sun, 19 Jun 2022 17:51:35 +0000

Harappan Culture: Beginnings Of The Indus Valley Civilisation

Information of “glorious India’s past” have always been found through myths , epics, vedic texts etc. Archaeology provides many such information too. The first systematic archaeological excavation at Harappa, a Indus Valley site was started by Rai Bahadur in 1920, he also made a discovery on the Indus, it was the site known as Mohenjo Daro, which had been greatest extent about 35,000 inhabitants and same would be true for Harappa.

Following are some characteristics about two cities:

Mohenjo Daro (religious buildings, shops) was built of Kiln-fired bricks and the buildings were massed into “Super blocks”, of 600 by 1200 feet and most prominent is Citadel, so called Great Bath, surrounded by a paved courtyard, 39 by 23 feet and 8 feet deep, fitted bricks by Bitumen.
Most impressive and enigmatic artefacts from the Harappan civilisation is Steatite seals- might be considered as firstly found art objects in India, their physical character is fairly consistent, beauty of execution, the depiction of diversity in animals lie bulls, tiger, elephant, one- horned Indian rhinoceros, crocodile, grotesque multi- headed animal forms is astounding and impressive, their linear symbols such as, multiple circles, crosses, dots, swastikas, leaves of pipal tree(3/4 to 1.5) inches in size( 2300-1750 BC), after the carving seals were covered with an Alkali coating and fired, for producing a fine lustrous white finish.
In Mohenjo Daro, a seal which bears the first Anthropomorphic representation of a deity in India, Pashupati seal, which introduced and continued the concept of Meditation, where figure is seated upon throne in Yogic position, the arms covered with bangles, having a multiple visage (three faces), crowned by a large horned head- dress, whose shape suggests the Trident Symbol of Shiva. More engaging are the small terracotta toys, votive animals and figurines. Terracottas of “Mother Goddess”, organs are exaggerated like, displaying wide hips, ample breasts, bedecked with heavy jewellery, which will be met again and again in early manifestation of Indian idealised feminine beauty. A unique small copper sculpture of Dancing Girl, standing nude expect necklace and an arm completely ringed with bangles, her relaxed body, (one hand rests on her right hip, while other holds a bowl against her left leg), in 14 cm height, with copper.
Most remarkable, known as Harappan creations is a Priest- King or Deity, well developed and polished (2000-1750c), in (6.7 inch in height) where face is carefully barbered beard, upper thick lip is shaved, wide nose, hair is gathered in bun behind the head, wide headband duplicated on the bangle with flat circular ornament worn high on the right arm, robe or toga- like garment decorated with trefoil designs (used as a sacred sign in early Egypt, Crete and Mesopotamia).

The concept of Giving A Bath to a child, Namaste, Vermillion, Meditation (Yoga), Beads, ornaments of copper, Carnelian, Marine shell, Fired / Unfired steatite, Jasper stone drills in Mehergarh, quite of from Harappan culture and Pottery structure in circular portions, Pots, Terracotta figures, Pottery kilns found in Ganweriwala, people are using this, today as well.

This blog is a compilation of information from the writings of Craven Roy C. and from Prof. Vasant Shinde. Compiled by Anjali Grewal, who holds a Diploma in Education and currently pursuing painting at PLC, SUPVA University, Rohtak. She can be reach at anugrewal271@gmail.com. She is an Art Enthusiast, who successfully completed the certificate course on ‘Exploring Indian Art Semiotics – Interpretations and Appreciations’ conducted by Kalabodh in collaboration with the Lal Bahadur Shastri Memorial Museum, New Delhi.