37. L0tus Ceiling Porch or hall 角 mer, RaJ asthan (Sürasena) About late 11 th century Sandstone; 104.8 x 101.6 cm Victoria and Albert Museum, 577 ー 1883 Th1S small, square celhng ()n an unusual state Of completeness) has several elements typical 0f hall ceihngs 伝 om both western and central lndla. A large lotus flower dommates the slab with three levels 0f flatly carved petals and a central bulbous drop. Raylike secondary petals appear between the pomts. The correspondence between lOtus and sun emerges clearly. TO transform the round flower intO a square, four た灯ー川リたん僞 occupy the corners, with elaborate fohage spewmg 伝 0n1 their mouths along 、 Mith crests tO 6 Ⅱ the block to its angles. Here the vegetal scrolls are crudely carved and actual fohage is indistinguishable in the vermicular tangle. Small feline ears project 伝 0n1 the creatures' swelhng temples and incised stnatlons mark their whiskers. The lower po 血 on of each face opens ln a W1de 部 ln to emit fohage. This gapmg mouth, together with the bulgmg, deeply undercut eyes and the Simon Legree-like whiskers, often gves the た所た a starthng ferocity, especially on earher pieces. By the late eleventh and twelfth centunes, however, the motif, like many others, had become a repetltlve decorative devlce, fully subsumed in structural concerns and rarely holding its 0 rn as a separable sculpture. Such small lotus ceihngs can appear over a number Of small spaces ln temple halls. Square ceihngs may canopy the front porch or the P111ared bays surroundlng a central bay with a larger multilayer ceihng. 203

28. Sürya probably central extenor wall segment or basement Offset Madaur, Mathura Distr1ct, Uttar Pradesh About A. D. 85g875 Sandstone; 104.5 x 77 cm Government Museum, Mathura ( No に可 0 叩〃な明世洫お巳 ) This well-preserved segment of the wall of a small temple, complete with bindmg moldln い ( レルの , recently entered the rapidly expanding collecuon of the Government Museum, Mathura after having been 。 excavated" 伝 om a mound by a 10Ca1 dacoit (hlghwayman). Located on the River Yamunä Oumna) , Mathura iS renowned as the birthplace of Kr»a (Knshna). The town and its surroundings were a focus of bulldmg activity 伝 om at least the second century B. C. , although vlrtually nothlng remams standing. Sürya is the sun. That a cult focused around hlm, either on h1S 0 ー n or lntertwined with Visnu, IS evidenced by numerous temples throughout north lndia. EIaborate and crisply carved, this image represents the deity within a pillared mche. He wears high, pointed-toe boots and a crosshatched breastplate or Jacket that denotes his central Asian, possibly Scythian, 0 ロ ns , and he has been linked to a Zoroastnan fire deity. ln h1S hands he holds symmetrical diurnal lotuses, fully blossomed in h1S hght. Between h1S le appears the small figure of his chanoteer, ArJuna, grasping the reigns of Sürya S seven—horse Char10t. The chanot itself is indlcated by a curvmg seat, its front ledge termmating ln 川口 ra heads. Garland-beanng celestials hover by h1S crown. Below them, on small lotus moldings, the female archers Usas ("dawn") and Pratyüsa ("daybreak"), at times considered wives Of Sürya, rout the night with their arrows, their feet propped on half lOtuses nsing like the sun. TO either corner Of the chanot recline additional attendant women, possibly the goddesses RäJfi and Nik'ubhä, also W1ves of the God. FIank1ng the niche and also dressed in foreign battle garb stand his attendants Davda ()n the right with sword) and Pifigala ()n the le 仕 with palm-leaf manuscnpt and stylus). Above them rear on elephant heads ( No. 14 ) as brackets to the niche. 188 The base Of the niche consists Of a narrow moldlng overlaid with flattened lotus petals topped by a beaded band. Below, the bindmg moldm 応Ⅱ ow a typical format of mverted cyma-recta moldmg, pot molding, and shoulder molding with no indentatlon between the upper 20 ( NO. 1 ). ln 応れ they are typical Of central as opposed tO western lndia at th1S penod. A small mche enclosing two cavortmg dwarves (g 叩 ) playing flutes overlays these moldm . A tnangular pediment 0 イ dg ロ川の crowns this 10 ℃ r mche as a simllar but larger pedlment likely topped the niche containing the god hlmself. The entlre niche is shaded by a cormce molded with half-lotus drops filled with floral half diamonds (a format more often used beIO 、 the mche in contemporaneous temples). The half-lotus drop motif is seen in closely related forms on the nud-ninth— century temples 0f central lndla t0 the south of Mathura, such as the Sürya temple at Madkheda, Tikamgarh Distnct, Madhya Pradesh (ancient Dafirnade'a). lndeed, the organization 0fb0th the mche and Sürya resembles that of the central offsets of the Madkheda temple, built in ancient Da'ärnade'a under strong Pratihära influence. Yet the square face and heavy, congealed body 0f Sürya with hlgh pinched wa1St typifies images 伝 01n ancient rather than Dafirnade'a dunng the early "medleval" penod ( NO. 70 ; see also NO. 52 ) and even later (Nos. 18 , 19 ). 1. Personal communication 伝 om Dr. Pushpa Thakurail, Director, Government Museum, Mathura. 2. 石 , V01. 2 , part 2 , pp. 45 ー 48 , pls. 94 ー 96.

4. The lion's role as both guardlan and Crouching Lion aSSIStant in the process Of divme illummatlon is clear 伝 0n1 its promlnent locatlon. Like the Superstructure element lions that frequently occupy the sill of the Provenance unknown, probably western Madhya Pradesh or door itself (see No. 56 ) , these upper lions also neighbonng Uttar Pradesh mark this cruciallimmal space, for they sit on or Sürasena) the vertlcal axis directly above the sanctum About 8th century threshold. Sandstone; 82.6 x 104.1 cm Pntzker FamiIy CoIIect10n 1. Translauon 伝 om Stella Kramrisch, 7 方に Hindu 川 2 (Delh1: Mo ⅲ Banarsidass, 1976 ) , V01. 2 , p. 377 , nt. 123. 2. Rai Bahadur Hira Lal, "The Sirpur Stone lnscnpuon of the Time of Mahasivagupta, 石を rap 帰 4 ん市砌 (hereafter cited as 石り , V01. 11 (Calcutta: Archaeologcal Survey of lndia, 1911 ー 12 ) , p. 190. 3. See Kramnsch, op. cit. , pp. 332 ー 37. 4. T such monumental beasts stand cemented in place on the hlgh basement pla 0m1 04 の ofthe Kandanyä Mahädeva temple at KhaJ uräho , one near the stairs, another in the porch of a small flankmg shnne. 5. For example, the Sürya temple at Madkheda, Tikamgarh Distnct, Madhya Pradesh, mid-mnth century ( Fig. 43 ) , shows a lion and elephant ensemble in place ( 日 T 月 , V01. 2 , pt. 2 , pls. 94 and 97 ). An apparently earher photograph pubhshed in R. D. Trived1, 川研どな加イⅲ C 明作ん市 4 (New Delhi: The Director General, Archaeolog1cal Survey of lndia, 1990 ) , pl. 148 , p. 295 , shows 0 司 y the elephant, the lion havmg apparently fallen offand havrng been later replaced. 6. F. Kielhorn, "The Säsbahu Temple lnscnpuon of Mahipäla of Vikrama-Samvat 1150 , " , vol. 15 ( 1886 ). Like the prevlous lmage, this smaller red sandstone figure of a lion crowned the 血れ示 4 , or 伝 on projectlon, 0f a temple ara. ln front of the lion nse two foliate volutes bound together with a carved band. This 応 rm resembles the standard upper termmation for the 砌れイ ra (see the mche overlayng the base moldmgs 0f NO. 28 ). The face of the 血れ示 4 would have been covered with a large れ市 4 金 (Nos. 1 and 2 ). Yet hons typically rest above this "window' termmal and these foliate volutes are likely a secondary pr0Ject10n 伝 om the れイ ra 信 . The heavy, bulgmg eyes of the lion show incised inses and puplls. His face is simllarly defined by incßlons accentuatlng the curve Of eyes, nose, and CheekS. BelOW a humanoid nose, small hOles indlcatlng whiskers cover the rounded muzzle. The animal tucks chin t0 its chest, pulls its lips back, and bares lts teeth in an lnclplent 部 0W1. The tail snakes over the crouched back and thick mane. Both the fullness of carvmg and specific features link the creature with earlier lion images 0f the late Gupta penod. The finial 応 rm with clearly defined bindlng cord also indicates a date fairly early in the temple- carung tradiuon, perhaps in the 6 t half of the eighth century. Remnants of plaster and pigment survlve ln carved creuces on bOth the ammal and architectural element below, showing that the small temple 伝 om which th1S image came was likely pmnted sometlme ln lts history, as many Of these structures may have been. 勢第 1. See, for example, S “血れ研ロ M " 川群れ石明 , Museum of Fine Arts, Boston (acc. no. 66.233 ). 3

45. CeIestial Woman Beneath a Mango Tree Pillar bracket From the detached ra ロ川叩イ叩ロ ofthe Ghate'vara temple, BaroIi, Rajasthan ()p aramäla) About first halfofthe 11 th century Sandstone; 97.2 x 29.2 cm The Denver Art Museum, Gift ofRobert H. EIIsworth in memory 0 「 Christian Humann; 1982.198 Grasping a mango 伝 om the laden branch above her head, th1S 叩 repeats the familiar 応 rm of the 励 4 可 As two smlhng monkeys gorge themselves on the fruit, she stands below, her figure equally laden with heavy breasts and thighs, but her expresslon IS remote. on her shallow lOtus pedestal, the small feet of a (now absent) attendant appear to her le 代 while the remnants Of the mango trunk emerge at her nght. Beaded leg drops, multiple necklaces, a pearl choker, and wide cuffs of pearl bangles adorn her. Yet jewelry and flesh are equally adamantlne. Her round, solid face, the carefully delineated lips, and overstated honzontal eyes magnify and solidify regonal charactenstlcs famlliar 伝 0n1 earlier Uparamäla sculptures (Nos. 8 , 11 , 72 ). James Tod, a Bntish captam whose 1834 月〃加なイ月〃 " ″沁明 first brought the extraordmary legends and monuments Of the Rajputs tO ・嶬/ ・ estern consclousness, 、 vrote Of the site ofBaroli: [T]he temple of Bar0111 ト ic] suddenly burst upon my view 伝 0n1 amldst the foliage that shrouded it. The transitlon was grand; we had for some time been pickmg our way along the margln of a small stream that had worked itself a bed in the rock. . . . As we neared the sacred fane, still following the stream, we reached a level spot overshadowed by the maJestic karoo and amba, which had never known the axe.We instantly dismounted, and by a fhght 0f steps attained the court Of the temple. TO descnbe its stupendous and diversified archltecture IS lmpossible. Although the stairs dO not remaln (unless Tod approached via the temple tank), BarOli exiStS even tOday as an oasis Of divine tranquility in the often desiccated RaJasthan landscape. 「レ 1

retained but grows out Of all propo れ 10n tO its users, the seat slab at umes restlng ℃Ⅱ above head level. The presence of the 応 rm itself and its usablllty in the m on 0f shnnes, however, support 、 vntten evldence that the temple's halls were mtended as much more than simple passages of approach t0 the sanctum. lndeed, the halls, with their built-in seatmg, acted not only as stages for a vanety Of ritual act1V1ties, drama, dance, and mtlSIC but also as temporary shelters or even sleeping places for travelers. yet the wavmg fohage bears little likeness to any natural 応 rm. The pillars 0f the frieze below, with ribbed shafts, depict three distmct capital forms, indicating the great vanety Of motifs available tO architects and sculptors at any one tlme. Those bordenng the figures show small foliate capitals topped with square blocks with central diamonds, linked by 川 4 ra イ 0m4 ( No. 31 ) W1th 10 tus-bud drop s. FIankmg these are p illars with fairly simple inverted bell capitals between which are th1Cker PIIIars W1th large foliate capitals and garland bands around the upper portlon of their shafts. The figures in the mches are the usual ausplcious lOVing couples ( 川″んれロめ in the central and nght niches and a pair of muslcnns in the le 化 Below them, the dry and schemauc molding of commalike mc1S10ns, probably a desiccated representatlon of the earlier lotus petal 応 rm , represents a type Of carvlng that becomes more and more common 伝 0n1 the end Of the tenth century. The relatively small height of this た 4 越ホ 4 れ 4 retains a human scale. ln the huge temples of the second half of the tenth and eleventh centunes, such as the Kandanyä Mahädeva temple at KhaJuräho, the 応 rm is を ) イ内ノを 3 1. H. D. Bhattacharya in ど月研を Ka 加明 p. 38 and n. 105. 2. Smaller shnnes continued to be built throughout th1S penod, of course. 3. See the essay by Phyllis Granoff. 198

11. Celestial Woman with a Lotus Flower Extenor wall, probably intermedlary offset Provenance unknown, probably K0ta reglon, Rajasthan ()p aramäla) About A. D. 950 ー 975 Sandstone; 121.9 x 43.2 cm The Denver Art Museum, Guthrie Goodwin Collection; 1962.295 Sacred lotus and fecund young woman, the tWO most constantly reiterated motifs on the temple, intertwine literally and symbolically. Unlike other plants, gernunatlon OflOtus seeds takes place within the pod, the ovary, rather than on the ground. Stella Kramrisch writes that "the processes contained in the pencarp on high refer tO the mystenes Of generatlon . ・ W ・ ithin the flo ℃ r the reproductlve po 、 ver has its seat. There, hlgh above the muddy ground, above the water, the whole cycle of vegetatlon IS accomphshed. "1 This celestlal woman ( 叩 or ア黻広 among Other general names) stands atop a lOtus penanth as it grows 伝 om the temple body. With both hands she grasps the twisting creeper as lt 、 M1ndS upward, crossmg her thighs like another limb. lt opens in a thick, three-tiered flower between her head and breast. On a secondary floral pedestal by her feet perches a small female attendant beanng a water pot 伝 om which bursts yet more vegetation. Another bud spnngs upward behind the larger stem, showing the multiple stages in the flower's llfe cycle. From the thick stalk of the main lotus sprout small flamelike swirls and pointed multilayered leaves. The latter are reflected repeatedly in the woman s jewelry—on leg-drop endmgs, belt, arm bands, and necklaces. She wears a high beaded coiffure, includmg a ball that appears to be covered with buds but may replicate a lotus-stalk ornament, typical Of the tenth century throughout north lndia. From the center 0f the bun peeks a ⅲ川 , as 正伝 om a 朝〃市ロ信 ("moon window") , disgorglng pearl chains onto her forehead. She also wears multiple strands of pearls as chokers and necklaces as Ⅵ℃Ⅱ as ribbed eamngs and bangles. Her diaphanous lower garment reaches her ankles, defined only by lightly incised lines that convey wavmg parallel folds and a delicate Vine border... ISO incised, in イ . 1 157

Small Shrine GwaIior, Madhya Pradesh (Gopädn) About A. D. 750 ー 775 Sandstone; 184 x 98 cm CentraI ArcheoIog1cal Museum, Gwalior; 449 This detailed miniature shrlne shows all the standard features 0f a small 〃畩 4 川 (north lndlan) temple of the 'penod of early matunty. Short Of a viS1t tO the subcontlnent, it glves the clearest possible idea of temple format and the integratlon 0f sculpture and architecture crucial tO an understanding of all obJects in this exhibition. The shnne IS one of three similar structures found in the fortress at G lior (ancient Gopädn) in northwestern Madhya Pradesh. Accordmg to 10Ca1 memory, they once lay in the area around the famous Teli-kä-Mandir, and their archltectural features accord well with the probable mld-eighth-century date 0f that monument. The shrine lntenor, as in the vast majonty 0f temples, is a square and undecorated sanctum. lt is termed the ん 4 , ("seed" or "womb house") , wherein the manifesting deity often appears in his most abstract forr れ . The austere and darkened cube once likely enclosed a ″ 4 , the rounded, pillarlike "mark" of the G0d Siva as the lnfimtely Expandmg (Nos. 73 , 74 ). Like the maJonty of north lndlan temples, a tall curvlng tower ( たん ara , 、 moun— peak' ) nses above the sanctum. lts top IS crowned by a great bulbous nbbed stone, the 汀川 4 た 4 , Whose name iS taken 伝 0n1 an lndian fruit of similar 応 rm although the ongms 0f the architectural element are likely solar. The 川 4 nses 伝 om the flat upper slab @な4 川レ e イ , "upper altar") Of the tower on a round, pillarlike shaft. The curved tower projects forward in three levels. The central tapermg vertical band is formed of a web motif, which ongmated as intertwined round windO 、 forms ( れ市示 ). The corner and intermediary bands dlsplay levels 0f multiple moldings separated by squared-off 加信た each level a simpllfied replica of the tower itself. The moldlngs contlnue in the na 江 0 嶬 , ” 1

43. Th1S well-preserved and relatlvely early Celestial Woman and Attendant 42 4 示 bracket combines motifs Of the I 品可 ( No. 41 ) with that of the woman Pillar Bracket havmg her lower garment pulled 0 圧 by a Harshag1r1, Rajasthan nuschievous monkey ( NO. 13 ). Here she (Märude'a-Sapädalaksa) futllely, and not t00 strenuously, struggles to Second halfofthe 1 Oth century uphold the undulating 応 lds. This latter motif Sandstone; H. 54.6 cm seems related tO an equally common one The Cleveland Museum ofArt, Gift ofMr. and Mrs. Severance . A. wherein the woman herself parts her garment Millikin; 67.202 to reveal her vulva, perhaps undressing for her Iover.When such images are placed withm reach on the temple wall, frequent abrasion Of the genitalia glves evidence Of ア 0 れ甲可 (worshlp 0f the female generauve organ) and displays how individual mmor figures on the temple body frequently become the foci of popular worshlp within the multilayered behef system that is Hinduism. The small monkey perched on top of the tree above the woman's head in this lmage reaches tO grab a mango, his tail twistlng up h1S back. The large monkey at her 応 ot , on the other hand, is anthropo- morphlzed tO the extent Of weanng a short dhoti and ornamented r 田 e. His actlons, however, are purely sirman.While he grabs her garment with h1S le 丘 hand, h1S nght clutches a stolen P1ece Of fruit, and one 応 Ot scratches at h1S crotch. ln comparlson, the attendant dwarf at her Other 応 Ot appears serene. The elaborate coiffure of the 叩 , with curls and pearl bands, as well as her oval eamngs and multlple necklaces glve a clear representatlon Of actual adornment. The distinctive form Of the mango—tree motif, With a circle Of leaves 伝 0n1 which emerges a cluster of small hanglng fruit, is familiar 伝 om images in the Uparamäla area ( NO. 45 ) and one likely 伝 om DaGrnade'a-Avanti, bordenng on Uparamäla ( No. 29 ). Th1S is quite distinct 伝 0n1 its treatment ln Other reglons (Nos. 41 , 44 , 47 ) and, along W1th anatomy and physiognomy, could indicate a provenance in the western portion Of Madhya Pradesh or southeastern Rajasthan, possibly relatlng the piece t0 the sculpture of the area around Mandasor (Nos. 10 , 11 ).

to the rituals prescnbed in the texts. He made it a base of gold, adorned with the leaves of the plaintain, and he worshiped the ″ 4 with many offermgs. "The next day the abonglnal hunter returned to the temple 0 「 Siva, and, 100k1ng everywhere, could not find a trace of the 〃 4. He broke his silence and suddenly cned out with these words, 'Hey, Siva! Where have you gone? Show yourselfto me rlght this very mmute. If you do not show yourself to me I shall kill myself. Hey, Siva! Lord of the WorId! Destroyer of the Three Cities of the Demons! Safikara! Hey, Rudra! Hey, Mahädeva! Show yourselfto me now! Siva continued, "ln this way the hunter castlgated Siva with words that were meant to please the God as they upbralded Him. As he spoke these words he took his sword and cut his own belly, slapping his forearms loudly and crying in anger, 'Hey, Siva, show yourself t0 me! Where do you think you ve gone, leaving me behind?' "And with these words, the hunter pulled out his own entrails and cut 0 圧 his own flesh and threw it all with his own hand into the hole where the 〃 4 had been. Pure in heart, he then immersed himself in the River Säbhramati. He quickly brought water 伝 om the nver and 房 leaves and, prostrating himself on the ground, worshiped the 〃 4 as he had pronused. "AS the hunter was absorbed in meditation, Siva actually appeared to him, along with his divine host. Siva was white like camphor and radiant; he held a skull as his beggmg bowl and bore the crescent n100n in his matted ascet1C locks. Siva tOOk him by the hand and comforted him with these words, 、 Hero! Greatly 嶬伝 e One! Surely you are my true devotee, O NobIe Man! Ask of me a boon, devoted servant! Ask Of me whatever you desire!' " Siva said, "When Siva said these words tO the hunter Mahäkäla, he was filled with joy and overcome by the greatest feelings of reverence. He prostrated himself on the ground. He then said tO Siva, dO not desire any boon 伝 0n1 you. I am your se ハ tant, 〇 Rudra, and you are my master. Of that there is no doubt. Let this wonderful state persist in every succeeding birth that I expenence. You are my mother, father, friend, and companion. You are my teacher; you are the supreme sacred words by which you are always tO be known. Mahädeva said, "Heanng those words of the hunter, which were without any desire for worldly personal gain, Siva gave to him the boon 0 「 beconung the chief among His attendants, the keeper of the gate to His abode. The world then resounded with the sound 0f Siva's drum, the beating of other drums, and the sound of conches. Drums beat everywhere, small drums and large drums, by the thousands. Nandin heard their sound and was astonished. He quickly made his way tO that penance grove where Siva now stOOd with his divine host. Nandin saw the hunter, 叩 proached him, and still amazed, spoke these words in pralse 0 「 his great act Of meditation. 'You have brought Siva here in person. Surely you are the greatest devotee. I have come here as your servant. Please tell that tO Siva. "When he heard these words the hunter quickly took Nandin by the hand and led him to Siva. Siva smiled and said to the hunter, 'TeII me, whom have you brought here, among my divine host?' hunter said, 、ト { e is one 0f your devotees and was ever intent on worshlping you, every day, with all kinds of offenngs 0 「 vanous kinds 0 「」 ewels, gemstones, and flowers. There IS no question that he has offered you his life and his wealth. Here 1S 85

〃川ん and 川示 (Nos. 51 , 62 ) can 叩 pear, this reliefshows, on the left, the ten avatäras 0 「 Vi»u ( No. 70 ) followed by the eight guardians ofthe directions (Nos. 1 , 7 ). The ロⅧ ras begln at the le 往 with Visnu's f1Sh and tortoise forms and end with 5 the equestnan Kalkin, saVIOr Of the future. 6 The 市伝応Ⅱ ow the usual order, beginmng with lndra holding his thunderbolt. But apparently the sculptor slightly miscalculated, for only seven 0 「 the eight guardians sit together. The final 市汀信 , l'äna with his trldent, is inserted below, squeezed between the pilaster capital and a swordsman. ln north lndia, particularly the westerly reg10ns 0 「 Gujarat and Rajasthan states, 1COns ofVisnu on Ananta frequently occupy a niche in the wall of temple tanks or the large habitable wells (Fig. 85 ) 7 that dot the reglon, a literal translation Of the stO り ,. This Visnu also onglnally rested in the proxlmity 0 「 a temple tank but was sheltered by its own small shrme. T0day at the site ofBaroli, nine temples remain, divided intO tWO groups by a stream ( No. 45 ). On the bank farthest 佇 om the road stands the maln group 0 「 shrines including the exquisite Ghate'vara. On the near bank, 叩 proached first 伝 om the road, the viS1tor encounters a square tank fllled year—round with water. ln the center Ofthe tank, an open shrine shelters a Siva 〃 a. Three other small shnnes surround the tank. Two show the square sanctum standard for temples throughout north lndia, but the third, at the southwest corner, IS constructed with a rectangular r 励 a to house this image of the reclining Vi»u. ・嶬/ ・ images in place, it IS clear that the shnnes at Baroli were focused around the worship of Siva. This temple to Vispu appears most understandable when the frequent assocntlon Ofthe specific icomc type and water is remembered. Within the rectangular sanctum, a plinth remalns, its face replicating the lower binding moldings ofthe shrme itself. Two small fly whisk-bearmg female attendants 叩 pear at the center 0 「 the plinth flanked, on the recessed sides, by a pair ofseated women playing 可卩示 . The upper surface 0f the plinth is indented tO accommodate this sculpture ln lts ongmal placement. The temples at Bar01i seem tO range in date 佇 0n1 the early tenth century through the eleventh. From the shape ofthe moldings, the shrme that housed this image dates 丘 om approximately the first 268 half ofthe tenth century. The carving ofthe lmages makes it likely thatthe shrme dates toward the later part ofthis penod and a date 0 「 A. D. 925 ー 95 ( ) seems reasonable. R ( 尾〃 c い : 、 'Remnants. 1959 : 14 , 17 ; M. M. Shastri 1961 : 26 , no. 269 , pl. VI; L. K. Tnpathi 1975 : 7 ー 9 , 65 ー 67 , pl. XXVIII B; Panmoo 1983 : fig. 27. 1 . 2. 3. 4. 5. 6. 7. 8. 9. or Sesa, remainder. For excellent and comprehensive diSCtISSIOn Of this image type and its textual roots, see Ratan Panmoo, & " ゆ tu 可 S 磆の , i レ ' Ⅲ : & イルり , , 加 / / ん甲尾行囲 , Fo 硼月 / ム (Baroda: MaharaJa SayaJirao University, 1983 ). lbid. , p. 42. For a discusslon ()f the vessels, conch, and horse, see ibid. , pp. 44 ー 45. Matsya, Kürma, Varäha, Narasifiha, Vämana, Para<uräma, Balaräma, Krsna, Buddhavatar, Kalkin. lndra, Agni, Yama, Nirrti, Varuna, Väyu, Kubera, l'äna. These range 佇 om simple tanks to extraordinanly elaborate constructlons 0 「 multiple subterranean pavilions filled with sculpture. See Kint Mankodi, 77 肥 Queen ' & レ佐〃酊 P 酊聞 (Bombay: pro. 」 ect for lndian CuItural Studies, 1992 ) and Jutta Jain-Neubauer, 77 肥 & 眦広 G 岬韲酊ⅲ Art-Historical P 平“ⅲ℃ (New Delhi: Abhinav Publications, 1981 ). Besides the images ofVisnu on Ananta mentloned in these publications and Pa ロ n100 , OP. CI し , numerous Others can found in the tanks Of western lndia. Some, such as the tank by the Visnu temple near Ekalingi, Rajasthan, are datable to the tenth century. For rectangular sanctums, see Michael 嶬仁 Meister, 'Geometry and Measure in lndian Temple Plans: Rectangular Temples," 月ⅲわ邯 , 4 北 , vol. 44 ( 1983 ) , pp. 266 ー 96. See L. K. Tnpathi, 77 肥行″甲 ofBaroli (Varanas1: Amitabha Prakasana, 1975 ). See also No. 45. For a discusslon 0 「 the レ e イ a ″イ / ta in 、 vestern lndia, see Dhaky, 、 'The Genesis and Development 0 「 Märu-Gurjara TempIe Architecture. '' Although they are not the pnmary focus 0 「 his discusslon, the rounded down-sloping pot molding ( 信 and tall shoulder molding ( 川励の conform to 、、 Mahä-Gurjara" style dating to approximately the first halfofthe tenth century.