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Eternal India
encyclopedia
ICONOGRAPHY
Iconography in the ordinary sense of the term can be defined as
a graphic-study of the icons. It is graphic as the study involves a
total approach in comprehending the significance of the icons. The
comprehension presupposes a proper understanding of the term
icon itself. Icon refers to an image or a figure executed essentially
for the purpose of worship, for being meditated upon, for memorial
services or for offering funerary rites. In its extended meaning the
icon can primarily have religious and secondarily socio-cultural
con-
notation.
While this definition is applicable to iconography and icons in
general, in the Indian context, the study acquires a special signifi-
cance due to the proliferation of faiths ranging from monotheistic to
polytheistic beliefs based on various technical works
(shastras),
mythologies
(puranas),
historical works
(ithihasas)
and the neces-
sary adjuncts of rituals and rites.
While all icons can be figures, all figures cannot be icons. To be
an icon, the figure should articulate, effectively, a particular
concept.
This pre-condition, thus makes the study of the icon in isolation, in-
complete. The icons thus tend to become meaningful in the context
of concepts, myths, legends, rites and rituals.
The evolutionary trends indi-
cate that, earlier the icon, the
simpler its form. In some of the
terracotta figurines, identified as
mother goddesses, (fig-1) dated
to pre-historic and proto-historic times, the distinctive traits are
limited to the representation of exaggeratedly large breasts, hips
and vagina - the essential organs of fertility and procreation.
In course of time the same female divinity, (fig-2) when re-
quired to play the role of a protector,
destroyer of the demons, bestower of
boons, emerged as Annapurna en-
dowed with a bowl, Durga wielding
sword and the shield, Saraswati (fig-
3) holding the rosary and a palm leaf
manuscript.
Similarly, responding readily to
mythological situations, the figures
with multiple heads and hands
(fig-4,4a) were created to dis-
tinguish the divine from the
hu-
man and thus establish their
distinct and super human
iden-
tity.
The religious doctrines,
the
theological and metaphysical
theories of incarnation, ema-
nation and transmigration,
brought about corresponding
changes in the icons. Vishnu
in
his incarnatory and emanatory
forms,
Shiva
in
his
destructive,
benevolent
and
dancing
forms,
Jina as Tirthankaras, Buddha in his Bodhisattva forms, Devi in a
variety of bountiful and wrathful forms began to appear in larger
numbers.
Subsequently when an attempt was made to integrate these di-
verse sectarian forces, through a process of amalgamation of dif-
ferent ideologies, a set of new icons emerged. Described in
iconographic terms as ‘composite’ images, these icons embodied
reconciliatory traits aimed at nullifying the effects of extremism and
gender imbalances.
Harihara, dattatreya, trimurti, suryanarayana,
(fig-5)
ardhanarishvara,
to mention a few, are examples of com-
posite forms evolved under such contingencies.