Standing Vishnu

Our survey of the early Vishnu images of the Kathmandu Valley has revealed that, prior to the 5th century A.D., the four-handed Vishnu was always represented standing alone. Three such early Vishnu images were recently discovered by the author in the Valley: one from Satya Narayana Temple, Hadigaon: another from Dhana Ganesha Temple, Hadigaon; and the third from Tapahiti, Patan. These images have been fully discussed and on stylistic grounds they were assigned to the 3rd-4th century A.D. (Bangdel, 1982, Pls. 119, 127 and 125).

As mentioned above, only from the 5th century A.D. was Vishnu represented with Lakshmi, his consort, and Garuda, his mount. A minute observation will clearly reveal that Lakshmi and Garuda were crudely represented in the beginning. An example may be cited here in the image of Vishnu from Bhuvanesvari Temple (PI. 45). On the right of Vishnu a small disproportionate female figure was shown standing with folded hands. It was carved in a verb. crude manner, as though the sculptor could not manage the proportion in the stylistic tradition of Lakshmi. This obviously indicated an early attempt of the artist in representing Lakshmi. On the left of Vishnu, the figure of Garuda was missing.

Originally, a number of images including the Vishnu image (PI. 47) were standing half-buried in the ground directly in front of the temple. During renovation the early eighties they were properly installed in a standing posture. The Vishnu image from Bhuvanesvari Temple Pl. 48) stood erect, with massive shoulders, holding a conch in his front left hand and the right hand in the gesture of munificence. I t is interesting to note that his right hand was delineated as a cupped palm as seen in all the early images of the Valley. Furthermore the posture of Vishnu with his broad chest ,and outspread arms was strongly reminiscent of the so called Kirata King (Bangdel, 1982, Pl. 156) . The two rear arms of Vishnu were mutilated. He wore a crown, a necklace, armlets and bracelets. most of which were similar to the ornaments of Vishnu Vikranta from Tilganga dated A.D. 467 (Bangdel, 1982, PI. 150). His lower garment, neatly folded from both side was tucked between his thighs, while the four-fold sash formed a semi-circular loop across the thighs. A plain circular halo was incised behind his heacl. The modelling and style of carving suggested that the Bhuvanesvari Vishnu belonged to the earl!r Licchavi period datable to the 5th centur! A.1). ‘l’he photograph (PI. 49) is a view of the location of the sculpture after it was stolen in February, 1986.