This is a sculpture depicting a linga-like pillar with four figures of Vishnu emerging from the shaft, in his four-fold manifestation (caturmurti). The representations of Visnu, three in his supreme form as Para-Vasudeva, and one in his man-lion appearance (Narasimha avatara), are positioned facing the four cardinal directions, so asserting Visnu’s claim as a Universal Sovereign. Visnu in his human form holds in his raised arms an elliptical discus (cakra) and a club (gada); his lower hands are damaged but may be presumed to have held a conch shell (sangka) in one hand, the other gesturing grace to his devotees.
The apparent linga-form of the pillar, Shiva ultimate symbol, is a reminder that this composition of multiple forms of Vishnu took its inspiration from the Saivite version of this subject. Ultimately it may be traced to the caturmukhalinga, the four-faced linga addorsed with the four faces (aspects) of Shiva, which first made its appearance in the early Kushan period, if not earlier. The appearance of this configuration of Vishnu images on a linga-like form also is a reminder of the remarkable degree of syncretism that occurred in early Nepalese religious imagery, not only within Hinduism, as seen here, but also between Hinduism and Buddhism. The pillar with four directional figures also occurs in Buddhist art, in the caturmukha shrines often to be found in the courtyards of Licchavi-period Nepalese monasteries.
The figures of Visnu stand on an octagonal plinth decorated with a Gupta-style foliate design, a reminder that the model for this composition is to be found in the Gupta style of northern India, of which the art of Licchavi-period Nepal was an natural extension.
Historical context note
The apparent linga-form of the pillar, Shiva ultimate symbol, is a reminder that this composition of multiple forms of Vishnu took its inspiration from the Saivite version of this subject. Ultimately it may be traced to the caturmukhalinga, the four-faced linga addorsed with the four faces (aspects) of Shiva, which first made its appearance in the early Kushan period, if not earlier. The appearance of this configuration of Vishnu images on a linga-like form also is a reminder of the remarkable degree of syncretism that occurred in early Nepalese religious imagery, not only within Hinduism, as seen here, but also between Hinduism and Buddhism. The pillar with four directional figures also occurs in Buddhist art, in the caturmukha shrines often to be found in the courtyards of Licchavi-period Nepalese monasteries.
The figures of Vishnu stand on an octagonal plinth decorated with a Gupta-style foliate design, a reminder that the model for this composition is to be found in the Gupta style of northern India, of which the art of Licchavi-period Nepal was an natural extension.
Details
- Title : Vishnu Chaturmurti
- Year : 9th century-10th century (made)
- Artist : Unknown
- Classification : Statue
- Medium : Stone, carved
- Dimension : Height: 17.5 cm, Diameter: 10.5 cm
- Accession No : IS.30-1987
- Country/ Geo-location : Kathmandu, Nepal
- Culture : Hinduism
- Period : Licchavi-period
- Collection : Victoria & Albert Museum (V&A)
- Status : In Storage (South & South East Asia Collection)
- Bibliographic References : Guy, John: 'Indian Temple Sculpture', London, V & A Publication, 2007, p.148, pl.167. ISBN 9781851775095. Guy, John (ed.). 'L'Escultura en els Temples Indis: L'Art de la Devocio', Barcelona : Fundacio 'La Caixa', 2007. p.209. ISBN 9788476649466 Guy, John (ed.). 'L'Escultura en els Temples Indis: L'Art de la Devocio', Barcelona : Fundacio 'La Caixa', 2007. p.209. Guy, John (ed.). ‘L’Escultura en els Temples Indis: L’Art de la Devocio’, Barcelona : Fundacio ‘La Caixa’, 2007. p.103, fig.57 ISBN 9788476649466