Gangavatarana and its two visual narratives

This interesting story is also depicted in various Indian art forms. The Puranic sources provide many versions of this descent.
Detail of Siva and Bhagiratha at Mahabalipuram.
Detail of Siva and Bhagiratha at Mahabalipuram.

The Gangavatarana, or the descent of the river Ganga from heaven to Earth, is narrated in various puranas. This interesting story is also depicted in various Indian art forms. The Puranic sources provide many versions of this descent. Siva purana refers to Gangavatarana as a holy place, where Siva desired to do penance. According to Matsya and Vayu puranas, Ganga emerges from the Vindu lake through various outlets.

‘Descent of the river Ganga on Earth’ is a story that appears in many ancient texts such as the Siva purana, Linga purana, Vishnu purana, Harivamsa and others. Vishnudharmottara purana narrates the story of Bhagiratha, a king who fervently prayed to Ganga to bring her down to Earth. Ganga said she was ready to come, but Siva alone could withstand her vigorous fall from heaven. Thus, to appease Siva, Bhagiratha began his penance that would last a thousand years. Pleased by Bhagiratha’s austerities, Siva finally agreed to help bring Ganga to the nether world. The mighty Ganga started flowing from the heavens and Siva caught her with his matted hair. He then started to release the water drop by drop in different directions.

Gangavatarana. Ravanphadi Cave Aihole, Ca-575 CE.
Gangavatarana. Ravanphadi Cave Aihole, Ca-575 CE.

Two important sculptures from southern India are noteworthy examples of the depiction of Gangavatara/ Bhagiratha’s penance and the release of Ganga. A sculpture depicting the descent of Ganga in Ravanphadi Cave at Aihole is a unique example. Aihole, an early Chalukya centre, is well known for its architecture and sculpture. The Ravanphadi cave temple is dedicated to Lord Siva along with Saptamatrika, Ardhanari Siva, Harihara, Mahishamardini, and Varaha sculptures.

Gangavatarana. Mahabalipuaram. Ca. 7 th Century CE.
Gangavatarana. Mahabalipuaram. Ca. 7 th Century CE.

The Gangavatarana panel is very interesting from the point of narration. It occupies the western side of the inner wall of the cave temple. The sculpture has three major figures: Siva is shown to be standing in the centre of the sculpture, while Bhagiratha is in a penancing posture on Siva’s right side and Parvati is standing in a rhythmic stance on Siva’s left. The lower portion of the panel has figures of ascetics and Siva ganas, while the uppermost portions have three female figures appearing from the heavens, who may be identified as the three streams of river (Tri Pathaga). They can be recognised as the Mandakini, Bhagirathi and Alakananda rivers who confluence to become Ganga. In the sculpture, Siva is releasing Ganga drop by drop by squeezing his hair locks held in his hands.

The release of Ganga in such a manner is a unique depiction. The story categorically mentions that Ganga had agreed to follow Bhagiratha but on the condition that Earth should sustain her fierce speed of water. Bhagiratha prays to Siva to help him bring Ganga to Earth. Bhagiratha’s penance and Gangavatarana sculptural narrative found at Ravanphadi cave temple at Aihole is a fine example of the subject. Using a simple story, the artist presents a full episode in a synoptic and meaningful manner.

A large sculpture depicting Bhagiratha’s penance at Mahabalipuram has elaborated the narrative of the theme. Scholars differ in their opinion in identifying it. A group of them believe it to be Arjuna’s penance, while the others think it is Bhagiratha’s penance and the descent of Ganga.

Detail of Siva and Bhagiratha. Mahabalipuram.
Detail of Siva and Bhagiratha. Mahabalipuram.

It is a panoramic narration stretched on two natural boulders, conjoined by stone and carved with serpents with open hoods and human faces—depicting Nagaraja which symbolically represents the river. The pivotal narration is on the left-hand side of the boulder on the upper register. Siva is shown with his trident resting on his right shoulder, while he is blessing Bhagiratha, who is standing in front of him in a posture of penance. The emaciated body of Bhagiratha showcases his hard penance. Siva appears along with his ganas, shown as dwarf figures. His left-hand gesture confirms the release of Ganga through his palm. What is interesting about this panel is that it is one of the most elaborately delineated panels. The details entail elephants along with their calves, a cat performing penance in a standing posture, lions and deers appearing from their dens, flying Gandharva, rishis in penance, rishis worshipping an idol of Vishnu enshrined in a small temple and the attendant figures of Siva. The whole narration gives the feel of the Himalayas where Bhagiratha had completed his penance. The descent of Ganga is symbolised in a magnificent manner. Gangavatarana has become a popular subject for artists in later periods too. Even in Kanchipuram, the walls of Kalishanatha temple narrate the story of Gangavatarana in Ravanphadi style, where Siva squeezes his hair locks to release Ganga. The release of Ganga on Earth and the associated narrative with it has been inspired by textual descriptions. However, the mode of narration changes from place to place as seen in Ravanphadi cave temple at Aihole and the one at Mahabalipuram. Synoptic and elaborate methods were adopted by the artists according to availability of space, where they composed the story. The uniqueness and significance is the essence of both the panels.

Dr R H Kulkarni
Professor, Department of Art History, College of Fine Arts, Karnataka Chitrakala Parishath
(rhkulkarniarthistory@gmail.com)

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