View of A REVIEW ON IMAGE OF NARESAR, DISTRICT MORENA, MADHYA PRADESH

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ACCENT JOURNAL OF ECONOMICS ECOLOGY & ENGINEERING Available Online:http://ajeee.co.in/index.php/AJEEE Vol.01, Issue 02, June 2016 ISSN -2456-1037 (INTERNATIONAL JOURNAL)

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A REVIEW ON IMAGE OF NARESAR, DISTRICT MORENA, MADHYA PRADESH Dr. Umesh Chandra Srivastava

Associate Professor

Department of Ancient History, Women PG College Basti, UP Pratihār sanctuary unpredictable from

claiming Naresar or antiquated Naleshawar is arranged in the rises of the region Morena m. P. This put may be arranged during An separation for 30 kms south-east for Morena Furthermore 18 kms north-east of Gwalior, done a gorge from claiming sandstone rises. These temples would arranged once northern incline of the rise the place it may be shaping An gorge because of verthandi bluff from claiming hillock. Six temples, a pond a portion mandapika kind for shrines in distinctive phases of protection would discovered here Likewise obvious from those structural engineering style, The majority of these temples were based Throughout 8th century An. D. , though, the development of temples were begun and Johnson had proceeded till 1200 An.

D. The critical temples of this complex are Karkotakeshwar, Bhittuprineshwar Deva, Shitaleshwar, Durgā, Mata Also Śiva temples.

These temples have been constructed ahead five terraces cut in the incline of the knoll. Three temples (Temple no. 01, 02 03) bring been fabricated in the upper span from claiming Nala. Those six temples (Temple no. 04-09) need been assembled on the second porch. These need phansa7ā kind of śikharas. For fact, there were eighteen temples which have lost their presence over time of time. The want about these temples could make followed on this porch. Once, these temples were housed 12th century recorded yoginī pictures 1. Yet all the at present its garbhagriha may be void.

There may be a staircase with compass those water from those second porch.

Those third porch need four temples (Temple no. 10-13) Hosting phansa7ā sort for śikhara. Placed on the west side from claiming gorge, will be a committed with Durgā (Temple no. 14) Hosting Nāgaraśhikhara. should these temples, there would stays of a medieval Haveli looking into this porch. There may be An staircase interfacing those third Furthermore fourth terraces. Those fourth porch need those five mossycup oak critical temples from claiming this

complex (Temple no. 18-23) which would placed on the western side for Nala (Fig.

03).

Fig. 01: Satellite Map of the temples of Naresar district Morena M.P.

Fig. 02: Site Plan of the temples at Naresar District Morena M.P.

Fig. 03: Panoramic view of the Naresar temple complex

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2 There are three more temples (Temple No.

15-17) on right side of the gorge. These are mostly dilapidated. A little above this terrace, a plain ground has been prepared by cutting the stones. Four temples (Temple No. 10-13) are situated on this leveled ground. Temple no. 10 & 15 has phansanashikharas and Temple no. 11 &

12 haveNāgaraśikhara. The fourth terrace has Karkotakeshwar, Bhittuprineshwar Deva, Shitaleshwar, Mātā and Śiva temples which are assignable to c. 8 th century A.D. To the north of these temples, the ruins of residences are visible. It is said that, the inhabitants of this place migrated to the modern village of Naresar, after a great famine.

During my recent visit at Naresar, I saw one elliptical shaped stone sculpture lying near temple No. 18. The caretaker of this place told me that this image was obtained from the Nala, when it was being conserved. It was picked from there and kept near ŚivaMandir (Temple no. 18). A chakra and foot was visible on one side of this image, when I went near this and overturned the image, it prove to be the image of Kūrma, one of the avatārs of Viṣnu. There is one line inscription in Devanagari script on this image.

Other than India, in different parts of Asia and America, the legends about tortoise incarnation are popular2 . There are many legends in Indian literature about tortoise. The tortoise is called the Lord of Water in ShuklaYajurveda. There is reference to Kūrma by the name of Kaśyapa in Vedic period.

A legend about churning of ocean was

also popular in India.

Aprājitāprachachha, a book on architecture mentions that all the animals did Samudra-manthana by making Mandrāchala, the churning rod and VasukīNāga, the rope, to obtained Śrī, Kamdhenu, Amrita, etc. which was hidden in KshiraSāgār. As the process was started, Mandrāchal started subsiding in the ocean, then Viṣnu took the form of Kūrma and supported the Mandrāchal7 . On one side of Mandrāchal, the rope in the shape of

Śeṣnāga was pulled by Devas and on the other side by Dānvas. This story is also mentioned in Nŗinrisingha Pura7a (53.18), Agni Pura7a (49.1), ViṣnuDharmottara Pura7a (3.85.58), Shiva Pura7a (Chapter 76, Stanza 2-3), Matsyapura7a (249.15), Bhagwatapura7a (1.3.16) and Viṣnupura7a (1.9.63-112).

This story is also mentioned in Mahābhārata (Ādiparva, 17.19), TaittariyaAranyaka (1.23.3), ShatapathaBrahmana (7.5, 1.5) and JaiminiyaBrahmana (3.272). This story has been depicted in the sculptures of Uttar Pradesh, Madhya Pradesh, Bihar and Gujarat in Northern India, Halebidu, Madurai, Kanchi, Badami, and Pattadakal in South India, Orissa and South-east Asia.

The treaties on sculptures give two types of Kūrma images, (1) animal form (Paśuvigraha) and (2) anthropomorphic form (Mānava-paśuvigraha). In Kūrmavigraha, Viṣnu was made like a tortoise. In Mānava-paśuvigraha, the upper part is depicted as man and while the lower part is depicted as tortoise. He had four arms, two hands are held in varadamudrā&abhayamudrā while in the other two hands held śankha& chakra.

The heads of second type of image were decorated with kirītamukuta and ornaments. From the point of view of iconography, there are four types of depictions of Kūrmavigraha: (1) Ordinary tortoise, for example the images kept in the museums of Ahada, Aasopa and Merta, (2) In Daśāvatāra panels, for example the images kept in the museums of Nagada, Jhalrapatanand Kota, (3) Kūravatāra in Samudra-manthan scenes, for example the images from Osian, (4) Narakūrma form, for example the image from Surya temple of Jhalrapatan. The images of Narakūrma of the fourth type were mostly made in South India.

This image of Kūrmavatāra of Viṣnu found at Naresar is unique image in which Kūrma is shown in the form of a large oval shaped flattish tortoise. Its size is 115x43x73 cm. His stomach is flat and unfinished while upper part of the body is well finished. Four feet of the tortoise are coming out from the sides. The back is raised but is flat in the middle unlike the real creature (Fig. No. 04-07). The right side is carved with gadā&padma and the left side is carved with chakra &śankhaas

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3 we move downwards. The image has the attributes of the human depiction of Viṣnu. The head of tortoise is missing but something was carved at the top which is broken. There is a mark of breaking in the middle and lower portion of the back.

Fig. 04: Kūrmavatāra image Samvata 1545 (1488A.D.)

Fig. 05: Gada and Chakra carved on the right side of image of Kūrma

Fig. 06: Śankha and Chakra carved on the left side of image of Kūrma

Fig. 07: Close view of gada and front foot carved on the image of

Kūrmaavatāra

In the front part of the image, there is a one line Devanagari inscription (Fig. No.

08). This belongs to Samvata 1545 (1488 A.D.) It falls later than the inscriptions of Karkotakeshwar, Bhittuprineshwar Deva temples. These two inscriptions were made when the temples were erected because, these mention the names of the temples. The inscription on tortoise image reads as follows:

Fig. 08: Inscription dated VS. 1545 on the front face of Kūrmavatāra image Then afterward seeing this image, the address might emerge done one’s mind,

“What guideline the stone worker took after The point when cutting this? might have been this picture as stated by those standard laid down Eventually established powers alternately those carver completed it as stated by as much own imagination?” no established reference for making this sort from claiming picture is accessible. Those writing say that best typical portrayal from claiming Kūrmavatāra may be with make done. The distributed pictures from claiming Kūrmavatāra would start with Garhwa, region Allahabad bharat Kala Bhawan, Varanasi. To these images, those god is delineated previously, creature structure. Similarly, Previously, particular case picture kept in GujariMahal Museum, Gwalior, m. P., Kūrmavatāra will be indicated Concerning illustration the and only Samudra-manthana scene8.

To pradakshinapatha for Laxmana Temple, Khajuraho, m. P. , the Kūrmavatāra structure for Viṣnu need been indicated clinched alongside An marginally distinctive way. Done this, four gave Viṣnu will be demonstrated situated done yogasana-mudra on the again of the tortoise. As much two easier hands would Onyogasana posture and the two upper

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4 control would considering chakra Furthermore gada. 9. Kalpana Desai Cites the stories from claiming this Avatāra provided for to Ramaya7a &Mahābhārata Furthermore finishes up that those legend might have been initially identified with those myth from claiming advancement of the universe.

The vaishnava religion most likely changed those first story under the new myth of the Avatāras for Viṣnu10. This advancement myth might have been to start with acquainted Toward ViṣnuDharmottara Pura7a composed Throughout Gupta period Furthermore embedded under the story about Samudra-manthana, in light of no punctual Brahmanical writing provides for whatever significance with Kūrmavatāra or acclaims him. It seems that before all else Kūrma might have been not specifically identified with the faction about Viṣnu, therefore, it might have been not portrayed in the sculptures from claiming that time. Those number of admirers of tortoise might need been lesquerella. It may be possible that tortoise might have been sooner worshipped by a portion tribal assembly Furthermore might have been later embraced in the vaishnava pantheon. 11.

CONCLUSION

Naresar might have been the focal point about Shaiva love. This is demonstrated by finish nonattendance of vaishnava pictures at this spot. This is the best picture for Kūrmavatāra type from claiming Viṣnu accounted Concerning illustration in this way. The stomach and only those tortoise will be harshly hewer.

Perceiving its shape, it gives the idea that it might have been put ahead An even surface. It is troublesome will demonstrate that if this picture might have been aggravated as stated by those standards laid down Eventually established writings alternately it will be just an creative ability for stone worker.

Those extraordinary part for this picture is that not it may be complete human manifestation or established creature structure of the Kūrma. It is recognizable proof on the premise from claiming qualities for Viṣnu which bring been cut on whichever side for as much constitution. This manifestation might have been certainly considered by the

stone worker unencumbered toward the standards laid in the canonicals.

ACKNOWLEDGEMENTS

I am obligated on Dr. Surendra Kumar Yadav, right hand Professor, ancien administration indian history and Archaeology, Sagar University, Sagar m.

P. For giving work to references to this writeup Also will mr.AlokRanjan, right hand Superintending Epigraphist a.

Encountered with urban decay because of deindustrialization, innovation developed, government lodgin. I lucknow for deciphering those engraving.

REFERENCES

1. Krishna Deva, Michael W. Meister and M.A.

Dhaky. 1991. Encyclopedia of Indian Temple Architecture, North India, Period of Early Maturity, 700-900 A.D. “Mauryas of Gopagiri and Kanyakubja”. American Institute of Indian Studies, Delhi. p. 05.

2. Srivastav, Brijbhushan, 1990.

PrachinBhartiyaPratimaVigyanaurMurti Kala, University Publications, Varanasi. p.

29.

3. Griffith, R.T.H. 1895-6. The Hymns of Atharvadeva. Library of Alexandria, U.S.A.

13.3.10.

4. Ibid. 4.20.7.

5. Srivastav, Brijbhushan, Opcit. 1990. p. 30.

6. Singh, S. 2009. Kūrma Pura7a, Chapter- I, Stanza- 17-18. ChaukhambaVidyaBhawan, Varanasi.

7. Ibid. p. 03.

8. Desai, Kalpana. 1973. Iconography of Viṣnu, Abhinav Publications, New Delhi, pp. 68-9.

9. Ibid. p. 68.

10. Ibid. p. 67.

11. Ibid. p. 69.