All the Hindu deities have particular symbols by which they may be distinguished, much as the family of an European may be discovered by its armorial bearings. Unfortunately, many of the figures of Elephanta are too much mutilated to allow us to resort with certainty to this criterion for distinguishing them, and this is particularly the case with the principal figure. The face on the right hand that looks to the east, is evidently Shîva or Mahadeo, whose principal face, by the rules laid down for fixing images in Hindoo temples, must always face the east, while the Yoni generally turns to the north. In his hand he holds one of his usual symbols, the cobra di capella, which twists itself round his arm and rears its head, so as to look him in the face; his face seems to bear the marks of habitual passion. He has a fine Roman nose; his brow is swollen and projects between his eyes:-this I at first regarded as only that swelling protuberance between and above the eye-lids, which is remarked by physiognomists to be indicative of passion; but having been led to a more careful examination of it by Captain Hall, to whose unwearied curiosity the account owes much of the accuracy that it may possess, and from comparing it with similar protuberances on the brow of other figures in the cave, I have little doubt left that it represents the third eye of Shiva, from which flame is supposed to issue, and by fire from which the world is finally to be destroyed. As Shiva, though he had five heads had only one such eye, it is represented on his principal head alone, which of course is that looking eastward. He has mustachios on his upper lip, and he and another figure in the eastern wing are the only figures in the whole cave that have them. At the corner of each of his lips is a tusk projecting over the under-lip*. The lower present the top of the nose to the bottom of the chin three feet two inches; the length of the nose is one foot seven inches and a half; distance between the further corners of the eyes three feet ten inches; from the wristlet to the point of the finger of the right-hand of the righthand figure is seven feet ten inches. The right-hand figure from the top of the nose to the bottom of the chin measures three feet seven inches; distance between the outer corners of the two eyes four feet two inches. The left-hand figure from the top of the nose to the bottom of the chin, two feet eleven inches; exterior corners of the eyes, four feet three inches. * I have pleasure in adding Captain Hall's observations, as they are evidently the result of close attention. "The head facing the east: after a long examination, I cannot lip of all the figures at Elephanta seems thickish, and more African than Asiatic. His tongue is thrust out between his lips; his eye-brows are not regularly arched, but rather irregularly twisted and depressed on each side towards the nose, as those of a person habitually passionate. His ear is not visible, and may be supposed to be covered with the curls of his hair. His His cap is richly adorned with variegated figures, branches, and flowers; among others may be distinguished a skull or death's head, a serpent with various folds, and branches of the bilva-tree, the leaves of which issue three from a point like the trefoil, and Nîrgûndi a sort of shrub, which are symbols that belong peculiarly to Shiva; a few curls run along below his cap. Behind his high cap, the stone is excavated on the right side into two narrow parallel slips, the one higher than the other, so that two persons might lie stretched at length without being observed from below; but there are no steps up to them. The middle figure has a tame and tranquil appearance; his ears are long, pressed downwards, and divided like those of the Kânpûthe, a set help thinking that the protuberance on his brow is the third eye; it is entirely raised from the curve of the brow without any indenture, as is the case on the wrinkled forehead of Passion: the whole skin of the brow is smooth save this oval protuberance, which no wise resembles that of Bhyrava in the N.E. compartment N. of the Lingam, where there are deep furrows highly expressive of passion. is "This head seems to be speaking to the snake; and I would rather say that the tongue protruded in doing so than that it is indicative of anger: nor can I quite agree to the account of the eyebrows; they are said 'not to be arched, but irregularly twisted.' They are certainly not arched; but the deviation is not much, nor does it convey to me any idea of agitation, but rather of mirth or pleasure, as if he was singing to the snake, and was gratified to see its pleasure: the dimples at the corners of the mouth, too, strike me as resembling the approach to a smile much more than the distortion of habitual passion; the corners of the mouth are, if any thing, turned upwards. It seems that the thought of this head exhibiting an expression of passion has been suggested by two circumstances: 1st, The third eye on the forehead in profile giving an effect similar to that of the contracted skin of the brow in anger; and 2dly, By the tooth or tusk, which coming from the upper jaw just at the corner of the mouth, produces on the spectator's mind an impression like what he would feel were the mouth turned downwards at the corners. Fancy carries one a long way; but I hesitate not to say, that such attention as I have now given it will induce in any one a similar belief;—I have been examining it for two hours. So say all theorists. The mustachios also lend their aid in giving a fiercer look, which I cannot allow is at all intended." |