yoga on stone’: sculptural representation of yoga on ... fileyoga tradition has evolved over...

‘Yoga on Stone’: Sculptural Representation of Yoga on

Mahuḍī Gate at Dabhoī in Gujarāt

Vijay Sarde 1

1. Department of Ancient Indian History, Culture and Archaeology, Deccan College

Post Graduate and Research Institute, Deemed to be University, Pune – 411 006,

Maharashtra, India (Email: [email protected])

Received: 04 July 2017; Revised: 02 September 2017; Accepted: 11 October 2017

Heritage: Journal of Multidisciplinary Studies in Archaeology 5 (2017):656‐675

Abstract: The United Nations General Assembly approved and declared June 21st as the ‘International

Yoga Day’. In present times yoga is accepted commonly by almost all the nations of the world. Yoga

tradition has evolved over thousands of years having its origins in India. There are many textual

references for yoga in the past such as yogasūtra of Patañjali, Haṭhayogapradīpikā, Gherānḍ Saṃhitā, śiva Saṃhitā etc. These texts throw detailed light on the yoga practices. However, there is less work done from archaeological perspectives. Dabhoī is situated 34 kilometer southeast of Vaḍodarā. It has been a medieval fort town of Gujarāt. The four magnificent gates of the fort are located in four directions. One of

them is called Mahuḍī gate. It is of the Vāghelā period and has elaborate sculptural embellishments of rare yoga practices done by the Nātha‐Siddhas. It seems that, the earlier scholars did not pay much attention

to these sculptures. These sculptural representations need to be examined vis‐à‐vis the rules and methods

of traditional yoga. These depictions of yogic postures also throw light on the beliefs and religious life and

their importance in contemporary society. The present research paper is an attempt to document and

analyze yogic postures depicted on the Mahuḍī gate. In addition, the paper will also elucidate on the Nātha‐Siddha tradition in the contemporary society.

Keywords: Yoga, Dabhoī, Mahuḍī Gate, Nātha‐Siddhas, Gujarat, Images, Āsanas

Introduction Dabhoī (22° 08ʹ N., 73° 25ʹ E.) is situated 34 kilometers southeast of Vaḍodarā, has been a medieval walled town of Gujarāt. Dabhoī, variously called Darbhavatī, Darbhāvatī,

Darbhavātīpura, Darbhikāgrāma etc. was founded earlier than the medieval time is

almost established. The four gates at Dabhoī, located in four directions, are known

respectively as the Hirā (East), Nāndodi (South), Vaḍodari (West) and Mahuḍī or Champānerī (North) gates.

The Vāghelā came into existence under the parasol of Solankī dynasty. The entire

administration came under the control of Vāghelā dynasty when the Solankīs

(Chālukyās) declined in mid of the 13th century C.E. By 1243 C.E., the Vāghelās were

become a powerful ruling class in Gujarāt. They restored the political, social and

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economic stability of Gujarāt in the latter half of the 13th century C.E., and their kings

and officials were patrons of arts and temple‐buildings. There is a temple, close to the

Hira gate, called Kalikāmāta. The long eulogy (praśastī) by Someśwara is engraved on

two stone slabs built into the niches of Hirā gate. The praśastī bears the date of 1311 V.S.

(1255 C.E.). This gives support that gates and fortification of town were built or

repaired by Vāghelā King Visaldeva. He was of the Vāghelā dynasty ruling from

Anahilvāda‐Pātan and son of king Vīradhavala of Ḍholkā, under whom Vastupāla, the

patron of Someśwara, was working as the minister. The accounts given in the

Vastupālcharita which was written in saṃvat 1365 (1308 C.E.), as has been stated above, would also corroborate it (Shastri, 1940: 04).

Figure 1: General View of the Mahuḍī Gate

There is a similar fortified town and gates like Dabhoī in Jhiṅjhuvādā (presently located in Surendranagar district) located at the southern edge of the little Rann of

Kutch. Inscription bears on fortification of Mahānshrī Uḍdal, who is said to be the

minister of Siddharāj Jaysiṃha gives the date of the 12th century C.E. (Gazetteer of

ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017

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India, Surendranagar district, 1977: 729‐730). The architecture of these gateways bears a

close resemblance to Dabhoī gates (Gadre, 1947: 13).There is another inscription

written in Marāthī which is engraved on the white marble slabs and belongs to the

reign of Mahārāja Dāmājirāo Gāekwād a Marāthā ruler; the illustrious son of Mahārāja

Pilājīrāo Gāekwād dated 1734 C.E. (Shastri, 1940: 18). It throws light on magnificent art

and architectures of Dabhoī.

Figure 02: Interior of the Mahuḍī Gate

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However, all these gates are double with the inner ones being more elaborate in

sculptural embellishments. The sculptures at Dabhoī gates show a number of figures of

the deities of Śaiva‐Śākta pantheon.

Mahuḍī Gate Mahuḍī or Champāner gate is situated at the north side of the town (Figure 1). This

was completed or repaired in the vikrama year 1344 (1286 C.E.) as mentioned in the

inscription on the wall, i.e., some thirty‐three years after the date of the Hirā gate

praśastī of Someśvara. This date belongs to the reign of Śaraṅgdeva (1274 to 1296 C.E.) (Shastri, 1940: 27). This record gives the names of masons who were, apparently,

engaged in building or reconstructing the gate. We do not have inscriptional evidence

about the construction of gate before 1286 C.E. According to the Jinaharshaganī, these

gates, the rampart were built in the time of Vīrdhavala. But Someśwar eulogy seems to

be more trustworthy. The date of the fort would be the middle of the 13th century C.E.

(Shastri, 1940: 26‐27). Hence the gate repaired or constructed during the second half

period of the 13th century C.E.

The interior of the gate bears magnificent sculptures and other carvings. There are six

pilasters on each side of it. The brackets, the pilasters and the various figures connected

with the Hindu pantheon are beautiful chiseled out. Three of them supported the

corbelled brackets of the roof. The middle pair of these pilasters accommodated the

massive doors when flung open (Figure 2). The sculptures at Dabhoī revel that the site

has been a stronghold of the Śākta cult with tantric influence (Giri, 1986: 181‐191). The

most peculiar feature of the gate is the representation of the figures of Nātha‐

yogīs/Siddhās and their yoga practices with definite iconographic details.

Images of Nātha‐Siddhās There are three rows of various sculptures have been depicted in interior part of the

both sides of the gate. Upper most rows represent Shaiva sculpture; middle represents

the Goddesses/yogīnīs (like Brahmanī, Chamunḍa, Saraswatī, Dakṣa) and lower one

represents the sculptures of Nātha‐Siddhas. U. P. Shah has thrown light on these

sculptures of Nātha‐Siddhas depicted on Mahuḍī gate. There are thirteen images of

Nātha‐yogīs in the third row. There are six images of Nātha yogīs starting from the

south to north corner of the western wall of the gate and seven images are on the

eastern wall. Out of thirteen images, Ādinātha, Matsyendranātha, Gorakṣanātha and Chauraṅginātha are clearly identified by U. P. Shāh (Shah, 1957: 174‐202). Remaining

images are difficult to identify clearly because of the unknown iconography of Nātha

cult (Figure 3).

There are some names have been carved near the head of Nātha‐yogīs but they seem

names of masons who carved particular images. There are some images of yoga on

corbelled brackets of the roof supported by pilasters. These images are less studied by

scholars. Because of identification of some Nātha‐yogīs we are sure that others images


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carved here belong to the Nātha cult. Yoga practices are the major part of the Nātha

cult, hence this cult sometimes called as ‘Yoga cult’ too.

According to U. P. Shah, these sculptures have been carved between 1200 to 1250 C.E.,

but the inscription on Hira and Mahuḍī gates suggest that these sculptures should be carved around 1255 to 1286 C.E.

Figure 3: Images of Matsyendranātha and Chauraṅginātha

Texts of the Nātha Cult on Yoga Nātha ascetics are generally known as yogīs and they are famous for their Haṭha yoga (enormous practices of yoga) even today. The word ‘Haṭha’ is used to denote a particular school of yoga. There is a long tradition of Haṭha yoga practices in India and an ample of traditional work on Haṭha yoga or yoga apart from the Nātha cult. Patañjali yoga is one of the earliest texts on the yoga. Other earlier texts predate the

Haṭhapradīpikā are Amṛtasiddhi (11th century C.E.), Dattātreyayogashāstra (13th century C.E.), Vasiṣṭha Saṃhitā, Yogayajnavālkya and other texts (rather than Nātha cult’s texts) and the Vivekamārtaṇda, Gorakṣaśataka and Khecarīvidyā (texts of Nātha cult) are taught only mudrās, bandhas, kuṇdalinī but none of these texts calls its techniques of Haṭha yoga. The only other texts older than the Haṭhapradīpikā to teach Haṭha yoga mudrās are the Śivasaṃhitā, Yogabīja, Amaraughaprabodha and Śarangdharpaddhati (1363 C.E), Noteworthy among the latter are the Amanaskayoga, Vasiṣṭha Saṃhitā and

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Candrāvalokana. The Haṭhapradīpikā is the first text that explicitly sets out to teach Haṭha yoga. The Haṭhapradīpikā became the root text of Haṭha yoga. All subsequent Sanskrit Haṭha yoga anthologies and commentaries refer to it, and most take its definition of the

practices of Haṭha yoga to be authoritative. It teaches 15 āsanas. Eight are varieties of sitting (or lying) positions suitable for meditation, and seven are non‐seated positions

(Mallinson, 2011: 772).

The curriculum of Haṭha consisting of āsana (posture), praṇāyāma (breath retention), mudrā and nādānusaṅdhāna (concentration on the internal sound) has been clearly mentioned in the Haṭhapradīpikā. These four types of practice are found in most

subsequent descriptions of Haṭha yoga. It is worth noting that Svātmārāma has

included nadānusandhāna in the Haṭha‐yogic curriculum. Āsanas denote bodily actions,

prāṇayāma and mudrās explain how to control the prānic activities, while by

nadānusandhāna a control over mental functions. Svātmārāma considers nadānusandhāna

as a very potential means for the attainment of samādhi state. There is a notion that the

use of the terms Haṭha yoga‐Rāja yoga is profusely seen in the literature of the Nātha cult. This indicates clearly that Svātmārāma has included mental practices also in the

Haṭha yoga which projects its comprehensive nature of Haṭha yoga and stating Rāja yoga or samādhi as its fruit; Svātmārāma has firmly established that Haṭha yoga and Rāja yoga are not two different yogas. Control of mental processes and practices like

āsana‐prāṇāyama are complimentary and are together termed as Haṭha yoga by Svātmārāma, and this shows proper tradition. Rāja yoga is indicative of samādhi and

not a separate kind of yoga (Gharote, Jha, Devnath & Sakhalkar, 2013: 1‐388).

Candrāvalokana, Yogaasanvishaya, Vivek‐martanḍa, Gorakṣaśataka, Khecarīvidyā, Jñāneśvarī, Haṭhapradīpikā by Svātmārāma (15th century C.E.), Yogabīja, Amaraughaprabodha,

Amaraughśāsanam (1525 C.E.) are texts on yoga and they belong to the Nātha cult

(Mallinson, 2011: 772‐780).

Description of the Yoga Sculptures of Dabhoī We can allocate the gate in‐between left side and right side. Description of the gate

from left to right sides from the inside of the town is as follows.

The Author gave numbers to projection like, projection no.1, 2, 3 etc. and āsanas are

explained as frontal to the back of the each arch. (We distribute the gate in this way,

because the depiction of Ādinātha is on the left side of the gate, so this will be the

correct sequence of explaining āsanas. there are depictions of Nātha‐Siddhās in‐

between the gap of two projections.

The sequence and explanation of āsanas will be from inside town to the outside of the

town) (Most of the postures of this article have been correlated with the book

‘Encyclopedia of Tradition Āsanas’ edited by Gharote, M.L., Jha, V.K., Devnath, P. &

Sakhalkar, S.B. (Gharote, Jha, Devnath & Sakhalkar, 2013: 1‐388). Seats of the yogīs are

same with Nātha‐Siddhās, which depicted on the third row of the gate (Figure 4).


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Figure 4: General Plan of the Mahuḍī Gate

Āsanas Depicted on the Left Side of the Gate (from Front to End)

There are three āsanas each front and back of the each projection. Some depictions are

in bad state of preservation. Āsanas are depicted on projected part of pilasters of the

gate. Two āsanas are in upper side of the arch while one is in below projected side.

Āsanas are projected bigger than other small depictions of the projections. There are

some beautiful depictions of vyālās also on each arch of the gate. This pattern followed

for all arches of the gate. Almost all yogīs have elongated ears, armlets, necklace, wrist

lets, waist band, leaves on back and yogapatta etc. (Figure 5 and 6).

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Figure 5: Sketches of Yoga Postures Depicted on Left Side of the Mahuḍī Gate

Figure 6: Sketches of the Yoga Postures Depicted on the Mahuḍī Gate


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Projection No. 1 (A and B)

First image depicted on projection is in standing position and is very crude. It is

definite that yogī depicted here is in some āsana, but because of eroded rock it is very

difficult to identify. Beside this there is an image of yogī in gomukhāsana having yogpatta

tied in his waist. He is in gyān mudrā (mudrā of Knowledge). Third yogī depicted below

the arch is in gomukhāsana and namaskāra/anjalī mudrā having cap, yogapatta, armlets

and looking in his right side. One leaf is depicted behind the yogī.

The back side of the projection first image is in relaxing position. This is similar with

maharāja‐līlāsana. It is also called ardha‐paryaṅkāsana, mālakī‐āsana and rājā‐līlāsana. Yogī has śingī (whistle) in his right hand. His left hand is on left knee. He has necklace and

yogapatta. His left leg and waist is in under the yogapatta. Another yogī is seated on his

feet keeping both hands on keens. He is probably in mālāsana. Mālā means a garland.

He wears loin cloth and armlets. Two leaves are shown behind the head of the yogī.

Below, a yogī is seated on toes and rests the buttocks on heels. He has kept his hands on

his knees. This is similar with aṅguṣṭhāsana, utkaṭāsana and brahma‐jurāṅkuśa‐āsana. He

wore a necklace, armlets, loincloth, yajnopavita (sacred thread), and yogapatta.

Projection No. 2 (C and D) First image of yogī shown in left side is identified as krauñcāsana. Krauñca means a

heron. In this sitting posture, one leg is bent back at the knee and the foot is placed

against the side of the hip joint, while the other leg is raised up vertically. His feet hold

by the hands. The raised leg resembles the outstretched neck and head of a heron, also

a precipice, hence, the name (Iyengar, 1992: 158). Beside this, an image is in nāvāsana.

Nāva is ship, a boat or vessel. This posture resembles the shape of a boat, hence the

name. This is similar with phodyāsana (Figure 7). Below these āsanas there is an image of

male and female. Yogī is shown with thunder bolt in his right hand and śingī (whistle)

in his left hand. He wore wristlets, necklace, armlets, waist let and loin cloth. He raises

his one hand and left leg, it seems that he wants to attack someone. One female is

watching him and shown with hands joining. She has heavy earring and other

ornaments. A tree is shown behind them. Back side of the projection first image is in

ūrdhva mukhapaścimottanāsana (Figure 08). ūrdhva (upwards) and mukha (face) when

used together mean having the face upwards. Paśchimottanāsana is the intense posterior

stretch. This is similar with phodyāsana.

In the second image a yogī is shown folding both legs and hands. This is similar with

aghora‐āsana, dhāmakāsana, mākaḍāsana. In these two images shown yogīs are turned on

their right side. Third yogī is seated and has raised his right leg vertically and left leg is

placed on the ground. He gives support to his buttock through his left hand. This is

similar with eka‐pāda śirāsana. He is shown with turban.

Projection No. 3 (E and F)

In this projection first two yogīs are shown in sitting āsanas and mudrās. One of them on

right side is in ardha‐padmāsana. This is same with ardhāsana, sahajāsana and ardha‐

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sīddhāsana. Beside this image a yogī is seated probably in sīddhāsana (?) and mudrā.

Below this a yogī is shown in sitting posture and vyākhyān mudrā. He has kept his right

hand below the left leg. He is seated in crossed legs. Back side of this arch first yogī is

seated with folded leg with the help of yogapatta and placed his hands on both side of

the legs on the ground. A leaf is clearly shown behind his head. He turned his left side.

Another yogī raises his legs in nāvāsana, but he catches his left leg with his right hand

and has kept his left hand on the ground and looking towards left side. Below this a

yogī is shown in sitting posture with crossed legs he has kept his left hand near the ears

and right hand is below the right thigh. Some unknown object like cloth is shown his

left hand.

Figure 7: Nāvāsana Figure 8: Ūrdhva Mukhapaścimottanāsana

Projection No. 4 (G and H)

There is an ample gap in‐between projection No.3 and No.4. In this projection a yogī is

depicted seated on top in a relaxed position with yogapatta. He is looking on his right.

He has placed his left hand on the knee of right leg and another hand has been placed

on ground. This is similar with bāla‐guna‐āsana. Seat has floral design. Another yogī is

seated and turned to his left. He has yogapatta. This āsana is same with lohapātra‐āsana,

carma‐gosvāmī‐āsana and dhāmaka‐āsana. Below, a yogī is seated on leg without touching


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his buttock on ground (maybe he took support of wall). He placed his hands on knees.

He holds a staff in‐between his left hand and chest. He turns on his right side. This

āsana is similar with utkaṭāsana. Two leaves are shown both sides of the head.

Back part of the projection has ardhāṅghri‐vṛkṣāsana. It is same with eka‐pāda‐vṛkṣāsana and vṛkṣāsana. In this āsana a yogī stands on head with the support of two hands. He

folds his left leg and has kept his sole on the thigh of his right leg. He has folded his

right leg from knee (Figure 9).

Figure 9: Vṛkṣāsana Figure 10: Vajrāsana

Beside, this āsana a yogī is seated in crossed legs. He has kept his left hand on left knee.

He has kept the right hand near his chest with support of knee. This āsana is bāla‐gunā‐

āsana. This āsana has resembles with hālipāva‐āsana. Probably he is in gyān mudrā. Two

leaves are visible on back side of the head. A yogī on below seated simply with the

support of the yogapatta. His hands are in gyān mudrā. Two leaves are visible on back

side of the head.

Projection No. 5 (I and J)

Two seated yogīs are shown with yogapatta on the top of the projection. They have

turned on their left side. One of them on the left side of projection is in aghora āsana (?).

Below these yogīs, another seated yogī is shown with yogapatta. He has turned to his

right side and seated with folded legs. His body is carved differently. There are cut

marks on his body. Two leaves are shown back side of the head. On the back side of

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the top a yogī depicted on left side is shown with folded hands and two leaves are

shown back side of the head. On the right side yogī is depicted in vajrāsana. In this

sculpture, the yogī folds both his legs from knees and seated in‐between folded legs. He

has kept his hands on both knees. He is looking slightly to his left. This āsana is

identified as vajrāsana. This is same as bhagāsana and dhīrāsana (Figure 10).

This sitting posture is done by keeping the knees together, spreading the feet and

resting them by the side of the hips. The pose is good for meditation and prāṇāyāma. Below these images a yogī shown in gyān mudrā. He has yogapatta and two leaves

behind the head.

Projection No. 6 (K and L)

On this Projection a seated yogī on right side shown with staff. He wore sacred thread.

Another yogī is on left shown in sitting position. He is in gyān mudrā and has yogapatta.

This āsana is similar with paryaṅkāsana. Below, a yogī is shown in sitting position. He

has kept his right hand on the left ear.

Figure 11: Dvi‐pāda śīrṣāsana and lolāsana /tolāsana

On back side a yogī is shown in dvi‐pāda śīrṣāsana. Dvi pāda (dvi+ two or both; pāda+ leg

or foot) means of both feet. In this āsana both legs are so placed behind the back, the

hands are folded in front of the chest and the body is balanced on a small section of the

seat near the tail‐bone. The pose is very similar to ardha‐garuḍa‐bheda, sthir‐gudā‐pāda‐śirasāsana and āruḍha‐garuḍāsana. He is shown in namaskār mudrā. Two leaves are

shown both sides of the head. Another yogī is shown in lolāsana /tolāsana. Rest the

palms on the floor beside the hips. Exhale, raise the trunk and balance only on the

hands, stretching out the arms. Rest on the floor, uncross the legs, re‐cross them the


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other way and again balance on the hands (Iyengar, 1992: 134). This is same as

cañcalāsana. Yogī wore a sacred thread and two leaves are clearly depicted both side of

the head (Figure 11). Third yogī’s right hand is shown in gyān mudrā. He slightly raises

his leg and leaves are shown back side of the head. Apart from this Nātha‐Siddhās

shown this side is in various āsanas. Ādinātha shown in Ardhapadmāsana,

Chauraṅginātha in siddhāsana, Gorakṣanātha in gomukhāsana, another two Nātha‐

Siddhās are in unidentified āsanas.

Figure 12: Sketches of Yoga Postures Depicted on the Right Side of the Mahuḍī Gate

Āsanas Depicted on the Right Side of the Gate (from front to end) (Figures 12 and 13)

Projection No. 1 (A1 and B1) In this projection started from inside the town a yogī is shown in uḍḍayan bandh kriyā/ mūlbandha / uṣṭrāsana. In this yogic posture the yogī is seated in vajrāsana and has kept both hands on the thighs. He seems to be doing some pranayama. His stomach has gone

inside. Because of the bad state of preservation, it is difficult to identify the posture

properly. Beside this image, there is another yogī seated in ardha‐padmāsana. Probably

he took help of a crutch and kept both palms on it. Below these images, there are

depictions of male and female. They are in a costume. One tree is shown in‐between

them. Probably they are doing dance. On the back side, there is a yogī in ardha‐

padmāsana and mudrā. This āsana is similar with ardha‐siddhāsana. Probably he is doing

meditation. Two leaves are shown both sides of the head.

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Another yogī is standing on his left leg. He has kept his foot on the left thigh. This āsana

is identified with ardha‐pādāsana, ekpādāsana and vṛkṣāsana. He is blowing some musical

instrument. Another yogī is seated below in the depiction.

Figure 13: Sketches of the Yoga Postures Depicted on the Mahuḍī Gate

Projection No .2 (C1 and D1) In this projection, the first image is showing adho‐muṇḍāsana. kapālāsana, kapālī‐āsana, adhomukhāsana, narakāsana, śīrṣāsana are also similar with this āsana. This is the head

stand pose, one of the most important yogic āsanas. It is the basic posture. It has several

variations.

In this yogīc āsana, the yogī stands vertically in a straight position and then stood on the

head. He has kept his hands on both sides of the head. This yogic posture is a part of

śīrṣāsana. The Yogī has a necklace, armlets and loin cloth.

Besides śīrṣāsana, there is a depiction of eka pāda śīrṣāsana. Eka means one. Pāda means a

leg or a foot. Śīrṣa means the head. In this āsana yogī has bend his knee, lifted the left

foot and brought it near the trunk by holding his left ankle with both hands. This is

similar with ajarāsana also. In this depiction leaves have been shown with the

preposition of the tree. Yogī has loin cloths, armlets with a floral seat (Figure 14). Third

depiction of yogī is with folded hands and a tree is shown instead of his right leg. This

is same with dakṣiṇaghrī‐pavana‐muktāsana and dakṣiṇa‐pāda‐pavana‐muktāsana. Tree has three branches.


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Figure 14: Śīrṣāsana and Eka Pāda Śīrṣāsana

On the back, the first yogī is shown in ūrdhva siddhāsana /padmāsana. Ūrdhva means

above or high. Siddhāsana is adept pose. In this variation, padmāsana has to done in the

head stand. Press the knees closer to each other and stretch the thighs up vertically

(Figure 15). Another yogī is seated in simple position with joined hands and yogapatta.

This is similar with sustaga‐kapāli‐āsana. Two leaves are shown behind the head. Third

yogī’s left hand is in gyān mudrā. He has kept his right hand on his right thigh. He has a

sacred thread. Two leaves are shown behind it.

Projection No. 3 (E1 and F1)

In this projection two yogīs and a yogīnī have been shown in unidentified postures. First

yogī is in meditation and gyān mudrā. Two leaves are shown behind it. Another yogī is

shown in different position. His posture is very different. It is similar with sūrya‐āsana

and girivara‐nātha‐āsana. The third depiction shows a yogīnī with double seat. Probably

she belongs to a royal family. She has armlets, ankle lets, and earrings, upper and

lower garments. She is in different kind of mudrā. She has kept her right hand on the

right knee. On back side, the first yogī’s right hand is depicted in gyān mudrā. Another

yogī is in joined legs with the help of yogapatta. Probably he has ghaṇṭā (bell) beside his legs. This image can be of Siddha Ghaṇṭāpā. In the third depiction a yogīnī is depicted with yogapatta. She is folded her hands and kept on right knee. She has worn upper and

lower garments (Figure 16).

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Figure 15: Ūrdhva Siddhāsana/

Padmāsana

Figure 16: Depiction of Yogīnī or

Siddhinī (Female ascetic)

Projection No. 4 (G1 and H1)

In this projection a first yogī seated in gomukhāsana but has stretched his right leg

forward. He has kept his right hand on right leg and left hand on left thigh. Another

yogī probably is in milāpa‐āsana. He has kept his hands straight on both sides of the

knees. Below, the third yogī is seated on legs. He is shown with bag /mug? He holds the

staff on his shoulder. He has yogapatta tied with knees. His left hand is going straight

downwards.

On the back side a yogī shown with yogapatta and he has kept his right hand on his

head and another on left thigh. Another yogī holds staff in his right hand and shown

with pressing his left side of ears by left hand. Below, another yogī is in gomukhāsana.

He holds a staff in his left hand. His right hand is in aśirwād mudrā.

Projection No. 5 (I1 and J1)

In this projection a yogī is shown with folded legs. He has kept his right hand into the

thigh. A damarū (musical instrument) has been shown on his right side. Second


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depiction shows a Yogīnī/Siddhini with the staff which she holds below her chin. Her

open hair are seen on both sides of the head. It’s seems like her body and head is split

from each other. Probably these two depictions are of Krishnapad (Kanifnath) and his

female disciple Mekhala. Pictures of Krishnapad and Mekhala from Tibet House

Museum and Rahul Sankrityayan’s collection have shown them respectively with

damaru and broken head (Upadhyaya, 2009: xiv‐xvi). Below, a yogī holds his left leg

upward and turns from knee towards right shoulder. He is catching his right leg’s

fingers.

Figure 17: Siddha/Yogī in Gomukhāsana

Sarde 2017: 656‐675

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On the back first yogī is in gomukhāsana and his right hand is in gyān mudrā. He has kept

his left hand straight on the floor. Another yogī is also in some kind of mudrā. He has a

little bit big belly. A third yogī is also in some kind of mudrā. He has taken support of

sacred thread to do meditation. This is an important aspect that sacred thread is also

useful for meditation and yoga.

Projection No. 6 (K1 and L1) In this projection a yogī is shown in gomukhāsana. Go means a cow. Mukha means face.

Gomukha means one whose face resembles a cow. It also means a kind of a musical

instrument, narrow at one end and broad at the other like the face of a cow. Yogī

stretches his chest and sees upwards towards his right. Another yogī is simply shown

in mudrā. Below the third yogī is shown standing on knees and leg. This is similar with

gaṇeśa‐āsana. Probably this depiction is of a yogīnī. On the back side first yogī is shown

in gomukhāsana with yogapatta. Shrīvatsa is on his chest. He holds both hands upwards.

His hands are in broken condition. Another yogī is depicted in some kind of posture.

He has stretched his left leg straight upward and has bent his right leg over the left leg.

He has kept his right hand on the floor. Something is written on both sides of his head.

Third yogī is also in gomukhāsana having yogapatta. He is in mudrā (?). Two leaves are

shown both sides of the head (Figure 17).

Apart from these āsanas Nātha‐Siddhās shown on right side are in gomukhāsana, mūl‐

bandhāsana and siddhāsana etc.

Discussion According to upper description and explanation it seems that this site is very

important for Shaiva‐Shakti cults. Out of four gates it seems that Mahuḍī gate is totally dedicated to Nātha‐Siddhas. This gate has depictions of popular Nātha‐yogīs.

Inscription on the gate gives a reliable evidence for periodization of this gate, which is

1286 C.E., although, it is said that these gates including Mahuḍī gate would have been

built much earlier than the assumed date. But according to the inscription carved on

Mahuḍī gate, it could be 1286 C.E. and there is a strong evidence for the date of the gate. The date of Someśwar praśastī, which is 1255 C.E., may be reliable for Hira gate

and other constructions in the sense of construction or repairing. If we assume that the

gate may have been constructed in the above date, so there is the only possibility that

fortification work started in the time of Visaldeva, and could be completed in the time

of Śarangadeva (1274 to 1296 C.E.).

However, the foundation of the fort of Dabhoī is ascribed to King Siddharāj (1093 to

1142 C.E.) of Pātan. The style of architecture and sculptures of the fort, and the belief

that the temple of Rudramala at Siddhapūr, and fort of Jhinjhuvāda and the Dabhoī

fort were built during the same time (Gazetteer of India, Vadodara district, 1979: 800).

It is highly possible that the gates and fortification of Dabhoī were constructed by

Siddharāj Jayasiṃha. Traditions also say that he was fully devoted to Siddhas and yogīs

and strong supporter of Śaivas.


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In this period Nātha and Siddhas were very popular among the society. It had an

impact on political and social sectors. Chālukyā‐Vāghelā rulers built and repair

magnificent gate in the respect of the Nātha‐yogīs. Karvān and Pavāgaḍha are other two important centers of Śaivism are much closer to Dabhoī. These are dedicated to

Pashupata cult of Lakulisha. Nātha cult has great influence of Pashupatas and claimed

to be presiders of the Pashupatas (White, 1996: 97). Another inscription belonging to

the Marātha period has given detailed account of the Dabhoī fort and town. In the 25th

line of the inscription it gives account of Gaibī Pīr. In Nātha cult Gaibī pīr is a name of

Gahinīnātha. That mean this place was important for Gahinīnātha too. He is equally

important amongst Hindus as well as Musalmāns, even today. Gahinīnātha was well‐

known Nātha‐yogī and disciple of Gorakṣanātha. Gaibī pīr a religious center is much

close to Mahuḍī gate. North Maharashtra was under the Vāghelā rulers for years in the

13th century C.E., Tryaṃbakeśwar, where Gahinīnāth was noticed for their initiation of

Marāthī saint and yogī Nivṛttinātha.

Yogic postures depicted on the gate defiantly belong to the Nātha tradition. It seems

that some āsanas depicted on gate are not similar with the modern tradition of yoga. It

might be due to the course of time some āsanas must have disappeared or forgotten by

people or they transferred their techniques into another āsanas.

Some yogic postures seem difficult to do, though they do not show any stress on the

faces of yogīs. Some postures are very difficult to carve on stone, because of their

critical poses. It is possible that some āsanas are very difficult to fix in particular

brackets; hence sculptors might have changed their original positions. Some postures

of them are mentioned in Haṭhapradīpikā, an important text on yoga practices. Some

āsanas did not match with modern days āsanas. Sculptors mentioned their own names

on some sculptures. There is possibility that these sculptors were only responsible to

carve other yogic postures depicted on the gate. Some of names of sculptors/masons

are Palhanā, Socandā, Vosavā, Śrī Ghamā, Vajā and Mahādev (Shastri, 1940:36). In

Nātha cult, combination of Śiva and Śaktī played a significance role to develop Natha

doctrine. Hence, sculptures carved on the gate are support to the doctrine of the Natha

cult.

The sculptures of yogīnīs on the gate show the participation of female and their

importance in the tradition of Nātha‐Siddhas. It is possible that Nātha‐Siddhas images

were carved for the purpose of protection of the town or fort from the invaders of the

northern side. Because there was belief that Nātha‐Siddhas have supernatural powers,

so they can protect the town. This reason supported by the Vastupālacharita is a work

written by Jinaharshaganī in the 1308 C.E. and the curse stone inscription would have

made because of this purpose only. There is highly possibility of Jaina influence on the

Iconography of some yogīs. This conjecture supports by two important Jaina ministers

Vastupāl and Tejpāl of Vāghelā rulers of same period who gave patronage to Jainism

also. There are other yogīs have been carved in the Sātmukhī Vāv (tank) or elsewhere in

Dabhoī are similar with iconography of Nātha‐Siddhas.

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There are 84 images of Nātha‐Siddhas have depicted on the Mahudi gate. These are

rare evidences of Iconography of Eighty four Siddhas elsewhere in India except

Panhāle‐Kājī in Maharashtra. So this site is useful to study of Iconography of Siddhas.

There are depictions of three lady Siddhās out of Eighty four Siddhas. These lady

Siddhas should be Kanakhala, Mekhalā or Bhadrā. These names are mentioned in list

of eighty four Siddhās of Varnaratnakar and Sahajyani Siddhās (Dwivedi, 1950: 27‐31).

Acknowledgement I owe my sincere thanks to, Dr. Abhijit Dandekar, Durga Kale, Arjun Rao and Dr.

Shreekant Jadhav (Department of Archaeology, Deccan College, Post‐Graduate and

Research Institute, Pune, India), Mahadevi Gawali‐Sarde, Rajkumar Sarde, Ajay Pujari

and Kansara Ji (Dabhoi) for their support, valuable suggestions and encouragement

during the research work. I am also grateful to Prof. Gyanshankar Sahay (Assistant

Director of Research and I/C Head Philosophic literary Research Department,

Kaivalyadham Yoga Institute, Lonavla and Prof. R. S. Bhogal (Assistant Director of

Research, Scientific Research Department, Kaivalyadhama Yoga Institute, Lonavla,

India), Dr. Manmath Manohar Gharote (Director of the Lonavla Yoga Institute, India)

who provided us constant help during the research. I am also thankful to

Archaeological Survey of India to co‐operation during field work.

References Dwivedi, H. (1950) Nath Sampradaya. Allahabad: Hindustani Academy, pp. 27‐31.

Gadre, A.S. (1947) Archaeology in Baroda. Baroda: Baroda state press, p. 13.

Gazetteer of India (1977) Surendranagar district, Gujarat state, Ahmadabad pp. 729‐730.

Gazetteer of India (1979) Vadodara district, Gujarat state Gazetteers, Ahmadabad. p. 800.

Giri, K. (1986) The cultural Life as depicted on Dabhoi Gates, Journal of the oriental

Institute, M.S. University of Baroda, XXXIV (3‐4). pp. 181‐191.

Gharote, M.L., Jha, V.K., Devnath, P. & Sakhalkar, S.B. (2013) In Encyclopedia of

Traditional Āsanas. Lonavala: the Lonavla Yoga Institute. pp. 1‐388.

Iyengar, B.K.S. (1992) Light on yoga (4th edition), New Delhi: INDUS Harper Collins

Publishers India Pvt. Ltd., p. 158.

Mallinson, James (2011) Hathyoga‐ An entry on Hathyoga for the Brill Encyclopedia of

Hinduism vol. 3. p. 772.

Shah, U. P. (1957) Nath‐Siddhon ki prachina Silpamurtiyan. Kashi Nagaripracharini Patrika,

62 (2 & 3). pp.174‐202.

Shastri, H. (1940) The Ruins of Dabhoi or Darbhavati in Baroda State. Baroda: Gaekwad’s

Archaeological Series Memoir No. III, Baroda State Press. p. 4.

Upadhyaya, N. (2009) Bauddha Kapalika Sadhana aur Sahitya. Varanasi: Vishwavidyalaya

Prakashan. pp. xiv‐xvi.

White, D. G. (1996) The Alchemical Body: Siddha Traditions in Medieval India. Chicago and

London: The University of Chicago Press. p. 97.

yoga on stone’: sculptural representation of yoga on ... fileyoga tradition has evolved over...

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