section_path: Religious and cultural significance/Ganges in classical Indian iconography
section_name: Ganges in classical Indian iconography
paragraph_text: Ganges in classical Indian iconography
  
  Early in ancient Indian culture, the river Ganges was associated with fecundity, its redeeming waters, and its rich silt providing sustenance to all who lived along its banks. A counterpoise to the dazzling heat of the Indian summer, the Ganges came to be imbued with magical qualities and to be revered in anthropomorphic form. By the 5th century CE, an elaborate mythology surrounded the Ganges, now a goddess in her own right, and a symbol for all rivers of India. Hindu temples all over India had statues and reliefs of the goddess carved at their entrances, symbolically washing the sins of arriving worshippers and guarding the gods within. As protector of the sanctum sanctorum, the goddess soon came to be depicted with several characteristic accessories: the makara (a crocodile-like undersea monster, often shown with an elephant-like trunk), the kumbha (an overfull vase), various overhead parasol-like coverings, and a gradually increasing retinue of humans.
  
  Central to the goddess's visual identification is the makara, which is also her vahana, or mount. An ancient symbol in India, it pre-dates all appearances of the goddess Ganga in art. The makara has a dual symbolism. On the one hand, it represents the life-affirming waters and plants of its environment; on the other, it represents fear, both fear of the unknown which it elicits by lurking in those waters, and real fear which it instils by appearing in sight. The earliest extant unambiguous pairing of the makara with Ganga is at the Udayagiri Caves in Central India (circa 400 CE). Here, in the Cave V, flanking the main figure of Vishnu shown in his boar incarnation, two river goddesses, Ganga and Yamuna appear atop their respective mounts, makara and kurma (a turtle or tortoise).
  
  The makara is often accompanied by a gana, a small boy or child, near its mouth, as, for example, shown in the Gupta period relief from Besnagar, Central India, in the left-most frame above. The gana represents both posterity and development (udbhava). The pairing of the fearsome, life-destroying makara with the youthful, life-affirming gana speaks to two aspects of the Ganges herself. Although she has provided sustenance to millions, she has also brought hardship, injury, and death by causing major floods along her banks. The goddess Ganga is also accompanied by a dwarf attendant, who carries a cosmetic bag, and on whom she sometimes leans, as if for support. (See, for example, frames 1, 2, and 4 above.)
  
  The purna kumbha or full pot of water is the second most discernible element of the Ganga iconography. Appearing first also in the relief in the Udayagiri Caves (5th century), it gradually appeared more frequently as the theme of the goddess matured. By the 7th century it had become an established feature, as seen, for example, in the Dashavatara temple, Deogarh, Uttar Pradesh (7th century), the Trimurti temple, Badoli, Chittorgarh, Rajasthan, and at the Lakshmaneshwar temple, Kharod, Bilaspur, Chhattisgarh, (9th or 10th century), and seen very clearly in frame 3 above and less clearly in the remaining frames. Worshipped even today, the full pot is emblematic of the formless Brahman, as well as of woman, of the womb, and of birth. Furthermore, The river goddesses Ganga and Saraswati were both born from Brahma's pot, containing the celestial waters.
  
  In her earliest depictions at temple entrances, the goddess Ganga appeared standing beneath the overhanging branch of a tree, as seen as well in the Udayagiri caves. However, soon the tree cover had evolved into a chatra or parasol held by an attendant, for example, in the 7th-century Dasavatara temple at Deogarh. (The parasol can be clearly seen in frame 3 above; its stem can be seen in frame 4, but the rest has broken off.) The cover undergoes another transformation in the temple at Kharod, Bilaspur (9th or 10th century), where the parasol is lotus-shaped, and yet another at the Trimurti temple at Badoli where the parasol has been replaced entirely by a lotus.
  
  As the iconography evolved, sculptors, especially in central India, were producing animated scenes of the goddess, replete with an entourage and suggestive of a queen en route to a river to bathe. A relief similar to the depiction in frame 4 above, is described in Pal 1997, p. 43 as follows:
  
  A typical relief of about the ninth century that once stood at the entrance of a temple, the river goddess Ganga is shown as a voluptuously endowed lady with a retinue. Following the iconographic prescription, she stands gracefully on her composite makara mount and holds a water pot. The dwarf attendant carries her cosmetic bag, and a... female holds the stem of a giant lotus leaf that serves as her mistress's parasol. The fourth figure is a male guardian. Often in such reliefs, the makara ' s tail is extended with great flourish into a scrolling design symbolizing both vegetation and water.