Makara

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For other uses, see Makara (disambiguation).
Makara
Makara at the Konarak temple
CountryIndia
Ganga

Makara (

romanized: Makara) is a legendary sea-creature in Hindu mythology.[1] In Hindu astrology, Makara is equivalent to the Zodiac sign Capricorn
.

Makara appears as the

Narmada, and of the god of the ocean, Varuna.[2] Makara are considered guardians of gateways and thresholds, protecting throne rooms as well as entryways to temples; it is the most commonly recurring creature in Hindu and Buddhist temple iconography, and also frequently appears as a gargoyle or as a spout attached to a natural spring. Makara-shaped earrings called Makarakundalas are sometimes worn by Hindu deities, for example Shiva, Vishnu, Surya, and Chandi. Makara is also the insignia of the love god Kamadeva
, who has no dedicated temples and is also known as Makaradhvaja, "one whose flag depicts a makara".

Etymology

A crocodile-like Makara as Varuna's animal vehicle

Makara is a Sanskrit word which means "sea-animal, crocodile".[3]

Josef Friedrich Kohl of

Tibetan it is called the "chu-srin",[7] and also denotes a hybrid creature.[8]

Physical features of makara

It is generally depicted as half terrestrial animal in the frontal part (stag, deer, or elephant) and half aquatic animal in the hind part (usually of a fish, a seal, or a snake, though sometimes a peacock or even a floral tail is depicted). Though Makara may take many different forms throughout Hindu culture, in the modern world, its form is always related to the marsh crocodile or water monitor.

According to an art historian,

Greek Mythology, possibly after contact with silk-road images of the Kētos.[9]

In Sinhalese ancient artwork Makara is made up of body parts of six or seven animals such as the trunk of the

peacock and feet of the lion.[10]

Iconography

Vedic era iconography

During

Vedic times when Indra was the god of heaven, Varuna (the Vedic water god) became the God of the seas and rode on makara, which was called "the water monster vehicle".[11][12]

Celadon green-blue glazed pottery ewer, molded as Makara dragon-fish

Vishnu's earrings are shown in the form of Makara;

water monitor as both has body parts (example: jaws, meat etc.) which are stated to possess aphrodisiac properties.[14]

Makara has been depicted typically as half mammal and half fish. In many temples, the depiction is in the form of half fish or seal with head of an elephant. It is also shown in an abstract, chimeric form with head and jaws of a crocodile, an elephant trunk with scales of fish and a peacock tail. Lakshmi sitting on a lotus is also a depiction in which she pulls the tongue of the elephant shaped makara is meant to project Lakshmi's image as the goddess of prosperity, wealth and well being.[8][15][14] It represents a necessary state of chaos before the emergence of a new state of order.[8]

Makara is also the emblem of Kamadeva, the god of love and desire. Kamadeva is also known as 'Makara-Ketu' which means "having the makara for an emblem". It is the tenth sign of the Zodiac, called rāśi in Sanskrit, which is equivalent to the zodiacal sign of Capricorn (goat symbol).[11]

Middle kingdoms iconography - Pradyuma Makaradhvaja

See also: Middle kingdoms of India
Gwalior Museum.[21][17]

From the 2nd century BCE, the Makara appears to have been the symbol of

Besnagar near the Heliodorus pillar dedicated to Vasudeva, is also attributed to Pradyumna.[22] In the Mahabharata too, the Makara is associated with Krishna's son and Kamadeva, the God of Love, suggesting they are identical.[22]

Later Hindu iconography

See also: Hindu temple iconography

Universal frequent occurrences

Row of Makara in base of Hoysaleswara Temple, Halebidu, Karnataka. Note Makara standing vertical at corner.

In Hindu

Ganga, the river goddess. A row of makara may run along the wall of a Hindu temple, act as the hand rail of a staircase, or form an arch above a doorway.[15]

The leading Hindu

Ganapati Sthapati describes Makara as a mythical animal with the body of a fish, trunk of an elephant, feet of a lion, eyes of a monkey, ears of a pig, and the tail of a peacock.[15] A more succinct explanation is provided: "An ancient mythological symbol, the hybrid creature is formed from a number of animals such that collectively possess the nature of a crocodile. It has the lower jaw of a crocodile, the snout or trunk of an elephant, the tusks and ears of a wild boar, the darting eyes of a monkey, the scales and the flexible body of a fish, and the swirling tailing feathers of a peacock."[11]

Traditionally, a makara is considered to be an aquatic mythical creature. Makara has been depicted typically as half mammal and half fish. Some traditional accounts identify it with a

Mugger because of its etymological roots. It is depicted with the forequarters of an elephant and the hindquarters as a fish tail. Crocodile was also a form which was used in the earlier days which was shown with human body.[15][23]

Row of Makara in base of Hoysaleswara Temple, Halebidu, Karnataka

In many temples, the depiction is in the form of half fish or seal with head of an elephant. It is also shown with head and jaws resembling a crocodile, an elephant trunk with scales of fish and a peacock tail.

Gangetic dolphin having striking resemblances with the latter, now found mainly in Vikramshila Gangetic Dolphin Sanctuary. Others portray it as a fish body with an elephant's head. The tradition identifies the makara with water, the source of all existence and fertility.[15]

In a Hindu temple, the Makara often serves as the structural

stag and half fish.[25] These elements are variously joined to form one of the most common recurring themes in Indian temple iconography. In Indian art, the makara finds expression in the form of many motifs, and has been portrayed in different styles. Makara figures are placed on the entry points (Toranas) of several Buddhist monuments, including the stupa of Sanchi, a world heritage site. It is found guarding the entrances to royal thrones (see Distribution below).[15]

The Makara Thoranam above the door of the Garbhagriha of Hoysaleswara Temple, Halebidu. Two makaras are shown on either end of the arch.

Medieval South Indian iconography

In the medieval era of South India, Makara was shown as a fifth stage of development, symbolized in the form of an elephant head and body with an elaborately foliated fish tail. Most myths maintain this symbolism of this stage in the evolution of life.[14] (Note makara in fifth row of animistic carvings in temple wall at right.)

Indonesian iconography

The

kala-makara as both decorative and symbolic elements of temple architecture. Kala is the giant head, often took place on the top of the entrance with makaras projected on either sides of kala's head flanking the portal or projecting on top corner as antefixes. Kala-makara theme also can be found on stairs railings on either sides. On upper part of stairs, the mouth of kala's head projecting makara downward. The intricate stone carving of twin makaras flanking the lower level of stairs with its bodies forming the stair's railings. These types of stairs decorations can be observed in Borobudur and Prambanan
temples. Makara's trunks are often describes as handling gold ornaments or spouting jewels, while in its mouth often projected Gana dwarf figures or animals such as lions or parrots.

Khmer iconography

Makara disgorging a lion-like creature on corner of a lintel on one of the towers) surrounding the central pyramid at Bakong, Roluos, Cambodia

Makaras are also a characteristic motif of the religious Khmer architecture of the Angkor region of Cambodia which was the capital of the Khmer Empire. Makaras are usually part of the decorative carving on a lintel, tympanum, or wall. Makaras are usually depicted with another symbolic animal, such as a lion, naga or serpent, emerging from its gaping open mouth. Makara are a central design motif in the beautiful lintels of the Roluos group of temples: Preah Ko, Bakong, and Lolei. At Banteay Srei, carvings of makaras disgorging other monsters were installed on many of the buildings' corners.[26]

Nepalese iconography

The

Newa art of Nepal uses this depiction extensively. In Newar architecture, its depiction is; "as guardian of gateways, the makara image appears on the curved prongs of the vast crossed-vajra that encompasses the four gateways of the two-dimensional mandala. Of the three dimensional-mandala this crossed-vajra supports the whole structure of the mandala palace symbolizing the immovable stability of the vajra-ground on which it stands."[11]

Most spouts of old Nepalese drinking fountains (called dhunge dhara) have the shape of a makara.[27]

Sri Lankan iconography

Dragon Balustrade at the entrance to Jaya Sri Maha Bodhi in Anuradhapura, Sri Lanka

Makara is the Sinhala term for dragon, an important figure in Sinhala Buddhist culture in Sri Lanka. It is depicted on toranas in temple architecture and objects of prestige such as in kastanes.

The Makara is widely used in Sri Lankan Buddhist architecture, often depicted on

Buddhist artwork in other countries.[citation needed
]

The

Bo trees. There are two balustrades at main entrance of Lankatilaka Viharaya in Kandy and they are sometimes called Gajasinha balustrades because of the shape of the Makara there.[29][30]

The

Buddha can be seen in Ridi iharaya and Dambulla cave temple.[31]

A figure of Makara has been carved to the handle of a temple key of Gadaladeniya Temple built in 1344 in Diggala in Kandy District.[32]

The Makara has also been used as a clan symbol by the Karavas and Karaiyars of Sri Lanka, who both share similar origin and were collectively known as Kurukulam.[33][34] Since at least 14 century AD, they have used Makara flags in their ceremonies.[35] Clan titles such as Aditya and Varunakulasuriyan were used by them, to indicate their connection to ancient Hindu god Varuna.[36]

Tibetan Buddhist iconography

In the Tibetan Buddhist format it evolved from the Indian form of makara. However, it is different in some ways such as, "display of lions fore paws, a horse's mane, the gills and tendrils of a fish, and the horns of a deer or dragon. From its once simple fishtail, sometimes feathered, now emerges as a complex spiraling floral pattern known as makara-tail design (Sanskritmakaraketu)".[11]

In Tibetan iconography, it is depicted in the Vajrayana as a weapon of strength and tenacity. The Vajrayan weapons which have makara symbolism are: axe, iron hook, curved knife, vajra, and ritual dagger, in all of which the theme is "emergence of the blade from the open mouth of the makara".[11]

Its symbolic representation in the form of a makara head at the corner of temple roofs is as water element which also functions as a "rainwater

Buddha's images.[11]

Distribution of iconography

Stone sculptures of the mythological Makara and its ancient place in the iconography of Hinduism and Buddhism are widely spread throughout South Asia and Southeast Asia. Examples from ten countries are shown below:

See also

References

  1. ^ www.wisdomlib.org (2009-04-12). "Makara, Makāra, Mākara, Mākāra: 44 definitions". www.wisdomlib.org. Retrieved 2022-10-13.
  2. JSTOR 3250095
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  3. ^ Apte, V. S. (1957). "मकर". The Practical Sanskrit–English dictionary (Revised and enlarged ed.). Poona: Prasad Prakashan. p. 1218.
  4. ISBN 978-90-04-03892-9
  5. ISBN 978-90-04-16819-0
  6. ^ "Jain Studies in Germany (Part 2) @ HereNow4U".
  7. ISBN 9788120831056
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  13. ^ The Asian Civilisations Museum A-Z Guide to its Collections. Singapore: Editions Didier Millet, 2003, p. 300.
  14. ^ a b c Archaeological Institute of America (1970). Archaeology. Archaeological Institute of America. pp. 41–43. Retrieved 17 January 2011.
  15. ^ a b c d e f Janaki Lenin (2011-01-14), "My Husband and Other Animals - The beast within File:Makara Halebidu.jpg", The Hindu, ARTS » HISTORY & CULTURE, Kasturi & Sons Ltd, retrieved 2011-01-14
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  17. ^
    ISBN 978-81-7099-002-4
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  18. ^ Gupta, Vinay K. (January 2019). "Vrishnis in Ancient Literature and Art". Indology's Pulse Arts in Context, Doris Meth Srinivasan Festschrift Volume, Eds. Corinna Wessels Mevissen and Gerd Mevissen with Assistance of Vinay Kumar Gupta: 81.
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  21. ^ Visible in the back of the image entitled "Lion capital – Udayagiri – 5th century": "Gujari Mahal State Archaeological Museum – Gwalior". Kevin Standage. 15 April 2019.
  22. ^
    ISBN 978-0-19-005411-3
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  23. ISBN 978-0-391-03287-3
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  24. ISBN 978-0-7661-8881-5
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  25. ^ Wilkins (2004)", p.373
  26. ^ Vittorio Roveda (2005), Images of the gods: Khmer mythology in Cambodia, Thailand and Laos, River Books, pp. 209–210
  27. ^ Dhunge Dhara: A Case Study of the Three Cities of Kathmandu Valley Archived 2021-03-22 at the Wayback Machine by Riddhi Pranhan, Ancient Nepal 116-118, 1990
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  29. ^ a b Wijesinghe, Mahil (19 Feb 2017). "Lankatilaka Vihara: Magnificent edifice of Gampola era". Sunday Observer. p. 1. Retrieved 11 July 2021.
  30. ^ "Discover Sri Lanka". Lanka Nest. Archived from the original on 12 December 2013. Retrieved 16 March 2012.
  31. ^ Fernando, Kishani S. "Ridi Viharaya". Daily Mirror. Retrieved 14 March 2012.
  32. ^ "Tom Allwood Photography". Tom Allwood. Archived from the original on 25 October 2009. Retrieved 18 March 2012.
  33. ^ Kurukshetra. Sri Lak-Indo Study Group. 1976.
  34. ^ Kurukshetra. Sri Lak-Indo Study Group. 1976.
  35. ^ Lewis, John Penry; Senaveratna, John M.; Bell, Harry Charles Purvis (1922). The Ceylon Antiquary and Literary Register.
  36. ISBN 9789556591460
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Bibliography

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