Garuda Garvabhangam: An Empirical Study of the Rare

Mythological Narrative Art from Medieval Deccan

Region
Chaitanya Arun Sathe1

1. Bal Mukund Lohia Centre for Sanskrit and Indological Studies, Tilak Maharashtra
University, Pune – 411 030, Maharashtra, India (Email: casathe@gmail.com)

Received: 13 July 2019; Revised: 09 September 2019; Accepted: 06 October 2019

Heritage: Journal of Multidisciplinary Studies in Archaeology 7 (2019): 875-886

Abstract: Garuda and Hanuman are believed to be the great devotees of Lord Vishnu in the Vaishnava
tradition. Though they both serve to same supreme lord Vishnu and are most worshiped by the Vaishnava
followers; there are few unusual mythological stories depicts their conflict. During the research, many
such narrative sculptures of medieval period were found across the Deccan region. These art pieces were
found mainly in Vaishnava temples, commissioned or patroned by the royalties of the Deccan region and
are dated to be of the period of Vaishnava Alvars like Ramanujacharya and Madhwacharya. Although
these sculptures are loosely mapped to lesser known stories from Puranic texts or folk lore like Garuda
Garvabhangam, the exact literary source of this particular art is obscured. The present paper has made an
attempt to document these sculptures, try to identify the scheme of these sculptures, its cultural
importance and its traditional source if any.

Keywords: Garuda, Hanuman, Vaishnava, Deccan, Alvars, Ramanujacharya,

Madhwacharya

Introduction
In Vaishnava tradition, Hanuman is a divine simian and is considered to be an ardent
devotee of lord Ramachandra, while Garuda is celestial-bird mount of lord Vishnu. They
both serve to the supreme lord in many causes. Hanuman is one of the central
characters of Epic Ramayana, also appears in Epic Mahabharata. Hanuman, who is widely
believed to be incarnation of lord Shiva, is very popular in Hinduism and other
indigenous religions(Bhandarkar1956; Williams2008).Garuda is most worshipped in
Vaishnava tradition, and has mentioned in Vedic literature like- the Rigveda and
Shatapatha Brahmana embedded inside the Yajurveda as well as Puranas like- Vishnu,
Padma, Garuda etc. (Shastri 1999; Dwivedi 2015) Idol of Garuda can be found in front of
temple of Lord Vishnu or sometimes as a vahana of the lord. Hanuman became
important in medieval period and has become a cultural icon as symbolic ideal of
Shakti and Bhakti. Hanuman and Garuda are both invoked as symbols of devotion,
impetuous force, of speed and power (Bharati 1942). In spite of the fact that Hanuman
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and Garuda are believed to be engaged in eternal service to Lord Vishnu or his
incarnations, there are some folk-lore elaborates their conflicts at occasions. Hanuman
and Garuda are shown to be in tussle with each other over some fruit-like object. Many
of such sculptures of medieval period were found on the Vaishnava temples of Deccan
region. The dating of these temples is coinciding with Ramanujacharya and other Alvars.
Although the exact source of this story is obscure, but it is observed to be quite popular
narrative imagery.

Methodology
The source of this particular mythological story is not been identified, by entirely or by
cultural context by any authoritative body and there is no further academic
information on the sculpture, such as its age, identity and its historic importance. The
aim of this paper is to propose to ascetain the scheme of this unsual sculpure, its
literature source if any and discuss its academic importance. To accomplish the aims,
sculptures were photographed inside the temples. In an attempt to identify the said
sculptures, author went through various lirerature sources, also a detail visual analysis
of the sculptures was done. Author has also made an attempt to iconographically
compare these sculptures with other sculptures based on its sylistic features, in order
to find a match.The author has searched in the vicinity of the temples to find releveant
evidences to support his claim, also interviewed people who has faith in the
consubstantial philosophy and tradition.

Figure 1: Scene on outer wall of Chennakeshava Temple, Belur, Karnataka

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Figure 2: Corner Panel on walls of Figure 2.1: Panel at the Archaeological

Lakshmi-Narsimha temple, Haranhalli Museum, Halebidu, Karnataka

Figure 2.2: Corner Panel on walls of Figure 2.3: Corner panel on walls of
Kedareshwara at Nagalapura, Tumkur Chennakeshava temple, Nagalapura

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Findings
The aimed narrative sculpture is on wall-panels of various temples across Deccan
region. The scheme of the panel shows two celestial figures, identified as Hanuman and
Garuda are fighting over an object what look like a linga or dicotyledon seed, placed in
between them. They both have laid their hand on it, and that ovoidal object is shown to
be split into two halves. Instead of both shown fighting, some sculptures depict them
to be holding or carrying that ovoid object. Instead of Garuda and Hanuman, sometimes
two simian figures are shown carrying the said ovoidal object. These depictions are
commonly seen carved on the corner panels of Hoysala temples dated around
thirteenth century. Many a times lord Vishnu is shown watching the scenario from a
distance (Figure 2.1, Figure 2.2 and Figure 2.3).

During the research, Similar depictions are found in several temples across the Deccan
region and are dated to be of medieval period i.e. twelfth century to seventeenth
century AD. It is also observed that most of such sculptures are present in the temples
which are dedicated to lord Vishnu or his incarnations and many of these temples are
commissioned or patroned by the royalties of that region. While doing the research the
author found several sculptures with same theme. It is being observed by the author
that most of these sculptures are found in Karnataka and are dated to be of Hoysala
period (Foekema,1996). Besides Karnataka few sculptures were also found in Andhra
Pradesh and Maharashtra. The aimed sculptures are discussed below in the
chronological order. Scheme of the imagery is found to be very similar in all the panels.

Figure 3: Sculpture carved on the stone Figure 4: Carved inside of the Ugra-
gate of Lakshmi-Narsimha temple, Javagal Narsimha Temple, Ahobilam, Kurnool

The Narrative sculpture in Figure 1, is carved on the walls of Chennakeshava temple,

Belur, Karnataka. It is been divided in to two storeys-upper and lower. Below panel
shows Hanuman to the left-side and Garuda to the right-side fighting over an ovoid
object, which is split in two halves. Lord Vishnu and goddess Lakshmi are shown on the

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on the panel above. This temple is commissioned by Hoysala King Visnuvardhana I in

AD 1117 to celebrate his victory over Cholas. According to a later mythology,
Vishnuvardhana was previously follower of Jainism and he built this temple to mark his
conversion to Sri Vaishnavanism after coming under influence of Alvar Ramanujacharya
(Hardy1995).

Figure 4.1: On Temple wall of Krodha- Figure 4.2: Inside the temple of
Narsimha, Ahobilam Ahobila-Narsimha, Ahobilam

Figure 5: Carved on the wall of Rameswara Figure 6: Present on decorative pillar

temple, Sagar, Shimoga, Karnataka of Bhoga-Narsimha temple, Raher

The Sculpture shown in Figure 2, is a corner panel, carved on the temple wall of the
Lakshmi-Narasimha temple at Haranhalli, Karnataka. It was built by Hoysala king Vir
Someswara in AD 1235. This sculpture is slightly different from other panels under
discussion. It depicts two monkey-like figures with prominent tails, holding an ovoid
object with both of their hands. A Garuda sculpture is placed on the right side of the
observed panel separately and it is not a part of the same story. This theme seems to be
common during Hoysala period as similar sculptures are found in several
contemporary Vaishnava temples. See (Figure 2.1, Figure 2.2 and Figure 2.3)
(Hardy1995).

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Figure 7: Carved on the walls of Figure 8: Narrative Sculpture carved on

Hanumanappa temple at Budarsingi, decorative pillar of Bhairavanath temple,
Dharwad, Karnataka Kikali, Satara, Maharashtra

Figure 9: sculpture carved on pillar of Figure 10: Decorative panel carved on outside
inside Sri Prasanna Rameswara of Chennakeshava Temple, Somanathpura,
temple, Devarunda, Karnataka Karnataka

The carving in Figure 3, is found on the side wall of stone gate of the Lakshmi-
Narasimha temple at Javagal, Karnataka. This temple is also built by Hoysala King Vir
Someswara in AD 1250. This panel is very small as compared to other panels. In here
Hanuman is shown picking-up a bi-cotyledon fruit from the ground while Garudais
shown holding him by the wrist. Both figures are shown in attacking posture with
raised hands in slapping gesture.

The Sculpture seen in Figure 4, is found in the Ugra-Narsimha temple at Ahobilam,

Kurnool, Andhra Pradesh. This temple complex is built by King Vikramaditya of Western
Chalukyas of Kalyn. This sculpture has Hanuman and Garuda depicted on the either side,
holding a linga-like object with their hands. Prominet ridge is clearlly visible on this
ovoid object. Similar sculptures can be found on the walls of Krodha-Narsimha temple
and Ahobila Narsimha temple at Ahobilam as well. (Figure 4.1 and Figure 4.2) Ahobilam is
considered to be abode of lord Narsimha. Initial temples at Ahobilam were built by

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Chalukyas in eighth century, most of the current structures were rebuilt by Vijayanagar
kings during fifteenth century.

Figure 11: Sketch by a Mysore artist Tippajappa, Mysore, Karnataka

(Courtesy: Karnataka State Department of Archaeology)

Figure 12: Folk art ‘Kalsutri Bahulya’ or string puppetry play showing fighting scene
between Hanuman and Garuda, Pinguli, Kudal, Maharashtra

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Figure 13: Garuda Garvabhangam story is being performed by artist Kalamandalam

Geethanandan in Ottan Thullal, 2006 (Courtesy: Hindustantime.com)

The Panel in Figure 5 is carved on the wall of Rameswara temple at Sagar, Shimoga,
Karnataka. This temple is belived to be built around AD 1500 to AD 1560 by Nayakas of
Keladi. This temple is dedicated to lord Shiva. The aimed sculpture shows both, Garuda
and Hanuman in an aggressive stance, trying to catch-hold of a ridged fruit. The scheme
of the carving is very similar to the sculpture on the entrance of Narasimha temple at
Javagal, Karnataka on its stylistic grounds.

The Sculpture in Figure 6 is found on one of the decorative pillars of Bhoga-Narsimha

temple at Raher near Nanded, Maharashtra on the banks of Godavari river. This temple
was patroned by Kakatiyas under the guidance of popular Vaishnava saint Maaydeva.
Temple is dated around thirteenth to fourteenth century AD approximately. Hanuman
and Garuda are fighting over a giant fruit, which is placed on a lion motif.

The carving in Figure 7, is present on the temple wall of the Hanumanappa temple at
Budarsingi, Dharwad, Karnataka. This sculpture is one latest carving found. There is not

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much information is available regarding the patron of this temple. Approximately the
temple dated in fifteenth to sixteenth century AD. Hanuman and Garuda are again
shown doing a tussle over a fruit, trying to catch hold of it. They both are shown in
very aggressive stance with angry expressions on their faces. A fruiting tree is also
been placed in between them. The tree is full of fruits, also few birds and animal
figurines are shown on it.

The narrative sculpture Figure 8 is found carved inside the Bhairavnath temple, Kikali,
Satara, Maharashtra. Essentially this temple is of lord Shiv, but most of the panels
depicts narratives from Ramayanam and Bhagavatam. This imagery shows Garuda and
Hanuman having a tussle for a giant fruit while lord Vishnu is watching the scene from
the side. Also, another monkey figure is shown cheering Hanuman by saluting from
behind.

The carving in Figure 9, is found on the wall of Sri Prasanna Rameswara temple,
Devarunda, Chikmagalur, Karnataka. This temple is dated in late Vijayanagar period and it
is dedicated to Natha-pantha, which was one of the popular cults of tantric Shaivism in
medieval Deccan.

The narrative panel in Figure 10, is present on the outer wall of Chennakeshava temple
at Somnathpura, Karnataka. The temple is commissioned by Somanatha, who was the
general of the Hoysala king Narsimha III in AD 1258. The said frieze is present on the
outer wall of the sanctum and depicts two simians carrying lingam like object.

While searching for a literary source for the same story, the author had discovered a
similar narration to this depiction. The author also found a sketch by Mysore artist
Tippajappa dated approximately AD1870, with similar theme (Figure 11). This narration
is popularly known as,’ Garuda Garvabhangam’ or humbling of pride Garuda by hands
of Hanuman. This story is extracted from one of the earliest Malayalam literary works
called ‘Ramanucharitham’ written by Cheeraman Kavi in AD 1198. Malayalam poet
KalakkathakKunchan Nambiar (AD 1705- AD1770), who is credited with the
popularisation of performing arts known as Ottan Thullal, has written a script for one
of the ottan thullal performances with the same name as- Garuda Garvabhnagam
(Department of Public Relations 2015). In this enactment, lord Krishna sees his mount
Garuda becoming proud of himself and wants him to be humble, he sends him to bring
Hanuman, a devotee of lord Rama. An argument ensues between two devotees of
different incarnations of lord Vishnu about whose divine lord is greater, finally they
fight, and Garuda is defeated (Sundaram2002).

Reflections of this story are also visible in folk art performances in rural Mahrashtra.
Famous traditional string puppetry of Maharashtra-‘Kalsutri Bahulya’, performs play
titled,’Hanuman Krishna Bhent’ or encounter between Krishna and Hanuman, where
Krishna asks Hanuman to humble pride of Garuda (Verma2011).In order to destroy the
ego of Garuda,Krishna asks help from Hanuman, who duly starts destroying Moomuk
garden at the city ofDwaraka. On the complaint by soliders,lord Kirshna sends Garuda to

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control him but to no sucsses.(Figure 12) It shows fight between Garuda and Hanuman,
performed by vetran Ganpat Sakharam Masge of Dayati Lok Kala Bhavan, Pinguli,
Maharashtra. This theme can also be seen percolating in Indian cinema. Some of movies
adapting to this theme are- ‘Garuda Garvabhangam’(Tamil) by R. Padmanabhan, released
in 1936 and ‘Krishanjaneya Yuddham’(Telagu) by C.S. Rao, released in 1972.In 2006, DVD
ofOttan Thullalnarrating the story of Garuda Garvabhngam. It was performed by
Acclaimed thullal artistKalamandalam Geethanandan.(Figure 13)(Ottan Thullal, 2006).

Discussion
Amongst all of the sculptures, author has observed a common theme depicting a tussle
within Garuda and Hanuman over a fruit-like ovoidal object. Garuda and Hanuman are
most worshipped entities in Vaishnava tradition and hence such a narrative showing
conflicts between them, is very rare and unique. The author has also tried to search for
the literature source of this story.

Some of the interpretations of this story found those are as follows- (a). It is a story of
Hanuman humbling pride of Garuda. Some scholars claim that source of this narrative
in from Canto 10 of Shrimad-Bhagavatam or lesser known folk-lore of Vaishnava tradition
(Goswami 2006), (b). It shows fight between Gardua and Hanuman over a Jambu phalam,
eventually lord Vishnu splits it in two equal halves with his chakram or discus, (c) It is a
cosmic egg- Hiranyagarbha, as describe in Rig-Vedic texts (Sharma:2018, Vyasa: 2013) as
well as Puranic texts like-Vishnu Purana and Bhagwat Purana (Shastri 2017; Goswami
2006), (d). Ovoidal object they both carries are a Shiv-lingam, essentially the story of
Rameswaram (Bhandarkar 1956), (e). Ovoidal fruit-like object represents universe and
two halves of it represents two yugas- Treta and Dvapara respectively (Shastri 2017).

These sculptures are of the same era of Alvars like Ramanujacharya, Madhwacharya and
are from Vaishnava tradition. The author had analysed and validated these popular
believes with disapproving axiom method. Though this story is said to be of creation of
universe, or Hiranyagarbha from Rig Veda as well as from Vishnu Puran, both characters
i.e. Hanuman and Garuda are missing from the plot hence this variation is not validated.
The ovoidal egg-like object cannot be Shivalingam as most of the depictions are found in
the temples of Vaishnva tradition. Other popular stories seem to be from oral tradition
and like to have certain variations. It is also observed that most of the sculptures are
found in Narsimha temples. The story of Garuda Garvabhgam is arguably fitting to the
context well, but it fails to give any explanation regarding the object for which they
both are in tussle with. As a directive for future research- (a). To search for traditional
folklore with similar context. (b). To analyze whether this story has its philosophical
roots in Pancharatra agama or Vishishtadvaita system where the ovoidal object could be
viewed as jeevatma or fruit of devotion, ©. To find whether it is presentation of tussle
within Vishishtadvaita and Dvaita philosophy as Ramanujacharya is considered to be
incarnation of Garuda and Madhwacharya is believed to be incarnation of Vayu or
Hanuman. (d). Do these sculptures represents devotion and/or philosophy of Narsimha
cult of Deccan region? (Bharati 1942).

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Conclusion
Symbols, motifs and deities deeply entrenched in the psyche of common people endure
regardless of changed thought processes and philosophies amongst intelligentsia. It is
observed that these sculptures were disregarded by many, because of their
unprecedented nature and because they do not adhere to any traditional iconographic
principles described in corresponding texts. Although there are similar folk-lore or
interpretations by some scholars, the exact source of this narrative is obscure. It is also
observed that these sculptures are mainly found in Deccan region and that to
prominently in Karnataka state. Also, the dating of these sculptures falls in the medieval
period. Despite the fact that the literature source of this narrative sculpture is not
available the story seems to be very popular in the observed area. These sculptures
seem to have a rare style and scheme ever ascertained. These are the rare art specimens
with great iconographical significance. The narrative portrays contemporary beliefs,
mythology, traditions, folk-lore and doctrine. One must also look forward to various
Vaishnava philosophies for an interpretation of the story as a future direction for the
research. It is our responsibility to proclaim and celebrate such an antique &
remarkable piece of the art history.

Acknowledgement
The author wish to thank Prof. Dr. Ambarish Khare and Prof. Dr. Manjiri Bhalerao for
their encouragement and support offred during this research; I acknowledge the help
and uncoditional support given by Dr.Shrinand Bapat, Bhandarkar Oriental Reasearch
Institute, for providing references for this study. I also wish to thank my friends-
Padamaja Bhide and Abhay Kulkarni for sharing some of the photographs for my
study.

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