the indian iconography of the decans and horâs

The Indian Iconography of the Decans and Hors

David Pingree

Journal of the Warburg and Courtauld Institutes, Vol. 26, No. 3/4. (1963), pp. 223-254.

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THE INDIAN ICONOGRAPHY OF THE DECANS AND HORAS

By David Pingree

Franz Boll1 was the first to recognize the importance of the study of the iconography of the Decans for a broader investigation of the transmission of ideas in antiquity and during the Middle Ages. He was able to show that these odd Egyptian deities had at some time before the sixth century of our era made the long voyage to India ; that thence they had travelled to Islamic lands; and so finally returned to B~zant ium and the West. Aby 'nTarburg2 discovered that they were not neglected when they arrived in Italy, but be- came an important element in the programme of decoration at the Palazzo della Ragione (Salone) in Padua, renovated in 1306, and in the Salone dei Mesi of the Palazzo Schifanoia at Ferrara, which was completed in 1470. Finally, Wilhelm Gunde13 gathered massive documentation from North Africa, Europe, and Asia to illustrate their diffusion throughout most of the then civilized world. The present paper is a supplement to the labours of these three scholars, making available additional material which serves to identify a missing generation in their stemma decanorum.

This new material is found in a curious Sanskrit astrological poem, the Yavanajgtaka or Greek Horoscopy of Sphujidhvaja. This is a very old text. I t is cited extensively by the fourteenth-century commentator VisnuSarman4 and by his ninth-century predecessors Bhattotpalaj and G o v i n d a s ~ ~m i n . ~

I?. Boll, Sphaera, 1903, pp. 412 ff. and Catalogus Codicum Astrologorum Graecorum (hereafter CCAG), v, I , pp. 156-57. His theory that Abii Ma'shar's knowledge of the Indian Decans came from Kanaka cannot be ac-cepted ; no siddhgnta such as Kanaka translated would have mentioned them.

A. Warburg, 'Italienische Kunst und internationale Astrologie im Palazzo Schifa- noja zu Ferrara', in his Gesammelte Schriften, ii, 1932, pp. 459-82 and 627-44. See also P. dYAncona,IMesi di Schifanoia in Ferrara, 1954.

W. Gundel, Dekane und Dekansternbilder, Studien der Bibliothek Warburg 19, 1936. The more recent literature includes the following works : the article by Gundel in RE Suppl. 7, 1940, columns I 16-24; J. J. Clkre, 'Un texte astronomique de Tanis', Ktmi 10, 1949, 3-27; B. L. van der Waerden, 'Baby- lonian Astronomy 11. The Thirty-six Stars', Journal of Near Eastern Studies, viii, 1949, pp. 6-26; the fragment of Teucer of Babylon edited by S. Weinstock in CCAG, ix, p. 2 ; pp. 180-86; a sixth-century papyrus of the relevant portion of the Testament of Solomon published by K. Preisendanz, 'Ein Wiener Papyrus-fragment zum Testamentum Salo- monis', Symbolae R. Taubenschlag dedicatae, vol. 3, Eos 48, 3, Vratislaviae-Varsaviae 1957,

223

pp. 161-67; 0.Neugebauer, 'Variants to the Greek Translation of Abii Ma'shar's Version of the Paranatellonta of Varbhamihira and Teukros', Bull. de l'acad. rg. de Belgique, Classe des Lettres, 5e SCr., xliii, 1957, pp. 133-40; 0. Neugebauer and R. A. Parker, Egyptian Astronomical Texts, i, I 960 ; and H. Ritter and M. Plessner, 'Picatrix'. Das Ziel des Weisen con Pseudo-Mair@z^,Studies of the Warburg Insti- tute 27, 1962, pp,. I 33-40.

VisnuSarman s commentary on Vidy2-mhdhava's Vidygmgdhaviya was edited with the miila by R. Shama Sastry, Mysore Sanskrit Series 63, 67, and 70, Mysore, 1923-26. For his quotations of the Yavanajhtaka and those of the following authors see my forthcoming edition.

Bhattotpala wrote commentaries on Varh- hamihira's Brhajjhtaka (finished in A.D. 966) (lithographed in Bombay, 1874), Brhat- saphith (ed. MM. Sudhgkara Dvivedi, Vizianagram Sanskrit Series 10,2 vols., Benares, 1895-971, Laghujhtaka (unpublished; over fifty manuscripts are recorded), and Yoga- yhtrb (I have used MSS. 855 and 856 of 1884/87 at theBhandarkar Oriental Research Institute, Poona) ;on Prthuyalas' Satpafich- Sik2 (lithographed in Bombay, I 866 ; ed Dinanhtha Jhh, Haridas Sanskrit Series 149,

224 DAVID PINGREE Kaly%navarman, who wrote c. 800, based much of his SAr%vali7 on this poem, and parts of the B~hatp%r%SarahorAS%stra,~composed a little bit earlier, are inspired by Sphujidhvaja's work. Va~-%hamihira,~who flourished in the first half of the sixth century and is the most renowned of Indian astrologers, was familiar with it, as was also Minar%jaY1O whose Vrddhayavanaj%taka seems to Benares, 1947); and on Brahmagupta's Khandakhgdyaka (perhaps contained in MS. 528 of 1875/76 a t Poona). His only original work is the PraBnajfihna or Ary$saptati (ed. P. J. SreSthin, Bombay, I930 and V. S. Sastri, Bangalore, 1949).

Govindasv2min7s (fl. 800-850) works include a commentary on the Mahgbhhskariya of Bhgskara I (ed. T. S. Kuppanna Sastri, Madras Government Oriental Series 130, Madras, 1957) and one on the Uttarakhanda of the Brhatp2r%larahor242stra (I have used MS. 3166 of the Oriental Research Institute, Mysore ; the work is also preserved in MS. I 1499 (of which MS. I 1498 is an apograph) in the Tanjore Maharaja Serfoji's Sarasvati Mahal Library). I t is in the latter that quotations of Sphujidhvaja and many other early Indian astrologers are found.

Kalygnavarman is cited by Bhattotpala and himself mentions Kanaka (53, I ) , who may be the Indian sage who went to Baghdad in 767 (V. V. Riimana-Sgstrin in Isis, xiv, 1930, p. 470). The Sgrgvali is edited by V. S. Sastri, Bangalore, 1928, and by Sithrgm Jh;, Benares, 1953.

The Brhatp2r&Barahor2B2stra has been published by the Vefikatelvara Press, Bom- bay, 1951, and by Sithrrim Jhg, 2nd ed., Benares, 1952. The passages referred to are all in the Pfirvakhanda which is cited by Kalyhnavarman and was written before the Uttarakhanda commented on by Govinda- svgmin. Since the Pilrvakhanda shows a knowledge of Varhhamihira's Brhajjgtaka, it must be dated between c. 600 and 750.

The works of Varghamihira, who wrote after 505, the date of Lgtadeva's recensions of the Old Sfiryasiddhbnta, the Romakasid-dhgnta, and the PauliSasiddhhta summa-rized in the Paficasiddhgntikg, and can be connected with the Emperor Yalodharman, who flourished in the thirties of the sixth century (see my article 'The Empires of Rudradgman and YaSodharman : Evidence from Two Astrological Geographies', Jozlrnal of the American OrientalSocie~ (hereafter JAOS), lxxix, 1959, pp. 267-70), include: ( I ) the Brhatsamhitg (ed. H. Kern, Bibliotheca Indica, Calcutta, 1865; S. Dvivedi, Vizianaqram Sanskrit Series 10, 2 vols., Benares, 1895-97;

V. S. Sastri and M. R. Bhat, Bangalore, 1947; Vefikatelvara Press, Bombay, 1955; and Acyutgnanda Jhh, Benares, 1959) ; (2)the Samgsasamhitii (known only from quotations by Bhattotpala); (3) the Brhajjgtaka (lithographe$ in Bombay, 1874; ed. K. SLmbaSiva Sgstri, Trizlandrum Sanskrit Series 91, Trivandrum, 1926; 2nd ed. by S. K. Pillai, Trivandrum, 1957; V. S. Sastri, Bangalore, 1929 ;A. N. S. Aiyangar, Adyar Librav Series 79, Madras, 1951 (adhygyas I-10); Sitgriim Jh2, 2nd ed., Benares, 1952; and Acyutgnanda Jh2, Haridas Sanskrit Series 17 1, Benares, 1957) ; (4) the Laghujgtaka (ed. A. Weber, Indische Stzidien, ii, 1853, pp. 277- 287 (adhygyas 1-2) ; H. Jacobi, De astrologzae indicae hora" appellatae originibus, 1872 (adhygyas 3-13) ; Vefikateivara Press, Bombay, 1935; and Sitgrgm Jh2, Benares, 1948; see also E. C. Sachau, Alberuni's India, 1914, i, p. 158, and ch. 80) ; (5) the Brhadyogaygtrg (unpublished ; only three manuscripts are known : G1053g of the Asiatic Society of Bengal, 388 of the Asiatic Society of Bombay, and R4203 (b) of the Government Oriental Manuscripts Library, Madras); (6) the Yogayiitrg (ed. H. Kern, Verspreide Geschriften, i, 1913, pp. 97- 168 (adhybyas 1-9) ;and Jagdish Lal, Lahore, 1944); (7) the Tikanikaygtrg (ed. V. K. R. Pandit, Journal of the University of Bombay, xx, 2 (Arts ~vumbcr 26), 1951, pp. 40-63; and (8) the Paficasiddhgntikg (ed. G. Thibaut and Sudhgkara Dvivedi, Benares, 1889; re- printed Lahore, 1930. See also M. Kharegat, 'On the Interpretation of Certain Passages in the Paiicasiddh2ntik2 of Vargha-Mihira', Journal of the Bombay Branch of the Royal Asiatic Society (hereafter JBBRAS), xix, 1896, pp. 109-41; B. L. van der Waerden, 'Babylo- nische Planetenrechnung in Aegypten und Indien', Bibliotheca Orientalis, xiii, 1956, pp. 108-1 10; 0. Neugebauer, Th e Exact Sciences in Antiquity, 2nd ed., Providence, 1957, pp. 165-66 and 172-73; D. Pingree, 'A Greek Linear Planetary Text in India', JAOS, lxxix, 1959, pp. 282-34; and 'Astronomy and Astrology in India and Iran', Isis, liv, 1963, pp. 229-46. lo I am preparing an edition of Minargja

on the basis of 27 of 35 known manuscripts. I t is probably the 'long astrological work of

THE INDIAN ICONOGRAPHY OF THE DECANS AND HORAS 225 have been composed in the early fourth century. Sphujidhvaja, then, must surely be dated before A.D. 300.

But greater precision is possible. In discussing a luni-solar cycle of 165 years or 33 paficavarsayugas Sphujidhvaja states that one such mah2yuga- presumably the one current at the time he wrote-began after 166 years of the Sakas had elapsed,ll or in A.D. 245. This seems eminently reasonable. The conditions which are laid down for the beginning of a 165-year yuga- that Caitra New Moon of that year occur on a Sunday when the Sun is entering the first degree of Aries-were very nearly met in A.D. 245, and not for many years before or after that date.12 And the immediately preceding yuga would have begun in A.D. 80, which is, in fact, the epoch of the pa& cavarsayuga of the Old Pait2mahasiddh2nta.13 So the limits of Sphujidhvaja's date can be narrowed to between 245 and C. 300.

This indicates the correct interpretation of the concluding verse of the YavanajAtaka, in which it is stated that the text was written at a date expressed in the bhfitasafikhy2 system as nAr2yanAfikendu or 191.I4 Reckoned from the epoch of the Saka Era this corresponds to A.D. 269/270, and this we may accept as the date of the composition of the Yavanajstaka.

However, the last verses of the work also inform us that it is a versification of a prose treatise by YavaneSvara (the Lord of the Greeks) ; that this prose text was a translation of a work written in his (YavaneSvara's) language ; and, finally, that this translation was made in a year somewhat doubtfully identi- fied as 71 or 14g/150 of the Christian Era.15 These dates are strengthened the Yavanas' referred to by Biriini in India,i, nbrbyanbfikendumitbbdadrsfam p. 158. krtsnam caturbhir matimbn sahasrair // l1 The verse is (76, 14) : (the manuscript reads n2rbya~biikenduma- gate sadeke 'rdhaiate sambnbm ybdidysfam).

kglakriygtattvam idam Sakgnbm / 'There was a wise king named Sphuji-raver use siiryadine lprade 'rkei dhvaja who versified this whole (text), which

krambt tad abdgdi yugbdi bhbnoh / / was seen by him in the year 191, in four (the manuscript has sadagre for sadeke, but thousand indravajrb verses.' astronomically this will not make sense). (This and the two verses given in the next 'When I 66 ( I 50 plus I 6) years of the Sakas footnote were edited by P. V. Kane in his

have passed, that is the truth of the calcula- article 'The Yavanajgtaka of Sphujidhvaja', tion of time. At dawn on Sunday, that is the JBBRAS, N.S., xxx, 1955, pp. 1-5.) beginning of the year and the beginning of l5These verses are (76, 60-61) : the yuga of the Sun.' iti svabhbsbracanbbhigupt2m

l q h e conjunction of the Sun and Moon visnugrahakse . . . . . 1 had taken place during the night of Saturday mahipamukhyair anudysfatattvbm 15 March 245 about 5" in front of the real hor2rtharatnbkarav2ksamudrbm / / equinoctial point for that year; but Sunday sdryaprasbd (2)gatatattvadysfir 16 March was the first day of the bright half lokbnubhbvbya vacobhir bdyaih / of Caitra, and the 5" vanishes if one uses the idam babhgse niravadyavbkyo standard Indian zodiac. This, of course, horbrthaibstram yavaneivarah pr2k I / raises a serious problem concerning the date

'Previously YavaneSvara, whose vision of of the adoption of that zodiac. But perhaps the truth came from the favour of the Sun this solution can be accepted in loco melioris. and whose language is flawless, translated l 3Paiicasiddhgntikb I 2, 2. this ocean of words which is the jewel-mine l4The verse is (76, 62) : of horoscopy, which was guarded by its being

sphujidhvajo nbma babhiiva rbj2 written in his own tongue, but the truth of ya indravajrbbhir idam cakbra / which was seen by the foremost of kings in

226 DAVID PINGREE

by the fact that YavaneSvara, Sphujidhvaja, and Minarija all seem to have held official positions under the Ksatrapas of Ujjain,16 who ruled from the third decade of the second century to the last of the fourth. Other cor-roborative evidence is to be found in some features of the Greek text which Yavaneivara translated.

Subject-matter, methodology, and termini technici all indicate that the Yavanajitaka is indeed an offshoot of Hellenistic astrology, though it is true that the nature of the predictions has been extensively modified-probably by Sphujidhvaja-to suit a Hindu audience. But there are certain peculiarj- ties in the descriptions of the signs of the zodiac in the first chapter (14-25) which betray an Egyptian origin. The Twins are portrayed as a man and a woman holding respectively the club of Heracles and the lyre of Apollo ; they are the Egyptian deities Shu and Tefnut.17 And Virgo is said to be a maiden holding a torch: that is, Isis.ls That she is also standing in a boat indicates that she is Isis Pelagia.19 The popularity of Isis in Alexandria during the first half of the second century is well-attested. Her image appears on Alexandrian coins for only 27 of the 89 years between g0/91 and 178/17g, but for 2 0 of the 31 years between 124/125 and 153/154.~O Moreover, in commemoration of his restoration of the lighthouse at Pharos Antoninus Pius, in 148/149, issued a special coin from the Alexandrian mint featuring Isis Pharia.21 Thus the Greek original of the Yavanajitaka can be traced back to Alexandria and dated a few years before its translation into Sanskrit.

The Greco-Egyptian source of Sphujidhvaja's poem is also apparent in its second and third chapters, which provide the substance of this paper. They describe respectively the images of the twenty-four Horis-two in each zodiacal sign-and those of the thirty-six Drekinas-three in each sign. There is a close relationship between the Horis and the Drekinas of any one sign; this fact is our justification for discussing them together. Varihamihira went further and actually amalgamated them. the (year) 71-he translated this science of and plates 36-38; see also E. B. Knobel on genethlialogy by means of excellent words pp. 23-24. This couple is found also on a for the instruction of the world.' peg-calendar from Rome in the Wiirzburg

(Graha must be understood here in the University Museum (P. Goessler in Germania, sense of seven instead of the usual nine as xii, 1928, p. 7). For these deities and other YavaneSvara and Sphujidhvaja know only res aegyptiacae mentioned in this paper see the the classical seven planets, and never men- appropriate articles in H. Bonnet, Reallexikon tion Rkhu or Ketu; see JAOS, lxxix, 1959, der agyptischen Religionsgeschichte, 1952. pp. 268-69.) l8 W. Drexler in Roscher-Ziegler, Lexikon

l6 See my article 'Astronomy and Astrology der griechischen und romischen Mythologie, ii, in India a*d Iran', Isis, liv, 1 ~ 6 ~ , 1890-97, columns 451-53; Boll, Sphaera, pp. pp. 229-$.

l7 See the Tabula Bianchini described in 208-16; Boll-Gundel in Roscher-Ziegler, vi, Sphaera, pp. 300-01, and by F. Cumont in 1937, columns 959-63. Daremberg-Saglio-Pottier-Lafaye, Diction- l9 Drexler, columns 480-90; Roeder, RE, naire des antiquite's grecques et romains, fasc. 52, ix, 1916, columns 2116-17. 1917, p. 1053 ; the Round Zodiac at Dendera 20 J. Vogt, Die alexandrinischen Munzen, ii, in Cumont, p. 1048; the Zodiac of Cairo in '924. G. Daressy, Recueil de travaux relatifs 6 la philo- 21 Vogt, i, p. I 27 ; H. Thiersch, Pharos : logie et a l'arche'ologie e'gyptiennes et assyriennes, Antike, Islam und Occident, 1909, P. 10 and xxiii, 1901, pp. 126-27 ; and the two zodiacs pl. 2 nos. 90-92. On Isis Pharia see Drexler, in the tomb of Mory-Hor at Athribis in columns 479-80 ;Roeder, column 2097 ; and W. M. F. Petrie, Athribis, 1908, pp. 12-13 Bonnet, p. 330.

THE INDIAN ICONOGRAPHY O F THE DECANS AND HORAS 227 The Horis have no direct prototypes in Egypt. But we do find on several

temples representations of the Sun as an increasingly older man for each of the twelve hours of the day,22 and the south and north walls of the pronaos of the temple at Dcndera are ornamented with pictures of the gods of the hours of day and night.23 Moreover, a number of Demotic, Greek, and Latin texts of the first few centuries A.D. refer to the twelve hours of the day as divinities, frequently in contexts which make perfectly obvious their Egyptian origin.24 The twenty-four Horis are a natural extension of these ideas under the influence of the Decans. Their very name proclaims that they are creations of the Hellenistic imagination.

The Decans were originally thirty-six stars or constellations whose risings marked the hours of the night as early as 2100 B.C. Of the gods of the Decans illustrations are preserved at two Egyptian temples, Dendera and E ~ n e ; ~ ~ at the former there were two versions, one in the pronaos and the other on the so-called Round Zodiac, and at the latter only one, in the pronaos. In addition some of the Decans can still be seen on the badly damaged Tabula B i a n ~ h i n i ~ ~ and in a fragment preserved in a manuscript which belonged to Peiresc in the seventeenth century.27 The Zodiac of Athens discussed by Gundel is now recognized to be a forgery.2s

Besides these representations two literary descriptions have survived from antiquity, though unfortunately both belong to the same tradition. These are the ' I E ~ ~ ascribed to Hermes Trismegistus29 and the Liber Herrneti~,~~ BiPhos a Latin translation of a Greek text of the sixth century which has, however, incorporated material of a considerably earlier date.31 Similar images of the

2 2 H. Brugsch, Thesaurus Inscriptionum Aegyp- Zeitung (hereafter OLZ), x1, 1937, p. 507. tiacarum, i, Astronomische und astrologische In- 2 9 Ed. Cardinal Pitra, Analecta Sacra et schriften der altaaptischen Denkmaler, I 883, Classics, v, I 888, pp. 284-90 and C.-E. Ruelle, p. 57. Cf. P. Leiden (Papyri Graecae Magicae Revue de philologie, xxxii, 1908, 247:77.

I 3) lines 388-92 ; Iamblichus, De mysteriis 7, 30 Ed. W. Gundel, Neue artrologzsche Texte

3 ; Martianus Capella I , 76; Proclus, I n des Hermes Trismegistos, Abh. Bayer. Akad.

Timaeum 38c (3 ;56, 4-6 Diehl) ;W. Gundel, Wiss., Phi1os.-hist. Abt., N. F. Heft 12, 1936,

Hess. Bl. f. Volksk. xii, 191 3, p. 102 ; and S. chapter I . Weinstock, Journal of Roman Studies, xxxviii, 31 Gundel claimed that this text was origi- '948, P. 4'. nally written in Greek in Egypt in the second

23 Brugsch, pp. 27-33; cf. Vat. gr. 1291, century B.C. (pp. 10, 146, and 180), but was which is based on an Alexandrian model, revised in the third century A.D. (p. 121). mentioned by H. Stern, Le calendrier de 354, The Latin translation, he believes, was made '953, P P '69-70. in the fourth or fifth century (p. 10). How-

24 F. Griffith and H. Thompson, Demotic ever, an examination of its relationship to Papyri, 1904, column 2 0 ; Horapollo, Hiero- other astrological texts indicates that the glyphic~I , I 7 ; Quintus Smyrnaeus 2, 593- Greek original could not have been compiled 595, and Psellus' epigram in R. Cougny, Ep. before the sixth century, though sources of Anth. Pal., iii, 1890, App. 7, 45, p. 572; cf. varying ages including perhaps some material Macrobius, Saturnalia I , 21, I 3 and Lydus, from the second century B.C. were stuck to- De mensibus 2, 5. gether by the compiler; and the presence of

25 I refer to the table in Gundel, pp. 18-2 I ; Arabic terms shows that the Latin version is DP signifies the pronaos at Dendera, EP that late (the words in -arius which Gundel a t Esne, and DR the Round Zodiac of adduces as evidence for a fourth- or fifth-Dendera. century date could be due to the sixth-century

26 Gundel, pp. 184-87. Greek version).

27 Gundel, pp. 187-89. The star catalogues in chapters 3 and 25,

28 L. Borchardt in Orientalische Literatur as Neugebauer has shown (Exact Sciences,

228 DAVID PINGREE

deities who presided over half-Decans or 5" arcs of the ecliptic are described in the fragmentary Oxyrhynchus Papyrus 465.32 This is usually claimed to be a part of the Salrnesch~eniaca,~~ which was written in about 200 B.c., but there is no real evidence to support this contention.

A comparison of this material with the Sanskrit verses of Sphujidhvaja is at first sight disappointing. There are no complete correspondences. But this is not surprising. The Greco-Egyptian tradition concerning the Decans was certainly extensive; it is absurd to assume that the few remnants which we can study provide more than a hint of the rich variety of strangely-formed creatures who once ruled over diverse segments of the zodiac. Even what we have of the Western tradition, furthermore, is not consistent in assigning gods and their attributes to the same Decan; a great deal of license was permitted to the imaginations of the individual expositors. And finally, as this paper will try to substantiate, the second and third chapters of Sphujidhvaja are not a versification of a prose translation of a Greek text-or rather, not only that; they are a Hindu, and specifically a Saiva, interpretation of illustrations which adorned the Alexandrian manuscript that Yavaneivara set out to translate.34 We cannot determine whether Sphujidhvaja was the interpreter, using copies of the pictures reproduced in his manuscript of Yavaneivara, or whether it was Yavaneivara himself who described the pictures in Hindu terms which were adopted and perhaps extended by Sphujidhvaja. But it can be stated with certainty that the vast majority of the attributes which appear in the Western iconography of the Decans can be found in the YavanajAtaka if one probes beneath the Indian surface.

The following text is based on one manuscript, written on palm-leaves in Northern DevanAgari in the early thirteenth century; it is now preserved in the Durbar Library at K a t h m a n d ~ . ~ ~ The manuscript which once belonged pp. 68-69), give longitudes which were correct for the period from 130 to 60 B.C. But, of the longitudes of 73 stars in the second catalogue, 51 are 3; 26" higher than Ptolemy's figures. This indicates a date of c. A.D. 480 for this chapter. And the following chapters are translations of parts of the Anthologiae of Vettius Valens (late second century) : 5-7 (5, 2) ; 8 (5, 6 ; cf. 4, 29) ; g (cf. 5, 7) ; 10 (5,. 5) ; 1 1 J5, 6) ; I 2 (5, 7) ; I 3. (5, 8) ; 14 (originally in Valens, whose text is here corrupt, referring back to 5, 4) ; 15 (5, 12 ; pp. 236, 2-237, 23 and 237, 31-238, 17 Kroll) ; 17 (cf. 2, 38) ; 22 (2, 30) ; 23 (4, 6) ; and 28 (cf. I , 22) . A number of other chapters are influenced by the Mathesis of Firmicus Maternus (c. 334-37) : 18 (cf. 3, 6, 30) ; 27 (cf. 4, 9-15) ; 31 (cf. 6, 22-27) ; 33 (cf. 4, 8 and 15); 34 (cf. 5: 2) ; and 36 (cf. 7, 23). Others are translations from the Eiorywylzri. of Paul of Alexandria (c. 378) : 24 (7) ; and 26 (beginning of 24). But most significant are the three chapters which are translations from the compendium of Rhetorius the Egyptian (c. 520) : 16 (54) ; 19 (97) ; and 2 0

(beginning of 98). 32 Ed. B. P. Grenfell and A. S. Hunt,

Oxyrhynchus Papyri, iii, 1903, pp. 126-37. 33 See M. Pieper, OLZ xxx, 1927, p. 104.9 ;

'CV. Gundel, RE, 6 ~ , 1929, columns 2424-25; and 'CV. Kroll, RE Suppl., 5, 1931, columns 843-46. I t is mentioned in Porphyrius, Epistula ad Anebonem 36; Iamblichus, De mysteriis 8, 4 ; Eusebius, Praeparatio eaangelica 3, 4 ; g~b -d ; and Hephaestio of Thebes 2, 18 (CCAG, viii, 2 ; pp. 86-87).

S 4 On early Greek manuscript illustrations see especially K. Weitzmann, Illustrations in Roll and Codex, 1947, and Ancient Book Illumi- nation, Martin Classical Lectures 16, Cam- bridge, Mass., 1959.

35 No. ,I1 8 0 ~ . I t was described by Hari- prasbda SbstrP in Journal of the Asiatic Society of Bengal, lxvi, 1897, pp. 31 1-12; Report on the Search of Sanskrit Manuscripts (1895-I~OO), Calcutta, 1901, p. 8 ; and Catalogue of Palm-leaf and Selected Paper MSS. Belonging to the Durbar Library, Arepal, Calcutta, I 905, pp. 40- 41.

THE INDIAN ICONOGRAPHY OF THE DECANS AND HORAS 229 to Hemar%ja, the RAjaguru of Nepal, is a copy of this. The Sanskrit of Sphujidhvaja is deplorable ; the manuscript is corrupt; and rubbing has made it very difficult to decipher at times ;edges of folia have broken off, and insects have chewed their way through the verses. Some assistance is provided by Varihamihira, but much of the text (and therefore the translation) is doubtful. Where the Sanskrit is meaningless, it is enclosed within daggers and the translation dissolves into dots. Parentheses surround aksaras which are missing in the text, but have been written down in the margin by a corrector; angular brackets are used to indicate restorations. Passages which are probably not corrupt, but whose meaning is especially doubtful are shown in italics. Below the apparatus criticus references are given to the parallels in H (the second chapter of the Yavanajiitaka), D (the third chapter), and BJ (the twenty- seventh chapter of Var%hamihiraYs ByhajjAtaka). I t will be noticed that the name of Professor Ingalls appears frequently in the apparatus; I am greatly indebted to him for helping me to gain what understanding of these descriptions I have, as I am to Richard Gombrich for the emendation which he has suggested. But the errors in text and translation (which I hope are few) I claim as my own.

bhamandale ye bhavaniirdhabh%g% hor% iti svakramasamjfiayoktiih /

niin%kytivyafij analifigarap%s t%n k%rtsnyaSo laksanata4 ca vaksye / / I / /

5 rakt%mbarahl k2laravipradiptah 4astriignipiinih kapil%rdhake4ah2 /

suvarnakarn%bharad pracando3 raks%rtham4 abhyudyatak%ladandah5 / / 2 / /

mese tu hor% pratham% nyrQp% 10 vy%ghustan%d%kr4adirghavaktrA /

aj%vikiin%m ganamadhyasamsthg

chiig%dhirGdh% pytaniim praigsti / / 3 / /

kap%lam%li6BaradiptacApo

m%taiigavfro 'rdhakaliipabandhah /

I5 krsniimbarah7 sarpavibhfisitAfigo

baddh%sicarmogravapuh kirfti8 // 4 //

I bhavanirthabhbg2 5 raktbmburah kblah ravapradiptah 6 iastognipbnih 8 raktbrtham 12 ch2gbdirQdhb, emend. Ingalls 14 mytaiigaviro, emend. Ingalls rdhakavbpabandhah, emend. Ingalls

Dza BJna and 3c D33a H45a BJga Dra BJgc BJrb D2d BJIC and gb D33b H44c D4b

DAVID PINGREE cauraih sahiiranyam upetya tQrnaihl

samh%ram unmuficati bhimavaktrah2 / vidhayann aBmabhir agragriigam

mese dvitiy3 hatana~tacintd// 5 // 5 goksirasarpihkalaBi3 pradh?d4

n%ri samutth%ya kufh%rahast2i5 /

hay%nanA6 c%ruvil%sadol%

citr%mbarA7 nQpuraghustap%d$ // 6 //

catuspad% vesfitaraBmik%y%

10 tysn%vyt% /bhak~anaj%tibh%v%~

%dy%vrse tu stanabh%raBobh%

hor% nitambi jvalalambak%ficig / / 7 //

n%ri vayasth% nayan%bhir%m%1

manasvinil1 campakac%rugauri12 /

I 5 vidyausadhijfi%naka1%vidhijfi%l3

kauSeyava~tr%bharan%1~pradipt%// 8 // I tiirnna 2 unmamcati 6 samutthkna 10 bhaksanajktabhkvk, emend.

Ingalls I I Adya tu tanubhbrasobhk I 2 jvalalambakaiici 14 manasvani H21c D r y D6b cf. BJnb, qa, 18b, and noa D6b Dgc

BJ2b Dga 8 D6c BJnb, 4b, and 2oc D7d lo D13a l1 H44d l2 D7b l3 D I 7b BJ3a and 5a 14Dr3b H44b

gosthe sam%bh%ti kysival%n%m

brahmhigayajiid prasavtifiganeva /

sraggandhactirn%l ~avap%namatt%~

hor% vrse v%kyabhag% dvitiy% // g //

5 vin%grahastah3 Bukapicchavarno

vy%lambav%s%hpurusah saBilpah /

saiigitan%tyaBrutaraktabh%vo4 vetrasanasthah prakaroti kAvyam5 // ro / /

stricaficalah k%mavipaBcid%tm% 10 kany2bhujAlifiganabaddhapaksah /

n2tyarthago mArdavavalgun2Bi hor% trtiye pratham%tiv%cy% / /// I I

n%ri vayodipta~idagdhacest%~ rakt%figagauri7 nipun2 krtajG% /

15 vy%tt%have sainyanaygbhiruddh% rakt%mbar%rakta~ilambah%r%~// I 2 //

2 brahmaiigayajfib 4 hore 5 gukapiiicchavarno g kkmavipaksabhkvah 10 kanykbhujkliiiganabaddhapafub, emend. R. Gombrich I I myduvalgunbii I 3 vayodiptavidagdacestb 15 senanathkbhiruddhk I 6 raktkmbara

D8b H45b Dgc Dgb BJgc BJ9d D17a

Drob Droa

THE INDIAN ICONOGRAPHY OF THE DECANS AND HORAS 231 bhujocchritiil krandati2 musyam%nA3

caurair vihiire kriyate ca nagrh4 / sanniihayuddhena nivartitii s%

horii trtiye vihitii dvitiyii / / I 3 // 5 niiri praph~llotpalapadmahast%~

jale sthitA6 campakavarnagauri7 / candriim8ugauriibharanottariyA8

hiir%rdhah%rojjvalabhilsitiiiigi// 14// a8okaSiikhiim a(va)lambyag kiintam

10 udy%namadhye1 manasii smarantil1 / kiiiicikaliipastanalolahiir%

horii caturthe bhavane matiidyii // 15 // udyiinamadhye12 purusah sugauraS13

citriistram %lambati14 yo '8vakanfhah15 / 15 k i im i ~ i l i i ~ ~ nm i s a ~ i i r ~ S o b h o~~

gyhitapadmo17 vilaliipa kiintah // 16 // I krandrati musyamina 2 vihir2 3 nivirttitb 9 a~okaSik~2malambya

I o smaranti 14 ye(ddha)kanthah 15 vilisonmitaciruiobho 16 gahinapadmo, emend. Ingalls

BJ7c D24d B J I I ~ D24b D24c 5 D ~ ~ b D I I ~ 7 DI IC H24b H23b BJI I C lo BJ8a l1 H22d D18b l2 BJ8a l3 D12d l4 BJ8b l6BJIOC le D27a l 7 cf. BJr ~a

vicitravastr2bharad kytdnte kandarpacitriiiigakytiifigariigah /

1-saSuddhayatn%rikar%bhidh%naiht smrtaS caturthe vihit% dvitiyii // 17 //

5 simhogramGrtihl puruso 'vis%di diptah pracando2 vikrter niyantA3 /

prodvrttadamsfro4 yamakiilakalpo nis%dacauriihavamadhyasaqsthah // I 8 //

prabaddhatGni5 rasar%san%rthi6 10 nighno mygdn7 parvatakandaresu /

dvipendra(da)ntah8 ksatadhiravaksiih simhe tu horii prathamiibhiyojyii / / 19 //

saiigriimahysfahg purusah pracando2 vyiikysfaciipo1 mrgacarmaviisiihll /

I5 napumsakah k%iicanavarmadh%ri12 viliisini raksati rGdharomiil3 // 20 //

3 saSaddhayatvirikbrbbhidhbnaih 6 vikrtinniyantb 8 niibdacaurbhayamadhyasamsthah g pravarddhatiini rasarbsanirci I I ksatadhitavaksih 13 safigrimaprstah, emend. Ingalls pracandai I 5 kamcanavarmadhiri 16 vili - idhin

1 D14a B J I ~ ~ and 14c D14a H3ob H45d H31a BJ9b 6 cf. D I O ~ BJ2 I a-b cf. BJ6a H ~ O C BJrqcand I ~ C lo D26a l1 H38d B J I ~ ~ l2 D23b H3oc and 34c l3 D22b H29b

DAVID PINGREE vy2luptakeSo viral2gradantol

rakto nyguhyam spySati striyiim vii / svacakracauraih saha2 raudram uccair3

marau virauty3 arkagrhe dvitiyii // 2 I / / 5 Sy$m2~ad%t%~prathamiibhirGpA5

pr2jfiiirtaviirdrA6 malinais ca vastraih7 / sGksm2ni vastrani vicintayantis

putr2rthinig k2ntamanusyasang21 / / 22 / / praroditil1 brahmabhgtdsu aranye12

10 /vy2lambya ~otphullapaliiSiS2khiim~~ vipannavac cAdravintitat2iigi

sasthe tu hor2 pratham2ptaSobhA // 23 // kany2krtau s2 prathitii dvitiy2

candr2mSugaurah14 puruso lipijfiah15 / 15 phulliiravind2malac~rumiilaS

candr2mSuSubhrair daSanair vapusm2n // 24 / / 2 smygati 8 putbrthini kintamanuprasamjiii g brahmabhytigvaranya

I o sotphullapalbBrb8ikhb I I vipannavatvadravinitatifigi', emend. Ingalls I 3 kanyikytausya 14 lipijiiih 15 phalarivindrimalacirumila8 I 6 candr2m8u8ubhair vacanair, emend. Ingalls

( . . . . . . . . . . .

smyta(S ca) kAnt2m pranayikaroti /

Silp2nytisraggrathanesu girm2n1 sGcividhiine2 nipuno 'bhiriimah / / 25 / /

5 tule tu hor2 pratham2 manusyah Sy3m2vad2to nipunah3 samantrah /

. . . . . . . . . . .

tu13dharah4 paiicaniyogadhirah) // 26 / / vithyantare5 citraviliisaviisti6

10 dh%nyiidik2r$ipanaj2tiyantA7 / pr2s2sibhallapragyliitamudral~

pramiinirastavratam 2caramS ca / / 27 / / tul2dhare nirdayakarmaSil2

hor2 dvitiy2 narakarmaiilii / 15 damsfrotkafas8 trAnakas2dhanadvidd

vicitrab2n2sinikystakhadgab9 / / 28 / / 3 Bilpinysasraggrathanab ca 4 bh' iromo 10 dhinyidiko$ipanajbtayantah

I I pramisibhallapragrhitamudrah 12 prapyinirastavratam, emend. Ingalls 15 damsfroiaras trinakasidhanadvy, emend. Ingalls

cf. D17a BJ7a cf. D2 I C BJ1gb BJIga D2oa BJIga 6 D2ob D2od H31a D23b

5

THE INDIAN ICONOGRAPHY OF THE DECANS AND HORAS 233 bhitt% gyh%n%m paragh%tamudri

rom%ficitahl kambala2 "yocapostrahf3 / udghosayan vithisu Bifijya ghanf%m

udvejan%ny Acarati praj2nAm // 29 // hor2sfame tu prathamograrGpA4

diptapracandah puruso 'traudrah6 / himsrapraharas tapaniyam %li 8i

ranonmukhah pannagabaddhavarmgg // 30 // damsfro tkafah1 k%la iva pravyddho l l

10 rakt%iiganetro12 vipulisikeSi13 / visena Sastrena ca hanti sattv%n14

maheivarah kruddha ivgntakgle // 31 // hor2sfame kysnavapur15 dvitiy5

n%ri samasth% visava(ktra)hast%14 / 15 4astr%havavy%dhibhay%mBcaranti

sarpaihg kyt%fopaviloladol% // 32 // I hittii, emend. Ingalls paraghitamadri 3 vithi~htksipya ghanfim

6 diptiprabhanda 10 raktintanetro I I satvii I 2 krudhah 15 Sastrlhavavyiidhibhaya svajanti, emend. Ingalls

D22b BJr4b and 31b cf. D22b D34b D23a H18b BJI I C D25a and 31d D23b and 25a D23d and 24a BJ22c and 23b

10 H28c l1 D2gb H38c l2 B J I ~ l3 D24a l4 H36d 16D24b B J I ~

vis%nalodd%mabyhadbhujafigairl %saktakanfh%manid%mak%fici/

kr~dh%kul%~vy%kulabhimadamsfr% dastAdharosfhi kytadimbavairii / / 33 //

5 dhanurdhare s%ntavikrsfadhanvi3 hor% nara4 candrakirifam2li /

candr%nanah4 k%ficanabaddhamauli5 hayena sandh%vati6 yajf iag~pt%~ // 34 //

tapovane8 s%nusu parvat%n%m 10 tapahsthitog dasyujanam vihanya /

vedaiigayaj fi2iigavidhiprayuktah sarvirthasiddhah1 kamal%yat%ksahl1 // 35 //

hor%par%dhanvini c%ruBobh%12 nAri car%f~pavil%sapGrn%~~

&(mi) kar%bh%14 viditendraj%lh15 vis%straSilp%16nipunopadeB2 // 36 //

1-2 visiinalodd%mab~hadbhujaiigamisaktakan~hl 3 krodhhkula 5 shiigavikysfadhanvii 6 candrakiritimlli 7 kaiicanabaddhamauli I 5 &(mi) karGtAbhl I 6 vidyiistraiilpl

D23d BJqb D26a cf. BJz5a

l2D27a BJ26a

D23c BJ25c-d

lSD16a

D26a BJ25b

l4 D27b

BJ25b

BJ26a

D ~ g b D34c lo l6D32a

Dn6c-d H47d

16 cf. D211BJ2ga 6b 16

15

DAVID PINGREE bhadr2sanasthA1 pravaram samudgam2

ratn2dipfirnam2 ~imal2figarAg2~ / samudraratn2ni4 vilokayanti

vibh2ti laksmir iva saprahAs2 // 37 // myge tu horA pratham2 manusyo

damstrAkarAlo5 vikytah pracandah / dandAyudho6 mrtyur iv2ntak2le7

sandhgm vibhindan mygacarma~As2~

5

// 38 // lohAni d2sAn mahis2mS ca raksan

10 jale sthito ra(ksa)ti kysnadhAnyam / caurAn saraudrAn visrjan prasakt2n

mlecchAmS ca candAlapar2n bibharti / / 39 // mrge dvitiy2 pramad2 vikeSi9

raktAnanA raktabhujaikap2d21 / 15 kysnam tu tasyhh pravadanti Sesaml1

lambodar212 s2 makarogradamstr213 / / 40 / / 3 udyhhdyaratnlni (sic) 6 damsfriikarlrl, emend. Ingalls vykytah

7 candhyudho 8 nibhindan, emend. Ingalls g rakslm 10k&-snadhhnyam I I visyjln

D27b BJz6b D27c-d H17b BJ26c D32a D2gb BJ27b D2gb D32c BJ27c D31a BJ28a D6a cf. 31 b l1 D28a BJagb l2 D31b l3 D2ga BJn8a

nilAfijanAbh%lmbarasamvyt%figi

piSh~alohhbharan2~vicitr2 /

jalam viSanti3 vadav2mukhasthA muhur muhur f-hardayatet giram s2 / / 41

5 2dy2 narah kumbhadhare tu hor2 kysn2iijanAbho1 vikar21adamsfrah4 /

malimasaS5 carmavil%savAsA6 ~rasyosav2paSyamarosqmrotif-/ / 42 / /

bahvisfaSilpo bahuSilpapAnih

10 skandhe ghataS7 cAsya salobhacittah8 /

ghatadhvajAnAm pranayo nayah syAd

dyfitgksahasto 'bhimato riraksuh // 43 //

hor2 smyt2 kumbhadhare dvitiy2

kauSeyavastrAbharanA9 tu nAri /

15 kysnAmbar2 p2Sagyhitahast2l0 padm2yat&ks&l1 Srutipandit%12 ca / / 44 / /

3 vivant? 4 muhur himarharddayate 5 ldye 10 ghlth8 I I pranayAnavasyo I 2 rirafigah, emend. Ingalls 13 kumbhadharh

D2ga cf. H48b D3oa D37d D32a D32b BJpc D32c BJg2c BJ3oc-d cf. BJ31b D35b B J ~ I c lo DQIC

cf. BJ28c 11 D35a BJ2ga l2 BJ2ga

5

THE INDIAN ICONOGRAPHY OF THE DECANS AND HORAS 235 kysn%yat%iigil kapilograkeSi2

vaidagdhabh%vapracur% mad%nt% / ganair vyt% codakarAksasin2m

sak%lar%trimniyatim niyanti // 45 // mine tu hor2 pratham% var% stri

santirnak%nt% (ca) mah%rna~asth%~/ pathi sthit% candramukhi4 sugauri

bhujastanotkampavil%sah2s%// 46 / /

stribhir vyt% sarvamanohar%bhir5

10 uttirya ki?l2c ca mah%rnavasya5 /

%bh%tirakt%mbarabhi?sit%iigi6

sarv%rthasiddhir7 nirupadrav% ca / / 47 //

mine tu hor% prathit2 dvitiy%

n2ri piS2cottaralohakarnis

15 nilena hiirepa ca bhi?sit%figi

k%ficigunaiS9 c%pi salokacitraih // 48 //

I I abhiti I 6 kaiiiicigunaii

BJngb and 33a D33a D35c BJ22b D ~ g b cf. BJ35c

BJ35a-b D35b H35d BJ2gc cf. H41b D3oa cf. D33d

%bhirasamsth%nakrtottariy%l nilaii ca vastraih pravibh2ti raudr3 /

loh%n haranti Sakataih padais ca2 cauraiS3 ca diptair musit% hy aranye4 // 49 //

5 et%s tu hor% yavanair niruktAS cint%samudbhi?tigun%Sray%rth2h/

sari?palifig%bharan%nubandhair nidarganair eva yath%rthasamjfi%h // 50 //

yavanaj2take hor%svari?po dvitiyah // 3 loh%iivyranyo, emend. Ingalls pradaii 4 aranyaih 7 suriipaO

8 nidarianaity eva

cf. D37a BJ32a-b and 3gc BJ36c BJg6b

DAVID PINGREE sat sadgun% r%Sitrtiyabh%g%

drek%nasamjfi% yavan%khyay% ye / n%n%vidhacch%danacitrartip%sl

t%n sarvalifiggdigunair vidhAsye / / I // 5 rakt%mbaro2 raktavapuh3 pra(ca)ndah4

krodhaprahhah ksatag%trap%nih5 /

suvarnavarm%yudhacitrab%no6

mese kufh%rodyatap%nir7 gdyah / / 2 / /

gaurah* prah%ri ripud%run%ksah

10 Sukl%mbarog v%ranatu(lya)mtirdh%lO /

b%n%yudho dh2turasgrthavic ca

mese dvitiyo gurulomaS%ngahl1 / / 3 / /

nil2mbaro nilavapuh pracando12

dand%yudho13 nilakiritam%li14 /

15 bali taraiigais' ca gav%ksit%(ro)

mese trtiyah kalikAlakalpah / / 4 / /

3 nbnlvidyacchbdanacitrarQpls 5 prandah 6 krodhlprahbrah

g ripudlrunaksah I I vastbyuso 1 H I C H2a BJna cf. B J I ~ H2c BJIC cf. H2b

c~ cf. H2c H2d BJIC H8b BJra lo cf. BJ6a and ~ o a l1 D2gc l2 BJ3c l3 BJ3b l4 H4d

Sy%m%kat%ks%kulacittas'astdl n%ri kadamb%kulakanfham%l% /

iidyo vrse tatra kufh%rahastii2 sambhiti gop%lavin%mit%figi3 / / 5 //

5 rakt%nang4 raktabhujaikap%dg5

raktidharosfhi kalaSi6 pradh%n%7 /

bhaksye ca p%ne ca sad%bhiyukt2is

vrse 'parody%navan%bhir%m% / / 6 / /

n%ri ma . . . . komalifigi

10 /kakudmati ~ampakacitram%l%~

subhrtilatg s% vrsabh%ntay%t% nitambabimb%nuvilambak%iici10/ / 7 / /

dhanurdharol1 b%navicitrap%niS12 ~itrasrag%lafikytalambah%rah~~/

I 5 iidyas trtiye krtaSilpabh%ndah14 SastrAstravid12 bandhakiritavarmg / / 8 / I

I sylmah kaflksakulacittaSastb 2 kadumbbkulakanfhamlll 3 bdya netra 4 mapnoti sodbniyuktb 8 parldybnavanbbhirbm5 g kbmalefigi I I subhrQlatbcl vrsabhbnuybtb 12 Okafici I 3 vlnavicitrapbni4 15 bdya I 6 Sastrhtravivandhakirif avarmb

BJ6c H6b cf. BJ5c H4ob cf. BJ2a BJ2c H6a BJ2b and 4a 7 H6a H7b BJ2a-b and 4b H8b lo H7d

l1 BJ8a l2 BJ8a-b D25c l3 Hgc l4 Dzoa cf. D26b

237

5

THE INDIAN ICONOGRAPHY OF THE DECANS AND HO- Sy2m% vicitr2mbarac2ruk2fici1

n2ri kal%gitakathAbhir%m%2 / vin%m3 pragyhy%bhirat% prak%m%

subhrii vilAsi mithune dvitiy2 // g // rakt%mbaro4 raktavi(la)mbah2r04

raktAfigagauro5 ra(bha)sapracandah / rakt2gradando naravrndamukhyah

Sastr%stradh2ri6 mithune trtiyah // 10 // n2ri vil2sArpitavalguSabd%

10 jale sthitA7 padmagyhitahastii8 / k%m%turk9campakacArugauri10

Sukle(ka)vastr% prathamg caturthe // I I // sarp%san211 madhyamariipaSobhi12

d&ksinyabhAvapracur% tad2tm% / 15 ratn2kar2laiikrta~Arumiirtir~~

gaur%mSuk%14karkafake dvitiyah // 12 // I vicitrdmbarackukQAci 2 kallgitakathhbhirlth 5 raktavimbahlro

6 raktaiigagauro rasapracandah 8 QAstrhrthadhhri I 2 Quklevastrd, emend. Ingalls caturthah 14 dbksinyabhlvapracuran tadltmd

H6d and 7d HIOC BJgc-d H ~ o a H12d H12b 6 BJ9b H14b 8 H14a and 16d cf. BJI ~a H15b and 16c D28b

H14b l1 cf. BJI ~a and 12b l2 cf. D21a BJz6b l3BJga 14 H16a

nilotpal2bh2 nayan2bhir2mA1 ka~6eyacitr%bharanottariy2~/

bandhyA3 ca saubhAgyamadotkatA ca (n2ri ca) turthe vihit2 trtiyA // I 3 //

5 simhodarah simhavapuh4 pracandah5 Sastriiyudhah praufdhabal2bhim2ni /

raudrograkarmA6 pi6un2Sanepsur7 Adyah prabhiitAgrakara4 ca simhe // 14 //

n%ri pragalbh2 viral%grakeSis 10 Saile parasviiharanesu dypt% /

tasya prakdrd~' ca karoti bhimi simhe 'par3 markafatulyacesfAg / / 15 //

n2ri krt&fopa~idagdhacest%~~ yantresu Silp2rthamanikriy%su /

dantAsanasth2 prakaroti cintiim simhe trtPy% dvisat2m vadhena / / 16 //

6 predvabalibhimAni 7 pi4an24anepsur 8 praQQnhgrakara9

I 2 maustikatulyace&i, emend. Ingalls

H8a H8d and 17a BJ7b BJ7c 4 H18a cf. B J I ~ c H18b 8 B J I ~ c cf. H ~ g a H21a cf. B J I ~ -a B J I ~ ~ lo H12a

15

DAVID PINGREE 4y%mo1 narah Silpavidagdha4%strah2

saiikhy%nakauSalyakath%vidhijiiah3/ saub h%gyanaipunyavidhau 'bhiyuktah

kany%dibh%go'rthavini4citah sy%t / / I 7 / / 5 n%ri surQp%rtavadigdhag%tri4

naram prajilrthe rahasi smaranti5 / s% andi it%^ yatnavati jan%rtham

sasthe videSam vrajati dvitiy% / / I 8 / / n%ri vil%~%rpitah%vabh%v%~

10 smit%nan%candramukhig trtiy% /

aSokapusp%bharanaikavel;li9

gatair madapriikhalitair vibh%ti / / 19 / /

vithy%m10 manusyah krtaSilpabh%ndahl1

kauSeyacitr2bharanair vrt%figah /

15 Adyas tule 4y%matanuh12 sunetro

hiranyapany%karako4abhQmih13 / / 2 0 / / ta

4 rthavinigcitasya j vanhrtham g vilbsipihhvabhhvh (sic) 10 s-thnanh, emend. Ingalls I 2 madaprakhalitair

H22a BJI jb H25c cf. BJI ja cf. H8c Hma-b BJ7b-c

H22d I3 H22b cf. DI ~a and 2 ja H34c cf. H15a

H27a BJIga l1D8c BJI gc H26b l3H27b

n%ri sumadhygl ~idit%lpaSilp%~ citr%mba(r%) /3 ~itravilambah%r%~

dQtividhAne nipup2 var%rthe

tule dvitiy% vitadhfirtacestii / / 2 I / /

5 narah prah%ri viral%gradantah5

prarQdhar~m%~ /gurutkaucapaiiguht

dhanvi Sirastr%navibaddhavarm%* tule t~tiyo vifaktitacestah / / 22 / /

narah pradiptog ripucandadando 10 nikrstakhadgas lotapaniyavarmgll /

prakridate krodhavimQrchit%rcir12 %dyo 'stame tiksnavisair bhujaiigaih13 / / 23 / /

n%ri vikeSi14 bhujagair nibaddh%15 caurair aranye16 musit%sit%iigil7 /

caur%d drutam dh%vati s% vinagn%lg kite 'par% krandati raudram uccaihlg / / 24 / /15

2 citriinva(rh) lamb~travilambahhrhcitravilambahlrl(sic) 7 giratrl~avibaddhavarmb I o nik~~takhadga 15 vilagnh I 6 cocam uccaih

D12a cf. H25c H6d and I ja cf. H2 ja H28c

H29b cf. Hzgb 8 H28d BJ2 ~b cf. H2ob H3ob H28d

l1H3oc BJ2 I b l2H33c l 3H3od and 33a l4H31b l5H33a-b

BJ22c l6H13a-b l7H32a I s H13b BJma l9H I 3a and 2 I c-d

5

THE INDIAN ICONOGRAPHY OF THE DECANS AND H O a S 239 himsrahl narah k%ficanavarmadh%ri2

bile3 nidh%ne;tauikarmatha4 ca / bhagnavrateccho4 'stravid5 astame 'ntyah

santapyate svair musitah sah%yaih / / 25 // vy%krstac2p06 hayacandavego7

rath2straSiksah kratubh%ndadh2ris / 2dyo narah k%iicanadam4it2figog

dhanurdhare k%ficanakundal%rcihg / / 26 / / n%ri vil%s%rpitac%ruSobh%lO

10 bhadr%sanasth%llkanak%mSugauri12/ ratn%kare hemamayam samudga(m)l3

(ud)ghattya14 dine 'bhirat% dvitiy2 / / 27 / / kflrci15 narah 8y%matanur16 vil%si

kau4eyav%s%17madan%tur2tm%ls/ 15 keyflramukt%gunalambavak$

ghdharvagandhapranayi t~tiyah / / 28 // 2 nidhbne~tatikarmafhad 3 nagnavrateccho 6 rathhstradiksh

I o kanakbdmusauri I 2 ghdffa dvitiye 13 kurcci H ~ O C H ~ O C cf. BJg6a cf. BJ3b H36d D8d

H34a BJz5b H34d cf. BJ25a BJ25c cf. D8c and noa H34c lo H36b l1 H36a BJz6b l2 H36c BJ26a l3 H37a-b BJn6c l4 H37c BJn6c l5 BJ27a l6 H32a BJzgb l7 BJ27c Is DI IC

ni12fijan%bho1 makarogradamstro2 dand%yudhah3 k%lak~t%ntakarm%~ /

ma (dhya)SmaS2ne gurulomavarm25 sthito myg2khye 'kySamGrtir 2dyah / / 29 / /

5 diptadyutir nilapiS%cadantah6 prabaddhavarm%siSiro7 vapusm%ns /

kurvan nadibandhatad&gav%h%n mrge dvitiyah paricaficariti // 30 / /

srast%grakeSig pravidArit2syA 10 lambodari1 raktakr4%yat2iigil1 /

pAS%grahast%12m~tacailadh2tri hims%bhir%m2makare trtiy% // 31 //

damstr%kar%lo13viditendraj %lo14 nil%mbud%bho15malintirdhakesah /

I 5 nistrimSakarm%jinavirav%s%l6 aksudrabhtivah prathamo nrkumbhe // 32 / /

4 9tamQrtir 13 viditendrijblo

6 prav~ddhavarmdsidiro g sastrbgrakedi pravidbritbsya

H41a 6 cf. H41b

H4od BJ3ob

BJz8a H24d

H38c BJz7b H4oa

H38c lo H4od

D3d BJz8a l1 cf. H4ob

and 4.5" l2 H44c l3 H42b and 38b l4 H36c l5 cf. H41a l6 B J ~ I c

5

THE INDIAN ICONOGRAPHY OF THE DECANS AND HORAS 241 grahasya rASeS ca yad iritam pr%g

rfipam svabhAvo gunalaksanam ca / anyonyasamyogavikArajam tu

rfipam vidhAryam vidusA kramena / / 41 / / g~hagrahAmSair vividhair vikArair

navAmSakasyAkrtiliiigam Ahuh / rASeS ca rASikramasamniveSAd

bandhAtiSaktam bhavanA(rtha)m Ahuh / / 42 / / yavanajAtake drekkAnasvarfipas trtiyah / /

I rhsesva 4 vidharmam 5 vidhidhair

Chapter Two. The Forms of the Horcis. I . Halves of the signs in the circle of (zodiacal) constellations are called

by the name of their series HorAs. I will describe them briefly, but in detail, together with their various shapes, insignia, distinguishing marks, and forms.

2. The first HorA in Aries wears red clothes and is flaming like the Sun at Doomsday. He holds a sword and a firebrand in his hands. Half of his hair is tawny, and his ear-rings are of gold. He is a fierce man who has raised the staff of Death for the sake of protection.

3. This is a man-shaped creature whose cry is loud and who has a long, thin face. Standing in the midst of flocks of goats and sheep, and mounted on a goat, he rules his host.

4. The second HorA in Aries wears a garland of skulls. His bow blazes with arrows. He has the strength of an elephant. He is bound with a half- girdle, and his clothes are black. His limbs are adorned with snakes. Bearing a sword and (elephant's) skin, and of terrible figure, he wears the diadem (of Siva).

5. Entering the forest with his swift thieves, he lets loose destruction, this fearful-faced man, splitting open the highest peak with his bolts. He thinks of destruction and ruin (?).

6. The first HorA in Taurus is a woman who carries a pitcher of cow's milk and clarified butter. She is pre-eminent, rising up with an axe in her hand. Her face is like that of a horse. She plays and swings gracefully, wearing bright-coloured robes, and her feet tinkle with anklets.

7. She is four-footed. Girdle-strings surround her body. She is filled with thirst, and is fond of all sorts of food. She is beautiful with her heavy breasts, has handsome hips, and wears a bright, pendant girdle.

8. The second HorA in Taurus is a youthful woman with pleasing eyes. She is intelligent, and pale with the beauty of campaka-flowers. She knows the rules of sciences, pharmacology, and the arts. She is adorned with garments of silk, this blazing one.

9. She appears in an assembly of farmers, sacrificing her body to Brah- ma (?) like a woman in childbirth. She has garlands, perfumes, and cosmetic powders. Drunk on draughts of soma-juice, she speaks in a lovely voice.

10. The first HorA in the third sign holds a lyre in his hand. His complexion is the colour of a parrot's tail-feather. He is an artistic man whose

242 DAVID PINGREE clothes hang loosely and whose nature it is to love singing, dancing, and listening (to music). Seated on a cane chair he composes poetry.

I I . He runs after women and is clever in love. His sides are bound in the embrace of a maiden's arms. He is not much of a businessman, but he is a destroyer of gentleness and beauty, a very reprehensible person.

12. The second Hor% in the third sign is established as being a woman whose actions are charming and glowing with youth. She is pale and red- limbed, clever and grateful. She is besieged by the leader of an army in a wide-spreading war. Clothed in red, she wears a dangling red necklace.

I 3. Raising her arms, she cries out when she is robbed. She is made naked by thieves in a park, but is brought back by means of an armed conflict.

14. The first Hor% in the fourth sign is a woman who holds a blossoming lotus in her hand. She stands in the water, pale as the colour of a campaka- flower. Her upper-garment and ornaments are pale like moon-beams. Her limbs are adorned with the splendour of full and half necklaces.

15. Leaning on the branch of an aSoka-tree in a garden, she recalls to mind her beloved. Her necklace trembles on her girdle and breasts.

16. The second Hor2 in the fourth sign is established as being a very pale man in the middle of a garden who seizes bright weapons and who has a neck like a horse's. He is a lover whose radiance is made beautiful by playful glances. Holding a lotus, the beloved one pours forth his complaints.

I 7. He wears variegated garments and ornaments at Doomsday (?). The ointment on his body is as bright as Cupid's. He is remembered. . . .

18. The first Hor% in Leo is to be spoken of as a bold man whose form is as terrible as a lion's. He is blazing and fierce-the restrainer of change. He has upward-curving tusks, and is like Yama and K%la. He stands in the midst of battles between Nisgdas and thieves.

19. He has bound on his quiver. Desiring to taste flavours, he slays (?) deer in mountain caves. His teeth are like those of the lord of elephants. His firm chest is wounded.

20. The second Hor% in the house of the Sun is a fierce man who delights in battle. His bow is drawn back; his garment is a deer-skin. He is a eunuch, but, bearing his armour of gold, he protects women. The hair on his body is long.

21. He is bald-headed and gat-toothed. Impassioned, he touches the genitals of a man or a woman. Together with the robbers of his band he shouts terribly and shrilly in the desert.

22. The first Hor% in the sixth sign is a black and white woman who is charming and wise. She is wet with her menstruation and has filthy garments. She thinks of fine clothes, and, desiring a son, has intercourse with the man she loves.

23. She cries in the forest among the serving-girls of Brahma (?), leaning on a branch that is in full fruit and leaf. She is in distress and without money, and her body is stretched out. She has attained beauty.

24. The second Hor% in Virgo is said to be a man pale as moon-beams who knows how to write. He wears a beautiful and spotless garland of blossoming lotuses. He is handsome with teeth as bright as the rays of the Moon.

THE INDIAN ICONOGRAPHY OF THE DECANS AND HORAS 243 25. He is remembered . . . He adores his beloved. A pleasing man, he

is eloquent and clever in crafts, dances, and the weaving of garlands, as well as in the use of a needle.

26. The first Hor2 in Libra is a man who is black and white. He is clever and knows spells. . . . He carries a pair of scales, and is steadfast in the five duties.

27. Standing within the market-place, he wears a bright and handsome garland. He is in control of grain, etc., and of all sorts of coins. His seal, consisting of a dart, a sword, and an arrow, is accepted, and he observes a vow without limit.

28. The second Hor2 in Libra is one who is accustomed to pitiless and manly deeds. He has prominent teeth. Hating the accomplishment of protection, he carries bright-coloured arrows, a knife, and a drawn sword (with which to assail his enemies).

29. He is a smasher of houses whose seal is an injury to others. His hair is erect, and . . . a blanket. Crying aloud in the market-place, he jingles a bell and causes fright among the people.

30. The first Hor2 in the eighth sign is a man of terrible form-blazing, fierce, and most dreadful. He delights in injury, and wears a garland of gold. Yearning for battle, he dons his armour which is bound with serpents.

31. He has prominent teeth and is violent like Death. His limbs and his eyes are red, his hair like numerous swords. He slays living creatures with poison and a sword like Maheivara angry a t Doomsday.

32. The second Hor2 in the eighth sign is a level-standing (?) woman with a black body who has poisonous mouth and hands. She is the cause of (the use of) weapons, battles, diseases, and dangers, as she makes her snakes swell, writhe, and sway.

33. Her neck is clung to by great serpents proud of their poisonous breath. Her girdle consists of strings of jewels. She is filled with anger, and her teeth are flashing and fearful. Biting her lower lip, she creates tumult and quarrels.

34. The first Hor2 in Sagittarius is a man whose bow is drawn to the limit. He wears the Moon in his diadem, and is moon-faced. His hair is bound with gold. He races with his horse, this protector of the sacrifice.

35. He stands in penance in the forest of asceticism and on the peaks of mountains, slaying the race of the Dasyus. He knows the proper use of each element of the Vedas and the sacrifice, and accomplishes all his desires. His eyes are as wide as lotuses.

36. The second Hor2 in Sagittarius is a woman of handsome brilliance who is full of motion, pride, and playfulness, and who shines like gold. She understands magic, is artful in (the use of) poison and weapons, and gives clever advice.

37. Seated on an auspicious throne she looks at an excellent casket filled with jewels and other riches. With spotless ointment on her body as she gazes at the jewels from the sea, she shines like Laksmi with splendour.

38. The first Hor2 in Capricorn is a man with jagged teeth who is hideous and fierce, armed with a club like Death at Doomsday. He breaks the peace, this wearer of a deer-skin.

39. He guards his iron, his slaves, and his buffaloes, and, standing in

244 DAVID PINGREE the water, defends his black grain. Letting loose the rough thieves who are devoted to him, he bears (the attack of) the Mlecchas and the chief CandAlas.

40. The second HorA in Capricorn is a woman with loose hair who has a red face and red arms and who stands on one foot; they say that the rest of her is black. Her belly hangs down, and her teeth are dreadful like a crocodile's.

41. She shines with blue unguents, and her limbs are covered with garments. Brightly coloured, she is adorned with ornaments made of the metal of the PigAcas. Entering the water and standing at Mare's Mouth (the Entrance to Hell), she (raises ?) her voice again and again.

42. The first HorA in Aquarius is a man who glistens with black unguents. His teeth are dreadful. He is black, and wears the beauty of a skin. . . .

43. He knows many desired arts, and his hands are employed in many crafts. A pot is on his shoulders. His thoughts are covetous; he is a suitable leader of those whose emblem is a pot. His hands hold dice for gambling. He is beloved as one who desires to defend (his friends).

44. The second HorA in Aquarius is remembered to be a woman adorned with silken garments. Her robes are black, and her hand grasps a noose. Her eyes are as wide as a lotus. She is learned in the sacred texts.

45. Her body is tall and black, her hair reddish and wild. She is by nature clever. Being in the final stage of intoxication and surrounded by throngs of Water-Rgksasis, she restrains Fate together with the Night of Doom.

46. The first HorA in Pisces is an excellent lady who is loved by one who has crossed over (the ocean). Standing on a path beside the Great Sea, she is shining and moon-faced. Her laughter causes a trembling and a graceful movement of her arms and breasts.

47. Surrounded by women who are pleasing in every way and who have risen up from the shore of the Great Sea, she shines forth, her limbs adorned with red garments. She accomplishes all her objectives, and is without mis- fortune.

48. The second Hor% in Pisces is said to be a woman wearing ear-rings made of the superior metal of the PigAcas. Her body is adorned with a blue necklace and with girdle-strings having (all) the colours i_n the world (?).

49. Her upper-garment was made in the land of the Abhiras. She shines forth, dreadful, in blue robes. While carrying her metals in wagons and by foot, she is robbed in the woods by blazing thieves.

50. These HorAs, whose purpose resides in (the determination of) the thoughts, places of origin, and qualities (of natives), are described by the Greeks by means of illustrations wherein their forms, insignia, and ornaments are successively given. They have names in accordance with their natures.

Chapter Three. The Forms o f the Decans. I . Thirty-six are the thirds of the zodiacal signs which are called DrekAnas

( AEX~YO I ) by the Greeks. They have various clothes, forms, and colours;, I will describe them with all their qualities beginning with their characteristic signs.

2. The first Decan in Aries is a man garbed in red and having a red

THE INDIAN ICONOGRAPHY OF THE DECANS AND HORAS 245 complexion, a fierce man whose limbs and hands are wounded and who attacks in anger. He bears golden mail and bright arrows, and his hand is upraised with an axe.

3. The second Decan in Aries is a pale-hued warrior whose eyes are pitiless to his enemies. He is clothed in white. His head is like an elephant's. He has arrows for weapons, and he knows the purposes of minerals and mercury. His limbs are heavy and hairy.

4. The third Decan in Aries wears dark blue garments and has a dark blue body. Armed with a -lub, he is fierce. He has a garland of blue diadems. He is strong with leaps ( ? I , and his eye-balls 2re like a bull's. He is like Death in battle.

5 . The first Decan in Taurus is a black woman, happy as her mind is agitated by sidelong glances (?). Round her neck she wears a garland full of kadamba-flowers. She shines forth holding an axe in her hand. Her body is bov-ed down to by cow-herds.

6. The second Decan in Taurus is a red-faced woman whose arms and lower lip are also red. She is pre-eminent as she stands on one foot holding a jar. She is always intent on eating and drinking, and delights in gardens and woods.

7. The last Decan in Taurus is a woman . . . with a tender body. She has a bull's hump, and wears a garland bright with campaka-flowers. Her eye- brows are fair, and her girdle hangs to the end of her buttocks.

8. The first Decan in the third sign carries a bow, and his hand is bright with arrows. He is adorned with a garland of many colours, and his necklace is pendant. The instruments of his craft are prepared. He knows how to use swords and missiles, and he wears a diadem and armour.

9. The second Decan in Gemini is a black woman whose girdle is beautiful and whose garments are brightly coloured. She delights in the arts, in singing, and in story-telling. Holding a lyre, she is pleased and delighted. Her brows are lovely, and she is graceful.

10. The third Decan in Gemini wears red clothes and a red, pendant necklace. He is pale with red limbs, violent and fierce. The tip of his staff is red (with blood). He is the chief of a multitude of men. He bears a sword and missiles.

I I . The first Decan in the fourth sign is a woman whose words are beautiful and full of grace. Holding a lotus in her hand, she stands in the water. Pining with love, she is as pale and fair as a campaka-flower. She wears a single white garment.

I 2. The second Decan in Cancer is a girl seated on a snake-throne, having a medium form (?) and beauty. Her nature abounds in politeness and affec- tion. Her body, adorned with jewels, is beautiful, and her garments are of a pale hue.

13. The third Decan in the fourth sign is set down as a woman who is the colour of a dark blue lotus and is pleasing to the eyes. Her upper-garment is of silk and (adorned with) bright jewellery. She is barren, but puffed up with pride in her beauty.

14. The first Decan in Leo has a belly and a body like a lion's. He is fierce, armed with a sword, and arrogant with his mighty strength. His deeds

246 DAVID PINGREE are terrible and cruel, and he desires spicy food. He has many fingers (?).

15. The second Decan in Leo is a bold woman with loosened hair. She is on a mountain peak, proud in taking away the wealth of others. Terrible, she causes . . . ; her actions are like those of a monkey.

16. The third Decan in Leo is a woman whose actions are marvellous and who is cunning in respect to machines and to undertakings involving the arts, business, or jewels. Seated on an ivory throne, she considers (?) the murder of her enemies.

17. The first portion of Virgo is a black man who possesses a subtle knowledge of crafts and who knows the rules of calculating, cleverness, and story-telling. He is attached to beauty and skill, and is determined in his purpose.

18. The second Decan in the sixth sign is a beautiful woman whose limbs are polluted by her menstruation. She loves a man in secret for the sake of a child. She is learned; striving on behalf of the people, she journeys to a foreign country.

19. The third Decan in Virgo is a woman who is naturally coquettish and graceful. Her face is smiling, her countenance moon-like. Her one braid of hair is adorned with aioka-flowers, and her steps seem to stumble with intoxication.

20. The first Decan in Libra is a man in the market-place with the imple- ments of his trade prepared. His limbs are covered with silk and bright ornaments; his body is black and his eyes beautiful. His places are those where there are gold, merchandise, mines, and treasure.

2 I . The second Decan in Libra is a fair-waisted woman who has learned a little of the crafts. She wears bright garments and a bright, pendant necklace. She is clever in the office of an intermediary (between lovers) for the sake of the bridegroom. Her actions are like those of rogues and cheats.

22. The third Decan in Libra is a man about to attack. The tops of his teeth are far apart, and the hair on his body is long. . . . He carries a bow and wears armour and a turban. He engages in the tricks of rogues.

23. The first Decan in the eighth sign is a blazing man whose staff is fierce to his enemies. His sword is drawn, his armour is of gold; his flames are fanned by anger. He sports with serpents whose poison is sharp.

24. The second Decan in Scorpio is a woman with loose hair who is bound with snakes. She is robbed by thieves in the forest. With black body and completely naked she runs swiftly from a bandit, calling out terribly and shrilly.

25. The last Decan in the eighth sign is a cruel man wearing a golden suit of armour. Standing in a hole, he is clever (in obtaining) treasure and what he desires (?). He wishes to follow a vow that is broken. He knows how to use weapons, but is tormented, having been robbed by his companions.

26. The first Decan in Sagittarius is a man whose bow is drawn and whose speed is as violent as a horse's. He has knowledge of chariots and weapons, and bears the instruments for the sacrifice. His body is protected by gold, and his ear-rings flash with gold.

27. The second Decan in Sagittarius is a woman who is charming, graceful, and beautiful. She is seated on an auspicious throne, and is pale with a

THE INDIAN ICONOGRAPHY OF THE DECANS AND HORAS 247 golden-hued body. Opening a golden casket in a heap of jewels, she takes pleasure in distributing (its contents).

28. The third Decan in Sagittarius is a bearded man with a black body. Clothed in silk and pining with love, he is graceful. O n his breast hangs a string of pearls, and a bracelet is on his upper arm. He desires music and perfume.

29. The first Decan in Capricorn is the colour of collyrium. His teeth are as terrible as a crocodile's. He is armed with a staff, and his actions are like those of Time and Death. He stands in the middle of a cemetery with an armour of heavy hair and a strong body.

30. The second Decan in Capricorn is a man of blazing splendour whose teeth are dark blue and like a Piika's. He is handsome, having bound on his armour, sword, and turban (8irastr2na). He wanders about constructing river-embankments, tanks, and aqueducts.

31. The third Decan in Capricorn is a woman with loose hair, a gaping mouth, and a hanging belly. Her red body is tall and thin. She holds a noose in her hand, and wears a winding-sheet. She delights in injury.

32. The first Decan in Aquarius is a man who has dreadful teeth. He knows how to practise magic. His is the colour of a dark cloud, and half of his hair is filthy. His actions are pitiless. Garbed in an antelope-skin, he has the nature of one who is not insignificant.

33. The second Decan in Aquarius is a man with a shining sword. Half of his hair is tawny. Covered with garlands of skulls, he wears armour. His is the colour of sunset-clouds, and his protruding teeth are fierce. He is covered with the strings of nooses and so forth.

34. The third Decan in Aquarius is a man with various weapons wearing a garland of golden Moons. His shape is boar-like, his form frightful. Produc- ing red (sandal-wood ?) in his garden (or Mount Malaya), he is an ascetic whose hair is reddish-brown like a monkey's.

35. The first Decan in Pisces is a woman with a beautiful body whose eyes are expansive and long. Her body is adorned with silk and gold. She stands by the Great Sea, which she has crossed in a boat for the sake of a heap of jewels.

36. The second Decan in Pisces is a woman dreadful in strife, the foremost one. She is fierce, and has no clothes; her colour is white, red, and black. Her garments and ornaments are destroyed; desiring clothes, she shouts out.

37. The third Decan in Pisces is a woman whose hair has been loosened and who wears ornaments bearing the emblem of the Abhiras. She shrieks as she is frightened. She stands in the water adorned by troops of spirits having the shapes of jackals, cats, and boars.

(The following verses are to a large extent still obscure, and the translation is very dubious in places.)

38. By the great and authoritative Greeks who know the . . . of horoscopy these thirds of the signs which are called DrekkAs are described together with their thoughts and origins which are connected with their natures (?).

39. Because of its doubtfulness, this perception of the organs of sense is combined with (the effects of) the lords of the navilmias, the navAm8as them- selves, and the aspects of the planets; together with their various shapes,

248 DAVID PINGREE portions, and characteristic marks in this world, it is real from the illustrations and forms (?) .

40. The characteristics of a planet have been described with regard to the signs, the nav2mias, and time; they have the nature of being instrumental causes. Their entire effect is in full force in actions for all purposes (?).

41. What was said previously to be the form, nature, quality, and distinguishing mark of (each) planet and sign is to be determined by a wise man as the form which arises from the changes due to their mutual combinations in order.

42. They say that the form and distinguishing mark of a nav2mia undergo various changes because of the signs, planets, and (other) portions (of a sign) ; from its entry into (each) sign in the order of the signs they say that it is very strong in combination (?) and has the significance of a sign (?).

(The point seems to be that what has been said about the Decans is to be modified when applied to the native in accordance with the influences of the other elements in the horoscope which are described at length in the Yavanaj2taka.)

I t will have been noted that the second Hor2 in Sagittarius is compared to the goddess Laksmi. The woman holding a lotus and standing in the water who is the first DrekAna of Cancer reminds one of Gaja-Laksmi being showered by her pair of elephants.36 Other images bear a resemblance to the goddess of wealth; a Hor2 also holds a lotus in her hand (the first in Cancer; cf. the second Decan of Aries in the Liber Hermetis, DR 30, and EP 30), and before two other female figures appears a casket full of jewels (the second HorA in Sagittarius and the second Drekina in the same sign).

But far more frequent is a resemblance to Siva in his various samh2ra- m i i r t i ~ ; ~ 'Maheivara is even named in the description of the first Hor2 in Scorpio (for K2la and/or Yama cf. the first Hor2s in Leo and Capricorn, the third Drek2na in Aries, and the first in Capricorn). Snakes adorn the bodies of five images (the second Hor2 in Aries and the first and second Hor2s and Drek%nas in Scorpio) as they do that of Bhairava, and Bhairava's protruding teeth are attributed to four Hor%s (the first in Leo, the second in Libra, the first in Scorpio, and the first in Capricorn) and one Drek%na (the second in Aquarius). Vatukabhairava's red body is shared by four images (the second Hor2 in Gemini and the first in Scorpio, and the first Drek2na in Aries and the third in Capricorn). Siva's axe is grasped by three of these deities (the first Hor2 and Drek2na in Taurus and the first Drek2na in Aries), and other ~ a i v aweapons which appear are the staff (the first Hor2 in Aries, the third Drek%na in Aries, the third in Gemini, the first in Scorpio, and the first in Capricorn), the sword (the second Hor2 in Aries, the second in Libra, and the first in Scorpio, and the third Drekina in Gemini, the first in Leo, the first in Scorpio, and the second in Capricorn), the p%ia or noose (the second HorA

36 See J . N. Banerjea, The Development of 37 For t he iconographical features o f Siva Hindu Iconography, 2nd ed., Calcutta, 1956, see T . A. Gopinatha Rao, Elements of Hindu pp. I 10-12 and Ancient India, x v , 1959, p. 80 Iconography, ii, Madras, 1916 , pp. 103-220, and pl. LV fig. A. and Banerjea, pp. 446-88 and pasrim.

THE INDIAN ICONOGRAPHY OF THE DECANS AND HORAS 249 in Aquarius and the third DrekAna in the same sign), and the firebrand (the first HorA in Aries). The bow and arrow, which, though more frequently borne by Visqu, are also carried by Siva as Tripuriintika, appear often (the second Hor% in Aries, the second in Cancer, the first and second in Leo, the second in Libra, and the first in Sagittarius; the first and second DrekAnas in Aries, the first and second in Gemini, the third in Libra, the first in Scorpio, the first in Sagittarius, and the second in Aquarius). Other images hold the jar with which Siva is portrayed on the early coins of U j j a i r ~ ~ ~ (the first HorA in Taurus and the second Drekgna in the same sign).

The garments and ornaments of the figures are also often ~ a i v a . The deer-skin is found twice (the second Hor2 in Leo and the second in Capri- corn), the antelope-skin once (the first DrekAna in Aquarius), the hAra or necklace twice (the first HorA in Cancer and the third DrekAna in Gemini), the garland of skulls an equal number of times (the second HorA in Aries and the second Drekgna in Aquarius), and the kirita or diadem four times (the second HorA in Aries and the first in Sagittarius; the third Dreksna in Aries and the first in Gemini). In fact, the deity of the first Hor% of Sagittarius is called candrakir?tam21i7 which seems to be the equivalent of Candraiekhara. And the first Drekgna of Scorpio is described as krodhavimfirchitArci, 'one whose flames are fanned by anger', a clear reference to Siva in his Liiigod- bhavamfirti. Finally, the first Drekgna of Aquarius is dark like a rain-cloud, an epithet also applied to Bhairava.

There are other elements in these descriptions which are a part of the normal vocabulary of Hindu art. But can any of these Horss or DrekAnas be said really to represent purely Indian subjects? I think not. If these were in fact descriptions of Siva, where is the triSfila, where Nand?? And why are the attributes of various manifestations of the god indiscriminately combined in one figure, or given to creatures which are definitely not Saiva? The answer must lie in the hypothesis set forth towards the beginning of this paper, namely that the Hindu elements are interpretations of similar attributes which appeared in the illustrations in Yavaneivara's manuscript. This theory is supported by the fact that psychological interpretations of the deities are given in the Yavanajgtaka and in the texts derived from it, but nothing of the sort is known from the Greco-Egyptian material.

Our task, therefore, is to identify as many as possible of the original objects which lie behind the Saiva attributes. Serpents, a common Egyptian symbol,39 are naturally associated with numerous Decans in the Western sources (DR 19, 31, and 33; DP 2, 32, and 34; ' ~ ~ p d cBi$los first and third in Cancer, first in Leo, third in Libra, and third in Pisces; Liber Hermetis third in Aries, first and third in Cancer, first in Leo, second in Virgo, third in Libra, and second in Scorpio; and POxy 465 Aquarius 16'-20' and Pisces I I '-15'). With the protruding tusks of Bhairava, and especially with the dvipendradanta of the description of the first Hor5 in Leo, one can compare the first Decan of Taurus, which is said by the Liber Hermetis to have 'elephantorum promuscides duos' (tusks being confused with trunks in a poor drawing). An axe is held by the

38 Banerjea, p. I I 7. see, besides Bonnet, E. A. W. Budge, The 39 For Egyptian iconographical elements Gods o f the Egyptians, 1904.

I 7

250 DAVID PINGREE first Decan of Aries in the Tabula Bianchini and in the descriptions of Teucer40 and the Liber Hermetis. A staff or sceptre appears in the hands of many Decans (EP 7 and 3 I ; DP I 2 ; DR I 2 ; ' I~pdc Bi9Aog first and second in Aries and Taurus, second in Gemini, third in Virgo, and first in Scorpio ;Liber Hermetis second in Aries). A sword is held by two Decans described by the Liber Hermetis (the first in Gemini and Capricorn) and by one in the 'I~pdc B i P l o ~ (the second in Capricorn). The piiia or noose may be a misinterpretation of the ankh in the hands of the second Decan in Aquarius according to the 'r~pdr BiPhos. And bows and arrows appear as weapons of several of the Greco-Egyptian images ( ' lcp& Bighos first in Sagittarius and third in Capri- corn; Liber Hermetis second in Gemini and first in Sagittarius) ; and the jar is also of not uncommon occurrence ( ' ~ E ~ d cRi?hos third in Aries and first and second in Libra; Liber Hermetis second in Aries and first in Libra).

A diadem or a crown rests on the heads of numerous Decans in the Western tradition (DP 6, 10, 32, 34, and 36; DR 3, 4, 6, and 10; EP 4, 8, and 20; ' I E F ~ ~BiPhos third in Gemini, Cancer, Libra, Sagittarius, and Aquarius, and second in the last; Liber Hermetis third in Aries, first in Taurus, second in Cancer, and first in Libra ;and POxy 465 Aquarius I 6 "-20" and Pisces I "-5 ") . But what is especially striking when we recall the epithet candrakirltamiili is that the second Decan in Leo is described in the 'rep& BiPAoS as having m ~ 9 sx~cpahij

THE INDIAN ICONOGRAPHY OF THE DECANS AND HORAS 251 beetles ('rCpdcBiPhos first in Capricorn and Liber Hermetis second in Capri- corn), an ichneumon ( ' ~E p h BiPho: and Liber Hermetis second in Sagittarius), an ibis (Liber Hermetis second in Virgo), and so forth. The only additional one which may be reflected in the YavanajAtaka is the crocodile of Horus (Liber Hermetis third in Leo) ; the teeth of the second Horii and the first DrekAna of Capricorn are likened to those of a makara. But the vulture of Nekhebet or Mut (Liber Hermetis second in Aries, Gemini, and Cancer; and POxy 465 Aquarius I 6"-20") and the dog of Anubis ( ' I E ~ ~BiPAo: first in Virgo; Liber Hermetis first in Cancer, Sagittarius, and Aquarius) are found among Var%hamihiraYs Decans. This is a circumstance to which reference will be made again later.

The garments worn or not worn by the images sometimes give a clue to their relationships with Egyptian models. That divinities in both traditions are clothed in red (the first Hor2 in Aries, the second in Gemini, and the first in Pisces; the first DrekAna in Aries and the third in Gemini; and Liber Hermetis third in Aries and in Taurus), dark blue (the second HorA in Pisces and the third DrekAna in Aries ; [ r ~ p d cBipAo: and Liber Hermetis first in Pisces), or variegated (the first HorA in Taurus and the second in Cancer; the second DrekAnas in Gemini and Libra; and Liber Hermetis second in Libra and first in Sagittarius) robes is not striking except in those several instances where a Western Decan is dressed in garments of the same hue as those of his Indian counterpart. But the winding-sheet of the third DrekAna of Capricorn certainly indicates that she is a mummy as are two Decans in the Liber Hermetis (first in Taurus and third in Virgo) and one depicted in the pronaos of the temple at Esne (EP 31) ; and the nakedness of the second Drekiina of Pisces (cf. also the second HorA in Gemini and the second and third DrekAnas of Scorpio) is matched by his counterpart in the ' r ~ p hBipho: (see, in addition, DP 2, 29, and 30; DR 30 ; EP 30 ; and ' I E ~ & BiPAo: second in Leo).

Posture is a final criterion of comparison. Two HorAs (the first in Gemini and the second in Sagittarius) and three Drekiinas (the second in Cancer and Sagittarius and the third in Leo) are seated, as compared with four Decans in the Western tradition (DP 27 and 36; ' I ~ p d r Bi$Ao: first in Cancer; and POxy 465 Pisces 1"-5"). The raising of her hands by the second HorA in Gemini is paralleled by similar poses of two figures in the ' I ~ phBiPAo: (the first in Aries and Libra) and one on the pronaos at Esne (EP 6). And three Hor2s which stand in water (the first in Cancer and the first and second in Capricorn) have their prototype in the second Decan of Libra as described by both the ' ~ ~ p d cBiPhos and the Liber Hermetis. But more significant are the second HorA of Capricorn and the second DrekAna of Taurus, both of which are said to stand on one foot; this is evidently a misunderstanding of a repre- sentation of the side-view of a god standing with his feet together or, as the 'I~~dr (third in Virgo; see also the second in Taurus BiPAoq puts it, far&< orjpou: and Libra and Liber Hermetis third in Taurus and second in Libra and Scorpio). Again one has a feature in the Indian descriptions which can only be due to a mistaken interpretation of an actual picture.

So it may fairly be concluded that the figures described in the Yavana- jAtaka are, for the most part, based on illustrations which adorned the Greek manuscript utilized by Yavaneivara, but that their interpretation has been

252 DAVID PINGREE coloured by an attempt to understand them in Hindu, and especially Saiva, terms. But it must be added that they have also been subject to additions reflectinq social conditions in Western India in the second, third, and fourth centuries A.D. The silk which, according to the Periplus of the Eythraean Sea,41 was a staple item in the trade between Bhrgukaccha and Alexandria, clothes two Horfis (the second in Taurus and Aquarius) and four Drek2nas (the third in Cancer, the first in Libra, the third in Sagittarius, and the first in Pisces). The thieves who must have infested the forests through which the trade routes extended in the Western Ghats42 accompany the second Hor2 in Aries and the second in Leo and have robbed two other Horfis (the second in Gemini and Pisces) and a Drekfina (the second in Scorpio). The second Horii and the third Drekiina of Pisces wear respectively garments and ornaments manufactured by the powerful neighbours and sometime vassals of the Western Ksatrapas, the Abhiras of K h a n d e ~ h . ~ ~ Finally, the first Horfi and Drekiina of Pisces have just crossed the mah2rnava or Great Ocean or are with others who have just done so. This is a reference to the Arabian Sea; and these figures are immigrants or traders from Egypt or the Persian Gulf.

As was remarked towards the beginning of this paper, the Horiis and Drekiinas of any one sign are very similar to each other. This fact was noticed by Variihamihira, who has combined the elements of the corresponding images in his description of the Decans. He has made other changes in Sphujidhvaja's figures as well. The most obvious of these is the upsetting of the strict balance between the sexes maintained in the Yavanajiitaka for both the Horiis and the Drek2nas; Var211amihira has changed this equality to a ratio of two to one in favour of males. In addition he has incorporated some material which seems to have been derived from another Sanskrit text depend- ing on a Greco-Egyptian source.

I t is clear from a study of the history of astrological ideas in India that Var2hamihira's main source for his knowledge of Hellenistic genethlialogy, aside from the Yavanajfitaka, was the lost poem of S a t ~ a . ~ ~ And, though he cites the opinion of and even borrows a piida from Sphujidhvaja when he assigns planetary lords to the D e c a n ~ , ~ ~ he prefers the theory of S a t ~ a . ~ ~

41 Periplus 64. the inscription. 4 2 On these trade routes see D. D. Kosambi, 4"ee my thesis, Alaterials for the Study of

'Dhenuk2kataY, JBBRAS, N.S., 30, 1955, the Transmission of Greek Astrology to India, sub- pp. 50-71 and M. N. Deshpande, 'The Rock- mitted to Harvard University in 1960. This cut Caves of Pitalkhora in the Deccan', subject will be discussed further in the edition Ancient India, xv, 1959, pp. 66-93. of the Yavanajktaka.

4 3 See B. Prakash, 'The Abhiras: their 45 Yavanaj2taka I , 3gc-d : Antiquity, History and Culture', Journal of

svadv2daSaik2daiar2iip2n2mthe Bihar and Orissa Research Society, xl, 1954, drek2nasamjfikh kramaias trayo 'tra /Ipp. 249-65. The best treatment now is that of V. V. Mirashi, Inscriptions of the Kalachuri- Brhajj2taka I , 12 : Chedi Era, CII 4, Ootacamund, 1955,. pp. kecit tu horkm pratham2m bhapasya xxxi-xl; see also D. C. Sircar, 'Nagarjuni- v2fichanti lgbhgdhipater dvitEy2m /konda Inscription of the Time of AbhEra dresk2nasamjfiLm api Garnayanti Vasushena, Year 30', EI, xxxiv, 1961, pp. svadv2daiaik2daSar6Sip%n&m/ /197-204. Sircar's date cannot be accepted because it conflicts with the known dates of "Satya is quoted by Bhattotpala on Rudrad2man 11, who is also mentioned in Brha.jj2taka I , 12 :

THE INDIAN ICONOGRAPHY OF THE DECANS AND HORAS 253 Therefore, it is a reasonable hypothesis to assume that his deviations from the YavanajAtaka in his descriptions of the Decans are due to SatyAcArya. The most important of these divergences are those which have already been mentioned, the vulture (first in Leo, second in Libra, and first in Aquarius) and the dog (first in Leo and in Sagittarius).

However, it is also evident that Varghamihira has felt free to redistribute the characteristics of the Decans as he saw fit. A similar tendency on the part of Western authors and the Yavanaj2taka has already been alluded to. The collection of possible things to say about the Decans did not vary to any large degree, but there was no fixed sequence of their occurrence. Not being the most powerful divinities in either the Greco-Egyptian or Indian pantheons, they were granted no opportunity to defend their identities against the imaginations of those who wished to invoke them.

This license was not so sweeping for AbB Ma'shar when he translated Var2hamihiraYs descriptions of the Decans into Arabiq4' presumably using a lost Pahlavi version.48 iMany of his changes are due to his own errors or to those of his Sasanian predecessor, as the deviations from the Arabic in the Byzantine Greek translation can be traced to omissions or faulty readings in the manuscript used by the t r a n ~ l a t o r . ~ ~ But those elements in AbB Ma'shar which are not found in VarAhamihira cannot be taken from the commentary of Bhattotpala as has been suggested;50 rather Bhattotpala and the Sasanian tath2 ca satyah / ar-rijlin fawilhumh, 'his feet are long'. But ojesu raver hor2 prathamh yugmesu where Var2hamihira uses the adjective

cottar2 4eshh / Barabhhfighri (the first Decan in Cancer) indoh krama4o jiieyh janmhni cesfau Dyroff reads abyad ar-rijlin, 'having white

svahorhsthau rh4ih // feet'. I n this he is supported by one of the taddreskgnas tatpaiicamanavama- Arabic manuscripts, the Latin translation of

bhavanapatayah syuh / John of Spain, the Byzantine version, and teshm adhipatayah syuh svadreskhne the Latin translation of Ibn Ezra's Hebrew

grahh balinah / / version. The correct reading, mamdtid ar-rijlin, 'having long feet', occurs only in the

This system is given by Varhhamihira in Oxford manuscript. The manuscripts used B~hajjhtakaI , I IC-d : bv all the translators-Latin. Greek, and mhrtandendvor ayuji samabhe ~ebrew-were corrupt at thisapoint. '

candrabhhnvoi ca hore 50 See 0. Neugebauer, Bull. de l'acad. roy. dreskhnhh syuh de Belgique, Classe des Lettres, ge Str., xliii,

svabhavanasutatritrikonbdhiphn2.m / / 1957, p. 134 n. 3, and P. V. Kane, 'Date of Utpala', JBBRAS, N.S., xxxiii, 1958, pp. 47 Ed. K. Dyroff in Boll, Sphaera, pp. 482- 147-49. His date had been doubted before on

539. astronomical grounds by J. F. Fleet in Indian 48 On AbQ Ma'shar's use of Sasanian Antiquary, xix, 1890, pp. 41-43, and D. C.

sources see the passages cited in my article in Bhattacharjee, 'Dates of Bhatfotpala and Isis mentioned in footnote g above. More Kalyhnavarman', Indian Culture, xii, 1945-46, evidence has been found in the Greek trans- pp. 81-82. But he cannot be dated before lation of his De revolutionibus nativitatum (Kithb 850 because of his quotations from Kalyhna- al-ahk2m tahwil sini 'I-mawhlid), and there varman. In support of the suggestion that is much in the De coniunctionibus and the the unknown source of Bhaftotpala and the Introductorium maiu

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