 Makara at the Konarak temple | |
| Country | India |
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Makara (Sanskrit:मकर,romanized: Makara) is a legendary sea-creature inHindu mythology.[1] InHindu astrology, Makara is equivalent to theZodiac signCapricorn.
Makara appears as thevahana (vehicle) of the river goddessGanga,Narmada, and of the god of the ocean,Varuna.[2] Makara are considered guardians of gateways and thresholds, protecting throne rooms as well as entryways to temples; it is the most commonly recurring creature in Hindu and Buddhisttemple iconography, and also frequently appears as agargoyle or as a spout attached to a natural spring. Makara-shaped earrings calledMakarakundalas are sometimes worn by Hindu deities, for exampleShiva,Vishnu,Surya, andChandi. Makara is also the insignia of the love godKamadeva, who has no dedicated temples and is also known asMakaradhvaja, "one whose flag depicts a makara".
Makara is aSanskrit word which means "sea-animal, crocodile".[3]
Josef Friedrich Kohl ofWürzburg University and several German scientists argued that makara is based on thedugong instead, based on his reading ofJain text of Sūryaprajñapti.[4][5][6] TheSouth Asian river dolphin may also have contributed to the image of the makara. InTibetan it is called the "chu-srin",[7] and also denotes a hybrid creature.[8]
It is generally depicted as half terrestrial animal in the frontal part (stag, deer, or elephant) and half aquatic animal in the hind part (usually of a fish, a dolphin, or a snake, though sometimes a peacock or even a floral tail is depicted). Though Makara may take many different forms throughout Hindu culture, in the modern world, its form is always related to themarsh crocodile orwater monitor.
According to an art historian,John Boardman, depictions of Makara andChinese Dragon might have been influenced byKētos inGreek Mythology, possibly after contact withsilk-road images of theKētos.[9]
In Sinhalese ancient artworkMakara is made up of body parts of six or seven animals such as the trunk of theelephant, jaws of thecrocodile, ears of themouse orape, extruding teeth of wildswine, the tail plume of thepeacock and feet of thelion.[10]
DuringVedic times whenIndra was the god of heaven, Varuna (the Vedic water god) became the God of theseas and rode on makara, which was called "the water monster vehicle".[11][12]
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Vishnu's earrings are shown in the form of Makara;[8] butmakarakundala can also decorate Shiva's ears.[13] Its contemporary usage is as ornaments in the form of bracelets in hollow silver ware inlaid with jewels for eyes and ears, which is given as a wedding gift to the bride. Some traditional account also links the Makara to thewater monitor as both has body parts (example: jaws, meat etc.) which are stated to possessaphrodisiac properties.[14]
Makara has been depicted typically as half mammal and half fish. In many temples, the depiction is in the form of half fish or seal with head of an elephant. It is also shown in an abstract, chimeric form with head and jaws of acrocodile, an elephant trunk with scales of fish and a peacock tail.Lakshmi sitting on a lotus is also a depiction in which she pulls the tongue of the elephant shaped makara is meant to project Lakshmi's image as the goddess of prosperity, wealth and well being.[8][15][14] It represents a necessary state of chaos before the emergence of a new state of order.[8]
Makara is also the emblem ofKamadeva, the god of love and desire.Kamadeva is also known as 'Makara-Ketu' which means "having the makara for an emblem". It is the tenth sign of theZodiac, called rāśi in Sanskrit, which is equivalent to the zodiacal sign ofCapricorn (goat symbol).[11]
From the 2nd century BCE, theMakara appears to have been the symbol ofPradyumna, son ofVāsudeva Krishna. One of the epithets ofPradyumna in literature, such as inHarivamsa 99, is "Makaradhvaja", meaning "he whose banner or standard is the crocodile".[22] A pillar capital with the effigy of aMakara crocodile found atBesnagar near theHeliodorus pillar dedicated toVasudeva, is also attributed to Pradyumna.[22] In theMahabharata too, the Makara is associated with Krishna's son andKamadeva, the God of Love, suggesting they are identical.[22]
In Hinduiconography, Makara is represented as thevahana ('vehicle') ofGanga, the river goddess. A row of makara may run along the wall of a Hindu temple, act as the hand rail of a staircase, or form an arch above a doorway.[15]
The leading Hindutemple architect and builderGanapati Sthapati describes Makara as a mythical animal with the body of a fish, trunk of an elephant, feet of a lion, eyes of a monkey, ears of a pig, and the tail of a peacock.[15] A more succinct explanation is provided: "An ancient mythological symbol, the hybrid creature is formed from a number of animals such that collectively possess the nature of a crocodile. It has the lower jaw of a crocodile, the snout or trunk of an elephant, the tusks and ears of a wild boar, the darting eyes of a monkey, the scales and the flexible body of a fish, and the swirling tailing feathers of a peacock."[11]
Traditionally, a makara is considered to be an aquatic mythical creature. Makara has been depicted typically as half mammal and half fish. Some traditional accounts identify it with acrocodile, specifically theMugger because of its etymological roots. It is depicted with the forequarters of an elephant and the hindquarters as a fish tail. Crocodile was also a form which was used in the earlier days which was shown with human body.[15][23]
In many temples, the depiction is in the form of half fish or seal with head of an elephant. It is also shown with head and jaws resembling a crocodile, an elephant trunk with scales of fish and a peacock tail.[8] Other accounts identify it withGangetic dolphin having striking resemblances with the latter, now found mainly inVikramshila Gangetic Dolphin Sanctuary. Others portray it as a fish body with an elephant's head. The tradition identifies the makara with water, the source of all existence and fertility.[15]
In a Hindu temple, the Makara often serves as the structuralbookends of athoranam or archway around a deity. The arch emerges up from the jaws of one Makara, rises to its peak, theKirtimukha (the 'Face of Glory'), and descends into the gaping jaws of another Makara. Varuna is also depicted as a white man sitting on the monster makara. As a marine monster, it is also shown with the head and legs of anantelope, and the body and tail of a fish.[24] A makara made in iron shows the monster in the form of halfstag and half fish.[25] These elements are variously joined to form one of the most common recurring themes in Indian temple iconography. In Indian art, the makara finds expression in the form of many motifs, and has been portrayed in different styles. Makara figures are placed on the entry points (Toranas) of several Buddhist monuments, including thestupa ofSanchi, a world heritage site. It is found guarding the entrances to royal thrones (seeDistribution below).[15]
In themedieval era ofSouth India, Makara was shown as a fifth stage of development, symbolized in the form of an elephant head and body with an elaborately foliated fish tail. Most myths maintain this symbolism of this stage in the evolution of life.[14] (Note makara in fifth row of animistic carvings in temple wall at right.)
Thetemples of ancient Java is notable with the application ofkala-makara as both decorative and symbolic elements of temple architecture. Kala is the giant head, often took place on the top of the entrance with makaras projected on either sides of kala's head flanking the portal or projecting on top corner as antefixes. Kala-makara theme also can be found on stairs railings on either sides. On upper part of stairs, the mouth of kala's head projecting makara downward. The intricate stone carving of twin makaras flanking the lower level of stairs with its bodies forming the stair's railings. These types of stairs decorations can be observed inBorobudur andPrambanan temples. Makara's trunks are often describes as handling gold ornaments or spouting jewels, while in its mouth often projected Gana dwarf figures or animals such as lions or parrots.
Makaras are also a characteristic motif of the religiousKhmer architecture of theAngkor region ofCambodia which was the capital of theKhmer Empire. Makaras are usually part of the decorative carving on a lintel, tympanum, or wall. Makaras are usually depicted with another symbolic animal, such as a lion, naga or serpent, emerging from its gaping open mouth. Makara are a central design motif in the beautiful lintels of theRoluos group of temples:Preah Ko,Bakong, andLolei. AtBanteay Srei, carvings of makaras disgorging other monsters were installed on many of the buildings' corners.[26]
TheNewa art ofNepal uses this depiction extensively. In Newar architecture, its depiction is; "as guardian of gateways, the makara image appears on the curved prongs of the vast crossed-vajra that encompasses the four gateways of the two-dimensionalmandala. Of the three dimensional-mandala this crossed-vajra supports the whole structure of the mandala palace symbolizing the immovable stability of the vajra-ground on which it stands."[11]
Most spouts of old Nepalese drinking fountains (calleddhunge dhara) have the shape of a makara.[27]
Makara is theSinhala term fordragon, an important figure in Sinhala Buddhist culture inSri Lanka. It is depicted ontoranas in temple architecture and objects of prestige such as inkastanes.
The Makara is widely used in Sri Lankan Buddhist architecture, often depicted ontoranas.[28] Since ancient time, easterners[who?] believe that Makara is one of watery creatures and even from the pre-era of the field ofBuddhist art,Makara has been depicted both in work ofliterature andstone carvings.Makara gained a distinctive position in the Sinhala Buddhist culture - a special place not given inBuddhist artwork in other countries.[citation needed]
TheMakaragala (dragon balustrade) is another kind of stone carvings which portray theMakara (dragon). These artworks used to decorate the entrance of Buddhiststupas,temples andBo trees. There are two balustrades at main entrance ofLankatilaka Viharaya in Kandy and they are sometimes calledGajasinha balustrades because of the shape of theMakara there.[29][30]
TheMuragala (guardstone) has given a highest place toMakara. Over the head of the gatekeeper carved in there, the figures ofMakara can be seen.
Sinhala Buddhist artists consideredMakara the symbol of prosperity and self-sufficiency so they were not hesitant in portraying the sign ofMakara in the entrancearch gateway to the religious places, such astemple,stupa or bodi. Precious examples for the above areTemple of the Tooth and Lankatilaka Temple inKandy.[29] Examples for the arched gateway withMakara over the image ofBuddha can be seen inRidi iharaya andDambulla cave temple.[31]
A figure ofMakara has been carved to the handle of a temple key ofGadaladeniyaTemple built in 1344 inDiggala inKandy District.[32]
The Makara has also been used as a clan symbol by theKaravas andKaraiyars ofSri Lanka, who both share similar origin and were collectively known asKurukulam.[33][34] Since at least 14 century AD, they have usedMakara flags in their ceremonies.[35] Clan titles such asAditya andVarunakulasuriyan were used by them, to indicate their connection to ancient Hindu godVaruna.[36]
In theTibetan Buddhist format it evolved from theIndian form of makara. However, it is different in some ways such as, "display of lions fore paws, a horse's mane, the gills and tendrils of a fish, and the horns of a deer or dragon. From its once simple fishtail, sometimes feathered, now emerges as a complex spiraling floral pattern known as makara-tail design (Sanskritmakaraketu)".[11]
InTibetan iconography, it is depicted in theVajrayana as a weapon of strength and tenacity. TheVajrayan weapons which have makara symbolism are: axe, iron hook, curved knife, vajra, and ritual dagger, in all of which the theme is "emergence of the blade from the open mouth of the makara".[11]
Its symbolic representation in the form of a makara head at the corner of temple roofs is as water element which also functions as a "rainwaterspout orgargoyle". It is also seen as water spouts at the source of a spring. The artistic carving in stone is in the form of identical pair of makaras flanked by twoNāgas (snake gods) along with a crown ofGaruda, which is called thekirtimukha face. Such depictions are also seen at the entrance of wooden doorways as the top arch and also as a torana behindBuddha's images.[11]
Stone sculptures of the mythological Makara and its ancient place in the iconography of Hinduism and Buddhism are widely spread throughoutSouth Asia andSoutheast Asia. Examples from ten countries are shown below:
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