Parunde (19⁰ 08ʹ 24.77ʺ N, 73⁰ 50ʹ 25.88ʺ E) is a small village ten km south-west of Junnar in the Pune district has a temple of Brahmanātha situated on the right bank of the Kamandala river, a tributary of river Mina that drains into the Bhima basin. The ornate and carved pillars of the Brahmanātha temple have rare depictions of different yogic postures.

The temple is named after a Nātha yogī Brahmanātha, who is believed to have taken samādhi at this place. Based on its architectural remains, it can be dated to the 13th -14th centuries. The temple was renovated sometime in the early modern period. Only four decorated pillars have survived in the maṇḍapa amongst the ancient sculptural material. Apart from this, two pillar-like structures (along with hero stones) are on both sides of the doorway of the sanctum.

The Brahmanath temple

Sculptures and Depictions

As mentioned above, pillars nos. 1, 2, 3, and 4 have the same patterns of designs and depictions. The rectangular Bases of the pillars are devoid of any decoration. They are followed by three rows of octagonal brackets of different thicknesses interspersed with two rows of discs. A square bracket at the top follows these brackets. The octagonal brackets mainly bear different types of yogic postures. Depictions on the square portion include rites and rituals, dancing, and singing scenes.

A ground plan of the temple.

Yogic Postures on Pillar No.1

Ūrdhva Dhanurāsana: This āsana is depicted on the western side of the middle octagonal bracket. The figure is shown arching backward. The face is touching the ground. The entire body is balanced on the palms[1].

Ūrdhva Dhanurāsana

Netī Kriyā: The panel on the southwestern side depicts two figures performing the Netī Kriyā (cleansing of the nasal passage). Though the depiction of the actual action is the same, they are shown sitting in different postures. While the one on the left is cross-legged, the one on the right is shown in gomukhāsana, in which the person's left leg is crossed completely over his right thigh.

Netī Kriyā

Garuḍāsana: It is depicted on the lowermost octagonal bracket on the eastern side of the pillar. Two figures are depicted performing the Garuḍāsana (eagle's pose) individually. One of them (right side) is probably eagle faced. The figures are in standing positions facing each other. It seems that one of them is the reflection of the other. They have their legs crossed; knees bent. Their hands are twisted from the elbow upwards, forming a knot.

Garudasana

Naṭarājāsana: There are three figures depicted performing the Naṭarājāsana. Two of them are shown together in a mirror image fashioned on the southern side of the pillar, and a single figure is depicted on the northern side of the pillar on its lower octagonal bracket.

The people are shown dancing. Their one hand (right in the case of the left-side figure and left in the case of the right-side figure, respectively) is shown going across the body, pointing downwards (gajahasta). The other hand is raised near the face, the palm facing away. Legs are bent in the knees. In addition to these postures, some other depictions of probable yogic postures could not be identified. They are described below. They are located on the lower as well as middle octagonal brackets of the pillar. The middle bracket has eight panels. All of them but one panel are divided into two halves with a central separator. Thus, altogether there are 15 depictions of yogic postures. All the āsanas are in sitting postures. Some postures probably show the initial step of an āsana. Person seating in sukhāsana with either hand turned upwards or in the front (eastern side).

The southeastern corner depicts two figures with stretched legs. The right forearm supports the body. The left side figure has its left hand raised and bent towards the face. The right-side figure shows its left hand probably holding the right foot. This posture is repeated quite a few times. It is on the same bracket's southern, northwestern, northern, and northeastern sides. The only difference is that the legs are stretched or have a fold in the knees. The right-side figure in the northeastern panel is mutilated. On the western side, a person is depicted in profile in a crouching position. His right hand is twisted backward and turned upwards. His legs are crossed. Apart from the āsanas described above, there are 13 other depictions on the lower octagonal bracket. They include seated people towards left/right in Namaskāramudrā (southwestern, western, and northwestern sides), people standing with either left or right hand raised, face turned upwards or looking straight (right side images of the southeastern and northern sides, and northeastern side), seated persons looking towards the right with right hand raised (left side images of the southeastern and western sides).

Depictions on Pillar No.2 (Fig. 26)

As described above, the overall scheme of this pillar is the same as the previous one. While there are eight panels and eight depictions on the lower octagonal portion, there are eight panels, each divided into two, and thus sixteen images on the middle octagonal brackets. The yogic postures are depicted only in the middle bracket. Following is the description of these depictions.

Naukāsana: Two depictions of this asana are depicted by the left-side images of the northern and northeastern panels. The posture resembles the shape of a boat and hence the name.

Naukāsana

Prasārita Pādottānāsana: This posture is depicted on the right side of the southeastern panel. The person is bent forward towards the right and resting on his head. His legs are stretched completely, hence the name of the posture in which a person is expected to keep some distance between his legs and stretch them while bending forward and touching his head and palms to the ground.

Gomukhāsana: This posture is depicted on the left hand of the above panel. The figure is shown seated in profile with its left leg crossed over its right thigh. Its body appears to be twisted towards the right. The figure's left hand is raised upwards and resting on its left knee. Its right hand is very close to its waist and appears in the abhayamudrā.

In addition, some other depictions are in the middle bracket, described below.

The most striking figure is the depiction of a seated person with yogapaṭṭa. Though his posture does not depict anything special, the fact that the person is shown with the yogapaṭṭa makes this depiction unique. He is shown seated, looking towards the right. His right hand is rested on the knees while the left hand is raised with the ventral side of his palm turned upwards. This figure is located on the northeastern panel, on the right side of the bracket that depicts the naukāsana described above. There is a depiction of a person on the southwestern panel with his legs stretched upwards, similar to the ones found on the first pillar. However, unlike the figures on the first pillar, the body in this figure is balanced on the left palm, which is twisted backward. The body, too, appears to be twisted towards the left, the head being turned backward.

Two figures appear similar on the right-hand side of the northwestern panel and the other on the right-hand side of the northern panel. Both are sitting towards the right and are shown holding some object in their right hands. While the one on the northwestern corner is depicted sitting cross-legged, the other is sitting in sukhāsana. There are seven depictions of dancing figures on the eastern, southern (left-hand side), southwestern (left-hand side), western, and northwestern (left-hand side) panels. They are either toward the left or right. Their hands are raised upwards, and their legs are shown in movement. They appear to be dancing in some ecstatic frenzy. Hence the bodies appear to be twisted disproportionately, especially in the case of the figure on the southwestern panel.

In addition, there is an image of a garland bearer on the southern panel on the right-hand side. The lower octagonal bracket displays eight images altogether. The placement of these images is fascinating. Four images appear to be of attendants. The remaining four images belong to some yogis of repute. The persons cannot be identified individually for want of any inscriptional evidence. However, the scheme suggests they were influential personalities revered in the tantric tradition. The arrangement of these figures is interesting. The images of the attendants and those of the yogis are placed alternately. Hence it gives the impression of one yogi with two attendants and one attendant for two yogis.

The most important figure is the one located on the eastern panel. It depicts a person sitting in ardhaparyaṅkāsana on a low pedestal. He is shown wearing a large kuṇḍala in his right ear. He holds a staff in his right hand. The left hand is shown holding a vessel. It is interesting to note that carrying a begging bowl and staff is expected in the tantric tradition. He is shown wearing bracelets and anklets. There seems to be a cloth wound around his neck which is shown flowing down over his chest. The overall features point towards the tantric affiliation of the person. Two attendants on both sides flank this image.

The following image is of a person sitting in savyalalitāsana. It is on the southern panel. His hands are raised upwards. The face is mutilated, and hence facial features are unclear. He is shown wearing the sacred thread. Bracelets can be seen in both his hands. He appears to be wearing anklets, also. The third image on the western panel is of a person seated in ardhapadmāsana. His right hand is in jñānamudrā. His left hand rests on the left thigh and appears holding a begging bowl. He is probably wearing a necklace. He is also shown wearing armlets. The image is much eroded, and hence facial features are unclear. The fourth image is on the northern panel. It depicts a person sitting in utkuṭīkā. His right hand is raised upwards in abhayamudrā while the left hand is close to his belly and is resting on his left knee. Bracelets are shown on both hands. His hair is tied in a bun.

Depictions on Pillar No. 3

The middle and lower octagonal brackets bear depictions of yogic postures on them. Interestingly, unlike the previous pillars, panels on the middle bracket are not divided into two halves. Hence there are eight depictions on the middle bracket. The lower bracket also has eight depictions. These are described below.

Pāda-Paśchimottānāsana: It is depicted on the southern side of the pillar on the middle bracket. The person is shown seated towards the right with his legs fully stretched. He is bent forward and is holding the right foot with his right hand. Facial features are not straightforward owing to the eroded nature of the figure.

Pāda-Paśchimottānāsana

Anantāsana: This posture resembles the reclining posture of Viṣṇu and hence the nomenclature (Iyengar, 1992, pp. 246-247). It is depicted on the southwestern side of the pillar in the middle bracket. A person is shown in the reclining posture with the support of his right hand to his head. His left hand is shown resting on his hip. Legs are stretched and bent in the knees.

Anantāsana

Gherāṇḍāsana (sage Gherāṇḍa's pose): It is depicted on the western side of the pillar on the middle bracket. The person is shown sleeping on his belly. His chin is touching the ground. His left leg is turned upwards and is probably held by his right hand. His left hand is shown touching his right knee. It is quite possible that the complete representation of this and other asanas was not possible owing to the constraint of the space.

Gherāṇḍāsana (sage Gherāṇḍa's pose)

Ūrdhva upaviṣtha konāsana: This posture is depicted on the northern side of the middle bracket. Unlike other postures mostly depicted in profile, it is depicted in frontal view. The person is shown stretching his legs sideways and his hands holding the ankles of respective legs.

Ūrdhva upaviṣtha konāsana

Ardha-Paśchimottānāsana: The northeastern panel of the middle bracket depicts what looks like Ardha-Paśchimottānāsana. The person is shown seated with his left leg stretched utterly. His right leg is folded in the knee. His left hand is holding the left foot while the right hand is shown passing through his right leg and resting on the floor. The head is shown touching the knee portion.

Ardha-Paśchimottānāsana

Ardha-Matsyendrāsana: This posture is depicted on the southeastern panel of the lower bracket. The person is shown seated. His left leg is crossed over his right leg, which is bent backward. He appears to be sitting on his right leg. The body is turned towards the left. His right hand is near his left foot while his left is turned upwards. His face is turned backward. His hair is matted and tied in a bun. He is shown wearing kuṇḍala in the ear. He is wearing some upper garment, and his lower garment is up to his thighs. He is shown wearing bracelets, armlets, and anklets. As the nomenclature suggests, this posture is known after Matsyendranātha, the founder of the Nātha Saṃpradāya.

Ardha-Matsyendrāsana

Krauñcāsana: It is depicted on the northeastern panel of the lower bracket. The person is shown seated; his left leg stretched upwards. He holds the leg with both hands, forming a knot around the ankle. The right leg is not visible. The raised leg resembles the head of the heron; hence, the posture is termed Krauñcāsana or heron’s pose (Iyengar 1992: 158).

Krauñcāsana

Additionally, some postures need to be identified or be yogic. They are present in both middle as well as lower brackets. They are as follows:

The eastern panel of the middle bracket depicts a person with his right leg turned backward and the left one folded in the knee and placed near the crotch, His right hand, which is turned upwards, is shown holding an object. His left hand is stretched horizontally and is bent at the elbow. The figure is much eroded, so many features must be made apparent. The southeastern panel of the middle bracket depicts a person with stretched legs in opposite directions. His right hand is also stretched with the bent palm. His left hand is bent at the elbow, and the person appears to be reclining on it. The panel on the northwestern side of the middle bracket depicts a person in a reclining posture. His head is shown resting on his right hand. His right leg is bent in the knee while the left leg is stretched upwards. His left hand is shown resting on the knee portion. There is a depiction of some vertical cylindrical protrusion that could represent a phallus.

A person in the dancing pose is depicted on the eastern side of the lower bracket. Interestingly, it is shown from the backside. Legs are shown in movement. Both hands are raised upwards. The face is turned towards the left. Hair is tied in a bun. The person is shown wearing a lower garment up to the thighs. He is shown wearing armlets. Sukhāsana: This posture is on the southwestern panel of the lower bracket. The person is shown seated in Sukhāsana. The right hand is resting on the right knee. His left hand is turned upwards. He appears to wear some upper garment (Kūrpāsaka). He is also shown wearing armlets, bracelets, and anklets. The figure on the southern panel of the lower bracket is shown seating in utkuṭīkā. Both its hands are raised upwards near its ears. It probably depicts a singing person. The hair is matted. The person is wearing a kūrpāsaka.

On the western panel of the lower bracket is a figure seated in utkuṭīkā, legs turned slightly towards the right. Its right hand is placed on the chest, whereas its left is turned upwards. The person is shown wearing a lower garment up to the thighs. His hair is tied in a bun. He is shown wearing bracelets and kuṇḍalas. He is also wearing an ornament on his upper body. On the northwestern panel of the lower bracket is a figure which appears to be blowing a horn. His legs seem to be in movement. He is shown moving toward the right. He is holding the horn in his left hand while the right hand is near the belly. His hair is tied in a bun. The right earlobe is elongated and is touching his shoulder. He is shown wearing a bracelet, necklace, and an ornament over his chest. The panel on the northern side of the lower bracket depicts a figure seated towards the right in sukhāsana. He is probably blowing a conch held in both his hands. Some cloth appears to be draped over his right thigh. His hair is tied in a bun. His right earlobe is elongated and is touching the shoulder.

Rites and Rituals

Certain rites and rituals depicted on pillars display similarities with tantric traditions. One of the most important ceremonies in the Nātha Saṃpradāya is establishing a 'seat.' The most reputed person is usually appointed in charge of a particular monastery of the Nātha Saṃpradāya. He has to undergo a series of elaborate rituals. Some of these rituals are depicted on pillars of the temple. In addition to the images mentioned above, there are some sculptures about Tonsure and Robe Changing, Paying Obeisance to Lord Śiva, Consecration Rites, Initiation Ceremony, Meditation, Dancing Scenes as Ritual, Musicians and Dancers, gods and goddesses such as Gaṇeśa, Brahmā, Naṭarāja, Sarasvatī, Vaiṣṇavī, Lakṣmī, Cāmuṇḍā, Bhairava, etc. There are also depictions of celestial beings, composite animals, and fighting scenes.

Initiation Ceremony

Meditation

Musicians and Dancers

Discussion

The Brahmanātha temple is devoid of any inscriptional data. Neither is the temple in its original form. It must have been renovated at least a couple of times in later periods. The pillars in the temple are incomplete. All such factors pose problems to the precise dating of the temple. However, considering the extant remains and their style, one can safely place this temple in the middle of the 13th Century.

Portrayals of yogic postures, rites, and rituals on the pillars of the Brahmanātha temple strongly point towards Nātha affiliation. Not many temples display such sculptures in such concentration. There were many tantric cults active in Medieval Maharashtra and Karnataka. Scholars like Gordon White (1996:97) and Lorenzen (1990:35-53) suggest that by 14th-century cults like Pāśupata and Kāpālika, were assimilated in the Nātha Saṃpradāya which was a popular tantric movement in Maharashtra in the 13th -14th centuries. According to Briggs (2007: 274), the tantric element is prominent in the teaching of the Gorakhanāthis. The Nātha Saṃpradāya was established at Sonari in the Marathwada region and received endowments as early as the 15th Century (Chitnis, 2002).

The Brahmanātha temple at Parunde was one such base of the Nātha Saṃpradāya. The depictions on the pillars elaborately display the yogic practices prescribed in the texts of the Nātha Saṃpradāya. Earlier and contemporary texts such as Vivekamārtaṇḍa, Gorakṣaśataka, Candrāvalokana, Khecarīvidyā, Matsyendra Saṃhitā (13th century C.E.), Haṭhapradīpikā by Svātmārāma (15th century C.E.), Śivasaṃhitā, Yogabīja, Amaraughaprabodha, Śāraṅgadharapaddhatī (1363 C.E.) give eloquently describe the importance of yogic practices in the Nātha Saṃpradāya (Mallinson, 2011, pp. 772-780). Haṭha Yoga Pradīpikā (Akers, 2002), a text dedicated to the yogic practices to be followed by the practitioners of the Nātha Saṃpradāya, gives details of the yogic postures, some of which find their manifestations in the sculptures at the Brahmanātha temple. Though the text is considered to be of a later period, it can be said that it essentially codifies the practices prevalent in the Nātha Saṃpradāya. Considering such evidence, one can say that the tantric traditions that the Brahmanātha temple adhered to were none other than the Nātha Saṃpradāya.

*Above article is part of an original research paper by Dr. Vijay Sarde and Prof. Abhijit Dandekar. It was published before as entitled 'Archaeological Signatures of the Nath Cult: A Study of the Yogic Postures and Rituals Depicted on the Brahmanath Temple at Parunde, District Pune' in the "Heritage-Journal of Multidisciplinary Studies in Archaeology (Vol.3)" of Department of Archaeology, University of Kerala, Thiruvananthapuram, 2015. vol.3. Pp. 232-254. ISSN 2347 – 5463.