Relief Sculptures of Ahom temples: A Royal equestrian figure adorning the wall of the Kesavarai Dol at Joysagar portrays the new styles of apparel introduced by King Rudra Simha

The Visnu Dol or Kesavarai Dol at Joysagar in Assam’s Sivasagar district is amongst the most significant Hindu temples built by the Ahoms after their Hinduisation during the seventeenth to eighteenth century CE. It was built under the commission of king Swargadeo Rudra Simha or Sukhrungpha. The temple is remarkable for its numerous stone and terracotta (?) relief sculptures that adorn its outer walls. These sculptural representations are counted among the finest specimens of plastic art produced during the Ahom period.

The sculptures are arranged on the walls in a manner that is also seen to be followed ( with minor variations) in the architecture of temples or Dols built under the patronage of the later Ahom rulers during eighteenth century CE. Some of these temples are the Siva Dol at Sivasagar town and the Devi Dol at Gaurisagar, also in Sivasagar district.

The sculptural representations that we see portrayed on the outer walls of the Visnu Dol at Joysagar are mainly of icons of deities ( mostly of the Vaisnava affiliation) along with portrayals of some deified figures, narrative scenes, scenes of some day to day activities, cultural activities and other visualizations of royal and sylvan life. Major portion of the sculptural representations are housed inside elaborate cusped arched niches arranged one after the other in continuous horizontal bands.

Amongst the sculptural representations portrayed in the temple, there are certain images the identities of which are confusing. Their position amongst the Puranic deities allows them to be classified as religious cultic figures but they seem more like portraits, more like artists’/ sculptors’ visualization of the members of the royalty who were the patrons of the temple or any such persons who were very influential and had acquired an elevated, exalted position in the culture of the region. Let us give an insight into one of these images:

The image we will be discussing now is portrayed inside an architectural niche on the outer eastern wall of the Dol. The image is of a royal or kingly figure riding a horse ( see figure ). Following him are shown two attendant figures; one of them is shown holding an umbrella/parasol or Aarowan over his head and another one is holding an object, may be a banner. The umbrella or the canopy has delicately cut floral patterns on its surface.

The kingly figure is seen wearing a long flowing shirt or gown, may be a Mirjai or a Mughal or Rajput style Jama or an Angarakha which reaches up to his knees. Beneath the gown, he may be wearing a kind of Pyjama or a Dhoti; the ends of which are visible below. A long scarf or wrapper is shown thrown over his shoulders. His jewellery consists of different types of necklaces and pendants; many of which are of local design and were in vogue among the rulers of the region during the late medieval period.

On his neck, just below his throat, is a beaded necklace with a large drum shaped central joint or pendant. Its design reminds of the Motamoni- a necklace consisting of alternating red coral and metal beads with a large drum shaped pendant in its centre. Motamoni was worn exclusively by men during the medieval period. Its use is till now prevalent amongst the men of certain communities in Assam. Below the Motamoni, on the centre of his chest is a Dugdugi. Also, he wears large beaded or pearl necklaces which may be of the type Gajamoti Haar or Jangfai Haar. Jangfai is a type of rare amber like, shiny mineral which was very much valued during the Ahom period. During Rudra Simha’s time, Jangfai was imported from the Mishimi hills ( now in Arunachal Pradesh ) and areas bordering Tibet and Myanmar. The horse, on which the figure rides, is also depicted to be ornamented with ornate reins, collars, saddle and saddle covers.

The above equestrian figure, according to the prevalent lore is said to be of king Rudra Simha. Even, scholars like Rajatananda Dasgupta hold the same opinion. If it is really of King Rudra Simha, then why is it juxtaposed among the images of deities and mythical characters? What could be the intention of Rudra Simha to place his own likeness or his own representation in the wall of a temple he had commissioned? What could be the other possible identities or explanations for this image? Let us try to know and address these above queries in the succeeding paragraph.

The positioning of the portrait image of Rudra Simha among the images of the deities and mythical characters may be a kind of strategy for some political advertisement; or an attempt at documenting the king’s social influence and popularity. The king’s figure on the horse is arranged in such a manner that it seems interacting, seems to suggest a movement of assurance much like the campaign cut outs or posters of modern-day politicians. The king’s figure, as a part of public promotion, is also shown clothed in a Mughal or Rajput style attire which portray his eclectic attitude, his new ideas regarding apparel and also his cultural ambitions. King Rudra Simha was the first one to introduce and popularise Mughal style clothing among the Ahom royals. He was also the first Ahom king who presented himself at the court, and before his subjects wearing a garb or attire which has in its elements from distinct, distant cultural sources (as evident from the above image).

The above figure can also be thought as that of one of the divine, virtuous monarchs like Dhruva, Prithu or Pariksita who, according to the scriptures, are mentioned as aspects of Sri Vishnu or Purusa. It may be possible because he is placed in between the images of other divine epical characters, many of them being incarnations or manifestations of Vishnu. There is also a possibility that the above figure is of king Rudra Simha posed as or impersonated as Dhruva, Prithu or Parikshita for the purpose of fulfilment of some political aim, or for the purpose of reminding the common people about the effect and intensity of the ‘virtuous’ activities he might have done during the initial years of his reign.

Siddhant Medhi

(The author is Dr. Bhupen Hazarika fellow at the Centre for Assamese Studies, Tezpur University in Assam. Views expressed are the author’s own. He can be reached at [email protected] )

Photo: Siddhant Medhi

References and Bibliography-

1. Gogoi, A.. Rudra Simha: a review of historical activities of Ahom king Rudra Simha, Guwahati: Asom Lekhika Sanstha, 2009. Print

2. Dasgupta, R. Art of Medieval Assam, New Delhi: Cosmo Publications, 1982. Print

3. Basu, N.K. Assam in the Ahom Age ( 1228- 1826) [ Being Politico- Economic and Socio- Cultural Studies], Calcutta : Sanskrit Pustak Bhandar, First Edition, 1970. Print