In Search of Jayatirtha Brindavana

Book 3

An Iconographic Study of the Brindavana at Navabrindavana, Anegundi

C. Raghothama Rao
MadhvaHistory.com
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Contents

Foreword .................................................................................................................................................................................... 4
Introduction ............................................................................................................................................................................... 6
What is Iconography & How is it Useful in finding Jayatirtha Brindavana? ............................................................................... 7
Is it difficult to understand Iconography of Madhva Brindavanas?: .......................................................................................... 9
The Purpose and Aim of Iconography: ..................................................................................................................................... 10
Iconography of Madhva World: ............................................................................................................................................... 12
1. Sri Brahmanya Tirtha, Abburu: ..................................................................................................................................... 13
2. Sri Dayanidhi Tirtha, Mulbagal ..................................................................................................................................... 15
Pattabhi Rama panel on Sri Vyasatirtha Brindavana – Its Iconographic importance .............................................................. 17
Brindavana at Anegundi and Its Iconographic Findings ........................................................................................................... 23
The Post-hoc Fallacy ................................................................................................................................................................. 29
Concluding Note ....................................................................................................................................................................... 32
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Foreword

History of India is not a straight line to understand in its minimalist and simplistic character. Instead it is
a curvy line entangled within and outward with many other sublime and ridiculous twists. The literature
(of all categories) of this country has received deeper dents during medieval periods in the hands of
foreign marauders rendering our knowledge to become checkered. In this process Adharmik onslaughts
by the expansionists, the chain of wisdom has lost many links.

In spite of receiving such deadly blows, our elders have shown not only endurance but the resilience
too and kept the Sanatana banner flying up in the sky. During the cruel moments of medieval times -
though were cursed to live under adverse conditions with broken pieces of wisdom - our elders carried
on with the daunting task of beholding the precious Sanatana Dharma. All of them have played their
worldly duties assigned to them by the Supreme Soul from time to time. Their continual tryst with
Dharma enabled them to raise empires almost from nowhere and kept the Sanatana banner to fly high.

This description can never get better should we miss to remember the Vijayanagara Empire of the
South and its religious leaders at that time such as the militant Veerashaivas, clever Advaitins, skilled
Vishishta Advaitins and razor-sharp Dvaitins. Be it Kriyashaktis or Advaitins or Vishishta Advaitins and
Dvaitins, every spiritual master from 14th and 15th century strived to build a formidable Dharmik
empire. They gave greater importance for safeguarding the Dharma from getting vanquished in line
with its near destruction in the North.

That was the real time for the demigods and angels of Dharmik pantheon to descend upon the earth
and protect their believers. That was the first onset of the dreaded Kaliyuga that finds its poetic
expression in Abheeti Sthava of Vedanta Deshika. And that was the plight and prayer of the Sanatanis
who were dumb-struck with the initial failure of their kings in stopping the destructive forces.

Thus the Dvaita Gurus who were the demigods and angles descended on this earth along with other
Gurus of Vedanta. They have left innumerable physical parameters for a distant, 21st century
worshippers like us to hold on to the path of Dharma. We, in this modern age, are again coming under
the attack of Kali’s new apparatus of destruction. The present destruction is more of intellectual and
psychological in nature than the earlier form of physical annihilation. In order to help us to overcome
the blinding effect of Kali, our Gurus have left enough material in physical symbolism and all that we
have to strive is to connect the dots and find the light.

The pantheon of Sanatana Dharma is neither restricted to a solitary god nor its knowledge bank is
limited a single book. Instead, it touches upon every aspect of life. In my Blog
(http://blissfullifetips.blogspot.in/2014/05/celebrate-ancient-culture.html) that I occasionally write
have paid tribute to this all encompassing path of life i.e. Sanatana Dharma.
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As said in that blogpost, the vividness of Sanatana Dharma has allowed the Indians to express their
ideas, opinions and suggestions through Symbolism. Most importantly the directions and guidelines
needed in spiritual Sadhana have been left in the form of carvings, frescos and other ways of artistic
expressions for future generations to pick up the clues and continue further.

With this background, the present eBook which is 3rd and final part of the series attempts to conclude
the pursuit of Sri Jayatirtha’s Mula Brindavana through the scientific application of Iconography.

Readers are requested to exercise their free will in accepting or rejecting the arguments presented in
this book and I also invite the readers to share rational thoughts on this eBook and the previous ones as
well.

I wish to thank everyone who not only encouraged me to carry on with this difficult task but also
supplemented it with their valuable advises.

C. Raghothama Rao
MadhvaHistory.com

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Introduction

The ancient temples located in all parts of India have got one or more forms of iconic expressions
engraved on their walls, ceilings and chambers. The temple architecture in India is a great science in its
own might and demands for an exclusive study by the seekers. These massive structures with dense
symbolism and rich imagery have generated great amusement in the foreigners particularly the British
and Germans. Many scholars from these countries have studied our temples and other religious
structures and have generated a lot of material that otherwise would not have been created by the
Indians on their own.

I am not making this statement in a negative tone. The write-ups by the British and German Indologists
were not free from their personal agendas and blemishes yet they have provided an opportunity for the
modern day Indian to undertake critical studies vis-à-vis the ancient literature available in Samskruta
and Prakruta.

At this juncture, I offer my wholehearted appreciations to those great intellectuals called Rishis who
offered everything to us on a platter. The modern day scholars such as T.A. Gopinatha Rao, R.G.
Bhandarkar Prof. Gode and other eminent writers have strived in the path shown by the great Rishis
and provided the authentic version of Indian history.

I am highly indebted to Late T.A. Gopinatha Rao and Jitendranath Banerjea for their valuable books that
have literally hand held this amateur explorer into the fathomless depths of Hindu Iconography.

This book is filled with many citations from these two stalwarts and by that usage I have tried to
present my arguments on understanding the Brindavana at Anegundi from the angle of Hindu
Iconography.

As I am not at all comfortable with Footnotes as a reader, I have given the citations, references and
cross-references within the reading text itself. I have not plagiarized any known or unknown authors in
writing the content and if there is any remote resemblance to any texts written earlier it may please be
considered as accidental and not intentional.

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What is Iconography & How is it Useful in finding Jayatirtha Brindavana?

The famous Historian and Iconographic expert, Jitendranath Banerjea (JB) in his book “The
Development of Hindu Iconography” (2nd Edition) describes the word Icon as under:

But one may develop a doubt whether the Brindavanas of Maadhva Yatis can ever be covered under
the study of Iconography? For this JB has already said that “a figure representing a deity or a saint” can
be considered as an ‘Icon’ and thus the study of Brindavana at Anegundi can be undertaken by the
available iconography on the same.

Further to the above definition, JB extends the meaning of Icon as under:

Thus JB establishes the connection between an Icon and its bhaktas or exclusive worshippers who not
only belong to the times of the saint but also to the future generations. Therefore, the study of the
Brindavana at Anegundi shall fall within the ambit of Iconography and its scientific exploration.

In the following chapters, I will be presenting a comparative study of a variety of icons displayed on
several Brindavanas including the unique symbolism incorporated on Brindavana structure of certain
saints. As a consequence of this composite presentation of iconography and symbolism of many
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Madhva Brindavanas, readers can be rest assured that the Brindavana at Anegundi alone has not been
subjected to a force fitting so as to match my scheme of thoughts.

The iconographic study is not a simple task to accomplish as the dots that need to be connected are at
times too close to bifurcate or too far to link up. Such was the difficulty involved in undertaking the
iconographic study of the Brindavanas. Without being affected with the shortcomings, I have tried my
level best to offer a thought process that may ignite the brainy ones to undertake deep exploration of
the topic.

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Is it difficult to understand Iconography of Madhva Brindavanas?:

James Fergusson, a Scottish businessman-turned-architect has once said that:

(As quoted by T.A. Gopinatha Rao in his introduction to The Elements of Hindu Iconography Vol 1 Part 1)

While the Brindavanas of Madhva Yathis can easily be deciphered with the help of Iconography, the
statement of Fergusson is aptly applicable to those Maadhvas who turn a blind eye for the writings-on-
the-wall and pretend to be ignoring the flattering facts.

In case of Jayatirtha’s Brindavana there is an unusual entanglement of history, literature based

accounts and popular belief. Though there are enough evidences available that suggest an
understandable pattern which helps in identifying the location of original Brindavana, certain sections
of Madhva society wish to plough their way by enforcing their own laws of reasoning which are
ridiculous and rhetoric.

This eBook is one such attempt to remind them that should there be a will to learn the unlearned there
is a way to understand the forgotten chapters of Madhva history. All that needed is to develop an
interest in the thoughtful iconography exhibited on the Brindavanas.

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The Purpose and Aim of Iconography:

In the previous chapter, a tone has been set for the readers to get a basic understanding of Iconography
and how it can be utilized to demystify the hidden chapters of Madhva history. The present chapter will
deal with an introduction to the aims and objectives of Iconography.

As the wise men say that in the creation of God nothing is useless including the word ‘useless’, the
scientific temperament to understand the philosophical aspects too is not a wasted effort. The search
for Jayatirtha’s Brindavana can never remain as a matter of ‘popular belief’ but can be subjected to a
proper exploration built on time-tested methods of investigation. Study of the images on the
Brindavana at Anegundi is part of such scientific understanding and thus involves the application of an
established branch of archaeology called Iconography.

Readers can get the gist of the usefulness of Iconography in the following words of Jitendranath
Banerjea (JB):

According to JB, the icons and their study can explain the “special features” of the concept embedded
in a religious structure. Thus the study of the sculptures on the Brindavana at Anegundi can remove
many a myth associated with them and help the seekers to do away with the hallucinated arguments.
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The scientific meaning of the word ‘Icon’ has been provided in Page 4 and 5 and now it is time to
learn what exactly an Icon offers to the on-lookers to comprehend?

T.A. Gopinatha Rao (TAG) in the Volume 1, Part 1 of his much acclaimed work “Elements of Hindu
Iconography” has written that the objects used in Hindu Iconography have a definite deliverable i.e. to
let the visitors or followers (Bhaktas) to know what exactly they are viewing. Hereunder is the narrative
of TAG:

The underlined text shown above conveys an important aspect of studying the images of a religious
structure i.e. “the object […] is understood to represent the deity intended to be
worshipped.” By applying the given thumb-rule, the stone carvings of the Brindavana at Anegundi
must be studied as “the symbols of the Yathi enshrined in that Brindavana” only.

This scientific conclusion informs the researchers that there shall not be any ‘guess work’ in describing
those images but they must be interpreted as the authentic representations of the Yathi residing in the
said Brindavana. The narratives that would be drawn from the symbolism of the icons must epitomize
the biography or achievements of the Yathi.

The following chapters shall present a study of the icons on the Brindavana at Anegundi in line with the
guidelines laid down by the two eminent iconographic experts mentioned above.

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Iconography of Madhva World:

Before I present the study of the icons on Brindavana at Anegundi, I wish to put forward the
spectacular iconography exhibited on some brindavanas of Madhva Sanyasins. To begin with an
important clarification must be given to the readers as they may still doubt the veracity of this study
that “whether Brindavanas of Madhva Yathis can ever be studied under Iconographic lens?”

TA Gopinatha Rao (TAG) offers the following elucidation that can answer the above question:

(Page 8, Introduction to Elements of Hindu Iconography Vol 1 Part 1 by T.A. Gopinatha Rao)

According to TAG, ‘Sepulchers [tomb/resting place] of [Hindu] saints” having ‘local importance’ and
‘personal predilection’ and utilized as part of ‘worship’ are an integral parts of iconographic studies. By
this, the Brindavana at Anegundi and its icons are fitting into TAG’s description of Hindu iconography
and its study.

But beforehand studying the icons of Anegundi Brindavana, let me introduce some of the iconographic
symbolism exhibited on few Brindavanas such that the readers can familiarize themselves with the
wonderful visual arts that serve as symbolic representation of the Yathi enshrined in the respective
Brindavana.
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1. Sri Brahmanya Tirtha, Abburu:

At a glance our eyes set on the Yathi image standing in ‘Anjali Mudra.’ As for the last seven centuries
and above this Brindavana is being worshipped as Sri Brahmanya Tirtha’s physical representation and
hence the Yathi image can be easily attributed to Sri Brahmanya Tirtha. But the central symbolism of
the Brindanava is lying elsewhere.

Now take a close look at the below image:

The central petal of the Brindavana is the key or the focal iconography of Sri Brahmanya Tirtha (BT) that
symbolizes his ‘Amsha.’
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In order to understand the unique identity of this iconography, hereunder I am presenting the top
portions of few famous Brindavanas vis-à-vis Sri BT’s:

The above comparison conveys that except Sri BT’s, rest of the Brindavanas almost have resemblances
in the architecture of their top portions by being conical in appearance. In contrast to them, the central
petal of Sri BT’s is round in shape. Thus the central round petal of Sri BT’s represents the ‘Surya Bimba’
and by carving it as a perfect spherical, Sri Vyasatirtha has confirmed that his Ashrama Guru is of ‘Surya
Amsha.’

I don’t think any other Madhva Yathi of any Matha has mimicked or reproduced this type of
iconography on his Brindavana thus making Brahmanya T’s Brindavana as distinctive and inimitable.
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2. Sri Dayanidhi Tirtha, Mulbagal

I wish to present another example from the recent past i.e. of Sri Dayanidhi Tirtha of Sripadaraya Matha
who entered his Brindavana in 1962.

The sitting pose carved on Dayanidhi T’s Brindavana is unique in its representation. Readers can see the
contrast by comparing it with the other Brindavana (Sri Satyanidhi Tirtha) located right behind it in
which the Yathi is shown sitting in Padmasana and holding Japa Mala in right hand.

In my opinion the right hand of Dayanidhi T. which is shown as touching the ground or earth can be
considered as “Bhumisparsha Mudra” i.e. “Earth Touching hand gesture” which is a prominent Buddhist
mudra. The actual Bhumisparsha Mudra has the right hand touching the ground with the tips of the
fingers while the left hand is kept on the lap as shown in the below image.

The posture shown on Dayanidhi T’s Brindavana may not strictly conform to the traditional description
of this mudra but more or less resembles it. Nevertheless, as per the iconographic description this
mudra signifies the enlightenment attained by the person showing it and also suggests the ‘Vairagya’
achieved by the person during his lifetime.
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The life history of Dayanidhi Tirtha informs that he never had ‘Pada Puja’ after seeing a poor devotee
being hounded for ‘Kanike.’ Interestingly, his life accounts say that he never touched money during his
tenure as Sub Registrar with the then Mysore State. He lived for 98 years and had led a pure ascetic life
of renunciation even during married life. A beautiful, heartwarming, first hand narrative is available in
this blog (http://padmanaabh.blogspot.in/2010/10/ideal-guru-of-my-trust.html) which the interested
readers can glance once.

All these qualities have been captured and translated in that icon whose appearance gives out a feeling
of seeing a compassionate and sober soul detached from the lustful world. Thus the Madhva
iconography of modern times also has not been created with falsified information but depicts the
factual accounts from the life of the Yathi.

Again by going back in time, the icon of Sripadaraya with ‘Kundalaa’ and the carving of mother’s face on
Raghuttama T’s Brindavana etc. are some of the best examples to understand the iconography
exhibited on the Brindavanas. All these icons are strongly linked to the life accounts of the Yathis and
never keep the viewers and worshippers in the dark.

But there is an exclusive and special iconography shown on the Brindavana of Vyasatirtha which needs
one whole section to explain. The next chapter narrates this interesting study that can set a strong base
for the study of the icons of the Brindavana in question at Anegundi.

*****
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Pattabhi Rama panel on Sri Vyasatirtha Brindavana – Its Iconographic importance

This is the central stone panel of the front portion of Sri Vyasatirtha’s Brindavana that shows Sri Rama
seated along with his consort Sitadevi both sitting in in Sukhasana and flanked by Lakshmana (on to our
right) and Vyasatirtha (on to our left) both showing Anjali mudra and having Hanuma at his feet
exhibiting Dasa bhava.

This being the front face of the Brindavana, it only receives all the Puja, Abhisheka and Alankara done
to the Brindavana. Hence it becomes an interesting exploration to understand why Vyasatirtha
preferred Rama over his beloved Krishna to grace the façade of his Brindavana?

Sri Pranesha Dasa made an eloquent, devotion-filled description of Sri Vyasatirtha in his Kirtana
“ಚಂ ಾ ಾಯ ಾದದ ಯ ೆ ಎರಗು ೆ ಪ ಾಸರ ” which throws much light on the historicity of this
iconography. An extract of that Kirtana is as under:

ಜಯ ಮೂರು ಾಮನ ಾ
ಜಯನಗರ ಾ ಾ ಜ ವ ಧ
ಜ ಾ ಯ ಮಧಮತದ
ಜಯತತ!ಗಳ ರಳನು ಾ
ಅಕಳಂಕ ಚ ತ ಾಮಚಂ ರನ ಮ'(
ಇ*ೆ,ಳ- ಾ. /ೋ ದ

According to Pranesha Dasaru, Vyasatirtha meditated upon Sri Rama and beheld Vijayanagara Empire.
He also showed the greatness of Sri Rama to the world by proving the same. This description calls for an
inquiry into the works and deeds of Vyasaritha that link him to Rama worship.
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It is quite evident from the writings of Vyasatirtha that he hasn’t written much about Sri Rama be it in
Samskruta or Kannada literature. And traditionally
traditionally, the Vyasaraja Matha’s principal deity is Mula
Gopalakrishna and the ‘Ankita’’ of Vyasatirtha is ‘Siri Krishna.’ With these evidences, the importance
given to Sri Rama on his Brindavana at Anegundi can’t be explained fully.

But the emphasis given by Pranesha Dasaru on Sri Rama and Vyasatirtha can’t be ignored ignore as mere
poetry but must be examined from its historic authenticity. In this regard I have tried my level best to
fathom out the iconographic importance of this Sri Rama stone panel installed at the front side of the
th
Brindavana. Hereunder are my observations:

1. Sri Mula Pattabhi Ramadevaru (image given below) is one of the prominent deities of Vyasaraja
Matha and this idol is said to be hand
hand-made by Acharya Madhva.

2. The history of Anegundi in whose vicinities Vyasatirtha entered Brindavana dates back to Treta
Yuga and is identified with Kishkindha of Ramayana.
3. As per Ramayana, this is the place where Hanuma met with Rama.
4. This is the place where Hanuma brought the new
newss of the whereabouts of Sita and conveyed the
same to Sri Rama.
5. The hill close to Nava Brindavana is called as Anjanadri and believed to be the birthplace of
Anjaneya. (Bhavishyottara
Bhavishyottara Purana informs that Tirumala hill is Anjaneya’s place of birth)
birth

Likewisee the connection between Sri Rama and Vyasatirtha can be established. But all these allusions
can support “ ಜಯ ಮೂರು ಾಮನ ಾ ” [meditatedmeditated upon Rama, the victory personified]
personified but will fall
short of explaining “ಅಕಳಂಕ ಚ ತ ಾಮಚಂ ರನ ಮ'( ಇ*ೆ,ಳ- ಾ. /ೋ ದ” wherein Dasaru makes it
explicitly clear that Vyasatirtha has “instrumented
instrumented and exhibited the greatness of Ramachandra whose
behaviour is unblemished.” As said earlier
earlier, neither the literature of Vyasatirtha nor his worldly activities
have shownwn link between him and Sri Rama barring the worshipping of Mula Pattabhi Rama.
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This inquiry has led to draw the following additional inferences:

1. The installation of 732 Mukhya Prana (Anjaneya) idols almost all over South India is the most
vocal and visible act of ” ಅಕಳಂಕ ಚ ತ ಾಮಚಂ ರನ ಮ'( ಇ*ೆ,ಳ- ಾ. /ೋ ದ” [instrumented and
exhibited the greatness of Ramachandra whose behaviour is unblemished]
2. Ananda Ramayana gives out the most famous shloka – “ಯತ ಯತ ರಘ ಾಥ ೕತ ನ – ತತ
ತತ ಕೃತಮಸ$ ಾಂಜ& – 'ಾಷ) ಾ*ಪ*ಪ+ಣ -ೋಚನ – /ಾರು ನಮತ 0ಾ12ಾಂತಕ ”
3. It is an age old belief that where Hanuma exists there resides Sri Rama and this belief finds its
base from the above shloka.
4. Many Haridasas too have supported the above belief through their writings.

This way, I could find the invisible link between Sri Rama and Vyasatirtha. Interestingly, my findings are
in cohesion with the studies made by Philip Lutgendorf who wrote an interesting book titled –
“Hanuman’s Tale: Message of Divine Monkey.” I found this book after drawing up the above
inferences. Following excerpts from his said book are self explanatory:
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G.S. Ghurye, the famous Indian Sociologist and Historian who authored a famous book “The Legacy of
the Ramayana”, opined that the Hindu kings of 14th century drew their inspiration from Kodanda Rama
to fight against Muslim marauders. But not stopping here, Ghurye makes quite a remarkable statement
which is again quoted by Philip Lutgendorf in Page 64 of ‘Hanuman’s Tale’ and an extract of the same is
given under:

Thus it was Acharya Madhva who brought Sri Rama to the fore by ordering Narahari Tirtha to bring
Mula Rama and Sita from Gajapatis’ treasure. It must be remembered here that Madhva lived for eight
more years after the first onslaught of Muslims on South in c. 1310. He knew it well that the
courageous yet benevolent looking Rama with his Bow and Arrow alone can inspire the future kings and
emperors of Vedic lore to protect the Dharma from complete destruction.

This legacy was finely followed up by Vyasatirtha at the time when Vijayanagara was firmly set as the
North Star of Sanatana Dharma. By installing 732 Hanuman idols at the length and breadth of
Vijayanagara Empire, Vyasatirtha inspired the emperors and commoners alike and instilled in them the
courage, inspiration and readiness to protect Dharma.

The Mula Pattabhi Rama which is believed to be made by Madhva with his own hands has become an
added motivation to Vyasatirtha in spreading the message of Rama, the Dharma personified. But
instead of installing Rama temples, he put up Hanuman idols whose appearance is an amalgamation of
battle readiness (in mid-stride pose), inspirational (raised right hand), slaying Adharma (stamping the
demonic Aksha Kumara) and assuring the reward (holding Saugandhika flower). The mere sight of this
Viranjaneya lifts the spirits even today then what to say during the days of Vyasatirtha? Those idols
were surely uplifting the beaten down Hindus to become fierce warriors of Dharma.

The descriptions of G.S. Ghurye exactly match with the words of Pranesha Dasaru i.e “3ಜಯ ಮೂರು
0ಾಮನ 4ಾ567 – 3ಜಯನಗರ 2ಾ/ಾ ಜ5ವ ಧ*7 – […] – ಅಕಳಂಕ ಚ*ತ 0ಾಮಚಂ ರನ ಮ?@ ಇBೆCಳD 2ಾE7 Fೋ*ದ
ಚಂ ಾ ಾಯ . ”
 21

The timeless Kodanda Rama temple near Chakratirtha on banks of which Sri Vyasatirtha installed
Yantroddharaka Hanuman and Hazar Rama temple stand testimony for the influence of Rama on
Vijayanagara’s fighting spirit.

Sri Vadiraja eloquently and emphatically describes the three principal deities i.e. Pattabhi Rama, Mula
Gopalakrishna and Vedavyasa that Vyasatirtha worshipped daily. Here is the full text of the said
Kirtana:

ಜಯ ಜಯ H ೕ ಹಯವದನ ಜಯ ಜಯ H ೕ ಖಳದಮನ
ಜಯತು ಸಜKನಸದನ ಸಕಲ ಆಭರಣ

0ಾಘ ಾನ ಯ2ೋಮ ಖರ6Oಾಚರ Pೕಮ

ಸಕಲ ಸದುQಣ 4ಾಮ 7ೕFಾP0ಾಮ
ಾR6ೕಜನ ಾಮ ಶರಣ ಾಲಕ 4ಾಮ
ಸ ಬಲ 4ಾ5ತ ಾಮ ಪ7ಾ89 ಾಮ

Tಾದ ಾನ ಯUಾತ ವರಸತ5Vಾ@ೕತ

ಾ ಸ ಾಯಸನು:ತ ಸಕಲ ಾW ತ
ಕಂUಾಸ ಾ ಸುತ ಕಮಲ/ಾಗ ಣXತ
ಸರಸರುWYZೕಸಕ-ೇಷ[\ಾತ

ಾ7ಷ]ಕುಲ ಾE ಸತ^Bಾಧರರೂಪ
ಮ4ಾ ಯ ಸದೂ ಪ ದ_ತಬಹುFಾಪ
/ಾaಜನ ಧೃತ ೋಪ ಕೃತಸ ೕbೋ cೕಪ
ಸೃFಾ6 ಸತುdಖರೂಪ ಹಯವದನ ರೂಪ

Here the phrase “ಸ ಬಲ ಾ&ತ 0ಾಮ ಪ7ಾ89 ಾಮ” aptly summarises the entire historicity of Rama worship
during his times in Vijayanagara and the strong link of Rama with Vyasatirtha. Here too Vadiraja proves
that his words not only carry philosophy and/or poetry but carry the contemporary history too!

Let me once again present the image of the front stone panel of Sri Vyasatirtha such that the readers
can recall its historicity and also find how relevant the iconography of it is:
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Now, I am sure that the readers concur to my views that the Brindavanas of Madhva Yathis are not
mere religious structures but are the great testimonies of the history. They describe the sagas of not
only the Yathi enshrined in them but also record the annals of the then society, the troubles that it
faced and the achievements made by it. In nutshell, Madhva Brindavanas are the greatest iconographic
treasures that encompass South Indian history alongside of their philosophical and Puranic symbolism.

In this background, the study of the stone carvings on the Brindavana-in-question can lead us to the
light by removing the artificial darkness created by vested interests.

*****
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Brindavana at Anegundi and Its Iconographic Findings

This is the stone panel of Brindavana at Anegundi that has two stone carvings that face each other and
the image on to your right side has a raised right hand with index finger pointing towards another
image. Hereunder is the closer look of these images.

The Editor-duo of “Sri Jayatirthara Mulabrindavana – Gajagahvara” has dedicated around 20 pages to
discuss the symbolism of these carvings and also have done a comparative study of the icons of other
Brindavanas as well. Their conclusion is that the carvings represent Jayatirtha’s Purva Ashrama and
Sanyasa Ashrama. I am not repeating their elaborated interpretation that can be read from the original
book itself.
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At this moment, I am interested in presenting an iconographic inference of these statuettes by applying

the standards of Mudras that are part of central themes of Shilpa Shastra and Natya Shashtra. As the
second image i.e. the Warrior figure has a raised right hand and pointing the index finger towards the
Ascetic figure, I am of the opinion that this peculiar hand gesture of the Warrior image can put more
light on the combined symbolism of both the images.

Readers may wish to understand the rationale behind my assertion of studying the hand gesture of an
icon in particular. Hereunder I quote what Jitendranath Banerjea (JB) wrote in his The Development of
Hindu Iconography (Edition 2):

By following the above narrative, I have tried to understand what type of Mudra is being shown by the
Warrior image, how it is interpreted in both Iconography and the science of Dance (Natya Shashtra)
and what is the symbolism that must be inferred from it. As this process of assimilation is within the
ambit of scientific evaluation accepted worldwide, I am of the opinion that such study can yield some
positive results.

As per the study material that I have gathered so far it is found that the hand gesture of Warrior icon is
called as “Suchi Mudra” or “Index hand gesture.” This Mudra is typically used to convey many a
meaning subject to the context of the situation thus being depicted.

As JB clarified by quoting Vishnu Dharmottara that the Mudras are in common to both Iconography and
Dance, first let me present how this “Suchi Mudra” is shown in Bharatanatyam. I also present a detailed
description of this Mudra written in a blog:
 25

The underlined texts are the symbolic expressions that suit and/or negate the hand gesture of the
Warrior image. Readers can link the symbolic meanings with the Warrior image as per the sample
narration given below:

1. Thatha-iti-vachanam (to say ‘like that’): The application of this meaning makes the Warrior
image saying “I’m like that” which can be translated as “I am that Ascetic.” This is an apt
adaptation that goes well with the life history of Jayatirtha who was indeed an administrator-
cum-military commander of a province (Jagir?)

2. Tharjana (‘threatening’): If the hand posture is parsed as “threatening” then the Warrior
becomes someone other than the Ascetic. If the Warrior image is construed as the Muslim
military general who pursued Raghuvarya Tirtha on the banks of Bhima River then such inference
puts Raghuvarya T. in a very poor light and his asceticism becomes a mere plight. So far there are
no such evidences available in Madhva iconography that a Sanyasi has been shown along with
his attacker or belligerent who stands in threatening pose. Hence the hand gesture of the
Warrior icon can’t be the Tharjana Mudra and thereby the story of Raghuvarya T. being pursued
by a Muslim attacker can’t be applied to the motif.
 26

Likewise, readers can apply other meanings of Suchi Mudra and can draw their own inferences and can
check with Yathih’s life account matches with the inferences drawn.

After understanding the hand gesture from Natya Shashtra point of view, let me exhibit how ancient
Shilpa Shastra has dealt with this “Suchi Hasta” or “Suchi Mudra.”

The stalwarts of Hindu Iconography i.e. TAG and JB have given the following descriptions for “Suchi
Mudra/Hasta” in iconographic parlance:

TAG in his Elements of Hindu Iconography explains about Suchi Hasta/Mudra as under:

On the other hand JB borrows the symbolism of Suchi Hasta from TAG and comments as below:
 27

Though TAG and JB suggest that the forefinger pointed upwards represents a Tarjani-hasta or
threatening/warning hand pose, many exceptions to these narratives have been found the subsequent
experts of Iconography. The deviation can be better understood with the following pictorial
demonstration.

Here is the stone image of Vishnu of Mahabalipuram cave temple that has been identified with Suchi
Mudra hand posture.

(Image of Vishnu as depicted in Mahabalipuram cave temple)

 28

In the above image, the experts have identified that Vishnu has been shown with Suchi Hasta thereby
advising the devotees to worship Him with devotion. Thus the upward forefinger does not necessarily
mean warning or scolding gesture as described by TAG or JB but it can also mean advising the onlookers
to grasp a critical message.

This assertion is total agreement with Abhinaya Chandrika’s narrative by which Suchi Hasta can be
interpreted as “Nirdeshana” i.e. an Advice. In the above photograph itself, it is interesting to note the
left hand of Adisesha (the image to the right side of Vishnu) also carved in Suchi Hasta pose indicating
the viewers to worship Narayana.

Thus it can be understood that the Warrior image on the Brindavana at Anegundi is in reality “advising”
the onlookers to understand the Ascetic figure as “I’m like that” (Tatha iti vachanam).

From this study of the Hasta Mudra posed by the Warrior statue, it can be safely concluded that both
the images are linked to each other and the Suchi Mudra is the connecting link. This factual assertion
refutes the argument that the two images are of two different persons whereby the assumption of
Raghuvarya T and his Muslim attacker loses its ground.

Once again, I re-present the comparative depiction of the Vishnu image from Mahabalipuram and the
Warrior statue on the Brindavana at Anegundi such that the readers can evaluate the close
resemblances in the Hasta Mudras and can relate the meanings of Suchi Hasta as described in Abhinaya
Chandrika.
 29

The striking resemblance in hand posture between a 7th century AD Vishnu image and 14th century AD
Madhva saint confirms the fact that the Madhvas too have followed the Science of Iconography in true
letter and spirit. A proper study of these icons can make us to realize many historical facts and the
conjectures thus drawn can put many a myth to their final resting.

Interested readers may pursue the matter with the studies of other examples and thereby can draw
their own conclusions on my above findings.

*****

The Post-hoc Fallacy

By far, I have presented the systematic application of an established science of studying the images and
now present a classic example of Post-hoc fallacy that can be fatal when not removed at the earliest.

Hereunder I reproduce few messages posted by Mr. Narahari Sumadhwa (NS) which were given as
answers to a query posted on the two images of Brindavana at Anegundi in the Facebook page of
Sumadhwa Seva.

ರಘ ವಯ ರ ವೃಂ\ಾವನದ&e ಒಬg ಯ ಯ ಮತು$ ಒಬg 2ೈ6ಕನ iತ 3\ೆ. H ೕ ರಘ ವಯ ರ ವೃಂ\ಾವನದ&e ಒಬg ಯ ಮತು$ ಒಬg 2ೈ6ಕನ

iತ 3ರುವjದ*ಂದ, ಅದು ಜಯ ೕಥ ರ\ೆcಂದು ೆಲವರ ಮಂಡ ೆ.

ಅವರ ಪ ಾರ – ಜಯ ೕಥ ರು ತಮY ಪ+ ಾ ಶ ಮ&e ಕುದು0ೆ ಸ ಾ* /ಾಡು $ದcರು. ಆದ0ೆ ಅವರು 2ೈ6ಕ ಾWರ&ಲe, ಬದ&lೆ

ಆಡ_ತlಾರ0ಾWದcರು. ಅಕ2ಾYm ಅವರು 2ೈ6ಕನ i ೆnಯನುo pೇಳಲು ಬಯ7ದc0ೆ, ಆ iತ lಾರ ಜಯ ೕಥ ರು ಕುದು0ೆ @ೕ-ೆ ಕು_ತು 6ೕರು

ಕುqಯುವjದನುo i ಸ'ೇ ತು$ , ಏ ೆಂದ0ೆ ಜಯ ೕಥ *lೆ ೈ0ಾಗ5 ಬಂ \ೆcೕ “ ಂ ಪಶು: ಪ+ವ 4ೇ:” ಪದ ಂದ. ಆದc*ಂದ ಈ 2ೈ6ಕನ i ೆn

ಆ ವೃಂ\ಾವನವನುo ಜಯ ೕಥ ರ\ೆcಂದು pೇಳಲು ಸpಾಯ ಾಗದು.

pಾಗ ೋqದ0ೆ H ೕ ಾ5ಸ0ಾಜರು 3ಜಯನಗರವನುo ಉ_7ದcರು. ಅವರ ವೃಂ\ಾವನದ&e 2ಾ/ಾ ಟನ iತ 3ರ'ೇ ತು$. ಆದ0ೆ

ಾ5ಸ0ಾಜವೃಂ\ಾವನದ&eರುವjದು 0ಾಮ, 3ಠ[ಲ, ನೃ7ಂಹ, ಕೃಷw ಮತು$ ಯ iತ ಣ.

ಅ\ೇ*ೕ ೧೨ ವಷ 0ಾಜ5 ಾ_ದ ನರಹ* ೕಥ ರ ವೃಂ\ಾವನದ @ೕ-ೆ 0ಾಜನ iತ 3ರ'ೇ ತು$. ಆದ0ೆ ಇಲe. ಆದc*ಂದ ಆ 2ೈ6ಕನ iತ ಣ

ಜಯ ೕಥ ರ\ೆcಂದು pೇಳಲು ಆ4ಾರ3ಲe. ಅzೆ[ೕ ಅಲe.

H ೕ ಜಯ ೕಥ ರು ತಮY Tೌವನದ-ೆeೕ ಸವ ಸ ವನೂo Fಾ5ಗ/ಾq ಸ ಾ5ಸ 7 ೕಕ*7ದವರು ಖಡQ ?qದು 6ಂತ ಭಂWಯ ಕಲ) ೆ

ಜಯ ೕಥ *lೇ ಒಪ)ತಕ^ದcಲ.e ಅzೆ[ೕ ಅಲe. 0ಾಯ0ಾಗ&ೕ, ಜಯ ೕಥ 0ಾಗ&ೕ, ಾ 0ಾಜ0ಾಗ&ೕ ತಮlೆ ಪ+ ಾ ಶ ಮದ ಾಸ ೆಯ ೆoೕ

 30

Let me prove how the ad-hominem of NS that he holds for the Editors-duo of SJMBG and for this writer
has led to develop a Post-hoc fallacy in which a strong desire to deny the actual factors is overwhelming
than the acceptance of the same.

I wish to make it clear that this section is in no way an ad-hominem from my end but an honest response
to NS on the pitfalls that he could have avoided.

1. First of all let me take up the NS’s comment on Vyasatirtha Brindavana. I have already presented
a detailed study of Sri Pattabhi Rama panel on the front façade of Vyasatirtha’s Brindavana. That
whole episode dismisses NS’s observation as faulty.

2. On NS’s assumption about what must have been carved by the sculptor (ಅಕ2ಾYm ಅವರು 2ೈ6ಕನ
i ೆnಯನುo pೇಳಲು ಬಯ7ದc0ೆ, ಆ iತ lಾರ ಜಯ ೕಥ ರು ಕುದು0ೆ @ೕ-ೆ ಕು_ತು 6ೕರು ಕುqಯುವjದನುo i ಸ'ೇ ತು$), I can
only say that such postulation is unrealistic and farfetched. Because, by living in 21st century and
trying to suggest about what must have been carved by a sculptor from 14th century is nothing
but belittling the ancestors and their wisdom. Commonsense lies in understanding the available
evidences in their true letter and spirit than trying to smear them with dust of doubts.

3. NS further argues that the Warrior statue can’t be ascribed to Jayatirtha for the reason that he
forbade all of his Purvashrama relations (0ಾಯ0ಾಗ&ೕ, ಜಯ ೕಥ 0ಾಗ&ೕ, ಾ 0ಾಜ0ಾಗ&ೕ ತಮlೆ
ಪ+ ಾ ಶ ಮದ ಾಸ ೆಯ ೆoೕ Eಕ^*7ದವರು ಇಂತಹ ವೃಂ\ಾವನವನುo ಕ|[ಸಲು pೇlೆ Fಾ ೆ ಸಮ} ಸುವರು?). But in the
previous comment only he opined as “ಏ ೆಂದ0ೆ ಜಯ ೕಥ *lೆ ೈ0ಾಗ5 ಬಂ \ೆcೕ “ ಂ ಪಶು: ಪ+ವ 4ೇ:” ಪದ ಂದ.”
According to the logic of NS, Jayatirtha should not have got developed a longing for renunciation
when he was reminded with his past life as a bull. As Jayatirtha has already foregone the
Purvashrama ‘Vasana’ of present life itself similarly he must have done away with his Purva
Janma Vasana as well? But none of the life accounts of Jayatirtha convey such faulty inferences
of either Purva Janma or Purvashrama Vasana.

4. By adhering to his own Purvashrama Vasana logic, can NS explain why Raghuttama got his
mother’s face carved on his Brindavana? When Jayatirtha can’t feature his own Purvashrama
Rupa on his Brindavana, can Raghuttama dare to put up a woman’s face? Hence this faulty
 31

argument is a classic example for Post-hoc fallacy in which a person loses focus on the discussion
and slips as to how his own argument can turn against him! Such unchecked arguments not only
render the discussion useless but can potentially erode the reputation of the person.

5. Another flaw in NS’s argument is that Jayatirtha was not a warrior but a mere administrator. This
statement is certainly a result of having no knowledge about the political and military
administration of the then kingdoms. Readers must know that most of the South Indian
kingdoms whether Hindu or Muslim have followed a ‘politico-military system’ that oversaw the
agrarian and revenue departments as well. All the senior officers of this system have to
discharge duties both as administrators and as military commanders. In others words Bahmani
Sultanate under which the father of Raghunatha Dhondopanth was employed had a complex
politico-military administration in which the officers posted at (Vijayanagara’s) Rajya or
(Bahmani’s) Taraf i.e. regional province were expected to serve the king with men-at-arms and
money. They are expected to carry on with this job in peace and war times. This system has
continued throughout the medieval periods. Hence the NS’s comment about Jayatirtha being
mere civil administrator is far from the truth and it is plain amateurish to believe this myth.

So, one must remember that narrating the history is not as easy as framing a myth because history got
ship-loads of documented evidences that can turn the tables.

With this I conclude the present chapter that if at all there is a will to arrive at a common consensus all
must avoid Post-hoc fallacy and accept the facts with broad mind. After all, this is not a ethno-religious
war where one must fear of annihilation should there be retreat from the ground held thus far!

*****
 32

Concluding Note

As it has been narrated in the Introduction and throughout the chapters of this eBook, an impartial
study of the historicity of Madhva lineage is needed more than the false prides that we often take
without much basis. Madhvas must learn to respect the scientific studies and develop an open mind
that receives the new findings than shooing them away as aliens.

From this fresh perspective, the iconographic studies presented and discussed in this eBook suggest
that the Brindavana at Anegundi can be attributed to Jayatirtha than Raghuvarya as the images
carved on the said Brindavana in no way depict the life accounts of the latter Yathi.

At the same time, I humbly submit to the readers and history explorers to note that the findings offered
in this book are not the final ones but can change as and when the new evidences come to the light.

I wish to conclude with the apt words of Peet.

“Archaeology is seldom an exact science. We are often compelled

to mark our advance by a progress from one theory which has been
disproved to another which seems better to fit facts.”
*****