Paper for N P Joshi Felicitation Volume

By : Dr (Mrs) Kumud Kanitkar

4 th floor, 105, fourth Lane,
Hindu Colony, Dadar
Mumbai 400014;
Mobile 9892750059

Abstract

The Limboji Mātā Temple Complex at Delmāl has some interesting features.
• The north face of the bifacial toraṇa, at the entrance of the complex, has image of
Śiva in the centre. The corresponding image on the south face is of Sarasvati, though the
shrine is definitely dedicated to Devi.
• The Viṣṇu sub-shrine has only Viṣṇu on all three bhadras whereas the Sūrya sub-
shrine in the south east corner has images of syncretic Sūrya on its bhadras. A different
expression of syncretism is reflected in the images seen on the temples of Brahmā in the
region. This is construed as evidence for the waning importance of the two deities Brahmā
and Sūrya and an effort to assimilate them into the main stream religion by blending them
with Śaiva and Vaiṣṇava cults.
• The search for the origin of the name Limboji (Nimbajā in Sanskrit) mātā leads to
inscriptions as far south as Karnāṭaka on the trail of Moḍha-mallas. The first step in the trail
looks at inscriptions of Moḍha Brāhmaṇas as chiefs in Sanjān, and then those Jeṣṭhimallas
‘Jettys’ of Arsikere in Karnāṭaka.

Limboji-Mātā Temple Complex at Delmāl, Gujarāt

The Limboji mātā temple Complex at Delmāl is just a few miles from the Sun Temple
at Moḍhera. It is a small complex, with the enclosure measuring 92 feet by 58 feet.1 The
central main shrine is north facing, as shrines of goddesses generally are, and is dedicated to
Limboji (Nimbajā)-mātā. There is a small pavilion in front of the main shrine. Two smaller
shrines in the compound are placed at the back of the main shrine, one is dedicated to Sūrya
and the other to Viṣṇu. Two ‘tri-puruṣa’ shrines, one facing east, and the other, facing west,
(confronting each other), flank the entrance, both these shrines have lost the original śikhara.
There are also three other mini- shrines, obviously added later.
 Toraṇa

The entrance to the complex has a beautiful toraṇa. It is an uttuṅga toraṇa

comprising two pillars topped by attic pillars that support a lintel and an undulating pediment
(illīkāvaḷaṇa) above.2 The pediment is bordered by a row of geese (hamsamālā). Parrots are
perched on the crests of the illīkāvaḷaṇa. The toraṇa is bifacial, that is, it is to be viewed
while entering and leaving. The central image on the pediment of the northern face (the side
facing the devotee entering the complex) is of Śiva in padmāsana flanked on either side by a
fly-whisk bearer and a dancing Gaṇeśa.
Śiva in padmāsana, triśula and nāga in upper hands, bījapuraka in lower left hand,
vāhana bull

The central image on the south face (the side facing the devotee leaving the complex),
is of a goddess, flanked by fly-whisk bearers. She holds a vīṇa in the upper right hand. Lower
right hand is in akṣa-varada mudrā. Upper left hand holds a pustaka and the lower left hand,
a kamaṇḍalu. Haṅsavāhana bearing a string of pearls in its beak, is at her feet.
Iconographically, the image is of Sarasvati.

Sarasvati in padmāsana, holding akṣa-varada, vīṇa, pustaka, kamaṇḍalu; hamsavāhana

Generally, the deity to whom the main temple is dedicated occupies the central
portion on the pediment of the toraṇa. The central image of Śiva on the toraṇa confirms
śaivite affiliation of the deity. This is also borne out by the sculptures on the temple bhadras.
In view of these images, identification of the goddess on the toraṇa as Sarasvati, raises
questions. One can cite the statement of T.A G Rao3. He says with reference to Hoysala
sculpture of Sarasvati at Halebidu, ‘It is obviously intended here that Sarasvati is to be looked
upon as a śakti of Śiva4. In Pala sculptures, she is seen as the śakti of Viṣṇu’.
Limboji mātā shrine

The śikhara of the shrine and the fine samvaraṇa roof of the maṇḍapa is reminiscent
of the early 11 th century type5.

Śikhara of the main shrine and maṇḍapa East bhadra, Mahiṣāsuramardini

The three bhadras of the main shrine of Limboji mātā have Mahiṣāsuramardini ,
Durgā and Camunda, all eight armed.

A pair of surasundaris and two of the dikpālas flank the main bhadra, the west
bhadra, has two surasundaris and three dikpālas. The east bhadra also has three dikpālas but
Bhairava in place of one of the surasundaris.
 The āvaraṇadevatā s in the vedīkā of the raṅga-maṇḍapa are all goddesses.

The east and west main panels on the vedīkā have triads of goddesses. The east central
panel on the vedīkā has Durgā (Lakṣmī?), Mahiṣāsuramardini and Pārvati. The west
central panel also has three Śaivite goddesses. Only the central image can be identified as
Durgā . Other two have lost some attributes and cannot be identified.

The two smaller shrines at the back of the Limboji-mātā shrine (‘nice little gems of this
period’ to quote Dhaky6), are identical in plan and elevation but the western shrine is
dedicated to Viṣṇu while the eastern shrine is dedicated to Sūrya
 The south-west sub-shrine dedicated to Viṣṇu

The east, and the south or main bhadra of the Viṣṇu sub- shrine has Garuḍa-vāhana
Viṣṇu. The south and west bhadra images are difficult to photograph, as the enclosure wall is
too close to the images. The gajendra-mokṣa episode on the west bhadra has therefore been
photographed in three parts.

The gajendra-mokṣa episode on the west bhadra of the south-west sub-shrine to Viṣṇu

The Sūrya sub-shrine

The images on the bhadras of the Sūrya shrine are very interesting syncretic images.
The west bhadra image has three visible heads, eight arms, holding attributes of Śiva (Upper
pair of hands hold trisula, sarpa), Sūrya (next pair of hands hold two lotuses) and Brahmā
(lowest pair of hands hold akṣamālā and kamaṇḍalu). Two remaining hands that would have
held attributes of Viṣṇu are broken but the syncretic deity, wearing high boots, rides a
Garuḍa vāhana confirming the inclusion of Viṣṇu in the syncretic image. A small horse and
goose being shown at the bottom.(Photo)

Syncretic image on the west bhadra

Śiva -Sūrya-(Viṣṇu)- Brahmā on Garuḍa; horse and goose shown below

The south or the main bhadra image is just a few inches from the southern boundary
wall of the enclosure. As a result, it is impossible to take a full faced photo of the image. The
image of the deity is intriguing though. Only one head and three pairs of arms can be seen.
Two pairs of hands hold lotuses of two different types. The lowest pair of hands holds
akṣamālā and kamaṇḍalu. The god is seated on a round seat and no vāhana seems to be
portrayed at the feet. (The twelve Ādityas are portrayed on the door to the cella ; seated ,
single headed, two armed, each with a lotus. Photograph of one of the twelve small figures is
illustrated below to indicate the type of seat.

One of the Ādityas portrayed on the door to the cella

 South or main bhadra image

no vāhana depicted

The east bhadra image

The east bhadra image also is too close to the wall to allow a full faced photo. It has
only one head, the face clearly shows aghora Śiva /Bhairava. The attributes are lost but the
deity seems to ride a bird (Garuḍa?) and a small prancing horse is seen at the feet, on the right
side; the small figure on the other side can only be conjectured to be a goose
 Aghora face, one side of shoe is a prancing horse

riding a bird the other side of shoe, a goose?

A Brahmā shrine7 just a short distance away from the Limboji-mātā temple complex
at Delmāl also has interesting images on the bhadra. On the main bhadra, appear Brahmā
and Savitri, but the two other bhadras hold images of Lakṣmī -Viṣṇu and Umā-Maheśvara.

Brahmā shrine, Delmāl

Photo, 1960s Photo 2011

main bhadra: Brahmā -Savitri, goose vāhana south bhadra :Uma-Maheveśvara, bull vāhana

North bhadra : Viṣṇu-Lakṣmii , Garuḍa-vāhana

A different representation of the same concept is seen on the Brahmā temple at

Khedbrahmā8. It has images of Brahmā on all three bhadras but the vāhana are different,
bull on west face, horse on north face and small Garuḍa in human form, on south face.

The syncretic images on Sūrya and Brahmā shrines (but not on Viṣṇu shrine) hint at
the waning importance of Brahmā and Sūrya as independent deities in 11th-12 th century in
this region.9 They are portrayed with other gods on the bhadra even when the shrine is
dedicated to them. A recent article by Mankodi10 highlights an intriguing combination of Śiva
and Sūrya at the Moḍhera ‘Sun’ temple.
 Coming back to the remaining shrines in the Limboji mātā temple complex, two tri-
puruṣa’devālayas flank the entrance. They are small, identical in plan and elevation, but the
imagery on the outside wall is different.

west shrine south wall :Yama, Brahmā, Agni east shrine south wall :Indra, Brahmā, Agni

The lintels of all six shrines(three on either side) show navagrahas and Gaṇeśa on the lalāṭa-
bimba
 The Name ‘Limboji’ Mātā

No inscriptional evidence is available about when the ‘Limboji Mātā’ shrine was
built, who built it or to which specific Devi the shrine was originally dedicated.

The main shrine, on stylistic grounds, belongs to the first half of 11 th century. The
size of the shrine is small compared to the known royal structures such as Moḍhera Sun
Temple, Rudra Mahālaya etc, and the sculptures on the main shrine are not the best quality,
ruling out a Royal patron.
The iconography clearly shows that the shrine was dedicated to an aggressive form of
Devi; all three bhadras have martial forms of Devi. The only males sculpted on the jangha
are the aṣtadikpālas and a solitary Bhairava next to Mahiṣāsuramardini. The whole structure
and iconography are in the classical style. Thus it is unlikely that the original name of the
presiding deity was Nimbajā / Limboji-mātā.
The origin and the antiquity of the name ‘Limboji mātā’ is traced through
Mallapurāṇa, inscriptions of Moḍha chiefs of Samyana, and inscriptions of Jyesthimallas
from Arsikere.
Dr N P Joshi, in his article in ‘Kala’, has noted that “Purāṇās mirror the social and
cultural environment of their times and thus provide missing links and fresh clues for
identifying unusual sculptures”.11

The above statement of Dr N P Joshi and his guidance led the author to ‘Malla-
Purāṇa’12, which provided a direction for tracing the antiquity of the present name ‘Limboji-
mātā’, of the deity at Delmāl, Gujarāt. Delmāl is the stronghold of the jyeshthimallas in
Gujarāt and their family deity is Nimbajādevi.

Malla Purāṇa is an example of a lesser known purāṇa. The term purāṇa includes not
only the eighteen purāṇas and Upa- purāṇas but also Sthala purāṇas which mainly describe
the importance of centres or spots, sacred to particular deities or rivers or mountains.

The term ‘malla’ is used to denote a wrestler or a boxer. In this sense the term is
known from very ancient times. But it is used in the present context to mean not only a
wrestler but a sub-section of Brahmins from Moḍhera, generally known as ‘Modha’
Brahmins who were professional wrestlers. Here the word malla is therefore used in rather a
restricted sense. The Malla- purāṇa is the old story of the caste of mallas from Moḍhera .
 The Devi temple at Delmāl was built in early 11 th century13. The Malla purāṇa was
probably compiled during 15 th- 17 th century; one manuscript of the Malla purāṇa has a
colophon that notes the date as samvat 1731 (1674-75 CE). Thus the shrine pre-dates the
purāṇa by a few centuries.

It confirms the fact that myths need not always predate, or even be co-eval with their
lithic representations14. Religious literature is a result of the influence and assimilation of
aboriginal or indigenous ideas on oral traditions. Eventually these get written in purāṇas, the
final proof of assimilation.

‘Malla purāṇa’ has many chapters dealing with wrestling. The last chapter of the
purāṇa, describes the worship of the family deity of Jyeshthimallas, goddess Nimbajā
(Limbaja). The introduction to the purāṇa by the editors also includes present day practices
of the Modha-mallas in Gujarāt who have kept the wrestling tradition alive. A photograph in
the chapter illustrates how, on the day of wrestling, worship of goddess Limbaja is performed
in the akhada.

“A square platform with a Śivalinga in the centre is raised and a branch of Neem tree
is planted on it as the temporary abode of the goddess.”

The ritual clearly re-affirms the śaiva affiliation of the goddess. The branch of the
neem tree used in the ritual provides a useful clue in tracing the origin of the name.
The anthropological survey of India, mentions that the “Jesthimallas have the śakti goddess
Nimbajā as the kul-devi”15
The introduction to the Malla Purana states that Delmāl is the stronghold of the
jyeshthimallas in Gujarāt. It also notes that Jyeshthimallas, migrated to different capitals
and towns of mediaeval states in search of patronage. “Their movement from Moḍhera to
other places was more of a slow diffusion rather than an exodus” to quote the editors of
Malla-purana.

In looking for the possible antiquity and origin of the name Limboji (Nimbajā) mātā,
only southwards migration is considered here, from Delmāl, probably passing through
Sanjān, in south Gujarāt and ending at Arsikere, in Karnāṭaka. The choice is based on the
evidence available by way of two sets of inscriptions known to be related to Modhas. One is a
set of five plates found in 1955 in a field in Chinchani, 22 miles from the present Sanjān,
(Samyana in the inscriptions) and published in Epigraphia Indica16 and two inscriptions from
Arsikere, in the present day Karnāṭaka, from Epigraphia Carnatica17. The Sanjān grants are
from the eleventh century, Arsikere grants, from twelfth and late thirteenth century.
 The distance from Delmāl to Sanjān, is over 500 Km; Sanjān to Arsikere is over 1000
Kms. This fits in with the conjecture that Moḍha mallas originating in Delmāl in eleventh
century, gradually migrated south and became well established in Arsikere, and by thirteenth
century, were rich enough to build temples and give grants to their original family deity,
Nimbajādevi.

Of the five Chinchani grants, three grants are by Moḍha chiefs. Remaining two, do
not mention ‘Moḍha’. Yet these are included, as they refer to Devi worship in the area from
tenth century and they illustrate that different names are used to refer to the same Devi.

Arsikere grants published in Epigraphia Carnatica and cited in the Malla-purana are
by Moḍha mallas and. The sub-caste of Modha brahmins, the Jyesthimallas, that settled in
south India, became known as the ‘Jetty community that migrated from Moḍhera’18. In
Kannada ‘jetti’ or ‘jettiga’ also stands for a wrestler or muscle-man. One of the inscriptions is
from the time of Hoyśala ruler Viṣṇuvardhana. It notes that in 1131 CE, Mallijetty erected
the temple of Camuṇḍeśvari in Undiganalu village, Javagal Hobli, Arsikere taluke, Hassan
district, Mysore state. The second inscription notes some endowment given to goddess
Nimbajadévi of Undigehalu (1276 CE).
The details of the Chinchani grants are considered first. A grant from the time of
Rastrakuta Indra III, dated Akṣaya trriya , Monday, 17 April 926 CE, records the endowment
to a maṭhikā in Samyana, for repairs and for offering naivedya to the goddess Dasami and
other charitable purposes, on the request of a brahmin of Bharadvaja gotra. There is no
mention of Modhas, just a maṭhikā connected to goddess Dasami.

Another one dated 15 September 1034 CE, by Camuṇḍarājā, does not mention
‘Moḍha’, but the inscription describes him as Vijjaranakasuta. The inscription clearly
mentions that Camuṇḍarājā, the chief of Samyana is a feudatory of Silahara Chhittaraja. The
purpose of the inscription is to note the grant of an oil mill (ghāṇaka) to the Kautuka maṭhikā
at Samyana for burning a lamp before Bhagavati.
Two of the remaining records mention that they are issued by the Moḍha chief ruling
Samyana and dated 1048 CE and 1053 CE, though there is no direct mention yet of
‘Jyeshthimallas’.

One of the two grants of Vijjala (saka 969, 22.1.1048, Magha Sankranti), praises him as
The name is the same as that of Camuṇḍarājā’s father. It records the grant of the tax on a
village, to the same ‘Kavatika maṭhikā’. It also notes that the grant was made by the chief
after having worshipped the lord (Sun god). The charter ends with a statement

that it was written by Limbāditya ( इदम ् ), a combination, of Limba and

Āditya.
An analogous inscription of north Konkan Śilāhāra Aparājita (S 919, CE 997)
mentions a temple of Loṇāditya in Lavaṇetaṭa, modern Loṇad19. The names ‘Lavaṇetaṭa’ and
‘Lonāditya’ are derived from Lavaṇa, (salt), since salt pans were common there. It can be
surmised that the ‘Limba’ in Limbāditya was similarly connected to Neem trees.
The second grant of Vijjala, ( saka 975, 13.11.1053) has opening verses that state
‘Vija-rāṇaka, born in the Moḍha family and having obtained the grace of the goddess
Khadiravati..’. apparently, Khadiravati was the family deity of Moḍhas of Samyana.

Ramendra Nath Nandi, under the heading ‘The cult of aboriginal mothers’20, has
written that ‘Khadiravati is not found in any of the documented Brahminical theology’.
According to him, it is a totemic spirit that developed into a goddess and was worshipped by
the Moḍha Brāhmaṇas. They probably adopted the goddess from some tribals with whom
they came into contact perhaps through grants of land in tribal areas or through conquest of
tribal communities. (‘Khadira’ is catechu)

Although the search is for Nimbajā /Limbojimātā, one can use the example of
Khadiravati.

The road from Delmāl to Sanjān, passes by the Dangs. The Dang district is entirely a
forest area. Tribals live there even today.

It can be conjectured that Moḍha Brāhmaṇas became chiefs of an area, on the

strength of their physical prowess. They acquired the appellation ‘jyesthimallas’ later on and
therefore in 11 th century Samyana grants, they refer to their origin, ‘Moḍha’ but not to the
profession, ‘malla’. It is possible that names and myths of tribal goddesses like Khadiravati
and Nimbajā were adopted by them as manifestations of their original family goddess in
Delmāl. In this context, part of the description of Nimbajā given in the Malla Purana tallies
with the image on the main bhadra of Limbojimātā temple in Delmāl

३४
 Simhavāhana,

ayuḍha : khaḍga, kheṭaka, triśula, ghanṭā, akṣamālā ,kamaṇḍalu

Now, the second set, two inscriptions from present day Karnāṭaka is considered. An
inscription from the time of Hoyśāla ruler Viṣṇuvardhana notes that in 1131 CE, Munijetty
erected the temple of Camundeśvari in Undiganalu village, Javagal Hobli, Arsikere taluke,
Hassan district, Mysore state. An inscription of 1276 CE notes some endowment given to Śri
Nimbajādevi temple.
Chronological listing of the above grants gives the following order

1034 CE, 1043 CE, Bhagavati

1053 CE Khadirāvati

1131 CE Cāmuṇḍeśvari

1276 CE Nimbajādevi

Thus one can see a śaivite goddess (Devi) referred to by different names.

The specific reference to ‘Nimbajādevi’ in connection with the Modha/jyesthimalla

community in present day Karnāṭaka, appears in 1276 CE.

The following steps become established from the two sets of grants

 Moḍhas acquired charters to rule over areas in south Gujarāt. These could have been
forested and populated with tribals.
  They absorb the tribal tree-related deities such as Khadiravati (1053 CE)

 Perhaps, another group, which went on to Arsikere, assimilated Nimbajā (1276 CE).
In the process, the family goddess, retains the lanchhanas but adopts a new name. She
continues to be perceived as four armed, with lion mount, which is the iconography of
the original goddess at Delmāl. The extant imagery on the shrine thus gets woven into
the purana.

The jyeshthimallas migrate south, as far away as present day Karnāṭaka, and make a name
for themselves as mallas. They retain the memory of their Moḍha Brāhmaṇa origin and the
family deity Nimbajā and give a grant to the temple of goddess Nimbajadévi of Undigehalu
(1276 CE).

The above references do not yield any clue regarding the original name of the presiding
deity at the Limbojimātā temple. They only succeed in establishing that more than two
hundred years after it was constructed, ‘Nimbajādevi’ was the popular name of the goddess at
Delmāl as mentioned in the record of the community relocated in Karnāṭaka.

Note

1. The first fact that Moḍha Brāhmaṇas took up wrestling (malla-vidya) as a profession,
can be conjectured to be a result of the anger and helplessness felt after the
destruction of Somanātha temple by Mahmud of Gazni. There are subsequent
historical references to such instances of Brahmins who advocated or took up martial
arts as a group21. Ramdas, a poet-saint of Maharashtra, Brahmin by birth, and a guru
of Chhatrapati Shivaji, exhorted people to take up arms against the Moghul rulers.
One of the famous couplets from his devotional songs even chides god Vitthala of
Pandharapura, whose image is two armed and both arms are kayṭyāvalambita.
Ramdas alludes here to the Ram avatara of Viṣṇu (Vitthala).

चाप बाण काय केले (capa bana kaya kele, Where are you bow and arrows? )

कर ---(kara katevari theviyale, Standing with both arms on the waist!)

2. Migration of devotees with their gods and goddesses is known from early times. The
Mandsor inscription dated 437 CE notes that a colony of silk weavers that had
emigrated from Lāta (present day south Gujarāt) to Dasapura-now Dasor or Mandasor
in Malava built there a temple of the sun and in 473 CE the same guild restored it.
 Modhera had a Sun temple (Bakulārka) as late as the late sixth or early seventh
century CE22
3. In a modern twist, there is a ‘blog’ by a ‘Jetty’, on the internet, about the community

1
Burgess, Atchitectural Antiquities of Gujarat, p 87
2
Parul Pandya Dhar, The Torana in Indian and Southeast Asian Architecture, D K Printworld (P) Ltd. New Delhi,
2010
3
T.A. Gopinath Rao, Elements of Hindu Iconography, Vol 1, part II, P 378
4
Epigraphia Carnatica, Vol.X (Rev.Edn.) Mysore University, 1997: Arasikere (Ak.) No. 249, the grant begins by
‘Obeisance to Sambhu,’and the invocation end with ‘Obeisance to Sarasvati’
5
M A Dhaky, The Chronology of the Solanki Temples of Gujarat, Journal of the Madhya Pradesh Itihas
Parishad; vol 3, 1963, p 31
6
M A Dhaky, ibid, p 51
7
M A Dhaky, ibid , p 51
8
H Cousens, Archaeological Survey of India, Annual Report 1906-07, pp 171-178
9
K. D. Kanitkar, ‘Brahma’, JISOA New Series, Vol XXVII; 2010; Ed Susnato Ganguly, Arundhati Banerji,. Pp 173-
186
10
Kirit Mankodi ‘to what god shall we render homage in the temple at Modhera? Prajnadhara-Essays in
honour of Gouriswar Bhattacharya
11
N.P.Joshi, Kala, ‘Puranas as interpreters of Icons’ ; Vol VII, 2000-2001, pp 1-14
12
Mallapurana, ed. B.J Sandesara and R N Mehta, 1964, Gaekwad Oriental series, 144
13
M A Dhaky, Journal of the Madhya Pradesh Itihas Parishad, vol 63, p31,p51 had dated the main shrine to
early 11 th century, the sub-shrines to mid 12 th century. However, in a conversation in May 2011, Dhaky
confirmed that the three shrines were from the mid 12 th century, Siddharaja Solanki phase, 1094-1144

14
Indira Aiyar, Journal of the Asiatic Society of Mumbai, vol 81, 2007, pp 1-6;
15
Kumar Suresh Singh, Rajendra Behari Lal, Anthropological Survey of India, Gujarat, Part 1 page 456

16
D.C.Sircar, Epigraphia Indica, Vol32, p45-73
17
Epigraphia Carnatica, Vol.X (Rev.Edn.) Mysore University, 1997 : Arasikere (Ak.) No. 246 it is in Kannada
language and Script and its translation is published on page No. 726 of the same Volume; Ak 248, pp. 319-20
under No. its translation is also published in the same Volume, on page 727.
18
Jetty, B. Srinivasa, The Jetty Community of south India and its migration from Modhera (north Gujarat) to
Bangalore, Makkada Setty Street, 1974, pp 10-11
19
V V Mirashi, CII vol VI, no 7, page 38, dated (25.6.997). Chinchani and Lonad, the findspots of the two
grants, are about 60 km apart. The Modh Vijjala was defeated by Silahara Mummuni .
20
Ramendra Nath Nandi, Religious institutions and cults in the Deccan, Motilal Banarasidas
21
Abhayatilaka Gani (13 th century C E) mentions ‘Ayudhajivi Brahmanas’; another tradition mentions that
they formed the vanguard in the army of the Solankis of Gujarat; p 24, Mallapurana
22
Encyclopaedia of Indian temple Architecture, Foundations of the North Indian Style, Chapter 58, Solankis of
Anahillapataka.