Weiner Mihályné szerk.: Az Iparművészeti Múzeum Évkönyvei 12. (Budapest, 1970)

HOPP FERENC MÚZEUM — MUSÉE FERENC HOPP - Sivaramamurti, C: The Expressive Quality of Indian Sculpture

Fig. 4. Siddhartha in the Harem. Nagarjunakonda Trivikrama, with his feet raised to touch the head of Rahu, is equally suggestive, as the gaping mouth of Rahu, proverbially after the sun and moon to devour them, is suggestive of the expanse of the sky. The marriage of Siva and Parvati in the manner represented is again suggestive of the coming together of both as companions in life. The saptapadi portrayed in the sculpture from Rajshahi illustrates how seven steps walked together assures friendship, and the hand clasped in friendship equally assures a hearty shake of the hand, as of companions in life. The shaking of hands in friendship is also clearly illustrated in the way this was symbolized by Rama and Sugriva, as portrayed not only in the literary text of the Ramayana, but also pictorially, in a temple mural from Kerala. Symbols used on coins have had tremendous significance. A king always counted on his fame, that transcended all measure and enveloped heaven and earth, as the utmost to be desired. Fame being white, comparable to the moon, is shown as a crescent on top of a folk symbol of mountain (jig. 7a). Thus fame crossed the mountains, crossed the four oceans, represented by four circlets, went to the nether-world, indicated by a zig zag, meaning a snake, reached heaven, indicated by the solar symbol or the stars. It was continued to be shown on coins by successive dynasties. The earliest representation is of the Satavahana period, 2nd century A.D., on a silver coin of Yajna Satakarni.