In the Vishnudharmottara Purana, a seminal Hindu ancient text, Rishi Markandeya in his answer to the question of Raja Vajra replies that an icon is the boundless Vishnu’s way of arriving in the realm of mortals.
Because of his Anugraha (affection), the sustainer of Srishti, Vishnu Narayana contracts his infinite and formless presence into a Vigraha (icon).
The abridged appearance of the divinity is also to assure that the devotee is not unnerved by the sudden advent of Sri Vishnu in all his glory.
Beholding this gigantic hard granite Sheshashayi Vishnu statue one cannot help but be overawed by its mammoth proportions.
It seems as if the eye is gazing at Vishnu Narayana, stretched on his bed of serpent (Shesha-Shaiyya), amidst the cosmic waters where time ends and begins.
The rules of ancient Indian iconography dictate that while making a holy sculpture, the Shilpi (craftsman) must focus his attention on the Swaroopa (nature) of the God mentioned in their Dhyana-Shloka which narrates the physical aspect of the god. This revealing of the divine nature of Swaroopa into a material form or Roopa is the essence of icon making. The ethereal Roopa of Sri Vishnu in this hard granite statue derives its inspiration from the “Dhyana Shloka” recited before “Vishnu Sahasranama Stotram”, the one-thousand-named hymn of Sri Vishnu.
The mantra begins by praising Sri Vishnu as “Shantakaram”, He who is serene, “Bhujangashayanam”, who sleeps (Shayana) on a serpent (Bhujanga), “Padmanabhama”, from whose navel spurts a lotus, “Sureshama”, the Lord (Ish) of gods (Sura). He is “Vishwaadharama”, the foundation (Aadhara) of the universe (Vishwa), “Gaganasadrashyama”, who is like the omnipresent sky (Gagana), “Meghavarnama”, whose skin is the color (Varna) of nimbus clouds (Megha), “Shubhangama”, whose limbs (anga) are auspicious (Shubha).
He is the husband of Sri Lakshmi, “Lakshmikantama”, his eyes are like the lotus, “Kamalanayanama”, he is achieved by Yogis in deep meditation, “Yogibhirdhyana-gamyama”. The mind bows, “Vande”, to Vishnu who is “Bhavabhayaharama”, the remover (Hara) of the fear (Bhaya) of the material world (Bhava), and “Sarva-lokaikanathama”, the supreme Lord (Ekanathama) of all realms (Sarvaloka). Sri Vishnu in this granite statue is on the bed of Adi Shesha’s coils, with its physical details well-defined on the stone.
The maker carefully delineates the scaly skin, twisted end of the tail between coils, and under-belly. The five hoods of Adi Shesha make the Chattra (royal umbrella) over the relaxed Sri Vishnu, its expressions suggesting a seamless vigilance. The possessor of Sri Lakshmi, “Sri Dhara” Vishnu gleams with the dark hue of polished granite stone, which is a fitting material to express his divine dark-skinned beauty. Meticulous focus on balance and proportion by the Shilpi has presented an awe-inspiring two-armed form of Sri Vishnu, wearing a light grey shaded dhoti and various exquisite ornaments sculpted with painstaking attention.
A long Kiritamukuta (conical Vaishnava crown) with floral etchings and a pair of Makara (mythical composite animal, sea crocodile) adorns Vishnu’s animated countenance. Almond eyes, arched eyebrows, sharp nose, and inwardly smiling lips of this enormous granite Sri Vishnu are proof enough for the mastery of the Shilpi who successfully brought the delicate divine loveliness of the dark-skinned Lord into hard granite stone. Ornate jewelry is offered to the heavenly limbs of Bhagwan Vishnu using a chip carving technique that creates shallow carvings on the granite surface.
A triangle on the chest of the reclining Vishnu enshrines the image of his beloved Devi Lakshmi. This is a splendid example of “Srivatsa”, the aniconic presence of Maa Lakshmi on the chest of Vishnu, which is often marked by a simple triangle. The Kirtimukha or face of glory, a motif used in Hindu iconography to highlight the regal aura of a god or goddess is added as a waist-belt clasp to this granite Sri Vishnu icon. A bolster on the bed of Shesha’s coils supports the head of Vishnu Bhagwan, who places his right hand in the gesture of disseminating boons on it.
The lotus feet of the Lord are on a delicately carved lotus flower which signifies the origin of the universe. Hard granite stone is one of the toughest naturally occurring materials on earth. The process of finding a granite monolith, figuring out the proportion, cutting the stone, and adding the finer details must have been a tedious process for the Shilpi of this Sheshashayi Vishnu granite icon.
Nonetheless, witnessing this marvel in stone, one does not mind the rigidity of granite but rather relishes in the achievement of the master artist for breathing life into it, performing a momentous Praana-Pratishtha (final ritual in sculpting an icon, where the Shilpi prays to the Lord to grace the icon with his presence).
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