Two Unique Images Of Brahmshanti-Yaksha
By P. C. Parikh
Summary
The Museum of B.J. Institute of Learning & Research, Ahmedabad, houses two unique sand-stone images of Brahmashanti-Yaksha. Figure No. 1 (Acc. No. 15708), dating to the 12th century CE, measures 72x42 cm and depicts a seated deity in *lalitasana* with intricate iconography: a *jatamukuta* with *cidamani*, *kupdala* armlets, *kankana*, *pralamba-hara*, *skandha-bandha*, and *pada-valaya*. The Yaksha holds a *chhatra* and *varada* in his right hands, a *pustaka* and *kundika* in his left, and displays *tiryak drgti* (slanting sight) with seven fingers on the *varada* hand. A *frivatsa lanchana* adorns his chest. Figure No. 2 (Acc. No. 15727), likely from the late 10th or early 11th century CE, measures 61x79 cm and shows a seated Brahmashanti-Yaksha in *lalitasana* with two female attendants. The central figure, highly eroded, wears a *jatamukuta*, *kundala*, *ekavali*, and other ornaments, holding a *sruka* and *abhkaya* (partly broken). The attendants, dressed in 10th-11th century CE sarees, flank him, one with a damaged face and the other beautifully preserved. The Yaksha’s *kutila
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Conclusion
These two unique sand-stone images of Brahmashanti-Yaksha from the B.J. Institute of Learning & Research, Ahmedabad, offer significant insights into the syncretic iconography and cultic adaptations of this deity. The first image (12th century CE) depicts a serene, independent worship form with distinctive attributes like *tiryak drgti* (slanting sight), *saptapadi* hand, and *frivatsa* ornamentation, reflecting Brahmanical influences. The second image (late 10th–early 11th century CE), likely part of a temple wall-moulding, shows a more ferocious form with *kutila mudri*, aligning with Jain textual descriptions. The absence of a traditional mount and variations in iconographic details (e.g., *kundika* vs. *aksha-sitra*) highlight regional artistic interpretations. Both sculptures underscore the assimilation of Brahmashanti-Yaksha into local worship traditions, bridging Hindu and Jain contexts, and demonstrate the evolution of Yaksha