Lakulisa Iconography in Arittapatti Cave: A Pandya Rock-Cut Sculpture Study
By N. Usha Devi
Summary
The article examines the iconography of Lakuliṣā, a significant figure in the Pāśupatā sect of Śaivism, through a bas-relief sculpture in the Arittapatti cave temple, Tamilnadu. Lakuliṣā, considered the twenty-eighth incarnation of Śiva, is depicted seated in *sukāsanā* pose, holding a *daṇḍa* (club) entwined with a serpent in his left hand, while his right hand rests on his thigh. The sculpture, dating to the seventh-eighth century CE, exemplifies Pandya rock-cut architecture and features elaborate ornaments like *kuṇṭalā* (earrings), *Kaṇṭika* (necklace), and *Yajñōpuriṭā* (sacred thread). Unlike other representations, this image emphasizes a royal presence rather than a yogic one, with detailed drapery and a *jaṭāmakuṭa* (crown). The study compares this iconography with other Lakuliṣā depictions across cave temples, such as Mandapeshwar, Jogeshwari, Badami, Ellora, and Elephanta. Earlier representations (5th-6th century CE) often show Lakuliṣā in *padmāsana* on a lotus, holding a *lakuṭa* and *akṣamālā* (rosary), with less emphasis on royal attributes. The Arittapatti sculpture’s unique features include its *sukāsanā* posture, absence of *ūrdhvameḍra* (protruding third eye), and the *daṇḍa*’s symbolic association with knowledge (*jñānaśakti*). The article also references Puranic accounts, which describe Lakuliṣā as a reviver of Pāśupatā yoga, teaching techniques to
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Conclusion
The study of the Lakuliṣā bas-relief sculpture in Arittapatti cave provides significant insights into the iconography and regional variations of the Pāśupatā sect within Tamilnadu. The Arittapatti image, dating to the 7th-8th century CE, exemplifies Pandya rock-cut art and contrasts with earlier depictions, such as those at Mandapeshwar and Jogeshwari, by emphasizing a royal presence over a yogic one. The sculpture’s unique features—including the *danḍa* entwined with a serpent, elaborate ornaments, and the absence of a prominent lotus stalk—highlight regional artistic preferences and the sect’s evolving symbolism. This analysis underscores the importance of contextualizing iconography within specific historical and geographical frameworks, revealing how the Lakuliṣā tradition adapted to local cultural and artistic traditions while retaining core theological motifs. The findings also contribute to broader discussions on the dissemination of