An intriguing aspect of Hindu and Buddhist art is the existence of both one God and thousands of gods. Even the cosmic gods like Shiva have numerous manifestations, or like Vishnu, numerous avataras. There is an often confusing number of different deities, yet all may be thought of simply as aspects of a single divine reality. The Cambodian figure of the Bodhisattva Lokeshvara (Fig. 20) has his body covered with hundreds of images of seated and meditating Buddhas. The Bodhisattva is literally radiating the Buddha in all directions, an indication of the Bodhisattva's and Buddha's cosmic presence. The single Bodhisattva contains an infinite number of Buddhas.

Likewise, the Hindu god Shiva, can be seen as a simple undifferentiated form, the linga, which is often nothing but a rounded stone. Yet inherent in the form is the infinite number of manifestations Shiva can take, suggesting the lingua's nature as a procreative organ. The ninth-century linga from Eastern India (Fig. 21) clearly symbolizes the phallus. Yet from this formless object, Shiva can manifest himself in his human form, usually, as seen here, with four faces. Shiva is represented by four of his faces, each slightly different from the other. The four faces look in the cardinal directions, symbolizing, just like the radiating Buddha images on the Cambodian Bodhisattva (Fig. 20), the deity's presence throughout all of space. In addition, one face represents Shiva's female nature and thus creative fertility, and another represents Shiva's destructive power. Again: male and female, creation and destruction, opposites whose boundaries are transformed in the imagery of the Hindu god.

Fig. 20

(Fig. 20) This bodhisattva was made during the reign of Jayavarman VII, who made a radical change in the state supported religion of Cambodia, changing it from Hinduism to Buddhism. One of the most important Buddhist deities he sponsored was the Bodhisattva Lokeshvara.  This particular type, with tiny Buddha images depicted on the body of the Bodhisattva, was of the greatest importance.  Jayavarman had such images made throughout his kingdom, which extended on the east to the coast of present day Vietnam and to the far western border of Thailand, an area comprising almost all of mainland Southeast Asia. The notion of "radiating" included the literal radiation of the gods in the form of images to the furthest reaches of his vast kingdom, from his capital at the Bayon at the center. This illustrates the one and the many in geographical, as well as religious terms.

Radiating Lokeshvara, buff sandstone

13th century, 29 x 15 x 5 1/2 inches    Cambodia (Angkor, style of Bayon)

(Fig. 21) The Hindu god Shiva has many forms. The most sacred, that which is housed in the sanctum of all Shaivite temples, is the linga. The linga, meaning "a sign," can mean the sign of Shiva, as well as the sign of a man, his sexual organ. The linga is intended to portray both Shiva's most abstract essence, as well as to indicate the god's tremendous power and creative potential. Occasionally, as in this example, abstract and literal metaphors are combined with Shiva's face (or faces) materializing from the non-objective base of the linga. One, four, or five faces can appear. There is a rich symbolism that is further indicated by these faces, including one of radiation in all directions similar to that of the Buddhist Lokeshvara (Fig. 20).  The linga in its simple geometric form is intended to most appropriately represent Shiva, yet he can make an infinite number of other forms collapsing in and out of the one and the many.

Fig. 21

Linga with four faces (Chaturmkha linga)

basalt, 9th century                                          22 1/2 x 6 1/2 x 6 1/2 inches                           Eastern India (Bihar)     

Fig. 22

(Fig. 22) This is another image of the Hindu god Vishnu, standing here in his regal posture. The elaborate iconography is typical of the Pala period, and a stele like this can contain a rich variety of meanings. Vishnu holds the wheel in his upper left hand and the mace in his upper right hand. His lower right hand is in the gesture of giving and is marked by a lotus; the lower left, now broken, probably held a conch. On either side are his consorts, Sri (Goddess of Fortune) and Sarasvati (Goddess of Knowledge). Roundels, formed by intertwined lotus stalks, contain the ten avataras of Vishnu, such as the form of a tortoise, a boar, a lion, or as Rama, Parasurama, Vamana, Balarama and Kalki. Vishnu manifests himself as these avataras during different world periods, yet he is the eternal one at the center.

Standing Vishnu, black basalt, 10th century,

44 x 19 1/2 x 8 inches, Eastern India (Pala Period)
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