73.2.

In the Raja-rani temple at Bhubaneswar, Varuna two armed is

standing near Makara. He holds a noose in his left hand. And his right
hand shows gesture of removing fear (abhaya)a noose (pasa) by its end in
the left. Makara is depicted next to him. This sculpture is remarkable for its
relaxed demeanour, pleasant facial expression and rich ornamentation.
73.4. In the Kosalesvara temple (c. eighth century) at Patnagarh, Orissa, an
exquisitely carved image of a youthful Varuna sitting in a relaxed pose
(lalithasana) is on the temple wall on the west. He is richly ornamented with
a beautiful crown bearing a kirtimukha logo at its centre, a semi
oval Prabhavali (orb ) placed behind his head, rows of necklaces (Hara,
Keyura, Kankana, Katisutra) and an yajnopavitha across his chest.

73.5. Varuna is often depicted along with a waterfowl as in the following.

73.6. A seated figure of Varuna is carved on the walls of the
Parasuramesvara temple, Orissa, (c.10tcentury). Varuna is on the lower
left.

73.7. The tenth-eleventh century temple of Banteay Srei, Cambodia,

displays rich and varied depictions of Varuna as riding a swan or a Makara;
and surrounded by host of followers.

W. Makara
74.1. Makara is often translated as crocodile. In the context of Indian
iconography that may not be quite correct. Makara as referred to here is
truly a mythical creature that combines in itself the features of several sea
and land animals. Makara has no well defined form or structure. Its
appearance varies depending on the features of the animals that combine
into its form. Perhaps because of its indefinite form, Makara is termed a
monster in the sense that it is neither this nor that. It is a mythical beast of
both land and sea with fanciful features. Almost any weird combination of
animals could be a Makara. But the two common features of all Makara
forms are: a long and a probing snout; and the other, an elaborate and
spread out tail.
75.1. In the Indian Iconography , Makara is a composite figure, generally,
with a trunk as that of an elephant, ears like that of a cow, eyes as those of
a fish, body as that of a boar, and the tail elaborate and bushy like that of a
peacock ; and its legs resemble that of a lion . It could even be presented
as fantastic marine monster structured with the body and tail of a fish and
the forelegs, neck, and head of an antelope, an alligator, or a shark; or
whatever.
75.2. It is also called kantaka, Asita-dramstra (black teeth) and jala-
rupa (water form). Makara may be shown either as carrying a rider on its
back (vahaka yuktam) or it may not (svatantram). It may even be shown as
if it is ready to pounce and attack (yuddha sannaddham) or just being
playful (kridabhi-ramakam).

75.3. A feature of Indian temple architecture is Makara Torana the

ornamental arch way to the temple entrance; it also adores the doorway
to the sanctum. Makara toranas are very varied with endless permutations
of elaborate patterns and designs. But, invariably the toranas are artfully
designed to suggest as if the doorway is held afloat, at either end, by the
extended snouts of two Makars with frothy or bushy peacock tails. Even
the Buddhist monuments including the gateway to the ancient Sanchi
stupa are decorated by Makara toranas.