{"id":2231,"date":"2026-07-13T13:28:22","date_gmt":"2026-07-13T13:28:22","guid":{"rendered":"https:\/\/dicsep.org\/?page_id=2231"},"modified":"2026-07-13T13:28:22","modified_gmt":"2026-07-13T13:28:22","slug":"mai-oki","status":"publish","type":"page","link":"https:\/\/dicsep.org\/?page_id=2231","title":{"rendered":"Mai Oki"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">MAI OKI<br>Kyoto University\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 oki.mai.5e@kyoto-u.ac.jp<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">THE DESCRIPTIONS OF VI\u015aVAR\u016aPA VI\u1e62\u1e46U IN PUR\u0100\u1e46AS, \u015aILPA\u015a\u0100STRAS, AND P\u0100\u00d1CAR\u0100TRA TEXTS <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Within Indian religious art, we find composite images of the well-known Hindu deity Vi\u1e63\u1e47u, which are conventionally interpreted as Vi\u015bvar\u016bpa Vi\u1e63\u1e47u (Vi\u1e63\u1e47u the omniform). Such multi-faced and multi-armed figures have been produced in Hindu art since ancient times. Most examples feature the following iconographic motif: a statue of Vi\u1e63\u1e47u is at the center, with multiple animal heads and minor figures surrounding him. This paper provides a thorough analysis of the textual sources of the iconographic descriptions of Vi\u015bvar\u016bpa Vi\u1e63\u1e47u. Specifically, the focus of this study is the following texts: the <em>Vi\u1e63\u1e47udharmottarapur\u0101\u1e47a<\/em> (c. 7\u20138th century) and the <em>Agnipur\u0101\u1e47a<\/em> from Pur\u0101\u1e47ic scriptures; the <em>Apar\u0101jitapr\u0325cch\u0101<\/em> (c. 12th century), the <em>Devat\u0101m\u016brtiprakara\u1e47am<\/em> and the <em>R\u016bpama\u1e47\u1e0dana<\/em> (c. 15th century) from iconographic manuals composed after the medieval period; and the <em>S\u0101tvatasa\u1e43hit\u0101<\/em> and the <em>Haya\u015b\u012br\u1e63apa\u00f1car\u0101tra<\/em> (c. 8\u20139th century) from the P\u0101\u00f1car\u0101tra texts. By comparing the descriptions, the author examines the reciprocal relationship between text and image in shaping the form of Vi\u015bvar\u016bpa Vi\u1e63\u1e47u. The conceptual and theological source for the iconography is presumed to be linked to the omniform (<em>vi\u015bvar\u016bpa-<\/em>)manifestation of Kr\u0325\u1e63\u1e47a (Vi\u1e63\u1e47u) in Chapter 11 of the <em>Bhagavadg\u012bt\u0101<\/em>, included in Book 6 of the <em>Mah\u0101bh\u0101rata<\/em>, the Bh\u012b\u1e63maparvan. The <em>Vi\u1e63\u1e47upur\u0101\u1e47a<\/em> (c. 5\u20136th century) seems to inherit this trend.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>MAI OKIKyoto University\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 oki.mai.5e@kyoto-u.ac.jp THE DESCRIPTIONS OF VI\u015aVAR\u016aPA VI\u1e62\u1e46U IN PUR\u0100\u1e46AS, \u015aILPA\u015a\u0100STRAS, AND P\u0100\u00d1CAR\u0100TRA TEXTS Within Indian religious art, we find composite images of the well-known Hindu deity Vi\u1e63\u1e47u, which are conventionally interpreted as Vi\u015bvar\u016bpa Vi\u1e63\u1e47u (Vi\u1e63\u1e47u the omniform). Such multi-faced and multi-armed figures have been produced in Hindu art since ancient times. Most examples [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2231","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/dicsep.org\/index.php?rest_route=\/wp\/v2\/pages\/2231","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dicsep.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dicsep.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dicsep.org\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/dicsep.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2231"}],"version-history":[{"count":1,"href":"https:\/\/dicsep.org\/index.php?rest_route=\/wp\/v2\/pages\/2231\/revisions"}],"predecessor-version":[{"id":2233,"href":"https:\/\/dicsep.org\/index.php?rest_route=\/wp\/v2\/pages\/2231\/revisions\/2233"}],"wp:attachment":[{"href":"https:\/\/dicsep.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2231"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}