Makara is a sea-creature in Hindu mythology. It is generally depicted as
half terrestrial animal in the frontal part and half aquatic animal in the hind
part Makara take many different forms throughout Asia. In Hindu astrology,
Makara is equivalent to the sign of Capricorn, tenth of the twelve symbols
of the Zodiac. Makara appears as the vahana of the
river goddess Ganga and of the sea god Varuna. Makara are considered guardians
of gateways and thresholds, protecting throne rooms as well as entryways to
temples; it is the most commonly recurring creature in Hindu and Buddhist
temple iconography, and also frequently appears as a Gargoyle or as a spout
attached to a natural spring. Makara ornaments are a popular traditional
wedding gift for the bride; these makara-shaped earrings called
Makarakundalas are sometimes worn by the Hindu Preserver-god Vishnu, the Sun god
Surya, and the Mother Goddess Chandi. Makara is also the insignia of the love
god Kamadeva, who has no dedicated temples and is also known as
Makaradhvaja, "one whose flag depicts a makara".
Etymology 'Makara' is a Sanskrit word which means
"sea dragon" or "water-monster". In Tibetan it is called the "chu-srin", and
also denotes a hybrid creature. It is the origin of the word for crocodile
'mugger' in Hindi. The English word 'mugger' evolved meaning one who sneaks
up and attacks another. The name is applied to the Mugger crocodile, the
most common crocodile in India, and is descriptive of its aggressive feeding
behavior. Josef Friedrich Kohl of Würzburg
University and several German scientists claimed that makara is based on dugong
instead, based on his reading of Jain text of Sūryaprajñapti. The South Asian
river dolphin may also have contributed to the image of the makara.
Vedic depictions During the Vedic times when Indra was
the God of heaven, Varuna became the God of the seas and rode on makara, which
was called "the water monster vehicle". Makara has been depicted typically as
half mammal and half fish . In many temples, the depiction is in
the form of half fish or seal with head of an elephant. It is also shown in an
anthropomorphic with head and jaws of a crocodile, an elephant trunk with scales
of fish and a peacock tail. Lakshmi sitting on a lotus is also a depiction
in which she pulls the tongue of the elephant shaped makara is meant to
project Lakshmi's image as the goddess of prosperity, wealth and well being. It
represents a necessary state of chaos before the emergence of a new state of
order. Makara is also the emblem of Kamadeva,
the vedic god of love and desire. It is also known as 'Makara-Ketu' which means
"long tailed makara." It is the tenth sign of the Zodiac, called rāśi in
Sanskrit, which is equivalent to the zodiacal sign of Capricorn.
Iconography In Hindu iconography, Makara is
represented as the vahana of Ganga, the river goddess. A row of makara may run
along the wall of a Hindu temple, act as the hand rail of a staircase, or form an
arch above a doorway. The leading Hindu temple architect and
builder Ganapati Sthapati describes Makara as a mythical animal with the
body of a fish, trunk of an elephant, feet of a lion, eyes of a monkey, ears
of a pig, and the tail of a peacock. A more succinct explanation is provided:
"An ancient mythological symbol, the hybrid creature is formed from a number
of animals such that collectively possess the nature of a crocodile. It
has the lower jaw of a crocodile, the snout or trunk of an elephant, the tusks
and ears of a wild boar, the darting eyes of a monkey, the scales and the
flexible body of a fish, and the swirling tailing feathers of a peacock."
Traditionally, a makara is considered to be an aquatic mythical creature. Makara
has been depicted typically as half mammal and half fish. Some traditional
accounts identify it with a crocodile, specifically Gharial because of its long
extended snout. It is depicted with the forequarters of an elephant and the
hindquarters as a fish tail. Crocodile was also a form which was used in the
earlier days which was shown with human body.
In many temples, the depiction is in the form of half fish or seal with head of
an elephant. It is also shown with head and jaws resembling a crocodile, an
elephant trunk with scales of fish and a peacock tail. Other accounts identify it
with Gangetic Dolphin having striking resemblances with the latter, now found
mainly in Vikramshila Gangetic Dolphin Sanctuary. Others portray it as a fish
body with an elephant's head. The tradition identifies the makara with
water, the source of all existence and fertility.
In the medieval era of South India, Makara was shown as a fifth stage of
development, symbolized in the form of an elephant head and body with an
elaborately foliated fish tail. Most myths maintain this symbolism of this
stage in the evolution of life. In a Hindu temple, the Makara often
serves as the structural bookends of a thoranam or archway around a deity. The
arch emerges up from the jaws of one Makara, rises to its peak, the
Kirtimukha, and descends into the gaping jaws of another Makara. Varuna is also
depicted as a white man sitting on the monster makara. As a marine monster, it
is also shown with the head and legs of an antelope, and the body and tail of a
fish. A makara made in iron shows the monster in the form of half stag and
half fish. These elements are variously joined to form one of the most common
recurring themes in Indian temple iconography. In Indian art, the makara
finds expression in the form of many motifs, and has been portrayed in
different styles. Makara figures are placed on the entry points of several
Buddhist monuments, including the stupa of Sanchi, a world heritage site. It is
found guarding the entrances to royal thrones.
In the Tibetan Buddhist format it evolved from the Indian form of makara.
However, it is different in some ways such as, "display of lions fore paws, a
horse's mane, the gills and tendrils of a fish, and the horns of a deer or
dragon. From its once simple fishtail, sometimes feathered, now emerges as a
complex spiraling floral pattern known as makara-tail design".
In Tibetan iconography, it is depicted in the Vajrayana as a weapon of strength
and tenacity. The Vajrayan weapons which have makara symbolism are; axe, iron
hook, curved knife, vajra, and ritual dragon, in all of which the theme is
"emergence of the blade from the open mouth of the makara".
Its symbolic representation in the form of a makara head at the corner of temple
roofs is as water element which also functions as a "rainwater spout or
gargoyle". It is also seen as water spouts at the source of a spring. The
artistic carving in stone is in the form of identical pair of makaras flanked by
two Nāgas along with a crown of Garuda, which is called the kirtimukha face.
Such depictions are also seen at the entrance of wooden doorways as the top
arch and also as a torana behind Buddha's images.
The Newa art of Nepal uses this depiction extensively. In Newar
architecture, its depiction is; "as guardian of gateways, the makara image
appears on the curved prongs of the vast crossed-vajra that encompasses the four
gateways of the two-dimensional mandala. Of the three dimensional-mandala this
crossed-vajra supports the whole structure of the mandala palace
symbolizing the immovable stability of the vajra-ground on which it stands."
The temples of ancient Java is notable with the application of kala-makara as
both decorative and symbolic elements of temple architecture. Kala is the giant
head, often took place on the top of the entrance with makaras projected on
either sides of kala's head flanking the portal or projecting on top corner as
antefixes. Kala-makara theme also can be found on stairs railings on either
sides. On upper part of stairs, the mouth of kala's head projecting makara
downward. The intricate stone carving of twin makaras flanking the lower level of
stairs with its bodies forming the stair's railings. These types of stairs
decorations can be observed in Borobudur and Prambanan temples. Makara's trunks
are often describes as handling gold ornaments or spouting jewels, while in
its mouth often projected Gana dwarf figures or animals such as lions or
parrots. Makaras are also a characteristic motif
of the religious Khmer architecture of the Angkor region of Cambodia which was
the capital of the Khmer Empire. Makaras are usually part of the decorative
carving on a lintel, tympanum, or wall. Makaras are usually depicted with
another symbolic animal, such as a lion, naga or serpent, emerging from its
gaping open mouth. Makara are a central design motif in the beautiful lintels of
the Roluos group of temples: Preah Ko, Bakong, and Lolei. At Banteay Srei,
carvings of makaras disgorging other monsters were installed on many of the
buildings' corners. Ornaments
Lord Vishnu's earrings are shown in the form of Makara. Its contemporary usage
is as ornaments in the form of bracelets in hollow silver ware inlaid with jewels
for eyes and ears, which is given as a wedding gift to the bride. Makaras' jaws
are made of pearls which are stated to possess aphrodisiac properties
Distribution Stone sculptures of the mythological
Makara and its ancient place in the iconography of Hinduism and Buddhism are
widely spread throughout South Asia and Southeast Asia. Examples from ten
countries are shown below: Makara sculptures throughout South Asia
and Southeast Asia Cryptozoology
Some cryptozoologists suspect the legend of the Makara may be based in fact, and
associate it with the Trunko sighting on South Africa's Indian coast. Some
ancient sketches of Makara do tend to resemble modern illustrated renditions
of the prehistoric mammal Ambulocetus. A more reasonable identification of the
creature is that with the South Asian river dolphin; an animal, which, though
now endangered, was once abundantly found in the Ganges-Brahmaputra river
system and with which the Makara shares several visible similarities.
Makara 'Makara' is the Sinhala term for dragon,
an important figure in Sinhala Buddhist culture in Sri Lanka. It is depicted on
toranas in temple architecture and objects of prestige such as in kastanes.
History Since ancient time, easterners believe
thet Makara is one of watery creatures and even from the pre-era of the field
of Buddhist art, Makara has been depicted both in work of literature and
stone carvings. Makara gained a distinctive position in the Sinhala
Buddhist culture - a special place not given in Buddhist artwork in other
countries. In Sinhalese ancient artwork Makara has
been an invented creature; it is made up of body parts of six or seven animals
such as the trunk of the elephant, jaws of the crocodile, ears of the mouse or
ape, extruding teeth of wild swine, the tail plume of the peacock and feet of
the lion. Artistic Work
It is obvious that the Sinhala artists attributed a special symbolic meaning to
Makara by adding the picture of Makara around the said stone carving. In
addition to that, the Sinhala artists have given more opportunities for Makara
to enter into the art world. = Dragon balustrade =
The dragon balustrade is another kind of stone carvings which portray the Makara.
These artworks used to decorate the entrance of Buddhist stupas, temples and
Bo trees. There are two balustrades at main entrance of Lankathilaka Viharaya
in Kandy and they are sometimes called Gajasinha balustrades because of the
shape of the Makara there. = Guard stone =
The guard-stone has given a highest place to Makara. Over the head of the
gatekeeper carved in there, the figures of Makara can be seen.
= Pandol = Sinhala-buddhist artists considered
Makara as the symbol of posperity and self-sufficiency so they were not
hesitant in portraying the sign of Makara in the entrance arch gateway to
the religious places, such as temple, stupa or bodi. Precious examples for the
above are Temple of the Tooth and Lankatilaka Temple in Kandy. Examples
for the arched gateway with Makara over the image of Lord Buddha can be seen in
Ridi Viharaya. and Dambulla cave temple. A figure of Makara has been carved to
the handle of a temple key of Gadaladeniya Temple built in 1344 in
Diggala in Kandy District. Flags
Since at least the 14th century, people of the Karava cast in Sri Lanka use a
flag with the symbol of Makara which is called Makara flag in their ceremonies
along with their ancient clan names like Varuna and titles such as Aditya.
Literature There are two modern literature works
with the title of Makara in Sri Lanka. The collection of short stories titled
Makara in Sinhala language is authored by Gunarathna Wikramage and published by
the prominent book publisher in the country, Godage International Publishers
and the book won the Godage Literal Award for best short stories collection
in 2007. The other is a short story titled Makara
written by Sri Lankan writer Anandasiri Kalapugama.
References Dictionary of Hindu Lore and Legend by
Anna Dallapiccola The Illustrated Book of Signs and
Symbols by Miranda Bruce-Mitford External links
Bibliography Perera, ADTA. "Makara - crafted with
mattock". Religious News 5: p. 6–7. CS1 maint: Extra text
Schokman, Derrick. "The Kusta Raja Gala". Daily News. Retrieved 18 March
2012.