During the Vedic times when Indra was the God of heaven, Varuna, the
Vedic water god became the God of the seas and rode on makara, which
was called “the water monster vehicle”.
Makara has been depicted
typically as half animal 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 (abstract form) with head and jaws
of a crocodile, an elephant trunk with scales of fish and a peacock
tail. Makara is the mount of Varuna, the god of winds in Hindu
mythology and also of the deity of the Ganga River. 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
chaotic state, which eventually is restored to a state of regular
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 rasi in
Sanskrit, which is equivalent to the zodiacal sign of Capricorn
(goat symbol).
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 feathered
fishtail it now emerges as a complex spiraling pattern known as
makara-tail design (Sanskrit makaraketu)".
In Tibetan iconography, it is depicted in the Vajrayana
weaponry of strength and tenacity which is the hall mark of
crocodiles, since crocodiles hold on its hapless victim is nothing
but death. The Vajrayan weapons which have crocodile
symbolism are; axe, iron hook, curved knife, vajra, ritual dragon in
all of which the theme is "emergence from the open mouth of 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 nagas (snake gods) along
with a crown of Garuda, which is called the kirthimukha 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."
15 cm from the tip of my tongue to the top of my horn, and 15 cm
from the top of my trunk to the bottom of my beard. Mouth opens 4
cm. Long family history. References: Varuna, Vaisravana, Vairocana.
In Hindu iconography, Makara is represented as the vahana
(‘vehicle’) of Ganga, the river goddess. A row of makara may run
along the wall of a Hindu temple, or form the hand rail of a
staircase.
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
(the ‘Face of Glory'), 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 (Toranas) of several Buddhist monuments, including the
stupa of Sanchi, a world heritage site. It is found guarding the
entrances to royal thrones.
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 manyof the buildings'
corners
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