by Wikipedia
Accessed: 6/29/21
The numerous Puranas and Itihasas, or poems mythological and heroic, are completely in our powers and from them we may recover some disfigured but valuable pictures of ancient manners and governments; while the popular tales of the Hindus, in prose and in verse, contain fragments of history; and even in their dramas we may find as many real characters and events as a future age might find in our own plays, if all histories of England were, like those of India, to be irrecoverably lost. For example: A most beautiful poem by Somadeva, comprising a very long chain of instinctive and agreeable stories, begins with the famed revolution at Pataliputra, by the murder of king Nanda with his eight sons, and the usurpation of Chandragupta; and the same revolution is the subject of a tragedy in Sanscrit, entitled, the Coronation of Chandra, the abbreviated name of that able and adventurous usurper. From these once concealed, but now accessible, compositions, we are enabled to exhibit a more accurate sketch of old Indian history than the world has yet seen, especially with the aid of well attested observations on the places of the colures.
-- Discourse X. Delivered February 28, 1793, P. 192, Excerpt from "Discourses Delivered Before the Asiatic Society: And Miscellaneous Papers, on The Religion, Poetry, Literature, Etc. of the Nations of India", by Sir William Jones
"Vijaka wrote Kaumudi Mahotsava to commemorate the coronation of Chandra Gupta I. The play has some historical value." (Winternitz)
-- Indian Civilization & Culture, by Suhas Chatterjee
Chandragupta I (r. c. 319-335 or 319-350 CE) was a king of the Gupta dynasty, who ruled in northern India. His title Maharajadhiraja ("great king of kings") suggests that he was the first emperor of the dynasty. It is not certain how he turned his small ancestral kingdom into an empire, although a widely accepted theory among modern historians is that his marriage to the Lichchhavi princess Kumaradevi helped him extend his political power. Their son Samudragupta further expanded the Gupta empire.
-- Chandragupta I, by Wikipedia
Now, the problem is— how and when Subhadra came to be identified with Ekanamsa-Durga? In his attempt to solve this problem Mr. J. C. Ghose (JRASB., Letters , vol. 2 1936, page 41 ff.) suggested it long ago that the Yadavas seeing the daughter of Yasoda so much instrumental in saving the lives of their favourites, Krsna and Baladeva, took her as their household deity — Ekanamsa. It may be pointed out here that ‘Kaumudimahotsava’ also refers to Ekananga5 [5 Cf. also the Mahabharata , II. 39. 136.] (misread for Ekanamsa?) as the tribal deity of the Yadavas. The work further attempts to show the goddess in her dual capacity, viz. as Vindhyavasini-Durga and as the tribal deity of the Yadavas (cf. Lokdksih-Bhagavatyaiva Vindhyacalavasini). Lokaraksitah-Kuladaivatam hi Yadunam Ekananga ǀ- p. 38 of Kaumudi-mahotsava (quoted by Mr. Amalananda Ghosh in p. 212 of vol. 4 of the Indian Culture).
So, we see that the attempt to identify Ekanamsa with the tribal deity of the Yadavas, first made in the Harivathsa, is complete by the time of the composition of the Kaumudi Mahotsava, a work of circa 7th or 8th century A.D. (see Sakuntala Rao Shastri’s edn. of Kaumudi-mahotsava by Vijaka).
-- The Indian Historical Quarterly, Vol. 35, no.1-4, Mar-Dec, 1959
According to Puranic evidence, there had expired 1500 odd years after Parikshit, when Mahapadmananda was coronated.
Between Parikshit and the Nandas, there were 3 royal dynasties, namely the Brihadratha, Pradyota and Sisunaga families. The ten kings of the Sisunaga dynasty ruled for 360 years, beginning from 1994 BC and ending with 1634 BC At this time, an illegitimate son, Mahapadma-Nanda, of the last Sisunaga emperor, Mahanandi, ascended the throne of Magadha. The total regnal period of this Nanda dynasty was 100 years. After this with the assistance of Arya Chanakya, Chandragupta Maurya ascended the throne of Magadha, in the year 1534 BC.
The Mauryas ruled for a total of 316 years, and were replaced by the Sungas. The Kanvas, who succeeded the Sungas, were themselves overthrown by one of the Andhra chiefs, which dynasty reigned for a period of 506 years. Then followed the reign of the Sri Guptas for a period of 245 years, a period also referred to as the (last of the) golden ages of Bharata. It was Samudragupta of the Sri Gupta dynasty, who was known as Asokaditya Priyadarshin. The inscriptions of Asoka belong to this Gupta emperor and not to the Asoka Maurya who came to power 218 years after the Buddha....
In the Puranic and other ancient texts, there is no allusion to any invasion or inroad into India by foreign people up to the time of Andhra kings. The only person who bore a name similar to “Sandracottus” mentioned by the Greeks, who flourished at the time of Alexander, was Chandragupta of the Gupta dynasty, who established a mighty empire on the ruins of the already decayed Andhra dynasty. His date from puranic records is 2811 years after the Mahabharata War, which corresponds to 328 B.C. His current place on the historical dateline is 4th Century AD, which is an obvious error.
It is also interesting to note that the accounts in the life of Sandracottus of the Greeks, the political and social conditions in India at that time, match with those of Chandragupta Gupta era. Therefore, the Greek and Puranic accounts agree only with the identity of Chandragupta Gupta and Sandracottus.
-- Historical Dates From Puranic Sources, by Prof. Narayan Rao
Kaumudi-Mahotsava (IAST: Kaumudīmahotsava, "Festival of Moonlight") is a Sanskrit play of uncertain date. It is known from a single manuscript discovered in the present-day Kerala state of India. Its style and language suggest that it was composed around the 3rd century. The portion supposedly containing the name of the playwright is damaged, but the name appears to be a feminine one (read by some scholars as "Vijjakaya"), although this cannot be said with certainty. Several scholars have made attempts to identify the play's characters with historical personalities, but most modern scholars believe it to be a work of fiction.
The play narrates the story of prince Kalyanavarman of Magadha, whose adopted brother Chandasena forms an alliance with the rival Lichchhavis, and treacherously attacks Magadha. Kalyanavarman's father Sundaravarman dies in the attack, and his mother Madiravati commits suicide by self-immolation. The orphaned young prince is taken to safety by his nurse Vinayandhara and other loyalists, and spends several years in exile in the Vindhya forest. When he grows up, his loyal minister Mantragupta instigates the Shabhara and the Pulinda tribes to rebel against Chandasena, and while Chandasena is busy curbing the revolt, stages a coup in the capital Pataliputra. Chandasena is killed, and Kalyanavarman becomes the new king. He marries the Shurasena princess Kirtimati, whom he had met during his exile.
Authorship and date
Kaumudi-Mahotsava was discovered from a single manuscript from Kerala. The manuscript was partially damaged by worms, and had a hole at the place that appears to state the beginning of the author's name in the prologue. The visible part of the author's name can be read as ("-kayā"); the ending syllable suggests that this is a feminine name. Scholar Manavalli Ramakrishna Kavi (1866-1957) saw the remains of what he believed to be "ja", and read the name as "jakayā", although Indologist A. K. Warder finds this reading doubtful.[1]
Based on Kavi's reading and the space occupied by the hole, some scholars have theorized that the author was "Vijjakayā", identifying her with the poetess Vijja, who in turn, is sometimes identified with Vijaya, the daughter-in-law of the 7th century Chalukya king Pulakeshin II. However, Warder notes that the word could have been another name, such as "Morikayā". Alternatively, the broken word may not be a name at all: it is possible that the sentence containing it states that "the play was composed with a sub-plot patākayā".[1][2]
An analysis of the play's style and language indicates that it was definitely not authored by the poetess Vijja: the play resembles the works of earlier authors such as Bhasa (3rd or 4th century). It may have been composed somewhat later by an imitative writer, but it is highly unlikely to have been composed in as late as the 9th (or even the 6th) century.[3]
Plot
Act I
Kalyanavarman, the exiled prince of Magadha, is living in the hermitage of Jabali, near Lake Pampa in the Vindhyas. His loyal minister Mantragupta is living in disguise in Pataliputra, the capital of Magadha. Once, while sitting under an Ashoka tree near the temple of goddess Chandika, the prince recalls his childhood, and wonders if his memories are a dream or an illusion. Meanwhile, Kirtimati, the beautiful daughter of the Shurasena king Kirtisena, visits the temple. She rests under the same Ashoka tree, and is romantically attracted to Kalayanavarman.[4]
Yogasiddhi, a nun and the guide of Kirtimati, informs her that her residence in the hermitage is ready.[4] As the princess leaves, she glances at Kalyanavarman in a way that makes her passion for him evident. Meanwhile, Vaikhanasa, Kalyanavarman's jester (vidushaka) arrives, and informs him that Mantragupta's plan is going well. The prince describes princess Kirtimati to him, but the fool thinks of this encounter as the final disaster to strike the prince after the loss of the kingdom. Vaikhanasa sees what he thinks is a heap of rice, but turns out to be a broken pearl necklace dropped by the princess. At this time, the prince is called for his mid-day exercise.[5]
Act II
Princess Kirtimati becomes infatuated with Kalyanavarman, and unable to sleep, paints his portrait. The prince also becomes lovesick, and starts neglecting his meals.[5]
Yogasiddhi becomes concerned at the state of the princess. Meanwhile, she recalls her own past: she became a nun after her family suffered a disaster, and came to the Shurasena capital Mathura, where the Queen liked her and made her the caregiver of the princess. As Yogasiddhi thinks about her past, a hawk grabs the portrait of Kalyanavarman and drops it near her. Yogasiddhi recognizes Kalyanavarman, and recalls that she used to be his nurse when he was a young boy: she became a nun after his family lost the throne of Magadha. Yogasiddhi faints, and is revived by Kirtimati's confidante Nipunika. Yogasiddhi vows to unite the lovers, and writes a verse on the painting, declaring that Kirtimati is as worthy of Kalyanavarman, as Bandhumati of Shaunaka, and Kurangi of the Avimaraka (characters from well-known stories).[5]
Meanwhile, Vaikhanasa comes to the residence of the princess, and returns the pearl necklace to Nipunika. Yogasiddhi recognizes him and gives him the portrait of Kalyanavarman.[5]
Act III
The prince asks Vaikhanasa about Kirtimati's necklace. Vaikhanasa pretends to have lost it, and instead shows him the painting. The prince paints a portrait of Kirtimati beside his portrait, while Vaikhanasa tells him about Yogasiddhi, the writer of the verse, being his childhood nurse.[5]
Act IV
In Pataliputra, Mantragupta's agents prepare for a coup against the usurper Chandasena, who is busy dealing with a diversion organized at the frontier by Mantragupta.[5] (Mantragupta had instigated the Shabhara and the Pulinda tribes to rebel against Chandasena).[6]
Kalyanavarman's loyalists plan to appoint him as the new king. The son of the chaplain of Kalyanavarman's father narrates how Chandasena usurped the power:[7] An adopted son of Kalyanavarman's father Sundaravarman, he entered into a marriage alliance with Lichchhavis, the enemies of the Magadha dynasty.[8] He subsequently attacked Magadha: in the ensuing conflict, Sundaravarman and several of his ministers were killed. Queen Madiravati, the mother of Kalyanavarman, suicide by self-immolation. Chandasena conquered the capital, and became the new ruler of Magadha. The orphaned prince Kalyanavarman escaped the capital with his nurse Vinayandhara and other loyalists, including the sons of the ministers.[7]
Mantragupta describes the evening in Pataliputra, and at night, he receives the news that Kalayanavarman will arrive in the city in the morning. He sends the Chaplain's son to Mathura to arrange Kirtimati's marriage to the prince, as a surprise gift for the prince at his coronation. A voice then proclaims the arrival of the prince, and the coup starts at the daybreak.[7]
Act V
The audience learn that Kalyanavarman has conquered the kingdom, Chandasena has been killed, and the celebrations are being organized. A gambler returning from Mathura states that Kirtisena is sending Kirtimati to Pataliputra. Meanwhile, Kalyanavarman longs for Kirtimati, not realizing that she is already in Pataliputra, where Yogasiddhi has hidden in the grove of the Suganga palace.[7]
Kirtisena's chaplain enters the court, and announces that Kirtisena has offered to marry Kirtimati to Kalyanavarman. He presents the pearl necklace (mentioned in Act I) to Kalyanavarman, and narrates the story of its origin as follows: the necklace was made from the temples of an elephant killed by Arjuna during the Bharata battle. Arjuna appointed at Vrishni prince as the king of Shurasena, and gave the necklace to him. The necklace was inherited by the present-day royals of Mathura.[7] Kalyanavarman wears the necklace and visits the grove, where Nipunika brings Kirtimati to him.[9]
The drama is said to have been staged on the occasion of coronation of Kalyanavarman, on a full-moon day, resulting in the name of the play ("Full-Moon Festival").[3]
Historicity
Historian Edward Aloysius Pires connected the play's characters with the Maukhari rulers, whose names ended in -varman.[2] Pires identified Chandasena as the Gupta king Chandragupta I (who married a Lichchhavi princess). According to Pires, the play was commissioned by a Maukhari ruler named Kalyanavarman, on the occasion of his coronation in 326 CE. However, this identification is not corroborated by any concrete historical evidence. No Maukhari rulers (or any other rulers named Sundaravarman, Kalyanavarman and Chandasena) are known to have ruled Magadha during the 3rd or 4th centuries.[10]
Historian K. P. Jayaswal theorized that Sundaravarman's family was another dynasty that ruled Magadha before the Guptas. He identified Chandasena as Chandragupta I, and Kalyanavarman as a prince of the Kota family, which was subjugated by Chandragupta's son Samudragupta.[6] However, this identification is incorrect, as the play explicitly states that Chandasena was killed and his dynasty ended when the forces loyal to Kalyanavarman conquered the capital. Chandragupta lived to an old age, and passed on the throne to his son. Moreover, the play does not describe Sundaravarman or Kalyanavarman as members of the Kota family.[11] Jayaswal's theory has been rejected by most scholars.[12]
Numismatist P. L. Gupta identified Sundaravarman and Kalyanavarman as last two kings of the Satavahana dynasty. He interpreted "Karniputra", a word mentioned in the play, as "Satakarni-putra" (Satakarni was a title common to several Satavahana kings). However, "Karniputra" is actually a typo in the manuscript - the play mentions "Karni-patra" (the leaves of karnikara), which had been used to make the victory arches.[11] Moreover, no Satavahana king had a name ending in -varman, and no historical source describes the Satavahana dynasty as Magadha-kula (which, according to the play, was the name of Kalyanavarman's dynasty).[11]
Several other scholars have determined that Sundaravarman (or Sundaravarma) and Kalyanavarman (or Kalyanavarma) are not historical figures at all, and have categorized the drama as a work of fiction.[13][8][10]
References
1. A. K. Warder 1994, p. 427.
2. Hans Bakker 2014, p. 71.
3. A. K. Warder 1994, p. 428.
4. A. K. Warder 1994, p. 429.
5. A. K. Warder 1994, p. 430.
6. Ashvini Agrawal 1989, p. 74.
7. A. K. Warder 1994, p. 431.
8. Balkrishna Govind Gokhale 1962, p. 31.
9. A. K. Warder 1994, p. 432.
10. Hans Bakker 2014, p. 72.
11. Ashvini Agrawal 1989, p. 75.
12. Ramesh Chandra Majumdar 1986, p. 133.
13. Ashvini Agrawal 1989, pp. 74-76.
Bibliography
• A. K. Warder (1994). Indian Kavya Literature. 4: The ways of originality (Bana to Damodaragupta). Motilal Banarsidass. ISBN 978-81-208-0449-4.
• Ashvini Agrawal (1989). Rise and Fall of the Imperial Guptas. Motilal Banarsidass. ISBN 978-81-208-0592-7.
• Balkrishna Govind Gokhale (1962). Samudra Gupta: Life and Times. Asia Publishing House. OCLC 59021253.
• Hans Bakker (2014). The World of the Skandapurāṇa. BRILL. ISBN 978-90-04-27714-4.
• Ramesh Chandra Majumdar (1986). Vakataka - Gupta Age Circa 200-550 A.D. Motilal Banarsidass. ISBN 978-81-208-0026-7.
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The Historical Drama of Kaumudi-Mahotsava, or Full-Moon Festival
by Sakuntala Rao Sastri
Here shall be made a brief mention of the historical drama of Kaumudi-Mahotsava or Full-Moon Festival a time-honoured festival of ancient India. This name is given to this drama as it was staged at the palace of Suganga at Pataliputra on the Autumnal Full-Moon Festival day the day on which Prince Kalyanavarman was reinstated on his throne.
The text of the drama reveals that the authoress Vijjaka or Vijayabhattarika of Karnala had in view mainly a portrayal of the life-history of its hero Kalyanavarman. It was staged to celebrate the occasion of the acquisition of the Kingdom afresh of King Kalyanavarman.
Vijaya-Bhattarika (r. c. 650-655 CE) was a member of the Chalukya royal family of Deccan region in southern India. She is known from her Nerur and Kochre grant inscriptions, which call her Vijaya-Bhattarika and Vijaya-Mahadevi respectively.
Vijaya-Bhatarika was the wife of Chandraditya, who appears to have held the weakened Chalukya throne for a brief period, in the years following the Pallava invasion of the Chalukya capital Vatapi. After Chandraditya's death, Vijaya-Bhattarika seems to have acted as a regent for their minor son. Subsequently, the throne passed to her brother-in-law Vikramaditya I, who had probably become the de facto ruler during her regency, after having restored the dynasty's power as the supreme commander of the Chalukya army....
Identification with Vijayanka and Vijja
Rajashekhara, a noted Sanskrit poet and dramatist of the 9th-10th century, mentions a poetess called Vijayanka, who belonged to the historical Karnata region (in present-day Karnataka). This region was a part of the Chalukya territory, and based on similarity of names, some modern scholars - such as M. B. Padma of University of Mysore - have identified this poetess with the Chalukya royal Vijaya-Bhattarika. A verse, attributed to Rajashekhara in Jalhana's Suktimuktavali, compares Vijayanka to Sarasvati, the goddess of wisdom and learning.
Vijayanka, in turn, has been identified by some scholars with Vijja, a Sanskrit poetess known from major anthologies of Sanskrit verses. One of the verses from these anthologies compares Vijja to the goddess of learning, Sarasvati, and states that she had a dark complexion unlike the goddess. This verse also mentions the famous poet Daṇḍin (a native of southern India), calling him wrong for describing Sarasvati as "all-white". The verse may be considered as evidence supporting Vijja's connections to south India, where the Chalukyas ruled, but there is no concrete proof that she was same as the Chalukya royal Vijaya-Bhattarika. In fact, such an identification results in chronological improbabilities: the poetess whose works mention the 8th century poet Dandin could not have been the 7th century royal Vijaya-Bhattarika, unless she lived until the end of the century, and deigned to notice a verse by a much younger author. The names "Vijaya" (literally "victory") and "Vijayanka" (literally "having the mark of victory") have a different meaning from the name Vijja (literally "knowledge" or "science").
-- Vijaya-Bhattarika, by Wikipedia
Kalyanavarman was the son of Sundara-Varman, Lord of Magadha. His original name was Kalyanasree. Sundara-Varman adopted Candasena as his son, but later Kalyanasree was born to his first wife Madiravati. When Kalyanasree was a boy, Candasena secretly formed an alliance with Licchavis who were enemies of Magadha rulers and treacherously laid siege to the Capital. In the battle that ensued Sundaravarman died fighting bravely in defence of his Capital. Queen Madiravati with other queens, entered the funeral fire of her husband leaving Kalyanasree in charge of his nurse Vinayandhara, who carried him away from the Capital to the Vindhya forest followed by some of the faithful ministers of the King, and the throne of Magadha was usurped by Candasena. The ministers waited until Kalyanasree came to age and finding subjects dissatisfied with Candasena, asked him to rise up against their ruler when the latter was away from the Capital in quelling the rebellion of frontier tribes, where he is said to have been killed. The people of Magadha crowned Kalyanasree as Kalyanavarman as their king when Kirtisena, the ruler of the country of Saurasena gave his daughter in marriage, whom the prince met and fell in love during his exile. With the accession of Kalyanavarman and the death of Candasena, the dynasty of Candasena is said to have been uprooted.
According to the facts of the drama, Kalyanasree was a contemporary of Vijayabattarika. Then our hero must flourished about the middle of the 7th century A. D. One of the inscriptions shows a Varman dynasty ruling at Magadha about this time. This is the Seipur Inscription of Mahasivagupta Batarjuna. This inscription belongs to the 8th century A. D. It runs thus: "In the lunar family, Candra Gupta, his son Harsa Gupta, married Vatasa (daughter of Suryavarman) of the Varman dynasty". Though the name of Sundaravarman is not found in the list of rulers of Magadha, it will not be out of place to connect him with Suryavarman. As Vatasa belongs to the 8th century, Suryavarman can be placed about the middle of the 7th century, in which case we can suppose Suryavarman, as immediate successor of Kalyanavarman, whose date synchronises with that of queen Vijayabhattarika of Karnala.
Again Candasena is said to have been uprooted by Kalyanvarman. Who was Candasena? The text of the drama shows that he was a Jat. These Jats were Guptas. In the 'List of Inscription of Northern India' Inscription 1402 gives the name of Adityasena as a ruling King of Magadha. His date is 666 A. D.. His daughter's daughter was married to a Licchavi King. The name Candasena which is synonymous, with Adityasena may be identified with this prince of the Gupta dynasty.
The Nepal Inscription of Pandit Bhagawantal Indraji shows that the Licchavis held then sway in Nepal and had matrimonial alliances with the ruling families of Magadha.
These show that in the transitional period which followed the great Gupta kings, when several dynasties were trying to usurp central power, two families -- the Varmans and the later Guptas, succeeded in acquiring supremacy. It is quite probable that the Capital was an arena of contest of these two families. Sundaravarman seems to have tried to bring about a reconciliation between the two rival families, by adopting Candasena from the Gupta family. With the death of Sundaravarman, the Gupta dynasty came into power; but as Candasena grew unpopular the citizens of Magadha rose against him and reinstated Kalyanavarman and thus revived the Varman dynasty.
Among the Sanskrit dramas, this is the only one written by a lady drawing materials for her plot from contemporary history. The characters are neither imaginary nor types, but are living men and women, toiling and moiling in the daily routine of their life. It is a drama of a political intrigue centred in the person of Prince Kalyanavarman, who was exiled but was brought back by the stratagem of his loyal minister Mantra-gupta. The action covers a period of at least two decades of a century and the object is accomplished without bloodshed.
The political intrigue is interwoven with the amours of Prince Kalyanavarman and Princess Kirtimati. This makes drama unique in itself. Nowhere in the history of Sanskrit drama can we find one parallel to this one. In Mudraraksasa we find a similar intrigue, but the dry structure of political intrigue has not any human interest. In Mricchakatikam we have characters drawn from life, but we are deprived of the atmosphere of high royal families. We meet here all varieties of people -- the hermits, the princes, the officers of a royal court and harem, military officers, statesmen, Buddhist nuns, the usual familiar picture of the citizens of Magadha, the beggars priests and spies.
The author has given scope to display an ideal of romantic love making hero and heroine free and independent masters of their own destiny. The combination of romance with history makes it as interesting as Shakespeare's Henry IV where the din of battle and conquest is sweetened by the wed-lock of the Prince of England with the Princess of France.
The drawing of characters from everyday life, the love of the youth for the maiden, the mixture of contemporary political intrigue with the romance of love, has much in common with the new Attic comedy of Greece.
We get also a glimpse of the society of the time. Buddhism was declining, but women were still admitted into Buddhist Order and were held in respect. Vinayandhara became, out of dejection of mind, a Buddhist nun under the name Yogasiddhi. King was the head of the State and had absolute power. The democratic spirit which prevailed in the time of the Vakatakas, still continued. Mantragupta worked on the democratic spirit of the people and achieved his object. According to Hindu Constitutional Law, the City Council of the Capital had the power to choose their king and crown him.
Another characteristic feature of the period is the revival of Sanskrit learning. After the death of Buddha, Pali was in full swing. But with the revival of Hinduism, Sanskrit again became the Court language. Everyone in the official circle spoke and wrote in Sanskrit. This is further corroborated by the fact that the Vakataka Inscription found near or at the Capital about this period are in Sanskrit. In the South, too, royal documents were written in Sanskrit. Sanskrit drafting must have come into vogue in the time of Pravarasena II as is seen in the set geneological form of Vakataka documents. Ganapati Naga, a ruler of the South, converted the vernacular literary tradition into Sanskrit classical poetry.
The State religion was Hinduism and Siva-worship was supreme. In the early part of Christian Era, Siva was worshipped as god of destruction, by the Vakatakas. But here that aspect is changed, we find Siva as a Yogi -- as a teacher who was trying to dispel the darkness of ignorance. This Siva has the peaceful attitude of Lord Buddha than the Lord of Destruction.
Thus we see a society that was slowly passing through a transitional period where Buddhism was waning and Hinduism was rising. This drama, thus, throws light on the dark transitional period which followed the fall of Gupta power at Magadha.