10th Century Gajalakshmi Sculpture Found in Goa

Unearthing a Marvel: The 10th Century Gajalakshmi Sculpture Found in Goa

In the lush and storied landscape of Goa, a truly remarkable discovery has come to light: a 10th century Gajalakshmi sculpture found in Goa. Nestled in the waters of the Valvanti River near Parye in the Sattari Taluk, this exquisitely carved stone image of the goddess stands as a beautiful testament to the artistic and religious heritage of the region.

A Serendipitous Discovery

The 10th century Gajalakshmi sculpture found in Goa emerged somewhat by chance when locals stumbled upon it in the riverbed. Recognising its significance, Dr Rajendra Kerkar of the Adima Kala Trust and Prof T. Murugeshi documented the find. The sculpture measures approximately 50 cm by 61 cm and depicts the goddess seated on a lotus pedestal, flanked by two elephants holding kalashas (pots), her upper hands holding lotus buds and her lower hands in abhaya (protection) and varada (boon-granting) mudras. 

Its style aligns with the art of the Kadamba dynasty in Goa, meaning the 10th century Gajalakshmi sculpture found in Goa is likely to belong to a period of rich Vaishnava artistic expression.

Historical Context: Goa in the 10th Century

Understanding the 10th century Gajalakshmi sculpture found in Goa requires a glance back at Goa’s historical canvas. During the 10th century Goa was under influence of the Kadambas and possibly interacting with other dynasties. The sculpture’s refined form suggests a period of cultural flourishing when temple art and iconography were vibrant.

Scholars point out that the goddess Gajalakshmi (Lakshmi flanked by elephants) has deep Vedic roots and a long iconographic history. In Goa, numerous Gajalakshmi panels and reliefs have been documented, though most are later in date. The 10th century Gajalakshmi sculpture found in Goa therefore stands out as an early, high-quality example of this tradition in the region.

The Sculpture’s Significance

The significance of the 10th century Gajalakshmi sculpture found in Goa is manifold:

a. Artistic refinement: Unlike many Gajalakshmi panels in Goa which are folk-oriented or fragmentary, this sculpture is described as representing “the higher Vaishnava tradition.''

b. Dynastic symbolism: The base of the sculpture features a depiction of the mythic bird Gandaberunda — a symbol associated with the Kadambas and later Mysore rulers — solidifying the connection of the 10th century Gajalakshmi sculpture found in Goa to royal patronage.

c.   Regional heritage: Goa’s temple-sculpture record is less widely known in comparison to North or South Indian centres. The discovery of the 10th century Gajalakshmi sculpture found in Goa provides a valuable anchor for local art history and identity.

Iconography and Style

The visual vocabulary of the 10th century Gajalakshmi sculpture found in Goa is rich with meaning. The goddess sits on a lotus—symbol of purity and cosmic birth—while the elephants pour sacred water, an act signifying fertility, prosperity and divine favour. Her crown (kirita or karanda mukuta), elaborate ornaments, halo (prabhavali) and flanking elephants reflect polished carving and a mature iconographic scheme. The presence of the Gandaberunda motif adds a layer of dynastic symbolism, making this piece not only religious but also political.

Discovery Location and Current Status

The 10th century Gajalakshmi sculpture found in Goa was retrieved from the Valvanti River near Parye in Sattari taluka. While the find was fortunate, the sculpture remains vulnerable: riverbed location, exposure to elements, and lack of formal conservation pose risks. Local researchers emphasise the need for safeguarding.

Broader Implications for Goan Heritage

With the unveiling of the 10th century Gajalakshmi sculpture found in Goa, broader questions of heritage and identity in Goa come into focus. 

For instance:

a.  The link between Goa’s sculptural tradition and the wider Deccan/Karnataka region via the Kadambas offers a narrative of cultural exchange and synthesis.

b.  The evidence of refined temple sculpture in Goa challenges notions that Goan art was peripheral during the early medieval period.

c. The fact that numerous Gajalakshmi panels are still worshipped in village shrines (as Kelbai, Bhauka, etc.) underscores the continuity of tradition and reinforces that the 10th century Gajalakshmi sculpture found in Goa is not just an archaeological artefact but part of living belief systems.

Preservation Challenges and Opportunities

The discovery of the 10th century Gajalakshmi sculpture found in Goa is only the beginning. To translate that into enduring value requires action:

a. Documentation and research: High-resolution imaging, 3D scans and detailed stylistic comparison will help situate the sculpture more precisely in the timeline.

b.  Conservation: The sculpture needs shelter, climate control, and protective display. Its river-bed origin means it may have weathered water and silt exposure.

c.  Public engagement: A find of this calibre can anchor museum displays, guided heritage trails and educational programmes; the story of the 10th century Gajalakshmi sculpture found in Goa can help local communities connect with their past.

d. Contextualisation: Encouraging survey work to locate other sculptures of similar vintage may turn this one find into a cluster, thereby refining our understanding of the region’s 10th-century milieu. The research on Gajalakshmi panels in Goa indicates that many are later — the 10th century Gajalakshmi sculpture found in Goa may thus be exceptional.

A Human Touch: What This Means to Us

Imagine standing beside a stream in Sattari, brushing aside leaves to reveal the carved lotus-pedestal of the 10th century Gajalakshmi sculpture found in Goa, the two elephants poised in stone to bestow blessings. It evokes a moment where art, devotion, nature and history converge. For the villagers of Goa, for devotees of Gajalakshmi, and for art historians, this sculpture is not just a relic — it is a living bridge connecting us to a time when Goa’s forests, riverbanks and temples were alive with sacred art and ritual.

Conclusion

The 10th century Gajalakshmi sculpture found in Goa is a vivid reminder of the region’s rich and multi-layered heritage. Carved with grace, discovered with serendipity, and now poised for study and safeguarding, this sculpture deserves our attention and care. As we reflect on its discovery, we are invited to look beyond the beaches of Goa, into the deeper, quieter nooks where stone and devotion meet. Here lies a treasure that speaks not only of goddess and elephants, lotus and crown—but of a cultural world long passed and yet still resonant. May this find ignite further research, conservation, and appreciation so that the 10th century Gajalakshmi sculpture found in Goa takes its rightful place in India’s heritage story.