The Kushana Period
The Varaha images of pre-Gupta period, except the one referred to above, were unknown till recently. But the discovery of a slab containing the image of Varaha with an inscription in the Kushana script from Mathura [1] (No.65.15.4) is quite interesting. This happens to be the earliest representation of Varaha in the Kushana period, which is quite remarkable from the iconographic point of view.
The central figure represents Varaha, whose body contours are disproportionate with stiff chest and slim limbs. He is standing with his right leg stretched and left leg slightly turned. He wears thick drapery, necklace, armlets and anklets besides the Shrivatsa symbol. Two of his four hands are held in katyavalambita pose and the remaining two are raised holding in each a disc carved with the figure of sun seated in a two horsed chariot. (It may be recalled here that the solar orb is shown on the obverse of Adivaraha [2] coins of Mihir Bhoja at the feet of the Varaha figure). The face of the deity is completely broken, but he appears to have been looking towards a small female figure, Bhumi, seated on his shoulder, who is probably carrying a lotus in her hand. A soldier with a bow and arrow on the right and a devotee with folded hands on the left, wearing typical Indo-Scythian dress are shown. On the pedestal there is an inscription in the Kushana in script assigning it to 1st-2nd century A.D. The above sculpture has its own importance because it represents the Varaha form of Vishnu in the composite form in the Kushana period, and also illustrates the fact that the theory of the incarnation of Vishnu had become popular in the 1st-2nd century A.D.
Gupta Period
The most conspicuous example Mahavaraha lifting earth from the ocean i s found at Udaigiri i n a rock-cut temple excavated at the time of Chandragupta Vikramaditya. This rock-cut image of Varaha is of colossal size, standing on a powerful human figure with a boar's head shown in profile. He supports the earth on his folded left arm. The figure is extremely well proportioned and draped with a long lotus garland, which in the Gupta Age was called Kinjalkini [3] and considered to be of one thousand lotus flowers. In front of the Varaha figure is the figure of cosmic serpent Shesha who is supporting the primeval god. By his side is the figure of Garuda with an eagle’s head and human body, holding a serpent in hands. In the next panel the political idea is illustrated in an emphatic manner. Above is the scene of the descent of Gang and Yamuna from the heaven and mingling their waters in the ocean. This is exactly the picture of Antarvedi of Madhayadesha, the homeland of Gupta empire. The river goddesses are depicted both in their natural human form, first as two mighty streams taking their rise from the heavenly world with divine dance and music: and on the earth they are again shown in a human form. In the wide space below Ekarnava, the primeval ocean is depicted in the form of high rippling waves. At one end stands a royal figure who seems to be the emperor himself, viz.: Chandragupta politically identified with the Mahavaraha and referred to as Deva by contemporaries since he freed the country from foreign domination of Sakas. At the opposite side stands the Sea-god, in human form. The Sea-god as well as the king are both shown worshipping the colossal Varaha figure.
A fragmentary Gupta image (D.13) in the Mathura Museum, consists of the left arm of a male figure on which a female is seated. The sculpture probably represents Varaha incarnation. Besides a pillar in the Bharat Kala Bhavan represents Varaha lifting the earth as usual.
The Varaha image from Deogarh shows the deity in a massive form standing in similar attitude as the Udaigiri image. He is standing over Adishesha with his left leg turned and the right one stretched. The Adishesha and his consort are half bent with folded hands and have canopies on their heads. The figure of Varaha wears Ekavali, armlets, Kinjalkini and the loin cloth is placed on the hip. He is looking at the Earth-goddess with fondness. On the right stands Lakshmi holding a lotus in her hand. The brick temple at Bhitargaon [4] also has the image of Varaha in the middle of the back or west wall. On the basis of the image of Varaha found there, Cunningham believed it to be a Vaishnava shrine, though this has been contested by other scholars.
The late Gupta Varaha image from Deogarh [5] represents slight deterioration in art with the deity having four arms and standing as usual over Adishesha. He wears his usual ornaments and the goddess Earth is shown seated over his back left elbow, caressing the snout with her right hand in admiration. In his four hands he holds a conch, a discus, a mace and the fourth one is rested on his thigh. This image conforms to the description of Vishnudharmottara.
An image of Bhuvaraha in cave No. III, at Badami, [6] is shown being attended by Brahma, Siva and their consorts. Their figures are placed on both sides of the Varaha. The other gods are shown flying above. Both Brahma and Shiva have one of their heads raised to witness the might of Varaha, At the feet of Varaha is the consort of Adishesha while Adishesha standing to the proper left. The Varaha image from Rajim [7] also has four arms and carries the goddess Earth over his left elbow. This associated left hand and the corresponding right hand are clasped, while the other left hand is made to rest on the bent left leg so as to be suggestive of the support needed to bear the weight of the goddess. The sculptor has strayed a little from the provision of the text in representing Adishesha as supporting Varaha’s two feet in two palms of his hands instead of the hood, Adishesha is shown in the attitude of alidhasana. A whole world of Nagas is engaged in devotion of the Lord with their heads in anjali pose. The wriggling snake-halves of the bodies of these Nagas and Nagins make it clear this life and activity have begun on the earth in a remarkable manner. Another sculpture of Rajim depicts Varaha with locks of matted hair falling on his back. The upper part of the goddess is broken but she is shown seated over the raised left elbow of Varaha.
Plate 19
The goddess is caressing the snout of Varaha with her right hand. The body of Varaha is well built, though quite slim. Of the four hands of the god only three can be seen. Another sculpture from the same site has almost identical features.
The Varaha form of Vishnu is represented in a powerful sculpture from Nepal, [8] locally known as Dhuma-Varaha. The god here is represented as having two arms, standing in pratyalidha posture. He has the usual composite form of having human body with the head of a boar. His right foot is supported in adoration by the great serpent. The god has placed his right hand on his waist which is indicative of his strong determination. He holds a conch-shell in his left hand. He is caressing the petite and delicate figure of the Earth-goddess while clasping her to him with his powerful left arm. Although the figure is not as colossal as the Udaigiri Varaha yet, it is noticeably large and has bulk and proportion imbued with dynamic energy.
Post Gupta Period
(7th century A.D.)
A sculpture belonging to 7th-8th century A.D. was discovered from the brick temple at Konark. [9] This is a fine specimen of contemporary art. The composite body of the boar incarnation of Vishnu is finely carved. The human body is well proportioned and the boar's face up to the trunk is beautifully fitted, providing a realistic touch. The boar's mouth is slightly open, suggesting a smile. The face is turned to the left towards the youthful Earth-goddess perched over the raised upper left elbow of the god. Ordinarily Vishnu has four attributes held in his four hands which are a shamkha, chakra, gada and the lotus. Possibly the lotus was required to be held in the upper left hand. Since, however, the Earth-goddess as a youthful female has been made to perch over the upper left elbow, there was no possibility of the god's holding the lotus in the same hand. By substituting the lotus for the female figure, the sculptor has possibly tried to suggest the lotus-like tenderness extended by the Lord to the Earth-goddess. This idea is further strengthened, when the figure of the Earth-goddess is compared to the female figures, each flanking the god standing on the pedestal. The Lord wears all the ornaments together with the vanamala, long garland of flowers.
A sculptural panel representing the Varaha form of Vishnu is found in the Varahamandapa at Mahabalipuram, besides the one in the Adivaraha cave there. The relief in the Varahamandapa could possibly be the earliest representation of the god in South India. [10] This elaborate image displays Varaha as the central figure of the panel standing with urdhvajanu, facing proper right, carrying with ease the female figure of the Earth-goddess by the lower right hand holding her right leg by left hand. The goddess herself is found seated on the uplifted right thigh of the god. The right foot of the god is resting on the foot of Adishesha shown in anjali pose. The face of the goddess expresses shyness and joy. Her two hands are held close below the snout of Varaha. The standing Varaha is flanked by Brahma on the left (whose three faces only out of four, are visible) and Shiva on the right. These two figures of gods measure up to the shoulders of Varaha which is in accordance with the provision of the texts. To the left of Brahma stands besides Narada with a vina in his hands. To the right, there is another female figure, probably a consort of Adishesha. The planets sun and the moon are lodged over the head of Brahma.
The main shrine of the Adivaraha [11] Cave temple at Mahabalipuram also contains a painted stucco relief of Varaha having the usual iconographical features. The cave temple appears to have been renovated later.
Plate 20
An image from Bhaktapur depicts Varaha incarnation standing in pratyalidha posture, placing his left foot over the left palm of Adishesha, whose composite body, with the upper half being human and the lower half appearing as coils of snake. The right foot of the god is placed over the coils of Adishesha. He is two armed. The image of the goddess Earth, now damaged, was originally seated over the left elbow of the god, while his right hand has been Placed over the right thigh in katihasta mudra. The god has a protruding belly and appears to be full of strength. The face is broken but there are traces of locks of matted hair falling on his right shoulder.
Medieval Period
(8th-9th century A.D.)
There is an image of Varaha [12] in the Surya temple at Osia. The exterior of the Sachiya Mata temple at Osia also exhibits in one of its niches an image of Varaha, which possibly belongs to the 8th century A.D. The Lakshmi Narasimha temple at Namakkal represents a remarkable panel depicting the theme of Adivaraha. [13] In the third cell of the temple the Boar incarnation has been depicted, with the Earth-goddess seated overt the uplifted right arm, with hands held in anjali pose. Her feet rest over the palm of his other hand. This representation is identical with the same panel from Mahabalipuram. But there are some variations as well. In the Namakkal panel four heads are shown above the hand of the Varaha supposed to represent the four Vedas which were carried away by the demon Hiranyaksha. Another interpretation could be that these heads represent the four sages, viz., Sanaka, Sanandana, Sanatana and Sanatakumara. The left tusk on the face of the boar is also shown more prominently. The Lord wears makarakundalas and a conical kiritamukuta. Below Varaha, the figures of Adishesha and a female are seen. The right leg of Varaha is bent down to project the ankles, while the left which is placed straight is covered up to the knees. Though the figure represents the usual hybrid form of Varaha but the details of hybridity are reduced to the minimum.
Plate 21
The Kailasa temple at Ellora also depicts a panel of Bhuvaraha which has its own importance from the epigraphical point of view and also for its artistic merit. The main figure of Varaha faces left and holds the figure of Earth- goddess by his lower left hand. The size of the goddess is comparatively much smaller, who appears in tribhanga posture. Her right arm is placed on the snout of Varaha for support. The right tusk of Varaha is quite prominent. The left leg of the god is raised and rests over the twisted tail of the serpent. The presence of the figures of other Nagas besides Adishesha suggest it to be the Patala-Loka.
The Boar incarnation is also represented [13] in one of the niches on the rock of the left of Tiruparankunram cave temple (Madurai). This panel depicts Varaha seated on his right side. The composition and the treatment of the subject in this panel are different from the two panels from Namakkal and Mahabalipuram.
An image of Varaha from Kuthari preserved in the Allahabad Museum [14] (N.292) depicts the god with two arms. He stands over a reclining Adishesha, who stands with anjali pose. The deity wears a beaded necklace and Kinjalkini, the long garland of flowers. He uplifts the Earth-goddess with his left hand. The image partly corresponds to the description of Vishnudharmottara in having two arms.
The primeval boar is represented in an image in the Dhaka Museum [15] in a hybrid form. He has four arms and is striding to the left. He holds his usual attributes, the shamkha, chakra, gada and padma in his four hands. The upraised left hand bent at the elbow is now lost with the figure of earth resting on it. The upper right hand is also damaged. The whole of the upper part of the slab is lost. Lakshmi stands to the right of the god, while Sarasvati stands to the left. Adishesha is represented holding the right foot of the god, while his consort clings to the left foot. Garuda, the mount of the god, kneels beneath the lotus seat. To the right of Garuda and within the circles formed by ornamental foliage, a figure of a bearded man with a wreath in his hands appears, who could be the donor of the image.
Plate 22
The image of Varaha, from Badoh in Vidisha district of Madhya Pradesh, depicts the god standing in pratyalidha mudra. He has only two arms and is usual attributes therefore have not been depicted, except for the lotus which is held in his left hand over which a tiny female (headless) figure stands. The right hand is held in katihasta mudra. The left foot is placed over the hoods of Adishesha and his consorts are both seated in adoration of the god. The god has no head dress and locks of his hair falls over the right Shoulder. The face is partly broken. The tenderness extended by the god to the Earth-goddess is quite apparent. Usually she is shown seated over the elbow of the god. But in this case she is made to stand over a full blown lotus held by the god in his left hand.
An image of Varaha is preserved in the Pundarikaksha [16] temple at Tiruvallarai in Tamil Nadu. The temple belongs to Pallava Period. In this Varaha uplifts the Earth-goddess and places her over the hood of the Naga figure below. This is a vertical panel displaying mostly the Varaha theme. He stands in alidha posture Carrying in his two lower hands the figure of Earth-goddess. The two upper hands hold a conch and a Chakra. The figure of the goddess has been worked out delicately and Adishesha has fine hoods.
Plate 23
Varaha has also been portrayed in the silver coins of Mihir Bhoja [17] (A.d. 836-885) with an inscription containing the legend ‘Shrimad Adivaraha’. In this case to the god in composite form stands with the left leg raised over the knee of which the left hand rests apparently to provide support to the goddess Earth, who is supposed to be perched over the elbow. The deity here is two armed and the right arm is held in katihasta pose.
Plate 24
A stone sculpture from Orissa, Currently preserved in the Bhuvaneshwar Museum, depicts Varaha having only two arms. In the right hand he holds a chakra, while the left hand holds a lotus over which the Earth-goddess stands. The face of the image is mutilated. The gods are shown over the head of Varaha, possibly to indicate the pouring of flowers, in joy, after the earth is rescued by the god. Naga and Nagin in human form appear on the left and right of the main figure.
Plate 25
In the sculpture of Varaha from the Nagpur Museum, the god stands in Pratyalidha posture, keeping his raised left foot over a cushion placed over the head of Adishesha, who appears with hands folded and a canopy of five snake hoods decorates his head. Besides Naga, there is a horse rider, followed by a human figure holding an umbrella. Possibly they represent Kalki and Vamana incarnations. Nrisimha and other incarnations like Matsya, Kurma, Parashurama are lodged at the top, some of which can be clearly recognized, while the others are not quite distinct. A human figure carrying a hala (plough) in the right hand, appears to the left of the main figure, which could represent Balarama. Another corresponding figure to the right holds a staff. Another sculpture from the same museum, depicts the four armed Varaha carrying the Earth-goddess over the elbow of his upper left hand.
Plate 26
A stone sculpture of Varana depicts him as having four arms, holding the usual attributes. The Earth-goddess is seated over the elbow of the upper left hand. The god stands in pratyalidha posture placing his left foot over a leaf held by the Nagin figure in both her hands. The Naga appears on the opposite side of Nagin. The lower parts of both of them are like snake which are coiled in the front.
Plate 27
A stone sculpture from Orissa depicts the composite deity with the head of a boar, but the snout is larger as compared to the rest of the human body. Another speciality of the image is that Varaha's hair is arranged in a bun like that of a female. The goddess in human form is seated over the raised left elbow. The god is four armed and is trampling over the snake coil of the Naga figure below.
10th century A.D.
A bronze image of Varaha form of Vishnu was discovered from the Vishnu temple at Naglapuram, which is currently preserved in the Madras Museum. [18]
In this image, the composite form of Varaha appears with a Kirita-mukuta besides the usual ornaments and garments. The right hands of the god display chakra and abhaya mudras. The arrangement of drapery in both the cases is quite fine. Besides, the yajnopavita and the ornaments are well arranged.
Plate 5
A stone sculpture of Varaha from Phalode (Jodhpur-Rajasthan) is a remarkable piece of art. The composite body of Varaha is well proportioned, with minutely carved ornaments. The sculpturing of the Nagas beneath, the expanded lotus leaf, are Suggestive of patala-loka which is supposed to be the abode of these creatures and project the real skill and proficiency the contemporary artist had achieved. The goddess as usual is held in the bent left hand. A lotus leaf on the head of Varaha with its concave Sides turned downwards, serves as an umbrella besides indicating that the god has just emerged from the deep waters of the ocean.
Plate 28
The image of Varaha in the Vaishnava temple at Pagan in Myanmar (Burma) is a mutilated Standing figure in alidha posture with face turned to the left. The figure is apparently four armed but the attributes held in the four hands are damaged. The importance of the image is that it was discovered in a shrine dating pack to the 10th century A.D.
The image of Varaha from Garhwa fort, Allahabad [19] represents the god standing in pratyalidha mudra with left leg raised and planted over a pedestal and the right leg stretched. The deity wears the neck ornaments, anklets, armlets, vanamala and a Strap like waist-band in which a dagger is held. The god holds the usual attributes in his four hands and the Earth-goddess is perched over the elbow of his upper left arm, gazing at the Lord with admiration.
An image of Varaha found in the Madhukeshvara temple, Mukhalingam, [20] corresponds to the prescription of the texts. According to Shilparatna if the god has to be presented in a Composite form he should hold a wheel and a club in his hands. It further states that one of his feet should rest on the serpent king and the Earth-goddess should be shown seated over the left elbow of the good. The representation of the Naga king in the Mukhalingam image conforms to the description of Vishnudharmottara. According to this text, the face of the serpent king is to be slightly raised so as to look at the god and his hands should be held in anjali pose.
Plate 29
In a niche in the south wall of the jagamohana in the Madhukeshvara temple, the image of four armed Varaha is also depicted. The god stands with his feet firmly placed on the body of the Naga, Two of his hands bent inwards with a finger interlocked in front of his chest, so as to support the Earth-goddess on his left elbow. The Earth-goddess has just been rescued from the underworld and is seated cross-legged on a pedestal. She looks happily at the god with an expression of gratitude. The god is represented in composite form. The head is slightly lifted up with the mouth wide open. He is wearing elaborate jewellary and the lower part of his body is covered with a garment up to his knees, with its folds hanging in between his legs. The waist cloth is tied round his thighs with the end hanging on the right. The Naga king has a single hooded snake and is standing in anjali pose. The winged Garuda is placed on the left pilaster and is seen attacking the serpent king. There is another male figure holding a conch in his right hand placed on the right pilaster.
Plate 33
The sculptures from Narasimha temple, Mathura Museum, Aihole and Belur have identical features.
10th-11th century A.D.
The image of Varaha in the Channakeshvara temple [21] in the south is a wonderful specimen of the contemporary art. It has a unique feature of the Varaha having twelve arms, in the right six, he holds a shula thrust into the body of Hiranyaksha, the ankusha, the bell, the khadga, chakra and bana. In two of his left hands he carries a fruit and khetaka, while the object in the third hand is indistinct. The fourth hand provides support to the hanging leg of the goddess. The fifth hand carries a conch-shell and the sixth is in vismaya pose. Varaha is treading on two asuras. They have round eyes and tusks and each one of them holds a sword and a shield in his hands. Both of them are shown lying down crushed under the feet of the god. The Earth-goddess stands in the front in anjali pose, but the hands are broken.
Plate 34
A panel m the one of the temples at Chandpur [22] (Jhansi) represents Varaha standing in pratyalidha posture with left leg raised and planted firmly over a pedestal and the right one stretched forward. The deity carries a conch and a discus in the back and front left hands and a mace in the back right. The fourth hand is kept stretched near the thigh. The Earth-goddess as usual is seated over the left elbow. An image from Mathura Museum (No. 15.1114) depicts identical features of Varaha.
Plate 35
Two sculptures of Varaha were discovered from Khajuraho; one of these stands in pratyalidha posture, placing the raised left leg on a slab placed over the heads of the Naga couple lodged down below. The face of the god is slightly open with the head decorated with well-arranged hair. The Earth-goddess is perched in lalitasana over the left elbow of the god. Her face is broken. The slab is decorated with other deities and human figures and the Gajavyala motif at the top and both the sides of the sculpture. The other sculpture from the same site has the face of Varaha wide open while almost preserving features similar to those in the above image.
Plate 36
In a Dashavatara panel from Padaoli, Varaha is beautifully depicted as the third incarnation of Vishnu. The first incarnation is that of a fish placed over a lotus leaf, besides four human faces which possibly portray the rescue of the humans race by the Fish incarnation. The next in turn is the Kurma or the tortoise over which a human is seated in meditating posture. Over that the two humans are pulling the snake Vasuki coiled around the Mandarachala, serving as a churning rod. The next is Varaha, having four arms and carrying the Earth-goddess over his left elbow. This is followed by incarnations of Nrisimha, Vamana, Parashurama, Rama and so on.
Plate 37-39
The Sculptures from Mahakuta, Jhalawar (Rajasthan) and some other sites, have the usual features of the boar incarnation of Vishnu.
11th century A.D.
In a Dashavatara panel from Kashmir, [23] the boar incarnation of Vishnu has been portrayed in quite a lively manner, He is depicted in this panel in quite aggressive posture. The boar-face is quite terrible to look at with its wide open mouth. The god here wears a mukuta besides other ornaments. The goddess Earth is seated over the left elbow of the god. He tramples over a Naga figure under his feet, lying with folded hands. It appears as if the boar has Stirred up the entire ocean while rescuing the earth, who appears in a anjali pose. Two of the hands of the god hold a conch, a mace or a sword with his third he grips the tail of a Naga while the fourth rests on his left thigh.
Plate 40
A stone panel from Khetri depicts Varaha Standing in pratyalidha posture between two columns. His boar face is raised up and with his snout slightly open he caresses the Earth-goddess standing over a lotus held in his left hand; the other left hand holds a chakra. The conch-shell also appears on the left. He places his raised left foot over a lotus resting on the heads of the Nagas down below. The Naga-king with three serpent hoods appears to the right with folded hands. The right hands of the god are damaged.
Late Medieval
(12th century A.D.)
Plate 41
The image of Varaha from Osia in Rajasthan depicts the boar-faced god with his mouth wide open. The Earth-goddess is perched over his raised upper left arm. Of the attributes held by the god, the chakra and the gada are in the lower left hand and the upper right hand respectively. The conch is held in the upper left hand while on lower right hand is shown in katihasta posture. The raised left hand rests over a slab carried by the Naga couple. The image is adorned with heavy jewellery and the head has a sort of canopy of lotus leaves which could be indicative of the emerging of the god from the deep waters of the sea.
Plate 42
A stone sculpture from Chittorgarh depicts the god with four arms. In two of these he holds the Earth-goddess who stands facing the snout of the god. In his other hands he holds a chakra and a gada while the fourth one is held in katihasta mudra. The conch is lodged over lotus stem. The god has placed his raised left foot over the coils of the Naga couple down below. The five-hooded serpent king appears to the right with folded hands.
Plate 43
A stone sculpture from Gauhati Museum depicts Varaha wearing a conical cap facing right. The Earth-goddess is held by the god over his upper right elbow. In his lower right hand he holds a chakra, and the lower left hands hold the gada. The upper left hand is held in katihasta posture. The Naga appears to the right.
14th century A.D.
Plate 44-47
A stone sculpture from Pushpagiri in Andhra Pradesh depicts Varaha in rapid motion with the Earth-goddess lodged over his snout. He wears a long conical karanda mukuta and usual ornaments. The sculpture from Hyderabad has identical features, except that the Earth-goddess is lodged over the upper left elbow. The sculpture from Chamba Museum, depicts Varaha with the wide open mouth of a boar facing right. Though the Naga figure is there but the Earth-goddess is nowhere to be seen.
The sculpture from the Channakeshvara temple besides the other essential features depicts Varaha trampling over the demon Hiranyaksha, after having rescued the earth from the deep sea waters.
Modem Times
(19th century A.D.)
Plate 48
A nineteenth century bronze image of Varaha from Rani Pakhari in Nepal depicts the four armed god holding his usual attributes. Interestingly the mouth is wide open and there is a decorated crown over his head. The ears have round kundalas and other ornaments include a long garland of flowers, a necklace and other garland with a flower hanging in the middle. The goddess Earth is perched over the left elbow. The prabhavali is beautifully decorated.
Plate 49
In another sculpture from Patan in Nepal, the four-armed Varaha is shown standing over a full blown lotus with the boar face turned to his right. The Earth-goddess is seated over the snout. He is holding his usual attributes. He wears a dhoti, folds of which appear to be blown by wind on both the sides.
Plate 50
Another sculpture from Patan, depicts Varaha with six boar faces facing front and having eight arms. He is seated over a human figure who carries the right foot of the god in his right palm. Over the folded left leg of the god, the Earth- goddess, a complete human figure, is seated. The god carries different attributes. This appears to be a unique specimen; similar images of Varaha are not commonly met with in the Indian art nor do they find place in the texts.
Plate 51
In a Pahari painting depicting the dashaavataaras of Vishnu, Varaha is shown four armed with the earth (not in human form but as mountains) lodged over his snout. In his three hands he holds a chakra, a lotus and a gada. In the fourth hands he holds the demon Hiranyaksha by the tuft of his hair.
***
LIST OF PLATES
1. Varaha, Eran, Gupta period.
2. Varaha, Apsad, Gaya, 6th century A.D.
3. Varaha, Khajuraho, 8th century A.D.
4. Varaha, Jhalawar, 10th century A.D.