A Unique Iconographical Image: Hariharahiraṇyagarbha

During the medieval period, the Sun God Sūrya was frequently assimilated with the deities of the Hindu pantheon such as Viṣṇu, Śiva, and Brahmā, giving rise to several composite iconographic forms. Among these, the four-fold type labelled as Harihara-Hiraṇyagarbha, also called Harihara-Pitāmahārka appears to be the most prevalent (rare combined figures of Viṣṇu-Sūrya and Śiva-Sūrya have also been found in Hinglajgarh and Nagda respectively). Hariharahiraṇyagarbha is a unique composite image that combines  Sūrya with the pantheon of Brahma, Viṣṇu and Śiva. Harihara-hiraṇyagarbha is three-headed and eight-armed, with Sūrya being the central deity. Although the Harihara-Hiraṇyagarbha follows a broadly recognizable iconographic pattern, numerous variations and regional adaptations have been observed and documented. These deviations are primarily reflected in the arrangement of the attributes held in the hands, the identification and placement of the attendant figures, and other particular distinctive iconographic features.

The following verses from the Aparājitapṛcchā, a 12th century text by Bhuvanadevācārya and one of the most influential Hindu treatises on architecture and iconography that have survived into the modern day, describe the iconography: 

caturvaktraṃ cāṣṭabāhuṃ catuṣkaikanivāsanam |
ṛjyāgato mukhaḥ kāryaḥ padmahasto divākaraḥ || 32 ||
khaṭvāṅgatriśūlahasto rudro dakṣiṇataḥ śubhaḥ |
kamaṇḍaluṃ cākṣasūtram apare syāt pitāmahaḥ || 33 ||
vāme tu saṃsthitaś caivaṃ śaṅkhacakradharo hariḥ |
evaṃ vidhaṃ prakarttavyaṃ sarvakāmaphalapradam || 34 ||
iti hariharahiraṇyagarbhaḥ ||

“Four-faced and eight-armed, four-fold within one body; with the face to the front Divākara (Sūrya) is to be made with lotuses held in his hands; to the right should be the splendid Rudra (Śiva) with khaṭvāṅga and triśūla in his hands; on the back is Pitāmaha (Brahmā) with kamaṇḍalu and akṣasūtra; on the left Hari (Viṣṇu) holding and cakra is placed; thus it should be made, bestowing the fruits of every desire; this is Hariharahiraṇyagarbha.”

Although the composite form Harihara-Hiraṇyagarbha venerates all four deities, its original religious context cannot be known, as we lack information on its origin and place of worship. Comparable sculptures occur in temples dedicated to Sūrya, Śiva, and Viṣṇu, suggesting that this remarkable iconographic type was not confined to any single sectarian tradition but was an amalgam of them all. Regionally, such images are most frequently encountered in Rajasthan, Gujarat, and Madhya Pradesh. The majority of Harihara-Hiraṇyagarbha images are depicted with three faces and eight arms, where attributes of each of the deities are generally arranged one above another rather than side by side. The most common iconographic scheme places Śiva's emblems—typically the triśūla and either the khaṭvāṅga or nāga—in the uppermost pair of hands, followed by Sūrya's twin lotuses in the natural hands. Viṣṇu's attributes, usually the śaṅkha and cakra (more rarely the gadā), occupy the next pair of hands, while the lowest pair carries Brahmā's akṣamālā and kamaṇḍalu. This arrangement is, by far, the most widespread and exhibits comparatively few variations. This iconographic scheme is found in both standing and seated forms, but more commonly seated in a padmāsana, with the most surviving examples found in Gujarat, Rajasthan, and Madhya Pradesh. Among the best-known are the image on the rear wall of the Duladeo Temple at Khajuraho and the sculpture on the western side of the Sūrya devakulikā at the Limbojīmātā Temple in Delmal, Gujarat. A unique yet exceedingly rare variation is the depiction of Dvādaśāditya panels with composite Sūrya, with eleven Ādityas seen around the central figure as in Rani ka Vav.

One particular and rare image, now housed in the Asian Museum of Art, features the Harihara-hiraṇyagarbha in samabhaṅga with the various vāhanas of the four Gods depicted below. In accordance with the manner in which mūrtis of Sūrya are ordinarily depicted, He wears boots or closed shoes on his feet, is adorned with a kirītamukuṭa or crown, a patterned kavaca or armor and a girdle, and holds two blooming lotuses in His central pair of hands. Śiva is represented through a triśula and nāga on the right side of the image, Viṣṇu with a cakra or wheel on the left, and Brahma with an akṣamāla (held with a varadamudrā) and kamaṇḍalu. This rare feature of vertical arrangement of the attributes on the left and right,as shown in the Berlin image, is generally reserved for images of Harihara, where Śiva occupies the right and Viṣṇu occupies the left side of the body. 

A related iconographic variant is found in a Harihara-Sūrya image from the Chand Baori at Abaneri, Rajasthan, depicted wearing the characteristic high boots of Sūrya and holding lotuses (only one of which survives). Śiva's triśūla entwined with a nāga appears on the right while the left side preserves traces of a cakra in the upper hand and what is most likely a śaṅkha in the lower hand. This arrangement closely parallels the Harihara images from Osian, which are distinguished by their divided kirīṭa and mukuṭa. 

Another image that may belong to the same iconographic type is the remarkable sculpture from Hinglajgarh, now preserved in the Indore State Museum. Although the head is broken and only a lotus and a cakra on the His left side remain intact, Sūrya occupies the central position and is identifiable by his characteristic boots, kavaca (armour), and the cloth draped across his shoulders. In the Osian image, the attendants Piṅgala and Daṇḍin flank the deity on the right and left respectively, whereas in the Hinglajgarh image, their positions are observed to be reversed. The inclusion of Śiva, Viṣṇu, and Brahmā is further indicated by the presence of their respective vāhanas depicted on either side of the central figure.

An unusual variation occurs in the sculpture seen on the western wall of the Śiva temple at Markanda, Maharashtra. Unlike the standard iconographic layout, this composite Sūrya prominently features three attributes associated with Brahmā: the akṣamālā and kamaṇḍalu in the lower hands, together with a sruk (ladle) in the upper left hand. The deity stands in samabhaṅga, with Mahāśvata (a young ascetic maiden) carrying a pot before Sūrya's distinctive boots, while Aruṇa, his charioteer, drives the seven-horsed chariot below. Curiously, both attendants appear to hold writing implements—a feature usually reserved for Piṅgala alone. Despite the additional Brahmā attributes, the central hands hold two lotuses, while the upper hands preserve a triśūla (partially damaged) on the right and a cakra on the left. Although the missing attribute on the right cannot be identified with certainty, the iconography suggests that one of the constituent deities is represented less prominently in favour of Brahmā, though the temple is dedicated to Śiva.

Another significant example is the damaged three-headed image held in the Gandharvapuri State Museum. Although much of the sculpture is lost, Sūrya's characteristic boots, along with the attendants Daṇḍin and Piṅgala, remain visible. Unlike most known examples, it incorporates Vaiṣṇava attendants, with Lakṣmī on the proper right and Garuḍa, holding a serpent, on the proper left. Their inclusion modifies the conventional arrangement of the accompanying figures and their vāhanas, with Garuḍa replacing one of the expected mounts.

The vāhanas flanking Harihara-Hiraṇyagarbha frequently serve as important indicators of the deities represented within the composite form. For instance in the Berlin image mentioned earlier, the composite Sūrya is accompanied by a bull (vṛṣabha) and a horse (aśva)  on either side, together with two birds that are difficult to accurately identify. This combination departs from the more familiar iconographic scheme and complicates the identification of the constituent deities. The Berlin sculpture also differs from most comparable examples in its arrangement of attributes and attendant figures. On stylistic grounds, it has been assigned to the 13th century. While preserving the traditional conception of Harihara-Hiraṇyagarbha, it introduces several unusual features, notably the inclusion of the Vaiṣṇava attendants Lakṣmī and Garuḍa and the duplication of the haṃsa. Despite its distinctive features, the Berlin image remains fundamentally solar in character: Sūrya occupies the central position, identifiable by his boots and costume, while the other deities are incorporated into his form. The prominence of Vaiṣṇava iconographic elements, however, lends the sculpture a distinctive character within the Harihara-Hiraṇyagarbha tradition.