Śiva and his Emblems on Early Indian Coins and Seals
By Jitendra Nath Banerjee
Summary
The study of symbols on early Indian coins and seals reveals connections to religious practices and deities, particularly Shiva. Scholars suggest symbols like mountain motifs (three-, five-, or six-arched) may hold cult significance, possibly representing *trisriga parvata* with a lunar crescent. A human figure depicted on some Ujjain coins, holding a staff and vase, is tentatively identified as Shiva. However, interpretations remain speculative due to limited evidence. Symbols on these coins often mirror those from the Indus Valley seals, though their exact meanings are unclear. Local and tribal contexts provide more confidence in identifying symbols tied to specific cults. As iconism gained prominence, deities like Buddha and Shiva appeared on coins, often alongside older symbols. For instance, the humped bull, a common motif, likely represents Shiva theriomorphically. A unique gold coin of an Indo-Scythic king features a bull with Greek and Kharosthi legends (*Tauros* or *Usabbe*), suggesting Shiva worship. Coins also depict early attempts to represent Shiva anthropomorphically, such as a crude lingam on a pedestal alongside a sacred tree and female figure, possibly linked to his cult. While direct sculptural parallels are rare for Shiva in early periods, comparisons with Gandhara Buddha coins (e.g., Kanishka’s issues) show how numismatic types often derive from contemporary sculptures. The transition from symbolic to iconic representations reflects broader religious shifts, with older symbols retained as attributes. For example, the bull evolved from a deity’s vehicle to an accompanying figure as anthropomorphic forms emerged. These numismatic depictions, though uncertain in some cases, offer valuable insights into early Indian religious practices and iconographic development.
Conclusion
This study underscores the profound interplay between early Indian religious iconography and numismatic art, revealing how emblematic representations on coins and seals reflect localized cult practices and aniconic traditions. By analyzing symbols like the three-arched mountain, vrksa-caitya motifs, and theriomorphic deities, the research highlights tentative connections to broader Indus Valley pictography while acknowledging interpretative uncertainties. The transition from symbolic to iconic representations, particularly the emergence of Siva and Buddha in numismatic forms, is contextualized through parallels with Gandharan sculpture and Hellenic coinage, suggesting a dynamic interplay between artistic and religious evolution. These findings not only illuminate the religious landscape of early India but also emphasize the enduring legacy of symbolic traditions in shaping later iconic expressions.