In the sacred land of Bharatavarsha where we are taught to confer respect to every living and non-living beings, crocodiles are treated with no exception to it; rather they have multiple connotations and are frequently portrayed in religious and mythical contexts. It represents difficulties and perils in Vaishnavism, especially in Gajendra's tale where Bhagavan Vishnu cut the long snout of the deadly crocodile in order to save the life of His devotee Gajaraja/Gajendra. The Purana references crocodiles as creatures consumed by Agastya, while Natyashastra employs them as a performance emblem. In Jyotisha, crocodiles which is equivalent to the Zodiac sign Capricorn, also symbolize wealth or disaster; in Theravada, they stand for destructive ambitions that ultimately bring about one's demise.

Similarly, in Shilpashastra or Vastushastra, the Crocodile or which is often referred to as ‘Makara’ in our very own Sanskrit Language carries a special significance and has manifold manifestations. In this article, we will get to know in brief about the chronology of depiction of crocodiles in temple architecture and in Hindu iconography. Among them, the most common portrayal of crocodiles is glimpsed in “Makara Pranala” which means the discharge outlet mechanism attached to the wall of the sanctum sanctorum of a temple’s vimana that discharges the lustral water or other liquids poured over the deities for Abhishekam inside the sanctum. The pranala is also known as praṇāli, nāla, nāli, gomukha, or nirgama. Many scriptures of Bharat like Samarangana Sutradhara, (11th century), Vishvakarma's Vastushastra, compendium on the Māru-Gurjara architecture (late 11th century), along with Aparajita-prchchha, dated late 12th to early 13th century, refers to the makara-pranala used to clear the water out of the temple's Jagati (platform). The earliest evidence of the makara pranalas can be dated to the Shaka-Kushana period in northern India. The pranalas continued to be used in the subsequent years, including the Gupta period. However, the elaborately sculptured pranalas first appear only in the 8th century CE.

Two of the finest depictions of Makara Pranala can be seen at the pedestal (urddhvajangha portion) of Mayadevi (also known as Mahagayatri) Temple, adjacent to the famous Surya Deva Temple in Konark in the state of Odisha. 13^th Century CE.

Gargoyle on the north side of the deula. It is carved as a makara with a short proboscis and mustache.

Gargoyle on the north side of the gavakshya of the jagamohana. It is designed as a crocodile holding a fish in its mouth.

Secondly, Makara is depicted as the vahana of the river goddess Ganga and sometimes with Narmada. As we know, the river goddess Ganga and Yamuna, as frequently shown on the temple doors as guardians of the principal deity since the Gupta era and the early mediaeval periods can justifiably trace to those prototypes, though they are not depicted in the dancing pose. Their generally standing figures are architectural decorations and afterwards endowed with the hieratic form of cult deities or exceedingly beautiful women of a voluptuous type. One of the finest depiction of Ganga is seen at Mukhalingam in Srikakulam District of Andhrapradesh which was previously famous as Kalinga Nagari. The image vividly showcases the architectural grandeur of the Ganga Dynasty and belongs to the 9^th Century CE.

About the image - Gangā in a niche on the north side of the east entrance portal of the jagamohana. She stands in a slightly flexed pose on her makara-mount though her legs are not crossed. Her left elbow rests on the shoulder of the attendant holding the parasol while her uplifted right hand, partially supported by the uplifted hand of a second attendant, holds a lotus. This second attendant holds a bag over her right shoulder. In the upper left corner of the niche is a pair of flying hamsas sharing a string of pearls in their beaks. The parasol in the upper right is now missing.

(Varuna as Dikpala at Rajarani Temple, Bhubaneswar, Odisha. 11th Century CE)

Likewise, Makara (Crocodile) is often being shown as the vahana of Varuna, most of the descriptions of Varuna celebrate him as the lord of the waters; and some (e.g. Aparajita pruccha) hail him as the lord of the west, hence he is revered on the temple walls as one of the Dikpalas. Varuna is shown either in standing posture (sthanaka) or as seated (aasana) or as riding his vahana. But he is not shown in reclining position (shayana). He is shown either alone (kevala) or with his consort/s. He is either seated or is riding a Makara (a mythical monster of which we shall talk a little later); but he is also mentioned as riding a crocodile (Rupa mandana) or seated on a swan or seated on a dog or a Makara with a dog-head (Mathsya Purana). In some older texts (Vishnudharmottara) his chariot is drawn by a set of seven swans. And, at times he is shown sitting by a waterfowl. But in this article we are highlighting the crocodile only.

Thirdly, the crocodile is portrayed as a symbol of royalty in the motif of Makara Torana. A makara torana is an ornamental archway found in Hindu temples, the name makara-toraṇa has been given to this type of canopy because of the prominent presence of a pair of makaras carved either facing each other or facing opposite directions. The framework of a makara-toraṇa consists of two split pilasters with a lintel and a vājana or rarely a kapota. Above the vājana two makaras are placed at the two ends. From the mouths of the makaras come out long floriated tongues and join forming an arch or a semi-circle. The pinnacle of the arch or the semi-circle is normally crowned by a kīrtimukha. These creatures are often depicted with long, floral tongues that form an arch, sometimes crowned by a kirtimukha (face of glory). The torana is a significant architectural element, adding to the grandeur and opulence of temple entrances. Image of Makara Torana at Mukteshvara Temple is magnificent and marvellous.

Fourthly, it is an astonishing fact that the crocodile designed ornament is worn by the deities of Hinduism. Such ornament is famously known as “Makarakundala” it is one of the five kinds of commonly known ear-ornaments (kundala). This ornament is shaped like the mythical Makara creature. It is also known as the Nakrakuṇḍala because of the usual long or extending snout of the crocodile. as described in texts like the Panchatantra, Padmasamhita, and Vaikhanasa Agamas, which thoroughly explore the technical aspects of temple art, iconography, and architecture within Vaishnavism. Makarakundala refers to an earring that resembles the legendary creature makara and signifies elevated status. This is typically worn as a necklace. The tail of makara is placed into the ear-lobes (karnapasa) either from the front or from the back. This is referred to as makara-netunkulai in the verses of Alvars. Makarakundalas are prominent in all the Vishnu icons being examined. The word “makara” refers directly to “crocodile,” and one of the ear-ornaments from a Vishnu icon is shaped like a crocodile.

World Crocodile Day: Significance of Crocodile in Temple Architecture

In Hinduism, the crocodile (makara) is considered to have been keeping some divine characteristics for which it has been given special places in sculpture art.