600 – 700 AD, Pallava Dynasty
Commissioned by Narasimha Verman I, “the Great Wrestler”, Mamalla.1
Granite Wall Panel, Mahishasuramardhini Cave Temple (Shaiva Cave), at Mamallapuram, Tamil Nadu, India
From the great pantheon of Indian Gods and Goddesses, the god of Shakti, Devi Durga is intrinsically sculpted by skilled Pallava craftsman, on the rear wall panel of the famous Mahishasuramardhini Cave Temple at Mamallapuram. During this period, the local tradition of carving adheres to display the soft modeled technique on granite, which is used for the panel. The conception of the panel balances the scale & proportion of detailing to avoid any overwhelming visual experience / anubhava & dictates importance to the overall composition / bhava.
This well composed panel narrates the famous mythological episode from the great Hindu epic Veda, which narrates the evolution of Devi Durga (good) to fight against the King of Asura (evil), Mahishasur. The incident highlights the complex origin & supreme power of this deity as she possesses all the cosmic power in form of weapons which are attributes of celestial gods to fight against the bull headed demon Mahishasur. He was believed to have earned boons from the God Indra for immortal life and had attacked all the 3 worlds (mythical) with his army of Asuras to rapture the peace on earth and heaven. Following the emergency Brahma, Vishnu & Shiva and along with other celestial gods created Devi Durga, who was born as a young beautiful woman with the most serene & calmest look on her face, but the strength of all celestial gods (male gods).
Weapon English Translation God / Deity
Shankha Conch Varuna
Chakra Disc Vishnu
Gada Mace -
Ankusa Iron rod Yama
Dhanur-Bana Bow & Arrow Vayu & Surya
Trishula Trident Shiva
Musala Club Kuber
Khadga - Indra
Durga is usually portrayed with numerous arms with weapons ranging from 2 to 4 to 8 to 14 which heightens her divine power. The weapons are symbols of respective gods, which are:
“Prathima Lakshana”
A n a l y z i n g t h e C o m p o s i t i on
The panel comprises of a no. of characters which symbolizes their existence from the 3 worlds (mythical) i.e. earth, atmosphere & heavens (sky) as per there level of importance to create an interesting narration which evokes a feeling of being live, in action to capture utmost attention of the viewer (anubhavi) [Fig A & B]. Mahishasurs extraordinary scale, posture & location grabs the first glance on the panel while it overshadows the beautifully sculpted Devi Durga in tribhanga mudra charged with all her might.
The composition of the panel can be easily divide in two parts (Fig-1), wherein the left half comprises of Durga riding on her vahana lion with her other supporters from the three worlds as part of her army & the right half includes the King of Asura, Mahishasur with his robust army of asurs (demons). The posture of Durga is voluptuous, with thin waist and lucid curves defining her female attributes which are symbolic to absoluteness, energy, strength, fertility & production. The panel can be further divided horizontally (Fig-2)for the left half; to define the people or ganas standing on the ground who are from earth, the ones in the middle from the atmosphere (air) & the top most ones from the sky (i.e. heaven) to define the three worlds which also includes flying female warriors. The right sphere of the composition includes Mahishasur in an oblique (diagonal) posture which creates an illusion of him retreating back to strengthen his attack with mace on Durga. The shape of his body is visually adding a dramatic live incidence kind of moment to the composition.
The conception of this particular piece (which is put under study from Fig-1 to Fig 8 – Line Diagram) shows Aashtabhuja (8 arms) Devi, targeting with her bow & arrow (attributes from Vayu & Surya) to kill one of the Avatars of Mahishasur who beholds the head of a bull at this moment of his avatar. The scene displays a glimpse of one out of the many avatars which Mahishasur undertook during the tenacious period of the war.
The other contributors, includes the female warriors who are raging against the asuras, whereas the ganas on the earth & the atmosphere grabs our quick interest to see how calm and peaceful they appear with their pot bellies as if their support is morally rather than physically. The attitudes of ganas was rather an obvious expectation, whereas its not clear enough to define the pictorial representation of the Asuras.
A closer look at the panel stoically states the usage of vertical and diagonal lines (Fig-7) for orienting the characters which in turn lend a sense of drama, movement & activity. Further lines can be drawn to explain the location and facial mudras of the characters (Fig – 8) which easily become part of the square and circle. Although there can be multiple permutations and understandings which can evolve from the enlightened Hindu Iconography (Fig-3, Fig-4, Fig-6, Fig-8). While all these individual elements conjoin to form the composition, it is still important to look at the basic form of the face which is a sphere (symbolic for symmetry) or a circle or a bindu (a seed of evolution) from which they evolve.
“Iconography”
C o n t e x t u a l r e a d i n g o f S y m b o l i c I c o n s
A detailed survey of the Panel over and over again speaks volumes about Indian monotheistic worship of one god, who is powerful enough to fight against all evil. The idea is strengthened further by depicting Dugra with weapons in eight arms which defines ultimate amalgamation of the supreme energy of the universe, the sphere which is symbolic to evolution which is endless or infinite or limitless. It defines the stature which Durga holds above all male gods/deities i.e “The Universal Power” (sakti).
Since her attributes includes various masculine characters – like power, heroic, royal she becomes the unconquerable warrior who can fight the demon Mahishasur who is physically much bigger in size to conquer. Symbolically it is the war between the good over the evil, where the external projection of Durga is feminine (symbol of calmness & serenity) in nature.
The overall composition includes circles, spheres, squares etc which symbolizes symmetry or equalness or balance. The weapon dhanur & ban used by Durga enhances her constant determination and power to fight, whereas the huge bull head of Mahishasur suggests darkness and end of his existence at the end of the fight. The small dwarfs or ganas are icons of common man on earth and in atmosphere who is dedicated to the supreme goddesses in her endeavor but not really do they posses any power to fight, but with their physical existence they confirm there support to Durga (to the good deed).
A e s t h t i c I n t e r p r e t a t i o n
The comprehending idea (the bhava), i.e truth is real and everything else is a void is deciphered through the panel which evokes an experience (anubhava) that is universal and it will always remains constant. So rajas-the aspect of activity, fiery, heroism, energy, spontaneity anger, which is one of the three gunas or qualities of cosmic matter, defines the essence of the composition.
B i b l i o g r a p h y
1. Indian Art – A Concise History
By Roy C. Craven, Thames & Hudson World of Art
2. Myths & Symbols in Indian Art & Civilization
By Heinrich Zimmer
3. Indian Mythology
By Veronica Ions
4. Rasa Theory
By G K Bhat
5. Development of Hindu Iconography
By Jitendra Nath Banerjea
6. Hindu Art & Architecture
By George Michell
7. Indian Art
By Vidya Dehejia
8. Development of Hindu Iconography
By Jitendra Nath Banerjea
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