Indian Antiquary Vol 46

Author(s): Richard Carnac Temple, Devadatta Ramkrishna Bhandarkar
Publisher: Swati Publications

Page 77

APRIL, 1917)
THE ANTIQUITIES OF MAHABALIPUR
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evidently a drum. This figure is obviously that of old Jâmbavân, sounding the drum in joy due to the victory of the Dêvas over the Dânavas. At the foot of Trvikrama sits Namuchi to the right; and the other three figures, that are to be seen, are perhaps representations of Bali and some other prominent asuras. There is one other figure shown as if cutting somersaults in the air, and carrying something like a staff in the right hand. It is not possible to say whom this figure is intended to represent. The Brahmânia. purána states that when Vâmana grew to be gigantic in size, and became Trvikrama, some of the Dänavas were hurled up into the air as if by a hurricane. This figure is perhaps one of the Dânavas so tossed up. This piece of sculpture belongs to the seventh century, that is, to the palmy days of Pallava supremacy in Conjeevaram. (Op. cit., pp. 170-2).
These two, as also several others of the figures of gods and goddesses in the locality, conform to the norms of Iconography as laid down in the Vaikanasâ agama and shew marked differences of features from representations of the same icons in other localities and of other ages. This has to be noted carefully, as no conclusion in point of chronology can be drawn from these without regard to the school of architecture or sculpture.
Govardhana Krishna:-Plate VI represents Krishna as carrying the hill Govardhana to protect the cowherd settlement of Gokulam where he was being brought up. When the annual feast intended for Indra, the Vedic god of rain, came round for celebration, Krishņa accepted the offerings intended for Indra, and he in anger, rained stone and other destructive material upon the acrilegeous village. Thereupon Krishņa performed this feat to save the villagers from the harm and exhibit to the wondering world that what was offered to Krishna is as good as offered to all the gods. Architecturally this piece of workmanship is rather crude in comparison with that of Arjuna's penanco; but it seems none the less to belong to the same school of art. If it be so, this may be the first work of an artist or the first work of the school the work of which, in an advanced stage of its skill, is exhibited in the other bas-relief. Behind the Krishya in this relief, one will notice in the original a young shepherd boy playing upon the flute. This is sufficiently far away to indicate that it represents another of the many aspects of Krishna's life and refutes the theory that Vênugopala (young Krishịa playing on the flute) is not found represented before the 13th century AD. One stanza of Tirumangai Alvar of the 20 devoted to this place seems specifically to refer to this relief.18
Mahishasuramardhani:-The goddess Durgâ should have ten hands according to the Silparatna, which describes her further as having three eyes; she should wear on her head a jata-makuta and in it there should be the chandra-kald or the digit of the moon. The colour of her body should be like that of the atasi flower, and the eyes should resemble the nilótpalu or the blue lily; she should have high breasts and a thin waist and there should be three bends in her body (of the trbhanga variety). In her right hands she should carry the triala, khadga, saktyäyudha, chakra, and a stringed bow; and in the left hands the pdia, ankuda, kêtaka, poraku, and a bell. At her feet should lie a buffalo with its head cut off and with blood gushing from its neck. From within this neck should be visible the half-emerged teal asura bound down by the naga-pája of the Dêvi. The asura should be made to carry a sword and & shield, although the Devi has already plunged her trúla into his neck and he is bleeding profusely. He should have a terrific look with knitted eye-brows. The right leg of the Devi should be placed on the back of her lion and her left leg should touch the buffalo-body of Mahishasura.
15 Periya Tirumali, II. V. 4.