Indian Antiquary Vol 46

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

Page 78

68
THE INDIAN ANTIQUARY
[APRIL, 1917
The Vishnudharmôttara, as quoted in the Vâchaspatya, describes Mahishasuramardhani under the name of Chandikâ thus :-This Dêvi has the complexion of gold and is a very handsome youthful woman in a. angry mood, sitting on the back of a lion. She has twenty hands; the right ones carry, respectively, the sûla, khadga, sankha, chakra, bana, sakti, vajra, abhaya, damaru, and an umbrella; while the left ones are seen to hold the naga-pasa, khêtaka, parasu, ankusa, dhanus, ghanta, dhvajagada, a mirror and the muḍgara. The buffalo-part of the asura is lying decapitated with the real asura proceeding out from the neck. His eyes, hair and brows are red and he vomits blood from his mouth. The lion of the Devi mauls him, and the Dêvi herself thrusts the trûla into his neck. The asura, who is bound down by the naga-pâia, carries a sword and a shield. 19 The peculiar feature of the Mahishasuramardhani here depicted is that the panel exhibits her as pressing back her enemy Andhakâsura in war. At this stage she has a benign aspect and shows nothing of the ferocity in combination with beauty which is usually associated with this aspect of the Goddess Durga. (See Plate VII.)
The Shore Temple:-General view, Plate IX. This temple in general view shows a double vimâna, both parts shaped exactly alike, but of proportions that seem intended to serve the purpose of shutting off the smaller from view on one side. The shoreward tower is the smaller and seems the older. It has a hole in the middle of the pedestal stone to hold a stone image or linga. An image has since been recovered which is of the Sarvatôbhadra 20 type. There is within the shrine a representation of Siva as Sômaskanda 21 in the central panel.
Beginning at the south end of this little shrine and at the back of it looking towards the sea is what now looks a comparatively dark chamber, holding a large-sized image of Vishnu au couchant. (See plate VIII.)
Then comes the seaward shrine just covering this in front, and of proportions to shut off altogether from view on the seaside both the 'Vishnu and Siva temples above described. This contains a huge lingam, with sixteen fluted faces. These three in Chola times were known as Jalasayana or Kshatriyasimha Pallavêévaram, Pallikondân and Râjasimha Pallavê varam, respectively, notwithstanding the statements of the epigraphists to the contrary.
The significance of this will follow :
The Atirapachandêsvara Cave in Sâluvanguppam: plate X. This Atiranachanda was taken to be Nadivarman, the last great Pallava. It looks, on palæographical grounds, to be a surname of Narasimha varman II, Râjasimha.
Vishnu in the lying posture as the Sthala-sayanamûrti: plate VIII. This is a recumbent image of Vishnu with only two hands; about a fourth of the body should be somewhat raised, and the remaining three-fourths should be lying flat upon the serpent bed. The right hand should be placed near the pillow, so as to touch the kirita; the other hand, bent at the elbow, should be held in the kaṭaka pose. Or, this left hand may be made to be parallel to the body, so as sometimes to touch the thigh. The right leg has to be stretched out, while the left should be slightly bent. The image itself should be adorned with various ornaments. The eyes must be somewhat opened. The colour of the image should be a mixture of black and yellow. By the side of this recumbent figure there should be Bhrgu and Mârkandeya, and near the feet, the demons Madhu and Kaitabha, while on the lotus
19 T. A. G. Iconography, p. 357, et seq.
20 A column with four faces, each face with a head of Siva, the top is surmounted by a head also, 21 Siva in the company of his consort Uma and their son Skandha (Subrahmanya).