Book Title: Indian Antiquary Vol 58
Author(s): Richard Carnac Temple, Charles E A W Oldham, S Krishnaswami Aiyangar, Devadatta Ramkrishna Bhandarka
Publisher: Swati Publications
________________
FEBRUARY, 1929 ]
NOTES ON THE SEVEN PAGODAS
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 : This 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, who, in anger, rained stone and other destructive material upon the sacrilegious village. Thereupon Krishna performed this feat to save the villagers from 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 penance; 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 Krishna 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 Venugopala (young Krishna playing on the flute) is not found represented before the 13th century A.D. One stanza of Tirumangai Alvår of the twenty devoted to this place seems specifically to refer to this relief.33
Mahishasuramardani (Plate 10)-The goddess Durga 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 oyes should resemble the nilótpala 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 trišala, khadga, baktydyudha, chakra, and a stringed bow; and in the left hands the pasa, anleusa, kitaka, parasu, and a bell. At her feet should lio a buffalo with its head cut off and with blood gushing from its neck. From within this neck should be visible the half-emerged real asura bound down by the naga-pasa of the Dêvi. The asura should be made to carry a sword and a shield, although the Devi has already plunged her trsula into his neck and he is bleeding profusely. He should have a terrific look with knitted eye-brows. Tho 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.
The Vishnudharmóttara, as quoted in the Vachaspatya, describes Mahishasuramardani under the name of Chandikå thus This Dévi has the complexion of gold and is a very handsome youthful woman in an angry mood, sitting on the back of a lion. She has twenty hands; the right ones carry, respectively, the buila, khadga, sankha, chakra, bana, sakti, vajra, abhaya, damaru, and an umbrella ; while the left ones are seen to hold the någa-pada, khéțaka, parašu, ankusa, dhanus, ghanta, dhvajagada, a mirror and the mudgara. 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 Dêvi mauls him, and the Dêvi herself thrusts the trádla into his neck. The asura, who is bound down by the naga-pasa, carries & sword and a shield.84 The peculiar feature of the Mahishasuramardani here depicted is that the panel exhibits her as pressing back her enemy Andhakasura 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.
The Shore Temple General view (Plates 21 & 22). This temple in general view shows a double vimana, both parts shaped exactly alike, but of proportions that seem intended to serve 83 Periya Tirumo!i, II. V. 4.
34 T. A. G., Iconography, p. 367, et aeg.
