Jignasa Journal Of History Of Ideas And Culture Part 02

Author(s): Vibha Upadhyaya and Others
Publisher: University of Rajasthan

Page 91

Encapsulated as Material Artistic Response
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generally tied below her navel. The dhamilla hair coiffure is worn by her as the necklace usually falls on the stomach from between the breasts.
As Srågāra Durgā, the image presents her in the synchronized acts of adornment by the tying her anklet, in the parting of her hair and in act glimpsing herself in the mirror, all accomplished by her many arms, and has been suggested as motions made 'prior to the dance.' It would be of interest to note here that many masters of the Western art also caught this moment of spontaneous act of a woman looking at herself, in the nomenclature as of the toilette of .....'. But coming back to Srngāra Durgā, the backdrop of karnarathas and anurathas to her image contain the etched images of men with various weapons and a bull, which are suggestive more in the nature of preparation to a battle field. Though it has been noted that this representation of Srngāra Durgā finds limited demonstration, yet of the few instances found of it, a similar image has been found at Abāneri.92
The entire area of the karnaprāsāda impacted by the worship of Sakti, in which the various aspects of Devī have been sculpted, namely: in the benevolent aspect as Srågāra Durgā, as a destroyer or samhäraka she finds representation as Cāmundā and as a protectoress or in the maternal form is imaged as Skandamātā. The images of Gangā and Yamunā are etched on the dvāra-Sākhās of the temples, and with their respective vehicles are found in tribhanga mudrā. These depictions are more popular in the earlier temples than in the later ones.
Sitalā is considered to be an illness destroyer goddess, and her one representation in Osiān has been found at Saciyāmātā temple, at the northern jamghā of the bhadra rathikä, is seated nude on a donkey in lalitāsana and is without any ornaments.” She holds a winnowing basket in her rear hands at the back of her head. Though it is the only image found in Osiān, Sitalā images have been discerned also in Arthüņā and in the former Amber museum.94
Pārvati has been depicted as standing in sambhanga mudrā with attributes and heavily ornamented, and the right hand in abhaya mudrā at the Siva Temple No. 2.95 It is noted that the "massive youthful bust over the thin waist seems rather disproportionate to the lower portion but the figure seems to radiate the charm of womanhood and is an interesting relief." 96 The Harihara temple evidences the image of Pärvati with a child in her lap, in the south west karnaprāsāda's or the subsidiary shrine's southern jamghā or the wall portion. The representation of Pārvati as a tapasvinī with closed eyes or as one, who has renounced the world and is in the process of performing penances, has been found in two instances.
Ksemankari one of the nine forms of Durgā, is identified with primeval energy, is of terrible form, appearing as an old emaciated lady whose veins were visible, with open mouth, trampling, frightening the world and equipped with hundreds of weapons” and protects gods and devotees. 97
The antiquity of the saptamātskās or the 'seven mothers' can be traced to the Vedic period and are found to be flourishing more during the medieval period which saw their number and name at variance in the Purāņas.98 Their images are carved in a group, in the panels of the lintels of the doorways, in the rathikās on the kumbhakas of the vedībandha or even independently.99 But what is very interesting is that Osiān has not yielded a single slab representing all the mothers together. In their evolution, the uttaranga at the temple number three and in the temple number five, they are found placed at the kumbhaka rathikās vedi-bandha or the ‘moulded basement and further have been shown both with and without children. These saptamātykās according to the Purāṇic accounts