Jignasa Journal Of History Of Ideas And Culture Part 02

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

Page 92

308
/ Jijāsa
were sent by the gods as their saktis to Siva to help destroy Andhakāsura, and thus they are represented in their iconographic details in accordance to iconography, and have been evidenced in Saciyāmātā, which contains ten in postures of dance and find placed at the sikhara's karna srnga and in the Visnu temples, numbering seven with the specific vehicle and attributes or the ayudhas of their Spouse. 10! These were nomenclatured as Brahmāni, Vaisnavī, Māheśvari, Kaumārī, Indrāni, Vārāhi and of their spouse Chāmundā or Chandikā, and were the counterpart sakti of the gods Vişnu, Siva, Brahmā, Indra, Kartikeya, Varāha and Nrasimha. A possible Chāmundā or Chandikā like image at Sachiyāmātā temple's southern janghā shows a terrible' aspect whose mouth is open, has large eyes, with a scorpion on the stomach, has sagging/pendulous breasts and is without any attributes.
Another goddess of significance is Nirriti, who is generally placed on the western jangha's karna rathikā, the exception being the Visņu temple number two's southern janghā in western karna rathikā, where she is in a rare depiction, which shows her to be riding a male, in the manner Vişou rides his vehicle garuda, and further she is in china mudrā. The vehicles are either a donkey or a dog and just once a male, and are thus found to vary.
The Sanghāta Saptamātskās
The sarghāta or the sainyukta images are those which are represented in joint' manner in terms of two gods, and could be as a male with another male, or a male and a female both, and the attributes are shown as shared, or else if represented individually but in the same reference of the space or the frame, then they are with their own attributes. It has been noticed as a device of syncretism of diverse worship practices, and was first noticed during the Kuşāņa period. C2 Interestingly the representation of the saptamārskās is viewed as the samghäta.
Ardhanārīśvara is the conjoint form of Siva and Pārvatī, but it is also considered to be symbolic of Śiva Sakti, Nara-Nārī, Brahma-Māyā etc.103 This particular form of the composite image is seen to symbolize the synthesis of the Saiva and the Sakti cults in so far as the half Siva and half Umā or Pārvati is concerned. The Pauranic tale of sage Bhrögi and his bitterness for the worship of Parvati is considered to be the reason for the emergence of this image, which encouraged and preached the unity of the warring factional sects, to check the separatist tendency among its followers. Three of the eighth century Osiān temples reflect this attitude, and thus three Ardhanārīśvara images have been noticed, while two are in tribhanga mudrā, one is seated in mahārājaliläsana. While only one Ardhanārīśvara image is reported by Handa, found on the pratiratha-rathikā of the Siva Temple No.3.105 The Ardhanārīśvara images have been considered as syncretistic which are representative of the tendency of reconciliation and synthesis that may have existed at the place when these images were carved.106 The sharing of an equal visual space in the metaphysical realm indeed can appear as an enlightened prajñā. And yet speaking analytically, how many samghāta images are to be found of males where they share the visual space in as many numbers? Is one aspect of samghāta reflective also of a polygamous space made feminine?
Krsna-līlā as a Backdrop to the Projection of the Feminine
Early temples of the eighth century cater to the narrative sculptural friezes and subject wise are generally pertaining to Krspa-līlā, that too primarily focused on the various aspects of Bala-lila and with only one other episode of Paurāņic legend of samudra-manthana or the churning of the ocean has been found carved. 107 Harihara temple number one's northern Kantha's first scene displays Krsna