5.9. Shaivite Images in Odisha art

Siva—The forms of Siva, as represented in Orissan art, are varied. They fall under two categories: one showing the god in the ugra (terrific) form and the other depicting the saumya (peaceful) aspect. These images can also be classified, according to their postures, as sthanaka (standing), asina (seated), nrtya (dancing) and devi sahita (with the consort). The Mukhalinga aspect is illustrated in extent specimens from Sitabinji, Jajpur and Daksina Sasana. An interesting relief from Simhanatha temple depicts the Lingodbhavamurti of Siva, while Mahesamurti forms are available at Parasuramesvara and Suklesvara temples. There is a fine specimen of standing 59

Candrasekhara figure of Siva at Khichingi. The Gangadhara aspect of the god is shown at Simhanatha. Siva in his bhiksatanamurti is represented on Parasuramesvara temple and at Suklesvara. It is believed that the Pasupata sect of Saivism found its way into Orissa during 6th-7th century AD.98 The organizier of Pasupata sect was Lakulisa, who was considered to be last incarnation of Lord Siva. With the growing of popularity of the Pasupata cult the image of Lakulisa began to be carved on the Saiva temples of Orissa. He has been frequently depicted in the earlier temples, but in later ones he has not been given so much importance. In the earliest ones like, the Bharatesvara and the Parsuramesvara, Lakulisa has been depicted without his disciples. In the subsequent temple, he has been associated with either four or six of his disciples. Lakulisa is shown sitting in Yogasana on double petalled lotus with eyes half-closed and hands in dharmacakra-pravartana mudra. The beautiful Lakulisa figure from Suklesvara temples depicts him in the characteristic dharmacakra-pravartana mudra. Lakulisa images, holding Lakuta and shown in the seated pose, are quite frequent in the sculptures of Orissa. Besides several representations from Bhubaneswar, images of Saiva-Lakulisa also hail from Mukhalingam, Khiching, Simhanatha and Balasore. Orissan temple sculptures showing the samharamurti (destructive form) of Siva such as Andhakasura badha murti and Gajasura badha murti hail from Bhubaneswar. There is a large size image of Bhairava from Orissa in the Indian Museum at Calcutta. The figures of Bhairava, associated with Sakti cult, occur at Hirapur and Kundesvar. The standing Bhairava image from khiching, though damaged, is one of the finest representations of its type in Indian art. Equally magnificent are the four faced dancing Bhairava figures seen on the jagamohana of Konarka Sun temple. The multi-armed Nataraja images in catura pose dance are noticed on the temple of Orissa. The early temples of Bhubanesvara such as Paracuramesvara, Vaitaya, Cisirecvara, Markaeoecvara, etc contain Naoaraja figures inside caitya arches. Detached sculptures showing Civa in dancing form are known from Asanpat, Cuklecvara, Muktecvara compound, Amaigai and Raeipur-Jharial. The earliest image of Nataraja (5"- 6th centuryAD) is from Asanpat and this is now preserved in the Orissa State Museum. In all Orissan temples, the Naoaraja is depicted in liyita or 'catura poses. The Naoaraja images of all the temples belong to one broad type, though there are minor variations in different representations in the same temple. Therefore, the images bear no chronological 60

100 significance. Normally the Nataraja is eight or ten armed. His two upper most hands hold a snake over the head. Of the main pair of hands, the left is turned horizontally towards the right. In most of the cases he is shown in association with Ganeca but in the Bharatecvara temple Kartikeya takes the place of Ganeca. Siva is also depicted in company with his consort Parvati. The combined form is called Hara-Parvati or Uma-Mahesvara murti. On the basis of the sitting arrangement, the images can be grouped into two categories. In the first category Siva and Parvati are seated close to each other on a common platform. Parvati is on the left of Lord Siva. The image of Siva is four handed. Paryati's left hand firmly rests on the pedestal and the right on the shoulder of her husband whom, she casts a sweet glance. Their respective mounts, bull and lion, are carved on the pedestal. In the second category Parvati sits on the lap of Siva. In the left hand she holds a mirror while the right hand encircles the neck of her husband. Siva keeps his right hand round his consort. As usual their mounts are carved on the pedestal. This category of Hara-Parvati images are noticed in later temples. The Hara-Parvati image of the first category is found in the early temples of Orissa. In the Brahmesvara temple it is depicted on the lintel above the doorway. Here Siva and Parvati are seated on the Kailasa flanked by their attendants and with their mounts depicted below. 101 The murtis of Siva showing his marriage with Parvati, are noticed in sculptures of Bhubaneswara as well as in other Siva temples of Orissa. A detached sculpture from Visnupur (Puri) belonging to late 13th century depicts the scene in some details. The figures of Uma- Mahesvara are very common in Siva temples of Orissa as avarana devata or parsvadevata. The composite aspects of Siva, represented by the figures of Hari-Hara, Siva-Surya, ardha-narisvara etc are known from the temple sculptures, especially from Satrughnesvara, Vaitala, Lingaraja and Konarka. Ekapada is one of the manifestations of Lord Siva. This type of image is noticed in the southern side balustraded window of the jagamohana of the Gramesvara temple at ViraPratapapur village of Puri district. It is the best specimen of the Ekapada form of Lord Siva. 61

Ganesa:The extant reliefs and single sculptures of Ganesa give us an idea about the iconography and the typical Orissan mode of representation. Ganesa usually appears as a parsvadevata in a Saiva temple and his depiction without mouse seems to be an earlier convention. The Ganesa images of Orissa generally fall under four categories such as sthanaka, asina, nrtta and devi -sahita. Several seated and standing forms of Ganesa are known from Bhubaneswara, which teems with numerous Siva temples. Beautiful representations of the seated form are available at Parasuramesvara, Sisiresvara and other temples. One of the finest standing types of Ganesa is seen in the southern niche of the Lingaraja temple. Several dancing forms of Ganesa are known from Khiching, Champanatha, Bhubaneswara, Parahat, Algum and other places. 102 Ganesa is shown along with the devi in a specimen from Jagannatha temple compound. Images of five headed Ganesa, one in the British Museum, and another fixed on the wall of Siddha Mahavira temple of Puri illustrate altogether unique iconographic types. The four handed image of Ganesa generally displays rosary, broken tusk, a pot of sweet balls and a long handled kuthara in his hands. Kartikeya:Most of the figures of Kartikeya in Orissa are shown in the role of parsvadevata in Siva temples. Kartikeya is usually shown in standing (sthanaka murti), seated (asina murti) on his peacock mount and riding forms (Yanaka murti). In the representation of this divinity is noticed on early temples such as Parasuramesvara and Sisiresvara. The Image of Kartikeya is shown without the kukuta (cock) but in later specimens beginning with Muktesvara, the cock becomes his characteristic attribute. Kartikeya riding on his mount is known from Vaidyanatha, Paschimesvara temple while another is stuck to a miniature temple in the Yamesvara compound. The sthanaka murtis of Kartikeya are found in large numbers. Kartikeya is sometimes shown as six-faced and specimens of this type exist in the Vimala temple of Puri and Gatesvara temple at Algum. A fragmentary relief, now in the collection of the Orissa State Museum, depicts the Mythology connected with the birth of Kartikeya. 62

Kartikeya generally has his coiffure arranged in the sikhandaka mode, consisting of looped- meshes, characteristic of boyhood and is richly bejeweled with the foremost ornament being the vyaghranakha, necklace of tiger-claws and tortoise pendants. He holds the sakti in one of his hands and is accompanied by his peacock-mount who frequently trods on a serpent. Towards the end of the 9th century AD the kukuta (rooster cock) is added as an attribute, which he holds in one of his hands. On later standing images, the kukuta is invariably held in the major left hand near his hip while a small image of Devasena stands below holding its feet with her uplifted right hand. In most of the early images of Kartikeya hold a vija-puraka (ball of meal) in one of his hands while in several late examples the sakti is replaced by a trident.