Studies in Indian Art c12.s13.45

c12.s13.45

One of the most unique Śiva images from Mathura is illustrated by Coomaraswamy in his History of Indian and Indonesian Art (Fig. 68). It shows the four-armed 'ūrdhvareta' Śiva carved in high relief against a liṅga in the same manner as the Guḍimallam Śiva². The Gupta sculptors of Mathurā also made Ekamukhī Śiva liṅgas of the Bhumara and Khoh type. We find them installed in several places in the city, still in worship³(cf. also Museum collection, 2312). We have also specimens of two-faced (462) and five faced⁴ (516) Śiva liṅgas of the Gupta period. Most probably the five heads have reference to the Īśāna, Tatpuruṣa, Aghora, Vāmadeva, and Sadyojāta forms of Śiva. Of the 'līlās' of Śiva not one has been traced in Kushāṇa art. The Gupta sculptures, however show a representation of the famous scene of Rāvaṇa lifting the mount Kailāsa on which Śiva and Pārvatī are seated (2577; Fig. 108). Iconographically as well as artistically this piece is of great importance. It is full of lively commotion resulting from the unprecedented upheaval. The giant king with protruding eyes is exerting his full vigour to summon all the resources of his great might. The wavy lines and the reticulated breaks in the ridges of Kailāsa express the strain to which it was put reminding us of the famous and almost contemporary description in the Meghadūta of Kālidāsa (158), viz. कैलासस्य.........दशमुखभुजोच्छावसितप्रस्थसंधेः । The eminences of the peak as well as the ridges appear like dense masses of clouds layered one upon another. Pārvatī sits to the right of Śiva, and her left hand finds support on the right shoulder of her lord, who is bracing up at a time when the great oscillation must have convulsed all nature.