Elements of Hindu Iconography v1.c11.73

v1.c11.73

We do not as yet know what the written authority is, on which Narasimha with Hiranyakasipu, as depicted in Pls. XLIV and XLV, is based. That these two pieces of sculpture, one found in Ellora and the other in distant Dādikkombu near Dindigal in South India, should exhibit so nearly the same main features, clearly indicates the existence of an authoritative description in some work bearing upon the formation of images and forming the basis of these productions of interest and value. In both these we see that Narasimha is shown as advancing towards Hiranyakasipu from the right, as the latter approaching in a defiant attitude, with the sword lifted up to strike the adversary; in both Narasimha is made to take hold of the body of Hiranyakasipu so as to overpower him; moreover one of the right hands of Narasimha in each of the sculptures is held up as if he is going to deal a blow to the enemy with the open palm of that hand. The same objects are found in the hands of Narasimha in both the sculptures, namely, śaṅkha, chakra, khaḍga and khēṭaka; and again one of the hands is, in relation to both the images, in the abhaya pose. Although based on the same authority, the two pieces of sculpture are very dissimilar in respect of their artistic merit. The conventional lion's face, the conical kirīṭa, the expressionless attitude, the straight mechanically arranged mane and other such inartistically executed details in the Dāḍik-kombu image proclaim its positive inferiority. This and the images represented by the figures on Pls. XLVI and XLVII belong to the period of the Nāyakas of Madura (16th and 17th century A. D.) when the sculptor's art was in South India at its lowest ebb. The Dāḍikkombu image is indeed in a marked contrast with that of Ellora in almost every respect. In its workmanship it is decidedly inferior and the artist was obviously utterly lacking in imagination. The sculpture at Ellora, on the other hand, is full of expression and suggestive of energy and vigorous action; the attitude of Narasimha indicates, in a manner, the āḷiḍhāsana; the face of a real lion, with the curling mane and the delicately sculptured kirīṭa, tend to enhance the artistic effect of the whole piece. The hand thrown on the shoulder of Hiraṇyakaśipu keeps him literally at an arm's distance; a second hand catches hold of his crown and renders him motionless, while a third by tightly gripping the sword-carrying hand of Hiraṇyakaśipu, completely disarms and overpowers him. The master touch of the work of the artist may be seen in the way in which the interlocking of the leg of Narasimha with that of Hiraṇyakaśipu is carried out. The sculptor has obviously intended to suggest the divine nature of Narasimha by making his two feet rest upon two *padmas* or lotuses. The arrangement of the drapery is also well worked out and artistic. The defiant mood of Hiraṇyakaśipu is very well brought out in the haughty smile on his countenance.