Elements of Hindu Iconography v2.c16.s3: Sukhasanamurti, Umasahitamurti, Somaskandamurti and Umamahesvaramurti

Elements of Hindu Iconography v2.c16.s3

Language: English

Sukhasanamurti, Umasahitamurti, Somaskandamurti and Umamahesvaramurti

THE four varieties of the images of Śiva known as the Sukhāsanamūrti, the Umāsahitamūrti, the Sōmāskandamūrti and Umāmahēśvaramūrti are usually met with in all Śiva temples which lay claim to some importance in Southern India. Of these, the Sukhāsanamūrti is described as follows in the Śilparatna, which is practically the same as the description given in all other authorities. The image of Sukhāsanamūrti is a seated figure with four arms, three eyes, a very handsome appearance suggestive of the rajōguṇa and of coral red complexion. The image should be seated erectly upon a bhadra-pīṭha with its left leg bent and resting upon the seat and the right one hanging below it. It must be clad in the skin of the tiger and also in silk garments; in its back right hand is to be the paraśu, and in its back left hand the mṛiga; the front right hand should be held in the abhaya pose, while the front left hand may be either in the *varada* or the *simhakarṇa* pose. In the right ear there should be either a *makara-kuṇḍala* or a *siṃha-kuṇḍala* and in the left ear, a *patra-kuṇḍala*; or there may be *vṛtta-kuṇḍalās* in both the ears. The head is adorned with a *jaṭāmakuṭa*, the fore-arms with *kaṅkaṇas* or bracelets shaped like serpents (*sarpa-kaṅkaṇas*) and the chest with *yajñōpavīta*; besides these, the image should be decorated with all other ornaments. It is imperative that neither Dēvī nor Skanda should be near the Sukhāsanamūrti. The *Pūrva-Kāraṇāgama* differs from the above description in one small detail, namely, it states that the right leg of the image should be bent and be resting upon the seat and the left one hanging.

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When seated alone as described in the previous paragraph, the image of Śiva is known as the Sukhāsanamūrti. If the figure of the Dēvī is also seated on the same seat by the side of the image of Śiva and faces the latter, the group is known as the Umāsahitamūrti. The position of the Dēvī is to the left of Śiva. She should have only two arms; in her right hand she should keep a lotus flower, while she may hold her left hand either in the *simhakarṇa* pose or keep it straight resting on the seat. Her head is to be adorned with a *karaṇḍa-makuṭa*. The left

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U m a s a h i t a -

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SUKHĀSANAMŪRTI.

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leg of the Dēvī should be hanging down the seat, while the right one is to be bent and kept resting on the seat. The Śilparatna states that the right hand of the Dēvī should keep a utpala flower and the left hand held in the varada pose, or the left hand might rest on the pīṭha a little to the left of the left thigh of the Dēvī, and that the colour of the Dēvī should be grass-green. The Dēvī is required to be adorned with all ornaments, hāras and makuṭa and be clad in red silk garments. The Pūrva-Kāraṇāgama adds that the figure of the seated Dēvī should be as high as the shoulder of that of Śiva. The aspect of Śiva and Umā seated on the same seat and under the same prabhā-maṇḍala as described above is known as the Umā-sahitamūrti.

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In the case of the Sōmāskandamūrti, the same relative positions are maintained by the figures of Śiva and Umā, but between these, there is the additional figure of the child Skanda. The figure of Skanda may be standing, sitting on the seat or on the lap of Umādēvī, or dancing; it should have a single face with a pair of eyes and two arms; and be adorned with a karaṇḍa-makuṭa on the head, nakra-kuṇḍalas in the ears, and chhannavīra on the body. The child Skanda should have a waist zone and bracelets. The figure of Skanda if it is standing simply, may carry in its right hand a lotus flower and keep the left hand hanging; or the two hands may keep lotus flowers in them; or as the *Śilparatna* would have it, the left hand should be held in either the *varada*, or the *siṃha-karṇa* pose and the right hand carrying a book. There should be no clothing on the person of the child Skanda. If the figure of Skanda is represented as dancing, it should carry in its left hand a fruit and the right one should be kept in the *sūchi* pose; or the left hand might be kept stretched out and be without the fruit.

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The height of the figure of Skanda, says the *Uttara-Kāmikāgama*, may vary from one-tenth to four-tenths of the height of that of Śiva; and according to the *Kāraṇāgama* one-eighth to a quarter of the height of Śiva. The *Śilparatna* states that it should be as high as the bent hand or the breasts of the Dēvī.

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The *Kāraṇāgama* adds that the gods Brahmā and Viṣṇu together with their respective consorts should be standing on either side of the Sōmā-skandamūrti.

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The *Viṣṇudharmōttara* and the *Rūpamaṇḍana* give the description of the Umāmahēśvaramūrti. The former authority states that in this aspect, the image of

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Fig. 1. Umā-sahita Sukhāsanamūrti. Stone: Madeour.

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Fig. 2. Umā-sahita Sukhāsanamūrti. Bronze: Agaram Śōttūr.

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Śiva and Umā should be seated on a seat, embracing each other. Śiva should have the jaṭā-makuṭa on his head with the crescent moon stuck in it; he should have two arms, in the right one of which there should be a nīlōtpala flower and the left one should be placed in embrace on the left shoulder of Umā. Umādēvī should have a handsome bust and hip; she should have her right hand thrown in embrace on the right shoulder of Śiva and should keep in her left hand a mirror. The figures of Śiva and Umā should be sculptured very beautifully.

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The Rūpamaṇḍana informs us that Śiva should have four arms and that in one of the right hands there should be the triśūla and in the other a mātuḷuṅga fruit (a kind of citron); one of the left arms should be thrown on the shoulder of Umā and there should be a snake in the other left hand. The colour of Śiva should be red like the coral. The Dēvī should be as in the description of the Viṣṇudharmōttara given above. There should be in this group the Vṛṣabha or the bull of Śiva, Gaṇēśa, Kumāra and a lean emaciated figure of the ṛishi Bhṛiṅgi dancing, all arranged in an artistic composition.

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Figs. 1 and 2, Pl. XXI, are to illustrate the aspects known as the Umā-sahita-mūrti, as also the Sukhāsanamūrti. If the Dēvī were absent in both the instances, the image of Śiva would have passed for the Sukhāsanamūrti; as they are, they are Umāsahita-mūrtis. In both the instances the back right hand keeps the paraśu and the back left hand, the mṛiga; whereas the front right hand is in the abhaya pose and the front left hand in the siṃhakarṇa pose. In the one case, the left hand of the Dēvī is kept resting on the seat, whereas in the other it is held in the siṃhakarṇa pose. The stone image is older than the bronze one. Figs. 1 and 2, Pl. XXII are two splendid pieces of sculpture; the first belongs to the Śiva temple at Madeour and the second was recently discovered as a treasure trove in Nellore. Both of them are very good specimens of the Sōmāskanda-mūrti. The textual descriptions are carried out with scrupulous accuracy and the workmanship is superb. In the first piece, the left hand of the Dēvī rests on the pīṭha and in the second piece, it is held in the varada pose. In both, the child Skanda is in the dancing attitude, with both his hands held in the siṃhakarṇa pose. Attention may be drawn to the makara-kuṇḍala in the right ear and the patra or vṛitta-kuṇḍala in the left ear of Śiva in both the pieces of sculpture. Illustrations beginning from Pl. XXIII to XXIX

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Fig. 1. Sōmāskandamūrti. Bronze: Madeour.

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Fig. 2. Sōmāskandamūrti. Bronze: Treasure Trove found in Nellore.

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Umāmabēśvaramūrti: Stone: Bāgaḷi: Bellary District.

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Umāmahēśvaramūrti : Stone : Aihoḷe.

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represent Umāmahēśvaramūrti. Pl. XXIII is the reproduction of the image at Bāgaḷi in the Bellary District. In this, Umā is seated upon the left lap of Śiva and has her right hand taken round in embrace and resting upon the right side of the chest of Śiva, and carries in her left hand a mātuluṅga fruit. The front right hand of Śiva is held in the abhaya pose and the front left hand is placed on the left shoulder of Umā. In the back right and left hands are the triśūla and the ḍamaru respectively. The Dēvī wears on her head the hair done up in a fine side-knot. On the prabhāvaḷi are sculptured minutely the figures of the aṣṭa-dik-pālas or the guardians of the eight quarters. It should be noted that in this case the figures of Gaṇēśa, Kumāra, the rishi Bhṛiṅgi and the bull are not sculptured. Pl. XXIV is the photograph of a piece of sculpture to be found in Aihole. Here, Śiva is carrying in two hands snakes, and in one hand the triśūla; the remaining hand embraces Umā and rests on her shoulder. Umā keeps her right hand on the left thigh of Śiva; her other arm is broken. On the left side of the seat on which Śiva and Umā are seated, is the figure of the child Kumāra who seems to be holding in his left hand three lotus flowers by their stalks and keeping some fruit in the right one. Below the seat are two *Apasmāra-Purushas* and the *rishi* Bhṛṅgi. The figure of Gaṇēśa which ought to be on the right of Bhṛṅgi appears to be lost. Pl. XXV is one of the very best pieces of ivory carving executed in the School of Arts at Trivandram. The delicacy of the workmanship, the beauty of the conception and execution, the grandeur of the effect it produces are beyond praise. Śiva is here represented as seated on a *bhadrāsana* under a tree and carries the *paraśu* and the *mṛiga* in his back hands; he holds his front right hand in the *abhaya* pose and embracing the Dēvi with his left arm, keeps that hand in the *varada* pose. Umā is embracing Śiva with her right hand and keeps in her left one a lotus flower. There is a profusion of snake ornaments—on the crown, in the ear-lobes, on the arms, and round the chest, of Śiva. On the right and left are the two children of Umā, the elder, Gaṇapati, having an underwear and the younger, Kumāra, standing naked. Gaṇēśa has four arms in which he keeps the *aṅkuśa*, the *pāśa*, the *danta* and the *mōdaka* and behind him is his vehicle, the mouse. Kumāra has two arms; in the left of which he holds the *śakti* and with his right arm he embraces the neck of his favourite vehicle, the peacock. In front of the seat of Śiva is the seated figure of Nandi, the bull vehicle of Śiva.

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Umāmahēśvaramūrti: Ivory: Trivandrum School of Arts.

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Fig. 2. Umāmabēśvaramūrti : Stone : Ajmere Museum, Ajmere.

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Fig. 1. Umāmabēśvaramūrti : Stone : Haveri, Dharwar District.

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Fig. 1, Pl. XXVI, represents Umāmahēśvara as found in the temple at Haveri. In this also Umā is seated on the left lap of Śiva and embraces him with her right hand, which rests upon the right side of his body; she appears to have held a flower in her left hand, which is unfortunately broken. Śiva carries in three out of the four of his hands the śūla, the ḍamaru and an akshamālā and the remaining hand is thrown in embrace over the left shoulder of Umā. Around Śiva and Umā is a nicely carved prabhāvali with creeper ornament; in each of the circular loops of the creeper is carved a dikpāla. At the right extremity of the bhadrāsana on which are seated Śiva and Umā is a tiny figure of a seated Gaṇēśa with four arms, carrying as usual the ankuśa, the pāśa, the danta and a mōdaka. In front of him sits Nandi, the bull of Śiva. Corresponding to these, are to be seen on the left side of the seat the figures of Kumāra with six heads seated upon his peacock vehicle, and an alligator, the vehicle of Umā-Pārvatī. The whole work is executed very skilfully and tastefully.

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Fig. 2, Pl. XXVI is another group almost similar to the one described above. Śiva is, in this sculpture, seen carrying a lotus, the śūla, and a snake in three of his hands and the remaining one is embracing Umā about her chest. Both Umā and Śiva are wearing *śaṅkha-patra kuṇḍalas*, that is, sections of conch-shells. Round the head of Śiva is a very well executed *prabhā-maṇḍala* while the hair of the head of Umā is fashioned into an artistic knot behind. The Dēvī keeps her right hand resting on the left foot of her lord and appears to have carried a flower in her left hand which is broken. On the top right hand corner of the panel is seated Brahmā in the *yōgāsana* attitude and carrying in his hands the articles peculiar to him. The middle face of this deity has a peaked beard. Correspondingly on the left is the figure of Viṣṇu who, in three of his hands carries the *gadā* the *chakra* and the *śaṅkha* and keeps the remaining hand in the pose of praise. Both Brahmā and Viṣṇu are seated each on a full blown lotus. There is a distinctly noticeable smile on the faces of Brahmā and Viṣṇu. Below are the figures of Gaṇēśa and two others, who are unidentifiable, on the right; the *rishi* Bhṛiṅgi, in a dancing attitude, in the middle; and Kumāra on the left. Both Gaṇēśa and Kumāra are represented as children and are nude. There is also the bull behind Bhṛiṅgi. The grouping of the members in the composition of this piece of sculpture and its execution are indeed very good. Pls. XXVII-XXIX are the characteristic pieces of sculpture of the cave-temples of the Bombay Presidency. A certain amount

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Umāmahēśvaramūrti. Stone panel : Ellora.

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of family likeness could be noticed in these three pieces of elaborately carved panels. The Dēva and the Dēvī, the central figures are shaped rather larger than the others, seated in the middle; and around them a number of other deities attending upon them. In the lower section is the big bull of Śiva tended or rather overtended, by the most humorously carved impish gaṇas. The artists of these master-pieces have spared no pains to cover the panels with a profusion both of vigorous figure sculpture and minute ornamental designs. Nothing short of the highest praise is due to the long gone artists who executed these immortal pieces of art. In Pl. XXVII Śiva has four arms, the left one of which is holding the right arm of Umā and another is seen resting upon the seat. What the two right hands carried cannot be guessed, as they are broken; evidently, the one resting upon the right thigh was left empty and the other perhaps carried a snake as in fig. 2, Pl. XXVI. Between the figures of Śiva and Umā stands Kumāra, who keeps both his hands crossed on the chest. Gaṇēśa is standing on the right of Śiva. There are two lady attendants, one carrying a cāmara and another a water-vessel (?) On either side of the panel are standing two divine figures, who cannot be identified as Viṣṇu and Brahmā, because both of them have jaṭā-makuṭas on their head and because neither of them has four faces. They are in all probability two *dvārapālakas*. Pl. XXVIII is almost similar to the previous plate. Herein there are sculptured a number of *Dēvas*, shown as hovering in the air carrying different kinds of offerings in their hands. It is worthy of notice that to the left of Umā is seen standing a dwarfish woman servant. This dwarfish woman is a characteristic feature of the sculptures at Ellora. In the lower section of the panel is the bull in the centre. The dwarfish *gaṇas* are taking care of it; one peculiarity worth noticing is that these *gaṇas* are supporting the legs of the bull—an idea apparently borrowed from the Buddhist sculptures wherein the hoofs of the horse of Buddha are borne by *dēvas* lest they, treading on the earth, might produce noise and awaken the guards and stop Buddha from renouncing the world. The sculptors of all these panels are curiously agreed in representing one of the *gaṇas* as biting the tail of the bull, another as catching hold of its horns, others tumbling about and playing with each other. In Pl. XXIX one is seen in the extreme left and behind the figure of a lady, widening his eyes with both his hands, thereby to frighten all others, while another in the extreme right over the figure of another lady is exposing his back in an obscene manner. Of the lady attendants in this

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Umāmāheśvaramūrti. Stone panel: Ellora.

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Umāmahēśvaramūrti. Stone panel: Ellora.

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panel one is fanning Śiva and another is taking hold of the hair of Umā and dressing it up. Śiva is herein holding in one of his left hands the upper part of the garment of his consort and keeps one of his right hands in the *sūchi* pose and the other appears to be carrying a book. He is evidently giving out to Umā one of the *purāṇas*, which are supposed to have been addressed by Śiva to Pārvatī.

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In this volume, the editor has endeavoured to hold the balance between the claims of the text and the needs of the reader. One of his aims has been to provide a text which is accurate and readable, and the other to supply such notes as are necessary for the elucidation of the difficulties which it presents.

Linked texts (6)

Kāraṇāgama — Sanskrit
Viṣṇudharmottarapurāṇa — Sanskrit
Aihole
Bagali
Śilparatna — Śrīkumāra (Śilparatna) 1500, Sanskrit
Rūpamaṇḍana — Maṇḍana, Sanskrit