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South-Indian Images of Gods and Goddesses c9.s9: XIV

South-Indian Images of Gods and Goddesses c9.s9

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XIV

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The hermaphrodite or the Ardhanāri form of Siva is perhaps to be traced to the conception of the Sākta doctrine that only when combined with Sakti is Siva capable of discharging his divine functions.¹ The idea of representing a male ornament in the right lobe of Siva and a female ornament in his left lobe must, already, have been due to the belief in the inseparable union of the masculine and feminine elements in the Creator. The artistic conception of a purely philosophical idea has thus resulted in an image of which the left half represents the woman (Pārvatī) and the right half, the male (Siva). The jewellery on the image is similarly distinguished in every detail; those on the left side being purely feminine ornaments and those on the right, ornaments appropriate to males. The drapery on the right side is the tiger’s skin of Siva reaching only to the knee, while on the left side it is the finely embroidered muslin (dukūla) suitable for the goddess Pārvatī, and stretching down to her ankle. Of the four hands, the two right show a hatchet and the posture of protection; the two left are richly decorated with wristlets, the upper one holding a flower and the lower one being stretched down to the waist (fig. 75). The Kāsyapa-Silpa, however, says that the right lower hand may be placed on the head of the bull. Some images show only three hands, two on the right and one on the left. In that case the right upper hand holds the axe while the lower right rests on the head of the bull. The figure stands leaning gracefully against the back of the bull, bending its body above the waist. Of the two other illustrations given, one is from the Nāgēswara temple at Kumbakōnam (fig. 76) and the other is from a niche on the north wall of the Tanjore temple (fig. 77). Sometimes images of Ardhanāri may have only two arms. Thus in the temple at Tiruchchengōdu (Salem district), dedicated to Ardhanāri, the image (fig. 78) has only two hands, the right one holding a staff with the lower end resting on the waist, and the left placed on the left hip. It may be noted that the hair on the head of this image is done up in the fashion peculiar to images of Krishna. An illustration coming from Dhārāsuram shows eight arms, three visible faces (with perhaps two others behind) and a circle of light in the back ground. This is apparently an unusual form (fig. 79). Still another unusual form comes from Tiruvādi near Tanjore, in which the right half is woman and the left half male (fig. 80).

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¹ The popular story connected with the origin of this form is given below (p. 165), under Bhringisa.

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FIG. 75.—Ardhanārī; Madura.

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FIG. 76.—Ardhanārī; Kumbakōṇam.

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FIG. 77.—Ardhanāri ; Tanjore.

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FIG. 78.—Ardhanāri; Tiruchchengōdu.

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A similar composite image of Siva is the one called Harihara or Sankaranārāyaṇa. In this image the left half is Vishnu and the right half Siva. Accordingly we see on the left side of the figures of Harihara, the conch, the pearl-necklace, the mark Srivatsa and the brilliant ear-ring characteristic of Vishnu and on the right side the skull, the garland of bones, the river Gaṅgā, the serpent coil of the ear-ring and the trident or axe, characteristic of Siva. So too the colour of the body is blue on the left and white on the right. Similarly, Garuda, the vehicle of Vishnu, may be seen standing on the left and the bull of Siva on the right. Sankaranāyinārkōyil in the Tinnevelly district has a famous temple dedicated to this combined form of Sankara (Siva) and Nārāyaṇa (Vishnu). The illustration given (fig. 81) comes from Nāmakkal. A similar but more finished figure of Sankaranārāyaṇa is found at Chidambaram in which attendant sages and demi-gods are also depicted.

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HARIHARA OR SANKARA- NĀRĀYANA.

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XVI

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Fine images of Siva represented as the slayer of the elephant-demon are not uncommon in South-Indian temples. In this form he receives the name Gajahāmūrti. The image has eight hands generally, but may have occasionally only four. The two uppermost hands are stretched out and hold the hide of the elephant with its tail bent upwards in the form of an aureola, while on the sides of this aureola are seen the legs of the elephant hanging. In the three right hands are held the trident, the kettle-drum (or the sword) and the noose (or the tusk of the elephant). Two of the three left hands hold the tusk (or shield) and the skull (kapāla), while the third exhibits the posture indicating astonishment (vismaya) or sometimes holds a bell. The left leg is placed on the elephant-head of the giant and the right is raised up so as to reach the left thigh. A good figure answering to this description comes from Pērūr near Coimbatore. The Valuvūr image (Madras Archæological Survey Report for 1911-12, Plate IX, fig. 2) and the Tirutturaippūndi and the Dhārāsuram images (here illustrated) show the contrary position of the legs. The god has a terrible face with protruding teeth; and by his side is seen standing the

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GAJAHĀ MŪRTI.

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FIG. 79.—Ardhanārī; Dhārāsuram.

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FIG. 80.—Ardhanāri ; Tiruvādi.

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FIG. 81.—Sankaranārāyaṇa ; Nāmakkal.

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frightened goddess Umā with the young Skanda beside her (fig. 82). The Kāraṇāgama mentions the weapons tanka and deer and the pointing-finger-pose (sūchi).¹ This last posture of the hand is noticed both in the Tirutturaippūndi and the Dhārāsuram stone images. The former has perhaps five heads (of which three alone are visible on the picture). It has ten hands and more attendant figures (fig. 83).

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¹ The Sīparatna defines this as a pose of hand in which the second finger (tarjanī) is kept straight while the others are bent inwards. It is also adopted when images are made to the goad or other similar weapons.

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