This is an amazing sculpture of Shiva as Gajasamhara murthy ( gaja – elephant), samhara ( vanquish) ins sanskrit or Yaani uri porthia murthy ( yaani – elephant, uri – skin, porthia – cover or clad in) in Tamil. This beauty was brought from Darasuram to Tanjore museum.
We have seen many sculptures of this episode before, so whats so great about this one? you might ask. Well when i met one of my mentors Shri. Kudavoil Balasurbramaniam, i asked him about his favorite pieces. ( incidentally the same one was picked up by master sculptor Sri Umapathy in our recent interview – will post it – he is trying out a new form of showcasing these beauties in plates !!)
Well, K Balu Sir explained to me the splendor of this creation. At first glance, i did not pick the amazing details of this sculpture. There are many repetitions of this pose in later chola temples and also in other places, but the chola style is unique. Here is one from Chidambaram.
Chandra of course will pick the Pullamangai sculpture we saw earlier as his pick – since its a miniature and the delightful baby skanda jumping off parvathi’s hands.
But the beauty of this creation – standing at almost 6 feet, the sculptor really used the proportions to bring out at sculptural marvel.
Inorder to fully appreciate the greatness of this magnificent piece, i requested my good friend Mrs. Lakshmi Sharath who was going to Tanjore to get me some closeup pictures. ( Kathie also helped with her snaps!!!)
We have already seen the episode in detail in the earlier post, however the dynamic post, quote from Sri Vidya Dehejia’s book – Art of the Imperial Cholas
Also from Darasuram is a dynamic relief carving of Siva’s jubilant dance of triumph after killing the elephant demon Gajasura. Having flayed the elephant, Shiva held its skin in his outstretched hands and danced a tempestuous dance. The exaggerated twist of his body dramatically conveys his frenzied movement. One cannot but appreciate the sentiment of Saint Manikkavachakar, who described Shiva as a madman:
i shall call you
madman draped in elephant skin
poison throated madman,
amid the trees
of the burning ground,
madman clad in tiger skin,
madman who enslaved
But the beauty of the piece needs more elaboration. He has four hands on each side – look at how his fingers have torn into the elephant hide and protrude out. Oh! such splendid detailing.
Look at the ornamentation on the hands, legs, neck. The elaborate headdress, flowing locks forming a crown held back by a Skull shaped diadem, his knotted waist cloth swaying in the power of his dance. Exemplary art. But what is his lower left hand doing, its pointing the viewer towards the extreme left of the sculpture ( right as you view it).
Well well well, we see Parvathi in a kind of sidewards stance – her right shoulder is slightly pushed up, as though she is shielding someone, Oh!, there he is, baby skanda, cocooned by his mother, who doesn’t want him to witness the gory scene.
Here lies the magnificence of this sculpture. As you bend down and look upwards from the position of baby skanda, parvathi’s body would block the action of Shiva totally. But we return to the face of Shiva now, for the final flair of the artist, as a singer would finish off his masterful composition with a delightful alapana. Look closely at the face of shiva.
The side facing away from Paravathi and Skanda – the right side ( left as you view it) – eyes brows are arched in anger, while the other side is more gentle