CHAPTER - VI : OTHER FEMALE DIVINITIES AS REPRESENTED IN THE

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1 CHAPTER - VI : OTHER FEMALE DIVINITIES AS REPRESENTED IN THE ART OF MADHYA PRADESH THE SAPTAMATRIKAS : The worship of the matrikas constitutes a very important episode of any discourse on Indian divine thought. The origin of the concept of the Mother Goddesses finds mention in a multitude of ancient Indian literary works like the Suprabhedagama, Ma.'fkandeya Purana, to name a few. The Dew Mahatmya, an early Sakta text, refers to the Matrikas BrahmanT, Mahesvaff, KaumarT, VaishnavT, AindrT (IndranT), VarahT, NarasimhTand Chamunda as Saktis (or in other words, embodiments of the potent feminine powers) of the respective Brahmanical gods, generally named matr or matri and in a group, matrigana meaning mothers. Etymologically, matri derived from the root ma, thus, refers to the maternal potential. Rigveda interpretes matri as one who measures across or traverses and as one who has true knowledge and probably meaning that of regeneration. Matri also stands for a mother as a term of respect or endearment. In the present context, Matrika, thus, refers to the sakti embodiments of various gods as described in the Brahmanical literature, sculpturally portrayed as divine mothers and warriors, used for ritual worship. The Matrika worship and the related manifestations in plastic art are a pan-indian phenomenon, the antiquity of which is considered to be as ancient as that of Siva and the fertility goddesses of the Indus Valley Civilisation. The primary textual sources used comprise the Vedic literature, the Sutras, Dharma and Arthasastras, Mahabharata, &ilpa Sastras. Various texts of the four-sections of the Veda Samhita, Brahmana, Aranyaka and Upanishads also provide evidence of the growth of the cult of the goddess. Although the VaimikT Ramayana (200 B.C. to A.D. 200) is completely silent about the Matrikas, copious information with regard to the Matrikas is met with in the Mahabharata (400 B.C. to A.D. 300). Some scholars are of the opinion that the tradition of the worship of the Mother Goddesses in India symbolizes an amalgamation of the Aryan and non-aryan culture. Although one generally comes across the names of seven Matrikas, the scholars are divided in their opinion with regard to their number and the order in which they occur. For instance, in the Abhilashitartha Chintamani, goddess NarasimhT occupies the seventh position in place of Chamunda. Infact, KshirasvamT, the commentator of Amarakosa, refers to an eighth Matrika after Chamunda. Some literary works such as the Suprabhedagama, Nirnayasindhu, -93-

2 Rupavatara and Sritatvanidhi provide reference to KalasamkarshinT, VamanT, VainayakT, Chandika and MahalakshmT as the eighth Matrika or Mother Goddess.1 Varahamihira s Brihatsamhita (last quarter of 5th century A.D.) contains reference to the Matrikas, mentioned collectively as Matriganah, while Utpala in his commentary on the above text considered BrahmT, VaishnavT, Raudff, KaumarT, Aindff, YamT, VarunI and KauberT as the Mother-Goddesses2 One comes across the description of the Matrikas in DevT Bhagvat, Prapanchasaratantra, Linga Purana, Mantramahodadhi and Varaha Purana and in such texts as Skanda Purana, DevT Purana and Brahmavaivarta Purana, the number of Matrikas are referred to as even more than eight.3 Puranas such as the Matsya Purana, Markandeya Purana, Vishnudharmottara Purana bear iconographical descriptions of the Matrikas. The Silpa Sastras like the Aparajitaprichchha, Rupamandana, Manasollasa too bear iconographical prescriptions of the Matrika images. Further, Agamas such as the Amsumedbhedagama, Suprabhedagama, Ruruvakarnagama also contain iconographical injunctions for making the Matrika images. From the point of view of iconographic representation, Agni Purana, Amsumadbhedagama, Purvakaranagama, Matsya. Purana, Rupavatara, Rupamandana, Visvakarmasutra, Silparatna are of much greater importance in this respect. The various accounts on the PurSnas, if read together, suggest an evolution and assimilation, resulting in a gradual widening of the Matrika worship - the entire process ranging between the Kushana period and the medieval times. Some general but significant information pertaining to the prevalence of the Matrika worship may also be glimpsed from the classical Sanskrit literary plays namely Daridra Charudatta ascribed to Bhasa, Sudraka s Mrichchhakatjka, Banabhatta s Harshacharita and KadambarT and last but not the least, Bharatamuni s Natya astra which depict situations in the narrative context relating to Matrika worship and its various aspects. Thus, the Saptamatrikas or the Seven Mothers actually symbolizes the saktis or the endowed energies of some important male deities and are respectively endowed with the same attributes and mount as their male counterparts. These goddesses; are namely BrahmapT (or SarasvatT), MahesvarT (or Raudff), KaumarT (or KarttikeyanT), VaishnavT, VarahT, IndranT (or Mahendff) and Ch munda (or ChamundT) 4 Sometimes, they are also depicted as accompanied by children, thereby putting greater emphasis on their Mother aspect. The Mahabharata narrates the following story regarding the origin of the Matrikas. Prahlada, the son of Hiranyakashipu, was a great devotee of Vishnu and when he renounced the material life, Andhakasura became the chief of the demons (asuras). By -94-

3 performing austerities, Andhakasura obtained a boon from Brahma, which thereby, made him immensely powerful by virtue of which he began to torture the devas in a number of ways. The gods, in their helplessness, headed for Kailasa and complained to Lord Siva and while He was listening to them, Andhakasura suddenly appeared and attempted to take ParvatT, wife of Siva, away with him. In a fit of rage, Siva waged war against Andhaka with his army of ganas. One asura named NTIa in the guise of an elephant attacked Siva but Vlfrabhadra, one of Siva s forms assumed the shape of a lion, killed the elephant and presented the skin of the animal to Lord Siva. Siva then dressed himself with the hide of the elephant and proceeded against Andhakasura. All other divinities like Vishnu came to the former s assistance. Siva shot Andhakasura with an arrow wounding him badly and blood began to flow profusely from the wound and from each drop of blood was born an asura and thus there appeared thousands of asuras who attacked Siva. Vishnu killed the secondary asuras with his chakra. Siva pierced his trisula at Andhaka. Even then he could not be killed. Thereupon, the accompanying gods of Siva created from their energy, their saktis to put an end to the asuras. Thus were born the Saptamatrikas or the Seven Mothers namely Brahm nt, VaishnavT, MahesvarT, Kaumaff, IndranT, VarahT and Chamunda who were the female counterparts of Brahma, Vishnu, Mahesvara, Karttikeya, Indra, Varaha and Yama. These seven Matrikas drank e,ach drop of blood issuing from the wounds of Andhakasura, thereby putting an end to further multiplication and finally killed him. According to the Markandeya Purana, the-matrikas helped the goddess Ambika and Chamunda to kill RaktavTja, an ally of the most powerful demon king Sumbha. In this case also, each drop of blood oozing from the wounds of RaktavTja created a demon equal to himself - thereupon the saktis negated each drop of blood till the demon became absolutely helpless and was ultimately slain. All these accounts emphasize the fact that the Mother-Goddesses were worshipped as saktis. The Matrikas thus were, in some texts, depicted as malevolent characters, while in certain other accounts such as in the Kurma Purana 5 these characters were given an aspect of benevolence. According to this text, Vishnu Narasimha was approached with a request to bring about a change in their destructive nature and it was carried out in actuality. From then onwards, the Saptamatrikas have been endowed with a benevolent character instead of their earlier malevolent one. A legend in the Isanasivagurudevapaddhati 6 mentions that the Matrikas were created to help Siva in his battle against Andhakasura. The story is similar to that described in the Mahabharata - only here one finds mention of YogesvarT, a goddess whom Siva created from the flames issuing out of his mouth. -95-

4 Yogesvaff collected the blood of the secondary asuras in a /capa/a(skull-cup). Even then Andhakasura could not be destroyed. Thereupon, Brahma, Vishnu, Mahesvara, Kumara, Varaha, Indra and Yama sent their saktis to come to the aid of YogesvarT in stopping the flow of blood. Thus originated the Saptamatrikas who are the embodiments of the seven female potentials of the important gods. According to the Suprabhedagama, Brahma created the Matrikas in order to kill Niritta. These seven Mother Goddesses also find mention in the Rigveda 7, Gobhilasmriti, Markandeya Purana, and Matsya Purana. Brihatsamhita by Varahamihira talks about the images of the goddesses. One finds mention of the sculptural representation of the Saptamatrikas in Krityaratnakara. The DevT Purana 8 refers to the names of the flowers used for the worship of the Matrikas. A detailed description of the Saptamatrikas and Ashtamatrikas may also be obtained from the Tantra Sastra such as the Svachhanda Tantra and YoginThridaya 9 EVOLUTION OF THE SAPTAMATRIKAS IN INDIAN ART : In the history of the worship of the mother Goddess in India, the origin of the evolution of the concept of Saptamatrikas may be traced as far back as the Indus Valley Civilization where, on a seal, one comes across the representations of seven figures standing almost in a dancing pose beside a tree (along with Goddess and devotee). 10 The worship of the seven Mother Goddesses constitutes one of the very ancient and immensely popular cults in India - one which was prevalent during the early centuries of the Christian era. The worship of the Ashtamatrika which was usually in aniconic form came into existence most probably during the later periods. Sculptural representation of the early images of the Saptamatrikas belonging to the Kushana period and hailing from Mathura are preserved in the State Museum, Mathura in Uttar Pradesh. In such early images, the matrikas depicted as either standing or seated in Bhadrasana with their right hands held in abhayamudra and holding a kamandalu in the left, find plastic representation as simple female figures without any distinguishing symbols or vehicles. In the next stage of evolution, one comes across images of Saptamatrikas represented with a child in each one s lap in various attitudes (PLATE 24). Further, soon these matrika figures were characterized by certain distinguishing features namely different mounts for different divinities. In the final stage of their evolution, all the saptamatrika figures were distinguished by different vehicles and attributes. During the medieval period, the Saptamatrikas find representation either in a group or independently -96-

5 as one or two deities on a pedestal. One also comes across variations in the number of the matrikas - three, seven, eight and even sixteen in some texts, probably due tb an increase in the popularity and importance of some of the matrikas in society. Nevertheless, iconographic texts provide detailed description of seven matrikas namely, BrahmanT, VaishnavT, Mahesvaff, Kaumaff, VarahT, IndranT and Chamunda. Plastic representation of the Saptamatrikas is usually encountered on the lintels of the doors of the temples in a particular order flanked by VTrabhadra and Ganesa, While in the matrika images of Ellora which reflect a departure from the prescribed iconographical rule, all the images have single faces11 and are distinguished only by their attributes and emblems, those of Belur follow the direction given in the Markandeya Parana.12. The Gangadhara stone inscriptions of Vi vavarmana, a feudatory of Kumara Gupta I dated A.D. provides reference to the construction of a temple of Divine Mother by his minister.13 The representation of the images of the Matrikas independently as well as the Ashta-Saktis as a group may be come across in the Udaigiri caves and the Badoh Pathari rock cut caves in Vidisha, Madhya Pradesh assignable to the early Gupta period. The fact that an early Chalukya inscription refers to the royal dynasty as the descendants of Haritl nurtured by the seven Mothers goes a long way in establishing the fact that the Saptamatrikas were given a position of eminence along with the tutelary deities by the feudatories of not only the Guptas but the Kadambas and Chalukyas as well. The Matrika worship was also prevalent in Orissa where infact one may notice the evolution of a new concept in Matrika worship - representation of the Matrika holding a child as in the Muktesvara temple. Sculptural representation of the Saptamatrikas are also found in a few places in Tamil Nadu namely the Kailasanatha temple at Kanchipuram, belonging to c.720 A.D.14, the Alampakkam temple in Tiruchirapaili district among others. There is a representation of eight goddesses (AshtaSakti) with their names inscribed below at Tirahi gate in Ajaigarh fort. Moreover, among the Yogini figures from Bheraghat (Jabalpur), eight images have been identified as the Ashtamatrikas. Similar representation of Ashta Sakti may be found in Konch temple15 near Gaya, while the Saptamatrikas in relief16 flanked by LakulTsa and Ganesa are depicted on a black stone slab found in Lakhamandal.17 Here, mention may also be made of the representation of Mahesvaff on a fragmentary seal of early period and a relief of NarasimhT from Satna.18 An exquisitely sculptured slab depicting the eight mother goddesses along with their symbols namely the bull, the duck, the lion, the bird, the elephant and a prostrate human -97-

6 figure have been also been discovered. 19 The depiction of the seven Mothers along with the nine planets on the door-jambs of Mahadeo temple at Kodal in Damoh district belonging to the 12th 13th century A.D. also deserve mention. Therefore, it may be surmised that Matrika sculptures have been noticed from the South, the Western Gnats, as well as the states of Orissa, Madhya Pradesh, Gujarat, Rajasthan and Himachal Pradesh, with local variations. All the above-mentioned images are mostly seated - however, in areas in and around Baroda beautiful matrika images in standing posture may be found as is also the case in Rajasthan as well. These images belong mostly to the 7th-8th century A.D, though there are images of an earlier period as well.20 Saptamatrika panels belonging to the mediaeval period have been brought to light from Uttar Pradesh and Madhya Pradesh. Such panels depicting the Saptamatrikas, mostly assignable to the early medieval period, are housed in the Central Museum, Gwalior, State Museum, Dhubela, Central Museum, Indore, District Museum, and Rajgarh among others. In recent times, survey of Bastar district of Chhatisgarh has yielded nearly half a dozen Saptamatrika images, all datable to the 11th - 12th century A.D. Thus, we find that the gradually evolving conception of the Saptamatrikas reached fruition during the medieval period.. ICONOGRAPHICAL STUDY OF THE SAPTAMATRIKAS : The earliest Saptamatrika images were usually seven in number with the distinguishing vahanas, faces or attributes being conspicuous by their absence. Such images belonging to the initial stage of evolution may be found among the specimens of Kushana art of Mathura. During this stage, the figures of the Divine Mothers were usually preceded by those of a couple of ayudhapurushas which in course of time gave way to the depiction of the figures of VTrabhadra and Ganesa. In the subsequent stage of development, the Matrika figures were usually depicted with a child on their lap. Images of the Saptamatrikas are quite common in Indian art while those of the Ashtamatrikas, though rare, are still not uncommon. 21 In the Saptamatrika panels of the Udaigiri caves and those at the rock cut caves of Badoh Pathari, (c.5th century A.D.) 22 situated in the Vidisha district of Madhya Pradesh, the goddesses are depicted both in seated and standing postures. Here, although the sculptures are highly damaged, their attributes and their vahanas are very distinctly visible. In the panel at Pathari, (PLATE 25) the first goddess, represented right next to Siva, who appears to be holding a lotus stalk in her left hand, -98-

7 may represent BrahmanT (PLATE 26). Next to her, is Mahesvaff after whom appears VaishnavT with a colossal mace-like object in her hand. The fifth, sixth and seventh figures are in a very bad state, with their faces becoming blurred, and thus cannot be identified. The figure at the very end is that of Chamunda with an emaciated body and a bowl placed beneath her seat resting on the ground, a human corpse (preta) being conspicuous by its absence. This panel therefore marks the beginning of the cult of the Saptamatrikas in the entire gamut of the Gupta art.23 In this panel, the mother goddesses are not accompanied by their mounts (vahanas). This composition is of considerable interest from the point of view of artistic manifestation as well. The figures preserve the heaviness of modeling - a feature present in the contemporary stone sculpture at Udaigiri caves as weli24(plate 27). The absence of the figure of Ganesa in this sculptural composition is worthy of mention. The panel also contains an inscription of 10lines in the Gupta BrahmT script of 5th century A.D., which mentions the reign of Maharaja Jayatsena and refers to the mother goddesses as Bhagavatya Matarh. 25 Saptamatrikas have also been reported from Nandchand of Panna district of Madhya Pradesh. 26 The images of the goddesses, datable to c.6th century A.D., represented here include VaishnavT, Kaumaff and IndranT. Mention may also be made of a Saptamatrika panel, assignable to c.7th century A.D., in the collection of Dr. Hari Singh Gaur, University Museum, Sagar, Madhya Pradesh. This panel obtained from Tumain in Guna district of Madhya.Pradesh depicts the two-armed matrikas in standing position, bedecked with the usual ornaments. In this panel, carved on a buff sandstone measuring 165 x 35 cms, mother goddess figures are accompanied by their vahanas.27 In another saptamatrika panel carved in the rock cut cave of Ramgarh hills in Guna district of Madhya Pradesh, the matrikas are depicted in standing posture with GaneSa and Karttikeya on either sides. This panel, though heavily mutilated, may be ascribed to the 6th - 7th century A.D. on the basis of the art and architecture of the caves. 28 Dr. O.P.Misra refers to an interesting Saptamatrika panel housed in the Allahabad Museum but hailing from Gurgi in the Rewa district, Madhya Pradesh.29 where the figures of the seven Mothers as well as Ganesa and Karttikeya are depicted in a dancing posture. These exquisitely decorated figures belong to the Kalachuri period from an artistic point of view, 30 In another panel carved on white sandstone measuring 41 x 21 x 9 cms found from Kadwaha, Guna district, Madhya Pradesh, assignable to c. 10th century A.D., mention may be made of an interesting depiction of the Saptamatrikas on low padapttha,31 Matrika images of VarahT and IndranT are shown in seated position and with four hands The former holds a fish in her hands -99. «*

8 and is bedecked with hara, keyura valaya with the upper and lower garments fastened by a belt while the latter is depicted with her ayudhas and usual ornaments. However, the heads of both the goddesses seems to have been chopped off. Another contemporary panel have been noticed in Raisen, Madhya Pradesh that bears exquisite representation of BrahmanT, Kaumaff, Mahesvaff and VaishnavT along with their vahanas and attributes {ayudhas)32 The other panels belonging to this period have been preserved in various museums of Madhya Pradesh. 33 Of them, the saptamatrika panel of Gurgi in Rewa district, Madhya Pradesh is very interesting. 34 The panel carved out of a plum coloured sandstone measuring 410 x 125 cms depicts the figures of the Seven Mothers in dancing poses, holding babies in their laps and appropriate emblems and weapons (ayudhas) in their other hands with their respective vahanas near the feet of the Matrikas. BrahmanT holds a conch shell (sankh), Mahesvari a trident and accompanied by a bull,-kaumant has a spear and is accompanied by a peacock while VaishnavT holds a mace and discus and is accompanied by her Garuda. VarahT with four faces is accompanied by a buffalo while IndranT with her thunderbolt and goad has her elephant. Chamunda who holds a skull cup, a kettledrum and a club and has one of her fingers raised in front of her mouth, is depicted as dancing on a prostrate human figure. The sllapatta is well-adorned on three sides with lotus rhizomes (latakarma} placed in the center of the top margin.. This richly carved and crowded composition,35 ascribed to c. 10th century A.D., flanked by the vigorously dancing figures of VTrabhadra on the extreme left of the composition holding a vtna and trident in his hands, accompanied by his vahana bull and Ganesa, holding a bowl of sweets and accompanied by his rat, represents a fine example of Kalachuri art. Dr.O.P.Misra has also referred to badly worn pink coloured sandstone Saptamatrika panel, assignable to the 11th century A.D. with the figures of VTrabhadra and Ganesa from Rewa in Madhya Pradesh, now exhibited in the Allahabad Museum.36 Here, VTrabhadra is depicted as half dancing and half seated, holding a vtna, a trident and an indistinguishable object and accompanied by his mount, the bull. The Seven Mothers namely BrahmanT, Mahesvaff, VaishnavT, IndranT, VarahT, Durga and Chamunda are depicted from left to right between the figures of VTrabhadra and Gane a.37 Mention may also be made of a panel belonging to the 10th - 11th century A.D. depicting the eight matrikas with GajalakshmT in the center, now exhibited in the District Museum, Rajgarh, Madhya Pradesh.38 Attention may also be drawn to yet another Saptamatrika panel, datable to c. 10th - 11th century A.D. from Kuamgaon, situated 48kms from Jabalpur, Jabalpur district, Madhya Pradesh. The goddesses, depicted in seated position} flanked -100-

9 by the figures of Ganesa and Karttikeya, are adorned in the proper Kalachuri style.39 Another seated Saptamatrika panel, though in a defaced condition, has been observed in the reserve collection of Archaeological Survey of India at Kadwaha in Guna district, Madhya Pradesh, assignable to c.11th century A.D. in which the goddesses are depicted with four hands carrying their respective ayudhas. 40 Saptamatrika panels mostly belonging to c. 11th.century A.D. have also been preserved in the Central Archaeological Museum, Khajuraho in Chhatarpur district,41 District Museum, Rajgarh,42 Store collection of Archaeological Survey of India, Bhopal Circle at Raisen,43 open air museum of State Government at Ashapuri district Raisen44 and in the Central Museum, Indore.45 ICONOGRAPHICAL STUDY OF THE INDIVIDUAL MATRIKAS : BRAHMANl: Goddess Brahman! is regarded as the Sakti or the female energy of Brahma, one of the tridevts1. She is considered to have four faces, her colour being as bright as gold. She wears a yellow garment (pftambara) and her head is decorated with a cylindrical (karanda) mukuta. According to the Agni Parana 2 the four-armed goddess, holds the akshamala, the sula and the kamandalu in her hands. The Am&umadbhedagama describes the goddess as showing from right the abhaya and the varada mudras and holding the sula and akshamala. The Matsya Purana, Markandeya Purana and trltatvanidhi and other texts 3 also mention about her ayudhas. She is seated on a red lotus and has the hamsa or a goose as her vahana as also the emblem of her banner4 Her abode is under a Palasa tree (Brahma vriksha). According to the Vishnudharmottara Purana, the goddess has six hands the left ones being characterized by abhaya, pustaka (book) and kamandalu while the right ones show varada, sutra and sruva.5 The Purvakaranagama, on the other hand, ascribes only four hands to the goddess holding the kamandalu and akshamala in two of her hands and showing the abhaya and varada poses in the other.6 Sri Ganapati Muni describes her as the formed speech in the manifest world. An interesting sculpture of Brahman! procured from Indergarh, depicted in ardhaparyankasana pose deserves special mention (PLATE 28). Here, the DevT is fourarmed with an akshamala and a child in her left hands, the remaining hands being in a

10 fragmented state. She is adorned with a decorated karandamukuta, kundala, ekavali, stanahara, katibandha and other ornaments as well as embroidered clothes. The sculpture carved out of green sandstone, measures 59 x 38 cms and may be assigned to circa 8th century A.D. Yet another interesting sculpture of BrahmanT carved on slate measuring 125 x 50 x 20 cms hailing from Kota, now preserved in Central Museum, Gwalior,7 shows the DevT in dancing pose (PLATE 29). However, her face, breast and hands as well as her vahana, the swan, are badly mutilated. Fragments of a sculpture of Goddess BrahmanT have been preserved in different museums and sites of Madhya Pradesh such as the bust of BrahmanT in Rani Durgavati Museum, Jabalpur, another in the Bhanpura Museum, Mandsaur, datable to c. 8th - 9th century A.D. 8 Mention may also be made of a sculpture of BrahmanT in standing pose recovered from Bhutanatha Temple at Asapuri (Raisen)9 now housed in the open air museum at Asapuri (Raisen district)10 (PLATE 30) The goddess is four-armed, of which two are broken and hoids a kamandalu in one of the remaining hands. Her vahana is depicted as gazing towards her face. Goddess BrahmanT is well adorned with kundala, hara, kuchbandha, vaijayanttmala. The sculpture may be dated to c. 10th century A.D.11 At this point, attention may also be drawn towards a four-handed figure of BrahmanT, carved on red sandstone measuring 45 x 25 x 10 cms and ascribed to c. 10th - 11th century A. D. found from Vidisha 12 Three heads of the deity are clearly visible while the fourth one is at the rear and she holds veda kalasa, kamandalu in her. hands. The artist s representation of her clothes or drapery is very clear and she is bejeweled with stanahara, pushpakundala, hara, katibandha and kamakundala. There is yet another interesting red sandstone sculpture of the goddess, measuring 40 x 35 cms,13 procured from Bhanpura in Mandsaur district of Madhya Pradesh, now exhibited in the Central Archaeological Museum, Indore. Formerly referred to as Trisara because of the depiction of three heads in front, the fourth one being not very dearly represented, the deity holds one hand in Gyanamudra, the other three hands being broken as is the lower portion of the sculpture which is not available. The ;goddess is adorned with decorated kunchit-kesa, pushpa-kundala, Muktahara, trivali, uttanya,-. and six bangles in each hand - characteristic of late-pratihara art of Central India assignable toe. 10th century A.D.14 The Khajuraho Museum houses an exquisite piece of sculpture of the abovementioned goddess (PLATE 31). She has four heads and is four-armed with her vahana -102-

11 depicted below the pftha along with two worshippers. BrahmanT is adorned with the usual ornaments and is accompanied by two female attendants and a gajasardula represented on the parikar. This specimen of the Chandella art may be dated to c. 11th century A.D.15 A standing sculpture of BrahmanT with four faces, hailing from Avara(Mandsaur) is preserved in the Central Museum, Indore. Here, the goddess is four-armed displaying the abhayamudra, gajahasta, katyavalambita and a kamandalu. She is decorated with karnaphula, haravali, kahgana, katibandha. The figure carved on a sandstone measuring 55 x 25 x 13 cms, is datable to 14th century A.D.16 Yet another sculpture of BrahmanT obtained from Girondhat (Rajgarh district) is preserved in the District Museum, Rajgarh. The image measuring 30 x 12 x 15 cms may be assigned to circa 12th century A.D.17 Mention may also be made of yet another sculpture of BrahmanT found from Manawar, datable to circa 12th century A.D., is now a part of the collection of.the local museum in Mandsaur.18 The granite sculpture measuring 79 x 41 x 17 cms depicts the goddess in seated pose with a crown on her head, bedecked with the usual ornaments and holding ahutipatra, pothi, mala, kamandalu. Another image of BrahmanT procured from Suhania (Morena district) datable to 13th century A.D. is now preserved in Central Museum, Gwalior.19 The sculpture measuring 95 x 73 x 30 cms shows the goddess seated on lotus accompanied by her vahana, hamsa. Her two left hands are in a state of mutilation with her lower right hand in abhaya pose and holding a kalasa A fair number of the sculptures of goddess BrahmanT may also be found in the other museums of Madhya Pradesh as well as Uttar Pradesh, Rajasthan, Andhra Pradesh, Tamil Nadu among others. MAHESVARl: The goddess, along with her attributes, is referred to in the Agni Purana, Amsumadabhedagama, Matsya Purana, Rupamandana, Markandeya Purana,1 According to the Srliatvanidhi, the goddess is endowed with five and ten heads but the other silpa texts refer to her as having one head and four hands. The goddess usually wears a kuchabandha of snakes and rides on a bull. She wears a jatamukuta on her head..the four-armed goddess displays the varada and the abhayamudras in her two hands, and she holds the sula and the akshamala in the remaining two.2 Her vahana as well as. the -103-

12 banner is the bull. The Vishnudharmottara describes her as being six-armed and with five faces, each possessing three eyes and wearing a crescent moon on her" crown. Her colour is white and carries the sutra, damaru, sula and ghanta in four of her hands, the remaining two displaying varada and abhaya poses. According to Sri.Ganapati Muni, Mahesvaff is the Maya power of the supreme reality lodged in the heart of each'. Dr. O.P.Misra refers to an interesting torso of goddess Mahesvaff carved on a sandstone measuring 34 x 35 x 17 cms, found from Bhanpura in Mandsaur district, Madhya Pradesh, datable to c. 10th century A.D. 3 With an elaborately dressed hair, she is adorned with haravali, keyura, katimekhala and is depicted with a third eye on her forehead. Mention may be made of a unique sandstone sculpture of Mahe vaff, measuring 36 x 68 x 20 cms, obtained from Hinglajgarh, Madhya Pradesh. 4 In this, the devf is depicted as seated on the visvapadma in savyalalitasana posture. The four-armed goddess carries the ayudhas namely the khatvanga, trisula and kalasa in the three hands while the fourth is in abhaya pose. The transparent cloth and the ornaments oft The goddess have been translated into the plastic medium in a beautiful manner. This particular sculpture datable to c. 12th century A.D is now in the collection of the Central Museum, Indore. 5 The twenty-armed image of goddess Mahesvaff in lalitasana on a lotus occupies a very important position in Indian art. The said sculpture on white sandstone measuring 87 x 57 cms hails from Hinglajgarh in Mandsaur district in Madhya Pradesh. Three of the right hands and one of the left hands are intact while the others are in a mutilated condition. She holds a chakra, pasa and akshamals in her intact right hands while the left displays vitarkamudra. The face of the central head of the three-headed devi ls shown in front while the other two are shown in profile, but all them are depicted with mukutas. She is richly attired with asthi-kundalas, graiveyaka, beautiful stanahara, keyura and a decorated loose thick vanamala. A finely carved oval prabhavali with lotus petals is carved behind her head. There is a naked male figure of Apasmara, beneath the lotus seat of cfevf, who supports his raised head with left palm. The goddess rests her right foot on the thigh of the male figure with half-open eyes. The deity is flanked by two female attendants in standing posture. Her big bun of hair in semi-circular fashion is decorated with garlands. The occurrence of this multi-handed figure of three-headed Mahesvaff is a rare phenomenon in early medieval art.6 It speaks volumes for the gradually increasing importance of tantrism in Central India in circa 10th century A.D. The figure displays -104-

13 admirable workmanship of plastic art. The matted hair locks are shown in the form of a jatamukuta over the head. The depiction of the half-open eyes with distinct eye brows and the elaborate ornamentation represents very a high artistic acumen of the Paramara artists. 7 KAUMARl: The figure of KaumarT finds representation as the sakti or the female counterpart of Kumara or Karttikeya, also known as Subrahmanya.1 A detailed account of the form of the goddess along with her attributes is met in a number of literary works namely the Agni Purana, Amsumadbhedagama, the DevT-Purana, the Matsya-Purana, the Markandeya Purana and the Rupamandana among many others.2 She is four-armed with two of her hands displaying the varada and abhayamudras while the remaining two hold a spear and a kukkuta. Her vahana and the emblem of her banner is the peacock. She has a mukuta said to be bound with vasika or vachika. However, as T.A.G. Rao mentions that what is exactly meant by the above is not known.3 Her abode is under an Udumbara or fig tree. According to the Vishnudharmottara Purana, the goddess has six faces and twelve hands - two of her hands held in varada and abhaya poses respectively, and holding the sakti, dhvaja, danda, dhanush, bana, ghanta, padma, patra and parasu in her other hands. The DevT Purana further adds that her gariand comprises of red flowers while the POrvakaranagama substitutes the ahkusa for kukkuta and further adds that the sculptural representation of the goddess should be such as to suggest the qualities of valour and courage. Sri. Ganapati Muni considers KaumarT as the light of pure truth in the hearts of those whose inner being is purified due to cleaning of food and whose memory is ever strong. The earliest sculpture of KaumarT in Central India is preserved in the Central Archaeological Museum, Gwalior (PLATE 32). Here she is depicted in a dancing pose with a sakti in right hand and a lotus in her left. She is accompanied by her vahana, the peacock standing on her right. The sculpture measuring 120cms in length, 54cms in width and 20cms in thickness, may be assigned to circa 5th century A.D 4 A sculpture of the goddess of the same period obtained from Khoh in Satna district is now preserved in the Tulsi Museum Ramvan. An interesting sculpture of KaumarT has been found from Lotakhedi in Mandsaur district5 of Madhya Pradesh. Here, the goddess is depicted as seated on a high pedestal

14 She is adorned with ornaments and draped in embroidered and transparent clothes. Her vahana is depicted below at the corner of the padapttha of the deity.6 This buff sandstone sculpture measuring 60 x 34 cms may be placed in circa 7th century A.D. from an artistic point of view.7 An image of KaumarT recovered from Tumain in Guna district and measuring 58 x 24cms is now a part of the collection of Dr. Hari Singh Gaur Museum in Sagar, Madhya Pradesh (PLATE 33). Here, the two-armed DevT is seated in laiitasana pose holding a sakti in her right and an indistinct ayudha in her left. In this sculpture of circa 8th century A.D,8 she is bedecked with kundala with her hair arranged like a mukuta in kakpaksha fashion. Her vahana is depicted below her on the pedestal with a nicely carved prabhamandala. Yet another image of Kaumaff, reported from Ramnagar (Mandla district) is now preserved in the District Museum, Mandla (PLATE 34). Carved on dull greenish-yellow sandstone, the image may be assignable to the first phase of circa 10th century A.D., with the characteristic traits of the Kalachuri art of Tripuri. Her hands are in a fragmented state with the middle part of the stele on the left of the goddess being damaged. She is adorned with graiveyaka, stanahara, keyura, vanamala, mekhala with loop, pendants and nupura among others. The vahana is present under the seat of the goddess whose pedestal is inscribed SrTKaumarT.9 A sculpture of KaumarT in dancing pose, procured from Hinglajgarh in Mandsaur district, Madhya Pradesh, is now preserved in the Central Museum, Indore. It is an interesting and a beautiful work of art. This sandstone sculpture, measuring 40 x 41 x 25 cms may be dated to circa 12th century A.D. In three of her hands, she carries objects like the sula, the mukuta and bijapuraka while the fourth is in abhaya pose. She is flanked on both sides by attendants holding gada.10 The image, though represented in a very simple manner, brings forth a wealth of creative expression - subtlety and beauty being the hallmark of this sculpture.11 Among a host of other sculptures, mention may be made of a highly decorated sculpture of goddess KaumarT, datable to circa 12th century A.D., preserved in District Museum, Shivapuri. In which the goddess is bedecked with bright and attractive ornaments such as the kundala, hara, stanahara, katimekhala with suspended bellstand the vaijanttmala.12. Sculptural images of KaumarT in all its splendour have also been obtained from other parts of the country as well

15 VAISHNAVI: Vaishnavl, the sakti or the female energy of Vishnu attained a position of eminence amongst the Saptamatrikas from very early times. According to literary texts such as the Agni Purana, the goddess holds a Sahkha, chakra, gada and padma while the Amsumadabhedagama1 mentions the goddess displaying varadamudra and abhayamudra and holding Sahkha and chakra. The Matsya Purana refers to a child in her lap along with varadamudra, sahkha, chakra and gada. Besides the above-mentioned works, the Markandeya Purana, Rupamandana, SrJtatvanidhi have reference to the ayudhas in her hands with slight variations, though not totally unrelated to those attributes of Vishnu.2 The DevT Mahatmya describes goddess Vaishnavl as seated on Garuda'-and holding the sahkha, chakra, gada, dhanusha and swords in her hands.3 The DevI Purana describes her as being four-handed, holding the Sahkha, chakra, gada and padma in her hands. She also wears the vanamala, the characteristic garland of Vishnu. In this last description, the DevT Purana is in total agreement with that of the Purvakaranagama.4 The various texts describe the goddess as endowed with a lovely face, beautiful breasts and dark complexion. She has beautiful eyes and usually wears a yellow garment. The goddess is four-handed, two of her hands show the varada and the abhayamudras while the remaining two hold the sahkha (in the left) and the chakra (in the right). She is adorned with a kirita-mukuta and all the ornaments generally worn by her male counterpart, Vishnu.5 Her vahana as well as the emblem of her banner is, the Garuda. She sits under a Rajavriksha. The Vishnudharmottara describes her as being six-handed like Brahman!. According to Sri. Ganapati Muni, Vaishnavl is the creatrix of the worlds Images of VaishnavT are preserved in different museums of Madhya Pradesh namely Central Museum, Khajuraho,6 State Museum, Bhopal7, Central Museum, Indore 8, Central Museum, Gwalior9, District Museum Rajgarh,10 local museums such as those at Bhanpura,11 Harisingh Gaur Museum, Sagar 12 and the Reserve Collection, Lanji (Balaghat). In all these, the goddess is depicted with all her attributes and usual ornaments. An image of the goddess in tribhahga pose is shown in a niche (PLATE 35). The eight-armed matrika holds a ghanta in her uppermost right hand, an ahkusa in the second right, displaying abhayamudra in her third right while she holds a gada with her fourth hand. She is adorned with karnaphula, hara, and bangles that have been tastefully -107-

16 engraved. She also wears a kuchabandha and a long, thick vanamala. The sculpture, with a simple and plain prabhavali, is represented with a kind, benevolent and motherly facial expression with a sweet smile. She is flanked, on each side, by a ddvotee in ahjalimudra. There are flying Vidyadharas on either side at the top. The presence of a lady with a round face, thin waist and long legs on the right side of the composition show the characteristic traits of Paramara art and hence assigns a date of circa 10th century A.D. to the sculpture whose provenance is Ashapuri (Raisen district) and is now a part of the collection of the Birla Museum, Bhopal.13 This sandstone sculpture carved on a suapatta measures 65 cms in length, 86 cms in width and 38 cms in thickness.14 An image of four-armed VaishnavT is shown seated on a double-petalled lotus in lalitasana pose with her left leg bent across the seat and the right hanging down and placed on the right palm of the figure of Garuda seated on the pedestal below. All the hands of the goddess from the elbows downward and upper part of the head from nose upward in a mutilated state. Even her right knee is also partially damaged. She is draped in a sart from waist downward as suggested by wavy bands and wears graiveyaka with ekavali, stanahara, keyura, mekhala with loops and pendants, nupura, vanamala and rings in the fingers of legs. Beneath the lotus seat of the goddess is the figure of a kneeling Garuda with his right leg thrown backward and the left stretched forward. He supports the right foot of the deity on the palm of his right hand, with his left hand under the knee of the goddess supporting it. His figure is bearded with a moustache and has protruding eyes. On each side of the Garuda at the end of the pedestal the figure of a male may be seen seated on a cushion holding a vtna in his hand. The heads of these two figures are damaged. The lotus throne of the goddess is flanked, on each side, by standing figures of female garland-bearing attendants with the face of the one on, the right being mutilated. The central section of the stele flanking the two sides of the deity contains the motif of post on the inner side and that of gaja-sardula on the outer. There is a lotus nimbus behind the head of the central deity. A gandharva couple may be seen on the right hand side of the nimbus. The remaining part of the uppermost section of the stele is missing. The sculpture, carved on dull greenish-yellow sandstone and measuring 78 x 129 cms, has Sff VaishnavT inscribed on the pedestal.15 An interesting sculpture of VaishnavT belonging to circa 11th century A.D. procured from Hinglajgarh (Mandsaur district) is now in Central Museum, Indore. 16 The image, probably a part of a stambha (pillar), depicts the four-armed goddess seated in savya lalitasana carrying the sahkha, chakra and gada and displaying the varadamudra. She is

17 flanked by mithuna figures on either side. Her smiling countenance and kucha-bandha are highly appealing. The sculpture carved out of sandstone measures 45 x 40 x 33 cms.17 Yet another sculpture of the goddess with similar provenance forms part of the collection of the same Museum. Datable to circa 11th century A.D. the image depicts VaishnavT seated in savya lalitasana with her vahana, Garuda. The face, head and left breast of the goddess are in a mutilated state. She is adorned in an almost similar fashion as the above-mentioned sculpture from Hinglajgarh. In this sandstone sculpture measuring 40 x 35 x 20 cms, the goddess is flanked by attendants holding garlands.18 Yet another sculpture of the deity with four hands is preserved in the Reserve Collection at Lanji (Balaghat).19 She is shown in ardhaparyankasana and is adorned with mukuta, kundala, beaded haras, bangles among others. The sculpture carved on a sliapatta of sandstone measuring 55 cms in height and 35 cms in width may be dated to circa 13th century A.D. Mention must also be made of an image of VaishnavT, preserved in the Archaeological Museum, Gwalior 20 (PLATE 36). She is depicted upon her vahana (Garuda) and carrying a sahkha and gada in two of her hands, flanked by seated figures of one male and female attendants on either side below the pltha,21 ; Sculptural representation of VaishnavT has also been recovered from Andhra Pradesh, Tamil Nadu among other places. VARAHl: VarahT is described in the Vishnudharmottara Purana as having the face of a boar with a complexion as that of the storm cloud. She wears a karanda-mukuta and is adorned with coral ornaments. She holds a hala and a sakti (spear) in her two hands and her abode is under a kalpaka tree. Her vahana and the emblem of her banner is an elephant. According to the Vishnudharmottara Purana, she has a big belly and is with six hands, carrying the danda, khadga, khetaka and pasa in four of them, the remaining hands held in abhaya and varada poses. Another text, the Purvakaranagama describes the goddess as holding a saranga-dhanush, hala and mushala as weapons and wears nupura anklets on her legs. She is the devourer of darkness. One of the earliest and interesting images of VarahT with two hands, only one of its kind, recovered from Hinglajgarh (Mandsaur district) form part of the collection of the Central Museum, Indore (PLATE 37). This sandstone sculpture measuring 54 cms x

18 cms x 12 cms may be assigned to circa 4th century A.D. She holds a danda and fish with her hands, with her naravahana being shown with deep lines on the pedestal. From an iconographic point of view, it has similarities with the images of Indram and VTrabhadra found from Hinglajgarh (Mandsaur district), proving that it forms a part of a Saptamatrika panel.1 Another more-or-less similar sculpture of VarahT of the same period is preserved in Hari Singh Gaur Museum, Sagar.2 Three sculptures of VarahT reported from Lotkhedi (PLATE 38), Indragarh and Modi (Mandsaur district) have been preserved in District Museum, Bhanpura and may be dated to circa 9th century A.D.3 An image of VarahT procured from Badoh (Vidisha district) is now preserved in the Archaeological Museum, Gwalior (PLATE 39). This image measuring 37 x 45 x 20 cms may be dated to circa 10th century A.D. She is facing to the right to a human bust and wears loose haras flowing upon her breasts. The same place has yielded yet another image of the goddess.4 A Private Museum of Yawalkar School of Art at Suvasara (Mandsaur district) has preserved an image of VarahT assignable to 10th century A.D. She is shown in alidha pose and all her hands with the exception of one are in a broken state. She is adorned with mukuta, hara, stanahara, katimekhala, vaijanttmala, while her vahana, in human form, is also present.5 ; A standing figure of VarahT in dvibhanga posture obtained from Ashapuri (Raisen district) is now preserved in Birla Museum, Bhopal. This sandstone sculpture may be placed in circa 10th century A.D.6 The four-armed figure displayed inside a pilastered niche, has the face of a boar with a human body. She holds a fish in her upper right hand and displays the varadamudra in her lower right. The upper left hand is shown with a skull-bowl while she holds a kamandalu in her lower left. She wears a karanda-mukuta and is bedecked with ekavali, stanahara, hara, kuchabandha and vaijanttmala. An image of dancing VarahT has been represented from Shivapuri (Terhi district) in one of the protected monuments of the Archaeological Survey of India (PLATE 40). The four-handed goddess holds ayudhas in all her hands. She is adorned with hara, bajubandha, katimekhala and nupura. The image might have been kept in a niche of the temple with ktchakas and female attendants shown on both sides. The image may be datable to 10th - 11th century A.D

19 Yet another image of VarahT preserved in the Birla Museum, Bhopal, datable to the 11th century A.D. is of importance in the sense that here the goddess is shown holding a fish. It is one of the important and rare sculptural representations of goddess VarahT. The figure carved in the centre of a rectangular architectural piece is flanked by two pilasters. The four-armed goddess seated in lalitasana, on a double \otus-pltha, holds a khadga and khetaka in her upper hands and a skull-cup and fish in the lower hands. She is bedecked with usual ornaments and her hair is arranged in the kakapaksha fashion.8 VarahT images of the same period have also been reported from Central Museum, Khajuraho,9 Bhanpura (Mandsaur district)10 and other State and Central Museums and the reserve collections at different sites in Madhya Pradesh.11 INDRANl: The Markandeya Parana which provides detailed description of different goddesses with regard to their origin, form, vahanas among others lays down the same for goddess and IndranT as well.1 The goddess who is richly bejeweled with ornaments, has a red complexion and is adorned with a kirltamukuta on her head. She has three eyes and is usually four-armed - displaying the varada and abhayamudras with her two hands and holding a vajra and a sakti (spear) with the other two. Her vahana as well as the emblem of her banner is the elephant.2 And she usually sits under the Kalpaka tree. The Vishnudharmottara, however, describes her as having six arms, a thousand eyes and a golden hue.3 It further describes four of her hands as carrying the sutra, vajra, kalasa and patra, the remaining hands showing varada and abhaya poses. According to the DevT Purana, she carries the ahkusa and the vajra while the Purvakaranagama mentions her as having two eyes and holding a lotus in one of her hands.4 According to Sri. Ganapati Muni, the divine mother destroys the most formidable of the wicked, directly herself... Her prowess cannot be tested by anyone except by the thunder-armed Indra. One of the earliest sculptures of IndranT obtained from Hinglajgarh in Mandsaur district, Madhya Pradesh is now exhibited in the Central Museum, Indore (PLATE 41). Here, the goddess is two-armed holding a vajra in her right hand and a child in her left. She is portrayed in a graceful manner with an elaborately ornamented kirp-mukuta and is adorned with circular Karnaphula, three stringed katisutra, haras, a large, loose vanamala. She is depicted as wearing a kuchabandha with a knot in the middle of the

20 upper garments, her lower garment consisting of a sari, indicated by wavy lines. This image of goddess IndranT is beautifully executed with eyes half-closed, an elegantly decorated prabhamandala, accompanied by her vahana and female attendants on either side. The said sculpture carved out of red sandstone measuring 59 x 35 x 13 cms may be placed c. 4th century A.D.5 In another important image datable to c.5th century A.D. procured from Kota in Shivpuri district now preserved in the Archaeological Museum,Gwalior,6 (PLATE 42) the goddess stands against an elephant at right with a lotus in her left hand. She is bedecked with hara and other usual ornaments with a prabhavali shown at her back. The image measuring 114 x 50 x 23 cms may be dated to circa 5th century A.D. 7 Mention may be made of an image of four-armed IndranT preserved in the sculpture shed at Malhar (Biiaspur district). She has a mutilated right back hand and holds an akshamala with her front hand, a padma with her left back and a child with her left front hand. She is adorned with hara, kundala, valayas, keyora and katimekhala. The sandstone sculpture measuring 87 x 47 x 29 cms may be dated to circa 6th century AvD. 8 Mention may also be made of a beautifully executed image of four-armed IndranT now a part of the collection of the Birla Museum, Bhopal. In this image, assignable to c. 10th century A.D., the devt is seated in lalitasana with an elephant beneath her, all her hands being mutilated leaving no room for identification of the ayudhas. 9 Of the lower part, only the legs may be discerned seated on a full blown double petalled lotus to right with right leg hanging down and placed on lotus and left leg bent across the seat. Her right leg is mutilated between the ankle and thigh with a lotus mark on the sole of her left foot. She is depicted as wearing sart, vanamala, nupura and rings in the finger of her legs and hands. Other than this, the rest of her body is not there to throw any light on the features of the principal deity. Below the lotus seat may be found the depiction of a couchant elephant with its head turned to right and looking at the goddess. The.elephant supports the vanamala of the goddess with the trunk. On its right, towards the end of the pedestal is a long-bearded dhoti-c\a6 male figure in namaskara mudra. Besides there are mutilated figures of a couple of female garland bearers, and a seated female devotee. The entire composition bears the inscription, rt IndranT on the pedestal. This figure of IndranT carved on dull greenish yellow sandstone measuring 78 x 65 cms thus comprises of primarily the central deity and the figures carved on the pedestal.10 Dr.O.P.Misra has also referred to an image of IndranT from Naresar, now housed in Central Archaeological Museum, Gwalior, datable to c 13th century A.D 11 (PLATE 43)

21 Here, the devt is seated on an elephant and is facing right with her left foot on the pedestal. All her hands are damaged and the head is lost as well. She wears six-stringed hara and katimekhala and has a female figure shown seated on the left.12 CHAMUNDA: Chamunda, one of the most terrific (ugra) aspects of DevT, has been referred to both as a Matrika and a yogint in Indian literature. She occupies the seventh position in the list of the Saptamatrikas, She finds mention in details in the DevT Mahatmya khanda (chapter) of the Markandeya Parana where in the form of Kali, she is described as having vanquished her two formidable foes, Chanda and Munda and hence the name Chamunda. She occupies a significant position in the tantric mode of the worship of the female principle. The Agni Parana refers to her eight forms, describing them in details. The goddess has four arms, three eyes and is of red complexion. She has abundant hair that bristle upwards. She holds in two hands a kapala (skull) and a sula while the other two hands are in the varada and abhaya poses. She wears a garland of skulls in the manner of a yajnopavita and is seated in padmasana. Her garment is made of tiger skin and her abode is the fig tree. According to the Vishnudharmottara Parana, her seat is the dead body of a human being, and she has an emaciated body,-a terrific face with powerful tusks, sunken eyes and ten hands. She has a thin and apparently empty belly. She holds the mushala, kavacha, bana, ahkusa, khadga, khetaka,- pasa, dhanush, danda and paraiu in her hands. The POrvakaranagama mentions that her mouth should be open and she should wear on her head the digit of the moon as Siva does; that her vahana is an owl and the emblem of her banner an eagle. She holds a kapala with lumps of flesh in one of the left hands and fire in the other left. She holds a snake in one of her right hands and wears kundalas made of conch shell (sankha-patra or kundala). An early sculpture of Chamunda procured from Malhar (Bilaspur) is now preserved in the Archaeological Survey of India s Reserve Collection at Malhar. The sculpture carved on the svapatta of sandstone measuring 91cms x 52cms x 30cms. may be ascribed to circa 5th century A.D. The goddess is depicted as seated on pretasana and in lalitasana posture. Her keshabandha is folded with sarpamundamala and she is adorned with sarpakundala, sarpahara, a long mundamala, sarpakatibandha, and keyuras. The -113-

22 image is in a state of mutilation. Similar sculptures of circa 7th-8th century A.D. and circa 9th_1 oth century A.D. have also been preserved in the District Museum, Rajgarh. Mention may be made of an artistic head of goddess Chamunda with some unusual features preserved in the Birla Museum, Bhopal. Here, the goddess has an emaciated figure with bulging eyes, two teeth protruding outside, long distended ears with a prominent third eye on the forehead and hair styled in six wavy lines on the forehead having an oval lalatatilaka. The sandstone sculpture measuring 23 x 14 cms may be dated to circa 8th century A.D. from an artistic point of view. Sculptures of Chamunda are preserved in different parts of the country in a vast multitude of museums. And Madhya Pradesh boasts of quite a few of them come across in Rewa, Ashapuri, Vidisha, Rewa Kotwali, Bhanpura, Damoh, Sagar, Shahdol, Dhubela (Chhatarpur), Bhopal and Rajgarh to name some. Most of these sculptures belong to circa 10th century A.D. An interesting image of Chamunda recovered from Hinglajgarh (Mandsaur district) is a part of the collection of the Birla Museum, Bhopal (PLATE 44). Carved on a stele of white sandstone and measuring 90 x 55 cms, the sculpture depicts the goddess seated on a double lotus seat with her left leg resting on the seat. She has four arms but they are broken at the elbow thereby bearing no trace of the ayudhas or attributes. Her hair is neatly combed and she is bedecked with a jata-mukuta, asthikundalas, sarpahara, beaded garland falling on the breasts, mundamala, sarpakatibandha and a thick, loose and long vanamala made of bones and skulls. The depiction of the third eye follows a conventional pattern. The sunken abdomen has the figure of a scorpion ascending.in a very realistic manner. A naked male figure supporting his raised head on his palm is shown below the padapltha of the goddess. The goddess is flanked by two standing female attendants with their hair done up in a peculiar cone shape. The sculpture considered an outstanding specimen from the iconographic point of view may be dated to circa 10th century A.D. A figure of Chamunda in dancing pose has been reported from Singhapur in Shahdol district of Madhya Pradesh (PLATE 45). Here, the vidyadharas with garlands are depicted on the upperside of the parikar with the prabhamandala depicted on the back. This sculpture of Chamunda may be dated to the 10th century A.D. A sculpture of Chamunda in dancing pose is preserved in the State Museum, Bhopal. The image of the four-handed goddess has two of the hands in a mutilated state, holding the khadga and kapalapatra in the two lower hands with her legs resting on a -114-

23 corpse. Carved on a stiapafta of sandstone measuring 48 x 28 x 11 cms, the sculpture may be ascribed to 10th-11th century A.D. An interesting sculpture of Chamunda obtained from Khategaon (Dewas district) is now preserved in the Central Museum, Indore. Carved on a light chocolate coloured stone measuring 55 x 43 x 22 cms, the sculpture may be dated to circa 11th century A.D. The eight-armed devt is depicted seated on apasmarapurusha. Two of her right hands and three hands on the left are broken while in the remaining three hands, she holds the akshamala, kripana and kapala. She is decked with ornaments namely the nagamala and nagamekhala. She has an emaciated body with her ribs clearly visible and a scorpion on her belly. The image of the goddess who is depicted in her terrific form is, however, without the head portion. Mention may be made of yet another image of Chamunda in dancing pose obtained from Hinglajgarh (Mandsaur district) and now a part of the collection of Central Museum, Indore (PLATE 46). The four-armed goddess has three hands and the portion below her knees in a mutilated state. She wears a mundamala, a snake with a nagabandha along her waist and a tigerskin. She is depicted with her hair in jatabhara adorned with asthimani and wearing asthikundala in her ears and having scorpion on her stomach. The sculpture appears to be one of the outstanding works of the representation of goddess Chamunda in dancing pose. In her left hand, she probably holds a fish, the mouth portion of which is broken. Such images are held in high esteem in the Tantric form of worship. Inspite of its mutilated state, the sculpture may well be regarded as one of the classic specimens of Paramara art. Sculptures of Chamunda in dancing pose under the nomenclature of Alakshml displaying classic traits of Paramara art have also been reported from Antra (Shahdol district) probably preserved in Dhubela and State Museum, Bhopal. : Mention may be made of a beautiful standing image of Chamunda in dvibhanga pose with twelve hands now preserved in Central Museum, Indore. All her handa.are mutilated with the exception of one, which is in vitarkamudra. She wears a jatamukuta and her ornaments include a mundamala, sarpahara and katisutra. Figures of goblins are depicted on the padaprtha. Matrika figures of BrahmanI, IndranT, MahesvarT, KaumarT, VarahT and Chamunda are represented on the lintel with the figure of dancing VTrabhadra in their midst. A scorpion is depicted on the sunken belly of the goddess. She is represented as holding an asura with two of her hands and has a terrific expression on her toothless face. She has been depicted with an emaciated body on pretasana. Of the -115-

24 attributes in her hands, only a part of the trisula may be discerned. The sculpture carved on a sandstone stele measuring 133 x 74 x 32 cms obtained form Hinglajgarh (Mandsaur district) and assignable to circa 11th century A.D. is indeed an exquisite specimen of the art of the Paramara period. Dr. O.P.Misra has drawn reference to yet another sculpture of Chamunda in dancing pose procured from Patalesvara temple (Shahdol district). The deity carved on red sandstone measuring 75 x 50 cms is preserved in the Birla Museum, Bhopal and represents an important specimen of Kalachuri art. The eighteen-armed devt has all of her hands, with the exception of three on the left side, broken. She holds a bell and a human head in two of her existing hands. The goddess is depicted with a skeletal body with all her ribs clearly visible. She is adorned with kundala, sarpahara, a thick vaijanttmala made of bones, kapala, keyuras and valayas. Her drapery is depicted with wavy lines. The sculpture includes a prabhavali beautifully decorated with lotus petals. A prostrate male figure lies beneath the lotus seat of Chamunda (Kali) who has raised her head on one of his arms. A tube-like thing issues out of his navel and is being devoured by a dog. Several goblin figures are represented on either side of the goddess. A goblin seated on the left side of the deity holds a skull-cup while another is with a dagger and sword. Yet another goblin with a headless body on his shoulders is depicted between the legs of the goddess. The sculptural composition also includes the figures of gandharva pairs at the top while the facial expression of Kali is one of pure glee. The sculpture may be assigned to 11th century A.D.32 A standing image of Chamunda with sixteen arms obtained from Silipacharahi - a centre of Kalachuri art, is in the possession of Indira Kala Sangeet University, Khairagarh, Rajnandgaon district.33 The sandstone sculpture may be placed in circa 11th century A.D. from an artistic point of view.34 An image of the emaciated figure of Chamunda in a mutilated state belonging to the Chandella period and datable to 11th century A.D. is a part of the collection of the Central Museum, Khajuraho35 (Chhatarpur district). Here, the goddess is depicted with bulging eyes, gaping mouth, pendulous breasts, thereby giving an overall ghastly look to the image. Mention may be made of a sandstone sculpture of Chamunda measuring 110 x 55 x 25 cms obtained from Hinglajgarh in Mandsaur district of Madhya Pradesh datable to circa 11th century A.D. This figure of the DevT, depicted as stepping upon a preta, is a highly fragmented one

25 The Chamunda sculptures of circa 12th century A.D. have been preserved in different corners of Madhya Pradesh namely Rewa Kotwali, State Museum, Bhopal, Central Museum, Khajuraho, Central Museum, Indore, Ajaigarh fort (Panna)36, Un (Khargone) among others.37 A sandstone sculpture of the goddess measuring 45 x 75 x 23 cms procured from Hinglajgarh in Mandsaur district of Madhya Pradesh and assignable to circa 12th century A.D., is now a part of the collection of the Central Museum, Indore. The figure of the fourarmed DevT, depicted in the midst of two pillars, is seated on a preta with two of her upper hands and her left leg in fragmented condition. In her two lower hands, she holds a kapala and a naramunda (human head). The sculpture is not in a very good condition. She is flanked by the figures of two attendants on either side. In this composition, the Dew"has a ghastly look. Mention may be made of a sculpture of four-armed Chamunda, seated in lalitasana on a double-lotus pttha, with all the hands broken at the elbow thereby leaving no trace of the ayudhas. She has a neatly combed hair and wears a jatamukuta. She is bedecked with asthikundalas, sarpaharas and a beaded garland falling on her breasts, a mundamala, sarpakatibandha and a thick, loose and long vaijanttmala made of bones and skulls. The third eye of then goddess is depicted on the forehead in a conventional manner. On the sunken abdomen is represented the figure of a scorpion ascending in a realistic manner. The figure of a prostrate nude male figure (apasmarapurusha), shown beneath that of Chamunda, is depicted as a living figure who supports the raised head on his palm with his face turned towards the front. The DevT is flanked by the figures of two standing female attendants on either side. At the top, on either side of the DevT is shown a four-armed goddess while behind the DevTs head is a beautifully carved halo with a thick border and decorated with lotus petals. The figure of the goddess betrays strong tantric influence purely from an artistic point of view. Another image of the twelve-armed DevT was found in a badly mutilated state in which the emaciated and skeletal goddess is represented standing on her left leg with her right leg resting on a nude prostrate male figure who raises his head on his arm. Most of the arms of the goddess are broken with the exception of the two left ones in which she holds her shield and a kapala with a fish. She wears a jatamukuta tied together with fillet decorated with small skulls, and other floral designs. The goddess has a third eye on her forehead. A snake is shown tied around the loose and distended breasts, She is adorned with a double stringed thick waist girdle, earrings and wristlets. The figure of a scorpion is -117-