Page 54 - Christies Alsdorf Collection Part 1 Sept 24 2020 NYC

崇聖御寶 - 詹姆斯及瑪麗蓮 ·阿爾斯多夫珍藏

UMA PARAMESHVARI: CA. 1300

DR. VIDYA DEHEJIA
Barbara Stoler Miller Professor of Indian and South Asian Art, Columbia University

During the Chola period, women were major now commissioned seated bronzes of Uma as palli-arai-
donors of bronzes of Uma to accompany images of nachchiyar or “consort of the bedroom chamber.” At the
Shiva; in fact, women donors often referred to Uma, in end of each day, an image of Shiva was ceremonially
affectionate terms, as their own daughter (en-makalar- taken to this palli-arai (reclining chamber) that contained
kondu). While in north India and in the Sanskrit the image of Uma. It was, and still is, at the bedroom
tradition, Shiva’s wife is referred to as Parvati or chamber that that the first early morning service is
daughter of the mountains (the Himalayas); in Tamil conducted by temple priests, and that the final late-night
Nadu, she is addressed solely as Uma, with the added puja occurs.
phrase Parameshvari or “Great goddess.” She accompanies
This tall and stately image of Uma with the typical
Shiva in his many manifestations, whether of a martial
diadem framing her face, wears makara earrings, and a
category as when he kills the elephant demon or destroys
tiered cylindrical, lightly tapering crown seen in much of
the forts of three demons, or of the gentle category as
Chola art. Three incised lines at the waist are suggestive
with Shiva as rider of the bull. In other words, there are
of her lush beauty; literature refers to such a well-
as many bronzes of Uma as there are of Shiva. Inscribed
endowed woman as trivali-tarangini or “she with three
lists of bronzes, for instance in the temple at Tiruvilakudi
waves [at her waist].” Her perfectly rounded breasts are
on the Kaveri river, provide further confirmation as
placed high with prominent nipples noticeably encircled
they specify that each form of Shiva is accompanied by
by the aureola. Bands of jeweled chains hold in place her
nachchiyar, the term for the accompanying consort.
long skirt that hugs her thighs and legs.
Uma’s role as consort of Shiva strengthened further
Where do we place her in the chronological framework
during the Chola period with the introduction of
of bronzes? She stands at the very end of the Chola
bronzes to reflect newly important aspects of her
period before it transitions into the full-fledged
character and personality. Apart from her accompanying
Vijayanagara mode when limbs acquire a somewhat
role in Shiva’s manifestations, the belief arose that the
tubular quality, and a degree of firm aloofness envelops
aniconic linga form of Shiva in the sanctum, isolated
the image. We should here remind ourselves of the fact
thus far, also needed her presence. And so, images of
that while Chola rule ended in 1280, it was close to a
Uma as Bhoga shakti or “Pleasure Force” began to be
hundred years later - in 1378 - that the Vijayanagara
created and placed at the entrance into the sanctum. The
kingdom was established. The intervening hundred years
iconography of the form of Uma remained unchanged
was a period of considerable instability and confusion,
so that the identification of an image of Uma as
with the armies of the Delhi Sultanate making two
“Pleasure Force” rests solely on the larger-than-average
forays into the south in order to capture the fabled
size of the bronze. Additionally, from the twelfth
jeweled wealth of the Tamil temples. The Delhi sultans
century onwards, the concept of the tiru-kama-kottam
appointed a governor in Madurai, but he decided to
or “sacred fortress of love,” came into play; donors
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PART I