Page 48 - Indian and Himalayan Art Mar 21, 2018 NYC

in Bihar, the movement reached it apex in north Bengal from the 10th century her stomach reveals the tension in her body. As she braces her foot against
onwards (Claudine Bautze-Picron and Gouriswar Bhattacharya. The Art of the back of the dead beast and raises her sword to dispatch the fnal blow, she
Eastern India: In the Collection of the Museum Für Indische Kunst, Berlin: Stone uses her divine strength to plunge the trisula into Mahisha while her lion bites
& Terracotta Sculptures, D. Reimer, 1998, p. 12). the rear of the slain bufalo. Eyes wide with intensity, Durga has a smile that
lends sweetness to her otherwise wrathful appearance. Her facial features
Bautze-Picron, in her lecture Durga, The All Powerful in Eastern India (The may be compared to an example from the Museum Für Indische Kunst, Berlin,
Annual Lecture on the Arts of South and Southeast Asia, The Metropolitan which Bautze-Picron compares to images from South Bihar; “i.e., the front is
Museum of Art, 5 March 2017), identifes various motifs and compositional very narrow, the eye-brows are extremely curved and form a high arc above
choices seen in ninth and early tenth century examples of Mahishasuramardini the eye, the mouth is small with the lips going up at their extremities, the chin
from the region. She cites examples such as the style of garland belt worn by is pointed, the nose […] pointed and the nostrils are indicated through well
Durga, her sensuous belly fold and large hair bun, the lion playfully nipping at incised round lines…” (Bautze-Pircron, pg. 92). While the Berlin example has
the back of the bufalo, the chakra lodged in the body of the bufalo, and the a jata for its hair, the facial features of this sculpture and those of the present
demon emerging from the beheaded beast, all attributes stylistically forming work are very similar. However, the overall composition and execution of the
part of the ninth and early tenth century repertoire. By the late tenth and present sculpture is far more elaborate, sophisticated and ornate than those
eleventh century, the rounded hair bun of Durga is replaced by the jata, and of the comparable sculpture.
the overall compositions become more elaborate with attendant fgures and
various gods who watch the battle scene unfold between Durga and Mahisha. To visualize the stylistic development of Mahishasuramardini in Bihar,
Later examples show Durga with twelve arms, unlike earlier examples with compare the present work with a ninth century example from the Metropolitan
eight and ten; her lion mount becomes smaller and Mahishasura larger, taking Museum of Art (Goddess Durga Slaying the Demon Mahisha, second half of
a more central position under the Devi. the 9th century, Eastern India, Bihar, probably Gaya district, Schist, Accession
Number: 2016.650). Their shared similarities include crowns with a triple
The present sculpture depicts the fnal moments of the duel between Durga diadem, the center projection rising up in a triangulated form above a large
and Mahishasura. The execution and scale of the piece are indicative of her topknot of hair. In addition, both display detailed and beautiful ornaments
importance as a central fgure of worship. Carved in deep relief, the sculpture including elaborate jeweled belts. In both examples, she holds a shield, a
is rendered almost fully in the round. The hardness of the stone lends itself to sword, the noose with which she binds Mahisha, a long bow with an elaborate
the extraordinarily fne carving and intricately detailed jewelry. The signifcant handgrip, an arrow and a quiver. However, in the current work, one can also see
size of the sculpture also allows for greater iconographic embellishment the stylistic evolution into a composition that has gained complexity, such as
around the central fgure. Durga stands in pratyalidhasana, with one leg the inclusion of an attendant fgure holding a peacock fan, and various gods
planted on the beast’s back, and the other extended over her lion mount. and apsaras above overseeing the battle. The lotus base is beautifully carved
Her full and supple body leans forward, adding a sense of movement and with fully articulated petals and is held up by devotees and dancing fgures
immediacy to the whole composition. Her waist and limbs are slender, while including Chamunda. It is an archetypal example of the triumph of good over
her breasts are frm and round. The bufalo demon lies beheaded at Durga’s evil and one of the fnest images of Brahmanical sculpture from the Pala period
feet with the chakra still lodged in its body, with Mahishasura emerging in his to come to the market.
anthropomorphic form from the slain animal. Her array of arms brandishing
印度東北部 帕拉王朝 十末/十一初世紀 黑石屠牛魔形難近母像
weapons connotes her many powers, while the pronounced musculature of

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