Page 42 - Stone and Bronze, Indian art of the Chola Dynasty, Metropolitan Museum, NYC

FIGURE 44
Durga, c. 950. Naltunai Isvaram temple, Punjai

gods were helpless against his arrogance. They handed
their weapons, symbol and essence of their power, to
the virgin Goddess, whom the demon had demanded
in marriage. And it was the Goddess who engaged him
and his host in bloody battle and slew him.
of
In the Pallava relief, this aspect Durga generally is
shown as a beautiful maiden standing on the severed
head of a buffalo, wielding her many weapons, as an
of
apotheosis victory. Often she is accompanied by de-
votees, each about to cut off his head or a hand and lay
it at her feet.87 Such offerings actually took place, al-
though often the devotees were only drawing blood
with their swords as a symbolic sacrifice. This form of
Durga has been identified with Korravai, the victory
goddess of a south Indian tribe of cattle thieves, high-
waymen, and professional soldiers.88
Under the Cholas this cult continued, and Durga
Mahishasuramardini was assigned a niche on the north
wall of the porch or entrance hall (ardhamandapa).
The beautiful relief on the Brahmapurisvara (c. 9Io)
at Pullamangai (Figure 43) illustrates the early Chola
sculptor's realization of this concept. Displaying a for-
midable array weapons (we recognize sword, trident
of
and wheel disk, two quivers arrows, conch and bow)
of
the victorious maiden in a graceful "triple-bend" pose,
or tribhanga-as the Indians call the alternating rhyth-
mic accent on inclined head, jutting hip, and bent knee
-under a parasol, stands on her trophy, the buffalo
head (pars pro toto). It is not the combat that is the sub-
ject, but the victorious power of sakti. In the lower sec-
tions of the flanking niches, two warriors are about to
immolate themselves. Above them, at her right, a fierce
lion-her mount and attribute-stands guard. At her
left we see a gana, one of the sprites goblins who make
or
a
up Siva's host, leading buck, which sometimes, in a
is
specifically southern (Tamil) configuration,89 Durga's
second mount.
87. As at Singavaram and Mamallapuram (late seventh cen-
tury).
88. J. Ph. Vogel, "The Head-Offering to the Goddess in Pallava
Sculpture," Bulletin, School of Oriental Studies 6 (London, 1930-1932)
pp. 539 ff.;J. C. Harle, "Durga, Goddess of Victory," Artibus Asiae
26, nos. 3-4 (1963) PP. 237 if.
89. K. R. Srinivasan, "Some Aspects," p. I53.

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