Durga as Mahisamardhini (slayer of Mahisasura) is an ancient diety. An important 5th century Sanskrit text, the Devimahatmya, contains all the details connected with Durga, her various forms, exploits, and her iconography. Durga was certainly worshipped in this form much earlier but probably came to be widely worshipped throughout India from the Pauranic resurgence of the Gupta age.
During my travels in India, I have found the Mahisamardhini image depicted in many temples across the land – from those of the Hoysalas in south Karnataka, to the Chalukya and Kakatiya temples in the northern Deccan. She is depicted in Orissan temples, in ancient Gupta temples, in Ellora and in the central Indian Chandela temples in Khajuraho and of course in innumerable terracotta temples in Bengal. Indian artisans seem to have revelled in the possibility of individual expression allowed by the complexity of this scene, and have depicted the characters in an amazing variety of positions, expressions, postures, and movements.
Five Styles of Mahisamardhini Iconography
The art-historical evolution of the Mahisamardhini iconography is interesting. I have found least five major styles in which this image has been depicted. With the passage of time, the orientation and movement of the images change slightly, and the asura gradually attains an anthropomorphic or human form.
Type 1: Asura in the Form of a Buffalo
Type 1: Early Chalukya, ASI Museum, Alampur
In the earliest images the asura is represented in the form of a buffalo. Such images are found in the temples of the Pratiharas (Rajasthan), Pallavas (Mahabalipuram), and Chalukyas (Alampur). A Chalukya image from the ASI site museum at Alampur (above) is an excellent example. Durga holds down the buffalo with one leg, bending its head to thrust a spear down its neck, while her simha attacks it from behind. Amidst this ferocious scene, her face is calm, and mahisasura seems to submit without resistance.
Type 2: Buffalo with Severed Head
Type 2: Pallava, Kailasanatha Temple
In a second variation, the goddess is shown standing triumphantly on the severed head of the buffalo, a form especially favoured by Pallava and Chola artisans. See above.
Type 3: Human Body with a Buffalo’s Head
Type 3: Baital Deul Temple
In another depiction Mahishasura is no longer represented as the form of a buffalo but has a human body with a buffalo head. Such images are found in the temples of the early Chalukyas (Aihole), Rashtrakutas (Ellora) and in Orissan temples.
One of the early temples in Bhubaneswar, the Baital Deul, has an example of this form on the north wall (above). This is one of the most skilful representations of Durga anywhere. The half-human Mahisasura seems to kneel in front of Durga as she pushes him down with her hand and slays him with her trishul. Her outstretched arms holds swords, snakes, and a shield, all in a swirl of motion but her face remains strangely compassionate. Although constrained by a narrow rectangular frame the Orissan artist has produced an image of stunning beauty and vitality, with not a single element disproportionate or out of place.
Type 4: Asura in Human Form
Type 4: Late Chalukya, ASI Museum, Alampur
A fourth type depicted in late Chalukya and Hoysala temples (such as at Somnathpur) shows a human Mahisasura being slayed by Durga.
The example shown above is a late Chalukya example from Alampur. Here an eight-armed Durga is shown thrusting her trishul into a miniature Mahisasura as he emerges from the buffalo. Although perhaps aesthetically less pleasing than the earlier Chalukya example, this sculpture is more active. The lifeless buffalo collapses as Mahisasura emerges ready to strike. Durga gently holds the asura’s head as she kills him, while her other hands brandish weapons, a drawn sword, an arrow being taken out of its quiver, a bell being rung.
Type 5: Durga Surrounded by Her Children
Type 5: Terracotta Temples of Bengal
A fifth type is found on terracotta temples of Bengal, particularly those in the Hugli and Howrah region. Here the standardized Bengali group of dieties is shown: Durga slaying Mahisasura in the centre and her children surrounding her. The images are positioned either on octagonal entrance columns in the temple porches (in Hugli and Howrah) or as in the example shown above, in one of the registers above the entrance arches (in Medinipur).
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The Mahisamardhini form of the Devi has been worshipped for fifteen centuries across the subcontinent and beyond. In fact, images have been found as far away as Angkor (Cambodia) and Java (Indonesia)! Yet she remains an important part of our modern lives, loved, revered and worshipped every year in joyous autumn celebration.
ya devi sarva bhooteshu matru roopena samsthita
namastasyai namastasyai namastasyai namo namaha
Devi, who is manifest in all existence as mother,
I worship thee, over and over and over again.
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Dear Amit,
The evolution of imagery of Devi Durga and Mahisasura through centuries make interesting reading.
This article reminds me about variations of imagery of Devi Durga in the autumn festival of Calcutta need a few chroniclers . I recall Jiten Pal’s creations in 23Pally’s pandals in late fifties and early sixties. Once , he created an image of 10-armed Devi, turning away from the slain Mahisasura , Her face angry yet triumphant, the head of the demon in Her hand.much like that of the concept of Candika.
Jiten Pal could create a dynamic posture in a confined space which no one could in his time. One of his creations has been turned into a bronze statue in the permanent ‘shrine’ of Devi Durga in Bhownapore.
The drama of the fight between Devi Durga and Mahisasura has often been missed out by the sculptors of yesteryear as well as current days. The best Mahisasura I have seen is by Sanatan Rudra Pal ( or his son Mohanbanshi ?) in Ekdalia Evergreen’s Pandal in 2008. I marveled at his expression and body-balance when I blew up the photos on computer screen. I have used this photo in my blog ( http://cshyamal.sulekha.com/blog/post/2008/09/tragedy-of-mahishasur-a-king-who-crossed-his-limit.htm – click on the photo for a richer view) on Mahisasura .
Sharadiya shuveccha.
They have been built to look like ancient temples forts ships igloos and even the White House! During my travels in India I have found the Mahisamardhini image depicted in many temples across the land from those of the Hoysalas in south Karnataka to the Chalukya and Kakatiya temples in the northern Deccan. She is depicted in Orissan temples in ancient Gupta temples in Ellora and in the central Indian Chandela temples in Khajuraho and of course in innumerable terracotta temples in Bengal.
My partner and I really enjoyed reading this blog post, I was just itching to know do you trade featured posts? I am always trying to find someone to make trades with and merely thought I would ask.
Hello! nice blog!