Bhairava-Siva (Enthol Mukkan Emman ‐ எந்தோன் முக்கன் எம்மான்)

Bronze figure from the Thanjavur Art Gallery.

Description

This image of Siva was also a part of the finds at Tiruvengadu Village unearthed in 1952. This is early Chola, 11th Century A.D. Siva stands on a padmapitham, attached to a bhadrapitham, with rings for attachment during processions.

The image is the largest Chola depiction of Bhairava in bronze, and among the greatest sculptures of Siva’s nude form. A local legend connected with the temple of Tiruvengadu states that Rishabha, the chief devotee of Siva, was once attacked and wounded by a demon, In terror and agony he prayed to Siva.

Siva appeared eight-armed, in a form of fire. Confronted by this terrible apparition, the demon prostrated himself in supplication and the wounds of Rishabha were healed at once. Worship in Tiruvengadu temples still centres around a similar image of Aghora-Murthi – the terrible one.

Endowing multiple hands is a regular feature employed in images to bring home symbolically the powerful aspect of God to the worshippers. The Tamil hymns extol this form of Siva as Enthol Mukkan Emman, as “my lord of eight arms and three eyes“!

Saint Tirumoolar the earliest of the canonized Saivaite savants and the author of the Tirumandiram, describes the significance of Eight in the following verse:

The only one is He;
The second is His Sweet Grace (Sakti);
He stood in the Three;
He uttered the four (Dharmas);
He conquered the five (Senses);
He spread Himself out as the Six (Adharas);
He stood transcendent as the seventh,
knowing the eighth.

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ஒன்றவன் தானே;
இரண்டவன் இன்னருள்;
நின்றனன் மூன்றினுள்;
நான்கு உணர்ந்தான்;
ஐந்து வென்றனன்;
ஆறுவிரிந்தனன்;
எழும்பர்ச் சென்றனன்;
தானிருந்தான் உணர்ந்து எட்டே.

The Sanskrit poet Kalidasa declares in his Kumarasambhava:

No selfish want o’er prompts a deed of mine;
Do not the forms-eight varied forms-I wear,
The truth of this to all the world, declare

Siva stands rigidly, facing us, in samabhanga. The sculptor has beautifully contrasted the austerity of Siva’s stance with the subtle and revealing movement of His arms. The figure is naked except for a girdle of serpents whose hoods are spread on each thigh.

Around the arms, serpents with hissing heads (naga angada) replace the shapes of contemporary jewelled armlets, while the thick yajnopavita itself is formed of the bodies of two writhing serpents.

A long garland of round bells hangs from the left shoulder halfway down the right leg. An udara-bandha of cloth or metal and a small necklace whose pendant falls over the right shoulder as a vertical streamer (skandamala) decorate the torso.

The feet are ornamented with rings on the outer toes and padasara’s of small round bells. Flower bahulamala’s and fastening ribbons from the hair style rest on the shoulders.

„Enthol Mukkannan“ is shown as a youth. A flower fillet circles his forehead from which the locks of hair have been combed straight back. They are held in place on the top of the head by twin serpents whose spread hoods flank a jewelled skull.

Behind this bizarre diadem, the long hair of the God leaps up in a huge shimmering flame-like triangle supporting the crescent moon, the dhattura blossom, loops and pendants of a jewelled chain.

From behind ringlets emerge from underneath in the shape of vertically-standing hair, which is shown without a siraschakra. Round, matching patra-kundala’s complete the aspect of the deity.

Remaining in three hands can still be seen the damaru (a small drum), a bell and a proffered kapala. Possibly, the five empty hands once held the sword and shield, the bow and arrow, and the trisula.

In his treatment of the torso and the round young countenance, the sculptor has carefully visualised this terrific form of Siva as a benign powerful youth – Vatuka Bhairava.

What is unique about Chola sculpture and South Indian thought is the emphasis on Siva’s benignity, even in aspects where He is terrible, such as the Aryan aspect of Rudra.

Notice for instance in this sculpture, the gentleness and amusement in Siva’s face and the tenderness of the hands stretching out the begging bowl. There is nothing sentimental in this depiction of Siva’s kindness, because the majesty and power of this Godhead are also clear.

This radiant balance of strength and sweetness is rare in world art and thought, and could only be achieved by a religious civilisation.¹

Informations

Acc. No.: 93

Century: 11th CE

Place of discovery: Thiruvenkadu

Taluk: Sirkazhi (erstwhile Mayiladuthurai)

District: Mayiladuthurai (erstwhile Nagapattinam)

State: Tamil Nadu

Country: India

Exhibition Location: Thanjavur Art Gallery

Height: 109 cm with pedestal, 90 cm without pedestal

Breadth: no information about the breadth

Weight: 111-200 kg

Pictures

Bhairava-Siva (Enthol Mukkan Emman)

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