Aristic Freedom of Nolamba Sculptors

Artistic expression in the carvings of Mahishasurmardini

In the Nolambavadi region we saw many images of Mahishasuramardinis of various sizes, carved as a part of the pillar or free standing ; some as high as 3 to 4 ft and some as tiny as not more than few inches

 

                        The Free standing Bargur Mahishasuramardini

                                         

 

On the Pillars 

 

               

                                           On the exterior of temple walls

All carved  images depict  Goddess Durga as trouncing the demon Mahishasura. But the sculptors treat this iconography in myriad of ways. No carving is identical ! Each follows the norm but the form rendered is different.

The way the sculptors show the Goddess  mauling the demon with her trident or by twisting his neck leaving him gasping, arms flailing, eyes bulging, teeth jutting out ....making us almost hear him gagging, is indeed unexpected and dramatic.

                                 Durga calmly twists the demon's head     
                                          

                               Mahishasura meets his nemesis or mukti?
              

The treatment meted out to demon is different. The Goddess squashes his head with her hand pushing him down as if she is squashing a fly and yet the face betrays no strain.....a calm detachment, a job that has to be done.

One more representation

Even in a pillar where the two images are carved adjacent to each other, both are similar but not same.

The Nolamba sculptor must have enjoyed a great deal of confidence by his patrons. Within the broader limits he could let his hands shape where his imagination took him. This is seen in other carvings also.  There was no homogenising. Maybe this was the time when the artistic, sculptural and architectural norms were still in the formative stages which might have given scope for artistic play.

Greater freedom, greater confidence and greater command over the medium must have led to such great images being carved;  be it on the ceiling or on the pillars or Gods which were to  be worshiped  and which continue to be prayed even today with similar devotion.

Does this not prove the artistic merit of Nolamba sculptures and the  artistic worth of Nolamba sculptors ?