Chola idols of Gajasamharamurti in Tamil Nadu depict Lord Shiva’s valour and ferocity
Vazhuvur, a small town in Mayiladuthurai district, occupies a special place in both the Saivite tradition and the history of Bharatanatyam. It is one of
Vazhuvur, a small town in Mayiladuthurai district, occupies a special place in both the Saivite tradition and the history of Bharatanatyam. It is one of the Ashta Veerattanams — the eight sacred shrines where Lord Shiva is believed to have manifested his valour through heroic deeds. Vazhuvur is equally renowned as the birthplace of Vazhuvoor Ramaiah Pillai, one of the foremost Bharatanatyam gurus of the 20th century, who also choreographed dance sequences for Tamil films. The Vazhuvur bani, one of the principal schools of Bharatanatyam, traces its origins to him. The Veeratteswarar Temple, Vazhuvur, houses an exquisite bronze idol of Gajasamharamurti, depicting Lord Shiva in his fierce form after slaying the elephant demon Gajasura. Widely regarded as one of the masterpieces of Chola bronze art, the image is generally dated to the reign of Rajaraja I. It reflects the extraordinary artistic excellence of that period. If Nataraja, Shiva as the Cosmic Dancer, embodies the philosophy of cosmic balance, Samharamurti represents the deity’s fierce and destructive aspect. According to T.A. Gopinatha Rao, author of The Elements of Hindu Iconography, the Samharamurti form of Shiva is known by several names, each denoting the destruction of a particular malevolent demon.
In this manifestation, Shiva is called Gajasamharamurti, the slayer of the elephant-demon Gajasura. In Tamil, he is revered as Yanai Uritha Thevar—the Lord who flayed skin of the asura after it had assumed the form of an elephant. Images of Gajasamharamurti occur in temples dating to both the Pallava and Chola periods. However, the Vazhuvur bronze idol stands apart. In the words of Gopinatha Rao, it is “a remarkable piece of artistic work, both for its size and the excellence of its execution.” The deity stands triumphantly upon the slain elephant head of the demon, his body dynamically twisted in a pose unlike conventional iconographic representations. According to R. Kalaikovan, founder of the Rajamanickanar Centre for Historical Research, the posture of the Vazhuvur bronze icon does not conform to either of the recognised dance karanas — Bhramaraka Karana or Bhrishta Svastika Karana. “The deity stands on the severed head of the elephant-demon with one leg and the hip dramatically twisted, creating a unique sculptural composition,” he explains. Gopinatha Rao, who reproduced a photograph of the bronze icon in The Elements of Hindu Iconography, offers a detailed description of the image.
He notes that the deity’s finely carved face bears a pair of large, rounded eyes and projecting tusks, emphasising its terrifying aspect. Encircling the head is a jata-mandala, with the crescent moon on the left and a serpent on the right. The jata-makuta is adorned with a skull, dhattura flowers and other ornaments. The deity is represented with eight arms. One of the right hands holds the elephant skin aloft, while two others carry a udukkai, finely fashioned trishula (trident) and a khadga (sword). The object held in the fourth right hand is indistinct in the available photograph. The left hands hold a kapala (skull bowl), khetaka (shield) and tanka (battle axe). Flanking Shiva are two ganas, each with four arms, playing drums and other musical instruments, heightening the dramatic intensity of the scene. Another outstanding depiction of Gajasamharamurti is found on the walls of the Brahmapuriswarar Temple, Pullamangai in Thanjavur district. Despite its miniature scale, the stone sculpture captures every intricate detail associated with this iconographic form. “It combines elements of both Bhramara Karana and Bhrishta SvastikaKarana. The body below the waist twists to the right, while the upper torso faces forward.
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