Uma-Mahesvara

The Uma-Mahesvara panel (PI. 30) was located within the complex of Kumbhesvara Temple, above the controversial male figure, locally known as Sitala.

In this panel, the sitting posture of Shiva was almost like that of the Gahiti panel, already discussed (PI. 23). Shiva, who was shown seated on a tiger skin, occupied the central position. He held a rosary and a trident in his upper right ;lnd left hands, respectively. With his lower left hand he gently embraced his wife, Uma, while the lower right hand was held in the gesture of munificence. Uma was shown reclining languidly against her husband’s shoulder. Though modelled sensuously, her posture was less graceful than the figure of Parvati from the Gahiti panel (PI. 23). On her left was a female attendant who supported Uma’s pendent right foot.

At the top of the panel, a small Shiva-linga flanked by the Sun and the Moon was represented. On the right of Shim’s less elaborate nimbus was the acrobatic figure of Ganga, shown in the act of pouring water over Shiva. Opposite her, another female figure was shown offering flowers to the divine couple (PI. 3 1).

Two guardian deities who could be identified ,Is dvarapala, or attendants, were represented emerging from the rock on either side, both holding their usual attributes in their four hands. On the right of Shiva, Nandi, the bull, with a prominent hump, was seated on his right was the seated figure of Karttikeya holding a mace in his left hand. Five ganas of Shiva were represented on the lower section of the panel.  They were shown dancing in a joyful mood. Gansha occupied the central position: he was flanked by a three-headed gana and a skeletal Bhringi on his right and left respectively. On the extreme left and right of the lower panel were two animal-headed ganas playing a drum and cymbals.

The entire panel was accentuated with a highly stylized rock motif. I t is interesting to note that the spatial depth, where the ganas were carved, n.1, shown in a naturalistic manner and distinct perspective order. However, the representation of the Shiva-linga at the apex of the relief and the style  of the halo, or even the design of Shiva’s necklace clearly indicated a work of a later period, datable to the 14th century A.D. The photograph (1’1. 32) shows how the situ was broken and the beautiful image was stolen on October,  1985.

PUBLISHED

Pratapaditya Pal, Uma-Mahesvara theme in Nepal sculpture, Boston Museum Bulletin vol. LXVI (No 346, 1900) Fig. 7.