11'' Ardhanarishvara | Madhuchista Vidhana (Lost-Wax) | Panchaloha Bronze from Swamimalai

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There exist several legends surrounding what the Gupta-era writer Pushpadanta called ‘dehardhaghatana,’ or “Thou and She art each the half of one body.” While our visual representations begin arriving from the Kushana period, it is with Puranic texts that we ascribe the origin of its mythology – for example, the Skanda Purana details Parvati and Shiva resting beside each other, literally infusing with each other as the Ardhanarishvara; the Shiva Purana recounts the problem faced by Brahma upon the declining population of Prajapatis – the solution, which lay with regeneration and fertility, is provided by Parvati in the Ardhanarishvara form. Another instance is from the Matsya Purana, where Parvati, upon being blessed with a golden complexion, attracts Shiva to have him merge half his body with her. Such visual imagery is further explained in texts like the Shilparatna and other Agamic works. Due to the complex nature of infusing Shiva and Parvati’s symbolism, it is the genius of the sthapati that every single detail attests to a particular icon. For example, on the right superior side of Shiva, we see him wearing either a ‘sarpa-kundala’ or a serpent-earring, or an ordinary kundela, whereas in the case of Parvati, we see a distinct floriate ‘valika-kundala.’ The same can be observed in the different way both sides have their hair wrapped. In this four-armed depiction, Shiva holds his fearsome weapon ‘parashu’ or axe and extends his other hand in a fear-dispelling ‘Abhayamudra.’ With Parvati, one of her hands holds a flower, while the other hangs loosely by her side. We further note the difference in their clothing – Shiva’s garment is just long enough to act as a ‘dhoti’ whereas Parvati’s leg is draped till right above the ankle. Moreover, Parvati’s garment is embellished with various ‘haras’ or religious bracelets. What is peculiarly interesting of this ‘panchaloha’ work is that while Parvati’s bosom is well-developed and exaggerated, it is Shiva’s waist that supports the ‘tribhanga’ posture, emphasising on a curvier body and hip than what Parvati shows. The bronze image stands proud over a raised pedestal, and a green patina has formed over the sculpture.