Karttikeya: The Gods’ Army Commander

This ingeniously crafted brass-cast, anodized in deep brown, and special parts : eyes, nails, forehead mark, ornaments …, high-lighted with silver and copper plating, represents Karttikeya, Lord Shiva’s elder son and the Supreme Commander of Gods’ army and, perhaps, one of the strangest personalities of Indian myths having unbelievable contradictions. The day he was born he had the maturity of ages. When only seven days old, he led the army of gods against the mightiest of demons Taraka and killed him. He had the vow of celibacy yet he not only married two women Valli and Devayani but did not hesitate in indulging sexually with others and even in raping many. Till recent days women were barred from entering his temples. A little of this strangeness reflects in this statue too. Fully grown up and with a tall lance in his hand this image represents Karttikeya with an adolescent look and a short stature such as would have a boy.

Unlike the long and well established scriptural tradition which perceives Karttikeya as six-faced, especially prevalent in north, this statue has been cast with normal one face and two arms, obviously, rendering it difficult to accept the represented figure’s identity as Karttikeya. The statue also does not incorporate the figure of peacock, his mount, However, the figure’s identity reveals in the Shaivite mark of ‘tri-punda’ on the forehead, the mighty lance held in his hand and the snake, another Shaivite attribute, crawling around his feet. During his battle against Tarakasura a lance was Karttikeya’s principal weapon to kill him. Apart, the divine lustre on the face, lavish jewellery with a towering crown, lotus seat and the gesture of his right hand revealing ‘abhaya’ are definite signs of the image’s divine links.

This vision of Karttikeya, as manifests in this brass statue, is obviously the South Indian idiom of his imagery. In South Karttikeya as Murugan, sometimes spelt also as Murukan, has normal one face, two and sometimes four arms, and at times, like Riddhi and Siddhi, the wives of his younger brother Ganesh, also his wives Valli and Devayani seated with him. Like Riddhi and Siddhi they are also revered as representing riches, prosperity, abundance and worldly accomplishment. As suggest some temples dedicated to Karttikeya, in North too, since early centuries of Common Era to late medieval days Karttikeya was a widely worshipped divinity, though now for long his worship is performed only once a year on the last day, Purnamasi, of the month of Kartika. On the contrary, in South as Subrahmanya or Murugan, Karttikeya is as popularly worshipped as his father Lord Siva. In South a number of temples are dedicated to Karttikeya and even a section of South Indian Brahmins known as Subramanian is also named after him.

This image of the gods’ army commander has been represented as standing on a beautiful lotus seat as if ready to move and charge. As suggests the gesture of his left hand he is perfectly relieved, assuring ‘abhaya’ with the gesture of his right hand which his lance carried in it simultaneously ensures. This form of Karttikeya corresponds to his South Indian form as Murugan, venerated as the benevolent protector of all alike, gods, human beings and all beings. Cast with sharp features, a pointed nose, lotus eyes, delicate lips, small pointed chin and a balanced anatomy, and each part elegantly bejeweled, the statue reveals the same artistic merit as the finest South Indian bronzes.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.