This brilliant bronze statue from Swamimalai, one of a few most accomplished centres of bronze casting in India, represents Karttikeya, Shiva’s elder son and the Commander-in-Chief of the army of Gods. An example of rare skill that the craftsmen of Swamimalai matured over centuries through many generations of them the statue endowed with a distinction of its own is packed with an ornament-like fine details breathing a kind of classicism. A true representation not only of the iconographic vision of Karttikeya but also of the entire cult and tradition associated with him the statue is unique in representing him as one mind despite diversity of vision that his multiple eyes generate. The artist has translated the symbolic idiom of the iconographic form of Karttikeya into his statue. As should have had the commander of gods’ army, the multi-faced Karttikeya had an eye in every direction but one mind to view what his different eyes see. This unity of mind and diversity of ‘the perceived’ is the symbolic thrust of Karttikeya’s image and it aptly manifests in the statue.
As the tradition has it, when only seven days old, Taraka, a demon, performed rigorous penance and won from Brahma the boon that he shall not be killed by anyone but only by one of his age, that is, seven days old. Confident that none seven days old could kill him Taraka grew excessively arrogant, tortured Brahmins, performer of ‘yajna’, molested womenfolk and drove gods out of their abode. They felt helpless for cursed by Parvati for one of their misdeeds gods were bereft of progeny and had no one who could kill Taraka. On Brahma’s advice they thought of approaching Shiva but busy with newly wedded Parvati in the game of love he could not be disturbed without inviting his ire. However, when approached, Shiva granted their prayer but asked them to find someone who could bear his semen when it was discharged. Gods persuaded Agni to bear it but when unable to hold it for its unbearable lustre Agni handed it to Ganga who too could not hold it for long and deposited it with a grove of Sharas – reeds.
Here in the grove Shiva’s semen matured into a child. Hearing a child crying six Krittakas passing across rushed to him and realizing that the child could be hungry each wished to feed him. Karttikeya knew their minds and created over his neck six faces so that they all could feed him simultaneously. The symbolism of his iconographic form begins right from his birth : all six Krittakas had one mind, and to fulfill this one desire the child resorts to creating six faces – unique example of oneness of the ‘diverse’. The day he was born he had the maturity of ages. When yet a child he had a well-built figure. All gods presented to him their mighty attributes and trusted assistants. The great bird Garuda offered him its son Chitrahana, the peacock that Karttikeya adopted as his mount and ‘dwaja’ – emblem the figure of which he had on his flag. The ‘dwaja’ that the artist has cast along this statue also has the figure of peacock on it. Besides ‘dwaja’ and royal standard additionally attached along the statue the statue is carrying in its hands on right side ‘vajra’ – thunderbolt, arrow, sword, mace, elephant goad, and on the left side, ‘khadga’ – sword with broader blade, bow, shield, ‘pataka’ – a smaller flag, and noose. The normal right and left hands are held in a ‘abhaya’ and ‘varada’.
When Shiva’s son entered seventh day of his age he led the army of gods against the mightiest of demons Taraka and killed him. The statue wondrously adheres to the canons that cropped up in the Karttikeya cult and related tradition. His figure has been conceived with six faces but leading to one mind. The headgear that has been designed to lie over all six faces independently has an apex common to all parts. Often his six-faced figure is conceived with four arms but this statue has twelve, two for each being that each face symbolizes. Equipped with all attributes Karttikeya is in the appearance of gods’ commander, that is, at the age of seven days; but as the tradition perceived he had a fully grown up person with a strongly built body. The statue, and as a matter of fact all visual representations of Karttikeya, represents him as a fully grown up man, a child never. His figure has been cast with an expanded chest with which he might have inspired confidence among gods as the wrestlers often do before entering wrestling ring. The statue cast with a normal anatomy and fine sharp features brilliantly costumed and bejeweled has been installed on the two-tiered pedestal, a squarish base unit and a circular top both consisting of conventionalized lotus motifs. His mount peacock has been installed on a pedestal separately appended to the main pedestal.
This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.
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