Relief sculptures of Ahom monuments: Sculpted images featuring Sixteen Armed Durga on Siva Doul in Sivasagar and multiple interpretations they evoke

In context of the extant stone relief sculptural art adorning the architecture of Douls or temples built by the patronage of the Ahom dynasty during the 18^th century CE, images of sixteen armed Mahisasuramardini Durga are seen to be depicted only in the sculptural art of the Bor Pukhuri Siva Doul at Sivasagar town. The Doul, built under the commission of king Siva Simha/ Sutanpha and his second queen Bor Raja Ambika Kuwori contains more than one sculpted image of the sixteen handed Mahisasuramardini on its architecture, that too positioned or placed at different directions on the outer wall of the Garbhagriha or sanctum sanctorum of the Doul .

But why the image of the sixteen armed form of the goddess is seen to be repeated several times on the temple architecture ? Let us try to give some possible explanations for it.

The Agni Purana describes the imagery of Nava Durga or nine Durga-s. The nine Durga-s are said in the Purana to be worshipped in a diagram of nine lotuses issuing from the central eighteen handed form of Mahisasuramardini Durga . Each of these nine goddesses commencing with Rudrachanda are sixteen armed and have the Mahisasuramardini form, but having different body colours. In the architecture of the Bor Pukhuri Siva Doul, presently, there can be seen six sculpted images of sixteen armed Mahisasuramardini Durga, connoting towards a possibility that once there might have been nine of these representations on the temple body and the artisans had intended to depict the above Navadurga imagery described in the Agni Purana. Now the question arises that why the artisans would have chosen to depict the above Nava Durga imagery only in the iconographic programme of the Bor Pukhuri Siva Doul and not in any other Doul, even in the nearby Bor Pukhuri Devi Doul where the presiding deity is Mahisasuramardini Durga ? We can give no clear interpretation for it.

According to the Kalika Purana, an image of goddess Durga, in her Mahisasuramardini form should be encircled by eight Sakti goddesses which are reflections of her power. In the Durga Puja Paddhati of the Brihannandikesvara Purana which has been prevalent in eastern India, each of these eight goddesses known as Asthanayika-s, are described to be the Avarana goddesses of the ten- handed Mahisasuramardini Durga. These eight goddesses are Ugrachanda, Prachanda, Chandogra, Chanda, Chandanayika, Chandarupa, Chandavati and Atichandika. Except Ugrachanda, rest all are meditated upon and worshipped as having the form of sixteen armed Mahisasuramardini Durga. The above six images of sixteen armed Mahisasuramardini Durga portrayed on the architecture of the Bor Pukhuri Siva Doul can be interpreted as six of the above Avarana goddesses who surround or accompany goddess Durga, if we consider the context of the profound influence and the importance that the above Durga Puja Paddhatis had acquired in the tradition of conceiving and ritually worshipping goddess Durga or Sakti in the temples of Assam by the efforts and involvement of Sakta priests like Krisnaram Bhattacharya under the patronage of the Ahom court presided by king Siva Simha and his queens.

The sixteen armed Mahisasuramardini Durga is known as Bhadrakali in the Kalika Purana. It is in this form that goddess Durga or Mahamaya appeared before Mahisasura to enlighten him about his liberation ( or death ) at her hands during three Kalpa-s or epochs/ eras/ stages of creation. Mahisasura was granted the boon by the goddess in her Bhadrakali form, of getting a share of worship in any ritual invoking and venerating her. It was in this form that the goddess blessed Mahisasura that, in any worshipped image of her, his Asura form will continue to be portrayed near her feet, tamed and defeated. The Kali Vilasa Tantra has an invocation to Mahisasura as Siva Rupa . According to different Puranic narratives, he was born as a result of boon gifted by lord Siva and thereby bearing the principle of Siva , but in a Asura body. It was in the sixteen armed Bhadrakali form that the goddess Durga made him realize the Siva principle within him and how his Asura body was destined to be destroyed. The portrayal of the image of sixteen armed Mahisasuramardini Durga repeatedly on the architecture of the Bor Pukhuri Siva Doul might indicate towards an intention to convey the idea that the realization of the Siva principle in oneself is only possible through surrender to the goddess Durga. The repeated portrayal of the Bhadrakali image on the architecture of the Doul may also be thought of as a result of the wishes of the patrons- king Siva Simha and queen Ambika Kuwori who were staunch followers and adepts of the Sakta tradition. They, might have wanted the images of Bhadrakali to be placed repeatedly on the temple wall to put forward an ideology that Siva can be attained only through veneration to Durga. Even though the Doul is a house of worship of Siva, the repeated portrayal of the images of Bhadrakali Durga on its architecture might be intended for reminding the profoundness of Saktism that had grown amongst the Ahom royalty during the reign of Siva Simha, and particularly his first queen Phulesvari Kuwori. The images of Bhadrakali might also be placed there as a strategy to portray the ‘greatness’ of the Sakta tradition or sect over other forms/ traditions of worship, the Sakti worship as pervading or acquiring a prime place in every other form of worship.

In the popular and folk belief prevalent in Assam, Durga, who is also known as Ai is conceived as the patron goddess of pox, measles and cholera. She is to be venerated and pleased so that she does not get offended and cause these epidemics. Till date, in several pockets of Assam, when a person or several families get inflicted with pox, or during the season where there is fear of a possible outbreak of pox, a ritual service known as Ai Sabah is performed by women where they make offerings of food, flowers etc. to Ai or Durga and sing songs in her praise. This is done in order to appease her and calm her down so that she does not aggravate the epidemic. These songs also contain verses that ask for forgiveness from the goddess for doing such things that are offensive to her and her glory. The practice of Ai Sabah has evolved from the very ancient Shamanic and healing practices and it is one of the important part of the Sakta tradition of Assam. Most of the songs known as Ai Nam containing eulogies to the goddess Durga as Ai or patron of epidemics are seen to be composed during the time period between 16^th to 18^th century CE., i.e. During the reign of the Ahoms, or even later. This may connote towards a possibility that might have been frequent outbreaks of epidemics during that period which contributed to the strengthening of the belief in Durga or Ai as a patron and protector from epidemics, provided the growth of Saktism as a prominent faith under the encouragement of the Ahom court which might had made this belief more justifiable and firmly grounded. Now, if we consider or assume a context of an outbreak or devastation by an epidemic like cholera or pox during the period of construction and development of the Bor Pukhuri Siva Doul, the repeated portrayals of the image of sixteen handed Mahisasuramardini Durga on its walls might be intended as a charm, for pleasing the goddess immensely and innumerable times so that she gets satisfied and nullifies the epidemic and its adverse catastrophic affects.

If this is the supposed reason, then why the sixteen handed form of Mahisasuramardini Durga was preferred over all her other forms ? Again, why only in the iconographic scheme of the architecture of Bor Pukhuri Siva Doul, were these images depicted ?

These images could have been portrayed in the iconographic scheme of the nearby or adjacent Bor Pukhuri Devi Doul, which has Durga as its presiding deity. But it was not done so. The reasons can be numerous. It can either be a temple iconographic convention , matter of some personal preference of the patron, the preference of the court, the creative liberty or persuasions of the artisans or influence of some kind of prophecy.

Siddhant Medhi

Photograph by Siddhant Medhi

Siddhant Medhi is Dr. Bhupen Hazarika Fellow of Department of Assamese, Tezpur University. The views expressed are the author's own.