The Ugra (fierce) form of Narasimha has been an important imagery in Indian art. The fourth incarnation of Vishnu has been the subject of narration in Indian lore and literature. The Vishnu Purana has a beautiful narration of the incarnation of the Lord as Narasimha, who manifested to save His child devotee Prahlada from father Hiranyakashipu.
The artists who created these forms were always truthful to the textual descriptions. So the zoo-anthropomorphic form of Narasimha was developed such that the image conforms to the boon that Hiranyakashipu had obtained.The Bhagavata Purana elaborates on Narasimha's Ugra form: He appeared from the pillar, fought the demon king, defeated him, devoured the belly, removed the entrails and put them on like a garland.
The most popular images found in visual narration are of Narasimha either in combat with Hiranyakashipu or Him devouring the demon king. The story of the manifestation of Narasimha shows how he emerged to help Prahlada. The narration strongly illustrates the akhanda bhakti (deep devotion) of Prahlada towards Vishnu.
In an earlier column, I had written about the benign forms of the Lord (Early Narasimha sculptures from Karnataka, Dec 23). Here we can look at some of His interesting fierce images. The earliest Ugra Narasimha image was depicted in Cave 3 in Badami, dated to 578 CE, excavated during the Early Chalukya period. This is perhaps the first-ever image of the God in this posture in the entire southern peninsular India.
Thereafter, there are plenty of images of Ugra Narasimha, including in Tamil Nadu during the Pallava period. Though earlier Ugra images can be seen from the Kushana and Gupta eras, a full-fledged form was developed in Badami. Nevertheless, the Cave III Ugra form is still represented in a relatively insignificant place, while the same temple has a larger-than-life-size standing image of Kevala Narasimha on the western wall of the verandah.
The central figure of the Ugra image is Narasimha and Hiranyakashipu lies on His lap. Narasimha is depicted with eight arms, devouring the belly of Hiranyakashipu and simultaneously fighting his soldiers.
Similarly, a fully developed image of Narasimha in combat is depicted on the northern wall of Upper Sivalaya at Badami (c. 580 CE). The image of Ugra Narasimha is carved in the devakoshta. His mighty energy to fight as many as possible is synoptically composed in this rectangular space. This image is a true enlargement of the Cave III sculpture mentioned earlier. Again, multiple actions of the God are depicted.
He has eight arms and a fierce expression. His front hands tear open the entrails of Hiranyakashipu, while the other hands fight four soldiers of the demon king. The composition is made to fit inside the rectangular niche, which also serves as a window. Jalandhras (perforated windows) were introduced by the Early Chalukyan architects. Converting the narrative sculpture as part of window decoration is also an important contribution by the architects and sculptors of the 7th century CE.
Badami Chalukya artists depicted both the Ugra and Soumya forms of Narasimha. The Aihole Durga Temple and the places of worship in Mahakuta and Pattadakal have several examples of such images and one can see the varied modes of depictions.
In the post-Badami Chalukya era, Rashtrakuta and Later Chalukya artists also depicted the subject as part of their temples. However it was only later during the Hoysala period that the theme and its narrative were depicted in a very elaborate manner.
Narrative depictions of the Prahlada Charita followed by the culmination of the combat scene are common features in a good number of Hoysala temples dating from 1115 CE to 1268 CE. The Chennakeshava Temple in Belur, constructed to commemorate the victory over the Cholas in 1115 CE, was built two years later by King Vishnuvardhana at the instance of Sri Ramanujacharya.
The temple's outer wall has a large sculpture of Ugra Narasimha. A window of the same temple has an interesting narrative of the Prahlada Charita. The window is divided into sections and the lower one has the Prahlada narrative. The young devotee is tested for his bhakti towards Vishnu.
His father punished him in different ways - by making him sit on a pyre, leaving him among venomous snakes and using elephants to attack him among others. In spite of the various forms of torture, Prahlada was successfully saved by his God Maha Vishnu, and the last episode shown here is the killing of Hiranyakashipu. Narasimha tore open the stomach, removed the entrails and is shown as if he is wearing them as a garland. Hoysala artists are known for their exquisite carvings and this can be seen here.
The Hoysala temples in Halebidu, Nuggehalli, Hosaholalu, Javagal, Harnahalli, Basaralu and many other places have Prahlada Charita on a narrative panel of the temple, usually depicted as part of the adhisthana (basement). Wall sculptures are a regular feature in Hoysala temples. An interesting depiction is from the Buccheshwara Temple in Koravangala near the Hassan district headquarters, dated to 1173 CE.
The temple was built to commemorate the coronation of King Vira Ballala II by his commander Buchimayya. It has a stunning depiction of the subject. Prahlada Charita episodes are directly depicted on the southern wall of the temple. A narration of Narasimha appearing from pillar is most interesting.
In Puranic lore, it is said that when Hiranyakashipu questioned his son about the existence of Vishnu, Prahlada told him that He is present everywhere. Hiranyakashipu then hit a pillar inviting Vishnu to come out and fight him. The God as Narasimha appeared from the pillar and finally killed the demon.
The same narrative is depicted here. In the composition, Hiranyakashipu is shown as hitting a pillar, from where Narasimha appears. In the next episode, he kills the demon where Prahlada witnesses the great act of the God.
The artists were always creative in conceiving the subjects and depicting them in breathtaking ways. The imagery of Narasimha seen in this article is one such example.
(The author is Professor, Department of Art History, College of Fine Arts, Karnataka Chitrakala Parishath and can be reached at rhkulkarniarthistory@gmail.com)