A REMARKABLE 12-headed sculpture of ‘Mahasadashiv,’ dating back to the 3rd-7th century CE, housed at the Rai Bahadur Dr Hiralal Museum in the Post Graduate Department of Ancient Indian History, Culture & Archaeology, Rashtrasant Tukadoji Maharaj Nagpur University (RTMNU), has been identified as one of the rarest of its kind in the world. Though detailed studies of the form are limited, the sculpture has garnered growing interest from scholars eager to research its iconographic significance. Shiva, a principal deity in Hinduism, is known for his various iconographic forms which often depict his temperaments, moods, and divine aspects.

 

While his aniconic form (Ayakta-Nishkala) is widely worshipped in temples, many depictions of Shiva feature multiple heads, illustrating the vastness of his manifestations. Shiva is often represented with one to 12 heads or even as many as 25, making him distinct among other deities like Brahma and Vishnu, who are rarely depicted with more than four heads. Among the most intriguing forms of Shiva’s multi-headed representations is the ‘Vilaksana,’ a poly-cephalous version that has drawn scholarly attention since the second century BCE. Numerous examples of multi-headed Shiva statues, including ‘Chaturmukha’ (four-headed) and ‘Panchamukha’ (five-headed) lingas, have been found across India, spanning centuries. However, the 12-headed ‘Mahasadashiv’ image from Mandhal (about 73 kilometre to the North east of Nagpur), unearthed during excavations in 1975-76, stands out as an exceptional example that has not been identified in similar iconography elsewhere in the country. The ‘Mahasadashiv’ image, unique in its 12-headed form, defies typical classifications and presents a challenge for scholars.

 

The sculpture depicts Shiva in the ‘Sthanaka’ posture with two arms, holding a ‘danda’ (staff) in his right hand and a tumbi (water pot) in his left. The 12 heads are arranged in two tiers of four on the neck, with additional heads positioned on the shoulders and thighs. The faces are calm, with prominent eyes, broad noses, and distinct headdresses, contributing to the image’s distinct and commanding presence. N P Joshi, in his article ‘Early Forms of Shiva,’ referenced the texts of the Mahabharata and Rupamandana to explain Shiva’s 12 forms, a concept embodied in the 12-headed image. In the Mahabharata, Shiva is described as ‘Dvadasha Sarvaparshvamukha’ (12-faced and present on all sides), a designation that matches the image under discussion. This reference helps identify the sculpture as a representation of Shiva’s all-encompassing nature, reinforcing its significance in the broader context of Hindu iconography. The 12-headed Shiva sculpture is not just an artistic marvel but also a focal point for deeper theological exploration. It invites further academic inquiry into Shiva’s many forms, which have remained central to Hindu worship and philosophy over the centuries.

 

As scholars continue to explore these rare depictions, the ‘Mahasadashiv’ sculpture at the archaeological museum of RTMNU is poised to be a key piece in understanding the complexities of Shiva’s iconography and his diverse representations across India. Speaking to ‘The Hitavada,’ Dr Prabash Sahu, Professor and Head of the Post-Graduate Teaching Department of Ancient Indian History, Culture & Archaeology, RTMNU, said, “It is a white sandstone sculpture, which now has a reddish tinge due to being buried in murrum deposit. It has gained some unique characteristics through its exposure to its burial environment. This red hue could be a result of mineralisation over time, a process where minerals from the surrounding earth seep into the stone, altering its original colour.” Dr Sahu said, the fact that this sculpture, along with many others, was buried likely points to the deliberate efforts to protect cultural artifacts from external threats, such as marauding invaders.

 

The burial could have been a strategic move to safeguard these objects until it was safe to retrieve them, he added. Dr Sahu said, the mention of a similar 10-headed sculpture from Tala, now housed in the Khairagarh Museum, adds another layer of significance. It suggests that the sculptures found might belong to a specific tradition or region, and the one from Tala might offer insights into the style, craftsmanship, and cultural context of the period, he added.