NCERT Solutions for Class 7th Social Science Chapter 15 The Durga panel at Māmallapuram (Fig. 3.18) — LET’S EXPLORE

Book page 79 Updated on2026-09-19

Q1.
Can you identify some of Durga’s many weapons? And her vāhana?
Answer

Her vāhana is the lion, and it is the easiest thing to find in the panel — the maned head, the round eye and the carefully carved curls of the mane are right at the centre of the left half, striding forward under her.

The weapons. Durga is carved with eight arms spread out like the spokes of a wheel, each holding something. The granite is worn, so read them by shape rather than by detail:

  • The bow (dhanuṣ) — the long curved shaft slanting across her body, the clearest weapon in the panel.
  • The arrow (bāṇa) — a straight shaft in the hand beside the bow-hand.
  • The sword (khaḍga) — a straight blade held out in an upper arm.
  • The shield — the round disc-like shape near a lower hand.
  • Disc and conch (chakra and śhankha) — the two rounded objects held high in the raised hands.
  • A bell and a noose or club in the remaining hands, worn almost smooth.
Why eight arms: the sculptor is not drawing a woman with eight arms; he is drawing power that acts in every direction at once. Each arm points a different way, so the figure fills a circle of space while the body itself stays calm and upright. It is a way of saying “she can meet any attack from any side” in stone.
Check it yourself: the panel is worn granite and lit from one side in the photograph, so some objects are genuinely hard to name. Look at Fig. 3.18 in your own book, count the arms first, then work outwards from the two you are sure of — the bow and the lion.
Q2.
What are the main differences between her attendants and the demon’s attendants?
Answer

Hers are slim, upright, orderly and advancing; his are heavy, crouching, tumbling and breaking up. The sculptor has told you who is winning without carving a single word.

Durga’s attendants (left)Mahiṣhāsura’s attendants (right)
Body typeSlender, graceful, human, lightly builtSquat and heavy, dwarf-like gaṇa figures, thick-limbed
PostureUpright, striding forward, heads upBending, crouching, one figure falling head-first
DirectionAll moving the same way — towards the demonScattering, turning away, no common direction
What they are doingDrawing bows, raising swords, keeping formationCollapsing at the demon’s feet, some already on the ground
MoodCalm and confidentAlarmed and disordered
Why the sculptor made the contrast so sharp: he had one flat wall and no words. So he used the oldest visual grammar there is — order against disorder, forward against backward, light bodies against heavy ones. Anyone walking past, then or now, reads the outcome of the battle in a second.
Q3.
What does the demon’s slanted posture and general attitude indicate?
Answer

That he is losing. Mahiṣhāsura is carved leaning backwards, his weight going the wrong way — away from Durga rather than towards her. Every detail of his figure says the same thing.

  • The lean is a retreat. A fighter who is winning leans in. His body tilts back and his feet are unsettled — the moment before he gives ground.
  • His huge club is up on his shoulder, not swinging. He is powerfully built and heavily armed, and it is doing him no good. Strength without balance is useless.
  • His head is turned towards her. He is reacting to her attack rather than making his own.
  • His parasol still floats above him. That round chhatra is the sign of a king. He is still carrying the marks of his authority at the exact moment he is losing it — which makes the fall look sharper.
  • His companions are already collapsing at his feet. Around him the panel has begun to come apart.

Set that against Durga: seated firmly on her lion, upright, all eight arms active, her attendants advancing in order. The chapter calls it “Durga’s confident assault”. The composition is one long diagonal running from her calm centre down into his tilted, crumbling side.

Why this is such good sculpture: the caption says the goddess is “about to slay” the demon — the sculptor chose the moment before the end, not the end itself. That is harder and better. Nothing is finished, so the viewer's eye finishes it, and the panel stays in motion forever.
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