Image of Gallery in South Kensington
On display at V&A South Kensington
South Asian Sculpture, Room 47b

Dvarapala

Figure
17th century-18th century (made)
Artist/Maker
Place of origin

Wrathful demons tamed and converted to the prevailing faith are a regular feature of temple entrances. Their apparent demonic nature, witnessed by their wild countenance - wide flaring eyes, projecting fangs and coarse features – make them most suitable for their role as guardians of the temple threshold. They typically stand in a casual, passive posture, perhaps leaning on their weapon of choice, a massive club, or, as in this example, the figure is highly animated, having assumed a pose borrowed from theatre and temple dance. It is a fearsome posture, intended to strike fear into the hearts of the disbelievers.

The dvarapala is elaborately dressed, in the manner of a Keralan temple dancer, and wears a particularly flamboyant head dress directly inspired by the tradition of Keralan theatre. The dancing posture is that of a warrior, intended to intimidate his opponent, as are the snakes which entwine his club. His braided hair flies outwards as he dances, his wide eyes flaring and his open mouth revealing two fangs which demonstrate his demonic origins. The expressiveness of this figure is in keeping with the temple arts in Kerala, which tend to stress the emotive content above other sentiments.


Object details

Object type
TitleDvarapala (generic title)
Materials and techniques
Teak with traces of gesso and paint
Brief description
Temple guardian (dvarapala), teak, Kerala, south-west India, 17th-18th century
Physical description
Figure of a Dvarapala, carved from teak. He has prominent canine teeth (a Shaivite feature) and large staring eyes. He wears an elaborate head dress (mukuta) with long braided tresses swirling round his shoulders and is bedecked in heavy jewellery. He stands in a dancing posture, the left hand empty and held aloft, the right arm hanging down and holding a long mace held downwards, with a cobra's head swallowing the head. The raised and flexed right leg extends round the shaft of the mace. The carving is broken off at the left knee and below the cobra's head.
Dimensions
  • Height: 119cm
  • Width: 58cm
  • Depth: 30cm
  • Weight: 290kg
Gallery label
  • Temple Door Guardian (Dvarapala) 1600–1800 A wrathful demon, tamed and converted to Hinduism, is a suitable guardian for a temple threshold. This example, fanged and highly animated, was meant to terrify any enemies of the temple god. He holds a club and has assumed a warrior pose borrowed from theatre and temple dance. His flamboyant headdress is also inspired by theatre costume. In Kerala, wood was widely used instead of stone in temple architecture and sculpture. Teak with traces of gesso and paint South-west India (Kerala) Museum no. IS.22-1980 (06/06/2011)
  • DOOR GUARDIAN Wood with traces of polychromy Kerala, South India Circa 17th century Wood, notably teak, was widely used in both temple architecture and sculpture in Kerala. The earliest datable temple with wooden sculpture in situ was dedicated in 1214 and its continued use is visible throughout the temples of Kerala. This door guardian (dvarapala) has demonic features and assumes an aggressive posture borrowed from dance. In its original state this sculpture would have been painted in rich colours over a gesso ground. IS 22-1980(c. 1995-2000)
Subject depicted
Summary
Wrathful demons tamed and converted to the prevailing faith are a regular feature of temple entrances. Their apparent demonic nature, witnessed by their wild countenance - wide flaring eyes, projecting fangs and coarse features – make them most suitable for their role as guardians of the temple threshold. They typically stand in a casual, passive posture, perhaps leaning on their weapon of choice, a massive club, or, as in this example, the figure is highly animated, having assumed a pose borrowed from theatre and temple dance. It is a fearsome posture, intended to strike fear into the hearts of the disbelievers.

The dvarapala is elaborately dressed, in the manner of a Keralan temple dancer, and wears a particularly flamboyant head dress directly inspired by the tradition of Keralan theatre. The dancing posture is that of a warrior, intended to intimidate his opponent, as are the snakes which entwine his club. His braided hair flies outwards as he dances, his wide eyes flaring and his open mouth revealing two fangs which demonstrate his demonic origins. The expressiveness of this figure is in keeping with the temple arts in Kerala, which tend to stress the emotive content above other sentiments.
Bibliographic reference
S Kramrisch et al, The Arts and Crafts of Travancore, London, 1998 H Krishna Sastri, South Indian Images, Madras, 1916 Guy, John, Indian Temple Sculpture, London, V&A Publications, 2007, p.132, pl.147. ISBN 9781851775095. Guy, John (ed.), L’Escultura en els Temples Indis: L’Art de la Devocio, Barcelona : Fundacio ‘La Caixa’, 2007. ISBN 9788476649466. p.85, cat. 45.
Collection
Accession number
IS.22-1980

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Record createdJuly 28, 2005
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