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enclave seem to have performed any special form of puja of
hedonistic nature in search of a victory in a forthcoming battle
where dance of this auspicious lady is an essential item to perform.
Numerous reference about the pre or post battle ritualistic
observation with dance and music are there to the pages of our
literary sources, and one such beautiful description being found
in Darang Rajbonsaboli, however, of much later age, where lord
Mahadeva asked Koch king Naranarayan to perform his Puja with
dance and music so to confirmed his victory against the Ahom.
122 Along with that some solo musical representations
are also found to the narathara section of the main temple plinth.
These type of representations are available mainly in the context
of linga Puja(fig. 12.6). In one such scene, an woman musician
being represented with a string instrument while the other on her
side simply listening her. In two other corresponding sequence of
the same penal, First, there is a scene of linga puja where an
woman offering Puja to a linga with a Padma and in the next
sequence there are three women in a procession, carrying the
weight of a bell, and simultaneously plying a Pepa (organ). Leader
of this procession with her raised hand directing the procession
or the musical nodes. Connecting these representations with the
description of Linga Purana, it is interesting to find that these
are the scenes figuring the ceremonious observation that should
have taken place on the occasion of the installation of linga.
123 122. Shastri, B. & Chaliha, B.P.(ed.) : Daranga Rajavamsaali, 2002,
vv. 325-327
123. L.P., 2/47