Importance to Vishnu in Kiratarjuniya Panel

Kiratarjuniya Panel, Mamallapuram, Tamil Nadu, India:

Beauty of this sculptural panel is that it is the depiction of the poetry of Bharavi, a poet during the Pallava period. The beauty of this panel is that it depicts poetry through a scultors eye. He describes a dramatic scene from the Mahabharata where arjuna does severe penance to aquire various weapons for war, from the Gods. This is one such story where Shiva tests Arjuna's devotion by being a hunter opponent who kills a wild boar at the same time as arjuna strikes it as well. Here Shiva, disguised as a hunter comes to Arjuna who is going through severe penance to aquire the "pasupatastra". Interesting name that denotes the pasupata cult of shaivism.



Thats the story. Now lets look at its reference with respect to the panel, and in relation to Vishnu. Through out vishnu's vahana Garuda, has been replaced by a boar, the Varaha incarnate. Yet in this panel there seems to be no reference to a boar, that was supposed to kill arjuna and definitely was not supposed to be Varaha.

Secondly, in the profound drama taking place across this panel, which strongly represents shaivism, there seem to be hints of Vaishnavite flavour in select areas. This picture displays Vishnu in true form, in Samabhanga pose( stiff, back straight, hand resting on hip) in a strong brahmin environment where, there is depicted a sage who is shown as a scribe here, with a few other headless disciples listening to his possible discourse. The ambience of a village or a gurukul has been most beautifully brought out.

This seems to be located near a river, which is brought to life every time it rains at mahabalipuram (a rarity around Chennai these days). Next to him are a series of sages taking a bath and worshipping the sun god. It is interesting to note that in the middle of this theatrical event, Vishnu has gathered a special place as the deity in a shrine, at the bottom of this panel. This is probably the only place where he is represented in this form.

Vishnu on ananta - Mahabalipuram

Cave shrines at Mahabalipuram, Tamil Nadu:
Deviating from Shiva, Vishnu is depicted in a limited set of forms across Mahabalipuram. Well to think that shiva's somaskanda panel is all we get to see apart from Kiratarjuniya panel, vishnu cult definitely had more to show for it!

Yet its interesting to note that garuda, Vishnu's vahana is not seen anywhere. Here, Vishnu reclining on ananta is one of the most exploited concepts at Mahabalipuram. In this particular panel, he is seen reclining with Madhu and Kaitaba, two demons on the mode of silent attack .



A very relaxed Vishnu is sculpted lying on ananta, five hooded with attendants. Brahma is not there but is replaced by flying celetials. The beauty of these panels is that its represented not just in art but in dance as well. These stories have been depicted in art, dance and literature. All the forms of expression for a concept, whose subtle meaning still remains a question! What aspect of the subtle reality were they trying to tell us, its something i still fail to realize.

Shiva - the enticer

He sits there silent, stone cold, like nothing ever bothers him. He is passive silent distant and truely unapproachable. His potency spreads like wild fire to all those who seek him, yet he sits there... silent unattainable.

to awaken him is tough, to tell him i have come is tough, to ask him to shower his attention on me is tough... to give up my ego is tough. How then do i ask him to look at me? how then do i ask him about life.. how then do i ask him to explain what brought me here... when he just sits there silent... shut.

i wait, wait and wait... while life just goes by... i patiently wait dreaming of him all the time. I wait just hoping somewhere he will notice me... i wait to just have him explain "me" to me. yet he sits there silent....

i give up, engulfed in anger, desperation.. dont you hear me... he doesnt budge... he tests me. i look for him around me, i try to figure him out. yet stone cold is all i see. where is your emotion, dont you have a heart. i have given up all to get here and you dont even take a glance? no... i should wait and watch... wait .. just wait .. thats all there is to it. I feel the chilling breeze, in my breath, i feel the chill in my throat. i feel the freshness in the air when i fix my mind on him.

there is no pleasure nor pain, there is no sign of life.. just calm, simple calm on his face. i dont know what to expect...yet i feel the heat rise. whats in his mind, whats in that world, that resembles a thousand petalled lotus? what is that energy which i know exists.. but i fail to just see it within my limited self.

i feel the heat in my eyes, i hear every beat of me heart. i can see the madness in every rising emotion as it rebels within my being... the noise inside me is hard to control, the fleeting emotions too hard to bear, while all lies silent outside... silent calm and cold. what is this that controls me, what is this that attracts. what is this makes me crave for it when i just cant seem to get.

is this something i imagine, is this something that really exists, what ever it is... i rather not question for i simply fail to understand it... i feel like him, i behave like him, i try to be him... yet incomplete... yet frustrating... where is the essence of him. all i want is a drop of him, a drop to bathe me in his being. as i sit and chop my human being, in sheer anger and frustration. as i shred it to pieces to look for him within... as i cry in pain and kill while i cant seem to find my answer.... i stop to hear the rhytm within myself...the rythm of of creation within myself.... shiva awakens within me.... and draws me to himself. the power uncontrolled, burns my aching body, his essence flows over and dissolves me within... i cease to exist anymore... i cease to think... i cease to be...

Shiva - the unattainable

Shiva, is self taught, raw, unadutrated truth, too hard to digest, too hard to comprehend, too hard to accept in our pathetic lives. he is the maverick, who casts his spell on those who are capable of taking it. he is potent, undigestable, at the same time loving in his own way.

to love shiva is to love none other. to want him is to give up all social rules and obligations, to attain him is to die a human. he is a spark that cannot be explained, yet vast and enveloping you at the same time. he is power, he is fear, he is truth, he is death. he is my madness within which lies dormant waiting to pour forth...

he is within me silent as ever, yet i feel his presence withing my walls. he empowers me to take on any problem... to live with it like that is life. he makes me accept the outlandish, he makes me give up myself. he is my breath, he makes me quiver, reveals to me a person i have never known. i have looked for him everywhere, they say he would come and teach me the way i can learn. i see him every where now beyond this mundane world i live, stuck in its own ignorance... i rise. its not simple, me heart aches, it pains...while it tells me to leave everything behind, leave every one behind.

from here on i tread alone, a road less travelled, a road feared, a road unknown. a road silent, a road throbbing with passion, a road unexplained, a road left to experience, a road dangerous, the mortal killer, oh lift me from this misery called life.. take me away from it... far far away...to an unknown world where i know nothing, i take birth to breath teh fresh potent air of love, of devotion.. of shiva...i sink, and yet in a sweet voice he says come.. i will take care of you.

he leaves me in tears.. he melts my heart, for him nothing else seems to matter no more. i awaken in his arms like a baby, where all i learn and see.. is his beauty...those eyes.. they are feared, respected, left alone. now he is with me...

Vimana - a mysterious word in itself.

I have had a lot of people coming up with interesting comments on the Vimana. Here are a few view points! These are not discoveries made by these individuals, but ideas that have quite taken their fascination.

Mr. Joshi, a retired civil engineer doing his own research, a very interesting personality with unique ideas and experiences to narrate, is of the opinion that the pyramidal structure had a very close relation to the pyramids in egypt as well as those in Gautamala peninsula of the Mayas, conceptually, as its believed that there is a point in the center of the pyramid that holds mysteries of keeping anything lasting longer within its interiors.
Taking his view further, its indeed true that in the large pramid at giza, the kings chamber is exactly one third the distance from the bottom. This spot offers exceptional energies that increase the immortality curve for anything thats is perishable within its space(a mummy probably in this case as the egyptians are known to enbalm their dead). How does this apply to a vimana (dravida style down south in india, nagara style in north india or angkhor wat in cambodia) is anyones guess.

Srinivasan, a cartoonist, a coleague and a good friend of mine is of the opinion that vimanas are mainly vehicles or 'viman', which suits the temples as most of them were "chariots of the Gods". The pushpaka vimana(ravana abducted sita using this vehicle) has quite intrigued him, as a machine that has been described to be used to fly across the sky to transport devas and other divinities, and strictly has a charioteer. The science of this is of course lost maybe, but it does throw a lot of light on the Rathas as a vehicle. At ellora of course, there is a depiction of a chariot with sita while ravana fights jatayu.

The third opinion on the vimana is that it is a part of a larger structure that represents the human body, starting from the stupi (head) , the gala (neck) the vimana (body) ending in the kapota(roof) , the bhiti (walls) housing the garbha griha(womb house), the mandapas (legs), and finally the gajastambha as the feet. It depicts the human body seated with legs outstretched.

What ever the vimana ultimately meant, it reached the pinnacle of expression in the temple of tanjore and gangaikondacholapuram in the south and that of khandriya mahadeva in the north, at khajuraho. Its depiction raises serious question on what a vimana was viewed to be. Was it a pyramidal structure that defined the path to heaven for the human soul to rise, was it a pyramidal structure that preserved perishable material for longer within its walls or was it a Chariot that flew across the sky transporting celestial beings.Was it a representation of mount kailasa with all its minor vimanas tapering towards the highest pinnacle or was it a representation of the human body being the personification of the atman within?

Honestly, i wouldnt know! Please let me know what you think!

Dharmaraja Ratha - A shiva iconographic catalogue

The Dharmaraja ratha being the largest of the rathas, has been dedicated to shiva. It has a stone ladder which reaches up to the first floor where sculptures are carved into various niches of the ground floor as well as the first two upper storeys, offering a catalogue of pallava iconography, in a three storeyed vimana. The dharmaraja ratha is unfinished, but the first storey has been hollowed out and is empty. The figures in the niches of the dharmaraja ratha are in perfect early pallava style of sculpture. There are shallow porticos on three sides of the ratha and an equally shallow porch projects from the west.

The dharmaraja ratha is an Anarpita vimana ie. the haras are not attached to the Haramyas, thus leaving a circumambulatory passage behind. This permitted niches with sculptures on the haramya wall, figures of shiva decorate all the three talas, which were meant to have sanctuaries. The aditala was intended to consist of a sanctuary surrounded by a pradakshina patha, with closed walls only at the four corners. The aditala has eight scupltural panels. Two figures of shiva, each with four arms face west. Brahma and harihara face north. Shiva ardhanarishwara and skanda as Gurumurthi face east. Four armed shiva and royal figures face south.

Madhya tala of the unfinished sanctuary with its shallow portico occupy the center of the western side. Flanked by pairs of dwarapalas and shiva kankalamurti other sculptures include, shiva vinadhara, four armed shiva with a atandu, shiva with chandesa, gangadhara, vishnu leaning on garuda and vrishabhantika(vrishabhavana ).

Interestingly, the dharmaraja ratha also lays the architectural foundation of possibilities for the designs of the Kailashnatha temple at Kanchi as well as the Vaikunta Perumal temple. These temples lead to the upper floors, which in later temples is lavishly painted and left in the dark inner passages around the sanctum.

Dharmaraja Ratha - true beauty in dravida style

Gigantic with respect to all the other rathas found here, the dharmaraja ratha is a chariot of the Lord Shiva. A larger version of the Arjuna ratha, it displays all the aspects of true dravida style. A pyramidal structure with 3 tiers before the shikhara appears, here also called the stupi.



There are various interpretations to this stupi. One is that it represents the peak of Mount Meru, the other is that its has been influenced by the buddhist stupa, which is actually a mound for the dead (a sort of ancestral worship where the ancestors were the various gurus in the buddhist sangha and not exactly blood relations). The largest of its kind can be seen on a 10 ton rock atop the brihadeshwara temple in Tanjore.

The haras contain smaller rooflets called karnakutas(corners) and shalakutas (broader in center). One can walk along the first floor through a flight of steps. The next best temple to really show the true characterestics of dravida architecture under the pallavas is at kailashanatha temple at kanchipuram, where entry into the top floors is from the back of the temple. This ratha is obviously incomplete. yet there are hints of squarting lions supporting pillars. This temple is rich in iconography as it displays shiva in various roles around the main body of the temple. It has to be noted here that pallava sculpture compare to their neighbours was very simplified puerly becuase of the hardness of the rock like granite. Its in the later periods that they manage to handle the stone far better. This also indicates the adventurous move into stone from wood.

Nakula sahadeva ratha - Temple for Indra

Indra is a deity very closely associated with Buddhism, the edicts of Ashoka were carved on pillars which took their idea from his staff. The story of Indra goes way back to pre aryan beliefs of water cosmology. The edicts were engraved on pillars which laid the foundation for later styles of pillar architecture.



The buddhist chaityas were the first to display such maturity in style, where the symbolic pot containing the tree of life was actually enhanced into pillars, still retaining its original form and sybolism. Of course along the way this changes but traces of it are seen in this ratha right here at mahabalipuram.

Whats interesting about this ratha is that it takes its idea from a remote chaitya in besra, where the chaitya griha and the vihara have been incorporated into the one single building. Yet when a chaitya griha is removed from the live rock and reproduced as a structural temple, or carved out of monolithic rock, what appears finally is the nakula sahadeva ratha. The barrel vaulted roof from the outside now appears like "gajaprshta" or elephant back side which is very clear in this picture. Hence its also clear with the monolithic rock elephant carved next to it, that the cave has been dedicated to Indra. Whats stands out most is the prominent arch window at the entrance of the ratha, depicting the altar inside, though the real altar is not carved into the rock as its rather small. The pillars of this ratha though are more inclined towards pallava style than towards the old buddhist tradition of pot based pillars. Two lines of haras crown the super structure indicating a merger of two architectural traditions - buddhist and dravida.

It might also be of great interest that the first cave at ajanta actually depicts a small dravida temple from mahabalipuram on its walls, indicating a healthy exchange of ideas between the two regions.

Bhima ratha - Abode of Vishnu

Surprizing as it may sound, and very rightly deduced by J C Harle, there is a very high likelyhood that this ratha was attributed to none other than vishnu himself. The unfinished carving of the interior and the very width of this cave indicates, that there are strong possibilities of a plan for a reclining vishnu on ananta well within these walls.



And how sure are we? to think that mahabalipuram already flaunts 2 other reclining vishnus not too far away in the mahishasuramardhini cave as well as in the heart of the shore temple, it appears that vishnu had a very strong role to play as a cult deity paralleling shiva, who seems to have gained reasonably strong ground in these regions. whats even more interesting is that apart from this form vishnu has been depicted in his varaha incarnate as well as trivikrama in the varaha cave. These is interestingly the krishna govardhana panel that cannot be ignored, but all in all there is no garuda depicted, instead we have a boar right next to the shore temple. The boar is the varaha incarnate and definitely not the vahana as it would project itself to be in this case.

So coming back to the unfinished rock we see at the left of the Bhima ratha (not visible here) its very clear that there is a strong possibility of a boar being carved out of this rock more than garuda, as we have previously seen next to the shore temple. Inicidentally, the rock is unfinished, but there is no indication that a boar could have been carved there. yet given the trend of the way things seemed to have worked there, its highly possible that a boar would have taken position next to the Bhima ratha indicating this cave being dedicated to Vishnu.

Pulling ourselves a step away, is there a point we are beginning to see here? The rathas seem to be dedicated to the respective deities, Mother goddess, Shiva, vishnu, Indra ... the only ratha that does not follow the rule is the Dharmaraja ratha, which takes on Shiva, and displays an entire calatogue of shiva iconography on its walls.

truely amazing apart from iconography is also the architectural elements of this ratha. this is one of the few monuments that seems to have taken after the chaitya graha at Besra, this again is quoting J C Harle. Interesting opinion as we notice very clearly that a small cell in the besra monument has very beautifully been depicted here on monolithic rock on the roof of Bhima ratha. even more interesting is that most of the old houses (wooden prototypes) depicted on the bharut and sanchi stupa have remote resemblances with this roof!

Interestingly the botton line is that the main arched window atop most of the structures seems to be the main source of light into these houses. Very close to the buddhist chaitya graha - or the later cathedrals for that matter. yet the corners indicate barrel vaulted roof which has a stupa at the far end - altar maybe. The pillars like the rest of the monuments echoes pallava style with squarting yalis at the base.

Interestingly this ratha is also the prototype to later Gopurams that sprang up during the later pallava and chola periods. If you had to add more of this roof to itself and taper them as you go along, you end up with a gopuram. Interestingly, the ganesha ratha is a clear indicator of such innovations in architecture. The finial of this structure seems to find itself not only at the roof (currently destroyed) but around the rathas as well, specifically the draupadi ratha! Am yet to figure out their function. The main decor of the roof has a kapota and a line of shala kutas and karna kutas forming one hara above the pillars. These are interspaced with smaller arched windows or gavakshas also called kudus in Tamil.

Smashan tara, a form of Kali?

The mystery of the draupadi ratha has indeed made me post again. Dwelling into the tantric cult of west bengal, here is something of interest:



At midnight on the dark night of the moon an aghori sits alone in the great cremation ground (smashan) of Tarapith ­ the 'sacred site of Tara' ­ in Bengal, India. He is naked or 'sky-clad', fearless and unashamed, and gazes in wonder at the resplendent form of his beloved goddess, Smashan Tara. His matted hair is piled up into a topknot ­ symbolizing that he upholds his tantric vows, and the rest of his hair hangs down freely ­ representing
that he is completely free from the restraints of conventional reality. His right hand holds a skull, indicating that he has realized the insubstantial nature of all phenomena and the ultimate truth of selflessness. With his left hand he counts the beads of a rosary made from rudraksha seeds as he invokes the goddess with her mantra. He is seated upon a stone plinth and surrounded by pieces of bone from the charnel ground, and has created a protective circle around himself by hammering pegs of bone into the ground and binding them with black thread ­ a ritual practice known as kilana.

Behind the aghori's head is a small Shiva temple crowned with an iron trident, whilst in the background are a range of triangular mountains and the ascending columns of smoke from smoldering funeral pyres. Behind his back is a shrine to Bhairava and Bhairavi ­ the wrathful forms of Shiva and his consort Parvati ­ which are represented by a stone boulder with a wrathful face painted upon it, and a trunk of wood painted with the three eyes of the goddess. In front of this shrine are three skulls, which represent Shiva's mastery over the three gunas or qualities of nature ­ dynamic (rajas), pure (sattva), and inert (tamas). At the back of this shrine is a leafless bel or bilva tree ­ a tree that is especially sacred to Shiva and to all manifestations of the goddesses or shaktis. In front of the aghori is a female jackal, who serves as the 'messenger' or emissary of Smashan Tara. The jackal bares her teeth and gazes back lovingly towards her Mistress, after she has crossed the boundary of the aghori's protective circle with her right paw. Behind the jackal is a wrathful lamp fashioned from an upturned human skull. The skull rests upon a square block representing the element of earth, and is fuelled by human fat and a wick twisted from the hair of a corpse. From the flames of this lamp arises the symbol of a tantric staff or khatvanga, which is fashioned from a small skull mounted upon a handle of human vertebrae. At the top of this skull-staff is a flaming iron trident, which symbolizes the goddess's victory over the three realms (beneath, upon, and above the earth), three times (past, present and future), and three poisons (ignorance, desire and aversion). [Note: The wrathful lamp image is on the spine of the book and not pictured here.]

Smashan Tara ­ 'Tara of the Cremation Grounds' - is deep blue in color, with one face, three eyes, and four arms. She arises amidst the blazing heat of a funeral pyre, and stands in 'warrior- stance' upon the fire-consumed skeleton of a male corpse ­ with her right foot pressing upon the breast of the skeleton (the place of desire), and her left foot pressing upon the skeleton's legs (the place of worldly ambition or progress). The roaring flames of the funeral pyre represent the 'fire at the end of time' (kalagni) ­ the ultimate conflagration of the universe, which transmutes all phenomenal appearances into the unified ashes of selflessness. Her body is formed of pure light and the flames can be seen through her lower legs. She is unrestrained, wild, terrifying and fearless, with a beautiful midnight-blue complexion that represents her immutable and indestructible nature. She is the color of space ­ vast and measureless like the night sky ­ and she is beyond all concepts or qualities (nirguna). Her breasts are large or pot-shaped (ghatastani) ­ symbolizing the spiritual nourishment of her devotees, and her stomach is full and rounded (lambodari) ­ symbolizing her hunger for the corpses of selflessness and the blood of ecstatic bliss. She is naked or 'clothed in the sky' (digambara), symbolizing her freedom from the veils of emotional defilements. Around her waist she wears a girdle of eight blood-dripping forearms, which symbolizes her severance of all actions or karmas and the eight worldly dharmas of loss and gain, praise and blame, pleasure and pain, ignominy and fame. Her long black hair is disheveled and hangs freely behind her back, symbolizing that she has untied the knot of appearances and revels in her unconditional freedom.

Courtesy: Robert Beer. 06/09/2002

Of course there is also Anubis, who is the God of death and enbalming for the ancient Egyptians!

Read more on Smashan Tara

Standards of Jatamukuta for Shiva

This is a deviation from my marathon on the Rathas, but i am just floored to see the amazing similarity between the jatamukuta( head gear of shiva with jatas) of Shiva at Mahabalipuram in the previous posting and that of Shiva in the Sadashiva panel at Elephanta.



Shiva in the previous post is of Vrshabhavana and that at Elephanta is of sadashiva, this jatamukuta at Elephanta seems to be a trend followed all across the sculptures there. These caves were carved out during the 6th century by King Krishnaraja of the Kalachuri dynasty. The Pallavas are said to have ruled around the same period till the 8th century. Yet a classic Kalachuri jatamukuta seems to have made its way into pallava sculptures. This is entirely my interpretation without substantial evidence.

Yet it seems too obvious to ignore. Seems like we need to start looking at various kinds of crowns worn by rulers or the like to understand whether this was dynasty specific or whether it was a part of the shilpa shastra. Or maybe kalachuri influences did enter southern territory as there is enough political evidence to suggest they were contemporaneous to Cholas which means they have been around for a while. My guess might not be wrong after all...

Photo Courtesy: American Institute of Indian Studies

Arjuna Ratha - Dedicated to Lord Shiva.

Arjuna ratha: Dedicated to Lord Shiva, this ratha speaks a lot about Shiva iconography and dravida style of architecture. It seems to be governed by the local shaivite faith, interestingly depicting on one of its walls as Vrishabhavana Murti - shiva leaning on Nandi, his bull inteh central niche.



The images on either side seem to be similar to the representations of yakshi couples but cannot be ascertained. I might just be wrong. The main vimana has a stupi below which are three lines of haras making it a three storeyed tower. The hara consists of shala kutas and karna kutas with gavakshas spread across. If you look closer its very visible to see sculptures within the niches.

Here is a larger view of the same, its worth a look

Below the main ratha are a series of rectangular grooves which indicate that there has been some kind of wooden beams that might have stretched out of the main structure. Whether it held a path of circumambulation around it is anybody's guess. The Nandi is carved on a rock behind the main structure, in this case, due ot the availability of rock there. Interestingly, the arjuna ratha and the draupadi share a platform, held up on the backs of elephants and lions, discovered recently in the last 6 months.

Draupadi Ratha

This very clearly represents a hut from a rural area, largely from bengal. Its part of a museum of architecture which also emphasizes in all this the iconography of every diety. The draupadi ratha is dedicated to goddess durga, which is re-emphasized by the lion in front of it, which is the vahana(vehicle) of the goddess.



The dwarapalas are replaced by female attendants or shalabhajikas, who are representations of fertility, the original concept being taken from yakshi cults prevelant in north india. The entrance has an elaborate makara torana which has initially been seen in very early pallava caves later dominating the cholan architecture.

The main shrine on the inside has the goddess in the centre with two attendants on either side among others, one in the act of cutting his head off in repect to the goddess. This is indeed very interesting as the ruling cults of Orissa and Bengal are of mother goddess and largely tantric in nature, which involved human sacrifices as part of their rituals. Maybe the rathas tried to explain a lot more than be mere museums of architecture. The dwarapalikas or the salabhanjikas on the outside have a very seductive welcoming gesture, but what is depicted inside is quite a different story.



This gives the same feeling as the Vittal Deul temple at Chaurasi in Orissa, where the external walls depict acts of seduction while the interior depicts bhairava and kali with scenes of human sacrifices. What really needs to be understood is that the societies were very open towards esoteric cults and such practices were not considered evil, and were very prevelant around the regions of Orissa and bengal.

There was therefore a mingling of cultural practices, and this was not restricted to politics and architecture as has been believed earlier.

Latest on the Rathas at Mahabalipuram

The Rathas:
Interesting evidence shows that the rathas were indeed earlier in chronology as compare to the Kailasanatha temple at Ellora. The fact that prominent elephant and lion base at Ellora has been "discovered" here at Mahbalipuram. This of course is restricted only to what is called the Draupadi ratha and the Arjuna ratha.

Here is some details on the Rathas themselves:



Draupadi ratha: Attributed to the goddess Durga, as its re-inforced by the lion vahana on the outside, this ratha follows pure bengal style of rural architecture. It represents a hut, has the goddess enshrined inside the main and only sanctum. Interestingly, the devotees of this goddess, are shown in the act of almost chopping off thier heads as a mark of adouration.

Arjuna ratha: A miniature version of the dharmaraja ratha, and a true picture of dravida style of architecture, this monument is dedicated to shiva. For one, the nandi is carved right next to it, and secondly the iconography of shiva is extremely rich along its walls.

Bhima ratha: An interesting structure, this clearly is a prototype of later gopurams. Judging by the way its been constructed, it was likely to be dedicated to vishnu, as the rock seems to be prepared for carving a reclining vishnu, as seen in other cave temples at Mahabalipuram as well as shore temple. This would indicate that the unfinished rock next to it was either for a boar, as seen in shore temple next to the vishnu shrine or for garuda, the actual vahana.

Dharmaraja ratha: its all too clear. the iconography speaks for itself, so much so that the nandi was not carved next to this big shrine. the vimana, an elaborate dravida style roof holds a whole catalogue on shiva iconography. This was clearly attributed to Shiva.

Nakula shahadeva ratha: built to the style of a buddhist chaitya, but attributed to Indra, since we have the elephant vahana next to it, this temple seems to be greatly influenced by the only cave temple at besra. the style and motifs clearly indicate strong influences from the north.

More coming later.

Gudimallam linga - Satavahana style

This is truely one of the most spectacular sculptures found here, a little north of Chennai. It is known to date back to the 1st century BC, it is also proclaimed to be sculpted in the Satavahana style. Surprizingly there is no other sculpture of the same kind any where near this geographically to associate it with any pattern in art styles.



The gudimallam linga, depicts the true nature of a Shiva linga, with the human form carved well within the limits of the linga. Here we see a sculpture of Shiva standing with a club on one side, the only sculpture where shiva is carved completely within the linga. We later see versions of the same in the Lingodbhavamurthi which shows only part of shiva, found at Kanchipuram and later temples in the southern regions.

We get to know more about the Pallavas from the 6th century onwards because of the constant clashes with the Chalukyas, but as far as early sculptures are concerned, the Gudimallam Linga, stands a class apart.

There are other interesting caves around the Pallava region. The caves at Dalavanur, are probably one of the earliest caves made by the Pallavas. This cave at Dalavanur, depicts the characterestics of the pallava caves with very confused dwarapalas, whose bodies are flexed rather awkwardly. Interestingly, the pillars are very bare and at the most have medallions which is a Chalukyan take off. This si actually in the Shatrumalla cave near Chennai. These caves were built during the period of Mahendravarman and have very square pillars on two ends with an octagon in the center. No yali figures accompany this cave which are so charcterestic to Pallavas. We see that the yali figures come in later constructions.

Shiva Nataraja - Chatura pose

Shiva's dance involves all of 108 poses, some of which have been sculpted in bronze as well as stone on temple walls. Here at the Brihadeshwara temple, under the rule of Rajaraja chola and the patronage of queen Sembiyan Mahadevi, one of the leading queens of the Chola dynasty are depicted the various forms of shiva.

To the Chola rulers, apart from Tanjore, Chidamabaram was another place that boasted the strong presence of Shiva. Apart from the beautiful bronze Nataraja at the Chidambaram temple a lot of similar forms have been installed along the temple niches for the diety.



Here at Brihadeshwara, along its south wall we see Shiva in the chatura pose. The chatura pose is that where the right leg is firmly placed on the apasmarapurusha (ignorance) and the left leg is raised half way into the air shortly before being stretched out as the nataraja tandava pose. Shiva wears a jatamukuta and holds the crecent moon and ganges in his hair! In this sculpture he is seen holding a trident as one of his many attributes.

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Photos courtesy: Michael D. Gunther / ww.art-and-archaeology.com

The Pallava foundation of temples

Before we jump to the temples of the Cholas we need to understand what brought about their forms and the prototypes for the same. Their predecessors the Pallavas had by now mastered the art of carving temples into live rock. The rathas and the shore temple are the standing examples of Pallava architecture in Mahabalipuram and the Kailashnatha temple is at Kanchipuram. They house dieties from both Shaivite and vaishnavite iconography.



Lets take a glimpse at the architectural forms at Kailashnatha temple, Kanchipuram. Look closely at the Gopuram. Its the structural version of the sculptural representation of the shrine models as seen in Mahabalipuram. The pillars are mounted on yali figures. The yalis also adorn the sub shrines around the main sanctum which is rich in indian iconography. Each sub shrine marks a part of the outer wall, a sort of fortification a little different from what we get to see at shore temple Mahabs.

The main gopuram though small is very similar to that found on the Bhima ratha. Its a clear understanding here that the subshrines have shallow porches and are a miniature version of that found at the Varaha cave at Mahabalipuram.

The pallavas definitely had their had at structural temple architecture. This was probably one of the larger temples they built. Its very interesting to notice that the Kailashnatha temple though rich in iconography, the sculptures are not life size as that in Mahabalipuram or Ellora. In later temples they will taken on much smaller forms as in the pillars of later Chola temples.

Temple architecture under the Cholas.

The Cholas were Shaivite follower though they were tolerant towards other sects. Their Kuladeivam was Lord Shiva in whose honour they are known to have built the Golden Hall at Chidambaram. Its interesting to note that temple architecture under the Cholas took a new shape. Under the patronage of Queen Sembiyan Mahadevi, the temples were now planned and housed dieties on the niches along its outer wall.

Given the rising power of the minor dieties, the temple had to now save its own vitality and hence give room to minor shrines like the mother goddess within the temple premises. This was definitely not an earlier practise. Its also under the Cholas that the temples now have a gargoyle spout on the North wall. The back wall or the west wall always houses a Lingodbhava murti.

Mother Goddess and Ganesha adorn the other niches of the Shiva temple. The shala kutas and Karna kutas(architectural features) continue to decorate the vimana of these temples. Its also during the Chola times that the Vimana shoots up into the sky which can be seen in Brihadeshwara temple, Tanjore, Gangaikonda Cholapuram and Tribhuvanam. Its at Darasuram that the vimana remains at 5 storeys. My next posts will have more on these temples.

Politics under the Cholas.

The Cholas ruled in South India from the 9th century to the 13th century. Along with the Pandyas they defeated the Pallavas, who finally disappeared after 300 years. This period also saw the crystalization of the tamil culture. The chola culture ruled the regular life styles of the people thus making it the Classical era.



This is a mural depiction of Rajaraja Chola with Guru Karuvurar at the Brihadeshwara temple at Tanjore.

The chola empire extended further to the south east Asian countries like Java etc. Politically the Cholas have ruled in Tamil Nadu since the first century AD but came into the lime light of historical importance when the first ruler Parantaka 1 defeated the Pandhyas and established his rule over the south. He was later defeated by the Rashtrakutas. The Cholas rule did have its ups and downs but rose again when they reclaimed their territories from the Rashtrakutas, who by then had faced enough harassment from the Chalukyas. This time the Chola empire came to be more stable under the rule of Rajaraja 1 (985- 1014) is son Rajendra Chola.

Commerce flourished under the Cholas and they were very well aware of their competition in the Arab traders who were supported by the rulers of Kerala. Hence the Cholas went and conquered the Malabar coast and monopolized on this. Further they had ties with China and other south east Asian countries. Indeed a politically very well knit state!

Shiva dances at Ellora

they called this the dancing skanda. i still think this is shiva himself ( the jattas probably give him away). but having come upon skanda, here is an interesting story.

The Kumbh Legend In Skanda Purana



The ancient Hindu scripture, the Skanda Purana, recounts the legendary origin of the Kumbh Mela. The Devas or Gods and the Asuras or Demons sought the nectar of immortality, hidden in the depths of the ocean. Using Mount Meru as a churning stone with the python, Vasuki Naga, coiled around it like a rope, balanced on Vishnu who had assumed the form of a tortoise, the epic exercise began. On the one side, the Devas took hold of the python's tail , on the other, the Asuras held his head. Together they turned the gigantic contraption and churned the ocean into a ferment. The beleaguered ocean then threw up enough deadly poison to swamp and destroy all the three worlds.

Before it could do so, however, Lord Shiva descended from the heavens, and swallowed it up. Parvati held his throat in order to stop the poison from descending, this turned his throat blue, hence he is called Nilakantha. After the ocean had purged itself, the universe was granted a treasure trove of boons. Among these was a flying horse, a wish-granting cow, a priceless jewel, a magic moon, a skycar, a musical instrument, the apsara Rambha, Lakshmi the goddess of wealth, and Vishwakarma the mystic architect. Ultimately, Danwantri the divine healer, appeared bearing the Amrit or nectar of immortality. The jar that held it, was the Kumbh.

As the Asuras made a grab for the Amrit , Rambha began dancing to distract them. Jayanta, son of Indra , transformed himself into a large bird and flew off with the Kumbha . Jayanta's flight to paradise took him twelve days. On his journey, he flew over the Earth, stopping at four places. First, Prayag or Allahabad, then Haridwar, Trimbakeshwar (near Nasik) and finally, Ujjain. At each place, a few drops of nectar fell into the river. These, therefore, are the holy places of the Kumbh Mela, and the significance of the ritual bath.