Author Archives: Vijay

Tracking the evolution of the Pallava Somaskanda – Part 2

In the previous post, we saw stylistically the earliest and latest somaskanda images.

Today, we are going to see why the Somaskanda Panel in the Dharmaraja Ratha is the earliest available panel of this form.

Lets take a look again at the Somaskanda panel from the Dharamaraja Ratham and the sketch.

To compare it with say a typical Rajasimha style Somaskanda – we have a beautiful almost perfect specimen from the Rajasimeshwara Temple in the shore temple complex ( the shore temple is a complex shrine comprising of an earlier Vishnu shrine buttressed by two shiva shrines – the Rajasimeshwara and Kshatriyasimeshwara shrines – the Kshatriyasimeshwara too has a Somaskanda but we will see that in a subsequent post)

A sketch to assist you in finding the differences. Lets see if you can point out the characteristic differences between the two Somaskandas.

A further twist to the various puzzles that abound in Mallai, the Ramanuja Mandaba is the most complete of the structures but due acts of vandalism – its like a slate that’s been wiped clean. Someone has chiseled out the door guardians, the three relief panels inside as well.

But as they say no crime is perfect, the chiseled out panel does leave an outline. The central shrine clearly shows the outline of a Somaskanda

Lets try and trace that and see what style is it – the Dharamaraja Ratha style or the Rajasimeshavara style.

To assist you, i am giving some additional outlines of the Shiva and Umai sides of the Dharamaraja Ratha Somaskandar

Hope you dont need any further clues. Lets test your observations skills.

Images courtesy:

Varalaaru.com. and Mr Ashok

Tracking the evolution of the Pallava Somaskanda – Part 1

Friends, thanks for following the posts and offering your encouraging words. Please note these are not thoroughly researched or expert opinions, but merely our path of learning which we are sharing with you. We do not want to say that this is correct, but this sharing is more to inspire many more to walk this path. We try and take care to make sure that we do not publish something that is grossly wrong, but if and when mistakes or another reading is there, we encourage readers to enlighten us as well. Why this long disclaimer for this post, you may ask, well the post is like that.

Today, we are to see part one of a series on the evolution of the Pallava Somaskanda icon. At the outset, we offer our thanks to Dr Gift, whose online resource is heavily relied on in this series.

http://www.cmi.ac.in/gift/Archeaology/arch_somaskanda.htm

This series is aimed at asking questions and find simple yet logical solutions, but the puzzle is indeed big. So without scaring you away, lets jump into the introduction of this series. The Pallava Somaskanda.

The basic argument which will be used in this series is evolution and see how the sculpture evolved into its current form. What is its current form? Borrowing these beautiful bronzes to show the form in its final evolved iconography


To study their features and compare we will also show you tracings ( copies) as line drawings

This is current day bronze. But do we have the first first / earliest or atleast earliest surviving prototype. Yes, we do have. Its in the upper tier of the Dharamaraja Ratha of the five ratha complex in Mamallapuram.


Since this is an intro post, we just let it sink in. In the following posts of this series we will travel around the region, and try to find a logical sequence to the evolution of this image.

Photo credits:
Special thanks to www.Varalaaru.com and www.exoticindiaart.com for the images

Srivatsam – the mole that adorns the chest of Vishnu

Thanks to a chance visit to the local museum along with Sakthis, we are seeing an amazing Chola stone sculpture – Vishnu. Working with granite is a true test for a sculptor, to bring out the soft benevolent grace of Vishnu into the hard stone – working with a iron chisel shaping his supple cheeks, hammering away at his immaculate ornaments, it must have been so fulfilling to him to come out successful in this test of his skill with zero place for error.

Sadly, this museum exhibit has been subjected to some deliberate acts of vandalism – a nose cut would be inappropriate to use here, but such stone sculptures would have had to be scrapped and not suitable for worship !! Its a painful realisation of human need and greed , a human hand created such a thing of beauty while another destroyed it, Gold, God and Glory are indeed engines of great motivation and destruction.

Letting aside the disfigurement, the beauty of this sculpture doesn’t shed its secrets easily to a casual viewer. Leonardo da Vinci apparently said that ” There are three classes of people: those who see. Those who see when they are shown. Those who do not see”

What is there to see in this sculpture. Not wanting to go into too much depth, will take a perfect ( to be read as non disfigured one) later to discuss the different aspects.

One is his brilliant lion motif belt buckle.

The other is more interesting and one which we studied in the bronze cast figures. The Mole – srivatsam being represented here as a triangular projection.


The sculptor took great care to depict this, for you have to watch a stone worker work to chip away with his chisel removing layer upon layer to create this effect or projection in stone.

Can we study this in comparison to the bronze and maybe check in other collections and see how this mark evolved!!

Breathing life into stone

Why is the genius of the Pallava sculptor not recognised despite numerous examples which stare right at us. Take for example, these two sets of sculptures from the Arjuna Ratha of the famous Five ratha complex ( whoever came up with these fancy names for these rathas!!), we have already seen a masterpiece in the other wall. We take two more such from the other two walls. Each a gem on its own.

While we were discussing the evolution of the Ardhanari image, we postulated on how the sculptor had brought in the Bull mount to balance the composite form. But was it just a freak moment of sheer brilliance or was it an evolution. Today we are going to see that it was not just a convenient introduction but a masterful confluence of two forms of Shiva.

Lets look at the this form of shiva – rishabandhika – Shiva with his mount. This is from the Arjuna Ratha in Mamallapuram.

These sculptures are classic Pallava styling with minimalistic ornamentation, pleasing body lines but spectacular styling.

I know some of you are already asking, whats so great about this sculpture.It looks pretty normal if not falling short. There seems to be something wrong with his torso and especially his chest. Did the sculptor make a mistake or ….?

Ok, Let me explain.

First of all, its a monolith, carved out of living rock, second its a relief sculpture and lastly, it carries the hall mark of Pallava craftsmanship.

Take a look at this angle, you will understand what i mean.

For Shiva is sculpted not facing you but half turned in profile. See how the master sculptor has made use of the available canvas – since he didnt have enough space to sculpt Shiva facing fully out, he has made masterly use of the depth available to sculpt him in profile

Though this is not a good angle ( thanks Ashok for the picture, you always come with different angles! ), but i am showing this to demonstrate his amazing use of depth and perspective. You can also see the angle of shoulders indicating how the torso has been angled to show a sideward pose. How he managed to visualise it in stone and managed to deliver is mind boggling.

Now, you will be able to better understand the Ardhanari evolution as a confluence of this image mingling with the Ardhanari.

As another example of the Pallava sculptor’s superlative stonecraft, we visit another spectacular pose from the other wall of the Arjuna ratha.

For a second, you forget that this is stone.

Not that angle, view it from this angle.

Look at how he has sculpted the Royal couple, the lady is calling her beloved who turns his head to answer her. Just close your eyes for a second, visualise her voice. ” My dear lover, “.. He turns around ” What is it sweetheart ….”

Breathing life into stone, that’s what the Pallava sculptor did!! It just needs some patient viewing and tuning to his frequency and wavelength.

How much would you give in for your better half

How much would you give in for your better half ? Sorry to disappoint you, but we are still talking sculpture here.

We had seen in the previous post how the Ardhanari image evolved including and highlighting stylistic elements of the male and female portions and the necessity of the sculptor to bring in the bull ( Nandhi) to balance the image. We stopped with stone sculptures with a promise to bring similar study into metal/bronze images.

Chola bronzes are really stunning creations of sublime beauty. The lure of such pieces are so great that once you are caught in their timeless charm, its difficult not to fall in love with them. So how better to start this discussion on the evolution of Ardhanari form from stone to metal, but to showcase a stunning bronze – not any bronze but a very very special bronze. ( collection of the Cleveland Museum of Art, Ohio)

Once again a few line drawings ( tracings) to take you through the stylistic aspects

A closeup first.

Some interesting questions. Note Shiva’s side has two hands while Umai has only one. Read somewhere that its to show the male dominance – how ridiculous. This entire concept is based on showcasing the equality of the two sexes! Why then are the two hands for Shiva? Well lets step a bit back and see the larger picture

The exaggerated curve of the waist for Umai , the tribanga ( triple flexion) all follow the styling in stone to the T. ( lets compare the two)

Notice the splendid work on Umai’s hands. Picture her delicate fingers gently holding a lotus by its stalk! Compare it with Shiva’s hand holding the Ax. They balance out each other in terms of composition. So now to our pet theory.

Lets for a second take out the Bull and the additional hand and see the image for arguments sake.

You can see the torso leaning awkardly to the right, for want of a better example – in a crowded bus, imagine you reaching out to the conductor to buy a ticket – thats the pose. Jokes, apart, is shiva giving into Parvathi’s might or is Parvathi being swayed / pulled by shiva? Anyway, the second hand of Shiva resting on the bull is purely to balance the tilt.

Arvind raised an interesting question. The flexing of shiva’s leg.

Quote: “does the bent knees and the posture of the lower limbs on the male side indicate a longer limb (as much as it does muscular limb, which is pronounced in certain sculptures and visually identifiable).
Given the bend of the limb and also the lean of the hip, though I get a feel of longer limb on the male side”

Welcome viewers views on this. We will study this in similar bronze sculptures of simple ( not composite ) forms in an other post.

Hey, but this was introduced as no ordinary bronze. Whats so special about this bronze?

Its an unique style – a composite icon formed with half a male, half a female, a bull all framed into a Trident. Wow!! If this is not poetry, what is!!!

Tracing the refinement of the Ardhanari Image

An interesting conversation ensued from the previous post on the Ardhanari iconography, not as a direct question from Sri Dev, but as an offshoot. I thought of developing the same and presenting it here. The sculptures have endured considerable damage and hence have tried to present them as line drawings using simple traces.

At the outset, the objective of this post is not to show the differentiation between the male and the female portions of the sculpture, but to reflect the evolution from the shoes of the sculptor ( well he wouldn’t be wearing shoes then anyway !) and how he had ingeniously solved a complicated problem.

The anatomy shows certain basic differentiations between the male and the female forms of the human species. Without getting into the details, the sculptor was posed with a problem when it came to the Ardhanari form. He had to fuse the male and female forms into a single composite image, maintaining the differences between the two sides, while at the same time, making sure the sculpture doesn’t look grotesque but rather as an appealing image. To illustrate this I have chosen a few random samples and focused just on this question or rather just the solution ( for otherwise each of these images need a full post for themselves)

Lets see an early version of the Ardhanari form from the Pallava period ( not stating that this is the earliest form but more for ease of study). This sculpture is from the Dharma Raja Ratha of the Five Ratha complex in Mamallapuram.

To make it easier have traced it, so that we may study it in detail.

You can see the characteristic Pallava touches, in minimal jewelry and simple formation (predominantly linear structure), but what it lacks, is the life, which we usually feel in a Pallava sculpture – This shows this is a early Pallava sculpture, as we see in later Pallava styling, in most cases the subjects are shown in profile and highly fluid forms, they almost seem to be able to give the viewer a sense of movement though cut into stone. This form however, is very rigid and resembles ( for want of better examples) a fly that’s been swat or a toad thats run over on a road. I am a great fan of Pallava stone sculpture and have argued with many about their superiority over even later cholas, but this particular one,I have to put my hands up. Why? was it because the sculptor was trying this composite form for the first time. It does look so. The differentiations between the two halves except for the breast is not much. Below the waist, its so flat that it leaves you quite disappointed.

So, what could the sculptor do? It was obviously not the same sculptor, but lets imagine a school of sculptors who start refining the form.

Lets look at the next sample – please bear in mind that we have not spent time in dating these sculptures to be sure that this is the evolutionary road but just presenting a series for discussion sake .

once again a trace to highlight or focus just on the key aspects of the sculpture.

You see that the sculptor has realised the need to highlight the gender differences and is focusing on aesthetics. He has given the waist on the female portion a good bend and tried to move that side into a tribanga pose. But this causes problems on the male side, so he had had to flex the right knee a bit. He has tried to bring in subtle changes in the hands, the left hand is more graceful while the right hand is more manly – resting on his hips. He has also brought in changes in the apparel, the saree wound around the legs in the lady side compared to kind of tight boxers for the man portion.

Lets progress a bit more into Chola land and see the perfected form.

A trace again to savor the beauty more

You can see the female portion in full triple flexion ( tribanga) and to compensate for it, the right leg of Shiva is bent fully. This causes the male torso to lean at the awkward angle and though the sculpture would look pleasing it would not be aesthetically appealing. So he comes up with an ingenious solution. Make Shiva rest or lean on to something and the readily available option is his mount or vehicle – Nandhi. Presto, problem solved. Add lots of beautiful ornamentation, develop the differences in the dressing style and this perfected model becomes a standard for all Ardhanari images henceforth.

Lets check out our theory, rushing to Elephanta Caves

What a wonderful sculpture, such grace and you can hardly see the two forms merge – the combination is seamless. And our bull is there to give balance as well. Check out the trace. Ofcourse, there are some differences in the ornamentation and styling but the basics stand.

so how sure are we of this, meaning how do we test this theory. Ok, the male and female portions occupy the right and left sides by default, but then there is one particular sculpture which is an exemption, where they switch sides ( why ? need to find out)

What does happen when this inversion happens and how does it support our theory. Watch the bull behind…

He too has been turned around to face left, to support the male half. What do you say about this ?

We must follow this study with a study on bronze figurines and test the concept. Ofcourse the structural engineering side of the image, the volume of stone which would need support, could differ from the raw strength of metal. But thats another post…..

Photographs are from the American Institute of Asian studies archives

No canvas is too small for the Chola Sculptor

The pull of Pullamangai is so strong that we are not able to leave its premises soon. So we return with another splendid masterpiece captured spectacularly by Arvind once again. This is also a request for readers to spend a few more minutes on their temple visits to take photos with an inclination to share with us – a slight shift from the general pattern of posing in front of a sculpture to show people that you have been there and taking it for its artistic value. Thanks to the digital age, it costs nothing but a few minutes, a steady hand and some creative props.

Sri Arvind has done exactly that.

Hi, this is not an advertisement of handphones !! You will realise the need for this picture once you finish reading the post and seeing this remarkable sculpture.

The ardhanari aspect of Shiva – as the half man half women ( maybe wrongly titled hermaphrodite in some sites), its signifies the larger concept of equality of man and women, of equal sharing of everything including the self – such a far reaching concept has been depicted beautifully in stone here.

There are umpteen references to this form in the thevaram verses, but chose this one adds the Lord’s bull mount as well.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=2&Song_idField=20850&padhi=085&startLimit=7&limitPerPage=1&sortBy=&sortOrder=DESC

when the good natured lady who has breasts like the lid of the casket is one half of his body.the god, Civaṉ who rides on a bull. as he entered into my mind wearing a young crescent which has no comparison and water which reached him. fever, cold fits, the ten vital airs of the body, excessive bile, acts are of such of a good nature as not to afflict us reaching us.
Translation: V.M.Subramanya Aiyar–Courtesy: French Institute of Pondichery / EFEO (2006)

The beauty of this composition is reflected in the masterly craft of the stone sculptor. Its indeed difficult to sculpt the majestic manly pose of shiva in stone, but to merge it with the feminine grace of Parvathi without loosing the form of the figure is indeed masterclass.

Lets look at the two halves separately, you can see how the masculine and feminine aspects have been accentuated to come up with a hybrid composite.

This expertise of the sculptor is seen this masterly understanding of human form and anatomy. Just see his hands sculpt the composite waistline.

The slightly erect shoulders of shiva while compared to the gently curved ones of Parvathi.

Have highlighted his strokes so that you can better enjoy the superlative stonecraft.

The manly stance of shiva brought out by the slightly bent leg to balance the frame as against the sublime grace of the devi’s, in the background – The bull ( Nandhi) with its stance, the folds of its skin, wow.

But we are not finished yet, for the beauty of this sculpture is in its size.

Truely, no canvas is too small for this master sculptor.

The splendor of Pullamangai – Brahmapurirswarar

Friends, today we are in for a feast. A real Sculptural feast..for we are to witness today the imagination and expertise of the chola sculptor running riot in Pullamangai – the famed Brahmapuriswarar Temple. The temple itself is treasure trove of stone art, but sadly forgotten by most. This is our humble attempt to showcase this magnificent edifice of Chola Art. Thanks to Satheesh and Arvind Venkataraman for taking the time to visit this temple, actually there was selfish motive behind sending them there, so that we may all drink in the sheer brilliance of that place – thanks to our two contributors again for patiently getting the lovely photos

Normally, i would start posts with long shots and then move closer. But today we are going to attempt the reverse for maximum effort. Once you read the full post, am sure you will understand what i mean.

We are going to see a series of four panels – hailing the birth of Muruga. Kumarasambhava and a few amazing Yaalis ( my personal favorites)

To start with will show you the yaalis.

How to describe these in words. Such brilliance lends credence to the thought that these are not there just for ornamental value !!

Hmm, well that’s not the post, here is a lovely Vyaala as well.

Ok, I talked of the birth of Muruga and am showing you nothing of it….ok, here they come.

Here we see, the amazing dance of Shiva and Parvathi. Splendid depiction of the synchronised dancing. The masculine grace of Shiva and the feminine charm of Parvathi is a delight to watch. and watched they are by a resurrected Kama ( manmadha) and his wife Rathi.

The next panel we are going to see is a lovely depiction of Shiva wooing his consort.

See the shy stance of the maiden and the stylish pose of Shiva.

The next panel, shows Shiva embracing Parvathi.

This is a very beautiful depiction of the sense of fluid motion that a sculptor manages to bring into stone. Just watch the right hand of Shiva. He is shown with two right hands, one resting nonchalantly on nandhi behind him – but imagine for an instant that he is moving his hand towards parvathi – the next act – the moving arm is portrayed by the second right hand. Can you sense it

And see the expression of Umai, tender love lorn shyness.

The sculptor is not finished yet, see the detailing on Nandhi.

and the two Ganas on the top and the lady attendant below

Lastly we see shanmuga being born and held by the six mothers, Karthigai Pengal.

Not clear is it, lets explain a bit. A seated Shiva is shown lovingly holding one of the babies who is reaching out to his cheek. While the other five are being held by the mothers.

I am sure some of you are already commenting on the quality of the photographs and sculpture ( both positive and negative comments for sure)

Hang on, let me show you the reason

We are not finished yet

Now for the long shot, it shows how easily we can miss these little bundles of beauty

Now, you know why i went reverse order for the zoom!!

By the way, did i mention ` little’

The Naynaar one who played the flute ! a la Krishna

Friends, we are going to see a very interesting Periapuranam panel today. Though they occupy the niches of many temples, not many know the history of the 63 shaivite saints – the nayanmars. Today we are going to see one such unique Nayanar. The Naynaar one who played the flute ! a la Krishna. This post itself arises out of an interesting comment by Dr Kannan, for the previous post on Dancing Balakrishna vs Sambandar – he set me to search for this sculpture. Thankfully ( call it coincidence) Sri Arvind Venkatraman was visiting Darasuram and he clicked this sculpture. So we introduce you to Anaya Nayanar from Darasuram

To read his life history pl visit http://www.shaivam.org/naaanaay.html

On a blessed day, with his head ornamented with flowers of fragrance, forehead full of holy ash that frightens the death, the ash smeared body beautified by a garland, with the flute and the staff took the cows for grazing. It was the season of arrival of monsoon greeted by the dance of the peacock, the song of the creepers swaying in the breeze. He reached the beautiful garden of konRai flowers. The sight of the very konRai flower reminded him of the merciful Lord who wears that flower. He could see only Shiva there. Wherever he saw all the flowers appeared as the form of the Almighty. His mind could do nothing but meditating at that appearance. His thinking could do nothing but surfacing the his great love for God. He could do nothing but showing his unexplainable feelings through his flute. His feelings could do nothing but making the sound of the holy five letter in his flute.

Lets see the sculpture now. You could easily mistake it for Krishna.

Now for the verse – what a delightful verse, ( i did try and learn the flute for sometime) but the comparison of the fingers playing on the holes of the flute to that of a bee over a flower – wow, simply superb.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1214&padhi=72&startLimit=22&limitPerPage=1&sortBy=&sortOrder=DESC

He took the musical vangkiyam in which the interspace
Between the mudra and the first of the eight holes
Measures seven fingers’ breadth;
Like bees that buzz over flowers to gather pollen,
His flute hummed, rose accelerando and stood
Still or caesural; to the pure magna cavum the great one,
— May he flourish for ever –, applied his beauteous lips.

Then what happened read on,its sheer poetry

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1214&padhi=72&startLimit=30&limitPerPage=1&sortBy=&sortOrder=DESC


Dancing peacocks ceased their dance and came
Near unto him; they stood still, enthralled;
As the wafting melody streamed through the ears
And filled their bosoms, the feathered race
Flew to him and stood lost in rapturous music;
The strong neatherds who were working nearby
Abandoned their chores and stood in mute wonder.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1214&padhi=72&startLimit=37&limitPerPage=1&sortBy=&sortOrder=DESC

It pleased the Lord to hearken to the music
Of Anayar’s flute; with His Consort — a liana of tapas –,
Whose heart is grace and compassion divine,
The brow-eyed Lord — the Cause and Source of Music –,
Through heaven’s highway, with His matted hair
Bright with the crescent, thither appeared.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1214&padhi=72&startLimit=39&limitPerPage=1&sortBy=&sortOrder=DESC

The First One that on His Young Bull appeared before him
Desiring to hear for ever the flute’s melody
Of the great one of righteous and pious mind,
Spake thus: “May you abide with Us even as you are now here.”
Thus, even thus, was he translated to the Lord’s divine presence.

Translation: T.N. Ramachandran ( as from the site)

Now you see, such an interesting piece of poetry and an intriguing tale. Now you know!!!

First year Anniversary post – you need experts to understand Bronzes

Friends, Its with great pleasure that we present to you our anniversary post. Exactly a year ago, urged on by friends and well wishers we embarked on this remarkable journey on uncharted ground. For us, it was a modest start but with lofty ambitions. Its been an eventful 365 days, not restricting to South India and temple art, we have traversed almost the whole of South East Asia, spanning Stone sculpture, Bronzes, Cave art, in the process compiling 150 bi lingual posts covering wide gamut of subjects,sharing a common goal – to spread art awareness.Its been a journey of learning and discovery to us and am sure to our loyal readers as well. Along the way, we met many interesting friends, many who contributed to the richness of this pioneering effort. In our small but significant way, we believe we have succeeded in instilling the love to appreciate sculpture in our readers by presenting them a unique perspective of temple art. A lot of work goes into these posts, sometimes months are spent in researching for the posts, waiting for freinds to share the right photos, the right angles, experts are consulted, rare books are sourced from good friends, the essence of all these are distilled and shared with you in a form that can be appreciated easily by all. As we step into our second year with all your wishes, blessings and support, we present to you another of our special posts.

This is one such post which starts off as a nonchalant conversation and blossoms into a beauty, while emphasizing the need for experts. While discussing with Vairam on the previous post, we discussed the iconography of two very similar looking bronzes. One a dancing Balakrishna and another a dancing Sambandhar. See this exhibit in Tanjore museum ( they are identified properly and exhibited side by side – thankfully – Picture courtesy Satheesh)

To the untrained ( even many museums and sites are not clear) eye, both look very similar and are often mistaken for one another, or given both the titles to be on the safe side.

Take a look at these two bronzes. At first glance, they both seem the same.

But here comes the need for expert advise. Spurred by the doubt, we wrote to one of the foremost experts on bronzes today, Dr Nagaswamy, who replied to us sameday! That advise from the great man himself, who takes time to indulge and educate novices like us, is this post.

Lets look at the bronzes one more time,there seem some subtle differences especially with the pose of the right hand !

We first look at this sculpture of dancing Balakrishna – the clues lie in his right chest. Do you notice the triangular Srivatsam mark just above the right chest !! refer the earlier post on the same. No doubts, its confirmed that this is Krishna. Notice how the right hand is facing the viewer – Abhaya hastam, offering protection to the devotee.

Now, lets see the other sculpture. ( Many thanks to Stuart Lee – the left hand – spectacular capture – from chennai museum and Sakthis for patiently assiting with the others from singapore asian civilisations museum )



This is the more popular bronze, of Saint Sambandhar. The Chola kings were great patrons of Shiva,the very first verse of the Thevaram Hymns were sung by Sambandhar and aptly this sculpture depicts that scene.

According to legend, when Sambandhar was three years old his parents took him to the Shiva temple where Shiva and his consort Parvati appeared before the child.”parvathi fed her milk in a golden cup” . His father saw drops of milk on the child’s mouth and asked who had fed him, whereupon the boy pointed to the sky and responded with the song Thodudaya Seviyan – the first verse of the Tevaram.

Thodudaya seviyan song

the Lord has an ear on which a lady`s ear-jewel is worn.
He rides on a bull.
having worn a spotlessly pure white crescent moon of a single phase.
He smeared himself with the ash in the cremation ground which has the nature of a forest.
the thief who has captivated my mind
this person is really the great one who resides gladly in Piramapuram possessing greatness, where the Lord bestowed his grace on Piramaṉ who is seated in a (lotus) flower having petals, who bowed to him and worshiped him, in the distant past.

For a better understanding of this scene and to hear the verse being recited in this video capture.

Thodudaiya seviyan video
Now, that you have visualised the scene, think of how the sculptor showed this in bronze. And that is the clue to the identity of this bronze as well.

“The father asked who had fed him, whereupon the boy pointed to the sky”
Notice the right hand of the bronze. The index finger.

Let me get you the right photo angle to highlight this point of movement in chola sculpture.

Notice that the index finer is at an angle and gives you a visual impression of being in the process of pointing upwards, its not yet finished traversing to the point of pointing vertically up. Such finesse in sculpting this image. Truly masterclass.

Here are some more splendid bronzes from Delhi Museum, Chennai museum, Freer Museum.


Now, from above its pretty clear to identify the bronzes

Auckland Museum


The srivatsam is quite visible, so its krishna

Hindu wisdom site


This is clearly Sambandhar – as can be seen from the right hand and also the distinct ornamentation of similar bronzes.

Nice article on sculpture but..

The sketch below, while doesn’t show the srivatsam, the right hand index finger does points to the sky. So it should be Sambandhar as per reasoning above.

we thank you all once again for your continued patronage of our site and we look forward to receiving more photos and information from your temple / museum visits.

We take this opportunity to wish all our supporters, well wishers and guides who have stood by us, motivated us and continue to inspire us to do more. The list is endless but our thanks rise from the bottom of our hearts individually to all of you.