Category Archives: Sculpture

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.

Love of a foster mother

The moment we hear of the Indian section of Museum exhibits the world over, we immediately visualise beautiful Chola Bronzes. Most Museums have their fair share of such beauties – we would normally see a Nataraja, a Vishnu, a Somaskanda, Sambandar. But today, being Krishna Jayanthi, thought i would share a very rare bronze from the Cleveland Museum.

The dating of the sculpture as per the exhibit, says it late chola – ie 12 C, basically due to the lack of elaborate ornamentation. But then even very early chola bronzes carried basic ornaments, though they were not very heavy, they were spectacular in designs. In comparison, the images of the shaivite saints were mostly stark in their portrayal keeping their monk like status. So, what is so rare about this bronze. Firstly very few such exist, secondly is the superb handling of the scene. Ok, we are talking of the bronze of Yashoda breast feeding baby Krishna.

Its a very emotional surreal sculpture, a foster mother, offering her breast to her adopted child, a Queen’s son being fed by a milkmaid!! So is this the reason for the sparse ornamentation?

The sculpture is rare, but the scene that it depicts has been sung by the saints long back. Perialwar sings thus

irumalaipola tirintha mallar ( the two wrestlers who roamed as two huge mountains) iruvarangameriseithaai ( burnt their bodies – destroyed). un (your)
thirumalinthuthigazmaarvu ( the heart where lakshmi graciously resides) thekkavanthu ( to store) enalguleri ( you climbed my lap)
orumulaivaaimaduthu ( you took one breast in your lips) orumulaiyai nerudikkondu ( playing with the other breast) irumulaiyum ( both breasts) muraimuraiya yengiyengi iruthunaayo ( one after the other, you satiated your thirst)

What a splendid verse, and noting more required to explain the beauty of this bronze.

But the styling still raises some doubts. Normally chola bronzes are processional images – come with a base with options to stick poles into the holes and carry them. But this doesn’t look like a ceremonial processional image. Maybe made for private collection by a King!! But then Chola Kings especially of that period are said to be a bit biased towards Shaivism!!

picture courtesy

http://www.metmuseum.org/toah/ho/07/sss/ho_1982.220.8.htm
http://www.harekrsna.com/gallery/parents1-gallery.htm

If you are in chennai this Aug 15th, please visit our event

http://festival2009.ponniyinselvan.in/

The mystery behind the horns of Pallava Door Guardians

Friends, i am writing about a man who changed the course my life’s pursuits. Its a tale of selfless service, the reach of the net, information sharing,knowledge assimilation, leaving a lasting impression on the generations to come. I read that Einstein once said ” If I have seen farther than others, it is because I was standing on the shoulders of giants”, thereby acknowledging the contributions of the scholars before him.

To start with, i have never met this person. For, he passed away in 1988, long before i even knew where i was headed in life.

when i first started my pursuit to learn sculpture, the stones of mahabalipuram were becoming not just time pass but posing some intellectual questions. spurring me to learn and read more about them. Being in Singapore didn’t help and the only way to quench my thirst was by reading books. Quality books on sculpture were heard to get, of the few good ones, some were ( are) at a higher plane than my current grade, and the rest were priced higher than what i could convince myself to spend on a hobby. The pursuit was still at the hobby stage at that time. But the thirst was still driving me and i turned to the net for help, coming across just two sites. One was Dr Nagaswamy’s tamil arts academy and the other, Dr.Gift Siromoney (30.7.1932 – 21.3.1988), M.A., M.Sc., Ph.D., F.S.S.
http://www.cmi.ac.in/gift/Archaeology.htm

The posts he had graciously left behind on the net, quality content, absolutely free, easily accessible, spurred me, 20 years after his death, inspiring me to use the advances in technology, the power of the net and its networking capabilities to tap on the potential of friends, to create a site, with powerful content with an unique visual appeal, absolutely free – that even a chance encounter of a casual visitor, will make him sit up and take notice, of the treasures that our great land bore out of its intellect, help protect and preserve them for future generations. Like the legendary Ekalavya, i try to follow his effort. This effort, hopefully will outlast my human existence, and pray will inspire atleast a few like me, long after i am gone.

I take one such thread, which the great man had left behind in his site and develop – One of the first puzzles i had taken to study. Please take time to read his extensive note below:

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

He has supported his theory with some rough sketches, which i have developed with photographs.

The hypothesis is very simple, Are the Pallava door guardians personifications of the divine attributes ( weapons) of the Lord whom they are guarding?

To understand this better, lets take the Shiva shrines for study first. Most early Pallava shrines had door guardians who wear a curious headpiece. Various postulates have been proposed, right from horns worn by a primitive tribe, later evolution of Jaina Naga icons and even as personifications of the Nandhi.

Unfortunately the main door guardian at Vallam, which Dr. Gift analysed is not clear enough ( thanks to Prof Swaminathan and Chandru sir for the photos), but i am thankful for Mr. Shriram for giving me an excellent photograph from Tirumayam cave ( though later than Mahendra ) that helps us to study the concept. We also see examples from other Mahendra caves including Mandagapattu and Seeyamangalam.

First of all, lets visit the Mahendra cave in Vallam. The cave has been pathetically managed with an ugly grill marring the entire beauty of the place. Anyway, for purpose of this study ( am thankful to Prof. Swaminthan sir and Chandru sir for sharing their photos of Vallam).I am just going to present to you a series of photos and then work on the hypothesis.


so just watch the dissimilar door guardians ( wonderfully sculpted in side profile) as compared to later temples where they are sculpted a mirror images, no two Pallava doorkeepers were done to look similar.

Notice the right side door guardian ( invariably) is carrying a set of curved horns. But are these horns. They seem to be positioned slightly below the head, where you would normally sculpt horns. Also the way the horns are attached or start – there is a very conspicuous convex curve.

Now, lets look at the left side doorguardian, he is bereft of any horns, but watch closely – he seems to have some sort of a projection in the centre of his head dress – like he has taken a serious whack and is all swollen up! Is it just a fashioning of his crown or does it signify something else?

Lets move on to Mandagapattu Mahendra cave.

Here, the right side door guardian doesn’t sport any horns. why? But not to be disappointed, we see the same protrusion in the head of the left side door guardian!!


Can you make it out now. Seems to be very much in fashion among the left door guardian. We will come back to this towards the end of the post.

Lets swing across to Seeyamangalam.

We have our horned door guardian at the right but the left side door guardian doesn’t sport the protruding crown.

But lets take a closer look at the horns. Even though they seem to occupy a more normal horn position, the curve at the base is very distinct and doesn’t look like a normal horn.

Now, thanks to Shriram we are going to see a really spectacular sculpture and example that is going to prove this postulate. These door guardians are from Tirumaayam. The right door guardian is possibly one of the best executed forms – such grace, such pristine beauty. His majestic poise is sheer poetry.

The left door guardian is slightly more subdued in his stance.

Lets peek in closer to view them. The left one does has a queer projection on top of his head. But the right door gaurdian’s head dress is worth a second look.


Lets analyse the complex curve at the base of the so called horns. Just imagine the sculpture without the face of the doorguardian.

Do you notice that there is a spike at the top of the crown. Now when you look at the three spikes as a single structure you can notice that they are indeed the three frongs of a large trident that has been superimposed on the door guardian. This could only mean that the door guardian is the personification of the Trident of Shiva – Thirisoolanathar.

In the same vein, the argument is that the protrusion on left side door guardian is the face of an Axe blade, depciting the Axe aspect of shiva ( check out the axe blade when being held by shiva in the famous chandesa sculpture in Gangaikondacholapuram) – Mazhu being the old name of the axe and hence he is called Mazhuvudayar.

Thus we see that the two door guardians are infact the Trident and Axe of Shiva

Another example from Kaveripakkam ( thanks kathie for sharing) currently in the chennai museum with the Horns!!

My first discovery !cracking the puzzle of 3 Somaskanda panels

Friends, it gives me immense pleasure in presenting one of very first discoveries which sees the light of day today. Though this occurred more by chance and had found this about two years ago, at that time i had nurtured hopes of publishing it as a research paper in some academic journal. Its only later that i realised how complicated such pursuits are and also the fact that but for the emotional high such a recognition would garner, its reach would be very much limited to a select few. However,today thanks to you all, my dearest extended family and the internet, poetryinstone shall deliver this baby after a gestation of over two years.

I had wanted to write about the Pallava’s contribution to evolution of iconography as a series – and started with the Mahendra trail. We did see some interesting developments in cave architecture, like the nataraja icon. But as we study later Pallava structures, we cant but miss some of their signature contributions, namely the Somaskanda, Gangadhara and Mahishasura Mardhini. The Pallava Somaskanda is such a signature piece occupying almost every rear wall of their main shrines, that its hard to miss them.

But this article is not about the normal Somaskanda panel in the rear of the Garba Graham ( sanctum sanctorum ) but a very unique puzzle of not one but three panels in the Atiranachanda Mandabam cave of the Saluvankuppam complex. The cave itself is a puzzle of gigantic proportions and many scholars have discussed it.

Just to run through it would mean to point out to viewers that the basic cave and pillar designs are very early Pallava period, while inscriptionally ( on both the sides there are running verses which you can touch and feel the passing of time in front of you) Rajasimha Pallava claims to have constructed this temple for Siva. He calls it Atiranacanda Pallavesvaragram, after one of his many fancy titles Atiranacanda ( Ati – great, rana – battlefield, chanda – expert – thanks to swaminathan sir))


Would suggest below article of Dr. Nagaswamy for readers who want to see the sheer labour of such geniuses.

http://tamilartsacademy.com/books/mamallai/new-light.xml

It would be worthwhile for readers to compare the facade of the Atiranachanda with earlier structures we saw on the Mahendra trail. But that is the subject for another post and study.

We come back to what is to me a very great discovery, the subject of this post. To bring you upto date with the basics, what exactly is this Somaskanda. Literally it means ` with Uma and Skanda’ meaning ( Sou – with, Uma – Parvathi and skanda – Muruga) Shiva with his consort and son. ( why only one son!!, well that is another controversy which we briefly touched upon in the post ` There are no Ganesha images in mallai’.

Since Pallava’s ` claim’ to have been the first to start building temples of stone ( or atleast without using lime, mortar, metal , brick or wood – mandagapttu [post! )…the early structures had predominantly an empty central shrine with the diety crafted in wood in a panel at the back. But slowly they realised that the wooden deities perished in no time, they tried crafting them in lime and mortar. But then as their confidence in working in stone grew, they graduated slowly to reliefs and then to sculpture. They replicated the wooden panels in stone sculpting them directly onto the rear wall. Thus was born one of the cutest forms of the divine family, with shiva seated ( sometimes on Nandhi) on the right and Parvathi on the left with baby skanda initially on her lap (There are many variants to this form and Dr Gift Siromomony paper below postulates a new theory !!)

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

The cholas later went on with the theme to craft some beautiful bronze somaskandas.

Back to Atiranacanda Pallavesvaragram, not many realise that the structures we see today in Mallai, were submerged if not totally in sand before they were escavated in the late 18th C. ( by this I mean even the popular five rathas complex), but to understand this better take a look at this print ( thanks to the British Library Archives)

Compare to how it looks today.


Now, look closer, am highlighting the main areas for us to view.

We take quick peek into its corridor – on closer inspection you see two beautiful somaskanda panels on the walls. This is a great anomally since the somaskanda panel is almost always found inside the main scanctum sanctorum.

To understand this better, lets peep into the central shrine of the same cave. Do you notice the Shiva Linga and then the rear wall adorned with the Somaskanda panel.

Why then would the sculptors sculpt two additional panels in the outer corridor?

A chance photograph of the freshly escavated mandabam in the late 18th C, thanks again to the British Library Archives, provides us the vital clues.


There were two additional Shiva Lingas on the corridor and hence the sculptors had sculpted the panels on the walls behind them. This my friends is my first discovery!! call me an armchair or desktop archaeologist for that.

What happened to these lingas now?, even their bases don’t exist now. There are two free standing statues in the foreground, one a headless trunk of a seated deity and another a beautiful sculpture. They are not to be found now, just this small rubble on the outside!!

So now you know the answer to the puzzle of the 3 somaskandas, but throws lot more questions. If the structure was intact in the late 18th C, when and why the susequent vandalism.

Why would you pardon an assassin?

Hello readers, Today we return to Darasuram once more to study another Periapuranam sculpture. We have already seen the panel on the left – Marar of Ilayankudi. Today we are going to see a simply stunning sculpture fittingly sculpted to suit a fantastic storyline, which showcases the matchless chivalry and valor of a King, who even at the face of death through the hands of a conniving assassin, a dreaded foe who slays him by treachery, displays his noble birth and devotion to the Shiva, by forgiving him. But why did he do that ? Read on ( am going to use the thevaram hymns translations since they are almost like a running commentary /first person account of the events as they unfold)

Lets view the location of this amazing panel.

We are talking of Meiporul Nayanar, a pious king.who ruled over the hill tribes of Sethi and born into the noble clan of Malayamans. The brave king was unconquered in battles and a just ruler.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=12050&padhi=72&button=%E0%AE%9A%E0%AF%86%E0%AE%B2%E0%AF%8D%E0%AE%95

His capital was Tiru-k-Kovalur in goodly Sethi realm;
He hailed from Malayaman dynasty which served
Ammai-Appar from generation to generation;
He, the Prince was poised in the noble way true, of the Vedas
And served the Lord’s servitors divining their true wish.

The rich land was the target of a wicked enemy from his neighbouring country. King Muthanathan, many times he tried matching his large Army, with strutting elephants and hordes of soldiers, yet he could not find a way past the forces of Meiporular. He was repeatedly defeated.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1205&padhi=72&startLimit=5&limitPerPage=1&sortBy=&sortOrder=DESC

Whilst thus he flourished, a hostile king
Fired by a desire to vanquish him,
Waged wars against him many a time, only to lose
His elephantry and cavalry and infantry,
Thus repeatedly defeated he was sunk in shame.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1205&padhi=72&startLimit=6&limitPerPage=1&sortBy=&sortOrder=DESC

The worsted king who could not think of victory
In the field of battle, coming to know
Of the religious piety of Mei-p-Porul, desired
To ape his great habit of wearing the holy ash
And thus win by deception; his mind
Nurtured such unspeakable evil, and he
Prepared for his infiltration into Tiru-k-Kovalur.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1205&padhi=72&startLimit=7&limitPerPage=1&sortBy=&sortOrder=DESC

He smeared all over his person the holy ash;
He had his hair matted and tied it into a crown;
He held a mega biblion which concealed a dagger;
Like a lamp thick with black at the wick, his mind
Harboured deception; thus in his false habit of tapas
Mutthanathan barged in.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1205&padhi=72&startLimit=9&limitPerPage=1&sortBy=&sortOrder=DESC

The guards of the palace adored him with folded hands,
And said: “The Lord Himself is come! Be pleased to step in!”
He crossed many a threshold and arrived at the last one;
Thither stood Thatthan who beseeched him thus:
“Be pleased to regard the hour; the King slumbers.”

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1205&padhi=72&startLimit=14&limitPerPage=1&sortBy=&sortOrder=DESC

He commanded in love his consort, Lakshmi-like,
To hasten to the gynaeceum, and then had him,
— The one robed in the weeds of a tapaswi –,
Installed on a seat, while he himself sat on the ground.
Then he said: “Be pleased to grace me.”

Watch the words above. we will see its importance shortly!

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1205&padhi=72&startLimit=15&limitPerPage=1&sortBy=&sortOrder=DESC

He placed on his lap the treacherous scroll
And pretended to unwind the rope binding it.
When the king bowed low reverentially, he drew out
The dagger and did what he intended to do;
The king exclaimed, still adoring:
“The true habit of askesis is indeed the truth supreme.”
(Surely it is) the king
(who) triumphed!

Now, we come back to the sculpture, closeup of the whole panel first first

Now, lets study the panel from left to right. Act 1.

Do you notice the false sage seated on a seat and the king seated on the floor. Do you notice the left hand of the assassin holding a bag like contraption. In his right hand he is holding a dagger and about to decapitate the King. Such indepth knowledge of the storyline of the sculptor to go into such detailing is amazing.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1205&padhi=72&startLimit=16&limitPerPage=1&sortBy=&sortOrder=DESC

Thatthan who kept surveillance over him,
Even when he who concealing himself in the garb
Of a tapaswi broke into the king’s chamber,
Now darted into the room, and was about to smite him
With his sword; the king who was to fall down
As blood profusely gushed forth from him,
Stretched out his long arm, prevented his deed
And exclaimed: “Thattha, he is our own.” Then he fell down.

Again we return to the sculpture. Act 2.

We see the body guard flying into action, his garments flayed, sword raised to protect his Lord. But at the moment the King stops him with his stretched out Long arm. All brilliantly captured in stone in such a miniature form.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1205&padhi=72&startLimit=17&limitPerPage=1&sortBy=&sortOrder=DESC

Thatthan the servitor who was thus restrained
By the prince who suffered pain and fell down,
Bowed low, and said: “What should I do?”
The prince replied him thus: “Let none obstruct
The devotee of our Lord on his way back.
You go with him and see to his safe passage.”

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1205&padhi=72&startLimit=20&limitPerPage=1&sortBy=&sortOrder=DESC


With effort great, the prince still bore his ebbing life
Only to hear the news that the one of deceptious habit
Had been conveyed safe, unmolested by opposing hordes;
Before him came he who carried out the royal mandate.

Oh, what emotion and melodrama.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1205&padhi=72&startLimit=23&limitPerPage=1&sortBy=&sortOrder=DESC

To the devotee-prince, the Lord of Himavan’s daughter
Granted darshan in the form in which
He contemplated Him for many a day.
The Lord graced him to attain the shade
Of His ankleted feet inaccessible to the celestials,
And also blessed him with the beatitude
To adore Him for ever.

Thus the sculpture ends his story as well with the final Act.

Truly masterclass.

credits: the verses are from the amazing site www.thevaaram.org
Eng Translation also from same ref: T.N. Ramachandran

My loincloth is priceless

Hi friends, i can hear you laughing, but it no joke, this is another priceless treasure from Darasuram, which denotes the life of Amarneethiyar, one of the 63 Nayanmaars.

Lets look at the location of this miniature panel to start with.

The story is a lesson in how the Lord plays with his devotees, sometimes taking it to real extremes to test the sincerity of a devotee ( wish if they do similar before granting boons !!) . Thanks to http://www.nayanmar.com/abtus.htm and with some verse references from the 12th Tirumurai

Amarneethiyar of Pazhayarai was an honest merchant who used to offer food and clothes including inner-wears to the devotees of Shiva. He had also built a Mutt for pilgrims at Tirunallur.

Once Shiva came in the guise of a devotee and gave him a loin-cloth for safe-keeping till he returned after a bath in the river.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1207&padhi=72&startLimit=13&limitPerPage=1&sortBy=&sortOrder=DESC

The Brahmin-lad consenting to what the devotee
Entreated of Him bowing, said: “I’ll bathe
In the divine river Cauvery and return;
In case it rains, keep this (dried) kovanam with you
And return it to me.” This said, He untied
From His staff a white and bright kovanam.

The visitor gave great importance to the loin cloth thus:
http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1207&padhi=72&startLimit=14&limitPerPage=1&sortBy=&sortOrder=DESC

“I need not expatiate to you on the lofty excellence
Of this kovanam; receive it and keep it safe
With you till I return here; be not negligent;
Preserve it yonder and give it back to me.”
Thus He spake and handed it over to him.

Amarneethiyar understanding the importance of the loin cloth !!, did not keep it with the other clothes but in a safe place with adequate security

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1207&padhi=72&startLimit=16&limitPerPage=1&sortBy=&sortOrder=DESC

The peerless servitor who received the kovanam
Bearing in mind the Brahmin‘s instructions,
Did not keep it with his gift-articles
— Kantais, keells, garments and kovanams –.
He thought of a safe place and thither kept it safe.

When he came back, Amarneethiyar found that the lion cloth had vanished from the box.

He brought a new one in its stead but the visitor was full of fury and refused to accept it. He wanted his own “You call yourself a devotee of Shiva Just to rob other devotee’s! of their belonings” he shouted. When Amarneethiyar sought to pacify him, he agreed to receive clothes equal in weight to the spare loin-cloth he was having.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1207&padhi=72&startLimit=31&limitPerPage=1&sortBy=&sortOrder=DESC

Then the Lord spake thus: “Apart from the kovanam
We now wear, the one we gave you and which
You allege as lost can be matched by this only.”
He untied the kovanam from his staff and said:
“Give me a kovanam equivalent to its weight.”

Notice how the sculptor has sculpted this little detail as well

The game started, the loin cloth was put on one side of a balance and Amarneethiyar’s cloths on the other. They could not weigh equal to the loin cloth. All the riches of Amarneethiyar proved inadequate to tilt the scales in his favour.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1207&padhi=72&startLimit=36&limitPerPage=1&sortBy=&sortOrder=DESC
Beholding this, fear-stricken, the devotee spake
To the Brahmin thus: “Even when filled with
Boundless clothing, pure and good, and also varieties
Of innumerable threads, the pan stands thus;
Suffer me to freight it with my other wealth.”
Thus did he, Him beseech.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1207&padhi=72&startLimit=39&limitPerPage=1&sortBy=&sortOrder=DESC

Its threads are the import of the Vedas four
Brimming with the puissance of askesis;
It is dear to Siva, the kovanam. So the encomium
— That all the wealth of Amar-Nitiyar in this world
And all the wealth of all the worlds cannot
Match it –, mirrors not its true glory.

It was only when Amarneethiyar ascended the scales along with his wife and son chanting the Panchakshara that the needle of balance became even.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1207&padhi=72&startLimit=40&limitPerPage=1&sortBy=&sortOrder=DESC

Having witnessed the happening, the peerless one
Standing before Him spake thus: “I have loaded
The pan with all my blemishless wealth; nothing now remains;
O Lord, may I be graced with leave to ascend
The pan with my wife and little child, if considered fit.

Such was the act of complete self-surrender that the Lord extracted from his devotee. Even as the youth vanished, Shiva appeared in the skies with his consort and blessed him. The scales acting as an airship, Amarneethiyar ascended to Shiva’s world along with his wife and child.

See how the Lord plays with his devotees and uses the barest of bare necessities – a loin cloth of all items to test and make them one with him.

verse english version translation are from the site ref and credits
Translation: T.N. Ramachandran

Own Hair as a wick to light a lamp – Kanampula Nayanar Darasuram

Hi friends, we saw an interesting post but it ended with a comma ..”But then is there something else that was used to light a lamp by another naynaar, ” Today we are going to see his story, sculpted in stone in the same Darasuram temple complex. Kanampulla Nayanar.

The panel first

Born into a family of village headmen in Velur, our Nayanar took great pleasure in serving the Lord by lighting up the temple. He spent much of his wealth on this act and slowly fell into poverty. He shifted to Chidambaram to be one with the Lord of dance. He had by then sold his lands, house etc and was in abject poverty. His holy service continued in spite of whatever hurdles he faced. He sold the household articles one by one and lit the lamps in the abode everyday with ghee. Then came the situation when there was nothing left in the house to sell, but too proud to beg, he went to toil in the fields. He cut the straw(kaNampul) in the fields, sold it in the market and with that money continued his service to the lord.

One day he could not sell the straws he brought in spite of all his efforts.Not losing heart, he went ahead to burnt the straw. First act of the sculpture

The straws being dry, burnt very fast and pretty soon he was left with nothing. Still wanting to light up the temple, what did he do??

Not able to get it, lets get closer and view the second act

The Verse reference from thevaram as below:

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=12&Song_idField=1248&padhi=72&startLimit=7&limitPerPage=1&sortBy=&sortOrder=DESC

He who caused the lamps to glow before the Lord
During the appointed hour, could not come by enough
Grass to render duly his service;
Thereupon he that served the Lord in true love
Burnt for a lamp the hair on his head;
He so burnt it that his very bones melted;
Thus, even thus, he burnt away the bondage
And nexus of the twyfold Karma.

He burnt his own hair as a wick. Such was his devotion to the Lord.

Water to light a lamp, the power of devotion – Naminandhi Naayanaar

HI Friends, today we are back to Darasuram for another interesting episode from Periapuranam exquisitely sculpted in the panels there. Its a very interesting legend, which showcases the power of devotion. Its the story of Naminandhi Nayanar. Take a look at the panel location and size!!

Born in Perur, he was devoted to the Lord Tyagarajar of Tiruvarur. One day, he visited the temple and stayed back for a long time and the time was well past sunset. Desirous to light up the temple lamps, he went into a neighboring house and sought some oil. The inhabitants of the house belonged to another faith and they refused to lend him the oil. Not stopping at that they ridiculed him, saying that Shiva being the lord who dances with fire, why does he need oil to light the lamp, even water would suffice…

Hearing this, the pious devotee felt very sad and went back to the temple and reflected on his situation. At that moment he heard a heavenly voice asking him to light the lamps with water from the temple’s lotus pond. He did so and the lamps of the temple glowed the brightest. Such was the power of his devotion.

Now The sculpture. Notice the two parts of the act depicted.

The first one is he drawing water from the pond ( check the detailing – the fish, the flowers and even a crane ! remember the size of this panel is no bigger than the palm of your hand) and the second part is he filling the lamps with the water.

But then is there something else that was used to light a lamp by another naynaar, lets see that is a future post.

Images courtesy: PSVP members Saathmeeka and Satheesh

Gift from Yama – the God of Death

Hi friends, today we are returning to a favorite location of mine. Mahabalipuram..Mallai, for a truly amazing panel. we have seen this panel in the past but from a different perspective. ( six pack Abs!!)

Yes, I am referring to the spectacular Mahishasuramardhini panel. To truly appreciate this panel we got to spend atleast 3 or 4 posts. So take this as the first of the series, focusing on main character – Durga.

The Panel is truly mind blowing, but lets first give the story a reading for the uninitiated.

Once upon a time there lived a demon named Mahisha. As usual he wanted to make himself invincible and pleased the easiest of Gods to please – Brahma. Mahisha performed severe penances,fasting for months, standing on one foot. In due course Brahma appeared and asked him what he wanted. The request as usual was for a boon of immortality, which could not be given as every creature that is born had to die as well. So he had to modify his, so in his vain ego, seeing that no man was capable of hurting him, he grew over confident and asked that he may be sent to the netherworld only at the hands of a women. He bet his life on the fact that no women would have the power and courage to defeat him!!

Armed with the boon, he conqueres the whole of the earth and then heads off to the heavens ( hmm, how predictable!!). The Gods are caught in a fix and organise for a urgent meeting. They decide to pass the motion that calls for creation of a lady from the concentration of all their powers. Thus was born Durga. She is said to have a thousand or in other versions eight arms. ( we stick to eight for now as it matches with the sculpture). Thanks to Geetha madam, we have this brilliant verse from Devi Mahamathyam ( sanskrit work) which describes what all she was given by the Gods.

The wielder of the pinaka bow ( shiva) drew out a trident from inside his trident and gave her
The dark complexioned Vishnu drew out a Discus from his discuss and presented to her
Varuna ( Lord of Rain) gave her a Conch, Agni ( Lord of Fire) gave a weapon called shakthi
Vaayu ( Lord of Wind) presented a bow and quiver filled with arrows.
Indira ( Lord of the Lords) drew out the Vajra from his thunder ( Kulisam ?) and also a bell from his Airvatha ( white elephant)
Yama ( Lord of Death) drew out a baton from his baton and presented to her
Brahma presented a garland of rosary beads and his Kamandalu ( vessel for carrying sacred water)
Kaalan ( yama again ) presented a sword and shield.

Now, we come to the sculpture. Such a beautiful scupture, Durga is depicted with Eight hands, striking a very beautiful pose on her majestic lion.

Lets see if we can spot the above weapons in the arsenal.

The most striking ofcourse is her bow and arrow. so two hands of hers are busy with that. See the perfection in the way, her hands are sculpted – the one holding the bow, with the thumb running perpendicular to the floor along the bamboo. the other hand drawing the string back with force, the open shoulders.

Next obvious weapon is the Danda – the baton – presented by Lord of Death – Yama. Some doubts if it were a sword.

Lets see the sculpture in closeup. Its no ordinary stick, for it definitely has some sort of a handle, but its a rounded weapon. You can clearly see the baseball bat style construction and the rounded edge. if it were a broken off sword, it would have defn chipped or atleast the lion’s mane would have be obstructed by it. Since we can clearly see the designer curls of the lion’s mane and the rounded edge, we can safely confirm that this indeed is the gift of Yama.

Displaying the other hands and what they hold below. Try and see if you can match it to the list above

One obvious missing item is the Trident or trishul of Shiva. Maybe since the Goddess used up two of her hands on the bow and bow string, that was left out !!

But a truly amazing composition – just watch this beauty. The right leg of hers, since this is a relief panel, and to give that dimensional imaging, the master sculpture has sculpted the leg almost completely projecting from the panel.

Please do remember that this is not just panel, but is infact a rock cut cave, carved into live rock, a mountain side – and this panel froms one side of the internal wall ( the other side is the famous Anantha Sayana Panel).

Now you can truly enjoy the Pallava carftsmen’s divine art.

The vanishing wonders of Mogalrajapuram caves- Vijayawada – part 2

When Dhivakar Sir, gave me only a few photos of Mogalrajapuram caves, i was thirsting for more. So searched enough of the net, but couldn’t find any more resources on it. Finally in a desperate move, use google transliteration and typed `Mogalrajapuram’ in Telugu to try as a last ditch effort and…bingo

http://pratibimbamu.blogspot.com/

Immediately i wrote to the author, Sri. Narayanaswamy, who was kind enough to allow us permission to use his photographs. So we have Mogalrajapuram part 2 today.

The caves did throw up some interesting questions in the first post , but some more questions crop up now. Lets first see the photos.

Now, the door guardians ( yeah i love them, however, dilapidated they are )
are quite interesting. Do you notice the Horn like structure on the right guys crown. Hmm, well, thats stuff for an entirely new post.

Some more views of the delightful kudus.