Category Archives: Sculpture

How Hanuman landed in the Pandava’s banner

It is not often you find miniatures in the upper reaches of a Gopura. So we were pleasantly surprised to find a rare depiction from the Mahabharatha in the Tirukkurungudi Temple’s Gopura.

Fortunately, the renovation work was in full swing and the strong casuraina poles held our weight and me and Arvind ( who braved his vertigo) climbed up to get to see the beauties.

We had already captured a very unique depiction of Garuda in this set, but this one was rarest of the rare.

Thanks again to the Amar Chitra Katha memoirs, we knew the plot by heart, but never had seen the theme sculpted in stone.

Had always imagined that this was part of folklore or atleast a later addition to the Epic.

You can clearly see the depiction of Hanuman as a `mere’ monkey sitting there nonchalantly as a proud Bhima uses his mace to clear the lowly tail – as though it is some twig.

Decided to give it a re read on stumbling on this depiction.

They reached Kulinda, the kingdom of Subahu, on the Himalayas. They accepted the honors rendered to them by that king and rested there awhile. Later on, they went to the charming forest of Narayanasrama and halted there.

One day, a breeze that blew from the northeast wafted a beautiful flower near Draupadi. Draupadi took it in her hands and was so charmed with its fragrance and beauty that she showed it rapturously to Bhima.

“Come and see this flower. What a sweet fragrance! How charming! I shall hand this over to Yudhishthira. Bring some flowers of this kind. We should grow this plant in our Kamyaka forest.” Draupadi ran to give the flower to Yudhishthira.

Anxious to please his beloved Draupadi, Bhima went in quest of that plant. He went alone in the direction from which the fragrance seemed to be borne by the breeze, without wasting a thought on the wild beasts that crossed his path.

He presently came to a garden of plantain trees at the foot of a mountain, and there he saw a huge monkey shining like blazing fire, which lay right across his path blocking it.

He tried to frighten the animal out of his way by shouting at it. It only half opened its eyes lazily and drawled: “I am indisposed and so I am lying here. Why lid you wake me? You are a wise human being and I am mere animal. It is proper that the rational man should show mercy to animals as interior creatures. I am afraid you are ignorant of right and wrong. Who are you? Whither are you bound? It is not possible to go further along this mountain path which is the path of the gods. Men cannot cross this limit. Eat what you like of the fruits of this place and if you are wise, go back in peace.”

Bhima, unused to being taken so lightly, grew angry and shouted: “Who are you, yourself, you monkey, that indulges in such tall talk? I am a kshatriya hero, a descendant of the Kuru race and a son of Kunti. Know that I am the son of the Wind god. Now move away from the path or stop me at your peril.”

Hearing these words the monkey merely smiled and said: “I am, as you say, a monkey, but you will come to destruction if you try to force a way.”

Bhima said: “I do not want your advice and it is no concern of yours if I go to destruction. Get up and move out of the way or I will make you.”

The monkey replied: “I have no strength to stand up, being but a very old monkey. If you have to go at any cost, jump over me.”

Bhima said: “Nothing could be easier but the scriptures forbid it. Otherwise I should jump over you and the mountain in one bound, like Hanuman crossing the ocean.”

The monkey remarked as though in surprise: “O best of men, who is that Hanuman who crossed the ocean? If you know his story, enlighten me.”

Bhima roared and said: “Have you not heard of Hanuman, my elder brother, who crossed the ocean, a hundred yojanas in breadth, to seek and find Sita, the wife of Rama? I am equal to him in strength and heroism. Well, that is enough talk, now get up and make way and do not provoke me to do you some harm.”

The monkey answered: “O mighty hero, be patient. Be gentle as you are strong, and have mercy on the old and weak. I have no strength to rise up as I am decrepit with age. Since you have scruples in jumping over me, kindly move aside my tail and make a path for yourself.”

Proud of his immense strength, Bhima thought to pull the monkey out of the way by its tail. But, to his amazement he could not move it in the least, though he exerted all his strength.

He set his jaws and strained every muscle till the very sinews cracked and he was covered with perspiration. But, still, could not move that tail the least, a little bit up or down or sideways. In shame, he bent down his head, and then asked in a chastened mood:

“Who are you? Forgive me and reveal to me whether you are a Siddha, god or Gandharva.” Bhima like most strong men, was all respect when he saw one stronger than himself, and spoke like a pupil addressing his master.

Hanuman replied: “O mighty-armed Pandava, know that I am your brother, even that Hanuman, the son of the Wind god, whom you mentioned a little while ago. If you go on this path, which is the road to the spirit-world where the Yakshas and the Rakshasas abide, you will meet with danger and that is why I stop you. No man can go beyond this and live. But here is the stream with its depths where you can find the Saugandhika plant you came to seek.”

Bhima was transported with delight: “I count myself the most fortunate of men in that I have been blessed to meet my brother. I wish to see the form in which you crossed the ocean,” and he prostrated before Hanuman.

Hanuman smiled and began to increase the size of his body and stood forth firmly to the world like a mountain seeming to fill the landscape.

Bhima was thrilled at actually seeing that divine form of this elder brother, the mere description of which had till then filled him with wonder. He covered his eyes, unable to bear the dazzling light radiating from that figure.

Hanuman said: “Bhima, in the presence of my enemies, my body can grow still more.” And Hanuman contracted his body, resuming his former size. He tenderly embraced Bhimasena.

Bhagavan Vyasa says that Bhima felt completely refreshed and became much stronger than before by the embrace of Hanuman.

Hanuman said: “O hero, go to your abode. Think of me whenever you are in need. I felt the same delight when I embraced you that I had in times of yore when I was fortunate enough to touch the divine body of Sri Rama. Ask any boon that you like.”

Bhima said: “Blessed are the Pandavas for I have had the good fortune to see you. Inspired with your strength we are sure to conquer our enemies.”

Hanuman gave this parting blessing to his brother:

“While you roar like a lion in the battlefield, my voice shall join yours and strike terror into the hearts of your enemies. I shall be present on the flag of the chariot of your brother Arjuna. You will be victorious.”

Hanuman pointed out to Bhima the stream nearby, where grew the Saugandhika flowers he had come to seek.

This put Bhima at once in mind of Draupadi who was waiting for his return, and he collected the flowers and returned to her without delay.

and thus did Hanuman came to occupy the banner of Arjuna in the great battle.

How do you define the essence of Bhakti – in bronze !

Many before and many henceforth will attempt to describe the dancing form of Shiva – Nataraja. The concept of his dance has inspired many and many more are drawn to it by the craft of the master artists who immortalised the form, as they captured his swirling movement in solid mediums – be it stone or metal.

Today, we see but a sample of the masterly craft, of portraying emotions that will take reels of print to even to try to describe.

Thanks to arvind’s expert captures, we see the Lord of Dance, in all his finery, not in a Museum Showcase but as an object of worship. The infinite grace of the form, the power of the pose, the soothing gesture of the hands, bring a sublime calmness as your mind seeks out his gaze.

As you ponder on the manifest and the unmanifest, you loose track of time, before you realise that you are not alone. His consort Sivagami too stands there, awe struck, by her beloved’s pose.

The appreciative smile pushing up the cheek and the pride swelling in her chest, she stands in all her feminine charm.

That is not all, there is one more person in the composition.



Karaikkaal Ammaiyaar

We have seen many of her forms before in stone, there are also a few museum exhibits of hers.

courtesy: From the Internet

The above bronzes while doing justice to the life story, lack a crucial ingredient. What made her unique was her Bakthi.

Bhakti or True devotion is more than just a state of mind, for it transcends existence. The primordial urge of any creation is to survive, not just to exist but to procreate. leave behind a progeny or maybe just make a ` dent’ in the universe. However, very few attain a state a state of total surrender to the supreme, where you stop seeking divine support to survive, to heal, to cure or just material richness or well being but instead submit in soul, spirit and beyond to become one with the supreme. Such a state of mind is so difficult to describe in words, the emotion of sheer bliss as you commune with the omnipotent. We can maybe comprehend the greatness of Karaikkal ammai with a ref from her 12th Tirumurai which condenses the essence of her bhakti in a stanza.

” I wish for the immortality of my love of you, for I do not wish for rebirth, however, if i were reborn, I want to be born again as your devotee, never forgetting you, and above all those wishes i pray for this wish – i want to see you dance to my joyful singing and that i want to witness seated at your beloved feet”

Now, take a look at the bronze.

The greatness of the craftsman to be able to capture the essence of that very emotion, of her going into rapture seeing her Lord Dance, the way her hands hold the cymbals – keeping beat while at the same time showing the appreciation, the uplifted face and the extended neck – showing her yearning, the face, the slightly flared nostrils showing the spontaneous outburst of emotion and the eyes, seemingly acknowledging the fulfillment of her wish.

That is Bhakti for you.

If ever there was super pillar contest

Its the season for contest and ….Got talent shows. These shows are filled with lots of talent and lots more glitz where the participants are pitched against one another and in a sequence of exponentially increasing odds they perform mind blowing feats to arrive at the prized price. Today we are going to see a similar contest but among sculptors – in stone. The stage is the famed Nellaiappar Temple of Tirunelveli. For the record, Me and Arvind went in without much expectations hoping to be outside in time for the famed Iruttukadai shop to open !

The raised platform with a distinctly post 15th C doorguardians ( I know I know – the nucleus of the temple is dated to 7th C CE..but) didn’t evoke much of a response, initially at least.

For as we went around to the steps, the sight blew us away.


The entire block is carved out of a monolithic stone, with the doorguardian in front and an extremely complex array of pillars of differing thickness in the back, and that was not all. Row after row of astounding pillars lined up as if for inspection in a guard of honor.

To top it, these were the famed musical pillars !! each producing a distinct note ( that they have survived so long with every visitor trying to show their musical prowess on them itself is worth an applause ) , but the sheer labour that went into these stumped us.

When we say massive, we mean it. Not convinced, take a look.

and by massive, it doesn’t just mean gargantuan size alone. Take a look at the art on display !

This is not some trick sculpting, if you do not believe that its all carved out of a single block of stone. Take another look. The grain of the stone runs right through the different pillars.


There were a few more pillar clusters which seemed a bit easier on the chest and breathing ( with all the wows and ooh and aahs)

.

But, as in an expert rendition of carnatic music, we did not realise that the sculptor had lulled us into a false sense of mediocrity, to think that this was ordinary compared to the rest – but then, he had one or two more tricks to show us.

Watch closely towards the base. do you spot it?

Yes, when he was busy reducing the rock, he had left enough material to carve a ball inside the pillar, so designed that it cannot roll out ( also means it was not introduced later !!)

Well, i said a trick or two !! test your spotting skills

Did you spot it?


Yes, hewing a composite multiple fluted pillar that would emanate different musical notes while shaping a solid stone ball was not challenging enough for him – he sculpted a stone squirrel as well on the inside of one of the pillars.

Cheranmadevi Ramaswamy Temple…a wooden pillar away from…

Too much is too many…maybe it the bane of our heritage treasures. How else but to explain the sad plight of this delightful gem living precariously on the banks of the Tambraparani, its life blood slowly draining away, having stood for a thousand years, it makes a mockery of our grand visions of cultural renaissance and ingrained spirituality – The Ramaswamy Temple of Cheranmadevi. They called it the Nigarili Chola Vinnagar – Abode without parallel ! read on to see its pathetic state for surely it will not be long before the newspaper headlines lament its demise and pseudo enthusiasts will cry fowl.

The pillar sculpture of Hanuman, in all his humility, affectionately held by his Lord Rama seemed an regular rendition when we entered but as we finished and returned, the posture seemed to gather a new meaning.

As we stepped in, there was nothing extraordinary about the front porch and it resembled any of hundred of temples we see in our villages.

But as we took the few steps towards the main shrine, what awaited us made us hold our breath.


its not often you get to see a pristine pre 10th Century Vimana, a Pandya one at that.

Thanks to Pradeep, we had some inclination of what to expect and the introductions to the Priest had ensured that we could do our work unhindered.

For starters – the temple is unique for its one of the very few Astanga Vimana shrines – three tiered Vimana, with forms of Vishnu – Standing, seated and lying in the three sanctums lined one on top of the other.

At the entrance of the main sanctum, we were greeted by one of the most stunning bronzes – Rama group.

When we wanted to climb to the upper storey, the priest asked us again – if we really wanted to go up ! Little did we realise why he did that, till we saw the narrow stairs and got swarmed by a colony of feisty bats whom we disturbed.

Restaurants with roof top gardens seem to be the fashion these days, but it was really heartbreaking to see a stunning edifice left to rot like this.

As we turned towards the Sanctum in tier one, we spotted this.

The central beam had cracked and the weight was being held by the wooden pillar. My heart filled with dread at the thought of what might happen if it gave way.

And in the midst of all this, there he was seated ( please note he is not carved out of stone but made of stucco – and hence the fractures can be easily mended)

The intricate stucco work and the faint colors seemed to remind us of his glory days. Even the walls seemed to have outlines of vestigial paintings.

We willed ourselves to climb to the next tier and there he is, sleeping peacefully on the coils of his devoted sesha, his two consorts in attention, hoping against hope that some good still lived in the hearts of the people he loves.

As we stepped out, we looked again at Hanuman – he seemed to asking us to help, but not wanting his master to know, for the Lord’s answer would be ” I have the entire universe for me !!”

A Cave, a lost painting and the birth star of Sri Raja Raja Chola – Thiru Nandikkarai

Fellow enthusiast Shankar had been pushing me to see a faint outline of a Ganesha for sometime now, but for some unexplainable reason, I never spent time to study it, despite him sending me some real high resolution images. Little did I realise then what it held in it and that it would choose its own time to reveal itself to us.

When Numismatist Sri Raman said that he had some photos that had come into a waste paper mart, which seemed to cover areas of my interest and if i would like to procure them, i hadn’t the faintest idea of what they would contain. Yet, he persisted and sent me a few scanned images. He had picked them wisely, one was an immaculate bronze and another the famed Tanjore big temple painting – but the images were atleast half a century old !!! I took the bait and asked him to get the entire lot.

When Arvind and me looked at the eclectic mix of fading monographs, one set struck our eyes. They were marked on reverse Thirunandikkarai and dated 1942.

My thoughts raced to Shankar and he obliged by sending his entire collection as the cave stood today ” Thiru Nandikkarai – a cave temple protected by ASI in Kanyakumari district, 10Kms from Thiruvattaru ( 40 Kms from nagerkoil)”

The insides of the cave ( as he had sent me earlier – you wouldn’t fault me for not going over it properly !)

The cave itself is attributed stylistically to 8th C CE ( you can see the provision of a channel for the daily ablution water to flow out of the sanctum which is considered a later feature)

But what i had missed earlier was the faint red outlines which Shankar had been pushing me to study.

It was when i say the half a century old photographs from the waste paper mart that i realised the folly.

A classy Ganapathy complete with his own dwarf attendant on the top ( reminded me of similar ones from the Kanchi Kailsantha temple !) – notice the bold strokes of the hands. Sadly much has been lost since the time the photos were taken.

This was not all, there were more in the collection. Let me draw your attention to the wall we saw earlier, slightly to the top center right.

Now to reference the photographs

Simply stunning yet sad at the continuing loss of our treasures.

There are two more sets in the collection, which we have not been able to spot in current day.

What are these depictions ?

Btw, the cave holds another very important historical information in its entrance.

There is some speculation on the Birthstar of the Great Raja Raja Chola – if he is born in Aippasi Sadayam or Chittirai Sadayam.

Dr. Kudavayil Balasubramaniam in his book on Tiruvarur Thyagaraja temple, quotes an inscription of Rajendra Chola that gives clarity on subject::

” Naam Pirantha Aadi thiruvathiriyum
Nam Ayyan Pirandharuliya AIPPASI SADHAYAMUM .. ”

The article by sir and the text of inscription

10034
10031

– says Rajendra I and gives a grant on the Natal Star of Rajendra I and his father Rajaraja I.

However, in this very cave in Thiru Nandikkarai there is an inscription of Sri Raja Raja himself,

TRAVANCORE STATE

Tirunandikkarai.
”
185. On the east wall of the rock-cut iva shrine. Belongs to
the eighteenth year of Rajaraja I and records grant to the temple
for the celebration of a festival in Aippasi, Satabhisha, the birth-
day of the king. See Trav. Arch. Ser. t Vol. I, pp. 291-2.”

Btw, we do not know which great soul these collection of old photographs are and how they ended up in a waste paper mart. There are no names on them and hence if someone could identify any, please let us know.

A Chola Pandya Temple in Cheranmadevi and its secrets – part 1

The very mention of the name Cheranmadevi seemed to take us back in time and the sites that greeted us on the 16 odd km drive from Thirunelveli complimented the thought process, for the visual imagery seemed to indicate that time had in some mysterious way stood still as the world rolled on for many centuries. Along the banks of the Tambraparni river nestled this very unassuming town or rather village which Pradeep kept insisting we visit on our Pandya Tour, and when someone with his flair and passion recommends, we were sure that we were in for a treat.

A bountiful monsoon had already metamorphosised the semi arid belt around Tirunelveli, spreading a soothing green blanket on both sides of the road with the river bringing her shades of brown, black, green and at times blue. A new bridge disoriented our driver but eventually we did reach the spot. There were many items on the agenda in Cheranmadevi but Arvind and me headed for the one under the care of the ASI – the Bhaktavatsala Perumal Temple, right on the banks of the river. We did stop every few meters to seek directions and double check if the previous guide was indeed correct, since the progressively narrowing path had no boards, a profusion of thorny scrubs that were intent on claiming back the road and were being ably aided by the village folk with their daily supply of vital essential nutrients ( yuk !!! – our driver wanted to drive straight into the Tambraparni for a cash wash right after !!!). At long last we did see a board but it was not the usual ASI patented rusty grilled blue board ( you know what i mean !) but a shiny metallic transformers inspired board. Our hearts skipped a beat ( non ASI sites are a pain to procure photography permits !!), but the board was indeed an ASI one ! a new avatar maybe.

The entrance tower was incomplete but what was on display was classy.

The temple has many inscriptions and as per the board, Rajendra Chola 1 figures prominently. The artistry on display was splendid, despite the intricate ornamentation they were not garish or over cooked.




There was this really cute slim pillar which made me break my own rules to pose in front of it

The piece de resistance ofcourse was the relief of an unique seated Narasimha with a high Sesha crown.

We went in and our good fortune the priest was such a darling. We had a fantastic darshan of the presiding deity Sri Bhaktavatsala perumal.

In continuing our education into architecture of the temples in Pandya region, we realised that the Vimana was the next place to cover,we wanted to climb on top of the Artha Mandapa, but it soon proved to be a daunting task – we grossly underestimated the height and climbing up a frail steel ladder that even at its precarious incline did not quite reach the top. But before that a mystery unfolded inside the temple, for i could not spot the ASI man nor Arvind. They seemed to have vanished into thin air inside a granite block built mandapa right in front of the Sanctum !! To add to the suspense, i seemed to be hearing voices from beneath the floor ! Aha, there is the secret ….

to be continued…

The embracing couple

It was pouring heavily and i was not sure of where I was headed. The London bus driver’s knowledge of Museums did not seem to earn them much credits or they were eager to get rid of a rotund man carrying a weird package slung over his shoulders – yeah, was lugging a newly bought English willow cricket bat and thank God this was before all the unsavory incidents in London. But still, a few roads seemed to be blocked for repairs ( yeah in London too) and was misdirected twice before making up my mind of switch on my handphone’s GPS and checking the route. Unfortunately it too didn’t pick the difference between the British Museum ( where i was headed to) and the Museum of London. After soaking in the rain and seeing the glorious history of London, managed to get the right directions and headed towards the British Museum.

Finally landed at the imposing facade of the British Museum and was immediately stopped by the guards – thanks to my special attribute ! They were really amused for in their long service they had seen many a weird object being brought along but this was a first – a cricket bat to a museum ! That said the tryst with the bat and the Museum security continued right through the day. Not that i was helping it – trying to peer behind exhibits and trying different angles to try and capture the grace of bronzes from behind glass. But let me explain.

This particular exhibit had me all excited

The name plate gave it a 11th C CE date and called it ” the marriage of Shiva & Parvathi” – technically a Kalyanasundara Murthy. However, we have seen the bronze from the same period in the previous post and its easy to note the striking stylistic differences.

For starters the size of this bronze is about 1/3 rd of the tanjore bronze, the features are more rounded. i wish we could get a good portrait of the famed Pallava period bronzes of Vadakkalathur to compare. I am no expert on dating bronzes, but to me the features are not Chola and definitely not this late into Chola. The aspects of Parvathi as a young maiden are so realistically carved and the suppleness in the legs and arms of both of them indicate a strong 9th C CE date for this bronze.

The interesting feature to note is the pendant / chain worn by Parvathi. We have not seen this before and the characteristic absence of the panigrahanam pose narrows done the identification to Alingana murthy ( the embrace).

I was advised very early in my journey to understand Bronzes to focus not only on the front but also on the rear. I wish all galleries and Museums would exhibit bronzes separately allowing the viewers to admire them with a 360 degree view. It was not easy getting behind this particular exhibit.


But it was worth the effort ( and the trouble – as i accidentally leaned on the glass and caused the alarm to trip and another lengthy explanatory note on why i was mimicking a contortion artist)

…for it was not a single embrace, but a double embrace – double Alingana and to imagine this a 1000 years ago, the kind of intimacy that the divine couple are shown to be sharing and the contemporary appeal of the same, left me simply stunned.

How a Ruler handles an earlier Ruler’s order

With the familiar brand of Indian politics being played out regularly, its time to hit the rewind button and head towards one of Chennai’s best kept secrets, on a journey to find out, the sanctity that is accorded to the ruling of King. To start with, the very mention of Thirukalukundram would cause many of our local readers to frown, for reasons already mentioned in the previous post.. But, please read on, as there is a much more important and beautiful rock cut cave excavated just below Vedagireerswara shrine on top of the hill which we saw earlier. We are going to see the best kept secret of the town.

Half way up when those extra helpings of Deepavali sweets begin to give their attendance and you rest, you are met with a steep flight of stairs. This is the new route, there exists an older route which goes around hill. Take it and you will come to the Oru Kal Mandapam.

Though being under ASI care, there is no one around and is locked ( do not know if i have to thank them or curse them for that)

The cave is stylistically dated to just after Mahendra Pallava’s period – post 630 CE. The first indications are the relatively smaller size of the pillars. The general layout of the cave is as below

We begin with the main Shiva Linga, an imposing edifice in the main sanctum ( note there is no somaskanda relief carved in the back of the Sanctum)

The Sanctum is flanked by our usual door guardians in slightly lower relief than normal

What is interesting is the placement of Brahma ( four faced – 3 showing- with a very unique headdress) and Vishnu with their attributes, on the two sides of the main sanctum in the Ardha mandaba ( inside hall) This is a new feature not found in caves of Mahendra Pallava.



Apart from these, there are two more figures carved in the mukha mandapa ( front hall)

Now, we come to the operative part – the inscription ( Epigraphica Indica Vol 3 )
 page 363.

(Line 1.) Hail! Prosperity! In the twenty-seventh year (of the reign) of King Rajakesarivarman ( Aditya Chola – 870 – 907 CE)
(L. 2.)Whereas Skandasishya had given (certain land) free from taxes to the feet of the God of the holy Mulasthana (temple) at Thirukalundram in Kalattur-kottam (and) in the subdivision called after itself, (and) as, accordingly, Narasingapottaraiyar ( Narasimha Pallava),the conqueror of Vatapi, had confirmed (the grant) in the same manner – I, Rajakesarivaraman, at the request of Puttan, the son of Gunavan of Andurai, have maintained ( the grant ) as the former Kings had maintained it. The feet of one who protects this charity, shall be on my head .

The greatness of one King to not only honor a previous King, that too of a different clan, but to state that he did so as the former King had done to another person – is indeed a lesson in ethics for today’s rulers. Not only that he addresses his predecessor ( of 267 years) with his title as the one who conquered Vatapi. True greatness or truly great.

A miniature mirrors a Bronze – Gangaikonda Cholapuram

It was a very rainy day when we reached Gangai Konda Cholapuram. Fortunately the rain stopped giving us a brief window to complete our tasks on the outside. The rain swept temple gleaned in all her pristine glory as we entered her.

As usual we were subjected to some rants by the ‘ authorities’ on cameras and photography, and we put forward the same arguments that any ASI site – Photography is allowed and free of charge – except for the Sanctum. ( providing of course you cannot use a tripod – some weird logic of ASI !). We wanted to cover a few miniatures inside the main Vimana but the arguments got us nowhere. We faced the prospect of one more unsuccessful attempt to cover them, when we were shocked to see that there was a big family function happening inside with full videography ! We threatened to bring hell and after much persuasion and promise that we would not shoot the main Sanctum, managed to get our equipment out.

The power went off right on cue just as we took in the sight of the gargantuan door guardians guarding the main sanctum.

How massive are these guys?

do you notice a small black speck in the photo towards the base??

Yeah, its the Cannon lens cover

As we walked past the dynamic duo to the next chamber, a very dimly lit wall showcased a brilliant miniature, quite in contrast to the massiveness of the occupants of the other side.

Sadly, we were clicking blind due to the power outage and the most important area of the relief was missed out. But still we could make out the panel. Apart from a whole host of distinguished rishis, we could spot Brahma officiating a ceremonial gathering.

And on top, was the marriage of the divine parents – Shiva as Kalyanasundara taking the hand of Meenakshi, with Lakshmi and Vishnu giving her away on both sides.

The immediate reaction was the recollection of the splendid Kalyanasundara Bronze which we saw earlier. .

The resemblance is remarkable



The stance and posture of Lakshmi

Vishnu seems to be little more bent forward than the bronze

But the clincher were the shy stance of Meenakshi



and the kati Vasta of Vishnu ( if you notice the way the waist cloth is worn by Vishnu – you see a characteristic U ), which is absent for Shiva.

We saw this in the previous post,

Compare the depiction in the bronze

Two different mediums, each with its complexities – the miniature with its size, yet the sculptor adheres to his Canons !

In search of Angada – no not the Vaanara Prince

God knows when mankind’s obsession with ornaments began. From cowry shells to pottery beads to Palm lead ear rings, there has been quite a steady progression, till the yellow metal with its gem stone companions decided to up the ante. After that there was no looking back but today we are going back in time, when Rulers donated elephant loads of Gold and not stopping at seeing how their lockers would look like, we are going to look at how they dressed up their Gods. Why this sudden obsession you may ask, the objective is to seek out a rare ornament, a reclusive jewel, that shares its name with the famous Prince of Kishkindha – Angad.

We are aided in our search by two magnificent Chola bronzes – both from Newyork – one from the Metropolitan Museum and the other from the Brooklyn Museum.

Both are dated around the 10th C CE, we have Shiva as Chandrasekara and Vishnu – both are in Samabanga ( straight profile) with their characteristic attributes in their upper hands ie. Shiva his Axe and Deer while Vishnu has his Discus and Conch.

The Brooklyn Museum has a interesting account of how it sourced this fantastic bronze ( thanks to the link for the photo credits)

We will start with the Vishnu from the Met first.

The crown – Krita is exquisite and there is a small band that goes just at its base – this is called the Pattika. Depending on the kind of embellishments that go on it – it can be called a Rathna Pattika etc.

Being a Chola bronze, assigned to the 10th C CE ( 970 CE – am not sure how such a sure date can be assigned), the sacred thread falls in a pretty straight forward manner over the chest to the waist ( compare with the early Vishnu Bronzes post where the thread goes over the right forearm – called the niveeta manner of wearing it )

Then comes the characteristic stomach band – not essentially a belt to hold the lower garment but more like fashion accessory worn just around the floating rib – the Udara Bandana,. ( btw, the belt is called the Kati Bandana)

We cross over to the hands to see if we can spot the elusive ornament. This arm band is called the Keyura.

Thanks to Rajesh & karthik’s excellent illustrations on their site Aakruti , we have access to some wonderful Iconographic illustrations to help us understand them better.

The things to note are the belt buckle – the Simha Mukha and the lose stylishly flowing U shaped lower garment is the Kati Vastra.

Notice the right hand held in the protective Abhaya Hasta

The left hand hangs loosely and rests on the left hip in a stylish mudra – called the Katyavalambita pose with the hand resting as the Kati Hasta.

Still no sign of the Angada?

Let us see if we can spot it in the Chandrasekara Bronze.

The right hand is held in the Abhaya Hasta as in the Vishnu bronze but the left hand is different.

There are two very similar poses, the Kataka hasta and the Simha karna Hasta.

There is not much between the two, except for a slight extension on the middle finger in the Simha Karna. The Kataka Hasta however, is normally seen in bronze figurines of Goddesses, usually to hold a flower ( fresh flowers inserted in the hands of the deity). So, when we analyse the posture, we do spot the slight extension on the middle finger, we could possibly identify as Simha Karna. ( Sri Gopinath Rao in Elements of Hindu Iconography kind of uses both almost interchangeably – need to refer more works to differentiate / define)

Now for our elusive Angada – its a arm ornament, but we did not spot any so far. Well, its because it is well hidden. We actually need to go behind to notice it.

Do you spot it – yes, its the Angada. An upper arm ornament !

Picture courtesy: Aaakruti, Brooklyn Museum and the Metropolitan Museum.