Tag Archives: Chola

Muruga masquerades as an old man to marry valli

Thanks to Satheesh, today we return to Tanjore Big temple – for another visual feast. The marriage of Valli with Muruga. ( the Tamil portion of this post has been composed – couldnt call it written, by Sri Dhivakar sir). First to give you an idea of the location of the main sculpture of Muruga on his peacock mount and the story panel sculptures around it.


I am basing the explanation of the legend, using the text of Mr. Zvelebil from below site with some slight modifications to suit `our’ audience:: http://murugan.org/research/zvelebil.htm

There is a mountain called Valli Malai or Valli Verpu, not far from the village of Merpati, in the Tontainatu country. In a village beneath the hill lived a hunter called Nampi; all his children being boys, he longed for a little girl. On the mountain slope, an ascetic by name of Śivamuni was engaged in austerities. One day a gazelle went by, and the ascetic was aroused by its lovely shape; his lascivious thoughts made the gazelle pregnant.

In due time, the gazelle gave birth to a girl in a pit dug out by the women of the hunter-tribe when they searched for the tubers of edible yam (valli kodi – yam creeper in tamil). The female deer, having found out that she had given birth to a strange being, abandoned the child which was discovered by the hunter-chief Nampi and his wife. Overwhelmed with joy, they took the little girl to their hut and named her Valli.

When Valli reached the age of twelve, she was sent to the millet field – in agreement with the custom of the hillmen – to guard the crop against parrots and other birds, sitting in an elevated platform called itanam (paran), and chasing the birds and other beasts away.

Watch the lovely depiction of valli on the platfrom down to even detailing of the sling.

The sage Narada, who visited Valli-malai and saw the girl, went to Tanikai to informed god Murugan about Valve’s exceptional beauty and her devotion to the god of the hunters.

Murugan assumed the form of a hunter and, as soon as he arrived at Valli’s field, he addressed the lovely girl enquiring after her home and family. However, at that moment Nampi and his hunters brought some food for Valli (honey, millet flour, valli roots, mangoes, milk of the wild cow) and Murugan assumed the form of a tree (venkai, Pterocarpus bilobus).

Watch the sculpture of the tree, at first it puzzled me as to why a tree must be sculpted in a millet field – but after reading more, found the sculpture has gone to the minutest detail …

When Nampi and his company disappeared, the god reappeared in human form, approached Valli and proposed to her. Valli was shocked, lowered her head, and said she would only wed the Lord Muruga. At that moment they heard the sound of approaching drumming and music. Valli warned Murugan that the hunters are wild and angry men, and the god transformed into an old Saiva devotee. Nampi and his hunter’s took his blessings and returned home.

The old man asked Valli for food, and she gave him some millet flour mixed with honey. Then she took him to a small forest pond, where she quenched his thirst from the palms of her hands. Then he told her, “Now that you have satisfied my hunger and my thirst, do satisfy my love for you.” Valli reproached him, and wanted to return to her field.

At that moment, Murugan invoked the help of his brother Vināyaka who appeared behind Valli in the shape of a frightening elephant. The terror-stricken girl rushed into the arms of the Saiva ascetic for protection. The Ascetic asked her to promise that she would marry him, terror stricked ( another version is that the Elephant actually lifted valli in his trunk was about to fling her – and when she accepted, dropped her into the hands of muruga) – she agreed.

See the lovely depiction incl the expression of great fear in valli and the calming ( watch the protective hand over her – a la MGR).

The last panel shows the Old ascetic in the act of throwing is disguise – as you move from right to left, you see him still in his aged form but going into his classic benevolent stance – and above removing his full disguise.


He then embraced valli revealing his real form, with six heads, twelve arms, and seated on his peacock.

Shiva kicks Yama – the God of death

Today, once again thanks to some delightful camera work by Satheesh, we are going to see one of my favorite sculptures. But this time not as much for the sculptural beauty but more for its story content. The story of Markandeya, was a popular bedtime song for us and my dad used to put us to sleep often with the rendition – have heard it so many times and today my son goes to sleep hearing the same, that i was overjoyed at seeing this sculpture.

Ok, story first.

Mrikandu was a devote saint ( rishi). He lived offering daily prayers to Lord Shiva with his wife Marudvati. Though they lived a peaceful existence, the couple had one unfullfilled wish – they did not have any children and they longed for a son. The rishi prayed to Shiva and pleased with his devotion, Shiva appeared and granted him the boon, but as usual he put a twist in it. He offerred them a choice, either they have a hundred sons who will be dumb and foolish but live a long life or have one very intelligent son, but will live for only sixteen years.

The rishi contemplated and decided to have the one intelligent son. Shiva blessed the couple and in due course they had a baby boy – they named him Markandeya. The boy grew to be very intelligent and handsome. Markandeya was a born genius and learnt the Vedas and Sastras easily. He was the darling of everyone, but as he got older, he noticed that his father seemed to nurse some bad news – for he was getting more and more sadder. Markandeya was smart enough to notice this and he asked his dad to tell him the truth. His dad wept and told him that as per the deal of the boon, by the end of that year, he would be sixteen and hence they had to give him up. He could not bear to even think of giving up such a splendid son.

Hearing this, Markandeya immediately took stock – his parents gave birth to him, his teachers his knowledge but only shiva coud give him prolonged life – so he set his heart into utmost devotion to Shiva and promised his Dad that he would do enough to please shiva that he will not let him die. Thus he made a shiva linga and was eternally offering prayers to it.

On the appointed day, Yama, the Lord of death, came on his black buffalo vehicle, swinging his lasso ( he uses it to pull the souls whose time on the earth is over, out of the physical body) – seeing him Markandeya ran to the shiva lingam, with yama close on heels chasing him, swirling his rope. Markandeya ran and hugged the shiva linga so close, that the only way Yama could fasten the rope around him was with the shiva linga. Yama in his haste did exactly that, he threw his noose round the boy’s neck, and pulled him along with the Shiva- Linga.

At that instant, The shiva Linga burst open and Shiva came out of it, Shiva was in great rage, he kicked Yama so violently that the Lord of death almost died!! Shiva thus saved his devotee and since the boon/curse was that Markandeya would have only 16years to live on this earth, he blessed Markandeya to be forever 16 ( endrum Pathinaaru ) – how many of us would love to have such a boon today !!

Now, have a look at the delightful panel from Tanjore Big temple – split into three frames, top to bottom. the top frame, we have a fiery Yama chasing Markandeya and the hapless boy clinging on to the Siva lingam for dear life.

The second frame, you have an angry Shiva kicking Yama who is sprawled on the floor ( one of the images is from another friend Srivatsan taken a year back – you can see the damage that these 1000 year old miniatures are undergoing – the Trident in the hands of shiva has been worn off this year !!!)

The last frame – the detailing is lost on the left, but you get to see a visibly relieved Markandeya offering thanks to Shiva with folded hands.

This legend has been sung by Appar in many verses and you can look them up here.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=4&Song_idField=4107&padhi=113+&button=%E0%AE%9A%E0%AF%86%E0%AE%B2%E0%AF%8D%E0%AE%95

to save Mārkkāṇṭēyaṉ, the bachelor, who worshipped him with flowers to be free from the sufferings of birth born of ignorance.
kicking the cruel god of death who had a twisted tongue, hairs as red as fire, curved white teeth and a dark body, [causing him] to tremble with fear.
the superior god who dwells in Kaṭavūr has the lotus red feet with which he caused the god of death to roll on the ground in this manner.
The central idea of the first nine verses is Civaṉ killing the god of death to protect Mārkkaṇṭēyaṉ who worshipped Civaṉ in this shrine.
Translation: V.M.Subramanya Aiyar–Courtesy: French Institute of Pondichery / EFEO (2006)

Shiva cuts off the head of his Father in Law – Tanjore Big temple

My friend Mr.Satheesh Kumar is an ardent sculpture lover like me and he offered to get me some nice photos of the tanjore big temple. Little did i realise that he will get me such a rich collection. We are going to see one interesting panel from his collection today.

As usual, we go for the story first:

Shiva’s consort Parvathi is born to Dhaksha – the king of mountains ( she is fondly called malai magal – in tamil – malai – mountain, magal – daughter). When she comes of age, she expresses desire to marry Shiva ( as is destined), but being a vain king, Dhaksha ( he himself being the son of Brahma) refuses to give his youngest daughter, whom he so lovingly brought up, in marriage to shiva – for he considers him uncouth, wearing animal hides and living in the cemetery, accompanied by ghouls/demons/ etc.But Shiva marries Parvathi and Dhaksha is not able to stand this insult.

He plots his revenge,and tries to insult Shiva, by organising a massive penance/sacrifice, but doesn’t invite Shiva, the foremost of Gods. However,hearing of this big event in her home, Parvathi’s heart and love for her family, makes her plead with shiva to let her go and attend the function. Shiva cautions her, that she will not be welcome and doesnt give her permission to go. However, love blinds the eyes of paravathi and despite the advise of Shiva, she lands us as an uninvited guest in Dhaksha’s palace. There she is not given any respect and is witness to all insults thrown at Shiva. Not being able to bear these and having acted against the advise of her husband, in anguish she kills herself in the sacrificial fire ( meaning, she gets rid of her material body which had affection to family there itself and takes her divine form). However, this enrages Shiva and he cuts the head of dhaksha and throws it into the sacrificial fire.

A bit later, Brahma and other rishis come and plead with Shiva, to forgive Dhaksha. Shiva obliges, but since the original head has already been consigned to flames,he cuts off the head of a sacrificial lamp and fits it on Dhaksha’s head ( inter species head transplant – how is it?)

Now lets look at the sculpture – Satheesh has masterfully taken the pictures to give you an idea size ( with ball pens for scale)

The story board is broke into two sides of the staircase – on one side is the beheading episode and on the other is the head transplant. wonderful depictions.

See the first part, the assembled guests are shown – towards the back of the composition against the wall. Then you see Shiva seated in a lovely pose, with Parvathi leaning non nonchalantly with one arm on nandhi. she is flanked by her assistant to her right.


The crucial scene kind of flow through the entire panel – Dhaksha’s severed torso is shown, fallen to the ground, with his wife lamenting with her hands towards the sky, and shiva is shown clutching the severed head by the hair and dropping into the sacrificial fire ( he has an evil looking sword in his hand – kind of reminds of the blade – neck cutting video’s we saw from iraq)…the priest who is next to the fire is turning away in disgust.


To the right of the composition, we see three ladies and three men – faces turned in aghast at the beheading and almost freezing to flee – their highly strung bodies about to run away – towards the end we see much mutilated but clearly – two beings running away from the scene ( note the size of the composition with the ball pen scale)

The other side – is a prettier picture – a beautiful standing depiction of Shiva, complete with his axe and deer, with a snake adorning his waist – being pleaded to by Brahma, looked on by three rishis. The final scene, we see a revived Dhaksha with a Ram’s head, in all humility,bowed along with the others – showing deep respect for shiva.


A delightful panel. Trust you enjoyed it as much as i did. i loved the depiction of shiva with the snake hanging by the waist.

Baby Muruga is scared of Shiva- Pullamangai

Today we are going to see a fantastic miniature sculpture from Pullamangai ( Thanks chandra for the photo – more to come of yours shortly) – There is an equally majestic sculpture in tanjore museum – which is my favorite as well, which i fondly refer to as stone monalisa, but we will see that in a subsequent post. Am actually redoing this post, with further photos from Satheesh. We are in a real treat.

In order to truly appreciate this miniature, you got to understand the size of this creation and its location. We see the size at the end, just leaving it with ` miniature’ for now.

Well, need to use some software to brighten it up a bit and closeup for you.

Ok, recap the legend first.

Once upon a time there lived a demon called Gajamuhasura. As all demons are, he was cruel and ill treated all the good incl the devotees of shiva. Lord Shiva enraged at this decided to put an end to this and with his trident had a furious battle with the elephant bodied demon. The battle was so fierce and intense that Shiva was filled with rage and he caught the head of the elephant, crushed it with his foot and skinned him right there and wore it as his garment.

Now for the beauty – can you spot the characters – ofcourse Shiva – in his majestic, dynamic grace, almost dancing into the elephant hide – you can spot the elephant’s head way down to the left of the sculpture ( as you see it), under shiva’s trident – next to the shiva gana – who is up to his useful pranks – showing faces at the fallen asura. Amazing little characters these Ganas.


You can see shiva’s torso twisted in his effort to wrest the skin and is holding it like a blanket around him.


way down to the right, you can see his consort Parvati wanting nothing of this and rushing away, for she is scared and more scared is the young skanda – the portrayal of the baby is the master stroke of this sculpture – he wants to jump into the waiting hands of the lady helper, away from all this fearsome action …

Thats all the canvas that this master sculpture needed to sculpt this amazing microcosm of myriad emotions …Hats off for this splendid miniature. Well, did i say miniature?

A masterpiece of sculptural beauty from Gangai Konda Cholapuram

We had earlier seen the story of Chandeswarar and caught a glimpse of this amazing beauty from Gangai konda cholapuram when we saw the Big temple Chandesa panel. To do full justice to this sculpture, here is an exclusive on my favorite sculpture from Gangai Konda Cholapuram. ( dont fail to notice the panel surrounding the main sculpture – which has a delightful sculptural representation of the chandesa story – read the linked post or the full story and verses)

Often i have argued that the pallava stone sculpture is the pinnacle of stone art. For their sculptures are not cramped into any set rule, rather the imagination of the sculpture is given a free hand and he sculpted the forms in fluid grace, the images would look breathed upon – ready to take life and walk away. One such Pallava master craftsmen seems to have been in the employment of Rajendra Chola – for this sculpture is the crowning glory of sculpture. That Such exquisite grace, such infinite beauty, such immaculate emotions, can be brought into stone – is sheer poetry in stone.
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Chandesanugrahamurthi :

I thought it fit to use Dr. Nagaswamy’s words to describe the sculpture,

Siva seated on a throne with four arms carries axe and antelope in his upper arms; with the lower the Lord is seen crowning Chandesa with a garland of flowers, a symbol of affection and stewardship. Chandesa is seen seated in front and with folded arms receiving the pride of place bestowed on him by his Lord. Chandesa is the embodiment of devotion and piety and the place he attained is considered the highest, a devotee of Siva is privileged with. It is called the Chandisa padam, the abode of deliverance. According to Saiva Siddhanta Siva bestows this grace, in the company of Sakti, His consort. In the sculpture under reference, Parvati or Uma Parameswari as she is often described, is seated by the side of Her Lord. The treatment of ornaments, the portrayal of limbs and affection with which Siva is seen taking the garland around the head of Chandesa are suggestive and truly convey the supreme message of Saiva Siddhanta, the image seeks to depict. In the figure of Chandesa, Rajendra Chola has carved his own image. Sri C. Sivaramurti in his work ‘the Chola temples’ states that “The most remarkable carving here, the Chandesanugrahamurti panel, is almost a suggestion of the laurels won by Rajendra through the grace of Siva and he humbly presents himself as a devotee of Lord, who blessed Chandesa”.
On the side walls is shown the story of Chandesa; Chandesa worshipping Siva as a Linga; the cows standing by the side; his father watching the happenings hiding himself behind the branches of a tree; disturbing Chandesa’s worship; perturbed Chandesa throwing his axe at his father and Siva bestowing grace on both.
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http://www.tamilartsacademy.com/books/gcpuram/chapter06.html

Picutre courtesy: Ravages & Mohandoss ( flickr friends), Saathmeeka ( ponniyinselvan egroup)

Marar of Ilayankudi – what a sculpture

Today we are going to see a spectacular miniature sculpture from Darasuram Airawateshwara temple built by Rajaraja Chola II in the 12th century CE. This temple is a storehouse of art and architecture and am picking a very unique sculpture to showcase it. This panel was explained to me by Dr. Kudavoil Balasubramaniam, and all credit to him for this post.

Firstly, the mastery of the sculpture – inorder for you to spot this panel – lets give you a long shot, slowly paning in. Not on the Ganesha but below. do you spot it.


To give you an idea of the size of this miniature, once again we see the Slaying of Vali sculpture with a pilot pen. It gives you a sense of proportion of this sculpture.

Next we need to study the story that is depicted in this panel. Its the story of one of the 64 saivite saints – Marar of Ilayankudi. His life is a lesson on the famed hospitality of tamil land, combined with the reverence to saints.

In order to understand the panel more to appreciate its true beauty, we need to learn the story of this great couple. Maarar and his wife, were farmers, quite well to do and they were very devoted followers of shiva. They used to go to any limits to host fellow devotees and the wandering saints and followers of shiva. They thus lived a very contended life, till Shiva, as is his wont, decided to test their resolve.

Their prosperity vanned and they fell into bad times, heavily into debt, the family still continued their pious ways and took great care of any visitors to their home. During one such bad time, when their crops had failed and they had borrowed their last penny ( no US Govt bailout for them), on a stormy rainy night, shiva lands up at their door, disguised as a wandering ascetic.

The couple realise that the dont have anything to offer, while the lady in all her intelligence, suggests for Maarar to go to fields where they had sowed their last bag of grain and use a wicker basket as a sieve to retrieve the sown grain. He too does so, in pouring rain, sieves through his field and gets a basket full of grain. The wife mills it and makes flour and starts cooking, when she realises that they don’t have enough fire wood. The ever resourceful Maarar, takes the sticks off his roof and gives it to his wife to use ( mind the heavy rain)

HIs wife dutifully cooks the rice, offers respects to the ascetic, seats him on a plank, places a tripod stool in front of his and serves food. The ascetic takes one handful of the offering, is overcome with the devotion of his subjects, spontaneously bursting into a blinding flash, and returns with his consort, blessing the couple and taking them with him to enjoy the everlasting bliss in Kailash.

Now we see the how the master sculptor has handled this entire story in such a miniature story board. He has cut the story into three scenes. As you view the creation panning from right to left.

First scene:

Maarar bringing back the basket of grain and his wife eagerly taking it from him

Second scene:

The ascetic is seated and the lady is serving him. This is the master stroke of the scultor – watch closely the head of ascetic – you will see a small flame, then to its right a bigger flame and then a large flame. How beautifully he has shown the Lord disappearing as a flash of flaming light.

Last scene:

Simple – he closes the story by sculpting Shiva and Parvati giving darshan on Nandhi.

What a sculpture, What a story and such wonderful concept delivery.

Source; http://bhakthimalar.blogspot.com/2007/02/blog-post_24.html
Image courtesy: http://www.kumbakonam.info/kumbakonam/darsuam/index.htm

First day, first show seats for Shiva’s Dance duel with kali

The previous posts on karaikkal ammai was very elaborate and short on sculpture, but had to be that way in order to introduce the great saint. Will try and make amends with this post of her sculpture, amazingly captured by the chola scuptor in Gangai Konda Cholapuram, Rajendra Chola’s amazing creation. ( An intro post for this is pending and will post shortly)

For a more detailed reading of the amazing temple, please visit Dr. Nagaswamy’s site where he has hosted his entire book on Gangai konda Cholapuram

http://tamilartsacademy.com/books/gcpuram

While the beauty of the dancing shiva, is a site to behold, his dance duel with kali in the forests of alangadu must have been quite a spectacle. Chola bronze natarajas are indeed masterpieces of art but the stone sculptor seems to have competed with his metal working counterpart to create this amazing sculpture of Adavallar ( Adal – dance, vallar – Kind or supreme exponent ) – aka Nataraja ( Nata – Dance, Raja – King).

A delightful figure of four armed dancing Siva – what a charming smile on his radiant face, holding kettle drum in the upper right arm and boon bestowing palm on the lower right. The upper left carries fire and the lower left is thrown across the body in gajahasta. The matted locks are flying in rhythm on either side. On the right is shown Ganga. By the left side of the leg is shown an eight armed dancing Kali, carrying drum, sword, trident, abhaya, dandahasta etc. A three legged figure, maybe Bringhi rishi ( we see his story in another post). He is dancing on a very fat musalagan ( the demon – or apasamara pursha – signifying ignorance – apasamara forgetfullness, purusha – man!!) and he is not been trodden to death – he is still very much alive ( see his head trying to lift himself up) but kept under check by his feet.
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Now, we come to the main object of this post, watch the panel just under the dancing shiva – Below the feet are three Ganas shown playing symbols and maddala, and then there is our Karaikkal Ammai, who on account of her devotion, was endowed this privileged position of being seated below the seat of the Lord, singing his Greatness.

On the west side wall is shown Surya on top. Subrahmanya seated on peacock is shown flying towards the Lord while Ganapati moves equally briskly on his rat. Further down is four armed Nandikesvara playing maddala. Chandra is shown on the top on the side wall to the east. The armed Goddess Parvati is leaning on a majestically looking bull which is a bit startled; she holds a lotus in her right arm.

The greatness of this composition is the expert depiction of emotions into stone – The nonchallant divine bliss and grace on the radiant face of the lord, the anger in the form of the bulging eyes of the dancing kali, the comic stance of the three legged bringi rishi, the enjoyment in the face of the shiva ganas and the sheer joy in Karaikkal ammai’s who is leaning up and joyfully clapping her hands, the calm grace of Parvathi compared to the bull which is a bit freaked by the dancing wrath of Kali ( watch is eye level , its seeing the fearsome face of kali)..what a magnificient creation.

Ok, have cut paste the above images to highlight the intricate details in this creation. Enjoy
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Karaikkal ammai sang some of the most inspired verses on the dancing lord and especially about tiruvalangadu, quoting a few here ( ok, she has taken a ghost form – as you read in the previous posts, so her songs are a bit graphic)

11th tirumurai – 1st song

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=11&Song_idField=11002&padhi=040&startLimit=1&limitPerPage=1&sortBy=&sortOrder=DESC


The breasts have dried up ; the nerves are bulging ;
Sunk are the eyes and hollow is the maw ;
Ruddy are the gums in the two rows of teeth ;
Two white teeth are jutting out ; long are;
The raised ankles : thus, even thus is she – a ghost ! ;
In the withered wood she abides screaming. ;
In that wilderness of a forest, with His flowing ;
Matted hair wafting in all the eight directions;
He – our Father -, dances carrying in His ;
Cool body, the fire. Behold Tiruaalangkaadu ! ;

Translation: S. A. Sankaranarayanan (2007)

22nd song

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=11&Song_idField=11002&padhi=040&startLimit=22&limitPerPage=1&sortBy=&sortOrder=DESC

He sports a crescent in His matted crest ; He, for ever,
Dances His twirling dance ; His waist is cinctured
With a serpent. Lo, whoever, by His grace,
Is able to sing and dance out this decad
Of Karaikkaal Pey of fiery mouth and sharp teeth
That abides in the crematory,
Will be freed clean of all sins.
Translation: S. A. Sankaranarayanan (2007)

19th Song

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=11&Song_idField=11002&padhi=040&startLimit=19&limitPerPage=1&sortBy=&sortOrder=DESC

It is a crematory where bodies burn crackling
And where lofty bamboos scatter white pearls !
There the huge and loud-mouthed ghouls
Of dry and dangling hair and tired bodies
Foregather and eat to their hearts’ content
The corpses ; it is in such a great crematory
The One of gramarye dances ; the Daughter
Of the Mountain witnesses this in wonder.
Translation: S. A. Sankaranarayanan (2007)

Got some better pictures
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Will anybody throw a beautiful harp out on the street

The previous post on the chola bronze in the Singapore museum, evinced lot of interest. Lots of freinds were eager to know about how the statue got there etc. Its true that most Museums around the globe have chola bronzes in their collections. Its a tribute to the master craftsmen for their endurance and also to many devoted people who helped to hide, bury these beauties deep into the ground ( there is a prescribed manner how this is to be done, during bad times)

Lots of times, these masterpieces take the wrong routes ending up in private collections and exhibits, the most famous one being the London Natraja case, where Dr. Nagaswamy expertly argued the case, stunning the world with his knowledge of chola bronzes and ensuring that the statue returned to home soil

Bio Data of Dr. Nagaswamy with the London Nataraja case:

OK, all that is fine, but what are we doing to the many splendid works of art that languish in India. Many are in dark cellars inside our museums, as hardly anyone visits them anymore, except the tourist and one off school educational tours. Much less can be said about them in their original residences. These are from xxxxxxxxxxxxxxxxx temple , pictures from Sri. Chandra of REACH Foundation:

The great poet Bharathi, immortalised by his divine compositions wrote thus…

O! Sivasakthi, the supreme creator of the Universe
You made me with sharp intellect and charm
But then, will you keep me in helpless poverty?
Will anybody throw a beautiful harp out on the street?

( tks to Dr Kannan of Min tamil for the extempore translation)

How true !!

Two amazingly beautiful 13th C chola bronzes, an impeccable Nataraja – who is all movement, grace – for he is Lord of destruction, but does it warrant keeping him amidst all this filth. The next is a sublime Shiva, if the previous form was all fluid motion, this is calm benevolence. Both left to contemplate on their plight on the ground, with white ants for company.

Do we realise our rich heritage?
( Sadly, the location xxxxxxxxxxxx out for safety reasons)

She came to life and I became metal

We have mostly seen stone sculptures till now, just taking a break to showcase another master creation – in bronze, not just any bronze but a famed chola bronze.

A chance Advt in the local Tv channel led me to go to the Asian civilizations museum in Singapore last june (07). Btw Its located just off raffles MRT across the Singapore river.

The entrance fees were not steep ( sgd 8 for adults and 4 for children) -I was greeted at the entrance itself by a large cut out of a chola bronze – an 11th C Uma Parameshwari. ( my son strikes a pose)

There were a couple of other chola bronzes ..incl one of young Sambandar dancing. There was also a beautiful stone sculpture of Subramaniar ( Chola Period).

After having seen the cutouts of the bonze, couldn’t wait to see the piece in person. So i kind of rushed through all the other exhibits and almost ran to the main hall. The piece de resistance – the Uma paramershwari idol was a special exhibit

I was stunned into silence on the viewing the exhibit. True you have often seen temple bronzes and Panchaloka idols, the small sized but delightfully detailed processional images – but to view a true
masterclass authentic chola Bronze, cast a 1000 years ago,by the lost wax method,a painstaking yet breath taking process – wherein each image is unique, crafted by the expert fingertips of the master sculptor first into bee wax, then covered is special grade sand/clay, fired then in a kiln that melts the wax, leaving the sand cast, then hot metal is poured and then the cast is broken – that’s what I meant by each image is unique.

The exquisite green sheen lent it an aura of mystic, transcendental beauty, transporting me back in time, I couldn’t just step aside, my total attention riveted and arrested,stunned,for a full ten minutes, maybe such was the greatness of the immovable object in front of me that it poured its characteristics into me,locking me into it,turning me into a statue. My bodily functions, my senses all ceased to respond, all energies focusing instead to highlight the visual overdose that was overpowering, yet casting me into a sense of sheer bliss. The magnificence of this piece was breathtaking yet at the same time poetic, a strange aura of genuine happiness, of seeing the handiwork of a gifted artist over 1000 years ago, surviving and continuing to do its duty – of blending art with spirituality, the mastery of craftsmanship – the statue was at best 2 feet in height, but the detailing was exquisite, the grace and calm of her face and love in the smile,the sharpness of her nose, offsetting the immaculate eye brows, the enchanting eyes, the lovely locks of her hair falling into rolling tresses over her shoulders, the intricate ornaments on his neck, the grace of her poise – the gentle sway accentuating the narrow waist, the beautiful and elaborate work on her lower garments,her hands and fingers bring life to the figurine, she came to life and I became metal. That is the power that a chola bronze can wield over you.

http://www.acm.org.sg/exhibitions/eventdetail.asp?eventID=184

The devote who wore slippers

1793
Darasuram Airavateshwara temple sculpture, an amazing work of the hunter devotee of shiva, kannapar. We will see his story in more detail later, but one curious aspect of this sculpture attracted me to it. Its a splendid depiction of kannapar, the bow slung on his shoulders, the devotion in his face are brilliantly captured. But as you complete the sweep of the eye, the feet and what he wears on them startles you – a pair of lovely sandals.
1796
Normally one would refrain from wearing footwear inside Indian temples and so too are the sculptures inside, atleast the majority of them, the exceptions being shiva as the charming ascetic – shiva bhikshadhana and kannappar. Why is he depicted wearing these sandals? to answer that we need to go back to fourth thirumurai ( thanks to Mr. V. Subramanian again for giving me this verse reference)

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=4&Song_idField=40490&padhi=049&startLimit=7&limitPerPage=1&sortBy=&sortOrder=DESC

In short, the ardent devotee kannapar, guarding the shrine of shiva with his bow and arrow on one hand, the cooked meat ( we will see this too later) on the other hand, wearing a large slipper made of animal hide….( and so goes the description)
1789
Now you see how intricately the sculptor has characterised each subject he worked on down to last detail.

Images courtesy

http://www.kumbakonam.info/kumbakonam/darsuam/