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Archives by Month: August, 2010

This is possibly the sneakiest of sneak peaks you can get. A chance for me to place on record my heartfelt gratitude to one my Gurus, the man who introduced me to the language of stone, educated me on the need to spread the message of awareness and to do so without expecting any reward or accolade, but to silently go about your task. Its not just him, but the efforts of another dear friend, expert photographer cum digital artist Ashok, which have culminated in this - Yes, this is a book introduction ( am not competent to call it a review ) and is on the still hot of the press coffee table book on Mallai.

Mallai+unifinished+poetryinstone

Whatever was the boon seeker’s objective, standing there on his one leg, arms raised up, he sure has grabbed the attention of the world - be it the ardent art historian or the rookie backpack hugging tourist. By choosing that very sculpture as their cover illustration, one cannot fail to notice , the allegory to the efforts put in my the master historian and the expert photographer - the confluence of their eclectic styles gives life to the stones in Mamallapuram.

True, many works have already been written and will continue to come out about these fantastic treasure trove of stone work, but few before have attempted to capture the essence of being there. The book opens a door and virtually transports you to Mallai, with just the right amount of scholarly diction, like a subtle background score, Prof Swaminathan’s guiding tone accentuates the rhythms that vibrate in the stones captured brilliantly via Ashok’s lenses.

Its been a long pending wish, to see a coffee table book on the splendors of Mamallapuram, for despite the multitude of scholarly works, there was always space for such a endeavor, for among the thousands who throng the site only a few have been properly initiated into appreciating the beauties that are on offer. This book was conceptualized to bridge that gap, to be a companion, which you could take along with you on your visit to Mallai, or come back home to leisurely relish a visit , look back and reminisce at its glory. Lastly, for the select few who are yet to undertake what is a romance for Pallava art enthusiasts like us, its a honey stick lure, for once immersed into the rocky confines of its pages, its hard not to imagine the magnificent pinnacle of stone sculpting reaching out to you from amidst the lilting splash of the waves and the spray of the salty sea mist.

For us, upstart history buffs, who cherish every interaction with such scholars, the availability of such a unique book on Mallai is a boon, gone are the days of reading the text and then hurriedly rushing to the last portion to view the plates, the text and photos mingle seamless and move from one page to next like a slick pair of Salsa dancers.

Don’t get me wrong, its not picture postcard book, the starting invocation, sternly brings you into focus, this is no less a research paper, as the richly thought out foreword by Sri Narasiah, who has taken much pain to list out the multitudes of people who has worked on dciphering the puzzle that is mallai, but the highlight of this particular work, is the results is sans the long diatribe, its easy on the head as its pleasing to the eye. The wise professor diligently takes you through a formal introduction into Pallava art, while Ashok lets you see, touch, feel the fabric of the stone work , each thoughtful frame competes with the insightful texts for your attention. Must thank the publishers for the effort to showcase the early efforts of the Pallavas from many corners of their wide land, to serve as an eye opener to their pioneering efforts and as a prelude to what is on offer in Mamallapuram.

You can almost feel the glee in the eyes, the cheer in the heart of the narrator as we pass through each chapter, its a wholesome visual treat on offer. Half way into the book, you are almost tempted to stop and restart from the first page, but the best is yet to come. For the first time, we get to see the famed Dharamaraja Ratha upper storey sculptures in their bewitching best, as Ashok combines creative photography with technology, we are able to gasp the original brilliance of the Govardhana Panel without the later pillar additions in front in a 4 page spread, the full splendor and glory of the Penance Panel as a 3 page spread, you cannot but stop to appreciate the thoughtful insights like a site Map and Flora section.

A fitting tribute to the Atyantakama.

Our heartfelt wishes to the team . To book is slated to hit stores near you shortly. For more details contact

ARKEY GRAPHICS
arkeygraphics@gmail.com

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Its not often you get blessed thrice in the same day. It was my wife’s birthday and we happened to be in Tanjore and first stop @ big temple( for her - me and Arvind had already been to Pullamagai in the morning!!). Pushed our luck by calling Kudavoil Balasubramaniam Sir, and such a humble person that he is, he immediately came to meet us and gave us a guided tour of Periya Koil.

kudavoil+sir+explaining

We have already seen the Dhakshan beheading panel and the Kama Dahana panels previously.

Shiva cuts off the head of his father in law

Shiva burns the lord of love

The current panel is a sequel to those. Shiva has been convinced to come back to becoming a householder and Dhaksayini has been reborn as Uma - the daughter of Himavan, the King of the Mountains. Maybe the only verse i remember from Sanskrit class is atha osadhinaam athipasya vrithow !!! from the Kumarasambava. Not sure if the current story is found in Kalidasa’s version, but it loosely follows the rendition in the kantha puranam ( though a later work to the sculpture).

The background plot is simple, Himavan is convinced by the seven Rishis sent by Shiva and agrees to give his daughter to Shiva. Now comes the tough part, to convince his wife - Menai. The Queen, being what any mother would be, comes over to take a look at the bridge groom for the first time, expecting him to come dressed in all his finery and flanked by the very best in the procession.

Lets see how Shiva turned up for his marriage procession - keep in mind current day baraats - the festivities , revelry and sarees, sherwanis, jewelery and money that are on display- the bridegroom in a designer sherwani on a majestic white horse, with an assortment of pretty looking women and boisterous men , equally decked up.

shiva+as+bridegroom

Here he is, wearing his elephant skin trunks, with his horde of Ganas, on his bull. There is a pet snake thrown in as well, rearing up form his left hand as he nonchalantly turns around to pose for the camera !!

shiva+on+nandhi
snake

What a shock it would have been to the welcome party. No wonder, the future mother in law Menai panicked

ladies+watching

She is already scared for he known for taking the heads ( brahma, dhaksha) , she refused to accept that this uncouth youth could be her son in law.

Finally, Brahma, Vishnu, Narada all came and explained the actions of Dhaksha that led to his downfall and the mighty grace of Shiva to have restored him to life albeit with a Goat’s head. The marriage does take place and finally - ALL IZZ WELL in Kailash - and ready for the birth of Kumara !!

shiva+umai

A big thanks to Kudavoil sir. But Sir, has explained this sculpture differently in his latest book, will see it shortly.

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