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Archives by Month: February, 2011

When Dakshin put up this fantastic photographic capture from the Madurai temple and titled it as Boothagi, the first question that came to my mind was ` Wasn’t she a demoness who was hired as an assassin by Kamsa to kill Krishna?’

mystery+sculpture+from+madurai

Our conceptions or misconceptions of Boothanai were driven not only by graphic depictions of her in our story books, but also in sculpture. This early chola depiction in Pullamangai in stone and this sudhai from from the Tanjore Big Temple ( Photo courtesy: Arvind) added to our visions of an Ugly demoness who was sucked dry by Krishna.

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So who else could the beautiful maiden sculpted in Madurai be. Some references identify her as Chandramathi the wife of the legendary Harishchandra cradling her dead son Lohidasan. But then something didnt quite feel right. The great King Harishchandra being reduced to penury, had sold his wife into slavery. The sculpted figure even after discounting the ornamental excesses of the Nayak style, does sport an impressive amount of ornaments. But her face seem to show a variety of emotions, at once a bit sad, a bit like that of a demoness - but definitely not that of a loving mother. Plus the Baby seems very well endowed, very much alive and in one angle seems to be puckering his lips to suckle at her breasts. So it cannot be Yashodha and Krishna for sure.

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mystery+sculpture+from+madurai
who+could+she+be

If only we could spot something about the two that could help us with the identification ! After some frantic requests to friends, Mr Raman obliged by making the trip and getting us the required photographs.

This is going to be a really tough one - the request to him from me was very simple. Get me a good shot of the right chest of the baby. Why ?

Remember this post about the mole that adorns the chest of Vishnu - Srivatsam . Keep the last image of that post in your memory.

baby
baby+closer
smiling+baby

The Ornamentation of the baby is rich as well , compare with those of known krishna sculptures. Problem is Sambandar also seems to share the same fashion / wardrobe.

Dancing-Balakrishna Michael C. Carlos Museum of Emory University
krishna auckland musuem
sambandar sin musuem

Lets study the baby more to find more clues and why I wanted a closeup of the right chest. Please do keep in mind the position of the baby and how difficult it would have been for the sculptor to be able to sculpt any detail on the baby’s right chest.

right+chest+not+sculpted
smiling+baby

You can see that he has not made the clear demarcation of the chest on the right side compared to what he could show in the left - where he has shown the shape of the chest clearly. I have marked in white where the right chest should have been shown.

Now lets, demarcate where the jewelery is sculpted on the chest.

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Now, if you have followed closely you would see a small indentation on the right chest.

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and if you can sit a bit back and focus on the same place, you can see the triangle emerge.

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smiling+baby+chest
smiling+baby+chest+mark

Compared to the standing icons of Vishnu where the Srivatsam mark is more pronounced and more towards the outer half of the chest, due to the position of the baby closer to the lady - the sculptor is forced to center it more. Compare with this

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chola vishnu stone
closeup of srivatsam
srivatsam
vishnu

If we can fix that this is indeed the Srivatsam mark - then the question of Boothanai’s description arises. Boothanai is said to be kind of a contract killer - paid assassin, who would kill by having young children suckle at her breast ( two accounts - either her milk itself was venom or she applied a deadly poison on her breasts). This she does as she is under the grasp of the evil Kamsa. So when Kamsa wants to get rid of Krishna, the first person he turns to is Boothanai. She goes in the guise of a beautiful maiden and Yashoda allows her to suckle her baby. Kishna knowing her ploy anchors his teeth on her breasts and sucks the life blood out of her. She is either shown as falling dead regaining her ugly form or sucked bone dry as per varying accounts.

So having touched Krishna and smitten by his good looks, being a mother herself, is it the anguish of trying to kill a toddler that is shown on her face or the realisation that her end is near and a bitter happiness that she is to going to be liberated by him ?

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Friends, today we have a special guest post. Very pleased to have Mr Pradeep Chakravarthy , we have already seen a review of his book on Temple Vahanas

He has also authored a very successful book Thanjavur A Cultural History - - , and we will surely see more from this amazing person. I had requested him to do a guest post and we hope this is only the start of an insightful series. Over to him now.

Tirumeyyam is a well known pilgrim spot not very far off from Madurai. I wrote about it in The Hindu a long time back and have always visited it when possible.

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After reading Vijay’s posts on sculptures that bear a message of how the sculptor conceived movement and drama, I took a closer look at the stupendous moolavar – more than 10 feet and carved out of a cave. The additions are from the 7th century by Perumpidugu Perundevi a Muttaraiar chieftain’s mother. The structural temple temple complex built around this cave is from the 12th century and later.

Thanks to Ashok for splendid feat to capture the entire scene ( digitally removing the pillars - this is copyrighted work)

Tirumaiyam_Anantasayanam

The scene is of Perumal reclining in the coils of Adisesha with Brahma emerging from his navel.

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In this case, like the Gupta images, the sculptor has chosen a free style in showing the coils, not neat and arranged like in other temples. Already there is drama and movement –

The action in the scene is Adisesha spewing forth venom shown as streaks of fire that move towards your right.

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venom+shown+as+streaks+of+fire1

The heads of the serpent are backwards, as if they have just recoiled from one attack.

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recoiling+heads+of+sesha

Just in case you missed the direction, scores of divine nityasoories are all flying to the right. Just above the Lord’s face, the sculptor has left a natural indentation, this is possibly to indicate that the flying figures are much higher than you think and to remind you that even when they are flying, they are keeping their legs away from the face of the lord.

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To the extreme left is Chitragupta and Garuda who some scholars think is actually the king who commissioned this image.

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Another cleft in the rock indicates a substantial distance between the deity and the two asuras

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The asuras are a little slanted to give us a clue that they eventually bite the dust

The temple is one of the few Vaishnavaite cave temples still in active worship and a modified image of this theme can be seen in Mahabalipuram as well.

As part of the relief there is a depiction a deer headed person next to Brahma - who could he be?

deer+head

Photo Credits : Flickr : lomaDI, Prof Swaminathan and http://senkottaisriram.blogspot.com/2008/04/thirumayam-near-pudukkoottai-tamil-nadu.html

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