Monthly Archives: October 2008

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.
21052107211721192130
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.
2101210721102113211521222124212621282132
http://www.tamilartsacademy.com/books/gcpuram/chapter06.html

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

Karaikkal Ammai in Tanjore Nataraja Panel too

How did i miss this. We had earlier seen the amazing dancing from of shiva as natraja in Tanjore Big temple, and then on our focus on Karaikkal ammai we saw her fantastic depiction in Gangai konda cholapuram. But i missed the panel in Tanjore Nataraja – which too had a beautiful sculpture of ammai – the place has changed a bit – but who can deny the rightful place of ammai. There she is enjoying the dance while clapping her hands. Nandhi on the drum retains his place.

Just showing them side by side for you to enjoy. After all the son did his best to outshine his father ( Rajendra to his dad Raja Raja – in all except the height of his temple ‘s Vimanam – Maybe that was his way of showing his respect for his dad)

The two kings of dance.
20812088
Nandhi on the drum
20842086
Pei ( ghost) ammai ( lady) in both the sculptures.
20762079
Enjoy

Dasavatharam cycle stand !!

We had earlier seen the amazing pillars of Srirangam Sesharaya mandabam in many posts. Such is the wealth of sculptural mastery in this pillared hall. it caught the eye of the master artist Silpi, to so masterly capture the stone in his work. Since there were many lovely sculptures in the hall, had requested my good friend Mr. Ashok to go there in person and do a full fledged shoot in the pillared hall. But what he came back with wrenched my heart.



The majestic horse pillar, lay is such a damaged condition. The unbelievable method in which such a lovely lance was sculpted into stone, lay broken. If only the master sculptor who sculpted these beauties saw this ! below the awesomely endowed lady stood majestically holding her head up in typical tamil pride, despite all the wanton destruction around. The rest of the sculptures have all been lost in the pillar.

When did this destruction happen, since no records are available for this, i searched on the net and came up with this 1868 albumen print

(Photograph from an album of 41 albumen prints by Edmund David Lyon. Close-up of carved horses and other figures in the Sheshagirirayar Mandapa at the Ranganatha temple of Srirangam. Lyon’s ‘Notes to Accompany a Series of Photographs Prepared to Illustrate the Ancient Architecture of Southern India’, edited by James Fergusson)

Seeing the pillar damaged during that period itself gave me some respite – atleast they were not damaged during recent times. But then what i saw next made my blood boil. The Kings of our land, gave grants and etched them into stone for these magnificent edifices – of art, to be a virtual repository of art, but how are we using them – a heritage cycle stand!



These beautiful Dasavathara pillars are being scratched by the handles and pedals of the cycles. Similar is the plight of numerous rare sculptures in this hall. Srirangam is the foremost – The Temple for Vaishnavites and if this is the plight there, i don’t have words for the lesser known temples.

One look at these pillars, would delight even the least artistically inclined soul, the sculptor has poured out his heart, fed the creation from his own blood and created masterpieces, it baffles me as to why its doesnt appeal to these heartless souls. They show as much respect to these treasures as a dog would give a lamppost. Decency limits me from writing more.

Can these sculptures be restored. Do we have the intent first and secondly is there the artistic know how. Even during the pallava period, the beautiful shore temple in mallai had its main deity – the vishnu idol’s hand being broken – and the court poet Acharya Dandin writes of the pallava sculptors mastercraft that he seemlessly restored the broken arm in his immortal work – Avanisundarikatha

Maybe, some good soul who sees this post, will take it up with the ` you know who’ and give these sculptures a new lease of life, or atleast the bare respect they deserve.

Silpi – An Artist Par Excellence

We saw earlier how the the amazing pillars of Srirangam Sesharaya Mandabam inspired our friends to sketch them. But a casual conversation with one of the young artists, Mr. Prasad, sent me to look for the master artist, who forever immortalised sketching sculpture. I was delighted to see that he too sketched these amazing pillars – He is none other than Artist Silpi (1919 – 1983) – P.M. Sreenivasan.

While Prasad was languishing that he had searched everywhere to see the face of this amazing artist, i remembered our Gokul’s article in Varalaaru.com. For a wider audience i am trying to translate it into English, so that the fame of this divinely gifted artist can spread more.

Lets first see his amazing sketch of the pillars.



Temple : Srirangam Sri Ranganathaswami Temple – Trichy, Tamilnadu, India
Location : Sesharayar Mandapa
Features : The mandapa is finely sculpted with various figures. Silpi captures the essence of this complicated and delicate sculpture
Collection sent by : Prof.S.Swaminathan
Original series : Thennatuch Chelvangal
Magazine courtesy : Ananda Vikatan

Sources:
http://www.varalaaru.com/default.asp?articleid=443
http://www.varalaaru.com/default.asp?articleid=561

Article original source from Tanjore Big temple consecration commemorative edition 1997

The fame of those who are born with divine gifts never fade, so too can’t termites destroy the names of those who strive tirelessly. The noblest of intentions seek out the very pinnacle of beauty and the strive for excellence is akin to a penance. The unbent spine, the unaided eyes ( without spectacles to assist), the steadfast gaze, crowned with the essence of benevolent grace, the gifted fingers that let dance the amazing brush strokes to give life to every stroke. The gentlest of smiles breaking through, not a full fledged laugh but those lips do not part yet you know the joy radiating from the poise. The wide forehead displaying proudly the ash marks of shiva and inbetween the large vermilion mark.

These are the marks of a master artist – Silpi. No stone has been left unsketched by his mastery, in every nook and corner of tamil nadu, itself dotted with thousands of temples. He converted every home into a temple or brought the temple to the homes of the masses, by his divine creations.

He was born in Namakkal in 1919. He was named Sreenivasan. From his young age, he displayed amazing affliction to sketching, more than his studies. The National poet Sri Namakkal Ramalingam Pillai, was a renowned artist as well and seeing the gift in Sreenivasan, he advised him to join the Madras Art college in Egmore, to refine his skills.

He joined for a 6 year course, but his abundant talent led the College Principal Sri. D.P. Roy Choudry to grade him from second year to fourth year straight away. He excelled in pen and ink line sketches. His sketches caught the eye of all and sundry including Mr. Choudry. He complimented the work, keeping it on par if not higher levels of european masters.

when Sreenivasan was a student, he was inspired by artist Maali’s caricatures. Similarly, during later years, Sreenivasan;s works attracted Maali. This bond later got and kept Sreenivasan, in the employment of the tamil Magazine anantha Vikadan for 22 years.

Sreenivasan was more inclined to sketch buildings than human figures, and Mali wanting to take full advantage of this, gave him the name Silpi and commissioned him to sketch temple sculpture.

The divine stone sculptures are not only three dimensional creations, but also have a fouth dimension – the confluence of divinity. Photographs of these sculptures are but images or replicas, but inorder for the true expression of the sculpture to be brought forth, was a task which only the great master artist Silpi could do.

He could portray the divine beauty of the sculpture and capture it into his art. How and when he did it is interesting as well. He would wait for all the devotees to finish their darshan, late into the night and then he would sit facing the deity in the dull light shed by the flickering wicker lamp. Yet he could brilliantly capture the depth and texture of every chisel mark of the sculpture. Once when asked how he could do it, he said ” i only get the right mix of paints, then its the work of the deity who converges with my fingers to sketch itself. Its the work of the master of all creation, i am but a tool”

Before sketching the main deity, he would first sketch the ornaments on a separate sheet. Similarly also note down the colors of the individual gems. After that, as he completes sketching the main deity, he would draw on the ornaments and it would give him great pleasure, as though he is anointing the actual deity with the jewels. This divine bliss is what translated into his creations, which live on for us to feel everytime we see his creations. After completing his sketches, he would dutifully take it to seek the blessings of the Acharya at kaanchi ( the eldest pontiff – now no more – a true saint) – and then bring them home to do special pooja to them. Such was the reverence he had for his work.

After leaving Ananda Vikatan, Silpi’s illustrations graced the pages of Bhavans Journal, tamil magazines like Kalai Magal, Thinamani Kathir, Idayam Pesugirathu, Amuthsurabi, showcasing the beauty of South Indian temple sculpture.

Silpi had a small family, he was ably supported by his wife Mrs. Padma. A lean figure, but always smiling graceful lady, she was the goddess Annapoorani herself when it came to hospitality for her guests. However, ill health took its toll at a very young age and she departed in 1968, leaving behind a son – Maali an daughter Saradha.

For long years, Silpi never groomed a successor. However in 1981, on a January14th – a monday, the day of the harvest festival – Pongal, a young lad of 15 years came with his father to visit Silpi. His name was Giridharan.Silpi was taken aback when he saw the young boys art, complimenting him that at such an young age, even he couldnt sketch such amazing art. Such praise flowed from the masters heart.

He took him immediately as his art successor, and was overjoyed at it. He used a part of his name and his wifes and gave him a new name – Padmavaasan. mr. Padmavaasan went on to become a brilliant artist, illustrating the new editions of kalki’s immortal works of historical fiction. The divinity that flows through his works are reminiscences of Silpi.

Such a masterful artist was not aplty decorated during his lifetime. The coming generation should not forget the contributions of this great artist.

But what is the current status of this amazing pillared sesharaya mandabam…will see next

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

Origins of the Srirangam Vimana – story in sculpture

Today, we are going to see a very rare and unique sculpture. It gives me great pleasure to present this post, since it brings out the true essence of our blog site. We had earlier seen the amazing pillar sculptures of Sesharaya Mandabam, while i was posting about this in mintamil forum, Sir Srirangam Mohanarangan, asked me about a unique sculpture in one of those pillars. I did not have it then and hence requested my ever resourceful friend Mr. Ashok to source it for me. Being such an ardent enthusiast, Ashok made the trip and ensured that i get the correct pictures ( he did get many more – and we will see this in subsequent posts). Writing about the foremost of shrines of Vishnu and one of the most revered of holy places gives me great joy, i thank the will of God for making this possible.

Rudra expounds to Narada the origin, growth and greatness of Srirangam thus:

When God created Brahma from his navel and deputed him to create the earth the latter was at his wit’s end when he saw a sheer expanse of a water. When he was thus perplexed God came to him in the form of a swan (hamsa) and saying ‘Om’ disappeared. Then Brahma worshipped God saying ‘Om’. Once again God appeared to him as a swan and preached the Vedas, which were stolen away by the two asuras, Madhu and Kaitabha. Brahma, unable to trace them even after an elaborate search, appealed to God, who appeared to him in the form of a fish, killed the asuras in His manifestation of a horse (hayagriva) and disappeared after restoring the Vedas. Then Brahma created the universe.

He was displeased, however, with his creation, for he found that everything was transient and disappeared in course of time. He went to Ksirasagar (‘Ocean of milk’) and worshiped God, who appeared to him as a tortoise. Brahma was puzzled and prayed to God to show him His real form. Thereupon God advised him to worship Him by repeating the Astaksara or the eight-lettered mantra (Om Namo Narayanaya). Brahma, so doing, lost himself in penance and contemplation. As a result of his penance the Sriranga Vaimana sprang from the Ksirasagar radiating luster allround.5 (The expression Sriranga Vimana is used to denote the turret as well as the oval shaped sanctum beneath it, containing the image of the reclining Ranganatha. The turret, the sanctum and the image form a single whole and are inseparably associated with one another.) It was borne by Garuda. Sesa, the Serpent God, had spread his hood over it. Visvaksena, with a stick in hand, cleared the way for the God. The sun and moon were fanning the deity with chowries. Narada and Tumburu followed singing. There was the Jayaghosa of Rudra and other gods and the ‘Dundubighosa’. The celestial courtesans danced. Clouds rained flowers. There were great hurrahs and tumult.

Brahma awoke from his penance and prostrated himself before the vimana. He stood up saying the four Vedas through his four mouths and was lost in amazement. Sunanda, a celestial watch at the gate (dwarapalaka), told him that the three lettered Vimana, ‘Sri-ra-nga’ was the result of his penance, that God was resting with His consort inside and that he could see Him and worship Him. Then Brahma worshiped the Almighty for a long time. Finally the God spoke to him thus: “Listen O Brahma! I have appeared as a result of your penance.” Then he explained to him the four types of idols and vimanas, – (1) Svayamvykta – created by God, i.e., God Himself choosing to come down as an idol, (2) Divya – created by the Devas, (3) Saiddha – created by a great seers and (4) Manusya – created by mortals. “The Vimanas of the first class, viz., Svayamvyakta will appear in eight places – Srirangam, Srimusnam, Venkatadri, Saligram, Naimisaranyam, Totadri, Puskara and Badrikasrama. Rangavimana is the first and the earliest of these” Speaking of the second class of idols the God said, “I will come to Kanci as Varadaraja, where my idol will be installed by you. Ananta will instal my idol in the south, Rudra in Kandikapura, Visvakarma at Nanda, Dharma at Vrisabagiri, Asvini at Asvatirtha, Indra at Cakratirtha, etc. So also great seers will install me in certain places and men everywhere.” Then the God explained to Brahma the procedure for conducting the worship and lay down in the characteristic pose at Srirangam and kept silent.

Brahma took the vimana from Ksirasagar to his abode in Satyaloka and established it on the banks of the Vraja. He appointed Viwasvan, the sun god, to do the daily puja of the God. After Viwasvan his son Vaivasvata Manu continued the puja. Iksvaku, a son of Manu, became the king of Ayodhya and found it difficult to worship the vimana at Satyaloka. Hence he did penance, which extended over hundreds of years, and obtained the permission of Brahma to take it to Ayodhya. After Iksvaku his descendants worshiped the God. Rama gave the vimana to Vibhisana, who established it on the banks of the Kaveri.

At this stage Narada asks Rudra to give details of the above account, viz., the coming of the vimana to Srirangam. Rudra replies:

Vasista told Iksvaku, his disciple, the origin of the Sriranga Vimana and added that after being worshiped by him and his generations, it would establish itself in Srirangam and be worshiped by the Cola monarchs. As advised by his guru Iksvaku did penance near the former’s asrama with the object of bringing the vimana to Ayodhya from Satyaloka. Indra, the king of the gods knew the purpose of the penance and consulted Brahma about the possibility of their losing the vimana. Brahma went to Visnu, who told him that it was His intention to go to Ayodhya and thence to Srirangam. Then Brahma brought the vimana to Iksvaku on the back of Garuda. Iksvaku carried the vimana to Ayodhya, established it between the rivers Sarayu and Tamasa, built a shrine and organised worship.

Dasaratha, in the line of Iksvaku, performed the sacrifices of Asvamedha and Putrakamesti for which celebrations he invited monarchs of all India, one of whom was Dharmavarma, the Cola. Dharmavarma saw the Rangavimana, knew its history and wanted to have it in his country. So, when he returned home he began performing penance on the banks of the Candrapuskarani.6 (A tank in the Srirangam temple.) The risis around said to him, “Nearby lies your old city in ruins.7 (The reference is to Uraiyur, the capital of the Colas.) Rudradeva burnt it in anger. Close to it there was a risi-asram, where we had congregated under the leadership of Dalbya risi, who worshipped God. When God appeared to him, he requested Him to stay there and sanctify the place, to which the latter replied that in His avatar as Rama, He would come to that place as Ranganatha, for the sake of Vibhisana. We are expecting the Sriranga Vimana even now. Hence your penance is unnecessary”. On hearing this Dharmavarma stopped his penance and retired to Nisula.

Rama worsted Ravana in battle, crowned Vibhisana king of Lanka and performed the ‘asvamedha’ sacrifice in Ayodhya. To it all were invited including Dharmavarma. Rama presented the Rangavimana to Vibhisana out of his munificence as the latter was very much helpful to him in his fight against Ravana.

Vibhisana bore the vimana on his head and, on his way to Lanka, stopped at Srirangam and placed the vimana on the banks of the Candrapuskarani. The risis immediately informed Dharmavarma about the arrival of the vimana. The Cola king came to the spot and received Vibhisana with great delight. The latter bathed in the sacred waters of the Kaveri and worshipped the vimana. Dharmavarma also performed puja and requested Vibhisana to stay with him for a few days. To this Vibhisana did not agree and said that an utsava had to be performed in Lanka the next day. The cola replied that the festival might as well be performed in his own country and that he would meet all the expenses. Vibhisana then agreed to stay, and the festival was begun and celebrated for nine days in a grand fashion. After a stay of a fortnight Vibhisana started for Lanka. To his utter amazement and sorrow the vimana had got itself fixed to the spot where he had placed it and had become irremovable.8 (According to the popular local version Vibhisana had been instructed by Rama not to place the vimana on the ground. At Srirangam Vibhisana entrusted it to a Brahmana boy for a short while. The latter placed it on the ground as the former did not return in time, as promised. When he returned Vibhisana found the vimana on the ground and irremovable. He became angry and chased the boy, who ran up the rock on the other side of the Kaveri. He was no other than Ganesa (Uccipillaiyar). See also Parameswara Samhita (10:279-281) ) Vibhisana shed tears. The God then said to him, “This place is good, so also its king and people. I desire to stay here. You may retire to Lanka”. He also related to Vibhisana the sanctity of the river Kaveri. “Visvavasu, a Gandharva of the Vindhyas, met on the hill side a congregation of river goddesses and made his obeisance to them. Immediately a debate arose as to whom it was meant. All except Ganga and Kaveri withdrew from the contest. Both the disputants went to Brahma, who declared that Ganga was superior. Kaveri did penance as a result of which Brahma granted to her a status of equality. Still dissatisfied she is performing penance at Saraksetra. To give her the first place among the rivers I have to raise her sanctity to the utmost by remaining in her midst. I will recline here facing your country. You may go back to Lanka.”

Dharmavarma built a shrine for the vimana, the surrounding prakaras and organised worship.

Long post, but here come the pillar sculpture. You can see Vibhisana in his royal bearings – crown and staff, lovingly carrying the Srirangam Vimanam. Sadly this amazing treasure trove of sculptural beauty – the sesharaya mandabam is currently neglected and used as a …..ok, dont want to end a good post on a sad note, we see that in a subsequent post. Enjoy the sculpture for now.

The vimanam pictures ( for comment of shiv) – images are from the net

source: http://www.thiruvarangam.com/history.html

Waking up Kumbakarna

Well, all of us at one point of time or the other have been shouted at, using the sleeping giant kumbakarna as an example. Its always tough to wake up in the mornings, that too when you are a kid and the evenings are too long and the mornings are too short. But seeing this freeze of the story sculpted into stone in far off Indonesia jolted me wide awake.

Lets brush up our memories of the story from Ramayana, Ravana’s mighty brother, the giant Kumbakarna, sleeps for 6 months at a time. Well, this was actually not a curse but a boon which he himself sought ( ok with some nimble work by Indra).

Having born to mixed parents ( mother was a demon and father a high born), the children are advised by their mother to seek the blessings of Brahma, the creator. So all four, Ravana, kumbakarna, Surpanka and Vibeeshana undertake a stiff penance.

Ravana performs intense penance , lasting several years. Pleased with his austerity, Brahma appears and offers him a boon. Ravana asks for immortality, which Brahma refuses saying everyone has to die someday. Ravana then askes for absolute invulnerability and supremacy before gods and heavenly spirits, other demons, serpents and wild beasts. Contemptuous of mortal men, he did not ask for protection from them. Brahma granted him these boons, and additionally gave him great strength by way of knowledge of divine weapons and sorcery.

Next, its the turn of Kumbakarna, who is already a giant, and Indra the Lord of devas is scared stiff, that any boon would make him invincible. So he seeks the help of the Goddess of Learning, Saraswathi, who at the appropriate moment holds his tongue back. So instead of asking for endless life, he asks for endless sleep. Brahma too glady obliges by granting him this boon. The others are shell shocked and plead with Brahma, that such a boon is akin to death, so he modifies it a bit – saying he will sleep for 6 months and be awake for 6 months. However, he cautions that if he is woken up in the 6 month hibernation, he would become vulnerable.

Ok, now the story spans a few years, the main events of Ramayana are over and we are nearing the climax. Ravana fights Rama – and the brilliance of Rama’s archery makes him loose his divine weapons, chariot and Crowns, and he is left, unarmed, on the battlefield. Rama humbles him more by telling him to go back and come tomorrow with arms.

Smitten by this insult, Ravana commits a blunder by asking his troops to wake up Kumbakarana. Now this is what is depicted on the sculpture. The mountain like colossal figure of the sleeping giant, with soldiers using spears and swords to prod him, one horsemen is riding on him ( see the brilliance of the sculptor – he depicts the previous horse and rider, tired and getting off – towards the left) – we also have an elephant trumpeting into his ear and another demon blowing a conch into his ear.

Guess, my folks didn’t have to go through all this to wake me up.

Image courtesy: http://oldsite.library.upenn.edu/etext/sasia/aiis/architecture/prambanan/

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.
1924193719391942194519471950
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
19921994199619982000200220042006

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
209320902096

All for a Mango – not the one you know, Karaikkal Ammai

The previous post of Karaikkal Ammai in cambodia, created quite a few responses. Many wanted to know more about her life and some on her weird features. Had left out that part in the previous post precisely to generate this interest. Her divine songs not withstanding, what better way to showcase her life story and answer all the questions by way of this tower sculpture from Tiruvalangadu temple. (thanks to Mr. V. Subramanian, who has helped me often with interesting verses from rich tamil bakthi literature)

First the sculpture, its a storyboard,showing the three main aspects of her life. From left to right, Her marriage, the mango creating the confusion and then her ascent to Shiva’s heavenly abode – Kailash, on her head!!!

Ok, the detailed story goes thus

( thanks – http://www.geocities.com/shivaperuman/karaikal.html)

In the prosperous town, Karaikkal belonging to the Chola kingdom, Punitavatiyar was born to a prosperous business man Danadattan . She grew to be a beautiful damsel and her beauty was compared to that of Goddess Lakshmi. As she grew up so did her devotion and love for Lord shiva and all his devotees.

In due course of time, she married a eligible businessman Paramatattan of Nagappatinam. They stayed in karaikkal and enjoyed all the pleasures of wedlock. The couple devoted much time in thier devotion to lord shiva and regularly served his devotees with good food and clothes.

Ok, enough of the happy days, paramatattan is given two delicious ( special) mangoes and he sends it to his wife through a servant intending to have it during his lunch. Just at that moment a hungry Saivite saint comes to her door, and since she had’nt yet prepared the side dishes, she served him plain rice with the mango ( since she had two, she must have felt her husband would have one and the other hers and hence gave hers away). The saint had his fill, blessed her and left.

Now, the husband gets back, sits down for lunch, finishes rice, side dishes and the one mango ( must be good eater like me) and since the fruit tasted heavenly, asks for the other one as well. This puts her in a fix and she goes inside as though to bring the fruit, her faith leads her to pray of the scared feet of Lord shiva -and lo behold, by the grace of her Lord , a mango drops into her hands. Full of devotion to the Lord for his infinite grace towards her, she serves the fruit to her husband.

But thats not it, the fruit ( being divine) tastes heavenly and the husband gets wind of something amiss. So he questions her, that this is not the other fruit, as this tastes out of this world. Fearing the worst, she speaks the truth. Her husband refuses to believe her and challenges her to repeat the feat. She goes inside and prays again to her lord and he who never fails his devoted subjects, graces her with another mango. She takes it to her husband but just as he takes it in his hand, it vanishes.

On seeing this he trembles with fear, and realises the godliness of his wife, but then the thought of her diviness, drew him away from her and he realised that he could not live with her anymore. So he tells her some story and goes off on a business trip never intending to return.

He lands in Pandya land, his voyages earning him lots of wealth and he decides to start life afresh. Sees a beautiful lady and marries her. They are blessed with a baby girl and he names her punithavathi in remembrance of his first wife.

she meantime, is still waiting for his return but news soon reaches her of his new life/wife. Her relatives take her to Pandya land, but on seeing her, her husband falls at her feet, saying how can he live with her now that she is a goddess – fit for worship.

On hearing her husband speaking like this, Punitavatiyar worshipped the feet of lord Siva in her mind and appealed to him to take away her physical frame which was united in wedlock to Paramatattan and bless her with the form of a ghost. Her prayers were answered and in front of the relatives and friends she got the form of a ghost. relatives wondered abd worshiped her in fear and left that place.

Punitavatiyar who got a ghostly form by the grace of God says with.’I also became one of the ghosts she sang ‘wonderful Tiru-antathi’. Then praising the qualities of Lord Siva she sang ‘Tiru-Irattai-Manimalai’.

Ever growing in devotion, she started journeying towards Tiruk-kailai, the abode of Lord Siva. Those who saw her went away from her in fear. But she thought thus : “It is sufficient if my Lord knows me, when these people do not know the truth of my having become ghost by the grace of Lord Siva. yet maybe seen in any form”. So thinking she craseed many northern states and turned her steps to kailas, and reached it. Not willing to place her feet on the sacred place, she moved along on her head.

When she thus reached the top of the mountain, Goddess, Uma wondered and asked Lord Siva about the approaching figure’s infinite love towards him. lord Siva said, “she is our devotee. She got ghostly form by my grace on her request to me.

When Punitavatiyar, in ghostly form reached him, Lord Siva called her ‘Ammai’ meaning mother. With joy she cried oh / Father / fell at his feet and worshipped him. From that moment, Punitavatiyar came to be known as the ‘Mother of Karaikkal.’ The Lord asked here what boon she wanted from him. She pleaded with God, “Oh Lord I pray for constant devotion to you. I must not have birth again, then I must be granted remembrance of you without lapse. I wish to stay at your feet always witnessing your cosmic dance”

Lord Siva granted her wishes and said that in Tiru-Alankatu she would see his dance can remain singing happily about him for ever. Accordingly she reached that place Tiru-Alankatu by walking on her head. Seeing the celestial dance of the Lord, she sang patikam(decade) beginning with the words ‘Konkai tiranki’. ‘ Enjoying the dance of the Lord and growing in devotion she sang another patikam, beginning with the words ‘Etti elavam’ How to praise Punitavatiyar who was called as mother by Lord Siva, the Father and Mother of all creation, and who was blessed to be at the lotus feet of Lord Siva for ever witnessing his divine dance? None can describe her ardent love towards Lord Siva.

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)