Tag Archives: ardhanari

Vriddachalam to Australia – Ardhanariswara’s murky details

There are some sculptures that imprint themselves into your memory – this androgyne was one such. From the moment i chanced on the picture of him/her i could never take my eyes of the beauty of this sculpture.

I had used it to show the refinement of the Ardhanari image post – little did I realise then that the beauty had been robbed !!

Readers must have read the post on the Sivapuram Somaskanda and it was with great interest that i read today’s Hindu article of the Australia Nataraja. Interestingly there was a mention of the site Chasing Aphrodite in the article as source for the images. One led to another and the detailed article and the Ardhanari begun to haunt me – vaguely familiar !!

It is quite interesting that the Museum records show the following proofs for its Provenance

Quote: Ardhanarishvara

In 2004, the Gallery purchased this Chola-period sculpture from Kapoor for more than $300,000. The 44-inch stone figure represents Ardhanarishvara, the androgynous form of Shiva and Parvati. It comes from Tamil Nadu, home to some 2500 important temples to Shiva. The image of Ardhanarishvara was likely in a niche on an external wall.

Kapoor provided two documents with the sculpture.

One is a receipt dated 1970, purportedly from Uttam Singh and Sons, the Delhi “copper and brass palace” that sold the sculpture to a private collector.

The second document purports to be a 2003 “Letter of Provenance” on letterhead from Art of the Past, Kapoor’s Madison Ave. gallery. It is signed by “Raj Mehgoub,” who claims to be the wife of a diplomat who lived in Delhi from 1968 to 1971.”

I ran back to my collections to trace the source of my reference.

Early Cola Architecture and Sculpture ; 866-1014 A.D.
Douglas E. Barrett – Published in 1974 !! intact in its Kosta in the temple !

and there in his plates is the same Kosta sculpture.

It is pretty clear even for a layman from the slab’s outline and the detailing in the sculpture as to the origin. I hope the authorities would be able to get their act together now and work towards bringing this invaluable treasure back to the Temple.

A cave with many questions – Parankundram, Part 1

Not all mysteries in archeology need an Indiana Jones or a Lara Croft to make it reveal its secrets, however, if ever there was one that would even baffle them, it is the wonder that stands forgotten in the glory of the famed Murugan temple in Tirupparankundram. That the famed shrine itself is a cave temple is not common knowledge, however there exists another cave at the foothills of the same hill but a little further away to the left as you drive around it.

The main cave face.

The first and foremost is the date assignable to the original excavation. The rather plain bulky set of two pillars and pilasters (half pillars) combined with the lack of any artistic fluting on their corbels help us to assign an early 8th C CE date to the cave.
It is very rare to see reliefs on the outer wall of excavated caves as usually we get to so only door guardians. However, in this cave there are many niches into which deep relief sculptures have been carved. We will visit them in the second part of this post as we need to move to the inside – to view some very intricate sculptures, whose superior iconography seem to suggest a 12th C CE to 13th C CE date.

The popular reasoning is that this was an extant Jaina cave which was later converted. Let us look at the shrine that has been cut into the left wall as we enter the cave. Inside this beautifully framed shrine is a relief sculpture of the androgynous from of Shiva as Ardhanari gracefully leaning on his bull mount.

The four armed sculpture has clear demarcation of the Shiva and Sakti portions, with him wearing a thigh length garment while hers is a sari to the knee.

Ardhanari in the Sanctum

For all its grace and form, there are many aberrations in the form. Firstly we do not get to see relief sculptures of this form in any contemporary sites. Secondly it is quite plain that its size is too small for this sanctum’s proportions. The height of the pedestal is more suitable for a seated figure and not a standing figure. The the placement of the bull is also strange. A study of the evolution of the ardhanari form clearly shows the difficulty the sculptor has in balancing the male and female body proportions.

Such early examples are the forms in the Dharmaraja ratha and the Agasteshwara temple in Perungudi. While the Sama banga profile of the Dharamaraja sculpture lacks aesthetic appeal, the problems of the larger male proportions are evident in the Agasteshwara sculpture.

Ardhanari – Dharmaraja Ratha


Ardhanari – Agastheswara

The sculptors hence bring the Rishabava Vahana and let the form lean on its head to provide the counter balance. This is seen in the later day Chola sculptures including this stunning beauty from Vriddachalam and also seems to be the accepted norm as far as Elephanta.

Ardhanari – Vriddachalam

Ardhanari – Elephanta

The problem now with the Parankundam sculpture is the bull is positioned on the opposite side ie. Not on the male side but is on the female side and hence doesn’t lend the necessary balance to the composition. These are not consistent with the the amount of planning that is needed to complete a rock cut cave shrine.

Things seem to further go wrong as we explore the rather crude attempt to shape the pedestal below, but the most crucial aspect of the puzzle rests in the totally unconnected curly patterns on the top.


At first glance it would be easy to dismiss them as a tree etc but then only the Daksinamurthy form is shown with a tree canopy on top. This is where we need to explore the Jaina aspects. Take a look at these images.

We shall explore more such in part 2….

Photo Courtesy: Mr. Udayan, Mr. Arvind Venkatraman , the hindu archives.
http://www.hindu.com/2003/05/22/stories/2003052203230500.htm
http://www.hindu.com/2006/02/06/stories/2006020602410200.htm
http://www.herenow4u.net/index.php?id=76895

A bedecked Bronze – Ornamentation study

Looking at the sky rocketing price of gold one might think that for once this precious yellow metal might at last follow the principles of Economics ! but then postulates come with their own exceptions and for ages this metal has defied all ! So best is to leave its current behavior to those who possess means to posses it and for those lesser mortal restrict to studying its most desirable form – Ornaments.

Kandikai, Sarappali, Savadi, Pulippal Tali, tolmalai, vagu malai, tolvalai, Kataka valai the list continues – thanks to Sri Ganapathi Stapathi’s book Indian Sculpture and Iconography, try to figure out what they are!

Thanks to Shashwath for managing to capture this beautiful Ardhanari closeup for our study.

Try and Identify these now.

Let me make it easier for you

The Kandikai is easy to identify – being the shortest – a rope like necklace with a large bead at the centre and small beads on its either sides.

The Sarappali is also easy – most elaborate, thick with pearls on the top and leaf motif on the bottom.

The Pulippal Tali is simple – a tiger tooth worn on a slender chain. It is interesting to note that though this ornament can be worn by both male and female , in this Ardhanari form the artist has chosen to show the differentiation in this alone – the male side has the Pulippal Tali while it extends as a simpler Savadi on the female side. The Savadi being a slightly longer chain than the Kandikai interlaced with repeating floral motifs along its length.

There is a beautiful flourish on the shoulder – the Vagumalai which is a wavy ornament slung over the shoulder in front, while a similar flourish along the sides is the Tollmalai

The Yagnopavitham is multi stranded and the scared knot – the Brahma Mudichu is stylistically shown.

The lower torso and elbows also sport ornaments.

The stylistic Keyyura / Tollvalai on the elbow is brilliantly set off by another ornament – the Kataka valai. The slender curves of the waist are highlighted by the ornamental belt – Udara Bandam.

The Yagnopavitha would in early Pallava period split into 3 strands – the shorter Uras Sutram, the central Yagnopavitham and a longer Sthana sutram. The Sthana Sutram is missing in this Chola creation.

Let me make it easier for you. Check the 3 in this rare Kongu Bronze Vishnu.

Maybe this will give fresh ideas to our Jewellers for a truly Antique Jewellery range !!

Breathing life into stone

Why is the genius of the Pallava sculptor not recognised despite numerous examples which stare right at us. Take for example, these two sets of sculptures from the Arjuna Ratha of the famous Five ratha complex ( whoever came up with these fancy names for these rathas!!), we have already seen a masterpiece in the other wall. We take two more such from the other two walls. Each a gem on its own.

While we were discussing the evolution of the Ardhanari image, we postulated on how the sculptor had brought in the Bull mount to balance the composite form. But was it just a freak moment of sheer brilliance or was it an evolution. Today we are going to see that it was not just a convenient introduction but a masterful confluence of two forms of Shiva.

Lets look at the this form of shiva – rishabandhika – Shiva with his mount. This is from the Arjuna Ratha in Mamallapuram.

These sculptures are classic Pallava styling with minimalistic ornamentation, pleasing body lines but spectacular styling.

I know some of you are already asking, whats so great about this sculpture.It looks pretty normal if not falling short. There seems to be something wrong with his torso and especially his chest. Did the sculptor make a mistake or ….?

Ok, Let me explain.

First of all, its a monolith, carved out of living rock, second its a relief sculpture and lastly, it carries the hall mark of Pallava craftsmanship.

Take a look at this angle, you will understand what i mean.

For Shiva is sculpted not facing you but half turned in profile. See how the master sculptor has made use of the available canvas – since he didnt have enough space to sculpt Shiva facing fully out, he has made masterly use of the depth available to sculpt him in profile

Though this is not a good angle ( thanks Ashok for the picture, you always come with different angles! ), but i am showing this to demonstrate his amazing use of depth and perspective. You can also see the angle of shoulders indicating how the torso has been angled to show a sideward pose. How he managed to visualise it in stone and managed to deliver is mind boggling.

Now, you will be able to better understand the Ardhanari evolution as a confluence of this image mingling with the Ardhanari.

As another example of the Pallava sculptor’s superlative stonecraft, we visit another spectacular pose from the other wall of the Arjuna ratha.

For a second, you forget that this is stone.

Not that angle, view it from this angle.

Look at how he has sculpted the Royal couple, the lady is calling her beloved who turns his head to answer her. Just close your eyes for a second, visualise her voice. ” My dear lover, “.. He turns around ” What is it sweetheart ….”

Breathing life into stone, that’s what the Pallava sculptor did!! It just needs some patient viewing and tuning to his frequency and wavelength.

How much would you give in for your better half

How much would you give in for your better half ? Sorry to disappoint you, but we are still talking sculpture here.

We had seen in the previous post how the Ardhanari image evolved including and highlighting stylistic elements of the male and female portions and the necessity of the sculptor to bring in the bull ( Nandhi) to balance the image. We stopped with stone sculptures with a promise to bring similar study into metal/bronze images.

Chola bronzes are really stunning creations of sublime beauty. The lure of such pieces are so great that once you are caught in their timeless charm, its difficult not to fall in love with them. So how better to start this discussion on the evolution of Ardhanari form from stone to metal, but to showcase a stunning bronze – not any bronze but a very very special bronze. ( collection of the Cleveland Museum of Art, Ohio)

Once again a few line drawings ( tracings) to take you through the stylistic aspects

A closeup first.

Some interesting questions. Note Shiva’s side has two hands while Umai has only one. Read somewhere that its to show the male dominance – how ridiculous. This entire concept is based on showcasing the equality of the two sexes! Why then are the two hands for Shiva? Well lets step a bit back and see the larger picture

The exaggerated curve of the waist for Umai , the tribanga ( triple flexion) all follow the styling in stone to the T. ( lets compare the two)

Notice the splendid work on Umai’s hands. Picture her delicate fingers gently holding a lotus by its stalk! Compare it with Shiva’s hand holding the Ax. They balance out each other in terms of composition. So now to our pet theory.

Lets for a second take out the Bull and the additional hand and see the image for arguments sake.

You can see the torso leaning awkardly to the right, for want of a better example – in a crowded bus, imagine you reaching out to the conductor to buy a ticket – thats the pose. Jokes, apart, is shiva giving into Parvathi’s might or is Parvathi being swayed / pulled by shiva? Anyway, the second hand of Shiva resting on the bull is purely to balance the tilt.

Arvind raised an interesting question. The flexing of shiva’s leg.

Quote: “does the bent knees and the posture of the lower limbs on the male side indicate a longer limb (as much as it does muscular limb, which is pronounced in certain sculptures and visually identifiable).
Given the bend of the limb and also the lean of the hip, though I get a feel of longer limb on the male side”

Welcome viewers views on this. We will study this in similar bronze sculptures of simple ( not composite ) forms in an other post.

Hey, but this was introduced as no ordinary bronze. Whats so special about this bronze?

Its an unique style – a composite icon formed with half a male, half a female, a bull all framed into a Trident. Wow!! If this is not poetry, what is!!!

Tracing the refinement of the Ardhanari Image

An interesting conversation ensued from the previous post on the Ardhanari iconography, not as a direct question from Sri Dev, but as an offshoot. I thought of developing the same and presenting it here. The sculptures have endured considerable damage and hence have tried to present them as line drawings using simple traces.

At the outset, the objective of this post is not to show the differentiation between the male and the female portions of the sculpture, but to reflect the evolution from the shoes of the sculptor ( well he wouldn’t be wearing shoes then anyway !) and how he had ingeniously solved a complicated problem.

The anatomy shows certain basic differentiations between the male and the female forms of the human species. Without getting into the details, the sculptor was posed with a problem when it came to the Ardhanari form. He had to fuse the male and female forms into a single composite image, maintaining the differences between the two sides, while at the same time, making sure the sculpture doesn’t look grotesque but rather as an appealing image. To illustrate this I have chosen a few random samples and focused just on this question or rather just the solution ( for otherwise each of these images need a full post for themselves)

Lets see an early version of the Ardhanari form from the Pallava period ( not stating that this is the earliest form but more for ease of study). This sculpture is from the Dharma Raja Ratha of the Five Ratha complex in Mamallapuram.

To make it easier have traced it, so that we may study it in detail.

You can see the characteristic Pallava touches, in minimal jewelry and simple formation (predominantly linear structure), but what it lacks, is the life, which we usually feel in a Pallava sculpture – This shows this is a early Pallava sculpture, as we see in later Pallava styling, in most cases the subjects are shown in profile and highly fluid forms, they almost seem to be able to give the viewer a sense of movement though cut into stone. This form however, is very rigid and resembles ( for want of better examples) a fly that’s been swat or a toad thats run over on a road. I am a great fan of Pallava stone sculpture and have argued with many about their superiority over even later cholas, but this particular one,I have to put my hands up. Why? was it because the sculptor was trying this composite form for the first time. It does look so. The differentiations between the two halves except for the breast is not much. Below the waist, its so flat that it leaves you quite disappointed.

So, what could the sculptor do? It was obviously not the same sculptor, but lets imagine a school of sculptors who start refining the form.

Lets look at the next sample – please bear in mind that we have not spent time in dating these sculptures to be sure that this is the evolutionary road but just presenting a series for discussion sake .

once again a trace to highlight or focus just on the key aspects of the sculpture.

You see that the sculptor has realised the need to highlight the gender differences and is focusing on aesthetics. He has given the waist on the female portion a good bend and tried to move that side into a tribanga pose. But this causes problems on the male side, so he had had to flex the right knee a bit. He has tried to bring in subtle changes in the hands, the left hand is more graceful while the right hand is more manly – resting on his hips. He has also brought in changes in the apparel, the saree wound around the legs in the lady side compared to kind of tight boxers for the man portion.

Lets progress a bit more into Chola land and see the perfected form.

A trace again to savor the beauty more

You can see the female portion in full triple flexion ( tribanga) and to compensate for it, the right leg of Shiva is bent fully. This causes the male torso to lean at the awkward angle and though the sculpture would look pleasing it would not be aesthetically appealing. So he comes up with an ingenious solution. Make Shiva rest or lean on to something and the readily available option is his mount or vehicle – Nandhi. Presto, problem solved. Add lots of beautiful ornamentation, develop the differences in the dressing style and this perfected model becomes a standard for all Ardhanari images henceforth.

Lets check out our theory, rushing to Elephanta Caves

What a wonderful sculpture, such grace and you can hardly see the two forms merge – the combination is seamless. And our bull is there to give balance as well. Check out the trace. Ofcourse, there are some differences in the ornamentation and styling but the basics stand.

so how sure are we of this, meaning how do we test this theory. Ok, the male and female portions occupy the right and left sides by default, but then there is one particular sculpture which is an exemption, where they switch sides ( why ? need to find out)

What does happen when this inversion happens and how does it support our theory. Watch the bull behind…

He too has been turned around to face left, to support the male half. What do you say about this ?

We must follow this study with a study on bronze figurines and test the concept. Ofcourse the structural engineering side of the image, the volume of stone which would need support, could differ from the raw strength of metal. But thats another post…..

Photographs are from the American Institute of Asian studies archives

No canvas is too small for the Chola Sculptor

The pull of Pullamangai is so strong that we are not able to leave its premises soon. So we return with another splendid masterpiece captured spectacularly by Arvind once again. This is also a request for readers to spend a few more minutes on their temple visits to take photos with an inclination to share with us – a slight shift from the general pattern of posing in front of a sculpture to show people that you have been there and taking it for its artistic value. Thanks to the digital age, it costs nothing but a few minutes, a steady hand and some creative props.

Sri Arvind has done exactly that.

Hi, this is not an advertisement of handphones !! You will realise the need for this picture once you finish reading the post and seeing this remarkable sculpture.

The ardhanari aspect of Shiva – as the half man half women ( maybe wrongly titled hermaphrodite in some sites), its signifies the larger concept of equality of man and women, of equal sharing of everything including the self – such a far reaching concept has been depicted beautifully in stone here.

There are umpteen references to this form in the thevaram verses, but chose this one adds the Lord’s bull mount as well.

http://www.thevaaram.org/thirumurai_1/songview.php?thiru=2&Song_idField=20850&padhi=085&startLimit=7&limitPerPage=1&sortBy=&sortOrder=DESC

when the good natured lady who has breasts like the lid of the casket is one half of his body.the god, Civaṉ who rides on a bull. as he entered into my mind wearing a young crescent which has no comparison and water which reached him. fever, cold fits, the ten vital airs of the body, excessive bile, acts are of such of a good nature as not to afflict us reaching us.
Translation: V.M.Subramanya Aiyar–Courtesy: French Institute of Pondichery / EFEO (2006)

The beauty of this composition is reflected in the masterly craft of the stone sculptor. Its indeed difficult to sculpt the majestic manly pose of shiva in stone, but to merge it with the feminine grace of Parvathi without loosing the form of the figure is indeed masterclass.

Lets look at the two halves separately, you can see how the masculine and feminine aspects have been accentuated to come up with a hybrid composite.

This expertise of the sculptor is seen this masterly understanding of human form and anatomy. Just see his hands sculpt the composite waistline.

The slightly erect shoulders of shiva while compared to the gently curved ones of Parvathi.

Have highlighted his strokes so that you can better enjoy the superlative stonecraft.

The manly stance of shiva brought out by the slightly bent leg to balance the frame as against the sublime grace of the devi’s, in the background – The bull ( Nandhi) with its stance, the folds of its skin, wow.

But we are not finished yet, for the beauty of this sculpture is in its size.

Truely, no canvas is too small for this master sculptor.

Pullamangai, Shiva as Ardhanari – A guest post by Satish Arun

Today we have a new addition to our team. An art enthusiast transforms into a writer in our columns. Mr. Satish Kumar Arunachalam, a software professional, crosses the border from being a silent appreciator of art, literature and spirituality to share his wonderful experiences with us. We look forward to many more such post from him. Over to satish

Those who have been following Vijay’s Posting in this space, will be very much familiar with Pullamangai. Pullamangai is a treasure trove; A masterpiece, created by sculptors, 1000 years back. This temple which has numerous miniature panels, which are just the size of the stretched palm, is a treat to watch.

The following piece will make the readers to recollect Pullamangai. ( vijay’s favorite tiger belly shiva ghana )

Though the miniature panels are the specialty of Pullamangai, in this article, we are going to see another masterpiece , located on the ‘Vimanam’ of Pullamangai temple.

There are many songs sung in praise of Lord Shiva in different forms and the form in which he shares his left part with ‘Umai’ is no exception.

Thiru Gnana Sambandar sings in Tiruchirapalli as,

nandrudaiyAnai theeyadilAnai naraivellE
rondrudaiyAnai yumaiorubaga mudayanai
chendraiyAdha thiruvudaiyAnai chirApalli
kundrudaiyAnai kUravennullang kulirume’

(when I talk about Civaṉ who has two holy tanks, naṉṟuṭaiyāṉ and tiyatillāṉ who has a spotless white bull who has Umai on one half who has wealth unlike the wealth that people get as a result of their virtuous acts done in previous births who has the hill of cirāppaḷḷi as his abode my heart is comforted

Translation: V.M.Subramanya Aiyar–Courtesy: French Institute of Pondichery / EFEO (2006)
Courtesy – www.thevaaram.org)

and Appar sings in ThiruKodika as,

‘pUnara vArat tane puliyuri araiyinAnE
kAnilven kOvanamung kayilOr kabAlamEndhi
UnumOr pichchaiyAnE yumaioru bagaththAnE
kOnalven piraiyinAnE kOdika vudaya kOvE’

(one who wears a cobra in the form of a garland one who wears on his waist a tiger`s skin when we see him one who has as his food a small amount of alms, holding in the hand a skull, and tied a white loin-cloth one who has as his half Umai one who has a curved white crescent king of kōṭikā!

Translation: V.M.Subramanya Aiyar–Courtesy: French Institute of Pondichery / EFEO (2006)
Courtesy – www.thevaaram.org)

We are going to see the form of Shiva, which these great saints have praised and sung quite often in their padigams.

The form in discussion is known as the ‘Arthanaareeswaran’ aka ‘ammaiyappan’ (mother and father) aka ‘umai oru pagan’ (umai on one side of his body) etc.

One half of the body is in male form and the other half is in female form. The right half is male and left half, female. The significance of this form is that, the female power is equal to the male and without the female or the Shakthi, the male power cannot function. Please refer to the link for the purana linked with this form of Shiva



Left side of the sculpture gleams with feminism

Right side portrays the majestic male look. A single face with two different expressions, when looked from different angle. One cannot stop wondering the artistic skills of the sculptor.

I have heard Dr.Kalaikovan speak about Chola art. He says, ‘Chola artists knows the anatomy well’. No other proof is needed to validate this statement, other than the ‘ammaiappan’ sculpture we are looking at.

Umai’s slender waist, and the beauty with which she carries herself; the Lords masculine shoulders and the majestic pose with which he places his hands on the Rishabam; – a thousand words cannot describe the beauty, which the sculptor has brought before our eyes.

I was fortunate enough to visit this temple and see this masterpiece along with the varalaaru team (www.varalaaru.com). One of the elderly gentleman in the temple, observing our groups interest in the sculptures, came forward and helped us to get a ladder, with which we climbed the vimana to have a closer look at this ‘arthanaareeswaran’ sculpture. After enjoying the beauty till it was dark, we started to the railway station and before we left, thanked and asked this gentleman his name. Even after getting into the train, we could not come out of the melancholy caused by his name. He told us that his name is ‘Ammaiappan’.