Tag Archives: bhima

How Hanuman landed in the Pandava’s banner

It is not often you find miniatures in the upper reaches of a Gopura. So we were pleasantly surprised to find a rare depiction from the Mahabharatha in the Tirukkurungudi Temple’s Gopura.

Fortunately, the renovation work was in full swing and the strong casuraina poles held our weight and me and Arvind ( who braved his vertigo) climbed up to get to see the beauties.

We had already captured a very unique depiction of Garuda in this set, but this one was rarest of the rare.

Thanks again to the Amar Chitra Katha memoirs, we knew the plot by heart, but never had seen the theme sculpted in stone.

Had always imagined that this was part of folklore or atleast a later addition to the Epic.

You can clearly see the depiction of Hanuman as a `mere’ monkey sitting there nonchalantly as a proud Bhima uses his mace to clear the lowly tail – as though it is some twig.

Decided to give it a re read on stumbling on this depiction.

They reached Kulinda, the kingdom of Subahu, on the Himalayas. They accepted the honors rendered to them by that king and rested there awhile. Later on, they went to the charming forest of Narayanasrama and halted there.

One day, a breeze that blew from the northeast wafted a beautiful flower near Draupadi. Draupadi took it in her hands and was so charmed with its fragrance and beauty that she showed it rapturously to Bhima.

“Come and see this flower. What a sweet fragrance! How charming! I shall hand this over to Yudhishthira. Bring some flowers of this kind. We should grow this plant in our Kamyaka forest.” Draupadi ran to give the flower to Yudhishthira.

Anxious to please his beloved Draupadi, Bhima went in quest of that plant. He went alone in the direction from which the fragrance seemed to be borne by the breeze, without wasting a thought on the wild beasts that crossed his path.

He presently came to a garden of plantain trees at the foot of a mountain, and there he saw a huge monkey shining like blazing fire, which lay right across his path blocking it.

He tried to frighten the animal out of his way by shouting at it. It only half opened its eyes lazily and drawled: “I am indisposed and so I am lying here. Why lid you wake me? You are a wise human being and I am mere animal. It is proper that the rational man should show mercy to animals as interior creatures. I am afraid you are ignorant of right and wrong. Who are you? Whither are you bound? It is not possible to go further along this mountain path which is the path of the gods. Men cannot cross this limit. Eat what you like of the fruits of this place and if you are wise, go back in peace.”

Bhima, unused to being taken so lightly, grew angry and shouted: “Who are you, yourself, you monkey, that indulges in such tall talk? I am a kshatriya hero, a descendant of the Kuru race and a son of Kunti. Know that I am the son of the Wind god. Now move away from the path or stop me at your peril.”

Hearing these words the monkey merely smiled and said: “I am, as you say, a monkey, but you will come to destruction if you try to force a way.”

Bhima said: “I do not want your advice and it is no concern of yours if I go to destruction. Get up and move out of the way or I will make you.”

The monkey replied: “I have no strength to stand up, being but a very old monkey. If you have to go at any cost, jump over me.”

Bhima said: “Nothing could be easier but the scriptures forbid it. Otherwise I should jump over you and the mountain in one bound, like Hanuman crossing the ocean.”

The monkey remarked as though in surprise: “O best of men, who is that Hanuman who crossed the ocean? If you know his story, enlighten me.”

Bhima roared and said: “Have you not heard of Hanuman, my elder brother, who crossed the ocean, a hundred yojanas in breadth, to seek and find Sita, the wife of Rama? I am equal to him in strength and heroism. Well, that is enough talk, now get up and make way and do not provoke me to do you some harm.”

The monkey answered: “O mighty hero, be patient. Be gentle as you are strong, and have mercy on the old and weak. I have no strength to rise up as I am decrepit with age. Since you have scruples in jumping over me, kindly move aside my tail and make a path for yourself.”

Proud of his immense strength, Bhima thought to pull the monkey out of the way by its tail. But, to his amazement he could not move it in the least, though he exerted all his strength.

He set his jaws and strained every muscle till the very sinews cracked and he was covered with perspiration. But, still, could not move that tail the least, a little bit up or down or sideways. In shame, he bent down his head, and then asked in a chastened mood:

“Who are you? Forgive me and reveal to me whether you are a Siddha, god or Gandharva.” Bhima like most strong men, was all respect when he saw one stronger than himself, and spoke like a pupil addressing his master.

Hanuman replied: “O mighty-armed Pandava, know that I am your brother, even that Hanuman, the son of the Wind god, whom you mentioned a little while ago. If you go on this path, which is the road to the spirit-world where the Yakshas and the Rakshasas abide, you will meet with danger and that is why I stop you. No man can go beyond this and live. But here is the stream with its depths where you can find the Saugandhika plant you came to seek.”

Bhima was transported with delight: “I count myself the most fortunate of men in that I have been blessed to meet my brother. I wish to see the form in which you crossed the ocean,” and he prostrated before Hanuman.

Hanuman smiled and began to increase the size of his body and stood forth firmly to the world like a mountain seeming to fill the landscape.

Bhima was thrilled at actually seeing that divine form of this elder brother, the mere description of which had till then filled him with wonder. He covered his eyes, unable to bear the dazzling light radiating from that figure.

Hanuman said: “Bhima, in the presence of my enemies, my body can grow still more.” And Hanuman contracted his body, resuming his former size. He tenderly embraced Bhimasena.

Bhagavan Vyasa says that Bhima felt completely refreshed and became much stronger than before by the embrace of Hanuman.

Hanuman said: “O hero, go to your abode. Think of me whenever you are in need. I felt the same delight when I embraced you that I had in times of yore when I was fortunate enough to touch the divine body of Sri Rama. Ask any boon that you like.”

Bhima said: “Blessed are the Pandavas for I have had the good fortune to see you. Inspired with your strength we are sure to conquer our enemies.”

Hanuman gave this parting blessing to his brother:

“While you roar like a lion in the battlefield, my voice shall join yours and strike terror into the hearts of your enemies. I shall be present on the flag of the chariot of your brother Arjuna. You will be victorious.”

Hanuman pointed out to Bhima the stream nearby, where grew the Saugandhika flowers he had come to seek.

This put Bhima at once in mind of Draupadi who was waiting for his return, and he collected the flowers and returned to her without delay.

and thus did Hanuman came to occupy the banner of Arjuna in the great battle.

No ordinary sink

While writing about the Tanjore Brihadeeshwara temple, you tend to get lost praising the chola sculptor, but then there are a few later day contributions which need to be acknowledged as well. It might already be well known that i am not particularly a great fan of sculpture post 13th C – but then there are few vestigial remains that are a tribute to the great traditions of stone work. We have seen a few examples like the Srirangam sesharaya mandabam, the pillars from the great Kanakasabhai of Perur – in that line there does exist a splendid structure inside the big temple environs, that needs to be featured. The Nayak contributions to the big temple via the Subramanya Shrine is notable. We will see just a sample from the Subramanya temple – well, just a spout and a sink.

Locating the Subramanya shrine is not difficult, 3/4 into circumambulating the Vimana, you cannot miss the shrine, but credit to the artist, it does merge into the overall theme seamlessly despite a 600 year gap. Using a mixture of British Library antiquesand images from the net to get you a look feel.

What we are going to see, comes into view as you are 3/4 th ( again) into circum ambulating the subramanya shrine.

There is something surreal about black and white photography!!

Well, we have come to the subject of todays post – there is word in tamil, which i cannot correctly translate into english ” menakkedarathu ” – it would mean going to great extent to do a small job.

Lets look at our subject a little closer.

Yes, its a spout for the ablution water to pass from inside the shrine into a receptacle below. Take a look at the splendid stone work on this spout, simply master class, the curves and the graceful lines accentuate the form.

Now, for the sink. Its no common sink mind you!

With Lion mot tiffs as its base, this sink carved of a single block of stone, has more to it that offers the eye. Its got an interesting tale to tell as well.


If you have been following the posts regularly you would have already known the tale, we featured it in

Feed Half of Bheema to

Once you read it, find out what Bheema has in his hands.

and now is caught as his hand is empty

Feed half of Bhima to….

We return today with a fascinating legend, supported by three sculptures. Two from Darasuram and one from Krishnapuram. Thanks to Mr Arvind Venkatatraman for lovely pictures from Darasuram. we got an unexpected Bonus from Artist A.P. Sreethar, sharing this rare sketch of the Krishnapuram pillar by the legendary Artist Silpi as well.

While there are many different versions of this legend, am trying to give the simplest ( and less controversial one). More so, since this legend doesn’t appear in the main Mahabaratha, i am taking one that has just about enough information to support the sculptures exhibited.

Yudhistir is performing a great Yaga ( sacrifice). He is advised that inorder for it to be performed properly he needs the help ( milk of !! by some versions) Purushamriga – a half man half tiger ( or lion), which is a staunch devotee of Shiva. Trouble is the creature resides deep in a jungle and preys on almost anyone it sees. ( other versions bring in a Shivaite /Vaishnavite angle to this debate)

Bhima is selected for this task and wily Krishna gives him 12 stones ( lingas, rudrahsa by other versions) and asks him to use it when he is in trouble. Bhima sets off to find the Pururshamriga and finds it deep inside the jungle. By one version they agree to a challenge – kind of a running race, in other versions he chants something that upsets it. Well back to the story, Bhima is being chased by the Purushamriga and its catching up with him at a fast pace. Bhima decides to use the `stones’ and drops one. Instantly it turns into a Shiva LInga ( shiva temple in some accounts) – anyway the animal being a stauch shiva devotee has to worship the Lord, giving Bhima much needed time to put some distance between them. But the animals superior speed enables it to catch up with him once more and he uses one more of the stones. Thus he uses up all 12 ` help lines’ but he is still not out of the forest. He uses all his strength and just as he puts one leg outside the forest, his other leg is caught by the Purushamriga. An argument ensures and Yudhistr is called on to pass judgement.

Yudhistir being the just king that he is, rightly !! passes the judgment that the Purushamriga can have half of Bhima ( the portion within its territory). The impartial judgment makes the Purushamriga let go of Bhima and all is well.

OK, now to the sculptures. Two delightful panels from Darasuram. You can see in the first one you can see the chase. The Purushamriga seems to be hardly taxed and is about to grab Bhima.

The second panel, it has caught him and both are in front of Yudhistir ( who has a lady attending on him).

The Krishnapuram pillar sculpture is more elaborate and seems to be depicting a fight scene almost – maybe when the Pururshamriga caught up with Bhima. Both are holding small maces..


Now, we see the master strokes of Artist Silpi who has caught this pillar in his immortal work here.

Amazing sculpture and an inspiring sketch.

update+++++++++++
pl do visit Sri Raja Deekshithar’s wonderful site for more of these beauties. Sadly, sir left us this year. http://www.sphinxofindia.rajadeekshithar.com/

100th Post – A unique sculpture, an unique person – Dr. Jaybee

This is the 100th posting on this site. A century in a short span would not have been possible without the support of friends, philosophers and guides – but the seed for this effort was sown by a few guiding lights. One such guiding light, who continues to enthrall not only me, but anyone interested in varied subjects from trivia to research thesis – whose sheer propensity to generate articles of interest to a wide audience spanning pre sangam to contemporary living, makes you think if he is a walking encyclopedia – well, How do i introduce this truly multi faceted master of writing – or does he need an introduction at all : yes, its Dr.S. Jayabarathi whose writings (in Tamil and in English) on Tamil history and culture have earned him the respect and affection of enthusiasts world over. He has this amazing ability to judge individuals, an interesting thread or even a small post in some forum and he would call you – clearing your doubt or correcting an error, offering not the answer but show you the path – for the journey is half the pleasure of the goal ! he loves to inspire people to join on this search to understand what a great land we hail from.

( incase there is someone who don’t know him, this is for their benefit :
An introduction
)

I kind of wriggled this post from him, or technically hijacked from his site, but again since we have showcased most of the other sister sculptures of this group, i sought Dr . Jaybee’s kind permission to use his – and he graciously consented. Pray for his long life, so that he can inspire many more like me.


Dr. Jaybee’s site link


This frieze is a panel from the famous group of temples at Bantei Seri. Bantei Seri is 15 miles north-east of Ankor Wat in Cambodia. Bantei Seri is acclaimed as among the most beautiful pieces of sculpture in the world.

“The lacy setting is superbly executed and the balanced rhythm and harmony of the scene itself cannot be surpassed in any work of man” – Reginald le May.

The above piece shows a scene from Mahabharatha. Its the one of the last scenes in the Bharatha War. Duryodhana lay exhausted and wounded, alone after losing everything. The Pandavas wanted to finish the war decisively and came in search of Duryodhana.

Since Duryodhana was alone and the Pandavas were five, he is given the option of fighting with any one of them. Among the five, all the others, except Bhima, were no match for Duryodhana who possessed the strength of ten thousand elephants. Bhima was similarly strong.

Both of them were exponents of warfare with the Gatha aayudham. Though exhausted, Duryodhana had better training and skill in fighting. So a duel of gatha weapons took place. Gatha is a huge mace which is very heavy. It was used to crush opponents, break armour, wreck chariots and kill elephants.

The Pandavas, Krishna, and his elder brother Balarama were watching. Both Duryodhana and Bhima had learned the art of gatha warfare from Balarama. It was a dvantha yuddham which was a fight to the finish. As the fight proceeded, Bhima got tired and became unwary. But Duryodhana still retained his skill and fought a cautious, careful, and alert fight.

At one instance, Duryodhana jumped up high above the level of Bhima’s head. From that vantage position, he aimed and swung his gatha at the head of Bhima in a downward stroke. But at that time, Krishna gestured to Bhima to hit Duryodhana on his left thigh, which was now at level with Bhima’s swing. The left thigh is Duryodhana’s vulnerable part. Duryodhana can only be killed by crushing his left thigh. Krishna knew this and gave the cue to Bhima. Bhima dealt a death-dealing blow which crushed the left thigh of Duryodana. Duryodana fell to the ground, mortally wounded.

When balarama saw what was happening, he swung his Haalaayudham the plough weapon with fury at Bhima for this frank breach of duel code of honour. But Krishna prevented him from harming Bhima.

You can see in the panel, the scene embodying all the dynamism and feelings fully.

At the right, the four Pandavas are seated.

In the centre, Bhima and Duryodhana are fighting. Duryodhana is aloft if the air with a swing and an unswerving aim.


At the left, Balarama is about to hit Bhima with his Haalaayudham. He is being held back by Krishna who is depicted wth four arms.

This is a wonderful piece of sculpture. What is more striking is that THEY have it THERE and we don’t have it here with us.

Vaaranam Aayiram – not the film, but sculpture from Halebid

We watched the tamil movie Vaaranam Aayiram last night – ok, i know all of you are asking why i have jumped from sculpture to feature films. Well we are talking sculpture today as well, just that i found the choice of names for this film to be Unique. Literally translated it means a thousand elephants.

Its from a famous verse of the great devotee Aandaal sung on Vishnu – loosely translated – She envisions Vishnu coming surrounded by a 1000 elephants, the villagers noticing this gather water in golden pots ( auspicious welcome) and string garlands all over the town. Maybe the name created enough interest and inorder to explain the title the director made the hero’s mother – explain it at the very end – to every women her man is such….

But it reminded me of another man, he too linked to a thousand elephants – not surrounded but the strength of a thousand elephants – the legendary Bhima – . His culinary skills ( and consumption) apart, his strength forms part of many a folklore.

Being the son of Vayu ( the god of wind) he was born strong, yet there is another story of how he got his superhuman strength. Once while with Droupadi, a fabulous scent fills the air and both are drawn to it, Bhima goes in search of the source, a divine flower deep inside a forest. Enroute he stumbles across a monkey that is lying in his path. Drunk on his strength, Bhima abuses the monkey and asks it to give way, else he threatens to pick it and throw it away. The monkey doesn’t even bat an eyelid and asks him to first try lifting his tail. Amused Bhima tries to move the tail but to his astonishment finds that he can’t even nudge it. Realising his folly, he humbly seeks the true identity of his opponent – he is none other than the mighty Hanuman ( his half brother). Hanuman had come to hear of Bhima’s vain nature and ego on is strength and this was a lesson in humility. Having thought the lesson he embraces Bhima – who at once realises a supreme energy flowing through him….Hanuman has reinforced Bhima’s strength with the embrace.

Ok, now the sculpture. The amazing Halebid complex throws up this beauty. ( pl click on the image for a good view)

In the centre is the mighty Bhima rushing at an oncoming elephant – holding it by its trunk ( sadly broken) and ready to strike it with his mace. There are two soldiers behind the elephant in heavy armor – sword, shield.
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But the highlight of the sculpture is what is depicted extreme left ( or right of the panel)…a pile of dead elephants and their mahouts.
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A delightful composition.