Tag Archives: Gift Siromoney

Rishabantika, Veenadhara, Ardhanari Shiva – based on Mr Lockwood’s Pallava Art

Friends who would have been following the earlier posts know the influence Dr. Gift Siromoney on the genesis of this site.

The Mystery behind the horns of Pallava door guardians

I wrote thus

” Friends, i am writing about a man who changed the course my life’s pursuits. Its a tale of selfless service, the reach of the net, information sharing,knowledge assimilation, leaving a lasting impression on the generations to come. I read that Einstein once said ” If I have seen farther than others, it is because I was standing on the shoulders of giants”, thereby acknowledging the contributions of the scholars before him.

To start with, i have never met this person. For, he passed away in 1988, long before i even knew where i was headed in life.

The posts he had graciously left behind on the net, quality content, absolutely free, easily accessible, spurred me, 20 years after his death, inspiring me to use the advances in technology, the power of the net and its networking capabilities to tap on the potential of friends, to create a site, with powerful content with an unique visual appeal, absolutely free – that even a chance encounter of a casual visitor, will make him sit up and take notice, of the treasures that our great land bore out of its intellect, help protect and preserve them for future generations. Like the legendary Ekalavya, i try to follow his effort. This effort, hopefully will outlast my human existence, and pray will inspire atleast a few like me, long after i am gone.”

Now i consider it my good fortune that a chance interaction with his wife Mrs. Rani Siromoney and her generous introduction to Dr Michael Lockwood, has given me chance to relive their discoveries. I was overjoyed when he started with the words ” It was Dr.Gift Siromoney who introduced me to the magic of the Mamallapuram monuments,”

We are grateful to Mr Lockwood for allowing us permissions to use his photographs and articles. So here we are seeing a young Mr Lockwood , as he sent me the picture with this footnote – The picture of me was taken in 1969 (when I was 36 years old!). As I said in my earlier e-mail to you, the picture was taken when Gift and I (and Prof. Dayanandan) visited Vallam (2 miles east of Chingleput).)

it registered that I wasn’t even born then !!

Read more of him in this Hindu article

Dr. Lockwood

I was overjoyed with the introduction and rushed out many of my Pallava posts to him and he patiently replied to all. One such post was an intriguing one about a visit to Tirukazhukundram in search of the Somaskanda for the Somaskanda evolution series.

Tracking the evolution of the Pallava somaskanda

There in the outside corridor we had found relief sculptures of Rajasimma and I had noted one as Shiva on Rishbavahanam, little realising that it was part of a larger debate many years earlier. Mr Lockwood pointed it out with his references and also advised that there were a mirror-set on the inside of the Sanctum, but photography was not allowed.

It was while reading his references ( part of his work Pallava Art) that i realised that the debate considered a small relief sculpture in the shore temple cylindrical shrine.

The relief sculpture inside is identical to one in Tirukazhugukundram. Thanks to Ashok for the excellent photographs

Now, if someone had told me that it was not just Shiva , not just Rishabantika Shiva, but a Veenadara – ok, i would have accepted. But Dr Lockwood identified it as an Ardanari as well. Before, we go on, we need to know that Rajasimha had some stunning iconographic signature sculptures and most of his themes are repeated in either the Olakkaneshwara or shore temple or the Kanchi Kailasanathar temple.

Olakkaneshwara doesn’t have this and so we need to look in the shore temple and Kailasantha temple. We will return to the Shore temple shortly. The Kailasanthar temple has a Veenadara Ardhanari icon and another Veenadara.

Thanks to Saurabh and Krishnamurthy uncle for the photographs

We have already seen in the post on Ardhanari evolution about how the two ` halves’ are differentiated.

Tracing the refinement of the Ardhanari Image

Now, lets study the sculpture in Kailasanthar more closely

Now that we are sure that it is an Ardhanari image, lets focus on the Veena.

The Veena is more like a fret but the thing to note is the resonator. It resembles an inverted cup and is held against the breast. This tradition seems to be very much in vogue , as we see examples in Pudukkottai – A Bhairva Shiva ( Image Courtesy – Kathie), Badami ( Ardhanari again – Image courtesy – Picasa albums), Nepal ( Saraswathi – Image courtesy- Kaladarshna)

Now, the current day Veena has made the top resonator redundant.

But would be interesting to find out if we do have a variant of the earlier Veena with the reverse cup. The player would have felt the music closer to his/her heart for sure !

Ok, back to our question of identification of the Icon as Veenadara Ardhanari rishabantika shiva – Mr Lockwood supports his with two more clinching evidences. Study these two sculptures.

I quote Dr Lockwood now

Photograph A is of a sandstone image which [was] found in the courtyard of the Kailasanatha temple, Kanchipuram, and is remarkably
similar to the one in the much larger Tirukkazhukkunram panel. The figure in this photograph, like those of Tirukkazhukkunram and
Mamallapuram, is also seated on Nandi.

Photograph B- Veenadhara Ardhanarisvara seated on a plain throne – not on Nandi. This panel, carved on one face of a four-sided block of granite, was,
at the time the picture was taken, in 1969, located in the forecourt of the Shore temple. The figure in this panel is almost identical in
attributes and pose to the Tirukkazhukkunram, Mamallapuram and Kanchipuram images. Yet, as there is no bull in this panel,
obviously, this figure cannot be called Vrishabhantika-Siva

Further he adds, on the Kailasanatha sculpture – it is of a figure of Veenadhara- Ardhanarisvara, also seated on a plain throne. It is carved on the west side of the outer wall of the vimana of the Kailasanatha temple, Kanchi.

Now, the proof rests with the three sculptures – one is inside the Garba Graha of the Tirukazhukundram shrine – maybe we can get an expert artist to visit and sketch insitu. or get some very closeup shots of the Photo A and Photo B. But then the post script

Postscript 1997:
Pallava Art Photograph A was taken by me in the late ’60s. ThisVïnädhara Ardhanärïvara carving has, at some later time, been removed from Kanchipuram and is presently being exhibited, along with the carved block (Photograph B), in the A.S.I.’s site museum at Mämallapuram!

Postscript current day: can someone help us find these two ?

An evening with Cholas – 30th Dec 2010, Chennai

Glad to inform our friends our next meet to be held on the 30th December 2010.

Location : Ashvita Art Gallery No 11, Dr Radha Krishnan Salai 2nd Street, Mylapore, Chennai – 600004 Phone: 044-42109990

Time: 5:30 to 8.30

Mr. Maniam Selvam has agreed to share his memories of his Father with Kalki.

Our dear Mr. P Raman, who has a marvelous private collection of antique coins etc., has agreed to exhibit some of his precious collections – which includes Sri Rajaraja coins too !!

Mr. Sitaraman – guide to Mr. P. Raman has kindly consented to render a talk
on antique Coins & Seals – particularly of Pallava and Chola origin.

Vijay ( poetryinstone) will feature rare paintings including a special highlight of the famed Tanjore Big Temple Fresco paintings in a talk / photo feature.

Our dear Venkat, who published and released sequel to PS – titlted Kaviri Maindhan has consented to honour Mr. Maniam Selvam.

8174

We will also honor Dr. Gift Siromoney – for his valuable support to the cause of cultural and heritage preservation. Mrs. Siromoney has agreed to share her thoughts of her husband.

Thanks,

PSVP & Poetryinstone


Update: Video link to the introductory speech and felicitations ( thanks to Maravanpulavu Sir)

Recreating a lost treasure – Somaskanda Paintings of Kanchi Kailasanatha – Part 3

Its been an amazing journey taking our readers through the last couple of posts, as we are treated to ring side seats to this delightful recreation of a lost pallava painting, from the Kanchi Kailasantha temple of Sri Rajasimha Pallava ( 700 CE !!), moving with the artist stage by stage.

We had started of by blocking in most of what we could salvage from the surviving pieces and started working on filling the finer details. The main hero of this panel comes up now. Shiva.

Next Umai, takes form.

Working on the divine mother a bit more. We notice that she is wearing a thin yellowish blouse or has applied turmeric on her upper torso.

The coloring starts now, with very light skin tones.

Shiva gets his color including his famous Neelakanta !

Umai matches her beloved now.

Lets see how they both pair up.

Its coming up quite well. lets add more color and fill in the details of Shiva’s Keyuras ( arm bands)

The bottom ganas and stands get colored up.

and as we approach the final stages of the composition, time for a quick stock taking. Have we missed any detail.

We forgot to correct the hands of Brahma, to be in the anjali pose.

This is where we go back to the origins of this study on Somaskanda evolution – the 1971 article of Dr Gift Siromoney.

http://www.cmi.ac.in/gift/Archeaology/arch_somaskanda.htm

“Of Siva’s four arms, his lower right arm is extended horizontally to the side with his hand in the position of holding something, such as a flower, though no object is actually shown. With his upper right hand he holds a snake by its tail. His lower left hand is in the ardha-dhyana mudra. His upper left hand is near his shoulder as though holding a rosary or akshamala. Siva’s left leg is down.”

This is ofcourse his reference to the early pre Rajasimha Style somaskanda sculptures. But there is no reference to the snake in the Rajasimha style Somaskanda. But his pointer made us search for the snake in more detail.

Do we see something in the lower right hand?

Do you see the raised hood of a beautiful Cobra. We incorporate it into ours.

and without further delay, with many thanks to the artist Mrs. Subhashini Balasubramanian and our young photographer jagadeesh, we have our recreation of the 8th Century lost wonder.

We hope you all enjoyed this attempt ( any mistakes are purely unintentional and we are open to comments)

Tracking the Evolution of the Somaskanda – Part 4

Thirukazhukundram or Thirukazhugukundram, would bring back fond memories for most Chennaites. For, invariably it would be the place where schools would take you for excursions. Can’t blame them, the choices were not great – toss up between a 99% humidity, baking sun @ 42 deg, thrown in the beach sand – Mahabalipuram, a lecture on bovine mechanics – Madhavaram Dairy , a supposedly bird watch while you end up seeing just monkeys and a few specs of white (couldnt afford decent binocs and the pooled Rs 3 cheap plastic one was dismantled even before we paid up – not that it could magnify anyting anyway ) – ok the white specs were to be cranes travelling XXXX kilometers and so the teacher went on to justify the educational tour tag – what the heck, my backyard had more birds anyday than @ Vedanthangal, last but not least it was the umteen time we got to see the shaggy cross between a cow and a deer, a python so lazy that it didnt move for like 3 years, even the chameleons were bored seeing us, the crocs were thrown into what looked like a community toilet and there was absolutely no venom left in the poor cobra to milk @ Guindy Snake Park. The graduation to the next level would be Sengi fort.

They all had a commonality – all within a couple of hours drive, cheap ( aka no entry fees) and relatively deserted on weekdays – so kids wont get lost. Tirukalukundram scored a vital point as it had ( till recently) the added attraction of the avian visitors – two vultures who turned up at the appointed hour to partake in the brunch. ( its thiru Kazhugu – vulture – kundru – hill lock and Pakshi theertham – bird sacred water – literally translated !!!).

Off we went – neatly packed like sardines in the rickety old school bus and then paired with your best pal or if you are too mischievous or talkative with a girl ( ultimate punishment till we realised that it was not, but which time we were too old to sit in the same bench as them – so much for co education !!) and make the torturous climb up the steep and unforgiving stairs – they don’t seem too steep when you are young and a ` few kilos’ lighter.

So its no surprise that this most sacred of sacred places – maybe one of the very few temples which have been sung by Appar, Sambandhar and Sundarar, is not top of the list for many. Though its just a short detour 14 kms from Mahabalipuram, not many make the trip once they start wearing colored clothing of their choice ( out of school i mean – no more navy blue i swore till i realised that it was part of corporate dressing)

When Arvind suggested a quick drive down ECR to visit this site, i quickly wound up and parked near tiruvanmiyur temple tank ( free parking !!) and hit ECR. As we passed Mahabs, seeking directions – the road turned pleasantly good and green on either side. Just as we took the last diversion ( mean the last curve to avoid) we could spot the majestic hill come into view.

As our luck could have it or otherwise, we hadn’t done our background reading well and skipped the all important Pallava Rock cut cave – Orukal Mandabam ( one rock cave) and attempted to climb to ” the temple on top of the hill“. There is considerable debate on these two shrines and hence i used the italics. We will jump to that debate in a later post when we cover the rock cut cave.

Enough of the ramble ( must be the after effects of staying up all night and reading Chetan Bagat in one go ) I am going to depend very much on Sri K. R. Srinivasan’s Cave Temples of the Pallavas henceforth, and attempt to post on the topic of the post.

After a steady ( meaning stopping every five steps and almost coming close to having a heart attack twice) – we reach the summit blaming it on the heavy lunch…we were disappointed by a a very small stone structure. All this trekking for this !!! It was some auspicious day and looked like the whole village had turned up in all their finery to have darshan of the lord – vedagirirswarar. We tried our best acrobatic moves, attempted to outdo the leaning tower and managed to fit our heads inbetween the nandhi’s ears while our torso was a full 4 feet away – to just get a peak of the moolavar. Just as we came around,we noticed that the surrounding corridor had deep clefts – where we could see the base rock and in it – pay dirt. Atlast some Pallava sculpture – relief panels at that and SOMASKANDA !!

We were all eager to check what was its styling. Classic Pallava relaxed styling despite all the wearing of the stone – you can always spot a Pallava art work. Its got a certain laid back styling and freedom in it – and a poetry that runs through it. Next question – Pre Rajasimha or post Rajasimha

Just then, we heard some commotion, a road side hero – self professed custodian of the hindu temple arrived, showering the choicest of abuses on us and accusing us of not knowing Hindu culture ( maybe it was our bermudas and camera bags) – despite our best attempts to educate the romeo that we were not taking the Garba Graha nor were these panels under worship – he was more inclined to show of his new found role to his fellow tribesmen. Pretty soon we had a whole village assembly around us with all sorts of mustached elders passing judgments. not withstanding that we had paid a hefty camera fee and there was no photography board !! It was plain ridiculous, stupid, atrocious….and if not for the fact that we were inside a temple precincts, would have asked them to just … off. All my focus was on the reminder of the two panels – one was a very wonderful Shiva seated stylistically on rishaba – now you know what i mean by classic pallava styling.

I did shoot it but then it was close to delirium and we had to give up the last one.

Anyway, surprisingly the somaskanda capture, despite the poor light and emergency shot, is good enough to attempt a detailed study

Brahma and Vishnu are inside the panel

Shiva is in his usual pose, Parvathi /Umai – well will let you decide

A snug baby skanda with his characteristic head dress.

Surely a post Rajasimha panel. The throne is pretty standard, but the vessel here is quite different from what we have seen in other such panels – its not the standard vase but more like a high bowl. Another interesting variation!!

So,now is the tricky problem. Obviously, since the temple was sung by the trio – they are dated to Mahendra’s period – 630 AD around. But Rajasimha was three generations later, so how do we explain the presence of a stylistically later dated panel in an older temple – quite simple – the temple on the hill was existing prior to this panel being sculpted. The confusion arises since the lower cave ( which we will see subsequently) has not been sung – none of the caves of Mahendra have been sung upon, while this temple on the hill has been specifically sung. So the conclusion ( book ref given earlier) is that there must have been some sort of temple structure that existed earlier – then later pallava – Rajasimha or post him did some renovation and created the current structure by standing 3 stone slab -megalithic style shrine – on which these ( hopefully i can get you the third panel via friends shortly).

More on this interesting theory with inscriptional support which lends a new angle – when we see the Pallava cave in the base of the hill shortly.

A Chalukyan “Horned” door guardian – Pattadakkal

Door guardians are the least noticed even today and no exceptions for these mighty but neglected gentlemen and ladies in sculpture – infact it pains me to see men made to stand like statues in popular resorts mocking them !. They are a eclectic mix of emotion and styles and they are dear to me ( as to a few friends who helped this post come up). So was surprised when i came across a book reference in another book – what struck me was the title of the book – THE CULT OF WEAPONS. THE ICONOGRAPHY OF AYUDHA PURUSHAS, by Sri. V. R Mani.

We had been discussing door guardians and horned door guardians and its been my wish to bring out a dedicated series on them, so we rushed to grab a copy (me, satheesh and Arvind) – It was not a large book ( was a bit disappointed) – for if you leave out the plates, bibliography – it was just 45 pages. But the book more than made up for its lack of volume with quality of content. One particular focus on a Chalukyan door guardian, from Pattadakkal, caught my eye. We had earlier carried a series on the Pallava horned door guardians based on an article by Dr. Gift Siromoney, which was more like a theory or a postulate – saying the door guardians could be the personifications of the weapons – ayudha purushas. But this sculpture, a beauty at that, leaves us in no doubt. ( Thanks Kathie – cant imagine what i would do without your help for the image!!)

A very very splendid relaxed stance, leaning slightly to his right, bending his right leg and balancing his weight on his club / mace. The snake on the mace is lively as well.

lets take a closer look at the head dress – our point of interest.

He is four armed ( early Pallava door guardians were two armed – reminds me to do a post on Arvind’s visit to Kanchi for later Pallava door guardians !) , what he holds in his upper right arm is not clear , but his upper left arm is holding his own attribute – a differently shaped trident or trishool. His lower hand postures are relaxed and go with the overall composition ( again, reminds me to do a series on the hand mudras !!). But the major find for us is the trident sculpted behind his crown!

However, this particular line in the book is a topic for further discussion.

” This depiction in addition to the trident held in his upper left hand, reveal his identity as trisulapurusha. The endowment of this new character to to the door guardian is a distinctly Chalukyan contribution to Hindu Iconography. In later examples from both Chalukyan areas and regions south of it , one can find the development of this tradition “

Now, no early pallava examples are studied in this work and the fact that Pattadakkal was constructed to honor the victory of Vikramadtya II over the Pallavas ( between CE 732 – 742 ), cast doubts on the above claim – and in most probability it was Mahendra, Mamalla and Rajasimha’s Pallava traditions that were worked on by the Chaluyan stylists – given the close stylistic resemblances to the Kanchi Kailansatha temple to the monuments in Pattadakkal, it must have been the same artist guild that was used ( taken ?) to construct them.

What do you say?

The mystery behind the horns of Pallava Door Guardians

Friends, i am writing about a man who changed the course my life’s pursuits. Its a tale of selfless service, the reach of the net, information sharing,knowledge assimilation, leaving a lasting impression on the generations to come. I read that Einstein once said ” If I have seen farther than others, it is because I was standing on the shoulders of giants”, thereby acknowledging the contributions of the scholars before him.

To start with, i have never met this person. For, he passed away in 1988, long before i even knew where i was headed in life.

when i first started my pursuit to learn sculpture, the stones of mahabalipuram were becoming not just time pass but posing some intellectual questions. spurring me to learn and read more about them. Being in Singapore didn’t help and the only way to quench my thirst was by reading books. Quality books on sculpture were heard to get, of the few good ones, some were ( are) at a higher plane than my current grade, and the rest were priced higher than what i could convince myself to spend on a hobby. The pursuit was still at the hobby stage at that time. But the thirst was still driving me and i turned to the net for help, coming across just two sites. One was Dr Nagaswamy’s tamil arts academy and the other, Dr.Gift Siromoney (30.7.1932 – 21.3.1988), M.A., M.Sc., Ph.D., F.S.S.
http://www.cmi.ac.in/gift/Archaeology.htm

The posts he had graciously left behind on the net, quality content, absolutely free, easily accessible, spurred me, 20 years after his death, inspiring me to use the advances in technology, the power of the net and its networking capabilities to tap on the potential of friends, to create a site, with powerful content with an unique visual appeal, absolutely free – that even a chance encounter of a casual visitor, will make him sit up and take notice, of the treasures that our great land bore out of its intellect, help protect and preserve them for future generations. Like the legendary Ekalavya, i try to follow his effort. This effort, hopefully will outlast my human existence, and pray will inspire atleast a few like me, long after i am gone.

I take one such thread, which the great man had left behind in his site and develop – One of the first puzzles i had taken to study. Please take time to read his extensive note below:

http://www.cmi.ac.in/gift/Archeaology/arch_dvarapalaka.htm

He has supported his theory with some rough sketches, which i have developed with photographs.

The hypothesis is very simple, Are the Pallava door guardians personifications of the divine attributes ( weapons) of the Lord whom they are guarding?

To understand this better, lets take the Shiva shrines for study first. Most early Pallava shrines had door guardians who wear a curious headpiece. Various postulates have been proposed, right from horns worn by a primitive tribe, later evolution of Jaina Naga icons and even as personifications of the Nandhi.

Unfortunately the main door guardian at Vallam, which Dr. Gift analysed is not clear enough ( thanks to Prof Swaminathan and Chandru sir for the photos), but i am thankful for Mr. Shriram for giving me an excellent photograph from Tirumayam cave ( though later than Mahendra ) that helps us to study the concept. We also see examples from other Mahendra caves including Mandagapattu and Seeyamangalam.

First of all, lets visit the Mahendra cave in Vallam. The cave has been pathetically managed with an ugly grill marring the entire beauty of the place. Anyway, for purpose of this study ( am thankful to Prof. Swaminthan sir and Chandru sir for sharing their photos of Vallam).I am just going to present to you a series of photos and then work on the hypothesis.


so just watch the dissimilar door guardians ( wonderfully sculpted in side profile) as compared to later temples where they are sculpted a mirror images, no two Pallava doorkeepers were done to look similar.

Notice the right side door guardian ( invariably) is carrying a set of curved horns. But are these horns. They seem to be positioned slightly below the head, where you would normally sculpt horns. Also the way the horns are attached or start – there is a very conspicuous convex curve.

Now, lets look at the left side doorguardian, he is bereft of any horns, but watch closely – he seems to have some sort of a projection in the centre of his head dress – like he has taken a serious whack and is all swollen up! Is it just a fashioning of his crown or does it signify something else?

Lets move on to Mandagapattu Mahendra cave.

Here, the right side door guardian doesn’t sport any horns. why? But not to be disappointed, we see the same protrusion in the head of the left side door guardian!!


Can you make it out now. Seems to be very much in fashion among the left door guardian. We will come back to this towards the end of the post.

Lets swing across to Seeyamangalam.

We have our horned door guardian at the right but the left side door guardian doesn’t sport the protruding crown.

But lets take a closer look at the horns. Even though they seem to occupy a more normal horn position, the curve at the base is very distinct and doesn’t look like a normal horn.

Now, thanks to Shriram we are going to see a really spectacular sculpture and example that is going to prove this postulate. These door guardians are from Tirumaayam. The right door guardian is possibly one of the best executed forms – such grace, such pristine beauty. His majestic poise is sheer poetry.

The left door guardian is slightly more subdued in his stance.

Lets peek in closer to view them. The left one does has a queer projection on top of his head. But the right door gaurdian’s head dress is worth a second look.


Lets analyse the complex curve at the base of the so called horns. Just imagine the sculpture without the face of the doorguardian.

Do you notice that there is a spike at the top of the crown. Now when you look at the three spikes as a single structure you can notice that they are indeed the three frongs of a large trident that has been superimposed on the door guardian. This could only mean that the door guardian is the personification of the Trident of Shiva – Thirisoolanathar.

In the same vein, the argument is that the protrusion on left side door guardian is the face of an Axe blade, depciting the Axe aspect of shiva ( check out the axe blade when being held by shiva in the famous chandesa sculpture in Gangaikondacholapuram) – Mazhu being the old name of the axe and hence he is called Mazhuvudayar.

Thus we see that the two door guardians are infact the Trident and Axe of Shiva

Another example from Kaveripakkam ( thanks kathie for sharing) currently in the chennai museum with the Horns!!