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