Tag Archives: Mahendra

Head to Head clash – Pallava Stone vs Chola Bronze

Many a times, the question is asked to me. As a self styled art appreciator who would i rank as the best – Pallava or Chola. My answer had always been Pallava Stone and Chola Bronzes. If we drill down further, Pallava stone sculptures of the Dharamaraja Ratha and Chola Bronzes towards the closing years of Sri Raja Raja Chola are maybe the finest examples of art that I have seen.

The upper tiers of the Dharamaraja Ratha in Mallai, hold in their midst some of the finest specimens of artistic expression, for not being confined to any cannons the unrestrained imagination of the Pallava sculptor ran riot, faultless and matchless in their execution, working within the cramped confines of its upper tiers, the whole structure being a monolith carved out of mother rock top down, with zero scope for error, what these immortal artists did to the hard granite is the very pinnacle of artistic brilliance. Their ability to conjure up a myriad combination of poses with simplistic grace, perfection in form, clarity in depiction and the stunning ability to bring out the underlying expression of flesh and blood into stone is remarkable.

Today, we take one of these jewels of Pallava craftsmanship to stand in competition. The Shiva as Rishabavahana. ( thanks to Ashok generously allowing use of his expert photography and editing skills) for the first time we can see the full form in all its splendor. The task is not easy as the space available in this is very less and you cannot step back to take the full view. Now, taking a photograph itself being so difficult, consider the difficulty quotient for the original sculptor who had to sculpt this beauty within the confined space.

Whats unique about this sculpture is of course his unique head dress – a head band and a turban like way in which his matted hair is tied up. We do not see this depiction anywhere else among other later Pallava creations and even any other contemporary example in Mallai. ( for eg take the Arjuna Ratha (
Breathing life into stone).

What is the main aspect of this sculpture is a flowing sinuous grace, the flesh and blood feel of the limbs and torso. The Tribanga coming to the forefront with the exaggerated swing of the waist and the tilt of the head ! all this in a relief panel mind you and that too in the upper tower of a monolithic stone ratha.

The classy ease with which shiva rests his hand on the bull and the stylish crossing of the legs…

To stand up against this, is by itself a herculean task, so we take the very best of Chola Bronzes, and as luck could have it, we were blessed to have a vip access view of this bronze ( currently in the Tanjore art gallery) at the Coimbatore Chemmozhi Maanadu as a sneak preview, a day before the official opening of the exhibition. Chola bronzes are cast by the lost wax process ( hence each bronze is unique, the mold cannot be reused as its broken to reveal the icon) and the very best examples are said to be so perfectly worked at the wax model stage by the craftsmen – that it was said that the real test was to be able to avoid using a chisel after casting. Though we have seen bronzes right from the Pallava times in South India, the craft of bronze casting reached its pinnacle during 1000 and 1014, the period of Sri Raja Raja Chola – as evidenced by the splendid foursome – the Kalayanasundara Panel which we saw earlier (I take your hand for eternity), the Rishabantaka which we are going to see now, the Bikshadana and the Veenadhara , both which we will see subsequently.

Fixing dates of bronzes is a tough and often confusing task, but this is no ordinary bronze, part of a hoard of bronzes found in tiruvengadu in the 1950, currently in the Tanjore Art gallery, it originally belonged to the Svetanarayaneshwara temple in Tiruvengadu. An inscription in the outer wall of the temple inscribed in the 26th year of reign of Sri Raja Raja ( 1011 CE) , one Kolakkavan ( AR 456 of 1918 – Ref to inscription mentioned in South Indian Shrines – Illustrated By P. V. Jagadisa Ayyar ) presented money and jewels to the image of Shiva Vrsabhavahana. ( interestingly a year later his consort was installed !)

The stylish grace of the bronze and its remarkable resemblance to the Pallava stone sculpture is astounding. Let me try and show you. click on below image and wait for the animation to load.

Compare the stylistic features. The Bull for the bronze has not been found yet. But taking off the two additional hands from the stone model, the chola artist, has slightly lengthened the position of the hands, dropping them further down and corrected the tirbanga ( lessened the S bend) including the tilt of the head.

Now, i know this is not fair competition, for 300 odd years before the Chola craftsmen made his mold in clay, the Pallava sculptor had envisioned the form and sculpted it in hard granite with zero scope for error, but then the Chola craftsmen has done his work exceedingly well as well. For to pull a relief panel and extend it to form a complete Idol is no simple task. Take a look at the styling aspects of the bronze. ( We were fortunate to capture the foremost authority on Bronzes in one of the following photos!!)


I know that some of you might ask as to how we can take it that the chola artist was influenced by the art in mallai. Well, we go back to inscriptional evidence. The earliest inscriptions of Sri Raja Raja Chola in Mallai are found in the nearby Shore temple and …..

http://www.whatisindia.com/inscriptions/south_indian_inscriptions/volume_1/mamallapuram.html

I. INSCRIPTIONS AT MAMALLAPURAM

NO. 40. ON THE SOUTH BASE OF THE SHORE TEMPLE

This inscription is dated in the twenty-fifth year of Ko-Rajaraja-Rajakesarivarman, alias Rajara-deva….that would be 1010 CE. Exactly a year before this bronze was consecrated.

Mahabalipuram – Unifinished Poetry in Stone – Prof .S. Swaminathan, Photographs Ashok Krishnaswamy

This is possibly the sneakiest of sneak peaks you can get. A chance for me to place on record my heartfelt gratitude to one my Gurus, the man who introduced me to the language of stone, educated me on the need to spread the message of awareness and to do so without expecting any reward or accolade, but to silently go about your task. Its not just him, but the efforts of another dear friend, expert photographer cum digital artist Ashok, which have culminated in this – Yes, this is a book introduction ( am not competent to call it a review ) and is on the still hot of the press coffee table book on Mallai.

Whatever was the boon seeker’s objective, standing there on his one leg, arms raised up, he sure has grabbed the attention of the world – be it the ardent art historian or the rookie backpack hugging tourist. By choosing that very sculpture as their cover illustration, one cannot fail to notice , the allegory to the efforts put in my the master historian and the expert photographer – the confluence of their eclectic styles gives life to the stones in Mamallapuram.

True, many works have already been written and will continue to come out about these fantastic treasure trove of stone work, but few before have attempted to capture the essence of being there. The book opens a door and virtually transports you to Mallai, with just the right amount of scholarly diction, like a subtle background score, Prof Swaminathan’s guiding tone accentuates the rhythms that vibrate in the stones captured brilliantly via Ashok’s lenses.

Its been a long pending wish, to see a coffee table book on the splendors of Mamallapuram, for despite the multitude of scholarly works, there was always space for such a endeavor, for among the thousands who throng the site only a few have been properly initiated into appreciating the beauties that are on offer. This book was conceptualized to bridge that gap, to be a companion, which you could take along with you on your visit to Mallai, or come back home to leisurely relish a visit , look back and reminisce at its glory. Lastly, for the select few who are yet to undertake what is a romance for Pallava art enthusiasts like us, its a honey stick lure, for once immersed into the rocky confines of its pages, its hard not to imagine the magnificent pinnacle of stone sculpting reaching out to you from amidst the lilting splash of the waves and the spray of the salty sea mist.

For us, upstart history buffs, who cherish every interaction with such scholars, the availability of such a unique book on Mallai is a boon, gone are the days of reading the text and then hurriedly rushing to the last portion to view the plates, the text and photos mingle seamless and move from one page to next like a slick pair of Salsa dancers.

Don’t get me wrong, its not picture postcard book, the starting invocation, sternly brings you into focus, this is no less a research paper, as the richly thought out foreword by Sri Narasiah, who has taken much pain to list out the multitudes of people who has worked on dciphering the puzzle that is mallai, but the highlight of this particular work, is the results is sans the long diatribe, its easy on the head as its pleasing to the eye. The wise professor diligently takes you through a formal introduction into Pallava art, while Ashok lets you see, touch, feel the fabric of the stone work , each thoughtful frame competes with the insightful texts for your attention. Must thank the publishers for the effort to showcase the early efforts of the Pallavas from many corners of their wide land, to serve as an eye opener to their pioneering efforts and as a prelude to what is on offer in Mamallapuram.

You can almost feel the glee in the eyes, the cheer in the heart of the narrator as we pass through each chapter, its a wholesome visual treat on offer. Half way into the book, you are almost tempted to stop and restart from the first page, but the best is yet to come. For the first time, we get to see the famed Dharamaraja Ratha upper storey sculptures in their bewitching best, as Ashok combines creative photography with technology, we are able to gasp the original brilliance of the Govardhana Panel without the later pillar additions in front in a 4 page spread, the full splendor and glory of the Penance Panel as a 3 page spread, you cannot but stop to appreciate the thoughtful insights like a site Map and Flora section.

A fitting tribute to the Atyantakama.

Our heartfelt wishes to the team . To book is slated to hit stores near you shortly. For more details contact

ARKEY GRAPHICS
[email protected]

Order online

Order your copy online

Pallava Cave Temple at Thiruchirappalli Rockfort – Lalitankura Pallavesvara Griham

The Rockfort – the first of the two caves.

An imposing natural feature and an integral part of the charming Thiru Seera Palli town, it evokes lot of different emotions – there is something primeval about a stone outcrop that is not easy to explain. Anyway, thanks to Annapoorna, this long sleeping draft sees light. Actually, must have posted this long back – self and Arvind had been there in December, but there were a few visitors – couples and some prospective couples, who chose to park themselves in this cave , mistaking its sculpted steps for a chair and the insides for a cozy lounge chair or bed – oblivious to pains we were taking to take in the beauty of this monument while trying our best to avoid capturing their amorous rendezvous. It was not to be so and their patience cum free time cum pursuits cum utter disregard for any count of decency left us with an unfinished portfolio.

Had to wait for Sriram to fill in the blanks. Sadly, even regular visitors ( not the love birds – mean true visitors) look at this monument as a mere pit stop in their ascent to the shrine on top. Thankfully or otherwise the lower cave ( we will see it in a followup post) has just to suffer the ignominy of total neglect alone.

This pallava period multiplex for the less privileged smitten, is a signature contribution of Mahendra Pallava. Known as Lalitankura Pallavesvara Griham, this is the southernmost Pallava cave temple and is one among the ancient sites in the Rockfort complex. Lalithangura was one of many titles of Mahendra and means ‘charming-scion’. Its unique in many aspects – for it consists of an inscription which confirms or rather proclaims that the great Pallava king returned to the faith of worshiping the Linga from a hostile faith !! in his own words. Not sure if these modern day mozarts and Romeos are aware of the jest and pun in the actual verse we shall see in a subsequent post, as we rush on to the sculpture part of the cave to start with.

Iconograhically, there are two signature contributions of the Pallavas – the Somaskanda icon and the Shiva Gangadhara form ( How about Nataraja – check out the post on Seeyamangalam earliest Nataraja form). We are already studying the evolution of the Pallava Somaskanda as a series, but what we are going to see today is maybe the earliest and magnificent Shiva Gangadhara form.

The Tiruchy cave is the southern most cave of the Pallavas – right into Chola heartland – that he came all the way to Trichy to excavate a cave temple in an inaccessible hill is a puzzle ( there is a jain bed also on the hill !!). I am going to take the help of some references from Dr. R. Nagaswamy and Swaminathan sir to explain this series. ” One must try to imagine how this hill would have looked without the Tayumanavar Koil, Uchichi-p-pillaiyar Koil and all the sundry shrines, to wonder how Mahendra chose the site at a height of 200 feet and how his artisans managed the excavation. Like the other Pallava monuments, this cave temple also holds some puzzles” – says Swami sir.

This is a cave supported by four pillars with two pilasters ( half pillars) on each end . The façade is pretty simple and the chunky pillars are early Mahendra style – rather plain, square in cross section at the bottom and top, but eight-sided in the middle. I think its time for us to graduate to learn more about the technical names of these pillar styles. ( thanks to varalaaru.com)

A simple four sided pillar is called a Brahmmakantha ( Brahma – four faced !!)
A eight sided pillar is called a Vishnukantha
A Sixteen sided pillar is called a Indrakantha
A circular pillar is called a Rudrakantha

A pillar can also be a composite of many styles – like four sides on top and bottom + eight sided in the middle.

There are circular low-reliefs on all the four sides of the pillars.

Very interesting to note the brackets above the pillars – which are fluted. Titles of King Mahendra are inscribed on the faces of these pillars, mostly in Pallava Grantha and a few in the Tamil script.

Beyond the pillars is a mandapa (hall), and in the rear the hall is a series of four pillars very similar to the ones in the front.

As we ascend the small flight of stairs, we are greeted by this majestic panel to our left and to the right ( eastern wall) is a now empty rock cut Garba Graha flanked by two cute door guardians.

We shall study this fantastic bas relief in a detailed post shortly. Its got quite a majestic air associated with it and is very special to me personally – for i met two very important people in my sculptural quest, on the very day i was introduced to this Gangadhara form, Sri Sundar Bharadwaj and Sri Dhivakar, for the pre release of Dhivakar sir’s Vichitracittan – work of historic fiction basing on the life of Mahendra, which incidentally features this magnificent Bas relief on its front cover.

Lets take a look at the two beautiful door guardians – one on each side, they are carved in bold-relief.

Both are in semi-profile ( a specialty of the Pallava sculptor !!) , two armed turned towards the shrine-entrance, standing with one leg bent and raised up and the other planted firmly on the ground, carry a massive club, their palms resting on it – they are less bulky than in Mandagapattu. Their attire is fantastically sculpted, but sadly they are much worn.

The garba graham itself was locked – which was funny in a way, but rather a sign of the times !!! For its empty today ( no bas reliefs or Somaskanda in the back wall – to remind our readers – none of the Mahendra caves have this feature outside of Mallai ) – yet the barred gates are testament to sad plight of such monuments – and the shanty respect shown on it – as a heritage site or at least as a shrine / sanctum. It does hold a puzzle as well – for it has two pits excavated into the floor – one might have held a movable stone Linga ( Pandya caves have as a contrast monolith lingas ) but there is a second pit to its right !! possibly the only cave with this feature.

Some frustrated souls seem to have found a way to tear up the mesh and finding the pits – mistook them for garbage bins and dumped their plastic waste into them. You can see the two pits coming into view towards the bottom of the photo.

We shall continue exploring the beauty of this cave and its spectacles in the next part.

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!!

My first discovery !cracking the puzzle of 3 Somaskanda panels

Friends, it gives me immense pleasure in presenting one of very first discoveries which sees the light of day today. Though this occurred more by chance and had found this about two years ago, at that time i had nurtured hopes of publishing it as a research paper in some academic journal. Its only later that i realised how complicated such pursuits are and also the fact that but for the emotional high such a recognition would garner, its reach would be very much limited to a select few. However,today thanks to you all, my dearest extended family and the internet, poetryinstone shall deliver this baby after a gestation of over two years.

I had wanted to write about the Pallava’s contribution to evolution of iconography as a series – and started with the Mahendra trail. We did see some interesting developments in cave architecture, like the nataraja icon. But as we study later Pallava structures, we cant but miss some of their signature contributions, namely the Somaskanda, Gangadhara and Mahishasura Mardhini. The Pallava Somaskanda is such a signature piece occupying almost every rear wall of their main shrines, that its hard to miss them.

But this article is not about the normal Somaskanda panel in the rear of the Garba Graham ( sanctum sanctorum ) but a very unique puzzle of not one but three panels in the Atiranachanda Mandabam cave of the Saluvankuppam complex. The cave itself is a puzzle of gigantic proportions and many scholars have discussed it.

Just to run through it would mean to point out to viewers that the basic cave and pillar designs are very early Pallava period, while inscriptionally ( on both the sides there are running verses which you can touch and feel the passing of time in front of you) Rajasimha Pallava claims to have constructed this temple for Siva. He calls it Atiranacanda Pallavesvaragram, after one of his many fancy titles Atiranacanda ( Ati – great, rana – battlefield, chanda – expert – thanks to swaminathan sir))


Would suggest below article of Dr. Nagaswamy for readers who want to see the sheer labour of such geniuses.

http://tamilartsacademy.com/books/mamallai/new-light.xml

It would be worthwhile for readers to compare the facade of the Atiranachanda with earlier structures we saw on the Mahendra trail. But that is the subject for another post and study.

We come back to what is to me a very great discovery, the subject of this post. To bring you upto date with the basics, what exactly is this Somaskanda. Literally it means ` with Uma and Skanda’ meaning ( Sou – with, Uma – Parvathi and skanda – Muruga) Shiva with his consort and son. ( why only one son!!, well that is another controversy which we briefly touched upon in the post ` There are no Ganesha images in mallai’.

Since Pallava’s ` claim’ to have been the first to start building temples of stone ( or atleast without using lime, mortar, metal , brick or wood – mandagapttu [post! )…the early structures had predominantly an empty central shrine with the diety crafted in wood in a panel at the back. But slowly they realised that the wooden deities perished in no time, they tried crafting them in lime and mortar. But then as their confidence in working in stone grew, they graduated slowly to reliefs and then to sculpture. They replicated the wooden panels in stone sculpting them directly onto the rear wall. Thus was born one of the cutest forms of the divine family, with shiva seated ( sometimes on Nandhi) on the right and Parvathi on the left with baby skanda initially on her lap (There are many variants to this form and Dr Gift Siromomony paper below postulates a new theory !!)

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

The cholas later went on with the theme to craft some beautiful bronze somaskandas.

Back to Atiranacanda Pallavesvaragram, not many realise that the structures we see today in Mallai, were submerged if not totally in sand before they were escavated in the late 18th C. ( by this I mean even the popular five rathas complex), but to understand this better take a look at this print ( thanks to the British Library Archives)

Compare to how it looks today.


Now, look closer, am highlighting the main areas for us to view.

We take quick peek into its corridor – on closer inspection you see two beautiful somaskanda panels on the walls. This is a great anomally since the somaskanda panel is almost always found inside the main scanctum sanctorum.

To understand this better, lets peep into the central shrine of the same cave. Do you notice the Shiva Linga and then the rear wall adorned with the Somaskanda panel.

Why then would the sculptors sculpt two additional panels in the outer corridor?

A chance photograph of the freshly escavated mandabam in the late 18th C, thanks again to the British Library Archives, provides us the vital clues.


There were two additional Shiva Lingas on the corridor and hence the sculptors had sculpted the panels on the walls behind them. This my friends is my first discovery!! call me an armchair or desktop archaeologist for that.

What happened to these lingas now?, even their bases don’t exist now. There are two free standing statues in the foreground, one a headless trunk of a seated deity and another a beautiful sculpture. They are not to be found now, just this small rubble on the outside!!

So now you know the answer to the puzzle of the 3 somaskandas, but throws lot more questions. If the structure was intact in the late 18th C, when and why the susequent vandalism.

Was this the inspiration behind Mahendra Pallava’s sculptural quest

Since the site is dedicated to sculpture and its easy to fall in love with Pallava sculpture, it was very difficult for me to do this post. Quite often we get so obsessed with our favorites to the point of becoming fanatics. I am one such proclaimed Pallava fanatic. Quite often Kathie would drag me back to ground zero with interesting questions and photos from the middle kingdom. One such fanatical quest was that of Mahendra Pallava and his sculptural quest. A King hitherto unparalleled in his pursuit for artistic excellence in my eyes. But a chance glance at a collection of photos of Dr. Mohammed Tajuddin KHAN of an impressive cave in Andra Pradesh – the Undavalli Caves (Guntur District about 6km south west of Vijayawada, 22km north west of Guntur City and about 280 km from Hyderabad, Andhra Pradesh – thanks wiki) propped up some interesting questions.

I tried to check with Sri Dhivakar, who had done much research on the early life for Mahendra Pallava for his book – vichitracithan. Two interesting informations came out of the interaction – one – these caves were excavated between the 4th and 6th C.E (The caves are associated with the Vishnukundina kings of 420 to 620 A.D), definitely predating Mahendra Pallava’s famous excavation in Mandagapattu and two – Mahendra spent a good part of his early life in and around these parts. ( Simha Vishnu had a Vishnukundin Wife !!)

Before we start inferring anything from above, lets compare the sculpture styles under question. without burdening you with two many, am just throwing in one door guardian from both sites and a pillar each.


The pillar design, fluting, styling – the stance of the door guardian, the flexing of his hips down to his mace, the way he places his hands on his hips – the the lion banner on the pillar.

On the other extreme side, we can argue as to if Mahendra was responsible for carving the Undavalli caves – but then the time frame sets us back by atleast 50 to 100 years.

One more clue – is again the main argument proposed for Mahendra as the originator of cave or rock cut architecture is the famous Mandagapattu inscription. Let us see it once more now.

I quote Dr Nagaswamy’s words below

http://www.tamilartsacademy.com/books/mamallai/new-light.xml

”
Let us study the inscription itself. What does the inscription say? It says that this temple, dedicated to Brahma, Vishnu and Siva was caused to be made by Vicitracitta, without the use of brick, mortar, wood or metal. It does not mention that this was being excavated for the first time in South India. Nor in any of his subsequent inscriptions Mahendra assumed a title, commemorating this great achievement of his life. He was certainly fond of titles and could have assumed a title like “the first excavator of cave” Adyaguhayatanakari or some such thing. We do not come across any such titles in his inscription.
None of the epigraphical records, both lithic and copper plates, which were issued after him, refer to Mahendra’s achievement in excavating caves for the first time.”

But whatever we infer from the above, one thing is for sure – this was the first excavation of Pallavas.

The theory is not without speculation – as door guardians could have been carved later ( especially the ones in Mandagapattu door guardians seem to be slightly advanced in styling when compared to its own pillar designs !!)

Keeping these aside, what we infer is a logical progression. Both the styles are dramatically similar and one definitely predates the other. So, was Undavallai the inspiration behind Mahendra Pallava’s sculptural quest, heralding a golden age in south Indian cave / temple / sculpture / architecture.

For those who are still not convinced about the remarkable similarity in styles, presenting to you more parallels from other Mahendra caves and Undavalli. Believe me, this is not any trick photography – just placing them side by side for you to make your judgements.

Now, do you agree?

Another cave which offers some clues is Bhairavakonda, which we will see shortly.

Shatrumalleswaraalayam – a splendid creation of Mahendra Pallava

Vilupuram Sengi Road. around 11.30 noon

Ragothaman: Hey, its getting really hot. we have been driving for almost an hour, how far did we come 30 kms
Chandru: Just under 30 kms, we need to turn right before that
Narayanaswamy: Oh, how far have we come as of now
Driver: 27 kms done sir
Satheesh: Hey, there is the ASI board, road to Pallava cave Dhalavanur
Vj: Atlast, we are there. Is it that hillock
Chandru: No, we need to go another 6 kms from the main road.
Venkatesh: ok, then it can’t be this chain of hills
Chandru: This cave is very easy to spot. You can see it from the road,but cant drive near. You got to park and walk for say 200 mtrs.

Venkatesh: There, there, can see it from here itself. What a wonderful location. Mahendra’s choice is indeed spell binding. amidst rolling green farms, the rock outcrop offers a spectacular setting.

Chandru: Park the vehicle, by the side of the road, we need to walk up from here.
Farmer: Hey, don’t walk on the field, walk on the raised boundaries. we have just sown.
Vj: sorry we didn’t know. Wow, you got a pump set going, the cool water is inviting…

Ashok: What a setting. Its more a giant boulder than a hill
Venkatesh: Super spot
Vj: Hi chandru sir, the cave’s got an iron gate and is locked.
Chandru: The guard must be around here somewhere.

Farmer: Hi, i have the keys. They gave it to me , i only take care. They dont pay me any Salary !! if we don’t lock it the spoilt brats from the city come and …

Vj: ok, ok, we understand. We are not like that. Chandru sir, what pathetic work, how could they put these door frames on these stone pillars. and the blue paint, what a disgrace. they guy couldn’t even be careful enough not to spill on the pillar. and that too right over the superb pillar carvings…!! senseless brain dead @@@@@@

Ashok: Hi vj, see up.what is that

Satheesh: Hey vj, see this beautiful set of Makara thoranas – facing each other. there are small ganas riding them as well

Vj: Hey that is a kapota – kind of decorative arch with a face just peeping out. Reminds me of a cave in the Ellora group. need to check. Yes, satheesh wonderful stone work. reminds me of a similar one from Cambodia. will check !!!

Ashok: the door guardians are splendid. Look at their relaxed poses. They are majestic

vj: yes, the clothing styles and the left hand side guardians mace are very similar to Mandagapattu. See there are another set of them inside guarding the main shrine as well.
satheesh: see the inside structure, very different
Venkatesh: see that large crack running right across !!
Ragothaman: as we enter we seem to be inside a hall and then turn left to see the main shrine. very different perspective

Vj: yes ragu, another set of mahendra pillars and two pillasters form a mini shrine inside the structure. The door guardians here are also in low relief, sculpted in profile, slightly turned in, classic pallava style. See the detailing on their dress and ornaments

Farmer: Can i show the camphor
All: Here we are all here, wonderful darshan of shiva
Vj: Satheesh, what is the name of the Lord.
Satheesh: Let me check in the book, Satrumalleshwaraaalayam
Vj: any inscriptions
Chandru: Yes, Pallava grantam of Mahendra again

Satheesh: Let me read

This rock cut cave shrine on top of the hillock called sathrumalleswaraalayam was excavated by the one who humbled many kings by the might of his army, the one titled narendra shatrumallan.

vj: Shatrumallan – lovely name. Ashok, see here, they have started putting floral designs on the pillars here as well. But the top is not fluted.

Venkatesh: Come lets go on to the top and see the Jaina beds.
Narayanswamy: Is it very steep
Vj: Not that steep, they have cut steps in the stone like a ladder. so its easier. Ashok, you come as well

Venktesh: Oh, what a view, what a location. Its breezy and cool depsite the sun at noon.

Ashok: must have brought our lunch from the car, we could have finished it here
Venkatesh: you are saying now, it would have been great
vj: From here you get an excellent view of all surrounding areas
Venkatesh: yep, but those coming up cant see, but the guys here can. Excellent location to hide and live in seclusion – foolproof safety precautions

But why did they have to hide and live in seclusion !!

Vj: This jaina bed is too comfortable, didn’t realise it will be so. My eyes are drooping.
Chandru: comes on guys, lets move on
The pump set – cool wash…hmm am hungry

Next on the agenda – Lakshithayanam, Mandagapattu Mahendra cave.

The first ever depiction of Nataraja in stone in South India – Seeyamangalam – Avanibaajana Pallaweshwaram

On the mahendra trail. ( some disjointed conversations – mostly as it is but some are imagination)

Saturday 8.45 AM. Somewhere in a dusty road from Dindivanam to Vanthavaasi.

Chandru : Is this the right way. Let me check, pull over please. Hey, is this the route to seeyamangalam
Villager: you took the wrong turn on the bridge
Driver: Oh, we will turn back

Venkatesh: hey, there is the Bridge. Go straight
Chandru: There there, you can see the ASI board.

Anonymous: Guys, can you pull over for a minute, need to relieve myself.
Gang: Me too, pull over. There by the shade of the big tree.

Ragothaman: are you guys done, we got to hurry. ( satheesh got a flight to catch)
Vj: Satheesh, can you pass me that packet of Grant sweets savories. Roasted masala peanuts, wow, send that to the front as well.

Narayanaswamy: small village coming up, lets check if we are on the right route
Chandru: Hello, is this the way to the cave temple.
Village lady: Take this path, turn right and then head straight. YOU DON’T HAVE TO ASK ANYONE !!!
Chandru: thanks, take that turn

Venkatesh: hey, there is a hillock
Gang: where? Where?
Satheesh: But the road is leading away from the hills !
Chandru: Yes, lets check again, pull over by that man. Hey, cave temple…
Villager: Oh, you passed it
Driver: But we came that way only.
Villager: you took wrong turn, keep to your right just after the village
Driver: ok, just see the back, am reversing. ( very small mud road for an Innova car)

Chandru: Take that exit.
Vijay: yeah yeah, that look like headed in the right direction

Chandru: Atlast we are there

Vj: But sir, we came to see Mahendra Pallava cave temple, the first every relief sculpture of dancing Shiva as Nataraja ! But this one is a full fledged structural temple with towers ( Gopurams and Vimaanams)

Chandru: The cave is the nucleus of the temple – its Mahendra’s and he named it Avanibaajana Palleswaram. Later kings built the structures around the main cave shrine.
Vj: oh, ok ok. Understood. But not a soul in sight….

Venkatesh: come come, lets go
Vj: Hi venkatesh, fancy hat a la indiana jones, after some treasure is it.
Venkatesh: No sir, this is my favorite hat, picked it on a trip to srilanka!!! Hey someone is coming towards us..

ASI staff: Hello
Chandru: Hello, morning
Vj: Hello, we want to go inside, we have come from very far!!!
ASI: sir, you can view everywhere, but the main shrine is locked. The key is not with me, its with the priest. You can peep through this key hole for a view.

Vj: hello, we have come from very far to see the main cave shrine only. We know Mr ########### and Mr. ###########, do you want me to call them over phone to give you instructions!
ASI: Sir, I will give you the priests handphone number Sir. You can try Sir. Sir, You are dropping all VIP names sir !! ( count the number of sirs now)
Vj: give the number, we are all very eager.

Tring tring: hello, we are at the temple. We are large group, can you come.

Vj: Guys, good news, says he will be here in 5 min, lets go around meantime and see the others.

Vj: Chandru sir, why did Mahendra Pallava choose such a god forsaken sorry desolate place for this excavation.
Chandru: good question vj, don’t have the right answer, but one common feature of all Mahendra cave sites are a small hillock near a water body. Maybe the serene atmosphere inspired him.
Vj: oh, where is the water body in this case
Chandru: there, you can see. Since its not rainy season, not much water. You climb that rock , you will get a better view
Vj: Hmm, whats that sir, a very lovely small shrine on top of that rock.


Chandru: It’s a later construction. Shrine of Lord Muruga. Care full while you climb!!
Vj: wow, rock cut steps ( after climbing half way only the steep nature of the climb dawned on me)

Ashok; Hey vj, I am also coming up
Chandru: in rainy season, this would be filled with water. Can you see that pillar like stone in the centre of the lake bed. It would look like a shiv linga standing on the water surface. Did you know that the main diety of this temple is called Thoonaandavar ( pillar god) – some works suggests that it could be this stone pillar that gave it its name !!!



Vj: Wow, what a sight. Careful guys, its slipper especially while you get down – don’t trust my knees, better to slide down – wearing jeans anyway. Don’t laugh guys, let me see your courage and style when you attempt to get down. Hmm.

Ragothaman: lets go around the main shrine. There are some culverts here,
Satheesh: Vj, come here, remember your post on the rock cutting techniques in mallai. See similar holes are found here.
Vj: wow, lets take a few photos. Wait, let me put something against it to give our readers a sense of its relative size.
Nothing handy, here let me put my inhaler !!

Chandru: Hey, here comes the priest. Lets go in

Goat Herd: Hello sirs, where are you from. Did you see the damage to the vimaana – the yaali on one side was struck by lightning. We are asking everyone to help to repair it, but no one is coming forward !!

Ashok: Oh, when did the lighting strike….

Priest: Here sir, let me open it

Chandru: See how the later Mandabams are plush against the rock surface.

Satheesh: Its pretty dark in here
Priest: Its much better now sir, earlier it used to pitch dark and lots of snakes as well. I used to let a mongoose inside first to check. They removed the outer roof and redid it. Now we get some light and air, but along with it dampness as well !!

Vj: Chandru sir, even this hall pillars are not Mahendra style ( what is mahendra style ….we will carry a separate series on that)
Chandru: Wait vj, the main cave is still further ahead.
Vj: hey, there, I can see a Mahendra pillar

ASI: sir, no photography
Vj: Hey, we wont take pictures of the main shrine. We want to take only the outer sculptures, pillars etc. please. We know Mr. ###########
ASI; hmmm

Satheesh: vj, come here. There are more sculptures here. Look on top, there is a Makara thorana. There is a Gana riding the mythical beast as well.

Vj: One minute, did you notice the right side door guardian’s head dress. He has horns but….( we will discuss this later as well)

Chandru: do you see the designs on the pillars.

Vj: wow, the majestic lions. They have started fluting the pillar capitals as well ( so, we there pillars without these earlier. To be discussed in subsequent posts )

Narayanswami: Guys, see these sculptures on the two sides
Vj: Satheesh, the book you borrowed from Sps sir, Dr Kalaikkovan’s Mahendra Kudavaraigal, can you check. Looks like two guys with fly wisks

Satheesh: These are listed as Amalaiyar
Vj: What is that !! Got to check. See those waiting ladies as well with flower baskets

Ragothaman: Chandru sir, there is an inscription on this pillar, but doesn’t look like tamil.
Chandru: Its Pallava Grantam. It’s Mahendra pallava’s inscription.

Vj: great, satheesh see if the reference is there in the book
Satheesh: Oh, yes, let me read it

This temple called avani baajana was raised by lalitanguran through his good deeds like ornaments in a jewel box.

Vj: great, 1300 year old verses singing the praise of Mahendra
Ragothaman: There are more inscriptions on this side of the pillar but in a different font
Chandru: They are tamil verses of later pallava kings – Danti varama and nandhi varma
Here see this pillaster to the right. Here is the famous dance pose – the first ever dancing pose of shiva ie shiva as Nataraja in stone in south india, on the same position of the left you can see shiva, Parvathi with nandhi. Can we request the priest to show camphor here
Ashok: Hang on, here I come as well

ALL QUIET….as we take in the spectacular sight


We will discuss each of these sculptures in depth in coming weeks as well as the other caves on the trail.

Picture courtesy: all friends on the tour, and Chandru sir/Swaminathan sir earlier – first tour. Special thanks to Sps sir, Chandru sir and Swaminathan sir for making this trail possible

Ragothaman, Satheesh,Venkatesh, Chandru sir, Ashok and myself
Ref: Sri K.R. Srinivasan – Cave temples of the Pallavas, Dr KKN’s Mahendra Kudavaraigal ( tamil)

Kudumiyaanmalai – a sculptural marvel – A Guest post – Mr. Mohandoss Ilangovan

A real treat to viewers, my young friend Mr. Mohandoss takes us through a spectacular post ( thanks to him for allowing us to repost his excellent article on Kudumiyaanmalai. The Tamil version is his and the English translation is by me). He is an IT professional and a budding artist as well.

3256
3259

Over to him

I feel my desire to visit Sittanavaasal was influenced strongly by the famous song ` enna vilai azage’ ( whats the price beautiful !) from the tamil film Kadhalar Dhinam ( lovers day). Love, and first love at that is reminiscent with nostalgic memories, one of them being the song which melts your heart.

When i mentioned to my Dad that i wanted to visit Sittanavaasal, even before seeking to book transport /car he put his condition not to photograph the lovely maidens there. I heard of him that after Kallanani, Mukkombu, Trichy Rockfort, the latest haunt of love birds was Sittananvaasal. Do not want to add more on it though. We got to know from the ASI person in Sittanavaasal about Kudumiyaan malai. Only after we visited the temple did we realise that if not for that tip we could have missed a spectacular site. ( will write more about Sittanavaasal shortly)

The Priests as usual were inaccurate in their explanations, adding more masala into legend – like that the temple was over 2000 years old and couldnt explain clearly about the spectacular stone sculptures there. The ASI person was also missing in action during our visit. However, some searching around and enquiring, led us to him – and he did gives us some interesting insights into the ` musical inscriptions’ and ` rock cut temples’.

The main duty of the priests is definitely not this, but atleast they could have some basic information correct. Anyway, thanks to them, i spent some time researching on the temple, having been to Tanjore big temple and Gangai Konda Cholapuram many times, the sculptures at Kudumiyaanmalai were top class, their finishing exquisite, but i quickly learnt that they are dated later to the big temple and gkc.

Despite the beauty, how far this temples fame has spread is to be seen, though well know in and around Trichy ( as per my Dad). When i was looking for authoritative works on the temple, i can across `Pudukkotai District History – Dr J. Raja Mohammed’ – with some information, which i share with you below. The photos are mine.

Kudumiyaanmalai is situated 16 kms from Pudukkotai. The place gets its name from the main deity who is called SigaaNaathasami ( Siga – Kudumi – pony tail – roughly meaning the deity with the pony tail – for want of better words!!). How he got the pony tail is described in the temple legends as an interesting story. The temple priest was a devote Shiva devotee. However, one day, his lady love was with him and in his love lorn state, he offered the garland meant for the Lord to his lady love. At that moment, the King made an unscheduled visit to the temple, and the Priest had to adorn the deity with flowers. Not knowing what to do, he used the same garland and later presented it to the King. However, the alert King noticed a strand of long hair in the garland and querried the priest. Caught in his act, the priest came up with a quick solution, lying that the main diety did have long mane/pony tail. When the king persisted to be shown this, the Lord in his infinite grace, chose to forgive his devotees act and save him. The Shiva Linga grew a mane. To this day, devotees are shown the knot on top of the Linga to testify to this grace of the Lord.

There are many inscriptions of historical significance in this temple, a 10th C one names the town as Thirunalakkundram, a 14th C one as Sigaanallur and the diety as Kudumiyaar, a 17-18C one calls it by its current name as Kudumiyaanmalai. Thirunalakundram – means sacred, holy hillock. Due to some liguistic misconceptions there are some legends relating this site to the story of Nala. 14th C inscriptions refer to the diety as ` thenkonattu siganallur kudumiyaar’. Some others refer to him as Kuduminaathar. Siganallur in all probability could have been Sigaranallur – Sigara – hill top. Even today we see a hill crowning this town. Maybe with the passage of time sigara became siga and the above legend of his pony tail could have been spun during the later period – For Kudumi in tamil doesn’t refer just to the tuff of hair/pony tail ut also to the top of a hill, a person of high standards etc. for eg, the great devotee Kannappa Naaynar prays to the deity names Kudumithevar in Kalahasti. Such names getting altered due to sanskrtisation of tamil names, is seen in other places like Malyilaaduthurai /Mayuram, Kurangaaduthurai / kapisthalam, thirumaraikaadu /vedaaranyam

In days of yore, there would have been settlements all over the plains surrounding this hill. When we climb the hill there is a natural cave/cavern which could have been inhabited by stone age man. There is Murugan temple on top of the hill, and on the eastern slope we find the Siganaathaswami temple.

There are many rare and interesting inscriptions revealing the long and checkered history of Pudukkotai here. The cave temple ( upper cave) has a Carnatic Music inscription which was earlier assigned to the great Pallava King Mahendra Pallava. However, recent studies have proved otherwise. The main Grabha Graha of Siganaathaswami is assigned to 12th C. After that the region chieftains Pallavaraayar have been contributing donations for its upkeep as per inscriptions. Following them, the temple gained prominence during the rule of the Thonadaimaans . They were crowned in this temple, Ragunaatharaayath Thondaimaan ( 1686 -1730) built the outer Mandap of the cave temple. In 1730 Raja Vijayaraguraaja Raayath Thondaimaan was crowned in front of this temple. An inscription dated 1872 in the Amman temple states that this temple was consecrated during the rule of Ramachandra Thondaimaan.

The cave temple as stated above is on the Eastern slopes and carved into the rock face. The main Garbha Graha and its corridor is sculpted into live rock, while the adjoining Mandabam was later added during 18th C with its imposing Door guardians.
33013303
The sculptures are majestic and graceful exhibitions of masterly stone work. The Garbha Graha ( Sanctum Sanctorum) has a shiva linga and to the south of the cave, there is a lovely – unique valampuri ( trunk curled left against the normal right) Ganesh carved into the rock fave.

To the south of the Cave temple, on the eastern slopes, measuring 13’x14′ is a famous Carnatic Music inscription, which defines the generic guidelines for the music. This is a unique one of kind inscription and no similar ones exist anywhere in India. It nestles inbetween the 4th C work of Bharatha on Dance and Saarnagadevar’s Sangeetharathanakaara – describing the music during the interlying period. Its a record of a King Parama Mageshwaran, who was studying under the tutelage of Rudrachaarya, however not much is known of their identity. Based on the script, Dr. C. Meenakshi and other researchers asssigned it to Mahendra Pallava. But recently this has been disputed.

On the rock on top of the Cave temples, towards the summit, the 63 naayanmaars have been beautifully sculpted.


Siganathar – Akilandeswari temple, was a thriving centre during the samasthana period. East facing temple, as you enter through the main Gopura entrance, you see the 1000 pillared hall.

The pillars of this hall have lovely sculptures of Hanuman, Vaali, sugreev and others.



As you go further inside, you see the main hall – immediately you feel transported into some Museum of sculptural art. Such is the amazing range of sculptures you find in every side, completely numbing your senses by their overdose of artistic excellence.


Though these sculptures may date more recently ( AD 16-17 C), they are a lasting testament to stone craft of that period.

Having received an almost immortal life though a boon, the demon Hiranyakasipu, drunk on his power, looses his mind and refuses to believe in the omnipotence and omni presence of God, asking where is Hari ( Vishnu) to his own son Prahaladha, who in his infinite devotion says the lord is in every spec every pillar. Amused by the reply, Hiranyakasipu kicks the nearby pillar to split it – and from side bursts open a fiery creature – half man half lion – Narasimha, to use the flaw in the boon, catches him, place shim and his thighs and disembowels him – wearing his intestines as a garland. This is fantastically depicted in this pillar.

The Lord of love, Manmadhan with his love dart shooting sugar cane bow. The mesmerising Mohini ( Vishnu) who bewitched all the Rishis of Tarukavanam.

A lovely Ganesha with his consort, a ten headed Ravana ?, destroyer of evil Agora Veerabadra and many more. Such detailing of the sculptures, you can actually study the armaments of the infantry and the cavalary and how they both fought each other.









The corridor leading from the hall to the temple is called gangaiyaraiyan Kurudu ( built by the chieftains called gangaraiyars). Next to this is a hall constructed during Pandya rule, and further inside the mail hall and shrine are early Chola. The temple has seen multiple renovations and restorations in the interim period right from that time. The presence of the 8th C Pandya inscription refers to two shrines – Tirumoolathaanam and Tirumetrali. Tirumoolathaanam most possibly refers to the shiva shrine. The vimanam is a brick construction. The corridor surrounding the main shrine has Saptra matrika ( seven divine mothers) sculpture, Lingothbahva, Jesta devi, subramanya ( Muruga) etc. The Nayak period Hall has Vyagrapada ( tiger legged saint), Patanjai ( snake rishi) and other splendid sculptures.

The Amman diety is named Akhilandeswari and is a Pandya period construction. Just in front of this shrine is a 12’x8′ slab of black granite. It was on this stone that the rulers of Pallavarayar and Thondaiman clans crowned themselves. A courtesan names Umaiyaalnaachi helped construct an amman shrine near the rock cut cave – and names it malaimangai or sooundaryanaayagi. She also features in many donations for the Kudumiyaanmalai shrine.

Kudumiyaanmalai’s carnatic music inscription was earlier assigned to Mahendra Pallava. The following arguments are put against this :

1.There are no records to show the extent of Mahendra Pallava’s regin into the territory south of the river Kaveri.
2. There are more than 120 inscriptions in Kudumiyaanmalai of various Kings.Not one is a Pallava record. The earliest records are Pandya records assigned to Maravarman Rajasimman aka First Sadayan Maaran AD 730-765 and second Jadilapaaranthaga Varuguna Maran Sadayan AD 765-815.
3. The pillars of the cave are stylistically differing from the charateristic Mahendra pillars.
4. The absence of somasskanda carving in the back wall of Garba Graha.
5. The Linga in the cave temple also differs stylistically from Mahendra’s. From the 8th C inscription in the cavetemple, its been dated to that period.
6. Having dated the shrine to the 8th C, it also follows that the carnatic music inscription also be dated to that period. Though the script is said to be similar to those in vouge during Mahendra Pallava time, similar granta characters have been found in later pandya inscriptions like in Velvikkudi and copper plats grants kept in the chennai museum.
7. The reference to Gunasena in inscriptions is taken to resemble the title ( biruda) Gunabara of Mahendra Pallava. However even Gunasena does not find mention in Kudumiyaanmalai. ( its found in Tirmayam, malayadipatti)
8. The title of Parama Maheswara at the nend of music inscription, was assigned to be a title of Mahendra. However, in all the titles of Mahendra pallava there is no mention of this title. Further, Maheshwara was a title taken by kalamuha/pasupatha sect which were ridiculed by Mahendra Pallava in his sanskrit play Mattavelaar prahasanam. so he wouldnt keep a title which he ridiculed as his own.

Kodumbalur in days of yore was the capital of the Velirs and they supported the kalamuha sects giving them many grants. These are recorded in Kudumiyaanmalai. so in all probablilty a Kodumbalur Velir King could have taken the title of Maheshwara.

Thus all the arguments point away from Mahendra Pallava.

What a Mace ! What a Mace ( Mangadapattu) !

What started off a small discussion became the seed for this post.. interestingly which should have been the first post…for what you see below is acclaimed by its creator to be the first ever such work in stone…. 706 Well most Indian mythological heroes are assigned some divine weapon….the bow, sword etc have their parallels across the globe, but one thing unique has been the mace…when i mean unique, not that other cultures did not have the mace, but then the depictions in ours were huge. They would give today’s Olympic weight lifting champions a complex….for their sheer size is mind boggling. Is this the imagination of later day artists…we explored and for the parallels in sculpture we go to where it all started…the mother of all caves….the foremost amoung sculptures of south India. Mahendra pallava …the self titled vichitra citha ( the many talented or weird talented)…he claims that he built a temple for the trinity without using brick, wood, metal or mortar…. 703 Just look at the door guardians….they seem to have that classic vivian richards swagger about them, almost mocking at us puny mortals…. 712 lugging aroung those monstrous maces….( watch closely you can see a cobra circling the mace) 709 One bash with that is sure to knock the living daylights out of you and send you cranium into a mars orbit… for the serious enthusiast, this beauty is the Mangadapattu cave – on the vilupuram sengi main road…about 20kms from vilupuram….take a side road ( mud road) from there…you can see boards ( thank god) and its a km down the road ( if you can call it that….)