(A monthly column that discusses many fascinating facts about the arts and architecture, this one unravels the various sculptures that date back to the Pallava and Chola period)
Our memories are short and when it comes to remembering great contributors they seem shorter. The year is 1883 CE and it is when realisation is slowly dawning amongst the keen archaeologists of the crown that, apart from the monuments of Mamallapuram, there could exist ‘a few’ temples which were Pre-Chola and Pre-10th C CE. It was when Dr. James Burgess ‘discovered’ the Kailasantha temple that the grandstructural temples of the Pallavas was brought to the world’s knowledge – The Kanchi Kailasantha temple built by Rajasimha Pallava.
As the sculptors moved from the unforgiving Zen model of zero tolerance for defects in rock cut excavation of Mamallapuram, they must have felt the tremendous burden being lifted from their shoulders and the resultant freedom ensured that their imagination and artistry sprouted wings, for every inch of available space has been carved with stunning works. To illustrate the artistry we seek the help of Raghavendra Prasad who has sketched it beautifully for us to study in detail.
This remarkable stone sculpture is that of Siva as the universal teacher – Guru Dakshinamurthy – as Yoga Dakshinamurthy. He has his left leg raised and bent in a very unique posture with a band holding it in place- the Yoga patta. He is depicted with four hands, the upper right hand holding (counting) the rosary or Akshamala, the corresponding upper left holds a flaming stick symbolising enlightenment. His lower left hand beckons all towards him – a slight variation of the Kataka Mudra, while the lower right is damaged with a cobra seen just nearby. What is impressive about the sculpture is the beauty of his youthful face, full of energy and the hair style – Jata bara of coiled locks framing his head. The greatness of this panel is in the composition – seated under a banyan tree, as a teacher, Siva’s discourse is for all humanity, so, the artist has shown not only his human pupils, but a pair of graceful deer underneath, a pair of parrots on the tree canopy, an owl on the trunk, two pairs of playful lions and dwarf ganas that complete the visual treat.
The uniqueness is in the depiction of the fangs of Siva, usually seen only in the Samharamurthis – the destroying or wrathful forms of Siva. (Images of Siva are classified as Samharamurthis - destructive, Anugrahamurthis – boon giving, Nritta murthis – dancing, Dakshinamurthy and others. Maybe it was the King’s way to get back at a particularly strict teacher of his! You are sure not to miss the laughter in the demeanour of the lions.
Pretty often, the question arises on dating sculptures. It is pretty simple to mark sculptures from Pallava to Chola but if it is within the Chola rule, the early Chola to later Chola period is a difficult proposition.
The Pallava influence is clearly visible in the early Chola sculpture at Srinivasanallur. The transition is slowly visible as even though the sculptor is following the basic theme, the emphasis is shifting to the central figure of Dakshinamurthi, moving him to a more standard Virasana posture, the face becomes more serene – the bhavam is befitting someone who is imparting the supreme knowledge, however one can still spot the rest of the characters – deer, lions, snake, etc., - being slowly pushed to the background and in a couple of centuries they are just miniscule fillers in the entire drapery of the panel.
(The writer is a sculpture enthusiast and blogs about temple art at www.poetryinstone.in)
