Sri Varadharaja Perumal Temple in Kanchipuram is popular for its exquisite architectural features, including the 100 Pillared Hall. When I went there for the first time, the shrine was closed as the lord Varadharaja is taking his afternoon nap. Until the temple opens, I was roaming around this hall.
from Sri Varadharaja Perumal Temple | Pandian Ramaiah 17 Sep 2006
I found intricately carved pillars, which depict horses and mystical creatures or Yalis ridden by warriors. Sadly, the mandapam was closed. I could not enjoy all the creative skills of artistry skills. These pillars are not only aesthetically wonderful but also showcase the advanced craftsmanship of the Vijayanagara era.
The 100(0) pillared mandapam, Sri Varadaraja Perumal Temple, Kanchipuram | Pandian Ramaiah, 17 Sep 2006.
I understood that this 100 Pillared Hall is a significant part of the temple’s expansion during the Vijayanagara Empire’s reign. The carvings on the pillars include scenes from the depictions of Vishnu and his avatars. The nearby temple tank made my presence serene.
The Horse armour from Varadharaja Perumal Temple | Pandian Ramaiah, 17 Sep 2006
The horsemen pillars are typical style of Vijayanagara and Nayaka-s who are Vijayanagara’s chieftains. Typically such pillars elevate the temple’s status as a masterpiece of Vijayanagara architecture, reflecting the rich cultural and religious heritage of the region.
I wish to highlight two more places with pillars depicting horsemen –
Sri Ranganathaswamy Temple, Srirangam – The temple’s 1000 Pillared Hall features sculptures of rearing horses with riders exemplifying Vijayanagara artistry. The hall is a notable example of planned theatre-like structures, to gather devotees.
Shikakiriswara temple, Kudumiyamalai – I spoke about this temple in this series earlier. Similar to 100 pillard mandapam of Kanchipuram and 1000 pillared mandapam of Srirangam, there is a Anivetti-k-kal-mandapam contributed by Nayaka-s.
Let me quote from the documentation of Prof S Swaminathan and MV Kiran –
The portrayal here of figure of horsemen treading over the foot soldiers is of particular interest. One can see here weapons used respectively by the horseman and the foot soldiers and the method in which the foot soldiers defended themselves from the attacks of the horsemen.
Horsemen pillar at Kudumiyamalai | Pandian Ramaiah, 23 April 2007
All three temples share similarities in their architectural features: a hall with pillars adorned with riders on horse/mythical yali/other animals.
Additionally, I’d like to mention an artifact often highlighted during my museum tours: the Chettiar Doorway at the Indian Heritage Centre in Singapore.
Chettinad Door way, Indian Heritage Center, Singapore | Picture credit: indianheritage.gov.sg
This doorway is adorned with over 5000 carvings, including Ramayana, Vishnu riding on Garuda’s shoulders, Ganesha, Subramanya, Gajalakshmi and other motifs. On the side, we saw beautiful armours riding horses and Yali-s. It reflects the influence of Nayaka art on Chettinad architecture.
While discussing South Indian temple architecture, it is essential to acknowledge the contributions of the Vijayanagara and Nayaka dynasties, particularly, Nayakas’ colossal sculptures. At first sight, it pins your mind with it majestic beauty. If you have the opportunity, visit these sites and share your experiences with me.
When Google maps were not used, I was searching for the bus routes to reach British Museum from Croydon in the UK where I was staying for a short while. The purpose of my trip was not related to history, but I thought like having traveled so far, why can’t I visit the locations I was eager to explore. More importantly the Rosetta Stone.
Picture: Pandian Ramaiah, 27 Feb 2011
If you ask me why I am so curious to understand my fascination, let’s go back to 2000. During my work on an exhibition about the evolution of scripts, my team and I delved into various writing systems. We had been talking about the Indic scripts and others across the world. If I was surprised to realize only a few scripts that started several millenniums ago and still in practice.
Indic and Chinese scrips are of the kind. However, this post focuses on something else. One of the interesting fact in this exercise is to document the deciphering the scripts – ie, origin or Cuneiform, Hieroglyphs, Mesoamerican scripts etc.
We are discussing about Egypt and its Rosetta stone. It contains same message was carved in the stone in more than one script forms.
Following our discussions, I worked on creating a compelling exhibition panel. I was so obsessed with Rosetta Stone and I paid special interest to come out with a better version of panel.
Cleopatra written in Hieroglyphs | Story of scripts PPT
This stone was found in Egypt, but why do we need to talk about the British Museum? Because it is displayed over there. This story is similar to many others where artifacts are taken from their countries of origin and moved to Western museums—a practice that is not new.
Picture: Pandian Ramaiah, 27 Feb 2011
There has been ongoing debate between Egypt and the UK, with Egypt requesting the return of the artifact. But I understood that UK thinks that it is good to be displayed in British Museum because, it attracts global audience, so it provided Egypt a replica of the same!
But politics is not the focus of this post, the artifact is.
In 1799, This stone was discovered in a fort in Rosetta, Egypt. It contained same message in three script forms – Egyptian hieroglyphic, then extinct, Egyptian demotic script and Greek of 4th to 1st centuries BCE. Demotic and Greek were known to researchers. So, both helped them to decipher Hieroglyphics.
I read about the stone and captivated it. The visit to the museum that day, was mainly focused on scripts and Indian arts. They had a original and a replica. Standing before the Rosetta Stone, memories of discussions with my Boss from years ago flooded back.
Discussion with fellow museum visitor | Pandian Ramaiah, 27 Feb 20011
Kiran and I had a memorable early morning journey to Narttamalai (nārttāmalai/नार्त्तामलै) before two decades. I can’t quite recall how we traveled; I believe it was by car. As the sun began to paint the sky, we started our climb up Narttamalai hill.
Narttamalai, though a remote village along the Trichy-Pudukkottai highway, is a site of national importance. This entire village is a historical gem, though perhaps not as well-known as it deserves to be, even among locals.
Vijayalaya Cholisvaram | MV Kiran June 2003
The hill cradles six treasures
There are two rock-cut temples,
Pazhiyili Isvaram (பழியிலி ஈஸ்வரம்/paḻiyili īśvaram/पळियिलि ईश्वरम्) and
One magnificent structural temple called Vijayalaya Chozhisvaram (விஜயாலய சோழீஸ்வரம்/vijayālaya cōḻīśvaram/विजयालय चोळीश्वरम्), which is a marvellous piece of art, on the hill.
A famous living temple of Mariamman (மாரியம்மன்/māriyammaṉ/मारियम्मन्).
The Kadambar temple (கடம்பூர் கோயில்/kaṭampūr kōyil/कडम्पूर् कोयिल्) at the foot of a hill nearby is another beautiful temple.
The natural cavern of Aluruttimalai (ஆளுருட்டி மலை/āḷuruṭṭi malai/आळुरुट्टि मलै) contains polished stone beds and other Jaina vestiges.
Kiran, well-prepared with research, led the way. My main role, as I saw it, was to offer moral support.
As the rising sun showered the landscape in a warm and golden light, we carefully climbed the sloping, slick rock, eager to capture a beautiful photograph of Vijayalaya Cholisvaram. Later within the temple campus, we were struck by the richness of its cultural heritage.
24 Jun 2003 | Pandian Ramaiah
Vijayala Cholisvaram is a structural Siva temple, Opposite it, excavated into steep hillside, are two cave temples. One is Samanar Kudagu, the cave of Jains.
Samanar Kudagu Cave Temple | June, 2003
Today, let’s focus on the yali – also known as vyali or vyala or vyalaka – a recurring lion-like figure. The motif is often seen in Hindu and Buddhist temples and royal spaces. Samanar Kudagu is not an exception too.
The cave temple seems to have begun as a Jain site around 7th century, later becoming to shrine of vishnu. Mango trees and bushes create a serene atmosphere. A facade or mandapam stands before the cave, and it’s this facade that I want to highlight.
The facade’s base is adorned with procession of yalis. Sculpted to convey power and fierceness, these yalis often serve as brackets, or pillars supporting the structure. Simetimes they feature elephant trunks or bird wings.
Statue of Gajasimha Tower (Gaja yali) of Cham Da Nang Sculpture Museum (photo provided by nv) Picture (c) archives.org.vn
We observed various types of yali-s. The simha yali has a lion’s head and body. The Gaja yali combines an elephant’s head with a lion’s body. The Makara yali features the body of a lion and the head of a crocodine. Similarly, the architecture boast a variety of yalis, such as Sarpa yali and Nara yali.
The yala frieze, Samanar Kudagu, Narttamalai | MV Kiran, June 2003
The plinthe of this facade features makara heads in the corners devouring humans in their mouth. These connect to frieze of elephants and Simha yalis. Though relatively small, they contribute to the basement’s beauty. Carved with dynamic energy, the playful nature of these yalis brought smiles to our faces. What a skill and imagination!
The yala frieze, Samanar Kudagu, Narttamalai | MV Kiran, June 2003
Scholars suggest several reasons for these depictions: protection, good luck and fertility among them. But beyond any symbolic meaning, they contribute an immense beauty that broadens our prospective as we enter these sacred spaces.
Long long ago so long ago nobody will know how long ago, there lived a man called Badang in a place called Saluang. I do not know where it is. It might be somewhere in Malaysia or Singapore. As a slave, he was working for a farm. His work made him tired and fatigued. He thought if he were stronger, he wouldn’t feel tired
While fishing secretly, he encountered a monster stealing his catch. Badang threatened the creature, who offered to grant him immense strength in exchange for letting it free. Badang agreed.
With his newfound power, Badang amazed everyone, including the King of Singapore. He demonstrated his strength by pushing a massive boat into the sea without anyone’s help. The King freed Badang and made him army commander. Badang then defeated a strong man from Kalinga of India in various contests of lifting a massive stone in present day Fort Canning Hill.
Kalinga was able to lift the stone only up to his knees. Badang not only lifted it, also threw it all the way until the mouth of Singapore river (present day Fullerton hotel area). He became a celebrated hero, serving the King and bringing peace to Singapore.
This is a mythological story. But a stone of 10 x 10 ft with inscriptions of several lines was left in the same place. No one was able to decipher it. But it became a challenge for the group of labourers. The colonial authorities decided to blow it up to make way for development.
Before doing so, a copy of the inscription was made. But the characters were defaced a lot due to weather. It is believed to be 13th or 14th century. Somebody believes that it may belong to 10th century.
Different experts provide different theory about the characters. Some say Kawi script, the old Javanese script with Sanskrit words.
Peter James Begbie was a Captain in the East India Company’s Madras Artillery worked from Malacca. He published the book The Malayan Peninsula in 1834. He guess the inscription sound similar to Tamil, but using obsolete words.
Australian researcher Dr Iain Sinclair identifies a fragment kesariva. He believes it may be the part of parakēcarivarmaṉ (परकेसरिवर्मन्), a typical title represents Chola Kings. As per his estimation, the stone may belongs to 10th century CE. If this is true, the Indian connection with Singapore goes back to the same timeline.
The damaged parts of the stone are kept in National Museum of Singapore. Some one told me that the one found in Badang Terrace of Fort Canning Hill is its replica. But I am unable to verify the fact.
Though just a few kilometers from my native place, I haven’t visited Kudumiyanmalai (Kuṭumiyāmalai / कुडुमियामलै) in a long time. It is a common failing, I think, we often overlook the value of the things close by and readily available.
Kudumiyamalai: A historical gem and a treasure of sculptures
Sikanatha temple, Kudumiyamalai | Pandian Ramaiah, 23 April 2007
Yet, Kudumiyamalai boasts a rick history, with Jain beds on its western side of the hillock believed to date back to 2nd century.
Similar to other natural caverns of Jains, the one here offers a breathtaking panoramic view of the surrounding landscape for several kilometers. Writer Jeyamohan believes that our minds will open upon seeing the wide vision of nature. The River Vellar and its banks are particularly picturesque from this vantage point.
One of the most memorable aspects of my village life during power cuts was the collective experience. We’d all emerge from our homes and instinctively glance towards the hilltop. If the light atop the hill remained dark, a sense of shared relaxation would settle in. At least, we were all in the same boat! It’s a little ironic that despite the decades that have passed since my birth, power cuts still occasionally disrupt life in my village.
On the eastern foothills lies a cave temple, dedicated to Lord Shiva. Near by, a structural temple, Sikakirisvara Temple, houses another Shiva shrine. The exact time of construction for this temple remains unknown. However M V Kiran, my ex-colleague who documented this place along with my ex-Boss, noted that most early Chola inscriptions are found in near by Melakkovil (another shine near by) and second prakaram. This suggests that the main shrine might have been remodeled during later periods. Nayaka too involved in development of this temple with beautifully sculpted pillars with intricate carvings.
Two of these sculptures, Rathi and Manmadan, are the focus of this post.
Rathi and Manmadan: A story of Love and Loss
Belief in Rathi and Manmadan, the Hindu god of love, extends back to Vedic period. The story of Kama (Manmadan)’s destruction in Shiva Purana is well-known. When Indra sought Manmadan’s help to awaken Lord Shiva from his medidation, Manmadan’s arrow of love angered Shiva.
Shiva opened his third eye and destroyed Manmadan. Though later revived, Manmadan was condemned to leave heaven and reside in the hears of all men in earth. Following her husband, Rathi too descended to earthly realm, dwelling within the heards of women.
Sculptures depicting Rathi and Manmadan are found throughout Tamil Nadu, but the one in Kudumiyamalai is particularly notable.
Rathi devi, Kudumiyamalai | Pandian Ramaiah, 23 April 2007Kama / Manmada, Kudumiyamalai | Pandian Ramaiah, 23 April 2007
The damaged state of these sculptures is truly saddening. Imagine their beauty, if they were fully intact!
“What shall I do? Where can I go? What is it that the gods have done in making my husband a victim thus? They have called him here and destroyed him.” –Chapter 19 – Kama’s destruction by Siva
This lament of Rathi devi, upon death of Manmadan, echoes my own sorrow at the sight of these damaged sculptures.
Artist Silpy’s drawings offer a glimpse of their potential splendor.
Rathi of Kudumiyanmalai drawn by Artist SilpyManmadan in kudumiyanmalai, drawn by Artist Silpy
I am particularly fond of this Manmadan sculpture. He is depicted with a distinctly masculine physique and mustache, a feature that resembles Nayaka style.
The Javanese Connection: Wayang Kulit
I am fascrinated by the connection to Javanese culture, Wayang Kulit, a traditional shadow puppetry art form originating from Indonesia, especially Java and Bali, often draws themes from Indian epics and Purana-s. The story of Shiva and Manmadan is depicted in this puppet show – KAMAJAYA-KAMARATIH.
In Javanese puppetry, Batara Kamajaya and his wife, Batara Kamaratih are symbols of a harmonious couple. Both are handsome and beautiful and have the duty as the god of love in the puppet world. Known to be very harmonious, loving each other, and loyal to their partners. There is never a story of a dispute between the two.
It is said that one day, Batara Guru (Parameswara or Shiva) was meditating and suddenly heaven was shocked by an attack by a giant army sent by Prabu Nilarudraka which overwhelmed all the gods. The situation became increasingly critical, the gods then followed Batara Guru to wake him up from his hermitage. However, all efforts failed. Batara Guru remained steadfast in his meditation.
Batara Kamajaya then took the initiative to wake Batara Guru up using the Pancawisaya Arrow. If this arrow hits someone, it will create a feeling of love and arouse lust. The arrow was released and hit Batara Guru, immediately his meditation was cancelled and he woke up in a state of anger. From his third eye, a blue light appeared which immediately hit Batara Kamajaya and burned his body.
Knowing the death of Kamajaya, Batari Kamaratih asked to be killed by Batara Guru too so that she could follow her husband. Batara Guru, who was overcome with anger, then revived Batara Kamajaya using Tirta Amerta. However, because he had made a mistake, Batara Kamajaya was then sent to reside in the souls of men in the world. Meanwhile, Batari Kamaratih also came down and resided in the souls of every woman.
The two gods are tasked with uniting the souls of men and women into a pair of lovers or husband and wife who are equipped with love, affection, and harmonious relationships.
The story in Javanese puppet show resonates deeply. Batara Kamajaya and Batara Kamaratih embody a harmonious couple, fulfilling their duty as gods of love.
I am amazing to consider the interconnections of these cultures across vast distances. Kudumiyamalai in Tamil Nadu and Javanese shadow puppetry tradition – both reflecting the timeless story of Rathi and Manmadan.
Have you been to Thirumayam? If you are a orthodox Vaishnavite, it is a revered divyadesam – one of the 108 holy shrines celebrateed by Alwars in their hymns. The Vishnu shrine here predates the famous Srirangam temple. The Ananta Sayani – Vishnu reclining on his serpent bed with Lakshmi beside him – is larger than that of the one at Srirangam.
Shaivaites also find significance in Thirumayam, home to a magnificent Siva temple. The consort of Lord Shiva here is beutifully named as Venuvaneswari. That means ‘Eswari of Venu Vanam‘ (bamboo forest). The temple is attached with an octagonal shaped uruni – the holy pond.
Satyagirisvara temple (Shiva temple), Pandian Ramaiah, 28 Feb 2010. There are two famous rock-cut shrines, one of Siva [shown here] and the other of Vishnu, adjacent to each other.
Historians will find Thirumayam brimming with centuries of historical facts. The cave temples are believed to date back to 7th century AD. From a chronology perspective, I need to highlight that work at Ellora caves might have started around this time. It features one of the Tamil Nadu’s largest inscriptions. The site witness the stories of colonial aggression too.
Thirumayam Fort, Pandian Ramaiah, 28 Feb 2010. Before reaching the town, one can see a fort atop a large hill. In past centuries, the fort was much larger than what now obtains; this is affirmed by the fact that the main entrance to the old fort lies about one kilometer south of the present-day fort. This extrance to the old fort still stands, it has a courtyard with pillared corridors and shrines of various deities. The sculptures on the pillars are truly beautiful. The Thirumayam fort, set in 40 acres, is of great historical importance. It was built by Sethupathi Vijaya Ragunatha Thevar, ruler of Ramanathapuram in AD 1687.
But I write this post to mention about one of the icons, that left a profound impression on me – Lingodbhava.
How ever this post focuses on a particular icon that deeply captivated me – the bas-relief of Lingodbhava.
It shows the supremacy of Lord Shiva. It begins with a dispute between Brahma and Vishnu over who is superior. To resolve this, Shiva manifested as a colossal pillar of fire, challenging them to find its beginning or end. Brahma transformed into a swan and flew upwards. Vishnu became a boar and dug downwards.
After a long search, Vishnu accepted defeat, recognizing Shiva’s greatness. In contrast, Brahma falsely claimed he found the top with the help of a tāḻampū – screw pine flower (or Ketaki flower in some version). Angered by this deceit, Shiva cursed Brahma to be un-worshipped, thazhampoo and Ketaki flower are banned from using it to adorn gods and declared that the Lingodbhava would symbolize his eternal presence.
Tamil revolutionary poet Bharati’s poem captures this.
Tamil: அடியும் முடியும் அறிய முடியான் Diacritics: aḍiyum muḍiyum aṟiya muḍiyāṉ Hindi: अडियुम् मुडियुम् अऱिय मुदियान्. Meaning: The one whose start and end could not be found.
Usually Lingodbhava statue is found at the rear of Shiva sanctums. The one in Thirumayam, carved inside the 7th century cave temple, is truly inspiring. Rising from the floor to the ceiling, it is a colossal representation of the story. By the time I saw for the first time, it was breathtaking, unable to avert my eyes.
The entire cave temple was likely adorned with vibrant murals in the past. I can only wonder the splendor of the cave with its decorated walls and ceiling. Sadly, most of these murals are lost. mirroring the fate of similar paintings in Sittannavasal and Kanchipuram.
This Lingodbhava in Thirumayam is one of the earliest such artifacts in India.
Since that encounter, whenever I see Lingodbhava, it inevitably evokes the memory of the one in Thirumayam.
The realization of truth in life mirrors this philosophy. The more we dig, more we learn.
Pandian Ramaiah, 28 Feb 2010. There is no connection between this picture and this post. It is the memory of the road and bus existed a decade ago, before taken over by National Highways.
Kodumbalur (கொடும்பாளுர் / Koṭumpāḷūr / कोडुम्पाळूर्) is a hamlet near my birthplace. When something is so near and freely available, you won’t realize its value. This is a general global phenomenon. I am no exception.
It is historically important as it was the headquarters of the Irukkuvels, one of the chieftains of the Chola kingdom. In the popular novel Ponniyin Selvan, Vanathi, Princess of Kodumbalur, was a close associate of the powerful Chola princess Kundavai. She was in love with Arunmozhi Varman, also known as RajaRaja Chola.
According to the epic Cilappatikaram, the protagonists Kovalan and Kannaki crossed this place on their way from Uraiyur (modern-day Tiruchirapalli) – one of the Chola capitals – to Madurai, the Pandya capital. This epic names this place கொடும்பை நெடுங்குளக் கோட்டகம் (Koṭumpai Neṭuṅkuḷak Kōṭṭakam / कोडुम्पै नेडुंगुळक् कोट्टकम्).
Such a busy town is now just a village now. This place has three important archaeological sites:
The Muvar Kovil (Temple of Three),
The Aivar Kovil (Temple of Five),
The Mucukuntesvara Temple.
The Muvar Kovil temple enchants every viewer. It is older than the Thanjavur Brihadisvara Temple (or Big Temple).
Kodumbalur vimanam | 📸 M V Kiran
But the focus of this post is one of the icons we can see at Kodumbalur: the Kalari Murti idol of Shiva.
Kalari Murti, Kodumbalur | 📸 M V Kiran
The story goes like this: Shiva’s devotee Markandeya was supposed to die at the age of 16. Impressed by his deep devotion, Shiva wanted to help him by challenging Yama, the god of death. Shiva performed a ‘playful dance’ (களிநடனம்) on top of Yama, pushing him away and saving his devotee.
Markandeya episode, Raja Ravi Varma.
This sculpture at Kodumbalur is considered one of the finest examples of early Chola art and iconography. The representation of Shiva as Kalari Murti is in the first tier of the eastern niche of one of the remaining temples.
Look at the above picture. Shiva is shown in a dynamic, dancing posture, indicating a destructive attitude. However, killing Yama would stop deaths in the universe, destabilizing the equilibrium. Therefore, Shiva is careful not to push Yama to death. He is dancing on his back playfully. Note the smile on Shiva’s face and the horror on Yama’s face. This symbolizes Shiva’s victory over death.
The soft molding of his abdomen, thighs, and legs makes this sculpture unique. The compassion shown on Shiva’s face brings a smile to our faces too!
If you happen to travel to Tiruchi or Madurai, do not forget to visit this beautiful early chola temple. The same form of Shiva is common to see in other places too.
Kalantaka Shiva, Kailasanatha Temple, Kanchipuram. I found this photo on facebook. Kalantaka Shiva, Gangai Konda Cholapuram, (c) the sculptor, photo (c) Rahul Naidu
I wrote about an elegant Nataraja bronze from South India in my previous post. Let’s talk about another artifact from Eastern Java today.
The discovery
By 1818, during the era of European colonization that gripped Southeast Asia, Java was under Dutch colonial rule. There was growing interest in Europe in the archaeological and cultural heritage of their colonies. Officers like Stamford Raffles and Willem Stutterheim made journeys through Java and documented their findings.
Much before Stamford Raffles (why I mention him is because he is a venerated British colonial administrator of the Straits Settlements!), D. Monnereau, a Dutch East Indies official, was likely on an official trip or exploratory mission in the Malang area of Eastern Java.
Within the ruins of Cungkup Putri near the Singhasari temple, he identified (or perhaps looted?) the treasure called Prajnaparamita statue.
Buddhist Goddess and her Javanese connection
Prajnaparamita is considered the Goddess of the Perfection of Wisdom in Mahayana Buddhism. She is worshipped as the mother of all Buddhas. Some say this sculpture is a depiction of the first queen of Singhasari—Ken Dedes (also called Dyah Ayu Sri Maharatu Mahadewi or Nareswari). Ken Dedes herself has a captivating story behind her, but that is not the focus of this post. I will write about it another day.
Based on my readings, this is the Buddhist Goddess Prajnaparamita, but it might have been sculpted with resemblances to Ken Dedes. A few suggest this sculpture might have been erected where Ken Dedes was buried. Others write that it may depict Queen Gayatri, wife of the first king of Majapahit. However, this idea is not widely said due to the place it was found.
(c) the sculptor and wikipedia
Javanese art
This Buddhist mother Goddess was sitting in padmasana, on a padma peetam on top of a minimally decorated square platform. Her face is striking us, with a serene expression with downcast gaze. Her hair is arranged into an decorated crown (jata-makuta).
She is adorned with rich jewelry with beautifully carved necklaces, ear rings that matches with her face. A string of pearl wraps gracefully around her body. A lotus creeper with flower is intertwined in her left arm, holding Prajnaparamita sutra.
We need to talk about the fine-carved details of her Batik Sarong which was skillfully rendered. It provides a look of a sensuous drape of real cloth, depicting the goddess as a queen.
This 126 cm tall statue was made from pale rose volcanic andesite stone and is believed to date back to the 13th century. It is one of the finest sculptures representing Hindu-Buddhist Javanese art forms.
Later, this treasure was shipped to the Netherlands and displayed at the Rijksmuseum voor Volkenkunde in Leiden.
The Netherlands, which exerted enormous effort to maintain its colonial rule in Indonesia, later faced protests from Indonesia and international pressure. In 1978, they returned this sculpture to Indonesia as a “gift.” 🙂 This act improved relations between Indonesia and the Netherlands.
Of course, this Javanese mother taught her Javanese children to forgive their colonial rulers.
Bronze sculpting is one of the unique skillsets of ancient India. The Dancing Girl bronze from the Harappan civilization is believed to be at least 3,500–4,000 years old.
Over time, this art form reached its peak during the Chola period. Chola bronzes are so exquisite that they have attracted smuggling networks. You may read Idol Thief by Vijay Kumar for more on this topic, but it is not the focus of this post.
One afternoon, my first boss called my colleague and me for a discussion. Thiruvarangulam, a place on the outskirts of Pudukkottai Town in Tamil Nadu, was also part of the discussion. This place is home to a beautiful Shiva temple dedicated to Sri Haratirthesvara. In Tamil, it is called Thiru Aran Kula Nathar.
The main shrine dates back to the 12th century. Around that time, the Chola dynasty had already conquered parts of northern Sumatra, the Khmer Empire was prominent in Angkor, the Srivijaya Empire was ruling the Malay Peninsula (though its dominance was declining), and the Majapahit Kingdom had not yet been established.
My boss mentioned that the temple once housed a stunning bronze statue of Nataraja, the dancing Shiva. This statue is now prominently displayed in the Delhi Museum. He marveled at it, saying it is one of the best Nataraja bronzes ever sculpted—perhaps the second best.
(c) Wikipedia
Nataraja performs his cosmic dance on the dwarf Muyalaka, who is positioned on a padma peetam (lotus pedestal). Nataraja has four hands, two on each side. In his upper right hand, he holds a damaru (udukkai); his lower right hand displays the abhaya mudra (gesture of fearlessness); his upper left hand holds fire; and his lower left hand is in a dancing pose. His legs are elegantly positioned in a dancing stance. The entire balance of the Nataraja bronze rests on his hands and the dancing Muyalaka.
I have yet to visit the museum and see this masterpiece in person. One day, I will go.
