Pallava Architecture, Part I (MASI 17) c2.67

Language: English

c2.67.1

The facade faces the south and is simple and severe in character [Plate I (b)]. It has four cubical pillars dividing the facade into five openings of equal size, with a second row of pillars inside the temple and in line with those of the facade. In style, the pillars are similar to those at Dalavānūr, but they have no bas-relief representation of a torana over the entrance and there is no ornamental cornice above the architrave of the facade. The cubical portions of the pillars are decorated with lotus flower medallions and floriated ornament similar in design to that appearing on the stone rails of the Amarāvati stūpa. The underside of the corbel capitals is decorated with roll ornament [Plate II (c)]. On plan, the temple consists of a rock-cut hall measuring 30' 0" in length, 15' 0" in width and 9' 0" in height. Cut into the east wall is a small sanctuary 7' 10" square and 7' 0" in height. The shrine faces the west. Cut in the centre of the floor of the sanctuary is a socket-hole, 2 feet square, for the reception of the linga, by the side of it is a second socket-hole 1 foot square, the latter being no doubt for the reception of the portrait image of Mahēndra mentioned in the inscription. The shrine is now empty. At one time, the temple was used as a powder magazine, presumably by the French, and the openings between the pillars of the facade were closed with brick walls, which have since been removed.

c2.67.2

Above the shrine doorway is a cornice decorated with the gable-window ornament and on each side of the entrance, carved in high relief and standing in a niche, is a figure of a doorkeeper leaning on a club [Plate II (d)]. Carved in the west wall of the hall and facing the shrine, is a large panel, about seven feet square, containing a fine image of Siva in the form of Gangādhāra, “ the bearer of Gangā ” (the Ganges). This form of Siva illustrates the Purānic story of the descent of the heavenly Ganges unto the earth to purify the ashes of the sinful sons of Sagara, a king of the Solar race. At the request of Bhagiratha, a late member of the same family, “ the river of the gods ” consented to direct her course to the earth, but her force was so great that the earth was unable to stand the shock. So Bhagiratha prayed to Siva and the latter consented to receive the Ganges on his head. The river, proud of her might, came down with all her force as though to crush Siva, but found herself lost in the tangled maze of Siva’s tresses. Gangā then became humble and Siva permitted her to flow forth again from his hair as a tiny stream. Since then the river goddess Gaṅgā is believed to abide in Siva's hair as one of his consorts. In the sculpture, Siva is portrayed with four arms, the right upper arm holding the Ganges issuing from his hair. The left upper arm holds some indistinguishable object, that may be meant for a rosary.

c2.67.3

The left lower arm rests on the left hip and the right lower arm holds a hooded serpent, the body of which is entwined round Siva's chest and right arms. Siva's right foot is raised and rests on the head of an ugly little dwarf who is shown holding up his puny arm to support the mighty foot of the god. Similar little dwarfs are common in Buddhist art and are employed in the same manner with regard to Buddha. In the form of Natarāja, Siva's right foot is usually portrayed as crushing a similar little demon dwarf, Musalagan or Apasmāra by name, but here Siva is not represented as crushing the dwarf and the latter is shown supporting the god's foot. Kneeling round the figure of Siva are four worshippers, and above are two gandharras flying through the air and raising their hands in the act of adoration. On the right side of Siva's head, depicted as coming out of the clouds, is the head and bust of a little human figure with the hands raised in prayer. On the other side is a small animal, presumably a deer, in a recumbent attitude. The base of the panel is decorated with the Buddhist rail ornament similar in design to that found in the Amarāvati bas-reliefs in the Madras Museum [vide Frontispiece].