South Indian Bronzes: A Historical Survey of South Indian Sculpture with Iconographical Notes Based on Original Sources c9.75

c9.75

After the Java image, one is inclined to place the image of Gouri (Plate XXXIV) and Siva-kāma-Sundari (Plate XXXIII) as coming next in order of time. The modelling in both these images is a little stiff and conventional and they probably represent earlier examples of Chola sculpture. They mark the preparatory stage for the maturity of style and the faultless technique of some of the best of the Brihadeswar images. The images of Kālākala, Pārvāi and the Natarāja in the Tanjore temple will undoubtedly justify these claims. The image of Gangādhar also from a temple in Tanjore (Plate XIV) suggests comparison with the figures of Kālākala and Paramesvara-Swamy (Plates I & XVI), but in its general character and conception does not seem to belong to the times when the Brihadeswara images were made and presented to the temple. The numerous inscriptions which Raja-Raja I caused to be carved on the walls of the Brihadeswar temple are of special interest with regard to these sculptures. From these inscriptions which are all dated in the 29th year of his reign (i.e. 984 A.D.), we find that Raja-Raja presented to this temple various images, one of which was a gold image of Khetrapāldeva. His gift was followed by others of the same kind from his Queen Lokamahadevi,¹ his son Rajendra Chola Deva,² his commander-in-chief Senāpati Srikrishna Rāma³ and by the manager of the temple named Adittan Suryan. The inscription of the last-named person which is also dated 984 A.D. refers to seven copper images which he presented to this temple.⁴ Of these the two of Sundaramurti (Nambi Arurānar) and his wife Paravaiyar may possibly be identified with the figures in plate (XXX) and the Frontispiece. The other inscriptions however do not help us to identify any of the other images illustrated in this volume. Much as we should desire to fix the date of the splendid copper images of Natarāja reproduced in (Plates III, IV & V) they must for the present remain undated. We read from an inscription of Queen Cholamahadebi in the Brihadeswar temple dated 984 A.D. that she set up copper images of Siva called Adavallar (Natarāja) and his consort and presented a few ornaments to these images.¹ The description however does not seem to answer to the large image of Natarāja in the Brihadeswar temple illustrated in (Plate III) particularly having regard to the height of the image given in the inscription which cannot apply to this image. Excepting the height given in the epigraph, the description, however, very well applies to the Natarāja in the Musée Guimet Collection (Plate VII) and the one in the Ceylon Museum (Plate IX) and is therefore worth quoting:—" One solid image of Adavallar having four divine arms the (goddess) Ganga bhattāraki on the braided hair, nine braids of hair (jaṭā) and seven flower garlands (pumālai) and measuring together with (an image of) Musalagam (the demon) who was lying on the ground three quarters and one eighth of a muram in height from feet to the hair. One lotus on which this image stood set with jewels and measuring three viral in height. One pedestal measuring 5 viral in height. One solid aureola measuring 3 muram and 2 viral in circumference. One solid image of his Consort Umā-paramesvari measuring 17 viral 2 tarai (about 18 inches) in height from feet to hair."