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the Pre-Ariyan period. The Hindu believes about the World’s creation is that when
INDIAN SCULPTURE
an of quoted saying. The most prominent of them are painting, sculpture, dance,
times of peril and pleasure. Music came to occupy an integral part of dance later.
The world kalai in Tamil and kala in Sanskrit are the equivalents of the
English word, Art. In samgam poetry, Kalai connoted deer as well as its horns. It
is also used to mean wide knowledge – paranta arrivu. In the Cilpadhikaram, kalai
derived from kal meaning read. Karpu-chastity, kalai-art are also derived from kal.
Kala in sanskrit it derived from kal, which means spreading. Whatever be the
original of kalai in Tamil and kala is sanskrit, art may be taken to mean all that is
Sculpture is one among the fine arts. This sculpture has its rules laid down
in the sastras. The sastras are the science of sculptures and Architecture. There are
many sastras mentions the rule for the creations of the images are called silpa
128
sastras though they have mentioned the Architecture. The images or the Silpa is
the form of object. The images of Divine Beigns, human, animals and natural
things have to be made as sculptures. Sculptures have been classified into major
or any other materials. One portion of the images is visible while the other portion
sculptures or relics.
Terracotta’s, Ivory carvings and Sand Sculptures etc., on the basis of material.
are many forms of a single deity is noticed in the same temple. The Śiva temple
has various aspects of Lord Śiva while the Vaishnavaite temples have the idols of
Vishnu and his ten incarnations. Apart from the presiding deties there are
innumarble idols of miner deities, Alwars, Nayanmars and the Donors, The King
129
DEVELOPMENT OF SCULPTURE IN EARLY PERIOD OF TAMILNADU
PALLAVA :
The Gangádhara panel in the upper cave at Tiruchy is a fine piece of art of
Dharmaraja and the Arjuna rathas, the two sets of rotal portraits in the Adi-Varáha
cave temple, the spirited battle scene in the Mahishásuramardini cave, Varáha
uplifting Bhúdevi in the Varáha cave, the pastoral life depicted in the Govardhana
cave, and above all, the devas, men and animáls (elephants, lions, monkeys and
cats in different moods, postures and activities) sculptured in the ‘Fresco in stone’,
CHOLA
varied and widely distributed. “But excepting certain Chola statuary of the
does not often attain high quality1. In quantity, it is enormous, the gigantic temples
1
Smith.V.A, “History of Fine Art in India and Ceylon”, New Delhi, 1985, p.119.
130
with sculptured ornament in every member. Mythological subjects from the
Puranas and Tantras are the favourite, and the tendency is to treat the conception
grotesque, and very few of the individual images can claim to be beautiful. The
sculpture of the south is really the successor of its mediaeval art of the north. The
canon.”
VIJAYALAYA
Chola2 himself. It is a fine spirited image. Next, we have the Saptamátrika group
of the original parivara-alaya, and the Nrsimha and Vinadhara images (vimana-
ÁDITYA I
Śrinivasanallur are some of the best productions of this age. In the sublimity of
expression, the delicacy of chiseling and elegant ornamentation, they have their
achievements of the sthapathis during the closing period of the reign of Áditya I in
Tondaimandalam, far from the heartland of the traditional Chola desa. Perhaps the
2
Balasubramaniyam.S.R., “Early Chola Architecture”, Madras, 1974, p.43.
131
last phase of sculptural attainment in Áditya I’s age can be seen in the devakoshta
PARANTAKA I
. Naltunai Iśvaram at Punjai and the Muvarkóvil at Kodumbálúr which come next
Áditya II. The sculptures of Pullamangai are slender and elegant resembling those
students of art for nearly half a century. There is greater resemblance between the
sculptures of Pullamangai and Kodumbálúr. Viewed from the basic facts of history
and Paleography, Bhuti Vikrama Kesari the builder of the Muvarkóvil, has to be
assigned to the latter half of the tenth century A.D. Barrett calls it “a late lingering
of (his) phase I style of art out of the main stream of development near the Chola
flexion.
132
UTTAMA CHOLA
The last phase of the Early Chola period is represented by the stone-
sculptures of the period of Uttama Chola when under the inspiration and guidance
temple-building and to the art of sculpture. Now metal images received greater
attention and patronage with the result that stone-images became stereotyped and
SYMBOLS OF SCULPTURES
Plato defines: "we believe that when we worship the imagesthe Gods are
kindly and well-disposed towards us"3. The temple in India is designed to serve
many purposes social, economic, aesthetic, and religious. The religious interest of
the temple consists in its being a dwelling for an icon and the images that are
sought to be evoked by the icon. The icon is to the temple what the spirit is to the
body, and images are like the vital currents that relate the body with the spirit. The
associated with the icons. The variety of Indian icons acquires meaning only in a
polytheistic context. It is a fact, often ignored, that Indian polytheism does not
This apparently paradoxical detail has not been widely appreciated because
3
Hocking, “The Meaning of God in Hindu Experience”, New Delhi, 2000, P. 321.
133
scholars and critics, not rooted in the temple tradition, tend to stop at the icons and
do not inquire into the relevant images which are stylized in the Agama texts.
Hocking W.E. States, "as bodies are reflected in mirrors so incorporeal things are
reflected in bodies, and the intelligble Kosmos is reflected in the sensible Kosmos.
Therefore, my king, worship the statues of the God's, seeing that statues too have
refer to the Archetype, namely Him whose image it is…… In no wise honour we
the colors or the art, but the archetype in Christ, who is in heaven" 5. "Worship me
in the symbols and images which remind thee of me"6. "By the visible aspect, our
thought must be caught up in a spiritual suge and rise to the invisible majesty of
God”7. "It is for the advantage of the worshippers and not by any intrinsic that
folk were led into error by this …..for instead of regarding those sensible
expressions as an image they took them for the truth itself9. The result of this was
that the masses become idolaters, where as philosophers for the most part,
who has carefully read the ancient philosophers and cicere's. "De Doorum Nabural
4
Ibid., PP. 324 - 325
5
Sir Mad Bhagavandam, IXth capter.
6
Ibid., IXth capter
7
Ramopanisad Agarwal, “ Gaek Watt’s oriental series” ,No. 25.
8
Kera, H, “The Brahat – Sambita of Varahamihira”, P. 17.
9
Ibid., P.P. 19-20
134
Nicholas of Cusa Pichres," means that ornaments in Churches are the lessons and
the scriptures of the deity10. when Gregory denotes, "it is one thing to adore a
adored …. We worship not images, nor account to them to be God's, nor put any
hope of salvation in them; for that were idolatry. Yet we adore them for the
continuous at least for about seven thousand years now. The iconic specimens are
found in the sites of the Indus valley Civilization. The descriptive hymns dealing
with iconic conceptions in the Rig-veda provide background, for the nation-wide
iconographic tradition that has held the field till this day. The art form that
developed in the north-western region during the days when the Indian princes
repulsed the invasions of the Greek generals has been called 'Gandhara' after the
when the Greeks were in the ascendant. It is only when the Indian princes under
the leadership of the Mauryan prince Chandraguptha of Magadha around 340 B.C.
assumed control over the area, allowing the Greeks to reside here as citizens. The
Greek sculptures and artisans were encouraged to exhibit their artistic talent and
temperament. They found it expedient to integrate the Hellenistic craft with the
10
William Durandus, “The Treasury of Traditional Wisdom”. P. 372.
11
Frederic. L, “The Temples and sculptures of south East Asia”, New Delhi, 1996, p.71.
12
Ibid., P. 73.
135
Indian idiom, and this is how Gandhara art was born. The Greek sculpture had an
eye for the human figure; he had a penchant anatomical perfection. He treated
Gandhara artist shared this love of the perfect human form, and the tendency
both large and small, in relief as well as in the round, answering to the Gandhara
measuring 50 feet in height carved on a rock face, Hadda and Jalalabadall in the
Gandhara region of those days. The statues are designed as if they were meant to
those days are not rare. But Gandhara art is notoriously impersonal. The artists
especially by the kushana princes15. It is unlikely that the artists had much
sympathy for the Buddhist themes that they asked to handle. This becomes evident
by the rigidity of most of the statues belonging to this period. The Buddha images
of the Gandhara type are more portraits than icons; they scarcely suggest a
transcendental feeling or the divine element. That is why the Gandhara art was
short-lived; and it disappeared after sixty or seventy years, leaving no lineage and
13
Goetz. H, “India-Five Thousand years of Indian Art”, New Delhi, 1985, P.97.
14
Ibid., P. 98
15
Harle. J.C, “Gupta sculpture ” , New Delhi, 1997, P. 194.
136
no impact16. The early Buddhist monastic settlements were chiefly cenobiums, and
did not accommodate any iconic worship of the Buddha, although the lay-folk that
demi-Gods17. Even when the Buddha images were made, as in the Gandhara
period, they were intended more as works of art than as objects of worship. The
relic- worship and the worship of symbolic representations like foot-print, bodhi-
tree, and umbrella were in vogue from early times. When the theme of the
Buddha's life and career caught the fancy of sculptures, especially inspired by the
Hellenistic models, it was the narrative aspect that was dominant. During the latter
opposition to the more conservation Mahisasakas who were against both the shrine
idea and iconic representation of the Buddha although in course of time they
conceded the former. The art-form that emphasized the Indian idiom and tempered
the Hellinistic realism with idealistic symbolism that was indigenous to India was
the one that developed in the city of Mathura, about fifty miles south east of Delhi,
when the Gandhara-style was half-way through its carreer19. Mathura, under the
137
mercantile people owe all eligance to different religious orders. Craftsmen, skilled
God's, Buddhist and jain deities, plied a busy trade. Preparations of icons
for money and sale of icons were known even to patanjali. Mathura icons now
became popular all over the country and even abroad. The great demand
Mathura during this period developed and attained maturity in the golden age of
the Guptas20. It is interesting that the city of Mathura in those days was frequented
by merchants, generals and noble men from central Asia; and other parts of
Northern India especially from Indus Valley, Taxila, Gujarat gulf etc21. And there
were four centuries, in the city generous sprinkling of more or less resident
iconographic style that was perfectly indigeneous and that was in complete accord
with the idiom that is illustrated in the canonical texts. After a phase of initial
Sanskrit in the nature of iconography manuals23. It was about the same time that
temples also began to be built in a manner that was different from the stupa
20
Vichnot.O., “ Temples de.1’ inde centrale et occidentale,” P. 63
21
Rawson. P. “ The Art of South East Asia,” New Delhi, 1989, P. 141
22
Ibid., p.141
23
Op.cit., p.142.
138
chaitya or vihara24. It was about the same time too that the Bhagavata cult was
making headway in the main land of India. And it was about the same time that
the nucleus of the puranas had been formed and the myths and legends of God's
were becoming popular. The folk deities as well as the divinities of the
sophisticated classes had risen to importance; they needed elaborate shrines and
shape in answer to this demand. There was already an Agama corpus in Tamil. It
had got formed during the early centuries before and after Christ25. The Vedic hold
were no temples even in the earlier Indus valley phase, although there were house-
hold icons26. Now the elaborate Vedic rituals and sacrifices as community affairs
receeded to the background, and the temple as a public place of worship were
taking its place27. There is a curious inscription found in Ghosundi near chittor
belonging to the second century B.C., which mentions that the king Gayayan, a
Bhavata who had also performed an Asvamedha sacrifice, got a temple, now
Narayanavatika for Vasudeva and samkarshana. The inscription suggests the co-
24
Agarwal Gaekwad. V.S, Vastu Sastra – Samaranganasutradhara , oriental series
25
Ibid., p. 84.
26
Popatbhai Ambashankar Mankad, Aparajtaprc has , Series No. CXV, P.68.
27
Nagari inscriptioin.
139
institution during the initial phases of this transformation. It was in this context
of Vishnu, encouraged the building of public shrines. Even in the first century
to the 'Worshipful vasudeva, During the reign of the saka satrapredesha,. son of
Rajuvala; we have also references to "the icons of the five worshipful heroes of the
The cult became wide-spread during the rule of the early Gupta Kings.
styled himself a " Parana Bhavata "30. The Varaha Vishnu temple in Udayagiri
near Bhilsa was a Bhagavata shrine of 402 A.D. A rock inscription dated 404 A.D.
at Mandsor by Mara – varmah, a feudatory of the Gupta King, begins with a verse
The Bhagavata-cult began with an adoration of Vishnu, but its basic creed
of devotion drew within its fold other popular God's also. The later Guptas were
acquainted with "Sivasthalas" built as early as the first century after Christ32.
28
Nagari inscriptioin.
29
Harle.J.C., Op. cit., P. 191
30
Coomarasamy A.K, “Elements of Buddhist Iconography Yakshas”, New Delhi, 2000, P.117.
31
Patanjali, Op. cit, P.118
32
Karoshti inscription, Archoological survey of Indian. 76. Yazadanai. G, “History of the
Deccan”, Vol. I, P. 45.
140
Siva33. Besides the later Gupta Kings, Bharasivas and the Vakataka rulers, the
Huna generals Maitrikas of Valabhi, and the Maukhari chief of Kanoj encouraged
ideaology of Bhagavata, which was the impulse to partake of the grace and glory
of God head. The icons of the Buddha and Bodhisattvas were already being
Yakshinis34.
With the spread of the cult of devotion to personal God's and Goddesses, the
forms35. By about the fifth century after Christ, Indian iconography was more or
33
Marshall.J.H., “ The Buddhist Art of Gandhara”, New Delhi, 1989, P. 119.
34
Agarwal. V.S, Op. cit., P.117
35
Zimmer. H, “Myths and symbols in Indian Art and Civilization”, New Delhi, 1974, P.46.
36
Thomas. S. Khun, “The Structure of scientific Revolution”, New Delhi, P. 100.
141
which acts of sharing will facilitate coordinated effort37. ‘A paradigm’ is a frame
work; it has a binding function, in the sense that it prevents the user of this
framework from wasting his time and energy on trivial issues, and helps to
concentrate on relevant and specific issues. It brings into being a way of looking at
things naturally, meaningfully and purposefully; and it develops its own language.
"A Paradigm” is something, which can be functioning when the theory was not
there"38.
It is like a local road map, which is used when it is needed and which is
community. The success of the paradigm; provides delight to the user of the
paradigm; and human become emotionally attached to what gives them pleasure.
The role of an icon in a tribe is exactly the same. It binds the members of the tribe
understanding, and helps them communicate with each other as well as function
within a frame work. Its relevance and value are confined to the community which
its user, but the artistic expectations also. It thus develops a 'vital quality' and a
‘protective role’39. No user of the icon can derive any benefit from it unless he
regards it as imbued with a living quality and unless he had trust in its special,
37
Lian Hudson, “Criticism and Growth of Knowledge, New Delhi, 1980, P. 81.
38
Zimmer. J.H. Op.Cit., P.82
39
Ibid., p. 83.
142
although unseen, power. An icon is a "charm”, it can work. The earnestness and
concentration of the user of the icon determines how the icon going to benefit him.
It was not the mad love of Pygmalion prompted Venus to give him the woman that
of veneration and a work of art. The icon in the temple has a cult, a tradition, a
function that is laid down as paramount within the community. The Indian words
for icon are ' pratima', bimba' and 'bera'. 'pratima', empasizes representation of the
actual object of veneration or divinity; 'bimba' brings out the character of image;
and 'bera' the origin of which word is obscure, means an idol in which certain
traits and powers are especially invoked. There is another synonym, ' Murthi ' that
making an abstract idea concrete and practical41. The word pratima is an ancient
one, found even in the Vedic hymn's42. It had become popular in the centuries just
proceeding the Christian era, for we find it used in the sense of icons in several
Manibhadra attlefolk God has been found in poll near Gwalior in Madhya Pradesh
and another in near Mathura which mentions the icons of the five heroes of the
Vrshniclan. The Rig- veda employes another word ' Sub – pratika' in the same
40
Soundarrajan.K, “ The Matrix of South India Architecture, Journal of Indian History” ,
Vol. XI. No.129, P.1.
41
Rig – Veda, 10.10.130.
42
Rig – Veda, 6.28.6.
143
sense as ' pratima'43. 'Biama' and ' bera' however, are more frequently employed in
the Silpa texts. They are specifically sculptures in stone, wood, clay or metal, as
distinguished from coloured line – drawing and painting. Bera' in particular refers
We do not know whence this word was derived, for it is clearly not a regular
Sanskrit word.
A.D. this sculpture was made by one single stone. Not only 63 Nayanmars, Shiva
with Parvathi seen by all peoples those are visited this place. An important days,
This sculpture was placed Sri Prakathambal temple. It was created by raja
sculpture. A lady woman called as natchiyar44 who took the lamp in her hand.
Before the entrance of cave temple, Saptha Kanniar was present on the left
side of the path, from which the entrance of the cave temple began (started). It had
11 feet length and 2 feet breath with 9 sculptures starts with Veerapathirar then
144
vinayaka were constructed as cave sculptures on the hill-rock. They were builded
santikeswarar had 13/4 feet height. Umadevi with paramasivan along with skandar
Sandikeswarar was an oldest metal body structure. In this metal body, had
an axe in his left hand and shown in a manner of join hands, just like of
“Namasthe” style. A well beautiful metal structure body especially on hair and hip
was shown.
Another metal body structure was chokkar. It had 1 1/2 feet height. Next
sakthi amman metal body sculpture of 2 ¾ feet height. Uthsva metal body
Pidariamman with 2 ½ feet height Sri Pidariamman metal body sculpture was
designed in such a manner of terrible and horrible, so that the amman had no Pujas
sculpture shrine was shown. In this place natarajar metal body sculpture with high
45
Ibid., p.42.
145
level base, then Annai Sivakami metal body sculpture and four samaya kuravar
were present. A another name of “Selva Koother” was given to the Nataraja metal
body sculpture presence of Natarajar metal body in /pandia period shown by some
evidences.46
“Kumbum” made and covered by bronze and upper of Kumbum made and
bronze and copper body sculptures which were made by Raja Thondaimans of
dhuvatjasthambam tree, had a lot of God and Goddess sculptures were there.
INSCRIPTIONS
Gokaneswara Temple – on the south wall of the rock cut shrine. It stated
Inscriptions of grindha evident that, this cave temple constructed by the leadership
of pakthachatiyar .
46
IPS No. 590
47
IPS, No.6,Part-I,p-11
146
Tirugokarnam on the east face of the second pillar from the right in front of
the rock-cut central shrine in the Gokarneswarar temple.48 The inscriptions stated
On the south face of the third pillar from the right in front of the rock-cut
central shrine in the Gokarneswarar temple.49 This inscription stated that, king
On the south wall of the rock cut shrine in the Gokarneswarar temple. 50 The
destroy the enemy’s fleet at Kandalur salai… Velakkari, the.. of Adambar and a
On the south wall of the rock cut central shrine in the Gokarneswarar
temple.51 The inscription stated that the king parakesarivarman donate one
“kalanju” weight of gold was given to the magadeva (siva) of Thiru Gokarnam to
keep the lamp lightedfor one sandhi daily at dawn. This gold was deposited as an
endowment to the temple with us, kodumbu singan, sattan aran pallavan singan,
son of Sattan and Malapadi Niccal, may this bright lamp be under the protection of
147
On the forth pillar from the north in front of the rock cut central shrine in
the Gokarneswarar temple.52 The inscription stated that the fourth year king
Thirugokarnam in the hands of the priest of this temple to keep the lamp always
On the north face of the second pillar (from the right) in front of the rock-
cut central shrine in the Gokarneswara temple. It stated that the 13th year of king
On the east face of the third pillar from the right in front of the rock-cut
central shrine in the Gokarneswarar temple.53 The inscription stated that the 3rd
year of king parakesarivarman of chola for the food offering to the Mahadeva
On a stone built in the south wall of the mandapa before the central shrine
A.D the name of king though lost is identical by the Prasasti . Prasasti is
52
IPS, No.41, Part-I,p-34
53
IPS, No.73,Part-I,p-47
54
ARE 1904, No.308
55
IPS, No.102,Part-I,p-82
148
On the rock above the rock-cut central shrine of the Gokarneswarar
ponnumbalam ( A Golden dance Hall) with a golden throne of victory along with
On the rock to the left of the steps leading to the turn on the north of the
rock-cut shrine of the Gokarnam temple.The inscription state that “20th year of
king Rajaraja devar of chola in 1235-3659 made and endowment to secure the
welfare of his mother Manjavi and father Parasadevar to the Nayanars who abide
in thirugokarnam in order to provide which was kept alright daily and for keeping
On the south wall of the cave temple is Gokarneswar temple.It stated that
the 17th year of king Maranjadaiyan of Pandia60 in the period of 781-82 A.D
endowed 15 pon kalanjus of gold which collected by begging (for holy purpose),
for a lamp to be kept alight for ever for the Madevar (siva) of gokarnam temple
56
IPS, No.120,Part-I,p-89
57
MEC 1902, No. 411.
58
S.I.I,Vol.VII-1044
59
IPS, No.183,Part-II,p-168
60
IPS, No.239,Part-II,p-207
149