Some South Indian Icons

8/2/2019 Some South Indian Icons

1/41

Some South Indian IconsAuthor(s): Aschwin LippeSource: Artibus Asiae, Vol. 37, No. 3 (1975), pp. 169-208Published by: Artibus Asiae PublishersStable URL: http://www.jstor.org/stable/3250248 .

Accessed: 21/10/2011 16:15

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of

content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms

of scholarship. For more information about JSTOR, please contact [email protected].

Artibus Asiae Publishers is collaborating with JSTOR to digitize, preserve and extend access toArtibus Asiae.

http://www.jstor.org
http://www.jstor.org/action/showPublisher?publisherCode=artibushttp://www.jstor.org/stable/3250248?origin=JSTOR-pdfhttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/stable/3250248?origin=JSTOR-pdfhttp://www.jstor.org/action/showPublisher?publisherCode=artibus


2/41

ASCHWIN LIPPESCHWIN LIPPE

SOME SOUTH INDIAN ICONS'

espite the lack of politicalunity, a surprisingdegree of stylisticcoherenceis manifest inmediaevalndian culpture.Thiscoherences baseduponreligiousunity.However, the diversityof local artistictraditions s enhancedby a certainreligious diversityaswell. Thuswe haveminordeitieswithgeographicallyndsometimes hronologicallyimitedspheresandperiodsof worship,like JyesthaandAiyanar.Wealso encounter orms or manifesta-tions of thegreatgodswhichareunknown notherpartsof thecountry.2I

Among the latter, an exclusivelysouthernicon is Siva Daksin.amurti,he Lord or Teacherof the South.3Whenhe taughtthe rsis,Siva was seated under a banyanor pipaltreein the Hima-layas,facing south, on a tiger skinor a white lotus. As theAgamasdescribehim, his lower righthand s innana-orsandars'ana-mudrd;he backrightholdsarosary;he back eft fire or serpentor lotus; the front left is in varada- r danda-mudrd-itayalso hold a book. His locks are em-bellishedwithpoisonousdaturalowers,witha serpent nda smallbell,withskullandcrescentmoon; there also should be the face of the river-goddess Ganga. His right leg, hangingdown,generallyrestson the Dwarf of Ignorance(apasmara-purusa).He is surroundedby four or more.r.sis. t his feet,deerandsnakeshavegathered.The four basic aspects of Siva as the teacher areYoga-Daksinamurti(the teacherofyoga),Vinadhara-Daksinamurtithe teacher of the vindar lute), Jnana-Daksinamurtithe teacher ofknowledge), ndVyakhy5na-Daksinamurtitheexpounderf the adstras).Sivaexpoundingthe sdstrasscripture)s the most frequentlyencountered orm. At the sametime, the Daksinamurticonceptis relatedto that of Siva as masterof the dance(Nrttamurti).The Vinadhara ormis mentionedby the hymnistsAppar(early8thcentury)and Sambandar(ca.73o);the Daksinamuirtioncepts described yManikkavasakarafter 5o0).4

This article was finished in Spring I974. In the meantime, D. Barrett published his Early Cola Architecture andSculpture,London I 974. It persuaded me to change a good many Cola temple dates according to Mr. Barrett's interpretation of theevidence.2 C. Sivaramamurti, Geographical and Chronological Factors in Indian Iconography, Ancient India, No. 6 (I950).3 T. A. Gopinatha Rao, Elements of Hindu Icanography,Madras 19I4-I6, pp. 273ff; J.N.Banerjea, The Development of HinduIconography,alcutta I956, p.464ff.4 K.R. Srinivasan,Some Aspects of Religion as Revealed by Early Monuments and Literatureof the South,Journalof theMadras University, Vol. XXXII, No. I (July 96o), p. I87.

SOME SOUTH INDIAN ICONS'

espite the lack of politicalunity, a surprisingdegree of stylisticcoherenceis manifest inmediaevalndian culpture.Thiscoherences baseduponreligiousunity.However, the diversityof local artistictraditions s enhancedby a certainreligious diversityaswell. Thuswe haveminordeitieswithgeographicallyndsometimes hronologicallyimitedspheresandperiodsof worship,like JyesthaandAiyanar.Wealso encounter orms or manifesta-tions of thegreatgodswhichareunknown notherpartsof thecountry.2I

Among the latter, an exclusivelysouthernicon is Siva Daksin.amurti,he Lord or Teacherof the South.3Whenhe taughtthe rsis,Siva was seated under a banyanor pipaltreein the Hima-layas,facing south, on a tiger skinor a white lotus. As theAgamasdescribehim, his lower righthand s innana-orsandars'ana-mudrd;he backrightholdsarosary;he back eft fire or serpentor lotus; the front left is in varada- r danda-mudrd-itayalso hold a book. His locks are em-bellishedwithpoisonousdaturalowers,witha serpent nda smallbell,withskullandcrescentmoon; there also should be the face of the river-goddess Ganga. His right leg, hangingdown,generallyrestson the Dwarf of Ignorance(apasmara-purusa).He is surroundedby four or more.r.sis. t his feet,deerandsnakeshavegathered.The four basic aspects of Siva as the teacher areYoga-Daksinamurti(the teacherofyoga),Vinadhara-Daksinamurtithe teacher of the vindar lute), Jnana-Daksinamurtithe teacher ofknowledge), ndVyakhy5na-Daksinamurtitheexpounderf the adstras).Sivaexpoundingthe sdstrasscripture)s the most frequentlyencountered orm. At the sametime, the Daksinamurticonceptis relatedto that of Siva as masterof the dance(Nrttamurti).The Vinadhara ormis mentionedby the hymnistsAppar(early8thcentury)and Sambandar(ca.73o);the Daksinamuirtioncepts described yManikkavasakarafter 5o0).4

This article was finished in Spring I974. In the meantime, D. Barrett published his Early Cola Architecture andSculpture,London I 974. It persuaded me to change a good many Cola temple dates according to Mr. Barrett's interpretation of theevidence.2 C. Sivaramamurti, Geographical and Chronological Factors in Indian Iconography, Ancient India, No. 6 (I950).3 T. A. Gopinatha Rao, Elements of Hindu Icanography,Madras 19I4-I6, pp. 273ff; J.N.Banerjea, The Development of HinduIconography,alcutta I956, p.464ff.4 K.R. Srinivasan,Some Aspects of Religion as Revealed by Early Monuments and Literatureof the South,Journalof theMadras University, Vol. XXXII, No. I (July 96o), p. I87.I6969


3/41

The mageof thegreat eacher ittingunderapipal reesurroundedyfoursagesandbytheanimalsof the forest clearly s derivedfromthatof the Buddhateachinghis first sermonin thedeerparkof Sarnath.The famousNara-Narayanaeliefat Deogarh is relatedto the samecon-cept.sA LateGupta erracotta laque romAhicchatraU.P.)6has been nterpreteds a possiblerepresentationof Siva Daksinamurti; t may, however, illustrate a differentalthough similarconcept. All known Daksinamurti magescome from the south. The earliestexistingones canbe seenon Pallavamonolithicand structural emples.On the south sideof the Dharmaraja-ratha(aboutA.D. 700), we encounter,on the centraltier, a Vinadhara-and on the uppertier whatseems o be a Vyakhyana-Daksinamurti.n the south sideof the Olakkannisvara 700-728),alsoat Mamallapuram,he centralniche s occupiedby a Daksinamurti.7he samepatternsfollowed n the Kailasanathat Kanchi 730)aswell as ntheMukteuvaraFig.I),Iravatanesvaraand other ocaltemplesof the eighth century.8 he iconicaspect s theyoga(meditation)rvydkhyana exposition) type; the location the south side of the vimana. The same pattern con-tinues in the Bana and Late Pallavatemples, i.e. at Takkolam (mid-ninthcentury) (Fig.2),where hehalf-open ipsseemto chant heVedas,as well asat Tiruttanica.897)9andTiruk-kalukkunram898) (Fig.3).AtVelakannampudiearly inthcentury),he looseYoga-Daksina-murti ?the backhandshold axeanddeer)probably elongswith thegroupof SevenMothers;the same goes for the loose Yoga-Daksinamurti (?) at Tiruttani (with rosary and deer).IoCarved into the cliff outside the Pandya cave temple at Tirukkolakudi, there is a deep nichewith a Saptamatrkagroup; it is flanked by Ganesa and (?) Daksin.amurti.We recognize a Nandibehind,-vehicle of Virabhadra.

In the Muttaraiyar cave temple at Malayadipatti (8I2), the Seven Mothers are accompaniedby Ganesa and Yoga-Daksinamurti (?).

The monolithic Pandya temple at Kalugumalai (ca. 800) has, like the structural Pandyatemples, no sculptural decoration in the viwna-niches (devakosta). We encounter the Daksina-murti, facing south, on the grivdaI (neck, below the dome) (Fig. 4). The beautiful icon is mostunusual: Siva is shown as the teacher of music but, instead of playing the lute (vizd), he playsthe drum (mrdanga)which is associated with the dance.On the later Pandya temple at Tiruvalisvaram (ca.g95o),a seated Siva appears on the southside of the griva while the Daksinamurti is placed on the principal tier of the superstructure, onthe west side, next to the central Lingodbhavamurti. In the Muttaraiyar temple at Tillaisthanam(ca. 884 or 878), Daksinamurti appears on the central tier (seated), and on the grivdaas well(standing) (Fig. 5). The devakostaSivas are not differentiated; all hold rosary and deer. A looseVinadhara-Daksinamuiirtit Nangavaram (ca. 9Io-920) may belong to the southern vimana niche.5 C. Sivaramamurti, Royal Conquestsand Cultural Migrations in South India and the Deccan, Calcutta I9 55, p. 17.6 Banerjea loc.cit., p. 471, pl. VII/3 .7 C. Sivaramamurti, Mahabalipuram, New Delhi I972, p.I8.8 Srinivasan loc.cit., p. i 86; Temples of South India, New Delhi I 971, p. I14; S. R. Balasubrahmanyam, Early Chola Temples,

Bombay, etc. I97I, p. 342.9 D. Barrett, The Temple of Virattanesvara at Tiruttani, Bombay I958, pl.4.10 Barrett, loc.cit., pi. 15.11 C. Sivaramamurti, Kalugumalai and Early Pandyan Rock-cut Shrines, Bombay I96I, pp. 20-2I. Sivaramamurti identifies asDaksinamurti also the seated Siva on the central tala; loc.cit., p. 24, pi. I I.

The mageof thegreat eacher ittingunderapipal reesurroundedyfoursagesandbytheanimalsof the forest clearly s derivedfromthatof the Buddhateachinghis first sermonin thedeerparkof Sarnath.The famousNara-Narayanaeliefat Deogarh is relatedto the samecon-cept.sA LateGupta erracotta laque romAhicchatraU.P.)6has been nterpreteds a possiblerepresentationof Siva Daksinamurti; t may, however, illustrate a differentalthough similarconcept. All known Daksinamurti magescome from the south. The earliestexistingones canbe seenon Pallavamonolithicand structural emples.On the south sideof the Dharmaraja-ratha(aboutA.D. 700), we encounter,on the centraltier, a Vinadhara-and on the uppertier whatseems o be a Vyakhyana-Daksinamurti.n the south sideof the Olakkannisvara 700-728),alsoat Mamallapuram,he centralniche s occupiedby a Daksinamurti.7he samepatternsfollowed n the Kailasanathat Kanchi 730)aswell as ntheMukteuvaraFig.I),Iravatanesvaraand other ocaltemplesof the eighth century.8 he iconicaspect s theyoga(meditation)rvydkhyana exposition) type; the location the south side of the vimana. The same pattern con-tinues in the Bana and Late Pallavatemples, i.e. at Takkolam (mid-ninthcentury) (Fig.2),where hehalf-open ipsseemto chant heVedas,as well asat Tiruttanica.897)9andTiruk-kalukkunram898) (Fig.3).AtVelakannampudiearly inthcentury),he looseYoga-Daksina-murti ?the backhandshold axeanddeer)probably elongswith thegroupof SevenMothers;the same goes for the loose Yoga-Daksinamurti (?) at Tiruttani (with rosary and deer).IoCarved into the cliff outside the Pandya cave temple at Tirukkolakudi, there is a deep nichewith a Saptamatrkagroup; it is flanked by Ganesa and (?) Daksin.amurti.We recognize a Nandibehind,-vehicle of Virabhadra.

In the Muttaraiyar cave temple at Malayadipatti (8I2), the Seven Mothers are accompaniedby Ganesa and Yoga-Daksinamurti (?).

The monolithic Pandya temple at Kalugumalai (ca. 800) has, like the structural Pandyatemples, no sculptural decoration in the viwna-niches (devakosta). We encounter the Daksina-murti, facing south, on the grivdaI (neck, below the dome) (Fig. 4). The beautiful icon is mostunusual: Siva is shown as the teacher of music but, instead of playing the lute (vizd), he playsthe drum (mrdanga)which is associated with the dance.On the later Pandya temple at Tiruvalisvaram (ca.g95o),a seated Siva appears on the southside of the griva while the Daksinamurti is placed on the principal tier of the superstructure, onthe west side, next to the central Lingodbhavamurti. In the Muttaraiyar temple at Tillaisthanam(ca. 884 or 878), Daksinamurti appears on the central tier (seated), and on the grivdaas well(standing) (Fig. 5). The devakostaSivas are not differentiated; all hold rosary and deer. A looseVinadhara-Daksinamuiirtit Nangavaram (ca. 9Io-920) may belong to the southern vimana niche.5 C. Sivaramamurti, Royal Conquestsand Cultural Migrations in South India and the Deccan, Calcutta I9 55, p. 17.6 Banerjea loc.cit., p. 471, pl. VII/3 .7 C. Sivaramamurti, Mahabalipuram, New Delhi I972, p.I8.8 Srinivasan loc.cit., p. i 86; Temples of South India, New Delhi I 971, p. I14; S. R. Balasubrahmanyam, Early Chola Temples,

Bombay, etc. I97I, p. 342.9 D. Barrett, The Temple of Virattanesvara at Tiruttani, Bombay I958, pl.4.10 Barrett, loc.cit., pi. 15.11 C. Sivaramamurti, Kalugumalai and Early Pandyan Rock-cut Shrines, Bombay I96I, pp. 20-2I. Sivaramamurti identifies asDaksinamurti also the seated Siva on the central tala; loc.cit., p. 24, pi. I I.

17070


4/41

The Irrukuveltemple at Narttamalai ca. 860) has no vimdanaiches; a Vinadhara-Daksina-murtioccupiesthegrivaniche on the south side (Fig.6). A beautifulVinadhara-Daksinamurti(?)from Narttamalai n the Pudukkottai MuseumI2 probably belongs to the group of SevenMothers;he holds tridentandrosary.A looseDaksinamurtit Viralurmaycome from either he devakostacentral icheof thewall) or thegriv (south). At Tirukkattalai ca.890-900), Vindhara-Daksinamurtioccupiesthesouthern rivdniche.On the central ier,we encounterBhiksatanamurti,nd in the devakostaichea Tripurantakaor Kiratamurti.The Muvarkovil at Kodumbalur(ca. 880) is the most accomplishedIrrukuveltemple; twoof the originalthree main shrinesare left. The southernshrinehas, in the southerndevakosta,standingVinadhara-Daksinamurti.I3his is not repeatedon central tier andgriv. The centralshrine'ssouthernnicheis empty.Thegrivdaiche houses a Daksinamurti; he icon on the secondtierperhapss another.14Of the twin temples at Kilaiyur(ca.892), built by the Paluvettaraiyars,he Agastyesvaramtemplehas a beautiful tandingVinadhara n the front (west) of thegrivda.s he southernvimdnaaiche displaysa standing Siva holding axe and deer who probablystands for Daksina-muirti.I6A Daksinamurti ? backhandshold trident and rosary)accompanies he Seven Mothers.The neighbouringColisvaramhas a seatedcrowned Daksinamurtiunder an umbrella n thesouthern devakosta iche.17The motif is repeatedby the more familiartype of Daksinamurti,seatedaswell,on thecentral ier(Fig.7)andonthegriva Fig.8).In the EarlyColatemples, he standard atternas it had beendevelopedby the Pallavas,with Daksinamuirtin the southernvimdanaevakosta,eems to have been followedwithout

exception.At Tiruvedikudi(ca.889)andat Kumbakonam ca.9Io) the originalimagehas beenreplaced;so it hasat Tiruchchatturaica.883)-repeated on central ier(seated)andgrkr (stand-ing)-but not at Srinivasanallur ca.927) (Fig.g). It has the form of a seated VinadharaatTiruppunturutti(ca.940-70) (Fig.Io), and of a standing one at Lalgudy (ca.897) (Fig. II),Tiruchchenampundica. 20) (Fig. 2), and at Thudaiyurafter970)whereagain he theme srepeatedby a seatedDaksinamufrtin thegriva.This standardpatterncontinues right down to the great temples of Thanjavur IOIO)andGangaikondacolapuramIo30). In the larger temples, the devakostamages are often repeatedon the upper tier or tiers.

Among the most beautifulones, we point out the icons at Gramam 943) (Fig. 13),Erumbur(935),18 unjai ca.940) Fig.14)andMayuramca.975) Fig.I5). ThePunjaicon is flanked ytwo old and two young rsis. At Mayuram,a feline and a sleepingbear (?) havejoinedthe deerandserpents.12 S.R. Balasubrahmanyam,Early CholaArt, Part I, New York, 1966, pl. I7b.I3 BalasubrahmanyamII), pl. Ioo.14The scheme published by BalasubrahmanyamII, p. I32) is different.Is BalasubrahmanyamI), loc.cit., pl. 53I6 BalasubrahmanyamI), loc.cit., pl. 57.I7 BalasubrahmanyamI), loc.cit., pl. 59.18BalasubramanyamII), loc.ctt.,pl. 73.

The Irrukuveltemple at Narttamalai ca. 860) has no vimdanaiches; a Vinadhara-Daksina-murtioccupiesthegrivaniche on the south side (Fig.6). A beautifulVinadhara-Daksinamurti(?)from Narttamalai n the Pudukkottai MuseumI2 probably belongs to the group of SevenMothers;he holds tridentandrosary.A looseDaksinamurtit Viralurmaycome from either he devakostacentral icheof thewall) or thegriv (south). At Tirukkattalai ca.890-900), Vindhara-Daksinamurtioccupiesthesouthern rivdniche.On the central ier,we encounterBhiksatanamurti,nd in the devakostaichea Tripurantakaor Kiratamurti.The Muvarkovil at Kodumbalur(ca. 880) is the most accomplishedIrrukuveltemple; twoof the originalthree main shrinesare left. The southernshrinehas, in the southerndevakosta,standingVinadhara-Daksinamurti.I3his is not repeatedon central tier andgriv. The centralshrine'ssouthernnicheis empty.Thegrivdaiche houses a Daksinamurti; he icon on the secondtierperhapss another.14Of the twin temples at Kilaiyur(ca.892), built by the Paluvettaraiyars,he Agastyesvaramtemplehas a beautiful tandingVinadhara n the front (west) of thegrivda.s he southernvimdnaaiche displaysa standing Siva holding axe and deer who probablystands for Daksina-muirti.I6A Daksinamurti ? backhandshold trident and rosary)accompanies he Seven Mothers.The neighbouringColisvaramhas a seatedcrowned Daksinamurtiunder an umbrella n thesouthern devakosta iche.17The motif is repeatedby the more familiartype of Daksinamurti,seatedaswell,on thecentral ier(Fig.7)andonthegriva Fig.8).In the EarlyColatemples, he standard atternas it had beendevelopedby the Pallavas,with Daksinamuirtin the southernvimdanaevakosta,eems to have been followedwithout

exception.At Tiruvedikudi(ca.889)andat Kumbakonam ca.9Io) the originalimagehas beenreplaced;so it hasat Tiruchchatturaica.883)-repeated on central ier(seated)andgrkr (stand-ing)-but not at Srinivasanallur ca.927) (Fig.g). It has the form of a seated VinadharaatTiruppunturutti(ca.940-70) (Fig.Io), and of a standing one at Lalgudy (ca.897) (Fig. II),Tiruchchenampundica. 20) (Fig. 2), and at Thudaiyurafter970)whereagain he theme srepeatedby a seatedDaksinamufrtin thegriva.This standardpatterncontinues right down to the great temples of Thanjavur IOIO)andGangaikondacolapuramIo30). In the larger temples, the devakostamages are often repeatedon the upper tier or tiers.

Among the most beautifulones, we point out the icons at Gramam 943) (Fig. 13),Erumbur(935),18 unjai ca.940) Fig.14)andMayuramca.975) Fig.I5). ThePunjaicon is flanked ytwo old and two young rsis. At Mayuram,a feline and a sleepingbear (?) havejoinedthe deerandserpents.12 S.R. Balasubrahmanyam,Early CholaArt, Part I, New York, 1966, pl. I7b.I3 BalasubrahmanyamII), pl. Ioo.14The scheme published by BalasubrahmanyamII, p. I32) is different.Is BalasubrahmanyamI), loc.cit., pl. 53I6 BalasubrahmanyamI), loc.cit., pl. 57.I7 BalasubrahmanyamI), loc.cit., pl. 59.18BalasubramanyamII), loc.ctt.,pl. 73.

I7I7I


5/41

Summingup the iconographicdata,we have the impressionthat originallythereonly werethe Yoga andVyakhyanaormsof Daksinamurti. here s not much differenceetween helatter and the Jnanaform. As for the Vinadharaaspect, it seems to have been an independentformof Siva which later was classifiedunder the Daksinamurtiheading.A fourth form (Jnana)then was added or symmetry.The formof Siva whichaccompanieshe SevenMothers,often in a yoga-positionwithpatta), or playingthe vina,with mattedhair,in the south generally s called Daksinamurti.However, heDaksinamurtiasnothing o do, theologically,with the SaptaMatrka.Themirti nquestions in factavariant f VirabhadraTumburuI, influenced yor confusedwiththe Daksinamurtioncept.As for the diversityof placewhich we notice in the Muttaraiyar nd Irrukuveltemples, itprobablywas due to the influence of the Pandya style,-the Pandya temples not having anydevakostaicheson the walls.Thesame nfluencewould account or therepetitions f this andotherdevakostaconson thesuperstructure.On the monumentscreatedby the Early (Western)Chalukyasat Badami,Aihole, MahakutandPattadakal,he Daksinamurticon is totallyabsent.There s, however, n a kfdu(archedwindowmotif)of the roof-cornice f the Malegitti-Sivalayaempleat Badami, smallseatedVinadhara.Insteadof Daksin.amurti,heChalukyasworshipedLakulisa,a northerndeity. Lakulisa,wholived n the second entury f ourera,organizedndreformedhePasupataect;he sconsideredthe 28th ncarnationf Siva. His cult startedn Gujaratwherehe wasborn,andspreadromKathiawaro Orissa;hisimagesare requent.20He is generallyshown as ithyphallic,seated as ayogi;his principalemblemis the club. On arelief from Orissa he preaches o four sages-like Daksinamurti.2I ometimeshis double-lotusthrones heldup bytwoNaga-kings,ometimes e sitsabove he wheelandtwo deer.Inbothaspectsthe Buddhistconnotationis obvious.22The Lakulisacult probably s a continuationofthe Mahayogior Yogisvaratraditionand relatedto the Mahesa-Sadasivaconcepts.23Imagesof Lakulisan Tamilnaduareextremelyrare.The imageat Tiruvorriyur Fig.I6) nowis identified as a rare form of Daksindamurti nd dated, on the basis of an inscription, to Io67.24What looks like a staffactually s a brokentrident. There s a seatedLakullsa,with club (Fig.17)in the cave-temple at Aritapatti (Madurai) and another in the cave-temple at Devarmalai(Pudukkottai).His appearance n these Pandya cave-templesprobably is one more exampleof Chalukyanfluencen thePandya ingdom.At Badami,Lakullsaappearson a smallreliefof caveII (ca.600),seatedasayogiand oldingtheclub. The Lakullsa emplein the Bhutanatha roup datesfrom the late eighth or ninth century.Makuitesvara.n the southwall of the Safngamesvaraeighthcentury) nd at leastfour sub-19 M.Th. de Mallmann,Les Enseignementsconographiquese 'Agni-Purana,Paris 1963, pp.62ff.20 Banerjea loc.cit., pp. 45o ff.; K. V. Soundara Rajan, The Devi Cult Nucleus at Jagat, Rajasthan, Vishveshvaranand ndological

Journal I, pt. I (March 963), pp. I 5 ff.21 Banerjea, oc.cit., pl.XXXIX/I.22 Banerjea, loc.cit., p. 6.23 Soundara-Rajan,oc. cit.24 R.Nagaswamy in Damilica,vol. I, Dec. I970.

Summingup the iconographicdata,we have the impressionthat originallythereonly werethe Yoga andVyakhyanaormsof Daksinamurti. here s not much differenceetween helatter and the Jnanaform. As for the Vinadharaaspect, it seems to have been an independentformof Siva which later was classifiedunder the Daksinamurtiheading.A fourth form (Jnana)then was added or symmetry.The formof Siva whichaccompanieshe SevenMothers,often in a yoga-positionwithpatta), or playingthe vina,with mattedhair,in the south generally s called Daksinamurti.However, heDaksinamurtiasnothing o do, theologically,with the SaptaMatrka.Themirti nquestions in factavariant f VirabhadraTumburuI, influenced yor confusedwiththe Daksinamurtioncept.As for the diversityof placewhich we notice in the Muttaraiyar nd Irrukuveltemples, itprobablywas due to the influence of the Pandya style,-the Pandya temples not having anydevakostaicheson the walls.Thesame nfluencewould account or therepetitions f this andotherdevakostaconson thesuperstructure.On the monumentscreatedby the Early (Western)Chalukyasat Badami,Aihole, MahakutandPattadakal,he Daksinamurticon is totallyabsent.There s, however, n a kfdu(archedwindowmotif)of the roof-cornice f the Malegitti-Sivalayaempleat Badami, smallseatedVinadhara.Insteadof Daksin.amurti,heChalukyasworshipedLakulisa,a northerndeity. Lakulisa,wholived n the second entury f ourera,organizedndreformedhePasupataect;he sconsideredthe 28th ncarnationf Siva. His cult startedn Gujaratwherehe wasborn,andspreadromKathiawaro Orissa;hisimagesare requent.20He is generallyshown as ithyphallic,seated as ayogi;his principalemblemis the club. On arelief from Orissa he preaches o four sages-like Daksinamurti.2I ometimeshis double-lotusthrones heldup bytwoNaga-kings,ometimes e sitsabove he wheelandtwo deer.Inbothaspectsthe Buddhistconnotationis obvious.22The Lakulisacult probably s a continuationofthe Mahayogior Yogisvaratraditionand relatedto the Mahesa-Sadasivaconcepts.23Imagesof Lakulisan Tamilnaduareextremelyrare.The imageat Tiruvorriyur Fig.I6) nowis identified as a rare form of Daksindamurti nd dated, on the basis of an inscription, to Io67.24What looks like a staffactually s a brokentrident. There s a seatedLakullsa,with club (Fig.17)in the cave-temple at Aritapatti (Madurai) and another in the cave-temple at Devarmalai(Pudukkottai).His appearance n these Pandya cave-templesprobably is one more exampleof Chalukyanfluencen thePandya ingdom.At Badami,Lakullsaappearson a smallreliefof caveII (ca.600),seatedasayogiand oldingtheclub. The Lakullsa emplein the Bhutanatha roup datesfrom the late eighth or ninth century.Makuitesvara.n the southwall of the Safngamesvaraeighthcentury) nd at leastfour sub-19 M.Th. de Mallmann,Les Enseignementsconographiquese 'Agni-Purana,Paris 1963, pp.62ff.20 Banerjea loc.cit., pp. 45o ff.; K. V. Soundara Rajan, The Devi Cult Nucleus at Jagat, Rajasthan, Vishveshvaranand ndological

Journal I, pt. I (March 963), pp. I 5 ff.21 Banerjea, oc.cit., pl.XXXIX/I.22 Banerjea, loc.cit., p. 6.23 Soundara-Rajan,oc. cit.24 R.Nagaswamy in Damilica,vol. I, Dec. I970.

I7272


6/41

shrines,thereis a standingSivain the devakosta,ude or with diaphanousgarments, thyphallic,holdinga battleaxewithserpentn his left hand.Therighthand s in the mudrdf charity;ntwo cases he stands on the Dwarf of Ignorance (apasmara).25 This ratherunusual formprobablyis a variant f theLakulisaoncept.At Pattadakal,standingLakulisa,withclub,appears n the first ierof thesuperstructure(south side) of the Sangamesvara 697-733).26Like this, we also see him in a vismdnaiche(south)on the Virupaksaandthe Mallikarjunaca. 740-745), standingon the Dwarf.At Alampur, sawonlya LateChalukyaI th century)Lakulsa n themuseum.There s aLakullsa n the Bala-Brahmaemple, but I have no photo and cannot tell its period. On theotherhand, here s a beautifulYoga-Daksin.amurtin the south facadeof the Visva-Brahmamanydapalate seventh century) (Fig. i 8). In the Bala-Brahmamid-seventhcentury), he SevenMothers reaccompaniedy Ganesa nd(Vinadhara) irabhadra.Nearbyon the Safigamesvarat Kudaveli, standingLakullsa ppears n the northwall.27Further ast,on the twin templesof Satyavoluca.700),Yoga-Daksinamrtis placed n thesouthernvimdna iches (Fig. I9).At SangamesvaramBhavanasi angam), nthesuperstructuref theRupalaSangamesvara(Rastrakuta, ate eighth century), Yoga-Daksinamurtiadorns the grivdasouth) (Fig.20). Thesecondtier is empty;the firsthas Sivaas yogi. Thus,Siva Daksinamurtiin theyoga form)appears in this eastern realm of the Early Chalukyas and Rastrakutas, certainly due to Pallavainfluencresouth. Further north-east, at Biccavolu, it is once more Lakulisawho occupiesthis place.28

IIBhiksatanamurti29 s another southern icon that practically does not exist in the north. Oneset of legends is connected with theifngodbhavamurti complex: Siva creates Bhairava whocuts off the fifth head of Brahma who had lied about having reached the top of the fiery pillar

(linga).In order to expiatethis crime,Sivatakesthe form of a young asceticandgoes on a pil-grimage.However, on the way he kills the brahman isvaksena,doorkeeperof Visnu, who hadrefusedto admithim. In additionto the skull (cup) of Brahma,he now-as Kankalamurti-hasto carrythe corpse or bones of Visvaksenauntil he is deliveredof both upon arrival n Vara-nasi (Benares).The second set of legends concernsthe naked, strangelybeautifulSiva in the deodarforestwhere sages are practisingausterities.He seduces their wives and proves that their exercisesare vain and fruitless. This legend has differentroots from that of Bhairavaand his crimes.30

Just as there is no clear iconographicborderlinebetween Bhairavaand Ksetrapalaon theone hand, there is none between Bhiksatanamurti nd Kankalamurti n the other.25 A. Lippe, Early Chalukya Icons, Artibus Asiae XXXIV/4 (1972), fig. 9.26 There is no DakSinamurti; cf. K. R. Srinivasan loc.cit., p. 187.27 O.Divakaran, Les Temples d'Alampur et de ses Environs, Arts Asiatiques XXIV (I971), fig. 59.28 K.R. Srinivasan, loc.cit., p. 187.29 Gopinatha Rao, loc.cit. II/I, pp.295ff,; Banerjea, loc.cit., pp.483-84.30 J.Filliozat, Siva Lingodbhava-murti, Arts Asiatiques VIII I/2 (I96I); M.E.Adiceam, Siva Bhairava, Arts Asiatiques

XI/2 (I965); Bhik?atana-Kankalamuiirti, Arts Asiatiques XII/2 (I965).

shrines,thereis a standingSivain the devakosta,ude or with diaphanousgarments, thyphallic,holdinga battleaxewithserpentn his left hand.Therighthand s in the mudrdf charity;ntwo cases he stands on the Dwarf of Ignorance (apasmara).25 This ratherunusual formprobablyis a variant f theLakulisaoncept.At Pattadakal,standingLakulisa,withclub,appears n the first ierof thesuperstructure(south side) of the Sangamesvara 697-733).26Like this, we also see him in a vismdnaiche(south)on the Virupaksaandthe Mallikarjunaca. 740-745), standingon the Dwarf.At Alampur, sawonlya LateChalukyaI th century)Lakulsa n themuseum.There s aLakullsa n the Bala-Brahmaemple, but I have no photo and cannot tell its period. On theotherhand, here s a beautifulYoga-Daksin.amurtin the south facadeof the Visva-Brahmamanydapalate seventh century) (Fig. i 8). In the Bala-Brahmamid-seventhcentury), he SevenMothers reaccompaniedy Ganesa nd(Vinadhara) irabhadra.Nearbyon the Safigamesvarat Kudaveli, standingLakullsa ppears n the northwall.27Further ast,on the twin templesof Satyavoluca.700),Yoga-Daksinamrtis placed n thesouthernvimdna iches (Fig. I9).At SangamesvaramBhavanasi angam), nthesuperstructuref theRupalaSangamesvara(Rastrakuta, ate eighth century), Yoga-Daksinamurtiadorns the grivdasouth) (Fig.20). Thesecondtier is empty;the firsthas Sivaas yogi. Thus,Siva Daksinamurtiin theyoga form)appears in this eastern realm of the Early Chalukyas and Rastrakutas, certainly due to Pallavainfluencresouth. Further north-east, at Biccavolu, it is once more Lakulisawho occupiesthis place.28

IIBhiksatanamurti29 s another southern icon that practically does not exist in the north. Oneset of legends is connected with theifngodbhavamurti complex: Siva creates Bhairava whocuts off the fifth head of Brahma who had lied about having reached the top of the fiery pillar

(linga).In order to expiatethis crime,Sivatakesthe form of a young asceticandgoes on a pil-grimage.However, on the way he kills the brahman isvaksena,doorkeeperof Visnu, who hadrefusedto admithim. In additionto the skull (cup) of Brahma,he now-as Kankalamurti-hasto carrythe corpse or bones of Visvaksenauntil he is deliveredof both upon arrival n Vara-nasi (Benares).The second set of legends concernsthe naked, strangelybeautifulSiva in the deodarforestwhere sages are practisingausterities.He seduces their wives and proves that their exercisesare vain and fruitless. This legend has differentroots from that of Bhairavaand his crimes.30

Just as there is no clear iconographicborderlinebetween Bhairavaand Ksetrapalaon theone hand, there is none between Bhiksatanamurti nd Kankalamurti n the other.25 A. Lippe, Early Chalukya Icons, Artibus Asiae XXXIV/4 (1972), fig. 9.26 There is no DakSinamurti; cf. K. R. Srinivasan loc.cit., p. 187.27 O.Divakaran, Les Temples d'Alampur et de ses Environs, Arts Asiatiques XXIV (I971), fig. 59.28 K.R. Srinivasan, loc.cit., p. 187.29 Gopinatha Rao, loc.cit. II/I, pp.295ff,; Banerjea, loc.cit., pp.483-84.30 J.Filliozat, Siva Lingodbhava-murti, Arts Asiatiques VIII I/2 (I96I); M.E.Adiceam, Siva Bhairava, Arts Asiatiques

XI/2 (I965); Bhik?atana-Kankalamuiirti, Arts Asiatiques XII/2 (I965).

I7373


7/41

Bhiksatanamurti enerallyis smiling, naked, wears matted hair, serpentbelt and sandals,and is accompaniedby antelope and dwarf. A small bell on his right shin warns the casteHindus of his approach.His hands hold (beginningwith the lower right), a tuft of grass (forthe antelope),a drum,a staffwith peacockfeathers(or a trident)anda skull-cup.Kankalamurtigenerally s dressedand crowned; the corpse or bones danglingfrom the staff sometimes arereplaced yfeathers.The earliestexamplesof the Bhiksatana-Kankalamurtionceptoccur on Pallavamonuments.On the centraltier (west) of the Dharmaraja-ratha(ca. 700) there is a Kankalamurti.3I n thevimdna f the KanchiKailasanatha730) we encountera Bhiksatanamurti.32he icon does notoccur on the Bana and Late Pallava temples of the Tondai-nadu. We do not see it on thePandyamonolithicempleof Kalugumalaica.800),but on the latePandyaempleof Tiruvalis-varam ca.95o),as Kafikalamurti?) (second ier,west).It occurs on the Muttaraiyar-Colaemple of Tillaisthanamc.884 or 878)griva,south-butnot at Nangavaram c.90-9I20), nor on the Irrukuveltemple at Narttamalai ca.86o). It does,however,appear tTirukkattalaic.890), onthe central ierof thesouthside(belowDaksinamurti),and atViralur ca.870)-two armed-in thenorthernvimdna iche(Fig.21 . Wedo not findit onthetemples f the Irrukuvelapital tKodumbalurca.880),noron thePaluvettaraiyaremplesat Kilaiyurca.892).In the early Cola temples, occurrenceas well as location are irregular.At Tiruvedikudi(ca.889), the southernmandapaiche is empty. Bhiksatanamurtiappears n this placeat Tiruk-kandiyurca.9i8),KumbakonamNagesvara,a.9Io)33andSrinivasanallurca.927)(Fig.24).This still is the case atUyyakondan-Tirumalaica.966) (Fig.25),atTirumayanamca.985)as wellas at Tiruvandarkoyilca.999, nearPondichery) Fig.28) andTiruvayaruUttara-Kailasa,oo006).At Lalgudy (ca.897) (Fig.22) and at Tiruppunturutti ca.940-70) (Fig.23), on the otherhand,heoccupies henorthern imdnaiche.At Kamarasavallica.977),we seehim n a lateralniche of the vimadnaorth side.34However, like theKankalamurtin a lateralniche of thevimdnawest face,35 his is perhapsa later additionas well. Both motifs appearon miniaturepanelsofthe north face.

He is absent at Tiruchchatturai ca.883), Pullamangai (ca.gIg920), Erumbur (ca.935),Gramam943),Tiruvaduturai945),Punjai ca.94o)andThudaiyurafter970).The allocationof the northernmandapaiche-which became the standardpattern-beginsat Tiruvelvikkudica.970)-still in a verysimpleniche-and at Konerirajapuram969-972).36The latter s the firstof a series of templesbuiltby Sembiyan-Mahadevi,motherof UttamaCola,whichallhavethe same conic ayout.37We point out the icons at Mayuram 975-0ooo00),embiyan-Mahadevi98i) (Fig.26), Govin-daputtur (983) (Fig. 27), Aduthurai (985), Tirunaraiyur (987), and Tiruvarur (992).3831C.Sivaramamurti,Mahabalipuram,oc. it., p. I35.32BalasubrahmanyamII), loc.cit.,p. 34I; Gopinatha Rao, loc.cit.,pl. LXXXVI/i.33 BalasubrahmanyamI), loc. it., pl.69a.34 Balasubrahmanyam (II), loc.cit., pl. I I I.35 Balasubrahmanyam (II), loc.cit., pl. i I2.36BalasubrahmanyamII), loc. it., pl. I66.37D.Barrett, Early ColaBronZes,Bombay I965.38BalasubrahmanyamII), loc. it., pi. 269.

Bhiksatanamurti enerallyis smiling, naked, wears matted hair, serpentbelt and sandals,and is accompaniedby antelope and dwarf. A small bell on his right shin warns the casteHindus of his approach.His hands hold (beginningwith the lower right), a tuft of grass (forthe antelope),a drum,a staffwith peacockfeathers(or a trident)anda skull-cup.Kankalamurtigenerally s dressedand crowned; the corpse or bones danglingfrom the staff sometimes arereplaced yfeathers.The earliestexamplesof the Bhiksatana-Kankalamurtionceptoccur on Pallavamonuments.On the centraltier (west) of the Dharmaraja-ratha(ca. 700) there is a Kankalamurti.3I n thevimdna f the KanchiKailasanatha730) we encountera Bhiksatanamurti.32he icon does notoccur on the Bana and Late Pallava temples of the Tondai-nadu. We do not see it on thePandyamonolithicempleof Kalugumalaica.800),but on the latePandyaempleof Tiruvalis-varam ca.95o),as Kafikalamurti?) (second ier,west).It occurs on the Muttaraiyar-Colaemple of Tillaisthanamc.884 or 878)griva,south-butnot at Nangavaram c.90-9I20), nor on the Irrukuveltemple at Narttamalai ca.86o). It does,however,appear tTirukkattalaic.890), onthe central ierof thesouthside(belowDaksinamurti),and atViralur ca.870)-two armed-in thenorthernvimdna iche(Fig.21 . Wedo not findit onthetemples f the Irrukuvelapital tKodumbalurca.880),noron thePaluvettaraiyaremplesat Kilaiyurca.892).In the early Cola temples, occurrenceas well as location are irregular.At Tiruvedikudi(ca.889), the southernmandapaiche is empty. Bhiksatanamurtiappears n this placeat Tiruk-kandiyurca.9i8),KumbakonamNagesvara,a.9Io)33andSrinivasanallurca.927)(Fig.24).This still is the case atUyyakondan-Tirumalaica.966) (Fig.25),atTirumayanamca.985)as wellas at Tiruvandarkoyilca.999, nearPondichery) Fig.28) andTiruvayaruUttara-Kailasa,oo006).At Lalgudy (ca.897) (Fig.22) and at Tiruppunturutti ca.940-70) (Fig.23), on the otherhand,heoccupies henorthern imdnaiche.At Kamarasavallica.977),we seehim n a lateralniche of the vimadnaorth side.34However, like theKankalamurtin a lateralniche of thevimdnawest face,35 his is perhapsa later additionas well. Both motifs appearon miniaturepanelsofthe north face.

He is absent at Tiruchchatturai ca.883), Pullamangai (ca.gIg920), Erumbur (ca.935),Gramam943),Tiruvaduturai945),Punjai ca.94o)andThudaiyurafter970).The allocationof the northernmandapaiche-which became the standardpattern-beginsat Tiruvelvikkudica.970)-still in a verysimpleniche-and at Konerirajapuram969-972).36The latter s the firstof a series of templesbuiltby Sembiyan-Mahadevi,motherof UttamaCola,whichallhavethe same conic ayout.37We point out the icons at Mayuram 975-0ooo00),embiyan-Mahadevi98i) (Fig.26), Govin-daputtur (983) (Fig. 27), Aduthurai (985), Tirunaraiyur (987), and Tiruvarur (992).3831C.Sivaramamurti,Mahabalipuram,oc. it., p. I35.32BalasubrahmanyamII), loc.cit.,p. 34I; Gopinatha Rao, loc.cit.,pl. LXXXVI/i.33 BalasubrahmanyamI), loc. it., pl.69a.34 Balasubrahmanyam (II), loc.cit., pl. I I I.35 Balasubrahmanyam (II), loc.cit., pl. i I2.36BalasubrahmanyamII), loc. it., pl. I66.37D.Barrett, Early ColaBronZes,Bombay I965.38BalasubrahmanyamII), loc. it., pi. 269.

I7474


8/41

As we have seen already,this new standardpatternis not without exceptions. We mightadd that on the Rajaraje?varaempleat ThanjavurBhiksatanamurtiappearson the vimanaouthside (first tier) (Fig. 29); at Gangaikondacholapuramn the west side (second tier).The only Muttaraiyar xample,at Viralur(Fig.21) is characterized y a slightlytilted head,agracefulmovement f the body,and adreamy xpression.TheColaBhiksatanatTiruppun-turutti Fig.22) is a superbpieceof sculpture.Unsmiling utirresistiblyeautiful,hegod stepsforwardromhisniche.His movements lessrigidly ymmetricaln the earlier anelatLalgudy(Fig.23),and even less so in thelovely, thoughmutilated, elief at SrinivasanallurFig.24).At Uyyakondan(Fig.25)the dwarf carriesan almsbowl; the divinebody hasthe fullness of themid-centurystyle. The two panels on Queen SembiyanMahadevi's emples (Fig.26-27) showonly slightvariations f the standardormwhichbynow haddeveloped.Bhiksatanamurtis not in evidence on the EarlyChalukyamonumentsof Badanmi, ihole,Mahakut nd Pattadakal.At Alampur, owever,we encounter Bhiksatanaanelon the SvargaBrahma68I-696)mandapaast ace(Fig.3o)andon the VisvaBrahma68I-969)mandapaorthwall.Thescenedepictedon thefirstpanel s Bhiksatanan the deodarorest,seducing he wivesof thesages.The samesubjectis representedon the KandariyaMahadeva empleat Khajuraho ca.I050,Chandella).39III

From very earlytimes, Sivaand his cult were associatedwith the dance. Thisled, eventually,to the conceptsof Natesaand of Nataraja, ivaas Lordof the Dance.Amongthe numerousdancesof thegod, the one he dancedbefore heassemblyn thegoldenhall of theSriNatarajatempleatChidambaramas dentified y Coomaraswamyo0iththeparticularanceposecalleddnanda-tadndava.t is thisposewhichI associatewith thetermNatarajarKingof the Dance norderto differentiatet from all other modes andposes which I group under the term "Natesa"(DancingSiva).TheSaivahymnists-as well as KingRijaraja-called the godAdavallanrAdavallar,he "MasterDancer".In mediaeval Saiva thought, the fivefold activities of Siva were creation, preservation,destruction,confermentof grace, and power of veiling; they correspondto the activities ofBrahma,Visnu, Rudra,Mahesvaraand Sadasiva.To the believer,they are all expressed n theNatarajacon.4IAn early Tamil text says: "Creationarisesfrom the drum; protection proceeds from thehand of hope; from fireproceeds destruction;the foot held aloft gives release."We rememberthatthe fourthhandpoints to the raisedfoot; the flamingprabhadma;dalan this contextsignifiesillusion.As Coomaraswamy xplains,Siva by his dancing destroysheavensand earthat the close ofa worldcycle.He alsodestroyshefetters hatbindeachseparateoul.Theheartof the believeris the burning groundwhere the ego is destroyed,whereillusionand deeds are burntaway.39 J.Filliozat in Artibus Asiae XXIV (I96I), pp. 283f.40 A. K. Coomaraswamy,TheDanceof Siva,New York 19 8.41 Banerjea, oc.it., p.446.

As we have seen already,this new standardpatternis not without exceptions. We mightadd that on the Rajaraje?varaempleat ThanjavurBhiksatanamurtiappearson the vimanaouthside (first tier) (Fig. 29); at Gangaikondacholapuramn the west side (second tier).The only Muttaraiyar xample,at Viralur(Fig.21) is characterized y a slightlytilted head,agracefulmovement f the body,and adreamy xpression.TheColaBhiksatanatTiruppun-turutti Fig.22) is a superbpieceof sculpture.Unsmiling utirresistiblyeautiful,hegod stepsforwardromhisniche.His movements lessrigidly ymmetricaln the earlier anelatLalgudy(Fig.23),and even less so in thelovely, thoughmutilated, elief at SrinivasanallurFig.24).At Uyyakondan(Fig.25)the dwarf carriesan almsbowl; the divinebody hasthe fullness of themid-centurystyle. The two panels on Queen SembiyanMahadevi's emples (Fig.26-27) showonly slightvariations f the standardormwhichbynow haddeveloped.Bhiksatanamurtis not in evidence on the EarlyChalukyamonumentsof Badanmi, ihole,Mahakut nd Pattadakal.At Alampur, owever,we encounter Bhiksatanaanelon the SvargaBrahma68I-696)mandapaast ace(Fig.3o)andon the VisvaBrahma68I-969)mandapaorthwall.Thescenedepictedon thefirstpanel s Bhiksatanan the deodarorest,seducing he wivesof thesages.The samesubjectis representedon the KandariyaMahadeva empleat Khajuraho ca.I050,Chandella).39III

From very earlytimes, Sivaand his cult were associatedwith the dance. Thisled, eventually,to the conceptsof Natesaand of Nataraja, ivaas Lordof the Dance.Amongthe numerousdancesof thegod, the one he dancedbefore heassemblyn thegoldenhall of theSriNatarajatempleatChidambaramas dentified y Coomaraswamyo0iththeparticularanceposecalleddnanda-tadndava.t is thisposewhichI associatewith thetermNatarajarKingof the Dance norderto differentiatet from all other modes andposes which I group under the term "Natesa"(DancingSiva).TheSaivahymnists-as well as KingRijaraja-called the godAdavallanrAdavallar,he "MasterDancer".In mediaeval Saiva thought, the fivefold activities of Siva were creation, preservation,destruction,confermentof grace, and power of veiling; they correspondto the activities ofBrahma,Visnu, Rudra,Mahesvaraand Sadasiva.To the believer,they are all expressed n theNatarajacon.4IAn early Tamil text says: "Creationarisesfrom the drum; protection proceeds from thehand of hope; from fireproceeds destruction;the foot held aloft gives release."We rememberthatthe fourthhandpoints to the raisedfoot; the flamingprabhadma;dalan this contextsignifiesillusion.As Coomaraswamy xplains,Siva by his dancing destroysheavensand earthat the close ofa worldcycle.He alsodestroyshefetters hatbindeachseparateoul.Theheartof the believeris the burning groundwhere the ego is destroyed,whereillusionand deeds are burntaway.39 J.Filliozat in Artibus Asiae XXIV (I96I), pp. 283f.40 A. K. Coomaraswamy,TheDanceof Siva,New York 19 8.41 Banerjea, oc.it., p.446.

17575


9/41

Anandameans"bliss";heperpetual ance s thegod's "play" lila).He dances o maintainthe lifeof the cosmosand o giverelease o thosewho seekhim.The essential ignificancef Siva'sdance s threefold.First, t is theimageof hisrhythmicplayasthe sourceof allmovementwithinthecosmos,which is represented ythe arch.Secondly,thepurpose f hisdances toreleasehecountless oulsof men rom hesnares f illusion.Thirdtheplaceof thedance,hidambaramthelacecenter ofhedance,Chidambaram-he enterof theuniverse-is within heheart.Thus, at its roots the dance of Siva is the manifestationof primal, rhythmicenergy.It is, asCoomaraswamyaid,"the clearestmageof theactivityof God whichanyny rt or religioncanboast of".Chidambaramwas early associatedwith the dancing Siva. Manikkavasakarmentions animageof thedancingSiva n the SriNatarajaempleat Chidambaram.42he ColaKingParan-taka I (907-95 5) had the roof of the sanctum covered with gold. The god of Chidambaram, theLord of the Dance (Sri Nataraja),became the family deity of the dynasty.In southern literature, the first definition of the three attributes held by the Lord of theDance-serpent, hand-drum and bowl of fire-occurs in a song of the Saiva hymnist Sundarar(firsthalfof the ninthcentury);his s repeated yManikkavasakarafter 5o)whois the irst omention the term "dnanda-tydava".43The concept ofhe dancing Siva was developed in the north, but quickly spread across thesubcontinent in order to become especially prominent in the south. The specific Nataraja con-

cept is a creation of the south. This development is reflected by the archaeological evidence. Theearliest existing sculptures of the dancing Siva are the reliefs at Sakor (Damoh),44 from Nachna(Panna)45 and from Bhumara (Satna),46 all in central India and dating from about A. D. oo tothe early sixth century. According to Stella Kramrisch there is also an image from Orissa of thisperiod in the museum of Bhuvaneshvar. They are followed, less than one hundred years later,by the famous reliefs in the cave temples of Elephanta and Ellora (XXI).Around A.D. 625, the Natesa motif appears in the south, in the Chalukya Cave I at Badami(Bijapur);47 somewhat later, we encounter it in the Aihole Saiva cave.48 On ceilings and indevakostaniches, we find it, in the eighth century, in the Pattadakaltemples49 as well as at Alam-pur (seventh-eighth century).so50We also do in the Rastrakuta temples from the Ellora Kaila-sanatha to Sangamesvaram, Satyavolu, etc., and in the Ganga temples of Mysore (eighth-ninthcentury).

Simultaneously with Badami, it occurs in the Pallava cave temple at Siyamangalam (NorthArcot)51 (Fig. 31 . The last can perhaps be interpreted as a proto adnanda-tdndavaode, althoughit is differently classified (Rrdhva-janur bhujangatradsa).The back hands hold fire and axe; theserpent coils at Siva's feet.42 J.C.Harle, TempleGatewaysn South ndia,Oxford I963.43 K. R. Srinivasan, loc.cit., p. I 89.44 O.Viennot, Le probleme des temples a toit plat dans l'Inde du nord, Arts AsiatiquesXVIII (I968).45 V.S.Agrawala, A survey of Gupta art and some sculpturesfrom Nachna-Kutharaand Khoh, Lalit-Kala,No.9 (I96I).46 R.D. Banerji,The Temple of Siva at Bhumara,Memoirs f theArchaeologicalurvey f India,No. 16 (I924).47 A. Lippe, loc.cit., fig. 39.48 A. Lippe, loc.cit., fig. 40.49 A.Lippe, loc.cit., figs.4I, 42, 43.so50 . Divakaran, loc.cit.5sIK.R.Srinivasan, Cave-Temples of the Pallavas, A.S.I., New Delhi 1964, pp. 89ff.

Anandameans"bliss";heperpetual ance s thegod's "play" lila).He dances o maintainthe lifeof the cosmosand o giverelease o thosewho seekhim.The essential ignificancef Siva'sdance s threefold.First, t is theimageof hisrhythmicplayasthe sourceof allmovementwithinthecosmos,which is represented ythe arch.Secondly,thepurpose f hisdances toreleasehecountless oulsof men rom hesnares f illusion.Thirdtheplaceof thedance,hidambaramthelacecenter ofhedance,Chidambaram-he enterof theuniverse-is within heheart.Thus, at its roots the dance of Siva is the manifestationof primal, rhythmicenergy.It is, asCoomaraswamyaid,"the clearestmageof theactivityof God whichanyny rt or religioncanboast of".Chidambaramwas early associatedwith the dancing Siva. Manikkavasakarmentions animageof thedancingSiva n the SriNatarajaempleat Chidambaram.42he ColaKingParan-taka I (907-95 5) had the roof of the sanctum covered with gold. The god of Chidambaram, theLord of the Dance (Sri Nataraja),became the family deity of the dynasty.In southern literature, the first definition of the three attributes held by the Lord of theDance-serpent, hand-drum and bowl of fire-occurs in a song of the Saiva hymnist Sundarar(firsthalfof the ninthcentury);his s repeated yManikkavasakarafter 5o)whois the irst omention the term "dnanda-tydava".43The concept ofhe dancing Siva was developed in the north, but quickly spread across thesubcontinent in order to become especially prominent in the south. The specific Nataraja con-

cept is a creation of the south. This development is reflected by the archaeological evidence. Theearliest existing sculptures of the dancing Siva are the reliefs at Sakor (Damoh),44 from Nachna(Panna)45 and from Bhumara (Satna),46 all in central India and dating from about A. D. oo tothe early sixth century. According to Stella Kramrisch there is also an image from Orissa of thisperiod in the museum of Bhuvaneshvar. They are followed, less than one hundred years later,by the famous reliefs in the cave temples of Elephanta and Ellora (XXI).Around A.D. 625, the Natesa motif appears in the south, in the Chalukya Cave I at Badami(Bijapur);47 somewhat later, we encounter it in the Aihole Saiva cave.48 On ceilings and indevakostaniches, we find it, in the eighth century, in the Pattadakaltemples49 as well as at Alam-pur (seventh-eighth century).so50We also do in the Rastrakuta temples from the Ellora Kaila-sanatha to Sangamesvaram, Satyavolu, etc., and in the Ganga temples of Mysore (eighth-ninthcentury).

Simultaneously with Badami, it occurs in the Pallava cave temple at Siyamangalam (NorthArcot)51 (Fig. 31 . The last can perhaps be interpreted as a proto adnanda-tdndavaode, althoughit is differently classified (Rrdhva-janur bhujangatradsa).The back hands hold fire and axe; theserpent coils at Siva's feet.42 J.C.Harle, TempleGatewaysn South ndia,Oxford I963.43 K. R. Srinivasan, loc.cit., p. I 89.44 O.Viennot, Le probleme des temples a toit plat dans l'Inde du nord, Arts AsiatiquesXVIII (I968).45 V.S.Agrawala, A survey of Gupta art and some sculpturesfrom Nachna-Kutharaand Khoh, Lalit-Kala,No.9 (I96I).46 R.D. Banerji,The Temple of Siva at Bhumara,Memoirs f theArchaeologicalurvey f India,No. 16 (I924).47 A. Lippe, loc.cit., fig. 39.48 A. Lippe, loc.cit., fig. 40.49 A.Lippe, loc.cit., figs.4I, 42, 43.so50 . Divakaran, loc.cit.5sIK.R.Srinivasan, Cave-Temples of the Pallavas, A.S.I., New Delhi 1964, pp. 89ff.

I7676


10/41

In the subsequentPallavatemplesof the eighth century,the repertory s enlargedby at leasttwo moredanceposes.In one,anoutstretchedeg pointsto heaven talasamsphotitam);n theother,a bentknee s liftedhigh (bhujangatrdsa)hile an armswings n frontof the chest(gaja-hasta).Thefirstoccurs n thevestibule Fig.32) andthe cloister Fig.33)of theKanchiKailasa-natha. n the latterrelief,the serpent s heldby a left hand(asonheerpent s heldby a left hand(ason the KuramNatarja),andNandi has joinedthe dance-a uniqueconfiguration.The second pose is illustratedby anotherrelief n the Kailasanathaloister Fig.34).Parvati,n awe,watches he greatdancer;a ndgaking, under his five-fold cobra-hood,in worship, is being held aloft. We recall that the NallurNatarajaolds a three-hoodedadgan his left.Theotherreliefsshowthegodin eitherherhe catra or the lalitaposein whichgenerally othlegs are in a diagonalposition and, often, the lifted foot still touches the ground. Incidentally,the identificationf literaryermswith the variousdanceposeswhichwe encountern art iscontradictoryand confusing. This is due to the fact that the terms are taken from differentsources,eitherreligioustexts (Agamas,etc.) or the classic of the dance,Bharata'sNdtyaSdstra.52A relief on the centraltier of the Dharmaraja-rathaMamallapuram)as been interpretedasNatesa;53 it probablyrepresentsSiva Kalarimurti.Natesa also occurs on the Olakkannesvara(Mmallapuram),heMuktevara,heMuktesvara,Figs.3 5)Mtanigevara, ravatanesvara,tc. of theeighthcentury (all in Kanchi).54n the Muktesvara he Dwarf of Ignoranceaparan-purusa) is inevidence for the first time, under the dancer'sfeet (Fig.I). In the vestibule relief (Fig.35), aganaseemsto supportthe ten-armedgod, but he actuallysaluteshim.In thePandya ave emplesof theeighthcentury,Natesa-whenpresent-hasfourarmsandgenerally dances in the caturapose (Tirumalaipuram) (Fig. 36); at Kunnakudi we count eightarms (theprabhads a later addition in stucco) (Fig.37). The Dwarf of Ignoranceis absent;heis in evidence at Tirupparamkunram (773) (Fig.38). As Sivaramamurti pointed out,s5 Natesacarries a bull standard-as on the Chalukya panel of the Virupaksa (Pattadakal) (Fig. 39)-wherehe dances in the same posein the samepose as in the Kailsanatha cloister at Kanchi (Fig. 34).There is no Natesaon the Pandyamonolithictemple now calledVettuvankoil (ca. 800).The Natarajaon the Pandyastructural empleat Tiruvalisvaramwill be discussedbelow.I have not seen anyNatesa in the latePallavaand Banatemplesof the Tondai-naduwhich Ihave visited. (Velakanampudi,Takkolam, Tiruttani,Tirukkallukkunram,Tiruvathigai).NorhaveI encounteredhim in the Muttaraiyaravesand structural emples.He does appearon one of the two remaining temples of the Muvarkoil at Kodumbalur(Pudukkottai)on the second tier (south), four-armed, n the catura-mode(Fig.40). These Irru-kuvel temples are, by some scholars, convincingly dated to ca. 880.56On one of the twin templesof the Paluvettaraiyarst Kilaiyur 892), the Agastyesvaram,wefind a miniatureNatesa (eight-armed, atura)n the toraVabove the Daksinamurti south).In a number of earlyColatempleshe appearson one or moreof the miniaturepanelsof the52 P. Z. Pattabiramin, Trouvaillesde Nedoungadu; Tandavas de Siva, Pondichery 1956.53 C. Sivaramamurti, Mahabalipuram, loc.cit., pp. I2-1 3.54 C.Sivaramamurti, loc.cit., p. i8; K.R.Srinivasan, Some Aspects... loc.cit. and The Pallava Architecture of South India,Ancient India, No. I4 (I958); Balasubrahmanyam (II), loc.cit., pp. 340-43.55 Sivaramamurti, Kalugusmalai .. loc.cit., p. 33.56 K. G. Krishnan in Epigraphica Indica XXXII (I957), pp. 99-I02, as against S.R. Balasubrahmanyam in Journal of IndianMuseums XVII-XX, pp. I I-26, and Early Chola Temples, loc.cit., pp. I08-37.

In the subsequentPallavatemplesof the eighth century,the repertory s enlargedby at leasttwo moredanceposes.In one,anoutstretchedeg pointsto heaven talasamsphotitam);n theother,a bentknee s liftedhigh (bhujangatrdsa)hile an armswings n frontof the chest(gaja-hasta).Thefirstoccurs n thevestibule Fig.32) andthe cloister Fig.33)of theKanchiKailasa-natha. n the latterrelief,the serpent s heldby a left hand(asonheerpent s heldby a left hand(ason the KuramNatarja),andNandi has joinedthe dance-a uniqueconfiguration.The second pose is illustratedby anotherrelief n the Kailasanathaloister Fig.34).Parvati,n awe,watches he greatdancer;a ndgaking, under his five-fold cobra-hood,in worship, is being held aloft. We recall that the NallurNatarajaolds a three-hoodedadgan his left.Theotherreliefsshowthegodin eitherherhe catra or the lalitaposein whichgenerally othlegs are in a diagonalposition and, often, the lifted foot still touches the ground. Incidentally,the identificationf literaryermswith the variousdanceposeswhichwe encountern art iscontradictoryand confusing. This is due to the fact that the terms are taken from differentsources,eitherreligioustexts (Agamas,etc.) or the classic of the dance,Bharata'sNdtyaSdstra.52A relief on the centraltier of the Dharmaraja-rathaMamallapuram)as been interpretedasNatesa;53 it probablyrepresentsSiva Kalarimurti.Natesa also occurs on the Olakkannesvara(Mmallapuram),heMuktevara,heMuktesvara,Figs.3 5)Mtanigevara, ravatanesvara,tc. of theeighthcentury (all in Kanchi).54n the Muktesvara he Dwarf of Ignoranceaparan-purusa) is inevidence for the first time, under the dancer'sfeet (Fig.I). In the vestibule relief (Fig.35), aganaseemsto supportthe ten-armedgod, but he actuallysaluteshim.In thePandya ave emplesof theeighthcentury,Natesa-whenpresent-hasfourarmsandgenerally dances in the caturapose (Tirumalaipuram) (Fig. 36); at Kunnakudi we count eightarms (theprabhads a later addition in stucco) (Fig.37). The Dwarf of Ignoranceis absent;heis in evidence at Tirupparamkunram (773) (Fig.38). As Sivaramamurti pointed out,s5 Natesacarries a bull standard-as on the Chalukya panel of the Virupaksa (Pattadakal) (Fig. 39)-wherehe dances in the same posein the samepose as in the Kailsanatha cloister at Kanchi (Fig. 34).There is no Natesaon the Pandyamonolithictemple now calledVettuvankoil (ca. 800).The Natarajaon the Pandyastructural empleat Tiruvalisvaramwill be discussedbelow.I have not seen anyNatesa in the latePallavaand Banatemplesof the Tondai-naduwhich Ihave visited. (Velakanampudi,Takkolam, Tiruttani,Tirukkallukkunram,Tiruvathigai).NorhaveI encounteredhim in the Muttaraiyaravesand structural emples.He does appearon one of the two remaining temples of the Muvarkoil at Kodumbalur(Pudukkottai)on the second tier (south), four-armed, n the catura-mode(Fig.40). These Irru-kuvel temples are, by some scholars, convincingly dated to ca. 880.56On one of the twin templesof the Paluvettaraiyarst Kilaiyur 892), the Agastyesvaram,wefind a miniatureNatesa (eight-armed, atura)n the toraVabove the Daksinamurti south).In a number of earlyColatempleshe appearson one or moreof the miniaturepanelsof the52 P. Z. Pattabiramin, Trouvaillesde Nedoungadu; Tandavas de Siva, Pondichery 1956.53 C. Sivaramamurti, Mahabalipuram, loc.cit., pp. I2-1 3.54 C.Sivaramamurti, loc.cit., p. i8; K.R.Srinivasan, Some Aspects... loc.cit. and The Pallava Architecture of South India,Ancient India, No. I4 (I958); Balasubrahmanyam (II), loc.cit., pp. 340-43.55 Sivaramamurti, Kalugusmalai .. loc.cit., p. 33.56 K. G. Krishnan in Epigraphica Indica XXXII (I957), pp. 99-I02, as against S.R. Balasubrahmanyam in Journal of IndianMuseums XVII-XX, pp. I I-26, and Early Chola Temples, loc.cit., pp. I08-37.

I7777


11/41

base,when there areany,or in a toraVaarch)above a devakostaiche, generallyaboveDaksina-murti.Thus, we see him on miniaturepanelsat Kandiyur(ca.9i8), Srinivasanallurca.927)-on apilasterFig.4I--Pullamangai ca.9Io-920)-three times-, Thudaiyurafter970),Kamarasa-valli (ca.977). In a toraya,Natesa appears at Kumbakonam (ca.gIo), Pullamangai (9I-920)-twice-Tiruvaduturai (945), Tirumiyachchurbetween969-985), Vriddhachalam98I).A relatedmotif, Kalantaka,which alreadyoccurs on the Dharmaraja-ratha,s popularonthese miniaturepanelsas well (Tiruchchenampundi,Thudaiyur,etc.).The Nataraja an be seen on a miniaturepanelat Thudaiyur after970) (Fig.42), Kamarasa-valli (ca.977) (Fig.43), Melakkadambar1113; pilaster).57n a torana,he alreadyappearsat

Tiruchchenampundi58 (ca. 920) (Fig. 12). However, the upper half of the toranadoes not necess-arilybelongto the lowerone.It resembleshe torana f Pullamangai91-920). TheNatarajadoes appear-in a torana-at Tiruverumbur (95 2) (Fig.44), Tirumiyachchur (969 to 985),Kilap-paluvur (984), Thanjavur IoIo) (Fig.47) etc.In the torana over the Daksinamurti at Tiruvaduturai (945) (Fig.4s), the Nataraja hasbecome larger (ca. 5o cm) and is almost free-standing.s9The same can be said for the toranafigure(above Durga) at Punjai (ca.940) (Fig.46). The Punjai torana,rising from the mouths of twosea monsters (makara), is made up of rows of horned lions (vyala), wild geese (hamsa), andhorsemen. Propelled by the impetus of his dance, the god seems to be stepping out of the reliefplanes,n order o assumehisrightfulplace n adevakostaiche.As Douglas Barrett first observed, the Nataraja in a devakosta irst appears, as part of thenew and standardized icononic layout, in the temples built by Queen Sembiyan Mahadevi. Hisplace s on the south aceof theardhamandapa.hefirstof these empless the oneatKonerira-japuram (ca.969-972) (Fig.49) which provides the date (ca.970) for the beginning of Barrett'sPhase III (of the EarlyColaperiod).Another beautiful example is the devakostaimage at Mayuram (between 975 and Iooo)(Fig. so). Both are undamaged-two almost unique instances ofluck. The Natarajasat SembiyanMahadevi (98i) (Fig. 5I), Govindaputtur (983), Kilappaluvur (984), Aduthurai (985), Tiruna-raiyur (987) and others are more or less severely damaged. The same goes for compositionallyrelated icons like Kalarimurti (Govindaputtur). The other reliefs are in good condition. Ashardly any Muslim iconoclasts reached the south, the explanation for these mutilations must liein the peculiarities of the icon itself. The swinging arm and leg, superbly realized by the skilfulbronzecaster,n stonepresumablyaused oo muchstressand,whenweakened ndweatheredbychanges f temperaturendhumidity,wereaptto break, speciallywhen herewere aults nthe stone.

Incidentally, the KonerirajapuramNatarajahas a Ganga on his locks, at his left. She is pre-sent n the otherreliefsmentionedattheproper ight)exceptatGovindaputturndKilappa-luvur.57 D. Barrett, Early Cola Architecture and Sculpture, London I974, p. 69, mentions a panel on the Surya shrine of the Nages-vara, datable to ca. 947.58 This torana has been quoted by R.Nagaswamy in order to update the Nataraja motif; v. Oriental Art, Spring I97I(N. S. XVII/I). See also Barrett,loc.cit., p. 7I.59D. Barrett,Early ColaBronzes,Bombay I965.

base,when there areany,or in a toraVaarch)above a devakostaiche, generallyaboveDaksina-murti.Thus, we see him on miniaturepanelsat Kandiyur(ca.9i8), Srinivasanallurca.927)-on apilasterFig.4I--Pullamangai ca.9Io-920)-three times-, Thudaiyurafter970),Kamarasa-valli (ca.977). In a toraya,Natesa appears at Kumbakonam (ca.gIo), Pullamangai (9I-920)-twice-Tiruvaduturai (945), Tirumiyachchurbetween969-985), Vriddhachalam98I).A relatedmotif, Kalantaka,which alreadyoccurs on the Dharmaraja-ratha,s popularonthese miniaturepanelsas well (Tiruchchenampundi,Thudaiyur,etc.).The Nataraja an be seen on a miniaturepanelat Thudaiyur after970) (Fig.42), Kamarasa-valli (ca.977) (Fig.43), Melakkadambar1113; pilaster).57n a torana,he alreadyappearsat

Tiruchchenampundi58 (ca. 920) (Fig. 12). However, the upper half of the toranadoes not necess-arilybelongto the lowerone.It resembleshe torana f Pullamangai91-920). TheNatarajadoes appear-in a torana-at Tiruverumbur (95 2) (Fig.44), Tirumiyachchur (969 to 985),Kilap-paluvur (984), Thanjavur IoIo) (Fig.47) etc.In the torana over the Daksinamurti at Tiruvaduturai (945) (Fig.4s), the Nataraja hasbecome larger (ca. 5o cm) and is almost free-standing.s9The same can be said for the toranafigure(above Durga) at Punjai (ca.940) (Fig.46). The Punjai torana,rising from the mouths of twosea monsters (makara), is made up of rows of horned lions (vyala), wild geese (hamsa), andhorsemen. Propelled by the impetus of his dance, the god seems to be stepping out of the reliefplanes,n order o assumehisrightfulplace n adevakostaiche.As Douglas Barrett first observed, the Nataraja in a devakosta irst appears, as part of thenew and standardized icononic layout, in the temples built by Queen Sembiyan Mahadevi. Hisplace s on the south aceof theardhamandapa.hefirstof these empless the oneatKonerira-japuram (ca.969-972) (Fig.49) which provides the date (ca.970) for the beginning of Barrett'sPhase III (of the EarlyColaperiod).Another beautiful example is the devakostaimage at Mayuram (between 975 and Iooo)(Fig. so). Both are undamaged-two almost unique instances ofluck. The Natarajasat SembiyanMahadevi (98i) (Fig. 5I), Govindaputtur (983), Kilappaluvur (984), Aduthurai (985), Tiruna-raiyur (987) and others are more or less severely damaged. The same goes for compositionallyrelated icons like Kalarimurti (Govindaputtur). The other reliefs are in good condition. Ashardly any Muslim iconoclasts reached the south, the explanation for these mutilations must liein the peculiarities of the icon itself. The swinging arm and leg, superbly realized by the skilfulbronzecaster,n stonepresumablyaused oo muchstressand,whenweakened ndweatheredbychanges f temperaturendhumidity,wereaptto break, speciallywhen herewere aults nthe stone.

Incidentally, the KonerirajapuramNatarajahas a Ganga on his locks, at his left. She is pre-sent n the otherreliefsmentionedattheproper ight)exceptatGovindaputturndKilappa-luvur.57 D. Barrett, Early Cola Architecture and Sculpture, London I974, p. 69, mentions a panel on the Surya shrine of the Nages-vara, datable to ca. 947.58 This torana has been quoted by R.Nagaswamy in order to update the Nataraja motif; v. Oriental Art, Spring I97I(N. S. XVII/I). See also Barrett,loc.cit., p. 7I.59D. Barrett,Early ColaBronzes,Bombay I965.

I7878


12/41

We conclude this chapterwith the Natarajaon the great temple of Thanjavur,originallycalledRajarajesvara,hich was builtby King Rajarajan I003-IOIO andthusstillbelongs oBarrett'sEarly Cola period. The Natarajahere appears on the vimana south) (Fig.47). Thesame s the caseon theGreatTempleatGangaikonda-CholapuramFig.53) whichwas built nI030 by Rajaraja'son and successorRajendra (andthusdoesnot belongto theEarlyColaperiod).The presence,on this panelas well as at Konerirajapuram,Mayuramand Tirunaraiyur, f adancing Kali besides the three-legged Bhrngi evokes the legend in which Siva wins a dancecontestwith the goddess. The emaciatedwoman next to theganamusicians s the saintKaraikkalAmmaichantinghegloryof the Lord.The awkwardnessof Natesa's ower left leg is due to a clumsy repairwhich once moreillus-trates hevulnerabilityf this con.On the other hand, a "tour de force" createdat a laterperiod, probably by a Vijayanagarartist, in the vestibule of the Tirukkaravasalemple (Fig.54) carvedcompletelyin the round,has survivedbecauset wasprotectedrom heweather.P.R. Srinivasanassertsthat no adnanda-tdndavaode occurs before Parantaka (907-955.60Barrett does not exclude the possibilitythat the Nataraja(in dnanda-tdndavaode) appears npre-phaseIII temples in the small sculpturedpanels but "feels fairly confident"that he doesnot.61As we have shown above, on the basis of an incompletesurveyof databletemples,he doesindeed appearon miniaturepanelsand in toranas f the reign of Parantaka. At the sametime,the torapaNatarajasf Tiruvaduturaica.94--already pointedout by Barrett-andPunjai(ca.940)seem o represent nintermediatehase, ustbefore he full-blowndevakostacon.Thismightbe confirmed y the Pandya empleat Tiruvalisvaramhich now is datedto900-950 .62Thereare,of course,no devakostasut the Natarajas placed,full-size, in the middleof the central ier (secondtala),on the south side (Fig.48). We remember hata full-size Natesawasplaced n the same ocationat Kodumbalur880).Summing p, we can confirmBarrett's atefor theappearancef theNatarajan devakosta(ca.970).Wefind,however,hatheappearsarlier n miniatureanels nd ntoraas,beginningin thereignof Parantaka.The late appearanceof this icon-representing the family deity of the Cola kings-in thedevakostacheme-and, at that, prior to the Rajarajesvarat Thanjavur, n a secondary oca-tion-is surprising.It is astonishingas well to see the perfectionwith which this motif-so dif-ficult for the sculptor-is realized even at its first large-scaleand almost three-dimensionalappearance.The most likely explanationseems to be that the Natarajamotif, i.e. Siva dancingin the adnanda-tdndavaode, was firstdeveloped in bronze, as a processional con, andwas onlyafterwardranslatednto stone.63This seemsto be confirmed y the archaeologicalvidence

60 P. R. Srinivasan, Roopa-Lekha, vols. XXVI/2 & XXVII/I-2; Bronzes of South India, Bullettin of the Madras GovernmentMuseum,Vol. VIII, Madras I963.61 See above, notes 57, 58.62 K.R. Srinivasan,Temples... loc.cit.,p. I23; according to Barrett,after985. The swinging arm is broken.63 This was first suggested by John Irwin.

We conclude this chapterwith the Natarajaon the great temple of Thanjavur,originallycalledRajarajesvara,hich was builtby King Rajarajan I003-IOIO andthusstillbelongs oBarrett'sEarly Cola period. The Natarajahere appears on the vimana south) (Fig.47). Thesame s the caseon theGreatTempleatGangaikonda-CholapuramFig.53) whichwas built nI030 by Rajaraja'son and successorRajendra (andthusdoesnot belongto theEarlyColaperiod).The presence,on this panelas well as at Konerirajapuram,Mayuramand Tirunaraiyur, f adancing Kali besides the three-legged Bhrngi evokes the legend in which Siva wins a dancecontestwith the goddess. The emaciatedwoman next to theganamusicians s the saintKaraikkalAmmaichantinghegloryof the Lord.The awkwardnessof Natesa's ower left leg is due to a clumsy repairwhich once moreillus-trates hevulnerabilityf this con.On the other hand, a "tour de force" createdat a laterperiod, probably by a Vijayanagarartist, in the vestibule of the Tirukkaravasalemple (Fig.54) carvedcompletelyin the round,has survivedbecauset wasprotectedrom heweather.P.R. Srinivasanassertsthat no adnanda-tdndavaode occurs before Parantaka (907-955.60Barrett does not exclude the possibilitythat the Nataraja(in dnanda-tdndavaode) appears npre-phaseIII temples in the small sculpturedpanels but "feels fairly confident"that he doesnot.61As we have shown above, on the basis of an incompletesurveyof databletemples,he doesindeed appearon miniaturepanelsand in toranas f the reign of Parantaka. At the sametime,the torapaNatarajasf Tiruvaduturaica.94--already pointedout by Barrett-andPunjai(ca.940)seem o represent nintermediatehase, ustbefore he full-blowndevakostacon.Thismightbe confirmed y the Pandya empleat Tiruvalisvaramhich now is datedto900-950 .62Thereare,of course,no devakostasut the Natarajas placed,full-size, in the middleof the central ier (secondtala),on the south side (Fig.48). We remember hata full-size Natesawasplaced n the same ocationat Kodumbalur880).Summing p, we can confirmBarrett's atefor theappearancef theNatarajan devakosta(ca.970).Wefind,however,hatheappearsarlier n miniatureanels nd ntoraas,beginningin thereignof Parantaka.The late appearanceof this icon-representing the family deity of the Cola kings-in thedevakostacheme-and, at that, prior to the Rajarajesvarat Thanjavur, n a secondary oca-tion-is surprising.It is astonishingas well to see the perfectionwith which this motif-so dif-ficult for the sculptor-is realized even at its first large-scaleand almost three-dimensionalappearance.The most likely explanationseems to be that the Natarajamotif, i.e. Siva dancingin the adnanda-tdndavaode, was firstdeveloped in bronze, as a processional con, andwas onlyafterwardranslatednto stone.63This seemsto be confirmed y the archaeologicalvidence

60 P. R. Srinivasan, Roopa-Lekha, vols. XXVI/2 & XXVII/I-2; Bronzes of South India, Bullettin of the Madras GovernmentMuseum,Vol. VIII, Madras I963.61 See above, notes 57, 58.62 K.R. Srinivasan,Temples... loc.cit.,p. I23; according to Barrett,after985. The swinging arm is broken.63 This was first suggested by John Irwin.

I7979


13/41

assembledhere,as well asby the physicalconditionof the devakostacons. In anycase,theuniquepotential f thismotifhasonlybeenrealizedn the bronzes.Accordingto Barrett,64he (bronze)Natarajan adnanda-tadndavaode was evolved in Than-javurdistrictcertainlyby the beginningof PhaseIII (970) andpossiblyduringPhase II (940 to970). Barrettquotestheearliestknowninscriptional eference o a bronzeNataraja,n thetempleof TirunamanallurSouth Arcot) which is dated the thirty-eightyearof Parantaka , i.e. 945.65The evidence presented above encourages us to adjust the dates suggested by Barrett and to

place the development of this motif in bronze in Phase I (850-940). This corresponds with theliterary vidence Sundarar,M.anikkavasakar)uotedabove.

64 Barrett, loc.cit., p.4I.65 Barrett, loc.cit., p. 7.

assembledhere,as well asby the physicalconditionof the devakostacons. In anycase,theuniquepotential f thismotifhasonlybeenrealizedn the bronzes.Accordingto Barrett,64he (bronze)Natarajan adnanda-tadndavaode was evolved in Than-javurdistrictcertainlyby the beginningof PhaseIII (970) andpossiblyduringPhase II (940 to970). Barrettquotestheearliestknowninscriptional eference o a bronzeNataraja,n thetempleof TirunamanallurSouth Arcot) which is dated the thirty-eightyearof Parantaka , i.e. 945.65The evidence presented above encourages us to adjust the dates suggested by Barrett and to

place the development of this motif in bronze in Phase I (850-940). This corresponds with theliterary vidence Sundarar,M.anikkavasakar)uotedabove.

64 Barrett, loc.cit., p.4I.65 Barrett, loc.cit., p. 7.I8o8o


14/41

Fig. I Daksinamurti and NateSa, Kanchi, Muktesvara,btw. 732 and 796, (Pallava)Illustrations: CopyrightAscbwinLippe

Fig. I Daksinamurti and NateSa, Kanchi, Muktesvara,btw. 732 and 796, (Pallava)Illustrations: CopyrightAscbwinLippe


15/41

(auug) ogs z) 'ulo3opyeLuoniJ uluSu aQ z'!Iauug) ogs z) 'ulo3opyeLuoniJ uluSu aQ z'!I

;((

.i,.i,

ii:lli'I I..~ + ,,

>P P

r.- 't. I

la r. .* * 1,') 't

ii:lli'I I..~ + ,,

>P P

r.- 't. I

la r. .* * 1,') 't

Iif-if-

t

* r ,(r

ii ? ?3.?.

Yi IrrZ f I$ A ,,,iCrzC' Pi 3iribi `?

r ,(r

ii ? ?3.?.

Yi IrrZ f I$ A ,,,iCrzC' Pi 3iribi `?


16/41

Fig. 3 Daksinamurti, Tirukkalukkunram,898 (Pallava)ig. 3 Daksinamurti, Tirukkalukkunram,898 (Pallava) Fig. 4 Daksinamurti,Kalugumalai,ca. 800 (Pandya)ig. 4 Daksinamurti,Kalugumalai,ca. 800 (Pandya)


17/41

!

Fig. Dakinmu (tw), Tillaisthanam, ca. 884 o 878 (uttaraiyaFig. 5 Daksinamfirti(two), Tillaisthanam,ca. 884 or 878 (Muttaraiyar)Fig. Dakinmu (tw), Tillaisthanam, ca. 884 o 878 (uttaraiyaFig. 5 Daksinamfirti(two), Tillaisthanam,ca. 884 or 878 (Muttaraiyar)

Fig. 6 Daksin.amuirti, Narttamalai, ca. 86o (Irrukuvel)ig. 6 Daksin.amuirti, Narttamalai, ca. 86o (Irrukuvel)


18/41

Fig. 8 Daksinamurti,Kilaiyur,Coli?vara,ca. 892 (Pal.uvettaraiyar)ig. 8 Daksinamurti,Kilaiyur,Coli?vara,ca. 892 (Pal.uvettaraiyar)

Fig. 8 Daksinamurti,Kilaiyur,ColiSvara,ca. 892 (Pal.uvettaraiyar)ig. 8 Daksinamurti,Kilaiyur,ColiSvara,ca. 892 (Pal.uvettaraiyar)


19/41

Fig. 9 Daksi.namu-rti,rinivasanallur,ca. 927 (Cola)ig. 9 Daksi.namu-rti,rinivasanallur,ca. 927 (Cola)


20/41

;dd

Fig. Io Vinadhara-Daksinamurti,Tiruppunturutti,ca. 940-70 (Cola)Fig. Io Vinadhara-Daksinamurti,Tiruppunturutti,ca. 940-70 (Cola) Fig.ii Vinadhara-Daksinamuirti, algudy,ca. 897 (Cola)Fig.ii Vinadhara-Daksinamuirti, algudy,ca. 897 (Cola)


21/41

(ao?D) oz6 *'B 'TpundLuBu3qLpq:n:TLpjTnuBuli?1I-aBsBLIpUTA z I'ZtIIao?D) oz6 *'B 'TpundLuBu3qLpq:n:TLpjTnuBuli?1I-aBsBLIpUTA z I'ZtII

, ,; e '''.'--1'; *1 , -(jI, ,; e '''.'--1'; *1 , -(jI

i- . w^ .1i- . w^ .1


22/41

i ;O14w.i ;O14w.

Fig. I3 Daksinamurti, Gramam,ca. 943 (Cola)ig. I3 Daksinamurti, Gramam,ca. 943 (Cola) Fig. I4 Daksinamurti,Punjai,ca. 940 (Cola)ig. I4 Daksinamurti,Punjai,ca. 940 (Cola)


23/41

.'t.

't

ic'" -ri ?1e$ A? ?1 i?rlJ

?ii -Pic'" -ri ?1e$ A? ?1 i

?rlJ?ii -P

I

.rz g; f1

.

P 1

rt;.>4.

' , ., . ; '; ^

.rz g; f1

.

P 1

rt;.>4.

' , ., . ; '; ^

r.Itr.Itll

r\*'.* I

'. 1 ''\*'.* I

'. 1 ''

Fig. I5 Daksinamurti,Mayuram,btw. 975 and ooo (Cola)ig. I5 Daksinamurti,Mayuram,btw. 975 and ooo (Cola)

t 1I Ii. .

.Ir*

t 1I Ii. .

.Ir*


24/41

Fig. I6 Daksinamurti, Tiruvorriyur, ca. io67 (Cola)ig. I6 Daksinamurti, Tiruvorriyur, ca. io67 (Cola) Fig. 17 LakuliSa,Courtesy A

Fig. 17 LakuliSa,Courtesy A


25/41

Fig. I8 Daksinamurti,Alampur,Visva-Brahma, Fig. i9 Daksinamurti,Satyavolu, Ramalingesvara,late seventh century (Chalukya) ca. 700 (Chalukya)Fig.I8 Daksinamurti,Alampur,Visva-Brahma, Fig. i9 Daksinamurti,Satyavolu, Ramalingesvara,late seventh century (Chalukya) ca. 700 (Chalukya)

Fig. 20 Daksinamurti,BhavanasiSangam, Sangamesvara, ate eighth century (Rastrakuta)ig. 20 Daksinamurti,BhavanasiSangam, Sangamesvara, ate eighth century (Rastrakuta)


26/41

Fig. 2I Bhiksatanamuirti,Viralur,ca. 870 (Muttaraiyar)ig. 2I Bhiksatanamuirti,Viralur,ca. 870 (Muttaraiyar) Fig. 22 Bhiksatanig. 22 Bhiksatan


27/41

(pD:)) Lz6 *) 'ITniiBVusUBA!Tu!Sp:nuuBuBIS_aLqg bz '.TdjpD:)) Lz6 *) 'ITniiBVusUBA!Tu!Sp:nuuBuBIS_aLqg bz '.Tdj (po2D) oL6-ob6 'z ''lnln:iunddn:TLL 'lplntuLiuBBs.Tqg z'S1Tpo2D) oL6-ob6 'z ''lnln:iunddn:TLL 'lplntuLiuBBs.Tqg z'S1T


28/41

Fig. 25 Bhiksatanamurti,Uyyakondan-Tirumalai, a. 966 (Cola)Fig. 25 Bhiksatanamurti,Uyyakondan-Tirumalai, a. 966 (Cola) Fig.26 Bhiksatanamurti,Sembiyan-Mahadevi,ca. 98I (Cola)Fig.26 Bhiksatanamurti,Sembiyan-Mahadevi,ca. 98I (Cola) Fig. 27 Bhiksatanamuirti,Govindaputtur, ca. 983 (Cola)Fig. 27 Bhiksatanamuirti,Govindaputtur, ca. 983 (Cola)


29/41

Fig. 28 Bhiksatanamuirti,Tiruvandarkoyil,ca. 999 (Cola)Fig.28 Bhiksatanamuirti,Tiruvandarkoyil,ca. 999 (Cola) Fig. 29 Bhiksatanamurti,Thanjavur,Rajarajesvara, I o (Cola)

Fig. 30 Bhiksatanamurti,Alampur, SvargaBrahma, 68I-696 (ChIlukya),CourtesyAmerican Institute ofIndian Studies, Ramnagar,Varanasi

Fig. 29 Bhiksatanamurti,Thanjavur,Rajarajesvara, I o (Cola)

Fig. 30 Bhiksatanamurti,Alampur, SvargaBrahma, 68I-696 (ChIlukya),CourtesyAmerican Institute ofIndian Studies, Ramnagar,Varanasi


30/41

Fig. 31 NateSa, Siyamangalam, ca. 580-630 (Pallava)ig. 31 NateSa, Siyamangalam, ca. 580-630 (Pallava)

FigFig. 32 Nate$a, Klanchi,KailasFigFig. 32 Nate$a, Klanchi,Kailas


31/41

Fig. 33 Natesa, Kanchi,Kailasanatha cloister),ca.725 (Pallava)ig. 33 Natesa, Kanchi,Kailasanatha cloister),ca.725 (Pallava) Fig. 34 Natesa, Kanchi, Kailasanatha cloister), ca. 725 (Pallava)ig. 34 Natesa, Kanchi, Kailasanatha cloister), ca. 725 (Pallava) Fig. 35 Natig. 35 Nat


32/41

Fig. 36 Nate?a,Tirumalaipuram,eighth century (Pandya)ig. 36 Nate?a,Tirumalaipuram,eighth century (Pandya) Fig. 37 Natesa, Kunnakudiig. 37 Natesa, Kunnakudi


33/41


34/41

(a3An:nTjIj) o88 'ED .lioNJFAnIN 'njlaqumnpo>j 'uSaieN ob '!T_a3An:nTjIj) o88 'ED .lioNJFAnIN 'njlaqumnpo>j 'uSaieN ob '!T_

- . J * -

- _- A. *

- . J * -

- _- A. *f ^ -* _ir", ",_. O-tf -0z4f ^ -* _ir", ",_. O-tf -0z4., t:, t: o '*

Z .'*Z .

.mm

_mm

_

eClrl.?krClrl.?kr


35/41

Fig. 42 Nataraja, Thudaivur, after 970 (Cola)ig. 42 Nataraja, Thudaivur, after 970 (Cola)ig. 4I Natesa, Srinivasanallur, ca. 927 (Cola)ig. 4I Natesa, Srinivasanallur, ca. 927 (Cola)

Fig. 43 Nataraja, Kamarasavalli, ca. 977 (Cola)ig. 43 Nataraja, Kamarasavalli, ca. 977 (Cola)


36/41

Fig. 44 Nataraja, Tiruverumbur, ca. 952 (Cola)ig. 44 Nataraja, Tiruverumbur, ca. 952 (Cola)

Fig. 45 Nataraja, Tiruvaduturai, ca. 945 (Cola)ig. 45 Nataraja, Tiruvaduturai, ca. 945 (Cola)

Fig. 46 Nataraja, Punjai, ca. 940 (Cola)ig. 46 Nataraja, Punjai, ca. 940 (Cola)


37/41

Fg47Ntrj,- Thnau,Raa v ,20 10 Co

Fig. 47 Natar-ija, Thanjavur, ajarajeSvara,oIo (Cola)Fig. 47 Nataraja, Thanjavur, Rdjardjeivara,OIO (Cola)

Fg47Ntrj,- Thnau,Raa v ,20 10 Co

Fig. 47 Natar-ija, Thanjavur, ajarajeSvara,oIo (Cola)Fig. 47 Nataraja, Thanjavur, Rdjardjeivara,OIO (Cola)


38/41

All

%.I-.I-'Ji ,'ZZi'Ji ,'ZZi

Fig. 48 Nataraja, Tiruvalisvaram, ca. 95o (Pandya)ig. 48 Nataraja, Tiruvalisvaram, ca. 95o (Pandya)


39/41

Fig. 49 Nataraja, Konerirajapuram,ca. 969-72 (Cola)Fig. 49 Nataraja, Konerirajapuram,ca. 969-72 (Cola)

Fig. 5o Nataraja, Mayuram,btw. 975 and Iooo (Cola)Fig. 5o Nataraja, Mayuram,btw. 975 and Iooo (Cola)

Fig. 5I Nataraja, Sembiyan-Mahadevi, ca. 98I (Cola)ig. 5I Nataraja, Sembiyan-Mahadevi, ca. 98I (Cola)


40/41

Fig. 52 Nataraja, Thanjavur, Rajarajesvara, IoIo (Cola)ig. 52 Nataraja, Thanjavur, Rajarajesvara, IoIo (Cola) Fig. 53 Nataraja, Gangaikonda-Colapuram, o1030 (Cola)ig. 53 Nataraja, Gangaikonda-Colapuram, o1030 (Cola)


41/41

t ..~~~~~~~~~~~~~~~~~~~~~~~~~~~~~i- ?::.:~~~~. ?..ci\~. p..~,~ ,

Fig.54 Na.tar~ja,irukkaravasal,sth century? (Vijayanagar)~~~~~~~~~~~~~~~~~~~~~i

t ..~~~~~~~~~~~~~~~~~~~~~~~~~~~~~i- ?::.:~~~~. ?..ci\~. p..~,~ ,

Fig.54 Na.tar~ja,irukkaravasal,sth century? (Vijayanagar)~~~~~~~~~~~~~~~~~~~~~i

Some South Indian Icons

Documents

Transcript of Some South Indian Icons