Descent of the Ganges (Arjuna’s
Penance)
Mammallapuram, popularly known as Mahabalipuram is famous for its
splendid 7th and 8th century art and architecture, especially the stone
carvings. The monolithic rock sculptures, shore temple, carvings and wonderful
beaches make Mahabalipuram a beautiful tourist destination. The Arjuna's
penance or Descent of the Ganges is one of the most famous stone carvings at
Mahabalipuram. It is an enormous relief made on two massive boulders. One of
the biggest open-air rock canvases in the world, the Arjuna's penance is 29 m
long and 13m high. The surface of the rock has detailed carvings, showing the
most endearing and natural renditions of animals especially the elephants and
monkeys.
There are many schools of thoughts over the theme of Arjuna's
penance. One school believes that the sculpture shows Arjuna undertaking a
penance to obtain a rare weapon against his enemies. The other School believes
that it portrays the legend of the River Ganges's descent to earth. Whatever
the reasons, Arjuna penance remains one of the most beautifully carved
structures at Mammallapuram. Arjuna's Penance has over 100 figures of gods and
semi divine creatures, birds and beasts, man and saint.
The skillfully carved edifice, Arjuna's penance, is named after
the Mahabharata hero, Arjuna. As mentioned above, the subject of the carving is
either how Arjuna, one of the Pandava brothers, performed severe austerities so
that he could obtain Lord Shiva's weapon to destroy his enemies or an illustration
of how King Bhagiratha brought the River Ganges down to earth so that the souls
of his ancestors could rest in peace. The relief also contains some of the
popular legends from the Panchatantra books. The figures that are sculptured on
the rock are remarkable for their vitality and spontaneity and speak volumes
about the skill of the sculptors.
Descent of the Ganges is a monument at Mahabalipuram, on the Coromandel Coast of the Bay of Bengal, in the Kancheepuram district of
the state of Tamil Nadu, India. Measuring 96 by 43 feet (29 m × 13 m), it is a
giant open-air relief carved of two monolithic rock boulders. The
bas-relief is more of a canvas of Indian rock cut sculpture at its best not
seen anywhere in India. It is one of the Group of Monuments at Mahabalipuram that were designated as a UNESCO World Heritage Site since
1984. Its huge size and scale is difficult to imagine just from photographs; a
person standing on the ground in front of it could barely touch the elephants'
feet.
The subject is either Arjuna's Penance or the Descent of the
Ganges, or possibly both. In additive cultures like India's, logical alternatives are often conceptualized
as "both-and" rather than "either-or."
The symbolism of the relief supports either story. Furthermore,
both stories were interpreted in a manner flattering to the Pallavas; the
heroic Arjuna as a symbol of the rulers, and the Ganges as a symbol of their
purifying power.
The composition of the relief includes the main elements of the
story (left) and scenes of the natural and celestial worlds (right). A natural
cleft populated by nagas separates the two halves of the relief. Water was
poured down this cleft in order to simulate a natural waterfall (the Ganges'
descent). To the left, just above the shrine, Arjuna (or Bhagiratha) stands on
one leg, his arms upraised, in a yoga posture. Behind him appears Shiva,
holding a weapon and attended by ganas. To the right of the cleft, life-sized
elephants protect their young below a scene of numerous other animals and
flying celestials, all carved with the greatest vivacity, skill, naturalism,
and joyousness.
The crowning masterpiece of Mamallapuram’s stonework, this giant
relief carving is one of India's greatest ancient art works. It is inscribed on
two huge, adjacent boulders, the Penance bursts with scenes of Hindu myth and
everyday vignettes of South Indian life. In the centre nagas (snake-beings), descend
a once water-filled cleft, representing the Ganges. To the left Arjuna (hero of
the Mahabharata) performs self-mortification (fasting on one leg), so that the
four-armed Shiva will grant him his most powerful weapon, the god-slaying
Pasupata.
Some scholars believe the carving shows not Arjuna but the sage Bhagiratha,
who did severe penance to obtain Shiva's help in bringing the Ganges to earth.
Shiva is attended by dwarves, and celestial beings fly across the upper parts
of the carving. Below Arjuna/Bhagiratha is a temple to Vishnu, mythical
ancestor of the Pallava kings. The many wonderfully carved animals include a
herd of elephants and – humour amid the holy – a cat mimicking Arjuna's penance
to a crowd of mice.
South along the road from Arjuna's Penance are the unfinished
Panch Pandava Mandapa cave temple; the Krishna Mandapa , which famously depicts
Krishna lifting Govardhana Hill to protect cows and villagers from a storm sent
by Indra; an unfinished relief carving of similar size to Arjuna's Penance; and
the Dharmaraja Cave Temple .
Geography
The Arjuna bas-relief is in the centre of Mahabalipuram, facing
the sea at a short distance from the shores of the Coramandel Coast of the Bay
of Bengal where the Shore Temple is situated. It is accessible from Chennai city over a 36 miles (58 km) paved road to its west and
20 miles (32 km) from Chengalpet.
History
The Mammallapuram art, as it is known among archaeologists, is a
creation on the occasion of a celebration of the victory of Hinduism over Buddhism. The place, now known as Mahabalipuram, was earlier known by the
epithet given to the king Narasimhavarman I (630–668 AD) of the Pallava Dynasty (who ruled from 4th to 9th centuries),) as Mamallan, the
"great wrestler" or "great warrior".
His father was king Mahendravarman I who converted from Jainism to Hinduism. The architectural creations at Mammallapuram mostly
attributed to Mamalla in the 7th century, adopted stone as the medium for
sculpting in situ rock faces, which till then was done with some
perishable material like wood or loose stones. It is part of 16 World
Heritage Cultural Sites in India, and as a protected monument, the Archaeological Survey of India (ASI), Chennai Circle is entrusted with its upkeep in all
aspects.
The open air bas-reliefs (including the Descent of the Ganges
(Mahabalipuram) are one of the four categories under which UNESCO identified
the site as a World Heritage Site and inscribed it in 1984 under the
title Group of Monuments at Mahabalipuram.
This bas-relief in rock is reported as a "sublime" early
sculpture of the 7th century; even in the subsequent dynasty of the Chola's adopted the shrine-sculpting technique in the temples they
built in the late 9th century. This architectural legacy of the Pallava dynasty
is continued by the descendants of sculptors of that period, who are now
integrated into the present town’s culture.
Layout
The unique bas-relief faces east. It was created with great skill
and imagination on two large boulders of pink granite in the open air giving the whole a natural effect. The
boulders measure 13 by 29 metres (43 ft × 96 ft). Many of the
figures carved are in life size. The natural cleft, a very large perpendicular
fissure, is skillfully sculptured.
It is in between the two boulders and is integral to the mythical
narratives carved on the entire relief. A water tank was once located at the
top of the rock to release water denoting the Ganges River. It cascaded over the cleft and the relief to give the impression
of the Ganga descending from the head tied matts of Shiva. This scene was
created during festive occasions and the presence of a brick masonry cistern at
the top of the cleft to release water attests to its location at site. The
bas-relief is an ensemble of over a hundred figures (146 is also mentioned) of
gods, people, half-humans and animals and is best explained by an expert at
site.
Architecture
The sculptures carved in the natural fissure that divides the
cliff not only depict a cosmic event of Ganges descending to earth (a popular
narration and depiction in the iconography of Shiva) at the command of Shiva
but also shows the event being watched by scores of gods, goddesses, mythical
figurines of Kinnara, Gandharva, Apsara, Gana, Nagas, and also wild and domestic animals, all admiringly looking up at
the scene.
This relief is often given the hyperbole adjectives as "world
renowned" and “unique artistic achievement”. The total numbers of carvings
are probably about 146. The carvings of elephants on the open air
bas-relief are almost of life size and are reported as the best animal carving
in India. Another humorous scene is the carvings of monkeys copying the yogic
scenes of the sages.
Shiva is shown next to the Kinnaras who are depicted in large numbers in the upper portion of
the bas-relief; they are anthropomorphic forms of half human half bird, a popular Indian art form in
ancient times representing the Indic ethos of the world as one creation. The male Kinnara is holding a musical
instrument (type unknown) while the female Kinnara is holding a cymbal.
Shiva is carved in front of the river (to the right of the cleft)
in a standing posture with Bhagiratha, the sage, standing on one leg offering him prayers to check the
force of the Ganga as she descends to earth. Shiva is also shown with a weapon
which is interpreted as Pashupati, which he gave to Arjuna. Theganas shown in the
carvings represent the people who have spent their entire lives in dedication to
Shiva, and are blessed with the boon to remain close to Shiva for all time to
come.
Carvings of the divine nagas shown swimming in the river, as Ganga
descends from the heavens, are also in anthropomorphic form of a serpent and
human, which has been a traditional style from ancient times in Indic art. They are believed to denote fertility and protective forces of
nature. They are seen not only in the middle of the panel facing the cleft,
which represents the river, but also at the top of the panel at the entry of
water over the channel, marking the prevalence of naga worship in Hindu
religious beliefs.
It is also said that the bas-relief in one unity is the early
Indic artist's concept of "sublime continuity in all living things."
The elephants shown in reliefs are unique in the fact that the detailing
includes the baby elephants behind the life size elephants. Another interesting
depiction is of a deer scratching its nose. The elephants represent a herd
moving towards the river to drink water. The male elephant carving precedes
that of its female partner. Three baby elephants with the male elephant and two
babies with the female elephant are also carved in the panel.
Sun,
on the left and Moon on the right side is also depicted on top part of the panel.
A kim-purusha, meaning dwarf with elongated ears and wearing a cap on
his head and beating a drum is also seen in the panel.
In the upper part of the panel, Himalayas are shown which corroborates the theory of the panel
representing the descent of the Ganges. Wild lions are also shown with large
mane and also ram which are interpreted as representing the Himalayan
habitat. On the left side of the upper panel, carvings of divinities and
celestial couples moving towards the river are seen. A few animals, lions and
monkeys are also carved in this part.
Two pairs of kinnaras and three pairs of celestial couples are
shown flying in the air approaching the river (cleft). Hunters and hunting
scenes are part of this part of the panel; a hunter with a bow, two hunters
hiding under trees to hunt; a lion about to attack two hunters are some of the
parts of forest scenes carved on the panel. Another scene below is of few
monkeys, and carving of a lion in his den with few deer in front of it.
Carvings of hunters carrying a pitcher and another carrying the hunted animals
are also seen.
Another prominent scene is that of a temple to the right of the
cleft at the lower end of the panel. This temple is simple and small and has
Vishnu as the deity carved within it. The temple roof is patterned on the style
of Draupadi Ratha with
a square curvilinear dome type of tower. However, the top is flat and is fitted
with a stupi, with a kudu in the centre. Corners are decorated
with flower designs. The cornices are also seen with kudus carved
with human faces inside. In the floor above the cornice, lion motifs are carved.
A square supports the domed roof. A sage is seen sitting in front of the temple
giving sermons to his students. In the seat below this scene, a lion in his den
and below this pair of deer are carved. A tortoise is shown next to the temple
indicative of water in the near vicinity.
Interpretations
In one interpretation, a figure in the bas-relief, who is standing
on one leg, is said to be Arjuna performing an austerity Tapas to receive a boon from Shiva as an aid in fighting the Mahabharata war. The story of the penance is narrated in the epic Mahabharata under the subtitle the Kiratarjuniya. The boon, which Arjuna is said to have received, was
called Pasupata, Shiva's most powerful weapon.
According to the myth narrated on this
event, asuras (demons) sent a boar to kill Arjuna. Then Shiva
appeared on the scene to protect Arjuna assuming the form of kirata (hunter). Both Arjuna and Shiva shot arrows at the boar and
the boar was killed; both claimed credit for killing it and a fight ensued
between the two in which Shiva won. He then revealed his true self to Arjuna
and blessed him and gave him the weapon for which Arjuna is shown performing
the penance.
The bas-relief is carved on two large boulders with a cleft. Above
the cleft was a collecting pool, and at one time, water may have flowed along
the cleft. Figures in the cleft in the rock are covered with nagas (serpent
deities), in anjali posture. The river is said to represent Ganga or the River Ganges emerging from Shiva's head.
This provides the basis for an alternative interpretation of the
mural. Rather than Arjuna, the figure performing austerities is said to
be Bhagiratha. Bhagiratha is said to
have performed austerities so that Ganga might descend to earth and wash over
the ashes of his relatives, releasing them from their sins. To break Ganga's
fall from heaven to earth, she falls onto Shiva's hair, and is divided into
many streams by his tresses; this miraculous event is shown in the form of
sculptures on the boulders being watched by the animals and human beings.
Another interpretation for the yogi doing penance on one leg is that it is a depiction of
Bhagiratha doing severe penance to bring down Ganges to earth to usher
prosperity and happiness to the people. The nagas carved in the cleft represent
fecundity and wealth. Shiva and other gods are shown blessing the saint. The
scene is further accentuated with carvings of kings, sages, artists and
animals.
One more interpretation of the myth seen in another part of the
panel is that of a cat standing on one leg (apparently as an austerity), and
perhaps an iconic figure in the bas-relief. It is interpreted as relating to
the Panchatantra story of an ascetic.
It denotes the hare luring a bird to come close so that she could she catch and
devour it. The artist has brought out the expression on cat’s face, its motives
clearly.
