Gangaikonda Cholapuram - Sculptures
The sculptures of Gangaikondacholeswaram are known for
their boldness of conception and excellent execution. They present pleasing and
charming faces full of life and rhythm. The images of Saraswathi, Chandesa
anugraha murthi and Nataraja are undoubtedly from the dexterous hands of a
master craftsman who has carved a permanent place for his creations in the art
history of Tamilnadu.
The sculptures on the main Vimana, the great mandapa,
and the other small shrines represent the forms prevalent at that period and
occupy fixed positions to suit the needs of worship, as enunciated in the agamic
texts. The images in the northern and southern Kailasa shrines occupy identical
positions. The main temple, being a mahaprasada, introduces additional images
in its niches. An image of either Lingodhbhava or Vishnu is placed generally in
the niche at the back of the Garbhagriha in Siva temples. In the great Vimana
of Gangaikonda Cholapuram both are found at the back.
Vishnu with his consorts is seen in the lower niche
while Lingodhbhava is shown in the upper niche. In some of the temples of the
Chola period, Subrahmanya is shown here at the back niche, especially when the
temple faces west. An image of Subrahmanya is also shown here at the back of
the Garbhagriha. The image of Chandesa anugraha murti occupying the north
eastern niche is also significant. In Pallava temples like Airavatesvara,
Muktesvara and Matangesvara, all at Kanchi, Chandesa anugraha murti figures are
noticed occupying an identical position.
The upper row of niches in the main Vimana carry
sculptures of dikpalas and eleven Rudras, besides a few well-known forms of
Siva. Of the eight dikpalas the one occupying the northern quarter is clearly
Soma, identified by the halo behind his head. Soma facing north is found on the
third floor of the monolith, Dharmaraja ratha at Mamallapuram. He is also found
in the north on the enclosure wall of the Kailasanathar temple of Kanchi. Soma
distinguished by a halo behind his head, is always shown as the guardian deity
of the north in Tamilnadu, unlike in the north where Kubhera is represented on
the Vimana, though both are held identical in architectural treatises.
It may be seen that besides the images identified, there
are eleven images with four arms in a standing posture. The dikpalas are
secondary deities called avarana devatas, receiving daily worship. Besides the
dikpalas the eleven Rudras (Ekadasa Rudras), the twelve Adityas, the eight
Vasus, the eight Vidyesvaras, the eight murthis (ashtamurthis) and some other
deities are also daily worshipped. According to Agamic texts the eleven Rudras
should be shown standing with four arms, holding parasu and mrga in the upper
arms, while the lower ones should be in the abhaya and varada poses. Evidently
the eleven images on the Vimana at Gangaikonda Cholapuram represent the eleven
Rudras. The names of the eleven Rudras as given in texts are Sadyojata,
Vamadeva, Aghora, Tatpurusha, Isana, Mrtyunjaya, Vijaya, Kiranaksha,
Aghorastra, Srikanta and Mahadeva.
The great mandapas at Thanjavur and Gangaikonda Cholapuram
carry a number of niches adorned with sculptures. In the Kailasanathar temple
of Kanchi images of Lakshmi, Saraswati, Durga and Jyestha are found in the
mandapa. According to Mayamatha, the well-known South-Indian text on
architecture, these four forms of Goddesses are to be placed outside the
Brahmasthana, the place occupied by the main Vimana. In Thanjavur and
Gangaikonda Cholapuram Lakshmi, Saraswati and Durga are found in identical niches
on the walls of the great pavilion. Evidently they are enshrined in these
niches to fulfill ritual needs.
Some of the sculptures in standing posture found on the maha
mandapa have not so far been identified. It is likely they also represent the
secondary deities. A series of sculptures at Thanjavur are shown with two arms,
holding a sword and a shield. They are probably the eight Vasus, described in agamic
texts. Unfortunately the great mandapa at the Gangaikondacholapuram has fallen
down and undergone repairs. The majorities of the niches are disturbed and are
no more in existence. Some of the loose sculptures preserved in the enclosure
may belong to this group.
The representation of the guardian deities on the
Vimana, the sculpture placement in the niches of the Vimana and the presence of
Saraswathi, Lakshmi and Durga in the niches of the maha mandapa show that the
builders had architectural treatises before them.
The following is the sculpture placement in the lower
niches of the main Vimana.
East Wall (South Side)
Kankalashara:
Six armed standing figure in tribhanga pose. The upper
right arm holds a snake; the middle one feeds the mrga and the lower one
playing on udukkai is broken. The upper left arm holds a trident across the
back with a Chowri hanging, the middle one is placed on the head of a dwarf
standing by the side and the bottom holding the udukkai is broken. Pair of
sandals adorns the feet. The plaster and painting on the figure belong to a
later period.
On the wall to the right of Siva are shown Surya on top;
Bhutaganas in the middle and wives of sages at the bottom. The wall to the left
of Siva carries Chandra on top, ganas in the middle and wives of sages at the
bottom.
The makara torana above this niche carries a bas-relief
of Umamahesvara in the middle.
South Wall
Ganesha:
Ganesa, dancing with four arms; upper right arm holds a
parasu; the lower right holds the broken tusk; the upper left arm is lifted up;
the lower left arm holds a fruit. The right leg is lifted up in rhythmic
stance. Surya and Chandra, ganas and bhutas are shown on the side walls. Below
the feet are shown three ganas, playing maddala, cymbals and conch. The Centre
of the torana carries a faint carving. It represents a seated tiger, two fish
and a bow which was the royal insignia of Rajendra chola.
Ardhanari:
A standing figure in Tribhanga pose with three arms; two
to the right and one to the left; The upper right holds a parasu, while the
lower right rests on the head of a bull standing besides it. The only left
carries a full blown flower, probably nilotpala. A parrot seated on the arm is
seen pecking the pollen. The right side of the head is adorned with a jatamukuta
and the left with a kesabandha. A lion pendant in the right ear and a roll
pendant in the left are seen. A parasol above and one fly whisk on either side
are shown. The breast is shown pronouncedly on the left emphasizing the
feminine aspect. The left leg wears a sari extending up to the knee. The right
leg wears bringipada.
No sculpture is represented on the side walls. The
middle of the makara torana carries wavy lines. This figure of Ardhanari is
particularly charming with a captivating smile on its face. The artist has been
able to bring forth masculine firmness and feminine tenderness in the same
face.
Dakshinamurthy:
The original figure of Dakshinamurthi that should have
adorned this niche seems to have been lost. The present one is a late figure
that could be assigned 13th Century A.D. It is disproportionate to the niche
and is dwarfish. It is similar to the sculptures of the period seated on a
mountain with four arms. The upper right arm holds a rosary of beads. The lower
right is in a teaching posture; the upper left holds fire and the lower, a
book. The right leg is planted on the back of a lying dwarf; the left is bent
and placed on the right knee. One of the images of sage, wearing kundala ear
ornaments seems to be original. The side walls have four rows of miniature
sculptures. East-wall: - two sages and two ganas; five women in second row; six
ganas in third row and four sages in the fourth row. West wall: - first row,
Agastya, two Devas and Surya; second row, Devas; third row Devas and sages; and
two devotees in the fourth row.
Harahari:
Four armed figure standing erect in samabhanga pose. The
right of the figure represents Hara and the left Hari. This figure is generally
called Harihara, but the Saivite Agamas designate this figure as Harahari. The
upper right arm of the figure holds the axe and the lower right in boon
bestowing (abhaya) pose; the upper left arm holds a conch and the lower arm is
on the thigh. The dukula, the lower garment on the left is shown up to the knee
while the one on the right represents the skin shown above the knee. No
sculptures are shown on the side walls. A lotus is shown above the niche.
Adavallar
(Nataraja):
It is a delightful figure of four armed dancing Siva,
holding kettle drum in the upper right arm and boon bestowing palm on the lower
right. The upper left carries fire and the lower left is thrown across the body
in gajahasta. The matted locks are flying in rhythm on either side. On the
right is shown Ganga. By the left side of the leg is shown an eight armed
dancing Kali, carrying drum, sword, trident, abhaya, dandahasta etc. A three
legged figure, probably representing Kuli is seen on the right. Below the feet
is shown the woman-saint Karaikal Ammaiar, who on account of her devotion, was
endowed this privileged position of being seated below the seat of the Lord,
singing his Greatness.
Three Ganas are also shown playing symbols and maddala.
On the west side wall is shown Surya on top. Subrahmanya seated on peacock is
shown flying towards the Lord while Ganapati moves equally briskly on his rat.
Further down is four armed Nandikesvara playing maddala. Chandra is shown on
the top on the side wall to the east. The armed Goddess Parvati is leaning on a
majestically looking bull; she holds a lotus in her right arm.
West Wall
Gangadhara:
Four armed standing figure of Siva, embracing Parvati
standing by his side. The upper right arm of Siva receives the falling Ganga in
his matted lock; the lower right moves gently around Parvati. The upper left
holds mrga; the left is placed on the thigh. The right arm of the Devi is
placed on the thigh while the left is bent. Three rows of miniature sculptures
are noticed on the side walls. Surya is shown on top of the wall right of Siva;
Devas are in the middle and two devotees at the bottom. The left wall carries
Chandra at the top, devotees in the middle and Bhagiratha doing penance at the
bottom. It is significant that the back wall (west wall) at the Kailasanathar
temple of Kanchi carries a Gangadhara in a separate cell-shrine.
Lingodhbhava:
Four armed standing figure of Lingodhbhava emanating
from the shaft of fire. The right upper arm holds axe and the lower is in the
abhaya pose; the left upper holds antelope and the lower is placed on the
thigh. The leg below the ankle is hidden. A garland of flowers is shown around
the Linga portion at the top. Vishnu as a boar is shown at the bottom in an
outline. Brahma as swan is not represented.
Mahavishnu:
Four armed standing figure of Vishnu holding discus and
the abhaya pose in the right arms and conch and hand-on-thigh pose with the
left. On this right is shown two armed Sri wearing a breast-band and on the
left is Bhudevi. The side walls show Surya and Chandra at the top, Devas in the
middle, and sages at the bottom.
Subrahmanya:
A delightful figure of four armed standing Subrahmanya,
carrying Sakti and Vajra in the upper arms while holding the lower right in
abhaya, and the left on thigh. A prominent garland of flowers characteristic of
Subrahmanya figures is shown at the root of the crown. The Deva wears channavira.
Vishnu
Anugrahamurti:
The God and Goddess seated on a pedestal. Siva four
armed, carrying Parasu and mrga in the upper arms; the lower left is placed on
the thigh while the right is in the pose of holding something, probably Chakra.
The figure may be taken to represent Chakradanamurti or Vishnu Anugrahamurti.
The Devi seated to the left of the Lord holds a lilly in her right arm. A
parasol and a pair of chouries are shown above. Due to weathering, the stone
has peeled off from the figure.
The side wall of the left of the Lord carries an image
of Chandra on top; two devotees in the middle and at the bottom are shown
Vishnu worshipping Siva. The right wall carries Surya at the top and devotees
in the middle. The bottom figures have weathered.
North Wall
Kalandhaka:
Four armed Siva, destroying Kala, right leg placed on
Kala, and with the left pressing him. The upper right arm holding parasu (axe)
is about to strike; the lower right holds the trident at ease; the upper left
holds an mrga and the lower left points to Kala. Kala a fairly big figure, is
shown struggling under the feet of the lord.
Side walls carry Surya and Chandra at the top. On one
side there are devotees and on another are shown Markandeya, the boy-saint
worshipping Linga and the God of death dragging him forcibly with a rope.
Durga:
Eight armed standing figure holding discus, arrow, sword
and abhaya with the right arms and conch, bow, shield and hand-on-thigh pose
with the left. Below her legs is shown a buffalo head, imperfectly carved.
Behind her stands a lion.
Brahma:
Four armed standing, three headed (the fourth head at
the back not being visible) and bearded figure of Brahma in erect pose. It holds
sruk and sruva in the upper right arm and a rosary of beads in the lower right.
Holds a bunch of dharbha grass in the upper left and a knudika in the lower
left. He is flanked by two armed Devis. The Goddess to the right of Brahma
holds a bundle of palm leaves in her left arm. Evidently she is Saraswati. The
Goddess to the left is obviously Savitri, as Brahma is called Savitripati. The
side walls carry Surya and Chandra and Devas and sages.
Bhairava:
Eight armed standing nude figure, wearing a garland of
skulls. A big snake coils around the thighs; round ball-like eyes, protruding
teeth, flame like hairs; holding a trident, parasu, sword and noose in the
right arm; and with left, fire, kapala, khatvanga and bell. Behind the figure
is shown an imperfectly carved hound.
Kamantaka:
Four armed seated figure; right upper arm holding a
rosary of beads and the lower arm pointing down. The left upper arm holds a Chowri
and the lower are placed on thigh. The head dress is delightfully treated and
has a distinctiveness of its own.
The side wall to the right carries a figure doing
penance on top; below are two devotees. On the left side at the top is shown
Manmatha aiming an arrow at Siva. Two devotees are shown in the middle and at
the bottom are shown Manmatha and Rathi.
East Wall (North Side)
Chandesanugrahamurthi:
Siva seated on a throne with four arms carries axe and
antelope in his upper arms; with the lower the Lord is seen crowning Chandesa
with a garland of flowers, a symbol of affection and stewardship. Chandesa is
seen seated in front and with folded arms receiving the pride of place bestowed
on him by his Lord. Chandesa is the embodiment of devotion and piety and the
place he attained is considered the highest, a devotee of Siva is privileged
with. It is called the Chandisa padam, the abode of deliverance.
According to Saiva Siddhanta Siva bestows this grace, in
the company of Sakti, His consort. In the sculpture under reference, Parvati or
Uma Parameswari as she is often described is seated by the side of her Lord.
The treatment of ornaments, the portrayal of limbs and affection with which
Siva is seen taking the garland around the head of Chandesa are suggestive and
truly convey the supreme message of Saiva Siddhanta, the image seeks to depict.
In the figure of Chandesa, Rajendra Chola has carved his own image. Sri C.
Sivaramurti in his work 'the Chola temples' states that "The most
remarkable carving here, the Chandes anugraha murti panel, is almost a
suggestion of the laurels won by Rajendra through the grace of Siva and he
humbly presents himself as a devotee of Lord, who blessed Chandesa".
On the side walls is shown the story of Chandesa;
Chandesa worshipping Siva as a Linga; the cows standing by the side; his father
watching the happenings hiding himself behind the branches of a tree;
disturbing Chandesa's worship; perturbed Chandesa throwing his axe at his
father and Siva bestowing grace on both.
Saraswathi:
Facing the image of Chandes anugraha murti, on the west
wall of the Maha mandapa is another delightful figure of Saraswati, the Goddess
of knowledge. The Devi is seen seated on a lotus throne with four arms; holds a
rosary of beads and an amrta kalasa with the upper arms and palm leaves and
teaching pose with the lower ones; behind her is shown a praba, aureole.
Lakshmi:
Correspondingly on the South side of the maha mandapa,
in the west wall is an image of Goddess Lakshmi, seated on a lotus throne with
two arms. The Devi holds lotus flowers in her arms; unlike Sarasvati, she is
seen wearing a breast-band.
East Wall (South Side)
1. Surya standing.
2. Bearded Agni (guardian of the south-east).
South Wall
1. Kalantaka Siva.
2. A four armed deity in standing pose
3. A four armed deity in standing pose
4. Yama (guardian of the south)
5. Dakshinamurthi.
6. Four armed deity (standing)
7. Four armed deity (standing)
8. Four armed deity (standing)
9. Nrrti (guardian of the south-west)
West Wall
1. Bhikshatana
2. Three headed figure
3. Four armed deity probably Varuna (Guardian of the west)
4. Vishnu
5. Lingodbhava
6. Brahma
7. Two armed deity probably Vayu (Guardian of the North
West)
8. Four armed deity
9. Four armed deity
North Wall
1. Gauriprasada.
2. Four armed deity.
3. Four armed deity.
4. Soma (guardian of the north; distinguished by a halo
behind)
5. Brahma.
6. Four armed deity.
7. Four armed deity, Isana (guardian of the north-east)
8. Bhu-varaha Vishnu.
9. Subrahmanya.
East Wall (North Side)
1. Gajasamhara
2. Chandra Sculptures are found here.
Dvarapalas (Gate keepers)
There are altogether six pairs of massive, monolithic
dvarapalas guarding the various entrances to the main temple, of which four
pairs are found in the east. The first pair guards the entrance tower at the
east. They are now fallen down and lie upside down. The second pair is to be
seen at the eastern entrance to the maha mandapa. The entrance from the maha
mandapa to the mukha mandapa is guarded by a third pair while the fourth guard
the entrance to the sanctum.
The side entrances to the mukha mandapa from the south
and the north are also guarded by dvarapalas of exquisite workmanship. These
dvarapalas are a class by themselves. The Agamic texts mention four pairs of
dvarapalas, each to guard a cardinal direction. Their names are given as under.
East:- Nandi and Mahakala; South:- Herambha and Bhringi; West:- Durmukha and
Pandura and North:- Sita and Asita.
The Vimana of the Thanjavur temple has four pairs of
dvarapalas each guarding a direction. Evidently they represent the images named
above. In the temple of Gangaikonda Cholapuram the Vimana does not carry
dvarapalas except in the east. The dvarapalas guarding the entrances to the garbhagriha
are certainly Nandi and Mahakala. In all likelihood the dvarapalas guarding the
south and north entrances to the Mukha mandapa are Herambha and Bhringi,
Durmukha and Pandura respectively.
The Solar Altar
The solar altar called Saura pitha in agamic texts is in
the form of a full blown lotus on a square pedestal in two tiers. The upper
tier carries eight deities portrayed at eight directions. They are considered
the eight planets, which, including the central lotus representing Surya (sun)
constitute the Navagrahas, (nine planets) worshipped by the Hindus for the
bestowal of good fortune and the removal of obstacles. The lower tier is
modelled as a chariot with wheels on either side, drawn by seven horses. Aruna
the Charioteer of Surya is shown driving the horses. The seven horses are said
to represent the seven days of the week. The wheels are ornamented with twelve
petals, representing the twelve months of a year. At the corners are seen
flying celestials, gandharvas carrying flower garlands.
The Agamic texts specify the worship of Surya in the
form of a lotus altar. Evidently this is a representation of Saura pitha, solar
altar, intended for daily worship. This elegant piece is also decidedly a
Chalukyan sculpture, probably brought here as a war trophy. In recent years, it
has assumed great significance as a large number of devotees worship it as
Navagraha for the fulfillment of their vows. When the planet Saturn changes its
position once in 27 months, nearly a million people offer worship to this
altar.
Other Sculptures
Besides the sculptures found on the walls of the
shrines, a few loose sculptures are also found in the temple. A few of them
have been collected and embedded on a platform by the side of the northern
entrance. The following sculptures are found embedded:- Bikshadana,
Lingodbhava, Ganesa, Subrahmanya, Devi, Virabhadra, Brahma, Durga,
Chandrasekhara, Vrishabhantika, Vinadhara, Surya, Sage, Dvarapalas, three
figures of Nagaraja, two images of Vinadhara and four figures probably
representing secondary deities.
On the south enclosure wall, near the southern Kailasa,
are found embedded a four armed standing Ardhanari, a Gajalakshmi and two
images of Surya. By the side of the Lion-well, is found an image of Vishnu with
Sridevi standing. By the side of the Solar pitha, in the maha mandapa there
are, an image of eight armed Durga and a Surya. These two images are in
Chalukyan style and probably were brought as trophies. Sri C. Sivaramurti in
'The Chola temple' states that the Nandi in the temple of Goddess in Chalukyan
in style.
