A large rectangular seat with a beautifully carved couchant lion at one end. The modeling of the animal closely resembling the vehicle of the goddess in the mahishasuramardini cave is exceedingly well done. The lion is significantly portrayed as roaring, proclaiming as it were, the sovereign power of the Pallavas. The back is made somewhat flat to serve as a seat.
One of the finest monolithic temples at Mahabalipuram. Though three-storeyed and of better workmanship, it resembles the Bhima Ratha in roof form. The gable ends of the wagon-roof have a finial showing a human head decorated by trident-shaped headgear, the side-prongs suggesting the usual horns in the dvarapala figures and the central one wears a long and narrow crown. This Motif is repeated in the finials of decorative gables along the wagon-roof . There is a usual pavilion and kudu-ornamentation. The elaborately worked roofs has nine vase-shaped finials and is the precursor of the later gopuram, an essential adjunct of medieval south Indian temples.
A row of pilasters decorates the sides and the back while the opening is to the west. Between the dvarapalas at either end are the two lion pillars in the center and two pilasters. The cell beyond the hall once contained a Siva-linga, but it is now occupied by a figure of Ganesa installed by villagers four or five decades ago. The temple is carved during the reign of Paramesvaravarman I.
Vintage Photo of Ganesa Ratha Courtesy British Library
The Arjuna's Penance is an enormous rock-cut relief, one of the largest in the whole world, situated in Mahabalipuram of Kanchipuram district, Tamil Nadu. It is also known by the name 'Descent of the Ganges' because the structure depicts either or both of these two significant and symbolic events of Hindu mythology; thus making this attraction spot a favorite among historians, scholars, academics as well as tourists who are enthusiastic about the cultural past of India.
This magnificent carving is unique in the range of Indian art. Two large boulders with a narrow fissure in between have been chosen to represent a series of rows of gods and goddesses like Chandra, Surya, pairs of Kinnaras and Siddhas, Gandharvas, Apsaras ruching towards a central point near the cleft where a sage stands on his left foot deeply engaged in penance involving physical mortification. To his right is a four-armed Siva of Majestic bearing carrying a trident in one of his hands and attended by dwarf ganas. Apart from the celestial beings, there are hunters, sages, disciples and Wild animals like lion, tiger, elephant, and boar.
The group of elephants so faithfully true to nature are real masterpieces that enhance the charm of this wonderful carving. The young once nestling in the space between the legs of the parent animal and playing with trunks show the delightful delineation of life. The clef is occupied by gracefully carved figures of nagas and nagins with hand in adoration
In the vicinity is a temple of Vishnu where a number of sages are depicted in yoga attitude in deep meditation, some with their legs fixed in paryanka-granthi or yoga-patta to ensure proper yogic posture. Below them are the disciples, one of them carrying water in a pot on his shoulder, another wringing out water from a wet cloth, a third engaged in suryopasthana
The vicinity of the hermitages of the sages is suggested by the presence of the deer fearlessly resting at ease near a lion. The radiation of peace and calm by the sages is reflected in a meditating cat, around which a number of rats are frolicking about. The portrayal of Nagas, usually associated with water, in the cleft, the temple, the sages, the suggestion of their dwellings and the disciples performing rituals possible only near water all these devices have been adopted by the sculptor to indicate that the cleft is intended to represent a river descending from the hills
This scene is generally taken to represent a story from Mahabharata in which Arjuna, the epic hero, performed penance to please Siva and to obtain a Pasupata weapon from him. This story was very popular about the time when the sculpture was executed. Bharavi a Sanskrit poet of the sixth century, adopted it for the theme of his Kiratarjuniya. This is also the theme that is carved on a pillar at Vijayawada containing an Eastern Chalukyan inscription of the tenth century and on the gopuram of the Brihadisvara temple at Thanjavur. In the Mahabalipuram sculpture, however an important part of the story . the fight between Arjuna and Siva disguised as a hunter is absent and this has led some to doubt the identity of the sculpture. According to them, the representation here is that of Bhagiratha's penance and Siva granting him the desired boon by agreeing to release Ganga from his locks, the scene representing the descent of the river from the jungle-covered hills in the joyful presence of the gods.
Vintage Photos of Arjuna's Penance Courtesy British Library
A large rectangular seat with a beautifully carved couchant lion at one end. The modeling of the animal closely resembling the vehicle of the goddess in the mahishasuramardini cave is exceedingly well done. The lion is significantly portrayed as roaring, proclaiming as it were, the sovereign power of the Pallavas. The back is made somewhat flat to serve as a seat.
This magnificent carving is unique in the range of Indian art. Two large boulders with a narrow fissure in between have been chosen to represent a series of rows of gods and goddesses like Chandra, Surya, pairs of Kinnaras and Siddhas, Gandharvas, Apsaras ruching towards a central point near the cleft where a sage stands on his left foot deeply engaged in penance involving physical mortification. To his right is a four-armed Siva of Majestic bearing carrying a trident in one of his hands and attended by dwarf ganas. Apart from the celestial beings, there are hunters, sages, disciples and Wild animals like lion, tiger, elephant, and boar.
