Shivalingam is flanked by two Nandis. Vishnu on Anantha flanked by two hamsas. A depiction on the walls of Sri Kotravaaleeswarar (shiva) temple in Koviloor near Karaikkudi. These images were repeated at least 3 or 4 times on the peripheral wall.
From the Karaikkudi trip with The Photographic Society of Madras.
The emblem on the front wall of the Basilica of Bom Jesus, Goa.
IHS is derived from the Greek – Iesus Homimum Salvator – Jesus, the Saviour of Men (Humanity). I am unable to decode the other elements in this crest.
Photographing this from the ground was a challenge. I had to use software to correct the distortion and perspective. I am happy with the results.
This also took me back 60 years to the emblem and motto of my school, Christian College High School, Chetput. ‘In Hoc Signo’ which is derived from ‘In Hoc Signo Vince’ – Under this Sign Conquer.
The Basilica of Bom Jesus is one of the most important churches of Goa. It was consecrated in 1605. The main altar houses Ignatius Loyola with baby Jesus. The monument is declared a World Heritage site by UNESCO. The basilica also houses the mortal remains of St. Francis Xavier, a close associate of Loyola. St. Francis died somewhere in China and his body was brought to Goa after several months. The relic is taken out for public view once in ten years. The next exposition will be in November 2024.
The exterior laterite offers many interesting photo perspectives During this visit, photography was banned inside. Fortunately, I have some interior pictures from 2013 when there was no restriction on photography.
The laterite exterior with flying buttresses (added later) on one side gives it a unique look. Inside, the altars and twisted pillars are gilded. There are many wood carvings and paintings inside.
I learnt that there are 32 forms of Ganapathy. Some of them are, Bala Ganapathi, Heramba Ganapathi, Maha ganapathi, Nritya ganapathi, Sankatahara Ganpathi, Shakthi Ganapthi, Ucchishta Ganapthi etc.(No. Drishti Ganapathi is not one of them).
On a cue from Dr Chitra Madhavan, I saw this figure of Hermaba Ganapathy on the 2nd tier of Kapaliswarar koil Rajgopuram. Heramba Ganapathy has 5 heads with 10 arms bearing various weapons, modakam etc. He sits on a lion. This vahanam is believed to be a gift from his beloved mother, Parvati.
Heramba Ganapathi is not very common in South India. However, I found this Heramba Ganapati installed on the roadside in front of some sculpture workshops/ stores on Mamallapuram main road.
See also Nritya Ganapati Dancing Ganesha
And also Unique Ganapathy
The Pittu Paatti and the lazy labourer
The story so far in brief (in case you have not read the previous post): Manickavasagar was entrusted with a large sum by the king to procure horses for the cavalry. Manickavasagar spent the money on building a Shiva temple. To save Manickavasagar from the king’s wrath, Shiva transformed all the foxes and jackals in the area into horses and presented them to the king.
Now read on.
The next day, all the horses reverted to the foxes and jackals. The king was furious and he wanted to punish Manckavasagar by making him stand on the dry basin of river Vaigai in peak summer. To save his devotee, Shiva sent down torrential rains. The Vaigai was in a spate threatening to submerge Madurai. The king ordered a bund to be built to protect the city. He also ordered every family to send one able-bodied person for this work.
There was an old lady living all alone. She earned her livelihood by selling Puttu (Pittu) and was known as a Puttu paati. She was worried that she had no one to send for the manual labour and she herself was too old. She was praying to Lord Shiva when a young lad appeared in the doorway. He begged the paati to give him something to eat. In exchange, he was prepared to do any work for her. Paati gave the boy some puttu and sent him to work on the King’s project. At the work site, the boy dozed off under a tree, while the others were busy. Seeing this, the King got furious and ordered the boy to be whipped. With every whiplash, the whole city trembled and everybody felt the pain. The King and all courtiers realized that the boy was none other than Lord Shiva and had come to protect his devotees. The King released Manickvasagar and handsomely rewarded the old lady.
The scene on Kapali Rajgopuram tier 2 probably represents this episode of the Puttu paati.
From Tier 2 of the Kapali Rajagopuram. This scene is an episode in the life of Manickvasagar – one of the Naalvars (leading Saivaite Saints)
Manickavasagar was a senior minister in the court of the Pandyan King in the 9th C.CE. Once, the king entrusted him with a large amount of money and asked to procure some fine horses for his cavalry. Manickavasagar set out on the mission. On the way, he met a saintly old man (who was in fact Siva in disguise) and became his disciple. He attained enlightenment and became an ardent devotee of Shiva. Using the entire king’s money he built a temple for Lord Shiva at Thiruperunturai which is now known as Avudayaar Koil. The king came to know about this and sent word that unless he returns with the money or the horses he would face severe punishment. Realizing the gravity of the situation, Manickavasagar appealed to Lord Shiva to help him. The Lord assured him that nothing would happen to him as the horses will be delivered to the King on Avani Moolam day. This was duly conveyed to the King who was apprehensive. The Lord rounded up all the foxes in the area and transformed them into fine horses. On the appointed day the horses were herded into the Kings palace. Seeing the healthy and fine horses the King was pleased and exonerated Manickavasagar.
The story does not end there. Wait for more.
This describes an episode in Mahabharata. Arjuna is doing severe penance in the forest to propitiate Indra and then, Shiva to re-arm himself for the impending war with the Kauravas.
After severe penance Shiva appears in the form a Kirata (a hunter). At that time, a boar is about to attack Arjuna. The Kirata shoots an arrow. So does Arjuna and the boar is felled. Both approach the felled boar. Both of them claim the kill. An argument follows. Unable to settle the claim, they engage in a duel using all the available weapons. The Kirata neutralizes all of Arjuna’s weapons and subdues him. Arjuna now realizes that the Kirata is none other than Shiva and prostrates before him. Pleased, Shiva gifts him the all-powerful Pasupathastra.
This episode is immortalized by poet Bharvi in his epic Sanskrit poem Kirataarjuniya around the 6th Century C.E. This also is depicted in many ancient temple sculptures, notably the Kailasanathar temple, Kanchipuram.
We see this in the Kapali East Rajgopuram on the Northern end of Tier 1.
Viswamitra and Menaka.
This scene depicting sage Viswamitra and Menaka is made famous by the painting of Raja Ravi Varma.
Viswamitra was a highly venerated rishi who was doing a severe penance to attain greater power and status. Indra was afraid that Viswamitra would gain uncontrollable powers. He sends the celestial maiden Menaka to entice the sage and disrupt the penance. The sage initially resists but finally succumbs to her charms. Menaka and Viswamitra live as man and wife. Menaka gives birth to a child (Sakuntala). Viswamitra now realizes it was a ruse and curses Menaka. Sakuntala is left in the forest and is adopted by sage Kanva. She grows up as Sakuntala, marries King Dushyanta and begets Bharata, after whom the country is named.
Vyaghrapada.
Vyaghrapada was a Rishi devoted to Lord Shiva. He was doing penance in the Thillai forests near Chidambaram and his desire was to see the Lords’ Ananda Tandavam.
He collected flowers daily from the forests but could not go deep into the forest. He also observed that bees, birds and butterflies have already taken the nectar from the blooms. He wanted fresh flowers in abundance for the Lord. So, Shiva gave him limbs of a tiger so that the can overcome thorns and sharp stones and also climb tall trees for fresh flowers. He was also gifted feline eyes so that he could go into the forest much before sunrise to get fresh flowers.
Patanajali. This name appears in several Sanskrit literatures as the author of Yoga Sutra, interpreter of Sanskrit Grammar, teacher of Ayurveda and Siddha etc. Whether they are different persons or the same is a matter of debate among scholars.
The Patanjali we are talking about is the one who appears in temple iconography. He is shown as a half human half snake. He is an incarnation of Adishesha.
Once Adisesha- or Ananta – the endless one, told Vishnu that he wishes to see the Ananda Thandavam of Siva in Thillai (Chidambaram). Vishnu said that his desire will be fulfilled soon. At the same time, Rishi Atri and his wife Anusuya were praying for a child. While having a bath in the river, scooping water in her hands, Anusuya saw a snake-like creature in her palm. Shocked, she dropped it and it turned into a beautiful child with a serpent as a lower half. He was named Patanjalai, meaning one who fell (pata) from open palms (Anjali). He also moved to Thillai to serve Shiva.
Often Vyaghrapada and Patanjali are shown witnessing Ananda Tandavam as in this sculpture on the 3rd level of Kapaliswarar temple, Rajagopuram. Parvati and Manickavasagar are also on the panel.
Note1. This series is inspired by a talk on the 3 Mylapore Temples by Dr Chitra Madhavan, historian on 8th January in connection with the Mylapore Festival 2023. Material has also been borrowed from other sources, offline and online.
Note 2. The photographs are not of high quality due to the problems of angle, distance, depth etc. caused by topographical, access and time constraints. Sometimes cables, wires, lamps and other electrical fittings mar the beauty
I wish to start a new series of posts – Tales from the Gopurams. Gopurams, the gateway towers to most Hindu temples offer a breathtaking array of colourful sculptures depicting many puranic episodes in the form of miniature thumbnails. I have been astonished by their beauty and variety. Usually these are not as ancient as the main temple. Sometimes they are built later or rebuilt on old ruins. Their grandeur and aesthetics are determined by the skill, time and resources available to the sponsors. These are executed by ordinary artisans, masons, and potters in stucco, mortar or terra cotta.
This series is inspired by a talk of the 3 Mylapore Temples by Dr Chitra Madhavan, historian on 8th January in connection with the Mylapore Festival 2023. Material has also been borrowed from other sources, offline and online.
The story of Bhringi.
In some sculptures, you might have seen an emaciated figure in skin and bones with three legs. This is Bhringi muni.
Bhringi was an ardent devotee of Shiva and recognized no other divine entity. Once on a visit to Kailash he circumambulated only Shiva completely ignoring Parvati. Seeing this Parvati sat on Shiva’s lap. Bhringi turned himself into a beetle and did pradakshin of only Shiva through a gap between the two. Enraged by this, Parvati cursed Bhringi to lose his flesh and blood (which are considered the feminine aspects of the body) and remain a bag of skin and bones. Taking pity on the sage, Shiv gave him a third leg to stand like a tripod. Bhringi understood that Shakti and Shiva – the male and female – are one and prostrated before them.
The concept of Arthanareeswarar is also associated with this incident.
This episode of Shiv and Parvati on a Nandi blessing Bhringi is on the Kapaliswarar Rajagopuram on the Eastern side first level on the left.
The photographs are not of high quality due to the problems of angle, depth etc. caused by topographical, access and time constraints. Sometimes cables, wires, lamps and other electrical fittings mar the beauty.
Stone stories 