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Lure Of Lepakshi

3/20/2020

12 Comments

 
On an impulse we decided to visit Lepakshi a few weeks ago.It was a smooth drive on almost empty roads and we reached there around 9 in the morning. 

This time around we wanted to have a closer look at the murals that adorn the ceilings of the temple.

The rulers of the Vijayanagar empire embellished many of their splendid temples with exquisite murals. I had written sometime ago about the murals in Virupaksha temple: https://www.profraguram.com/musings--reflections/entrancing-murals-of-hampi

Unfortunately many of them are in varying states of decay. The paintings at Lepakshi also met a similar fate through years of neglect. It was however very gratifying to see that some attempts have been made of late, to restore them without affecting their underlying character.

The paintings can be seen in many parts of the temple, but the most well preserved ones are on the ceilings of the Rangamantapa. It must have been an arduous task to paint on granite ceilings. The colour palettes are quite varied; ranging from earth-red, black, green, yellow and white. The figures appear to have been drawn with a stylus rather than a brush by the artists. There is a wealth of fine detail, ranging from expression on the faces to the patterns in the dress, jewellery and headgear. Exceptionally talented master painters of the era must have worked diligently on these remarkable creations.

Let us now look at some of the contents of these paintings…
Kindly click on the link to view the paintings in google photos...and associate them with the descriptions in the text here!

THE STORY OF MANUNEEDHI CHOLAN
photos.app.goo.gl/MyA9bXebbdfpxaMX8
There was an ancient Chola king called Ellalan who lived around 235-161 BCE. He ruled parts of southern India and his capital was Thiruvarur in Tamil Nadu. He was well respected for his sense of justice and rule of law and since he followed the principles of Manu Needhi, he was known as Manuneethi Cholan. He reportedly hung a huge bell in front of his palace and announced that anyone seeking justice could ring the bell and their voice would be heard.
One day his son, the young prince went around the city in his chariot. People cheered him wherever he went and welcomed him by beating drums and with pipes. A young calf terrified with the loud noises ran berserk and got itself crushed under the wheels of the prince's chariot. The mother of the calf helplessly watched its little one die .The cow walked to the palace gates and rang the bell demanding justice from the king. The king came out and saw the cow and learnt about the death of the young calf under the wheels of his son's chariot. He kept his promise and ordered his son to be killed for his recklessness. The prince was killed the same way the calf had died and was crushed under the wheels of the chariot. The Lord appeared and praised the king for upholding justice and brought the prince and the calf back to life. A stone chariot in Thyagaraja Swamy temple at Thiruvarur stands testimony to this episode.

The legend of this righteous king is portrayed in a panel on the ceiling of the temple.

Men are gathered around the chariot driven by the young prince. The calf which has been run over can be seen clearly under the central wheel of the chariot. Hearing about the incident the king is rushing to hear the cow’s account. He then orders the prince to be punished. The chariot carrying the dead calf, with the grieving cow licking it, is driven over the prince, crushing him to death. A rain of flowers falls from above. Shiva and Parvati appear before the king and in the concluding panel, the prince is miraculously restored to life, watched by host of ganas.

SCENES FROM KIRATARJUNIYA
photos.app.goo.gl/TUELUquHevnWCGvG8
Kiratarjuniya is a Sanskrit epic poem written by Bharavi in the 6th Century AD, describing the interaction between Arjuna and Lord Shiva in the guise of a kirata or mountain-dwelling hunter. Facing the prospect of war against the Kauravas at the end of their exile, Arjuna is advised by the sage Vyasa to seek divine weapons. Reminded of the humiliation that his brothers and his wife Draupadi faced during the dice game where they lose their entire kingdom, Arjuna decides to perform an austere penance. Arjuna endures the hardships of the weather and overcomes many temptations, standing steadfast in his goal. Pleased with his penance, Shiva decides to test his valor by appearing as a hunter, with both of them shooting a wild boar simultaneously and arguing over who shot first. Upon realizing that he is unable to win, Arjuna at last recognizes Shiva and surrenders to him. Shiva then grants him the powerful Pashupatastra.

Unfortunately many scenes from this story have vanished. One can see Arjuna making his way to Indirakila hill. There is also a striking depiction of Indra. He is seen carrying the vajra with flaming tips in his hands. He is flanked by three attendants, who are wearing elegantly patterned dhotis. They are listening attentively to Narada on the left. In the next panel one can see Arjuna performing penance with his bow and arrow by his side. Pleased with his dedication, Indra appears in divine form with four arms. He encourages Arjuna to pray to Shiva in order to receive the Pashupatastra, the magic weapon that can ensure victory over the Kauravas. Arjuna prostrates himself before Indra. Impressed  with the intensity of Arjuna’s penance the rishis report to Shiva. Parvati is seen carrying a lotus in her hands. Shiva is seated on a throne, his upper hands carrying the mriga and parashu. Every detail of Shiva’s dress and jewellery is beautifully rendered.

Shiva and Parvathy walk through the forest. They are seen wearing leafy garments and headgear. A boar, the Danava Muka in disguise appears before them. One can also see Arjuna in deep meditation, sitting on top of a hill. The intensity of this tapas is expressed by the jatas standing on end. The wild boar, baring his sharp tusks is seen running through the forest charging everyone in sight. The forest animals and sages are running in fear, with two of them falling on the ground. The chaos in the air is beautifully painted.

Sadly the concluding scenes of the story have almost disappeared, with just some traces which are difficult to decipher.

MARRIAGE OF SHIVA AND PARVATHI
photos.app.goo.gl/19K2PgUeSKJFt52s9
In the first panel Parvati is seen seated wearing a chequered  saree. She is holding a palm leaf manuscript in the uplifted hand, some leaves of which are strewn on the ground. A musician playing a tambura is seen behind. Is she reading some texts from the palm leaves before her wedding?

In the next panel Shiva is shown wearing the characteristic tiger skin, carrying the deer and axe in the upper hands. Parvati, escorted by attendants stands in front of Shiva, her head slightly bent. She is seen carrying a lotus in her left hand while offering the right hand to Shiva. Do not fail to notice a diminutive Nandi jumping joyfully between the couple! To the left of Paravati are her parents, Mena and Himavan. Himavan is carrying a kamandala in his raised hand and is about to solemnize the wedding by pouring water on the hands of the couple.

Brahma is seen sitting in front of the sacred fire, ostensibly performing various rituals. By his side are the dikpalas, headed by Indra, recognized by the vajras held in the upper hands. By his side are the two headed Agni with flames emanating from his crown, and Yama with fangs protruding from his mouth. The remaining dikpalas are also seen.

By the side of Himavan and Mena are three women, two of them raise their hands as if to bless the couple while the third one is seen carrying a book. By their side is Vishnu, with his chakra and shanku.

MARRIAGE OF ARJUNA
photos.app.goo.gl/2XNavbsUQGLG7Wbn6
This panel which has survived vagaries of time shows Draupadi sitting on the right thigh of Drupada ostensibly watching Arjuna hit the revolving fish target. The four Pandava princes, all wearing tall crowns, celebrate the wedding of their brother by pouring the auspicious rice over the couple. By the side is seen Krishna.

ASPECTS OF SHIVA
photos.app.goo.gl/RXwaKcF3Tua7uPCV7
Portrayal Of Shiva
This is an exquisite painting of Shiva with wonderful details of his dress and ornamentations.
Rescue Of Markendeya or Lingodhbhavamurthi
In this panel, Shiva is emerging from the top of the Linga which is set on a high pitha. The youthful devotee is paying respects to the God after his rescue. However in a departure from traditional renderings, he is not shown clutching the shaft of the Linga. One can catch a glimpse of Yama on the right. Shiva is portrayed holding the axe and fire in the upper hands, the lower hands are in abhaya and varada mudra.
Dakshinamurthy
Here Shiva is seated beneath a tree, atop a pile of rocks, intended to represent Mount Kailas. He is dressed in a leopard skin. On his right is Narada, the left arm extended as if reciting or singing with the veena resting on his right shoulder. He is followed by a group of rishis, the last of whom is a dark complexioned sadhu, with a prominent tilak on his forehead He is clad in loin cloth and is carrying a kamandala in his right hand and a leopard skin is draped over his right shoulder. Wonder who he is!
Bhikshatanamurthi
In this panel, Shiva is shown walking through the forest, indicated by two trees. He is accompanied by a gana carrying a large container on his head and a leaping deer. He carries the damaru in the upper right hand, the trishula held in the upper left hand rests on the shoulder; the lower right hand hangs loosely on the side. In the lower left hand Shiva is carrying a bowl in which one of the rishi patnis pours some rice. What is striking is that the end of her white saree is slipping from her shoulder, revealing her breasts and abdomen! Her hair is tied in a large bun adorned with white flowers. Two rishis witness this on the other side.
Bhairava
Bhairava is depicted in a graceful tribhanga pose. His vahana, a dog, is at his feet. The God is shown with long flowing hair, fangs protruding from his mouth and wearing a garland of skulls. In one of the right arms, he is carrying a severed head. To his right is a diminutive devotee with folded hands. Interestingly Bhairava has an unusually benign expression and his gaze is directed away from the devotee!

DESIGN ELEMENTS
photos.app.goo.gl/VC1QxeNRQxAfAHoQ8

It is striking to note that all the figures portrayed in these paintings display a wealth of richly patterned garments, elaborate jewellery and interesting hair styles! There is an amazing variety of designs in the garments and textiles worn by the figures portrayed in the paintings. There are patterns with stripes, checks, flowers and flowing vines. Interestingly, both Parvati and Draupadi are seen wearing sarees with checkered designs during their wedding! Most of the floral designs show single blossoms, surrounded by tiny black curls, stylized vines or leaves. Even the dhoties worn by male figures display enchanting, intricate designs! There is rich detailing of ornaments worn by both male and female figures. Most of the panels are embellished with ornately executed borders with captivating designs. These designs have been an enduring source of inspiration for artisans down the centuries. Their impact can be seen even till date on the compositions of Kalamkari art.

SCULPTURES
photos.app.goo.gl/GnVrX55dVPyRemy97

The enchanting sculptures have withstood the impact of time and weather much better. After spending a major part of our stay in the temple carefully examining the murals, we walked around the natyamantapa and the unfinished kalyanamantapa, savoring the fascinating array of sculptures adorning these two structures. The high relief sculptures are large and mostly depict Gods and Goddesses and the low relief sculptures adorning the pillars of the mandapas, depict demi gods, fauna and flora.

By then it was noon and it was difficult to walk on the granite stones which were radiating heat. With much reluctance we exited from the temple complex with one lasting look at the dancing lady with a serene facial expression sculpted on the doorway…she seemed to beckon us to visit the temple again!

In every nook and corner of this magnificent edifice, dreams of unknown artisans find their expression through chisel and brush…

There are scores of photos in the google links, take your time and have a look at them at your leisure!

Look forward to your comments here...and kindly don't post them in google photos!
12 Comments

Tryst With An Elusive Owl

3/4/2020

42 Comments

 
Picture

​I have a particular fondness for owls. We have had good sighting of them invariably in all our forays into the wild . But one particular species of owls, the Great Horned Owl or Indian Eagle Owl has evaded us in all our peregrinations in the wild.

Last year we visited the Nanmangalam Reserve Forest on the outskirts of Chennai, which is reputed to have resident Indian Eagle Owls. Our hopes surged when we were greeted by a huge poster of the bird at the entrance. It had rained heavily the previous day and we gingerly made our way through the muddy trails with much anticipation. There is a disused quarry in the middle of the forest where the owls are said to reside. We scanned the vast terrain, inch by inch to locate the bird, as it camouflages itself perfectly inside the rocky crevices.  Alas, with little luck. There was a tinge of disappointment but being in the verdant landscape as the sun cast its first rays through the clouds itself was an immersive experience.

We made another attempt to have a glimpse of the bird early this year. This time around, it was an onerous task to get permission from the forest department. Finally we entered the reserve with the precious permission letter in our hands. The sun was already up and the forest was full of bird sounds. With renewed hope that the Indian Eagle Owl would offer us a ‘darshan’, we stationed ourselves on the edge of the quarry. We must have spent over thirty minutes but there was no presence of the bird in that huge quarry. As we made our way back, we were greeted by a host of butterflies fluttering around which buoyed our sagging spirits.

A few weeks ago, we were on a visit to Tirunelveli to have a detailed look at the sculptures and paintings that adorn the temples in the region. On the last day of our visit, we went over to Koonthankulam to meet our old friend Pal Pandian. Pal Pandian is a legendary forest guard who has devoted his life to conservation of birds in the region. I had known him for decades and it was a pleasure to catch up with him again. He gave me a hug and said “Doctor, let us go and have a look at the Indian Eagle Owl”. This was the moment I was waiting for, for years. We made our way to a rocky terrain and there it was, the majestic bird, looking at us from a crevice high up on the hill.

I was transfixed! It was looking straight at me with its lovely big eyes. The Indian Eagle Owl is quite large, with characteristic, prominent ear tufts. The eyes are orange red with black plumage above the eyes which begins in the center of the eyes and stretches up to the ear tufts. Its erect stance was much akin to a yogic posture. Just being in that moment, silently observing the majestic bird was itself an entrancing experience.

With its enormous eyes it can see well in even the faintest of light while its ears can hear the faintest of sounds, even the distant sound of a squeaking mouse. It flies silently and once it has its prey in sight, the owl grabs it with both feet, killing it instantly. Then it swallows the animal in its entirety. After several hours, the owl coughs up the fur and large bones of the victim. The coughed up lumps are called ‘pellets’.

Owls have a long history..

They are supposed to be amongst the oldest of the vertebrate animals in existence as fossils dating back to more than sixty million years have been found.

The earliest depictions of owls appear during the Upper Paleolithic period, within the Aurignacian cultural tradition. These are the people who are recognized as the first modern humans in Europe. The first image of an owl is reported from Chauvet cave in southern France and dates to sometime between 32,000 and 35,000 years ago.

In ancient Greece, Athena was the goddess of wisdom and owls nested in the Acropolis in Athene. Thus they became associated with the goddess, as their scientific name ‘Athene noctua’ indicates. Greek coinage of the time displayed the head of Athena on one side and the likeness of the owl on the other. These Greek coins were known colloquially as ‘owls’, and in his play The Birds, Aristophanes jokes that silver owls are the best kind because they ‘will never leave you; they will dwell in your home and nest in your purse, hatching out small change’. In Greek pottery, owls were often shown on vases depicting worship of Athena. Reportedly, the American president Theodore Roosevelt used to carry an Athenian owl piece with him as a lucky charm.

In ancient Rome the goddess Athena became transformed into the goddess Minerva. When the Roman armies subdued those of the Greeks, they co-opted their guardian deity and borrowed her sacred bird and made it their own. Attached to Minerva however, the owl fared less well because there was already a widespread belief among the Roman populace that owls were evil creatures and symbols of death. In his great book Natural History, Pliny the Elder says of the owl that ‘if he be seen to fly either within cities, or otherwise abroad in any place, it is not for good, but prognosticates some fearful misfortune’.

The Aztecs and Mayans hated and feared owls as symbols of death and destruction.  The ancient Egyptians had a kinder view of owls, believing that they protected the spirits of the dead as they traveled to the netherworld. In medieval Christian folklore the owl was seen as a demonic force: it’s very presence was an ill-omen.

Native American tribes scared their children with stories of owls waiting in the dark to carry them away. There is also an intriguing Indian tale which portrays the Great Horned Owl as having a magic love flute. Once a haughty girl was lured into the forest by its enchanting music, but rejected the Great Horned Owl as a suitor. Later she heard the music again and was unable to resist following it. She was then carried off by the Great Horned Owl. Eventually she learnt to accept that her husband was an owl, because, "Women have to get used to their husbands, no matter who they are”!

The Tartar rulers believed that Genghis Khan was saved by the owl. When his horse was shot in one of the battles he ran for his life and hid under a bush. His enemies came looking for him. At that time an owl came and sat on the tree under which he was hiding. They did not even come near that tree reasoning that the owl would not have sat there if any man had been hiding under the tree. The owl thus earned a permanent place in their emblems, the arms of the Tartar rulers depicting an owl on a golden shield.

In India, Lakshmi the goddess of wealth and prosperity has an owl for a vehicle apart from an elephant. Perhaps she uses the elephant while travelling on land, and  the owl for her forays in the sky! There is some speculation that the owl might actually represent Lakshmi’s consort, Vishnu. But the idea that Lakshmi would ride on her own husband might be a source of discomfort to purists.

If you look closely there is striking and strange similarity between the owl and the icons in worship at Puri Jagannath!

The question is, why do we associate so many things with owls? What is our attraction to this bird? In his landmark work, The Naked Ape, Desmond Morris reports on a survey of favorite animals conducted as part of a children's zoo television program. He concludes that animals favored by humans are those with the most humanoid features. Owls qualify by having rounded outlines, flat faces, facial expressions and vertical postures.

Owls have been woven into the fabric of literature. At times they are depicted as dignified, wise old scholars and at other times as foreboding voyeurs who see all.

Let me outline a few of these depictions in Tamil literature.

A stanza in Natrinai (verse 83) a poetic work of Sangam era vividly describes two lovers meeting under an old tree. The Thalaivi (lady love) asks the owl nesting in the tree to keep quiet and not disturb their private moments in return for which she promises the fowl a share of rat meat fried in ghee!
​
எம் ஊர் வாயில் உண்துறைத் தடைஇய
கடவுள் முது மரத்து, உடன் உறை பழகிய,
தேயா வளை வாய், தெண் கண், கூர் உகிர்,
வாய்ப் பறை அசாஅம், வலி முந்து கூகை!
மை ஊன் தெரிந்த நெய் வெண் புழுக்கல்,    
எலி வான் சூட்டொடு, மலியப் பேணுதும்;
எஞ்சாக் கொள்கை எம் காதலர் வரல் நசைஇத்
துஞ்சாது அலமரு பொழுதின்,
அஞ்சு வரக் கடுங் குரல் பயிற்றாதீமே.


Oh owl of great strength, with curved beak,
clear eyes and sharp claws, who lives on a huge, old
tree where god resides, near our town’s pond!
Please do not hoot
When my lover is on his way
with your drum-like, harsh voice that causes fear,
We’ll take good very care of you
And feed you rat meat cooked with clear ghee and white rice
If you do not hoot!


In his epic Tamil novel Koogai, Cho Dharman uses the metaphor of an owl to narrate a tale of oppression that dalits and tribals are subjected to. It is virtually an ethnographic documentation of the lives of the lower-caste people in Chitthiraikudi village and their near exodus to the slums of Kovilpatti. The novel abounds in instances of oppression meted out to the Dalits by the dominant middle caste groups — false cases, forced sexual assaults, insults and thrashings. The owl on the other hand visits at important moments, emerging as a guardian spirit and a magical messiah. It saves children, foretells the future, guards the devotees and in many ways organizes the marginal sections of the society. Dharman explains that the wise bird is a poignant yet powerful metaphor of the plight of Dalits: “flying free and enjoying their rights over the forest" but forced to “live an invisible life". The owl is a symbol for all the oppressed communities, especially Dalits, as it is mostly unsung and underrated, considered to be inauspicious, dark and ugly. It is teased and attacked during the day even by sparrows as it cannot see in the overpowering sunlight and hence prefers invisibility. But it realizes it true strength at night when it is left to itself.

Perumal Murugan, award winning writer, poet and scholar has written an evocative poem on the owl…

இருட்டுக்கும் குரலுண்டு
ஆந்தையின் அலறலது
பொருட்டாக்கிக் கேட்டால் பல
பொருளுணர்த்தும் மொழியாகும்     (இருட்டுக்கும்)
அனுபல்லவி
இருளின் கனத்தை உடைத்து
பெருத்த அமைதி கலைத்துத்
தரும்பயம் போக்கிப் பேசும் (இருட்டுக்கும்)
சரணம்
உருட்டி விழிக்கும் கண்கள்
உருளும் பந்தாய் மிளிரும்
விருட்டென்று வாய்திறந்து
மருட்டி அலறி ஒலிக்கும்
விரித்து மனதைத் திறந்தால்
சிரிக்கும் குழந்தைக் குரல்போல்
இருளை உருக்கி நெஞ்சில்
முருகு பெருக்கி வளர்க்கும் (இருட்டுக்கும்)


​Darkness finds its voice
In the owl
It’s voice has many a meaning
If you listen to it carefully

Piercing the stillness
Of the night
It speaks fearlessly

Its wide eyes
Glow in the night
And when it consumes
The darkness around within itself
It laughs like a child


You can listen to a mellifluous rendering of this poem by TM Krishna:
youtu.be/LFzGKbW72gY

The owl is indeed a very intriguing bird. It is perhaps the only bird that has captured the imagination of human beings across centuries. It has been a symbol of shifting and seemingly antithetical qualities—hulking observer and swift hunter, totem of wisdom and escort of the occult. These disparate qualities have kindled human imagination through time to inspire so many stories, myths, fables and folk tales!

I particularly like this rhyme which appeared in Punch magazine in 1875:
There was an owl lived in an oak,
The more he heard the less he spoke,
The less he spoke the more he heard
Oh, if men were all like that wise bird.


A timely advice in these times!

Incidentally, the English language does have a collective name for owls. A group of them is referred to as a parliament of owls. Whether they acquired this name because they are thought to be wise or because there is a belief that they are wicked is not so clear!
​
Kindly post your comments here!

42 Comments

    Dr Raguram

    Someone who keeps exploring beyond the boundaries of everyday life to savor and share those unforgettable moments....

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    • The Feathered Beauties
    • I Saw,I Clicked... >
      • Vishnupur
      • The Tantalizing Landscape Of Uttaranchal
      • Amidst The Sand Dunes Of Khuri
      • Chatris Of Shekawati
      • Havelis Of Shekawat
    • I Saw, I Clicked Part II >
      • Hosaholalu
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    • I Saw I Clicked Part III >
      • Yosemite
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    • Bijapur & Beyond
    • Enchanting Athirapalli
    • Splendours of Seatlle
    • Monet's Garden
  • Glimpses Through The Lens: II
    • Poetry in stone >
      • Brihadeeswarar Koil
      • Gangaikondacholapuram
      • Dharasuram
      • Thanjavur Art Gallery
    • In The Land Of Enlightenment
    • Charming Chitrapu
    • Exploring Orissa >
      • Mesmerizing Mangalajodi
      • Bewitching Bhetnoi
      • Daksa Prajapati Temple
    • Birding Down Under >
      • Parrots Galore!
      • Lyrical Lyre Bird
      • Honey Eaters
      • Kingfishers, Wrens, Wagtails, Warblers...
      • Orioles, Golden Whistlers
      • Cockatoos, Kookaburras & Magpies
      • Pigeons, Doves
      • Birds Of Prey, Bower Birds
      • Water Birds & In Flight
      • Others
    • Murals of Pundarikapuram
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