Celestial ceilings

 

Ceilings , in a House of God , can not merely be functional features , but , as with everything else in religious architecture , have to have a significance . A deva-sthana being a sacred space , the  metaphorical Cosmos , the Ceiling above the head of the worshipper , becomes The Vault of Heaven .

Ceilings of Temples are rarely left undecorated . Even the humblest temple sports a painted or etched padma , placed centrally . In more elaborate temples, we find beautiful floral motifs , vines  , jaalis and geometric patterns worked into the ceiling , sometimes  rimmed  by small figures of mythical beings. 

It was during 9 - 10 CE that Ceiling design was taken to unprecedented heights of artistry by the Nolamba architects . Most of the shrines they built had the directional guardians occupying the ceiling . However , in Hemavati , the pivot of Central Nolambavadi , the brilliance of their  art touched , literally , the zenith . 

Among the excavated remnants stored in the ASI site museum  in Hemavathi   are some large  slabs with sunken panels showing exquisitely worked reliefs of scenes from legends . The positioning  of these panels in the slab and the frames around them make it obvious that these were not wall decorations but came from collapsed ceilings . And this realisation is enough to take anyone's breath away . It is totally off beat and unprecedented ( and likely, unreplicated ) to put Shiva Leela icons on the ceiling ! 

Nolambas were staunch Shivites , patrons of Pashupata and Kalamukha disciplines and, with the exception of just a very few , all their temples were dedicated to Shiva . It is customary in Shivite temples to place Shiva leela images as koshta murtis ( niche icons) and Bhitti- or  Sthamba-bimbas ( wall or pillar carvings) . Who would ever think of finding Leelmurthis raining anugraha  from above the head ! Only  unbridled  imagination and impeccable draftsmanship  could have resulted in ceilings like these. 

Ceiling panels housed inside the museum .

There are two long slabs , which are clearly part of the same ceiling . Each slab has three panels . Five of the panels portray a deity each , while the sixth shows a group . The treatment is strictly 'by the rule book' and the product is a series of Formal Portraits , uniform in appearance , without much liveliness . All deities are seated similarly , on similar seats , with similar prabhavali ( halo)  around the head and  their mount underfoot , attended by chauri bearers on either side . 

Slab  1 ( Durga - Vishnu - Candesa ) 

Durga : holds the shanka chakra in upper hands , shows Abhaya and Suci mudra in lower hands . Two ladies wave the Chauris and two more ladies are in attendance , one of whom holds a pot ; At the centre of the throne's base is her Lion .

Vishnu : holds the Shanka Chakra in upper hands and shows Abhaya in lower hand . Below , Garuda sits on the floor on one side , while on the other , Lakshmi sits on a pedestal .

Chandesa : holds an axe and the other hand is on his lap . Two ladies wave the chauri for him . 

Slab  2 

Ganesa - Brahma -Saptamatrikas 

Ganesa : looking  almost modern , this text book icon holds a parasu , a japa mala , a broken tusk and a sweet . His attendents are male . One small quirky  detail is the presence of two little monkeys carrying fruit offerings , in addition to the Mooshika at the bottom of the portrait . 

Brahma : with his parasu , japamala and kamandalu , the three faced Brahma sits on a throne embellished with elephants and lions . The Hamsa is at its usual place . His chauri bearers are also male . 

Saptamatrikas : different from others , this looks like a whole mini ceiling by itself . The figures are tiny , but with distinct details . The Seven Matrikas and Ganesha are placed around  Shiva in such a way that all their heads lie  towards Shiva . 

One more slab with three panels that would have completed this set has not been found ( yet ) . In all probability , the three deities in it would have been Skanda , Nandi and Shiva himself , to make it a full  Shiva Parivara set .

Ceiling panels placed outside the museum hall. 

These are the Shiva Leela panels , created with passion and vision . These are not  just formal, pretty  'studio portraits' . It is apparent that the artisan threw away the rule books and put his heart and soul into recreating that exact epiphanic moment of the Leela . The figures in these panels are truly alive . 

According to Shaiva Siddhantam , LeelaMurthis are the 'Sakala ' emanations of the "Nishkala"  Mahesha Tatva that is installed in the sanctum as the Lingam . The murtis  have human form with one head , three eyes, four or more arms holding weapons and mudras and a head of luxuriant jata done up like a crown. 

GangaVisarjana Murti . 

It is a variant of Gangadharamurti , incorporating a small detail in the legend of Bhagiratha and the Descent of Ganga  . After containing the torrential Ganga in his jata , to save the world from washing away , Shiva is constrained to release the water for two reasons. The primary reason , of course , is to fulfill Bhagiratha's prayers  . The second reason is to appease Parvathi , who is not amused to find another lady sitting on her husband's head ! 

In this form , Shiva is shown  in the act of releasing Ganga from his head by holding out a single strand of jata . One upper hand holds out the strand , upon which the anthropomorphic Ganga is seen sliding , and the other hand is also raised to the level of his head in vismaya.  Attributes held by him are parasu and a cup . Parvathi stands to his left , her discontent very apparent  in her body language . Bhagiratha is shown to the lord's right, hands clasped in prayerful position . Adding warmth and charm to the lively scene is a young and curious Nandi , butting in to get a better view of the drama ! 

Gajasamhara Murti ( / Gajantaka ) : 

The Gaja personifies The Ego and it is by the Lord's grace that Ego is vanquished . There are two variations of this parable . The Varanasi version ( in Kurma Purana) describes the Gaja as an asura who attained invincibility and misused it . The Vazhuvur version ( in Varaha Purana) describes the Gaja as the blackmagical creation of the heretic sages of Darukavanam. Shiva not only kills the Gaja , but drapes its skin around himself like a shawl. He is bejewelled , four armed and holds a trident and a cup. His upper hands are spreading the skin . The terrified Baby Skanda  clings to his mother and she pacifies him even as she is in wonder ( vismaya) of this Leela. 

Bhikshatana Murti . 

Young and handsome , this mendicant  still looks regal ! Having pruned one head off Brahma , Shiva earns demerit and to work off this sin , he wanders about as a alms seeker , with the skull cap of Brahma stuck to his hand . In this form , he wears the Paduka and is almost naked . The chunky beads around his neck could be rudraksha . He holds a whisk , a snake and the kapala . The object in his other hand is not clear . His  companion is a gana , carrying the collection bowl. In the  course of his wandering , Shiva becomes the object of affection for some Rishi Patnis . In this panel, we see a lady bringing food for him in a bowl , her other hand tapping his forearm to draw his attention . 

Kalasamhara Murti  ( /Kalantaka / Kalari ) 

This is the most animated panel of the lot . Shiva is seen kicking Kala / Death with much force . And , with a pointing finger , cautioning him not to trouble his devotee Markandeya . Kala is stupefied and seems to be begging for mercy . A  sarpa  wrist-ornament and the sashes tied at the waist , flying wild , suggest the force and fury of the moment . Shiva holds a trident , aimed at Kala , and an axe . 

Sukhasana Murti : 

a very  peaceful scene with Shiva and Parvathi relaxing together, his hand on his knee , hers on her lap , both their right legs folded comfortably . He has the japamala in one hand , the trident in his upper hand . The other upper hand holds what could be the noose , laid horizontal in order to fit into the frame . Even in the small panel, Parvathi's hairdo and Shiva's kundalas are finely worked . 

Subjugation of Kama ( ? ) 

This is an enigmatic panel showing an obviously angry Shiva cautioning a person who is on his  knees with his hands pinned back. The lady behind this person is seen  looking down at him but pointing  to Shiva , presumably telling him to heed the Lord . One interpretation could be that it illustrates an episode from the story of  Manmatha ( Kama) who failed in his mission to make Shiva love lorn . He is sternly told off by Shiva , while Rati tries to mediate peace on Manmatha's  behalf . 

It is a pity that these celestial panels can never be hoisted back to their original place as the shrines which they adorned have all turned to dust . 

 

The Nolamba Bull- Carrier of many tales

The Nolamba Bull - Carrier of Many Tales

            Bull has been an integral part of the Indian sculptural scene for thousands of years....irrespective of time, space and varying styles. It was stamped on the Harappan seals and it mounted the highly polished pillared capital of Asoka at Rampurva. But it is as the mount of Shiva that it has becomes the most iconic representation for approaching Shiva.    

     It is the carving of Nandi that puts the Indian sculpture on an unrivalled plane. The Nandi is carved in round. It is not a  part of a  frieze to be mounted on a ceiling or to be fixed on the wall. The stone idol conveys the throbbing physical vitality of the bull. And yet the Nandi is more. It has a divine side. He is the means to Shiva . In the hands of the Indian sculptor the Indian bull transcends his vital physicality and emerges as part of the divinity or the divine itself ! The sculptor controls the physicality, virility and subsumes it with devotion....single minded devotion for Shiva.

     What stories are told by the Nolamba bull? Is it the continuance of the Harappan legacy? Is there a break ? Or does it tell us the same story with a twist?

    Traversing the erstwhile kingdom of Nolambas we came across at least three different representation of bulls.

    The bull which was a part of the Ashtadikpala panels, the royal bull and the seated bull.

   Godly Carrier- In the Ashtadikpalas panel it is not only the Gods but their carriers that get full justice at the hands of the carvers. The best example of the bull is represented on the ceiling of Kalleshwara temple at Arlaguppe. The sculptors have rendered the carrier of Isana in full glory. The motion of the bull gliding through the skies carrying Isana and his wife is delineated with great joy. He is caparisoned, bejeweled from head to paws and he carries Isana and his wife  on a saddle befitting the Gods. On his head there  are strings of beads and a breast band that includes a hara of bell clappers. Carrying the God of the direction surrounded by gandharvas and musicians, ears all alert, eyes front, looking bemused he himself emerges as the centre of attention!

      Royal insignia (Paricchada)- Bull was the royal symbol of the Nolambas. Nothing communicates the connection of the rulers with the people more than the adoption of this bull which roamed the countryside while  residing in the hearts of Shiva bhaktas.

     A detail on the pillar at Siddheshwara Temple. bull with its royal trappings, a royal throne, crown with a central gem. a scepter, a conch of victory, canopy of state, a golden foot stool, flags, an umbrella, air of fly whisks and banners.

Bull as a royal symbol might have been their umblical chord connect with the Pallavas…after all they did call themselves as Nollamba Pallavas !!

       These two representation of bulls put him on a pedestal. In the first one he is dwelling in the rarefied air inhabited by celestial beings.In the second one his lineage is royal...regal, distant and aloof. The bull nowhere belongs to the people. 

       But then we see the third form - Nandi. It was this form that we saw all over the region.This was the land of Shiva and his devotees.

    We see Nandi sitting alone or with his Shiva as a  part of  a frieze... when Shiva is Natesa or when he is with his Uma or when his  teaching through silence as Dakshinamurthy. We see him him with matrika Ishwari. Then we see the real bull, the bull without trappings, the bull as Nandi who is the carrier of prayers for the people of Nolambavaadi, the bull who does not need to shine before his lord.

The Nandi the solitary idol carved in schist tells a different tale....

......a tale of Nolambas, Nolambavaadi and how he becomes the medium that bridges the gap between the people, their rulers and their deity. The rulers were ardent devotees of Shiva. The Shiva idols carved under their patronage are no stone idols but Shiva himself. And so is the Nolamba Nandi! 

       This is the Nandi of the humble countryside. He is a living breathing life like bull close to the people who cast the yoke on its broad shoulder to till their land and made him sit in front of Shiva as Nandi ! Maybe the Nolamba sculptor also worked in the field with his bulls and thus carved him so life like? He was the means to till the earth and a medium to reach Shiva.

      The Nolamba Nandi may have been modeled on the local bull traversing the countryside, perhaps on  Hallikar? The Nandi is of medium size, full bodied, long pointed face, large hump, small tapering ears, pointed horns, the dewlaps falling like ruffles … A single bell woven in a rope holding the folds show it’s connect with the countryside.

     In the inspired hands of  the Nolamba sculptor the Hallikar transformed into a regal Nandi fit to be worshipped by the kings!

     After all the Nolambas were unwavering in their devotion to Shiva. They were the patrons of these temples and their Nandi is no ordinary Nandi.

     Stella Kramrish describes it best...... Nandin conveys Shiva. An image of controlled vitality and devotion. "His head raised towards the lingam in the temple, his brows sweep over large almond shaped eyes. Horns, ears and hump are volumetric enhancement of Nandi's compact shape which comprises of legs, tail and dewlaps. The skin of the dewlap contributes further interest to the bull's shape: striated with incised lines, it serves, when seen in profile, as a link between the bull's weighty recumbent body and the relatively small, alert, and attentive face. The garland of flowers, a string of bells, a saddlecloth and leg ornaments accentuate the vaulting planes of the statue"

     The Nolamba Nandi  too is carved with visible symbols of ornamental offerings.The Nandi is carved wearing a thick hara with rope designs. The bell clappers are elaborate and so is the saddle.

     Shiva pleased with Nandi's tapas gifted him his own makuta and ear rings. 

      But  the Nolamba Nandi displays no ostentatiousness. He is no Hoyasalan Nandi exuding richness and trappings of wealth. There are no ornaments filgreed on Nandi to overwhelm his bodv and distract the devotee. The Nolambas were Pasupatas believing in asceticism and worship in simple form......undue ornamentation leads to distraction and hampers unrestrained devotion. So their Nandi is regal, powerful, austere but not plain!

       The sculptor may not have been able to speak like animals but they saw with animal eyes. It is this that gives these sculptures such an extraordinary intensity of emotion, intelligence and life. Thousand years have passed but the couchant Nandi still speaks for his devotees ...he still communicates in Nolambavaadi !!

  

Guardians From A Fallen Citadel

The first thought that crosses the mind upon seeing the sculpted grid displayed at the centre of the small ASI museum in Hemavati is " How  the mighty fall ! " 

When the dynastic line of the mighty Nolambas , who once wielded power over 32000 villages, splintered under the onslaught of their more powerful overlords, and  eventually faded out , the marvels they created in their erstwhile capital , Henjeru/ Hemavati , also bit the dust . They fell, literally , to ruin . Except for one or two shrines that continued to be in worship, the rest of the beautiful monuments just crumbled away and lay strewn  about till historians and the ASI took interest in salvaging what was left , around mid -20th century. 

Four temples have been put together inside the fortress like compound with reclaimed  blocks and pillars , while a large lot of assorted loose sculptures have been accomodated in the Museum , next to the shrine complex . 

The Ashtadikpala ceiling panel forms the centerpiece of that museum .....or , at least a major part of the panel does . It is obviously incomplete . A block of three panels has been sliced off . And carted away to the Chennai Museum long ago. 

The slab, in Hemavati museum, is about a foot  in thickness . Lying flat - as it would have all those centuries ago when the master sculptors materialised  dreams on it, one chisel-cut at a time . How long did it take them to complete this wonder ? And , when completed , how did they hoist this giant  slab up to the ceiling of the now vanished  navaranga ?.. ...1200 years ago ! Mindboggling.

The square panels featuring the dikpalas are worked almost in the round to create a lively, busy , celestial procession of The Guardians, mounted on their respective vehicles, wives riding pillion , surrounded by large retinues of servitors with regal paraphrenalia  .....observe closely , you can hear the sounds of their  music , revelry and merrymaking ! 

Dikpalas on ceilings are seen in many medieval temples , but it can safely be asserted  that no other artistic style matches the grace and exquisiteness achieved by Nolambic artisans . They are a class apart . 

The Dikpalas 

The Directions were originally 10 in number , four being the cardinal directions   four intermediary directions , one the UpperWorld  , and one the Underworld . The devatas assigned to guard each direction were to be propitiated for raising any structure of importance be it a sacrificial alter , a house of worship , a dwelling or a city . This was a post vedic development . 

As societies evolved into more settled and secure life , with more synthesis of disparate concepts,  , the vedic pantheon was reorganised ; vedic gods were reassigned to newer designations .

Almost all the Dikpalas are repackaged vedic divinities . Initially , in post vedic era ,  the names and number of the dikpalas and their attributes varied widely across the texts . Only after temple construction took off in a big way  was the number  fixed at 8 and the characters finalised . Brahma and Ananta ( upper and lower worlds) were dropped from the list and the name " Ashta Dikpalas" became current , ending the confusion with 'Lokapalas' who had been multipurpose guardians of the cardinal points. 

GUARDIAN OF THE EAST

Indra ....comes charging with fanfare ! 

Such  dynamism worked into the compostion ! Airavatha ploughing ahead , tail slightly upturned, the chain with bell on his back  swinging in retort  , while  Indra and Saci Devi tilt  for balance. His minions bear the chatri , a royal Standard and a conch . Airavatha has gathered up lotus on stalks, but the feature has been partially damaged . 

Indra was a poweful vedic god receiving the highest praise for slaying Vritra, the dark force who obstructed  human welfare. Indra was the Controller of Natural Forces . His character underwent changes in the Puranas , his influence in higher departments diminished, but became fixed as The Guardian of The East . His  Vajra is conspicuously  absent here .

GUARDIAN OF THE SOUTH EAST 

Agni ....the foremost Vasu , " mouth of all devatas " - conveyor of all offerings to respective destinations ( mukham yassarva devanaam ) - joins the procession here  , in a right royal fashion , riding with wife Svaha on a mesha ( male goat ) , attended by three musicians ( playing a stringed instrument , a reed pipe and a conch ) and a Standard bearer . Variations in hairstyles can be seen among the servitors . The polished stone makes the etched clouds in the background look like smoke from a havan , adding to the dramatic effect . His attribute the "sruk " is not seen , probably chipped off . But he is devoid of the expected beard , in keeping with the clean shaven company of Nolambavadi dikpalas . In the Vedas , he holds a position only next to Indra . He is Jataveda , the All Knowing , and present everywhere , in everything , including our stomach as jataragni , yet look at him here ! An unassuming , carefree youngman , out to have a good time at his assigned Direction , The South East . Only a skilled hand could bring out that  pervading feeling of happiness in such a small space . 

GUARDIAN OF THE SOUTH 

Yama .....the unfortunate devata who always gets bad press , looks magnificent on his buffalo mount , holding his danda . Excellently ornamented , with a beautifully bent waist ,the figure's artistic merit is of very high order . He is well complemented by a  lovely , graceful and utterly poised consort , Yami. They are attended by four gliding servitors . The one in front of them carries a tall staff , at the apex of which is a flag , which , with his swift movement , is seen fluttering and streaming backwards . The minion below the animal's forelegs and the one floating above the snout both seem to be have their  hands in anjali mudra. The attendent behind the couple carries a long object which could be either a staff  or a stringed instrument. The  clouded sky in the background is  pronounced , thanks to the polishing . 

Yama , in vedic lore was not all terrifying . He was the first person ever to die and cross over to celestial lands . Having blazed that trail , he became a guide to other transiting souls, imparting  knowledge about Atma and Moksha . He was certainly not a terroriser though he discharged dual duties as destroyer and protector ( yena samhriyate sarvam , yena sarvamcha rakshayate). No one seeing this excellent panel would ever want to be scared of him again ! Nolamba art has ensured that the  Guardian of South can actually be adorable . 

GUARDIAN OF THE SOUTH WEST 

Nairutti .....is the only one in this set who does not ride an animal . He has clamped on to a Nara vahana , mercilessly goading him to keep up with the fleet footed animals carrying his companions . But then, he is a malevolent spirit , his character seen rather plainly  on his grimacing face . He finds pleasure in bringing misfortune to humans ; his wickedness made apparent here by a vehicle-less wife , Khadgini , under a parasol , made to walk  along with the retinue of attendents , all of whom are little masterpieces by themselves . Two of them play drums of different kinds , while the other three have  what could be a slim stringed instrument or a staff . His usual attribute is a khadga , but here he holds something smaller and globular . The sky around the group is still and cloudless . 

Nairutti , in very early texts , is a malevolent goddess , equated to Alakshmi . Somewhere down the line , for whatever reason , she was forced  into gender reassignment  and is today established as a male , Guardian of the South West . 

GUARDIAN OF THE  WEST 

Varuna ....the gorgeous water sprite , enlivens the entourage riding on a fabulous aquatic creature , generally called Makara ( for want of proper identity) .The tail of the creature spreads in a profusion of twirls and curls and floral flourishes suggesting roiling water . There are no humanoid attendents , just some  snakey creatures around but wife Varuni seems content so long as that nice looking canopy is floating overhead . They make a winsome couple. 

Varuna is one part of the vedic dvandva ( duo ) Mitra-Varuna who were omniscient gods overseeing observance of Rta ( code of good conduct ) among humans . Varuna was much respected for " by him everything is born and into him everything retracts on dissolution" ( yena prasooyate sarvam yasmin sarvam praleeyate ) . With other gods gaining ascendency in puranas , Varuna got posted as The Guardian of The West .

GUARDIAN OF THE NORTH WEST 

Vayu ....makes quite a splash , stylishly riding a charging deer , with wife Vayavi (aka Bharati)  holding on to his waist for balance . He holds her in embrace too . That they are airborne in a turbulent sky  is clearly intimated by the clouds etched in the background and the  three floating attendents . The attendent behind the couple holds aloft the parasol , while the other two provide the music . The little figure below blows the conch and the one above plays a kind of percussion instrument that is still seen in use in villages of the region. A fluttering flag is one of Vayu's attributes , but is not pucturised here . Perhaps  the long  staff , with some indistinct folds at the top , seen towards the margin , is an unfurled flag ? It is not certain. 

Vayu's  leg is not pendent , but folded showing that he is comfortable in his domain , flying in the air . 

Vayu as a vedic god was the protector of Life Forces and a liberal grantor of boons . In the epics , he is mentioned as the father of two powerful characters , Bhima and Hanuman. His permanent assignment is as Guardian of The North West . 

GUARDIAN OF THE NORTH 

Kubera ...Mr.Moneybags is surely popular , going by the great 

number of attendents milling around him here ! He looks prosperously plump , but has no pot belly generally attributed to him . He holds what looks like a gem . His wife Riddhi ( aka Kauberi )  holds something similar too. His vehicle , the Ram , seems energetic , breezing ahead  unmindful of the traffic jam .

There are nearly 14 figures all around , many  of them shown in pairs as cavorting couples. A lady is performing a dance in front to the music provided by five instrumentalists seen at the bottom , playing drums, cymbals and the lute. 

Kubera or Kuvera, the 'deformed' , makes his debut in Atharvaveda as the Chief of evil spirits . In later ages, he was upgraded to the rank of Yaksha , as a vaushvanara. Vishnudharmottarapurana makes him the embodiment of Artha ( wealth , prosperity and glory ) and Manu terms him a Lokapala . There is no consensus about his vehicle which keeps changing from Man  to Ram to Horse to  Chariot . No confusion in his status though -he is the Guardian of North . 

GUARDIAN OF THE NORTH EAST

Isana ...and Ishvari , what a lovely couple they make , riding the young leaping bull ! The parasol bearer , conch blower and the chauri bearer keeping step , seem eager to please . The fine drapes of the riders and the bells on the bull's rump are worked in great detail , for the size . Again , the Nolamba signature of toned , shapely limbs is clearly  visible here . 

Isana is Siva , the Lord of Knowledge and Prosperity. Isana and Kubera are thought to be pre-vedic cult deities , successively morphed according to needs of the time . Siva is a multitasking deity and as Isana , he is Guardian of The North East . 

The central panel around whom the dikpalas are arranged is ofcourse the Natesa , as in Aralaguppe . The pose is the rhomboid 'Chatura ', one hand thrown across in gajahasta . He holds a snake , a trident , a cup / kapala , bead mala and a deer , with one hand showing benediction. His ganas are seen providing the music with an oval drum ( mizhavu ?) a long ( stringed?) instrument and cymbals , while his Devi watches from the side. Apasmara seems happy to be trampled upon. There is a joyousness exuding from the frame , so reminiscent of the other beautiful, long limbed  Nolamba Natesa mentioned above. 

The three dikpalas of this set who emigrated to Chennai Museum are : 

Agni , Yama and Nairutti . 

The striking feature of this set of Dikpalas is the composition . The whole entourage of each dikpala had to be fitted into the given square without making the design seem cramped or forced . The number of attendents each pair is given seems well thought out . No one is found to have shortened limbs or unjustly starved bodies , just to be accomodated within the space . 

The other feature is the over all exuberance, the buoyancy  of spirit that informs this sculpted  marvel . One can imagine what it would have looked like on the ceiling : 

celestial beings , in festive mode , gliding about the magical firmament  , among puffs of clouds kicked up by their leaping mounts.....it would have been enough for the pilgrim to look up and be assured that 

" God is in heaven and all is well in the world " 

There can be no doubt at all that the  Artisans of Nolambavadi worked under Divine Inspiration , their hands  guided by the gods .

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Photography : By kind permission  of ASI , Anantpur Sub Division. 

Photos and inputs  : Jay Shankar 

Text : Vidya Murali