Indian Antiquary Vol 46

SR No.: 032538
Original Sutra Author: N/A
Author: Richard Carnac Temple, Devadatta Ramkrishna Bhandarkar
Publisher: Swati Publications
Publication Year: 1984
Total Pages: 508
Language: English
Classification: Book_English
File Size: 20 MB

Page 59

MAROK, 1917)
THE ANTIQUITIES OF MAHABALIPUR
53
been forgotten and the story of the Mahabharata was in great vogue. The origin seems simple enough of the five structures one differs from the rest the smallest with a peculiar roofing--a roofing that seems formed on the pattern of a small hut with the roof overlaid with paddy grass as village houses and huts often are. Of the four other structures three are quite similar in form. The whole five struck the popular imagination as houses built for the five brothers, the twins counting as one, as is often the case in the original Mahabharata. Hence the name must have appeared peculiarly appropriate, having regard to the magnificient bas-relief which goes by the name of Arjuna's Penance.
The illustration exhibits the structural differences between the so-called Dharmaraja and the Bhimaratha clearly. The Dharmaraja, Arjuna and Nakula-Sahadeva Rathas are of one pattern—the conical; the Bhima Ratha is of a different pattern---the apsidal; while the Draupadi Ratha is of the conical pattern likewise, but exhibits the roof smooth showing even the details of the over-lying paddy grass. The difference between the other three and the Bhima Ratha is one of structure-the structure of the originals of which these are but obvious copies. The originals are no other than village houses, which are of the same two patterns all along the coast. The roofing material is almost universally plaited cocoanut fronds overlaid in more substantial dwellings by dried paddy grass. Such a structure necessitates certain structnral features in the roof, which in the copies develop into ornaments. The tale of their origin is disclosed often by the names that stone masons and others engaged in architecture make use of. Inscriptions on them make it clear that these were intended to enshrine gods and goddesses. The work was begun under Narasimh bavarman, Pallavamalla, was continued under Paramosvaravarman I. and Narasimhavarman II, Rajasimha, and had not been quite completed even under Nandivarman Pallavamalla, the last great Pallava : in all & period of about a century. The Dharmaraja Ratha has inscriptions of all these except the last, while the Gaņeba Ratha and the caves of Saluvanguppan contain inscriptions of Atiranachanda taken to be a surname of Nandivarman while it might possibly be one of Rajasimha himself.
Plates II & III represent the bas-relief which goes by the name of Arjuna's Penance. The sculptor has made use of a whole piece of rock with a hollow right in the middle, perhaps caused by the erosion of running water. The first gives the general view of the whole. The striking feature of the whole scene depicted appears to be the water course towards which every figure represented seems to move. As is always the case in Hindu temple building, one will see a small shrine on the left side of the cascade containing a standing figure. Just outside the shrine an old looking man is found seated to one side in the attitude of one performing japa (repeating prayers). Almost in a line with this, but above is seen another figure of an old man standing on the left leg, the right somewhat raised and bent, and both his hands held above his head in an attitude of god-compelling penance. In front of this old man is seen the majestic figure of a god, standing in an attitude of granting the prayer, with four hands, two of them holding weapons and the other two in the poses known as abhaya (no fear) for the left, and as varada (giving boons) for the right. The dwarf figures about and close to the personage deserve to be noted, as they are characteristic of Siva: the dwarf figures being representations of various ganas.