Book Title: Indian Antiquary Vol 58
Author(s): Richard Carnac Temple, Charles E A W Oldham, S Krishnaswami Aiyangar, Devadatta Ramkrishna Bhandarka
Publisher: Swati Publications
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JANUARY, 19:29)
NOTES ON THE SEVEN PAGODAS
showing even the details of tl.e 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 structural 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 godesses. The work was begun under Narasimhavarman I, Mahamalla, was continued under Paramês vara varman I, and Nara simhavarman II, Rajasimha, and had not been quite completed even under Nandivarman Pallavamalla, the last great Pallava : in all a period of more than a century. The Dharmaraja Ratha has inscriptions of all these except the last, while the Ganêsa Ratha and the caves of SAluvankuppan contain inscriptions of Atiranachanda taken to be a surname of Nandivarman while it might possibly be one of Rajasimha himself.
Plates 12 to 15 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, per haps 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 per forming 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.
What this bas-relief represents has been agitating the minds of archæologists very much. Their doubt that this does not represent Arjuna's penance has shown itself in protean forms. Fergusson has it in his Care Temples of India (pp. 155-6): “It wsa popularly known as Arjuna's penance from the figure of a Sannyasi standing on one leg, and holding his army over his head, which is generally assumed to represent that hero of the Mahabharata, but with no more authority than that which applies his name with that of his brothers and sister to the Ratha above described."
"In the centre on a projecting ledge, between the two great masses of rock, once stood the statue of the great Nagaraja, who was the principal personage for whose honour this great bas-relief was designed. This opinion is apparently shared by Burgess who collaborated with him in the publication of his standard work, the Cave Temples of India. These doubts, however, are thus summarised by a recent archæologist in the following words :
.“ Concerning the latter bas-relief, it is well to recollect that we cannot any more call it • Arjuna's penance.' ” The merit of having given a satisfactory explanation of this scene goes to Mr. Victor Goloubeau who has proved (Journal Asiatique, l1th series, vol. IV, July-August 1914) -
1. That the principal object in the scene is the vertical crevice in the rock, for it is towards it that all the personages are turned ; 2. That the presence of nagas in the crevice proves the presence of water.
24 This was no sister but the common wife of the five brothers,
