Indian Antiquary Vol 58

Author(s): Richard Carnac Temple, Charles E A W Oldham, S Krishnaswami Aiyangar, Devadatta Ramkrishna Bhandarka
Publisher: Swati Publications

Page 262

26
THE INDIAN ANTIQUARY
[ FEBRUARY, 1929
the purpose of shutting off the smaller from view on one side. The shoreward tower is the sinaller and seems the older. It has a hole in the middle of the pedestal to hold a stone image or linga. An image has since been recovered which is of the Sarvatóbhadra 36 type. There is within the shrine a representation of Siva as Somaskanda 86 in the central panel.
Beginning at the south end of this little shrine and at the back of it looking towards the sea is what now looks a comparatively dark chamber, holding a large-sized image of Vishnu couchant. (See Plate 9.)
Then comes the seaward shrine just covering this in front, and of proportions to shut off altogether from view on the seaside both the Vishnu and Siva temples above described. This contains a huge lingam, with sixteen fluted faces. These three in Chola times were known as Jalagayana or Kshatriyasimha Pallavêsvaram, Pallikondan and Rajasimha Pallavēsvaram, respectively, notwithstanding the statements of the epigraphists to the contrary. The significance of this will follow.
The Atiranachandêsvara Cave in Saluvanguppam : Plate 23. This Atiraņachanda was taken to be Nandivarman, the last great Pallava. It looks, on palæographical grounds, to be a surname of Narasimhavarman II, Rajasimha.
Vishņu in the lying posture as the Sthala-sayanamurti : Plate 9. This is a recumbent image of Vishnu with only two hands; about a fourth of the body should be somewhat raised, and the remaining three-fourths should be lying flat upon the serpent bed. The right hand should be placed near the pillow, so as to touch the kirița ; the other hand, bent at the elbow, should be held in the kaçaka pose. Or, this left hand may be made to be parallel to the body, so as sometimes to touch the thigh. The right leg has to be stretched out, while the left should be slightly bent. The image itself should be adorned with various ornaments. The eyes must be somewhat opened. The colour of the image should be a mixture of black and yellow. By the side of this recumbent figure there should be Bhrgu and Markandeya, and near the feet, the demons Madhu and Kaitabha, while on the lotus issuing from the navel there should be Brahma. On the back wall of the shrine and above the level of the image of Vishņu should be sculptured the images of the Ayudha-purushas, of Garuda, of Vishvaksôna, and of the Sapta-rishis, all standing with their hands in the afijali pose. On the south wall should be shown Brahma, and on the north wall Siva - both in the sitting posture. Such a group constitutes the uttama class of Yogasayanamurti. If the figures of the Saptarishis and Vishvaksena are absent, the group belongs to the madhyama class; if the Pajakamunis and Madhu and Kaitabha are also absent, it is oonceived to belong to the adhama class.'37
In regard to this Yogasayanamurti in the Shore Temple, some of these features adjunct to such a representation are wanting. The omission is explained away by the tradition that the God was there himself alone and had to exhibit himself to Righi Pundarika in the Yogabayana. Therefore the usual adjuncts are wanting. Of course the tradition is kept up in the modern temple, where the name of the goddess is Bhadevi (the Earth). This tradition and the name of the goddess indicate some connection between the locality and the VarahAvatara of Vishņu. No definite statement of such a connection has so far come to my notice.
The Shore Temple is a feature of the antiquities of Mahabalipuram, which has been a puzzle in archeology. Being structural, it has been taken for granted that it must have
86 A column with four faces, each face with a head of Siva, the top is surmounted by a head also. 38 Siva in the company of his consort Uma and their son Skandha (Subrahmanya). 37 T. A. G., Iconography, pp. 90, &c.