Indian Antiquary Vol 60

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

Page 123

JONE, 1931 ]
VISHNU'S PARADEVATA PARAMARTHYA
101
VISHNU'S PARADEVATA PARAMÁRTHYA SCULPTURED AT MAHABALIPUR.
BY R. SRINIVASA RAGHAVA AYYANGAR, M.A. PROFESSOR S. Krishnaswami Aiyangar has described at length the antiquities of Mahabalipur in the March number of the Indian Antiquary for 19171 and has given a short account of the attempts made by various scholars ever since 1788 to identify the sculpture. With regard to the bas-relief which has hitherto been known as Arjuna's Penance, Prof. Jouveau Dubreuil of Pondicherry, who has been devoting much time to original research, refuses to accept the popular designation of the relief and identifies it as Bhagiratha's Penance. Subsequent to this Prof. S. Krishnaswami Aiyangar, after carefully examining the circumstances, concluded that the name Arjuna's Penance is the correct one and that the designation given by Prof. Dubreuil is hardly appropriate. Even Mr. A. H. Longhurst, Superintendent, Archäological Survey, S. Circle, in his article on Pallava Architecture, Part II, published as a Memoir of the Archæological Survey of India, explains (p. 44) that the scene represents Siva in the form of BhikshAtana arriving at Brahmakapalam in the Himalaya to get himself released of the sin incurred by cutting off one of the heads of Brahma. He also says: “There can be little doubt that the whole scene is a symbolical representation of the Ganges flowing from the Himalayas. The rook is mount Kailasa, and the cascade that once flowed down the cleft represented the sacred Ganga. The figure of Siva seems to have been introduced mainly with the object of making it quite clear that the rock represents the Himalayas." If that were the case, why should all forms of life be represented ? and why should there be a Vishnu temple with worshippers below and what is the object in representing the Himalaya at Mahabalipuram? No scholar has yet taken the trouble to enter into the merits of the question. This paper is intended to explain what the bas-relief represents and what are the five monoliths which are called till now Rathas.
Before proceeding to explain the meaning of the bas-relief, it is essential to understand the religious conditions at Mahabalipuram at the time. As early as the time of Padattalvår the place was an important seat of Vishņu worship. That Alvår addresses Vishņu as treating Måmallai as his favourite abode. A great effort must subsequently have been made to convert it to Saivism. That it did become devoted to the worship of Siva is evident from the insoriptions carved on the walls of the Ganesa Ratha, Dharmaraja Mandapa, Ramanuja Mandapa and the rock-cut cave at Saluvanguppam. There is a bloka (verse) which runs as follows
धिक्रेषा षिकेषा म्पुनरपि बिग्धिग्धिगस्तुषिकेषाम् ।
येषानवसति हृदये कुपथगति विमोक्षकोरुद्र ।। which means :-"Six times cursed be those in whose heart does not dwell Rudra (Siva), the deliverer from walking on the evil path."
This clearly shows that Siva worship was then predominant. The Ganesa Ratha, the Shore Temple, Mahishamardini Mandapa, Dharmaraja Ratha and the rock-cut temple at SAluvanguppam were all places where Siva was worshipped. We can see also that work was in progress on a big scale for housing the five murtis of a Siva temple in the five rock. out temples now popularly known as the Panohapandava Rathas.
Subsequently a sectarian revival seems to have occurred, and the place became cele. brated for its devotion to the worship of Vishnu; and it has continued to be a centre of Vaishnavigm down to the present day. Tirumangai Alvar has sung several verses in praise of Talasayana (EMT, 'reclining on the ground') Vishnu, who was reclining on MahAbalipuram. Again, we have the bas-reliefs depicting Sri Krishna in the act of lifting Mt. Govardhana, as well as the Varaha temple, indicating the prevalence of Vishnu worship. As we have abundant testimony proving that the place had become an important seat of Vishnu worship at so early a period, it is evident that the Vaishnava influence must have
1 Reference is also invited to Dr. Aiyangar's later article in the December, 1928, and January and February, 1929, issues of the Journal.