Documentation of Chola Paintings at Brihadisvara temple - My experience and enjoyment

P.S.Sriraman

My initiation into Chola history, like many who read the Tamil novels, was obviously through the great novel by Kalki’s Ponniyin Selvan. I still remember those young days, when I was a child trying to read any novels, hiding it from my father. Reading novels was permitted only during holidays. Very often, it was a luxury as I had to borrow the books from the neighbours due to difficult situations. Comics of the Irumbukkai Mayavi genere and Phantom were the special attractions. As I grew up, there was little to spare, mostly generated from recycling old paper, to the local lending library. Elder’s in my house recommended Kalki’s works, Sivakamiyin Sabadam and Ponniyin Selvan. I obtained the volumes, as it appeared as a serial in Kalki magazine and the pages were torn and bound together.

Reading these bound volumes were really an immense experience of different kind. While the main course was the work itself, the subsidiary interests were the incomplete pages before and after each chapter, that come with the torn pages as you never get to know the end (or beginning) of the matter of those pages. Whatever it may be, I was simply fascinated by Kalki’s creation, the way he told the story. It was my first encounter with the past. I began to like the past. It thought me to organize the events in my memory in a time frame work. It thought me visualise the past. History became very easy. Kalki thought me to see History in his story. I never imagined in those days that I will become a professional archaeologist and will be intimately associated with a work his hero so carefully created - The Brihadisvara temple and the murals in it.

Fascination with Brihadisvara temple

I joined the Archaeological Survey of India in 1987.I visited the temple twice before as a student. On my second visit, we were guided through the temple by our mentor K.R.Srinivasan. His explanations made me to understand not only the great temple and its architecture but also Rajaraja and his personality. Kalki’s could have sketched Arulmozhi in several ways, but he characterised him as a person ready for a phenomenal change as a king and a person. This aspect I was very much able to understand during my second visit. After a sojourn in Karnataka, I came back to Madras (I prefer Madras over Chennai). I visited Tanjavur many times. Being an in service person and a professional archaeologist, I was always allowed to view the murals as often as I liked. Initially, I was very happy at the recognition and privilege. At the same time, I felt guilty that the visitors, who admire the monument for its sheer magnitude, are ignorant that there are extraordinary murals inside the pradakshinapatha around the sanctum. Often, few interested, inquisitive and informed visitors requested us to permit them inside. Many scholars, who had access like me, could not understand them in full due to ground conditions. We used to politely refuse. Dreaming to document the murals

This experience made me to think positively. I began explore the ways and means. I began to dream. I was waiting for the day to give shape to my dream, like Rajaraja waited till an advanced age to build the temple. In between, I left for Gujarat on transfer and came back to Madras. In a government organization, it is very difficult to convince higher ups. Fortunately, Dr. T. Satyamurthy too arrived back as my officer in Madras. When I explained my dream project to him that the visitors must have access to the murals, he readily agreed and suggested to find a way. He was ready to stretch the resources at his disposal, however difficult it may be.

I began to explore the possibilities. It is next to impossible to allow every visitor to see physically the murals for lack of space in the passage. Therefore, the best way is to reproduce them in a suitable manner. There were two possibilities before me. The whole painting could be reproduced, size to size and colour bit to colour bit by hand using artists. At once I decided against it due to time, cost, subjectivism of the modern artist and availability of dedicated and competent artists and other parameters. A similar effort by Lalit Kala Academy was successful at Sittanavasal and Badami. Strangely Tanjavur was left out. Therefore, I decided to the best way is to photograph them and prepare same or near the same size reproductions for the visitors to view.

Twice lucky

I began to explore further by setting the parameters. The reproduction must be as much similar to the original as possible in colour and perspective. With my limited knowledge of photography, I know it is a tall order. Is there any one to do it? Lack of space in between the wall and the near darkness within the passage, the fundamental requirement for photography, were the problems to be surmounted. I was able to decide that the panels must be shot in several frames and joined. It is very easy to say. How to execute? I was lucky second time.

One fine evening in early 2004, I was discussing the dream-project with an artist-couple Ramachandran and Anamika, in my office, exploring with them the possibilities. At that time, he was specialising in reproductions of ancient paintings, particularly Ajanta on canvas. Personally, Ramachandran wanted to copy the murals in oil on canvas. My obsession with photo reproductions perhaps convinced him to introduce his friend Shri Thyagarajan to me. He was too generous. He deserves the first compliments. Thygarajan met me and was ready to take up the project provided he was given the facilities. I decided experiment with him on the project. Thus began the project. We proceeded step by step, correcting all our technical shortcomings. Rest is history.

It may be recorded here that ours was not the first effort. It was done for ASI way back in 1950’s. The work was published recently by Koviloor Nachciappan in his book Sittannavaal, Panamali, Thanjavur Early Chola Paintings. He deserves more appreciation than us.

The principles of documentation

The whole panel measures about 15 feet by 10 feet. the artist had used the whole area to paint the theme he had chosen to depict. Photographing it in part, like being done, by many fell far below our objectives of presenting the whole panel in single frame. The location is a nightmare for any photographer. There was very less clearance between the walls and absolutely no natural light. Therefore covering the whole mural in a frame is impossible. It was decided to cover the panel in forty frames and stitch them into a single frame in computer system. It is very difficult to describe the effort we had to put in achieving this. Part of the technical constraints experienced in the effort are excellently described by Gokul Seshadri, in an article in the issue No. 7 of www.varalaaru.com. He vividly elaborates further a step in bring out the advantages of graphic tools in restoring the images. In fact, he spent hundreds of hours to restore the panel of Nataraja using this technique. Indeed a great effort worth our compliments.

A selfish act

I began to develop an intimate attachment to the murals. Now everything is available in the computer system as digital files, I began to explore them, inch by inch, day in and day out. The results were really extraordinary. I realised the magnitude of our work. I was able to view the paintings by digitally enlarging it. Many new features hitherto not notice by great scholars, came out. New interpretations, missed by many who had unlimited access to the paintings, became possible. I must admit that I am too selfish to enjoy them on my own. Fortunately, the Director General had permitted me to write a book on the murals. I am at it now. Let me share few of my discoveries here for the benefit of PS members.

The comic of Vanan

In an article in the e-journal, Varalaaru (Issue 7, January 30th, 2005, www.varalaaru.com) by Dr. R.Kalaikkovan (“Raja Rajisvaram - Certain Revelations”) wrote:

“The paintings which had been analyzed and critically studied by the doyens of the field still have a lot to reveal. … The paintings had been done after a careful study of the pathigams of Sundarar and not Peria Puranam”.

A well made statement indeed. However, the doyens could not study the paintings in depth due to limitation of the location. The reasons may be many, lack of space and light and improper documentation are definitely among them. Dr.Kalaikkovan rightly continues further to identify that the Tirunotiththaanmalai-p-pathikam of Sundarar is the key in understanding this particular mural depicting the life of the saint. He quotes the lines from the seventh verse of the pathikam, which states that Varuna, the king of sea, ‘ambushed’ Sundarar on his way to Kailasa with “flowers”. In fact, Sundarar uses the word alar, which is a full-blown flower. He further quotes the lines from the next verse and goes on to identify the “vanan” mentioned therein by Sundarar as the figure clinging to the tail of the white elephant depicted in the panel depicting Sundarar’s life.

This identification requires critical examination. We need to accept for sure the above-mentioned statement of Kalaikovan. The Chola painter was, very much aware of the wordings of this pathikam and quite anxiously copied it on the murals. However, the identification of vanan by Kalaikkovan seems bit uncertain. Sundarar clearly qualifies Vanan by adding an adjective “varamali”, in order to glorify the greatness of him. Therefore he was not a simple person to cling to the tail of the elephant. Sundarar further states that the Vanan showed him the way (vazhi thanthu). If these words to be taken as the guide for interpreting the depiction, then why the painter had to depict an important person, such as this Vanan, who could show the way to Sundarar’s journey, need to cling to the tail of the elephant?

Now, if we take a close look at that portion of the painting [Sundarar 1 image], we could easily observe that there are two groups of celestial persons, drawn hidden in the clouds above Sundarar’s journey on the white elephant. There are four to the left (adjoining the prakara of the temple depicted) [Sundarar 2 image]. At the extreme left is clearly a gana, because his nose is beaked and he carries a full-blown flower (alar of Sundarar!) in his left hand and the right hand is in vismaya posture, as if he is saying bye-bye. Then there are three more celestial-figures, with the central figure is carrying a full-blown flower, the rest are partially hidden behind. This gana figure could be the Vanan, and not the figure clinging to the tail. A commentator of popular edition of Panniru tirumuraikal (2nd Edition, Vardhamanan Pathippakam, 1998), claims the Vanan to be a leading gana. The others may be those who were reciting the Vedas and agamas, as mentioned by the Sundarar in the first line of the eighth verse of the same pathikam.

The next group [Sundarar 3 image] to the right is the three celestial figures; two are female and a male. Further is a group of musicians, perhaps mentioned by Sekkilar in the (verse 4262 of Periya Puranam), wherein Sekkilar describes the journey of Sundarar with five kinds of music (ivagai naathmi-thezhunthaarppa) being played like the roaring waves of seas on all the four sides and the gods raining flowers (vaanavar poomazhai pozhinthida). Indeed, everyone of the figure in the clouds have a full-blown flower in their hands!

How to explain the figure, clinging on to the tail? He must be a common person trying a shortcut to Kailasa. The Chola painter used every opportunity to exhibit his artistic imaginary skills in otherwise drab and constricting themes he was forced to paint. This must be one such situation, to exhibit his skill in depicting the hasya rasa. At least there are few other instances in the entire assemblage, about which I will be writing in future.

Another revelation – Depictions of Rajaraja and Rajendra and Recitation of Thevaram hymns by Nambi ?

Let us now turn our attention towards the least understood panel of the circumambulatory of the temple. It is the Rajaraja worshipping Linga panel [rajaraja1 image]. My repeated study of this largely damaged panel is conclusive in proving that there are two different scenes are depicted there. I am not going into the detail of the panel in words, which is going to be a part of a large article under publication. The upper portion is easily identifiable and accepted by all as Rajaraja worshipping the linga. I agree too. The significance, among other things, is the depiction of a framed painting of Nataraja. The lower portion is generally taken to be an assembly of many to witness the above event. However, it is not so.

Repeated examination indicates, even in its fragmentary state, that the lower portion is different from the upper one. There is a central figure seated in a peculiar posture, with red body hue and cleanly shaven head and facing the viewer. The identification is tricky. However, he got a position of eminence as a large area was left around him. There is a nave in front of him. Two groups of people are seated in rows, in highly hierarchical fashion on either side. The group on the left is the royal household including the king, his son, wives, offspring and royal women. The right is a group of officials led by the senatipati, none else than Krishnan Raman and seated in rows in hierarchical order. There is another group of siva bhaktas with cymbols.

In the group to the right, facing the central figure, seated at an appreciable distance from is a person wearing a dhoti-like lower garment on a low pitha or an asana. This must be the guru Isana, because Rajaraja is seated next to him. The asana is not given to others, including the central figure and the king. Next, is obviously Rajaraja, a depiction similar to the depictions found in the Sundarar panel, Nataraja panel and also in this panel in the upper portion. Next is obviously Rajendra. The artist was very clever to depict him with youthful exuberance. Compare this depiction with that of Rajaraja. Rajaraja is obviously older. The panel is damaged further. There are two figures. They may be Kundavai and her husband, if you follow the hierarchy of Chola dynasty at that time. Beyond are the three principal queens of the king. A series of figures of young men and women are drawn above Rajaraja and Rajendra in a secluded area. I tend to identify them as the offspring of both. Below them, seated in three rows are royal women. Their attire, even in this extremely damaged condition, show extraordinarily exquisite. In fact, a woman has well manicured nails in her left hand. Unfortunately, this portion was damaged to the maximum. If preserved in full, we would have had the most exquisite figures of this school.

The official group is led by the senatipati Krishnan Raman, as he alone has a sword and he is seated just in front of the central figure. He is slightly off the alignment, perhaps indicating his arrogant authority in the assembly. There are three tirumandira-olais, wearing ornate lower garment, as they are the only one to carry a bunch of palm leaves tucked in their left hand, so sincere to record the orders of the king. Others are normal officials, with very ordinary dress.

The last group, away from above, but equal to the central figure, are siva bhaktas playing on cymbals.

Who is the central figure? To know this, I need to mention that invariably everyone is holding their hands, in a peculiar fashion. The index finger is well stretched, with other fingers closed, in a variation of suchi hasta, indicating something great is being told. They are all being overawed by the exposition. I tend to identify the central figure as that of Nambi Andar Nambi and either he is reciting the newly catalogued hymns of Tirupathiyam or at best his own work of Tirutthondar Tiruvanthathi.

The snake and the monkeys in the banyan tree in the so-called Dakshnamurthi panel

The banyan tree, per se, in the so-called Dakshinamurthi panel is perhaps where the Chola painter was at his best. With no Siva seated below, the artist felt freed from the conventions to infuse life into tree by inhabiting it with animals. But, the painter did not stop just at that. What was described other scholars are mere animals. It is in fact a moment in the life of all these animals, stationed on the branches of the tree. It all happened suddenly when a cobra, already swallowed a prey, lashing its tongue, slowly appears from the bottom. The artist was clever in depicting the cobra raising its hood from the bottom. The hood is bulging at the bottom indicating the progress of the eaten pray towards the digestive system had just begun. The unexpected entry had obviously stirred the fear among others. The chirpy birds seated on the branches on the highest margin of the trees were first to notice the threat. A bird or two are just taken off to the next tree. Others, being well away from the cobra are watching it and waiting for an opportune moment to fly. The peacocks, three in number, two in as pair, were too aware of the threat. As they could not just turn their head to sight the cobra, one had to literally bend down its whole neck to look at the threat. There is a pair of owl seated just next to the cobra, with no reaction or even an intuition to the threat. Did the painter suggest here that the whole moment is in daytime as the nocturnal owls were without any movement, even though the threat was so near? A squirrel was so engrossed in picking the berries of the tree.

The artists excelled in illustrating the reactions of the four monkeys at the entry of the cobra. Of the four, one that was behind the snake is lowly slipping away and about to jump to safety. The fine brush work of the painter is so evident here that the body hair of this fellow is erect due to fear. Another, in the direct line of attack, is running away. The abject fear is so well displayed in its face. The painter was a master here, of the animal behaviour. The painter uses strong lines of brow portray the fear, which is so visible in the eyes too. In fear and anxiety to escape from the cobra, the artists had drawn as if the monkey misplaces his forelegs, on a vertical aerial root rather than a horizontal branch. The result – the fall of the monkey, otherwise hopping from branch to branch – is anticipated. The third monkey, perched further behind the cobra and away from its direct sight, is quietly observing the direction of movement, before taking the obvious evasive action. Here too, the artists used every device, the strong lines of the face, the body posture to suggest the anxiety of the animal at the unwanted threat. The fourth individual was far away from the cobra, even though located in the line of sight of the predator. But having back towards the snake, this individual is not yet aware of the threat as all happened in a trice. The artist depicted him with little movement, but the raised ear indicate that it aware of the threat even though not its intensity. In all, the painter was extremely successful in bringing out action that happened in small moment in a tree, with the entry of the snake. The Chola artists had excelled here, a rare opportunity was provided here to depict a tree.

Once the artist was freed from depicting a conventional Dakshinamurthi seated below the banyan tree, he changed the symbolic significance of tree, as its stands for the ever expanding jnana, into a live object. It may be recalled here that Rajaraja donated a copper image (sepput tirumeni, sacred image of copper) of Dakshinamurthi, which was described in an epigraph engraved on a pillar in the northern prakara. The description, so accurate with dimensions, described the god as seated on a hillock under the banyan tree (ala vriksha). He is four armed trampling the musalagan, the apsamara purusha. The most interesting item of the description is the pokkanam and the stick with peacock feathers. The description ends here abruptly, denying a chance to know whether the tree had those wonderful animals threatened by the snake. It may also be recalled here that the customary niche for the Dakshinamurthi is missing so is his sculptural representation anywhere in the temple.

While there are many other aspect, I wish to discuss here, the severe constrain of space prevents me writing further. The murals of Brihadisvara temple are extraordinary in content and execution. I am extremely lucky and feel satisfied to have done my little in bringing them to the desk of one and all, that too in the 100th decade of its construction. I wish to place on record my sincere thanks to all those who helped and encouraged me all along. The list is ever growing.

About

Sriraman has a post-graduation in Ancient History and Archaeology and a PG Diploma in Archaeology, and is presently an Assistant Superintending Archaeologist with the Archaeological Survey of India. He has rich experience in his field. He has conducted several excavations at Banahalli, a proto-historic site in Karnataka, Gingee, a medieval site and Mahabalipuram, an early historical site. He has explored several regions in Karnataka and Tamilnadu leading to the discoveries of several important archaeological sites. He was instrumental in the reorganization of the sites museum at Lothal, a Harappa Civilization site, the Fort Museum, Fort St George Chennai including the new gallery on Prints.