Arjuna's Penance - अर्जुन तपस्या
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This magnificent relief, carved in the mid-seventh century, measures approximately 30m (100ft) long by 15m (45ft) high. The subject is either Arjuna's Penance or the Descent of the Ganges, or possibly both. In the culture of India (as for that matter the civilization of ancient Egypt), logical alternatives are often conceptualized as "both-and" rather than "either-or."
Arjuna's Penance is a story from the Mahabharata of how Arjuna, one of the Pandava brothers, performed severe austerities in order to obtain Shiva's weapon. The idea, which pervades Hindu philosophy, is that one could obtain, by self-mortification, enough power even to overcome the gods. In order to protect themselves, the gods would grant the petition of any ascetic who threatened their supremacy in this way - a kind of spiritual blackmail, or "give to get." (This meaning of the word "penance," by the way, is specific to Hinduism. Unlike the Catholic rite of penance, it is performed to gain power, not to expiate sin..
The Ganges story is of the same kind, in which the sage Bhagiratha performs austerities in order to bring the Ganges down to earth. Shiva had to consent to break her fall in his hair, because otherwise its force would be too great for the earth to contain.
The symbolism of the relief supports either story. Furthermore, both stories were interpreted in a manner flattering to the Pallavas; the heroic Arjuna as a symbol of the rulers, and the Ganges as a symbol of their purifying power.
The composition of the relief includes the main elements of the story (left) and scenes of the natural and celestial worlds (right). A natural cleft populated by nagas separates the two halves of the relief. Water was poured down this cleft in order to simulate a natural waterfall (the Ganges' descent). To the left, just above the shrine, Arjuna (or Bhagiratha) stands on one leg, his arms upraised, in a yoga posture. Behind him appears Shiva, holding a weapon and attended by ganas. To the right of the cleft, life-sized elephants protect their young below a scene of numerous other animals and flying celestials, all carved with the greatest vivacity, skill, naturalism, and joyousness.
It is difficult to do justice to such a large and beautiful relief in photographs. A person could barely reach the elephants' feet, and it was not possible to frame the entire monument in one photograph. The stitched-together photo, above, provides a general sense of the layout and composition of the relief. Close-ups appear on the following pages. The area in the lower left of the photo composite has been left blank because it was left uncarved, presumably incomplete, except for a group of denning animals next to the shrine.
This marvelous sculpture group is located just beside the right end of the relief, but it is a separate carving. The mother is nursing her baby while being groomed by a subordinate. A little boy, sitting (unposed!) on the edge of the plinth, provides a sense of scale and a humorous imitation.
The upper left of the relief depicts a mountain setting with grazing animals, lions, humans, and celestials, including (photo left) a pair of bird-like kinnaras. Shiva attended by his hosts (ganas) is visible at the far right of the photo. The mountain represents Shiva's abode in the Himalayas, where the worlds of gods, humans, and animals intermingle.
The hero of the story is performing a difficult and painful yoga posture: standing one-legged, arms above his head. Such positions had to be held, without moving, for great lengths of time; even years, according to the legends. His protruding rib-cage indicates the austerity of self-starvation as well.
To the left, four-armed Shiva looks on approvingly, his left hand extended in varada mudra, the gesture of granting a blessing. At lower left, an antelope bounds from ledge to ledge. The scene includes flying celestials, a gana below Shiva's hand, and a pair of birds near Arjuna's left elbow.
This marvel sculptured in rock is located at Mamallapuram, 58 km from Chennai, the capital of Tamil Nadu in Southern India. Approximately 96ft long and 43 ft high, carved in mid seventh century on the face of two enormous adjacent boulders, this is one of the biggest open-air rock sculptures in the world.
Mamallapuram, once the ancient port of the Pallava dynasty who traded with countries of the far east, is now world famous for the splendid 7th and 8th century art and architecture of the period. Its monolithic rock sculptures, carvings, shore temple and wonderful beaches make the place a beautiful tourist destination.
The skillfully carved edifice is named after the Epic Mahabharatha hero, Arjuna. The subject is either an account from the Epic Mahabharata, of how Arjuna, one of the Pandava brothers, performed severe austerities in order to obtain Shiva's weapon to destroy his enemies OR an illustration of King Bhagiratha's penance to bring the River Ganges down to earth to purify the souls of his ancestors. His prayers are answered and Lord Shiva sends the Ganges down to earth, but breaks her fall by allowing the water to trickle through his hair, so that the impact of its fall would not harm the earth. This strange sight is said to have aroused the curiosity of the world's animals, which gathered around the soaking God. The symbolism of the relief supports both these stories. Some of the popular fables from the Hindu Panchatantra books are also depicted.
The sculptured figures on rock are remarkable for its vitality and naturalism and the skill with which they are sculpted. There are over 100 figures of gods and flying celestial creatures, birds and animals including giant elephants, human beings and saints in this beautifully sculpted scenario.
There is a natural cleft between the two rocks separating the relief into two halves. The descent of the celestial river is represented by this cleft. Most of the figures of animals and celestial beings are carved either facing or approaching this cleft and generally with hands folded in adoration. The cleft is filled with a slab sculpted with male and female nagas (snakes), their hands held together in adoration, over which a contrived waterfall is fed from a collecting chamber above. On the left side of the cleft there is a four-armed deity, probably Shiva, his right hand holding a weapon, the left hand the showing the gesture for granting a blessing and attended by dwarf ganas (guards and followers of Lord Shiva). Just right to this deity of Shiva, a little below Arjuna OR Bhagiratha stands on one leg, with arms upraised, in a yoga posture seeking his blessing. Beneath this figure is a small simple shrine of Lord Vishnu in front of which sit sages, a buck and his doe and a lion and disciples engaged in austerities. A few animals are seen resting in their caves to the left. But the remaining lower left portion of this boulder is left un-carved. The Upper left portion of this boulder represents a mountain probably Shiva's abode in the Himalayas, where gods and animals are seen blended together.
To the right of the cleft in the other boulder are seen numerous celestial beings and animals of which the most remarkable are the life-sized elephants protecting their young. Beneath the elephants there are scenes from the Panchatantra fables, such as the story of the cat doing penance by standing on one leg, trying to trick a group of rats.
Just right of this exquisite relief, on a low platform, a group of carved monkeys are seen preening one another and playing and nursing a baby, which is also remarkable.
Arjuna's Penance is a story from the Mahabharata of how Arjuna, one of the Pandava brothers, performed severe austerities in order to obtain Shiva's weapon. The idea, which pervades Hindu philosophy, is that one could obtain, by self-mortification, enough power even to overcome the gods. In order to protect themselves, the gods would grant the petition of any ascetic who threatened their supremacy in this way - a kind of spiritual blackmail, or "give to get." (This meaning of the word "penance," by the way, is specific to Hinduism. Unlike the Catholic rite of penance, it is performed to gain power, not to expiate sin..
The Ganges story is of the same kind, in which the sage Bhagiratha performs austerities in order to bring the Ganges down to earth. Shiva had to consent to break her fall in his hair, because otherwise its force would be too great for the earth to contain.
The symbolism of the relief supports either story. Furthermore, both stories were interpreted in a manner flattering to the Pallavas; the heroic Arjuna as a symbol of the rulers, and the Ganges as a symbol of their purifying power.
The composition of the relief includes the main elements of the story (left) and scenes of the natural and celestial worlds (right). A natural cleft populated by nagas separates the two halves of the relief. Water was poured down this cleft in order to simulate a natural waterfall (the Ganges' descent). To the left, just above the shrine, Arjuna (or Bhagiratha) stands on one leg, his arms upraised, in a yoga posture. Behind him appears Shiva, holding a weapon and attended by ganas. To the right of the cleft, life-sized elephants protect their young below a scene of numerous other animals and flying celestials, all carved with the greatest vivacity, skill, naturalism, and joyousness.
It is difficult to do justice to such a large and beautiful relief in photographs. A person could barely reach the elephants' feet, and it was not possible to frame the entire monument in one photograph. The stitched-together photo, above, provides a general sense of the layout and composition of the relief. Close-ups appear on the following pages. The area in the lower left of the photo composite has been left blank because it was left uncarved, presumably incomplete, except for a group of denning animals next to the shrine.
This marvelous sculpture group is located just beside the right end of the relief, but it is a separate carving. The mother is nursing her baby while being groomed by a subordinate. A little boy, sitting (unposed!) on the edge of the plinth, provides a sense of scale and a humorous imitation.
The upper left of the relief depicts a mountain setting with grazing animals, lions, humans, and celestials, including (photo left) a pair of bird-like kinnaras. Shiva attended by his hosts (ganas) is visible at the far right of the photo. The mountain represents Shiva's abode in the Himalayas, where the worlds of gods, humans, and animals intermingle.
The hero of the story is performing a difficult and painful yoga posture: standing one-legged, arms above his head. Such positions had to be held, without moving, for great lengths of time; even years, according to the legends. His protruding rib-cage indicates the austerity of self-starvation as well.
To the left, four-armed Shiva looks on approvingly, his left hand extended in varada mudra, the gesture of granting a blessing. At lower left, an antelope bounds from ledge to ledge. The scene includes flying celestials, a gana below Shiva's hand, and a pair of birds near Arjuna's left elbow.
This marvel sculptured in rock is located at Mamallapuram, 58 km from Chennai, the capital of Tamil Nadu in Southern India. Approximately 96ft long and 43 ft high, carved in mid seventh century on the face of two enormous adjacent boulders, this is one of the biggest open-air rock sculptures in the world.
Mamallapuram, once the ancient port of the Pallava dynasty who traded with countries of the far east, is now world famous for the splendid 7th and 8th century art and architecture of the period. Its monolithic rock sculptures, carvings, shore temple and wonderful beaches make the place a beautiful tourist destination.
The skillfully carved edifice is named after the Epic Mahabharatha hero, Arjuna. The subject is either an account from the Epic Mahabharata, of how Arjuna, one of the Pandava brothers, performed severe austerities in order to obtain Shiva's weapon to destroy his enemies OR an illustration of King Bhagiratha's penance to bring the River Ganges down to earth to purify the souls of his ancestors. His prayers are answered and Lord Shiva sends the Ganges down to earth, but breaks her fall by allowing the water to trickle through his hair, so that the impact of its fall would not harm the earth. This strange sight is said to have aroused the curiosity of the world's animals, which gathered around the soaking God. The symbolism of the relief supports both these stories. Some of the popular fables from the Hindu Panchatantra books are also depicted.
The sculptured figures on rock are remarkable for its vitality and naturalism and the skill with which they are sculpted. There are over 100 figures of gods and flying celestial creatures, birds and animals including giant elephants, human beings and saints in this beautifully sculpted scenario.
There is a natural cleft between the two rocks separating the relief into two halves. The descent of the celestial river is represented by this cleft. Most of the figures of animals and celestial beings are carved either facing or approaching this cleft and generally with hands folded in adoration. The cleft is filled with a slab sculpted with male and female nagas (snakes), their hands held together in adoration, over which a contrived waterfall is fed from a collecting chamber above. On the left side of the cleft there is a four-armed deity, probably Shiva, his right hand holding a weapon, the left hand the showing the gesture for granting a blessing and attended by dwarf ganas (guards and followers of Lord Shiva). Just right to this deity of Shiva, a little below Arjuna OR Bhagiratha stands on one leg, with arms upraised, in a yoga posture seeking his blessing. Beneath this figure is a small simple shrine of Lord Vishnu in front of which sit sages, a buck and his doe and a lion and disciples engaged in austerities. A few animals are seen resting in their caves to the left. But the remaining lower left portion of this boulder is left un-carved. The Upper left portion of this boulder represents a mountain probably Shiva's abode in the Himalayas, where gods and animals are seen blended together.
To the right of the cleft in the other boulder are seen numerous celestial beings and animals of which the most remarkable are the life-sized elephants protecting their young. Beneath the elephants there are scenes from the Panchatantra fables, such as the story of the cat doing penance by standing on one leg, trying to trick a group of rats.
Just right of this exquisite relief, on a low platform, a group of carved monkeys are seen preening one another and playing and nursing a baby, which is also remarkable.
How to get there
Air
Chennai (58km) is the nearest airport with both domestic and international terminus. Chennai is connected with all the major places in India through the numerous domestic flights. International flights operate from various parts of the world to Chennai. Air timings (Chennai)Rail
The nearest railway stations are Chengalpattu (29km) and Chennai (58km). From these stations one has to take road journey to reach Mamallapuram. Train timings (Chennai)Road
Buses are available from Pondicherry, Kanchipuram, Chengalpattu and Chennai to Mamallapuram daily. Tourists can also hire a taxi from Chennai.
Arjuna's Penance
Place: Mamallapuram (Mahabalipuram), Tamilnadu
Significance: One of the largest bas relief in the world
Best Time to Visit: Throughout the year
Place: Mamallapuram (Mahabalipuram), Tamilnadu
Significance: One of the largest bas relief in the world
Best Time to Visit: Throughout the year
 Photo by : Velachery Balu in Flickr |
 Photo by : Pandiyan in Flickr |
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 Photo by : Sandip Debnath in Flickr |
 Photo by : FabIndia in Flickr |
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 Photo by : Road Blog in Flickr |
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 Photo by : kathir81 in webshots |
 Photo by : dbooth52 in webshots |
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