Basvanna to Sankardev - Poet Saints of India

From ancient times, India saw a steady stream of social reformers. These included persons like Buddha and Mahavir in the pre-Christian times. Starting from 6th century CE for more than a thousand years, India saw a number of social and religious reformers who expressed themselves in devotional poetry, often wore the saffron cloth of the renunciation, and wandered around composing and singing songs of divine love, spreading messages of human dignity and equality. These reformers are often called the Poet-Saints and their movement is known as Bhakti-movement (Bhakti = Devotion).

This post focuses on two such poet-saints – Basvanna in Karnataka and Srimanta Sankerdev in Assam, and their profound and lasting impact on the society.

The Religious Belief Systems in India

Like other ancient religions in the world, what is today called Hinduism, did not divide people into “believers” and non-believers”. These terms were introduced by Abrahamic religions in the middle-east, which insisted that their prophet was the only true messenger of God and only their religious path was the right way to worship.

In Hinduism, there have been and there continue to be different streams of beliefs, that sometimes separate from each other, sometimes ran parallel and are sometimes mingle and conjoin. They all accept that they are flowing from the same source. On one hand, the Vedic streams of Hinduism are associated with the sacred fires of Yagna and see God as Onkar, the infinite formless consciousness that permeates all the universe. Then there are Puranic streams, with their multiplicity of gods, especially the trinity of Brahma, Vishnu and Shiva along with their respective consorts, Saraswati, Lakshmi and Parvati.

The different poet-saints of the Bhakti movement, were followers of these different streams of Hinduism. Many of them were followers of Shiva or Krishna. However, some of them also sang of the formless infinite God. Today some persons consider the followers of some poet-saints, such as those of Guru Nanak, Ravi Das and Kabir, as specific and separate religions. In my opinion, such considerations are influenced by the Western thinking, which is reductionist (looks at bits and pieces composing something) and prefers to categorize on the basis of differences. At other times, these considerations focusing on differences are linked to political and cultural struggles of these groups. However, personally I consider them as the multiple streams of Hinduism.

Bhakti Movement and Poet Saints

The earliest recognised poet-saints of the Bhakti Movement composed and sang their prayers in Tamil language in the 6th - 7th centuries. These were the devotees of Shiva, the Nayanars. They challenged the caste system and asked for a world of love and selflessness. Then there were Alvars, devotees of Krishna, starting from the 8th century.

The names and compositions of around 80 Tamil poet-saints (including both Nayanars and Alvars) are known. From Tamil areas, over the centuries this movement spread to the rest of India.

Then for almost thousand years, different parts of India saw these wandering mistrals, singing about casteless societies and divine love. Most of them wrote their songs in common local languages and many of them came from the so-called “lower castes” and humble backgrounds. They sang about divinity, promoted equality and at the same time, initiated a literary and cultural renaissance.

There were many women among them including Karaikkal Ammiyar, Tilakavatiyar, Andal and Madhurakavi Alvar in Tamil, Akka Mahadevi in Kannada, Gangasati in Gujarati and Meerabai in Rajasthani, who gave a message about the dignity and equality of women.

In north-west India, the Bhakti movement coincided with the arrival of different Muslim dynasties. It influenced them as well, giving rise to some Muslim poet-saints who followed the Bhakti tradition (Ras Khan and Rahim Das). It also influenced the wider Muslim community, especially through its interactions with the Sufi traditions.

Chronology of Indian Saint Poets After 1000 CE

A chronological-geographic analysis of the most well-known poet saints of India after 1000 CE shows the following names:

12th – 13th century: Basvanna, Allama Prabhu and Akka Mahadevi in Kannada; and Jaidev in Odishi

13th – 14th century: Namdev and Gyaneshwar in Marathi; Gangasati and Narsi Bhagat in Gujarati; and Ramananda in Hindi

14th – 15th century: Bhagat Pipa in Rajasthani; Guru Nanak in Punjabi; Purandhar in Kannada; Ravi Das and Kabir Das in Hindi

15th – 16th century: Chaitanya Mahaprabhu in Bengali; Shrimanta Shankerdev in Assamese; Vallabhacharya in Telugu and Hindi; and Meera Bai in Rajasthani.

16th – 17th century: Kanakdas in Kannada; Eknath and Tukaram in Marathi; and, Ras Khan and Rahim (Abdul Rahim) in Hindi

17th – 18th century: Vijay Das in Kannada; and Ram Prasad Sen in Bengali.

Poets in the above list classified under "Hindi language", include those who used its regional variants such as Braj bhasha, Khari boli, Avadhi and Maithili.

As the list above shows, the Bhakti-Saint reformist movement covered the whole Indian sub-continent and its different linguistic groups. The similarities of their messages and of the Gods they were worshipping illustrates the civilisation unity of India. 

Next, I want to talk about the legacies and continuing impact of two of these poet-saints with whom I am more familiar: Basvanna and Shrimanta Shankerdev.

Kannada Poet Saint Basavanna or Basveshwara

12th century Kannada poet-saint Basava, commonly called Basavanna or Basavanneshwara, composed songs known as Vachanas, filled with devotion for Shiva, which spoke against caste and gender discriminations. He was a minister in the Kalachuri dynasty of Kalyani. His followers are known as Lingayat or Virashaiva.

Along with other Kannada poet-saints including Allama Prabhu and Akka Mahadevi, he established a prayer and discussion centre called Anubhava Mantapa (in the image below), where both men and women of different castes were welcome to participate in philosophical and religious discussions.

His teachings are still followed by a large number of persons in Karnataka. His statues are common in the villages along with those of Ambedkar. In Basvan Kalyan in Bidar district of Karnataka, where the Anubhava Mantapa is located, a shrine of Basavanna has been built with his giant statue (in the image near the top). The image below shows him in princely attire.

Assamese Poet-Saint Srimanta Sankardev

The 15th century poet-saint from Assam wrote his devotional poems to Krishna in Assamese, Sanskrit and Braj bhasha (a dialect of Hindi) and had a tremendous impact among the Assamese people. Like Anubhava Mantapa in Karnataka, Sankardev (Shankerdev) is associated with religious and philosophical centres called Sattras. Apart from his devotional poems, he popularized traditions of Sattriya music, dance and theatre. He also promoted simple living, gender equality and casteless society.

His impact on Assamese society continues to be very important. Different Sattras are spread all over the state, the most important being those in Majuli island. (In the image below, a Satra in Guwahati)

Millions of his followers believe in simple life and prayers. For example, they have simple marriage ceremonies without exchange of money or costly gifts. For the prayers, they have Namghars, where the followers meet regularly, sing kirtans in front of book Bhagawat Purana (image below).

To Conclude

The singing and wandering poet-saints of India, over a period of about a thousand years, campaigned for gender equality and casteless society, though in vastly different ways.

Many of them were devotees of Shiva, a God associated with detachment, destruction and rebirth, and characterized by the ashes of cemeteries, snakes and a rag-tag group of followers including those who drink alcohol and use ganja or other drugs. Some Shiva stories also include bhoot-pichash (ghosts and demons) among his followers.

Others were devotees of Krishna, a God associated with the sermon of Bhagvad Geeta and also with the escapades of a naughty cowherd’s boy, known for his love for Radha.

I think that by choosing Shiva and Krishna as their personal gods, the poet-saints were moving away from the Rules and Obedience-based ideals of the Indian society, and promoting a more just and inclusive social system. They were also asking for more humane figures of gods, that were more accessible to people compared to the formless and infinite God of Vedas. (In the image below, a bass-relief of Shiva and Krishna from Shankerdev Kalakshetra in Guwahati)

They did not manage to banish the gender and caste-based discriminations all over India, though as the above examples from Karnataka and Assam show, they did have an impact on millions of people. Their influence was not limited to the different streams of Hinduism, but also had an impact on the different syncretic traditions of India including the Muslim Sufis.

Today we live in a different world. Though the Baul singers of Bengal and Assam can be seen as a part of the on-going tradition of poet-saints, they are more community-based, their names are not so well-known and their social impact is much smaller. However, in future the rise of the YouTube culture may spring surprises with new social-media poet-saints who are recognised in different regions and can spread the message of an equal, just and inclusive society -for transforming India. At least, I hope so!

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#poetsaintsofindia #basvanna #srimantasankardev #anubhavamantapa #namghar #sattrya 

Sun-Rise At The Shore Temple

Shore temple of Mahabalipuram is a magical place, especially early in the morning as the sun rises over the Bay of Bengal and illuminates the early 8th century structure.

I had reached Mahabalipuram around noon and passed the whole afternoon looking at the rock-temples at the area known as Arjun’s Penance. By the time, I reached the Shore temple, it was evening and the entrance to the temple was closed. So, I decided to stay overnight in Mahabalipuram and made the plans for getting up early on the next morning to visit it. I am so happy that I made that decision because that early morning visit was truly magical.

History of the Shore Temple

In 700 CE when Rajasimha Varman became the king of the Pallava empire with its capital in Kanchipuram, the empire was nearing the end of its power. Over the previous centuries, his ancestors had built the seafaring empire with their ships going up to Rome in the Mediterranean. In the 6-7th centuries, the Pallava kings had built a large number of sea-facing rock-temples on the granite hills of Mahabalipuram.

Rajasimha ruled for 28 years and is credited with the building of the shore temple. Two new Shiva shrines were built around an older statue of reclining Vishnu. After Rajasimha, the power of Pallava kings gradually declined and in the 9th century, the area came under the Chola empire.

4 Shrines of the Shore Temple

The Shore Temple is composed of 4 distinct shrines – an eastern facing Kshatriya Simheshwar temple dedicated to Shiva; a western facing Rajasimheshwar temple also dedicated to Shiva; a partially open shrine surrounding the older statue of reclining Vishnu between the first two temples; and, an open-air step-well Shiva shrine to the north.

When I visited it, the eastern sea-facing Shiva temple was closed for repairs. Even the shrine to the reclining Vishnu was closed.

I could only visit the smaller west-facing shrine which has a central bass-relief panel depicting a family portrait of Shiva, with his consort Parvati and baby Ganesh between them, while their two older sons, Kartikeya and Skand stand behind.

On the north, the fourth shrine is located at a lower level with the steps going down. It has a hole where once there was Nandi’s platform, and then a Shivalinga, while Nandi’s statue lies close to the back wall. Since it was an open-air shrine, so probably they had made it at a lower level, to provide shelter from the wind.

Temple Complex

Entrance to the Shore temple is on the west where the ticket office is located about 200 metres away. The temple is located on a land jutting into the sea and the surrounding area has been landscaped.

As you walk towards the temple, you come across two stone platforms. Usually, in the temples, there is one platform with the animal representing the vehicle of the principal deity. Perhaps, the two platforms in front of the Shore Temple indicated that the temple had two main deities (Shiva and Vishnu), though now both the platforms have lost their statues.

Behind the two front platforms was the platform of the flag pole and a tiny Gopuram with steps going down towards the temple.

The outer wall of the temple complex was lined with a row of sitting Nandi bulls. After a corridor, there was an inner wall which had bass-relief panels showing Hindu mythological stories.

There was another Nandi placed above the entrance to the west-facing shrine. Thus, the whole complex very clearly underlines its affiliation to Shaivism.

Narsimha Stautes in the Shore Temple

The whole area also had many statues of another animal – the Narsimha lion, that looked like a sabre-toothed tiger. The image below shows a Narsimha niche with an Apsara on his right shoulder placed facing the sea, probably used for keeping a lamp as a light-house for the sea boats. Narsimha statues clearly represent the king during whose reign this temple complex was built. Thus, I wonder, if the Apsara could have been a representation of his queen or may be a family deity?

The image below is another representation of the Narsimha on the temple walls. There are many of these. I am not sure if there are other examples of Hindu temples where the king’s symbol is shown in such a prominent manner and so consistently.

The sea air with its humidity has affected everything in the Shore temple complex. Thus, most of the sculptures have lost their details.

Sunrise at the Shore Temple

When I reached the Shore Temple, it was still dark and there was no one else. Going around in the morning stillness was almost like a meditation. After about 20 minutes a few other persons came. On the other hand, the beach to the south of the temple, was already full of pilgrims in their red clothes, taking bath and selfies in the morning sea, with a few tourists clicking their pictures.

As I walked around, slowly the darkness receded and a sleepy baby sun peeked from behind the dark clouds on the horizon. To see the sun come out slowly and climb up in the sky till it was shining behind the shikhar of the temple, like a naughty boy playing with a mirror, was a moment of pure bliss.

Youth Follies

The first time, I had been to Mahabalipuram was in 1977. At that time, I had only visited the Pancha Ratha area. At that time, from the Pancha Ratha, you could walk towards the Shore Temple along the sea because there were no protecting walls or other buildings between the two. However, then I had thought that the shore temple was just an old ruin and not worth a walk.

This time, older and wiser, I spent the whole morning at the shore temple. It was an amazing visit and I will cherish the memory of this visit.

To Conclude - Sabrimala Judgement

Let me conclude this post with something completely different. The image below has a group of Sabrimala pilgrims at the smaller Shiva shrine of the Shore temple in Mahabalipuram.

A few days ago the Supreme Court in India has made a judgement about the entry of women of child-bearing age to the Sabrimala temple. I am not a religious minded person, I have never been to Sabrimala and I have no plans of going there, as my interest is more in spirituality. However, I feel that SC’s decision is a mistake.

I believe that parliaments and courts have a role in ensuring that our religions do not violate the fundamental human rights. If some practices are systematic, then we should look at them critically. However, I don't think that special rules for one individual temple violate the human rights of faithful, it is not a systematic discrimination. Such differences are a part of the richness and diversity of Hinduism, common in the way the religious faiths are lived in India, especially for the Indic religions. Insisting on eliminating that diversity of temple practices and promoting uniformity of the religious practices is a loss for humanity and it means accepting the views of fundamentalists who ask for narrow definitions of the religious practices.

If it was a common practice for all temples of the Sabrimala sect, even then, within the wide variety of Hindu religious practices, I feel that this diversity would be valuable to maintain. Only if it was a common practice in all Hindu temples, then it would be a systematic exclusion, which would need to be challenged.

I hope that the SC judgement about Sabrimala temple will become an opportunity for people to reflect on the richness of our cultural and social diversities of Hinduism and Indic religions and find meaningful ways to safeguard this heritage for the future. If we cancel our diversities of practices, then we lead to a monoculture of faith, which are contrary to the idea of Hinduism, even if fundamentalists would like to have such a world.

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#shoretemplemahabalipuram #mahabalipuram #shoretemple #hinduism #shaivism #shivatemple

Amazing Rock-Temples of Mahabalipuram (Part 1)

Mahabalipuram on the south-eastern coast of India is a city with some of the most amazing temples cut into granite rocks. Its name (Mahabali or the strong man + Puram or city) refers to the ancient Hindu legend of Bali and his son Banasur.

This first part of the post explains the history of rock-cutting for construction in India and some rock-temples located in the park around the area surrounding the rock-sculptures known as Arjuna’s Penance. Part 2 of this post looks specifically at Arjuna's Penance itself.

History of Rock-Temples in India

Humans had inhabited natural rock-caves since prehistoric times. With their primitive tools they had started creating niches in those rocks. For example, in Bhimbetaka caves near Bhopal in central India, you can see some of these pre-historic man-made rock niches called "cupules" (image below).

Since finding natural caves in rocky areas was not always easy, the next step was man-made caves in the rocks. In India, the earliest man-made caves are from around 2nd century BC, made by Buddhist monks (many of them include many Hindu deities as well), such as those in Ajanta (Aurangabad) and Kanheri (Mumbai) in central-west India. These caves were used as habitations and temples (Kanheri caves in the image below).

Over the next centuries, the idea of cutting rocks to create temples spread across central and south India. 5th to 8th century CE was the golden period of rock temples in India. In this period, a number of Hindu, Jain and Buddhist rock-temples were built in different parts of India – Rashtrakutas and Yadavs built Elephanta and Ellora (Maharashtra), Jain monks built Udaygiri (Madhya Pradesh), Chalukyas built Badami (Karnataka) and Pallavas built Mahabalipuram (Tamilnadu).

Building rock-temples required a lot of resources - to pay the skilled artisans who knew how to cut and mould the rocks over a period of years. Thus, each area of rock temples mentioned above, had a rich empire around it during 5-8th centuries CE. While there must have been some exchange of knowledge and skills between the artisans working in different parts of India, generations of artisans must have grown up and spent all their lives working the rocks in each of these places. Each of them developed their own specific styles. The rock-temples of Mahabalipuram are in what is called the Pallava style.

Process of Rock-Cutting Used in Mahabalipuram

Cutting the boulder must have been a long and hard work, requiring a knowledge about veins and planes of the rocks so that artisans knew where exactly to cut it. There are many other unfinished cut rocks in this area where you can see the process of cutting a rock and making rock-temples. For example, the image below shows that steps were cut in the rock and 3 niches were marked for making of statues, but the work was left unfinished.

Similar unfinished rocks show how they cut such a smooth surface on the huge granite boulders. They first made holes in a line on the rock surface as you can see in the image below.

The next image shows a cut boulder with markings on the upper edge showing the places where holes were made.

However, the holes do not seem to be very deep. So how did making holes in a line, divided the boulder in two parts with smooth surfaces? Did they have one deeper hole where they pushed in an iron rod to act as a lever? Did they use water in some way to force the separation?

Do you have any ideas how they did it - If so, please share them in the comments below.

Kinds of Rock-temples in Mahabalipuram

In Mahabalipuram there are four kinds of rock-temples:

(1) Open-air Bass-relief temples: Figures were sculpted on the rock surface.

(2) Temples in rock-caves: Caves were cut in the rock and then inside those caves, statues of deity in bass-relief or full sculptures were placed.

(3) Monolith temples: Big rocky boulders were taken and cut from the top-to-bottom, creating temples. In Mahabalipuram these are called “Rathas” (chariots).

(4) Built temples: Blocks of rocks were cut and then places one over another to create the temple.

Mammallapuram - Mahabalipuram: Myths & History

The original name of the town comes from the mythical king Bali, who was a very strong and powerful king. The legend says that Bali’s son was Banasur, who had imprisoned Anirudha, who was Krishna’s nephew and in love with Banasur’s daughter. Banasur was killed by Krishna. The town is also linked with the five Pandava brothers from “Mahabharat” and thus, different temples of the town are dedicated to them.

The rock temples of Mahabalipuram were built by the Pallava kings, who had their capital in Kanchipuram, 70 km away to the west, and who used Mahabalipuram as their port to export spices and silks as far as the Mediterranean and Romans.

The first temples of Mahabalipuram were built under king Mahendra Varman (580-629 CE). His son Narsimha Varman 1st, was a strong wrestler (Malla) and gave another name to this place – Mahamallapuram or Mammallapuram. His son Mahendra Varman 2nd, who ruled only for 3 years (668-670 CE), has his name inscribed in Adivaraha temple, where the town’s name Mahabalipuram is also mentioned.

The Ganesha Ratha temple was built under Parmeshwara Varman (670-690 CE) while Rajasimha (690-728 CE) was responsible for the shore temple.

Arjun’s Penance Monument Park

The main rock temples of Mahabalipuram are located in three areas, of which two areas are next to the sea – the shore temple and a group of five temples known as “Pancha Rathas”. This post does not touch those monuments.

The third area is a little away from the sea, where a granite hill is surrounded by a grassy land and this is known as the Arjun’s Penance area. Apart from the 1,500 years old temples, it also includes a light-house built in late 19th century under the British. It is very rich in monuments. This post is about some of the monuments of this area.

Trimurti Temple & the Round Water Tank

I entered this park from its north entrance, towards the Mahabalipuram bus-stand side. The first temple I saw was the Trimurti temple, which is a rock-cave temple with bass-relief statues of Brahma, Vishnu and Shiva.

The sculptures of this temple are not very finally chiselled. At the same time, while Vishnu’s statue was recognisable, those of Shiva and Brahma did not have the distinctive features that we normally associate with their iconography. For example, the image below shows the Shiva sculpture from Trimurti temple – it is only the lingam in the foreground that identifies it as Shiva.

Outside the rock-temple, there is a circular water-tank cut into granite. It does not have steps for going inside, so it was not built as a usual temple-pond for the pilgrims. While cutting the rocks, a lot of water is needed to cool the surface. So, I wonder if they had created the circular tank to store water for the artisans, both for drinking and for rock-cutting? It is too well made in a perfect circle, to be used just for storage, so its purpose could have been two-fold – storing water while constructions were going on and then to remain there as a symbol of beauty in front of the temple.

Krishna’s Butter Ball

Between the Trimurti temple and the rest of the park, there are some huge granite boulders and the starting of a ridge that goes up towards the hill. As I walked on this ridge, I came across “Krishna’s butter ball”, a huge round boulder with its top surface cut smooth, that seems to be resting precariously on the rocks.

It is the most popular tourist spot in the park, with people vying to get their selfies all around the boulder.

When I saw it, I asked myself if there was a story behind this boulder? Was it cut and then left in that place deliberately because it was visually striking? Or was it a work in progress which was left incomplete because of some external event like some war or lack of funds?

Ganesh’s Rath

This is a monolithic temple chiselled out from a single big boulder like a sculptor sculpts a statue. It is located a little to the south on the grass-land below Krishna's Butter Ball, along a rocky path that leads up to another granite hill.

It looks like the wooden temples on the chariots used for the annual functions in the temples when deities are taken out in processions. Perhaps that is why such temples are called “Rath” (chariot).

Since the sculptors start with these constructions from the top, their top parts are much more elaborate compared to the bottoms.

Rayar Gopuram

The path going uphill from Ganesh’s rath leads to other constructions on the top, with a raised platform and pillars, including an entrance gate, which could have been somewhat like a Gopuram, that became popular in the temple architecture some centuries later.

Other Rock Temples

As I walked around this area, I saw different rock-temples. Some of these had inscriptions, such as the one in Adivaraha temple in the image below, which I was told, includes the word Mahabalipuram. It would have been nice to have some boards outside showing the translations of the inscriptions.

The area has many epigraphs whose meanings are not clear and it is likely that some of those were used by the temple-planners and builders as their annotations.

The sculptures at the top of this hill are older and more finely made. For example, look at the image below showing the Vamana story when Vishnu assumed giant form and in three steps covered the whole universe, from one of the temples. This story is based in Mahabalipuram because in the myth, Vishnu had come as a Vamana to the Asura king Bali and tricked him into donating his empire. I loved this sculpture – it has Vishnu in the vamana form at the bottom and also in the giant form with his left leg raised up to an impossible yogic angle reaching out to the universe around him.

I also suspect that the 3 figures shown sitting at his feet include the king and some other important persons of that period – probably the king is the one sitting close to the right leg of Vishnu. However, it does not show the mythical king Bali.

Conclusions

This first post about Mahabalipuram shows the richness of iconographies and rock-cut sculptures from 1,500 years ago. If you are interested in art, history and archaeology, you can spend hours in each of the temples described above and discover new things.

The area known as Arjun’s Penance Monument Park has a large number of monuments - too many for one post! In this post I have limited myself to the northern and western parts of this area. The eastern and southern parts of this area, including the beautiful rock sculpture known as Arjuna's Penance  will be the subject of my next post.

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#rocktemplesofindia #rockcutting #ancienttemples #hinduism #india #mahabalipuram

Amazing Rock-Temples of Mahabalipuram Part 2

This second post on the amazing rock-temples of Mahabalipuram from 6-8th century CE is about the ancient ruins in the south-east part of the area known as Arjuna’s Penance. The first part of this post had described the history and rock-cutting techniques of rock-temples in India and presented some monuments from the north-west part of “Arjun’s Penance Monument Park”.

This part presents the monuments from the remaining part of the park starting with the incredible sculptures of Arjun's Penance.

Arjun’s Penance

As you come out of the park-exit in front of Ganesha’s rath, on your right you can see the most beautiful sculptures of Mahabalipuram – this is the famous Arjun’s Penance.

This rich bass-relief of birds, animals, gods, kings and ascetics sculpted on the granite surface, is among the most wonderful art in the world. It is composed of two rock surfaces with a narrow gully in the centre, which is cleverly used to depict the Hindu story about the descent of river Ganges on the earth. During the rainy season, I could imagine the rain water cascading down in that funnel, making the myth come alive in a 3-D spectacle. This amazing work of art faces West Raja street in Mahabalipuram.

The sculptures are spread-out like a wide-screen cinema screen with gods, ascetic sages, kings and queens along with playful birds and animals, depicted in rows, mostly looking towards Ganga’s descent with wonder and reverence. Many of them show their right palms, a sign of benediction, towards the visitors.

Near the top, to the left of Ganga’s descent is the figure of a man with his hands raised up and ribs sticking out, standing on one foot. Some people believe that this figure is of Bhagirath, who according to the Puranic Stories of Hinduism, had done a Tapasya (penance) to bring Ganges to earth.

However, many believe that this figure is that of Arjun, (one of the 5 Pandav-brothers from Mahabharat), doing tapasya to get a boon from Shiva, who is shown standing next to him on his right. I really loved this group of sculptures, it is both majestic and joyful. It has been made in loving details such as the two elephants with many baby elephants on the right side and the two ducks near the penancing Arjun.

Terminology Used for Arjun's Penance

I am not sure if “Penance” is the right word to translate “Tapasya”, which means doing worship while giving suffering to the body (for example, by standing or sitting in a difficult pose for a long time without eating or drinking).

Tapasya was used by people in the Hindu, Buddh and Jain stories to force the God to grant them boons such as special powers or weapons. For example, there are many Buddhist tales about monks closing themselves in small spaces for months to do Tapasya and gain special powers.

On the other hand, the word “Penance” is linked to Catholicism, it means expiation for some sin, which is not how Arjuana or Bhagirath approach their worship. In Hinduism, I think that the word "penance" can be used for doing reparations (by organising yagna, doing charity) after a wrong act, such as killing someone by mistake. However, since everywhere in Mahabalipuram the words "Arjun's Penance" have been used, so I have used that same term in this post, even if I disagree with it.

Krishna Mandapam

Next to the Arjun’s Penance if you walk towards the south, you come across another rock-temple. It is dedicated to Krishna and it also has lovely bass-reliefs related to the pastoral life in Mathura-Vrindavan in north of India.

On one side, it has Krishna holding the Govardhan mountain with his hand while saving the people of Vrindavan from the wrath of the rain god Indra.

It also has a man milking a cow who is licking her calf and other joyful scenes showing dancing couples.

These sculptures depicting life in Mathura and Vrindavan in the north of India are a symbol of essential cultural unity of India even if the different parts of the country were under different empires and kingdoms. Therefore, though we may think of unification of India as a modern nation state only in 1947, we can also think of a civlisational unity of India which goes back to some millenniums.

Trials for Making Arjun’s Penance

As you walk further to the south, you come across another granite surface covered in rough bass-relief sculptures. These are somewhat similar to the sculptures of Arjun’s Penance, though are more roughly carved. This is supposed to be the model where the design of Arjun’s Penance was first tested before their actual execution.

Or, it is possible that initially they wanted to make this sculpture in this location, but the artists were not happy and looked around till they found a more suitable location.

Mahishasur Mardini Temple

Going further along this road, you pass the light house and then come to southern entrance to the Monument park, with rock-cut stairs leading up to the Mahishasur Mardini rock-temple.

The rocky platform in front of the temple has some beautiful boulders, some of them cut and then left unfinished.

Inside, this temple has two finely made bass-relief sculptures - on the left, there is Vishnu lying on the serpent Sheshnaag.

On the right, there is goddess Durga killing the bull-headed demon king Mahishasur, giving name to this temple.

Just across from the temple, you have a nice view of the light house and its entrance.

On the rocks above the older Mahishasur Mardini temple, there is another temple – Onkeleshwar temple. It is built with rock blocks, and seems to be a later construction, probably from the time when the Shore temple was built.

Conclusions

This description of temples and monuments in the Arjun’s Penance Monument Park is incomplete. There are many more structures from the Pallava period in this area (including water tanks and monolithic temples) that I have ignored in my descriptions.

Though it is a world Heritage site of UNESCO, I didn’t find a lot of information about the monuments in the area. I tried to check if there were thesis or specialist papers about Mahabalipuram but didn’t find much. I think that every temple and building of this area merits many a thesis. For example, I would have liked to know more about the epigraphs and strange signs chiselled on some rocks, such as the one shown in the image below (which looks like a compass drawing of an architect).

Apart from the Arjun's Penance area, there are many other important sacred monuments in Mahabalipuram, like the wonderful shore temple and the monolithic temples of Pancha Ratha. It is an amazing place to visit.

To read about some other monuments including Krishna's Butter Ball and to learn about history of rock-temples in India, do check the first part of this post. 

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#rockartofindia #rocktemples #mahabalipuram #arjunapenance #hinduism #ancienttemples

Indian Understandings of God

Probably no one can tell when and where did the prehistoric progenitors of humans first thought of God. However, by early historical period, all the human civilizations had some concepts of God. Those civilisations were very different from each other, but the concepts of God they developed were similar. However, around 4 thousand years ago, ancient Indians developed an additional concept of God that was slightly different from the other common concepts. This post is about the evolution of the God-concepts in ancient Indian religions (Indic religions) including Hinuism, Jainism and Buddhism.

Before talking about India, lets first take a look at how different civilisations thought of God.

From the “Sacred Nature” to the “Gods Governing the Nature”

Around the world, the first concepts of God were of deities represented by and governing specific aspects of nature. This way of imaging the God still exists in many communities. It considers as sacred the objects of the natural world. Plants, trees, stones, mountains are seen as manifestations of God and worshipped. The image below has sacred trees (India), trees under which people may place a statue or a stone and worship it as a symbol of God.

Other people imagined God as human-like beings with supernatural powers who controlled specific aspects of the nature. Thus, they had a god for the rain and another for the sea, a god for the war and another for love. From the Amerindians to Romans, Egyptians and Persians, every culture had their pantheon of gods and their stories of creation. The word Pantheon comes from a building in ancient Rome which had all the different Roman deities to which they worshipped. The image below has some of the Indian gods in a temple in Bangalore.

The one God

The ideas of one God arose in the Middle-East, among the Jews, Christians and Muslims, though we had a brief glimpse of this idea during the reign of Akhneton, the Egyptian Pharoah, many centuries earlier. Each of these religions linked it with a specific prophet, and each group claimed that their path to God was the only true one.

This God was imagined as a “benevolent father” – who was merciful and loving, but he asked to be worshipped regularly and properly. He also laid down a set of rules for his followers, including rules about dressing, eating, praying and resting. If you did not follow his norms, he could also punish. He did not like and thus refused to tolerate that people follow other “false gods” and prescribed different roles for men and women.

These concepts led to the birth of the three organised religions that are also known as the Abrahamic religions - Jewish, Christianity and Islam. Among these, Christianity and Islam became actively proselytising, going out to convert persons of other religions, because they felt that it was their sacred duty to save the souls of others who were on a wrong path and were going to finish in hell.

James A. Michener in his 1965 book “The Source” has beautifully described the evolution of the concept of one God in the middle east, leading to Jewish religion, Christianity and Islam.

Evolution of the God concepts in ancient India

What about the Indians? How was the evolution of the God-concept in India? Ancient Indians had many different ideas about God – considering nature as sacred, having a set of divine human-like beings with special powers and having a father-like God. However, they also went a step further and thought of God as “Parmatma” or the “Universal Consciousness” that underlies every particle of the universe.

Another unique Indian feature was that all these different ways of conceptualising God co-existed. One idea about God did not replace the other ideas, instead Indians sought explanations that could justify each way and look at them as “different paths” to reach the same eternal truth. This was necessary because geographically Indian subcontinent is a huge landmass, for most of its history sub-divided into kingdoms, that changed boundaries and alliances across the centuries. Thus religious ideas were not marked for their differences, but rather, they sought explanations which helped them to be perceived under one over-arching umbrella.

The first Vedas, the earliest texts of Indians about the divine, were written around 2000 BCE, that means around 4000 years ago. These books presented all these different concepts of the God. This colourful mosaic of belief systems, sometimes contradictory, constitutes Hinduism and its other Indic religions, including Buddhism, Jainism and Sikhism (though individuals who have learned to see the world under the lens of monotheistic religions, tend to focus more on differences and try to separate each sub-group and divide them into sects and separate religions).

Examples from Vedas to illustrate different ways of conceptualising God in the Indic Religions

Vedas use different words for God such as, Ishwar (Lord of the desires), Parmatma (ultimate soul) and Brahman (universal consciousness).

(1) The first example is a shloka (verse) from Atharv-veda (11-7-21):

It says: “Red earth, sand, stones, medicinal plants, creepers, blades of grass, clouds, lightening and rain, they are all interconnected and are all based in the God.”

While considering everything in the universe to be interconnected, it also explains the sacredness of nature. A couple of years ago, while on a walk in Guwahati in the north-east of India, I had met a Sadhu Nobin baba, who had talked to me about the calming of mind till you could feel the energy coming out of some points of the rocks. For him, that energy coming out from the earrth and rocks and which he could perceive, was the God (Nobin baba in the image below).

(2) The second example is a shloka from Rig-Veda (1-164-46):

It says: “Some call him Indra, Mitra, Varuna or Agni, for some he is a bird with beautiful wings; Agni, Yama or Vayu, all represent the same truth called by different names.”

This shloka explains how the different divinities worshipped by people are all expressions of the same God.

(3) The next example, also a shloka from Rig-Veda (10-82-3), describes the God as a father-figure, closer to the concept of God in the Abrahamic religions:

It says: “God is our father, he gives birth to us and controls us. He knows this and all the other worlds. All the different gods are part of him, all the worlds go to him with their questions.”

Thus in this verse, God is a father. However, instead of saying that other gods are false, as in monotheistic religions, here there is an explicit acceptance of praying to other gods, since they are all understood to be the expression of the same God.

(4) The last example is a shloka from Yajur-veda and is about God as universal consciousness:

It says: “Searching for the truth, the sage went all around this and other worlds, went in all directions and even to the land of gods. He found that everywhere there was the same all-pervading truth. After knowing this, he became part of that truth and then understood that he had always been a part of that truth.”

This way of describing God as an all-pervading presence in both animate and inanimate world is the unique feature of the ancient Indian thought. It denotes the presence of God in all its creatures and thus becomes the logic for respecting life and nature in all its forms. It is a call for recognising the dignity and equality of all human beings.

The concept of Universal Consciousness and India’s Social Realities

I love the concept of universal consciousness, that everything in the world is interconnected and expression of the same God. However, I also wonder, why in spite of such an inclusive thinking, did India develop a social reality marked by caste hierarchies that exploited and oppressed millions of persons?

Through the centuries, there were many social reformers in India, from Buddha to poet-saints such as Basvanna, Meera, Kabir, Rahim and Nanak to social reformers like Mahatma Gandhi, who promoted equality of all human beings, but they did not manage to demolish this system. Why?

Perhaps one of the answers to this question lies in the words of a 15th poet-saint Kabir who had written that: It is not by reading of books that one gains knowledge; only when you learn love, you become knowledgeable. Our communities have this age-old knowledge, but perhaps it is seen as an abstract concept and not as the living truth? Or, perhaps for most persons, the abstract concept of God as an all pervading consciousness is too difficult to understand and follow, and they feel more secure in thinking of God as a specific deity or a father-figure who can help them or punish them?

I want to conclude this post with a picture from Kannur in Kerala in the south of India, in which a person from a "lower caste" gets ready to welcome the God (Theyyam) in his body. For the few days of the temple festival, his caste will not matter and everyone in the community will bow before him, looking at him as the manifestation of God on earth.

Our challenge is how to change our thinking so that we can first see the God in all the persons and all the God's creatures, big and small.

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#god #prophets #religions #hinduism #india #veda #sacredbooksofhinduism