Chapterization of the Thesis

The present work is divided into the following five chapters:

Chapter I entitled ‘Introduction’ gives the aim, objective, hypothesis and the methodology used. Previous work carried by the scholars pertaining to the Pallava period is studied besides the evaluation of various source materials available for the present study. A brief account of the topography, geography and geology of the Tondaimandalam region and a detailed account of the history of Pallava period from their raise in mid of 4^th century A.D. to till their fall in the first quarter of 10^th century A.D. is given. Under the subtitle ‘source for study’, is given a detailed tabular list of 65 temples of the Pallava period, which has sculptures potential for the study prupose. A chronological list of all the 172 temples as known through the sculptural style and epigraphical evidences is given as an ‘appendix’ to the thesis.

Chapter II entitled ‘Origin of Sculptural Art -Its Development and Scheme’ discusses about the origin of artistic tradition from the earliest times to the period under study and the various stages of development in the temple architecture and sculpture in the Pallava period. The scheme behind these artistic expressions is also covered to understand the society.

Chapter III entitled ‘Socio–Religious life’ analyses the social aspects as revealed through the study of the sculptures. Even though the sculptures of Pallava period is mostly religious in nature and secular themes are far and few, yet an attempt is made from the available sources to reconstruct the social condition of the age. The study reveals many interesting social features like class divisions or occupational classes, social customs, religious beliefs etc. The Pallava period marks a landmark in the development of devotion as an important mode of worship, rather than mere rituals and rites prescribed in the Vedas and Brahmanas, due to the Bhakti movement led by the Alvars and Nayanmars. Consequently, for the first time in the religious and artistic history of Tamilnadu, we see profusion and variety in the depiction of various gods and goddesses. A study of these would help in understanding the religious tastes of the people of that period.

Chapter IV entitiled ‘Material Culture of the people’ analyses the cultural aspects of the period as revealed through the sculpture. The definition for culture says that it is a set of ideas; beliefs and customs handed down over generations, adapted and reformed to suit the circumstances. It is well known that sculpture is a reflection of sculptor’s keen observation of the socio-cultural and religious aspects as well as geographical features, flora and fauna, which he comes across in his life. So a study of the various features of a sculpture gives an authentic cultural account like the kind of dress used, hair-style, various types of ornaments, household items, furniture, musical instruments, weapons and warfare, kinds of flora and fauna that prevailed in that age.

Chapter V entitled ‘Conclusion’ summarizes and discusses the social and cultural life in the Pallava period as gleaned from the sculptures of selective temples and the legacy left behind by them.