Pallava period (Social and Cultural History)

by S. Krishnamurthy | 2017 | 143,765 words

This study examines the Social and Cultural History of the Pallava period (as gleaned through the Sculptural Art). The Pallavas (6th-9th century A.D.) mainly ruled over the Tondaimandalam (Tondai Nadu) region in the Northern part of Tamil Nadu (South-India). The Pallava dynasty ensured a golden age of architecture, arts, and spirituality and while ...

Alvars during the Pallava period

[Full title: Religious Beliefs (during the Pallava period): Alvars]

Alongside the nayanmars, the alvars who championed the cause of worshiping god in the form of Vishnu through their hymns also gained wide popularity. Sculptural representation of the alvar saints, if any can only be traced in the Vaikunthaperumal temple at Kanchipuram. Minakshi[1] identifies in a panel (fig. 68) on the western wall, a miniature replica of what probably seems to be the Vaikunthaperumal temple itself with another small shrine having a seated image of alvar in it. The alvar is depicted wearing yajnopavita and sits in a meditative posture. This panel was interpreted by Minakshi as representing the practice of installing images of alvar saints and worshiping them. Another interpretation of this panel is given for the first time in this thesis. It has to be noted that this panel is portrayed alongside and in continuation of other panels depicting scenes of warfare. So it can also be interpreted that Nandivarman II soon after building the temple of Vaikunthaperumal as a token recognition of his victory in warfare, invited the contemporary alvar saint, probably Tirumangai-alvar to install the deities and to consecrate the temple. The saint was then seated in the mandapa like shrine and he was being approached by the king and his attendant (seated on the elephant) for offering his salutation and to seek blessings. It is interesting to note here that next to this mandapa in which the alvar is seated, is portrayed a tall dvajasthambha, with festoons hanging from it, which indicates the flag-hoisting ceremony and thereby supporting the interpretation that this panel depicts indeed the maha-kumbabhisheka ceremony, performed under the aegis of no other than Tirumangai-alvar. Thus, this panel could be a narration of another historical event which happened at the far end of Nandivarman II’s reign, when he finally with the support of his able general Udayachandra could drift across all difficulties and emerged victorious.

Footnotes and references:

[1]:

C. Minakshi, op.cit., pp. 48–49.

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