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 ...

Agrapatta or lalatapatta (Forehead band)

In its most simple form, an agrapatta is a strip of cloth tied around the tresses near the forehead as a means of keeping the hair unruffled. It may be made of either an ornamental cloth or a strip of metal inset with gems of various shapes and designs or even a metal strip with embossed designs. Additionally sometimes a medallion can also be seen attached to it. Such a simple band can be found around the head of a cowherd in the Govardhanadhari panel at Mamallapuram (fig. 174 and 475) and on many sculptures of this period. Similar bands with gem like circular medallion in its centre can also be seen, for example on the sculpture of Siva carved in the northern end niche of the Dharmaraja-ratha (aditala, western face)[1]. Such a usage of fillet or forehead band is of remote antiquity in India, with the earliest such representation seen in the famous priest king excavated from the Harappan site of Mohenjodaro. In accordance with his status he is shown wearing such a band with a gem in the centre[2]. Similar bands fashioned out of silk, leather or metal was also in usage among the ancient Greeks[3] and Amarakosha refers to such bands made of silk as valapasya and those of metal as patrapasya.

In the Trimurti cave temple at Mamallapuram, the devotee kneeling in profile to the left of the Brahmasasta (fig. 168 and 471) is seen wearing a forehead band having a floral medallion to its extreme side. Such a simple lalatapatta can be seen again worn by the two devotees (fig. 170) kneeling on either side of Vishnu in the shrine at the same cave temple. These devotees portrayed with the face in full view appear to be having such floral medallions at both the ends of the band, as can be judged from its outline. Similar type can also be seen adorning the forehead of Bhrighu, kneeling to the right side of Vishnu in the Seshasayi Vishnu panel, in the Mahishasuramardini cave temple at Mamallapuram.

In contrast to the plain head-bands so far discussed above, the one adorning the image of Yoga-Dakshinamurti from Kaverippakkam[4] (fig. 180), in contrast had ornamental designs formed of alternating circular and diamond shapes. It can be either a cloth embroidered with such designs or a metal band inlaid with precious stones shaped into such forms or even a strip of metal having such embossed designs.

Footnotes and references:

[1]:

Similar band with a circular medallion in the centre can be seen worn by Siva, who is shown standing in the company of Tandu and in his another sculpture in the form of Vrshabhantikamurti, carved on the northern face of the second tala of Dharmaraja-ratha.

[2]:

John Marshall, op. cit., Vol. III, Plates. XCVIII and XCIC, 5-6, 8-9.

[3]:

O. Seyffert, A Dictionary of Classical Antiquities, London 1957, p. 267.

[4]:

Now kept in Govt. Museum, Chennai, Acc. no. 71-22/37.

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