Articles Related to Royal Court

(1) Royal Umbrella

From the panels depicted in the Vaikunthaperumal temple at Kanchipuram, two types of umbrellas can be noticed. One is the simple type described supra and the other is a special type, which can be best described as royal or ceremonial umbrellas noticed for the first time only in these panels and is found associated with the kings alone, held aloft by his attendant. Perhaps, these umbrellas of the second variety are used especially by the royal elite and they have ceremonial significance indicating royal authority and power. It is most likely that they resembled the umbrellas, which are currently in usage in the temples accompanying the processional deities. They closely resemble the depictions in the historical panels (fig. 370 and 371) at the Vaikunthaperumal temple at Kanchipuram. Thus, it can be said that the royal umbrellas are specially made ones, having taller shaft, wider circumference of the hood portion and are manufactured by using special variety of cloth embellished with festoons and decorative motifs.

(2) Fly-whisk (Chamara)

A chamara can be invariably seen held by the pair of attendants flanking the principal figure in the middle, who may be a deity or a royal personage. The association of chamara bearing figures with these personages of elite status, may indicate the special privilege given to the upper-class to use the chamara. Even though the original purpose of a chamara seems to be utilitarian and was used to whisk away the flies and other winged insects, yet it seems that in course of time, it attained a symbol of status and it was also included as one of the ashta-mangalas i.e. eight auspicious symbols. In the art of this period a chamara can be seen held by the male and female attendants flanking the deities as well as royal personages. Fine examples of the former can be seen in many of the sculptural representations adorning the temples of this period. Of special mention can be made, of those which embellish the Kailasanatha temple at Kanchipuram (fig. 372). Chamara bearing attendants flanking royal personages can be best seen in the historical panels (fig. 373) adorning the inner wall of the colonnade in the Vaikunthaperumal temple at Kanchipuram.

(3) Throne

The earliest sculptural evidence of a throne in Pallava period can be found in the Adivaraha cave temple at Mamallapuram, in which, the king identified by the label inscription, as Mahendravarman is shown seated on a circular stool like throne with its legs modeled in imitation of that of the lion’s. Such an asana can be called as belonging to the simhasana type. From the panel it is difficult to say, whether the asana has a back-rest or not. In the Mahishasuramardini cave temple at the same place, the shrine-cell on its rear wall contains a bas-relief panel of Somaskandamurti seated on a simhasana of a different variety (fig. 374). In this the seat is lengthier and rectangular in shape resembling a modern bench and the lower portion of its legs are modeled in the form of rearing lion. From behind the image of Uma can be seen a bulge, which can be assumed as the cushioned back-rest of the throne. Similar simhasana can be seen in several such sculptural representations of Somaskandamurti. In one such image of late-Pallava period carved above the lintel of the garbhagriha in the Jalanathesvara temple at Thakkolam (fig. 375), the back-rest can be clearly seen with makara head terminals and the arm-rest is modeled in the form of a rearing horse with a rider seated on its back. In the Kailasanatha temple at Kanchipuram the image of Siva enshrined in the deep niche of its main shrine is seen seated on a simhasana, with the legs modeled in the form of squatting lions (fig. 376).

Fine examples of a typical Pallava throne can be had from the panels carved on the innerwall of the colonnade circumambulating the central shrine in the Vaikunthaperumal temple at Kanchipuram. Here many panels portray the Pallava throne, seated either by the king alone or accompanied by the queen. There are also many instances of coronation scene of the king, in which, the typical throne can also be noticed. From these panels (fig. 377) it can be noticed that a typical throne of the Pallava kings was modeled having a back-rest with makara head terminals and legs are well shaped as circular logs with curled moldings. From the gaping mouths of the makaras tassels can be seen hanging from scroll like pattern. These thrones do not always have arm-rests and if present they are shaped in the form of rearing lions facing outwards (fig. 378). A fine example of a Pallava throne without arm-rests and provided with cushions for the back and seat can be seen in a panel (lower row) on the eastern wall (fig. 379). Here additionally, minute floral carvings can also be seen on the rim of the seat. Another type with a triangular back rest can also be seen in another panel (fig. 380).

(4) Foot-rest

As the throne used by the king was also a symbol of royalty indicating the power and authority of the seated individual, they are modeled with imposing height and dimension. Thus, a foot-rest becomes a necessity, which was invariably used for resting their legs and it becomes an integral part of a throne. Even in the modern times persons of high authority are seated in imposing chairs accompanied with a foot-rest. In the sculptural art of this period, foot-rests appear in simple form without any decorations, and are shaped either in rectangular or circular in shape resembling a small stool or pedestal (fig. 380).

(5) Couch

A single instance of a couch (Figure 381) can be seen carved in a panel (upper row) on the south-western cloister wall of the Vaikunthaperumal temple at Kanchipuram. Here the upper part of the panel shows a king seated on a low couch placed on the floor and is also provided with a well cushioned back-rest.

(6) Cot

Representation of a cot (fig. 382) can be seen in a panel (lower row) on the northern cloister wall of the Vaikunthaperumal temple at Kanchipuram. It resembles the common cot seen in households. It consists of a rectangular frame supported by four legs having circular moldings. The top of the cot was most probably woven by means of straps of cloth almost similar to those cots currently in usage in the villages. The sculptural context of this cot, shows that it was used in a military camp, where the king and his associate is seated on it and engaged in some conversation.

(7) Howdah

Many of the panels carved on the cloister wall in the Vaikunthaperumal temple at Kanchipuram display scenes of warfare comprising of infantry, elephantry and cavalry. The soldiers atop the elephants can be seen seated in a basket shaped howdahs, which are tied carfully over its back by means of straps. On the basis of the design of the howdah depicted in these panels it can be assumed that they were made of either bamboo logs or wooden planks and are reinforced by tying them together by means of cords. A panel on the northern wall (lower row) and yet another panel on the eastern wall (lower row) gives glimpse into the howdahs made of bamboo logs, reinforced with wooden planks and tied with cords (fig. 383). Similarly a howdah made of vertically placed wooden planks (fig. 384) can be very well seen in a panel (lower row) on the north-western wall and in another panel on the eastern wall (upper row).

(8) Litter

In the Vaikunthaperumal temple at Kanchipuram a panel (upper row) on the eastern cloister wall gives, a rare representation of a person seated in a litter (fig. 385) and being carried by two persons. The context of the panel shows, that it is a battle-field and the individual seated in the litter was injured and they are probably carrying him to a safe place for the purpose of treating him.