Ear Ornaments (Karnabhushana)

In the sculptural art of this period various forms of ear-ornaments can be noticed like: patra-kundala, makara-kundala, kumbha-kundala, sarpa-kundala, pushpa-kundala, preta-kundala, etc. It is interesting to see that it was fashionable in those days to wear two different kinds of ear-ornament on each ear. Thus, in one ear was worn a patra-kundala and the other ear has either a makara-kundala or pushpa-kundala or a bali or even without any. The various types of ear-ornaments worn in this period are described below with suitable examples.

Patra-kundala

The conventional circular type of karnabhushana, known as patra-kundala, which is in fact a small strip of decorated palm leaf roll (olai in Tamil and patrankura in Sanskrit), was the most popularly seen ear-ornament worn by all irrespective of class or gender. Archaeological excavations carried out in many of the early historical sites brought to light similar patra-kundala type of ear ornament, albeit made of terracotta. Their form matches very well with the similar ones depicted in the sculptural art of this period. In general, a patra-kundala is in the form of two discs at the ends joined by a short cylindrical neck portion in the middle, which sits perfectly on the ear-lobe. They are made solid and are mostly plain without any design. They are often large in size and as a consequence of its weight the ear lobes of the wearer gets elongated. Due to its role in the expanding of ear-lobe it was also called as avakasika^[1]. Such elongated ear lobes are considered as a part of the process of beautification. In the sculptural art they are seen in the form of a disc^[2] (fig. 117), when seen in profile or as two discs with a narrow groove between them, when seen from front, resembling a pulley. These disc-shaped ear-ornaments were also mentioned in ancient literature as tatanka-chakra. Rajendra Lal Mitra^[3] identifies it with the ornament denri known in Bengal.

Earliest depiction of such large sized patra-kundals in the sculptural art of this period are seen worn by the dvarapalakas flanking the facade of the cave temple at Mandagapattu, Mamandur, Vallam, Mahendravadi, Dalavanur (fig. 139), Tiruchirappalli and Siyamangalam (fig. 138). In the rock-cut cave temples, Rathas as well as in the larger and smaller Bhagiratha bas-relief panels at Mamallapuram they are also seen adorning the images of gods and goddesses like Brahma, Skanda, Durga, Gajalakshmi (fig. 117), Uma as well as the various celestials like Gandharva, Kinnari and Vidhyadharas as well as ganas. It is also seen worn by the devotees kneeling at the feet of Durga in the panels of the Ranganatha cave temple at Singavaram, Adivaraha cave temple and Draupadi-ratha at Mamallapuram. They also appear adorning the chamara-dhari figures in the structural temples of Rajasimha and his successors. All the female figures in the Vaikunthaperumal temple at Kanchipuram wear patra-kundala. A best representation of an ornament of this kind can be seen adorning the ear-lobes of Ratidevi (fig. 480) in the Sundaravaradaperumal temple at Uttiramerur, in the form of solid circular discs.

In a few cases, like in the image of Natesa (fig. 46) depicted on the southern pilaster in the Avanibhajana-pallavesvara-griha at Siyamangalam and in the image of Siva enshrined in the north-western corner niche on the Dharmaraja-ratha at Mamallapuram, he is shown with patra-kundalas on both the ears. Normally in majority of cases Siva is shown with a makara-kundala (fig. 208). Thus, it seems that the patra-kundala is the most popular type of ear-ornament worn by the majority of the people. This is also supported by archaeological findings from sites including Kanchipuram, which yielded patra-kundala made of terracotta in abundance.

A slight variant of this type can be seen worn by a gana (fig. 479) in the Kailasanatha temple at Kanchipuram. Similar variety can also be found on the image of a goddess from Kaverippakkam^[4] (fig. 161 and 485), where the kundalas are treated in full and show a little knob in its centre.

Another variant with a floral depiction occupying the entire disc portion can be seen worn by a Gana figure from Kaver=ippakkam^[5] (fig. 209 and 481). A hollow variety of patra-kundala resembling a ring with a groove running all along its rim can be seen adorning the ears of a Gana and Surya from the same place^[6].

Makara-kundala

The term makara-kundala itself is self-explanatory. It is modeled in the form of a makara, i.e. crocodile, although in a stylized way. The usage of makara in Indian art has been there since the beginning of the early historical period. It was regarded as one of the sacred symbols and later on came to be identified as the vehicle of the personified river goddess Ganga. In the art of this period next to patra-kundala, the makara-kundala is most popular and is seen especially adorning the ears of Vishnu, Siva and Brahma. Thus, the earliest depiction of this type can be seen in the ears of Gangadhara (fig. 208) and in the pair of flying Vidhyadharas in the Lalitankura-pallavesvara-griha at Tiruchirappalli. Similar ornamentation can be seen beautifying the ears of Vishnu and Brahma, carved on the hind wall of the ardhamandapa in Orukal-mandapa at Tirukkalukkunram. This type was also worn equally by the upper-class and common people. In the portrait panel (fig. 13) depicting Mahendravarman and his queens in the Adivaraha cave temple at Mamallapuram, the king Mahendrapottadiraja is seen wearing a pair of makara-kundalas, where as his queens are wearing a patra-kundala in one ear and a makara-kundala in the other. Makara-kundala can be again seen adorning the ears of Narasimhavarman I, carved in a niche on the aditala (southern face) of the Dharmaraja-ratha at Mamallapuram as well as in a historical panel (lower row) on the north-western cloister wall of the Vaikunthaperumal temple at Kanchipuram, in which a king (fig. 210) is shown wearing this type of karna-bhushana.

One of the finest and best preserved forms of this type can be found adorning the ear of Vishnu found from Satyamangalam (Villupuram district)^[7] (fig. 211) and Jalanathesvara tempel at Thakkolam (fig. 482). Here the makara-kundala is composed of a pendant in the form of a makara head, dangling from the earlobe through a chain formed of three oblong rings. From the gaping mouth of the makara is seen coming out a miniature yali in rearing pose with tassels formed of three strings with beaded end, attached to its leg portion. Another form of makarakundala can be seen adorning both the ears of a sculpture of Jyestha^[8], (fig. 212) now kept in the Government Museum, Chennai. Here the kundala is depicted in the form of an animal with makara head and fish like body, with the tail portion plugged into the ear-lobe. Another example of an ornate kundala of this kind can be seen worn by Vishnu from Perangur (Villupuram district)^[9] (fig. 235).

It seems that it was fashionable in those days to wear a patra-kundala in one ear and a makara-kundala in the other ear as can be seen in several sculptures like, the pair of warrior figures flanking the facade in the Avanibhajana-pallavesvara-griham at Siyamangalam, Gangadhara in the Adivaraha cave temple at Mamallapuram, celestials in the mukhamandapa of the Orukalmandapam at Tirukkalukkunram, gopikas in the Govardhanadhari panel (fig. 157), figures of Vidhyadharis in the Bhagiratha penance panel at Mamallapuram, etc.

Bali or circular ear -ring

Next in line of popularity seems to be the ring shaped ornament which is still used in many parts of India and is known as bali, which was apparently derived from the Sanskrit balika, meaning a girl. In the sculptural art it is seen as a plain circular or crescent shaped ring, of varying thickness. Fine examples of this variety can be seen adorning the ears of Vishnu now kept in the Government Museum, Chennai^[10] (fig. 213), as well as in the sculptures of Kalasamhara-murti^[11] and Gajantaka^[12] in the Kailasanatha temple, a courtier in a panel on the northern wall of the cloister mandapa in the Vaikunthaperumal temple at Kanchipuram and Manmatha^[13] (fig. 214) in the Sundaravarada-perumal temple at Uttiramerur. Probably the dvarapalaka (fig. 132) carved on the northern flank of the central shrine in the Kalmandapam at Kuranganilmuttam also wears a similar one. The fashion of wearing in one ear a circular ear-ring and patrakundala or a makarakundala in another ear can also be seen here. For example both the dvarapalikas flanking the entrance of the Draupadi=-ratha wear a patrakundala in one ear and an ear-ring in the other (fig. 215). Similarly Arjuna in the Kiratarjuniya panel adorning the wall of an angalaya in the Kailasanatha temple wears this ornament in combination with a makara-kundala (fig. 125). These ear-rings can be identified with the mrista-kundalas or mattha-kundala^[14].

Circular ring studded with gems or pearls

Similar ear -rings studded with one or more beads can also be seen in this period. Most probably these rings are of metal and gems or pearls are embedded into it. The dvarapalaka standing in profile on the southern flank of the central shrine in the Kalmandapam at Kuranganilmuttam seems to have worn in his right ear lobe a circular ear ornament flat in appearance with a gem or pearl fixed in its middle. Such an ornament is more clearly seen worn by the kings (fig. 216) portrayed in two panels (lower row) on the north-western cloister wall in the Vaikunthaperumal temple at Kanchipuram. In both the cases, the ear-ring is treated comparatively rounder and on its side can be seen a few embedded gems or pearls. Such a type of ear-ornament could be identified as the ratna-kundala or mani-kundala and was mentioned by Hala in his Gathasaptasati^[15].

Bell shaped ear-ornament

This type of karnabhushana can be divided into two types based on its length. Finest example of this type can be seen adorning the ears of the dvarapalikas flanking the northern and southern shrine in the Kal-mandapam at Kuranganilmuttam. Whereas, the dvarapalakas flanking the northern shrine (fig. 217) wear this type of ornament only in one ear, those of the southern shrine, wear in both the ears. They are of the longer variety having a long conical stem and a broad bell shaped base, with its tongue hanging in the middle. Most probably ear-ornaments of this type are worn by means of a hook, which is inserted into the ear-lobe. A shorter variety of the same can be noticed worn by a king (fig. 218) depicted in a panel (lower row) on the southern cloister wall of the Vaikunthaperumal temple at Kanchipuram. Perhaps, this type of ear-ornament can be equated with the modern jhumka or karnapuraka of the Sanskrit literature.

Sarpa-kundala

This type of ear-ornament can be rightly called as sarpa-kundala and can be compared very well with similar representations^[16] of the spiral ear rings in the early art of India datable between 2^nd to 1^st century B.C. The depiction of this ear-ornament in the terracotta female figure from the museum at Mathura (Uttar Pradesh)^[17] bears close similarity to the one worn in the left ear of the dvarapalika (fig. 219), carved on the northern flank of the shrine cell in the Kotikal-mandapam at Mamallapuram. In both the cases it is in the form of a pendant with a broad base having multiple coils twisted on it. Even though hood of the snake is not visible in this type and the coils resemble an entwining snake, the term sarpa-kundala may be applied to this variety^[18]. Such an ornament without any clear demarcation of neither the head or the tail of a serpent was known as nagulu in Telugu and is still popular among the tribal groups in the region bordering Telangana and Orissa. They are in the form of simple silver wire spirals of 10–15 cm length which are screwed into the elongated lobes. Similar type of kundala can be seen in the right ear of a gopika (fig. 196) standing to the left of Krishna in the Govardhanadhari panel at Mamallapuram. She wears in her left ear the usual patra-kundala. Similar combination of ear-ornaments can also be seen worn by two of the four women flanking Sridevi in the Gajalakshmi panel of Varaha-mandapa. A stylized variety of sarpa-kundala can be seen coiled in the ears of the dvarapalaka from Kaverippakkam^[19] (fig. 130), belonging to later Pallava period. This sculpture as a whole in its ornamentation and style shows clear influence of the Rashtrakuta style of art, who have occupied the region for a brief period. Here the dvarapalaka is shown wearing in both his ears a sarpa coiled in circular fashion with its five hoods prominently spreading in its middle. They can be regarded as an earlier form of the more stylized pambadam or nagavadura, which used to be popular in Tamil Nadu and parts of Kerala until a few decades back^[20].

Sroni-sutra

In this type, the ear-ornament consists of two or more string of beads or pearls, which are suspended from the ear-lobe. The sculptural art of this period do not give much clear evidence of this type. However remains of a painting (fig. 220) in one of the shrine-cells of the angalaya in the Kailasanatha temple at Kanchipuram, shows Uma wearing such an ornament. Bharata in his Natyasastra refers to this type of ornament as sroni-sutra, as the string of beads was in fact held together by means of a gold thread.

Ring with a pendant formed of cluster of kinkinis

A rare type of ear-ornament is seen adorning the right ear-lobe of the dvarapalika (fig. 221) carved in a niche on the southern flank of the shrine-cell in Kotikal-mandapam at Mamallapuram. The corresponding left ear has the patra-kundala. Here the dvarapalika is shown wearing a rectangular ear-ring with a pendant formed of bunch of kinkinis arranged in the form of numerous stamens on the pistil part of a hibiscus flower. Similar ear-ornament can also be noticed, hanging from the left earlobe of a lady dancing along with a man in the Govardhanadhari panel at Mamallapuram (fig. 192). However, in this case it seems that the ornament is suspended by means of a hook directly from the elongated earlobe, without the intervening ring.

Ring formed of cluster of beads

In this type, the ear-ornament is in the form of a ring made out of a single row of beads or pearls, resembling a floal appearance (pushpa-kundala). This type of ear-ornament can be seen worn by most of the male dancers (fig. 222) depicted in the panels from the Thantontrisvara temple at Kanchipuram. A single female dancer is also seen wearing the same kind of ring in her left earlobe. From the corresponding right one hangs the more popular patra-kundala type. A similar combination can also be seen worn by a female celestial figure carved as part of the larger Bhagiratha bas-relief panel at Mamallapuram.

A piece of wood as ear-ornament

This type of ear-ornament is the reminiscence of the primitive method of decorating the body with the various naturally available materials like wood, leaves and flowers. Indeed the designs for many of the ornaments which found shape in a solid and permanent medium like terracotta, metal and precious stones, had their inspiration from the natural surroundings. In the sculptural art of this period also such a primitive type of ear-ornament can be rarely seen. The gana (fig. 223) near the chhatri in the top left portion of the Mahishasuramardini panel in the cave temple at Mamallapuram is seen with a piece of wood inserted into his right earlobe. Similarly the Kirata in the Kiratarjuniya panel depicted on the wall of an angalaya in the Kailasanatha temple at Kanchipuram also wears a piece of wood in his earlobes.

Kumbha-kundala

The pendant of this type of ear-ornament resembles that of a ghata (pot) and hence the name kumbha-kundala applied to this type. A pair of karnabhushana of this kind was worn by the king at least in three panels^[21] (fig. 224) in the Vaikunthaperumal temple at Kanchipuram. In this type, the ornament is comprised of three parts–a short stem like apex, which is hanged into the ear-lobe probably by means of a hook or a stud like projection, a middle globular ghata and following it, is series of rings giving the shape of a cone at the tip. Similar type is also found depicted in the contemporary sculptural art of the Nolambas^[22] and they are mentioned by C. Sivaramamurti^[23] as an ear-ornament of kumbha pattern.

Disc with etched designs on its rim

This type of ear-ring is seen adored by a courtier or chieftain (fig. 225) standing by the side of the king with hands in anjali in a panel (lower row) on the northern cloister wall of the Vaikunthaperumal temple at Kanchipuram. Here the ear-ornament is shown in the form of a disc, probably of metal or semi-precious stone with semi-circular designs etched on its rim portion. The disc is seen suspended from the earlobe by means of a stem or hook like appendage.

Disc formed of beads giving the appearance of a flower

In this type of ear-ornament, two concentric beaded designs are seen around the central hub, thus giving an appearance of a full blown flower. The central hub portion is attached with a stalk like part, by using which, the ornament is suspended from the ear-lobe. The most artistic and best preserved form of this kind can be seen adorning the ears of a king (fig. 226 and 483) in a panel (upper row) on the northern cloister wall of the Vaikunthaperumal temple at Kanchipuram. Similar type of ornament is also seen worn by a group of three dancers, comprising of a male and flanked by two females, in another two panels on the same wall. Comparatively smaller sized discs can be seen adorning the ears of probably two courtiers seen seated at the foot of a king in a panel on the eastern cloister wall and also by the king identified as the father of Pallavamalla viz., Hiranyavarman in a panel on the southern cloister wall of the same temple. This type of karna-bhushana can also be called as a variant of the pushpa-kundala type having more decorative features.

Preta-kundala

In this type, the ear-ornament is in the form of a corpse hanging by its waist from the earlobe. In the sculptural art of this period, it is only seen dangling from the right ear-lobe of Chamundi/= (fig. 202 and 484), which is at present fixed on a platform along with other sculptures of Saptamatrikas at Mamallapuram. In her left ear is worn the more popular patra-kundala.

Subsidiary ear-ornaments

Apart from the above mentioned ornaments, which are suspended from the ear-lobes, few sculptures also reveal the practise of wearing small ringlets on the upper lobe of the ear. Such a ringlet is seen adorning the upper ear lobe of many sculptures depicted in the Kailasanatha temple at Kanchipuram. For example, the sculpture of Vishnu (fig. 257) depicted on the northern flank of the niche enshrining the image of Siva Yogisvara, wears ringlets on the upper earlobe, apart from the usual makara-kundalas on both the ears.

Footnotes and references:

[1]:

V. S. Agrawala, Ornamanents in Ancient Art and Literature; Uttara Bharati, vol. 2, pp. 7–10.

[2]:

Like those worn by a celestial woman immediately to the left of Gajalakshmi in the Varaha mandapa and by a Gana in the Mahishasuramardini panel of the Mahishasuramardini cave temple at Mamallapuram.

[3]:

Rajendra Lal Mitra, Indo-Aryans Contribution towards the Education of their Ancient and Medieval History, Calcutta, 1881, Vol. I, p. 231.

[4]:

Now kept in the Govt. Museum, Chennai, Acc. no. 112-68-38.

[5]:

Ibid., Acc. no. 71-16-37.

[6]:

Ibid., Acc no’s. 71-7/37 and 71-25/37.

[7]:

Ibid., Acc. No. 2608.

[8]:

Acc. No. 120-38.

[9]:

Acc. no. 61.1157, National Museum, New Delhi.

[10]:

Acc. no. 2607.

[11]:

In the niche on the northern face of the north-west karna shrine.

[12]:

On the wall of outer devakulika.

[13]:

In the pakasila niche, on the western balustrade of the stairways of mukhasala.

[14]:

Jatakas, V. No. 526, p. 104.

[15]:

Gathasaptasati, IV, 2.

[16]:

Rajaram Hegde, Sunga Art: Cultural Reflections, Delhi, 2002, pp. 59–60.

[17]:

Acc. No. 49. 3498.

[18]:

Pramod Chandra, “Yaksha and Yakshni images from Vidisha”, in Ars Orientalis, vol. 4, pp. 157–163.

[19]:

Now kept in Govt. Museum, Chennai, Acc. No. 71-7/37.

[20]:

Ganguly Waltraud, Earrings, Ornamental identity and Beauty in India, Delhi, 2007.

[21]:

A panel on the northern cloister wall, upper row and another two panels on the eastern wall, upper row.

[22]:

The Nolambas claim kinship with the Pallavas and trace their descent from the legendary Trinayana Pallava or the Mukkanti. They flourished from 8^th to 10^th century A.D. and ruled from their capital at Henjuru or Hemavati in the Madakasira taluk of Anantapur district. They ruled over the whole of Kolar and Chotradurga districts, parts of Bangalore andTumkuru districts of Karnataka, parts of Chittoor and Anantapur district of Andhra Pradesh and portions of Dharmapuri district of Tamil Nadu (M. S. Krishna Murthy, The Nolambas –A Political and Cultural Study (c. 750 to 1050 A.D.), Mysore, 1980, pp. 6–8 and 136–137).

[23]:

C. Sivaramamurti, Nolamba Sculptures in the Madras Government Museum, Madras 1964, Reprint 2000, pp. 16–17 and pl. VI.