Depiction of Birds

Swan or Goose

Depcition of goose or swan can be found in the sculptural art of this period mostly as a decorative element. In the sculptural art of this period, it is practically difficult to differentiate between a goose and a swan as the main point of differentiation is its size. It is represented in its natural form as a group in the smaller and larger Bhagiratha bas-relief panels at Mamallapuram (fig. 455). As a decorative element its earliest representation can be seen in the medallion adorning one of the pillars in the Lalitankurapallavesvara-griham at Tiruchirappalli. It is also normally seen adorning the prastara part of a temple above the kapota in the form of a frieze of hamsas (hamsavali).

Cock and Hen

Both cock and hen (fig. 456) can be seen depicted for the first time in the larger Bhagiratha bas-relief panels at Mamallapuram.

Peacock and Peahen

Depiction of peacock along with peahen can be seen in the smaller Bhagiratha bas-relief panel at Mamallapuram (fig. 457). Again it can be seen on a small boulder depicted along with an elepant family and monkey near the Kotikal-mandapam at Mamallapuram.

Crane

A solitary depiction of probably a crane, identified by its long neck and legs can be seen in the smaller Bhagiratha bas-relief panel at Mamallapuram (fig. 458).

Eagle

Depiction of Eagle, the mount of Vishnu can be seen in its natural form perched probably on the branch of a tree in the larger Bhagiratha bas-relief panel at Mamallapuram (fig. 459). Anthropomorphic representation of this bird as a mount of Vishnu can be seen first time on the northern wall of the Arjuna-ratha at Mamallapuram.

Parrot

There is no clear representation of a Parrot in the art of this period. In the Kailasanatha temple at Kanchipuram, the inner face of the prakara between the angalaya and side walls shows Parvati seated in the Himalayan environs. There are also cases, where She is shown along wih a bird, which could be a parrot. Another such example can be found in an image of Bhairavi carved on one of the walls of the angalaya in the same temple (fig. 460). On Her lower-most left hand can be seen a bird, which could be a parrot. Unfortunately, its head portion is damaged. In the same temple complex, a pair of birds which could be satisfactorily identified as parrots can be seen perched on the banyan tree behind the image of Dakshinamurti enshrined in the niche of the Rajasimhesvara shrine.

Crow

The depiction of crow in this period, is seen in association with Jyestha-devi, as crow was regarded as her banner (fig. 461). The worship of Jyestha-devi in this period seems to be equally popular with other deities like Durga and Lakshmidevi as can be seen in the Kailasanatha temple at Kanchipuram, where she was depicted on par with these two goddesses.

Thus, from the study of the various sculptures of the Pallava period, as discussed supra it can be surmised that they provide much data regarding the material culture of the people like houses and palaces, forts, costume and ornamentation, coiffure, house hold items, musical instruments and weapons used by the people. Apart from this, they also hint into the existing condition of some of the intangible cultural factors such as the kind of military organization and the nature of performing arts like, music, dance, drama and martial arts. Fauna and flora forms an integral part of any culture and they are also found represented in the sculptural art of this period, either directly in their natural form or as a part of ornamentation or religious belief.