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Pandyan art and architecture

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Vettuvan Koil in Kalugumalai, Pandyan architecture, 8th century CE
Pandyan Art and Architecture
Years active3rd century BCE - 14th century CE
LocationIndia
InfluencesDeities of Hinduism: Brahma, Vishnu, and Shiva.

The Pandyan empire is believed to have first emerged circa 600 BC and was one of the Tamil dynasties of Southern India. There were various forms of art and many architectural communities within the empire, and their work was also sold to overseas markets. Rock cutting and structural temples are examples of these, playing a significant role in Pandyan culture [1] The rock carvings typically depicted religious figures, florals and animals and were in made to be surrounding temples and shrines.

The vimana and mandapa are some of the features of the early Pandyan temples [2] Groups of small temples are seen at Tiruchirappalli district of Tamil Nadu. The Shiva temples have Nandi bull sculptures in front of the maha mandapa, also known as the great hall of the temples.[3] In the later stages of Pandyas rule, finely sculptured idols, gopurams and vimanas were developed. Gopurams are the rectangular entrance and portals of the temples.[4][5]

Another integral artform of these Pandyan communities were the punch-marked coins, each with symbols and transcriptions holding meaning to society.[6]

History

Four-armed Vishnu, Pandya Dynasty, 8th–9th century CE.

The Pandyan kingdom was one of the three major empires of the Tamil dynasty in Tamil Nadu, India. Pandya, meaning 'big' or 'strong', is the oldest of these empires, prevailing for what is estimated to be four to five centuries. Despite some uncertainty around the structure of these Tamil empires, the history becomes clearer after the beginning of the common era. This became a period of extensive travel and trade between these Tamil speaking kingdoms and between Tamil and other countries.[7] There is mention of the Pandyan kings in both Greek and Roman history which reflects this ancient international trade relationship. Madurai was the capital city of early Pandyan kingdom and was the heart of notable temple architecture in this period.[8]

Artisan communities

The Pandya's were known for their unique art forms that differed from the other kingdoms of Tamil Nadu. There were various communities each providing different crafts fundamental to Pandyan culture. It is evident that the empire held a significant influence over art all across South India.

The primary artisan groups formed an association referred to as the Kammalar, composed of a goldsmith, brass smith, blacksmith, carpenter and mason. Their work in Pandya was culturally important across all of Tamil as well as being important to trade in the overseas market.[9]

Another notable example of key artisanal communities in Pandya are the sculptors and stone masons. The stone masons carved cave temples made of granite rock, influenced by the head of gods central to their religion. The rock sculptures had a distinctive style that included wide chests and shoulders, and long faces that contrasted the petite hips and soft features [10] An example of these key stone carvings is seen at the entrance of a cave temple at Pillaiyarpatti. The inscription under the sculpture carved into the temple refers to the carving as 'Deśivināyagar', a figure still worshiped in the area today [11]

Jewellery was another art form practiced by the craftsmen of Pandya. They used gold, stones and pearls to create various ornaments sold to overseas buyers. The jewellery had images of their gods and symbols that represented the gods engraved into the gold. Pieces from the Pandyan period have been found with floral engraving and inscriptions dedicated to the God Tirumalai Suvadigal on the surface.[9]

Coin styles

The art of coin making in the Pandyan dynasty used punch-marking methods, which was a type of early Indian coinage known for its unique symbols and irregular shapes. They ranged in colours from gold, silver and copper, depending on the political influence of the time.[12] Some of the earliest coins were square shaped and were marked with elephant symbols on one side. In later periods the coins were marked with fish, heraldic symbols, and various emblems.[6] The kammatasor were the workers responsible for minting these various coins in the Tamil country [13]

Pandyan architecture

The architectural features of Pandyan temples reflected the kingdoms wealth and social position. They were mostly stone buildings with distinctive qualities such as rectangular ground floors leading into pyramidal floors higher up with gilded roofs above. Surrounding the temples there were various important Hindu mythological figures sculpted into the rock and various animals carved into the pillars [14]

Kalugumalai Temple complex (768-800 CE)

Kalugumalai is a region of the Pandyan dynasty, home to the Kalugumalai Murugan temple. The temple is designed in Dravidian style architecture, which is a southern Indian architectural style that can be seen in various Pandyan temples. Dravidian buildings are composed of an entrance in the centre referred to as the Gopuram and a main tower referred to as the Vimana.[15] The entranceway into the Kalugumalai depicts stone cut elephants, creditable to early Pandya's and the exterior of the temple is lined with inscriptions narrating stories of a Lord of the Pandyan empire.[16]

Vettuvan koil

Vettuvan koil is a temple structure carved into the side of a rocky cliff that can be attributed to the Pandyas circa 7th century. Although unfinished, the temple displays a rectangular front area with a square vimana bordered by realistic rock-cut sculptures of flowers and Jain figures. The carvings are separated into various levels that reflect the bas-relief art form significant to Pandyan communities.[18] Vettuvan koil is Tamil for 'heaven of sculptures' and it was carved under rule of Pandyan King, Parantakan Nedunjadaiyan. It is bordered by pavement and has the shikhara (rising peak of the temple) coming out directly from the canopy. It is architecturally notable for its intricate shrine carved in the middle that has sculptures seated around the border. These sculptures are unique as they do not reflect the typical position of ancient south Indian and Pandyan figures. Usually, figures are sculpted in a front-on position, however the sculptures of Vettuvan koil are seated, unlike others throughout India.[19]

Āņaimalai

Āņaimalai is a district of south India that is home to key landmarks of Pandyan architecture. A rock cut temple cave, referred to in modern times as the Narasinga-perumal temple is located here. It is a stone temple with two pillars cut out and a shrine in the centre. Just near to this is another rock cut temple with architectural features to that of the Pallava kingdom. It has a lotus engraving on the front pillars and four rock sculptures of dedicated to Hindu deity, Vishnu.[20]

Tirunelveli

Others

Kalugumalai Jain Beds, Pandyan Empire, King Parantaka Nedunjadaiya (768-800 CE)
Wikimedia Commons has media related to Art of the Pandyan Dynasty.

References

  1. ^ Rajadhyaksha, P. L. Kessler and Abhijit. "Kingdoms of South Asia - Indian Pandyas". www.historyfiles.co.uk. Retrieved 14 May 2022.
  2. ^ Desai, P.B. (1971). Studies in Indian history and culture: volume presented to Dr. P. B. Desai ... on the occasion of his completing sixty years. Prof. P. B. Desai Felicitation Committee, Karnatak University.
  3. ^ Soundara Rajan, K. V. (1998). Rock-cut temple styles: early Pandyan art and the Ellora 2 shrines. Somaiya Publications. ISBN 81-7039-218-7. OCLC 976800827.
  4. ^ Allen, Margaret Prosser (1991). Ornament in Indian architecture. Newark: University of Delaware Press. ISBN 0-87413-399-8. OCLC 22709659.
  5. ^ Mansingh, Surjit (2006). Historical dictionary of India (2nd ed.). Lanham, MD: Scarecrow Press. ISBN 978-0-8108-6502-0. OCLC 265011255.
  6. ^ a b Rapson, E. J. (31 December 1898). Indian coins. Berlin, Boston: De Gruyter. doi:10.1515/9783111405957-012. ISBN 978-3-11-140595-7.
  7. ^ West, Barbara A. (2009). Encyclopedia of the peoples of Asia and Oceania. Facts On File. ISBN 978-0-8160-7109-8. OCLC 191090483.
  8. ^ Branfoot, Crispin (February 2013). "Remaking the past: Tamil sacred landscape and temple renovations". Bulletin of the School of Oriental and African Studies. 76 (1): 21–47. doi:10.1017/S0041977X12001462. ISSN 0041-977X. S2CID 162783880.
  9. ^ a b Thangapandian, K (2014). "The Artisan Community And Crafts Production During The Later Pandyas". Proceedings of the Indian History Congress. 75: 239–245.
  10. ^ Cēturāman̲, G. (2018). The later Pāṇḍyas: contribution to art and culture of South India. ISBN 978-93-83221-21-9. OCLC 1051247126.
  11. ^ Nagaswamy, R. (1965). "Some Contributions of the Pandya to South Indian Art". Artibus Asiae. 27 (3): 265. doi:10.2307/3249074. JSTOR 3249074.
  12. ^ Goyal, S (2000). "Historiography of the punch-marked coins". Annals of the Bhandarkar Oriental Research Institute. 81: 153–168.
  13. ^ "Growth of art and architecture: Pandyas". Self Study History. 28 September 2015. Retrieved 14 May 2022.
  14. ^ Chindamany, S (2021). "Kammalas In Medieval Tamil Country- A Community on Essentiality". Review of Research. 11: 1–5.
  15. ^ Tartakov, Gary Michael (1980). "The Beginning of Dravidian Temple Architecture in Stone". Artibus Asiae. 42 (1): 39–99. doi:10.2307/3250008. JSTOR 3250008.
  16. ^ IshtaDevata (2020). "Kalugasalamoorthy Murugan Temple". Retrieved 16 April 2022.
  17. ^ "Sthala Varalaru". Hindu Religious and Endowment Board, Government of Tamil Nadu. 2015. Archived from the original on 17 November 2015. Retrieved 4 November 2015.
  18. ^ "Rock-cut temple and Jain-reliefs at Kazhugumalai, Tamil Nadu". Pragyata. 11 December 2019. Retrieved 14 May 2022.
  19. ^ "Vettuvan koil, abode of Siva that is a sculptor's paradise". The New Indian Express. Retrieved 14 May 2022.
  20. ^ Ayyar, V (1946). "Rock-Cut Caves in the Pandya Country". Proceedings of the Indian History Congress. 9: 113–123.
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