Narrating Ramayana 01

GOKUL SESHADRI
Introduction
Ramayana traditions in Tamil Nadu can be traced back to early Tamil literatures of the
Sangam canto [300 BC 250 AD] such as Agananuru and Purananuru. These compilations
quote indigenous events and sequences [Agananuru No. 70, Purananuru No. 378] not found in
the Sanskrit version of the epic by Sage Valmiki, suggesting early percolation of Ramayana
ethnicities in peninsular India through folklore and other oral/cultural traditions.
Literatures of the post-Sangam period [250 400 AD] contain increasing references to
Ramayanas events and characters. A propensity to identify Rama as a manifestation [Avatara] of
Lord Vishnu, thereby elevating his status to Godhead - is observed in this period. The
Silappathikaram of Ilangovadigal, for example, places Rama in line with other incarnations of
Vishnu like Krishna and Narasimha [Pukar Kandam, Sec.9 Lines 9-13].
The concept of Ramavatara is further enriched and elaborated in the Tamil devotional
couplets of the Vaishnavite Alwars, in the Pallava-Pandiya period [580 894 AD]. Kamba
Ramayanam, the earliest extant version of Ramayana in Tamil by poet Kamban [12th Century
AD], was titled Ramavatharam following this tradition.
Epigraphic material retrieved from copper plates and inscriptions of the Pallava-Pandiya
period attest the continuing influence of Ramayana in Tamil society. For example, the Kasakkudi
Plates of Pallava emperor Nandivarman-II eulogizes his predecessor Narasimhavarman-I as the
victor who undermined even the great glory of the valor of Rama who triumphed over Lanka
[Sivaramamurthi, C. 1983:184]. Endowments were provided by rulers for the recitation of
Ramayana in public. However, Ramayana themes were not widely adopted for sculptural
representations in temples.
For the first time in the art history of Tamil Nadu, Ramayana depictions - as a series of
narrative miniatures, are observed in the early Chola temples of early 10th Century AD in the
Cauvery valley.
These are:

The Nageswaraswami temple at Kumbakonam, Thanjavur district.

The Brahmapuriswara temple at Pullamangai, Thanjavur district.

The Sadaimudinatha temple at Tiruchennampoondi, Tiruchirappalli district.

The Nalthunai Iswara temple at Punjai, Nagappattinam district.

The Samavediswara temple at Tirumangalam, Tiruchirappalli district.

This scope of this series is to understand the sociological, cultural and artistic influences of
Ramayana in the Tamil society during Chola times - by comparing, contrasting and
comprehending select miniature reliefs from these temples.
Kumbakonam Panel No.1 - The Sacrifice of King Dasaratha
The great sacrifice of King Dasaratha, which sets the story of Rama in motion, is portrayed in
few temples like Kumbakonam and Pullamangai.
<img src='images/Dec12/Ramayana-SacrificeOf Dasaratha-1-01.jpg'>
At Kumbakonam, the sacrificial Alter [Homakunda] is shown approximately in the middle of the
relief and a celestial Goblin [Bhutagana] is seen emerging from the top of the fire. He is holding
an object of veneration on top of his head. This object, which seems to be wrapped up in a cloth,

is obviously not a vessel containing Payasa as in Valmiki but most probably the Pinda of
Kambans Ramavatharam.
King Dasaratha, standing to the right of the Alter, is keenly extending his hands to receive the
celestial gift from the Gods. His slightly bent posture reflects his anxiety and urge to receive the
gift. He is wearing a Makuda and Patra Kundala and is draped in a silk loincloth. His chief Queen
[Pattamahishi] Kausalya is standing next to him, witnessing the event.
Sage Rishyashrunga (the Antelope headed one / Kalaikkottu Munivan in Tamil), who is the
chief priest of the sacrifice [Yagna], is shown to the left of alter. His Gradudasana posture
signifies the spirit of offering.
Holding a sacrificial ladle [Sruk /Sruva] in right hand, he is offering ghee to the fire. Two of his
attendants are seated behind him and a third one is shown on the other side of the Alter.
Four characters are shown standing in the background. Two of them are Sages [Rishis] and
the other two are celestials [Devas]. The Rishi pair is involved in a conversation. The right hand of
first Sage is held in Vismaya posture in praise of the sacrifice. The other Sage, listening to his
companion with due attention is engaged in playing a stringed music instrument. The celestials
witnessing the sacrifice are Surya and Chandra as suggested by the nimbus behind their
heads. These four characters, taken together, could represent the celestial gathering witnessing
the sacrifice.
Pullamangai Panel No.5 - The Sacrifice of King Dasaratha
At Pullamangai, the position of the King is shifted to the left of the Alter. Here, he has already
received the celestial gift from the Goblin who is seen in the midst of the fire. Once again, the
object being exchanged cannot be identified with certainty but it doesnt seem to be a vessel and
most likely to be the Pinda as seen earlier at Kumbakonam.
<img src='images/Dec12/Ramayana-SacrificeOf Dasaratha-1-02.jpg'>
Two male figures are seen behind the King; the first figure is holding a flower in his left hand
and is looking at the second one. The second figure is holding a sword, which is resting on his left
shoulder. These two figures represent attendants of the King. Queen Kausalya is conspicuous by
her absence.
The priests who are conducting the sacrifice are located to the right of the Alter. The chief
priest is in Garudasana posture and he is not Sage Rishyashrunga; the second priest is a
supportive figure. One sage and three celestials are seen in the background, witnessing the
sacrifice. One of them, located right above the Alter, is holding an object in his right hand - the
identity and purpose of which is unclear.
Visual treatment
Significant variations in treatment are observed between the two Chola Ramayana panels of
comparable age, depicting the same theme, viz. the Sacrifice of Dasaratha.
The representation at Kumbakonam includes one Goblin, two performers of the Sacrifice (the
King and the Queen), four conductors (Priest and his companions) and four celestial witnesses.
Altogether there are 11 characters and all are male figures except one.
At Pullamangai, the portrayal includes one Goblin, one performer (the King), two of his
attendants, two conductors and four celestial witnesses. There are 10 characters in total and all
are male figures.
The absence of Kausalya and Rishyashrunga at Pullamangai is nonconforming. The Queen
has been replaced by two attendants who are standing behind the King [one of them seems to be
a guard of honor or Tirumeikkappu]; and the role of Rishyashrunga is taken over by another
Priest.

Either the sculptors preferred not to portray the said characters or more likely there were other
recessions of Ramayana in vogue during Chola times that did not include the two.
In both reliefs, the focal theme is the sacrificial Alter and the emergence of the Goblin. At
Kumbakonam, he emerges over and above the fire while at Pullamangai he is seen inside the
fire. The object being presented is carried over the head by Kumbakonam Goblin, which is not the
case at Pullamangai.
In both reliefs, the Sages are the only characters involved in talking and probably singing
[Vachika]. Only the chief Priest is directly involved in the sacrifice while the rest of the crew is just
observing or chanting the holy Hymns [Mantras].
Collectively, the two panels at Kumbakonam and Pullamangai provide a rare glimpse of the
genius and ingenuity of Chola artisans in expressing the same theme from the epic with
significant variations in visual treatment. The characters and composition very diverse; and yet
both reliefs successfully strike the same chord and resonate with same frequency. It is difficult to
produce such varying works of art unless the artisans were thoroughly well versed in literatures
as well as the principles of composition
Among the two reliefs discussed, the one at Kumbakonam is the finest wherein several
characters are accommodated with ease within a single miniature frame and yet the composition
is fully balanced.