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Pacapretsansn-Sadiv
R.K.K. Rajarajan

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To cite this article: R.K.K. Rajarajan (1997): Pacapretsansn-Sadiv, South Asian Studies, 13:1, 25-29

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 South Asian Studies 13 1997
Pancapretasanasini-Sadasivi
R.K.K. R A J A R A J A N
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In March 1996 the Department of Sculpture, Tamil
University of Thanjavur, conducted a regional
seminar on the subject, 'Gopuras in South Indian
Art: Structural Alignment and Iconographic
Programme.' More than twenty five papers were
presented on the multifarious aspects of South
Indian gopuras (temple gateways). I was directed
to contribute an article pertaining to the
polycephalous stucco images on the gopuras of the
Minaksl-Sundaresvara temple, Maturai. The paper
was presented on the basis of a pilot study and the
monuments repeatedly surveyed in view of their
iconographical potentiality. The Maturai gopuras are
studded with a bewildering variety of polycephalous
images and deserve to be considered in the art
historical context. In March 1996 the temple was
revisited for photographic documentation. It was
indeed a delightful experience because a very rare
image of Sadasivl, seated on five corpses was
discovered. The result is this brief communication.
In the history of South Indian art, the gopuras
occupy an important place as abodes of
iconographical masterpieces and structural edifices
of intricate workmanship [1]. Making their entry
into the Dravidian temple complex by about the
time of Rajasirhha Pallava (A.D. 700-728) in the
Kailasanatha temple at Kancipuram, they percolated
into other zones of artistic work such as Pattadakkal
(Virupaksa temple) and Ellora (the Kailasa - Cave
XVI and G&nesa-Iena) [2]. These are simple in form,
consisting of only the sikhara, called kutasala in
architectural terminology. Later, better impressions
appear during the middle Cola period as found in
the Rajarajesvarams of Tancavur and Taracuram,
and the Raiiganatha cave temple at Malaiyadippatti
(Kalidos, 1988, p. 57). Typical rayagopuras come into
the historical picture during the later Pandya period
(13th century A.D.) and reach the acme of artistic
splendour under the Vijayanagara-Nayaka rulers of
South India. These stupendous monuments have
remained beyond the purview of art historical
research, but for few case studies of the
Tiruvannamalai (Gravely, 1959) and Citamparam
(Harle, 1963) 'gateways.' A significant development
under the Vijayanagara-Nayaka aegis was that
macrocosmic temples (e.g. Srirahgam and Maturai)
came to be appended with gopuras at cardinal points
in each and every prakara 'cloister' of the temple.
Thus there are 21 and 12 gopuras in the Srirahgam
and Maturai temples (Michell, 1995, p. 43). In the
geographical zone where the Vijayanagara Empire
had its genesis, a gopura appears at Hampi standing
majestically in front of the Virupaksa temple
(Rajasekhara, 1983: Pis. I, III-V).
The outstanding pieces of work in the Minaksl-
Sundaresvara temple at Maturai are the five
rayagopuras, fitted along the cardinal points of the
outer prakiras (Devakunjari, 1976 figs. 7-13). These
are dated from the later Pandya period and reach
the stage of perfection under the Nayakas of
Maturai. Each gopura is decorated with a wide
variety of iconographical themes in its various ta/as
'tiers' (Fig. 1). According to statistics prepared by
the temple authorities, the five rayagopuras
accommodate more than 4,000 stucco images.
Details of donors and other particulars are given in
the following table.
The tabled data makes it clear that the second
great gopura to be added to the Maturai temple
complex was the western. It is one of the tallest
and provides for the maximum number of
iconographical pieces.
 26 R.K.K. Rajarajan

direction donor reigning king date height no. of images

East - Svami Maravarman - Sundara Pandya A.D. 1216-38 51 m. 1,011

West Cadayavarman - Parakrama Pandya 1315-47 52 m. 1,124
North Krsna VIrappa - Nayakkar 1564-72 50 m. 404
South Cevvanti Cetti Visvanatha Nayakkar 1556 53 m. 1,511
East - Amman Kalatti Mutali Krsnappa Nayakkar 1570 39 m. 730
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A unique dimension of the iconographical setting

of the gopuras is that many of the sculptures are
polycephalous. The noteworthy forms are
Mahasadasiva (with 25 faces), Sadasiva (5 faces),
Visvakarma (5 faces), Sanmukha (6 faces),
Pancavaktra-Nrsirhhi (5 lion faces), Herarhba-
Ganapati (5 elephant faces) and Sadasivi, the
feminine edition of Sadasiva. The five faces of
Sadasiva are called Tatpurusa (east facing), Aghora
(south), Sadyojata (west), Vamadeva (north) and
Isana (uplooking urdhvamukha) [3]. Such images
appear on all gopuras. Interestingly, the eastern
rayagopura of the Amman (Mlnaksi) enclave
accommodates a rare image of a nine-headed
Sadasiva. In the case of Mahasadasiva, the images
are arranged in five tiers, in the following scheme:
I in tier 9, II in tier 7, III in tier 5, IV in tier 3 and
V in tier 1. The southern gopura houses an image
of Mahasadasiva who is sthanaka (standing). He is

WJT-
ft
w usually seated (Sharma, 1976), and so it is very
interesting to find the Lord standing, burgeoning 25
faces.
Most important among the gopuras is that to
the east of the kampattati-mandapa 'Pavilion of
Flag-staff of the Svami shrine. The northern section
of the gopura in its second ta/a accommodates a
series of polycephalous images. Usually the northern
section of a gopura in Siva temples provides for
images of Brahma at the centre in each and every
tier, a good example being the frontal gopura of
the Rajarajesvaram at Tancavur. The Sundaresvara
gopura presently under discussion, follows the same
scheme and houses polycephalous images in a serial
order. Starting from the \iana-dik (northeast) the
images are Visvakarma, Sadasivi, Brahma (centre),
Fig. 1. A panoramic view of a gopura, Minaksi-Sundaresvara Pancamukha-Nrsimhi and Sadasiva. Sadasiva and
Temple, Maturai. Sadasivi are placed on a par with each other. The
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Fig. 2. Pancapretasanaslnl-Sadasivj. West Gopura. Minaksi-Sundaresvara Temple. Maturai.

 28 R.K.K. Rajarajan
same programme of images appears on pillar
sections of the doorway, leading from the kampat-
tati-mandapa to the holy of holies of Sundaresvara.
A unique specimen of Paricavaktra-Nrsirhhi appears
in a pillar of the ayirakkal-mandapa (1000 pillared
Pavilion) in the same temple.
The unusual arrangement of the polycephalous
images may be suggestive. It may reveal that the
ksetra or spot where the temple stands is the cosmic
seat, the Axis mundi, from where cosmic functions
are discharged by Sundaresvara (Tamil Cokkar 'one
who makes one swoon' or Cokkanatar) and Minaksi
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(the fish-eyed one) [4]. This is because in the sthala
(i.e. Maturai, also called Kutal, literally 'congress',
a meeting place) both the Lord and the Mother are
of equal importance, as the temple, the cosmic pivot,
is divided into two equal halves, assigning the right
half to Devi and left to Siva. This is a primitive
type of ardhanirisvara concept (for details see
Kalidos, 1993a) in which there is a stress on the
feminine half, which has been placed on the right
side. The image of Pancapretasanasini-Sadasivi,
housed in the south gopura, also signifies the role
of feminine power in cosmic equilibrium which is
the subject matter for the present study.
Pancapretasanasini-Sadasivi appears on the
second tala of the western rayagopura. It is
attributed to the period of Cadayavarman
Parakrama Pandya of Maturai. The monument was
erected in the early 14th century A.D. The
pyramidal structure rises to a height of 52 meters
and it is estimated that the total number of stucco
images is 1124 (Kalidos, 1993). We cannot be sure
whether the present images could be dated in the
14th century because stucco, being a perishable
material, the iconic pieces should have undergone
renovation from time to time. During the past 50
years the gopuras have been subjected twice to
renovation, the most recent one taking place in 1995.
Thus, all stucco images are repainted.
The image of Pancapretasanasini-Sadasivi under
study (Fig. 2) is seated on a bhadrapitha in
ardhapadmasana attitude. She is five-faced, the heads
arranged in a horizontal row. The hands are ten, the
purvahastas held in abhaya- and varada-mudras. The
rest of the emblems include the pasa, padma, kapala,
cakra, tahka, sruk and so on. The top left hand holds
an enigmatic emblem, perhaps sankha [5]. The image
is very stiff and rigid, giving a clue to suggest a date
in the 18th century A.D. The faces of the Goddess
are painted in different colours as follows: (starting
from the right hand end) orange, sea blue, pale red,
green and gold. Iconographically the image represents
what B.N. Sharma (1976) would call Sadasivi. The
most valuable contribution of the Maturai artist is
the inclusion of five corpses which lie one above the
other below the bhadrapitha. A similar work appears
in the yajhasala, part of the Kailasa (Cave XVI) at
Ellora, but there the main personality is masculine
and may represent Siva as Kala, the God of Time
and Eternity (Soundararajan, 1981, p. 209, Kalidos
1992: fig. 6).
The speciality of the Maturai stucco is the five
corpses, appearing legibly. In the Rastrakuta piece
from Ellora (later half of the 8th century A.D.) only
three are visible. The Maturai stucco clearly shows
the trimukha-Btahma, lying under four others of
whom two are Siva and Visnu. These might be
personifications of the panca-Brahmas as the
Goddess is invoked with the epithet,
pancabrahmasvarupini in the Lalitasahasranama
(LSN 250, cf. Kalidos, 1990, p. 124). The Goddess
is one who performs the five cosmic functions, the
pancakrtyas, and so called pancakrtyaparayana (LSN
274). She is empowered to do away with the five
masculine powers by virtue of which capacity she
becomes the pancapretasanasini (LSN 249), She who
is seated on the five corpses of the five Brahmas,
viz., Brahma, Visnu, Rudra, Isvara and Sadasiva.
(Kalidos, 1990, p. 124). The Candikadhyanam of
Devimahatmyam (Jagadiswarananda 1953; vii) calls
the Mother, pahcamundadhivasini, She who resides
on five headless trunks. Munda in the present
context may be vituperative as in ordinary parlance
an inactive person is abused with such a term. Devi
could as well also wear five mundas as garlands and
take the epithets, mundamalini and naramalavibhu-
sana (DM, VII: 7). Interestingly, there is a bronze in
the Tamil University Museum which portrays Siva as
a dancer carrying the corpse of Devi on his shoulder.
The Cosmic Mother is the most compassinate
but cosmic avocations such as sthiti 'sustenance' and
samhara 'destruction' [6] force her to resort to
violent means to quell demonic powers [7]. The
Devimahatmyam on several occasions declares the
passive and violent aspects of the Mother. When
she is angry, it is added (DM, VII:5) that Devi's
face becomes dark as ink, kopena casya vadanam
masivarnamabhuttada. So, the Maturai stucco image
has a few of the faces hued in dark colours.
 PancapretasanasM-SadasJvi 29

Definitely, the image is an outstanding contribution
to Indian iconography as it personifies the concept
of Paficapretasanasini-Sadasivi. To our knowledge
no such image has been reported earlier.
NOTES
1. A few of the papers, presented in the conference, deal
with technical aspects, the sastraic mandate and
practical application (Kalidos, 1996; Anil, 1996).
2. Rare example of ekatala-gopuras, called dvarasobha in
canonical literature like the Mayamata, were the subject
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Gopalakrishnan, S. 1996a. Motifs of Violence in Sakti
Iconography. 13th IAHA, Bangkok.
Gravely, F.H. 1959. The Gopuras of Tiruvannamalai.
Government of Tamil Nadu, Madras.
Harle, J.C. 1963. Temple Gateways in South India. Bruno
Cassirer, Oxford.
Jagadiswarananda, Svami. 1953. DeviMahatmyam. Madras.
Jeyechandrun, A.V. 1985. Madurai Temple Complex.
Madurai.
Kalidos, Raju. 1987. Iconography and symbolism of
Paficamukha-Nrsimha. East and West, 37: 1-4, pp. 283-
296.
Kalidos, Raju. 1988. The Malaiyadippatti Cave Temples.
South Asian Studies, 4: 57-63.
Kalidos, Raju. 1990. Yoninilaya: concept and application in

of an important study (Gopalakrishnan, 1996). Ancient

South Indian Art. East and West, 40:1-4, pp. 115-143.
Tamil literature uses the word Myil, the model of a Kalidos, Raju. 1992. The Raksasa Gateway of Mahakuta:
gopura (Rajarajan, 1996a, pp. 17-18). its iconographical significance. East and West, 42: 1-
3. The cumulative Sadasiva is Lord of pancakrtyas; cosmic 4, pp. 319-332.
functions of creation, sustenance, destruction, Kalidos, Raju. 1993. Stucco Imagery of the Vijayanagara
embodiment and release (Sivaramamurti, 1970, p. 385; Time. Paper presented in 34th Congress of Asian and
Kalidos, 1987, p. 293). North African Studies, University of Hong Kong, Hong
4. The symbolism of a cosmic pivot has been demonstrated Kong (Part of a Panel on 'Facets of Vijayanagara Art').
by placing the astadikgajas 'eight directional elephants', Kalidos, Raju. 1993a. The twain-face of Ardhanari. Acta
supposed to support the Axis mundi, along the plinth Oricntalia, 54: 68-106.
section of the garbhagrha of Sundaresvara Kalidos, Raju. 1996. The Sastraic Mandate and Programme
(Jeyechandrun, 1985, p. 161, Devakunjari, 1976, fig. 2). of Gopuras in the Srirangam Temple. Seminar paper,
5. The base of the weapon appears like an anchor but all Seminar on 'Gopuras', Tamil University, Thanjavur.
my colleagues are unanimous in saying it is the s'ahkha. Kalidos, Raju. 1996a. Motifs of Violence in Epithets of Gods
The supporting evidence is that the corresponding right and Godesses. Paper presented in the 14th IAHA,
hand shows the cakra. Is it a hala (ploughshare)? Bangkok.
6. So, Devi is one who creates, sustains and destroys: LSN Lalitasahasranama. 1975 tr. G. Suryanarayana Murthy,
srstisthiti vinasanam sakti bhute... (DM, XI: 11). Bharatiya Vidya Bhavan, Bombay.
7. The raison d' etre of violence has been exmained in Micheil, George. 1995. The New Cambridge History of
three papers (Kalidos, 1996a; Gopalakrishnan, 1996; India: 1:6 Architecture and Art of Southern India:
Rajarajan, 1996), presented in the conference of the Vijayanagara and the successor states. Cambridge
IAHA (International Association of Historians of University Press, Cambridge.
Asia), Bangkok, May 1996. Rajarajan, R.K.K. 1996. Motifs of Violence in Vaisnaa
Tamil Literature and Art. Paper submitted to the 14th
IAHA, Bangkok (synopsis published in booklet).
Rajarajan, R.K.K. 1996a. Rock-cut Model Shrines in Early
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