arjuna's penance

8/9/2019 Arjuna's Penance

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Picture of arjunas penance mahabalipuram
http://upload.wikimedia.org/wikipedia/commons/3/3f/Ganga_Mahabalipuram.jpg


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Mountain Scene

This magnificent relief, carved in the mid-seventh century, measures approximately

30m (100ft) long by 15m (45ft) high. The subject is either Arjuna's Penance or the

Descent of the Ganges, or possibly both. In the culture of India (as for that matter the

civilization of ancient Egypt), logical alternatives are often conceptualized as "both-

and" rather than "either-or."

Arjuna's Penance is a story from the Mahabharata of how Arjuna, one of the Pandava

brothers, performed severe austerities in order to obtain Shiva's weapon. The idea,

which pervades Hindu philosophy, is that one could obtain, by self-mortification,

enough power even to overcome the gods. In order to protect themselves, the gods

would grant the petition of any ascetic who threatened their supremacy in this way - a
http://www.art-and-archaeology.com/india/glossary1.html#additivehttp://www.art-and-archaeology.com/india/glossary1.html#additive


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kind of spiritual blackmail, or "give to get." (This meaning of the word "penance," by

the way, is specific to Hinduism. Unlike the Catholic rite of penance, it is performed

to gain power, not to expiate sin.)

The Ganges story is of the same kind, in which the sage Bhagiratha performs

austerities in order to bring the Ganges down to earth. Shiva had to consent to breakher fall in his hair, because otherwise its force would be too great for the earth to

contain.

The symbolism of the relief supports either story. Furthermore, both stories were

interpreted in a manner flattering to the Pallavas; the heroic Arjuna as a symbol of the

rulers, and the Ganges as a symbol of their purifying power.

The composition of the relief includes the main elements of the story (left) and scenes

of the natural and celestial worlds (right). A natural cleft populated by nagas separates

the two halves of the relief. Water was poured down this cleft in order to simulate anatural waterfall (the Ganges' descent). To the left, just above the shrine, Arjuna (or

Bhagiratha) stands on one leg, his arms upraised, in a yoga posture. Behind him

appears Shiva, holding a weapon and attended by ganas. To the right of the cleft, life-

sized elephants protect their young below a scene of numerous other animals and

flying celestials, all carved with the greatest vivacity, skill, naturalism, and

joyousness.

It is difficult to do justice to such a large and beautiful relief in photographs. A person

could barely reach the elephants' feet, and it was not possible to frame the entire

monument in one photograph. The stitched-together photo, above, provides a generalsense of the layout and composition of the relief. Close-ups appear on the following

pages. The area in the lower left of the photo composite has been left blank because it

was left uncarved, presumably incomplete, except for a group ofdenning animals next

to the shrine.

This magnificent relief, carved in the mid-seventh century, measures approximately

30m (100ft) long by 15m (45ft) high. The subject is either Arjuna's Penance or the

Descent of the Ganges, or possibly both. In the culture of India (as for that matter thecivilization of ancient Egypt), logical alternatives are often conceptualized as "both-

and" rather than "either-or."

Arjuna's Penance is a story from the Mahabharata of how Arjuna, one of the Pandava

brothers, performed severe austerities in order to obtain Shiva's weapon. The idea,

which pervades Hindu philosophy, is that one could obtain, by self-mortification,
http://www.art-and-archaeology.com/india/mamallapuram/ap04.htmlhttp://www.art-and-archaeology.com/india/glossary1.html#additivehttp://www.art-and-archaeology.com/india/mamallapuram/ap04.htmlhttp://www.art-and-archaeology.com/india/glossary1.html#additive


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enough power even to overcome the gods. In order to protect themselves, the gods

would grant the petition of any ascetic who threatened their supremacy in this way - a

kind of spiritual blackmail, or "give to get." (This meaning of the word "penance," by

the way, is specific to Hinduism. Unlike the Catholic rite of penance, it is performed

to gain power, not to expiate sin.)

The Ganges story is of the same kind, in which the sage Bhagiratha performs

austerities in order to bring the Ganges down to earth. Shiva had to consent to break

her fall in his hair, because otherwise its force would be too great for the earth to

contain.

The symbolism of the relief supports either story. Furthermore, both stories were

interpreted in a manner flattering to the Pallavas; the heroic Arjuna as a symbol of the

rulers, and the Ganges as a symbol of their purifying power.

The composition of the relief includes the main elements of the story (left) and scenesof the natural and celestial worlds (right). A natural cleft populated by nagas separates

the two halves of the relief. Water was poured down this cleft in order to simulate a

natural waterfall (the Ganges' descent). To the left, just above the shrine, Arjuna (or

Bhagiratha) stands on one leg, his arms upraised, in a yoga posture. Behind him

appears Shiva, holding a weapon and attended by ganas. To the right of the cleft, life-

sized elephants protect their young below a scene of numerous other animals and

flying celestials, all carved with the greatest vivacity, skill, naturalism, and

joyousness.

It is difficult to do justice to such a large and beautiful relief in photographs. A personcould barely reach the elephants' feet, and it was not possible to frame the entire

monument in one photograph. The stitched-together photo, above, provides a general

sense of the layout and composition of the relief. Close-ups appear on the following

pages. The area in the lower left of the photo composite has been left blank because it

was left uncarved, presumably incomplete, except for a group ofdenning animals next

to the shrine.

The upper left of the relief depicts a mountain setting with grazing

animals, lions, humans, and celestials, including (photo left) a pair of

bird-like kinnaras. Shiva attended by his hosts (ganas) is visible at

the far right of the photo. The mountain represents Shiva's abode in

the Himalayas, where the worlds of gods, humans, and animals

intermingle.
http://www.art-and-archaeology.com/india/mamallapuram/ap04.htmlhttp://www.art-and-archaeology.com/india/glossary1.html#kinnarahttp://www.art-and-archaeology.com/india/mamallapuram/ap04.htmlhttp://www.art-and-archaeology.com/india/glossary1.html#kinnara


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Arjuna/Bhagiratha

Arjuna's Penance, mahaballipuram

The hero of the story is performing a

difficult and painful yoga posture:standing one-legged, arms above his head.Such positions had to be held, without

moving, for great lengths of time; even

years, according to the legends. Hisprotruding rib-cage indicates the austerity

of self-starvation as well.

To the left, four-armed Shiva looks on

approvingly, his left hand extendedinvarada mudra, the gesture of granting a

blessing. At lower left, an antelope boundsfrom ledge to ledge. The scene includesflying celestials, a gana below Shiva's

hand, and a pair of birds near Arjuna's left

elbow.

Vishnu Shrine

Arjuna's Penance,

Mamallapuram

Directly below Shiva is a

Vishnu shrine withworshipers, ascetics,

celestials, and animals. A

few animals are denning incaves to the left, but the

remainder of the lower left

portion of the rock is

unfinished. Clickhere fora closeup of the shrine.
http://www.art-and-archaeology.com/india/glossary1.html#mudrahttp://www.art-and-archaeology.com/india/glossary1.html#mudrahttp://www.art-and-archaeology.com/india/glossary1.html#ganahttp://www.art-and-archaeology.com/india/mamallapuram/d2532.jpghttp://www.art-and-archaeology.com/india/glossary1.html#mudrahttp://www.art-and-archaeology.com/india/glossary1.html#ganahttp://www.art-and-archaeology.com/india/mamallapuram/d2532.jpg


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"Ganges" cleft

Arjuna's Penance,

Mamallapuram

In the center of therelief, the life-giving

and purifying river

Ganges flows down

the mountain,

surrounded by

ascetics, celestials,

elephants, and other

animals on the

banks. Nagas sport in

the water (closeup),

their natural habitat,

as celestials fly from

every direction

towards the Ganges to

witness the miracle.

Because this central

section is the artistic

focus of the whole

relief, I've provided a

large-format version

(1200x1600,

390K) here. The relief

abounds with

exquisite details, such

as the buck with his

doe in the lower left

corner.

Beneath the elephant'stusk is a cat,

performing

austerities.
http://www.art-and-archaeology.com/india/glossary1.html#nagahttp://www.art-and-archaeology.com/india/mamallapuram/d2536.jpghttp://www.art-and-archaeology.com/india/mamallapuram/d2518lg.jpghttp://www.art-and-archaeology.com/india/glossary1.html#nagahttp://www.art-and-archaeology.com/india/mamallapuram/d2536.jpghttp://www.art-and-archaeology.com/india/mamallapuram/d2518lg.jpg


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Cat Performing Yoga

Arjuna's Penance,

Mamallapuram

The cat's austerities

have attracted the

attention of several

mice - they will soon

regret it, since the cat

is only pretending, in

order to catch themunawares.

Elephants

Arjuna's Penance,

Mamallapuram

Beautifully carved

elephants,

approximately life-

sized, shelter their

babies while celestials

fly above them.


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Celestials

Arjuna's Penance,

Mamallapuram

Hosts of celestials and

animals join the

elephants on their

pilgrimage to the

Ganges. There aren't

any humans on this

side of the rock, which

depicts the natural

and celestial worlds.

Monkeys

Arjuna's Penance,

Mamallapuram

This marvelous

sculpture group is

located just beside the

right end of the relief,

but it is a separate

carving. The mother is

nursing her baby

while being groomed

by a subordinate. A

little boy, sitting

(unposed!) on the edge

of the plinth, provides

a sense of scale and a

humorous imitation.

Arjuna's Penance, perhaps the world's largest bas-relief, is the universe itself in stone, throbbing witha vastness of conception. Legend has it that King Bhagiratha had to bring down to earth the celestial

Ganga to sanctify and redeem the cursed souls of his ancestors. But the river in its torrential spree

would deluge the earth, and so he had to undergo a penance to propitiate Shiva who finally received

the flood in his matted locks and let it flow down. This was a sight for the world's creatures to see and

they gathered round. The cleft in the rock depicts the descent of Ganga, a theory supported by the

ruins of a stone water tank on the hill. There is a forest with tribal people and all forms of fauna, just

as they would appear in their habitat. Women clothed in an aura of amazing grace, a rich inner beauty

transfiguring the plainest of them. The whole scene has a dimension of humor too! Juxtapositioned


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against the ascetic is a cat doing rigorous penance too, eyes firmly shut, even to the delectable mice

scampering around within easy reach.

A concord of lexeme on the rocks of history

Arjuna's Penance has the magically sculpted scene, which opens the doors of cosmic imagination for

man it has over 100 figures of gods and celestial creatures, birds and beasts, man and saint. All these

figures are carved either facing or approaching the fissure and generally with hands folded in

reverence.

Legends associated with the monument

The cleft in the rock depicts the descent of River Ganga (also known as Ganges), brought to earth by

King Bhagiratha to redeem the cursed souls of his ancestors. On the left side of the fissure can be

seen a simple temple which contains a four-armed deity, probably Shiva. The fissure is sculptured with

Nagas. Above the fissure and on either side of it are flying figures of Gods and below are some

sculptures of animals of which giant elephants are the most impressive and are considered to be the

noblest creations of the human mind.

Arjuna, one of the Pandava brothers and a consummate archer, is shownstanding on one leg, doing penance to obtain a boon from Lord Shiva.

There is a forest with tribal people and all forms of animal life, just as

they would appear in their habitat. Women are clothed in an aura of

indescribable grace, a rich inner beauty transfiguring the plainest of

them. The comic scene in the relief will amuse visitors where a cat is

standing doing penance, while big and small rats are freely playing

around the feline 'Tapaswi'.

Arjuna's Penance is located in Mamallapuram or Mahaballipuram !

Arjuna's Penance orBhagiratha's Penace is the name of a massive open airbas-reliefmonolithdating

from the 7th century CE located in the town ofMahabalipuram in Southern India. Measuring 96 feet long

by 43 feet high, the bas-relief is also known as The Descent of Ganga. The bas-relief has two names,

because there is not full agreement regarding which stories the mural depicts.

Interpretations

In one interpretation, a figure in the bas-relief who is standing on one leg is said to be Arjunaperforming

an austerityTapasto receive a boon fromShivaas an aid in fighting the Mahabharata war. (The boon

which Arjuna is said to have received was called Pasupata, Shiva's most powerful weapon).

The bas relief is situated on a rock with a cleft. Above the cleft was a collecting pool, and at one time,

water may have flowed along the cleft. Figures within the cleft are said to representGangaor the River

Ganges and Shiva. This provides the basis for an alternative interpretation of the mural. Rather than

Arjuna, the figure performing austerities is said to be Bhagiratha. Bhagiratha is said to have performed

austerities so that Ganga might descend to earth and wash over the ashes of his relatives, releasing them

from their sins. To break Ganga's fall from heaven to earth, she falls onto Shiva's hair, and is divided into

many streams by his tresses.
http://en.wikipedia.org/wiki/Bas-reliefhttp://en.wikipedia.org/wiki/Monolithhttp://en.wikipedia.org/wiki/Common_Erahttp://en.wikipedia.org/wiki/Mahabalipuramhttp://en.wikipedia.org/wiki/South_Indiahttp://en.wikipedia.org/wiki/The_Descent_of_Gangahttp://en.wikipedia.org/wiki/The_Descent_of_Gangahttp://en.wikipedia.org/wiki/Arjunahttp://en.wikipedia.org/wiki/Tapashttp://en.wikipedia.org/wiki/Tapashttp://en.wikipedia.org/wiki/Tapashttp://en.wikipedia.org/wiki/Shivahttp://en.wikipedia.org/wiki/Shivahttp://en.wikipedia.org/wiki/Shivahttp://en.wikipedia.org/wiki/Mahabharata_warhttp://en.wikipedia.org/wiki/Gangahttp://en.wikipedia.org/wiki/Gangahttp://en.wikipedia.org/wiki/Gangahttp://en.wikipedia.org/wiki/Bhagirathahttp://en.wikipedia.org/wiki/Bhagirathahttp://en.wikipedia.org/wiki/Bas-reliefhttp://en.wikipedia.org/wiki/Monolithhttp://en.wikipedia.org/wiki/Common_Erahttp://en.wikipedia.org/wiki/Mahabalipuramhttp://en.wikipedia.org/wiki/South_Indiahttp://en.wikipedia.org/wiki/The_Descent_of_Gangahttp://en.wikipedia.org/wiki/Arjunahttp://en.wikipedia.org/wiki/Tapashttp://en.wikipedia.org/wiki/Shivahttp://en.wikipedia.org/wiki/Mahabharata_warhttp://en.wikipedia.org/wiki/Gangahttp://en.wikipedia.org/wiki/Bhagiratha


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[edit]Figures

One of the notable, and perhaps ironic figures in the bas-relief is the figure of a cat standing on one leg

(apparently as an austerity). This may be related to the Panchatantrastory of the cat who poses as an

ascetic in order to lure a hare and a bird to come near. (When near, he devours them.)
http://en.wikipedia.org/w/index.php?title=Arjuna%27s_Penance&action=edit&section=2http://en.wikipedia.org/w/index.php?title=Arjuna%27s_Penance&action=edit&section=2http://en.wikipedia.org/wiki/Panchatantrahttp://en.wikipedia.org/wiki/Panchatantrahttp://en.wikipedia.org/w/index.php?title=Arjuna%27s_Penance&action=edit&section=2http://en.wikipedia.org/wiki/Panchatantra

arjuna's penance

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