Kiratarjuniyam: Diversity of Characters and Relevance of Nara- and Harihara in the Sculptural Depiction in Avittathoor Mahadeva Temple in Thrissur District,

Kumbodharan S1. and Preeta Nayar1

1. Department of Archaeology, University of Kerala, Kariavattom Campus, Thiruvananthapuram, Kerala – 695581, India (Email: [email protected], [email protected])

Received: 30 August 2019; Revised: 28 September 2019; Accepted: 19 October 2019 Heritage: Journal of Multidisciplinary Studies in Archaeology 7 (2019): 266-278

Abstract: Kiratarjuniyam is a story mentioned in the Vanaparva of . It describes ’s penance to please in order to get the divine weapon Pashupatastra. Kiratarjuniyam is one of the favourite themes used in sculptural depiction during the medieval period. This story is one of the mostly depicted sculptural expositions in Kerala temples especially in wood. The narrations are found as wooden brackets and wooden narrative panels. Temples in Thrissur district possess a good number of representations of Kiratarjuniyam in wood. One among them, Avittathoor Mahadeva temple, has three elaborate depictions of Kiratarjuniyam, one in the namaskaramandapam and other two in the shrikovil brackets. The multiple depiction of a single anecdote in different part of the same temple is a rare occurrence. The present paper describes the narration of the story in these three depictions and discusses the diversity in the presentation of characters and the relevance of the depiction of Nara-Narayana and Harihara sculptures.

Keywords: Kiratarjuniyam, Arjuna, Kirata, Nara-Narayana, Harihara, Shrikovil, Namaskaramandapam

Introduction Kiratarjuniyam is an event narrated in the Vanaparva of Mahabharata (3.40.54). It describes the penance of Arjuna in the Himalaya to please Shiva and get the divine weapon pashupatastra. Shiva assumed the form of a Kirata (a forest dwelling hunter) and approached Arjuna to test his devotion for Shiva. Meanwhile, Mukasura, a demon in the form of a boar, came to attack Arjuna and Arjuna aimed his arrow at the boar; Kirata also aimed his arrow at the animal. This resulted in a dispute between Kirata and Arjuna. Arjuna ignored the claim of Kirata and both of them simultaneously shot their arrows at the animal. A fight started between them and eventually, Arjuna fell exhausted. Soon Arjuna realized that he was fighting with Shiva in disguise of a Kirata and fell at his feet. Pleased with Arjuna and finding Arjuna wise enough to use the pashupatastra, Shiva presented it to him. Kumbodharan and Nayar 2019: 266-278

Kiratarjuniyam became one of the favourite themes in sculptural depictions of India during the late medieval period. Many temples in Kerala have Kiratarjuniyam sculptures. Most of them are found in the state as wooden narrative panels or bracket figures. Avittathoor Mahadeva temple in Thrissur district has three finest depictions of Kiratarjuniyam in wood (Figure 1). It is rare that three different depictions of the same story are found in the same temple. Two of them are found as bracket figures in first and second talas (tiers) of the shrikovil (sanctum sanctorum) and the third one occurs at the namaskaramandapam (the hall in front of sanctum sanctorum). This paper assesses the similarity and diversity observed in the narration of this anecdote in the shrikovil and namaskaramandapam of Avittathoor Mahadeva temple, besides the relevance of Nara-Narayana and Harihara sculptures in the narration.

Figure 1: Avittathoor Mahadeva Temple

Avittathoor Mahadeva Temple Avittathoor Mahadeva temple is located in Avittathoor village of Thrissur district in Kerala. Avittathoor is believed to be one of the 36 gramams (villages) in ancient Kerala and this temple is a grama-kshetra for the villagers of Avottathoor (Sarkar, 1978: 23). It was said that the sage Agastya installed the idol of Shiva, the main deity, in the temple and thus, the temple was known as Agastyatrippadathoor which meant ‘the place sanctified by the holy feet of Agastya’. Agastyatrippadathoor later got abbreviated to Avittathoor. The temple has a vattezhuttu (a writing system emerged from the Tamil Brahmi) inscription belonging to 20th regnal year of the second Chera emperor Ko-Kotai Ravivarman dated to 903 CE. The temple has undergone subsequent additions and renovations in the later periods (Jayashankar, 2008:552-554, Sarkar, 1978: 23-24).

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Figure 2: Arjuna’s Penance Figure 3: Kirata Figure 4: Kirata and Kirati

Figure 5: Kirati Figure 6: Kirata Figure 7: Kirata

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Figure 8: Kirati Figure 9: Kirata Figure 10: Kirati

Figure 11: Kirata Figure 12: Arjuna Figure 13: Fight between Kirata aiming Mukasura aiming Mukasura and Arjuna

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Figure 14: Arjuna Figure 15: Figure 16: Arjuna prays Contemplating Arjuna Shiva

Figure 17: Arjuna’s Figure 18: Figure 19: Realization Shiva

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Figure 20: Arjuna Figure 21: Shiva Figure 22: Parvati Figure 23: Arjuna

Kiratarjuniyam in the Lower Tala of the Shrikovil The entire Kiratarjuniyam episode is presented in 22 wooden brackets in clockwise sequence in the lower tala, starting from the left side of the shrikovil (Figures 2- 23). Each sculpture is about three feet in height. The story begins with Arjuna’s penance depicted in the first bracket figure. This is followed by eight sculptures portraying the forest life of Kirata and Kirati (feminine word for Kirata). Kirata is presented with hunting weapons like long sticks, traps and bow while Kirati is shown as a huntress carrying pointed sticks, baskets and hunted animal. In one sculpture, Kirati is seen plucking a thorn from the foot of Kirata with her teeth.

The 10th and 11th sculptures show Kirata and Arjuna simultaneously shooting at a boar. Next image illustrates the duel between Kirata and Arjuna. The four bracket figures, after the depiction of duel, show different actions of the puzzled Arjuna. He shows vismaya mudra. He offers a bale leaf to Lord Shiva in contemplation to get him out of this puzzle. Soon he realizes who Kirata is and submits himself before Kirata. The succeeding sculptures (17th to 22nd) depict Shiva and Parvati in their real forms. The story ends with Shiva presenting pashupatastra to Arjuna, Arjuna receiving the weapon and Parvati blessing Arjuna.

Kiratarjuniyam in the Upper Tala of the Shrikovil Kiratarjuniyam in the upper tala is narrated with depictions of 16 sculptures. Sculptures are three feet in height as in the earlier depiction. The characters, their postures, attributes and weapons in the upper tala are similar as in the lower tala (Figures 24-30). Upper tala lacks the scenes showing Kirata and Kirati with different hunting tools and hunted animal, Kirata aiming at the boar and Arjuna worshipping Shiva after the duel. Added scene presents Shiva and Parvati with the anthropomorphic .

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Figure 24: Arjuna’s Figure 25: Figure 26: Figure 27: Kirata penance Kirata Kirati and Kirati

Figure 28: Shiva and Parvati Figure 29: Kirati Figure 30: Nandikesha

Kiratarjuniyam in Namaskaramandapam Namaskaramandapam carries this story in 15 small brackets of about one foot in height. Though small, sculptures are elaborately decorated (Figures 31-41). Narration begins with Kirati taking out a thorn from the foot of Kirata with her teeth. The depictions continue on the rest 14 bracket figures as described below.

Kirati holds a long stick in her right hand and a knife in her left hand. A basket is hung on her right shoulder. Kirata is presented with a hunting dog. A bow is hung on his right shoulder. He carries a killed squirrel in his left hand. Kirata releases an arrow from his bow. The hunting dog is shown at the right side of Kirata. Arjuna is presented

272 Kumbodharan and Nayar 2019: 266-278 as a young prince doing penance in anjali mudra on one leg. Mukasura interrupts the penance of Arjuna. Arjuna loses his concentration. Standing in anjali mudra, he opens his eyes and places his uplifted leg on the ground. Next to this event, Kirata and Kirati are presented together. Kirata shoots the boar and Kirati stands behind him with an arrow in her hand. Arjuna shoots the boar and a duel is followed between Kirata and Arjuna. Arjuna surrenders his arrow to Shiva. Kirati is shown next with a mongoose in her left hand. She holds a basket to her hip with the support of the elbow of her right hand. and bless Arjuna1. Arjuna holds the pashupatastra in his right hand and a bow in his left. Nara-Narayana is depicted next to this scene. The story ends with the presentation of a syncretic form of Shiva and Vishnu along with a female Goddess who can be interpreted as the consort of Shiva. The image holds mriga in his upper left hand and in his lower left hand. Upper right hand holds tanka and lower right hand is shown in abhaya mudra.

Figure 31: Figure 32: Figure 33: Fight between Kirata and Kirati Arjuna Kirata and Arjuna

Figure 34: Figure 35: Figure 36: Arjuna, Vishnu and Arjuna Kirati Lakshmi

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Figure 37: Arjuna’s Realization Figure 38: Nara-Narayana

Figure 39: Figure 40: Figure 41: Harihara with Arjuna Shiva Goddess

Diversity of Characters Arjuna, Shiva, Parvati, Nara-Narayana, Harihara, Mukasura and Nandi are the characters depicted in the present narrations of Kiratarjuniyam.

Arjuna: Arjuna, the protagonist, appears in the following scenes: (i). Arjuna’s penance (ii). Arjuna shooting arrow at the boar (iii). the duel between Arjuna and Kirata iv). Arjuna submitting to Shiva and (v). Arjuna receiving pashupatastra. He is presented as a royal youth in all the scenes except in one which shows him doing penance. In penance, he is presented without any ornaments except suvarnavaikaksha. In all other

274 Kumbodharan and Nayar 2019: 266-278 depictions, he is shown with elaborate ornaments like karandamakuta, chakrakundalas or patrakundalas, griva, udarabandha, kankanas and padavalay. He wears short or long lower garment with pleats in front tied with a sash and decorated with loops and tassels.

Kirata and Kirati: In sculptural depictions of Kiratarjuniyam, Shiva and Parvati are presented as the forest dwellers, Kirata and Kirati. They embody the features of hunters. Kirata is, hence, shown with a short drapery and cap like head gear made of leaves. He is decorated with kundalas and griva that match with his drapery. Long stick, traps, bow and arrow shown in his hands as weapons are most suitable for a hunter in a forest. The huntress is shown with short lower garment made of leaves, hair tied up as top knot or kept in place with a headgear of leaves and flowers. She wears vrittakundalas, keyuras, kankanas and padavalay that match with her other wild decorations. True to a huntress, in most of the scenes, she is depicted with a pointed stick, basket and some small killed animals in her hand.

Shiva and Parvati: Shiva and Parvati are presented as and Goddess only in the shrikovil brackets. Shiva is always shown with two hands. He holds pashupatastra in his right hand and an unidentifiable object in the left (Kiratarjuneeyam in the lower tala). He keeps a sword in his right hand and embraces Parvati with his left hand (Kiratarjuneeyam in the upper tala). In upper tala, he is shown also with abhaya and varada mudras. He wears karandamakuta with lateral expansions, vrittakundalas or patrakundalas, thick grivas, udarabandha made of serpents, bhujavalis, keyuras, kankanas and padavalay. His long lower garment is tied with a sash and decorated with tassels, pleats and loops. Parvati is depicted as a beautiful woman with neatly tied up hair, wearing ornaments like lalatapatta, vrittakundalas, grivas, haras, katisutras, anguliyas (on all fingers), bhujavalis, keyuras, kankanas and padavalay. Her long lower garment has pleats in front, tied with a sash. Tassels and loops decorate the garment. She shows abhaya and varada mudras.

Nara-Narayana: As part of the Kiratarjuniyam narration, sculptures of Nara and Narayana are depicted in the bracket of namaskaramandapam. Nara is two handed holding a bow in the left hand and showing abhaya mudra with his right hand. Narayana is presented with four hands, holding chakra, shankha, gada and padma in them. Both of them are adorned with ornaments like karandamakuta, vrittakundalas, griva, katisutra, bhujavalis, keyuras, kankanas and padavalay.

The sculpture of Nara-Narayana appears in between the brackets that show Arjuna’s subjugation to Shiva and Arjuna receiving pashupatastra. There are references to this episode in the Vanaparva of Mahabharata (3.40.54). When Arjuna realized that he was fighting not with a Kirata but with his Lord Shiva, he was filled with joy and he prostrated himself at the feet of the God. Shiva informed Arjuna that Arjuna was a rishi called Nara in his previous life and he killed all his enemies, even those lived in heaven (Dutt, 1895: 58 and Ganguli, 2003: https://www.mahabharataonline.com/translation/). In another context in Vanaparva (3.41.1), Shiva told Arjuna that Arjuna was fit enough

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to use pashupatastra because he was Nara, the friend of Narayana, in his formal life and he passed thousands of years in fearful and austere asceticism (Dutt, 1895: 62 and Ganguli, 2003: https://www.mahabharataonline.com/translation/). In Kirataparva (3.42.18) of Mahabharata, Shiva mentioned that Arjuna was mentally mature enough to use pashupatastra because he was an immortal being and had immeasurable mental calibre in his former life (Dutt, 1895:64 and Ganguli, 2003: https://www.mahabhar ataonline. com/translation/).

The sculptor placed the sculpture of Nara-Narayana between the bracket figures that presented the anecdotes of Arjuna’s subjugation to Shiva and Arjuna receiving pashupatastra to indicate these references from Mahabharata. In fact, Narayana does not have any role to play in Kiratarjuniyam but it would be difficult to identify Nara as Nara, if Nara alone was sculptured and placed in between these anecdotes. Hence, he placed the sculpture of Nara and Narayana together. Generally, a combination of one rishi with two hands and a bow, and another rishi with four hands having chakra, shankha, gada and padma in his four hands is the way how Nara-Narayana is depicted iconographically (Nayar, 2007: 94,95). The Vanaparva of Mahabharata (47.13) mentions that Nara and Narayana are the former incarnations of Arjuna and .

Harihara: Harihara, the syncretic form of Shiva and Vishnu, is depicted in the sculptural narration of Kiratarjuniyam present in the namaskaramandapam. Mriga in the upper left and tanka in the upper right hands manifest the aspect of Shiva, while gada in the lower left hand and abhaya mudra in the lower right, the aspect of Vishnu in Harihara. The ornamentation and drapery of Harihara are similar to that of Narayana. The female Goddess depicted with them carries a nilotpala bud in her left hand and the right hand is held in abhaya mudra.

Harihara appears in the last scene of the story. The sculptor introduces the concept concealed in the creation of Harihara that Vishnu and Shiva are equal at all levels, a celebrated faith projected in Mahabharata. Harivamshaparva of Mahabharata (2.125.41) states that Lord Shiva is Lord Vishnu and Lord Vishnu is Lord Shiva. These are only the two forms of the same God who is looking after the world. The same parva (2.125.29) again mentions that Shiva appears in the form of Vishnu and Vishnu, in the form of Shiva. There is no difference between them and both provide fortune to all (Ganguli, 2003: https://www.mahabharataonline.com/translation/).

Mukasura: Mukasura appears in Kiratarjuniyam in the form of a wild boar. He is depicted as a tiny figure in the shrikovil brackets along with Arjuna. Boar is of bigger size in Kiratarjuniyam found in the namaskaramandapam bracket.

Nandikesha: Nandikesha, the of Shiva, is depicted in Kiratarjuniyam narration found in the upper tala of shrikovil. In fact, he does not play any specific role in the story. Nandi is sculptured as a human with horns and bull’s ears. He keeps his right hand on his chest in a submissive gesture and holds a lotus flower in his left hand. He

276 Kumbodharan and Nayar 2019: 266-278 is adorned with karandamakuta with lateral expansions, vrittakundalas, heavy griva, keyuras, bhujavalis, katisutra and padavalay.

Conclusion Multiple narrative depictions of a single anecdote in different part of the same temple are of rare occurrence in Kerala. Avittathoor Mahadeva temple has three depictions of Kiratarjuniyam, two on shrikovil brackets and one on namaskaramandapam brackets. In all the three narrations, there is uniformity in the selection of scenes for depiction but there is diversity in the presentation of characters. While the narrations in the shrikovil brackets are simpler and more realistic, those in the namaskaramandapam are more ornamental and dramatic.

An interesting portion of the sculptural narration is the depiction of the life style of forest dwellers of the late medieval Kerala. It is portrayed with a realistic touch through the attire and activities of the characters Kirata and Kirati. The use of leaves in the drapery and the nature of ornaments vouch the way the hunter and huntress spend their life in the forest. They maintain with them the traditional hunting weapons of the forest dwellers like long sticks, traps, bow and arrows for hunting comparatively big animals. The hunter is assisted by a hunting dog, a behaviour still exhibited by the forest dwellers. The huntress carries comparatively small weapons like knife, pointed stick and barbed tool suitable for hunting small animals like mongooses, squirrels and chameleons and to dig out tubers from forest plants. She carries small basket to collect tubers and fruits. Kirati taking out the pierced thorn (a usual incident while walking bare footed in the forest) from the foot of Kirata with her teeth reveals the strong bond of love and friendship they maintain each other.

The karandamakuta with lateral expansions at both sides in the style of the kirita and the open vanamala similar to the uttareeyam, both worn by the characters in Kathakali, are the common features noticed in the indigenous wooden sculptures of Kerala belonging to 16th to 18th centuries CE.

Note 1 Distinct stylistic features observed on the sculpture depicted in bracket number twelve (Vishnu and Lakshmi blessing Arjuna) in namaskaramandapam point out that it is a later replacement.

References Dutt, M. 1895. Mahabharata Text with English Translation. Vol: 1-7. Calcutta: H.C. Dass Elysium Press. Ganguli, K. 2003. The Mahabharata of Vyasa- English Prose Translation. https://www.mahabharataonline.com/translation/ Jayasankar, S. 1997. Temples of Kerala. 1st ed. Delhi: Directorate of Census Operations Kerala.

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Jayasankar, S. 2006. Temples of Trissur District. 1st ed. Delhi: Controller of Publications Census Operations Kerala. Nayar, P. 2007. Nara-Narayana Image of Vilwadrinatha Temple, Kerala and its Significance, The Journal of the Research Society, Vol XXXVIII. Nos 1&2. Guwahati: Kamarupa Anusandhana Samithi. Rao, T. 1914. Elements of . Vol. I. (1sted.). Chennai: Motilal Banashidas Publishers. Sarkar, H. 1978. Architectural Survey of Temples of Kerala. (1sted.). New Delhi: Director General Archaeological Survey of India.

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