"Only heart to heart can speak the bliss of mystic knowers": The mystic beauty of the Descent of the Ganges relief at Mahabalipuram, an exquisite of rich Indian artistry and spiritual depth, and the legends sculpted into life-size figures on pink granite

The Descent of the Ganges, also known as the Arjuna's Penance, is an open-air rock relief carved on two monolithic rock boulders in the heart of Mahabalipuram. This awe-inspiring site gazes out towards the shimmering waters of the sea, set at a brief distance from the Coramandel Coast of the Bay of Bengal. This location places it near the famed Shore Temple, another architectural masterpiece in this region.

Design Layout

The relief, which faces the east, is a magnificent blend of creative ingenuity and technical prowess. The artists who created it leveraged the natural features of two enormous pink granite boulders, enhancing their innate beauty to give a sense of natural authenticity to the whole scene. These colossal stones stretch an impressive 15 meters by 30 meters (49 ft x 98 ft). Several figures carved into the stone are life-sized, adding to the immersive experience of the site.

One notable feature of the site is a significant vertical fissure between the two boulders. This natural cleft, artistically sculptured, is incorporated seamlessly into the mythological narratives carved on the relief. A water tank was strategically positioned at the rock's apex. During special festivities, water was released from this tank to cascade over the fissure and relief, symbolizing the descent of the Ganges River from the matted locks of Lord Shiva. A brick masonry cistern at the top of the cleft confirms this feature's existence. The relief is bustling with over a hundred intricately carved figures - deities, humans, mythical creatures, and animals. To fully grasp the relief's historical and cultural richness, a guided tour by a knowledgeable expert is recommended.

Historical Significance | This relief was created to commemorate the triumphant victory of Narasimhavarma over Chalukiya King Pulikesy. The site, presently known as Mamallapuram, was formerly called Mamallan after King Narasimhavarman I (630-668 AD) of the Pallava Dynasty. This "great wrestler" or "great warrior" was a part of the Malla dynasty and was the son of King Mahendravarman I. The architectural creations at Mamallapuram are mostly attributed to Mamalla from the 7th century. He pioneered the use of stone for in situ rock face sculpting, which was previously done with perishable materials like wood or loose stones.

The Descent of the Ganges forms a part of the 25 UNESCO World Heritage Cultural Sites in India. As a protected monument, the Archaeological Survey of India (ASI), Chennai Circle, is charged with its maintenance and preservation. This relief was inscribed in 1984 under the title Group of Monuments at Mahabalipuram. It's considered an early sublime sculpture of the 7th century, a significant architectural inheritance from the Pallava dynasty. The tradition of shrine-sculpting in temples continued into the Chola dynasty in the late 9th century, and even today, descendants of those early sculptors play a role in the town's culture.

Architecture and Carvings

The intricate sculptures carved into the natural fissure that splits the cliff are a sight to behold. They not only portray a cosmic event of the Ganges descending to earth at Shiva's command but also show the spectacle being observed by an array of divine figures - gods, goddesses, mythical entities like Kinnara, Gandharva, Apsara, Gana, Nagas, and even wild and domestic animals. All are shown gazing in awe at the scene. This scene is often referred to as "world-renowned" and a "unique artistic achievement." The total number of carvings is estimated to be around 146.

Noteworthy Carvings | One of the most fascinating elements is the almost life-sized carvings of elephants. Another amusing detail is the depiction of monkeys mimicking the yogic postures of the sages. Lord Shiva is shown standing next to the Kinnaras, mythical creatures that are half-human, half-bird. Shiva is depicted in front of the river, accompanied by the sage Bhagiratha, who stands on one leg offering prayers to temper the force of the Ganga as she descends to the earth. Shiva is also portrayed with a weapon, interpreted as Pashupati, which he gifted to Arjuna.

In the carving, the Ganas represent devotees who dedicated their lives to Shiva and were bestowed with the boon to remain close to him. The divine Nagas, shown swimming in the river as Ganga descends, are depicted in an anthropomorphic form, combining the characteristics of serpents and humans. They symbolize fertility and nature's protective forces. They are seen at the top and middle of the panel, indicating the widespread prevalence of Naga worship in Hindu religious beliefs.

The relief also highlights the interconnection of all life forms. For example, the elephants depicted in the reliefs, including baby elephants behind their life-sized parents, and the endearing scene of a deer scratching its nose. These details add a touch of realism and relatability to the depiction.

In addition, celestial entities, such as the Sun and the Moon, are also incorporated into the top part of the panel. A Kim-purusha, a dwarf with elongated ears and a cap, beating a drum, adds a whimsical touch to the carvings.

At the upper part of the panel, carvings of the Himalayas reaffirm the theme of the Ganges' descent. Scenes featuring wildlife like lions and rams, which are native to the Himalayan habitat, add to this theme. The left side of the upper panel features divinities and celestial couples moving towards the river. You can also spot a few animals like lions and monkeys, along with Kinnaras and celestial couples flying towards the river. Hunters and hunting scenes contribute to the intricate detailing of this part of the panel.

Finally, a temple, placed to the right of the cleft at the lower end of the panel, houses a carving of Lord Vishnu. This modest temple exhibits a Draupadi Ratha style roof with a square curvilinear dome-type tower. A sage delivering sermons to his disciples, a lion in his den, and a pair of deer are shown nearby, adding depth and narrative to the scene.

Subject

Of particular note are the elephant carvings, almost as large as life itself. There's an unusual yet amusing scene, one where monkeys seem to mimic the yogic postures of the sages. It's a unique blend of the spiritual and the comical, hinting at the Indian tradition of integrating humor within their spirituality. The depiction of Shiva, the great god of destruction and transformation in Hindu mythology, is of prime importance. He stands adjacent to the Kinnaras, figures prevalent in the upper part of the relief. These Kinnaras are portrayed as half-human, half-bird entities, a frequent motif in ancient Indian art reflecting the concept of unity in creation.

The male Kinnara is shown holding an Alapini vina, a traditional musical instrument, while the female counterpart holds a cymbal. Shiva himself is positioned before the river, standing in a serene posture, alongside Bhagiratha, the sage, who offers his prayers standing on one leg. This scene represents the sage's attempt to moderate the Ganges' force as it descends to earth. Shiva is also seen armed with a weapon, believed to be Pashupati, which he gifted to Arjuna.

The Ganas, another significant element in the carvings, symbolize those devoted individuals who spent their entire lives worshipping Shiva, rewarded with the blessing to stay close to him for eternity. The divine Nagas, depicted as swimming in the descending Ganges, blend human and serpent forms, a classic example of anthropomorphic style in ancient Indian art. This motif symbolizes fertility and natural protective forces, underlining the wide-spread Naga worship in Hindu religious practices.

The relief composition embraces an idea commonly held by early Indic artists: the "sublime continuity in all living things." An example of this is the depiction of the elephants, where not only the adults but also the babies are shown with painstaking detail. They represent a herd moving towards the river to quench their thirst, displaying a harmonious balance of nature.

Sun and Moon, too, find their places on the top of the panel, symbolizing the cosmic cycle of day and night. A Kim-Purusha, a dwarf with elongated ears, dons a cap and drums a rhythmic beat, adds to the charm of the narrative.

The upper part of the panel features the Himalayas, thus reinforcing the portrayal of the Ganges' descent. Scenes of wild lions and rams signify the harsh and rugged habitat of these mighty mountains. Carvings of divine entities and celestial couples suggest a movement towards the river, underlining the magnetic draw of this sacred event.

Depicting a slice of life, there are also carvings of hunters hiding under trees, a lion preying on them, and even a peaceful scene of deer grazing fearlessly before a lion in its den. These scenes extend the narrative, adding layers to the story the relief is telling.

Lastly, a small yet significant temple finds its place to the right of the cleft, at the lower end of the panel. This modest temple shelters a carving of the deity Vishnu within its walls. Its architectural design draws inspiration from the Draupadi Ratha style, marked by a square curvilinear dome. The temple roof is flat and topped with a Stupi, a rounded structure. The corners and cornices are adorned with flower designs and Kudus with human faces. A sage is depicted delivering sermons to his pupils, sitting before the temple. The scene is framed with a carving of a lion in its den and a pair of deer, further reinforcing the natural setting. A tortoise, indicative of water nearby, is a perfect finishing touch to this intricate narrative captured in stone.

Interpretations

In one perspective, the relief portrays a figure standing on a single leg, speculated to be Arjuna, a principal hero of the epic Mahabharata. It's said he is performing a spiritual practice known as 'Tapas', which involves severe austerities to acquire a divine blessing. In Arjuna's case, he seeks the boon of 'Pasupata', considered Shiva's most potent weapon, to aid him in the forthcoming Mahabharata war.

This specific event finds its origin in a subsection of Mahabharata titled 'Kiratarjuniya'. According to the legend, as Arjuna was deep in his austerity, Asuras, or demons, sent a boar to kill him. Shiva, observing from the heavens, descended to protect Arjuna. He took the form of 'Kirata', a hunter. As the boar attacked, both Arjuna and Shiva shot arrows, and the boar was killed. Both claimed the credit for killing the boar, leading to a dispute and a subsequent fight between them. Eventually, Shiva overpowered Arjuna and then revealed his true divine form. Recognizing the god, Arjuna received Shiva's blessings and the much-desired weapon, 'Pasupata'. The relief, therefore, captures Arjuna's moment of intense penance to seek this boon.

The setting of this intricate relief is on two massive boulders separated by a cleft. At one point in time, the cleft likely contained a collecting pool with water flowing along it. Figures in the cleft are intertwined with Nagas, or serpent deities, depicted in an 'Anjali' or prayerful posture. The river seen in the relief is interpreted to represent the holy Ganges, emerging from Shiva's head, offering a different interpretation of the entire scene.

As per this alternative interpretation, the figure performing the austerity might not be Arjuna but Bhagiratha, a mythological king known for his devotion. The legend of Bhagiratha tells us that he performed severe austerities to bring the Ganges from the heavens to wash over his ancestors' ashes, cleansing their sins. Shiva is said to have caught the forceful Ganges in his hair, splitting her flow into numerous streams with his tresses, thus moderating her force. This mythological event is immortalized in stone, and the carvings depict it being witnessed by humans and animals alike.

A third interpretation of the yogi undertaking penance on one leg is also associated with Bhagiratha, reinforcing the narrative of his extreme penance to bring the Ganges to Earth. His successful effort signifies prosperity and happiness for the people on Earth. The Nagas carved within the cleft symbolize fertility and wealth. Divine beings, including Shiva, are seen blessing the austere Bhagiratha. The scene is embellished with carvings of various spectators, including kings, sages, artists, and animals.

In another section of the relief panel, an intriguing depiction stands out: a cat standing on one leg, mimicking austerity. This peculiar imagery is linked to a story from the Panchatantra, a collection of ancient Indian fables. This cat, standing as if in austere meditation, is believed to be pretending piety to lure a bird close enough to capture and devour it. The artist captures the cat's deceptive intent and ulterior motive vividly, making it a striking figure within the relief. The range of interpretations enriches the overall relief, adding layers of complexity to its underlying narrative.