Gangaikondacholapuram, the capital of the Chola emperors from the reign of Rajendra Chola I (1012-1044 AD), is home to one of the stateliest temples of India. Dedicated to Siva, this temple now called Brihadeeswara was originally known as Gangaikondacholeeswaram. Gangaikondachola was the title of emperor Rajendra I whose victorious army had brought back the waters of the river Ganga from the north.

The architecture and iconography of this temple leave onlookers spellbound. Its outer walls can boast of some of the most splendid stone sculptures of the Chola era. The most famous one is of Chandesa Anugrahamoorti (Siva blessing his devotee Chandesa.) Opposite this panel is an exquisitely wrought Saraswati, the embodiment of serenity. However, there are many who miss seeing, or pay scant attention to a marvellous Nataraja (Aadavallan) housed in a niche on the south wall of the sanctum sanctorum (garbha griha). 

The Divine Dancer, in bhujangatrasita, is fourarmed, holding the kettle-drum (damaru) in the upper right hand, and the fire in the upper left palm (see photo on next page). The lower right hand is in abhaya hasta conferring boons, while the lower left hand is in gajahasta or dola across the body, typical of Nataraja images of this age. The matted locks of Siva seem to be gracefully flying on either side, with the figure of Ganga on the right, and the crescent moon and a skull on top. Siva’s face sports a lovely smile which is reflected in His eyes.

By the side of Nataraja’s right leg is a small image of the multi-armed Kali, also in a dancing pose. One palm is in abhaya hasta, while in the others she holds a drum and many weapons like the trisoola. A thin figure with three legs can be seen near the upraised left leg of Siva. This could be Bhringi, an ardent devotee. Noteworthy is the emaciated figure of Karaikal Ammaiyar, the illustrious lady saint, seated and playing on the cymbals at the base.

It is interesting to note that around the main niche which has this grand carving of Nataraja are other smaller sculptures of great beauty. To Nataraja’s left stands Parvati holding a lotus in her right hand and leaning gracefully on Siva’s bull (rishabha). To Nataraja’s right are three panels; the one in the centre shows Siva’s two sons on their vahana-s – Kartikeya on a peacock (mayoora) and Ganesa on his mouse (mooshika). Below this is a carving of the fourarmed Nandikeswara, seated and playing on a vertical drum. Under the images of Parvati, Nataraja and Nandikeswara, are three horizontal panels, in each of which are carved three Siva gana-s – short, rotund, joyous, and playing on various musical instruments. It is interesting to note that one gana who is playing on a horizontal drum has his mouth open as if singing aloud.

At the top of the panel are carvings of Soorya and Chandra flying towards Nataraja with hands in vismaya hasta indicating astonishment at the grand sight of His celestial dance. Unfortunately, the left leg of this superb stone sculpture of Natesa was broken below the knee at some point in time and was replaced possibly in the 19th century by the Zamindars of Udayarpalayam. They also constructed the famous lion well or Simhakeni inside the compound of this temple.

Nataraja images of the Chola era, fashioned in metal and in stone, are well known throughout the world. The one in Rajendra’s capital city far surpasses many others of this epoch.

(The author is a historian focussing on temple art and architecture)