KAAL MARI AADIYA THANDAVAR, PORUPPUMETTUPPATTI, MADURAI

DISTRICT, PANDYA BRONZE ( 10TH CENTURY CE ), GOVERNMENT MUSEUM,

CHENNAI

BY DR KP RAVICHANDRAN, SEPTEMBER 10, 2022

A Natesa Murthy bronze of the Pandyan period obtained from Poruppumettuppatti in

Thirumangalam Taluk of Madurai district is very similar to some of the Pallava Bronzes and
probably sponsored by a Pandyan King of its period. Unlike the commonly seen Nataraja or
Natesa Bronzes that we usually encounter, this Bronze shows "Kaal Maari Aadiya
Thandava" or one with reversed leg posture of the lifted leg. The Urdhva Thandava or
Lalata Tilaka Karana seen especially in Thiruvalangadu, the "Kaal Maariya Aadiya
Thandava Murthy" is associated with a legend of Madurai only. A King of the Pandyan
dynasty prayed to Shiva to dance raising His left leg as all the time He is dancing only with
His left leg raised and may get tired out. In fact of the two Nataraja Bronzes in
Chokkanathar temple ( Meenakshi Amman Temple ) of Madurai, one is a Ananda Thandava
Murthy and another one is "Kaal Maari Aadiya Thandava Murthy". The former may be of
Chola origin or influence, but the latter one is more significantly connected with the Myth of
the Rajata Sabha in the temple, the Dancing Hall of Silver roof. Dated to Tenth century CE,
this Bronze is seen in stupefying splendour similar to other early bronzes of a Pallava-Chola
transition period.

Aditya Chola I assisted Varaguna Pandya during the battle of Thiruppurambiyam because
of his friendship. After Varaguna Pandya's death, with rise of local political troubles,
Parantaka Chola I crowned himself as the Monarch of Chola empire, invading the Pandya
country to become its king. The Chinnamanur and Udayendiram Copper plates mention this
Pandyan King as Rajasimha. Thus the bronze is probably dated to the Second decade of 10th
century. The peculiarity is the depiction of Lion Motifs on the two long sides of the Peeda of
this Bronze with prominent Simha Mukha or Keerthimukha motifs seen on the knot of the
Kadisutra and also on the Siras-Chakra.

A moderately high Jatamakuta seen capped with a small flower on the crest, a crescent
Moon on the right side near the top and a small Datura on the right side above the fillet
along with a projecting object on left side etc. form His coiffure. The Diadem of this
Jatamakuta shows ornamental prongs of smaller dimensions. The spread out Jatas on either
side are six in number on each side, shown short and not long as with other Natarajas. A
slender Makara Kundala sdorns His right ear and a broad Golden Patra Kundala is seen on
His left ear. The Patra Kundala is ornamental with elevated rims on the edges and is not
made of Palm leaf scrolls. The oval face is wide and prominent with flush eye brows. The
nose shows a depression at the bridge but still prominent in the tip. His Lips are shown
normally with minimal bemused expression. The short neck shows two Kanthies, one as a
long broad one set with Gems. The flat ribbon like Upavita shows floral motifs on it. A
similar Udarabandha covers the midriff but there is no flowing piece of cloth in it. Since the
torso is bent towards the right, the left side shows a naturally curved outline. Nipples are
shown projecting from a flat circular aureola. A pair of braided locks of matted hair flows
over on either shoulders. A pack of five Pearl Haras with a central clasp hangs over the arm
pit like a Skandhamala. Regarding the front normal arms, the Dola Hastha right hand was
probably made separately and attached or was repaired after breaking from the original
mould. Keyuras of refined prong pattern are shown in the upper arms and in addition a
bold Gem set band. forms its medallion. There is no Vaji-Bandha discussed earlier in other
bronzes but an ornamental band is seen below the Keyura, which becomes a regularly seen
feature in subsequent bronzes. The Valayas are three in all the wrists. Rings and Toe rings
are shown in the fingers and toes. Additionally another jewel band is seen in the forearm
too.

Interestingly the Agni and Damaru have been shifted in their usual positions in upper
hands. The Agni shown in the right upper hand is seen with five tongues and there is no
Agni Patra to hold it. The Damaru is created excellently to be held between the thumb and
middle finger only. Even the tongue hanging from the sides is shown clearly. The lower
right hand shows the Abhaya Hastha while the left arm is thrown out as a Gaja Hastha of
usual Nataraja figures, but it is not raised high to reach above the Nabhi Sutra and only
reaches out to match with the raised and thrown right leg across the body. In this act of
balance the right shoulder of Shiva is also dipping in its level with the body being tilted to
the right side achieving a perfectly matched Dance poise of beauty and elegance ! The lower
right arm shows an encircling Serpent but its head is broken. This feature again gets retained
later with all bronzes of Nataraja.

A tightly fit lower garment is not shown with wavy patterns to suggest a small Dhotie but
it's clear upper hem is seen below the navel. The Katisutra wound over it also shows floral
patterns with a beautiful knot in front. The Uttariya wound twice around the waist shows
floral bands on it with a knot emerging to hang down onto both thighs and also another end
falling between the legs; A Keerthikukha pattern is shown over it along with a leaf like
medallion hung from it. The left leg is planted firmly on the Apasmara Purusha's back in a
naturally blending poise that is both elegant and attractive. The rear side shows more details
of the deeply set Jatas shown flowing on both sides of the shoulders and backside. A Siras
chakra with a Simha mukha pattern is shown with a ribbon like band hanging from its
mouth. Two sets of Jatas, one short and one longer, arranged alternatively with no spaces
between them, complete the picture of a thick and dense Jatamakuta. A fan like pleated
lower garment is tucked into the Waist band. His feet shows Kinkini Padasaras.

The Apasmara Purusha is comparatively larger lying flat on his stomach that is bulging out
from the weight of the dancing Natesa on his backside. His plump round face shows
prominent features of amazement with no sorrow or pain. His coiffure is curly and short
and he is shown with Valayas, Necklaces, Udarabandha, Padasaras etc. The left hand holds
a Serpent and right hand shows Akuya pose to imitate a snakehood. His rear legs are spread
out, not in a crawling posture but rather with a kid's sleeping posture. The rectangular
Bhadrasana below him is also ornate and heavy with mouldings, casting channel brackets
and leaping Gaja-Vyalas with a curved and looped tails on both sides.

KAAL MARI AADIYA THANDAVAR, PORUPPUMETTUPPATTI, THIRUMANGALAM TALUK, MADURAI DISTRICT,

TAMILNADU; TENTH CENTURY PANDYA BRONZE; GOVERNMENT MUSEUM, CHENNAI;
IMAGE BY JAY SHANKAR.
KAAL MARI AADIYA THANDAVAR, PORUPPUMETTUPPATTI, THIRUMANGALAM TALUK, MADURAI DISTRICT,
TAMILNADU; TENTH CENTURY PANDYA BRONZE; GOVERNMENT MUSEUM, CHENNAI;
IMAGE BY JAY SHANKAR.
KAAL MARI AADIYA THANDAVAR, PORUPPUMETTUPPATTI, THIRUMANGALAM TALUK, MADURAI DISTRICT,
TAMILNADU; TENTH CENTURY PANDYA BRONZE; GOVERNMENT MUSEUM, CHENNAI;
IMAGE BY BRACKOO.