Top 10 artefacts to see to Chennai Government Museum

Here's my article from The Hindu - Your guide to some of the interesting objets d’art at Government Museum, Egmore

http://www.thehindu.com/todays-paper/tp-features/tp-metroplus/glimpses-of-indian-history/article8480873.ece

So, you have just an hour to spend at the Government Museum at Egmore? The well-curated museum boasts rooms full of artefacts and history that have stories to tell. To make the most of your visit, we have picked 10 must-see attractions.

This multi-purpose museum is located on a sprawling 16.25 acres of land with six independent buildings that house 54 galleries.

The original proposal for a museum in Madras came from the Madras Literary Society, along with Sir Henry Pottinger, the then Governor, in 1846. The Court of Directors of the East India Company, sanctioned it. In 1851, Dr. Edward Balfour was appointed as the First Officer-in-charge of the Government Museum, and you can see his portrait as you enter Building 1, where they punch your entrance tickets.

Cannons

Did you know that the largest collection of cannons in a museum worldwide is in Chennai? About 40 cannons, collected by the British during the course of the wars they fought in various parts of the Indian subcontinent and Asia, are on display at the Fort Museum at Fort St. George, Srirangapatna and the Egmore Museum.

As you go around Museum Theatre, check out the cannon with a tiger head, mounted on a four-wheeled carriage. On it is the inscription: ‘This gun is believed to have been taken at the fall of Seringapatam in the year 1799’.

Copper Plates

The first floor of this gallery houses the famous Copper Plate grants — similar to the lithic inscriptions carved on temple walls, these are inscribed on sheets of copper, and usually give details of the grant of land to temples or scholars by the king.

Look at the set of 31 plates called ‘The Tiruvalangadu Copper Plates’ (1016-1017). The first 10 plates in Sanskrit have information on Chola genealogy and the history of the Chola kings; the next 21 plates are in Tamil and register the order of the kings and specify the grant given to the village Palaiyanur, to the Shiva temple at Tiruvalangadu.

Also don’t miss how they are strung on a massive ring.

Sati Stones

The first-floor corridor will lead you to the Buddhist/Jain sculptures wing. Right at the end of the corridor, you can spot the Sati Stones. A ‘Mahasatikkal’ is a memorial stone set up over the place when a wife immolates herself on the funeral pyre bearing the corpse of her husband. A closer look at the stone will reveal the hand of Sati decked with bangles, with carvings of the sun and moon, and sometimes with inscriptions.

Jain and Buddhist Sculptures

Jain Sculptures: Most of the exhibits are from Danavulappadu, Andhra Pradesh. Don’t miss the Nishidhi pillars, memorial stones erected for the Jain ascetics who fasted and died according to the Sallekhana to attain salvation.

Amaravati Sculptures: This special hall features the casing slabs of sculpture from Amaravati and other stupas illustrating various scenes from Buddha’s life and the birth stories of the Bodhisattva. Amaravati Sculptures (2nd Century BCE to 2nd Century CE) refer to a large group of sculptures recovered from the ruined stupa at Amaravati in the Krishna Valley in 1801.

You can look at the oldest feet of Buddha in India, dating back to 100 BCE. The huge fragmentary slab has Buddha’s feet carved in a stylised manner with ‘Mahapurusha Lakshanam’. A thousand-rayed wheel is shown in the centre, with a border composed of trisulas and svastikas; just near the toes and feet are makaras, purnakalasas, srivatsas and svastikas.

Anthropology

It offers a glimpse into the prehistoric antiquities of the museum on the ground floor. The notable ones are the ‘Adichanallur’ burial urns and the items from Mohenjo-Daro and Harappa.

Thanjavur Armoury

You can’t miss the long row of spears mounted on the walls from the Thanjavur Armoury and the exquisitely carved gauntlets, daggers, elephant goads and swords. Also look out for the two large bronze bells secured as trophies from China during the Opium War.

Bronzes Gallery

The ever-popular Bronzes Gallery houses the largest collection of metal figures under a single roof.

Buddhist Bronzes: Check out the seated Lokesvara and Padmapani in the ‘Maharajalila’ pose, the Avalokitesvaras from Nagapattinam; also see the elegant seated Buddha with a Prabha flanked by yalis, and an aureole behind his head bearing a circular course of 35 flames.

Jain Bronzes: See the large Tirthankara metal image of the Pandyan Period.

Pallava Bronzes: These include those of Somaskanda, Vishapaharana, Kannappa Nayanar (look at his footwear too) and Vishnu.

The Tiruvalangadu Bronze: This is a masterpiece of the Cholas. It features a dancing Natesa, with his fan-shaped headdress of feathers, the third eye, his lips pulsating with life, the smile radiating divine grace, a chain of flowers on each shoulder and is one of the unique artefacts to be seen.

Ardhanari Bronze: Housed on the ground floor, this unique bronze of Ardhanari, which is known for its iconography and artistic qualities, is hard to miss. One of the earliest specimens depicting Shiva in bronze, the ‘tribhanga’ pose makes it exquisite.

All the bronzes: Kuram Natarajar, a Nataraja with a leg-reversed pose, Vishnu and Somaskanda are significant here.

Numismatics Section

It houses the plaster cast of medals and coins, magnified for visibility, but you can also watch a video to see the original artefacts. Check out the punch-marked Magadhan-era coins, the Sangam Pandya coins with stylised fish, and the Roman coins which were traded for pepper and sandalwood from India.

Art Gallery

Take a look at some of the original Raja Ravi Varma, Tanjore and Mughal miniature paintings.

Also check out the original ‘Sakuntala’ dated 1901. The painting illustrates Sakuntala seated under a palmyra tree, lost in thoughts, withSage Dhurvasa in the background.

Another painting worth looking at is the oil on canvas of Yasodha and Krishna (1901) and The Lady with a Mirror (1894) which won him a Governor’s gold medal.

Nolamba Sculptures

The Nolambas were one of the most powerful feudatory minor dynasties of South India during the 9th and 10th Century. Hemavati was the capital of their kingdom Nolambavadi and the unique features of their architecture are the svelte sculptures tastefully decorated. They called themselves the Nolamba-Pallavas and you can see the fusion of Pallava-Chalukya elements in the sculptures, which are housed in the main building. It is said, the Cholas carried the Nolamba pillars as war trophies to adorn the Thanjavur and Thiruvaiyaru temples.

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Parsi Ghara Embrodriery

I never had a fascination for embroidered sarees; until I saw Ashdeen's Parsi Ghara sarees recently at an exhibition!

So we know they came from Persia, and settled in Gujarat for thousands of years, but had their religious and ethnic identity intact! When the British came and the ports of Gujarat and Bombay developed, these boat builders and traders amassed huge fortunes.

The influence of British reflected in the pastel colours of their sarees. Though they wore their sarees like Gujarati style draping, their wedding sarees took to the influence of lace and Broderie anglaise (English embroidery - a whitework needlework technique of 19th century incorporating features of embroidery, cutwork and needle lace associated with England).

Parsi trade was traditionally with China, and so they wore the gauze or embroidered satin sarees on special occasions. The heavier crepe de chine was called Ghara, and the Chinese derived silk satin was called Gaj, commonly worn in Gujarat (gajji silk). Since Chinese looms were only two thirds of Indian Saree width, the Parsi sarees made of Chinese woven fabrics has a lengthwise seam added to the fabric and were called "do-patti", two strip saris.

All the silks embroidered in China had the traditional oriental motifs - Flowers, leaves, birds, animals, people in Chinese dress etc,.but very detailed and with rich effects!

Other traditional Parsi saris included the satin bandhanis from kutch. They also did gold badla embroidery in chiffons, sometimes with chinese embroidery, satin bands or with sequin embroidery! Till 1950 Chinese peddlers would visit the wealthy Parsi families in Bombay and sell such embroideries, Ghara and Gajji fabrics to them. The interesting fact is that the Chinese embroidery were never adapted mainstream in India.

One Parsi fabric which has become an exclusive Indian textile is Tanchoi. The Tanchois were imported from China until the Chhoi brothers learned the weaving techniques and set up shop in Surat ( the Parsi owned weaving concerns were pushed out of business by Banaras weavers who undercut their prices in early 1950s)!

Chettinadu Splendour

What started off as just as a textile activity session with Meyammai Aachi, has now triggered varied interests and been an eye-opener for me personally. I have tried to capture and document key points discussed with her pre-meeting and the session yesterday, and added my thoughts too.

I was in awe listening to the stories of the “Nattukottai chettiars” or the “Nagarathars” as they are called in our Tamil heartland.  What Marwari businessmen are to the north and Parsis to the west, the Nagarathars are to the south! A conservative community of traders and financiers with traditions centuries old, their risk taking aptitude, knowledge of numbers and integrity made them leading personalities in the global business world..

Meyammai Aachi speaks with such clarity and pride; the initial connect between us is more on spirituality, temples, sarees and jewellery, in that order! And it’s a joy to listen to her stories, and one hour passed away when we drifted away from the “table of contents” for the presentation – to the saints of Chettinadu – Pattinathar and Karaikal Ammaiyar..

Legend is that the Chettiar clan originally migrated from Kancheepuram to the famous Chola port city in the South – “Kaviri Poom Pattinam” or “Poompuhar”. This famous city was the capital of the most famous early Chola king – Karikal Cholan; who built the Grand Anicut for the river Kaveri. He is the legendary king in all our “Sangam” literature – From Pattinapalai to Purananutrupadai; 

One of the 5 great epics of tamil literature, Silapathigaram starts off describing this city, its two distinct districts called “Pattinapakkam” and “Maruvurpakkam” – Kaveri after sacrificing its natural resources to the South of India, joins the sea in Kaviri Poom Pattinam. The literature describes thousands of war ships stalled at this port, how its affluent traders called Chettiars manned the Chola fleets which sailed across kingdoms in east.

The great ruler Rajendra Chola I, who is the favourite hero of Dr. Chitra Madhavan was called “Kadram Kondan” the ruler who conquered Kedah (west coast of Malaya) known as Kadaram in Tamil (Thanks to your inspiring lectures lady  on Cholas, and we could see their influence as far as in Cambodia temples too!) – And the latter of the five epics “Manimegalai” describes how Kaviri Poom pattinam had submerged in the sea due to Tsunami!

Ok, coming back to our topic - the Nagarathars were traders of salt, rice initially – and crossed overseas to establish local finance trading and lending, and specialized in gem trading. We get to know that they traded pearls from Gulf of mannar, diamonds from Golconda and Corals. They were the financial experts to the Chola Monarchs; they were the ones who had the honour of crowing the Chola Kings. Later on their services were required by Pandya Kings too, and so they migrated to Pandiya Nadu in 13th Century. 

Chettinadu is the cluster of these 75 villages and towns  - And their forefathers established 9 temples, and each Chettiar is a born member of this nine temple clans, which are like 9 Gothrams.

The nine temples of the Nagarathar are Ilayathangudi, Mathur, Vairavanpatti, Iranyanur, Pillayarpatti, Nemam, Ilupakudi, Soorakudi and Velangudi.

Their financial acumen made them as Zamindars and Paalayakarars, and British expansionism led them in to Ceylon in 1796 and Burma in 1824. Calcutta was the base for anyone landing from Burma, so you can still find Nagarathar Choultries there. 

The men travelled overseas, like bachelors, leaving their families behind – No wonder the Aachis were the strong women who single handedly brought up their children, had the same financial acumen as their men, and made the chettiars build rich mansions back in Chettinadu! And when Meyammai Aachi described the reason behind these family traditions – of how the homes were embellished and enriched with Italian marbles, Burma teak, Czech Cystals, and  in these homes were stored the gold and diamonds, Burma rubies, which was unstintingly given to each girl child as much as for adornment as for her family security!

The clan members or “Pangalis” are close knit and the wedding will happen only if the uncles are there; the Nagarathar’s unity was their greatest strength, which established the huge joint family get togethers – and that became the basis for the reputation of their hospitality, connoisseurs of exceptional cuisine. And finally contribute back to religious activities, education and a lot more!

In Chennai still you can see a street named “Coral Merchant street’ locally known as “Pavazhakara Street”, which is one of the oldest and historical in Geroge town and the Nagarathar Choulatries are still there. The Nagarathars gave the country Indian Overseas Bank, Indian Bank, Bank of Madura, as also United India Insurance.

Chettinadu is MORE than just tasty cuisines, and bright coloured sarees.. So more in my next post..

Sri Vidyashankara Temple, Sringeri

This awesome temple is under the care of the Archaeological Survey of India owing to its architectural marvel.  A unique monument combining Hoysala (Chalukya) and Dravidian architecture styles in 1338 AD.

 

Elliptical in shape, this stands on a plinth and commands a magnificent view! This temple is a veritable store house of sculpture both inside and outside. 

VidyAshankara temple is a monument to jagadguru VidyA TIrtha, who entered into "lambika yoga sajIva Samadhi"(consciously entering into meditation to cast off the body) at the temple site. This 14th century temple is hailed as ‘poetry in stone'.

 

Sringeri is one of the mutts Adi Shanakara established in 8th centrury AD. The construction of the this temple is in 14th century, by Vidyaranya who was instrumental in the rise of Vijayanagar empire. The 12 pillars inside the temple has 12 zodiacal pillars called "Rashi Sthambas" and the sun beam illuminates only one pillar each month, entering the temple!

 

The outside sculpture of this temple features 61 images of various scenes from the puranas. 

 

 

 

The Dasavatharam is depicted on both sides.

The one above depicts the story of the Sage Markendaya, saved from Yama, by Lord Shiva as Kalasamhara Moorthy

 

 

What attention to detail.. The left panel depicting the "Kama Thaganam" and the right depicting the "Tripura Samharam" of Lord Shiva!

 

 

 

Koyambedu Vaikuntha Perumal Temple & Kurungaleeswarar temple

Koyam means horse in Sanskrit, and this place is associated with lava and kusa, sons of Rama.

 

 

Vaikunta perumal temple has idols of Rama in Maravuri and a pregnant Seetha, Sage valmiki with the two little boys.

 

Opposite to this temple is the kurugaleeswarar temple aka kuchalavapureerswarar- the boys worshipped shiva here, and so the lingam is also small as the name Kurungalerswarar denotes.

 

The unique significance of this temple is that both ambal and shiva face North, ambal sannidhi is on the right side to Shiva which is supposed to be powerful. In the outer prakaram of shiva, there is an idol of surya.

 

Other significance - Dakshinamoorthy (instead of lingotbhavar) behind the shiva sannidhi on the outer wall, Gnana Saraswathi without a veena, and a Vishnu Durga with shankuchakram

The dashavataram depicted in the gopuram at Vaikunta perumal Kovil

Thirumoolar

திருமூலர் அவரது பாடலில் " யாவர்க்குமாம் இறைவருக்கொரு பச்சிலை, யாவர்க்குமாம் பசுவுக்கொரு வாயுரை, யாவர்க்குமாம் உண்ணும்போது ஒருகைப்பிடி, யாவர்க்குமாம் பிறருக்கு இன்சொல்தானே"

இதன் மூலம் இறைவனுக்கு வில்லவ இலையான பச்சையிலையால் அர்ச்சித்து விட்டு, பசுவுக்கு ஒரு வாய்அளவிலான பசும்புல்லும், தான் உண்ணும் உணவில் மற்ற வர்களுக்கு ஒரு கைப்பிடி உணவும் வழங்குங்கள். இதுவும் முடியாத போது தாங்கள் பேசும் பேச்சிலாவது பிறரிடம் அன்பாக பேசுங்கள் என்ற கருத்தை வலியுறுத்திகறார்!