By Sunil Kumar
वागर्थाविव सम्पृक्तौ वागर्थप्रतिपत्तये।
जगतः पितरौ वन्दे पार्वतीपरमेश्वरौ।
– Raghuvamsha, Kalidasa 1.1
This invocation to divinity by Kalidasa, arguably one of Sanskrit literature’s most famous playwrights and polymaths, reflects upon primordial sound and its meaning, typical of the cultural aesthetic that was multifaceted and all-encompassing in ancient India.
As the English poet William Blake once said, “To see a world in a grain of sand and heaven in a wild flower.” In a similar vein, Ruchi Pritam’s marvelous depiction of the intricate cultural tapestry in ‘The Grandeur of the Cholas – Journey through India’s Cultural Heritage Book 2’ leaves the reader spellbound by the creative universes of the Chola temples.
Interest in history, especially the glorious narratives of the many dynasties that dotted the vast subcontinent, has undergone a resurrection of late. The fixation on the medieval period, particularly towards a limited part of the country, is being rightly challenged.
To begin with, Ruchi Pritam’s book educates the reader about the long history of the Cholas, from the Sangam era (BCE) to around the 13th century CE, making it one of the longest-reigning dynasties in the world. Art in the ancient Indic sense always has a truly sublime goal: a way of connecting with the divine.
The Sanatana temple and Hindu iconography follow strict rules with multiple layers of meaning, unravelling like a Russian doll or a Samskrita Shloka. Much like the dancing Shiva stomping on Apasmara, which represents ignorance and illusion, the 278 pages of this book clear multiple cobwebs that cloud the contemporary Indian’s mind.
The diligence, hard work, and research by the author are evident in the detailed and clear explanations accompanied by photographs. The Tamil lands have long been one of the intellectual spearheads of Bharat, giving birth to geniuses in science, mathematics, philosophy, and the arts.
Historians generally attribute the devotional frenzy of the Bhakti tradition that enveloped medieval India to have originated in the region. The Vaishnava Alwars and the Shaiva Nayanmars in the Tamil cultural sphere provided the impetus for the rest of the subcontinent to shed its obsession with scholastic hair-splitting.
Any visitor to present-day Tamil Nadu and its multiple temples is spellbound by the architectural prowess, as well as a sense of awe and reverence for the kings, artists, dancers, sculptors, as well as the enlightened, sattvic spirit of the people then. To the imaginative mind, the hopes, aspirations, desires, and human drama come alive.
A Hindu temple is a reflection of both the infinite cosmos and the human body according to the Vedic and Agamic concept of the Vastu Purusha. Dry academic texts abound, many of which are quoted by the author herself towards the end of this book, but they lack the personal, human touch found in this volume.
The book starts with a discussion of the copper plate grants of the Cholas, moving on to the early Chola shrines and then to the Great Chola temples that are part of the UNESCO World Heritage List. It provides a detailed description of Chola Bronze sculptures, culminating in relatively lesser-known shrines in Northern and Southern Tamil Nadu.
With erudition and eloquence, the author unveils the secrets of Chola temples, where stone sings and deities come to life in intricate detail.
My visit this year to many temples in cities across Tamil Nadu, along with the breathtaking cinematography and imagery of the movie Ponniyin Selvan, helped me appreciate the context, history, and magnificence of this text even more. The best part about this book is its readability quotient—the layperson, the historian, the student, and the art connoisseur can find some important nuggets here. The photographs are spectacular and aptly placed, but a few more illustrations and relevant diagrams could have been helpful.
The author’s approach to the subject deftly avoids the quicksand of vile calumny, class, and caste politics that plague contemporary India. She stresses the Indic quotient, the wisdom, and architectural prowess of the ancient Tamil kingdoms, namely the Cholas, and one of the first examples of representative democracy anywhere in the world, predating the much-acclaimed Magna Carta and the faux liberalism prevalent these days.
Village assemblies and republics in ancient India arguably had a more ethical approach to representative democracy. However, that subject warrants a more thoughtful critique and analysis.
Her main focus is on the grandeur of Chola temples, and she supports her narrative with thoughtful examples and Puranic narratives. The inquisitive reader can dig deeper by sifting through texts that deal with the historiography of the period, art history, the influence of tantra, and the evolution of local iconography.
The only thing I disliked about the text is the slightly limited interpretation or analysis of the deeper meanings behind the intricate symbolism in these temples. A more extensive list of references than the one at the end would have been helpful.
To her credit, the book details many interesting anecdotes that enhance the reading experience. The truly exciting parts of the book for me were the chapters on the grandeur of the Great Chola temples and the stunning art of Chola bronzes. The excitement and engagement taper off gradually.
The conclusion could have been a little less abrupt and slightly more detailed. Overall, the book is a wonderfully breezy read and a definite addition to your reading list. I hope the author comes up with even more spectacular details, inspiring insights, and descriptions in her next book on Indic heritage in South East Asia.
