The languid gaze. The elegant gesture. The whisper of silk. The goddess serenely voluptuous. The god lithe and supple. Chola Bronzes are among the world’s finest sacred sculpture, with an undeniable vitality as though they are about to take a breath.
A first impression is over in a heartbeat, but if you take the time to look deeper perhaps you may begin to see them as their Chola creators intended – metaphors in bronze of an absolute divine beauty.
Shailja and I wrote this Reference Library to help you gain a wider understanding of the spiritual context of this extraordinary sacred art. Whether you are casually browsing or searching for something specific, if you don’t find the information you need, just ask and we’ll help you find what you need.
We don’t make any claims to scholarship for this material. It was written from our personal perspective and just as it is for the other billion or so Hindu believers, we have chosen what it is true from the almost limitless array of truths Hinduism offers. You may not agree with everything you find here, but one of Hinduism’s wonderful qualities is inclusiveness and acceptance and we hope you’ll accept our Reference Library in the spirit with which it is offered.
Brahma (not to be confused with similar terms; Brahman and brahmin) created good and evil, night and day, and gods, demons, ancestors and humans from formless Brahman. It is said the universe was created when Brahma awoke and opened his eyes and will end when he goes back to sleep at the end of his day – a period of 4.32 million human years – the universe will end. Brahma is an abstract metaphysical ideal of a god, and lacks the earthy dramatic myths and legends of other deities, although he does feature in other god’s mythology. He is the bestower of boons upon various demons, boons which invariably create problems requiring divine intervention (and new opportunities) for other gods and goddesses to add to their legends. Brahma is thought to be aloof and unapproachable and isn’t worshipped with the devotional ardour of Shiva, Shakti or Vishnu. It is believed his work is done, and it is the various manifestations of Shiva, Vishnu and Shakti which have the power to power to affect our lives. On the next turn of the Wheel of Time, however, after the weary universe is destroyed by Shiva Nataraja, it is a reborn Brahma who will create the world anew. While his image is venerated somewhere in most major temples, only a handful of the half a million or so temples in India are dedicated solely to Brahma.
Brahma is believed to have created The Vedas, dispersing them in the four cardinal directions from his four mouths, although most of the credit ought to go to his wife, Saraswati, Goddess of Wisdom and Knowledge.
Brahma is typically depicted in iconography as standing, his weight evenly upon both feet (samabhanga). He has four faces whose mouths disperse The Vedas in the four cardinal directions and four arms. In one hand he holds The Vedas, in the second he holds rosary beads (mala) symbolizing time, in the third he holds a ladle (sruva or shruk) symbolizing the means to feed a sacrificial fire, and in fourth a water jug (kamandalu) symbolizing the means from where all creation originates. In paintings, he is often depicted with the white beard of a sage. His vehicle (vahana) is a swan or goose.
Of the entire body of Hindu sacred texts, The Vedas alone are Sruti, ‘that which was heard.’ Embedded within The Vedas are essential treatises on the nature of Atman, our soul, and its relationship to Brahman, the Ultimate Reality.
Tradition tells of forest-dwelling sages (rishis) who developed a level of consciousness that enabled them to ‘hear’ in their hearts the truths of the universe, hence That Which is Heard. The rishis interpreted these truths to create The Vedas, the core of Hindu belief.
Another origin myth says Brahma created The Vedas whole, spreading them throughout the four directions of the cosmos from the four mouths of his four faces (note 1).
However they came to be, The Vedas are consist of four texts, passed down orally from Brahmin father to son before being transcribed into written Sanskrit some 3500 years ago (notes 2 and 3). As Sruti, The Veda’s four books of hymns, rituals, mantras, theology, are deemed scripture and therefore fixed.
Rig Veda is the oldest of the four and a collection of over 1,000 hymns over 10,000 verses, most of which praise one or another of the Vedic gods, such as Agni, Indra, Varuna, etc. Some of the Rig’s verses remain in use today for rites such as mantras, prayers, funerals and weddings. Some scholars believe some of these prayers and rituals are pre-historic; the Agni fire sacrifice being one (note 4).
Sama Veda is the basis for hymns sung using specific melodies derived from the Rig Veda.
Yajur Veda is a compilation of ritual mantras believed to have psychological and spiritual powers. Mantras are used in ritual and spiritual practice to carry the thoughts and prayers of devotees to the gods and goddesses.
Athar Veda, sometimes called ‘The Veda of magic formulas,’ a compilation of hymns describing esoteric knowledge of things like the treatment of ailments, the making of and defence against spells, domestic rituals such as rites of passage, as well as more in-depth theosophic treatises.
As documents written by mortals, The Vedas have been subject to endless examination, and these observations are set down as the Samhitas, Brahmanas, Aranyakas, as well as early and late Upanishads, and all are deemed sacred by association with The Vedas.
While it is The Vedas, which are the foundation of Hindu belief and practice, it is the early Upanishads which elevate its core values. They were extracted from The Vedas over time and continue to evolve to the present day, where they are widely known as the Vedanta. In turn, the philosophical aspects of the Vedanta are discussed at length in the Brahma Sutra, which delves further into the concept of Brahman and Atman, critiques of other dharmic options such as Buddhism and Jainism, advice on achieving moksha through intense meditation and the benefits of spiritual knowledge.
In south India, The Vedas (Sanskrit for knowledge) are known as Marai (Tamil for ‘hidden, secret, mystery’) and the core of Hindu belief interpreted from a uniquely Tamil perspective. The worship of Shiva and Vishnu, in particular, bear the hallmarks of ancient pre-Vedic beliefs, possibly due to Harappan origins. South India was spared the turmoil of successive invasions such as those suffered in the north, so the old Vedic beliefs remain cohesive.
In pre-Vedic south India, the elemental forces affecting people’s lives were little understood. Mysterious natural events, such as monsoon rains and disease, were appeased through ritual sacrifice and over time the supernatural powers which oversaw these events took physical form as the gods and goddesses of the Hindu pantheon. Deities were believed responsible for almost any event beyond the control of individuals and ritual offerings of prayer, flowers and symbolic food items to the gods and goddesses remain fundamental to the practice of Hinduism.
Over a span of centuries ancient Tamil beliefs, practices and mythology were being absorbed into Vedic beliefs and practices, but that process was interrupted in the 8th century AD when a devotional revolution took place in south India as the Bhakti movement was born. Wandering Tamil poet-saints singing passionate devotional hymns to Shiva, Vishnu and Shakti ignited a new, intimate, personal mode of worship independent of ritual, gender or caste and its focus on a personal connection between worshipper and deity remains the standard practice throughout Hinduism. Temple worship with priestly intermediaries is common, but Bhakti is the preferred mode of worship for daily puja rituals.
Over 600 years, these hymns and poems were compiled as sacred texts, the Triumurai for those devoted to Shiva, and the Naalayira Divya Prabhandham, dedicated to Vishnu. They were composed in the Tamil language rather than the Vedic Sanskrit, and their passionate devotional hymns and poetic descriptions of the deities became a guide and reference, not just for Hindu scholars, musicians and dancers, but to Chola bronzesmiths as well.
Note 1 – It is said that Brahma created the seers solely to hear The Vedas and share them with humankind.
Note 2 – As facilitators of temple ritual, young Brahmins were, and are, required to memorize the Vedic hymns and mantras they will perform throughout their lives with subtle nuances of intonation and rhythm. Fastidious cross-checks ensure virtually no errors occur as this sacred knowledge is passed down through generations, and this oral tradition remains strong even today, with one Brahmin family in south India reportedly having passed The Vedas down without error for 3000 years.
Note 3 – Exactly when The Vedas were written down is unknown and likely to remain so. Contemporary Hindu nationalists in India claim The Vedas pre-date any other world religion, but because memory and speech leave no trace, that assertion is impossible to confirm. What no historian disputes, however, is Hinduism’s place as the world’s oldest living religion.
Note 4 – When Shailja and I married, the ceremony involved a series of sacrificial rites in Sanskrit around the temple’s sacred fire, all features of Vedic rituals.
The Vedas – That Which was HeardTerry Curell2019-11-07T09:38:55-08:00
Brahman is the basis, source and support of everything in the cosmos (Brahmanda). Its nature is Absolute Being (sat), Consciousness (chit), and Bliss (ananda). Brahman is eternal, infinite, formless, all-embracing, and everything that ever was, is now, or ever will be. Brahman is the Ultimate Reality.
Using mere words to define a concept as vast and complex as Brahman is bound to fail; therefore, Hinduism has developd a reductive device to help us approach and feel connection to that which cannot be comprehended in its entirety.
First, the principle of Brahman is divided into two realities; Brahman itself – eternal, absolute, the ultimate reality. And Maya, our perceived reality which in fast is an illusion living, dying and being reborn on the wheel of time (samsara).
The second reductive device is the concept of Brahman divided into aspects deemed male (Purusha) and female (Prakriti), personified as individual gods and goddesses, each with their particular set of responsibilities and temperament, and each embodied in a unique human-like physical form (note 1). For example, when Shiva embodies the Purusha principle, it is Uma who embodies the Prakriti.
“Ye yatha mam prapadyante tanstathaiva bhajamyaham.”
“I come to you in whatever form you worship Me.”
Bhagavad Gita 4:11
Generally speaking, deities such as Uma, Shiva or Vishnu are not divine in their own right – and here is an important point – they are specific physical manifestations of Brahman (note 2). A metaphor might be Brahman as a vast cosmic diamond, and individual gods and goddesses as facets of that diamond rather than individual diamonds.
Note 1 – Gods and goddesses exist on a higher plane in formless state and leave that plane to inhabit human form only when a physical body is required by us mortals for worship or to deal with a problem such as a demon, for example.
Note 2 – Followers of sects such as Saivites or Vaisnavites (the Great Gods, or Mahadevas) or Shaktics (the Great Goddesses), however, may argue their chosen god or goddess is Supreme over all other concepts or manifestations of Brahman.
When Vedic Hinduism reached south India around 2400 BP, the indigenous Tamil culture was fully established. Both traditions were rooted in common animist origins, and Vedic gods blended with their Tamil counterparts almost seamlessly. For example, the pastoral god Murugan, “the red god seated on the blue peacock who is ever young and resplendent,” merged with the north Indian Skanda and retains a large following even today. Murugan’s mother, the fierce war goddess, Korravai, united with Kali. Mayon, a black rural divinity, shares many of the same characteristics as Krishna Gopala. Lalita, “Beautiful Goddess of The Three Cities,” is the Tamil equivalent of Lakshmi.
A thousand years later, in the centuries leading up to the time of the Cholas, dissatisfaction with Vedic tradition was feeding widespread frustration among ordinary worshippers. Deep within the temple’s inner sanctums, the priests and a select few of the royal elite would have direct contact with the gods while the lesser castes waited in the entrance hall. This worship by proxy left the population spiritually unsatisfied, but change was in the air. Seemingly out of nowhere came the Alvars and Nayanars, itinerant poet-saints, male and female, high caste and low, who wandered through south India singing passionate devotional hymns to Shiva, Vishnu and Shakti. This new personal connection with God sparked a devotional revolution known as Bhakti. It’s ardent, unstructured emotional style of worship contrasted sharply with the old Vedic temple rituals and the Tamil people wholeheartedly embraced these poet-saints and this new devotional style (note 2). They rejected not only the idea of salvation through Brahmin controlled ritual but Vedic divisions of gender and caste. Bhakti spread beyond the Chola borders and into India and eventually throughout Asia, where it remains the dominant form of worship. As the movement spread, Bhakti freed not just Hindus but Buddhists and Jains to perform their devotions when, where, and how they chose. Their relationship with God was now personal and far more gratifying. Chola craftsmen, too, found inspiration in the hymns and poems of the saints, creating in bronze the vitality, grace and beauty the poets had created in words.
“Youth who shines as a ruby, In a cluster of emeralds! Being who enters my heart, Stirring memory! Come to me in my sleep, Be my friend, Give me refuge in your grace, O dweller in Avatuturai!”
As often occurred when orthodox Hinduism is confronted with a powerful new spiritual energy, it absorbed key practices into itself. And when the Chola kings also fell under the spell of Bhakti, Brahmin priests eased their restriction on access to the gods and royal craftsmen were directed to re-create the temple’s stone-carved deities in bronze, portable images which could be carried in procession about the temple within view of worshippers. Over time these bronze figures began to acquire the persona of both divine and earthly kingship. The deity would have a sacred bedroom, where it would be awoken, bathed, offered food and drink (puja), adorned in sumptuous silks, jewels and fragrances before being carried in procession. The deity would preside over daily rituals and ceremonies, and in the evening would be ritually ‘put to bed.’ For annual festivals, these processional bronzes (utsavamurti) are carried by bearers or atop wheeled vehicles, outside the temple grounds to great fanfare (note 2). Such processions continue today, and the sensory onslaught has to be experienced to be appreciated.
Note 1; Four thousand of these hymns, the Naalayira Divya Prabhandham, were collected from all over south India and within the four thousand, eleven hundred verses, the Tiruvaymoli, came to be known as the Tamil Vedas (note 2) and deemed every bit as authoritative as The Vedas from the north. The hymns were passed down orally through generations before being committed by scholars to pen and palm leaf.
Note 2; An extreme example may be the processional vehicles carrying Jagannath, an image of Krishna. A fresh one is constructed every year and is a massive 45 feet high and 35 feet wide and long.
Hinduism in The Chola EmpireTerry Curell2019-11-10T15:44:27-08:00
A fundamental human need is connection, with our self, our family, and our friends. Many of us also long for connection with something greater, something transcendent, and in Hinduism that transcendent something is Brahman, The Great Soul of The Universe – eternal, infinite, formless, all-embracing, everything that ever was, is now, and ever will be. Hindus also believe that within each of us is a spark of Brahman’s essence, our, Atman. Our soul. (note 1).
“That which is the finest essence, This whole world has as its soul.
That is Reality. That art thou.”
Chandogya Upanishad 6.9.4
Basic Tenets; The three great religions of India, Hinduism, Buddhism, and Jainism all share these fundamental beliefs.
Oneness; All forms of life – gods, humans, flora, and fauna – are one.
Time is cyclical and everything in the universe, including the universe itself, is endlessly cycling through creation, destruction, and rebirth (note 2),
Maya; Our experience of the world is transitory and illusional,
Samsara; All living beings are born and reborn in an endless reincarnation cycle of birth, an illusional life, death, and rebirth.
Karma; One’s good and bad actions accumulate through our life to determine the form into which we will be reborn.
Moksha; The spiritual goal of all three religions is release from Samsara.
Dharma, a value shared by all Indian faiths it has no simple definition and depends to a great degree upon the context in which it is used. A gross generalization might be to aspire to a righteous, dutiful and moral life,
Artha, translates as “meaning, purpose or essence.” In a personal sense, it means securing one’s career, wealth, and prosperity.
Kama, taking pleasure in the senses. Whether in the arts, in nature or sexuality, Kama is essential to a well-lived life, provided it doesn’t violate one’s dharma,
Moksha, only humans have the potential for the consciousness to transcend Maya and achieve Moksha, the transcendental and eternally blissful merging of one’s Atman (essence or soul) with Brahman, The Great Soul.
“The life span of a man is one hundred years. Dividing that time, he should attend to three aims of life in such a way that they support, rather than hinder each other. In his youth, he should attend to profitable aims (artha) such as learning, in his prime to pleasure (kama), and in his old age to dharma and moksha.”
Kama Sutra: 1.2.1 – 1.2.4
The four Vedic stages of Hindu life (ashramas) are Purusartha, literally “object of human pursuit”;
Brahmacharya (student life) where one builds the foundation of one’s life by learning how to live a life of Dharma through the study of sacred texts, philosophy, logic, and science.
Grihastha (household life) is when one strives to live a dharmic, family-centred life. This is the stage of life when one produces the food and wealth, or artha, which enable others in the family and community to pursue their stages of life. This is also the time of sensory pleasures, or kama when the person is most engaged in the world.
Vanaprastha (retired life) when the responsibilities as a householder are passed on the next generation. As a grandparent, your family comes to you for advice. It is a time when of gradual withdrawal from worldly affairs as the focus turns to moksha.
Sannyasa (renounced life) where the material life is left behind. Some at this point embrace an ascetic life, where possessions are few, and the focus is on a simple spiritual life.
Note 1 – This belief carries over into daily interactions with others. The anjalimudra, hands together, palms touching, fingers pointing up, thumb gently touching the Anahata, or heart chakra, is a gesture of respect to the tiny spark of Brahman in the person being greeted. Its literal meaning is, “The divine in me bows to the divine in you.”
Note 2 – Hinduism views time in great cyclic periods known as yugas. There are four such yugas, and today we live in the period known as Kali Yuga, the era of spiritual darkness, ignorance, and destruction.