Balaji Gopalakrishnan
Dr. G. Balaji is the Associate Professor and Registrar at C.P.R. Institute of Indological Research, Chennai, affiliated with the University of Madras, Chennai, Tamilnadu, India. He obtained his Doctorate in Ancient History and Archaeology from the University of Madras. Earlier, he completed his M.A., from the Department of Ancient History and Archaeology, University of Madras, Chennai. He is now a recognised Ph.D. supervisor of the University of Madras and guides Ph.D. research scholars in the field of Historical studies.
He has published two books and an edited volume. ‘Narasimha Incarnation of Vishnu in Art, Iconography and Literature’ (his Ph.D. thesis) was published in 2018, ‘Arts and Crafts of Nilgiri Tribes’ (research project of Ministry of Culture, Govt. of India,) published in 2007. He jointly edited ‘Urbanisation in Indian History’ (with Dr. G.J. Sudhakar) (2018). He also co-edited 11 Vols., of the journal ‘Journal of Indian History and Culture’, a UGC-approved Journal published by C.P.R. Institute of Indological Research, Chennai. He is also the referee of the KALA the Journal of Indian Art History Congress, Guwahati, Listed in UGC-CARE, ISSN:0975-7945 (2022 – 23).
He lately worked as a Researcher for the project ‘Unsung Heroes of Tamilnadu’ under the supervision Dr. Nanditha Krishna from May 17, 2022 to September 17, 2022, initiated by Azadi Ka Amrit Mahotsav Secretariat, Ministry of Culture, Government of India.
He has completed a research project on ‘An Epigraphical study of History of Science and Technology of Tamils – 600 CE to 1400 CE’ which has been sanctioned by the Indian Council for Historical Research, New Delhi (2018-2022).
He has over 38 research articles to his credit, some are uploaded to www.academic.edu. He organized and participated in various national and international conferences and workshops.
He has recently published a paper on “The Tradition of Local Self-Government in Ancient and Medieval Tamilnadu” jointly with Dr. Nanditha Krishna in Raghuvedra Tanwar and Umesh Ashok Kadam, Ed., India: The Mother of Democracy, Indian Council of Historical Research (ICHR), New Delhi, 2022.
He is a member of various professional organizations such as the Tamilnadu History Congress, South Indian History Congress, Epigraphical Society of India, and Place Names Society of India. He is also Assistant Secretary of the Indian Art History Congress, Guwahati.
Supervisors: Dr. Nanditha Krishna, Prof. K.V. Raman, and Dr. V. Mohan
He has published two books and an edited volume. ‘Narasimha Incarnation of Vishnu in Art, Iconography and Literature’ (his Ph.D. thesis) was published in 2018, ‘Arts and Crafts of Nilgiri Tribes’ (research project of Ministry of Culture, Govt. of India,) published in 2007. He jointly edited ‘Urbanisation in Indian History’ (with Dr. G.J. Sudhakar) (2018). He also co-edited 11 Vols., of the journal ‘Journal of Indian History and Culture’, a UGC-approved Journal published by C.P.R. Institute of Indological Research, Chennai. He is also the referee of the KALA the Journal of Indian Art History Congress, Guwahati, Listed in UGC-CARE, ISSN:0975-7945 (2022 – 23).
He lately worked as a Researcher for the project ‘Unsung Heroes of Tamilnadu’ under the supervision Dr. Nanditha Krishna from May 17, 2022 to September 17, 2022, initiated by Azadi Ka Amrit Mahotsav Secretariat, Ministry of Culture, Government of India.
He has completed a research project on ‘An Epigraphical study of History of Science and Technology of Tamils – 600 CE to 1400 CE’ which has been sanctioned by the Indian Council for Historical Research, New Delhi (2018-2022).
He has over 38 research articles to his credit, some are uploaded to www.academic.edu. He organized and participated in various national and international conferences and workshops.
He has recently published a paper on “The Tradition of Local Self-Government in Ancient and Medieval Tamilnadu” jointly with Dr. Nanditha Krishna in Raghuvedra Tanwar and Umesh Ashok Kadam, Ed., India: The Mother of Democracy, Indian Council of Historical Research (ICHR), New Delhi, 2022.
He is a member of various professional organizations such as the Tamilnadu History Congress, South Indian History Congress, Epigraphical Society of India, and Place Names Society of India. He is also Assistant Secretary of the Indian Art History Congress, Guwahati.
Supervisors: Dr. Nanditha Krishna, Prof. K.V. Raman, and Dr. V. Mohan
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The present study will highlight the bronze icon making techniques of the Chola period, particularly the iconographic (forms and symbols) and iconometric (measurements and proportions) knowledge of the artisans, as mentioned in the inscriptions of the Brihadīśvara temple. Inscriptions speak about various icons and ornaments donated by the king Rajaraja I, Kundavai (his elder sister), his queens, family members and other donors. The icons are not only made of bronze but also of gold, silver and copper. So, the current paper will discuss, analyse and interpret some of the icons donated to the Brihadīśvara temple and how they were documented in the inscriptions by explaining their iconographic and iconometric details.
Narasimha, one of the ten avatāras of Vishnu, is always represented in hybrid form. As the name itself indicates, it is a combination of nara (man) and simha (lion). He is always represented with a human body and the head of a lion. There are several variations of the Narasimha icon, each of which relates to the god as he is worshiped in a particular part of the country. A study of these icons is vital for understanding their origins and their historical development, for they indicate changing patterns, whereby changing times have added new symbols to the depiction of an ancient deity in order to fulfil the vision and desires of his worshippers. These variations in depiction illustrate the varying socio-cultural influences that either existed or entered India.
Ashta Mukha Gandaberunda Narasimha is one such development of a super hybrid form of Vishnu which he took in his incarnations to destroy evil. This particular form combines human and animal characteristics in abundance. Since Vishnu attained this form of super hybrid to destroy a hybrid form of Shiva i.e. Sarabeshwara. Hence, in this paper, we will discuss various hybrid forms like Narasimha, Sarabeshwara, Gandaberunda, and Ashta Mukha Gandaberunda.
Based on this folk story a play Vasantika Parinayam in Sanskrit and Prakrit was composed by Sri Sadagopa Yatindra Mahadesikan, 7th Jiyar, Srimad Azhagiya Singar of Sri Ahobila Math. This is a love story of Lord Narasimha, who is believed to have ruled over Ahobilam for a while as king Ahobilesa, and a Chenchu tribal girl known as Vasantika and Chenchu Lakshmi. The story of Narasimha and Chenchu Lakshmi became popular, not only among the Chenchus, but also among the rural folk. Even now, the Chenchus believe that Chenchu Lakshmi is their woman and the God Narasimha is their tutelary deity. Prior to the beginning of Brahmothsavam, even today, it is the custom for the utsava Narasimha to go round several tribal villages around Ahobilam and accept their hospitality. They still continue the tradition and enjoy ceremonial rights during the annual urchavams performed in the Ahobilam temple.
The association of Narasimha with Chenchu girl is repeatedly found in literature and sculptures of Vijayanagar period. The current paper will discuss about the narrative sculptures and paintings of the folk story and classical literature on Narasimha and Chenchu Lakshmi. It further discusses a few iconographical details of Nava (nine) Narasimha icons in the Ahobilam temple and particularly, the images of Narasimha and Chenchu Lakshmi found in tribal attire.
Key words: Ahobilam, Ahobalam, Narasimha, Chenchu, Lakshmi, Prahalada, Vasantika Parinayam
The present study will highlight the bronze icon making techniques of the Chola period, particularly the iconographic (forms and symbols) and iconometric (measurements and proportions) knowledge of the artisans, as mentioned in the inscriptions of the Brihadīśvara temple. Inscriptions speak about various icons and ornaments donated by the king Rajaraja I, Kundavai (his elder sister), his queens, family members and other donors. The icons are not only made of bronze but also of gold, silver and copper. So, the current paper will discuss, analyse and interpret some of the icons donated to the Brihadīśvara temple and how they were documented in the inscriptions by explaining their iconographic and iconometric details.
Narasimha, one of the ten avatāras of Vishnu, is always represented in hybrid form. As the name itself indicates, it is a combination of nara (man) and simha (lion). He is always represented with a human body and the head of a lion. There are several variations of the Narasimha icon, each of which relates to the god as he is worshiped in a particular part of the country. A study of these icons is vital for understanding their origins and their historical development, for they indicate changing patterns, whereby changing times have added new symbols to the depiction of an ancient deity in order to fulfil the vision and desires of his worshippers. These variations in depiction illustrate the varying socio-cultural influences that either existed or entered India.
Ashta Mukha Gandaberunda Narasimha is one such development of a super hybrid form of Vishnu which he took in his incarnations to destroy evil. This particular form combines human and animal characteristics in abundance. Since Vishnu attained this form of super hybrid to destroy a hybrid form of Shiva i.e. Sarabeshwara. Hence, in this paper, we will discuss various hybrid forms like Narasimha, Sarabeshwara, Gandaberunda, and Ashta Mukha Gandaberunda.
Based on this folk story a play Vasantika Parinayam in Sanskrit and Prakrit was composed by Sri Sadagopa Yatindra Mahadesikan, 7th Jiyar, Srimad Azhagiya Singar of Sri Ahobila Math. This is a love story of Lord Narasimha, who is believed to have ruled over Ahobilam for a while as king Ahobilesa, and a Chenchu tribal girl known as Vasantika and Chenchu Lakshmi. The story of Narasimha and Chenchu Lakshmi became popular, not only among the Chenchus, but also among the rural folk. Even now, the Chenchus believe that Chenchu Lakshmi is their woman and the God Narasimha is their tutelary deity. Prior to the beginning of Brahmothsavam, even today, it is the custom for the utsava Narasimha to go round several tribal villages around Ahobilam and accept their hospitality. They still continue the tradition and enjoy ceremonial rights during the annual urchavams performed in the Ahobilam temple.
The association of Narasimha with Chenchu girl is repeatedly found in literature and sculptures of Vijayanagar period. The current paper will discuss about the narrative sculptures and paintings of the folk story and classical literature on Narasimha and Chenchu Lakshmi. It further discusses a few iconographical details of Nava (nine) Narasimha icons in the Ahobilam temple and particularly, the images of Narasimha and Chenchu Lakshmi found in tribal attire.
Key words: Ahobilam, Ahobalam, Narasimha, Chenchu, Lakshmi, Prahalada, Vasantika Parinayam