Pallava period (Social and Cultural History)
by S. Krishnamurthy | 2017 | 143,765 words
This study examines the Social and Cultural History of the Pallava period (as gleaned through the Sculptural Art). The Pallavas (6th-9th century A.D.) mainly ruled over the Tondaimandalam (Tondai Nadu) region in the Northern part of Tamil Nadu (South-India). The Pallava dynasty ensured a golden age of architecture, arts, and spirituality and while ...
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Depiction of Dance
The panels from Thantonrisvara temple at Kanchipuram are the earliest sculptures of this period, which provide evidence of dance performance by men and women in pairs or in groups. These panels are regarded as of Pre-Mahendravarman period, the artistic style of which according to Dr. R. Nagaswamy[1] resembles the late productions of Amaravarti and can be datable to 5th �th century A.D. Of the total six panels, five of them show clearly sculptures of men and women in dancing pose (fig. 24) and the sixth one suggests that all the panels may be part of a stage play narrated beautifully in stone (fig. 25). The dance postures are not of the classical type as mentioned in the Bharathamuni’s Natyasastra; instead they appear to be a folk performance and may be identified as Theru kuthu. Of particular interest is the miniature sculptural panel of Krishna in the act of performing the kudam dance in the Pundarikaksha-perumal temple at Tiruvellarai (Figure 29).
Literature like Silappadikaram[2] also describes this kind of dance as exhibited by Vishnu after defeating Banasura. Probably during festive occasions as it is done today, even in Pallava period such dance performances are given. Dance as one of the means of entertainment and its patronage by royalty can be known from its depiction in the panels adorning the cloister walls of the Vaikunthaperumal temple at Kanchipuram.
The panels show musical and dance performance by men and women in the royal court (fig. 28) witnessed by the king and queen accompanied by other courtesans. One such dancing troupe can be seen in two panels in the northern wall (upper row). Of these, in panel can be seen set of three dancers–one man flanked by two women (fig. 26) and the other panel depicts two women dancers. Similarly, in another panel on the same wall is seen a troupe of nine people consisting of musicians and dancers (fig. 27). In the words of C. Minakshi[3] “the first member of the troupe is a drummer playing on his drum. He is followed by six men and two women dancers. It is interesting to learn from this panel, that the Pallava monarch patronized group dancing consisting of men and women.�
Footnotes and references:
[2]:
Chapter VI, Kadaladukadai; ll. 54�55.
[3]:
C. Minakshi, op.cit, p. 17.