Bracelets (a): Separate bangles around each wrist

Both men and women can be seen wearing such a type. Whereas men mostly wear only a pair (fig. 513) or two to three pairs of valayas or kankanas around their wrists, women wear at once a set of three (fig. 514) or five to six bangles as well. Thus, the tendency of wearing pile of bangles is visible in this period. The bangles could be of different materials like metal, terracotta, shell and ivory. The cross-section of the bangles shows them to be either flat or curved or little triangular. They are either plain or inlaid with round or oval shaped gems. It seems that the raw material used in their making differs and may depend on the social and economical status of the individual. This fact is further supported by the complete absence of any ornamentation on some of the sculptures representing the hunter and pastoral community in the bas-relief panels of Bhagiratha and Govardhanadhari at Mamallapuram. The excavations from the archaeological sites also reveal mostly bangles of terracotta and shell, which shows their popularity than the costlier metallic or ivory ones. Most probably archaeological specimens of bangles made of metals are rare, as they could have been handed over through the generations or they are often melted and reused, owing to their monetary value. The various types of bangles seen in this period are as described infra.

(a) Plain circular bangles

This is the most commonly found variety worn by men and women, either individually or as a set of two or three or even more. Earliest of such a depiction can be seen in the sculptures of several dvarapalakas (fig. 254) flanking the facde and shrine-cells of the rock-cut cave temples as well as similar portrayal in the structural temples^[1]. Finest of this type can be seen worn by a dvarapalaka (fig. 272) to the right side of the shrine in the Lalitankura-pallavesvara-griham at Tiruchirappalli and also by Gangadhara (fig. 273) in the same temple. The former wears a set of two valayas and the latter three such bangles. A single kankana is worn by a devotee (fig. 515) kneeling to the right side of the feet of Vishnu in the Trimurti cave temple and by a form of Siva in the north-western niche on the aditala of the Dharmaraja-ratha at Mamallapuram. A Gopika (fig. 516) carrying a set of three posts suspended from a rope-sling, is shown wearing a pair of broad circular bangles, probably of terracotta.

In some cases the diameter of the set of bangles also varies in accordance with the contour of the forearm, with the outermost towards the wrist smaller than the one worn towards the elbow. Fine examples of this type can be seen in an image of Urdvatandava-murti (fig. 274), carved in a niche on the northern wall of the ardhamandapa in the Muktisvara temple at Kanchipuram, Gangadhara on the northern wall of the garbhagriha in the Piravatesvara temple at the same place and also in an image of Vishnu (fig. 517) from Satyamangalam^[2].

These bangles can be either flat or curved in profile. A single broad bangle, probably of flat profile can be seen worn by a male figure (fig. 275) with hands in anjalai in a panel^[3] depicting the coronation scene of a king in the Vaikunthaperumal temple at Kanchipuram. From the same place in another panel^[4] can be seen an individual wearing a pair of bangles with curved profile. In a rare example from the same temple, we know that even the Brahmanas, officiating as a priest of the royal household also wears a circular wristlet. It is most probable that it was a gift given by the king in recognition of his services^[5]. Similarly a soldier in one of its panels^[6] is seen clearly with a valaya of this type. The king Hiranyavarman and his queen (fig. 518) in a panel on the southern cloister wall are also shown wearing similar set of valayas, which are different from the bejeweled cylindrical valayas, normally shown as worn by the Pallava kings. This may hint at the feudatory status of the collateral branch of the Pallavas, who were ruling with Bhimapura as the capital.

(b) Bejeweled valayas

In this type, the valaya having a curved exterior is inlaid with series of round or ovoid gems. Due to the worn out nature of some of the sculptures under study, it becomes exactly difficult to identify this type and there are chances of mistaking them for a string of beads and vice-versa. Fine examples of this type can be found in the sculptures of a dvarapalaka from Kaverippakkam^[7] (fig. 276 and 519) and an image of Vishnu now preserved in the National Museum, New Delhi^[8], both of later Pallava period. A closer observation shows that an image of Siva (fig. 277) depicted as dancing in the Sandya-nritta pose on the northern wall of the ardhamandapa in the Matangesvara temple as well as in the Kailasanatha temple at Kanchipuram wears a similar set of three valayas. Similar type can be also seen worn by Harihara (fig. 520) in the same temple. A male chauri bearer (fig. 278) in one of the panels^[9] of the Vaikunthapermal temple at Kanchipuram is also seen wearing a single valaya of this type. A set of three bejeweled valayas are worn by Vishnu on the garbhagriha wall of the Vaikunthaperumal temple at Kanchipuram.

(c) A set of three plain or bejeweled valayas adorning the forearm

This type should be called as a particular style of wearing a valaya, especially by the women of upper-class and their retinue. It is always seen as a set of three bangles having rounded profile with gems set into it. All the three are worn tightly around the forearm, with one positioned around the wrist, another a little above and a third one near the elbow. Fine example of this type can be seen adorning the sculpture of Durga (fig. 521) enshrined in a niche on the northern ardhamandapa wall of Agastisvara temple at Kanchipuram. Many more examples for this style of wearing can be seen adorning the images of not only goddesses like Parvati, Durga (fig. 279), Jyestha and Kausiki, but also by the chamara-dharis (fig. 522 and 523) as well as by the wives of the sages (fig. 280) (in the deep niche enshrining the image of Bhikshatanamurti) in the Kailasanatha temple at Kanchipuram.

(d) Combination of bejeweled and plain valayas

Earliest such combination of valayas can be noticed worn by a Vidhyadhara (fig. 281) in the Gangadhara panel at the Lalitankura-pallavesvara-griham at Tiruchirappalli. Here among the three valayas worn by him, the two towards the wrist has beaded designs and the third one is plain. Siva, in the Somaskanda panel (fig. 521) carved on the hind wall of the shrine cell in the Mahishasuramardini cave temple at Mamallapuram is shown wearing set of three bangles, with the one towards the wrist plain and the other two bedecked with gems. The existence of such a combined pattern of wearing the valayas is further substantiated from a painted evidence (fig. 266) of the same deity in one of the shrine cells of the angalaya in the Kailasanatha temple at Kanchipuram. A similar combination with three beaded valayas towards the wrist and one plain can be seen worn by the image of Vishnu from Perangur^[10] (fig. 261). A fine example of a plain and bejeweled variety can be seen adorning the respective forearms of Siva and Vishnu in the composite sculpture of Harihara in the Kailasanatha temple at Kanchipuram.

In sculptural art there is always an ambiguity in the identification of the raw material and the nature of design. Thus, these so called beaded designs on the spirals can be alternatively identified as formed of string of beads or inlaid with gems as well.

(e) Valayas formed of string of beads

In the Avanibhajana-pallavesvara-griham at Siyamangalam, the image of Nataraja dancing in the Ananda-tandava pose carved on the upper saduram of the southern pilaster, is wearing a pair of valayas, probably formed of beads or rudraksha. A single valaya formed of rudraksha can be seen worn by a devotee (fig. 282) kneeling to the right of Brahmasasta in the Trimurti cave temple at Mamallapuram. Both the images of Brahmasiraschetaka-murti and Brahma depicted on one of the walls of the angalaya and an image of Yoga-Dakshinamurti on the wall of a subsidiary shrine in the Kailasanatha temple at Kanchipuram seem to wear a set of three bangles of this type. Similar stringed valayas can be seen worn by a person (fig. 283) seated on the ground and engaged in conversation with the king in a panel (upper row) on the north western cloister-wall of the Vaikunthaperumal temple at Kanchipuram. The same temple offers example of a set of three such valayas worn by a devotee (fig. 525) depicted on the wall of its garbhagriha.

(f) Combination of string of beads and plain valayas

This is a rare type which can be seen very few in the sculptures of the period under study. Earliest such example can be found in the hands of a dvarapalaka (fig. 526) on the northern flank of the shrine cell in the Avanibhajana-pallavesvara-griham at Siyamangalam. Similar type was worn by Vishnu (fig. 265) in the Trimurti cave temple at Mamallapuram. Here he is shown with three plain bangles having curved profile and an additional beaded one towards the wrist. A Gana (fig. 527) depicted on the adhisthana of the Sundaravarada-perumal temple at Uttiramerur is also shown wearing this type, comprised of a beaded stringed valaya towards the wrist and a plain circular one behind it.

(g) Cylindrical bangles or wristlets (prakoshtha valayas)

These are bangles with a broad middle portion flanked by thick rims. Indeed some of them can be even regarded as a wristlet or prakoshtha valayas worn closely around the wrist, serving the purpose of both ornamentation and support. The broader middle portion is either plain (fig. 528) or bedecked with embossed beaded designs or inlaid with similarly shaped gems. Examples of plain variety are seen worn by the dvarapalakas, flanking the cave temple at Mandagapattu (fig. 251) and also by a dvarapalaka at the north-eastern niche of the Arjuna-ratha at Mamallapuram.

A little variant of the plain variety can be seen worn by an image of ChamundI (fig. 76), fixed on a platform along with the Saptamatrikas in Mamallapuram. Here the plain middle portion is treated with an outward bulge. Its inner side could be either plain or concave.

A bedecked variety can be seen adorning the wrists of the dvarapalakas (fig. 529 and 530) flanking the shrine cell in the Satrumallesvaralaya at Dalavanur. Similar variety is worn the Mahishasura (fig. 531) carved on the rock in front of the Atiranachandesvara temple at Saluvankuppam. Most of the kings (fig. 532) depicted in the historical panels^[11] of the Vaikunthaperumal temple at Kanchipuram are shown wearing a wristlet of this type. Instead of only circular gems, here their wristlets are also inlaid with both circular and square gems in a systematic manner (fig. 284).

Varaha (fig. 59) in the act of uplifting Bhudevi, in the Varaha cave temple at Mamallapuram is shown wearing a wristlet having a row of two circular gems inset into the central broad portion.

The dvarapalakas (fig. 285) flanking the facade of the Avanibhajana-pallavesvara-griham at Siyamangalam, wear a wristlet of more ornate variety. Here the broader portion is in the form of series of square lockets with an oval gem set into them.

Footnotes and references:

[1]:

Almost all the sculptures depicted in the niches on the outer wall of the Muktesvara, the Matangesvara, the Agastesvara and the Piravatesvara temples at Kanchipuram wear set of valayas of this type.

[2]:

Now preserved in the Govt. Museum, Chennai, Acc. no. 2608.

[3]:

North-western wall, lower row

[4]:

Northern wall, upper row.

[5]:

Northern wall, upper row.

[6]:

Eastern wall, lower row.

[7]:

Now preserved in the Govt. Museum, Chennai, Acc. no. 71-7/37.

[8]:

Now preserved in National Museum, New Delhi, Acc. no. 59.153/159.

[9]:

Northen wall, upper row.

[10]:

Now preserved in National Museum, New Delhi, Acc. no. 61.1157.

[11]:

For example in wall no.1 -lower row–panel no. 6.