Standing Ganesha of Karangkates

The Standing Ganesha of Karangkates: An Iconographic and Historical Study

The Ganesha statue of Karangkates, located in Malang Regency, East Java, represents one of the most significant examples of Hindu sculpture in Indonesia. Functioning both as an object of religious veneration and as an artistic monument, the statue embodies the enduring cultural and spiritual legacy of Hinduism in Java. Ganesha, widely revered in Hindu tradition as the god of knowledge, prosperity, and the remover of obstacles (vighnanāśaka), is here depicted in an unusual standing posture—making it the only known statue of its kind in Indonesia. This rare iconography is strongly associated with the Bhairawa sect, a tantric school that emphasized esoteric practices oriented towards liberation from worldly attachments.^1

Carved from igneous andesite stone, the statue measures approximately 2.75 meters in height, including its elaborate crown (jatamuka) adorned with skulls and a crescent moon (ardhacandrakapala). The figure stands in samabhangga posture upon a base decorated with nine skull motifs, further affirming its tantric associations. In his four hands, Ganesha carries the broken tusk (ekadanta), a battle axe (parasu), prayer beads (aksamala), a lotus (padma), and a modaka—attributes rich in symbolic meaning within Hindu theology.^2

Art historian Suwardono has suggested that the Karangkates statue can be dated to the Singasari period (1222–1292), based on stylistic and iconographic analysis.^3 He notes its close similarities with Ganesha statues from the Singasari temple complex, particularly one formerly housed in Leiden (Netherlands) and now repatriated to Indonesia. Comparative analysis with other East Javanese Ganesha sculptures, including the monumental seated Ganesha from Dieng in Central Java, further supports this attribution.^4

The sacred setting of the statue also enhances its cultural significance. Visitors approach along a narrow walled pathway, which opens into a clearing dominated by an ancient banyan tree, beneath which the statue stands beside a pavilion. This spatial arrangement creates an aura of sanctity and mysticism, reinforcing the role of the Karangkates Ganesha as both protector and guardian.

Beyond its artistic and historical value, the Karangkates Ganesha continues to function as a living monument. It serves as the center of Hindu ritual practices while symbolizing Indonesia’s pluralistic cultural heritage. Its imposing presence evokes awe and reverence among the devout, while simultaneously instilling unease in those with ill intent—an effect that reflects the deity’s Sanskrit epithet vighnanāśaka, the remover of obstacles.

-- Ramu. Rm.N

Notes

1. Cf. discussions of Bhairawa tantric symbolism in East Javanese sculpture: H. Kern, Verspreide Geschriften (The Hague, 1916).

2. For the iconography of Ganesha, see T. Gopinatha Rao, Elements of Hindu Iconography (Madras: Law Printing House, 1914), Vol. II, Part I.

3. Suwardono, “Patung Ganesha Karangkates: Ikonografi dan Konteks Sejarahnya,” Jurnal Arkeologi (Malang, 2008).

4. See J.L.A. Brandes, Oudheden van Java (Leiden: Brill, 1909), for comparative descriptions of Ganesha statues from Dieng and Singasari.

muthu karuppasamy

karuppasamy & Krishna

The stucco image represents #karuppasamy in  Lord #Krishna as #Venugopala, standing in the classical tribhanga posture, gently playing his flute. This posture, with its graceful bends at the neck, waist, and knee, is one of the most iconic depictions of Krishna, symbolizing his divine charm and the enchanting power of his music. His serene face, adorned with the Vaishnavite tiruman.

The deity is richly decorated with jewels which highlight both his royal nature and divine radiance. The idol is further adorned with fresh flower garlands of red, white, and green, which extend downwards to touch the cow and tiger  at his feet. These  It is said that in the presence of divine grace, natural enemies like the cow (symbol of gentleness) and the tiger (symbol of ferocity) can set aside their enmity.while also symbolizing prosperity and dharma. The folk conception of Karuppu as a mighty guardian of dharma and protector of villages. This fusion reflects the richness of Tamil devotional practices, where divine figures embody both gentleness and strength, sweetness and ferocity. We could this form of karuppasamy in trichy karur reign that is a unique form.

#Krishnajeyanthi wishes 

--Ramu.Rm.N

#Travel

stucco gajalakshmi comparison

A Comparative Study of Chettinad Stucco Gajalakshmi, Pillaiyarpatti Silver Kamala Vaganam, and Ratna Mayurakandi Jewelry from Devakottai Sivan Kovil

Chettinad art and temple craft traditions of the late 19th century occupy a distinctive niche in Tamil Nadu’s cultural heritage, where the influences of regional styles, devotional imagery, and high artisanal skill converge. A comparative look at three remarkable examples — the Gajalakshmi stucco panel from Rangiyam, the Kamala Vaganam of Pillaiyarpatti, and the Ratna Mayurakandi jewelry set from Devakottai’s Nagarasivan Kovil — reveals not only the richness of Chettinad visual culture but also the shared motifs and symbolic continuities across media such as stucco, silverwork, and gem-studded ornaments.

1. The Rangiyam Gajalakshmi Stucco: Fusion of Styles and Symbolism

The late 19th-century Gajalakshmi stucco from Rangiyam offers a compelling visual composition — Lakshmi, the goddess of prosperity, is flanked by two chowri (fly-whisk) bearers, each adorned with Maharakandi necklaces. Here, the Maharakandi ornamentation is not restricted to the attendants; the goddess herself wears the same type, signifying opulence and divine grace. This panel stands out for its blend of Tanjore-style sculptural treatment — notably in the facial modelling and ornament detailing — with regional Chettinad aesthetics. Another striking element is the floral garland framing, which resembles the Srirangam Kili Malai (parrot garland) pattern, integrating a sacred Vaishnavite temple motif into a Shaiva-Chettinad setting. Such blending suggests an openness in Chettinad temple art to borrow and reinterpret across stylistic and sectarian boundaries.

2. Pillaiyarpatti Silver Kamala Vaganam: Metalwork in Devotional Processions

Moving from stucco to silver, the Kamala Vaganam (lotus-shaped chariot) of Pillaiyarpatti exemplifies the Chettinad silversmith’s mastery in translating floral and divine symbolism into functional ritual objects. Like the lotus seat in the Gajalakshmi icon, the Kamala Vaganam serves as a sacred throne, here for processional use. While the stucco work captures still grandeur, the silver vaganam embodies movement — its shining repoussé work catching light during temple processions, echoing the glistening aura of divine presence. The Kamala Vaganam’s petal arrangements subtly parallel the layered ornamentation of the Maharakandi, showing how jewelry patterns could inspire architectural and ritual design.

3. Ratna Mayurakandi from Devakottai Nagarasivan Kovil: Jewels as Architectural Vocabulary

The Ratna Mayurakandi, a gem-studded peacock-themed jewelry set, demonstrates the interplay between avian symbolism and ornament design in Chettinad art. In temple iconography, the peacock is a sign of divine beauty, fertility, and auspiciousness, and here, the mayura form is meticulously inlaid with stones, embodying the same intricate detailing found in the stucco Maharakandi. Interestingly, the arrangement of stones in the Mayurakandi mirrors the rhythmic sequencing of elements in the Rangiyam Gajalakshmi panel — central divinity flanked by symmetric, richly adorned forms. This jewelry not only adorned devotees or deities but also fed back into the visual vocabulary of temple sculpture, influencing decorative borders and symbolic friezes.

4. Shared Aesthetic Threads and Cultural Continuities

Across these three works — stucco, silver, and gemwork — certain thematic and stylistic threads emerge:

Ornament as Identity: The Maharakandi appears both in sculptural and wearable forms, functioning as a marker of prestige, sanctity, and abundance.

Cross-Medium Influence: Jewelry motifs inspire architectural detailing; likewise, sculptural compositions influence the arrangement of ceremonial metalwork.

Regional-Global Fusion: The Rangiyam stucco’s blend of Tanjore style with Chettinad motifs reflects how artistic traditions adapted and integrated influences.

Floral and Faunal Symbolism: The lotus (kamala) and peacock (mayura) recur, linking ideas of purity, prosperity, and divine beauty across forms.

Conclusion

The late 19th-century Chettinad cultural sphere was not defined by isolated artistic disciplines but by a shared vocabulary of motifs, forms, and devotional symbolism that transcended medium. Whether rendered in enduring stucco, gleaming silver, or jewel-encrusted ornament, the Gajalakshmi of Rangiyam, the Kamala Vaganam of Pillaiyarpatti, and the Ratna Mayurakandi of Devakottai’s Sivan Kovil stand as interconnected expressions of a richly layered heritage. Together, they illuminate how Chettinad artistry seamlessly bridged the sacred, the ornamental, and the ceremonial — a tradition where every detail, whether in stone, metal, or gem, told the same divine story in different tongues.

-- Ramu.Rm N

pavala_thadaba_malai a coral polyps

#Coral_polyps #comparison #natural_Coral_Branch #jewelry #madurai #unique #Coral #பவளகொடி  

  #meenakshi_sundareswarar   #pavala_thadaba_malai  

 

The image collage highlights the fascinating intersection of nature, devotion, and artistry through the use of coral in sacred and ornamental contexts. Central to this composition is the Pavala Thadaba Malai, a unique and revered necklace from the Madurai Meenakshi Sundareswarar Temple. This ornate necklace, used during special temple rituals, is crafted from a naturally grown coral reef branch. Rather than being carved or altered, the coral is polished and worn in its original branching form as a pendant, signifying both its organic beauty and its divine association. It is adorned along with layers of intricate temple jewelry, emphasizing the grandeur of South Indian temple traditions.

Juxtaposed with this sacred coral necklace is a Victorian-Edwardian era brooch dating from 1837 to 1910. This antique piece from Lang Antique & Estate Jewelry, San Francisco, is a natural salmon coral branch mounted with 14k gold fill, reflecting how coral was treasured in Western decorative arts as well. The visual comparison showcases how coral, as a material, transcends cultures—valued both in religious symbolism and elite fashion.

The collage also features vivid images of living coral reefs from the Red Sea and the Coral Kingdom exhibit at Sea Life London Aquarium. These living reefs demonstrate the stunning natural colors and forms of coral polyps in their marine habitat, giving insight into the source of the coral used in both sacred and ornamental pieces. The presence of clownfish among the coral reinforces the delicate ecosystem that sustains such natural beauty.

Together, the elements in this collage reflect the enduring appeal of coral—from temple sanctums in Madurai to antique collectors in the West—and highlight its transformation from marine wonder to spiritual and cultural emblem.

— Ramu.Rm.N