Pallu Ki Prastar Pratimaye - Book Summary

Here's a comprehensive summary of the Jain text "Pallu ki Prastar Pratimaye" by Devendra Handa, focusing on the provided pages:

Book Title: Pallu ki Prastar Pratimaye (Stone Sculptures of Pallu) Author: Devendra Handa Publisher: Z_Agarchand_Nahta_Abhinandan_Granth_Part_2_012043.pdf Catalog Link: https://jainqq.org/explore/211335/1

Summary:

This article, "Pallu ki Prastar Pratimaye" by Devendra Handa, delves into the archaeological and artistic significance of the ancient site of Pallu in Rajasthan. While Pallu is known for its Jain Saraswati sculptures, the author emphasizes its broader importance as a medieval art and religious center that has endured for approximately two millennia. The article aims to present a detailed account of Pallu's antiquity, sculptural art, and religious significance based on excavated remains.

Location and Name Origin:

Pallu is a small village situated on a high mound in the Sri Ganganagar district of Northern Rajasthan. Its traditional name, according to local lore and the "Pallu ki Khyaat" (Legend of Pallu), was Kalur Garh (or Kotkalur). The article recounts a legend explaining the name change to Pallu Garh. In the medieval period, it was a significant Jat stronghold. A conflict with the Bhatis of Puggal led to a conspiracy where Jat princess Pallu's marriage to a Bhati prince was a ruse to poison the prince and Bhati chiefs. However, Pallu, impressed by her husband's character and recognizing her father's ill intentions, revealed the plot to the remaining Bhati warriors. They were treated, the Jats were defeated, and all of Pallu's seven brothers were killed. To commemorate Princess Pallu's bravery, Kalur Garh was renamed Pallu Garh, a name that persists to this day.

The author also mentions an alternative theory that equates Pallu with Palhupur from the Khartara Gachha Pattavali and Prahladakupa from a Chauhan inscription, suggesting a linguistic derivation from "Prahladakupa" is plausible, similar to how Kiradu derives from Kiratakupa and Janglu from Jangalakupa. The origin of the name "Kalurgarh" remains unknown, but the "Garh" clearly indicates a Jat fort in the medieval period, the outline of which can still be discerned on the mound.

Antiquity:

Evidence of Pallu's antiquity is found in scattered pottery fragments around the mound. The oldest artifact discovered is a copper coin of the Indo-Greek king Philoxenos, dating to the 2nd century BCE. This indicates that Pallu was inhabited as early as the second century BCE. Fragments of red-colored pottery from the Shunga-Kushan period were also found, corroborating the coin's evidence.

A collection of 100 coins from Pallu, including copper coins of Kushan and Indo-Sasanian kings, suggest continuous habitation from the 2nd century BCE to the 3rd-4th century CE. However, there appears to be a gap of about five centuries with no findings from that period. Pallu was resettled in the 9th-10th century CE and has been inhabited since, witnessing the rise and fall of various rulers. The presence of coins from Muhammad bin Sam suggests a possible Muslim invasion and destruction of temples and idols. Coins of Samanta Deva and Somala Devi indicate Pallu was a prominent place during their time. Two copper coins of Hussain Shah of Jaunpur suggest trade connections with that region in the 14th-15th century CE.

Sculptures of Pallu:

The article meticulously details various sculptures found at Pallu, categorizing them into:

1. Shaiva Sculptures (Shiva Worship):

Inscribed Pillar: The oldest artifact is an inscribed pillar of reddish sandstone. One side depicts a couple worshipping Shiva in Linga form, while the other shows Ganesha. Both figures are adorned with jewelry and regional attire. The inscription on the pillar, dating it to Vikram Samvat 1016 (959 CE), highlights the prevalence of Shiva worship in the Pallu region during the 10th century. The author suggests this temple might have been established by the Chauhans of Shakambhari and Ajmer around the 10th century after displacing the Pratiharas.
Uma-Maheshwara: A sculpture in light brown sandstone, now in the Bikaner Museum, depicts Shiva and Parvati seated on Nandi, with Brahma to the right.
Sculptures in the Brahmani Temple Wall: Several sculptures are embedded in the wall of the Brahmani temple, including:
- A standing figure of Parvati in an alcove, with a broken leg, adorned with jewelry and possibly holding a kamandalu (water pot) in her right hand and a snake in her left.
- A fragmented four-armed statue of Shiva (or possibly a deity of similar iconography) made of brown sandstone.
- A seated figure, likely Parvati, in meditation posture.
- Another figure, possibly Parvati, in a tribhanga (three-bend) posture.
- A broken Nandi sculpture.
Shiva Sculpture on Lion-skin Seat: A sculpture on a sandstone frame depicts Shiva seated in a lotus posture on a lion-skin, four-armed, holding a trident and an indistinct object. The statue is adorned with a jata-mukuta (hair-knot crown), earrings, necklace, and snake armlets. Two male figures in dancing poses flank Shiva.
Durga Sculpture: A four-armed sculpture identified as Durga, seated gracefully on a lion. Her attributes are a sword, a possible discus, an object resembling a book, and her lower hand resting on her thigh. A female attendant is depicted to her left.
Forms of Durga: A broken frame in three niches depicts three female figures, likely different forms of Durga, shown in a war posture, holding a sword, shakti (power), or a shield. Attendants in dancing poses with musical instruments are depicted on the sides.
Garudasana Vishnu (Kichaka): Two sculptures of four-armed Kichaka (likely Vishnu) seated in Garudasana (on Garuda) are believed to be part of Pallu's Shiva temple. These sculptures are described as having prominent bellies and are ornately decorated.

2. Vaishnava Sculptures (Vishnu Worship):

Lakshmi: A fragmented frame depicts Lakshmi in four niches, seated gracefully with lotus stalks in her upper hands and a varada mudra (boon-giving gesture) and kamandalu in her lower hands. Attendants are shown on either side.
Lakshmi (another depiction): A four-armed deity, likely Lakshmi, seated on a raised platform. She is adorned with elaborate jewelry and flanked by dancing attendants. A lower frieze depicts eight women playing musical instruments and dancing, important for understanding medieval music and fashion.
Garuda: A sculpture of Garuda, Vishnu's mount, in a yali posture, holding a serpent and with his right hand on his head. This male depiction of Garuda is considered an excellent example and is dated to the 11th century. This sculpture was donated to the National Museum, New Delhi, by Shri Moujirram Bhardwaj.

3. Jain Sculptures:

Pallu gained prominence in the archaeological map of India in 1925-26 when Dr. L.P. Tessitori discovered two Jain Saraswati sculptures here. One is in the Bikaner Museum, and the other is in the National Museum, New Delhi. These white marble sculptures are considered world-renowned for their artistic beauty.

Saraswati Sculptures: The goddesses are depicted as four-armed, standing in a tribhanga posture on a lotus. They hold lotuses, books, rosaries (akshamala), and kamandalus. They wear jeweled crowns, earrings, necklaces, bangles, anklets, and girdles. Behind them, their vehicle, the swan, and a human figure are carved. Above their heads, a small image of a Jina in a lotus posture is sculpted, and attendants holding veena (lutes) stand on either side. Donor figures are also present. The Bikaner sculpture is set in a beautiful prabhavali (halo) with depictions of family deities, an elephant rider, and kayotsarga (standing) Tirthankaras in small niches. This is described as "The greatest masterpiece of Medieval Indian art."
Tirthankara Sculptures Misrepresented: The author asserts that sculptures found in the Brahmani temple, believed to be Brahmani Devi and her sister, are actually Jain Tirthankara images. It is alleged that corrupt priests disguised them by adorning them with female garments and placing them in the temple. One is a standing Tirthankara wearing a dhoti, with attendants, vidyadharas (celestial musicians), and elephant motifs. The seated Tirthankara image has two lions at its base, with smaller Tirthankara images above and beside it.

The author speculates that Pallu likely had one or more grand Saraswati temples, which might have been destroyed during Muslim invasions. To protect the precious Saraswati idols from desecration, priests might have hidden them, explaining their intact condition. The continuous legend of a Saraswati (Brahmani) temple might have led to the later misrepresentation of the unearthed Tirthankara statues as deities by opportunistic priests to deceive the public.

4. Other Sculptures:

Several sculptures of unknown religious affiliation were also found at Pallu:

A sculpture of a daani (donor) or dwarpal (doorkeeper) with a beard and mustache, wearing a helmet-like headgear and adorned with jewelry.
A stone frame depicting a woman breastfeeding her child, with attendants.
A sculpture of a woman in a palanquin carried by two attendants, with a boy carrying a pot below.
A standing daani or dwarpal in a vibhanga posture, holding an object resembling a rope.
A fragmented sculpture with servants and handmaids adorned with various ornaments, possibly part of a larger pillar.

Additionally, about 64 architectural stone fragments, likely from temples in Pallu, were given to the Sangaria Museum.

Dating and Conclusion:

All sculptures, except for the Jain ones, are made of red or brown sandstone or pale yellow sandstone. The dating of these remains is placed between the 10th and 12th centuries CE. The findings clearly indicate that Pallu was a prosperous and important art and religious center during this period. The author concludes by emphasizing that excavation of the large and high mound at Pallu would undoubtedly reveal numerous significant remains that would shed new light on the history, art, and culture of Rajasthan.