Hemavati Museum
The temples of Hemavati village, now under the protection of the Central Department of Archaeology, have been declared National Archaeological Monuments since 1958 (No. 24 – 1958).
Since then, a solid building called the museum has been built to house the wealth of beautiful statues that were being moved to other places. The remaining temple gates at Hemavati are ancient Indian, Bhagavata, Ramayana, mythology, deity. Statues and stone inscriptions have been preserved.
Among them, the idols of ‘Serving Vinayaka, Taposampanna Vinayaka, Kalabhairava, Veenadharala Shiva, Dakshinamurthy idol, two Sun Lord idols, Vamana Parasurama idols, Kaliyuga deity Srivenkateswara vertical idols are magnificent. The four feet Ganesha statue is a special attraction. Saptramathikela statue and Nataraja sculpture are a must see.
South India still has beautiful idols of Mahishasuramardini Devi. Even today many are seen here and there in Pudikathita. We can see idols of the ideal couple with Maheshwara holding Umadevi on his lap, idols of Indrani, Varahamurthy and Kumaraswamy riding on a peacock. A Bhairava statue resembling the natural form of Lord Shiva in the main temple is also preserved in the museum.
The Chamundeshwari idol is the largest idol of all the goddesses present in Hemavati. A special attraction in the museum is the 6-feet tall statue of smooth black stone seated on an asana.
Mahishasura Mardini idols here are not seen anywhere else in South India. And there are also three idols of Lord Brahma. There is also an idol of Mithuna and a Veeragallu rock inscription. The Ashtalakshmi idol in the museum is the most amazing. Goddess Lakshmi appearing in eight forms is a proof of the artistic skill of that time. A 45 feet statue of Gajasura Samharamurthy, Mithuna and Gautama Buddha can also be seen.
Upon entering the museum, the entrance of the museum is resplendent with stone doors carved with idols of Shiva Parvatas in various forms, Nataraja form, Ashtadikpalakus testifying to the devotional ecstasy of the kings.
People boast that the existing idols of the ancient Silka College in Hemavati, many of the idols still gathering dust in the mud, were made by the faculty and students of the college.
Hundreds of idols moved to neighboring states before coming under the possession of the Archeology Department of India. Currently Hamavati Nandini and Shivlingas can also be seen in Chennai Museum. It is said that even today those statues have been moved to the London Museum. Today, the archeology department officials and the temple committee are working hard for the conservation of the idols.
Many who visit the Stone Sculpture Gallery of the Madras Museum may not be aware of the Nolamba dynasty, as this historical name is absent from our textbooks. However, it is essential for enthusiasts interested in India’s rich heritage, particularly in South Indian culture, to recognize the significant contributions made by this dynasty, especially in architecture and sculpture.
The Nolambas held power from the 8th to the 12th centuries C.E., ruling the region traditionally known as Nolambavadi in southeastern Karnataka and parts of Tamil Nadu and Andhra Pradesh. In the Madras Museum, a special section displays artefacts dating back to 900-1000 A.D. from areas within their domain. In particular, the eye-catching piece is a broken stone slab with three distinct sections, each displaying a sculpture.
An accompanying museum plaque designates its origin from Hemavati in Anantapur district of Andhra Pradesh. Notably, Hemavati served as the capital of the Nolambula, suggesting that this thick slab may have previously formed part of the temple roof. These sculptures depict the three cardinal directions representing the cardinal directions commonly seen in temple art throughout India. Each guardian is depicted with their vahanas (vehicles) and attendants.
In this section there are two sculptures of Shiva and Parvati (Uma Maheswara) next to Nataraja. One of these sculptures, from Hemavati in Anantapur district, Andhra Pradesh, depicts Lord Shiva in a sitting posture with all four arms, holding a trident, snake and fruit, and embracing Parvati. Parvati, adorned with elaborate jewelry, holds a flower and rests her right hand on Shiva’s thigh. Shiva’s hair resembles a crown (jata-makuta), while Parvati’s hairstyle is intricately designed. Notably, there is a small sculpture of Nandi on a pedestal below this image. Another Uma Maheswara sculpture, similar in execution, is from Penukonda in Anantapur district of Andhra Pradesh.
The Nataraja sculpture placed among these Uma Maheswara sculptures is unique. The sculptor deliberately made this representation of Nataraja different from other depictions of this dance form of Lord Shiva. In this sculpture, the viewer sees the dancer’s back, while Nataraja’s face is turned towards them. Nataraja’s foot rests on the back of Apasmara Purusha, a figure crouching on a pedestal representing various symbolic elements. Next to the fainting man, two musicians accompany Natesha’s dance. Unfortunately, the left side of the back slab containing this image has damaged both of Shiva’s arms.
A sculpture of Vinadharadakshinamurthy from Hemavai is displayed in one section of the gallery. Unfortunately, the sculpture was badly damaged, with three of the four arms and the left leg broken.
Although in ruins, this musical instrument is damaged and no longer visible, the craftsmanship depicts Shiva as the god of wisdom, skilled in playing the Vina. An observant art history buff will note the slight tilt of the body to the right and the placid smile, reflecting the divine musician’s enjoyment of his own music. Even in its damaged state, the intricate details in the various finely carved ornaments adorning the deity reflect the dedication of the creator.
Another Nolamba image displayed in this gallery, also from Hemavati, is a well-sculpted representation of Surya, the Sun God, following iconographic rules. Although both arms of the deity are now broken, they may once have been bent at the elbow, at waist level and holding lotus stalks. A ritual ring surrounds the head, but sadly, the facial features have worn away due to climate change.
Most of the Nolamba sculptures in the Madras Museum display varying degrees of mutilation, yet they clearly reflect the artistic splendor of the Nolamba era. Visitors to the gallery are encouraged to give these sculptures their due attention.
