The Chariot: A Fabled Vehicle

A virtual encyclopaedia of mythology, epics and legends, the chariot is an integral part of the temple, and can be found even in the remotest part of our land. It is the perfect complement to the chariot festival observed with devotion and grandeur.

Together they visualised and executed the Chariots Project. Arun Rajagopal acquired different pieces of architecture that go into the makings of the chariot, SGMF commissioned the services of the noted historians to inspect, identify and reveal the importance of each individual piece in the chariot.

The intensive process was successfully completed after a period of 15 months and in this exhibit we showcase some of the pieces and explain their significance in the chariot.

Narasimha is seated in padmasana, with his right leg down and the left leg bent and made to rest flat upon the seat. Lakshmi is seated on his lap. The upper right hand of Narasimha holds the chakra, while the lower right hand is in the abhaya pose. The upper left hand carries the shankha while the lower left hand embraces the goddess. The right hand of Lakshmi holds the lotus while her left arm rests on the lower left hand of Narasimha.

The iconic representation of Lakshmi goes back to 2nd century B.C. Lakshmi signifies beauty, is a mark of power, luck, prosperity, grace and happiness. She is Shakti (energy), Prakriti (nature), Daya (grace), Kirti (celebration), Jaya (success) and Maya (creative). The two elephants seen alongside Lakshmi represent treasurers and are known as Samkha and Padma. Lakshmi is seated in Sukhasanamudra and holds lotus buds in her hands with kunjara dvayam (elephants) on either side holding water pots.

Carvings of deities such as those seen above are placed in scientifically and religiously significant positions on the base of the chariot structure. Like a Hindu temple, even the chariot has ganas (minor deities) and dwarapalakas (gate keepers) at the entrance to the inner sanctum sanctorum.

Revealing Krishna’s childhood pranks and depicting his various playful moods creates an atmosphere of amusement. Krishna climbs on the ladder to reach the hanging pots filled with butter, even as a gopika holding a churning rod watches him, waiting for him to get down so as to take charge of him. It’s a panel displaying good composition.

This is an interesting episode in the Aranya kanda of the epic Ramayana. While Rama, Sita and Lakshmana are in the Panchavati ashram, Maricha the demon is sent by Ravana in the guise of a golden deer to divert Rama and Lakshmana from the ashram and Sita, so that Ravana could abduct her. After chasing it for a while, Rama realizes that it is no ordinary deer. In this composition, a closer view shows Rama killing the deer from which the human form of Maricha is exposed.

There are three spherical objects on the pedestal of the chariot. In the absence of these the goddess can be identified as Vaishnavi, depending where she is coming from. In this form she is sometimes referred to as Vishnu Durgai. The Suprabhedagama calls her ‘the dear younger sister of Vishnu’ and informs that she emerged from Adishakti. Framed by the Kirtimukha, this four-armed Durga is in a standing pose. Durga’s rear hands hold a wheel and conch, typically the attributes of Vishnu.

Ratha Jatras or Ratha Yatras (processions where a deity is first worshipped, venerated and then taken on a tour of the kingdom or place on a holy chariot) have been an integral part of India's culture. Even today, the Ratha Yatra held at Jagannath Puri every year is considered an auspicious occasion and is attended by thousands of devotees.

The depiction of Mahishasuramardini is a fascinating theme in Indian imagery. Mahishasuramardini, the 'slayer of the buffalo demon', is another name of Durga when in the act of slaying the demon who had assumed buffalo (mahisa) form symbolising evil and death. The Tamasic image of Mahishasuramardini is armed with various implements of war and is perceived to be destroying evil forces. In this context Durga represents the divine essence, and assumes the form of the Cosmic Mother.

Goddess Mariamman is dominant in rural India particularly Tamil Nadu, Karnataka and Andhra Pradesh. There is a concept that the village where she resides belongs to the goddess. In folk theology, she was there before the village was created. She is portrayed with many arms representing her powers. Mariamman has a sitting or standing position holding a trishul in one hand and kapala in another. She displays the abhaya mudra to ward off fear and protect her devotees, and also holds a damaru.

Durga is one of the most popular representations of the mother goddess in India, a concept which predates institutionalised religion and has parallels across the world. Durga is worshipped in several avatars and she symbolises the triumph of good over evil. She is one of the Hinduism’s most popular deities, a protector of all that is good and harmonious in the world. Sitting astride a lion or tiger, the multi-limbed Durga battles the forces of evil in the world.

Early Indian classical texts conceive three basic iconographic forms or the rupas of Krishna. They are his Aradhya-rupa, that is, his votive image, his Vishwa-rupa, or his cosmic vision and his Soumya-rupa or Lalita-rupa, the form that drags one with its moon-like placid beauty. Krishna alone, among the avataras of Vishnu, is worshipped as a child, youth etc., forms that fit for exhibiting the various kinds of bhakti. As a baby, Krishna is shown with a ball of butter in his hand.

Ramanujacharya was a 11th century Indian theologian. Born in AD 1050 in Sriperumbudur, Tamil Nadu, he is considered to be the chief proponent of the Vishishtadvaita school of Vedanta and a great social reformer.

The Vedas refer to Surya and his various aspects as Savitr, Pusan, Bhaga etc. Surya also connotes the solar deity in Hinduism. The Vedas assert Surya to be the creator of the material universe (Prakriti). Surya is represented with hands lifted high on the shoulders, and holding lotus flowers which are supposed to be in half-bloom. The association of lotus with the Sun is indicative of the opening and closing of the flower which is timed with the rising and setting of the Sun.

Sugriva was the son of Surya and king of the monkeys. When Rama was wandering in the forest in search of Sita, he met a giant named Kabandha who, in grateful return for liberation told him of Sugriva, and advised him to form an alliance with the king of the monkeys, who was then living in exile. In the battle of Lanka, Sugriva performed feats of valour comparable to those of Hanuman.

Rajagopalaswami is the portrayal of Vishnu, the Perumal in the royal attire. The imagery is captivated by depicting the Gopala Krishna as a kingly persona seated in leelasana on the throne designed with Keertimukha foliage. To show the bountiful atmosphere , decorated utensils are placed indicating different offerings. The two saints are engaged in making offerings at the Vishnupada, the feet of Lord Vishnu.


While the chariot could not be rebuilt or reassembled due to the lack of many important parts, Sandeep & Gitanjali Maini Foundation worked with a team of researchers and the collector to frame and preserve these parts of the chariot.