Comparative Analysis of Rock-Cut Saptamatrika Assemblages in Tamil Nadu
By T. Sumitha
Summary
The article examines the iconography of Saptamātṛika assemblages in Tamil Nadu's rock-cut cave temples, focusing on their placement, structure, and cultural significance. These assemblages, featuring seven mother goddesses (Saptamātṛikas) alongside deities like Virabhadra and Ganesha, are found in five locations: Malayadipatti, Thirugokarnam (Pudukkottai district), Thirukolakkudi (Śivaganga district), Kunnathur, and Thiruparankundram (Madurai district). Thiruparankundram hosts two assemblages, while the others have one each, totaling six. Most assemblages depict the goddesses in *sukhāsana* posture on pedestals, with variations in panel shape (straight or half-cut square) and dimensions (3–3.5 meters in length for most, except Thiruparankundram’s 2-meter panel). The iconography follows traditional norms, though variations exist in deity order, hand gestures (*mudrās*), and attire. For instance, Virabhadra and Ganesha are common guardians, while Rishabhadeva appears in Kunnathur and Thirukolakkudi. The assemblages reflect early rock-cut cave architecture (6th–9th century CE) and highlight the Saptamātṛika cult’s prominence in Tamil society. The study notes differences in postures, *hastas*, and ornaments, emphasizing the lack of uniformity in deity arrangement and the absence of specific attributes for some figures. The analysis underscores the assemblages’ role in understanding Tamil temple architecture and religious iconography.
Conclusion
This study highlights the significant role of Sapta-mātr ̩ ikas assemblages in understanding Tamil Nadu's early rock-cut cave architecture and religious iconography, dating between the 6th and 9th centuries CE. The analysis of six assemblages across five locations reveals variations in placement, iconographic norms, and architectural integration, emphasizing the fluidity in deity arrangement and the prominence of Virabhadra as a guardian figure. The findings underscore the assemblages' association with the broader Shiva pantheon and their evolution in form, from straight-line panels to half-cut square shapes, reflecting regional artistic traditions. The study also brings attention to the rare depiction of R̩ ishabadēva as a guardian, contrasting with the more common Virabhadra. By examining these assemblages, the research illuminates the cultural and religious significance of the Mātr ̩ ika cult, offering insights into Tamil society's early temple architecture and theological