the beautiful Horse depiction on Thiruther !!

 

In the Annual Brahmothsavam  - day 7 is Thiruther – the grand chariot – the bigger one for Sri Parthasarathi and Sri Thelliya Singar. Ever observed the Temple Car [thiruther] in close and in detail !  - it is big, it is massive, it is ornate with hundreds of beautiful architecture carved in the tree !!

One such bommai – the word would never convey the original grandeur of the architecture !! – seen at the house of Sri MA Narasimhan is the subject matter of this post – heard from him that this is beautifully sculpted piece stood majestically in a Thiruther – this one from Ponneri from a Sthapathi, who renovates or replaces Temple cars.  

Chariots are impressive  - On screen,  we have seen many – one got enamoured by the scene of Arjuna wading through the forces in Mahabaratha  - those chariots were quite attractive.  Ratha is not only fleet-footed mode during war, it symbolizes energy and zeal to move forward.  The one presently at Triplicane is much smaller than the one we saw in late 1970s – yet   one will realise its grandeur that of rolling juggernaut, if one were to stand near as the 8 or 9 feet wheel rotates by.  Thiruther is a grand occasion of togetherness of people.

This ornate piece   was never intended to be viewed in a museum setting. It was designed to be seen while the chariot was moving, accompanied by drums, nāgasvaram, Vedic chanting, and crowds of devotees. The sculptor exaggerated the raised foreleg, the sweeping curve of the neck, and the twisting figures below so that even from a distance the scene would appear full of energy.  This angle suggests probably three principal foot soldiers, arranged almost like a pyramid. One appears to be trying to seize the raised leg; one crouched with a weapon and another looking upward towards the rider.    

Horseman as symbol of valour have been central theme in several religious lore. Greek art, especially from the Classical and Hellenistic periods, celebrates human heroism.  In most – the rider is the central hero; horse is powerful but subordinate. Great emphasis is placed on anatomy.  Muscles, veins and movement are rendered realistically.  Battle is shown as a contest between individual heroes.  A classic  example is the Alexander Mosaic, where Alexander dominates the composition while Bucephalus carries him into battle. The horse is magnificent—but Alexander is unquestionably the protagonist.

The Mayans  had no horses before the arrival of the Spanish in the sixteenth century. Therefore, we do not get to see  indigenous Maya horsemen. Their battle scenes depict warriors on foot.  

When one thinks of the iconic horseman in Indian history, Prithviraj Chauhan (c. 1166–1192 CE) stands strong. He was a fearless  Rajput horseman, ruled from Ajmer and Delhi and achieved fame for his victories against neighbouring kingdoms and, notably, for defeating Muhammad Ghori in the First Battle of Tarain (1191). He was defeated and captured in the Second Battle of Tarain (1192), an event that marked a major turning point in North Indian history.  

In Rajput tradition, the king was inseparable from his horse. Unlike South Indian temple sculpture, where the horse often symbolizes divine power, Rajput art celebrates the kṣatriya—the warrior himself. His horse is never merely an animal; it is his constant companion in battle and in legend.

Moving away from mythology, history to present – here is a   beautiful example of South Indian narrative wood carving,  created as a bracket sculpture (போதிகை) as part of a temple chariot (தேர்).   The style is reminiscent of the Vijayanagara–Nayak period (16th–18th century), though it could equally be a later traditional reproduction made by hereditary sthapathi craftsmen.

At first glance, this is a dramatic horseman battle scene, a favourite motif in South Indian temple sculpture. A richly caparisoned horse dominates the scene, rearing with one foreleg raised. The rider appears to be either a warrior who has fallen backwards while still holding on, or a hero engaged in combat. Beneath the horse are three infantry soldiers, one carrying a shield, another apparently blowing a curved war horn or holding a weapon.  

The horse is the masterpiece here : elaborately braided mane; pearl-like beaded harness; decorative breast straps; layered saddle cloth; strong arched neck; large expressive eye & slightly open mouth. Unlike European horses, this follows the traditional Indian sculptural convention: the horse is depicted more as a   divine vehicle rather than merely an animal.

Although carved from a single block, he creates three visual planes: soldiers, shield, raised foreleg in the foreground; body of the horse in the middle and rider; rear decorative slab in the back.  This layered arrangement makes the carving appear almost three-dimensional. This seemingly is a  hallmark of Nayak sculpture, where movement is preferred over symmetry. In the faces, one can observe expressions such as strain, fear, determination and action. The sculptor relied on deeply cut eyebrows, sharp noses, and pronounced cheekbones to convey emotion.

Possible symbolism :  

•       the triumph of dharma over adharma,

•       heroic valour,

•       royal military power,

•       or simply a celebration of martial excellence.

Many temples include such horse-and-warrior carvings because the horse symbolizes speed, courage, vigilance, and royal authority.  Creating this from a single block requires extraordinary planning. One incorrect chisel strike could have broken the reins, the raised leg, or the figures below.

Obvious it is old and worn-out The sculpture shows ageing. A rich brown patina that suggests oxidized wood rather than fresh carving.  The wear actually enhances its character, highlighting the hand-worked surfaces. The horse is not merely decorative—it becomes the central force around which every human figure reacts. The eye naturally travels from the expressive head of the horse down through its powerful body to the clustered figures below, creating a compelling visual narrative.

Its make -  carving in red sanders (செஞ்சந்தனம்) then it is an exceptionally interesting piece. Red sanders was not the common choice for temple chariots, most South Indian temple cars were built using durable local hardwoods such as Vengai (Pterocarpus marsupium), Iluppai, Jackwood, Neem, or occasionally Teak. These woods offered the right balance of strength, workability, and availability for large structures.  Red sanders (Pterocarpus santalinus) has several qualities that make it a premium sculptural wood: and presumably this Master   sculptor was clearly working at a very high level.

            The entire scene was conceived as a single flowing composition rather than separate figures attached together.  The raised foreleg alone would have required extraordinary confidence. In such dense wood, a single mistake could have ruined weeks of work.

Horse panels occupied a special place on many South Indian temple chariots. When devotees saw the chariot moving, these horses appeared almost alive, galloping through the streets. The sculptor intentionally exaggerated the neck, lifted the foreleg, and clustered the soldiers below to enhance that illusion of motion.

The patina tells a story  ~ the sculptor resisted the temptation to make the horse the only focal point. Instead, your eye moves in a deliberate sequence: The expressive head of the horse; richly ornamented harness; reclining rider;  raised foreleg; cluster of struggling soldiers.  The warrior is reclining backwards, almost horizontal, with his left arm gripping the horse while the right hand still carries a sword. His posture perhaps suggests  the violent momentum of the horse.  In every usual "hero astride a horse" pose found in many Nayak pillars, the prominence is the hero here the   horse is the true protagonist.  The sculptor has made the horse far more expressive than the human figures. The rider almost becomes secondary. 

In Greek and other religious faith -  Man masters nature; the horse demonstrates the hero's power. In Indian religion - Nature itself becomes divine.  The horse becomes an extension of cosmic order. Even when depicting a mortal king, Indian sculptors often give the horse a sacred dignity.

Interesting ! 

Regards – S Sampathkumar

6.8.2026

PS: Acknowledgement and thanks to Mr MA Narasimhan who kindly showed this brilliant piece of sculpture;  allowed it to be photographed and written about.