Introduction
One of the most beautiful open-air granite cross in Kerala is the free standing monolithic monument standing in front of the Chengannur Old Syrian Church. There are very less free standing rock crosses in Kerala having carvings on the vertical pole and cross-arms, and even if present, they are bare minimum. Chengannur is a rare exception, where the entire surface of the cross facing west is intricately carved with low relief of crucifixion symbols, winged angels and other Christian religious motifs, all arranged in a belt of floral work. Carvings are also visible on the cross-beams and vertical shaft facing the eastern, the northern and the southern borders of the cross, though less intensive in amount. The engravings are more prominent at the intersection of the vertical and horizontal members. The artistic excellence of the cross has made Ramanatha Ayyar (1931, p. 151) to call the specimen as the most beautifully designed cross in Travancore. The cross is positioned on a street in the northern side, a few feet outside the church compound.
How tall is the cross?
James (1979, p. 66) assigns a height of 13 metres for the cross and 3.5 metres for the pedestal. The other figure which is often quoted is 33.5 feet (10 metres) single stone cross (eg. Cherian, 2009, p. 176; Kaduvettoor, 2019, p. 46). The more reliable data is however provided by Jose (2017, pp. 163, 167) and according to his estimate, the cross along with the pedestal measures 8.93 metres (cross-6.45 metres and pedestal- 2.48 metres); the cross-beam 2.5 metres; and the vertical pole at the base with a thickness 40 x 40 cm.
How old is the cross?
There is no dispute that Chengannur church has a pre-Diamper existence, but the cross on the contrary is definitely a post-Portuguese structure, a conclusion Ayyar also arrives easily (1931, p. 147). The heavy Roman Catholic signature on the designs such as the depiction of the 'Weapons of Christ' (Arma Christi), Latin I.N.R.I. inscription, Crucifixion panel, Latin crosses etc., are strong indications of the Portuguese influence undergone. The exact date of the installation of the cross cannot be ascertained due to the lack of epigraphical or primary documentary evidences. The 15th century date ascribed to it by James (1979, p. 67) does not stand valid for the above reasons. The oldest inscription discovered from the Chengannur church is a Vattezhuthu stone tablet from 841 M. E. (1666 A. D.), which is about the installation of a railing inside the main altar of the church. Ayyar (1931, p. 147) discusses about this inscription in Travancore Archaeological Series and shares an interesting information that the year was earlier read as 641 M. E. (1466 A. D.) and thought erroneously as the date of erection of the open-air granite cross. A few more inscriptions mainly tombstones from 17th and 18th centuries are also reported from the church. Renowned Goan scholar and historian, Jose Pereira speculates the cross to be from the 17th century in his masterpiece work on Baroque architecture (Pereira, 2000, p. 433). Reitz (2001, p. 805) also dates the cross to 17th century. In a 1959 Malayala Manorama report we learn about a tradition of 'Thazhamanathu Government Advocate' (Pandaravaka Vakeel) behind the erection of the cross, but neither the identity nor the time period is revealed (Malayala Manorama dated 25-11-1959: quoted in Kunnumpurathu, 2011, p. 111, Appendix 7). Some consider the architectural style of the current Chengannur church as a blend of the Christian and Hindu architectural styles of the 18th century. There is another viewpoint that the Vanjipuzhaha chief, the ruler of Chengannur played a role in the installation of the cross, but again which specific ruler was involved is not suggested. Keeping all these in mind, I believe it is safe to assume that the Chengannur cross is from the 18th century or even later, but the earliest date one can assign should not go before the 17th century. The cross at Niranom shows remarkable resemblance with Chengannur cross and probably both are from the same period (see also James, 1979, p.67). We will see more about Niranom cross in later uploads.
The Highly Decorated West Sde of the Cross
The elegant design on the west side of the cross is worth exploring. Starting from the Latin abbreviation I.N.R.I. at the top to a skull emblem at the bottom of upright pole, and between the spear-head shaped ends of the cross-beams, the entire west facing side of the cross is decorated with beautifully engraved images. The main theme depicted on the pole is the 'Passion of the Christ' as evident from the representation of Arma Christi (instruments of the Passion) and symbols associated with crucifixion. Ayyar (1931, p. 147) identifies five figures in the medallion like recesses on the floral belt, piled one over the other, and they are:
1) A cross flanked by instruments of torture on Golgotha-a lance, a pair of pincers, a hammer etc.
2) A ladder
3) The three nails with which Lord was transfixed on the cross
4) Cherubim's (Angelic) heads
5) The Father in heaven
There is one panel which Ayyar has skipped, the no. 3 in the photograph, which is probably the division of Christ's garments during crucifixion.
The West and East Facing Sides of the Cross
Enlarged View of the West Side of the Cross
Enlarged Views of the Arma Christi on the Cross1-Instruments of torture on Golgotha; 2-ladder; 3-division of garment; 4-three nails; 5-crown of thorns; 6-Angel head and Heavenly Father
I.N.R.I. Inscription on the Cross Summit
Fr. Henri Hosten was able to judge I.N.R.I on the cross in 1924 from a photograph (Hosten, 1936, p. 339). The inscription on the summit of the cross is still clearly visible, but there are a few overlapping characters in between and the last “I” appears to be missing or faintly visible at the end. Perhaps a high resolution image can give a better picture. Upon careful observation, one can notice at least four letters engraved near the upper section of the vertical shaft of the cross, and some of the letters appear Greek.
Carvings on the South and North Side of the Vertical Pole of the Cross
On the northern panel, in the middle of the vertical shaft is the image of a Latin cross with a pedestal, and at the top end near the intersection where the upright pole meets the horizontal beam are images of a floral motif and an angel. The southern panel of vertical pole has only images of a floral emblem and a winged angel at the top portion of the cross, also near the intersection point. On the east side of the cross, the cross- beam is decorated, though much less impressive compared to its corresponding panel on the opposite (west) side. There is a carved image of a St. Thomas Cross on the east side at the intersection point of the cross-arms, identical to the cross on the corresponding west side, and a winged Cherubim just below that.
The North and the South Sides of the Cross
Enlarged Views of the Upper Sections of the North and the South Sides of the Cross 1 and 2 refers to the carved images in the respective sides. Angel head (1) and Floral motif (2) on the North and Angel head (1) and Floral Medalion (2) on the South side
The skull emblem at the bottom of the represents the skull of Adam upon which traditionally the Cross of Golgotha was erected. It was used to accommodate oil and wicks for illumination says James (1979, p. 67). Interestingly, immediately adjacent to the skull emblem on the northern border of the cross is a beautiful carving of Adam and Eve in Paradise with the 'Tree of Life' at background. A similar image of Adam and Eve also appears in the Chengannur church wall.
Carvings on the Central and Lower Section of the Cross (South Side)
Enlarged Views of the Image of Adam and Eve and the Skull Emblem
The Pedestal of the Cross
The pedestal of the cross has-circular top, middle octagonal and lower square mouldings. The lower layer has four central projections that give a cruciform appearance to the basement of the cross. The circular top portion of the pedestal has a carving of a fluted lotus, where the main shaft of the cross enters the base.
The Midddle Octagonal Layer of the Pedestal
The eight carvings on the octagonal middle moulding arranged from the west to the north in anti-clockwise direction (west-south-east-north) are:
1) Crucifixion (Christ on the cross and Mother Mary and Mary Magdalene at the foot)
2) Unidentified image (An angel holding an object (?) in hands and facing a kneeling worshipper)
3) Elephant
4) Winged Angel
5) Floral Motif
6) A Pair of Deer
7) Floral Motif
8) Sun
The Eight Panels of the Octagonal Moulding
The Lower Square Layer of the Pedestal with the Central Projections
At the top of the four central projections of the lower layer of the pedestal are guardian angels with stretched wings and each projection consists of three sides with images. The carvings are of floral motifs except in the western protrusion which has the image of a Latin cross on the front facing side. In addition, each projection is in turn flanked by rectangular side panels, which also carved with impressive images. The carvings on the side panels are the following:
West
Pair of Angels (Cherubs) flanking a St. Thomas Cross with flowery ends (Left); Pair of Angels (Cherubs) flanking a St. Thomas Cross with flowery ends (Right)
South
Dragon and floral motif (?) (Left); Crocodile (?) and Elephant (Right)
East
Both sides are left blank
North
Fish (Left); Floral motif (Right)
The West Side of the PedestalEnlarged Views of the West Side Panels
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