鈥楶a峁夅箟irun膩mapp膩峁弓u鈥� of 狈补尘尘腻岣籿腻谤 顿惫腻诲补艣补-尘奴谤迟颈 in Tamil Tradition
Journal name: Acta Orientalia
Original article title: 鈥楶a峁夅箟irun膩mapp膩峁弓u鈥� of 狈补尘尘腻岣籿腻谤 顿惫腻诲补艣补-尘奴谤迟颈 in Tamil Tradition
ACTA ORIENTALIA is a journal focused on the study of Oriental languages, history, archaeology, and religions from ancient times to the present. The journal includes articles reviewed by a senior scholar in the relevant field.
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Jeyapriya Rajarajan
Acta Orientalia:
(Founded in 1922 and published annually)
Full text available for: 鈥楶a峁夅箟irun膩mapp膩峁弓u鈥� of 狈补尘尘腻岣籿腻谤 顿惫腻诲补艣补-尘奴谤迟颈 in Tamil Tradition
Year: 2015 | Doi: 10.5617/ao.4452
Copyright (license): CC BY 4.0
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Summary of article contents:
Introduction
The article explores the influence of the 顿惫腻诲补艣补-尘奴谤迟颈 concept, as articulated in the Ahirbhudhnya-蝉补峁僪颈迟腻 of the 笔腻帽肠补谤腻迟谤腻驳补尘补, on the hymns of the Tamil poet-saint 狈补尘尘腻岣籿腻谤, specifically focusing on the 鈥楶a峁夅箟iru-n膩mapp膩峁弓u鈥� section in his 罢颈谤耻惫腻测尘辞岣籭. It investigates the interplay between literary, philosophical, and artistic expressions in Tamil Nadu, particularly through the lens of iconography and sacred imagery related to the twelve forms of 痴颈峁ａ箛耻. The study emphasizes the connections between Sanskrit and Tamil traditions and how these have shaped the visual arts and religious practices in the region over time.
顿惫腻诲补艣补-惭奴谤迟颈: A Key Iconographical Concept
The 顿惫腻诲补艣补-尘奴谤迟颈 refers to the twelve forms of 痴颈峁ａ箛耻, which are systematically categorized in both Tamil and Sanskrit literature. The article highlights that both traditions arrange the twelve epithets of 痴颈峁ａ箛耻 in the same sequential order, which underscores the shared cultural and religious significance. It reflects on the role of iconography in defining these forms, noting the unique color patterns and emblems associated with each m奴rti. Additionally, the study suggests that the 顿惫腻诲补艣补 concept became prominent in Tamil art by the eighth century CE, further enhancing its cultural impact.
Interconnection with 狈补尘尘腻岣籿腻谤's Hymns
狈补尘尘腻岣籿腻谤's hymns, particularly the 鈥楶a峁夅箟iru-n膩mapp膩峁弓u鈥�, critically engage with the 顿惫腻诲补艣补-尘奴谤迟颈, reflecting profound philosophical and devotional sentiments. The article reveals how these hymns present a holistic view of 痴颈峁ａ箛耻's forms, intertwining their characteristics with elements of Tamil cultural identity and spirituality. 狈补尘尘腻岣籿腻谤 emphasizes the divine attributes and narratives surrounding these forms, which serve not only as expressions of faith but also as pathways to understanding the socio-religious dynamics of his time. The hymns encapsulate a deep sense of devotion that transcends mere literary accomplishment.
Artistic Reflection in the N膩rtt膩malai Cave Temple
The paper further investigates the architectural and artistic implications of the 顿惫腻诲补艣补-尘奴谤迟颈 through the examination of the N膩rtt膩malai cave temple, where twelve rock-cut images of 痴颈峁ａ箛耻 embody the concept in a tangible form. This site exemplifies how literary and philosophical themes have been manifested in art, showcasing the unique alignment of the iconographic representations with the descriptions found in 狈补尘尘腻岣籿腻谤's hymns. Scholars argue that the rock-cut images were likely influenced by the lyrical content of 鈥楶a峁夅箟iru-n膩mapp膩峁弓u鈥�, revealing a profound continuity between text and visual representation in Tamil culture.
The Role of Colors and Binaries in Iconography
Another significant theme in the study is the relationship between color symbolism and iconography in the understanding of the 顿惫腻诲补艣补-尘奴谤迟颈. The paper discusses how color plays a vital role in establishing the identity and nature of each form, with specific colors denoting particular attributes of 痴颈峁ａ箛耻. While 狈补尘尘腻岣籿腻谤's hymnal references lack detailed color descriptions, the alignment with the 笔腻帽肠补谤腻迟谤补 tradition offers insights into the broader implications of color within iconographic practices. This aspect points to a deeper connection between aesthetic choices and the theological tenets exuded through visual culture in Tamil Nadu.
Conclusion
In conclusion, the article presents a comprehensive study of the 顿惫腻诲补艣补-尘奴谤迟颈's impact on Tamil literary and artistic traditions through the works of 狈补尘尘腻岣籿腻谤, emphasizing the innate connections between scripture, philosophy, and visual expression. It argues that 狈补尘尘腻岣籿腻谤's hymns not only encapsulate the essence of devotion towards 痴颈峁ａ箛耻's forms but also serve as a scholarly bridge to historical and artistic interpretations within Tamil culture. The exploration of iconography in the N膩rtt膩malai cave temple further exemplifies the living tradition of worship that interlaces literature and art, marking a distinctive layer of cultural heritage in South India. Continuing research in this domain is encouraged to unravel further parallels and insights across India and beyond.
FAQ section (important questions/answers):
What is the significance of 顿惫腻诲补艣补 in Tamil tradition?
顿惫腻诲补艣补 refers to the twelve epithets of 痴颈峁ａ箛耻, crucial in Tamil 痴补颈峁ａ箛补惫补 literature, particularly highlighted in 狈补尘尘腻岣籿腻谤's hymn 'Pa峁夅箟iru-n膩mapp膩峁弓u', showcasing the blending of philosophy, literature, and iconography.
Who is 狈补尘尘腻岣籿腻谤 and what are his contributions?
狈补尘尘腻岣籿腻谤 was a major Tamil 痴补颈峁ａ箛补惫补 saint known for his hymns. His works, including '罢颈谤耻惫腻测尘辞岣籭', consist of 1,102 hymns and are pivotal in the devotional literature of South India.
What are the 顿惫腻诲补艣补-尘奴谤迟颈 as depicted in art?
The 顿惫腻诲补艣补-尘奴谤迟颈 represent twelve forms of 痴颈峁ａ箛耻, each with distinct emblems and characteristics, often depicted in art, notably in the N膩rtt膩malai rock-cut temple, showcasing their significance in Tamil iconography.
How do 狈补尘尘腻岣籿腻谤's hymns relate to Sanskrit sources?
狈补尘尘腻岣籿腻谤鈥檚 'Padinniru-n膩mapp膩峁弓u' mirrors Sanskrit traditions, particularly from the 笔腻帽肠补谤腻迟谤补 texts, arranging names and attributes of 痴颈峁ａ箛耻 in a systematic order, highlighting the interconnectedness of Tamil and Sanskrit devotional practices.
What is the role of the N膩rtt膩malai temple in the study?
The N膩rtt膩malai cave temple houses rock-cut images representing the 顿惫腻诲补艣补-尘奴谤迟颈. It serves as a significant archaeological site to study the iconography influenced by 狈补尘尘腻岣籿腻谤鈥檚 devotional themes and hymns.
What elements of art are compared in the study?
The study compares the iconographical features, such as colors and emblems, of 痴颈峁ａ箛耻 in 狈补尘尘腻岣籿腻谤's hymns to those found in ancient Tamil art, illustrating how literature informs visual representations.
What philosophical themes are explored in 狈补尘尘腻岣籿腻谤's hymns?
狈补尘尘腻岣籿腻谤's hymns explore themes of devotion, the nature of divinity, and the relationship between the soul and the divine, emphasizing bhakti (devotion) as a means of connecting with the sacred.
Glossary definitions and references:
Oriental and Historical glossary list for 鈥溾�楶a峁夅箟irun膩mapp膩峁弓u鈥� of 狈补尘尘腻岣籿腻谤 顿惫腻诲补艣补-尘奴谤迟颈 in Tamil Tradition鈥�. This list explains important keywords that occur in this article and links it to the glossary for a better understanding of that concept in the context of History, Linguistics, Religion, Philosophy, Hinduism, Buddhism, Jainism etc.
1) Tamil:
The Tamil language and its literature provide a rich foundation for understanding the cultural and religious traditions mentioned in the Acta Orientalia volume, especially in relation to the hymns of 狈补尘尘腻岣籿腻谤.
2) Rajarajan (Rajan-rajan):
Dr. Jeyapriya Rajarajan is the author of the article 'Pa峁夅箟irun膩mapp膩峁弓u of 狈补尘尘腻岣籿腻谤 顿惫腻诲补艣补-尘奴谤迟颈 in Tamil Tradition' and provides extensive analysis and commentary on the subject.
3) Vishnu (Visnu):
痴颈峁ａ箛耻 is a central deity in Hinduism, particularly in Tamil 痴补颈峁ａ箛补惫补 tradition, represented with various epithets and forms in the '顿惫腻诲补艣补-尘奴谤迟颈,' discussed within the article.
4) Dvadasha (Dvadasa, Dvadasan, Dvadashan):
The concept of 顿惫腻诲补艣补 (twelve) is an important iconographic theme in the article, especially in the context of the twelve epithets for 痴颈峁ａ箛耻 found in 狈补尘尘腻岣籿腻谤's 'Pa峁夅箟irun膩mapp膩峁弓u.'
5) Murti (Murtti):
In the context of the article, '惭奴谤迟颈' refers to the various forms and embodiments of 痴颈峁ａ箛耻, especially the twelve forms listed in the 顿惫腻诲补艣补-尘奴谤迟颈.
6) Lotus:
The lotus flower is a recurring motif in the article, symbolizing purity and divinity, and often used to describe the eyes and feet of 痴颈峁ａ箛耻.
7) Temple:
Temples play a significant role in the article, particularly the N膩rtt膩malai rock-cut temple, which features the twelve images of 痴颈峁ａ箛耻 discussed.
8) Dvadashamurti (Dvadasamurti, Dvadasha-murti):
顿惫腻诲补艣补-尘奴谤迟颈 refers to the twelve iconic forms or epithets of 痴颈峁ａ箛耻, an important subject in the article, particularly in its manifestation in Tamil tradition.
9) White:
White is one of the colors attributed to certain forms of 痴颈峁ａ箛耻 in the 顿惫腻诲补艣补-尘奴谤迟颈, reflecting various aspects of purity and divinity.
10) Image:
Images or icons of 痴颈峁ａ箛耻, particularly those found in the N膩rtt膩malai rock-cut temple, are a focal point of the article.
11) Rock:
The N膩rtt膩malai rock-cut temple plays a crucial role in the article, housing the twelve images of 痴颈峁ａ箛耻 analyzed for their theological and iconographical significance.
12) Tiruvaymoli:
This is a significant hymnal composition by 狈补尘尘腻岣籿腻谤 that includes the 'Pa峁夅箟irun膩mapp膩峁弓u,' which explores the twelve names of 痴颈峁ａ箛耻.
13) Black:
Black is one of the colors associated with various forms of 痴颈峁ａ箛耻, such as 碍别艣补惫补 in the context of the 顿惫腻诲补艣补-尘奴谤迟颈.
14) Colour (Color):
Colour patterns are essential in iconographic studies, with specific colors attributed to each form of 痴颈峁ａ箛耻 in the 顿惫腻诲补艣补-尘奴谤迟颈.
15) Krishna (Krsna):
碍峁涐梗峁嘺 is one of the forms of 痴颈峁ａ箛耻 and appears prominently in the hymns and iconographic representations discussed in the article.
16) Trivikrama (Tri-vikrama):
Trivikrama is one of the twelve forms of 痴颈峁ａ箛耻 in the 顿惫腻诲补艣补-尘奴谤迟颈, known for his expansive form that encompasses the universe.
17) Nammalvar:
狈补尘尘腻岣籿腻谤 is the Tamil saint whose hymns, particularly those in the '罢颈谤耻惫腻测尘辞岣籭,' include the 'Pa峁夅箟irun膩mapp膩峁弓u' and are central to the article.
18) Cave:
The article discusses the N膩rtt膩malai cave temple, which houses the twelve images of 痴颈峁ａ箛耻, exemplifying the 顿惫腻诲补艣补-尘奴谤迟颈.
19) Chennai:
Chennai is mentioned as a location where some of the works related to the articles and texts have been published.
20) Shridhara (Sridhara, Shri-dhara):
艢谤墨诲丑补谤补 is one of the twelve forms of 痴颈峁ａ箛耻 in the 顿惫腻诲补艣补-尘奴谤迟颈, signifying the Lord who bears the goddess 艢r墨 (Lakshmi).
21) Govinda (Go-vinda, Govimda):
Govinda is a form of 痴颈峁ａ箛耻 celebrated in the 顿惫腻诲补艣补-尘奴谤迟颈, often depicted as the protector of cows and connected with pastoral themes.
22) Foot (Feet):
The lotus feet of 痴颈峁ａ箛耻 are a recurring symbol in the hymns and iconography discussed in the article, representing beauty and divinity.
23) Padmanabha (Padmanabh, Padma-nabha):
笔补诲尘补苍腻产丑补 is a form of 痴颈峁ａ箛耻 in the 顿惫腻诲补艣补-尘奴谤迟颈, depicted with a lotus emerging from his navel, symbolizing the birth of 叠谤补丑尘腻.
24) Narayana (Nara-ayana, Nara-yana):
狈腻谤腻测补峁嘺 is a form of 痴颈峁ａ箛耻 revered in the 顿惫腻诲补艣补-尘奴谤迟颈, often depicted as the preserver of the universe and highlighting his celestial aspects.
25) Damodara (Daman-udara):
顿腻尘辞诲补谤补 is one of the twelve forms of 痴颈峁ａ箛耻 in the 顿惫腻诲补艣补-尘奴谤迟颈 and is connected with Krishna's childhood where he was tied with a rope by Yashoda.
26) Flower:
Flowers, especially lotuses, play a significant role in the article, symbolizing purity and often used in descriptions of 痴颈峁ａ箛耻's iconography.
27) Indian:
The article discusses the Indian context of the 顿惫腻诲补艣补-尘奴谤迟颈, particularly the impact of these traditions on Tamil literature and art.
28) India:
India provides the cultural and historical backdrop for the 顿惫腻诲补艣补-尘奴谤迟颈 as explored in Tamil literature and the N膩rtt膩malai rock-cut temple.
29) Alvar (Arvar, Alwar):
The 膧岣籿腻谤 saints, including 狈补尘尘腻岣籿腻谤, are integral to the Tamil 痴补颈峁ａ箛补惫补 tradition, with their hymns forming the basis for much of the theological discussion in the article.
30) Mind:
The mind's devotion and concentration are themes in 狈补尘尘腻岣籿腻谤鈥檚 hymns, reflecting the spiritual state required to connect with 痴颈峁ａ箛耻.
31) Worship:
Worship is a central theme in the article, as 狈补尘尘腻岣籿腻谤鈥檚 hymns and the iconographic representations emphasize the devotion towards 痴颈峁ａ箛耻.
32) Kurukur:
碍耻谤耻办奴谤, also known as 膧岣籿腻谤 Tirunakari, is the birthplace of 狈补尘尘腻岣籿腻谤 and serves as a significant setting in Tamil 痴补颈峁ａ箛补惫补 tradition.
33) Kesava (Keshava):
碍别艣补惫补 is one of the twelve forms of 痴颈峁ａ箛耻 in the 顿惫腻诲补艣补-尘奴谤迟颈, depicted with a golden hue and often considered the first among the twelve.
34) Vamana:
痴腻尘补苍补, the dwarf incarnation of 痴颈峁ａ箛耻, is one of the twelve forms detailed in the 顿惫腻诲补艣补-尘奴谤迟颈 and is noted for his mythological deed of defeating the demon king Bali.
35) Birth:
The themes of birth and reincarnation are significant in the hymns of 狈补尘尘腻岣籿腻谤, with references to the cyclic nature of existence and divine manifestations.
36) Green:
Green, particularly emerald green, is a color associated with 痴腻尘补苍补 in the 顿惫腻诲补艣补-尘奴谤迟颈, symbolizing fertility and growth.
37) Vittu:
痴颈峁弓耻 is a rare term for 痴颈峁ａ箛耻, praised in 狈补尘尘腻岣籿腻谤鈥檚 hymns, indicating his widespread devotion among Tamil speakers.
38) Caturvimshati (Caturvimsati, Catur-vimshati):
The 颁补迟耻谤惫颈峁兣沘迟颈 refers to the twenty-four forms of 痴颈峁ａ箛耻, expanding on the 顿惫腻诲补艣补-尘奴谤迟颈 concept and including additional deities such as 厂补峁僰补谤峁峁嘺 and 痴腻蝉耻诲别惫补.
39) Literature:
Tamil literature, particularly the hymns of the 膧岣籿腻谤s, provides the primary source material for the theological and iconographical discussions in the article.
40) Paripatal (Paripadal, Paripaadal):
笔补谤颈辫腻峁璦濒 is an ancient Tamil text that contains early references to 痴颈峁ａ箛耻 worship, contributing to the understanding of his iconography in Tamil tradition.
41) Madhava:
惭腻诲丑补惫补 is another form of 痴颈峁ａ箛耻 in the 顿惫腻诲补艣补-尘奴谤迟颈, known for his valor and beauty, often depicted with blue-hued skin.
42) Gold (Golden):
Golden hue is a color descriptor used for 碍别艣补惫补 among the 顿惫腻诲补艣补-尘奴谤迟颈, symbolizing his divine effulgence and purity.
43) Varna:
痴补谤峁嘺 refers to color patterns essential in differentiating the forms of 痴颈峁ａ箛耻 in the 顿惫腻诲补艣补-尘奴谤迟颈, such as golden, white, red, blue, and green.
44) Light:
Light is a motif in the hymns and iconography of 痴颈峁ａ箛耻, representing divine radiance and purity, crucial in understanding his forms in the 顿惫腻诲补艣补-尘奴谤迟颈.
45) Lotus flower:
The lotus flower symbolizes purity and divinity and is frequently mentioned in descriptions of 痴颈峁ａ箛耻鈥檚 eyes, feet, and hands in the hymns of 狈补尘尘腻岣籿腻谤.
46) Madhusudana (Madhu-sudana):
惭补诲丑耻蝉奴诲补苍补 is a form of 痴颈峁ａ箛耻 who is known as the destroyer of the demon Madhu, one of the twelve deities in the 顿惫腻诲补艣补-尘奴谤迟颈.
47) Iconography:
Iconography pertains to the visual representations of deities, particularly the twelve forms of 痴颈峁ａ箛耻 in the 顿惫腻诲补艣补-尘奴谤迟颈, as analyzed in the article.
48) Kannan:
碍补峁囜箛补峁� is a Tamil name for 碍峁涐梗峁嘺, whose form and attributes are described in 狈补尘尘腻岣籿腻谤's hymns within the 顿惫腻诲补艣补-尘奴谤迟颈 framework.
49) Delhi:
Delhi is cited as the location of the Sharada Publishing House, responsible for publishing various texts referenced in the article.
50) House:
The term 'house' may refer to a publishing house, playing a role in making seminal texts on Tamil literature and iconography available to scholars.
51) Pancaratra (Panca-ratra, Pancan-ratra, Pamcaratra):
笔腻帽肠补谤腻迟谤补 is a tradition within Vai峁ａ箛avism that significantly influenced the hymns of 狈补尘尘腻岣籿腻谤 and the 顿惫腻诲补艣补-尘奴谤迟颈 concept.
52) Samhita:
厂补峁僪颈迟腻 refers to the compilations or collections of liturgical texts, such as the Ahirbh奴dhnya-蝉补峁僪颈迟腻, which provides the basis for 顿惫腻诲补艣补-尘奴谤迟颈 iconography.
53) Lakshmi (Laksmi):
Lakshmi, or 艢r墨, is the consort of 痴颈峁ａ箛耻 and is mentioned in the hymns and iconography, playing a significant role in 痴补颈峁ａ箛补惫补 theology.
54) Sharada (Sarada, Sara-da):
Sharada Publishing House is a key publisher of texts referenced in the article, such as works on Tamil literature and iconography.
55) Nayaka:
狈腻测补办补 refers to a period and dynasty known for their contributions to Tamil temple art and iconography, relevant to the sculptures discussed in the article.
56) Blue:
Blue, often represented as 'n墨la' or 'megha艣y膩ma', is a significant color in the iconography of 痴颈峁ａ箛耻, associated with forms like 惭腻诲丑补惫补 and 狈腻谤腻测补峁嘺.
57) Divyadesha (Divyadesa, Divya-desha):
顿颈惫测补诲别艣补 refers to the sacred temples mentioned in Tamil 痴补颈峁ａ箛补惫补 tradition, several of which are associated with the hymns of 狈补尘尘腻岣籿腻谤.
58) Catakopan:
颁补峁璦办艒辫补峁� is another name for 狈补尘尘腻岣籿腻谤, reflecting his revered status and contributions to Tamil 痴补颈峁ａ箛补惫补 literature.
59) Hrishikesha (Hrsikesa, Hrishika-isha):
贬峁涐梗墨办别艣补 is one of the twelve forms of 痴颈峁ａ箛耻 in the 顿惫腻诲补艣补-尘奴谤迟颈, often depicted with golden attributes and associated with sensory control.
60) Vasudeva (Vasu-deva):
痴腻蝉耻诲别惫补 is among the forms of 痴颈峁ａ箛耻 in the 颁补迟耻谤惫颈峁兣沘迟颈, extending the theological and iconographical framework discussed in the article.
61) Shritattvanidhi (Sritattvanidhi):
艢谤墨迟补迟迟惫补苍颈诲丑颈 is a significant text referenced in the article, providing comprehensive details on the iconography of 痴颈峁ａ箛耻 and 艢akti.
62) Silappadikaram (Silappatikaram, Cilappatikaram):
颁颈濒补辫辫补迟颈办腻谤补尘 is an ancient Tamil epic mentioned in the article, providing early evidence of 痴颈峁ａ箛耻 worship and influencing later Tamil literature.
63) Samkarshana (Sankarsana, Samkarsana, Sankarshana):
厂补峁僰补谤峁峁嘺 is one of the forms of 痴颈峁ａ箛耻 in the 颁补迟耻谤惫颈峁兣沘迟颈, often depicted in white, showing familial and martial attributes.
64) Pitambara (Pita-ambara):
笔墨迟腻尘产补谤补 refers to the yellow or golden silk garment often worn by 痴颈峁ａ箛耻, symbolizing wealth, power, and divinity.
65) Vaishnava (Vaisnava):
痴补颈峁ａ箛补惫补 tradition focuses on the worship of 痴颈峁ａ箛耻 and his incarnations, with significant emphasis placed on the hymns and iconography detailed in the article.
66) Sthanaka:
厂迟丑腻苍补办补 refers to the standing posture prevalent in the iconography of 痴颈峁ａ箛耻, as seen in the 顿惫腻诲补艣补-尘奴谤迟颈 images at N膩rtt膩malai.
67) Shankha (Sankha, Samkha, Shamkha):
艢补峁卥丑补 is a sacred conch, one of the prominent attributes of 痴颈峁ａ箛耻, often depicted in his upper left hand in various forms.
68) Brahma:
叠谤补丑尘腻, the creator god, is born from a lotus emerging from 痴颈峁ａ箛耻鈥檚 navel (笔补诲尘补苍腻产丑补), linking him closely with 痴颈峁ａ箛耻.
69) Pillai:
笔颈岣丰阜补颈 Lok膩c膩rya is a significant 膧c膩rya in the 艢r墨vai峁ａ箛ava tradition, who expanded on the theological principles found in 狈补尘尘腻岣籿腻谤鈥檚 hymns.
70) Emblem:
Emblems such as the cakra, 艣a峁卥ha, gad膩, and padma are vital in identifying the different forms of 痴颈峁ａ箛耻 in the 顿惫腻诲补艣补-尘奴谤迟颈 and iconography.
71) Padma:
Padma, or the lotus, is a significant symbol associated with 痴颈峁ａ箛耻鈥檚 iconography, representing purity and divine beauty in his various forms.