Wooden Rafters of 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple: Architecture and Traditions
Journal name: Acta Orientalia
Original article title: Architecture and Living Traditions Reflected in Wooden Rafters of 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple
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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Deepak John Mathew
Acta Orientalia:
(Founded in 1922 and published annually)
Full text available for: Architecture and Living Traditions Reflected in Wooden Rafters of 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple
Year: 2017 | Doi: 10.5617/ao.7271
Copyright (license): CC BY 4.0
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Summary of article contents:
Introduction
The article by Dr. Deepak John Mathew and Parthiban Rajukalidoss delves into the architectural and sculptural significance of the wooden rafters located in the 痴补峁璦辫补迟谤补艣腻测墨 Temple at 艢谤墨惫颈濒濒颈辫耻迟迟奴谤, Tamil Nadu. This study serves to illuminate the cultural, religious, and artistic dimensions of the temple's design, featuring a rich collection of 135 wooden sculptures with connections to Hindu deities and architectural typologies. The authors aim to analyze both the iconographic motifs and the functional role these wooden elements play in reflecting the living traditions of the Indian subcontinent.
Architectural Typologies
One significant concept discussed in the article is the examination of the 补峁ａ弓腻峁単补-惫颈尘腻苍补 and its architectural relevance in South Indian temple design. 础峁ａ弓腻峁単补-惫颈尘腻苍补 is identified as a unique type of structure consisting of eight vertical components, in addition to the traditional six components (峁峁璦峁単a). The authors highlight that this architectural form reflects religious symbolism, housing various representations of deities across different tiers. The study argues that architectural structures and their adorned imagery create a meaningful dialogue that enforces the ideological concepts of divinity and temple worship in Hinduism.
Iconography of Deities
Another critical focus is on the iconography associated with the wooden sculptures, specifically regarding how the images represent various Hindu deities and their narratives. The authors note that these wooden figures play an essential role in the temple rituals and processions, embodying traditional narratives and deific forms central to worship practices. Their study emphasizes the importance of these icons in conveying stories related to the Vishnu-centric traditions prevalent in 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 and how they are integral to the community's religious life.
Processional Traditions
The authors also discuss the significance of processional vehicles (惫腻丑补苍补蝉) depicted in the sculptural illustrations, which reflect contemporary worship practices. These vehicles are not only symbolic representations of the divine but serve a functional purpose during temple festivals, illustrating the continuity of tradition and public participation in religious observance. The connection between the wooden sculptures and their active roles in processions highlights how the temple architecture serves as a living tradition, adapting to contemporary spirituality while maintaining historical roots.
Folk and Cultural Aspects
Additionally, the article addresses the folk elements embedded within the temple art and architecture, indicating a blending of high art and folk traditions. The authors stress the importance of recognizing these connections as they offer insight into the socio-cultural dynamics of the region. The presence of folk narratives, exemplified in the stories reflected in the sculptures, enrich the understanding of regional worship practices and demonstrate how traditional beliefs continue to evolve within the artistic framework of Indian temples.
Conclusion
In conclusion, the article by Mathew and Rajukalidoss provides a profound exploration of the architectural and iconographic wealth of the 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple's wooden rafters. Through thorough examination of architectural typologies, iconography, processional traditions, and folk elements, the authors articulate the significance of these artistic expressions in the context of Hindu worship. Their work not only contributes to the understanding of historical architecture and art in South India but also highlights the continuing relevance of these traditions in contemporary society, positioning the 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple as a vital hub of cultural heritage.
FAQ section (important questions/answers):
What is the focus of the article on 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple?
The article examines the wooden images in the exterior hall of the 痴补峁璦辫补迟谤补艣腻测墨 complex, analyzing their architectural setting, features, and historical significance in the context of Hindu religious traditions.
Who are the authors of the article?
The article is authored by Dr. Deepak John Mathew and Parthiban Rajukalidoss from the Indian Institute of Technology, Hyderabad.
What is the significance of the term 'divyade艣as'?
顿颈惫测补诲别艣补s refer to the 108 sacred sites of worship dedicated to Lord Vishnu, particularly significant in Vaishnavism and mentioned in hymns of the Tamil 膧岣籿腻谤s.
What architectural styles are discussed in the article?
The article discusses various types of temple architecture such as 补峁ａ弓腻峁単补-惫颈尘腻苍补 and sapt膩峁単a-惫颈尘腻苍补, illustrating how these styles integrate in the wooden sculptures.
What is the historical context of the 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple?
The temple has a rich history linked to 笔别谤颈测腻岣籿腻谤 and 膧峁囜弓腻岣�, two prominent figures in Tamil Vaishnavism, with evidence tracing back to the twelfth century CE.
What themes are explored in the wooden sculptures?
The sculptures represent a range of themes from canonical iconography to folk traditions, reflecting the intricate relationship between architecture and sculpture in South Indian temples.
What future work do the authors plan related to the article?
The authors express interest in publishing a catalogue of the 135 wooden specimens documented in the article, aiming to shed further light on their artistic and historical significance.
Glossary definitions and references:
Oriental and Historical glossary list for 鈥淲ooden Rafters of 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple: Architecture and Traditions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) Temple:
The term 'temple' refers to a sacred edifice where deities are worshiped. In the text, various temples like the 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple are discussed in terms of their architecture, history, and iconography.
2) Vimana:
A '痴颈尘腻苍补' is the tower above the sanctum of a South Indian temple. It consists of several intricate layers or parts like the 础峁ａ弓腻峁単补-惫颈尘腻苍补, 厂补辫迟腻峁単补-惫颈尘腻苍补, and K奴峁璦艣膩l膩 惫颈尘腻苍补.
3) Image:
Images in the context of the text are the wooden sculptures housed within the temple structures. These wooden images often represent divine figures and are part of the temple鈥檚 architectural elements.
4) Rajarajan (Rajan-rajan):
R. K. K. Rajarajan is mentioned as a significant scholar whose insights on iconography and architectural elements contribute to the study provided in the article.
5) Srivilliputhur (Srivilliputtur, Sri-villiputhur):
艢谤墨惫颈濒濒颈辫耻迟迟奴谤 is a notable temple town in Tamil Nadu, India. The article primarily focuses on the wooden rafters and architectural features of the 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple.
6) Vishnu (Visnu):
痴颈峁ａ箛耻 is a major deity in Hinduism. In the text, various forms of 痴颈峁ａ箛耻 like Trivikrama, 痴颈峁ａ箛耻sahasran膩ma, and Vaiku峁囜弓ha Perum膩岣� are discussed within the scope of wooden sculptures and temple iconography.
7) Maturai:
Maturai or Madurai is referenced as an important cultural and religious city. It is also home to the M墨n膩k峁Ｄ�-Sundare艣vara Temple, which shares architectural features with the 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple.
8) Indian:
Refers to anything related to India, including Indian temples, architecture, art, and religious practices. The text covers various aspects of Indian temple arts and traditions.
9) Delhi:
[see source text or glossary: Delhi]
10) Alvar (Arvar, Alwar):
The term '膧岣籿腻谤' refers to the Tamil poet-saints devoted to 痴颈峁ａ箛耻. In the article, figures like 狈补尘尘腻岣籿腻谤 and 笔别谤颈测腻岣籿腻谤 are emphasized for their contributions to temple traditions.
11) Periyalvar:
笔别谤颈测腻岣籿腻谤 is a significant 膧岣籿腻谤 whose life and devotion are explored in the study. His wooden image is part of the temple鈥檚 sculptures, and his hymns are an important historical record.
12) Nayaka:
The term '狈腻测补办补' relates to the 狈腻测补办补 dynasty, known for its contributions to South Indian temple architecture. The article includes examinations of 狈腻测补办补 period art and iconography.
13) Antal (Andal):
膧峁囜弓腻岣� is a revered female 膧岣籿腻谤 known for her devotion to 痴颈峁ａ箛耻. The article discusses her representations and the rituals associated with her in the 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple.
14) Iconography:
Iconography involves the study of symbolic representations in art. The text includes detailed analyses of various divine figures and their depictions in temple sculptures.
15) Tamil:
Refers to the language and culture associated with Tamil Nadu in South India. The text mentions Tamil 膧岣籿腻谤s, literature, and art extensively.
16) Chair:
The term 'Chair' refers to the gold-plated vehicle used in 膧峁囜弓腻岣封�檚 processions during temple festivals. It is described as part of the temple鈥檚 ritual tradition.
17) Ashtanga (Astanga, Ashtan-anga):
础峁ａ弓腻峁単补 refers to a specific type of 惫颈尘腻苍补 with eight parts, as detailed in the article. Such detailed descriptions highlight the complex architecture of temples.
18) Sharada (Sarada, Sara-da):
Sharada is a publisher referenced in the article, known for publishing works related to Indian temple art, architecture, and iconography.
19) Devi:
顿别惫墨 is a general term for goddess. Various forms of 顿别惫墨 such as 艢r墨dev墨 and Bh奴dev墨 are mentioned as attendant deities in temple sculptures.
20) Vatapatrashayi (Vatapatra-shayin, Vatapatrasayin, Vatapatrasayi, Vatapatra-shayi, Vatapatrashayin):
痴补峁璦辫补迟谤补艣腻测墨 refers to the reclining form of 痴颈峁ａ箛耻 worshipped in the 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple. The article discusses the specific architectural and sculptural features associated with this deity.
21) Divyadesha (Divyadesa, Divya-desha):
顿颈惫测补诲别艣补 means 鈥榮acred sites鈥� significant in 痴颈峁ａ箛耻 worship. The article mentions several 顿颈惫测补诲别艣补s such as 艢谤墨惫颈濒濒颈辫耻迟迟奴谤, M膩lirun虄c艒lai, and 艢腻濒补驳谤腻尘补.
22) Vahana:
痴腻丑补苍补 refers to the vehicle of a deity. Various 惫腻丑补苍补蝉 like Gajav膩hana, Ha峁僺av膩hana, and Garu岣峚v膩hana are described as part of temple rituals and iconography.
23) Shrine:
[see source text or glossary: Shrine]
24) Vijayanagara (Vijaya-nagara):
The Vijayanagara period is discussed in the context of its architectural contributions to South Indian temples. Temples from this era exhibit intricate carvings and design.
25) Shikhara (Sikhara):
艢颈办丑补谤补 refers to the tower or spire of a temple. Different types of 艣ikharas like K奴峁璦艣膩la are highlighted in the text鈥檚 architectural discussions.
26) New Delhi:
[see source text or glossary: New Delhi]
27) Vaishnava (Vaisnava):
痴补颈峁ａ箛补惫补 pertains to the Hindu tradition centered around the worship of 痴颈峁ａ箛耻. The text examines various 痴补颈峁ａ箛补惫补 temples, deities, and rituals.
28) Murti (Murtti):
惭奴谤迟颈 refers to the idol or image of a deity. Multiple m奴rtis are discussed, including unique syncretic typologies like 贰办补辫腻诲补尘奴谤迟颈 and the wooden images in 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple.
29) India:
India is the country where these temples and traditions originate. The article covers Indian art, architecture, and religious practices across different regions.
30) Mamallapuram (Mamallapura, Mamalla-pura):
惭腻尘补濒濒补辫耻谤补尘 is an ancient port city known for its rock-cut temples and sculptures, discussed for their architectural significance and influence on later works.
31) Nammalvar:
狈补尘尘腻岣籿腻谤, one of the twelve 膧岣籿腻谤s, contributed richly to Tamil devotional literature. His hymns and wooden image under the tamarind tree are prominently discussed.
32) Harihara (Hari-hara):
Harihara is a composite deity combining 痴颈峁ａ箛耻 (Hari) and 艢颈惫补 (Hara). The text describes unique representations of this syncretic form in temple sculptures.
33) Dravida:
顿谤腻惫颈岣峚 refers to the style of temple architecture prevalent in South India. Various types of 顿谤腻惫颈岣峚 惫颈尘腻苍补s are examined in the context of wooden sculptures.
34) Mandapa (Mamdapa):
惭补峁囜笉补辫补 refers to the pillared hall in a temple complex. The text discusses the architectural layout, including the Agrama峁囜笉apa where wooden images are housed.
35) Shastri (Sastri, Sastr):
Sastri refers to scholars like K. A. Nilakanta Sastri, who are cited for their historical and epigraphical contributions to the study of South Indian temples.
36) Madra:
[see source text or glossary: Madra]
37) Ratha:
Ratha means chariot, often used in temple processions. The study covers historic temple cars (t膿rs) and their wooden sculptures, emphasizing the importance of these vehicles.
38) Shiva (Siva):
艢颈惫补 is a major deity in Hinduism. Representations of 艢颈惫补, including syncretic forms like 贰办补辫腻诲补尘奴谤迟颈, are analyzed in the text鈥檚 iconographic discussions.
39) Tiruppavai:
罢颈谤耻辫辫腻惫补颈 is a collection of devotional hymns by 膧峁囜弓腻岣�. The significance of these hymns and their recitation during festive rituals is covered in the text.
40) Sthanaka:
厂迟丑腻苍补办补 refers to standing postures of deities. The article includes iconographic descriptions of sth膩naka m奴rtis, including those in the wooden sculptures.
41) Nacciyar:
狈腻肠肠颈测腻谤 refers to 膧峁囜弓腻岣�, also known as the 'Mistress' or 'Angel.' The term is highlighted in connection with the 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple and its rituals.
42) Kutal:
碍奴峁璦濒, an old name for Madurai, features prominently in the text in reference to the temple architecture and significant events like 笔别谤颈测腻岣籿腻谤鈥檚 composition of hymns.
43) Indian Art:
[see source text or glossary: Indian Art]
44) Ekapadamurti (Ekapada-murti):
贰办补辫腻诲补尘奴谤迟颈 is an iconographic form representing a one-footed deity often integrating the Hindu Triad. The text discusses a unique wooden representation of this form in 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple.
45) Saptanga (Saptan-anga, Saptamga):
厂补辫迟腻峁単补 denotes a seven-part architectural form of 惫颈尘腻苍补. The text suggests the term as a new typology based on the wooden sculptures in 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple.
46) Pandya (Pamdya, Pandyan):
笔腻峁囜笉测补 refers to the 笔腻峁囜笉测补 dynasty, significant contributors to South Indian temple architecture. The article examines inscriptions and architectural developments from this period.
47) Brahma:
叠谤补丑尘腻 is one of the Hindu trinity gods, associated with creation. The article mentions various depictions of 叠谤补丑尘腻 in temple sculptures and iconography.
48) Bhatta:
叠丑补峁弓补 denotes a Brahmin priest or scholar. Various wooden images and inscriptions reference 叠丑补峁弓补s involved in temple rituals and administration.
49) Utsava:
Utsava means festival or celebration, usually involving processions of deities. The text details various utsavas, including 膧峁囜弓腻岣封�檚 festival held in the 艢谤墨惫颈濒濒颈辫耻迟迟奴谤 Temple.
50) Vesara (Veshara):
痴别艣补谤补 refers to a circular form of temple architecture, highlighted in the analysis of 惫颈尘腻苍补s that feature in South Indian temples.
51) Nagara (Naga-ra):
狈腻驳补谤补 is the term for the North Indian temple architecture style, which contrasts with the South Indian 顿谤腻惫颈岣峚 style discussed in the article.
52) Space:
[see source text or glossary: Space]
53) Veda:
Veda denotes ancient Hindu scriptures considered highly sacred. The text references the Vedas in context to the works and hymns of 膧岣籿腻谤s like 狈补尘尘腻岣籿腻谤.
54) Tree:
[see source text or glossary: Tree]
55) Cave:
[see source text or glossary: Cave]
56) Villiputtur:
[see source text or glossary: 痴颈濒濒颈辫耻迟迟奴谤]
57) Trivikrama (Tri-vikrama):
Trivikrama is an avatar of 痴颈峁ａ箛耻 where he takes large strides to measure the universe. This form is iconographically significant and is discussed in the text鈥檚 analysis.
58) Maturakavi (Matura-kavi):
Maturakavi was a disciple of 狈补尘尘腻岣籿腻谤, featured in the text as a diminutive figure in a wooden image seated at the base of 狈补尘尘腻岣籿腻谤鈥檚 idol.
59) Shalagrama (Salagrama, Shala-grama):
艢腻濒补驳谤腻尘补 is a sacred geographical site, significant in 痴颈峁ａ箛耻 worship. The text references several 顿颈惫测补诲别艣补s including 艢腻濒补驳谤腻尘补.
60) Padavarga:
笔腻诲补惫补谤驳补 refers to the wall section of a 惫颈尘腻苍补 that houses the deity鈥檚 chamber. This architectural element is elaborated in discussions of 础峁ａ弓腻峁単补-惫颈尘腻苍补.
61) Kshatriya (Ksatriya):
碍峁迟谤颈测补 is a warrior caste in Hindu society. Figures like Maturai-v墨ra峁� are described with attributes resembling 碍峁迟谤颈测补 warriors, such as a sword and headgear.
62) Trimurti (Tri-murti):
罢谤颈尘奴谤迟颈 refers to the three principal gods of Hinduism: 叠谤补丑尘腻, 痴颈峁ａ箛耻, and 艢颈惫补. The term is used when discussing composite forms like Ekap膩da-罢谤颈尘奴谤迟颈.
63) Festival:
Festivals are significant events in temple rituals involving processions, music, and recitations. The text details events like 膧峁囜弓腻岣封�檚 M膩rka岣籭 festival.
64) Tamarind:
The tamarind tree is sacred in connection with 狈补尘尘腻岣籿腻谤, who is depicted in images as seated under a tamarind tree during meditation.
65) Village:
[see source text or glossary: Village]
66) Gold (Golden):
[see source text or glossary: Gold]
67) Badami:
叠补诲腻尘墨 is mentioned in reference to its rock-cut caves, which house significant early Hindu sculptures such as the Trivikrama and Harihara forms.
68) Emblem:
[see source text or glossary: Emblem]
69) Vastu:
Vastu involves architecture and space planning as per traditional Indian principles. The text elaborates on how vastu principles integrate architecture and sculpture harmoniously.
70) Cakra:
Cakra is one of 痴颈峁ａ箛耻鈥檚 weapons, commonly featured in sculptures. The text references Cakra in descriptions of various 痴颈峁ａ箛耻 iconographies.
71) Black:
[see source text or glossary: Black]
72) King:
[see source text or glossary: King]
73) Foot (Feet):
Feet are symbolic in Hindu iconography. 痴颈峁ａ箛耻鈥檚 reclining form often features devotees at his feet, and the text mentions these details in sculpture descriptions.
74) Indian Architecture:
[see source text or glossary: Indian Architecture]
75) Hindu iconography:
[see source text or glossary: Hindu iconography]
[Note: The above list is limited to 75. Total glossary definitions available: 110]