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Aesthetics, simply defined as concerned with beauty or the appreciation of beauty or of pleasing appearance by any standard dictionary.

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a paper written on Brihadeeswarar Temple for an assignment of Science and Liberal Arts

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BrihadeeswararBeauty & Theory

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This document is prepared byNidhi Singh Rathore

Set in Sansita One and Caecilia

© Nidhi Singh Rathore

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Contents

Aesthetics. 10

Brihadeeswara. 14

Beauty. 24

Acknowledgment. 28

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AestheticsMy understanding

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Aesthetics But Aesthetics as a subject is not as simple as the five-words definition. The theory might confuse one but still gives them the freedom to express themselves and their ideas about beauty. Aesthetic judgment can often be an outcome of emotions and philosophy, as people often say aesthetic is subjective. But it relies on our ability to discriminate at a sensory level. The ease of beauty is different from mere agreeableness because, if one proclaims something to be beautiful, then one requires the same liking from others. And in that case, the whole subjectivity of aesthetics and other aspects of philosophy work for individuals to speak for themselves and talk about their liking and beauty. Beauty is generally considered as a phenomenon, object or living being which gives pleasure to one and their eyes. And if something conquers more than one or two hearts it gets a title of being Beautiful.

Viewer interpretations of beauty posses two concepts of value: Aesthetics and Taste. Aesthetics is the philosophical

notion of beauty. Taste is a result of an education process and awareness of elite cultural values. Therefore, most of the time one can see a bunch of so called critics or intellectuals judging certain things to forward the notion of beauty. Most of the people end up following that bunch thinking that they have to be right because of their taste and aesthetics values, and in that case one avoids to make a judgment for oneself. It’s true that beauty is objective and universal thus certain things are beautiful to everyone. But the question arises for all those ugly things, which can be beautiful as well because beauty lies in the eyes of beholder. Why a lotus considered so sacred and appealing when actually it is found in a filthy environment, and why a small kid on the footpath looks hideous to the mass rather than cute like other children, comparatively rich ones.

Beauty is subjective for sure but there are so many questions linked to this one concept of judgment. And actually, aesthetic judgments can often be very

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fine-grained and internally contradictory. Likewise aesthetics judgments seem often to be a least partly intellectual and interpretative. I think most of the tie to appreciate something people rely on their peer group or surroundings, as they are afraid to give voice to their inner thoughts. They might say that they appreciate something when they actually they have no feelings for it. One might do that to gain respect in the society to have a taste for something, but actually he is just trying to fit himself in.

Aesthetics is actually not as complicated as people make it by following something else rather than their sensory judgments, which actually makes more sense than the mob-mentality behavior. For example, what is so beautiful about the Taj Mahal or Great Wall of China. they are considered as one of the Seven Wonders of the World. This is can be actually seen as restricting human mind to approve of something just because a minority agrees to it. It is obviously a national symbol but more than that it is glorified reality.

There are so many other infrastructures in our country, which people are not aware of. Clearly they don’t have nice advertisement agencies, people don’t know about half of them. India, according to me, is filled with potential beauty, because aesthetical value is clearly present but people don’t really have that strong taste for it. Our tastes are getting westernize as well. When I was a kid, I use to hate it when people called our generations westernized or influenced but actually it is very true. But the only difference is that everyone was and is influenced and to such an extent that we don’t even realize where we are missing out. We lack in appreciating our own culture and infrastructure. It’s surprising that how everyone else in the world is moving towards our concepts of life and beauty and we are unaware of them most of the time. Beauty, according to me, lies in the essence of an object. The purest part of an object, the core- satva, is where beauty lies. It changes with each object and being but it is so meaningful that it fascinates me.

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Every object and being have a meaning of their existence and it is interesting how they serve to their respective dharma and karma, in simple words their respective duties to make the world take it’s course. Every being on earth have an aim and he needs to survive for the same, and I think the beauty is to see one self and a mass creating new things and surviving new problems ever day. I find beauty in the green-ness of a leaf to grains of the sand. They serve their purposes not just aesthetically but scientifically also they help the nature follow it’s circle. I like the concept of Satva as no one can really be something or try to be something else. It is pure and untamed. It can be called the soul, aatma, rooh, seele or åme, no matter what you call it but it’s the purest form of a human being. Beauty is found within, it was said long back but it clearly makes sense. I think nothing can be more than the beauty of nature. It is so pure and perfect.

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Brihadeeswarafacts and figures. Theory.

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I took Brihadeeswarar Temple as my subject for research for comparative aesthetics. In this part I’ll be stating the facts and provided information.

Indian architecture heritage has a great significance in the 2000 years and more in the history of architecture and structure. It unravels the existence and c0-existence of several religious and metaphysical speculations. In the ancient period the ideological nomenclature of Buddhism, Jainism, Saivism and Vaishanism strove to grow independently with distinct entities in terms of architectural design and the execution of structuers. The religious orders evolved through two and half millennia, some times over lapping or complementing one another. This reflected in their infrastructures as well. Characterized by their own deities, monastic orders, leaders, rituals, festivals and fairs characterize each of these orders. These manifested structures converted the centers of activities influencing in a great way. These structures sufficed the functional

Brihadeeswara form for a aesthetic appeal. This led to the patronization of religious structures by the royal houses, merchant guilds and even the commoners to disenchant with the mundane pleasures of worldly existence and to seek the spiritual solace. The three distinctive styles of architecture in medieval India are; stupa, rock-cut and chaitya.

The Saiva and the Vaishnava structures initiated from the Gupta priod evolved a style of directly comprehending with the sculpturally oriented rock-cut architecture under the Chaulakyas and the Pallavas. The Hindu architects exploited the function of the architecture to house several gods and goddesses. The form of the temple in the rock-cut architecture style was potentially used with the available material. The Hindu rock-cut architecture superseded the Buddhist architecture in form, functions, techniques and size. In the rock-cut architectural stage, the three architectural styles have noticeable diffrences. A distinct identity is

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The beautiful Brihadeeswarar temple, without any trace of a shadow.

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experienced whenever each of these structures is considered from the point of view of study. This period is credited with the development of new dimensions in the medieval temple architecture.

The medieval period is like a process of reinforcement of the power of the temple into the life of common man. Unless we understand the complexity of the medieval India, we fail to reason the upsurge in the movement of temple building. Few reasons for cultural synthesis can be following:

Trounce of Islamic invasion in 9th century had posed a threat to the very concept of temple architecture as the invaders were the iconoclasts in temperament and the history tells the damage caused. Islamic rule brought the people of India closer and during this process probably conscious efforts were made to bring unity among the dispersed population religiously and ideologically. The sporadic growth of Bhakti Movement in tenth century triggered the devotional

currents among common people upholding the homogenous attitude against religious digression. The growth of Saivism gave strong impetus to the development of structures for the purpose of conducting religious activities.

The evolving awareness functionally altered the needs of the temple. Elaborate rituals, modes of worship, ceremonies and celebrations became the part of the temple activities. Daily procession of deities and the chariot festivals brought the temple closer to the people.

After the 9th century the monolithic temple architecture lost it’s charm but this period also experienced the shift from minimalism to worldliness. The panchayata system is the thrust of such a consummation of placing the shrine of the main deity in the centre and organizing the subsidiary cognate sub-shrines in smaller scale. The Parivara system saptamatrukas, different forms of the main diety, the consorts and several gods and votaries. Such architectural

The beautiful Brihadeeswarar temple, without any trace of a shadow.

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compositions perpetuated the need for enlarged temple complex. The medieval Brihadeeswarar Temple is an excellent example of this medieval Indian architecture and it’s an excellent example for Dravidian architecture, which took birth in southern India and developed majorly during medieval India. Dravidian architecture consists primarily of pyramid shaped temples called Koils,which are dependent on intricate carved stone in order to create a step design consisting of many statues of deities. The majority of existing buildings are in Andhra Pradesh, Tamil Nadu, Karnataka and Kerela. Various emperors helped for the development of the style. Cholas were one of the biggest contributors in architecture of this time. The Chola kings ruled from 848-1280 AD.

The magnificent Siva temple of Thanjavur built by Rajaraja Chola I in 1010 is a memorial to the material and military achievements of the time of the Chola Empire. The magnificent Siva temple of Thanjavur built by Rajaraja Chola I in

1010 is a memorial to the material and military achievements of the time of the Chola Empire. The Chola emperors patronized and promoted constructed of a large number of temples that were spread over most parts of the Chola Empire. Brihadeeswarar temple was one of the royal temples of the Cholas to commemorate their innumerable conquests and subjugation of their rivals from other parts of South India, Deccan Ilangai or Sri Lanka. The Cholas also liked to call this temple, which home their family deities, denoting the most important place of worship for them.

The Peruvudaiyar Koyil also known as Brihadeeswarar temple, in Thanjavur, is the world’s first complete granite temple. Rajaraja Chola I, to pay tribute and reflect the power and prosperity of the kingdom, built it. The temple was built in 1010 AD it completed it’s 1000 years in 2010. The temple had it’s foundation laid out by the Tamil emperor Rajaraja Chola I, in 1002 AD. It was built to grace the throne of the Chola empire in compliance of a

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command given to him in his dream. An axial and symmetrical geometry rules the temple layout. Temples from this period and the following two centuries are an expression of the Tamils (Chola) wealth, power and artistic expertise. The emergence of such features as the multifaceted columns with projecting square capitals signal the arrival of the new Chola style.

Brihadeeswarar temple was built to be the royal temple to display the emperor’s vision of his power and his relationship to the universal order. The temple was the site of the major royal ceremonies such as anointing the emperor and linking him with its deity, Shiva, and the daily rituals of the deities were mirrored by those of the king. The temple maintained a staff of 600 people in various capacities, which includes record keepers, musicians scholars and craftsmen of every type as well as house keeping staff. In that time temples were a hub of business activities, all of whom made a regular supply of their respective goods for the temple for

it’s pooja and during festival seasons. The temple always served as a platform for the dancers who excelled in the traditional dance form of Bharatnatyam.

The massive size of the temple shikhara is 63 meters high, with 16 severely articulated stories, and dominates the main quadrangle. Pilaster, piers and attached columns are placed covering each and every bit of the shikhara. The temple complex sits on the banks of a river that was channeled to make a moat around the complex’s outer walls, the walls being built like a fortress. The complex is made up many structures that are aligned axially. The complex can be entered either on one axis through a five-story gopuram or with a second access directly to huge main quadrangle through a smaller freestanding. The main temple is in the center of the spacious quadrangle composed of a sanctuary, a pillared hall and an assembly hall and many sub-shrines. The karuvarai, a Tamil word meaning the interior of the sanctum sanctorum, is the inner most

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sanctum and focus of the temple where an image of the primary deity Shiva resides. Inside is a huge stone linga. The word ‘karuvarai’ means womb chamber. Only priests are allowed to enter this inner-chamber. The karuvarai takes the form of a miniature vimana with other features exclusive to southern Indian temple architecture such as the inner wall together with the outer walll creating a pradikshana around the garbhagriha fro circumambulation. The garbhagriha is square and sits on a plinth, its location calculated to be a point of total equilibrium and harmony as it is representative of a microcosm of the universe. In the center is the place of the Deity.

Surrounding the main mandapa are two walled enclousers. The outer wall is high, defining the temple complex area. Brihadeeswarar is one of the rare temples which has statues for lords of all eigth directions- Indra, Varuna, Agni, Eesana, Vayu, Niruthi, Yama, Kubera.

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Brihadeeswarar is also listed as a UNESCO heritage site. It remains a grand structure, unparalleled in size and splendor and is visible from any area in Thanjavur, perhaps the only such temple in India having this characteristic. The welcoming sculpture of Nandi, the bull which Lord Siva rides, considered second largest in the country. The inner sanctum is more mysterious and surprising than one can imagine. It is a store house for some rare paintings, which were not discovered until a few decades ago. However access to the paintings is still prohibited. Officials of Archaeological Survey of India, which maintains the temple, say it represents the zenith of the Dravidian type of temples in its purest form, precision of conception, execution and scale.

Brihadeeswarar is also an excellent example of devotion. Unlike other monuments and infrastructures, most of the people who helped for the construction of the temple are the Indians only that to the devotees who came voluntarily. The

names of the people those who helped in the construction of the temple are to be carved on the stones. It is also believed that the temple was constructed hundred years back during the reign of Kariakla Chola, but according to the researchers it was built Rajaraja Chola I.

Rajaraja Chola had expanded his kingdom starting from Thanjavur in 985 AD, resulting in the increase of income. Then he decided to establish one of the famous constructions in the city and that idea developed in a beautiful architecture, which we now know as Brihadeeswarar temple. The whole construction of the temple was done by using the bricks and no cement. For the gopuram, which is located at the top is been constructed from 7 km away from the temple to place the stone at the top of the temple. The shikharam appears as two parts and sections or the divisions from the far. The lord Shiva inside the temple is been made with a single stone of 13 feet height, is believed to be brought from the Narmada river shore. There are steps on both the

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sides of the temple to worship the lord. The inside of the temple is divided into two parts and most of the temple inside is of the carvings that are made of the dancer’s carvings during the times of the Nayaka times. The place is not just aesthetically pleasing but brilliant and a perfect example for craftsmanship.

23Names of the contributors and people who helped in the construction of Brihadeeswarar.

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BeautyMy point of view Brihadeewara, through research and study

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try to pass it on or share. It doesn’t stop there. My uncle would ask us pretty random questions to make us curious about history and geography and then end up in long discussions. From all these I got a really strong base for my interest to nurture itself.

And when in 10th standard we were studying about Indian history I obviously paid more attention because I can relate myself to it. We studied about Nalanda University, Ajanta and Ellora caves, Harrapan planned society… And with all that we had a brief paragraph on Brihadeeswarar. The most impressive part of this temple, which fascinates me a lot is that the gopuram and the pillars doesn’t cast a shadow. Not just that it is India’s largest temple, it is made out of granite and has extremely beautiful carvings. And again in 12th we read more about the Brihadeeswarar, then it was in more detail. We studied the map and the stories depicted on the shikharam. And unfortunately I never really realized to study more about it, but it was always

Taking up something, which you have never seen in your entire life as a subject for ‘Comparative Aesthetics’ assignment is a bit difficult to imagine, because when you have to define the beauty of that particular subject you might get lost within yourself. It was actually quite difficult earlier but now with all the available sources you can experience everything. It’s not as special as it can be but you do get inspired and delighted by the appearance. The place has it’s own aura and one can get an essence of the same in a small picture itself.

History is my favorite subject since forever now. I was interested in artifacts; tiny details carved on the wall. Not just looking at them but also reading about them. I found Indian history, especially, more interesting because of my family and easily available resources. My father would tell me about interesting facts and brother would discuss about mythologies and stories. My whole family had quite nice resources when it came to mythological knowledge and they did

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The second largest Nandi in India, welcoming all the visitors for last 1000 years.

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there in the back of my head. I always found this structure so fascinating and brilliant.

A beautiful place, which I never visited, and I don’t now if I the right to call it that as I have not witnessed the beauty of the structure. But I think that is the whole point, why I have to visit a place I this era of technology just to see if it’s beautiful or not. It’s not just the physical beauty, which matters but the intelligence and confidence with which the structure is built obviously makes a difference. I have seen enough pictures and I know if I go to Brihadeeswarar temple I will be more awestruck than I’ve been in my life. It might sound stupid that I took such a topic but I have never felt so fascinated or amazed with any thing or structure, which I have never witnessed. I like Brihadeeswarar more as a concept and creativity. I think Sama Varma was the most creative person I’ve ever known. I remember reading somewhere in my resource content that the idea of a structure, which doesn’t cast a shadow

was to depict the idea of supreme being whose existence can only be felt but not seen. I think of this structure beautiful because of the intelligence and thought process put into it.

As mentioned earlier, I somehowlike the concept of Satva, the purest form, and how everything can serve to it’s purpose beautifully. According to me Brihadeeswarar served to its purpose very well and looks extraordinarily beautiful. At that point of time it did serve to its purpose and now even if people don’t know about the intent, they find it beautiful visually.

After researching so much and talking about it, I think it is one of most beautiful and intelligent architecture I’ve heard about and read about in my life. Because of this specific architecture I learnt that, in this era of technology one doesn’t have to visit the place to appreciate the art. It is surely amazing to be at a place and experience the beauty but there is nothing to stop one to read about it. Beauty doesn’t really have barriers anymore. If not within the reach, it is just a click away.

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AcknowledgmentI’m really grateful to the following people for their help at every tiny stage and their encouragement. Thank you so much!

Shilpa DasPranay Arun-KumarKetki JadhavDevika GhargeMy batchmates

Web:

www.google.comwww.wikipedia.comwww.view360.in/virtualtour/thanjavur/www.tamilnadu-tourism.in/...temples-tour

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Notes

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