Temple Architecture 7

8/13/2019 Temple Architecture 7

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Abhangais a stance with only a slight bent of head or waist, or with a hand on the waist as in the

case of Dakshinamurthy, Velayuda or Vatu the boy Subrahmanya.

Dvibhangais a posture with a bend at the waist, while the parts from waist to the head and from

waist to feet are otherwise in samabhangha, as in the case of Sri Rama holding a bow, Shiva or

bracket images of damsels.

Tribhangais when the body is in three distinct delicate and graceful bendsat the neck, the

shoulder and the waist, as in the case of female deities, Krishna dancing on Kalinga serpent and

Ganapathi in dancing poses. This is essentially a classic dance pose.


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And, athi bhangais the one with several twists in the body and arms. This bhanga brings out

anger and ferociousness as in the case of Durga slaying the demon; and Ugra Nrusimha slaying

and tearing apart the demon; or to bring out wonder and amazement (adbhuta) as in the case of

Trvikrama; or fearsome or grotesque attitudes as in the case of sculptures of kailasanath temple,

Kanchipuram.

The idols in the standing posture, sthanaka, are also classified according to their nature:

dhirodaatha, the sattvic type; dhira lalitha (rajasa) and Ddhiroddatha (tamasa).

B. Shayana

Shayana is the idol of the deity in reclining or sleeping position. Only Vishnu and the Buddha

images are represented in this position. Apart from this, the baser elements such as the demons

(Apasmara) are shown lying under the feet of Nataraja or the Devi.


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Sri Ranganatha or Anantha shayana is the most celebrated form of Vishnu in reclining posture.

Vishnu is represented in three forms of Shayana. In the Yoga shayana posture, Vishnu, with two

arms and without his ayudhas, is depicted inyoga nidra, Yogic sleep, contemplating the

unfolding of the universe. Vishnu is reclining on the coils of Anantha the serpent who

symbolizes time; and Brahma the divinity responsible for creation is seated on the lotusemerging from Vishnus navel. The Yoga shayana images are installed in temples located in

forest region or in forts on top of hills. Yoga shayana Vishnu symbolizes his creation, shrusti,

aspect.

Bhoga shayana Vishnu is similar but is adorned with four arms, auspicious signs of srivatsa,

kausthuba on his chest; and with his usual set of ayudhas. Vishnus gaze is fixed on his consorts

serving at his feet. He has a very pleasing disposition. The temples of Vishnu in Bhoga shayana

form are located in the midst of a populous city or town. Bhoga shayana Vishnu symbolizes his

well-being, sthiti, his preservation aspect.

( Line drawing by Shilpi Shri Thippajappa)

The veera shayana form of Vishnu is adorned with four to eight arms. He is holding his weapons.

He is represented as if he is just about to wage a battle. He is surrounded by the rishis, the

gandarvas and his entourage including Garuda, his ride. Brahma is as usual seated atop the lotus

from Vishnus navel. The demons Madhu and Kaitaba are shown at his feet. Veera shayana

Vishnu symbolizes his absorption, samhara, aspect.


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There is also an unusual form of Vishnu in shayana posture. The Abhicharika shayana does not

have the serpent bed or the Brahma. Vishnu is reclining on the floor; he looks emaciated too.

Such an inauspicious form of Vishnu is employed in Tantric worship; and it should not be

located where people especially where women and children dwell.

C. Aasana

Aasana class is when the deity is in sitting posture. There are several modes and styles of sitting;

and among them about eleven or twelve postures of sitting are usually depicted in temple

architecture. These are again classified into sattvic, rajasa and tamasa.

The images depicting the deity in a peaceful, happy and benevolent disposition; radiating peace

and joy; and blessing the devotees are the most common forms of sattvic class of idols in sitting

posture. The deity, in such cases, is sitting in padmasana (lotus position) or yogasana (yogic

posture, as in the case of Yoga Nrusimha or Ayyappa).Dakshinamurthy, the Buddha and

Mahaveera being the other well known examples.

Sukhasana is sitting with one leg bent at the knee and across; and the other leg down and almost

touching the ground. The deity is in a relaxed position looking happy, peaceful and joyous.Images of Padmapani , Vishnu, Shiva or Devi in Sukhasana are the most common examples.


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The images of the deity sitting with its one foot down, almost touching the ground, radiating

majesty and authority are the rajasa type of idols in Aasana posture ; Vishnu , Rajarajeshwari ,

Chandikeshwara( a form of Rudra ) are the common examples. In some cases, the deity rests his

foot on an asura (demon) lying on the ground, as if displaying authority and power.

The images of goddess Durga, Chamundi, Mahisha mardini and such other forms of the Devi,sitting or mounted on a beast, with her one foot almost touching the ground are the tamasic class

of idols in Aasana posture.


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D. Nruthya bhanga: The deity is depicted in a classic dancing posture. The images of Krishna

dancing on the Kalinga, Nataraja, nruthya Ganapathi and Sarawathi are some of the well known

examples of this genre.

E.Yana

In the Yana, the postures of Hanuman, Garuda and Bhuvaraha are depicted.


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Ayudha

Ayudha generally translates to weapons; but, in shilpa sastra, the term indicates whatever objects

the idol holds in his or her hands. The Ayudhas delineate the nature, character and functions

associated with the idol. In a way of speaking, they are the symbols of a symbolism. For

instance, Saraswathi holds in her hands a book symbolizing the Vedas and learning; a

Kamandala (a water jug) symbolizing smruthi, vedanga and shastras; a rosary symbolizing the

cyclical nature of time; and the musical instrument veena symbolizing music and her benevolent

nature. All these objects are not weapons in the conventional sense, but the shilpa employs those

as symbols to expand and depict and interpret the nature of the idol and its meaning.


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Each of these Ayudhas signifies a certain aspect or it stands for a concept. For instance, the

mirror signifies a clear mind and awareness; the flag signifies victory or celebration; the

Ankusha (goad) signifies exercising control over senses and baser instincts, Damaru in the hands

of shiva signifies creation and origin of sound and learning; and, the scepter signifies authority

and rule of law.

The Dhyana slokas associated with each deity specify the Ayudhas to be held in its right or left

or upper or lower arms. The Ayudhas held by auspicious deities are in even number.

Apart from the weapons a variety of objects are employed as Ayudhas. These include

instruments of various professions (pen, chisel, hammer, plow, sickle etc.), musical instruments

(flute, veena, drums, pipes, trumpets etc.), plants and trees (ashvatta, bilva, seedlings of paddy,

grass etc) and miscellaneous objects (mirror, bell, book, flag, lamp, vase, umbrella etc.)

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Mudra:

Mudra means sign or a seal. It is a symbolic gesture or position usually of hands and fingers.

They are commonly used in tantric worship, yoga, dance and music. The Shilpa shastra hashowever its own use for the mudras ; and it has developed its own set of mudras .There are in

general two types of mudras, those with one-hand and those with two-hand. The one handed

mudras (asanyuktha orkevala) number about 28; while the two hand mudras (sanyuktha) are

about 23.The mudras give an expression and eloquence to the attributes of the image and to its

message.


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All these symbols and mudras form the pool of Indian art language. They are commonly

employed by the Hindu, Buddhist and Jaina traditions.

According to Tantrasara Vishnu has 19 mudras (shankha, chakra, Gadha, padma etc.), which

mean attributes; Shiva has 10 mudras (yoni. Trishula, linga tc.); Ganesha has 7(ankusha, dantha,

modaka etc.); Saraswathi has 7(maala, pusthaka, veena, etc.); and Agni has 7 (flames, horns etc,)and so on. The Tantrika also include Jata, Tilaka, Bhasma, Chandana etc.

Mudras are again classified into those that convey a message (sankethica), which are mostly

single hand mudras. The next are the vastu rupa mudras which suggest as if the diety is holding

in his or her hands some object. And, the third is ayudha grahana , where the diety actually holds

an ayudha.

Among the Sankethica mudras, the better known are the Abhya mudra with right palm fingers

pointing upward assuring protection; Varada mudra with the fingers pointing down ward in act

of giving; Vyakhna mudra as if teaching or explaining as in images of Dakshinamurty and theBuddha; and ala_padma with raised palm conveying happy welcome as in the images of

dwarapalakas, the guards at the sanctum.

The common examples of Vastu rupa mudra are those of Saraswathi or Dakshinamurthy with

hands in such a position as if the deity is playing on the veena. The other examples are those of

Rishba_rudha Shiva as if Shiva is reclining against his ride the bull; of Sri Rama as if he is

holding the bow; and of Shiva as if he is holding the damaru, a sort of drum (damaru hastha).

Vrishbha-ruda Shivaas if reclining against Nandi bull.


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The Ayudha mudras are those where the deity actually holds an object such

aspasha(rope),ankusha(goad or hook) as in the case of Ganapathi; Danda , a staff in the hands

of Skanda(danda hastha)

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In Hindu Iconography, Paada mudras the position of the lower limbs

and the feet are as important as the hand gestures (hastha mudras).It is the paada mudra that

suggest movement or animation or stillness of the image. The samarangana Sutradhara lists six

paada mudras: Vaishnavam (one leg straight and another slightly curved- adidaivatha form of

Vishnu); Sampadanam (standing erect with legs joined and body weight distributed evenly);

Alidanam (Standing like an archer, with right leg drawn forward); Prathyalidanam (opposite of

Alidanam- left foot in front); Ardhasam or Mandalam (one leg is thrown out and the other

remains stableas in Nataraja or Vishakadeva); and there are the legs folded in sitting postures

as in Udarabhandam (as in Ganesha) and in paada-patta or Yogapatta (as in Yoga Nrusimha )


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Kirita, makuta and Jatamakuta

The headgear is a distinctive feature of the Indian icons. The head-gears that are commonly

mentioned are theKirita -makuta,Karanda-makutaandJata-makuta. Mansara,the ancient text

of Shilpa shastra, classifies these types of head gears under the

term makutaor mouli (Mansara:Mauli-lakshanam: 49; 1-232). The kiritas or the makuta(crown) emphasise the nature (sattva, rajas or tamas) and the nobility of the image. For

all the makuta-s, the width commencing from the bottom should be gradually made lesser and

lesser towards the top.

Among these, theKirita-makutais an highly ornate elaborate crown that adorns major gods such

as Vishnu and his forms (Narayana) and also emperors (Sarvabhouma).It has the appearance

of Taranga-s (waves) and its middle is made into the shape of flowers and adorned with precious

stones. The base of theKirita-makutashould be curved like a crescent (ardha-chandra) just

above the forehead. The height of theKirita-makutashould be two or three times the length of

the wearers face.

TheKaranda-makutais prescribed for lesser gods and for goddesses when depicted along with

their spouse. It is simpler and shallower as compared toKirita-makuta. TheKaranda-makutais a

small conical cornet receding in tier. It is shaped like an inverted flowerpot, tapering from the

bottom upwards and ending in a bud. The width of aKaranda-makutaat the top should,

however, be only one-half or one-third less than that at its base. The female deities such as

Saraswathi and Savithri have kesha_bandha or Kuntala type of hair arrangement.

Thejata- makutais suitable according toMansarafor Brahma , Rudra or the Buddha , as also

for consorts of Shiva.Jata-makuta,is made up ofjata or matted locks, which are twisted into

encircling braids of spiral curls and tied into a knot looped at the top. It is held in place by

apatta(band); and is adorned with forest flowers and by a number of ornamental discs like

the makara-kuta,patra-kuta, and the ratna-kuta.In the case of Shiva, thejata-makutais adorned

with a crescent of the moon, a cobra and the Ganga.

The Hoysala School of sculpture in particular adorns its images with elaborate and highly ornate

crowns, rich in design.Usually, highly ornate kirita, makuta adorns images of Vishnu and his

aspects. A simpler crown of the Karanda class is meant for lesser deities.


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Jataa-makuta, coiled hair mopped on top of head is for the images of Shiva, Brahma, the Buddha

and the sages.

Natarajas hair is flying in the wind as he swirls in his tandava dance. His hair isprasarith jata,

the flying hair.

Agni has a special hairdo called agni_kesha with his hair spreading out like tongues of fire.


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Alankara -ornamentation:

The shilpis took great delight in adorning the image with rich and finely carved ornaments.

While the other segments of the carving are regulated by the prescriptions of the Sahastras and

the tradition, the Alankara element offers the artists abundant scope to exercise their imagination

and to display their ingenuity. Therefore, the amazing varieties, the patterns and the desingns of

ornaments that one comes across in the Indian sculpture are virtually limitless.

The major deities, both male and female, are adorned with rich ornaments; the minor deties and

humans are provided modest ornaments. Often, the ornaments serve as the costume of the image.

The term used for ornamentation is Alankara which encompasses forms of beauty and visual

appeal in all forms of Indian art including poetry and music. Alankara is not merely bejeweling

but it also implies enhancing the grace and beauty of the image and to enchant and please the

eyes of the beholder. Alankara also conveys the nobility, the grandeur and the lovely nature of

the adorable image. The Hoysala sculptures in particular are rich in ornamentation.


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Specific names are given to the ornaments that adorn various body- parts of image. The

ornaments below or around the neck areKanti (like a collar), Skandamaala(necklaces)

and manihara(strings of precious stones or beads).

In the abdomen region, are the Yajnopavitha (sacred thread),Kati bandhaor kati sutra(waist

belt).

Katakasare bangles made of gold or precious stones.

The feet are adorned withpaada jalaka(ornament made of strings), nupura(the bells) and rings

that decorate the toes.

Continued

Next:Iconometry

References:


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Shilpa Soundaryaby KT Pankajaksha

The Lord of Seven Hillsby Prof. SKR Rao

Line drawings of kirita and ornaments by the renowned Shilpi and Yogi Sri Siddalinga Swamy

of Mysore

Other Line drawings from Shilpa SoundaryaOther pictures from internet

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