Dhruvabera, Dhruva-bera: 7 definitions
Introduction:
Dhruvabera means something in Hinduism, Sanskrit. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
In Hinduism
Shilpashastra (iconography)
Dhruvabera—(group of Hindu temple imagery)—Images which are permanently placed in the temple.
1) Dhruvabera (ध्रुवबेर) refers to the “main immovable idol”, as discussed in chapter 12 (Kriyāpāda) of the Padmasaṃhitā: the most widely followed of Saṃhitā covering the entire range of concerns of Pāñcarātra doctrine and practice (i.e., the four-fold formulation of subject matter—jñāna, yoga, kriyā and caryā) consisting of roughly 9000 verses.—Description of the chapter [dhruvabera-parimāṇa-aṅgulādilakṣaṇa]: Bhagavān chooses now to speak concerning the measurement of the main idol for a temple. In general the measurement of the idol is determined in relation to the sanctuary which will house it, or the doorway leading thereto, or to the height of the sanctum-building, or to a pillar; in certain cases its measurement is proportionate to or a replica of the Yajamāna’s body (1-3a). [...]
2) Dhruvabera (ध्रुवबेर) refers to the “main icon”, as discussed in chapter 8 of the Puruṣottamasaṃhitā: a Pāñcarātra text consisting of more than 1800 verses devoted to temple-building and the practical concerns of the Pāñcarātra priestly community.—Description of the chapter [dhruvabera-ādi-vigraha-lakṣaṇa]: The main icon dhruvabera may be made in proportion to the garbhālaya-structure, the gate, or the Yajamāna’s height (1-6). After discussing some unit's of measurement (7-11), Bhagavān points out which ones should be used for icons, which for ālaya-buildings, etc. (12-14). [..]
Dhruvabera (ध्रुवबेर, “fixed image”).—The main icon in the sanctum sanctorum which is of the immovable kind, constructed of stone and permanently fixed. It protects the town. The compound Dhruvabera is composed of the Sanskrit words Dhruva (‘fixed’ or ‘stable’) and Bera (‘image’ or ‘icon’). The height of the Dhruva-bera varies. It is either taken in proportion to the temple super structure or the temple measurements are taken from the Dhruva-bera.
Dhruvabera (ध्रुवबेर) refers to the image (bera) which is consecrated installed firmly within the garbhagṛha of the temple as the presiding deity and is considered as immoveable image. It is also known as mūlabera, mūlavigraha, sthāvara or mūlavar. Dhruvaberas are of three kinds. They are: sthānaka (standing posture), āsana (sitting posture or a pedestal) and śayana (reclining posture). The Vaiṣṇava images are found in all the above mentioned postures. The Śaivite images are found in sthānaka and āsana postures alone.
Dhruvabera (ध्रुवबेर) refers to a classification of icons, as defined in treatises such as the Pāñcarātra, Pādmasaṃhitā and Vaikhānasa-āgamas, extensively dealing with the technical features of temple art, iconography and architecture in Vaishnavism.—The Dhruva icon [viz., Dhruvabera] made of copper result in good progeny and promotion of puṇya (meritoriou deed), states Kāśyapa. The dhruvārcā may be made of tone or metal. The dhruva icon [viz., Dhruvabera] may be made of gold, silver or copper.
Shilpashastra (शिल्पशास्त्र, śilpaśāstra) represents the ancient Indian science (shastra) of creative arts (shilpa) such as sculpture, iconography and painting. Closely related to Vastushastra (architecture), they often share the same literature.
Pancaratra (worship of Nārāyaṇa)
Dhruvabera refers to the “main idol in the sanctum”.—Utsavas are an important and an integral part of temple worship. The most significant aspect of the temple worship is its collective character. [...] Another aspect of these utsavas is that the utsavas and the daily worship that goes on in the sanctum are mutually independent. The daily worship to the main idol goes on serenely, unaffected despite all the excitement and feverish activities that go around the temple. The mulasthana, dhruvabera that is the main idol in the sanctum is not associated with the utsavas. It is the moveable idol, the calabera also called utsavabera (usually made of metal) that is pressed into the Utsava rituals, processions and other celebrations.
Pancaratra (पाञ्चरात्र, pāñcarātra) represents a tradition of Hinduism where Narayana is revered and worshipped. Closeley related to Vaishnavism, the Pancaratra literature includes various Agamas and tantras incorporating many Vaishnava philosophies.
Languages of India and abroad
Kannada-English dictionary
Dhruvabēra (ಧ್ರುವಬೇರ):—[noun] an idol of a deity that is permanently fixed at a place.
Kannada is a Dravidian language (as opposed to the Indo-European language family) mainly spoken in the southwestern region of India.
See also (Relevant definitions)
Partial matches: Bera, Dhruva.
Starts with: Dhruvaberadivigrahalakshana, Dhruvaberaparimana, Dhruvaberaparimananguladilakshana.
Full-text: Utsavana, Avahana, Bera, Balibera, Snapanabera, Dhruvarca, Pancabera, Dhruvaberaparimana, Dhruvaberadivigrahalakshana, Utsavabera, Mulasthana, Calabera, Lohajapratimanirmanatalavibhaga.
Relevant text
Search found 6 books and stories containing Dhruvabera, Dhruva-bera, Dhruvabēra, Dhruva-bēra; (plurals include: Dhruvaberas, beras, Dhruvabēras, bēras). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Diksha (initiation) in Pancharatra (by Shanta Srinivasan)
Prayogamanjari and Saivagamanibandhana (Study) (by R. Suthashi)
Different materials used in making the Linga < [Chapter 3 - Shaiva iconography in Saivagamanibandhana]
Lord Hayagriva in Sanskrit Literature (by Anindita Adhikari)
Chronological Development (4): Śānti Parva < [Chapter 3]
Indian Iconography in an Historical Perspective with < [October – December, 1994]
Vastu-shastra (Introduction to Indian architecture) (by D. N. Shukla)
Chapter 2 - The Origin of the Prāsāda-vāstu < [Volume 5 - Temple Architecture]
Temple worship and Rituals as per Shaiva Agamas (by Gayathri Balasubramanian)