Nāyaka Chefs-d’œuvre Structure and Iconography of the Śrīvilliputtūr Tēr 1
Journal name: Acta Orientalia
Original article title: Nāyaka Chefs-d’œuvre Structure and Iconography of the Śrīvilliputtūr Tēr 1
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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Parthiban Rajukalidoss
Acta Orientalia:
(Founded in 1922 and published annually)
Full text available for: Nāyaka Chefs-d’œuvre Structure and Iconography of the Śrīvilliputtūr Tēr 1
Year: 2016 | Doi: 10.5617/ao.5354
Copyright (license): CC BY 4.0
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Summary of article contents:
1) Introduction
The article focuses on the significance of the Śrīvilliputtūr Tēr (temple-car) in the context of Visnuism and the broader cultural and religious landscape of Tamil Nadu, India. The authors, Parthiban Rajukalidoss and R.K.K. Rajarajan, explore the structure and iconography of the Tēr, which plays a vital role in the temple's rituals and festivals. The research highlights how the Tēr serves as a reflection of changing religious practices from the 7th to the 17th century and provides insight into the integration of various religious traditions in the region, namely Visnuism, Saivism, and folk beliefs.
2) The Role of the Tēr in Religious Culture
The Tēr as a Cultural Symbol
The Tēr, a monumental wooden vehicle used in temple festivals, embodies the divine and the multiplicity of gods within Hindu worship. It reveals the rich tapestry of religious iconography, featuring images of deities from various traditions, including Visnu, Shiva, and folk divinities. The structure of the Tēr itself mirrors that of the temple, symbolizing the convergence of spiritual and material realms. Iconographic elements on the Tēr highlight the cultural synthesis that emerged as Visnuism gained prominence through the influence of key poets and saints, notably the Āḻvārs.
3) Architectural Significance of Tēr
Architectural Design and Scale
The architectural intricacies of the Śrīvilliputtūr Tēr further illustrate its importance within the temple complex. Revered as one of the tallest temple-cars in India, it showcases an elaborate wooden plinth adorned with hundreds of sculptures. This remarkable height and the complexity of the design signify not only the craftsmanship of the builders but also the scale of devotion encapsulated within the vehicle. The car facilitates grand processions during festivals, emphasizing the dynamic interaction between the divine and the devotees within the urban landscape of Śrīvilliputtūr.
4) Iconographic Diversity
Rich Iconography and Symbolism
The Tēr encompasses a broad array of iconography representing various deities, such as Nṛsiṃha, Ādimūrti, and Mohinī. Each sculpture on the Tēr conveys distinct narratives and theological concepts, connecting passages from Puranic literature and regional myths to the visual arts. The article details several specific images, emphasizing their significance in the context of Tamil devotion and illustrating how these representations serve to bring ancient narratives to life. Through these icons, the Tēr transforms into a mobile temple, enriching the experiences of worshippers during festive occasions.
5) Cultural Synthesis and Secular Aspects
Integration of Secular Themes
Interestingly, the Tēr also includes secular elements and narratives from the folk tradition. Images of local deities and folk beliefs coexist alongside the more widely recognized divinities, highlighting a historical acceptance and incorporation of different cultural influences. This amalgamation reinforces the notion that the temple-car not only serves a religious function but also acts as a cultural artifact, representing the community's shared values and collective identity. This dynamic illustrates how religious icons evolve amidst changing social contexts.
6) Preservation and Modern Context
Preservation of Heritage
The authors call for greater attention to the preservation of temple-cars like the Śrīvilliputtūr Tēr. Due to the perishable nature of materials such as wood, many historical elements of temple imagery have deteriorated over time. The research identifies the urgent need for documentation and restoration efforts, as these cultural treasures face increasing neglect. By raising awareness of the Tēr’s artistic and historical value, the authors advocate for a renewed appreciation of Tamil religious architecture and iconography in contemporary society.
7) Conclusion
In conclusion, the Śrīvilliputtūr Tēr stands as a vital monument within the interplay of religious and cultural life in Tamil Nadu. Through an in-depth examination of its architectural design and iconography, the article underscores the importance of this temple-car as a symbol of devotion, cultural integration, and historical continuity. The Tēr not only reflects the past but also encourages dialogue about the need to preserve the rich artistic heritage that has evolved over centuries, ensuring its continued significance for future generations.
FAQ section (important questions/answers):
What is the significance of Śrīvilliputtūr in Viṣṇuism?
Śrīvilliputtūr is a key center of Viṣṇuism in southern India, renowned for its rich archaeological monuments and the Āṇṭāḷ-Vaṭapatraśāyī Temple, which reflects both historical and cultural significance in the region.
Who are the important figures associated with Śrīvilliputtūr's spiritual heritage?
Notable figures include the Āḻvārs, particularly Periyāḻvār and Āṇṭāḷ, who contributed significantly to Tamil devotional literature, influencing the worship practices and cultural identity of Viṣṇuism in the area.
What does the term 'tēr' refer to in the context of temples?
'Tēr' refers to a temple-car or chariot used in religious processions, symbolizing a mobile temple carrying deities, showcasing intricate carvings and iconography that reflect the local artistic traditions.
How does the architecture of the Śrīvilliputtūr temple-car connect to broader cultural themes?
The temple-car architecture reflects a blend of religious ideas, artistic styles, and social practices, serving as a physical embodiment of divine presence during festivals and spiritual gatherings.
Why is the temple-car significant in Tamil Nadu's Hindu traditions?
The temple-car embodies the integration of art, religion, and local culture, facilitating community participation in festivals, serving as a visible manifestation of devotion, and reinforcing social cohesion.
What are the unique iconographical elements present in the Śrīvilliputtūr tēr?
The tēr features a variety of iconography depicting multiple deities, including Viṣṇu, Śiva, and folk divinities, showcasing themes of cosmology, devotion, and the interconnectedness of various beliefs.
What archaeological evidence supports the historical importance of Śrīvilliputtūr's temples?
Inscriptional and archaeological evidence from the Cōḻa, Pāṇḍya, and Vijayanagara periods documents the temple's long-standing significance as a center of worship, cultural activity, and artistic expression.
How do historical figures influence the practices in Śrīvilliputtūr?
Historical figures like Tirumalai Nāyaka and the Āḻvārs shaped religious practices and temple architecture, fostering a vibrant culture of devotion, art, and community celebrations that continue to thrive today.
Glossary definitions and references:
Oriental and Historical glossary list for “Nāyaka Chefs-d’œuvre Structure and Iconography of the Śrīvilliputtūr Tēr 1”. 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:
A significant religious structure in the Hindu tradition. The article discusses the architectural beauty and iconographic details of temples, especially in Śrīvilliputtūr. It highlights the parallelism between temples and temple-cars.
2) Rajarajan (Rajan-rajan):
R.K.K. Rajarajan is one of the authors of the article, affiliated with the School of Arts & Aesthetics, Jawaharlal Nehru University, New Delhi. He has contributed to capturing the architectural and iconographic heritage in his works.
3) Image:
The article provides detailed descriptions and analysis of various images found in the Śrīvilliputtūr temple-car, including deities, mythological scenes, and symbolic motifs.
4) Srivilliputhur (Srivilliputtur, Sri-villiputhur):
An important center of Viṣṇuism located in the district of Virutunakar, peninsular India. The article explores the structure and iconography of its famous temple-car.
5) Tamil:
A language spoken in the southern region of India. The article references Tamil texts and traditions while discussing the Śrīvilliputtūr temple and its iconography.
6) Iconography:
The study and interpretation of visual images and symbols in art. The article explores the iconography of the temple and temple-car in Śrīvilliputtūr.
7) Nayaka:
A ruling dynasty known for their contributions to temple architecture and art in Tamilnādu. The article discusses the Nāyaka period temple structures and temple-cars.
8) Antal (Andal):
A revered poet-saint in the Śrīvilliputtūr tradition, associated with the temple. The article discusses her shrine and contributions.
9) Periyalvar:
One of the Āḻvārs, whose hymns and legends are explored in the article, especially their association with the Śrīvilliputtūr temple.
10) Delhi:
Home to Jawaharlal Nehru University, where co-author R.K.K. Rajarajan is affiliated. The article references scholars and academic work from this region.
11) Nrisimha (Nrsimha, Nri-simha):
A form of Viṣṇu depicted in several scenes in the Śrīvilliputtūr temple-car. The article describes his mythological battles and various iconographic forms.
12) Indian:
Relating to India, where the Śrīvilliputtūr temple-car is located, reflecting the region's vast cultural and historical heritage.
13) Krishna (Krsna):
A central deity in Hindu mythology, featured extensively in the Śrīvilliputtūr temple-car's iconography. The article details various scenes involving Kṛṣṇa and his consorts.
14) Rukmini:
One of Kṛṣṇa's principal consorts. The article explores the iconography of Rukmiṇī alongside Kṛṣṇa in the Śrīvilliputtūr temple-car.
15) Alvar (Arvar, Alwar):
Early Tamil poet-saints dedicated to Viṣṇu. The article references their contributions to the devotional and iconographic traditions in Śrīvilliputtūr.
16) Shiva (Siva):
Although primarily a Viṣṇu temple, Śiva icons appear in the iconography of the Śrīvilliputtūr temple-car, reflecting the syncretic religious practices of the region.
17) Divyadesha (Divyadesa, Divya-desha):
A term for sacred places of Viṣṇu worship. Śrīvilliputtūr is identified as one of these divyadeśas in the article.
18) Nacciyar:
Refers to Āṇṭāḷ, also known as Nācciyār. The article examines her story and shrine in the Śrīvilliputtūr temple.
19) Vishnu (Visnu):
The principal deity in the Śrīvilliputtūr temple-car's iconography. The article explores various forms and myths related to Viṣṇu.
20) City:
Contextually referring to the city of Śrīvilliputtūr, whose temple and cultural significance are the focus of the article.
21) Vaishnava (Vaisnava):
Related to the worship of Viṣṇu. The article explores Vaiṣṇava traditions and iconography in the context of the Śrīvilliputtūr temple.
22) Maturai:
A city in Tamilnādu known for its historic temples. The article briefly references the Mīnākṣī-Sundareśvara temple in Maturai.
23) Vatapatrashayi (Vatapatra-shayin, Vatapatrasayin, Vatapatrasayi, Vatapatra-shayi, Vatapatrashayin):
A form of Viṣṇu depicted as reclining on a banyan leaf. The article discusses his temple and iconography in Śrīvilliputtūr.
24) Satyabhama (Satya-bhama):
Another consort of Kṛṣṇa, explored in the iconographic descriptions of the Śrīvilliputtūr temple-car.
25) India:
The country where Śrīvilliputtūr and its famous temple-car are located, embodying rich cultural and religious history.
26) Sharada (Sarada, Sara-da):
A publishing house mentioned concerning the publication of several referenced works in the article.
27) Vijayanagara (Vijaya-nagara):
A dynasty known for their contributions to temple architecture and art, referenced in the study of the Śrīvilliputtūr temple.
28) Tiruvaymoli:
A sacred Tamil text by the Āḻvār, Nammāḻvār, quoted in the article to contextualize the devotional practices and iconography.
29) Hiranya:
A demon slain by Nṛsiṃha, whose iconography is discussed in the article, particularly his yuddham (battle) and vadham (killing) forms.
30) Literature:
The article references various literary sources in Tamil and Sanskrit to explore the iconography and significance of the Śrīvilliputtūr temple.
31) Thanjavur:
Location of The Tamil University, where work referenced in the article, particularly on Nāyaka period temple cars, was carried out.
32) Mohini:
An avatar of Viṣṇu who appears in the temple-car's iconography, renowned for distributing amṛta (nectar) to the gods.
33) Kali:
A fierce goddess depicted in the Śrīvilliputtūr temple-car, symbolizing wrathful aspects of divine intervention.
34) Virabhadra (Vira-bhadra):
A fierce form of Śiva, who appears in the temple-car's iconography, often associated with the destruction of Dakṣa's yajña.
35) Tamilnadu (Tamil-nadu):
A region in South India where the discussed temples, particularly in Śrīvilliputtūr, are located. The article covers Tamilnādu's rich temple traditions.
36) Ramayana:
An ancient Indian epic referenced in the article, particularly in the discussion on Ṛṣyaśṛṅga and other mythological figures.
37) Chariot:
A theme extensively discussed in the article, focusing on the temple-car (processional chariot) from Śrīvilliputtūr.
38) Shoulder:
Used in iconographic descriptions, such as in the depiction of Rāma seated on Hanumat's shoulder in the temple-car.
39) Chennai:
The article mentions Chennai in context to locations of publications and scholars linked to the discussed temples and iconography.
40) Rama:
A major deity in Hinduism, discussed in the context of temple-car iconography, such as when depicted with Hanumat.
41) Shritattvanidhi (Sritattvanidhi):
A text providing detailed descriptions of deities. Often referenced in the article for iconographic details of various deities depicted in temple-cars.
42) Painting:
The article references Nāyaka paintings and explores their historical and iconographic significance, particularly in depicting mythological and divine themes.
43) Bhudevi (Bhu-devi):
One of the consorts of Viṣṇu, depicted in temple-car iconography. The article discusses her presence and role in the Śrīvilliputtūr temple-car cosmology.
44) Mandapa (Mamdapa):
A pillared hall or pavilion in Hindu temples. The article describes several maṇḍapas within the Śrīvilliputtūr temple complex.
45) Pandya (Pamdya, Pandyan):
An important dynasty in Tamil history, referenced in the article in connection with the historical developments and architectural styles of temples in the region.
46) Shakti (Sakti):
A term for divine feminine energy. The article explores different representations of Śakti within the Śrīvilliputtūr temple-car iconography.
47) Madra:
[see source text or glossary: Madra]
48) Demon:
Figures such as Hiraṇya and Mahiṣāsura are referenced in the article, discussing their iconographic depictions in battle scenes within the temple-car.
49) Devi:
Refers to goddess figures such as Sarasvatī, Kālī, and others, depicted in the Śrīvilliputtūr temple-car. The article explores these iconographies.
50) New Delhi:
Location of Jawaharlal Nehru University, where co-author R.K.K. Rajarajan is affiliated. Referenced in context of academic contributions.
51) Tiruppavai:
A text composed by Āṇṭāḷ. The article quotes this text to explore the devotional and iconographic themes in the Śrīvilliputtūr temple.
52) Sarasvati:
The goddess of wisdom and learning, depicted on the temple-car, often shown riding a haṃsa (swan).
53) Ganapati (Gana-pati, Ganapathi):
Another deity depicted within the Śrīvilliputtūr temple-car. The article explores his iconography, especially in forms like Śakti-Gaṇapati.
54) Hanuman (Hanumat):
The devotee of Rāma, iconographically represented carrying Rāma on his shoulder in one of the Śrīvilliputtūr temple-car panels.
55) Lexicon:
The article references various lexicons such as the Tamil Lexicon to provide meanings and contexts for terms used in Tamil literature and iconography.
56) Garuda:
The vehicle of Viṣṇu, often depicted in iconography described in the article, such as appearing near Viṣṇu's shoulder in sculptures.
57) Shastri (Sastri, Sastr):
Referenced primarily through works like the Śrītattvanidhi, highlighting iconographic details, often cited in the article.
58) Erotic (Eroticism):
The article discusses various erotic motifs found in the temple-car iconography, reflecting complex cultural and religious narratives.
59) Hamsa (Hansa, Hamsha):
A swan, often the vāhana (vehicle) of Sarasvatī or Brāhmī in temple iconography discussed in the article.
60) Shaiva (Saiva):
Related to the worship of Śiva. The article references Śaiva elements present within the primarily Vaiṣṇava temple-car in Śrīvilliputtūr.
61) Ratha:
Sanskrit term for chariot. The article frequently uses this term when discussing the temple-car of Śrīvilliputtūr.
62) Veda:
Sacred Hindu texts. The article references Vedic traditions and their influence on the iconography of the temple-car.
63) Cola:
A South Indian dynasty known for temple architecture, often referenced in the historical context of temple development in Śrīvilliputtūr.
64) Hindu Temple:
The central piece of study in the article, particularly exploring its structure, iconography, and cultural significance.
65) Sacrifice:
Referenced in myths and rituals depicted in temple-car iconography, such as Vedic and animal sacrifices.
66) Sheshashayi (Sesasayi, Shesha-shayi):
A form of Viṣṇu reclining on the serpent Śeṣa, highlighted in the temple-car’s iconographic study.
67) Religion:
The article delves into various religious aspects, rituals, and iconographies associated with the Hindu temples in Śrīvilliputtūr.
68) Vahana:
Vehicles of deities, such as the haṃsa of Sarasvatī. The article discusses the representation of vāhanas in temple-car iconography.
69) Shankha (Sankha, Samkha, Shamkha):
A conch, often held by Viṣṇu in depicted forms such as Śeṣaśāyī. The article examines its symbolic use in temple-car iconography.
70) Acarya:
Spiritual leaders who contributed to the development of Viṣṇuism. The article discusses their roles and historical significance.
71) Forest:
Referenced in mythological contexts, such as the tales of Ṛṣyaśṛṅga, depicted in temple-car iconography.
72) Flower:
Symbolic element often found in temple iconography, such as in the hands of Rukmiṇī and Satyabhāmā.
73) Kaviri:
A river in Tamilnādu, its delta region is rich in temple history and iconography, referenced in the article.
74) Gold (Golden):
Used in several contexts, such as in the mention of the Golden Temple and gold-donating rulers in the article.
75) Kanci (Kamci):
A historical city known for its temples. Kāñci's divyadeśa-Āmuktamālyada is referenced in the article.
[Note: The above list is limited to 75. Total glossary definitions available: 83]