Wooden Rafters of Śrīvilliputtūr Temple: Architecture and Traditions
Journal name: Acta Orientalia
Original article title: Architecture and Living Traditions Reflected in Wooden Rafters of Śrīvilliputtūr 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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Original source:
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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 Śrīvilliputtūr Temple
Year: 2017 | Doi: 10.5617/ao.7271
Copyright (license): CC BY 4.0
Download the PDF file of the original publication
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 Vaṭapatraśāyī Temple at Śrīvilliputtūr, 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 aṣṭāṅga-vimāna and its architectural relevance in South Indian temple design. Aṣṭāṅga-vimāna is identified as a unique type of structure consisting of eight vertical components, in addition to the traditional six components (ṣaṭaṅga). 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 Śrīvilliputtūr and how they are integral to the community's religious life.
Processional Traditions
The authors also discuss the significance of processional vehicles (vāhanas) 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 Śrīvilliputtūr 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 Śrīvilliputtūr Temple as a vital hub of cultural heritage.
FAQ section (important questions/answers):
What is the focus of the article on Śrīvilliputtūr Temple?
The article examines the wooden images in the exterior hall of the Vaṭapatraśāyī 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 'divyadeśas'?
Divyadeśas refer to the 108 sacred sites of worship dedicated to Lord Vishnu, particularly significant in Vaishnavism and mentioned in hymns of the Tamil Āḻvārs.
What architectural styles are discussed in the article?
The article discusses various types of temple architecture such as aṣṭāṅga-vimāna and saptāṅga-vimāna, illustrating how these styles integrate in the wooden sculptures.
What is the historical context of the Śrīvilliputtūr Temple?
The temple has a rich history linked to Periyāḻvār and Āṇṭāḷ, 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 “Wooden Rafters of Śrīvilliputtūr Temple: Architecture and Traditions”. 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 Śrīvilliputtūr Temple are discussed in terms of their architecture, history, and iconography.
2) Vimana:
A 'Vimāna' is the tower above the sanctum of a South Indian temple. It consists of several intricate layers or parts like the Aṣṭāṅga-vimāna, Saptāṅga-vimāna, and Kūṭaśālā vimāna.
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’s 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):
Śrīvilliputtūr is a notable temple town in Tamil Nadu, India. The article primarily focuses on the wooden rafters and architectural features of the Śrīvilliputtūr Temple.
6) Vishnu (Visnu):
Viṣṇu is a major deity in Hinduism. In the text, various forms of Viṣṇu like Trivikrama, Viṣṇusahasranāma, and Vaikuṇṭha Perumāḷ 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 Mīnākṣī-Sundareśvara Temple, which shares architectural features with the Śrīvilliputtūr 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 'Āḻvār' refers to the Tamil poet-saints devoted to Viṣṇu. In the article, figures like Nammāḻvār and Periyāḻvār are emphasized for their contributions to temple traditions.
11) Periyalvar:
Periyāḻvār is a significant Āḻvār whose life and devotion are explored in the study. His wooden image is part of the temple’s sculptures, and his hymns are an important historical record.
12) Nayaka:
The term 'Nāyaka' relates to the Nāyaka dynasty, known for its contributions to South Indian temple architecture. The article includes examinations of Nāyaka period art and iconography.
13) Antal (Andal):
Āṇṭāḷ is a revered female Āḻvār known for her devotion to Viṣṇu. The article discusses her representations and the rituals associated with her in the Śrīvilliputtūr 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 Āḻvārs, literature, and art extensively.
16) Chair:
The term 'Chair' refers to the gold-plated vehicle used in Āṇṭāḷ’s processions during temple festivals. It is described as part of the temple’s ritual tradition.
17) Ashtanga (Astanga, Ashtan-anga):
Aṣṭāṅga refers to a specific type of vimāna 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:
Devī is a general term for goddess. Various forms of Devī such as Śrīdevī and Bhūdevī are mentioned as attendant deities in temple sculptures.
20) Vatapatrashayi (Vatapatra-shayin, Vatapatrasayin, Vatapatrasayi, Vatapatra-shayi, Vatapatrashayin):
Vaṭapatraśāyī refers to the reclining form of Viṣṇu worshipped in the Śrīvilliputtūr Temple. The article discusses the specific architectural and sculptural features associated with this deity.
21) Divyadesha (Divyadesa, Divya-desha):
Divyadeśa means ‘sacred sites’ significant in Viṣṇu worship. The article mentions several Divyadeśas such as Śrīvilliputtūr, Māliruñcōlai, and Śālagrāma.
22) Vahana:
Vāhana refers to the vehicle of a deity. Various vāhanas like Gajavāhana, Haṃsavāhana, and Garuḍavāhana 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):
Śikhara refers to the tower or spire of a temple. Different types of śikharas like Kūṭaśāla are highlighted in the text’s architectural discussions.
26) New Delhi:
[see source text or glossary: New Delhi]
27) Vaishnava (Vaisnava):
Vaiṣṇava pertains to the Hindu tradition centered around the worship of Viṣṇu. The text examines various Vaiṣṇava temples, deities, and rituals.
28) Murti (Murtti):
Mūrti refers to the idol or image of a deity. Multiple mūrtis are discussed, including unique syncretic typologies like Ekapādamūrti and the wooden images in Śrīvilliputtūr 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):
Māmallapuram 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:
Nammāḻvār, one of the twelve Āḻvārs, 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 Viṣṇu (Hari) and Śiva (Hara). The text describes unique representations of this syncretic form in temple sculptures.
33) Dravida:
Drāviḍa refers to the style of temple architecture prevalent in South India. Various types of Drāviḍa vimānas are examined in the context of wooden sculptures.
34) Mandapa (Mamdapa):
Maṇḍapa refers to the pillared hall in a temple complex. The text discusses the architectural layout, including the Agramaṇḍapa 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 (tērs) and their wooden sculptures, emphasizing the importance of these vehicles.
38) Shiva (Siva):
Śiva is a major deity in Hinduism. Representations of Śiva, including syncretic forms like Ekapādamūrti, are analyzed in the text’s iconographic discussions.
39) Tiruppavai:
Tiruppāvai is a collection of devotional hymns by Āṇṭāḷ. The significance of these hymns and their recitation during festive rituals is covered in the text.
40) Sthanaka:
Sthānaka refers to standing postures of deities. The article includes iconographic descriptions of sthānaka mūrtis, including those in the wooden sculptures.
41) Nacciyar:
Nācciyār refers to Āṇṭāḷ, also known as the 'Mistress' or 'Angel.' The term is highlighted in connection with the Śrīvilliputtūr Temple and its rituals.
42) Kutal:
Kūṭal, an old name for Madurai, features prominently in the text in reference to the temple architecture and significant events like Periyāḻvār’s composition of hymns.
43) Indian Art:
[see source text or glossary: Indian Art]
44) Ekapadamurti (Ekapada-murti):
Ekapādamūrti 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 Śrīvilliputtūr Temple.
45) Saptanga (Saptan-anga, Saptamga):
Saptāṅga denotes a seven-part architectural form of vimāna. The text suggests the term as a new typology based on the wooden sculptures in Śrīvilliputtūr Temple.
46) Pandya (Pamdya, Pandyan):
Pāṇḍya refers to the Pāṇḍya dynasty, significant contributors to South Indian temple architecture. The article examines inscriptions and architectural developments from this period.
47) Brahma:
Brahmā is one of the Hindu trinity gods, associated with creation. The article mentions various depictions of Brahmā in temple sculptures and iconography.
48) Bhatta:
Bhaṭṭa denotes a Brahmin priest or scholar. Various wooden images and inscriptions reference Bhaṭṭas involved in temple rituals and administration.
49) Utsava:
Utsava means festival or celebration, usually involving processions of deities. The text details various utsavas, including Āṇṭāḷ’s festival held in the Śrīvilliputtūr Temple.
50) Vesara (Veshara):
Veśara refers to a circular form of temple architecture, highlighted in the analysis of vimānas that feature in South Indian temples.
51) Nagara (Naga-ra):
Nāgara is the term for the North Indian temple architecture style, which contrasts with the South Indian Drāviḍa 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 Āḻvārs like Nammāḻvār.
54) Tree:
[see source text or glossary: Tree]
55) Cave:
[see source text or glossary: Cave]
56) Villiputtur:
[see source text or glossary: Villiputtūr]
57) Trivikrama (Tri-vikrama):
Trivikrama is an avatar of Viṣṇu where he takes large strides to measure the universe. This form is iconographically significant and is discussed in the text’s analysis.
58) Maturakavi (Matura-kavi):
Maturakavi was a disciple of Nammāḻvār, featured in the text as a diminutive figure in a wooden image seated at the base of Nammāḻvār’s idol.
59) Shalagrama (Salagrama, Shala-grama):
Śālagrāma is a sacred geographical site, significant in Viṣṇu worship. The text references several Divyadeśas including Śālagrāma.
60) Padavarga:
Pādavarga refers to the wall section of a vimāna that houses the deity’s chamber. This architectural element is elaborated in discussions of Aṣṭāṅga-vimāna.
61) Kshatriya (Ksatriya):
Kṣatriya is a warrior caste in Hindu society. Figures like Maturai-vīraṉ are described with attributes resembling Kṣatriya warriors, such as a sword and headgear.
62) Trimurti (Tri-murti):
Trimūrti refers to the three principal gods of Hinduism: Brahmā, Viṣṇu, and Śiva. The term is used when discussing composite forms like Ekapāda-Trimūrti.
63) Festival:
Festivals are significant events in temple rituals involving processions, music, and recitations. The text details events like Āṇṭāḷ’s Mārkaḻi festival.
64) Tamarind:
The tamarind tree is sacred in connection with Nammāḻvār, 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:
Badāmī 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 Viṣṇu’s weapons, commonly featured in sculptures. The text references Cakra in descriptions of various Viṣṇu 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. Viṣṇu’s 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]