Da艣膩vat膩ras in Tamil bhakti and Vijayanagara 狈腻测补办补 sculptures.
Journal name: Acta Orientalia
Original article title: Da艣膩vat膩ras in Tamil bhakti literature and programme of sculptures in Vijayanagara-狈腻测补办补 art
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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S. Ganeshram
Acta Orientalia:
(Founded in 1922 and published annually)
Full text available for: Da艣膩vat膩ras in Tamil bhakti literature and programme of sculptures in Vijayanagara-狈腻测补办补 art
Year: 2012 | Doi: 10.5617/ao.4841
Copyright (license): CC BY 4.0
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Summary of article contents:
Introduction
This article examines the concept of 诲补艣腻惫补迟腻谤补蝉, the ten principal incarnations of the Hindu deity Vishnu, as depicted in Tamil bhakti literature and through sculptures from the Vijayanagara-狈腻测补办补 period in Tamil Nadu, India. The 诲补艣腻惫补迟腻谤补蝉 include Matsya (Fish), 碍奴谤尘补 (Tortoise), 痴补谤腻丑补 (Boar), 狈峁泂颈峁僪补 (Lion-Man), 痴腻尘补苍补 (Dwarf), Parasurama, Rama, Balarama, Krishna, and Kalki. These incarnations are celebrated in hymns by the 膧岣籿腻谤蝉, revered poet-saints from the early medieval period, who contributed significantly to the development of Tamil religious literature. The article highlights the presence of these incarnations in the sculptures found at the Ka岣丰阜arpir膩峁� temple in 艢r墨vaiku峁囜弓ham and contextualizes their importance within the broader framework of Tamil devotional practices.
Significance of Da艣膩vat膩ra Sculptures
The unique feature of the 诲补艣腻惫补迟腻谤补 sculptures lies in their organization and representation within temple architecture during the Vijayanagara-狈腻测补办补 period, which lasted from the 15th to the 18th century CE. The article discusses how these sculptures were often categorized together, set in distinct enclaves within temples, and proliferated throughout Tamil Nadu, especially in the Ka岣丰阜arpir膩峁� temple at 艢r墨vaiku峁囜弓ham. The prevalence of these images reflects a deep-rooted respect for the incarnations of Vishnu and their theological significance in Tamil culture. The sculptures serve not only as artistic representations but also as vehicles for religious devotion and narrative storytelling, bridging historical religious practices with the physical presence of the divine.
Da艣膩vat膩ras in Tamil Bhakti Literature
Tamil bhakti literature, particularly the hymns of the 膧岣籿腻谤蝉, plays a crucial role in shaping the conception and significance of the 诲补艣腻惫补迟腻谤补蝉. The poems often cite these incarnations in various sequences, reflecting different aspects of Vishnu鈥檚 divine interventions in the world. Key 膧岣籿腻谤蝉 like 罢颈谤耻尘补岣籭肠补颈, 狈补尘尘腻岣籿腻谤, 笔别谤颈测腻岣籿腻谤, and Tiruma峁卥ai 膧岣籿膩r include them in their verses, articulating their importance within the larger framework of Hindu cosmology and moral narratives. This literary tradition enhances the understanding of how these incarnations function as metaphors for various cosmic principles, bringing together the spiritual and material realms.
Sculpture Representation and Iconographic Program
The physical representations of the 诲补艣腻惫补迟腻谤补蝉 in temple sculpture highlight the sophistication of the Vijayanagara-狈腻测补办补 artistic tradition. The article describes individual characteristics of the sculptures housed in the Ka岣丰阜arpir膩峁� temple, such as the zoomorphic nature of Matsya and 碍奴谤尘补 and the theriomorphic form of 痴补谤腻丑补 and 狈峁泂颈峁僪补. Each deity is depicted with distinct iconographic features that reflect their attributes and stories. The sculptures embody both aesthetic beauty and theological dimensions, serving as focal points for worship and reflection on the divine.
Iconographic Variations and Cultural Context
The presence of different interpretations, such as the inclusion of 贬补测补驳谤墨惫补 instead of 狈峁泂颈峁僪补 in some temples, indicates the fluidity of iconography in response to local religious practices and beliefs. The article discusses how such variations can provide insight into localized worship and the adaptation of larger theological themes within specific cultural contexts. The differences reflect not only artistic choices but also the dynamic nature of devotion and how bhakti shapes the manifestation of the divine in diverse settings.
Conclusion
In summary, the exploration of 诲补艣腻惫补迟腻谤补蝉 in Tamil bhakti literature and sculpture reveals a rich interplay between art, narrative, and devotion. The vibrant depictions of these incarnations in temple architecture underscore their theological importance within the Hindu tradition and their role in Tamil culture. The unique representation of the 诲补艣腻惫补迟腻谤补蝉 not only serves as a religious symbol but also as a testament to the artistic creativity nurtured during the Vijayanagara-狈腻测补办补 period. This study ultimately highlights the intertwining of literature and art in the fostering of religious identity and devotion in Tamil Nadu.
FAQ section (important questions/answers):
What does the term '诲补艣腻惫补迟腻谤补' refer to in Tamil literature?
The term '诲补艣腻惫补迟腻谤补' refers to the ten incarnations of 痴颈峁ａ箛耻, including Matsya, 碍奴谤尘补, 痴补谤腻丑补, 狈峁泂颈峁僪补, 痴腻尘补苍补, Parasurama, Rama, Balarama, Krishna, and Kalki, which are often noted by the 膧岣籿腻谤蝉 in their hymns.
What is the significance of 诲补艣腻惫补迟腻谤补 images in temples?
Da艣膩vat膩ra images, particularly in temples from the Vijayanagara-狈腻测补办补 period, reflect the artistic and devotional expressions of the time, showcasing the incarnations of 痴颈峁ａ箛耻 in a structured form that is central to Tamil bhakti traditions.
Who are the 膧岣籿腻谤蝉, and how do they relate to 诲补艣腻惫补迟腻谤补?
The 膧岣籿腻谤蝉 are Tamil poet-saints whose hymns greatly influenced Tamil bhakti literature. They reference the 诲补艣腻惫补迟腻谤补 in various ways, often listing the incarnations of 痴颈峁ａ箛耻 in ordered or unordered formats within their devotional poetry.
What temples house 诲补艣腻惫补迟腻谤补 sculptures mentioned in the text?
The Ka岣丰阜arpir膩峁� temple at 艢r墨vaiku峁囜弓am, along with temples at T膩tikkompu and A岣籥kark艒yil, feature unique 诲补艣腻惫补迟腻谤补 sculptures, showcasing the influence of Vijayanagara-狈腻测补办补 art on Tamil Nadu's religious architecture.
What literary works document the 诲补艣腻惫补迟腻谤补蝉?
The poems of 罢颈谤耻尘补岣籭肠补颈, 狈补尘尘腻岣籿腻谤, 笔别谤颈测腻岣籿腻谤, and Tiruma峁卥ai 膧岣籿膩r, collectively known as N膩l膩yirativviyappirapantam, document the 诲补艣腻惫补迟腻谤补蝉, illustrating the importance of these incarnations in Tamil bhakti literature.
How are the 诲补艣腻惫补迟腻谤补 images represented in temples?
Da艣膩vat膩ra images in temples like those in 艢r墨vaiku峁囜弓ham are arranged conventionally, depicting incarnations such as Matsya, 碍奴谤尘补, 痴补谤腻丑补, and others, often in distinct artistic forms that reflect their theological significance.
What role do sculptures play in understanding Tamil bhakti traditions?
Sculptures of 诲补艣腻惫补迟腻谤补 serve as vital links between devotional practices and artistic expressions in Tamil Nadu, revealing how these traditions visually narrate the significance of 痴颈峁ａ箛耻's incarnations within the cultural context.
Glossary definitions and references:
Oriental and Historical glossary list for 鈥淒a艣膩vat膩ras in Tamil bhakti and Vijayanagara 狈腻测补办补 sculptures.鈥�. 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:
Temples are sacred structures in which the 诲补艣腻惫补迟腻谤补 images, significant to Tamil bhakti literature, are housed and worshiped. E.g., the Ka岣丰阜arpir膩峁� temple in 艢r墨vaiku峁囜弓ham and the T膩tikkompu temple are highlighted for their 诲补艣腻惫补迟腻谤补 sculptures.
2) Tamil:
Tamil is the language in which the bhakti hymns of the 膧岣籿腻谤蝉 are composed. Tamil bhakti literature has had a significant influence on the art and sculptural programs in Tamilnadu's Vijayanagara-狈腻测补办补 temples.
3) Image:
Images of the 诲补艣腻惫补迟腻谤补蝉 are crucial elements in the temples discussed. They are often placed in specific orders or sequences significant to religious traditions such as those found in Tamil Nadu's temples.
4) Krishna (Krsna):
碍峁涐梗峁嘺 is one of the ten incarnations of 痴颈峁ａ箛耻. He is a frequently mentioned deity in the 膧岣籿腻谤蝉' hymns. In the Da艣膩vat膩ra series of the 艢r墨vaiku峁囜弓ham temple, 碍峁涐梗峁嘺 is depicted holding butter and a whip, symbolizing his childhood as a cowherd.
5) Nrisimha (Nrsimha, Nri-simha):
狈峁泂颈峁僪补, the man-lion incarnation of 痴颈峁ａ箛耻, is part of the 诲补艣腻惫补迟腻谤补蝉. Depictions of 狈峁泂颈峁僪补 often emphasize his ferocious and protective aspects. For example, in the 艢r墨vaiku峁囜弓ham temple, he is shown with a lion's head and human body.
6) Varaha:
痴补谤腻丑补 is the boar incarnation of 痴颈峁ａ箛耻 and part of the 诲补艣腻惫补迟腻谤补 series. In the 艢r墨vaiku峁囜弓ham temple, 痴补谤腻丑补 is typically depicted as having a human body but with the head of a boar, symbolizing the rescue of the Earth from cosmic waters.
7) Rama:
搁腻尘补, a central figure in the R膩m膩ya峁嘺, is a prominent incarnation in the 诲补艣腻惫补迟腻谤补蝉 of 痴颈峁ａ箛耻. His depictions often include holding a bow and arrow, symbolizing his role as a warrior prince.
8) Matsya:
Matsya, the fish incarnation of 痴颈峁ａ箛耻, is one of the 诲补艣腻惫补迟腻谤补蝉. In the 艢r墨vaiku峁囜弓ham temple, Matsya is depicted with the head of a carp fish, which underscores his role in rescuing the Vedas from the ocean.
9) Dashavatara (Dasha-avatara, Dasavatara, Dashan-avatara):
The 诲补艣腻惫补迟腻谤补 refers to the ten incarnations of 痴颈峁ａ箛耻: Matsya, 碍奴谤尘补, 痴补谤腻丑补, 狈峁泂颈峁僪补, 痴腻尘补苍补, 笔补谤补艣耻谤腻尘补, 搁腻尘补, 叠补濒补谤腻尘补, 碍峁涐梗峁嘺, and Kalki. These incarnations are depicted in Tamil temples like the Ka岣丰阜arpir膩峁� temple in 艢r墨vaiku峁囜弓ham.
10) Disc:
An avat膩ra is an incarnation or manifestation of a deity, particularly 痴颈峁ａ箛耻, in earthly forms. The concept is central to the 诲补艣腻惫补迟腻谤补 depictions in Tamil bhakti literature and temples of Tamilnadu.
11) Vamana:
痴腻尘补苍补, the dwarf incarnation of 痴颈峁ａ箛耻, appears in the 诲补艣腻惫补迟腻谤补 series as depicted in Tamil temples. He is represented with a small stature, holding religious items such as the pu峁ａ弓aka and kama峁囜笉al奴.
12) Kurma:
碍奴谤尘补, the tortoise incarnation of 痴颈峁ａ箛耻, also part of the 诲补艣腻惫补迟腻谤补蝉, is represented in zoomorphic form. In sculptures, only 碍奴谤尘补鈥檚 head peeps out of its shell, symbolizing the support of the world during the churning of the ocean.
13) Vishnu (Visnu):
痴颈峁ａ箛耻 is the preserver god of the Hindu trinity and the central figure in the concept of 诲补艣腻惫补迟腻谤补鈥攈is ten incarnations to uphold cosmic order. The study of 诲补艣腻惫补迟腻谤补蝉 in Tamil bhakti literature relies on understanding 痴颈峁ａ箛耻's roles.
14) Kalki:
Kalki, the final incarnation in the 诲补艣腻惫补迟腻谤补蝉 of 痴颈峁ａ箛耻, is depicted as a horse-faced warrior, symbolizing the end of the current age of darkness and the restoration of righteousness. Kalki appears armed, ready for cosmic cleansing.
15) Parashurama (Parasurama, Parashu-rama):
笔补谤补艣耻谤腻尘补, another warrior incarnation in the 诲补艣腻惫补迟腻谤补蝉, is depicted holding the battleaxe (para艣u) with which he purged the earth of k峁triya kings multiple times.
16) Literature:
Tamil bhakti literature, particularly the N膩l膩yirativviyappirapantam of the 膧岣籿腻谤蝉, has significantly influenced the iconography and narrative depiction of the 诲补艣腻惫补迟腻谤补蝉 in temple art.
17) Bhakti:
Bhakti, or devotional worship, forms the core of Tamil bhakti literature, influencing the creation and presentation of the 诲补艣腻惫补迟腻谤补 sculptures in temples, promoting devotion and connection to 痴颈峁ａ箛耻 and his incarnations.
18) Nayaka:
狈腻测补办补 refers to the rulers of Tamilnadu during the 15th to 18th centuries CE, whose art and architecture patronage led to the elaboration of the 诲补艣腻惫补迟腻谤补 theme in temples.
19) Fish:
Fish is the form taken by the Matsya, the first incarnation of 痴颈峁ａ箛耻 in the 诲补艣腻惫补迟腻谤补蝉. In the 艢r墨vaiku峁囜弓ham temple, the depiction includes a big head of a local variety of carp fish.
20) Lion:
Lion refers to the form of 狈峁泂颈峁僪补, the man-lion incarnation of 痴颈峁ａ箛耻. This fierce form is depicted as a lion-faced deity, emphasizing strength and protection.
21) Balarama (Bala-rama):
叠补濒补谤腻尘补, an incarnation of 痴颈峁ａ箛耻, is depicted holding a ploughshare and often seen in sequence with other incarnations in Tamil temples.
22) Alvar (Arvar, Alwar):
The 膧岣籿腻谤蝉 are Tamil poet-saints whose bhakti hymns celebrate 痴颈峁ａ箛耻 and his incarnations, forming the base of literary mandates for the 诲补艣腻惫补迟腻谤补 depictions.
23) Vijayanagara (Vijaya-nagara):
The Vijayanagara Empire, ruling parts of South India, saw the creation of many temples featuring 诲补艣腻惫补迟腻谤补 sculptures under their patronage. This period's art significantly influenced Tamilnadu temple architecture.
24) Periyalvar:
笔别谤颈测腻岣籿腻谤 is one of the 膧岣籿腻谤蝉 who composed hymns mentioning the 诲补艣腻惫补迟腻谤补蝉 of 痴颈峁ａ箛耻, reflecting their importance in Tamil bhakti literature and temple iconography.
25) Trivikrama (Tri-vikrama):
Trivikrama is the giant form of 痴腻尘补苍补, who covered the entire universe in three strides, symbolizing 痴颈峁ａ箛耻's all-encompassing nature.
26) Hamsa (Hansa, Hamsha):
贬补峁僺补 is mentioned as another form of 痴颈峁ａ箛耻 in Tamil bhakti hymns, symbolizing wisdom and often depicted in mythology as a divine swan.
27) Horse:
Horse refers to Kalki, the final 诲补艣腻惫补迟腻谤补 who is depicted with a horse's face, signifying the end of the current age and the restoration of order.
28) Dwarf:
Dwarf refers to 痴腻尘补苍补, the fifth incarnation of 痴颈峁ａ箛耻, known for his small stature but cosmic impact as Trivikrama.
29) Boar:
Boar refers to 痴补谤腻丑补, the third incarnation of 痴颈峁ａ箛耻, depicted as a boar lifting the Earth from the cosmic ocean, symbolizing salvation from chaos.
30) Earth:
Earth is central to the 诲补艣腻惫补迟腻谤补蝉 such as 痴补谤腻丑补 lifting the Earth (Bh奴dev墨) from the ocean, representing salvation and cosmic balance.
31) Tirumalicai:
罢颈谤耻尘补岣籭肠补颈 is one of the 膧岣籿腻谤蝉 whose hymns collectively known as the N膩l膩yiram, mentions 诲补艣腻惫补迟腻谤补蝉 and has a significant impact on Tamil bhakti literature and temple art.
32) Tortoise:
Tortoise is the form taken by 碍奴谤尘补, the second incarnation of 痴颈峁ａ箛耻. In the 诲补艣腻惫补迟腻谤补 series, 碍奴谤尘补 supports the Manthara mountain as a base during the churning of the ocean.
33) Chennai:
[see source text or glossary: Chennai]
34) Mohini:
惭辞丑颈苍墨 is an incarnation of 痴颈峁ａ箛耻 as a beautiful enchantress. Though not one of the conventional 诲补艣腻惫补迟腻谤补蝉, 惭辞丑颈苍墨's inclusion in Tamil literary sources indicates a broader scope of 痴颈峁ａ箛耻's incarnations.