Miniature apsidal shrine; same as panjara.
storeys of a gopura; (plural: nilais, Old Tamil: நிலை, Modern Tamil: நிலை)
a long tubular flower
Devoid of a closed circuit or ambulatory round the cella, the wall of the cella being single and thick (as opposed to sandhara).
a royal title, lit. perennial entertainment
hall of dance (cf. natya-mandapa)
Nṛttahasta (नृत्तहस्त) refers to hand in dance gesticulation (cf. asaṃyukta hasta and saṃyukta hasta).
Nṛtta (Sanskrit: नृत्त) or Nritta or Nṛttamūrti is a dancing form
anklet
putting down
Basal pitha of pillar or pilaster
pacific means peaceful (see. terrific)
Pillar (cf. stambha or stambham)
crossed legs
foot-first to hair
a pendant inlaid with jewels
literally ‘temple sung of’ (in the saints’ poems); sacred sites of hallowed antiquity
(also padapitha); foot-stool
an ornament worn below the ankle designed to lie loose on the foot; jewel for the feet
Lotus; capital member (doucine) below the phalaka (abacus), shaped like a lotus with petals (also padmam, Tamil: பத்மம்).
(also padma-bandham, Tamil: பத்மபந்தம்) Broad fillet, ringing the top of the shaft of a pillar, marked by decorative bands between rows of lotus petals, separating the shaft from the capital; lotus-frieze
(also padma-bandha, Tamil: பத்மபந்தம்) Broad fillet, ringing the top of the shaft of a pillar, marked by decorative bands between rows of lotus petals, separating the shaft from the capital; lotus-frieze
dwarf attendant of Kubera holding a lotus in his hand
Lotus; capital member (doucine) below the phalaka (abacus), shaped like a lotus with petals (also padma, Tamil: பத்மம்).
Padmapīṭha (पद्मपीठ), Lotus pedestal or a pedestal with a motif in the form of an inverted lotus (also padmapitham).
Padmapīṭham (पद्मपीठम), Lotus pedestal or a pedestal with a motif in the form of an inverted lotus (also padmapitha).
Padmāsana (पद्मासन) is the lotus pose: a seated pose of ease with the legs crossed and feet resting on the thighs with the soles turned up; alternativly, the lotus shaped seat or pedestal and is generally used for worship (also… Continue Reading →
wooden sandal
side line
abacus or tailloir; (palagai, Tamil: பலகை) part of the capital of a pillar (cf. stambham)
chieftains and landowners in pre-Chola Tamil Nadu who became Chola feudatories
Capital member, same as padma, but without scalloped petals.
(also panjara or panjaram, Tamil: பஞ்சரம்) ‘Nest’, a cage-like decorative motif for a niche or base, attique: a small pavilion (cf. panjara); Miniature apsidal shrine; same as nida.
Pañcatāla (पञ्चताल), Measurement of images by five tālas
the ceremony of giving a bride away in marriage
(also panjaram, Tamil: பஞ்சரம்) ‘Nest’, a cage-like decorative motif for a niche or base, attique: a small pavilion (cf. panchara); Miniature apsidal shrine; same as nida.
Chola monarchs alternately took the title Rajakesari (King-lion) or Parakesari (Supreme lion). Also known as Rajakesarivarman or Parakesarivarman.
Chola monarchs alternately took the title Rajakesari (King-lion) or Parakesari (Supreme lion). Also known as Rajakesarivarman or Parakesarivarman.
Paramāṇu (Sanskrit: द्रोणी, Hindi: परमाणु), smallest unit of measurement; 8 Paramāṇu = 1 Rathadhuli The table shows the different units of measurement in relation to each other: 8 Paramāṇu = 1 Rathadhūli, 8 Rathadhūli = 1 Vālāgra, 8 Valagra =… Continue Reading →
the Absolute
Paraśu (Sanskrit: परशु) battle-axe; It made up of a strong blade of steel fitted to a wooden handle. The blade is curved and may have a hole at one end to fit onto the wooden handle. In later forms the… Continue Reading →
Parigha (परिघ) refers to an ‘iron club’ (used in battle); a kind of club.
the passing away of the Buddha
subsidiary deities in shrines called parivaralaya’s or parivara.
tutelary deity (cf. parivara-devatas)
Also called avarana-devatas, or subsidiary deities in shrines called parivaralaya’s or parivara.
on of the sub-shrines round the main shrine, housing subordinate deities (cf. ashta-parivaradevatagriham)
(also parivara) on of the sub-shrines round the main shrine, housing subordinate deities (cf. ashta-parivaralaya)
sculpture of a deity placed in a niche on the outer wall of the garbhagriha or on the upper tala of the vimana
Paryaṅka (पर्यङ्क) sitting cross-legged (cf. padmāsana and paryaṅkāsana)
legs bound in a strap for so they stay easily kept in a yogic meditation pose (cf. yoga-patta)
Paryaṅkāsana (पर्यङ्कासन), seated pose with legs locked over seat (cf. paryaṅka)
Pāśa (पाश) refers to ‘noose’ or ‘rope weapon’ and represents one of the several ‘attributes’ (āyudha) or ‘accessories’ of a deity. It is a loop of rope used to bind the opponent’s hands and legs. In sculptural representations, two or… Continue Reading →
Life of Parshvanatha (Sridhara)
flag
‘place sung by the saints’ – temple or holy place celebrated in hymn by poet-saints
close fitting bangles often formed by one or more continuous spiral
The Buddhist monks carry a pātra (पात्र) or bowl which is used for begging alms. The Indian tradition has it that when the Buddha completed four weeks of Buddha-hood, Tapussa and Bhallika, two merchants of Ukkula in Orissa, were warned… Continue Reading →
Patrakuṇḍala (पत्रकुण्डल) is an ear-ornament in the form of a leaf-scroll inserted in the ear lobe
leaf strip decoration of coiffure
leaf decoration on crown
Paṭṭā or Paṭa (Hindi: पट) Plain or decorated bands occupying the median face of the corbel, as if binding the rolls of taranga mouldings of the corbel (cf. Paṭṭikā); a cloth or dress
The two prismatic parts of the pillar with facets (pattai, Tamil: பட்டை).
a basement-moulding
Paṭṭikā (Sanskrit: पट्टिका), a string course, refers to a type of moulding commonly used in the construction of an adhishthana or upapita (cf. Paṭṭā); a layer of the pedestal. Projected top slab of the platform or adhishthana in line with… Continue Reading →
Paṭṭiṣa or Paṭṭiśa (Sanskrit: पट्टिश) a long steel rod with a very sharp point at one end; spear with a sharp edge; one of the weapons of Śiva.
Paṭṭiśa or Paṭṭiṣa (Sanskrit: पट्टिश) a long steel rod with a very sharp point at one end; spear with a sharp edge; one of the weapons of Śiva.
Paurūṣeya (पौरूषेय) refers to ‘disciplines whose knowledge is contingent on the individual‘; It is one of the two types of Shastra. This literature is also described as Smṛiti literature (cf. apauruseya). The paurūṣeya disciplines are: Purāṇa, including Itihāsa (record of… Continue Reading →
Pavilion with ornaments, pillars and kudu
Pāyasa (Sanskrit: पायस) is a preparation of cooked rice, jaggery and milk
triangular part crowning the front of a building
Tamil classification of women: a woman thirty-two to forty years old
‘Great Sacred Text’ compiled by Sekkilar; the hagiographic account of the lives of the sixty-three nayanmar, or the Shiva poet-saints
Tamil classification of women: a girl of five to seven years old
Tamil classification of women: a young girl eight to eleven years of age
Abacus; wide plank on top of the terminal saduram or moulded capital of pillar supporting the corbel or potika.
literally ‘begging god’ (Śiva); also known as Bhikshatana in Sanskrit
Structure with stepped or tiered superstructure over the sanctum as in Kadamba-Chalukya temples. The term is used in Orissa (Kalinga) architecture for the mandapa in front of the main prasada, called jagmohan, or smaller individual shrines with such superstructure (as… Continue Reading →
bow of Shiva
(also pita, peedam or pitham); a horizontal slab or pedestal over which an image is seated
(also peedam, pita or pitha); a horizontal slab or pedestal over which an image is seated
golden dance hall (of Natesa at Chidambaram)
(also potikai), corbel or bracket surmounting the capital of a pillar
(also potika), corbel or bracket surmounting the capital of a pillar
a circular mark on the forehead
circle of light or a halo; decorative circle or flames framing sculptural image of deity; aureole
an arch with tongues of flame attached to it (cf. tiruvachi)
act of circumambulating a deity or place of reverence
perambulatory passage
Prājāpatya (प्राजापत्य), cubit of 25 fingers; unit of measurement; 1 Prājāpatya = 25 Angula’s
on of the circuits round the sanctum; enclosure wall; Generally, there a five prakaras: antara-mandala, antara-hara, madhya-hara, bahya-hara and maryada. (The temple at Srirangam has seven prakaras)
Pralambapāda or Pralambapadasana is the European position; Sitting on a seat with both legs pendant in the Western manner.
Pralambapādasana or Pralambapada is the European position; Sitting on a seat with both legs pendant in the Western manner.
Spout projected like a gargoyle to discharge water.
Prāsāda (प्रासाद) temple in general; Classifications according to shape: sama-chaturasra, vritta, chaturdirgha, hasti-prishtha, vrittayata, shatkona and ashtasra (respectively, square, circular, rectangular, apsidal, elliptical, hexagonal and octagonal). Northern-style temple, as distinct from the vimana form of the south. Flowers or food… Continue Reading →
main temple-gateway/gopuram with 3 to 5 storeys
dynastic eulogy
(also prastaram, Tamil: பிரஸ்தரம்) the roof cornice; Entablature, consisting of mouldings over walls and pillars, viz the uttira (beam), vajana, valabhi, kapota, alinga and antari (architrave, frieze and cornice).
(also prastara, Tamil: பிரஸ்தரம்) the roof cornice; Entablature, consisting of mouldings over walls and pillars, viz the uttira (beam), vajana, valabhi, kapota, alinga and antari (architrave, frieze and cornice).
the chief gana
Pratyālīḍha (प्रत्यालीढ), warrior’s pose, the opposite of the alidha posture; Right leg bent at the knee and the left leg stretched behind and kept straight at an angle.
necklace of mixed gems
discus in action
Pretāsana (प्रेतासन), a seat or pedestal on which the whole body lies relaxed and motionless, certainly appearing as if dead.
wheel design on buttocks
lit. new mandapa
ritual act to invoke and honour a deity, performed by presiding Brahman priests at temples, by village priests at local shrines, or by householders at household shrines
part of the bodigai or bodhika
religious merit
war genre in Tamil poetics
decoration of coiffure
The pustaka (पुस्तक) is a book of palm-leaves cut long and narrow or a manuscript which looks like one. In Buddhist tradition, it represents the Prajñāpāramitā scripture of Transcendental Wisdom. This book is supposed to have been given by the… Continue Reading →
garland of musical modes
sons of ragas
daughters of ragas
male musical modes
female musical modes
Chola monarchs alternately took the title Rajakesari (King-lion) or Parakesari (Supreme lion). Also known as Rajakesarivarman or Parakesarivarman.
Chola monarchs alternately took the title Rajakesari (King-lion) or Parakesari (Supreme lion). Also known as Rajakesarivarman or Parakesarivarman.
Rājalīlāsana (राजलीलासन) or Mahārājalīlāsana is a sitting posture with one leg folded at the hip, touching the thigh of the other, which hangs with the heels slightly raised above the pedestal which is touched only by the toe or a… Continue Reading →
silver dance hall (of Natesa at Madurai)
Rajju (Sanskrit: रज्जु), rope; unit of measurement; 1 Rajju = 8 Danda The table shows the different units of measurement in relation to each other: 8 Paramanu = 1 Rathadhūli, 8 Rathadhuli = 1 Vālāgra, 8 Valagra = 1 Likṣā,… Continue Reading →
Rajoguṇa (Sanskrit: रजोगुण) means ‘one who accepts Rajas-Guṇa’. You alone are the creator of the worlds. By assuming the Guṇa of Rajas, you are Brahmā.
Rākshasa (Sanskrit: राक्षस) a group of asura or ungodly people
Equivalent of navaranga, corresponding th the maha-mandapa of southern vimana temples.
aesthetic experience
bouquet of delights
connoisseurs’ delights
appreciation
Chariot; monolithic vimana; temple chariot designed to transport processional images of deities during temple festival processions
Rathadhūli (Sanskrit: रथधूलि), chariot-dust; unit of measurement; 1 Rathadhūli = 8 Paramanu and 8 Rathadhūli = 1 Valagra The table shows the different units of measurement in relation to each other: 8 Paramāṇu = 1 Rathadhūli, 8 Rathadhūli = 1… Continue Reading →
gem strip decoration of coiffure
gem decoration on crown
curvilinear lines
Typical northern-style sanctuary form with curvilinear superstructure, or anda emphasized by the bhadra projections on the sides, and by rekha’s (curvilinear lines) crowned by a neck and amalaka with kalasa on top.
one of the five sthānas or positions
sage
description of the seasons
fine line of hair
a stiff necklace of rudraksha corals etc. or an ornamental motif similar to rudraksha berries
a berry sacred to Shiva, Elaeocarpus Ganitrus
a necklace or garland of rudraksha corals
Mandapa with shrine of Nataraja in the southern temples, generally facing south.
one of the five sthānas or positions
cord worn by high-caste Brahmans, the ‘twice-born’
attentive, formal
hell resting on between 28 and 100 pillars
Square basal, intermediate or terminal section of a pillar separated by octagonal, polygonal or circular intermediary parts (saduram, Tamil: சதுரம்).
mirror on literature/poetry
Mirror of knowledge (Indian philosophy/epistemology)
followers of Śiva
hero’s male friend
heroine’s female friend and confidante
followers of Śakti, the Divine Mother
Śakti, the Divine Mother; feminine power
Śakti (शक्ति) refers to the ‘spear’ or ‘ornamental blade’; a spear-shaped weapon; also synonymous of power and energy; It consist of a rectangular or elliptical and sharp metallic piece attached to a long wooden handle.
a spear-shaped weapon; also synonymous of power and energy
Śaktyāyudha (Sanskrit: शक्त्यायुध) is a spear
(also salai), rectangular ornamental panjara (panchara) with wagon-roof, on the storeys of the vimana; a hut-shaped, barrel-roofed pavilion (cf. kuta and nasi)
main temple-gateway/gopuram with 2 to 4 storeys
Vimana of ayatasra type (oblong on plan) with barrel-vault roof and a series of stupi on its ridge.
Sikhara peculiar to sala-shrine, barrel-vault, wagon-top or inverted, keel-shaped.
(Old Tamil: சாலை, Modern Tamil: சாலை, also sala), rectangular ornamental panjara (panchara) with wagon-roof, on the storeys of the vimana; a hut-shaped, barrel-roofed pavilion (cf. kuta and nasi)
square
Samabhaṅga (समभङ्ग) a posture in which the figure is shown without flexions of the body (see also abhanga, tribhanga and atibhanga); The plumb line runs through the navel from the crown of the head to a point midway between the… Continue Reading →
The attitude of meditation. In this hand-pose, both hands are placed on the lap, right hand on left, with the fingers fully extended and the palm facing upwards. Also called yoga mudrā or dhyāna.
fully ornamented
Samapāda (समपाद) or Samapādasthānaka refers to the ‘erect posture’; In samapāda posture, the head and body are held erect with legs and arms close together. There is no flexion in the body. The gaze is direct. Samapāda-sthānaka is of two… Continue Reading →
Samapādasthānaka (समपादस्थानक) or Samapāda refers to the ‘erect posture’; In samapāda posture, the head and body are held erect with legs and arms close together. There is no flexion in the body. The gaze is direct. Samapāda-sthānaka is of two… Continue Reading →
prominent Shaivite poet-saint, believed to have lived in seventh-century; usually portrayed as a dancing child; one of the muvar (‘Revered Three’)
destructive
the form as destroyer
Sampāda (सम्पाद), straight pose with feet together
Saṃyukta (संयुक्त) or Saṃyuktahasta is the presentation of a double hand in dance gesticulation (cf. asaṃyukta hasta and nṛtta hasta).
Saṃyuktahasta (संयुक्तहस्त) or Saṃyukta is the presentation of a double hand in dance gesticulation (cf. asaṃyukta hasta and nṛtta hasta).
Sanaka (Hindi: सनक) one of the four Sages. Sanaka, Sanandana, Sanātana and Sanatkumāra are the spiritual sons of Brahmā.
Sanakādi (Hindi: सनकादि) are the four Sages: Sanaka, Sanandana, Sanātana and Sanatkumāra. They are the spiritual sons of Brahmā.
Sanandana (Hindi: सनन्दन) one of the four Sages. Sanaka, Sanandana, Sanātana and Sanatkumāra are the spiritual sons of Brahmā.
Sanātana (Hindi: सनातन) one of the four Sages. Sanaka, Sanandana, Sanātana and Sanatkumāra are the spiritual sons of Brahmā.
Sanatkumāra (Hindi: सनत्कुमार) one of the four Sages. Sanaka, Sanandana, Sanātana and Sanatkumāra are the spiritual sons of Brahmā.
hand-pose in the attitude of teaching or exposition; In this hand-pose, the tips of the thumb and the forefinger touch each other to form a circle, while the other fingers are kept open. The palm faces outwards.
Structure with a closed or covered circuit passage or ambulatory round the cella or the sanctum as in a double-walled structure (opposit of nirandhara).
evening
The classical age of the Tamil Nadu prior to Christian era.
Śaṅkha or Sankha (Sanskrit: शङ्ख) is a conch; also refers to a musical instrument; This is a special symbol of Vishṇu. His conch is known as Pañchajanya, being made from the body of the demon Pañchajana. It makes a frightening… Continue Reading →
Sankha or Śaṅkha (Sanskrit: शङ्ख) is a conch (cf. Śaṅkha)
dwarf attendant of Kubera holding a conch in his hand
Śaṅkha-pātra (शङ्खपात्र) a shell cut cross-wise, producing a spiral ring. Used as an ear-ornament.
similar to abhaya
Śānti mudrā (Sanskrit: शान्ति मुद्रा) is a hand pose that symbolizes peacefulness.
seven holy places
Saptatāla (सप्तताल), Measurement of images by seven tālas
head to foot
adornment of Sarasvati’s neck
a pose like a hooded serpent
one of the strings of the vina instrument
serpent-shaped ear-ornament
a rabbit
Sattvaguṇa (Sanskrit: सत्त्वगुण) means ‘one who accepts Sattva-Guṇa’. You alone are the protector of the worlds. By assuming the Guṇa of Sattva, you are Vishnu.
waves of beauty
The Sauṣṭhava (सौष्ठव) of limbs is to be presented by being still, unbent, at ease, not very upright and not much bent. When the waist and the ears as well as the elbow, the shoulder and the head are in… Continue Reading →
Savya-lalita or Savya-lalitāsana; Sitting on a high platform like a stool, with one leg hanging down and the other bent with the sole of the foot facing upwards resting on the leg (also called Lalita or Sukhāsana).
Savya-lalitāsana or Savya-lalita; Sitting on a high platform like a stool, with one leg hanging down and the other bent with the sole of the foot facing upwards resting on the leg (also called Lalita or Sukhāsana).
compiler of the Periya Puranam
pertaining to Śiva
Shārnga (Hindi: शार्ङ्ग) the bow of Vishṇu (cf. dhanus)
The Śāstra (शास्त्र) are classified into Apauruseya (disciplines dealing with knowledge not contingent on individuals) and Pauruseya (disciplines whose knowledge is contingent on the individual).
deceptive hero
Ṣaṭtāla (षट्ताल), Measurement of images by six tālas
Śilpa (शिल्प) designates any kind of art.
light on art
texts of art and architecture (cf. shilpashastra)
Śilpaśāstra (शिल्पशास्त्र), text providing technical and aesthetic guidance to those empowered to mark arts and crafts; texts of art and architecture (cf. shilpa-shastras); refers to the science of architecture; It represents one of the nine divisions of the Paurūṣeya classification… Continue Reading →
artist
pun
erotic rasa or ornament
light on the erotic (rasa)
one of four castes in Hindu society, the lowest stratum of Indian society and form the majority of the population: artisans, tenant farmers, day laborers, servants, agricultural workers, laborers
(also sikaram, Tamil: சிகரம்) top-covering of the vimana, above the griva; the crown; of various shapes such as square, bulbous, octagonal and wagon-roof; Roof of the vimana over the griva, domical or four-sided with a single finial, vaulted with many… Continue Reading →
lion
Lion faced
lit. leonine ear, in an attitude of beckoning
In this hand-pose, the tips of the fingers are loosely joined to the thumb to form a ring. This is done with a view to inserting a fresh flower in the hand of the icon every day. (cf. kaṭaka, kaṭaka… Continue Reading →
In this hand-pose, the tips of the fingers are loosely joined to the thumb to form a ring. This is done with a view to inserting a fresh flower in the hand of the icon every day. (cf. kaṭaka, kaṭaka… Continue Reading →
a clasp with siṁha mukha
Siṃhāsana (सिंहासन), a seating with a lion’s face; four-legged and is rectangular or circular in shape; its four legs are made up of four small lions; Sitting cross-legged as in Kūrmāsana. The palms of the hands are kept on the… Continue Reading →
a circular decorative ornament provided behind the head designed like a wheel or lotus (lotus, wheel or simha-mukha forms), for attachment of flower garlands
turban; a variety of coiffure; smaller version of the headgear made of plaits of hair
Śiva or Shiva, the Destroyer, is one of the important gods of the Hindu pantheon. He is the embodiment of the ‘Tamo-guṇa’, the attribute of darkness, and the destructive fire by which the world is consumed. Śiva is a member… Continue Reading →
a royal title, lit. bearer of Shiva’s feet on his head
(also skandhamala) ornament or streamer of the tassels (of strings, beads etc.) shown at right angles on the shoulder
Mandapa in which the abhisheka (or mandapa) or ceremonial bathing of processional idols of bronze is performed during festivals.; hall for the ceremonial bath of deities
main temple-gateway/gopuram with 1 to 2 storeys
Shiva shown in family ensemble of Uma-Parvati and their child Skanda; especially popular in South India in the Pallava (c. 600-850) and Chola (c. 850-1279) periods.
Sopāśraya (सोपाश्रय) or Sopāśrayāsana, Sitting with legs loosely locked, the soles of the feet resting in the front.
Sopāśrayāsana (सोपाश्रयासन) or Sopāśraya, Sitting with legs loosely locked, the soles of the feet resting in the front.
Śrīfala means a coconut.
Śriṅga or Shringa (Sanskrit: शृङ्ग) is an animal horn
an auspicious sign of varying design representing Sridevi often decorating the chest of Vishnu; triangular or rhomboid mark on the right side of his chest; attribute of Vishnu
Sruk (स्रुक्) is a circular shaped sacrificial spoon (cf. Sruva).
Sruva (स्रुव) or Sruv is an oval shaped sacrificial spoon (cf. Sruk).
(also stambham, Tamil: ஸ்தம்பம்) Pillar (cf. kambam, pada);
Entrance decoration or free-standing decorated entrance without doors and with a festoon spanning the tops of two columns, the festoon primarily being a garland of leaves and flowers, later on taking the form one or more curved and decorated cross-bars,… Continue Reading →
(also stambha, Tamil: ஸ்தம்பம்) Pillar (cf. kambam, pada);
Sthāna (स्थान) refers to ‘standing posture’ (cf. Sthānaka or Sthanaka). The six different kinds of sthānas are as follows: Vaisnava, Sampāda, Vaisakha, Mandala, Alidha, Pratyalidha.
necklet touching the breasts
Sthānaka or Sthanaka (स्थानक) refers to ‘standing posture’ (cf. sthāna). The sthānaka in iconography has two typs: samapada-sthānaka and kayotsarga-sthānaka.
Sthanaka or Sthānaka (स्थानक) refers to ‘standing posture’ (cf. sthāna). The sthānaka in iconography has two typs: samapada-sthānaka and kayotsarga-sthānaka.
Sthānāsana or Sthanāsana (स्थानासन) refers to the posture dependent on the sthāna, and represents one of the five types of āsana.
Sthanāsana or Sthānāsana (स्थानासन) refers to the posture dependent on the sthāna, and represents one of the five types of āsana.
artisans, architects, artists, metal sculptors, makers of icons, master builder, sculptor
(also stupika, Tamil: ஸ்தூபி) Finial, morphologically the ushnisha, taking in later times the form of a purna ghata or purna kumbha, forming the topmost or ultimate member of the vimana, gopura or any other structure.; pot-shaped crowning element over the… Continue Reading →
(also stupi, Tamil: ஸ்தூபி) Finial, morphologically the ushnisha, taking in later times the form of a purna ghata or purna kumbha, forming the topmost or ultimate member of the vimana, gopura or any other structure.; pot-shaped crowning element over the… Continue Reading →
hand with pointing finger in terrifying attitude; In this hand-pose, the projected forefinger points to an object below.
(also sukanasika or sukhanasi), Integral forward projection of the tiers of the superstructure below the griva and amalaka level in northern prasada’s coming over the antarala and forming its roof; has a nasika front, enclosing bas-relief sculptures inside the arch…. Continue Reading →
(also sukanasa or sukhanasi), Integral forward projection of the tiers of the superstructure below the griva and amalaka level in northern prasada’s coming over the antarala and forming its roof; has a nasika front, enclosing bas-relief sculptures inside the arch…. Continue Reading →
Sukha (सुख), Sitting in any comfortable position.
(also sukanasika or sukanasa), vestibule (cf. antarala)
Sukhāsana (Sanskrit: सुखासन) seated at comfortable posture; Sitting on a high pedestal as on a stool, with one leg hanging down and the other folded and resting on a cushion or a pedestal (cf. Savya-lalita or Lalita).
(Tamil: சூலம், also śūlam), a trident, spear or pointed weapon (cf. triśūlam); The weapon of Śiva. It may look like a javelin and have one pointed dart or it may be a trident.
(Tamil: சூலம், also śūla), a trident, spear or pointed weapon (cf. triśūlam) The weapon of Śiva. It may look like a javelin and have one pointed dart or it may be a trident.
ninth-century Shaivite poet-saint, one of the muvar (‘Revered Three’)
the balustrade to the upper part of the mandapa is sculptural (surul-yali, Tamil: சுருள்-யாளி)
Sūrya (Sanskrit: सूर्य) God of Sun; one of the Navagraha, the nine planetary divinities
a motif of sun
hollow (casting)
The course which surrounding the sanctuary is called suttupprakaram (Tamil: சுத்துப்பாரகாரம்).
golden jewel shaped like chhannavira
Svastika (स्वस्तिक) or Svastikasana, Sitting cross-legged with the toes of the feet touching the opposite knees.
Svastikāsana (स्वस्तिकासन) or Svastika, Sitting cross-legged with the toes of the feet touching the opposite knees.
part of the capital of a pillar (cf. stambham); Saucer-shaped capital member above the kalasa and below the kumbha (tadi, Tamil: தாடி).
the storeys (cf. bhumi) of the vimana or gopura; a unit of measurement for images (Tāla, Hindi: ताल, Tamil: தாலா); In Indian iconometry, the Tāla system of measurement is used for sculpture or casting icons in metal. The face, from… Continue Reading →
shrine
Tamoguṇa (Sanskrit: तमोगुण) means ‘one who accepts Tamas-Guṇa’. You alone are the destroyer of the worlds. By assuming the Guṇa of Sattva, you are Shiva.
Tāṇḍava (Sanskrit: ताण्डव) is the cosmic dance of Śiva; a wild style of dancing
dance poses;
Ṭaṅka (टङ्क) is a chisel used by the stone-masons of India; also a unit for measurement of weight
Wave; wavy roll-ornament of the corbel resembling the ‘reed’ moulding or ‘reeding’ of European classical architecture.
Corbel-bracket with roll- or taranga-moulding.
Tarjanī (Sanskrit: तर्जनी) hand in attitude of threatening; In this hand-pose, the projected forefinger points to an object above. It is also used for warning or scolding someone.
The hand-pose of homage. The arm is kept level with the shoulder. The palm is turned in, and the fingers slightly bent and point towards the shoulders. This is the mudra of Namasangīti.
circular ear-ornament
Dravidian language spoken in Andhra Pradesh and neighbouring regions. It is spoken by 81 million people in southern India. This makes Telugu the largest Dravidian language and the fourth most spoken language in India after Hindi, Bengali and Marathi.
One or more chariots (Tamil: தேர்) that stand at the entrance of the temple to transport the gods to the church services on festival days.
Tamil classification of women: a woman twenty-five to thirty years of age
terrific means excellent (see. pacific)
first seven volumes of the Shaivite canon of devotional poetry, the Tirumurai, consisting of the hymns of Sambandar, Appar and Sundarar
a marriage token worn at the throat (cf. tiru)
a circular mark on the forehead; sectarian mark worn on forehand by Hindus to denote religious allegiance; believed to have talismanic properties
holy place of pilgrimage, associated with rivers and bathing places because water is believed to wash away sins
a marriage token worn at the throat (cf. thali)
ardha-mandapa or vestibule (cf. ardha-mandapa)
covered mandapa round the sanctum
peristyle: enclosure-wall with a mandapa
procession of the Lord of Kailasa
name of the Shaiva sacred canon that includes the Tevaram, and has an additional five books that concludes with the Periya Puranam
an arch with tongues of flame attached to it (cf. prabhavali)
Tomara (तोमर) an iron club, lance or javelin.
Tomaṣa is an iron club.
a mostly freestanding gate; (plural: toranas) Free-standing ornamental foliar and floral festoon forming entrance supported by two upright columns and often interlaced vertically; (jala-torana): copies in wood and stone with greater elaboration and carving, or taking the form of makara-torana,… Continue Reading →
unit of measurement
Tribhaṅga (त्रिभङ्ग), literally ‘triple-bent’; triflex (in the standing pose of a figure); consisting of three bows (neck, hips and knees) existing posture of a figure in the form of an ‘S’, she is considered graceful and sensual; exaggerated contrapposto
Tridaṇḍī (त्रिदण्डी) a triple shaft.
Pillar or pilaster supporting torana; three vimana’s connected by a common adhishthana in a line or placed round a common mandapa, as in Chalukyan types.
Pillar or pilaster supporting torana; three vimana’s connected by a common adhishthana in a line or placed round a common mandapa, as in Chalukyan types.
Triratna (त्रिरत्न); The Three Jewels symbolising the Buddhist Trinity of the Buddha, Dharma (Law), and the Sangha (the community of Buddhists monks and nuns).
Triśūla (त्रिशूल) a trident (cf. śūla); The triśūla represents either the triple function of God – Creation, Protection and Destruction or the three attributes or gunas – Sattva, Rajas and Tamas. Trident, the favourite weapon of Śiva. ‘Tri’ means three… Continue Reading →
Triśūla (त्रिशूल) a trident, spear or pointed weapon (cf. śūlam); The triśūla represents either the triple function of God – Creation, Protection and Destruction or the three attributes or gunas – Sattva, Rajas and Tamas. Trident, the favourite weapon of… Continue Reading →
Tritāla (त्रिताल), Measurement of images by three tālas
the three folds on the abdomen of a woman considered a mark of loveliness and grace
a streamer or loop shown at right angles on the shoulder (see also skandamala); mani-tudi one of small beads
The pillar is formed of three cubical parts called saduram and of two prismatic parts with facets called pattai (tun, Tamil: தூண்).
waist-band; an ornamental belt worn around the stomach
Fenestrated pattern of coalescent kudu-like arches and half-arches, typical of northern-style temples and found in the facade arches of Buddhist cave-temples; used in the northern temples as crest over devakoshtha’s also in place of the miniature shrines tops of such… Continue Reading →
(also ugra) fierce, violent, powerful
Tamil word referring to both a procession and a poem describing a procession
ceremonial formulas
(also upanam, Tamil: உபானம்) Lowermost part or footing of the basement or adhishthana, projecting beyond the vertical norm and surmounted by the jagati. It forms the lowermost visible part of the vimana, the uppermost limit of the same being the… Continue Reading →
(also upana, Tamil: உபானம்) Lowermost part or footing of the basement or adhishthana, projecting beyond the vertical norm and surmounted by the jagati. It forms the lowermost visible part of the vimana, the uppermost limit of the same being the… Continue Reading →
(also upapitam, Tamil: உபபீடம்) the basement below the adhishthanam (also adhishthana); Additional moulded platform or sub-base below the basement or adhishthana with mouldings repeating thos of the adhishthana, or often reduced in number or simpler.
(also upapita, Tamil: உபபீடம்) the basement below the adhishthanam (also adhishthana); Additional moulded platform or sub-base below the basement or adhishthana with mouldings repeating thos of the adhishthana, or often reduced in number or simpler.
Upavīta (उपवीत) a sacred thread worn across the left shoulder and under the right arm (see also yajnopavita). Deer skin worn from over left shoulder, across the body and below the right arm, coming up again at the back to… Continue Reading →
lintel, see uttiram
dot between the eyebrow
Literally turban; generally applied to the cranial protuberance on the head of Buddha
Utkuṭika or Utkuṭikāsana is a peculiar posture in which the person sits with his heels kept close to the bottom and with the back slightly curved; a pose of the leg tucked up on the seat
Utkuṭikāsana (उत्कुटिकासन) or Utkuṭika is a peculiar posture in which the person sits with his heels kept close to the bottom and with the back slightly curved; seated with a bent leg raised on the seat itself and the other… Continue Reading →
generally means a festival or celebration or any joyous occasion; religious festivals focused on processions and held periodically, the most spectacular being annual parades
Mandapa in which the processional deities of bronze are kept during celebrations.
a movable festival image or idol of gods and saints used for procession, generally bronze; is a form of a murti (icon) which represents a deity. The portable utsava-murti is employed in the tradition of temple processions, serving as a… Continue Reading →
Uttamā (उत्तमा), highest
Rama’s last act
This is the hand-pose of perfection. In this all the fingers are locked, palms together, with the thumbs and the index fingers touching at the tips, with the fingers extended upwards. It is the mudra of Gautama and Namasangīti.
a shawl-like garment worn across the upper part of the body; upper garment; an upper cloth
(also uttiram, Tamil: உத்திரம்) cross-beam
(also uttira, Tamil: உத்திரம்) cross-beam
hall of disputation
The deities are often accompanied by a ‘vehicle’ or mount, which the deity rides and helps with their identification. The goose or swan is the mount of Brahmā, the bull Nandi is the mount of Shiva, Garuda is that of… Continue Reading →
cross belt
Vaiśākha (वैशाख), The two feet three Tala’s and a half apart and the thighs without motion. The two feet to be obliquely placed pointing sideways. Relates to Skanda (Kārtikeya).
libertine
pertaining to Vishṇu
followers of Vishṇu
one of four castes in Hindu society, the occupations are consists mainly of agriculture, taking care of cattle, trade and other business pursuits
Vaiṣṇava (वैष्णव), The feet two Tala’s and a half apart, one for the natural posture and another obliquely placed with toes pointing sideways and the shank bent and limbs with sausthava. Vishṇu is the presiding deity of this Sthana.
standing posture with slightly bent knees
bridal form
The vajra (वज्र) is the special symbol of the Hindu God Indra. With this thunderbolt, he destroys the enemies of Hinduism. Vajrapāṇi, the Buddhist Bodhisattva, also destroys the enemies of Buddhism with his vajra or thunderbolt. In Mesopotamia, the gods… Continue Reading →
This is symbolic of the Supreme and Eternal Buddha. The wrists are crossed at the chest and hold the vajra and ghanta (thunderbolt and bell).
Vajrāsana (वज्रासन), Sitting cross-legged with the soles of the feet turned upwards, the two hands resting on the knees.
vajra instrument
Vakra-daṇḍāyudha (Hindi: वक्र दंडायुद्ध) is a crooked stick
Vālāgra (Sanskrit: वालाग्र), hair-end; unit of measurement; 8 Vālāgra = 1 Liksha The table shows the different units of measurement in relation to each other: 8 Paramanu = 1 Rathadhūli, 8 Rathadhuli = 1 Vālāgra, 8 Vālāgra = 1 Likṣā,… Continue Reading →
the proboscis of Gaṇeśa turned right instead of the usual left
wristlet, bangle or quoit (cf. kankana)
a simple wristlet
The left leg is folded and the right kept dangling below.
Vishnu’s garland
a stiff decorated ornament worn on the upper arm
The hand-pose which confers grace or boon. In this gesture of the hand, the palm of the hand with fingers extended downward, is held below the waist, as far as the hand can reach.; see varada, varada hasta and varada… Continue Reading →
a gesture bestowing boon; see vara, varada hasta and varada mudrā
a hand lowered; palm forward, fingers pointing downwards; The hand-pose which confers grace or boon. In this gesture of the hand, the palm of the hand with fingers extended downward, is held below the waist, as far as the hand… Continue Reading →
hand-pose conferring a boon; The hand-pose which confers grace or boon. In this gesture of the hand, the palm of the hand with fingers extended downward, is held below the waist, as far as the hand can reach.; see vara,… Continue Reading →
(also vayil) the doors of the monumental entrances of the gopuram is ordinarily twice as hight as it wide. The height is often considerable. The two shutters (flaps of a door) are made of wood and have partitions. (vasal, Tamil:… Continue Reading →
Vāstuśāstra (वास्तुशास्त्र) or Vastu-shastra (also Vastu-veda and Vastu-vidya) refers to the knowledge of building science and architecture, i.e. the planning of buildings, the creation of gardens, parks, cities, etc.
window
boy
(also vasal) the doors of the monumental entrances of the gopuram is ordinarily twice as hight as it wide. The height is often considerable. The two shutters (flaps of a door) are made of wood and have partitions. (vayil, Tamil:… Continue Reading →
Veda (Sanskrit: वेद) means the sacred knowledge (cf. vedas); as a hand object symbolized by a book
‘knowledge’ – sacred Hindu scriptures, regarded by orthodoxy as divine revelation; an ancient Indian sacred collection of Vedic Sanskrit hymns.
railing
a single edged spear
a human skull
Veṇu (वेणु) is a flute or pipe made from a thin and hollow bamboo (cf. Muraḷī)
male skirt (also lungi or dhoti)
prostitute
celestial being shown as flying in the air
Buddhist monastery; in India especially associated with rock-cut halls
procession of Vikrama Chola
Vimalāsana (विमलासन), Hexagonal in shape and is used when offerings are to be made; used as a pitha
The sanctum together with its superstructure (from the upapitam to the stupi); (vimana, Tamil: விமானம்); ‘chariot of the gods’ – main tower of temple, considered to be a divine aerial palace inhabited by the gods; also applied to temple as… Continue Reading →
sculpture of a deity placed in a niche on the outer wall of the garbhagriha or on the upper tala of the vimana
Vīṇā (वीणा); a lute, a long-necked stringed instrument with globular resonator; A stringed musical instrument, the favourite of Sarasvatī. It consists of a longish hollow cylindrical shaft (cf. vīṇā-daṇḍa), with a number of keys on its sides. A string or… Continue Reading →
the hollow shaft of the vīṇā instrument
‘Player of the vīṇā’- Śiva represented holding a vīṇā, denoting his role as divine teacher of music
Vīrā (Sanskrit: वीर) means ‘heroic’; Sitting in heroic posture with the left leg resting upon the right thigh (cf. vīrāsana).
an ornament worn in token of heroic deeds, usually worn high up on the ankle
Vīrāsana (वीरासन) is the heroic seated posture with one leg on the other (cf. vīra)
ritual performed by priest at end of worship (puja) to send away the deity after temporary inhabitation of icon
Vishṇu, the Protector, is one of the important gods of the Hindu pantheon. He is the embodiment of ‘Sattva-guṇa’, the property of mercy and goodness, by which the world is preserved. Vishṇu is a member of the Hindu triad, and… Continue Reading →
This hand-pose is indicative of astonishment and wonder. In the hand-gesture, the fore-arm is lifted and the palm turned inward with the fingers spread out in a circular manner to denote inquiry; also represents the surprise
also viśva-padmāsana; double-petalled lotus pedestal; used as a pitha
inverted lotus
Viśvavajra (विश्ववज्र) a double thunderbolt.
The mudra of argument. In this hand-pose, the thumb and index finger are joined to make a ring. All the other fingers are extended upwards.
Vitasti (Sanskrit: वितस्ति), span; a unit of measurement of distance; 1 Vitasti = 12 Aṅgulas The table shows the different units of measurement in relation to each other: 8 Paramanu = 1 Rathadhūli, 8 Rathadhuli = 1 Vālāgra, 8 Valagra… Continue Reading →
circular
The vyāghra-chāmara is a tiger-skin. It represents Desire (Tṛishṇā).
Vyājinī is a celestial damsel
hand gesture of explanation, especially associated with Śiva and his followers
hand-pose in the attitude of teaching or exposition; In this hand-pose, the tips of the thumb and the forefinger touch each other to form a circle, while the other fingers are kept open. The palm faces outwards.
Loenine figure
Decorative frieze with vyala’s usually as part of the adhishthana and on top of the entablature of each tala, marking the end of the cross-joists in original timberwork.
Decorative frieze with vyala’s usually as part of the adhishthana and on top of the entablature of each tala, marking the end of the cross-joists in original timberwork.
the great seer who edited the Vedas
Creatures with elephant body and lion face (cf. yali)
sacrifice, devotion, worship, offering; a Hindu ritual performed in front of a sacred fire and often accompanied by mantras
Yajñopavita (यज्ञोपवित) is a sacred ceremonial thread and is used to describe Śiva, like muktayajñopavita, vastrayajñopavita, ajinayajñopavita etc.
A class of demigods or minor deities; nature spirit, could be benevolent or malefic, in Hindu and Buddhist mythology (female: yakshi)
(yalam, Tamil: யாளம்) architectural part of the prastaram and is decorated with the yali (cf. yahzi)
leograph (cf. yahzi)
Yava (Sanskrit: यव), barley-corn; unit of measurement; 1 Yava = 8 Yuka and 8 Yava = 1 Angula The table shows the different units of measurement in relation to each other: 8 Paramanu = 1 Rathadhūli, 8 Rathadhuli = 1… Continue Reading →
Yoga (Sanskrit: योग) is a meditative pose; Seated cross-legged, with soles of the feet turned upwards, with two hands on the lap, one upon the other, in an attitude of meditation.
Yogamudrā (Sanskrit: योगमुद्रा), In this gesture of the hand, the palm of the right hand is placed in the palm of the left hand. Both hands rest on the crossed legs of the seated image. This is the hand gesture… Continue Reading →
Yogapaṭṭa (योगपट्ट), a band-strip for binding the legs in a meditation pose (cf. paryanka-bandha); cloth worn during meditation; a cloth thrown over the back and knees of an ascetic during meditation
Yogāsana (योगासन) is a meditative pose; Seated cross-legged, with soles of the feet turned upwards, with two hands on the lap, one upon the other, in an attitude of meditation. Alternativly, the octagonal shaped seat or pedestal; it is used… Continue Reading →
Yojana (Sanskrit: योजन) is a unit of measurement of distance, according to the Vāyu Purāṇa; 8000 Dhanu = 1 Yojana.
is an abstract or aniconic representation of the Hindu goddess Śakti, literally ‘womb’ and the female organs of generation
Yūka (यूक), louse; unit of measurement; 1 Yūka = 8 Liksha and 8 Yūka = 1 Yava The table shows the different units of measurement in relation to each other: 8 Paramanu = 1 Rathadhūli, 8 Rathadhuli = 1 Vālāgra,… Continue Reading →
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