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.
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