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)
hero’s male friend
heroine’s female friend and confidante
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
(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-mudra or dhyana.
fully ornamented
Samapāda (समपाद) or Samapādasthānaka refers to the ‘erect posture’; In samapada 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. Samapada-sthanaka is of two… Continue Reading →
Samapādasthānaka (समपादस्थानक) or Samapada refers to the ‘erect posture’; In samapada 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; standing with the feet together or even
Saṃyukta (संयुक्त) or Saṃyuktahasta is the presentation of a double hand in dance gesticulation (cf. asamyukta-hasta and nrtta-hasta).
Saṃyuktahasta (संयुक्तहस्त) or Saṃyukta is the presentation of a double hand in dance gesticulation (cf. asamyukta-hasta and nrtta-hasta).
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 (Sanskrit: शङ्ख) is a conch; 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 noise and terrifies… Continue Reading →
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
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
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-lalitasana; 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 Sukhasana).
Savya-lalitasana 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 Sukhasana).
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