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).
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