Dance imagery in South Indian Temples: study of the 108-karana sculptures

 
 
 
 

Dance imagery in South Indian Temples: study of the 108-karana sculptures

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dc.contributor.advisor Huntington, Susan L. en_US
dc.contributor.author Shankar, Bindu S. en_US
dc.date.accessioned 2009-04-10T04:28:42Z
dc.date.available 2009-04-10T04:28:42Z
dc.date.created 2004 en_US
dc.date.issued 2009-04-10T04:28:42Z
dc.identifier.uri http://rave.ohiolink.edu/etdc/view?acc_num=osu1079459926 en_US
dc.identifier.uri http://hdl.handle.net/2374.OX/106835
dc.description This dissertation explores the theme of dance imagery in south Indian temples by focusing on one aspect of dance expression, namely, the 108-karana sculptures. The immense popularity of dance to the south Indian temple is attested by the profusion of dance sculptures, erection of dance pavilions (nrtta mandapas), and employment of dancers (devaradiyar). However, dance sculptures are considered merely decorative addtitions to a temple. This work investigates and interprets the function and meaning of dance imagery to the Tamil temple. Five temples display prominently the collective 108-karana program from the eleventh to around the 17th century. The Rajaraja Temple at Thanjavur (985-1015 C.E.) displays the 108-karana reliefs in the central shrine. From their central location in the Rajaraja Temple, the 108 karana move to the external precincts, namely the outermost gopura. In the Sarangapani Temple (12-13th century) at Kumbakonam, the 108 karana are located in the external façade of the outer east gopura. The subsequent instances of the 108 karana, the Nataraja Temple at Cidambaram (12th-16th C.E.), the Arunachalesvara Temple at Tiruvannamalai (16th C.E.), and the Vriddhagirisvara Temple at Vriddhachalam (16th-17th C.E.), also use this relocation. Situated in the inner passageway of the outermost gopura, the 108-karana are arranged on vertical pilasters in a sequence that moves vertically from bottom to top. In addition, the 108 karana is present in all four of the outer gopuras that encircle the central shrine. This study situates the 108-karana sculptures within the larger iconographic program of the temple and its structures. In doing so, it analyzes and presents the meaning and relevance of the 108 karana to the vimana, the gopura, and to temple vocabulary. It investigates the 108 karana’s agency in communicating themes associated with Saivite legend. In doing so, it disputes the prevailing notion that dance sculptures are merely aesthetic additions to the temple that carry little or no meaning. Rather, it interprets dance and the 108 karana as agents for depicting visually, core aspects of Hindu worship – ritual, transformation, and meditation. en_US
dc.format application/pdf en_US
dc.format 355p. en_US
dc.rights unrestricted en_US
dc.rights Copyright and permissions information available at the source archive en_US
dc.subject dance en_US
dc.subject dance sculpture en_US
dc.subject 108 karana en_US
dc.subject temple iconography en_US
dc.subject dance ritual en_US
dc.subject yogic meditation en_US
dc.subject south Asian art en_US
dc.subject south Indian temple en_US
dc.subject Rajaraja Temple en_US
dc.subject Sarangapani Temple en_US
dc.subject Nataraja Temple en_US
dc.subject Arunachalesvara Temple en_US
dc.subject Vriddhagirisvara Temple en_US
dc.title Dance imagery in South Indian Temples: study of the 108-karana sculptures en_US
dc.type Electronic Thesis or Dissertation en_US
dc.degree.name PhD en_US
dc.degree.level doctoral en_US
dc.degree.discipline History of Art en_US
dc.degree.grantor Ohio State University en_US
dc.contributor.publisher Ohio State University / OhioLINK en_US

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