Several arguments in identification of penance panel at Māmallapuram have been presented by scholars. The arguments are well documented in the following link which is sufficient for reference. http://puratattva.in/2016/07/07/mamallapuram-the-great-penance-3718 Nevertheless, I would like to cite some more references to clarify the details of the relief and its identification. Both the scenes – Bhagīratha’s penance and…
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We have seen So many Gaṇas in the sculptures accompanying Lord Śiva and other some deities. They are often seen in the Valabhi portion which is termed as “Bhūtamālā”. They are seen doing mischievous actions and with several shapes and heads. Shall we see the purāṇic details behind them? While explaining the creation…
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Valitoruka This is third in the order. Nāṭya śāstra describes the karaṇa as follows. शुकतुण्डौ यदा हस्तौ व्यावृत्तपरिवर्त्तितौ। ऊरू च वलितौ यस्मिन् वलितोरुकमुच्यते।। The Karaṇa is called as “Valitoruka” where the śukatuṇḍa hastas are in Vyāvṛtta and Parivartita mode and thighs (ūrū) are in the valita position. Abhinava gupta further…
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VARTITA This Karaṇa is second in order. Bharata’s Nāṭyaśāstra defines this karaṇa as follows. कुञ्चितौ मणिबन्धे तु व्यावृत्तौ परिवर्त्तितौ। हस्तौ निपतितौ चोर्वोः वर्तितं करणं तु तत्।। Hands that are bent at the wrist should be rotated in Vyāvṛtta mode and again in Parivartita mode. Then they should be placed on the…
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Karaṇas, the most fascinating subject in the field of Indian dramaturgy, enjoy the attention of scholars. A karaṇa is described as the joined motion of hands and legs. (Hasta-pāda-samāyogaḥ Nṛttasya Karaṇam Bhavet) Such karaṇas are enlisted in the fourth chapter of Nāṭyaśāstra written by Bharatamuni and the chapter itself is named as Tāṇḍava lakṣaṇa….
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According to the scriptures the Śiva Liṅgas are divided into the following categories. उद्भूतं दैविकं चैव मानुषं गाणवं तथा । एवं चतुर्विधं लिङ्गं स्वयम्भुरिति कीर्तितम्।। (मानसारः) Udbhūta (or) Svayambhū, Daivika, Mānuṣa and Gāṇava are the four divisions. The definitions including that of ārṣa is also given there. तत्स्थाप्य स्वयमुद्भूतं स्वयम्भूरिति कीर्तितः १०२ देवैश्च…
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We know that the weapons of the deities in Indian iconography are the symbolic representation of the qualities of the deity. The two weapons that are particularly related with Kārtikeya and Indra are Vajra and śakti. But there is a small confusion between the forms of these two weapons. By hearing the word śakti,…
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We have already seen that there are three Nandis in my Father’s temple. Dvārapāla Nandi accompanied with Mahākāla The Adhikāra Nandi and The Bull Nandi We have seen the legend and iconography of Nandi and Mahākāla. Now we can see about Adhikāra Nandi. Legends 1.1. Previous birth Vīraka was a chieftain of gaṇas of Kailāsa….
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Got this picture from Sri. Arvind Venkatraman. The image is from the twenty first cave of Ellora. Here my Father is depicted with his ferocious form. He stands in Ati bhaṅga position and has four hands. He has Jaṭāmakuṭa and ferocious look. He smiles with his tusks. His ears are decorated with karṇakuṇḍala and…
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Saw the following picture from Lalguḍi near Tiruccirāpaḷḷi, Tamilnadu at Net. This is a rare form of my father. The sculpture has a Jaṭābhāra on the top with a karoṭikā (skull) at the centre. The Lalāṭa paṭṭa is well fixed he smiles with a divine pleasure though he has sharp tusks. He has Makara…
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