DANCE IMAGERY IN SOUTH INDIAN TEMPLES : STUDY OF THE 108-KARANA SCULPTURES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Bindu S. Shankar, M.A., M. Phil. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Susan L. Huntington, Adviser Professor John C. Huntington Professor Howard Crane ----------------------------------------- Adviser History of Art Graduate Program Copyright by Bindu S. Shankar 2004 ABSTRACT 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.), ii 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. iii DEDICATION Dedicated to my parents, Radha and ERBS Sundaram iv ACKNOWLEDGMENTS I wish to thank my adviser, Susan Huntington, for her guidance, intellectual input and suggestive criticisms in bringing together this dissertation. Her knowledge, approach and interpretation of Indian art have been a source of inspiration to me. I am grateful to John Huntington for introducing me to the world of Buddhism and Indian meditational practice. Together, my years of study with Susan and John have resulted in my intellectual growth and maturity. My field research was supported by the Graduate School Alumni Research Award and a travel grant from the Murnane Fund in the department of Art History. I am thankful for receiving both these awards. To the staff of my Alma mater, Kalakshetra- College of Fine Arts, I am thankful for the rigorous training in Bharata Natyam. I am especially grateful to Sharada Hoffman for her dedicated and passionate instruction that greatly enriched my learning experience. I received help from many individuals during the course of my field research. Pradeep Mahendiratta of the AIIS was instrumental in my getting v permission letters from the Archaeological Survey of India. Priests in many of the temples were considerate to my queries and S.S. K. Sethu Diksitar, a hereditary priest of the Cidambaram temple was especially helpful in my photo documentation. While in India, I had valuable discussions with N. Sethuraman of Kumbakonam and R. Nagaswamy, both scholars in the field. I am indebted to my friends in the Art history department at Ohio State for their friendship and keen interest in my study. For this study to have reached fruition, I acknowledge the strong backing I received from my family. Shankar, my husband has provided me solid support and encouragement, and patiently endured my many frustrations with technological aspects of this project. Sandhya, my daughter cheerfully bore my many absences from home. I appreciate the assistance of my younger brother, Sekhar during my field trips. My elder brother, Shankar, and aunt, Dakshi, were a constant source of encouragement and comfort. Finally, my parents, Radha and ERBS Sundaram have nurtured my interest in the arts and journeyed along with me through the highs and lows of this project. To them, my greatest cheerleaders, I dedicate this work. vi VITA July 13th, 1965…………………………….Born- Madras, India. 1991……………………………………….M.Phil. Archaeology and Ancient History, University of Madras, India. 1988……………………………………….M.A. History, University of Mysore. P.G. Dip. in Bharata Natyam, Kalakshetra. 1986 ……………………………………...B.A. History, University of Mysore. Dip. In Bharata Natyam, Kalakshetra. 1991- present ……………………………. Doctoral Study and Research, The Ohio State University. FIELDS OF STUDY Major Field : History of Art South Asian Art vii TABLE OF CONTENTS ABSTRACT ……………………………………………………………….……….. ii DEDICATION …………………………………………………………….……….. iv ACKNOWLEDGMENTS ………………………………………………………….. v VITA ……………………………………………………………………….……….. vii LIST OF FIGURES ………………………………………………………..……….. x MASTER LIST OF DIACRITICS ………………………………………..……….. xvi CHAPTERS 1. INTRODUCTION ……………………………………..…………………… 1 Introduction to the topic………………………………………….………… 1 Objectives of the study…………………………………………..………… 8 Methodology………………………………………………………………… 8 Literature Survey and State of Knowledge………………………………… 14 Contribution………………………………………………………………… 31 2. 108 KARANA IN LITERATURE AND ART …………………………….. 38 Karana: Meaning, Definition, and Analysis ………..…………………… 38 108 karana/ formal dance in Literature…………………………………… 45 108 karana/formal dance in Art…………………………………………… 58 Summary…………………………………………………………………. 66 3. 108 KARANA AT THE FIVE TEMPLES …………………………………. 74 108 karana in the Rajaraja Temple………………………………………. 75 Historical background ………………………………. 75 Location and Characteristics of 108-karana sculptures…………….. 81 Analysis of the 108-karana sculptures……………………………… 84 108 karana in the Sarangapani Temple ………………………………. 85 Historical Background ………………………………. 85 Location and Charateristics of 108-karana sculptures………………. 91 Analysis of the 108 karana ………………………………. 94 viii 108 karana in the Nataraja Temple ………………………………. 97 Historical Background ………………………………. 97 Location and Characteristics of 108-karana sculptures……………… 103 Analysis of the 108 karana Sculptures……………………………… 107 108 karana in the Arunacalesvara Temple………………………………. 109 Historical Background ………………………………. 109 Location and Characteristics of 108-karana sculptures……………….115 Analysis of the 108 -karana sculptures……………………………… 118 108 karana in the Vriddhagirisvara Temple……………………………….120 Historical Background ………………………………. 120 Location and Characteristics of 108-karana sculptures……………. 127 Analysis of the 108 karana sculptures……………………………… 130 4. Agency of Dance and the 108 karana …………………..…………………. 165 Dance and the 108 karana: Agency of Movement and Communication….. 167 Dance and the 108 karana: agency of Ritual……………………………… 178 Dance and the 108 karana: Agency of Transformation …………………. 196 Dance and the 108 karana: Agency of Yogic Meditation………………… 210 Summary ………………………………………………………………… 230 5. Symbolism of the 108 karana in the Temples………………………………. 234 Iconography and Agency of Dance in vimana: The Rajaraja Temple …. 235 Iconography and Agency of Dance in gopura :Nataraja, Arunacala, and Vriddhagirisvara Temples………………………………………..…. 255 Symbolism and the yogi : Relationship between the vimana and gopura.. 262 Siva, Visnu, and the 108 karana: The Sarangapani Temple. ……………. 270 Summary…………………………………………………………………. 274 6. Conclusions …………………………………………………………………. 284 Appendix ……………………………………….………………………………….. 291 Bibliography ………………………………………………….………………….. 327 ix LIST OF FIGURES Fig. 1. 1. Map of south India highlighting the state of Tamilnadu. (courtesy: all-indiatravel.com). ………………………………………………………………………… 32 Fig. 1.2 Overview of 108 karana, south wall, inner corridor, Rajaraja Temple, Thanjavur, 985- 1015 C.E. …………………………………………………………………………………… 33 Fig. 1.3 Overview of 108 karana, east gopura, east façade, Sarangapani Temple, Kumbakonam, later Cola period, 12th-13th centuries. ……………………………………… 34 Fig. 1.4 108 karana, west gopura, northwest wall, Nataraja Temple, Cidambaram, later Cola period, 12th-13th centuries. …………………………………………………………… 35 Fig. 1.5 Overview of 108 karana, east gopura, southwest wall, Arunacalesvara Temple, Tiruvannamalai, Vijayanagara period, 16th century.………………………………………… 36 Fig. 1.6 Overview of 108 karana, east gopura, northwest wall, Vriddhagirsvara Temple, Vriddhachalam, Vijayanagara period, 16th-17th centuries.…………………………………… 37 Fig.2.1 Adoration of the turban relic by dancers. Ajatasatru Pillar, Bharhut, Sunga period, 2nd B.C.E. (courtesy: Sucharita Khanna). ……………………………………………………… 68 Fig. 2.2 Dancing Scene. cave 7, Aurangabad, ca. mid-sixth century.………………………. 68 Fig. 2.3 Siva-Natesa,