View allAll Photos Tagged KAILASA
Ellora is an ancient historical site which is best known for the Kailash Temple, the world's largest temple made from a single piece of rock. The original rock was 80m x 50m x 32m.
. . . it took ten generations to cut this temple out of a single rock! To understand my pictures please read the explanation below:
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The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
The Kailasa Temple is notable for its vertical excavation - carvers started at the top of the original rock, and excavated downward. The traditional methods were rigidly followed by the master architect which could not have been achieved by excavating from the front. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. The courtyard is edged by a columned arcade three stories high. The arcades are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are two structures. As is traditional in Shiva temples, an image of the sacred bull Nandi fronts the central temple housing the lingam. In Cave 16, the Nandi Mandapa and main Shiva temple are each about 7 metres high, and built on two storeys. The lower stories of the Nandi Mandapa are both solid structures, decorated with elaborate illustrative carvings. The base of the temple has been carved to suggest that elephants are holding the structure aloft.
A rock bridge connects the Nandi Mandapa to the porch of the temple. The structure itself is a tall pyramidic South Indian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous stone lingam at its heart – is carved with niches, plasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
Stone inscriptions in Pali/Brahmi at Kailasanathar temple, Kancee
Kailasanathar Temple in Kanceepuram/Kanchipuram. A temple that predates the ones at Mahabalipuram, this particular style has inspired the temples of Chola period - notably Big temple at Tanjavur.
My blog post about the trip to Kanceepuram is in two parts - Part 1 and Part 2
The Kailasha temple is the largest of the rock-cut Hindu temples at the Ellora Caves. A megalith carved from a rock cliff face, it is considered as one of the most remarkable cave temples in the world because of its size, architecture and sculptural treatment, and "the climax of the rock-cut phase of Indian architecture". The top of the superstructure over the sanctuary is 32.6 metres (107 ft) above the level of the court below, although the rock face slopes downwards from the rear of the temple to the front. Archaeologists believe it is made from a single rock.
Ellora is a UNESCO World Heritage Site located in Aurangabad, Maharashtra, India. It is one of the largest rock-cut Hindu temple cave complexes in the world, with artwork dating from the period 600–1000 CE.
There are over 100 caves at the site, all excavated from the basalt cliffs in the Charanandri Hills, 34 of which are open to public. These consist of 17 Hindu (caves 13–29), 12 Buddhist (caves 1–12) and 5 Jain (caves 30–34) caves, each group representing deities and mythologies prevalent in the 1st millennium CE, as well as monasteries of each respective religion. They were built close to one another and illustrate the religious harmony that existed in ancient India.
The Kailasa temple (also written Kailāsa, Kailash and Kailasanatha temple) is a famous rock cut monument, one of the 34 monasteries and temples known collectively as the Ellora Caves, extending over more than 2 km, that were dug side by side in the wall of a high basalt cliff in the complex located at Ellora, Maharashtra, India. Of these, the Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between dated 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock. It was built in the 8th century by the Rashtrakuta king Krishna I.
Ground plan of the temple
The Kailasa Temple is notable for its vertical excavation—carvers started at the top of the original rock, and excavated downward. The traditional methods were rigidly followed by the master architect which could not have been achieved by excavating from the front.
It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. The courtyard is edged by a columned arcade three stories high. The arcades are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are two structures. As is traditional in Shiva temples, an image of the sacred bull Nandi fronts the central temple housing the lingam. In Cave 16, the Nandi Mandapa and main Shiva temple are each about 7 metres high, and built on two storeys. The lower stories of the Nandi Mandapa are both solid structures, decorated with elaborate illustrative carvings. The base of the temple has been carved to suggest that elephants are holding the structure aloft.
A rock bridge connects the Nandi Mandapa to the porch of the temple. The temple itself is a tall pyramidic structure reminiscent of a South Indian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous stone lingam at its heart – is carved with niches, plasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
The Kailasa Temple is notable for its vertical excavation - carvers started at the top of the original rock, and excavated downward. The traditional methods were rigidly followed by the master architect which could not have been achieved by excavating from the front. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. The courtyard is edged by a columned arcade three stories high. The arcades are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are two structures. As is traditional in Shiva temples, an image of the sacred bull Nandi fronts the central temple housing the lingam. In Cave 16, the Nandi Mandapa and main Shiva temple are each about 7 metres high, and built on two storeys. The lower stories of the Nandi Mandapa are both solid structures, decorated with elaborate illustrative carvings. The base of the temple has been carved to suggest that elephants are holding the structure aloft.
A rock bridge connects the Nandi Mandapa to the porch of the temple. The structure itself is a tall pyramidic South Indian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous stone lingam at its heart – is carved with niches, plasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
NAIMISHARANYA
Naimisaranyam, also known as Neemsar, Nimsar or Nimkhar is a Hindu temple dedicated to Vishnu located in the north Indian state of Uttar Pradesh.[1] It is one of the Divya Desams, the 108 temples of Vishnu revered in Nalayira Divya Prabandham by the 12 poet saints, or Alwars. The temple is believed to be of significant antiquity with contributions at different times from the ruling kings. The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra. The temple is open till 6pm. The holy tank Chankra Kunda is associated with the temple and it is a pilgrimage centre where people take a holy dip during festive occasions
Sage Narada is believed to have searched for the best theertha (water body) in three worlds. He went to Kailasa, the abode of Shiva, then to Parkadal, the abode of Vishnu and finally landed in the water body in the Naimisha Forest. The central deity is also believed to be worshipped by sudharma and devas(celestical deities).[1][2]
Indra, the king of the devas, was once driven out of devaloka by an asuranamed Vritra. The asura was the recipient of a boon whereby he could not be killed by any weapon that was known till the date of his receiving the boon and additionally that no weapon made of wood or metal could harm him. Indra, who lost all hope of recovering his kingdom went to seek the aid of Vishnu. Vishnu revealed to Indra that only the weapon made from the bones of the sageDadhichi would defeat Vritra. Indra and the other devas therefore approached the sage, whom Indra had once beheaded, and asked him for his aid in defeating Vritra. Dadhichi acceded to the devas' request but said that he wished that he had time to go on a pilgrimage to all the holy rivers before he gave up his life for them. Indra then brought together all the waters of the holy rivers to Naimisaranya, thereby allowing the sage to have his wish fulfilled without a further loss of time. Dadhichi is then said to have given up his life by the art of yoga after which the devas fashioned the Vajrayudha from his spine. This weapon was then used to defeat the asura, allowing Indra to reclaim his place as the king of devaloka.[3]
As told in another legend, when sages were planning to perform penance, Brahma, the god of creation, brought out a ring from darba grass. He asked the sages to perform penance at the place where the ring fell, which is believed to be Naimisaranya. The sages performed penance and at the end of it, Vishnu appeared to the sages and accepted their offerings. It is believed that the forest still has Vishnu and all sages as trees
Naimisaranyam is located at the junction of the roads from Sitapur and Khairabad, 32 km from Sitapur and 42 km from the Sandila railway station, 45 miles north of Lucknow in Uttar Pradesh. Naimisaranya is also known as Nimsar or Nimkhar and is located on the left bank of the river Gomati.[5] The sacred well, namely Chakra Kunda is believed to have started from the weapon of Vishnu, Chakra. There are shrines dedicated to Chakranarayana, Ganesh, Rama, Lakshman
This place has also been visited by Sankaracharya[8] and the famous poet, Surdas resided here. Suthar, the author of 18 puranas is believed to have lived here and presented his sayings to the sages. The central deity is believed to have presided over the forest and hence the puja (rituals) are done to the forest.[2]
The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra.[9] (Seven other temples in the line are Srirangam Ranganathaswamy temple, Bhu Varaha Swamy temple, Tirumala Venkateswara Temple, and Vanamamalai Perumal Temple in South India and Saligrama, Pushkar and Badrinath Temple in North India).[10] Naimisaranya temple is revered in Nalayira Divya Prabandham, the 7th–9th century Vaishnava canon, by Thirumangai Azhwar in ten hymns. The temple is classified as a divyadesam, the 108 Vishnu temples that are revered in the Vaishnava canon.
Every new moon day, a large number of people purify themselves with a dip in the holy well. If the new moon falls on a Monday, it is believed that a holy bath in the well and offering to the presiding deity Lalitha will wash away all the sins committed in their lifetime
By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
The Kailaśa temple: Cave 16, Ellora Caves
Kailasa temple features the use of multiple distinct architectural and sculptural styles. This, combined with its relatively large size, has led some scholars to believe that its construction spanned the reigns of multiple kings. Some of the temple reliefs feature the same style as the one used in the Dashavatara cave, which is located next to the temple. The Dashavatara cave contains an inscription of Krishna's predecessor and nephew Dantidurga (c. 735–756 CE). Based on this, art historian Hermann Goetz (1952) theorized that the construction of the Kailasa temple began during the reign of Dantidurga. Krishna consecrated its first complete version, which was much smaller than the present-day temple. According to Gotez, Dantidurga's role in the temple construction must have been deliberately suppressed, as Krishna sidelined Dantidurga's sons to claim the throne after his death. Based on analysis of the different styles, Goetz further hypothesized that the later Rashtrakuta rulers also extended the temple. These rulers include Dhruva Dharavarsha, Govinda III, Amoghavarsha I, and Krishna III. According to Goetz, the 11th century Paramara ruler Bhoja commissioned the elephant-lion frieze on the lower plinth during his invasion of Deccan, and added a new layer of paintings. Finally, Ahilyabai Holkar commissioned the last layer of paintings in the temple.
M. K. Dhavalikar (1982) analyzed the architecture of the temple, and concluded that the major part of the temple was completed during the reign of Krishna I, although he agreed with Goetz that some other parts of the temple complex can be dated to the later rulers. According to Dhavalikar, the following components were completed by Krishna: the main shrine, its gateway, the nandi-mandapa, the lower-storey, the elephant-lion frieze, the court elephants and the victory pillars. Dhavalikar admits that the most important sculpture of the temple, which depicts Ravana shaking the Kailasa mountain, appears to have been built after the main edifice. This sculpture is considered as one of the finest pieces of Indian art, and it is possible that the temple came to be known as Kailasa after it. Dhavalikar theorizes that this sculpture was carved around 3-4 decades after the completion of the main shrine, on the basis of its similarity to the tandava sculpture in the Lankeshvar cave. H. Goetz dated this relief to the reign of Krishna III. Like Goetz, Dhavalikar attributes some other structures in the temple complex to the later rulers. These include the Lankeshvar cave and the shrine of the river goddesses (possibly constructed during the reign of Govinda III). Dhavalikar further theorizes that the excavation of the Dashavatara cave, which began during the reign of Dantidurga, was completed during the reign of Krishna I. This explains the similarities between the sculptures in the two caves.
Dhavalikar pointed out that no major part of the monolithic temple appears to have been an afterthought: architectural evidence suggests that the entire temple was planned at the beginning. The main shrine is very similar to (although much larger than) the Virupaksha Temple at Pattadakal, which itself is a replica of the Kailasa temple at Kanchi. The Pattadakal Virupaksha Temple was commissioned by the Chalukyas of Badami to commemorate their victory over the Pallavas, who had constructed the Kailasa temple at Kanchi. According to the Virupaksha temple inscriptions, the Chalukyas brought the Pallava artists to Pattadakal after defeating the Pallavas. Dhavalikar theorizes that after defeating the Chalukyas, Krishna must have been impressed by the Virupaksha Temple located in their territory. As a result, he brought the sculptors and architects of the Virupaksha Temple (including some Pallava artists) to his own territory, and engaged them in the construction of the Kailasa temple at Ellora. If one assumes that the architects of the Virupaksha temple helped construct the Kailasa temple at Ellora, the construction of a massive temple during the reign of a single monarch does not seem impossible. The architects already had a blueprint and a prototype, which must have significantly reduced the effort involved in constructing a new temple. Moreover, quarrying a monolithic temple would have actually involved less effort than transporting large stones to build a new temple of similar size. Assuming that one person can cut around 4 cubic feet of rock every day, Dhavalikar estimated that 250 labourers would have managed to construct the Kailasa temple at Ellora within 5.5 years. The presence of non-Rashtrakuta styles in the temple can be attributed to the involvement of Chalukya and Pallava artists
NAIMISHARANYA
Naimisaranyam, also known as Neemsar, Nimsar or Nimkhar is a Hindu temple dedicated to Vishnu located in the north Indian state of Uttar Pradesh.[1] It is one of the Divya Desams, the 108 temples of Vishnu revered in Nalayira Divya Prabandham by the 12 poet saints, or Alwars. The temple is believed to be of significant antiquity with contributions at different times from the ruling kings. The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra. The temple is open till 6pm. The holy tank Chankra Kunda is associated with the temple and it is a pilgrimage centre where people take a holy dip during festive occasions
Sage Narada is believed to have searched for the best theertha (water body) in three worlds. He went to Kailasa, the abode of Shiva, then to Parkadal, the abode of Vishnu and finally landed in the water body in the Naimisha Forest. The central deity is also believed to be worshipped by sudharma and devas(celestical deities).[1][2]
Indra, the king of the devas, was once driven out of devaloka by an asuranamed Vritra. The asura was the recipient of a boon whereby he could not be killed by any weapon that was known till the date of his receiving the boon and additionally that no weapon made of wood or metal could harm him. Indra, who lost all hope of recovering his kingdom went to seek the aid of Vishnu. Vishnu revealed to Indra that only the weapon made from the bones of the sageDadhichi would defeat Vritra. Indra and the other devas therefore approached the sage, whom Indra had once beheaded, and asked him for his aid in defeating Vritra. Dadhichi acceded to the devas' request but said that he wished that he had time to go on a pilgrimage to all the holy rivers before he gave up his life for them. Indra then brought together all the waters of the holy rivers to Naimisaranya, thereby allowing the sage to have his wish fulfilled without a further loss of time. Dadhichi is then said to have given up his life by the art of yoga after which the devas fashioned the Vajrayudha from his spine. This weapon was then used to defeat the asura, allowing Indra to reclaim his place as the king of devaloka.[3]
As told in another legend, when sages were planning to perform penance, Brahma, the god of creation, brought out a ring from darba grass. He asked the sages to perform penance at the place where the ring fell, which is believed to be Naimisaranya. The sages performed penance and at the end of it, Vishnu appeared to the sages and accepted their offerings. It is believed that the forest still has Vishnu and all sages as trees
Naimisaranyam is located at the junction of the roads from Sitapur and Khairabad, 32 km from Sitapur and 42 km from the Sandila railway station, 45 miles north of Lucknow in Uttar Pradesh. Naimisaranya is also known as Nimsar or Nimkhar and is located on the left bank of the river Gomati.[5] The sacred well, namely Chakra Kunda is believed to have started from the weapon of Vishnu, Chakra. There are shrines dedicated to Chakranarayana, Ganesh, Rama, Lakshman
This place has also been visited by Sankaracharya[8] and the famous poet, Surdas resided here. Suthar, the author of 18 puranas is believed to have lived here and presented his sayings to the sages. The central deity is believed to have presided over the forest and hence the puja (rituals) are done to the forest.[2]
The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra.[9] (Seven other temples in the line are Srirangam Ranganathaswamy temple, Bhu Varaha Swamy temple, Tirumala Venkateswara Temple, and Vanamamalai Perumal Temple in South India and Saligrama, Pushkar and Badrinath Temple in North India).[10] Naimisaranya temple is revered in Nalayira Divya Prabandham, the 7th–9th century Vaishnava canon, by Thirumangai Azhwar in ten hymns. The temple is classified as a divyadesam, the 108 Vishnu temples that are revered in the Vaishnava canon.
Every new moon day, a large number of people purify themselves with a dip in the holy well. If the new moon falls on a Monday, it is believed that a holy bath in the well and offering to the presiding deity Lalitha will wash away all the sins committed in their lifetime
By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
Beginning with the 2nd century B.C., and continuing into the 6th century A.D., the paintings and sculptures in the caves of Ajanta and Ellora, inspired by Buddhism and its compassionate ethos, unleashed a surge of artistic excellence unmatched in human history. These Buddhist and Jain caves are ornately carved, yet seem quiet and meditative and exude a divine energy and power.
About 107 km from the city of Aurangabad in Maharashtra, are the rock-out caves of Ajanta nestled in a panoramic gorge, in the form of a gigantic horseshoe. A set of 29 caves, Ajanta is among the finest examples of some of the earliest Buddhist architecture, cave paintings and sculptures. These caves comprise Chaitya halls or shrines, dedicated to Lord Buddha and Viharas or monasteries, used by Buddhist monks for meditation and the study of Buddhist teachings. The paintings that adorn the walls and ceilings of the caves depict incidents from the life of lord Buddha and various Buddhist divinities. Among the most interesting paintings are the Jataka tales, illustrating diverse stories relating to the previous incarnations of the Buddha as Bodhisattava, a saintly being who is destined to become the Buddha. These elaborate sculptures and paintings stand in impressive grandeur in spite of withstanding the ravages of time. Amid the beautiful images and paintings are sculptures of Buddha, calm and serene in contemplation.
The cave temples and monasteries at Ellora, excavated out of the vertical face of an escarpment, are 26 km north of Aurangabad. Sculptors, inspired by Buddhism, Jainism and Hinduism, created elaborate rock carvings. Extending in a linear arrangement, the 34 caves contain Buddhist Chaityas or halls of worship, Viharas or monasteries and Hindu and Jain temples. Spanning a period of about 600 years between the 5th and 11th century A.D., the earliest excavation here is of the Dhumar Lena (Cave 29). The most imposing excavation is, without doubt, that of the magnificent Kailasa Temple (Cave 16) which is the largest monolithic structure in the world. Known as Verul in ancient times, it has continuously attracted pilgrims through the centuries to the present day.
Declared as World Heritage Sites by UNESCO since 1983, the paintings and sculptures of Ajanta and Ellora, considered masterpieces of Buddhist religious art, have had a great influence in the development of art in India. The creative use of colour and freedom of expression used in depicting human and animal forms makes the cave paintings at Ajanta one of the high watermarks of artistic creativity. The Ellora preserved as an artistic legacy that will continue to inspire and enrich the lives of generations to come. Not only is this cave complex a unique artistic creation and an excellent example of technological exploit but also, with its sanctuaries devoted to Buddhism, Hinduism and Jainism, it illustrates the spirit of tolerance that was characteristic of ancient India.
The Kailasa temple (also written Kailāsa, Kailash and Kailasanatha temple) is a famous rock cut monument, one of the 34 monasteries and temples known collectively as the Ellora Caves, extending over more than 2 km, that were dug side by side in the wall of a high basalt cliff in the complex located at Ellora, Maharashtra, India. Of these, the Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between dated 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock. It was built in the 8th century by the Rashtrakuta king Krishna I.
Ground plan of the temple
The Kailasa Temple is notable for its vertical excavation—carvers started at the top of the original rock, and excavated downward. The traditional methods were rigidly followed by the master architect which could not have been achieved by excavating from the front.
It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. The courtyard is edged by a columned arcade three stories high. The arcades are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are two structures. As is traditional in Shiva temples, an image of the sacred bull Nandi fronts the central temple housing the lingam. In Cave 16, the Nandi Mandapa and main Shiva temple are each about 7 metres high, and built on two storeys. The lower stories of the Nandi Mandapa are both solid structures, decorated with elaborate illustrative carvings. The base of the temple has been carved to suggest that elephants are holding the structure aloft.
A rock bridge connects the Nandi Mandapa to the porch of the temple. The temple itself is a tall pyramidic structure reminiscent of a South Indian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous stone lingam at its heart – is carved with niches, plasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
NAIMISHARANYA
Naimisaranyam, also known as Neemsar, Nimsar or Nimkhar is a Hindu temple dedicated to Vishnu located in the north Indian state of Uttar Pradesh.[1] It is one of the Divya Desams, the 108 temples of Vishnu revered in Nalayira Divya Prabandham by the 12 poet saints, or Alwars. The temple is believed to be of significant antiquity with contributions at different times from the ruling kings. The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra. The temple is open till 6pm. The holy tank Chankra Kunda is associated with the temple and it is a pilgrimage centre where people take a holy dip during festive occasions
Sage Narada is believed to have searched for the best theertha (water body) in three worlds. He went to Kailasa, the abode of Shiva, then to Parkadal, the abode of Vishnu and finally landed in the water body in the Naimisha Forest. The central deity is also believed to be worshipped by sudharma and devas(celestical deities).[1][2]
Indra, the king of the devas, was once driven out of devaloka by an asuranamed Vritra. The asura was the recipient of a boon whereby he could not be killed by any weapon that was known till the date of his receiving the boon and additionally that no weapon made of wood or metal could harm him. Indra, who lost all hope of recovering his kingdom went to seek the aid of Vishnu. Vishnu revealed to Indra that only the weapon made from the bones of the sageDadhichi would defeat Vritra. Indra and the other devas therefore approached the sage, whom Indra had once beheaded, and asked him for his aid in defeating Vritra. Dadhichi acceded to the devas' request but said that he wished that he had time to go on a pilgrimage to all the holy rivers before he gave up his life for them. Indra then brought together all the waters of the holy rivers to Naimisaranya, thereby allowing the sage to have his wish fulfilled without a further loss of time. Dadhichi is then said to have given up his life by the art of yoga after which the devas fashioned the Vajrayudha from his spine. This weapon was then used to defeat the asura, allowing Indra to reclaim his place as the king of devaloka.[3]
As told in another legend, when sages were planning to perform penance, Brahma, the god of creation, brought out a ring from darba grass. He asked the sages to perform penance at the place where the ring fell, which is believed to be Naimisaranya. The sages performed penance and at the end of it, Vishnu appeared to the sages and accepted their offerings. It is believed that the forest still has Vishnu and all sages as trees
Naimisaranyam is located at the junction of the roads from Sitapur and Khairabad, 32 km from Sitapur and 42 km from the Sandila railway station, 45 miles north of Lucknow in Uttar Pradesh. Naimisaranya is also known as Nimsar or Nimkhar and is located on the left bank of the river Gomati.[5] The sacred well, namely Chakra Kunda is believed to have started from the weapon of Vishnu, Chakra. There are shrines dedicated to Chakranarayana, Ganesh, Rama, Lakshman
This place has also been visited by Sankaracharya[8] and the famous poet, Surdas resided here. Suthar, the author of 18 puranas is believed to have lived here and presented his sayings to the sages. The central deity is believed to have presided over the forest and hence the puja (rituals) are done to the forest.[2]
The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra.[9] (Seven other temples in the line are Srirangam Ranganathaswamy temple, Bhu Varaha Swamy temple, Tirumala Venkateswara Temple, and Vanamamalai Perumal Temple in South India and Saligrama, Pushkar and Badrinath Temple in North India).[10] Naimisaranya temple is revered in Nalayira Divya Prabandham, the 7th–9th century Vaishnava canon, by Thirumangai Azhwar in ten hymns. The temple is classified as a divyadesam, the 108 Vishnu temples that are revered in the Vaishnava canon.
Every new moon day, a large number of people purify themselves with a dip in the holy well. If the new moon falls on a Monday, it is believed that a holy bath in the well and offering to the presiding deity Lalitha will wash away all the sins committed in their lifetime
By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.
METHOD OF CONSTRUCTION
The Kailasa Temple is notable for its vertical excavation - carvers started at the top of the original rock, and excavated downward. The traditional methods were rigidly followed by the master architect which could not have been achieved by excavating from the front. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
ARCHITECTURE
All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. The courtyard is edged by a columned arcade three stories high. The arcades are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are two structures. As is traditional in Shiva temples, an image of the sacred bull Nandi fronts the central temple housing the lingam. In Cave 16, the Nandi Mandapa and main Shiva temple are each about 7 metres high, and built on two storeys. The lower stories of the Nandi Mandapa are both solid structures, decorated with elaborate illustrative carvings. The base of the temple has been carved to suggest that elephants are holding the structure aloft.
A rock bridge connects the Nandi Mandapa to the porch of the temple. The structure itself is a tall pyramidic South Indian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous stone lingam at its heart – is carved with niches, plasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.
WIKIPEDIA
Beginning with the 2nd century B.C., and continuing into the 6th century A.D., the paintings and sculptures in the caves of Ajanta and Ellora, inspired by Buddhism and its compassionate ethos, unleashed a surge of artistic excellence unmatched in human history. These Buddhist and Jain caves are ornately carved, yet seem quiet and meditative and exude a divine energy and power.
About 107 km from the city of Aurangabad in Maharashtra, are the rock-out caves of Ajanta nestled in a panoramic gorge, in the form of a gigantic horseshoe. A set of 29 caves, Ajanta is among the finest examples of some of the earliest Buddhist architecture, cave paintings and sculptures. These caves comprise Chaitya halls or shrines, dedicated to Lord Buddha and Viharas or monasteries, used by Buddhist monks for meditation and the study of Buddhist teachings. The paintings that adorn the walls and ceilings of the caves depict incidents from the life of lord Buddha and various Buddhist divinities. Among the most interesting paintings are the Jataka tales, illustrating diverse stories relating to the previous incarnations of the Buddha as Bodhisattava, a saintly being who is destined to become the Buddha. These elaborate sculptures and paintings stand in impressive grandeur in spite of withstanding the ravages of time. Amid the beautiful images and paintings are sculptures of Buddha, calm and serene in contemplation.
The cave temples and monasteries at Ellora, excavated out of the vertical face of an escarpment, are 26 km north of Aurangabad. Sculptors, inspired by Buddhism, Jainism and Hinduism, created elaborate rock carvings. Extending in a linear arrangement, the 34 caves contain Buddhist Chaityas or halls of worship, Viharas or monasteries and Hindu and Jain temples. Spanning a period of about 600 years between the 5th and 11th century A.D., the earliest excavation here is of the Dhumar Lena (Cave 29). The most imposing excavation is, without doubt, that of the magnificent Kailasa Temple (Cave 16) which is the largest monolithic structure in the world. Known as Verul in ancient times, it has continuously attracted pilgrims through the centuries to the present day.
Declared as World Heritage Sites by UNESCO since 1983, the paintings and sculptures of Ajanta and Ellora, considered masterpieces of Buddhist religious art, have had a great influence in the development of art in India. The creative use of colour and freedom of expression used in depicting human and animal forms makes the cave paintings at Ajanta one of the high watermarks of artistic creativity. The Ellora preserved as an artistic legacy that will continue to inspire and enrich the lives of generations to come. Not only is this cave complex a unique artistic creation and an excellent example of technological exploit but also, with its sanctuaries devoted to Buddhism, Hinduism and Jainism, it illustrates the spirit of tolerance that was characteristic of ancient India.
Beginning with the 2nd century B.C., and continuing into the 6th century A.D., the paintings and sculptures in the caves of Ajanta and Ellora, inspired by Buddhism and its compassionate ethos, unleashed a surge of artistic excellence unmatched in human history. These Buddhist and Jain caves are ornately carved, yet seem quiet and meditative and exude a divine energy and power.
About 107 km from the city of Aurangabad in Maharashtra, are the rock-out caves of Ajanta nestled in a panoramic gorge, in the form of a gigantic horseshoe. A set of 29 caves, Ajanta is among the finest examples of some of the earliest Buddhist architecture, cave paintings and sculptures. These caves comprise Chaitya halls or shrines, dedicated to Lord Buddha and Viharas or monasteries, used by Buddhist monks for meditation and the study of Buddhist teachings. The paintings that adorn the walls and ceilings of the caves depict incidents from the life of lord Buddha and various Buddhist divinities. Among the most interesting paintings are the Jataka tales, illustrating diverse stories relating to the previous incarnations of the Buddha as Bodhisattava, a saintly being who is destined to become the Buddha. These elaborate sculptures and paintings stand in impressive grandeur in spite of withstanding the ravages of time. Amid the beautiful images and paintings are sculptures of Buddha, calm and serene in contemplation.
The cave temples and monasteries at Ellora, excavated out of the vertical face of an escarpment, are 26 km north of Aurangabad. Sculptors, inspired by Buddhism, Jainism and Hinduism, created elaborate rock carvings. Extending in a linear arrangement, the 34 caves contain Buddhist Chaityas or halls of worship, Viharas or monasteries and Hindu and Jain temples. Spanning a period of about 600 years between the 5th and 11th century A.D., the earliest excavation here is of the Dhumar Lena (Cave 29). The most imposing excavation is, without doubt, that of the magnificent Kailasa Temple (Cave 16) which is the largest monolithic structure in the world. Known as Verul in ancient times, it has continuously attracted pilgrims through the centuries to the present day.
Declared as World Heritage Sites by UNESCO since 1983, the paintings and sculptures of Ajanta and Ellora, considered masterpieces of Buddhist religious art, have had a great influence in the development of art in India. The creative use of colour and freedom of expression used in depicting human and animal forms makes the cave paintings at Ajanta one of the high watermarks of artistic creativity. The Ellora preserved as an artistic legacy that will continue to inspire and enrich the lives of generations to come. Not only is this cave complex a unique artistic creation and an excellent example of technological exploit but also, with its sanctuaries devoted to Buddhism, Hinduism and Jainism, it illustrates the spirit of tolerance that was characteristic of ancient India.
The Kailaśa temple: Cave 16, Ellora Caves
Kailasa temple features the use of multiple distinct architectural and sculptural styles. This, combined with its relatively large size, has led some scholars to believe that its construction spanned the reigns of multiple kings. Some of the temple reliefs feature the same style as the one used in the Dashavatara cave, which is located next to the temple. The Dashavatara cave contains an inscription of Krishna's predecessor and nephew Dantidurga (c. 735–756 CE). Based on this, art historian Hermann Goetz (1952) theorized that the construction of the Kailasa temple began during the reign of Dantidurga. Krishna consecrated its first complete version, which was much smaller than the present-day temple. According to Gotez, Dantidurga's role in the temple construction must have been deliberately suppressed, as Krishna sidelined Dantidurga's sons to claim the throne after his death. Based on analysis of the different styles, Goetz further hypothesized that the later Rashtrakuta rulers also extended the temple. These rulers include Dhruva Dharavarsha, Govinda III, Amoghavarsha I, and Krishna III. According to Goetz, the 11th century Paramara ruler Bhoja commissioned the elephant-lion frieze on the lower plinth during his invasion of Deccan, and added a new layer of paintings. Finally, Ahilyabai Holkar commissioned the last layer of paintings in the temple.
M. K. Dhavalikar (1982) analyzed the architecture of the temple, and concluded that the major part of the temple was completed during the reign of Krishna I, although he agreed with Goetz that some other parts of the temple complex can be dated to the later rulers. According to Dhavalikar, the following components were completed by Krishna: the main shrine, its gateway, the nandi-mandapa, the lower-storey, the elephant-lion frieze, the court elephants and the victory pillars. Dhavalikar admits that the most important sculpture of the temple, which depicts Ravana shaking the Kailasa mountain, appears to have been built after the main edifice. This sculpture is considered as one of the finest pieces of Indian art, and it is possible that the temple came to be known as Kailasa after it. Dhavalikar theorizes that this sculpture was carved around 3-4 decades after the completion of the main shrine, on the basis of its similarity to the tandava sculpture in the Lankeshvar cave. H. Goetz dated this relief to the reign of Krishna III. Like Goetz, Dhavalikar attributes some other structures in the temple complex to the later rulers. These include the Lankeshvar cave and the shrine of the river goddesses (possibly constructed during the reign of Govinda III). Dhavalikar further theorizes that the excavation of the Dashavatara cave, which began during the reign of Dantidurga, was completed during the reign of Krishna I. This explains the similarities between the sculptures in the two caves.
Dhavalikar pointed out that no major part of the monolithic temple appears to have been an afterthought: architectural evidence suggests that the entire temple was planned at the beginning. The main shrine is very similar to (although much larger than) the Virupaksha Temple at Pattadakal, which itself is a replica of the Kailasa temple at Kanchi. The Pattadakal Virupaksha Temple was commissioned by the Chalukyas of Badami to commemorate their victory over the Pallavas, who had constructed the Kailasa temple at Kanchi. According to the Virupaksha temple inscriptions, the Chalukyas brought the Pallava artists to Pattadakal after defeating the Pallavas. Dhavalikar theorizes that after defeating the Chalukyas, Krishna must have been impressed by the Virupaksha Temple located in their territory. As a result, he brought the sculptors and architects of the Virupaksha Temple (including some Pallava artists) to his own territory, and engaged them in the construction of the Kailasa temple at Ellora. If one assumes that the architects of the Virupaksha temple helped construct the Kailasa temple at Ellora, the construction of a massive temple during the reign of a single monarch does not seem impossible. The architects already had a blueprint and a prototype, which must have significantly reduced the effort involved in constructing a new temple. Moreover, quarrying a monolithic temple would have actually involved less effort than transporting large stones to build a new temple of similar size. Assuming that one person can cut around 4 cubic feet of rock every day, Dhavalikar estimated that 250 labourers would have managed to construct the Kailasa temple at Ellora within 5.5 years. The presence of non-Rashtrakuta styles in the temple can be attributed to the involvement of Chalukya and Pallava artists
Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
Caligraphic writing on stone, at Kailasa Nathar temple, Kanceepuram.
Kailasanathar Temple in Kanceepuram/Kanchipuram. A temple that predates the ones at Mahabalipuram, this particular style has inspired the temples of Chola period - notably Big temple at Tanjavur.
My blog post about the trip to Kanceepuram is in two parts - Part 1 and Part 2
The Ellora caves, locally known as ‘Verul Leni’ is located on the Aurangabad-Chalisgaon road at a distance of 30 km north-northwest of Aurangabad, the district headquarters. The name Ellora itself inspires everyone as it represents one of the largest rock-hewn monastic-temple complexes in the entire world. Ellora is also world famous for the largest single monolithic excavation in the world, the great Kailasa (Cave 16). The visit to these caves is enjoyed maximum during monsoon, when every stream is filled with rainwater, and the entire environ is lush green. The monsoon is not only a season of rains in this part, the local visitors are attracted to visit these ideal locations to have a glimpse of the mother nature in full bloom.
Beginning with the 2nd century B.C., and continuing into the 6th century A.D., the paintings and sculptures in the caves of Ajanta and Ellora, inspired by Buddhism and its compassionate ethos, unleashed a surge of artistic excellence unmatched in human history. These Buddhist and Jain caves are ornately carved, yet seem quiet and meditative and exude a divine energy and power.
About 107 km from the city of Aurangabad in Maharashtra, are the rock-out caves of Ajanta nestled in a panoramic gorge, in the form of a gigantic horseshoe. A set of 29 caves, Ajanta is among the finest examples of some of the earliest Buddhist architecture, cave paintings and sculptures. These caves comprise Chaitya halls or shrines, dedicated to Lord Buddha and Viharas or monasteries, used by Buddhist monks for meditation and the study of Buddhist teachings. The paintings that adorn the walls and ceilings of the caves depict incidents from the life of lord Buddha and various Buddhist divinities. Among the most interesting paintings are the Jataka tales, illustrating diverse stories relating to the previous incarnations of the Buddha as Bodhisattava, a saintly being who is destined to become the Buddha. These elaborate sculptures and paintings stand in impressive grandeur in spite of withstanding the ravages of time. Amid the beautiful images and paintings are sculptures of Buddha, calm and serene in contemplation.
The cave temples and monasteries at Ellora, excavated out of the vertical face of an escarpment, are 26 km north of Aurangabad. Sculptors, inspired by Buddhism, Jainism and Hinduism, created elaborate rock carvings. Extending in a linear arrangement, the 34 caves contain Buddhist Chaityas or halls of worship, Viharas or monasteries and Hindu and Jain temples. Spanning a period of about 600 years between the 5th and 11th century A.D., the earliest excavation here is of the Dhumar Lena (Cave 29). The most imposing excavation is, without doubt, that of the magnificent Kailasa Temple (Cave 16) which is the largest monolithic structure in the world. Known as Verul in ancient times, it has continuously attracted pilgrims through the centuries to the present day.
Declared as World Heritage Sites by UNESCO since 1983, the paintings and sculptures of Ajanta and Ellora, considered masterpieces of Buddhist religious art, have had a great influence in the development of art in India. The creative use of colour and freedom of expression used in depicting human and animal forms makes the cave paintings at Ajanta one of the high watermarks of artistic creativity. The Ellora preserved as an artistic legacy that will continue to inspire and enrich the lives of generations to come. Not only is this cave complex a unique artistic creation and an excellent example of technological exploit but also, with its sanctuaries devoted to Buddhism, Hinduism and Jainism, it illustrates the spirit of tolerance that was characteristic of ancient India.
Beginning with the 2nd century B.C., and continuing into the 6th century A.D., the paintings and sculptures in the caves of Ajanta and Ellora, inspired by Buddhism and its compassionate ethos, unleashed a surge of artistic excellence unmatched in human history. These Buddhist and Jain caves are ornately carved, yet seem quiet and meditative and exude a divine energy and power.
About 107 km from the city of Aurangabad in Maharashtra, are the rock-out caves of Ajanta nestled in a panoramic gorge, in the form of a gigantic horseshoe. A set of 29 caves, Ajanta is among the finest examples of some of the earliest Buddhist architecture, cave paintings and sculptures. These caves comprise Chaitya halls or shrines, dedicated to Lord Buddha and Viharas or monasteries, used by Buddhist monks for meditation and the study of Buddhist teachings. The paintings that adorn the walls and ceilings of the caves depict incidents from the life of lord Buddha and various Buddhist divinities. Among the most interesting paintings are the Jataka tales, illustrating diverse stories relating to the previous incarnations of the Buddha as Bodhisattava, a saintly being who is destined to become the Buddha. These elaborate sculptures and paintings stand in impressive grandeur in spite of withstanding the ravages of time. Amid the beautiful images and paintings are sculptures of Buddha, calm and serene in contemplation.
The cave temples and monasteries at Ellora, excavated out of the vertical face of an escarpment, are 26 km north of Aurangabad. Sculptors, inspired by Buddhism, Jainism and Hinduism, created elaborate rock carvings. Extending in a linear arrangement, the 34 caves contain Buddhist Chaityas or halls of worship, Viharas or monasteries and Hindu and Jain temples. Spanning a period of about 600 years between the 5th and 11th century A.D., the earliest excavation here is of the Dhumar Lena (Cave 29). The most imposing excavation is, without doubt, that of the magnificent Kailasa Temple (Cave 16) which is the largest monolithic structure in the world. Known as Verul in ancient times, it has continuously attracted pilgrims through the centuries to the present day.
Declared as World Heritage Sites by UNESCO since 1983, the paintings and sculptures of Ajanta and Ellora, considered masterpieces of Buddhist religious art, have had a great influence in the development of art in India. The creative use of colour and freedom of expression used in depicting human and animal forms makes the cave paintings at Ajanta one of the high watermarks of artistic creativity. The Ellora preserved as an artistic legacy that will continue to inspire and enrich the lives of generations to come. Not only is this cave complex a unique artistic creation and an excellent example of technological exploit but also, with its sanctuaries devoted to Buddhism, Hinduism and Jainism, it illustrates the spirit of tolerance that was characteristic of ancient India.
MOUNT KAILASH PHOTO MADE BY KAILASH MANSAROVAR FOUNDATION, SWAMI BIKASH GIRI , www.sumeruparvat.com , www.naturalitem.com
Mount Kailash (also Mount kailas; Tibetan: གངས་རིན་པོ་ཆེKangrinboqê or Gang Rinpoche; simplified Chinese: 冈仁波齐峰,Gāngrénbōqí fēng, Sanskrit: कैलास Kailāsa) is a peak in the Kailas Range (Gangdisê Mountains), which forms part of the Transhimalaya in Tibet. It lies near the source of some of the longest rivers in Asia: the Indus River, the Sutlej River (a major tributary of the Indus River), the Brahmaputra River, and the Karnali River (a tributary of the River Ganga). It is considered a sacred place in four religions: Bön, Buddhism, Hinduism andJainism. The mountain lies near Lake Manasarovar and Lake Rakshastalin Tibet.
According to Hinduism, Lord Shiva, the destroyer of ignorance and illusion, resides at the summit of a legendary mountain named Kailās, where he sits in a state of perpetual meditation along with his wife Pārvatī.
According to Charles Allen, one description in the Vishnu Purana of the mountain states that its four faces are made of crystal, ruby, gold, and lapis lazuli.[7] It is a pillar of the world and is located at the heart of six mountain ranges symbolizing a lotus.[7]
Every year, thousands make a pilgrimage to Kailash, following a tradition going back thousands of years. Pilgrims of several religions believe that circumambulating Mount Kailash on foot is a holy ritual that will bring good fortune. The peregrination is made in a clockwise direction by Hindus and Buddhists. Followers of the Jain andBönpo religions circumambulate the mountain in a counterclockwise direction. The path around Mount Kailash is 52 km (32 mi) long.
Some pilgrims believe that the entire walk around Kailash should be made in a single day, which is not considered an easy task. A person in good shape walking fast would take perhaps 15 hours to complete the 52 km trek. Some of the devout do accomplish this feat, little daunted by the uneven terrain, altitude sickness and harsh conditions faced in the process. Indeed, other pilgrims venture a much more demanding regimen, performing body-lengthprostrations over the entire length of the circumambulation: The pilgrim bends down, kneels, prostrates full-length, makes a mark with his fingers, rises to his knees, prays, and then crawls forward on hands and knees to the mark made by his/her fingers before repeating the process. It requires at least four weeks of physical endurance to perform the circumambulation while following this regimen. The mountain is located in a particularly remote and inhospitable area of the Tibetan Himalayas. A few modern amenities, such as benches, resting places and refreshment kiosks, exist to aid the pilgrims in their devotions. According to all religions that revere the mountain, setting foot on its slopes is a dire sin. It is claimed that many people who ventured to defy the taboo have died in the process[citation needed]. It is a popular belief that the stairways on Mount Kailash lead to heaven.
Following the political and border disturbances across the Chinese-Indian boundary, pilgrimage to the legendary abode of Lord Shiva was stopped from 1954 to 1978. Thereafter, a limited number of Indian pilgrims have been allowed to visit the place, under the supervision of the Chinese and Indian governments either by a lengthy and hazardous trek over the Himalayan terrain, travel by land from Kathmandu or from Lhasa where flights from Kathmandu are available to Lhasa and thereafter travel over the great Tibetan plateau by car. The journey takes four night stops, finally arriving at Darchen at elevation of 4,600 m (15,100 ft), small outpost that swells with pilgrims at certain times of year. Despite its minimal infrastructure, modest guest houses are available for foreign pilgrims, whereas Tibetan pilgrims generally sleep in their own tents. A small regional medical center serving far-western Tibet and funded by the Swiss Ngari Korsum Foundation was built here in 1997.
Walking around the holy mountain—a part of its official park—has to be done on foot, pony or yak, taking some three days of trekking starting from a height of around 15,000 ft (4,600 m) past the Tarboche (flagpole) to cross the Drölma pass 18,200 ft (5,500 m), and encamping for two nights en route. First, near the meadow of Dirapuk gompa, some 2 to 3 km (1.2 to 1.9 mi) before the pass and second, after crossing the pass and going downhill as far as possible (viewing Gauri Kund in the distance).
Ellora is an archaeological site, 29 km (18 mi) North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. Ellora is a World Heritage Site and is a protected monument under the Archaeological Survey of India. Cave 16, also known as the Kailasa or the Kailasanatha, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens.
Dieng Plateau is a marshy plateau that forms the floor of a caldera complex on the Dieng Volcanic Complex near Wonosobo, Central Java, Indonesia. Referred to as "Dieng" by Indonesians, it sits at 2,000 metres above sea level, far from major population centres. The name "Dieng" comes from Di Hyang which means "Abode of the Gods".
Part of General Sudirman's guerrilla campaign during the Indonesian War of Independence took place in the area.
TEMPLES
The Plateau is the location of eight small Hindu temples from the Kalingga Kingdom It is unclear when they were built, estimated to range from mid 7th century to end of 8th century AD; they are the oldest known standing stone structures in Java. They are originally thought to have numbered 400 but only eight remain. The temples are now believed to have been named after the heroes of the Hindu epic Mahabharata.
Michell claims Dieng's misty location almost 2,093 m above sea level, its poisonous effusions and sulphur-coloured lakes make it a particularly auspicious place for religious tribute. The temples are small shrines built as monuments to the god-ancestors and dedicated to Shiva. The Hindu shrines are miniature cosmic mountains based on plans in Indian religious texts, although Schoppert suggest the design motifs have little connection to India.
In 2011, in a review published by Romain, the temple is now believed to be related to Dravida and Pallava style temples of South India. The theory that poisonous effusions make it auspicious is now disputed as volcanic activity in this area from 7th to 9th century is yet to established, and records suggest the temple was abandoned after volcanic eruptions became common in central Java.
GEOGRAPHY AND CLIMATE
With an astonishing elevation of 2,060 m above sea level, Dieng has a distinct subtropical highland climate under the Köppen climate classification (Cwb). In its brief dry season (which is meteorologically aligned with the Southern Hemispherical winter season), there is much less rainfall than in its lengthy monsoon periods (lasting from October to May, also in line with the austral summer). The average annual temperature in Dieng is 14.0 °C. About 2652 mm of precipitation falls annually.
Known for its chilly climate, temperatures may even drop to 2 degrees (along with wind chills down to -2º) in the peak of its dry season. Though infrequent, frosts have been recorded every year, particularly in late evenings and mornings of July and August. This may last for one week in average. Though this regionally-rare weather phenomena occasionally attracts tourists to cluster around the plateau area, it is also notorious for the destruction it often inflicts upon the local produce, with agricultural plants and crops such as potatoes being the most severely affected.
Locals usually call this frost "bun upas". On the local Javanese dialect, "Bun" (or "embun") means dew, while "upas" is poison. Although "bun upas" or frost in Dieng is actually not poisonous, this term "upas" was created by local people due to its devastating effect on agricultural plants, in which, the plants die quickly as if as they were poisoned when the frost takes place.
Dieng temples is the group of 7th and/or eighth century Hindu candi or temple compounds located in Dieng Plateau, near Wonosobo, Central Java, Indonesia. These edifices originate from the Kalingga Kingdom. The plateau is home of eight small Hindu temples that are among the oldest surviving religious structures ever built in Java, and the earliest Hindu temples in Indonesia. The temples show many features of Indian Hindu temple architecture.
The real name of the temples, the history and the king responsible for the construction of these temples ware unknown. This is because the scarcity of data and inscription connected to the construction of these temples. The local Javanese population named each temples according to Javanese wayang characters, mostly taken from Mahabharata epic.
The Kailasa museum nearby contains many pieces of sculpture removed from the temples.
HISTORY
It is unclear when they were built, and were estimated to range from mid 7th century to end of 8th century CE; they are the oldest known standing stone structures in Central Java.[4][5] They are originally thought to have numbered 400 but only eight remain after local farmers removed stone following the draining of the lake in the 19th century.
Examining the Javanese temple architectural styles, archaeologist grouped the Dieng temples within the Northern Central Javanese style, together with Gedong Songo temples, and to some extents also includes the East Javanese Badut temple, and West Javanese Cangkuang and Bojongmenje temple, and suggested that all of these temples are built within the same period, ranges from 7th to 8th century. An inscription discovered near Arjuna temple in Dieng was dated circa 808-809 CE, it was the oldest surviving specimen of old Javanese script, which revealed that the Dieng temple is continuously inhabited from mid 7th to early 9th century.[6]
The Dieng temples was rediscovered in 1814 by a visiting British soldier that spotted temples ruin lies in the middle of a lake. At that time the plain surrounding Arjuna cluster was flooded with water and forming small lake. In 1856, Isidore van Kinsbergen led an effort to drain the lake in order to reveal the temples. The Dutch East Indies Government continued the reconstruction project in 1864, followed by further study and photographs taken by Van Kinsbergen. The temples are now believed to have been named after the heroes of the Hindu epic Mahabharata.
BIMA TEMPLE
Bima temple is a single temple situated on a hill separated from the rest of Dieng temples. This temple is the largest and tallest building in the Dieng temple compound. The shape is different from temples in Central Java in general, and the other temples at this site, and relates more closely to Indian temples. In particular it has been compared to the Parashurameshvara Temple (c. 650) in Bhubaneswar, Odisha,[4] and the very different temple at Bhitargaon.[8] The 7th-century Laxman Temple at Sirpur is closer.
The temple base has a square ground-plan, the facade on each side are slightly protruding out. The front facade protrudes about 1.5 m, serves as a porch before entering the temple's main chamber. Facades on the other three sides forming niches where originally statues or images were stored, currently all niches are empty.
The roof of the temple consists of 5 levels, with each level are decreasing in size upward. Each level is decorated with lotus double seam and gavaksha or kudu niches. These are "window"-shaped arches common as a motif in Hindu temple architecture. Here each contains a head looking out. Such ornaments also can be found in other Javanese temples, such as Kalasan, Gebang and Merak temple. The pinnacle of the roof is missing and its original form is unknown. There are amalaka-type segmented rings at the corners at one level, and the ornament with corbels, leaves and festoons on the lower cornices, below the gavakshas, suggest influence from Chinese Buddhist art.
ARCHITECTURE
The temples are small shrines built as monuments to the god-ancestors and dedicated to Shiva. The Hindu shrines are miniature cosmic mountains based on plans in Indian religious texts, although Schoppert suggests that though the plans follow Indian texts, the ornament has "design motifs which for the most part have no clear correlate in India". In 2011, in a review published by Romain, the temples were related to Dravida and Pallava style temples of South India.
The temples all have a single chamber inside, with one entrance, sometimes extended to make a small vestibule. The chambers are raised on plinths, and a cornice outside indicates their height inside. There is (or in some cases was) a high superstructure rising above the chamber, for which a variety of Indian forms are used in different temples.
Early North Central Javanese temple architecture is noted for its smaller size, simplicity and relatively lack of ornaments compared to richly decorated and massive temples of Southern Central Java, such as Kalasan, Sewu, and Prambanan. The temples of North Central Java are grouped in irregular clusters, with individual variations of temples styles. This is in contrast to concentric mandala plan of Southern Central Java temples with uniform design of perwara (ancillary) temples.
The earliest architectural usage of the Javanese kala demonic masks and makara marine monsters are exhibited along the niches and doorways of the remaining structures.
The Dieng structures were small and relatively plain, but stone architecture developed substantially in only a matter of decades resulting in masterpieces such as the Prambanan complex and Borobudur.
WIKIPEDIA
NAIMISHARANYA
Naimisaranyam, also known as Neemsar, Nimsar or Nimkhar is a Hindu temple dedicated to Vishnu located in the north Indian state of Uttar Pradesh.[1] It is one of the Divya Desams, the 108 temples of Vishnu revered in Nalayira Divya Prabandham by the 12 poet saints, or Alwars. The temple is believed to be of significant antiquity with contributions at different times from the ruling kings. The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra. The temple is open till 6pm. The holy tank Chankra Kunda is associated with the temple and it is a pilgrimage centre where people take a holy dip during festive occasions
Sage Narada is believed to have searched for the best theertha (water body) in three worlds. He went to Kailasa, the abode of Shiva, then to Parkadal, the abode of Vishnu and finally landed in the water body in the Naimisha Forest. The central deity is also believed to be worshipped by sudharma and devas(celestical deities).[1][2]
Indra, the king of the devas, was once driven out of devaloka by an asuranamed Vritra. The asura was the recipient of a boon whereby he could not be killed by any weapon that was known till the date of his receiving the boon and additionally that no weapon made of wood or metal could harm him. Indra, who lost all hope of recovering his kingdom went to seek the aid of Vishnu. Vishnu revealed to Indra that only the weapon made from the bones of the sageDadhichi would defeat Vritra. Indra and the other devas therefore approached the sage, whom Indra had once beheaded, and asked him for his aid in defeating Vritra. Dadhichi acceded to the devas' request but said that he wished that he had time to go on a pilgrimage to all the holy rivers before he gave up his life for them. Indra then brought together all the waters of the holy rivers to Naimisaranya, thereby allowing the sage to have his wish fulfilled without a further loss of time. Dadhichi is then said to have given up his life by the art of yoga after which the devas fashioned the Vajrayudha from his spine. This weapon was then used to defeat the asura, allowing Indra to reclaim his place as the king of devaloka.[3]
As told in another legend, when sages were planning to perform penance, Brahma, the god of creation, brought out a ring from darba grass. He asked the sages to perform penance at the place where the ring fell, which is believed to be Naimisaranya. The sages performed penance and at the end of it, Vishnu appeared to the sages and accepted their offerings. It is believed that the forest still has Vishnu and all sages as trees
Naimisaranyam is located at the junction of the roads from Sitapur and Khairabad, 32 km from Sitapur and 42 km from the Sandila railway station, 45 miles north of Lucknow in Uttar Pradesh. Naimisaranya is also known as Nimsar or Nimkhar and is located on the left bank of the river Gomati.[5] The sacred well, namely Chakra Kunda is believed to have started from the weapon of Vishnu, Chakra. There are shrines dedicated to Chakranarayana, Ganesh, Rama, Lakshman
This place has also been visited by Sankaracharya[8] and the famous poet, Surdas resided here. Suthar, the author of 18 puranas is believed to have lived here and presented his sayings to the sages. The central deity is believed to have presided over the forest and hence the puja (rituals) are done to the forest.[2]
The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra.[9] (Seven other temples in the line are Srirangam Ranganathaswamy temple, Bhu Varaha Swamy temple, Tirumala Venkateswara Temple, and Vanamamalai Perumal Temple in South India and Saligrama, Pushkar and Badrinath Temple in North India).[10] Naimisaranya temple is revered in Nalayira Divya Prabandham, the 7th–9th century Vaishnava canon, by Thirumangai Azhwar in ten hymns. The temple is classified as a divyadesam, the 108 Vishnu temples that are revered in the Vaishnava canon.
Every new moon day, a large number of people purify themselves with a dip in the holy well. If the new moon falls on a Monday, it is believed that a holy bath in the well and offering to the presiding deity Lalitha will wash away all the sins committed in their lifetime
By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
Count down for Diwali 2021 Begins!
Paramashiva was reborn & became incarnation on Deepavali 2000 - Be Blissful (A true file)
NAIMISHARANYA
Naimisaranyam, also known as Neemsar, Nimsar or Nimkhar is a Hindu temple dedicated to Vishnu located in the north Indian state of Uttar Pradesh.[1] It is one of the Divya Desams, the 108 temples of Vishnu revered in Nalayira Divya Prabandham by the 12 poet saints, or Alwars. The temple is believed to be of significant antiquity with contributions at different times from the ruling kings. The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra. The temple is open till 6pm. The holy tank Chankra Kunda is associated with the temple and it is a pilgrimage centre where people take a holy dip during festive occasions
Sage Narada is believed to have searched for the best theertha (water body) in three worlds. He went to Kailasa, the abode of Shiva, then to Parkadal, the abode of Vishnu and finally landed in the water body in the Naimisha Forest. The central deity is also believed to be worshipped by sudharma and devas(celestical deities).[1][2]
Indra, the king of the devas, was once driven out of devaloka by an asuranamed Vritra. The asura was the recipient of a boon whereby he could not be killed by any weapon that was known till the date of his receiving the boon and additionally that no weapon made of wood or metal could harm him. Indra, who lost all hope of recovering his kingdom went to seek the aid of Vishnu. Vishnu revealed to Indra that only the weapon made from the bones of the sageDadhichi would defeat Vritra. Indra and the other devas therefore approached the sage, whom Indra had once beheaded, and asked him for his aid in defeating Vritra. Dadhichi acceded to the devas' request but said that he wished that he had time to go on a pilgrimage to all the holy rivers before he gave up his life for them. Indra then brought together all the waters of the holy rivers to Naimisaranya, thereby allowing the sage to have his wish fulfilled without a further loss of time. Dadhichi is then said to have given up his life by the art of yoga after which the devas fashioned the Vajrayudha from his spine. This weapon was then used to defeat the asura, allowing Indra to reclaim his place as the king of devaloka.[3]
As told in another legend, when sages were planning to perform penance, Brahma, the god of creation, brought out a ring from darba grass. He asked the sages to perform penance at the place where the ring fell, which is believed to be Naimisaranya. The sages performed penance and at the end of it, Vishnu appeared to the sages and accepted their offerings. It is believed that the forest still has Vishnu and all sages as trees
Naimisaranyam is located at the junction of the roads from Sitapur and Khairabad, 32 km from Sitapur and 42 km from the Sandila railway station, 45 miles north of Lucknow in Uttar Pradesh. Naimisaranya is also known as Nimsar or Nimkhar and is located on the left bank of the river Gomati.[5] The sacred well, namely Chakra Kunda is believed to have started from the weapon of Vishnu, Chakra. There are shrines dedicated to Chakranarayana, Ganesh, Rama, Lakshman
This place has also been visited by Sankaracharya[8] and the famous poet, Surdas resided here. Suthar, the author of 18 puranas is believed to have lived here and presented his sayings to the sages. The central deity is believed to have presided over the forest and hence the puja (rituals) are done to the forest.[2]
The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra.[9] (Seven other temples in the line are Srirangam Ranganathaswamy temple, Bhu Varaha Swamy temple, Tirumala Venkateswara Temple, and Vanamamalai Perumal Temple in South India and Saligrama, Pushkar and Badrinath Temple in North India).[10] Naimisaranya temple is revered in Nalayira Divya Prabandham, the 7th–9th century Vaishnava canon, by Thirumangai Azhwar in ten hymns. The temple is classified as a divyadesam, the 108 Vishnu temples that are revered in the Vaishnava canon.
Every new moon day, a large number of people purify themselves with a dip in the holy well. If the new moon falls on a Monday, it is believed that a holy bath in the well and offering to the presiding deity Lalitha will wash away all the sins committed in their lifetime
By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
Cave 16 Kailasa temple, the largest monolithic temple is an excellent example of structural innovation and marks the culmination of rock-cut architecture in India featuring elaborate workmanship and striking proportions.
#ellora #kailasatemple #unescoworldheritage #cave16
NAIMISHARANYA
Naimisaranyam, also known as Neemsar, Nimsar or Nimkhar is a Hindu temple dedicated to Vishnu located in the north Indian state of Uttar Pradesh.[1] It is one of the Divya Desams, the 108 temples of Vishnu revered in Nalayira Divya Prabandham by the 12 poet saints, or Alwars. The temple is believed to be of significant antiquity with contributions at different times from the ruling kings. The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra. The temple is open till 6pm. The holy tank Chankra Kunda is associated with the temple and it is a pilgrimage centre where people take a holy dip during festive occasions
Sage Narada is believed to have searched for the best theertha (water body) in three worlds. He went to Kailasa, the abode of Shiva, then to Parkadal, the abode of Vishnu and finally landed in the water body in the Naimisha Forest. The central deity is also believed to be worshipped by sudharma and devas(celestical deities).[1][2]
Indra, the king of the devas, was once driven out of devaloka by an asuranamed Vritra. The asura was the recipient of a boon whereby he could not be killed by any weapon that was known till the date of his receiving the boon and additionally that no weapon made of wood or metal could harm him. Indra, who lost all hope of recovering his kingdom went to seek the aid of Vishnu. Vishnu revealed to Indra that only the weapon made from the bones of the sageDadhichi would defeat Vritra. Indra and the other devas therefore approached the sage, whom Indra had once beheaded, and asked him for his aid in defeating Vritra. Dadhichi acceded to the devas' request but said that he wished that he had time to go on a pilgrimage to all the holy rivers before he gave up his life for them. Indra then brought together all the waters of the holy rivers to Naimisaranya, thereby allowing the sage to have his wish fulfilled without a further loss of time. Dadhichi is then said to have given up his life by the art of yoga after which the devas fashioned the Vajrayudha from his spine. This weapon was then used to defeat the asura, allowing Indra to reclaim his place as the king of devaloka.[3]
As told in another legend, when sages were planning to perform penance, Brahma, the god of creation, brought out a ring from darba grass. He asked the sages to perform penance at the place where the ring fell, which is believed to be Naimisaranya. The sages performed penance and at the end of it, Vishnu appeared to the sages and accepted their offerings. It is believed that the forest still has Vishnu and all sages as trees
Naimisaranyam is located at the junction of the roads from Sitapur and Khairabad, 32 km from Sitapur and 42 km from the Sandila railway station, 45 miles north of Lucknow in Uttar Pradesh. Naimisaranya is also known as Nimsar or Nimkhar and is located on the left bank of the river Gomati.[5] The sacred well, namely Chakra Kunda is believed to have started from the weapon of Vishnu, Chakra. There are shrines dedicated to Chakranarayana, Ganesh, Rama, Lakshman
This place has also been visited by Sankaracharya[8] and the famous poet, Surdas resided here. Suthar, the author of 18 puranas is believed to have lived here and presented his sayings to the sages. The central deity is believed to have presided over the forest and hence the puja (rituals) are done to the forest.[2]
The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra.[9] (Seven other temples in the line are Srirangam Ranganathaswamy temple, Bhu Varaha Swamy temple, Tirumala Venkateswara Temple, and Vanamamalai Perumal Temple in South India and Saligrama, Pushkar and Badrinath Temple in North India).[10] Naimisaranya temple is revered in Nalayira Divya Prabandham, the 7th–9th century Vaishnava canon, by Thirumangai Azhwar in ten hymns. The temple is classified as a divyadesam, the 108 Vishnu temples that are revered in the Vaishnava canon.
Every new moon day, a large number of people purify themselves with a dip in the holy well. If the new moon falls on a Monday, it is believed that a holy bath in the well and offering to the presiding deity Lalitha will wash away all the sins committed in their lifetime
By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
Ellora is an archaeological site, 29 km (18 mi) North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. Ellora is a World Heritage Site and is a protected monument under the Archaeological Survey of India. Cave 16, also known as the Kailasa or the Kailasanatha, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens.
Beginning with the 2nd century B.C., and continuing into the 6th century A.D., the paintings and sculptures in the caves of Ajanta and Ellora, inspired by Buddhism and its compassionate ethos, unleashed a surge of artistic excellence unmatched in human history. These Buddhist and Jain caves are ornately carved, yet seem quiet and meditative and exude a divine energy and power.
About 107 km from the city of Aurangabad in Maharashtra, are the rock-out caves of Ajanta nestled in a panoramic gorge, in the form of a gigantic horseshoe. A set of 29 caves, Ajanta is among the finest examples of some of the earliest Buddhist architecture, cave paintings and sculptures. These caves comprise Chaitya halls or shrines, dedicated to Lord Buddha and Viharas or monasteries, used by Buddhist monks for meditation and the study of Buddhist teachings. The paintings that adorn the walls and ceilings of the caves depict incidents from the life of lord Buddha and various Buddhist divinities. Among the most interesting paintings are the Jataka tales, illustrating diverse stories relating to the previous incarnations of the Buddha as Bodhisattava, a saintly being who is destined to become the Buddha. These elaborate sculptures and paintings stand in impressive grandeur in spite of withstanding the ravages of time. Amid the beautiful images and paintings are sculptures of Buddha, calm and serene in contemplation.
The cave temples and monasteries at Ellora, excavated out of the vertical face of an escarpment, are 26 km north of Aurangabad. Sculptors, inspired by Buddhism, Jainism and Hinduism, created elaborate rock carvings. Extending in a linear arrangement, the 34 caves contain Buddhist Chaityas or halls of worship, Viharas or monasteries and Hindu and Jain temples. Spanning a period of about 600 years between the 5th and 11th century A.D., the earliest excavation here is of the Dhumar Lena (Cave 29). The most imposing excavation is, without doubt, that of the magnificent Kailasa Temple (Cave 16) which is the largest monolithic structure in the world. Known as Verul in ancient times, it has continuously attracted pilgrims through the centuries to the present day.
Declared as World Heritage Sites by UNESCO since 1983, the paintings and sculptures of Ajanta and Ellora, considered masterpieces of Buddhist religious art, have had a great influence in the development of art in India. The creative use of colour and freedom of expression used in depicting human and animal forms makes the cave paintings at Ajanta one of the high watermarks of artistic creativity. The Ellora preserved as an artistic legacy that will continue to inspire and enrich the lives of generations to come. Not only is this cave complex a unique artistic creation and an excellent example of technological exploit but also, with its sanctuaries devoted to Buddhism, Hinduism and Jainism, it illustrates the spirit of tolerance that was characteristic of ancient India.
NAIMISHARANYA
Naimisaranyam, also known as Neemsar, Nimsar or Nimkhar is a Hindu temple dedicated to Vishnu located in the north Indian state of Uttar Pradesh.[1] It is one of the Divya Desams, the 108 temples of Vishnu revered in Nalayira Divya Prabandham by the 12 poet saints, or Alwars. The temple is believed to be of significant antiquity with contributions at different times from the ruling kings. The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra. The temple is open till 6pm. The holy tank Chankra Kunda is associated with the temple and it is a pilgrimage centre where people take a holy dip during festive occasions
Sage Narada is believed to have searched for the best theertha (water body) in three worlds. He went to Kailasa, the abode of Shiva, then to Parkadal, the abode of Vishnu and finally landed in the water body in the Naimisha Forest. The central deity is also believed to be worshipped by sudharma and devas(celestical deities).[1][2]
Indra, the king of the devas, was once driven out of devaloka by an asuranamed Vritra. The asura was the recipient of a boon whereby he could not be killed by any weapon that was known till the date of his receiving the boon and additionally that no weapon made of wood or metal could harm him. Indra, who lost all hope of recovering his kingdom went to seek the aid of Vishnu. Vishnu revealed to Indra that only the weapon made from the bones of the sageDadhichi would defeat Vritra. Indra and the other devas therefore approached the sage, whom Indra had once beheaded, and asked him for his aid in defeating Vritra. Dadhichi acceded to the devas' request but said that he wished that he had time to go on a pilgrimage to all the holy rivers before he gave up his life for them. Indra then brought together all the waters of the holy rivers to Naimisaranya, thereby allowing the sage to have his wish fulfilled without a further loss of time. Dadhichi is then said to have given up his life by the art of yoga after which the devas fashioned the Vajrayudha from his spine. This weapon was then used to defeat the asura, allowing Indra to reclaim his place as the king of devaloka.[3]
As told in another legend, when sages were planning to perform penance, Brahma, the god of creation, brought out a ring from darba grass. He asked the sages to perform penance at the place where the ring fell, which is believed to be Naimisaranya. The sages performed penance and at the end of it, Vishnu appeared to the sages and accepted their offerings. It is believed that the forest still has Vishnu and all sages as trees
Naimisaranyam is located at the junction of the roads from Sitapur and Khairabad, 32 km from Sitapur and 42 km from the Sandila railway station, 45 miles north of Lucknow in Uttar Pradesh. Naimisaranya is also known as Nimsar or Nimkhar and is located on the left bank of the river Gomati.[5] The sacred well, namely Chakra Kunda is believed to have started from the weapon of Vishnu, Chakra. There are shrines dedicated to Chakranarayana, Ganesh, Rama, Lakshman
This place has also been visited by Sankaracharya[8] and the famous poet, Surdas resided here. Suthar, the author of 18 puranas is believed to have lived here and presented his sayings to the sages. The central deity is believed to have presided over the forest and hence the puja (rituals) are done to the forest.[2]
The temple is counted as one of the eight temples of Vishnu that self-manifested and is classified as Swayamvyaktha Kshetra.[9] (Seven other temples in the line are Srirangam Ranganathaswamy temple, Bhu Varaha Swamy temple, Tirumala Venkateswara Temple, and Vanamamalai Perumal Temple in South India and Saligrama, Pushkar and Badrinath Temple in North India).[10] Naimisaranya temple is revered in Nalayira Divya Prabandham, the 7th–9th century Vaishnava canon, by Thirumangai Azhwar in ten hymns. The temple is classified as a divyadesam, the 108 Vishnu temples that are revered in the Vaishnava canon.
Every new moon day, a large number of people purify themselves with a dip in the holy well. If the new moon falls on a Monday, it is believed that a holy bath in the well and offering to the presiding deity Lalitha will wash away all the sins committed in their lifetime
By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
Dieng temples is the group of 7th and/or eighth century Hindu candi or temple compounds located in Dieng Plateau, near Wonosobo, Central Java, Indonesia. These edifices originate from the Kalingga Kingdom. The plateau is home of eight small Hindu temples that are among the oldest surviving religious structures ever built in Java, and the earliest Hindu temples in Indonesia. The temples show many features of Indian Hindu temple architecture.
The real name of the temples, the history and the king responsible for the construction of these temples ware unknown. This is because the scarcity of data and inscription connected to the construction of these temples. The local Javanese population named each temples according to Javanese wayang characters, mostly taken from Mahabharata epic.
The Kailasa museum nearby contains many pieces of sculpture removed from the temples.
HISTORY
It is unclear when they were built, and were estimated to range from mid 7th century to end of 8th century CE; they are the oldest known standing stone structures in Central Java.[4][5] They are originally thought to have numbered 400 but only eight remain after local farmers removed stone following the draining of the lake in the 19th century.
Examining the Javanese temple architectural styles, archaeologist grouped the Dieng temples within the Northern Central Javanese style, together with Gedong Songo temples, and to some extents also includes the East Javanese Badut temple, and West Javanese Cangkuang and Bojongmenje temple, and suggested that all of these temples are built within the same period, ranges from 7th to 8th century. An inscription discovered near Arjuna temple in Dieng was dated circa 808-809 CE, it was the oldest surviving specimen of old Javanese script, which revealed that the Dieng temple is continuously inhabited from mid 7th to early 9th century.[6]
The Dieng temples was rediscovered in 1814 by a visiting British soldier that spotted temples ruin lies in the middle of a lake. At that time the plain surrounding Arjuna cluster was flooded with water and forming small lake. In 1856, Isidore van Kinsbergen led an effort to drain the lake in order to reveal the temples. The Dutch East Indies Government continued the reconstruction project in 1864, followed by further study and photographs taken by Van Kinsbergen. The temples are now believed to have been named after the heroes of the Hindu epic Mahabharata.
BIMA TEMPLE
Bima temple is a single temple situated on a hill separated from the rest of Dieng temples. This temple is the largest and tallest building in the Dieng temple compound. The shape is different from temples in Central Java in general, and the other temples at this site, and relates more closely to Indian temples. In particular it has been compared to the Parashurameshvara Temple (c. 650) in Bhubaneswar, Odisha,[4] and the very different temple at Bhitargaon.[8] The 7th-century Laxman Temple at Sirpur is closer.
The temple base has a square ground-plan, the facade on each side are slightly protruding out. The front facade protrudes about 1.5 m, serves as a porch before entering the temple's main chamber. Facades on the other three sides forming niches where originally statues or images were stored, currently all niches are empty.
The roof of the temple consists of 5 levels, with each level are decreasing in size upward. Each level is decorated with lotus double seam and gavaksha or kudu niches. These are "window"-shaped arches common as a motif in Hindu temple architecture. Here each contains a head looking out. Such ornaments also can be found in other Javanese temples, such as Kalasan, Gebang and Merak temple. The pinnacle of the roof is missing and its original form is unknown. There are amalaka-type segmented rings at the corners at one level, and the ornament with corbels, leaves and festoons on the lower cornices, below the gavakshas, suggest influence from Chinese Buddhist art.
ARCHITECTURE
The temples are small shrines built as monuments to the god-ancestors and dedicated to Shiva. The Hindu shrines are miniature cosmic mountains based on plans in Indian religious texts, although Schoppert suggests that though the plans follow Indian texts, the ornament has "design motifs which for the most part have no clear correlate in India". In 2011, in a review published by Romain, the temples were related to Dravida and Pallava style temples of South India.
The temples all have a single chamber inside, with one entrance, sometimes extended to make a small vestibule. The chambers are raised on plinths, and a cornice outside indicates their height inside. There is (or in some cases was) a high superstructure rising above the chamber, for which a variety of Indian forms are used in different temples.
Early North Central Javanese temple architecture is noted for its smaller size, simplicity and relatively lack of ornaments compared to richly decorated and massive temples of Southern Central Java, such as Kalasan, Sewu, and Prambanan. The temples of North Central Java are grouped in irregular clusters, with individual variations of temples styles. This is in contrast to concentric mandala plan of Southern Central Java temples with uniform design of perwara (ancillary) temples.
The earliest architectural usage of the Javanese kala demonic masks and makara marine monsters are exhibited along the niches and doorways of the remaining structures.
The Dieng structures were small and relatively plain, but stone architecture developed substantially in only a matter of decades resulting in masterpieces such as the Prambanan complex and Borobudur.
Beginning with the 2nd century B.C., and continuing into the 6th century A.D., the paintings and sculptures in the caves of Ajanta and Ellora, inspired by Buddhism and its compassionate ethos, unleashed a surge of artistic excellence unmatched in human history. These Buddhist and Jain caves are ornately carved, yet seem quiet and meditative and exude a divine energy and power.
About 107 km from the city of Aurangabad in Maharashtra, are the rock-out caves of Ajanta nestled in a panoramic gorge, in the form of a gigantic horseshoe. A set of 29 caves, Ajanta is among the finest examples of some of the earliest Buddhist architecture, cave paintings and sculptures. These caves comprise Chaitya halls or shrines, dedicated to Lord Buddha and Viharas or monasteries, used by Buddhist monks for meditation and the study of Buddhist teachings. The paintings that adorn the walls and ceilings of the caves depict incidents from the life of lord Buddha and various Buddhist divinities. Among the most interesting paintings are the Jataka tales, illustrating diverse stories relating to the previous incarnations of the Buddha as Bodhisattava, a saintly being who is destined to become the Buddha. These elaborate sculptures and paintings stand in impressive grandeur in spite of withstanding the ravages of time. Amid the beautiful images and paintings are sculptures of Buddha, calm and serene in contemplation.
The cave temples and monasteries at Ellora, excavated out of the vertical face of an escarpment, are 26 km north of Aurangabad. Sculptors, inspired by Buddhism, Jainism and Hinduism, created elaborate rock carvings. Extending in a linear arrangement, the 34 caves contain Buddhist Chaityas or halls of worship, Viharas or monasteries and Hindu and Jain temples. Spanning a period of about 600 years between the 5th and 11th century A.D., the earliest excavation here is of the Dhumar Lena (Cave 29). The most imposing excavation is, without doubt, that of the magnificent Kailasa Temple (Cave 16) which is the largest monolithic structure in the world. Known as Verul in ancient times, it has continuously attracted pilgrims through the centuries to the present day.
Declared as World Heritage Sites by UNESCO since 1983, the paintings and sculptures of Ajanta and Ellora, considered masterpieces of Buddhist religious art, have had a great influence in the development of art in India. The creative use of colour and freedom of expression used in depicting human and animal forms makes the cave paintings at Ajanta one of the high watermarks of artistic creativity. The Ellora preserved as an artistic legacy that will continue to inspire and enrich the lives of generations to come. Not only is this cave complex a unique artistic creation and an excellent example of technological exploit but also, with its sanctuaries devoted to Buddhism, Hinduism and Jainism, it illustrates the spirit of tolerance that was characteristic of ancient India.
Kailasa Temple, Ellora (Kailasanatha) - India
The Kailash (IAST: Kailasa) or Kailasanatha temple (Kailasanatha) is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. A megalith carved out of one single rock, it is considered one of the most remarkable cave temples in India because of its size, architecture and sculptural treatment.
The Kailasanatha temple (Cave 16) is one of the 34 cave temples and monasteries known collectively as the Ellora Caves. Its construction is generally attributed to the 8th century Rashtrakuta king Krishna I. The temple architecture shows traces of Pallava and Chalukya styles.
Ravana shaking Mount Kailasa, made about 700 AD in Madhya Pradesh, India. On display at the Cleveland Museum of Art in Cleveland, Ohio. Sandstone.
In some branches of Hinduism, Shiva is the ultimate creator of the universe and lives with his consort, Parvati, on top of Mount Kailasa.
In one story, the demon Ravana tries to steal Mount Kailasa for his own. Shiva pressed down on the mountain with his toe to keep it in place, but Parvati clung to Shiva in terror. This statue depicts that dramatic moment when she did so.
Ellora is an archaeological site, 29 km (18 mi) North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. Ellora is a World Heritage Site and is a protected monument under the Archaeological Survey of India. Cave 16, also known as the Kailasa or the Kailasanatha, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens.
Kailasa Temple, Ellora (Kailasanatha) - India
The Kailash (IAST: Kailasa) or Kailasanatha temple (Kailasanatha) is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. A megalith carved out of one single rock, it is considered one of the most remarkable cave temples in India because of its size, architecture and sculptural treatment.
The Kailasanatha temple (Cave 16) is one of the 34 cave temples and monasteries known collectively as the Ellora Caves. Its construction is generally attributed to the 8th century Rashtrakuta king Krishna I. The temple architecture shows traces of Pallava and Chalukya styles.
For other uses, see Shiva (disambiguation).
"Siva" redirects here. For the bird, see Blue-winged Siva.
Shiva
A statue in Bengaluru depicting Shiva meditating
Devanagari शिव
Abode Mount Kailāsa[1]
Mantra Aum Namah Sivaya
Weapon Trident (Trishul)
Consort Parvati or Sati or Shakti or Durga
Mount Nandi (bull)
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Shiva:(pronunciation: [ʃɪ.ʋə]; Sanskrit: शिव, Śiva, lit. "Auspicious one" ; Tamil: சிவன்) One of the Trimurtis. Shiva is the supreme God in the Shaiva tradition of Hinduism. In the Smartha tradition, he is one of the five primary forms of God. [2][3]
Followers of Hinduism who focus their worship upon Shiva are called Shaivites or Shaivas (Sanskrit Śaiva).[4] Shaivism, along with Vaiṣṇava traditions that focus on Vishnu, and Śākta traditions that focus on the goddess Devī are three of the most influential denominations in Hinduism.[5]
Shiva is usually worshipped in the form of Shiva linga. In images, he is generally represented as immersed in deep meditation or dancing the Tandava upon maya, the demon of ignorance in his manifestation of Nataraja, the lord of the dance.
In some other Hindu denominations, Brahma, Vishnu, and Shiva represent the three primary aspects of the divine in Hinduism and are collectively known as the Trimurti. In this school of religious thought, Brahma is the creator, Vishnu is the maintainer or preserver, and Shiva is the destroyer or transformer.[6]
mount-kailash.com/shiva/shivas_aspekte.htm
Lord Shiva - Seine Form und Aspekte
Der
Lord Shiva
Name Shiva (aus dem Sanskrit) bedeutet wörtlich "gütig, gnädig, freundlich". Der Freundliche.
Lord Shiva, der sich mit halbgeschlossenen Augen ständig in Meditation befindet, ist einer der meistverehrten Gottheiten im Hinduismus. Sein Wohnsitz ist der heilige Berg Kailash im Himalaya. Ihm folgen die meisten Sadhus, die heiligen Männer Indiens.
Shiva als Teil der göttlichen Trinität "Brahma-Vishnu-Shiva" manifestiert sich als der Zerstörer. Als solcher ist er jedoch auch Ursache der Schöpfung, denn ohne die Zerstörung des alten Zyklus kann keine neue Schöpfungsperiode entstehen. Brahma wirkt als Schöpfergott und Vishnu als Gott der Erhaltung. Die drei göttlichen Aspekte stellen die drei fundamentalen Kräfte der Natur dar, die es in der Welt gibt: Schöpfung, Erhaltung und Zerstörung. Shiva verkörpert Tamas oder die Tendenz zur Auflösung und Vernichtung.
Shiva der Gütige (Gnädige) ist auch bekannt als der Mahadeva (maha = groß, der grosse Gott) oder Mahayogi, der oberste aller Yogis, dessen Trommelklang die Menschen zum Erwachen aus ihrer materiellen Illusion verhilft. Shivas mächtige Trommel und göttlicher Tanz sind eine Quelle der Inspiration und drängen die Menschheit zu spiritueller Entfaltung und Vervollkommnung.
Shiva hat verschiedene Erscheinungsformen. Obwohl Er über Namen und Formen hinausgeht, stellen ihn Künstler
oft als jung und schön dar, mit weißer Hautfarbe. Er hat drei Augen und vier Arme; heilige Asche wurde über seinen ganzen Körper geschmiert. In zwei seiner Hände trägt er einen Dreizack (trisula) und eine Trommel (damaru), die zwei anderen nehmen symbolische Handstellungen (Mudras) ein, und zwar in der Bedeutung von Schutz (abhaya) und Gewährung von Wohltaten (varada).
In seinem Haar trägt er die Mondsichel, um seinen Hals winden sich Kobras. Die erhobene rechte Hand (Abhaya) bedeutet Schutz, Segen und Beruhigung. Die drei Spitzen des Dreizacks dienen der Vertreibung von Dämonen und stehen für die drei Aspekte der Gottheit: Schöpfer, Erhalter und Vernichter zugleich. Die Schlange (Naga) ist das Symbol des ewigen Kreislaufes der Zeit und der Unsterblichkeit.
Shiva sitzt auf einem Tigerfell, dazu gibt es folgende Geschichte: die Rishis (Asketen) waren neidisch auf Shiva, weil ihre Frauen alle in Liebe zu ihm entbrannt waren. Sie liessen einen wilden Tiger auf ihn los, er tötete ihn aber und zog ihm das Fell ab. Als sie ihm nun giftige Schlangen schickten, zähmte er diese und hängte sie um seinen Hals. Als man die Mondsichel nach ihm warf, steckte er sie sich als Schmuck in seine Locken. Daraufhin knieten die Rishis in Verehrung vor ihm nieder.
Shiva hat langes, filzhaftes Haar, und der lebensspendende Fluß Ganges entspringt oben am Kopf. Er trägt eine Mondsichel als Krone und Kleidung, die aus Tiger- und Elefantenhaut gefertigt wurde. Sein Hals, um den sich eine große Kobra windet, ist blau. Shiva hat eine Kette und Girlande aus Schädeln um, und Schlangen zieren seinen Körper. Ferner trägt er einen Gurt, eine heilige Schnur (yajnopavita) und Armreifen.
Shivas Augen sind halb geschlossen, d.h., weder ganz geschlossen, noch ganz offen. Es handelt sich um eine heilige Position, die Sambhavee-Mudra genannt wird. Geschlossene Augen zeigen an, daß sich die Person von der Welt zurückgezogen hat. Geöffnete Augen weisen auf jemanden hin, der voll der Welt zugewendet ist. Die halb geschlossenen Augen bedeuten daher, daß Shivas Bewußtsein im inneren Selbst ruht, während sein Körper in der äußeren Welt aktiv bleibt.
Künstler zeigen Shiva oft meditierend, mit dem schneeweißen Hintergrund des Berges Kailash, was absolut reines Bewußtsein bedeutet. Der Zustand der Meditation, den Shivas Haltung zeigt, birgt tiefe Symbolik, da Meditation das letzte Tor zur Selbstverwirklichung ist. Um Gott zu verwirklichen, ist es unerläßlich zu meditieren. Shiva repräsentiert das Ideal höchster Entsagung, die aus Gottverwirklichung entsteht.
Shivas weiße Haut symbolisiert das Licht, das die Dunkelheit vertreibt, das Wissen, das Unwissenheit vertreibt.
Album Esoteric - Ezoteryka www.flickr.com/photos/arjuna/sets/72057594082135474/