Pañcapretāsanāsīnī-Sadāśivī

Rajarajan, R.K.K.

doi:10.1080/02666030.1997.9628522

Cited by 2 publications

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“…Monius 2005). Probably the Jain Iḷaṅkō's Hindu "hero" Kaṇṇaki (Berkson 1987;1997;Rajarajan 2016a: pl. 143 -b).…”

Section: Pattiṉi the Virtuous Wife In Myth And Literaturementioning

confidence: 99%

“…Following the Cilappatikāram tradition (cf. "Vēṭṭuvavari") the bhujabala ('strength of arms') attributed to Śiva or Viṣṇu are the woman's prototypal deeds (Bake 1955;Berkson 1987;1997;Rajarajan & Jeyapriya-Rajarajan 2018: 2). It was she who kicked Yama on the chest to favour Mārkkaṇṭaṉ/Mārkaṇḍeya (v. 6).…”

Section: Studia Orientalia Electronica 8(1) (2020): 120-144mentioning

confidence: 99%

“…She cut off the head of Takkaṉ/Dakṣa (v. 6), and she slaughtered Makiṭaṉ/Mahiṣa (Shulman 1980: Fig. IV;Berkson 1987;1997) to dance on his head in nṛtya-Mahiṣamardinī (see Stietencron 1983). She is the Tiripuravalli/Tripurāntakī (v. 10;Tripurāṃbikā LSN-976;Tripureśī LSN-787;Rajarajan & Jeyapriya-Rajarajan 2018: 68-69).…”

Section: Studia Orientalia Electronica 8(1) (2020): 120-144mentioning

confidence: 99%

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Sempiternal ‘Pattiṉi’: Archaic Goddess of the Vēṅkai-tree to Avant-garde Acaṉāmpikai

Rajarajan

2020

StOrE

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A seal of the Indic culture represents a goddess standing close to a tree and receiving sacrifices. Seven more goddesses, hypothetically the Ēḻukaṉṉimār or Sapta Mātṛkā, are linked with the Tree Goddess. The ancient Tamil Caṅkam literature, the Naṟṟiṇai and Cilappatikāram (c.450 ce), mention a goddess of the vēṅkai tree, the Vēṅkaik-kaṭavuḷ. In Tiṭṭakuṭi in south Ārkkāṭu district is located a temple dedicated to Vaidhyanāthasvāmi, the goddess called Acaṉāmpikai or Vēṅkai-vaṉanāyaki (cf. Dārukavana or Vaiṣṇava divyadeśa-Naimisāraṇya). The presiding goddess of Tiṭṭakuṭi, according to the sthalapurāṇam, based on oral tradition (twelfth to eighteenth centuries), is the “Mistress of the vēṅkai forest”. Alternatively, in Caṅkiliyāṉpāṟai (Tiṇṭukkal district) located in the foothills of Ciṟumalai, the Sañjīvi-parvata (‘hill of medicinal herbs and trees’) associated with Hanūmān of Rāmāyaṇa fame is a centre of folk worship. Recently, scholars claim to have discovered some pictographic inscriptions there resembling the Indic heritage. Several hypaethral temples to Caṅkili-Kaṟuppaṉ (‘The Black One Bound with an Iron Chain’), the Ēḻukaṉṉimār (‘Seven Virgins’), and the [Ārya]-Śāsta (equated with Ayyappaṉ of Śabarimalā) receive worship. On certain occasions, people from the nearby villages congregate to worship the gods and goddesses and undertake periodical and annual festivals. It seems that a “sacred thread” links the archaic traditions of the Indic culture (c.2500 bce) with the contemporary faiths (see Eliade 1960; Brockington 1998; Shulman & Stroumsa 2002) of Tiṭṭakuṭi and Caṅkiliyāṉpāṟai. This article examines the story of the Tree Goddess, the neo-divinity (vampat-teyvam) or numen (cf. Vedic devamātṛ-Aditi), with references to the Caṅkam lore, datable to the third century bce (cf. “Chōḍa Pāḍā Satiyaputo Ketalaputo” in Aśoka’s Girnar Edict; cf. Mookerji 1972: 223), Vēṅkaikkaṭavuḷ, Acaṉāmpikai of Tiṭṭakuṭi, and the Caṅkiliyāṉpāṟai vestiges.

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“…Monius 2005). Probably the Jain Iḷaṅkō's Hindu "hero" Kaṇṇaki (Berkson 1987;1997;Rajarajan 2016a: pl. 143 -b).…”

Section: Pattiṉi the Virtuous Wife In Myth And Literaturementioning

confidence: 99%

Section: Studia Orientalia Electronica 8(1) (2020): 120-144mentioning

confidence: 99%

Section: Studia Orientalia Electronica 8(1) (2020): 120-144mentioning

confidence: 99%

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Sempiternal ‘Pattiṉi’: Archaic Goddess of the Vēṅkai-tree to Avant-garde Acaṉāmpikai

Rajarajan

2020

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Pancanrtyasabhas

Rajarajan

2014

ROSA

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The convention among art historians is to begin Nataraja studies with Citamparam. Historically and mythologically, this is a misconception. The earliest mention of Kuttan/Nataraja appears in a fifth- or sixth-century ce literary work, the Alankattumuttatiruppatikam of [Karaikkal]-Ammaiyar, and the theme continued to persist through the ages, being particularly exalted in the hymns of the Tevaram, the first seven compilations of the Saiva canon. The Cidambaramahatmya is a work of the fourteenth century ce or later. Scholarly research has depended more on Sanskritic sources (e.g. Sivaramamurti 1974; Smith 1998) than on the earlier Tamil material. This article says why studies pertaining to Nataraja should begin with Alankatu, the earliest sthala extolled in the Tamil hymns, considered the original base of the Nataraja tradition. It cursorily reflects on the available epigraphical sources. The other dancing venues of the Lord, Tillai/Citamparam, Alavay/Maturai, Nelveli and Kurralam, were added in due course, making with Alankattu a list of five dancing halls (pancanrtyasabha). The article examines a group of five stucco images that appear in the frontal projection of the mandapa to the Alankatu temple.

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Pañcapretāsanāsīnī-Sadāśivī

Cited by 2 publications

References 2 publications

Sempiternal ‘Pattiṉi’: Archaic Goddess of the Vēṅkai-tree to Avant-garde Acaṉāmpikai

Sempiternal ‘Pattiṉi’: Archaic Goddess of the Vēṅkai-tree to Avant-garde Acaṉāmpikai

Pancanrtyasabhas

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