pandiyan kondai

Namperumal of Srirangam is revered as a majestic and glorious Emperor  the king of all kings according to Vaishnava tradition. Among the many rulers who served Him with devotion, King Jatavarman Sundara Pandiyan I (1250–1284 CE) stands out for his immeasurable love and dedication toward Lord Ranganatha.

The most resplendent of his many contributions is the gold plating of the Pranavakara Vimanam, which continues to shine like a divine crest-jewel. Because he rendered numerous services using gold, he earned the honorary title “Ponmeynda Perumal Sundara Pandiyan Devar” — the king who adorned the Lord with gold.

Another significant service offered by Sundara Pandiyan is the introduction of the Pandiyan Kondai, the special crown worn by Namperumal. During Vaikunta Ekadashi and on occasions when He gives Thiruchchi (procession) along with the Ubhaya Nachiyars, Namperumal adorns this distinguished headgear.

The Pandiyan Kondai currently in use was reconstructed in the 19th century by a devotee named Venkadadhri Swamigal, after the original one deteriorated. Today, the Ranganathar Temple preserves two variants of this sacred headgear:

1.Ratina Pandiyan Kondai – crafted in gold and studded with precious stones such as rubies, emerald and blue sapphire.

2. Muthu Pandiyan Kondai – made with Basra pearls and tiny stone worked pendent elements. This version is often used in processions and features intricate workmanship.

As the Pandiyan Kondai is regarded as a royal ornament, it later inspired several other Vaishnava temples, where similar headgear came to be used during temple processions and special occasions.

The representation of the Pandiyan Kondai has been understood through references from sculpture and bronze icons in the college. A notable example is the depiction of Jatavarman Sundara Pandiyan I in the Chidambaram Temple, where the king is shown with a right-side bun, interpreted as shown as artistic perspective to showcase the hair bun . Similarly, the celebrated bronze image of Nammalvar in Srirangam shows a distinct topknot that closely resembles the shape of the Pandiyan Kondai.

This sculptural hairstyle is typically a simple elegent coiled topknot, an ancient method of securing long hair. The bun is positioned at the top of the head with a slight forward tilt and appears compact and rounded, tapering gently at the top. A decorative band possibly pearls or beads encircles the base of the bun, signifying adornment associated with royalty or divinity.

Similar hairstyles can be observed in several Alvar bronzes, suggesting that this iconic headgear may originally have drawn inspiration from common traditional hairstyles, later refined into a royal and divine emblem.

-- Ramu Rm N

agasthiyar kondai

Throughout history and across cultures, has served as a powerful medium for personal expression, social status, and spiritual belief. In the rich tapestry of South Indian traditions, particularly in Tamil Nadu, hairstyles are not merely aesthetic choices but are deeply intertwined with cultural narratives, religious iconography, and regional identity. This exploration delves into two distinct yet equally significant hair bun styles

Agasthiyar Kondai

The Agasthiyar Kondai is not a simple circular coil; it has a distinct, almost symmetrical shape that flares out on the sides, resembling a stylized bow or a large, flattened fan. This requires considerable hair length or the use of hair extensions or padding to achieve such volume and form. The neatness and defined shape suggest a carefully constructed style, likely using pins, ties, or even internal support to maintain its form. These buns were predominantly depicted on sages in Nayaka period sculptures of worshiping rishis, and rishis around Dakshinamurthy. In Southern Tamil Nadu, especially in Courtallam (Kutralanathar Temple) and the Tirunelveli region, this hair bun style can be observed on sages. This bun is particularly associated with Agasthiyar. In this collage, I have attached pictures of bronze statues and sculptures featuring this similar "kondai." This style was mostly common among men.

Visirikondai

The "Visirikondai" is a classic, rather informal hair bun technique, particularly effective for hair with natural texture, resulting in a relaxed aesthetic. This style was quite common among women in the Southern Tamil Nadu region until the mid-20th century, though it is very rare to see it nowadays.

The process begins by gathering the hair into a high ponytail, designed to keep hair off the neck and create lifted volume at the crown. The gathered hair is then twisted in preparation for coiling. This twisted section is subsequently wrapped around its own base, forming the circular shape of the bun. The final step involves securing this coil firmly against the head with strategically placed bobby pins. The bun's appearance, with its visible texture and potentially a few wisps, suggests a technique that prioritizes ease and a natural look over absolute sleekness or precision, making it suitable for everyday wear. I've included a collage featuring the Kollangudi Karuppayi folk singer from Sivagangai district, showcasing this hair bun from different angles to illustrate its real-time appearance.

The Visirikondai is almost always adorned with fresh flowers, particularly jasmine or "kathambam" garlands, which are often draped around the bun itself, enhancing its beauty and fragrance. Occasionally, traditional gold hair ornaments (like "rakodi" or "chandraprabai") are placed on the bun, further accentuating its shape. "Kunjam" or "lolaku" ornaments were securely placed on the sides of the "kondai."

This hairstyle is typically associated with women in Southern Tamil Nadu. As hairstyles often inspire deity crowns, we can observe similar patterns in the crowns used for processional deities in Shiva temples across the Tirunelveli, Tenkasi, and Thoothukudi regions. I've included a collage showcasing ruby-studded crowns – true masterpieces of traditional craftsmanship. These feature multiple tiers, each adorned with a rich array of gemstones, predominantly deep red rubies and emeralds, set in intricate gold filigree. The collage includes crowns of processional deities from Tirunelveli (Gandhimathi), Sankarankovil (Gomathi), Thiruvidaimaruthur ( Perunalamamulai ammai ), and Thiruchendur (Valli & Devasena). Each crown is unique in its workmanship and details. Due to its visual texture, this type of crown has also been referred to as "Agasthiyar kondai," but unfortunately, both are not the same. From these pictures, we can witness that the usage of headdress from deity to the common public is quite commonly done.

-- Ramu.Rm.N

Siamese twins in chettinad

Among the many eclectic decorative objects that once animated the opulent halls of Chettinad mansions, the porcelain figurine of Chang and Eng Bunker stands out as one of the most intriguing. These miniature representations of the famed 19th-century conjoined twins—whose lives gave rise to the term “Siamese twins”—were imported in large quantities during the peak of the Nagarathar trading era. As the Chettiars travelled widely across Southeast Asia for commerce, especially to Burma, Ceylon, Malaysia, and Singapore, they brought back not only wealth but also a remarkable array of foreign goods that found a place in their elaborately decorated homes. The figurines of Chang and Eng, often crafted in fine porcelain, became a symbol of elite cosmopolitan taste, embodying the community’s fascination with global stories, unusual personalities, and objects that signified their far-reaching commercial connections.

Chang and Eng Bunker (1811–1874), born in Siam (Thailand), were brought to the United States in 1829 and thrust into public view as exotic “Siamese Youths.” Presented in travelling shows across America and the British Isles, they were marketed as living wonders of nature, performing athletic feats and attracting crowds willing to pay to witness their extraordinary physical condition. Eventually, the twins liberated themselves from exploitative management and took control of their public image, presenting refined parlor exhibitions in English and earning substantial financial independence. Their later years were spent in North Carolina, where they married sisters, established a prosperous household, and fathered a total of 21 children—an unusual and much-discussed family structure that captivated public imagination.

The presence of their porcelain likenesses in Chettinad homes reveals more than an interest in curiosities; it illustrates a cultural moment when international trade, colonial-era spectacle, and domestic aesthetics intertwined. These figurines, displayed alongside Burmese lacquerware, European clocks, Japanese ceramics, and local Chettinad crafts, highlight how global encounters shaped the visual and material culture of the region. In this way, the Chettinad mansions stood not merely as architectural marvels but as living museums of a community whose identity was deeply rooted in both Tamil tradition and worldwide engagement.

--Ramu. Rm.N

Standing Ganesha of Karangkates

The Standing Ganesha of Karangkates: An Iconographic and Historical Study

The Ganesha statue of Karangkates, located in Malang Regency, East Java, represents one of the most significant examples of Hindu sculpture in Indonesia. Functioning both as an object of religious veneration and as an artistic monument, the statue embodies the enduring cultural and spiritual legacy of Hinduism in Java. Ganesha, widely revered in Hindu tradition as the god of knowledge, prosperity, and the remover of obstacles (vighnanāśaka), is here depicted in an unusual standing posture—making it the only known statue of its kind in Indonesia. This rare iconography is strongly associated with the Bhairawa sect, a tantric school that emphasized esoteric practices oriented towards liberation from worldly attachments.^1

Carved from igneous andesite stone, the statue measures approximately 2.75 meters in height, including its elaborate crown (jatamuka) adorned with skulls and a crescent moon (ardhacandrakapala). The figure stands in samabhangga posture upon a base decorated with nine skull motifs, further affirming its tantric associations. In his four hands, Ganesha carries the broken tusk (ekadanta), a battle axe (parasu), prayer beads (aksamala), a lotus (padma), and a modaka—attributes rich in symbolic meaning within Hindu theology.^2

Art historian Suwardono has suggested that the Karangkates statue can be dated to the Singasari period (1222–1292), based on stylistic and iconographic analysis.^3 He notes its close similarities with Ganesha statues from the Singasari temple complex, particularly one formerly housed in Leiden (Netherlands) and now repatriated to Indonesia. Comparative analysis with other East Javanese Ganesha sculptures, including the monumental seated Ganesha from Dieng in Central Java, further supports this attribution.^4

The sacred setting of the statue also enhances its cultural significance. Visitors approach along a narrow walled pathway, which opens into a clearing dominated by an ancient banyan tree, beneath which the statue stands beside a pavilion. This spatial arrangement creates an aura of sanctity and mysticism, reinforcing the role of the Karangkates Ganesha as both protector and guardian.

Beyond its artistic and historical value, the Karangkates Ganesha continues to function as a living monument. It serves as the center of Hindu ritual practices while symbolizing Indonesia’s pluralistic cultural heritage. Its imposing presence evokes awe and reverence among the devout, while simultaneously instilling unease in those with ill intent—an effect that reflects the deity’s Sanskrit epithet vighnanāśaka, the remover of obstacles.

-- Ramu. Rm.N

Notes

1. Cf. discussions of Bhairawa tantric symbolism in East Javanese sculpture: H. Kern, Verspreide Geschriften (The Hague, 1916).

2. For the iconography of Ganesha, see T. Gopinatha Rao, Elements of Hindu Iconography (Madras: Law Printing House, 1914), Vol. II, Part I.

3. Suwardono, “Patung Ganesha Karangkates: Ikonografi dan Konteks Sejarahnya,” Jurnal Arkeologi (Malang, 2008).

4. See J.L.A. Brandes, Oudheden van Java (Leiden: Brill, 1909), for comparative descriptions of Ganesha statues from Dieng and Singasari.

muthu karuppasamy

karuppasamy & Krishna

The stucco image represents #karuppasamy in  Lord #Krishna as #Venugopala, standing in the classical tribhanga posture, gently playing his flute. This posture, with its graceful bends at the neck, waist, and knee, is one of the most iconic depictions of Krishna, symbolizing his divine charm and the enchanting power of his music. His serene face, adorned with the Vaishnavite tiruman.

The deity is richly decorated with jewels which highlight both his royal nature and divine radiance. The idol is further adorned with fresh flower garlands of red, white, and green, which extend downwards to touch the cow and tiger  at his feet. These  It is said that in the presence of divine grace, natural enemies like the cow (symbol of gentleness) and the tiger (symbol of ferocity) can set aside their enmity.while also symbolizing prosperity and dharma. The folk conception of Karuppu as a mighty guardian of dharma and protector of villages. This fusion reflects the richness of Tamil devotional practices, where divine figures embody both gentleness and strength, sweetness and ferocity. We could this form of karuppasamy in trichy karur reign that is a unique form.

#Krishnajeyanthi wishes 

--Ramu.Rm.N

#Travel

stucco gajalakshmi comparison

A Comparative Study of Chettinad Stucco Gajalakshmi, Pillaiyarpatti Silver Kamala Vaganam, and Ratna Mayurakandi Jewelry from Devakottai Sivan Kovil

Chettinad art and temple craft traditions of the late 19th century occupy a distinctive niche in Tamil Nadu’s cultural heritage, where the influences of regional styles, devotional imagery, and high artisanal skill converge. A comparative look at three remarkable examples — the Gajalakshmi stucco panel from Rangiyam, the Kamala Vaganam of Pillaiyarpatti, and the Ratna Mayurakandi jewelry set from Devakottai’s Nagarasivan Kovil — reveals not only the richness of Chettinad visual culture but also the shared motifs and symbolic continuities across media such as stucco, silverwork, and gem-studded ornaments.

1. The Rangiyam Gajalakshmi Stucco: Fusion of Styles and Symbolism

The late 19th-century Gajalakshmi stucco from Rangiyam offers a compelling visual composition — Lakshmi, the goddess of prosperity, is flanked by two chowri (fly-whisk) bearers, each adorned with Maharakandi necklaces. Here, the Maharakandi ornamentation is not restricted to the attendants; the goddess herself wears the same type, signifying opulence and divine grace. This panel stands out for its blend of Tanjore-style sculptural treatment — notably in the facial modelling and ornament detailing — with regional Chettinad aesthetics. Another striking element is the floral garland framing, which resembles the Srirangam Kili Malai (parrot garland) pattern, integrating a sacred Vaishnavite temple motif into a Shaiva-Chettinad setting. Such blending suggests an openness in Chettinad temple art to borrow and reinterpret across stylistic and sectarian boundaries.

2. Pillaiyarpatti Silver Kamala Vaganam: Metalwork in Devotional Processions

Moving from stucco to silver, the Kamala Vaganam (lotus-shaped chariot) of Pillaiyarpatti exemplifies the Chettinad silversmith’s mastery in translating floral and divine symbolism into functional ritual objects. Like the lotus seat in the Gajalakshmi icon, the Kamala Vaganam serves as a sacred throne, here for processional use. While the stucco work captures still grandeur, the silver vaganam embodies movement — its shining repoussé work catching light during temple processions, echoing the glistening aura of divine presence. The Kamala Vaganam’s petal arrangements subtly parallel the layered ornamentation of the Maharakandi, showing how jewelry patterns could inspire architectural and ritual design.

3. Ratna Mayurakandi from Devakottai Nagarasivan Kovil: Jewels as Architectural Vocabulary

The Ratna Mayurakandi, a gem-studded peacock-themed jewelry set, demonstrates the interplay between avian symbolism and ornament design in Chettinad art. In temple iconography, the peacock is a sign of divine beauty, fertility, and auspiciousness, and here, the mayura form is meticulously inlaid with stones, embodying the same intricate detailing found in the stucco Maharakandi. Interestingly, the arrangement of stones in the Mayurakandi mirrors the rhythmic sequencing of elements in the Rangiyam Gajalakshmi panel — central divinity flanked by symmetric, richly adorned forms. This jewelry not only adorned devotees or deities but also fed back into the visual vocabulary of temple sculpture, influencing decorative borders and symbolic friezes.

4. Shared Aesthetic Threads and Cultural Continuities

Across these three works — stucco, silver, and gemwork — certain thematic and stylistic threads emerge:

Ornament as Identity: The Maharakandi appears both in sculptural and wearable forms, functioning as a marker of prestige, sanctity, and abundance.

Cross-Medium Influence: Jewelry motifs inspire architectural detailing; likewise, sculptural compositions influence the arrangement of ceremonial metalwork.

Regional-Global Fusion: The Rangiyam stucco’s blend of Tanjore style with Chettinad motifs reflects how artistic traditions adapted and integrated influences.

Floral and Faunal Symbolism: The lotus (kamala) and peacock (mayura) recur, linking ideas of purity, prosperity, and divine beauty across forms.

Conclusion

The late 19th-century Chettinad cultural sphere was not defined by isolated artistic disciplines but by a shared vocabulary of motifs, forms, and devotional symbolism that transcended medium. Whether rendered in enduring stucco, gleaming silver, or jewel-encrusted ornament, the Gajalakshmi of Rangiyam, the Kamala Vaganam of Pillaiyarpatti, and the Ratna Mayurakandi of Devakottai’s Sivan Kovil stand as interconnected expressions of a richly layered heritage. Together, they illuminate how Chettinad artistry seamlessly bridged the sacred, the ornamental, and the ceremonial — a tradition where every detail, whether in stone, metal, or gem, told the same divine story in different tongues.

-- Ramu.Rm N

pavala_thadaba_malai a coral polyps

#Coral_polyps #comparison #natural_Coral_Branch #jewelry #madurai #unique #Coral #பவளகொடி  

  #meenakshi_sundareswarar   #pavala_thadaba_malai  

 

The image collage highlights the fascinating intersection of nature, devotion, and artistry through the use of coral in sacred and ornamental contexts. Central to this composition is the Pavala Thadaba Malai, a unique and revered necklace from the Madurai Meenakshi Sundareswarar Temple. This ornate necklace, used during special temple rituals, is crafted from a naturally grown coral reef branch. Rather than being carved or altered, the coral is polished and worn in its original branching form as a pendant, signifying both its organic beauty and its divine association. It is adorned along with layers of intricate temple jewelry, emphasizing the grandeur of South Indian temple traditions.

Juxtaposed with this sacred coral necklace is a Victorian-Edwardian era brooch dating from 1837 to 1910. This antique piece from Lang Antique & Estate Jewelry, San Francisco, is a natural salmon coral branch mounted with 14k gold fill, reflecting how coral was treasured in Western decorative arts as well. The visual comparison showcases how coral, as a material, transcends cultures—valued both in religious symbolism and elite fashion.

The collage also features vivid images of living coral reefs from the Red Sea and the Coral Kingdom exhibit at Sea Life London Aquarium. These living reefs demonstrate the stunning natural colors and forms of coral polyps in their marine habitat, giving insight into the source of the coral used in both sacred and ornamental pieces. The presence of clownfish among the coral reinforces the delicate ecosystem that sustains such natural beauty.

Together, the elements in this collage reflect the enduring appeal of coral—from temple sanctums in Madurai to antique collectors in the West—and highlight its transformation from marine wonder to spiritual and cultural emblem.

— Ramu.Rm.N