#Nelithandai ( #நெளிதண்டை )

Thandai is a Tinkling ankle-rings worn by Men and Women in traditional style. These stiff anklets are adjustable and easy to wear at legs. Still we could see the usage of the ankle rings were exist in the rural parts of India. The ankle rings were used in different shapes in all over India and according to the shapes the name of the ankle rings may differ partially. In this pictures we could see the similar ornaments which is in the zig zak shaped ankle rings were shown in the sculpture which was the contribution by Hoysala (king Ramanatha period) - 13th/14th century AD to the Venugopala shrine at #Srirangam temple #Trichy which has the Thematic representation from Pasurams of Thirumangai Alwar.

In the other hand we could see the continuation of the zig zak ankle rings were shown in #nayaka period #dwarabalaks ( door guardian ) stuco from Tanjore brihadeshwara temple. We could see the gigantic stucco door guardians at the periya nayaki  ambal shrine.

Here in this instance which shown below shows  the precious stone studded  golden zig zak ankle rings from #avudaiyarkovil temple in pudukottai district which is used to adorn by the processional deity #manikavasagar along with all  jewelleries used during annular  festival occasions could be a martha era and also in another part a similar silver neli thandai were quit commonly used till early 20th century so from these pictured could understand the usage of ankle rings from deity to the common public is quite common and also similar pattern do exist for some centuries too.

-- Ramu.Rm.N

#comparison #jewelry #Indian_jewelry #continuation #ankle_rings #zigzag

dheki

#Dheki is a traditional agricultural tool used for threshing to separate rice grains from their outer husks, while leaving the bran layer, thus producing brown rice in many villages women folk do this work exceptions  are everywhere but work of preparing rice/paddy for family rests in hands of women this is also innovation evolved in rice producing areas in West Bengal and Bangladesh.

In the other hand a terracotta panel from temples in west Bengal which represents the Bengali dhnekis or rice thresher in the village of #Ganpur in central #Birbhum district. In #Bengali folklore the iconography of narada muni is related with flying dhneki as his vehicle. We could see such kind of terracotta panel in Assam westbengal and Bangladesh.

 This panel is from a temple in Uchkaron in #Birbhum district. This scene is also depicted in terracotta temples around Goghat in #Hugli district.

--- Ramu.Rm.N

ottiyanam gridls

#ottiyanam 3

south india rigid waist belt were  commonly known as #Oddiyanam  the very purpose of the Girdles encircle the attire and which holds the bottom piece of clothing, that complements the texture of traditional outfits.

Here in this instance which shown below shows  the another style of golden girdle from #melkote thirunarayanapuram temple  which is used to adorn by the processional deities upayanachiyars along with all  jewelleries used during annular  festival occasions and also in another part a  late 19 th century photograph of a south India women from Tamilnadu is shown on which a lady adorned with Victorian Edwardian 1837-1910 era south Indian golden jewelleries among which similar magnificent griddle also  we could witness girdle ( ottiyanam ) so from these pictured could understand the usage of griddle from deity to the common public is quite common and also similar pattern do exist for some centuries too.

-- Ramu.Rm.N

#Gangireddu_aatalu

#Gangireddu with tinkling bells on its fore feet attired in layers of red and yellow mirrored clothnods its head vigorously to the tunes of its master who visits every house in a village and collects cash, materials and food grains donated by people. From silk sarees to cotton fabrics, people express gratitude for a good harvest by draping a plethora of garments on its back. With hopes of a better yield next year they  bid farewell to the bull of good fortune.The return of Gangireddu to the villages is considered a good sign for the newly-married couple.The bull dances and performs acrobatics on the instruction of its master to entertain the crowd.

During Sankranti has been a common site in the villages of #AndraPradesh and telungana which marks the beginning of the harvest festival #Sankranti.

In fact Gangireddu #Aata is perhaps one of the very few rural entertainment that has survived through times. The century-old art form has spread to neighbouring States of #TamilNadu and #Karnataka, apart from other parts in the State. In tamilnadu they call as boom #boom #madu and in Karnataka  they call as gangireddu #basava. In this collage we could see the  16 th century sculptures of gangireddu atta in #Thirukurungudi temple at #thirunelveli dist, #Tamilnadu. From this we could see understand the continuity of the tradition had existed in tamilnadu also we could see the tradition and its still exist in telugu States.

-- Ramu.Rm.N

#Sahasraradalapadmam

#Sahasraradala #padmam

Sahasrara Padma the lotus with thousand petals. These petals are arranged in 20 layers, each layer with approximately 50 petals. Sahasraradala Padmam is considered sacred and is related with the Crown chakra which is symbolic of supreme consciousness and spiritual enlightenment. The crown chakra is considered the seventh primary chakra in some tantric yoga traditions.

The thousand here does not literally mean the numeral one thousand, but means what cannot be counted, that is, infinite . By opening and aligning the chakras, energy centres in the human body, from the bottom of the spine upward right up to the Sahasrara Chakra the window to enlightenment is thrown open. Here infinite energy is visualised in the infinite petals of the lotus – the thousand-petalled lotus, so to speak that is a moniker for Brahmn, consciousness, that has neither beginning nor end and which is suffused with boundless energy.

Hindu gods and goddesses are mostly depicted with a lotus in the frame, either they are seated on it or the petals are carved on their throne.Perhaps the lotus as a metaphysical symbol of reaching for infinity is included in the hope of inspiring us to aspire for what lies beyond and in the process to go through stages of evolvement that will exude goodness, compassion, strength, courage and determination. Here in this collage we can see the Sahasrara Padma murals is shown in temple ceilings in Tamil Nadu . On the other hand we can see the Sahasrarapadam patterns were used in #jewellery which were occasionally used for deities on ceremonial processions . We can see this patterns at Madurai’s Meenakshi Amman Temple , Kanchipuram Varadaraja Temple , Thirchy Uraiyur Temple and Kumbakonam Sarangpani Temple .

It is connected with the universal mind and holds the elixir of life. It symbolises knowledge and is also called Nirvana in Jain and Buddhist tradition. Buddha is sometimes depicted as Padmapani holding the lotus flower in his hand, denoting detachment.

--Ramu.Rm.N

Jambhala /kubera

In hindu mythology Kubera is believed as the god of wealth, demigod and Yaksha. He is regarded as He is regarded as the regent of the North ( one amoung the asta dikpalagas ).  In Buddhist tradition they call him in the name of Vaishravaṇa or #Jambhala /#Lokeshvara. The Buddhist #Vaisravana like the Hindu Kubera is the regent of the North a #Lokabala and the Lord of #Yakshas. He is one of the Four Heavenly Kinga each associated with a cardinal direction. He is worshipped as God of prosperity and wealth by Asian people. This is a the four-armed Kubera sits on a lotus flower supported by a money pouch that is bound by chains of jewels. Its right foot rests on a few money pouches. There is a money pouch on each corner of the pedestal and six pouches on each side, representations, gods, demigods, heroes, etc. This one of beautiful javense miniature bronze idol which is dated to 850 - 930. And its height is 11.5 cm. Currently this Jambhala bronze idol is displayed at #Rijksmuseum in Amsterdam, #Netherlands.

#Ramu

sithanavasal murals

#Sithanavasal Arivar Koil is a rock cut cave temple of the Arihants. It contains the 7th century remnants of notable #frescoes paintings  technique with many mineral colors in the ceiling of the #sanctum and ardha-mandapam.

Paintings in the roof of the Ardhamnatapa are the mural paintings with #Samavasarana theme (faith of #Jainism). The ceilings have depiction of a #lotus tank filled with lotus flowers with natural looking images of men, animals, flowers, birds and fishes surrounded by bhavyas ("the faithful"), elephants, fishes, one fish shown as jumping out of water.

In the other hand we could see real lotus buds from the lotus pond from this we could understand how skilled artists were hired and utilized in those days. However most of the frescoes which were covered fully in plaster have been severely defaced or not clearly visible due to inadequate security and maintenance resulting in vandalism in the past five or six decades.

----- Ramu.Rm.N

A piece in kaluthiru

A center piece of #jewelry ( #Thali ) from Kaluthiru Now & then. Nowadays this center piece ( thali ) were made in 4 to 6 grms. In the other hand we could see the well detailed workmanship in thali this pieces weight's around 160 grms which were used during late 19 th century. In that piece we could see well detailed flowers, creepers , birds, gantgarvars, chowri beares and laxmi at the top.From this we could understand detailed craftmanship skill of the Chettinad goldsmiths. #Kaluthiru is the auspices and unique ornament worn ( #mangalsutra ) to bride by the bridegroom during marriage in chettinad. This jewelery is used by chettinad womens during there important occasional ceremonies. In those days kaluthiru is one of the important asset which helped to develop there business.

----- Ramu.Rm.N

For more detail about kaluthiru

https://ramuvinkirukalkal.blogspot.com/2020/05/chettinad-kaluthiru.html?m=1

rajasowri

#Rajasowri a traditional hairstyle of #srirangam #namperumal which has the continuity in the other hand we could see the similar #hairstyle show in 15th century bronze idol of sita from this we could understand the continuity still exist in temple rituals. Currently this #bronze idol of sita is displayed at the National Gallery of #Australia, #Canberra.

#Comparison #Ramu

savudi / சவுடி

#Savudi is a ear-ornament worn by women in rural parts of southern #tamilnadu the practice of wearing these heavy pieces of #jewellery, on elongated ear which continuously give gentle pressure to that part of the ear that activates the brain and the glands in the head with the result that the person remains alert and energised. When a little heavier ornament is used the ear gets stretched and gives an appearance of a larger ear. Thus in the single act of wearing the ear #ornament with two advantages are drawn of increasing the brain activity and getting larger ears. Thus the idea of piercing the ear early in childhood and stretching the ear by the gentle pull of the ornament comes with twin purposes  one real and another symbolic. The real purpose is that the pull keeps the brain always alert and efficient. The symbolic reason is that the stretched ear looks large thereby capable of gathering or listening sounds. Some also believes that the longer it stretches the longer her life will be.

The savudi /#savadu is similar to the #thandatti but is shaped into multiple rings and each one is adorned with four to five rings weighing roughly it will be around 96 grams in total. In sculptures we could see more that 10 rings were adorened by women's in those days. There heavy pair of earrings which shows the wealth and social status too.These savudi's outer part is covered with gold while it’s hollow interiors are filled with lacquer which is then moulded into a circle shape and weard by women's. According to the region the shape and designs the heavy earrings go by various names like #pampadam, #olakadukan, thandatti, #mudichukadukkan. In this collage we could see the savudi/savudu the ear ornament were shown in nayaka period women sculptures in the temples of southern tamilnadu. From this we could understand the continuity and usage of this ornaments were still in exist and used by older womens in that locality.

--#Ramu.Rm.N

Olakudai / thazlakudai

கண்பொர விளங்கும்நின் விண்பொரு வியன் #குடை

வெள்ளைக்குடி #நாகனார்  #புறம் 35

வீறுசால் மன்னர் விரிதாம #வெண்கொடையைப்
பாற எறிந்த பரிசயத்தால் – தேறாது
செங்கண்மாக் கோதை சினவெங் களியானை
திங்கள்மேல் நீட்டுந்தன் கை.

#முத்தொள்ளாயிரம் 19

#Olakudai / #thazlakudai which is also known as Palmyra leaf umbrella is one of the most unique craft of south india.This is one of those gems of the past that refuse to be washed away by the tide of time. But luckily a small group of craftsman still exist at pallakad district of kerala.  these umbrellas are still popular across the kerala in various forms. Whether it is the umbrella held by the person dressed up as Mahabali in Onam processions or the umbrella carried by farmers or fishermen, they are present everywhere in the life and culture of Kerala. In #pallakad still they have there traditional way to make them too. The men of the family will make the leg and cane framework. The weaving of the dried palm leaves and other works has to be carried out by the womens. There are around 15 varieties of which five are the most popular and commonly used. The most popular during the summer season is #Ambalakkuda and it is preferred for temple festivals.Vallikuda, thoppikuda, marakkuda, ambalakkuda, and onakkuda are some of the different varieties. Each has a different weight and size. However there is not much difference in the shape.

A women holding Palmyra leaf umbrella from nellaiyapar temple at thirunelveli

In this college we could see the similar style of umbrellas were shown in The #Ajanta Cave complex which is known for the largest surviving collection of Indian wall paintings and The 7-8 th century #pallava murals beautiful goddess parvathi with a crown on her head and an umbrella held over her from Panamalai at #tamilnadu. In the other we could see the continuity of olakudai were made of gold and used in temple processions in this we could see the similar style of golden umbrellas were used in #Trichy #srirangam temple at tamilnadu.

--Ramu.Rm.N

அகப்பைகூடு #laddleholder

Chettinad Vintage/Antique wooden spoon holders used to hold ladles as well. The spaces in between is the place which is the holder which were used in the #kitchens of the #Chettinad in South India. These antique spoon holder belongs to early 20 th century which were made with beautiful detailings which shows the #craftsmanship of the artist. Nowadays these kind of ladle holders were used as home decor. In the other hand we could see the similar ladle holders ( agapai koodu ) has been shown in #Maratha period #murals at #avudaiyarkovil in #pudukottai district of #tamilnadu.

#Ramu

#Dieng_ brahma

#Dieng_ brahma

#Brahma is best known for his role in the Hindu pantheon as creator of the universe. when many Hindu deities were incorporated into the practices of Khmer Buddhism. In the Buddhist traditions as a protector of the “dharma” (Buddhist teachings).Brahma’s four faces, which look in all four directions at once, signal his omniscience and he is mounted on the Hamsa or sacred goose; his attributes include: disc, ladle, book, rosary, vase, flying whisk and sceptre.

#8th_century bhrama on his vehicle hamsa (swan) Brahmas carrier hamsa the swan is seen here as a swan-man a very unique representation in Hindu iconography this sculpture was found at  Dieng , Central Java, at 1903  now displayed at  National Museum, Jakarta, Java.

#Ramu

#derivativeterms and nose pins

#Nosepins and its similar shapes which is associated with clove beans and #coatbuttons or tridax daisy is a species of flowering plant. In tamil clove beans is called as #mookuthi avarai and #tridax daisy is also called as mookuthi poo. In tamil grammer this kind of words comes under the classification of karanapeyar #காரணப்பெயர் —(Derivative name) that is a name given for a reason/purpose.

Till early 20 th century we could see these kind of Nosepins were quite commonly used for deities and public but now we could see these kind of nosepins were still exist in usage for deities.

#nose_pins  #vintage_picture #tamilwomans #tamil #mookuthi #Meenakshi #Indian_jewelry #Srirangam #ranganayki #madurai #sriviliputhur #Aandal #deities #jewelry #comparison #ramu #april21

aazhi ther

#Aazhi_Ther event is the very old and ancient festivals that are often mentioned in the devotional hymns of saints (like  Appar, Thirugnanasambandar and Sundarar ) and many Tamil literature like ancient Tamil epic Silappathikaram etc. References to Aazhi Ther festival in Thiruvarur are found in the #Modi (Marathi language) scripts of the Thanjavur Mahratta Ruler Shahaji (1684-1712 AD) at the famous Saraswathi Mahal Library in Thanjavur. Aazhi Ther is the biggest temple chariot in Asia. The 30-ft tall temple car rises to 96 ft, after decoration is completed with bamboo poles and colourful cloth the kalasam alone accounting for 6 ft all of which take the original weight of 220 tonnes to 350. In collage we could see the17th century ceiling and wall paintings in #Thiruvarur #thiyagarajar temple #Devasiriya #mandapa ceiling, second bay from the east which illustrates viswakarma returns to inform #Muchukunda that Thiruvarur is the suitable place. The original Thiagaraja and the other six images are taken to earth in a superbly decorated chariot The celestials throw flower petals on the conveyance. In the other hand we could see the current structure of #tiruvarur #aazhither.

Colorful flags now & then

Thiruvarur Thyagaraja Temple Devasiriya mandapam ceiling which has beautiful 17th century murals describes the sthala mahthmiyam. In this picture we could see the #Thyagaraja's procession in Indra’s city Amaravati ( heaven ) during the procession of thiyagarajar the court Musicians and dancers took part in the rituals. In this pictures we could see the colorful hanging flags were taken during procession. In the other hand we could see the similar colorful flags which were hoisted in kerala temples during the annul festivals and during the village festivals.From this pictures we could see the continuity and usege of these kind of flags still exist in the rural parts of kerala but now we couldn't see this traditional flag useage in tamilnadu .

-- Ramu.Rm.N

#Comparison #connectivity #flags #flagpost #murals #thiruvarur #rituals #kerala #temples #tamilnadu #Ramu

#kidaai_Muttu

Goat fighting Ram fighting is a blood sport between two rams (large-horned male sheep)  held in a ring or open field. In tamilnadu Ram fighting, also known as kidaai muttu, conducted as part of temple festivals in southern parts of tamilnadu like Madurai, Ramand, Theni etc .

In the wild ram fights occurs naturally as a bovine behaviour to settle dominance hierarchy a contest for alpha male status among virile rams, by ramming their heads into others. traditionally the male aggressiveness is not a desirable quality among sheep husbandry, as the sheep farmers prefer a docile sheeps in husbandry. In tamil nadu traditionally farmers and shepherds had separate domestication for aggressive rams traditionally they conduct ram fighting as an occasion during temples festivals. In this rams fighting head to head until one of them is unable to continue the fight. People raise these animals for the sport say that they don't eat the animals and they raise them only to participate in the competition. Till now we could see many of them owning up to 20 rams which are trained to fight. In this pictures we could see the #ramfight #kida_sandai held in the rural part of souther parts of tamilnadu. In the other hand the the sculpture of ram fight is depicted at Airavatesvara Temple  of #Darasuram, near Kumbakonam, Thanjavur District in the South Indian state of Tamil Nadu. This temple, built by Rajaraja Chola II in the 12th century CE is a UNESCO World Heritage Site. From this picture we could understand that the ram fight has  heritage continuity of more than 900 years.

--Ramu.Rm.N

#comparison #heritage #farming #cholas #husbandry  #kidaai_Muttu