#thandai ankle cuff

#thandai2

The ankle cuff ( #thandai ) has a prominent existence throughout history. According to shapes the name of the ankle cuffs will be varied. The beads in the ankle cuffs produces a delicate anklets that makes rhythmic #tinkle with every step. Its a common #jewelery used by both male and female from all cultures have adorned their ankles as indicators of wealth and social and marital status, as well as beautifiers. Hereditary chain anklets made with gold and diamonds were given to eligible people like nobles, village leaders, and landowners as a sign of special recognition. A wearer of such an anklet was entitled in court and exempt from custom duties, search and seizures, and the criminal process. Anklets were later adopted in silver and brass.

In this collage we could see the brass and silver tinkling leg cuffs were still used for infants throughout India and in the other hand we could see the similar golden cuffs ( thandai ) has been used for processional deities in tamilnadu. thandai were quit commonly used till early 20th century so from these pictured could understand the usage of anklets 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 #anklecuffs 

Aadiperuku #chapparathatti & #bangala rathyatra

The #Aadi_Perukku festival celebrated on 18th day of the Tamil month of Aadi ( july- August ) to welcome fresh waters into the rivers and canals was celebrated with religious fervour and enthusiasm by people in delta region of tamilnadu Attired in their best women visited bathing ghats along the Cauvery, #Kollidam and Grand Anicut canal in the delta districts and offered pujas to Mother #Cauvery. Youth and Children use took bath and enjoyed the fresh water in the rivers by jumping into it from bridges and bathing ghats. On this day those who got married recently offered special pujas at the river banks. Although most part of the rituals were oriented towards woman, boys too had their share of joy in the festivity.Children pulled #chapparams  (miniature chariots) made from discarded timber pallets carrying the images of Hindu gods and goddesses along the streets in their villages as part of the celebrations in Delta region especially in kumbakonam tanjore belts.

These toys were colloquially known as #sapprathatti which looks like a chariots. This toy car play ( #sapparam ) has a traditional continuity in Tamil literature. #Pillai_Tamil is a genre of tamil literature which celebrates the childhood of the hero or deity on whom it is being sung. This genre divides the period of childhood into 10 stages. The first seven stages Kappu, Senkeerai, Thalaatu, Chappaani, Mutham Ambuli and Varugai are the stages common to both male and female children. Last Three stages will be diffrent for boys, sittril, siruparai, #siruther. At the age of 21 months the child would play with a small chariot made of wood is know as Siruther Paruvam butGrammatical Commentary' states that this season occurs in the child's seventh year.Nowadays siruther were made in the form of #olaichapparam / #theruvadchan. However it would we could see this tradition is still preserved and exists in delta region.

In the other hand of this collage we could see similar tradition practice happening in West Bengal. Rathyatra is about a week-long festival large number of people gather at the time of yatra. #Rathyatra which is the third important festival in Bengal after #Durga_Puja and #Kali_Puja. #Rathyatra of West Bengal is the second oldest chariot festival in India after the Rathyatra of Puri. At Balaram mandir of Ramakrishna Mission the festival will be held in a grand manner. Every year thousands of devotees and monks used to pull the rath which had once pulled by Sri Ramakrishna.

The famous rathyatra festival of #Mahesh in #Hooghly district will be held with thousands of devotees used to gather to pull the ratha. This celebration mainly takes place in the months of June or July. During this festival time we could find toy chariots were sold at every street corner ahead of Rath Yatra in the west Bengal a week before the festival this time. The small, one- or two-storey chariots made of plywood, scrap-wood and colourful papers. Rath Yatra children in almost every neighbourhood are seen pulling the small chariots, accompanied by their grandparents or parents and friends. We could see this practice in Bangladesh hindu  villages too.

--- #Ramu.Rm.N

#Adukkupavadai

Adukkupavadai is a traditional costume used during the festival occasions at Srirangam #Namperumal  processional deity is used to adorn with precious jewelery, garlands and deities vechiles is adorned with beautiful sheets of colorful cloth and sarees tied at the top. We could witness this during the certain vechiles processes like Lion, horse, yali, elephant and swan. In the other hand we could see the similar costume have been used in Karnataka theaters arts like yakshagana.

The splendour of Yakshagana lies with the unusual costumes and make-up of the artistes. The smooth flow of heavy and gorgeous costumes testify to the stimulating power of this audiovisual medium.The traditional costume consists of a dhoti a pyjama a jacket and a loose gown. Depending upon the characters they increase the girth of the body with sheets of colorful cloth and sarees tied around worn is yellow and glittery in nature. The clothes are of deep red, green, yellow colour and have a shiny surface. Yakshagana is popular in the districts of Dakshina Kannada,  Kasaragod,  Udupi, Uttara Kannada, Shimoga and western parts of Chikkamagaluru.Towards the south from Dakshina kannada to Kasaragod of Tulu Nadu region the form of Yakshagana is called as Thenku thittu. In this collage we could see the #Bhoota_Kola ritual pictures were shown were could see the similar coustumes have been used. This rituval provides a magical insight into the world of spirits through a unique combination of colors, costumes, story-telling, dance, and music.

Yakshagana is related to other performance art forms prevalent in other parts of Karnataka and the neighbouring states of Andhra Pradesh, Kerala(kathakali), Tamilnadu( kattaikoothu/ #therukoothu ). During vijayanagar emperor Yakshagana shows were presented in the royal courts. Kandakuri Rudra Kavi who was one among the eight famous court poets of Krishnadevaraya of Vijayanagara composed the earliest Yakshagana work Surgriva Vijayamu. After the fall of the Vijayanagara Empire this tradition was patronised by the Nayaka kings of Madurai and Thanjavur particularly Vijaya Raghava Nayak of Thanjavur and Shahji of Maharashtra. Vijaya Raghava Nayak introduced a number of novelties to improve the tradition of Yakshagaana. From this we could understand that usage of Adukkupavadai is  due to vijayanagara influence and it still exist in #Srirangam temple procession.

-- Ramu.Rm.N

#Tradition #impacts #yakshagana #Adukkupavadai #srirangam #namperumal #rituals #Bhoota_Kola 

பொன்னிலவு

விளம்பி யாண்டில் வந்த வெண்நிலவாம்!

சிங்காரவேலர் திருவருளால் முன்நின்று

நலம்பெரும் 

அருமைமனம் கொண்ட நல்முத்தே 

நல்மணியே !

எங்கள் பெயர்விளங்க வந்த மாதரசியிவள் !!

மாநகர் சிராவாயலில் பெரும் செல்வத்தை 

தென்மதுரைச் சங்கத்தில் தேனமுதாய் இனிக்கின்ற

தீந்தமிழ் கொண்டே வாழ்த்துகள் தருகின்றோம்!

பொன்னம்பலத்தான் அருளோடு வாழிய பல்லாண்டு!!

வேணும் மலையாளத் தொட்டியத்து கருப்பர் துணை

#அன்புடைய__அம்மான்

இராம.நா.இராமநாதன்..

சித்திரை திங்கள் 22

புதியதோர் தொடக்கமாய் எங்கள் சித்திரை பெண்ணே வருக!!

எதிர்வரும் காலங்கள் ஏற்றமாக 

புன்னகை பொங்கிட இளவேனிலே வருக!!

தமிழரின் பெருமையும் தமிழின் கீர்த்தியெங்கும் ஓங்க

தமிழரை இணைத்திடடி சித்திரை பெண்ணே !!

தமிழாலே பிணைத்த செல்வமகளே !!

மாரியெங்கும் பொழியவே கழனியும் உழவுதழைக்க வறுமை யெங்கும் களையவே வளர்மதியில் வந்தாயே!!

சார்ந்தோர் அனைவருக்கும் இனிய சித்திரை திருநாள் 🎊🎊 மற்றும் 

சுபகிருது

(நற்செய்கை)

வருடப் பிறப்பு  தமிழ் புத்தாண்டு வாழ்த்துகள் ❤️

 

Every end marks a new beginning. Keep your spirits and determination unshaken, and you shall always walk the glory road. With courage, faith and great effort, you shall achieve everything you desire. 

--- இராம.நா.இராமு 

#Crocodile_holding_Fish

 

Sculpture of the lively Crocodile motif that holds fish which is present at the Chhayadevi/ #Mayadevi Temple is a #Pranala which was built to drain out waters used for ceremonial bath of the main deity which is located in the #Konark temple complex. This temple is dedicated to Godess #Chayadevi believed to have been on The temple facing east consists of a sanctum and a porch standing over a raised platform facade of which is relieved with ornamentation. This temple is assignable to circa late eleventh century and this  temple is known for its architectural Marcel and sculptures. Konark is about 35 kilometres northeast from Puri city on the coastline in #Puri district #Odisha India.

----Ramu.Rm.N

Maharanathu

#Naths are more elaborate nose rings worn mostly during weddings or other important grand events were as a nose stud is worn on a regular basis. From the 15th century onwards the #nath became quite popular with variations like clove, rings, flowers and its made of pearls, sapphire, emerald and kundan. In tamil nadu we could see the usage of naths with the Royals and court dancers. In temples we could see the naths were made in the shape of mahra we can call them as maharanathu. In this collage we could see the #mahara_nathus were been used for processianal deities of #srivilliputhur, #sreeperumputhur, #kanchipuram and #mylapore is compared with a #Gargoyle. At the time of annual festivels in tamilnadu temples we could see the usage of these fine crafted nose pins were adorn by the processional female deities.

Traditionally a makara is considered to be an aquatic mythical creature it is generally depicted as half terrestrial animal in the frontal part (stag, deer or elephant) and half aquatic animal in the hind part (usually of a fish, though even a floral tail is depicted). Though Makara may take many different forms throughout Hindu culture in general its form is always related to appears as a #Gargoyle.
Mahara most commonly recurring creature in Hindu temple architecture and iconography. Makara is also the emblem of #Kamadeva (the god of love and desire). Kamadeva is also known as #Makara_Ketu. Its represented as the vahana of #Ganga (the river goddess) and #Varuna( god of the water and the ocean and guardian of the west). Makara shaped earrings called #Makarakundalam were worn by the Hindu deities

---Ramu.Rm.N

Rishaba vahanam & north tamilnadu desi breeds

Structural comparison with native cattle breeds of Northern TamilNadu and Temple Rishaba vaganam. During the annual festivel on the fifth day of the celebration is very important as the presiding deity of the temple Lord shiva use to come out in the Rishava vahanam.The disciplined bull, which is calm and docile, symbolizes Dharma, an image of controlled power.The white color of the bull symbolizes purity and justice. Generally in thondaimandala (northern TamilNadu )style rishabam vaganams were use to be  designed as short and majestic with a broad forehead and short horns similarly which will look like indigenous breed ( kanchipuram kuttai /Thondainadu kuttai ).

Here in this comparison we had taken some prominent temple vahanas in northern Tamilnadu like #Mylapore, #kanchipuram and #Tiruvannamalai. In the other hand we could see the pictures of the native bulls of the northern tamilnadu which is commonly know as Thondainadu kuttai / kanchipuram kuttai is a desi breed and excellent drought variety This is short breed grows to 80-100 cms in height. It can withstand the hot humid and sultry climate of North coastal Tamil Nadu. This is very docile and amiable and it has an average milk yield of 2to3 litres/day.  Generally they are Red, White, Black and mixed colours. This breed is endangered and there are only a 600 - 700 cows available currently and they face an imminent threat due to artificial insemination and lack of interest in protecting and preserving this breed. These indigenous breeds were commonly found in Chittoor, nellore in (A.P), Velur, thiruvallur, Chengalpattu, Chennai, kanchipuram, Vilupuram and Tiruvannamalai districts of Tamil Nadu.

----Ramu.Rm.N

Traditional baby carriers

Babywearing techniques include wrapping the child on the chest attaching them to the side of the body with slings that range from traditional, colorful fabrics passed down through generations to generation. According to the region the way of carrying may vary like baskets, cradle boards, cloths and in certain regions carrying them on the back.

Here in this sculpture we could see a two armed Mother Goddess ( Brajut / hariti ) holding a elder one in his hand and carrying the Youngest in a Shoulder sling. This was 9 th century sculpture of the goddess Brajut / hariti from desa Claket_Jabung, #Indonesia is included here to show the way some traditional baby carriers are  been used historically and this way of carrying exist in the rural parts of south Asian countries. Here in this collage we could see the simalar way of baby carried in the shoulder sling made of fabric which were from India and Bali, Indonesia. The #Balinese Mother and Children Carrying the Youngest in a Shoulder-sling and holding the elder one in his hand.

In the other half we could see the similar sculpture from #Madurai meenakshi Amman temple in south TamilNadu, India. This sculpture was made during nayaka period in this we could the mother with her three childern. She hold her elder one in his hand carries her younger one in her shoulder and she carries the other in her shoulder which looks like the Indonesian women ( hariti ) sculpture however the way of carrying the children was almost similar. In the other side we could see a recent picture of tribal woman from the #Kondh_tribe with her child in a sling shopping vegetables in the Koraput market in #Odisha, India.

The mythology of #Hariti is Buddhist in origin and dates back to Gandhara period (3rd century of the common era). The concept was popular in Northwestern India and the adjacent areas of Pakistan and #Afghanistan. The spread of the concept/mythology and the fact the story and form have remained unchanged for such a long time worshipped as the protector of children.

Hariti married to #Yaksha Panchika lived in Rajagriha with her five hundred children. But she used to eat other children in Rajagriha. When Buddha was informed of what is happening he hid one of Hariti’s children. When distraught Hariti met Buddha and she narrated her story of her missing child.#Buddha pointed it out if missing one of five hundred children can cause so much mental agony what would be the case of mothers who lost her only child. With that Hariti realized her mistake and wanted to be the protector of children, easy delivery and happy child rearing, while her negative aspects include the belief of her terror towards irresponsible parents and unruly children.

--Ramu.Rm.N 

Malaccan version of Thaipusam

#Masimagam a Hindu festival in #Melaka is celebrated by the annual pilgrimage walk with the chariot procession from the oldest Hindu temple in the country Sri #Poyyatha #Vinayagar Moorthi Temple in Jalan Tukang Emas to take part in a procession to the Arulmigu Sanasimalai Andavar Temple in Krubong. During the Masimagam festival Hindu devotees from all over Malaysia will make a pilgrimage to Sannasimalai Andavar Temple Batu Berendam Cheng. Most of them are completing a vow made to Lord Murugan (#sannasimalai #aandavar )requesting his spiritual blessings for achieving good wealth health and happiness. The two day long festival will begin with the spiritual journey of a silver chariot bears the statue of sannasimalai aandavar adorned with flowers fruits, and adornment.The silver chariot of Lord Murugan makes it’s way through the streets heading towards #Cheng-Krubong at the time silver chariot gets the attention of the devotes due its well detailed craftsmanship. In this chariot we could see the beautiful wooden #gandharavas at the top edges and the base of the chariot is surrounded by four gaurdian maids with the #chawar.

On February 16 th (today) the journey had started from Malacca’s oldest Hindu temple Sri Poyyatha Vinayagar Moorthi Temple in #Jalan #Tokong.

This was a 9km long procession will be trailed behind by frenzied barefoot devotees, some breaking coconuts, others carrying #pal_kudam (milk container) on their heads as a sign of gratitude and some of the devotees performing #kavadi to earn blessings for good wealth, health and happiness. The next day evening (February 17th )the procession comes to an end by silver chariot returns to Jalan Tokong. 

Pc&vc: Priya Dharshini akka 

--Ramu.Rm.N

Penang silverchariot and thaipusam

In Malaysia Thaipusam is a three-day celebration which is annually falls in January or February, Thaipusam often coincides with Chinese New Year celebration.The Thaipusam tradition was brought to east asian countries through the tamil diaspora during the late 18th century. Thaipusam celebration in Malaysia is not only celebrated by the tamils but also participated by other races, notably the Chinese. Ethnic Chinese kavadi bearers often turn heads at penang and battu caves Thaipusam celebration.

Penang Thaipusam is truly a little more unique than the rest. Penang nattukottai chettair temple holds the first silver in Malaysia. And he is the first thandayuthapani in southeast asian countries this temple was built during 1850's .  Penang thandayuthapani temples old wooden chariot has been still in use at #Indonesia medan thandayuthapani temple we could see this chariot during thaipusam .This silver chariot starts its first journey on January 1894 in Penang.

This silver chariot was made by tamil craftsman's from chettinad region at late 19 th century in karaikudi. The entire silver chariot was shipped to penang in "#SSRona". The chariot is still in good condition without any manjor repairs till date. The chariot came with some additional spare  parts , four  wheels , and nozzles. During 1994 the chariot had replaced with  the new wheels . It is also worth noting that the old wheels have been in use for 99 years.  

The height of the entire silver chariot is  25 feet and its diameter is 10 feet. Except the wheels and the gear region ( base ) whole chariot was made of heavy gauge pure silver sheets. At the base of the silver chariot they had shown a well detailed miniature panels of shiva forms,murugan, yali and astagajas . In the first deck they shown eight colorful gantharvas with garlands which represent the eight directions. In the base of the silver chariot we could see four colourful wooden guardians maids with chowri.Till date no more major repairs have been happened for over a century. This shows the stability and the workmanship excellence of the Tamil artisans. 

On the eve of Thaipusam ( Punar Pusam ) devotees from the Penang Chettiar community take the kavadis and chariot procession begins from the Lebuh Penang Kovil Veedu temple where the procession Deity hails and it ends at NattukottaI Chettiar temple, at Jalan Air Terjun which is locally Known as the Chetti Pusam, this procession is unusual as the Chettiar Indians carry peacock kavadis and they avoid body piercing and other pain-defying rituals. During this chariot procession we could see Chinese devotees approaching the chariots with offerings and smashing The same rituals as the first day (eve of Thaipusam) happen along the route of the procession.from the Chinese community has a belief  behind coconut breaking ceremony. They think that the more coconuts they break the more lucks are showered onto them.  They break thousands of coconuts every year which ultimately streets were covered with coconuts. As per Hindu devotees smash coconuts on the roads to symbolise

the breaking of one's ego to reveal purity inside.

The silver chariot adorned with colored lights is a spectacular sight that travels through the city of Penang all night long   which gives more attraction towrds the people and this chariot procession comes to an end at the late night.  The next day morning Thaipusam will be celebrated in a grand manner at  pnnt temple with MILK ABISHEGAM, MAHA ABHISHEGAM, MAHESWARA POOJAI and followed by annathanam. On the third day evening the return journey of the chariot towards Kovil veetu starts comes to an end at the early morning. Every year silver chariot procession covers 14 kms up and down  this silverchariot is consider as pride of penang.

-- Ramu.Rm.N

musical instruments

Thirukurugudi NINDRA NAMBI PERUMAL Temple is 45 km from Tirunelveli, TamilNadu is one of the 108 Divya desam (Vaishnavite - Hindu temples that are sacred for Lord Vishnu) and most exquisitely carved temples of Tamilnadu is known for its architecture and sculpture works were done by Vijayanagar Nayak rulers (15th-16th century CE) relief sculptures from #Thirukurunkudi temple raja gopuram Ceiling has various massive entrance door ways of the temple which has amazing art work but many used miss to view them here in this we could see the #upachram towords lakshmi.

In this we could see that group of womens were shown one holds the #umbrella and other holds the #chawar. A couple womens were shown like chorus of shrill sounds made by women by wagging the tongue. The group mens  playing the regional musical #instruments in the order #sangu, #thudi, #oodal, #segandi, #suthamathalam, #thalam, #kombu and #ekkalam. Still in some temple ritual procession we could the musical instruments were played according to the region the name might get varied slightly .

இருபுரத்திலும் திருமகளை நோக்கி பட்டத்து யானையைப் பின் தொடர்ந்து உபசாரமாக பெண்கள் வெண்கொற்றைக் குடை பிடித்து 

சாமரம் வீச இருவர் குலவையிட இவர்களை தொடர்ந்து ஆண்கள் இசைக்கருவிகளோடு ஒருவர் பின் ஒருவராய் நிற்க சங்கு, துடி, ஊடல், சேகண்டி, சுத்தமத்தளம், தாளம், கொம்பு மற்றும் எக்காளம் ஆகிய வாத்திய கருவிகள் ஒருவர் பின் ஒருவராக நின்ற நிலையில் கலை நயமும் கற்பனை வளமும் கொண்டு கல்லிலே சிற்பியின் கைவண்ணக் காட்சியை திருக்குறுங்குடி நம்பி கோயிலின் கோபுரத்தில் உட்புறத்தில் காணலாம்.

திருமழை தலைஇய இருள் நிற விசும்பின்

விண் அதிர் இமிழ் இசை கடுப்ப, பண் அமைத்து

திண் வார் விசித்த #முழவொடு, ஆகுளி,

நுண் உருக்கு உற்ற விளங்கு அடர்ப் #பாண்டில்,

மின் இரும் பீலி அணித் தழைக் #கோட்டொடு, 

கண் இடை விடுத்த களிற்று உயிர்த் து¡ம் பின்,

இளிப் பயிர் இமிரும் குறும் பரம் #தும்பொடு,

விளிப்பது கவரும் தீம் #குழல் துதைஇ,

நடுவு நின்று இசைக்கும் #அரிக் குரல் #தட்டை,

கடி கவர்பு ஒலிக்கும் வல் வாய் #எல்லரி, 

நொடி தரு பாணிய #பதலையும், பிறவும்,

கார்கோட் பலவின் காய்த்துணர் கடுப்ப,

நேர்சீர் சுருக்கிக் காய கலப்பையிர்.

(#மலைபடுகடாம் 1-13)

You who carry your musical instruments on balancing

poles have packed them in draw-string bags that look like

monsoon season’s ripe jackfruit clusters, a mulavu drum

with sturdy, tight straps that creates roaring sounds like

the sky-shattering noises from beautiful clouds in the dark

sky that give prosperity with rains, an ākuli drum, bright

cymbals with intricate designs made from melted and flattened

metal, a kōdu horn decorated with bright, dark hued

peacock feathers, sweet-music creating splendid small

thoompu horn along with a long thoompu horn that sounds like

the hollow, breathing trunk that hangs between the eyes of an

elephant, sweet flute that sounds like the ili string of the yāzh,

thattai with croaking sounds of frogs played in the middle,

strong-mouthed ellari drum played to beat, a pathalai drum

that gives perfect beat, and other musical instruments!

--- Ramu.Rm.N

elephants now & then

#Elephants occupy a special place in the life and art of India.As elephants are known for their intelligence and smartness. Their legendary attributes of strength, intelligence, smartness, nobility and longevity are eulogized in myth, epic and popular literature. In the figural and decorative arts, elephants provide an enduring fascination. At centuries-old temples, monastries, forts and palaces, elephants flank ceremonial entrances, enrich columns and capitals, form balustrades to stairways or stand as enigmatic sentinels of vast courtyards. Here in this we could see a #hosaylsa period relif sculpture in the pillars of  #srirangam #ranganathar temple at tamilnadu. In this we could notice the well decorated tusker is trying to shows amazing strength by breaking the branch of the tree.

In this collage we could see the similar scenarios of Asian elephant and African elephant. A snapshot from the IFS Officer Susanta Nanda's short clipping of a indian tusker stretching up for plucking a #jackfruit from a 25-feet tall tree in #Silent_Valley National Park of Palakkad District in the state of #Kerala which was quite viral during 2019.

In the other hand we could see the
#Inventive African elephant Teetering on its two feet to reach a tasty meal high up in the trees, the hungry beast backed up onto his hind legs before stretching out his long trunk and tearing down some of his favourite acacia leaves to snack on in South #Luangwa National Park, #Zambia.

#Ramu.Rm.N

#Elephant_circus

A beautiful lively #nayaka period sculpture from Thirukurungudi nambirayar temple. #Thirukurungudi is a town which is located in #Tirunelveli district Tamil Nadu South India. In this they had shown the #elephant circus play and surrounded buy the #jugglers and #mahot. A well decorated fit tusker stands in two legs in a small #pedestal and holds a pot in his trunk. In the other hand we could see the similar practice happens till date but mostly femal Asian elephants are trained used for entertainment in circuses activities in this picture we could see the similar activity in most of the circus in the globe. This picture was taken from the #Natraj_Circus company which is from #Kolkata West Bengal.

#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