Ka Fifai is a Buddhist mythical dance drama performed by the Kampti tribe of Arunachal Pradesh and forms an integral part of the religious festivities of the group.The tribe are followers of Hinayana Buddhism and their religious practises has characteristics of animism in which deities of nature and various spirits are worshiped.Spirit worship and bhootha aradhana has also influenced folk arts but under Buddhism it has its own characteristics.Dances have taken the form of stylized religious dance-dramas and these group dances are exclusively reserved for men. The Ka Fifai Dance-Drama of Arunachal Pradesh revolves around this - ghosts and spirits. The theme of the Ka Fifai Dance-Drama is that ghosts or spirits appear to create trouble to the menfolk of Arunachal Pradesh. The tribal of Arunachal Pradesh have strong belief that ghosts exist in the world of men.The participants in the drama usually consist of a man,his daughter who is kidnapped, by the ghost . The King
minister of the state makes preparations for war against the ghost, and the king's soldiers setting out capture the ghost and release the victim . The drama ends by a sense of reconciliation. This dance drama portrays the theme the ever lasting struggle between good and evil and the king here is symbolic with the divine will and power the sole protector of the land which is bound to succeed.
Monday, December 15, 2008
Wednesday, November 26, 2008
Margamkali-Christian Art form of Kerala
Margamkali is a ritual folk art of the Syrian Christians of Kottayam district of Kerala.It is a testimony of the direct inspiration of the indigenous culture of Kerala society on Christianity.Twelve dancers mostly women sing and dance in circles around a Nilavilakku or lighted lamp.The song narrates the life of St Thomas,the apostle,his travels and his death in fourteen padams.It takes a striking turn with a martial play(an influence of Kalaripayattu) of artificial swords and shields.There is no accompaniment of instruments for this dance form.It was mainly developed by the Christian community to propagate ,understand and comprehend the christian messages.Many traces its origin to earlier dates and the oldest songs has the influence of Tamil language.But it developed as a popular art form only with the coming of Europeans. Its western style of music and use of modern Malayalam shows that its orgin might have been around 17C during the time of the Portuguese.Father Anjilimoottil Ittithoman Kathanar (17C) is has done great services to propagate this art form.Subaltern arts like Velakali,Pulikali etc have also influenced this folk art
Friday, August 8, 2008
Assimilating Tendencies in Pre Aryan and Aryan Societies:The Significance of The Shiva Cult
The religious practices of the Indus Valley Civilization(C.3000-1500 BCE ,Mature phase 2600-1900 BCE the civilization mainly concentrated in Sind and Punjab but later findings shows that it spread to regions like Baluchistan ,Iran and on the other end to Rajasthan and Gujarat),shows a rich tradition that continued and got assimilated into a larger whole of the Hindu society and religion. It also points to the fact that Indian tradition and Indian civilizations had close affiliations with the Contemporary civilizations of the time including the Sumerian and Egyptian civilizations (toponym Meluhha known from the Sumerian records, scholars argue refers to the Harappan Civilization of India).
There are large numbers of figurines found in Indus valley .The Indus civilization was a polytheistic religion. They worshipped Gods and Goddess ie., the divine was personified and adorned both as male and female. Harappans worshipped mother Goddess as a symbol of fertility (Minoan Crete also shows parallels with goddess worship). Swastikas and phallic symbols resembling Siva Lingam have also been found in the remains. One famous seal shows a figure seated in a lotus position and surrounded by animals was named after Pashupati . A L Basham in his :"The Wonder that was India" points out that the Linga had been found out in the Harappan remains :”…Shiva was and still is chiefly worshipped in the form of the linga ,usually a short cylindrical pillar with rounded top ,which is the survival of a cult older than Indian civilization itself …the cult of the linga at all times followed by some of the non Aryan people ,was in-cooperated into Hinduism around the beginning of the Christian era, though at first it was not very important.”
The proto-types of shiva and shakti of the later Hinduism have generally been found in the Pashupathinatha and mother goddess cults of the Indus civilizations .Pashupathinatha had been conceived by the Indus people as a powerful and benevolent God of preservation .The Rudra cult of the pre indo- Aryan Khashas who dominated over the north western Himalayan interiors during the early stages of the Aryan Invasion has been identified as an archetype of the Pasupathi of the Indus civilization(as a terrific God associated with thunder storms.He used lightening was his weapon).It was that terrific aspect of Rudra which was carried into the Rig Vedic Culture(according to Scholars like Bhandarkar ,Mecdonell etc).Shiva in the vedic age was originally known as Rudra ,a minor God addressed only three times in the Rigveda. In Yajur Veda Shiva is referred to as a Deity of a non Aryan group in the western Himalayan interiors. Yajur veda considered him as a pre Aryan god or non Aryan Deity –an out caste in vedic sacraments. Atharvaveda calls him as Pashupathi and thus Pashupathinatha of the Dravidian's and Rudra of the khasha was an converted into the all powerful brahmanic Shiva and was made part of the trinity. (combined benevolence of Pashupati and the vigour of Rudra – both characteristics were attributed to the same God).The Epics deal with the stories of Shiva and Vishnu especially the Mahabharata. The Svetasvatara Upanishads (400 200 BCE)should be considered as the earliest textual exposition of a systemic philosophy of Shivasm. It is with the Puranas (c.320-500 AD)or to be more precise the Gupta Age that Shivasm spread rapidly.
The assimilation was partly the outcome of the raising influence of Brahmanism and the simultaneous rise of powerful empires. Officiating priests and rituals became part of monarchy. In the same way non Aryan chiefs also had to be brought with the fold and influence of Brahmanism. The strongest move towards this was during the Gupta period , whose strength as a great empire relied on its assimilation of the resources and cultural elements of the conquered areas(in other words a sort of cultural fusion). It is not surprising that Shiva assumed a place of importance in the Mahabharata (got its final shape),the Upanishads and the Puranas which were written during the Gupta period which was known as the golden age of classical literature(320-500 AD). Till this period most of them were orally transmitted and it is not surprising that it was influenced by the age in which it was finally shaped as a literary work).
It is interesting to know that the cult of phallus (linga)worship was prevalent in several ancient civilizations .The French Researcher Danielou has drawn interesting parallels between God Shiva and Dionysus –calling him an occidental form of Shiavism Both were gods according to the scholar united the mysteries of death and procreation. Their common characteristics were armies of devoted followers, ecstasy, rituals, dancing etc. The symbols of shiva cult namely the decorated phallus, the horned God ,worship of the bull ,snake, the women of the mountains have been found in pre historic been the common features of many pre-historic cultures like Anatolia, Sumeria, Egypt and especially on Crete .Egypt cult of Phallus is associated with Osiris, Hermes of the Greek mythology, Freya of the ancient Scandinavian culture are all associated with phallus cults. Thus it could be said that Hinduism has an age old tradition –a strange mixture of paganism, animism , rituals and customs and assimilation of different cultural meilus into a composite religion.
There are large numbers of figurines found in Indus valley .The Indus civilization was a polytheistic religion. They worshipped Gods and Goddess ie., the divine was personified and adorned both as male and female. Harappans worshipped mother Goddess as a symbol of fertility (Minoan Crete also shows parallels with goddess worship). Swastikas and phallic symbols resembling Siva Lingam have also been found in the remains. One famous seal shows a figure seated in a lotus position and surrounded by animals was named after Pashupati . A L Basham in his :"The Wonder that was India" points out that the Linga had been found out in the Harappan remains :”…Shiva was and still is chiefly worshipped in the form of the linga ,usually a short cylindrical pillar with rounded top ,which is the survival of a cult older than Indian civilization itself …the cult of the linga at all times followed by some of the non Aryan people ,was in-cooperated into Hinduism around the beginning of the Christian era, though at first it was not very important.”
The proto-types of shiva and shakti of the later Hinduism have generally been found in the Pashupathinatha and mother goddess cults of the Indus civilizations .Pashupathinatha had been conceived by the Indus people as a powerful and benevolent God of preservation .The Rudra cult of the pre indo- Aryan Khashas who dominated over the north western Himalayan interiors during the early stages of the Aryan Invasion has been identified as an archetype of the Pasupathi of the Indus civilization(as a terrific God associated with thunder storms.He used lightening was his weapon).It was that terrific aspect of Rudra which was carried into the Rig Vedic Culture(according to Scholars like Bhandarkar ,Mecdonell etc).Shiva in the vedic age was originally known as Rudra ,a minor God addressed only three times in the Rigveda. In Yajur Veda Shiva is referred to as a Deity of a non Aryan group in the western Himalayan interiors. Yajur veda considered him as a pre Aryan god or non Aryan Deity –an out caste in vedic sacraments. Atharvaveda calls him as Pashupathi and thus Pashupathinatha of the Dravidian's and Rudra of the khasha was an converted into the all powerful brahmanic Shiva and was made part of the trinity. (combined benevolence of Pashupati and the vigour of Rudra – both characteristics were attributed to the same God).The Epics deal with the stories of Shiva and Vishnu especially the Mahabharata. The Svetasvatara Upanishads (400 200 BCE)should be considered as the earliest textual exposition of a systemic philosophy of Shivasm. It is with the Puranas (c.320-500 AD)or to be more precise the Gupta Age that Shivasm spread rapidly.
The assimilation was partly the outcome of the raising influence of Brahmanism and the simultaneous rise of powerful empires. Officiating priests and rituals became part of monarchy. In the same way non Aryan chiefs also had to be brought with the fold and influence of Brahmanism. The strongest move towards this was during the Gupta period , whose strength as a great empire relied on its assimilation of the resources and cultural elements of the conquered areas(in other words a sort of cultural fusion). It is not surprising that Shiva assumed a place of importance in the Mahabharata (got its final shape),the Upanishads and the Puranas which were written during the Gupta period which was known as the golden age of classical literature(320-500 AD). Till this period most of them were orally transmitted and it is not surprising that it was influenced by the age in which it was finally shaped as a literary work).
It is interesting to know that the cult of phallus (linga)worship was prevalent in several ancient civilizations .The French Researcher Danielou has drawn interesting parallels between God Shiva and Dionysus –calling him an occidental form of Shiavism Both were gods according to the scholar united the mysteries of death and procreation. Their common characteristics were armies of devoted followers, ecstasy, rituals, dancing etc. The symbols of shiva cult namely the decorated phallus, the horned God ,worship of the bull ,snake, the women of the mountains have been found in pre historic been the common features of many pre-historic cultures like Anatolia, Sumeria, Egypt and especially on Crete .Egypt cult of Phallus is associated with Osiris, Hermes of the Greek mythology, Freya of the ancient Scandinavian culture are all associated with phallus cults. Thus it could be said that Hinduism has an age old tradition –a strange mixture of paganism, animism , rituals and customs and assimilation of different cultural meilus into a composite religion.
Thursday, July 24, 2008
Tradition of Tanjore Paintings
The renowned classical South Indian painting ,the Tanjore paintings, has a unique style and tradition of its own and can be classed as miniature paintings. Tanjore was the capital of the mighty Chola empire and was the of economic and political activity under the Cholas and Vijayanagar empire .However this art did not evolve during the golden age of the Cholas but in an age of political turmoil in South India-the invasion of the Nayaks and the Marattas in the 16th century .The Nayaks patronized classical arts like music ,dance and painting and this art form flourished under the Nayak rule .This art was considered as a sacred art and was practiced traditionally by two communities namely-the Rajus in Tanjore and Trichy and the Naidus in Madurai (they were patronized by the Pandyas) .These artists were the natives of Rayalseema district of Andra Pradesh .These two communities had fled to Madurai and Tanjore in the wake of the invasion of the Marattas and the Nayaks.
The Tanjore paintings are panel paintings where devotional icons of Hindu Gods and Goddess are depicted . The characteristics of this paintings is that it will consist of only one central figure but at the same time it is a detailed elaboration of certain episodes of the Hindu tradition. These paintings are known for their surface richness and vivid colours. The figures are usually depicted in the central position with enclosures and border designs like arch's curtains .Embellishments are made over the basic drawings and a three dimensional effect is given with the brilliant colour schemes ,decorative jewelery with precious and semi precious stones gold plating and cut glasses.. These paintings are painted on wood, glass, mica, ivory and on walls,. Jewels, drapery and architectural elements like finely executed pillars, rich canopies, slightly raised by the use of special plaster for the three dimensional effect .Religious paintings are highly decorative and flat, the paintings of the women are highly conventionalized with an element of reality infused in the portraits.Hindu Gods and Goddess are depicted and each God has a characteristic colour-blue for Lord Vishnu,grey white for Lord Shiva and yellow for the Goddess. Preparation of the base is in fact a tedious work. It consists of a cloth pasted over a wooden base and this is coated with zinc oxide mixed with adhesive. It is on this that the elaborate work of painting ,decoration ,inlays and gold foil pasting is done. Tanjore paintings has a predominant feature –dark brown outlines and most usually red backgrounds-a distinctive mark of the Tanjore paintings.These paintings reflect a rich local artistic tradition transferred over the ages.
The Tanjore paintings are panel paintings where devotional icons of Hindu Gods and Goddess are depicted . The characteristics of this paintings is that it will consist of only one central figure but at the same time it is a detailed elaboration of certain episodes of the Hindu tradition. These paintings are known for their surface richness and vivid colours. The figures are usually depicted in the central position with enclosures and border designs like arch's curtains .Embellishments are made over the basic drawings and a three dimensional effect is given with the brilliant colour schemes ,decorative jewelery with precious and semi precious stones gold plating and cut glasses.. These paintings are painted on wood, glass, mica, ivory and on walls,. Jewels, drapery and architectural elements like finely executed pillars, rich canopies, slightly raised by the use of special plaster for the three dimensional effect .Religious paintings are highly decorative and flat, the paintings of the women are highly conventionalized with an element of reality infused in the portraits.Hindu Gods and Goddess are depicted and each God has a characteristic colour-blue for Lord Vishnu,grey white for Lord Shiva and yellow for the Goddess. Preparation of the base is in fact a tedious work. It consists of a cloth pasted over a wooden base and this is coated with zinc oxide mixed with adhesive. It is on this that the elaborate work of painting ,decoration ,inlays and gold foil pasting is done. Tanjore paintings has a predominant feature –dark brown outlines and most usually red backgrounds-a distinctive mark of the Tanjore paintings.These paintings reflect a rich local artistic tradition transferred over the ages.
Tuesday, April 29, 2008
Chitral -Jain Rock Cut Cave Temple
Jainism came to Kerala in the third century BC along with Chandragupta Maurya (B.C. 321-297),and the Jain monk Bhadrabaahu, who travelled to Shravanabelagola near Mysore (in present day Karnataka).The contribution of Jain art to the main stream art of Kerala was considerable.Jain architecture had close affinities with Buddhist architecture and it would not be wrong to say that it was an offshoot of Hinduism and Buddhist styles.In the initial stages many Jain temples were made adjoining to Buddhist temples following the Buddhist rock cut style.But in later years they discovered a distinctive style of their own namely,’’the mountains of immortality’’ and moving away from the Buddhist sites built temples on their own,which should be termed as temple cities
Compared to Buddhist temples Jain temples were few .Jainism attained popularity in Kerala and received royal patronage from Ilango Adikal, the famous author of the Tamil epic Silapadikaram .In Kerala there are a number of Jain temples and the rock shelter at Chitral near Nagercoil, Kallil in Perumbavoor , and Alathoor near Palakkad are famous for it simple architectural designing but unique and rich sculptural details.Images of Mahavira and Parshavanath are found in several temples.
Chitral near Nagerkoil is famous for its unique rock cut temple dedicated to Mahavira. The temple consists of a low roofed temple,a pillared hall with ornamental granite pillars and a depleted Gopuram.It also contains a Bass relief on one of its side walls consisting of images of Jain thirtankaras in padmsan position.It is towards the northern side of the temple and is rich in details with a diamond shaped projection on the chest of the thirtankaras,one of the noteworthy characteristics of Jain sculptures.The inner shrine contains images of Buddha,Ambika and Krishna.Mahavira the chief Deity is in Padmasana position(usually the Jain sculptures depict only two position –sitting or free standing) with a triple umbrella .There are also images of Bhagavathi and Parsavanthi .Epigraphic evidence shows that there was a reputed Jain university at Thirucharanattumalai.With the decline of Jainism the temple was converted into Hindu shrine and regular pooja is still offered.This was the case with most of the Jain temples of Kerala.The eighth century saw the revival of Hinduism we find that many of these temples were forcefully converted as hindu temples. The temple at Koodalmanikkyam in Irinjalakuda is believed to have been among them.The belief is that it was dedicated to Bharatheswara, a Digambar Jain monk .Jainism had a profound impact on the religious architecture of Kerala
Compared to Buddhist temples Jain temples were few .Jainism attained popularity in Kerala and received royal patronage from Ilango Adikal, the famous author of the Tamil epic Silapadikaram .In Kerala there are a number of Jain temples and the rock shelter at Chitral near Nagercoil, Kallil in Perumbavoor , and Alathoor near Palakkad are famous for it simple architectural designing but unique and rich sculptural details.Images of Mahavira and Parshavanath are found in several temples.
Chitral near Nagerkoil is famous for its unique rock cut temple dedicated to Mahavira. The temple consists of a low roofed temple,a pillared hall with ornamental granite pillars and a depleted Gopuram.It also contains a Bass relief on one of its side walls consisting of images of Jain thirtankaras in padmsan position.It is towards the northern side of the temple and is rich in details with a diamond shaped projection on the chest of the thirtankaras,one of the noteworthy characteristics of Jain sculptures.The inner shrine contains images of Buddha,Ambika and Krishna.Mahavira the chief Deity is in Padmasana position(usually the Jain sculptures depict only two position –sitting or free standing) with a triple umbrella .There are also images of Bhagavathi and Parsavanthi .Epigraphic evidence shows that there was a reputed Jain university at Thirucharanattumalai.With the decline of Jainism the temple was converted into Hindu shrine and regular pooja is still offered.This was the case with most of the Jain temples of Kerala.The eighth century saw the revival of Hinduism we find that many of these temples were forcefully converted as hindu temples. The temple at Koodalmanikkyam in Irinjalakuda is believed to have been among them.The belief is that it was dedicated to Bharatheswara, a Digambar Jain monk .Jainism had a profound impact on the religious architecture of Kerala
Thursday, April 24, 2008
Nirmal Paintings-An Indigenous Art Tradition
The diversified religious and socio-cultural milieu of Andra Pradesh is best reflected in its handicrafts and paintings.Most of them prospered around the temples, courts, villages and tribal communities. Nirmal is a famous art tradition and can be traced back to the era
of the Kakatiya dyanasty.It also flourished under the royal patronage of the Nizams of Hyderabad .The hub of this art form is Nirmal town in Adilabad district of Andra Pradesh.The Nakash craftsmen create a wide range of products like painting, toys,decorative and
beautifully painted wooden articles furniture's, painted glassware, crockery etc. Nirmal paintings has scenes from the Hindu epics ,Mahabharatha and Ramayana.This unique art form which originated in the 14 th C is astonishing as simple materials locally available are transformed into exquisite crafts and articles of utility. The craftsmen use indigenous colours made from minerals, gum, herbs and vegetable dyes for colouring. They even produce gold covers from herbal extracts a secret dye manufacturing technique. Much experimentation has been conducted over the years by the painters and as a result several transformations has occurred over generations., Not only in techniques of painting, manufacture of dyes etc .,but it also led to secularization of art. The craftsmen today paint motifs in style of the old Indian schools .
Mughal miniatures are reproduced beautifully on soft white wood called Ponniki and is strengthened with coating of tamarind seed paste, fine muslin and pipe clay before being painted. Today the paintings are varied and cover all aspect of life from mundane to
royalty,flora and fauna and an array of expressions in bright delightful colours. The intricate designs, high quality paintings and rare artistry in Nirmal paintings reflects
India’,s rich artistic traditions
Wednesday, April 23, 2008
Shilapadikaram and Pattini cult in South Asia
The cult of Kannagi or Pattini is still popular in many parts of kerala and Tamilnadu. Pattini –the Goddess of chastity is also a popular folk deity of Sinhalese Buddhists and the Jains.It is also argued that Pattini cult was Buddhist and the goddess was assimilated into the Hindu Pantheon.
The cult had in fact a historical and sociological impact on the culture of South Asia.The pattini cult was best exposed in two Sangam works Shilapadikaram and Manimekhalai.The Epics consists of super natural elements but the bulk of the story is a human tale-the story of a chaste and devoted wife Kannaki who despite of her husbands betrayal remained loyal to him and avenged his death in the hands of the Pandyan King.The story of Manimekhalai is a continuation dealing with the life of the daughter of Kovalan to a courtesan Madhavi who embraced Buddhism and became a nun.King Senguttavan introduced the cult of Kannagi while his brother Ilongoadikal immortalized her with his masterpiece Shilapadikaram.Pattini cult became popular and was assimilated by Buddhism and in Manimekalai she appears as a Buddhist deity.There is also referred in this work about a shrine for Kannaki at Vanchi, the capital of the Cheras.This cult also spread to Srilanka probably Through contacts between Buddhist centers of Tamil country. According to Rajavaliya ,the cult was brought to Srilanka by king Gajabahu who had been to Vanchi to witness the consecration of the temple in honor of Kannagi and took back along with him the insignia of the Goddess. This story is also referred in the Buddhist work Mahavamsham. The first temple was established in Vattapalli near Mullaitivu
Vyanthimalaya is the first Sinhala treatise Written on Kannagi. Pattini-Hella Pandinaluwa are all Sinhala Buddhist Works. Until recently it was popular among the Sinhali Buddhist
and Hindu Tamils.The first historical reference was during the reign of Parakramabahu VI who built a shrine in the vicinity of his capital.Kannagi cult is popular in Tamil nadu and Kerala.She is also referred to as Mangala Devi , Mariamman etc in Tamilnadu and Bhagavathy in Kerala.
The cult had in fact a historical and sociological impact on the culture of South Asia.The pattini cult was best exposed in two Sangam works Shilapadikaram and Manimekhalai.The Epics consists of super natural elements but the bulk of the story is a human tale-the story of a chaste and devoted wife Kannaki who despite of her husbands betrayal remained loyal to him and avenged his death in the hands of the Pandyan King.The story of Manimekhalai is a continuation dealing with the life of the daughter of Kovalan to a courtesan Madhavi who embraced Buddhism and became a nun.King Senguttavan introduced the cult of Kannagi while his brother Ilongoadikal immortalized her with his masterpiece Shilapadikaram.Pattini cult became popular and was assimilated by Buddhism and in Manimekalai she appears as a Buddhist deity.There is also referred in this work about a shrine for Kannaki at Vanchi, the capital of the Cheras.This cult also spread to Srilanka probably Through contacts between Buddhist centers of Tamil country. According to Rajavaliya ,the cult was brought to Srilanka by king Gajabahu who had been to Vanchi to witness the consecration of the temple in honor of Kannagi and took back along with him the insignia of the Goddess. This story is also referred in the Buddhist work Mahavamsham. The first temple was established in Vattapalli near Mullaitivu
Vyanthimalaya is the first Sinhala treatise Written on Kannagi. Pattini-Hella Pandinaluwa are all Sinhala Buddhist Works. Until recently it was popular among the Sinhali Buddhist
and Hindu Tamils.The first historical reference was during the reign of Parakramabahu VI who built a shrine in the vicinity of his capital.Kannagi cult is popular in Tamil nadu and Kerala.She is also referred to as Mangala Devi , Mariamman etc in Tamilnadu and Bhagavathy in Kerala.
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