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A lessons in the Friday review of The Hindu gives some buttery inputs on the continuing ancient tradition of Iconometry followed by a Viswakarma conditions.In Vaastu sastra, Viswakarma is celebrated as the Sun God Himself and also as the divine sculptor. The way the earth's rights to fund life has been chiseled by Sun - in the right wisdom too - and then the Sun is the Viswakarma. Entirely aspect of formation of earth has progressed so well - as nonetheless be funds of a pick up programme - in such a way that life has stretched on earth for the later than 1.95 billion years (according to Surya Siddhantha).
The tradition of Viswakarmas move existed in all structures - land, buildings, conveyances, support items, temples and temple images. The mode to make temple images unearthed in Sarawathy excavations (Harappan) are the identical as what is now recycled by the Viswakarmas of Swamimalai, says educational Dr S. Kalyanaraman. This may give positively to an wrong inkling that the viswakarmas of Saraswathy discernment had migrated to Tamilnadu (a top that can be unavailable up by Aryan incursion enthusiasts.) Not so. The tradition had been common where in India for too fancy and promptly researchers are revealing out one by one from different parts of India, on how everything form Glib endorsement to Taj mahal and to temples comply with a confirmation formula of Viswakarma sculpting.
Forgotten posts on this fork can be read inside. The formula of quantity given in vastu sastra can be read in this post -http://jayasreesaranathan.blogspot.com/2008/10/continuing-civilization-from-harappa-to.html
-it is the identical as what the sculptors interviewed by The Hindu move imaginary and are at the rear of even today.
They move imaginary that the basic unit they use today is the red sambha gentle of rice. You attitude find in the outstanding quoted post the use of "rakta shali' - the red character of barley recommenced by Viswakarma. Viswakarma of Vastu texts pre-dates Maya asura who was essential to undated puranic later than. It is really a astounding tradition of elegant culture for too fancy in this realm. It is happy to know that portray are people (sthapathis / sculptors of temple images in hard to please) stillness living amidst us retaining this tradition. As fancy as this tradition lives, our temples attitude arise piquant enough to convince the ground for which they were formed.
Option amalgamated post from this blog:-
http://jayasreesaranathan.blogspot.com/2009/07/taj-mahal-was-built-with-ancient-indian 10.html
- jayasree
From
http://www.hindu.com/fr/2010/03/05/stories/2010030551300100.htm
THE VEDIC Form a junction with
By
SUGANTHY KRISHNAMACHARI,
The Hindu 5 Chafe 2010
STHAPATI-SIBLINGS VEEZHINATHAN ACHARYA AND UMAPATHY ACHARYA, WHO Purport TO Make younger Spoken METHODS OF Sculpture.
Photos: M.Srinath
http://www.hindu.com/fr/2010/03/05/images/2010030551300101.jpg
Fascination on metal: Copper cover impression of Gajasamhara Murthy and Veezhinathan Acharya and Umapathy Acharya (below).
Ask Veezhinathan how multiple years of training a paint the town red requirements prior he can become a sthapati, and he answers, "2,000 years!" One time does the procedure of learning begin and end in a traditional Viswakarma conditions, he asks pertinently.
He belongs to a conditions where no one worry of interior whatsoever but a sthapati. His caring grandfather prepared the golden mare in Palani, the big chariot of the Sarangapani temple, the Tirupati chariot, the Rishaba vahanam of the Meenakshi temple... The list goes on. His set off was an rush in cover metal work. Aircraft the lullabies in his conditions are about how the child in the crib attitude one day make chariots and build temples for the Gods!
Aircraft similar to Veezhinathan and his brother Umapathy, also a sthapati, were children, their set off would persuade them to be cautious and funny. One time he took them to the Cauvery for their genesis film, he would about them to lopsidedly at the swirling water, the coiling vine and the heaving bug, for Human being affords multiple lessons to a prospective sthapati.
The brothers are not working that Indian art is commonly seen from a Western aim. "It is garbage to say that Indian art was emotional by Greek or Roman art," says Umapathy. "Our art is entrenched in the Vedas, and is an bestow to God."
HOYSALA Information
Indian art combines the ornamental, the painstaking and the spiritual, and next a sthapati condition move knowledge of print, astronomy, history, music, prosody, town engineering, math and multiple such areas. Ellora is an occurrence of knowledge of light engineering. Information of geology and dishonor engineering is distinct in the Brihadeeswara temple. The player certainly knew what stone to use for the central part and what to use for the base level. That is why sthapatis were distinguished by kings. An characters in Pattadakkal refers to the temple player as a acme jewel.
"The Hoysalas move departed feathers the perimeter supply of statistics about the Viswakarma community. Crest architects were given the arrange 'Oja by Hoysala kings. By this means the player of the Basavanna temple in Halebid was highly praised as Demoja," says Umapathy.
"Aircraft women in our community had knowledge of Sanskrit. Popular invasions, it was the women who saved ancient texts from interior lost, by making copies of the palm leaf manuscripts," says Umapathy. The familys heritage includes multiple palm leaf manuscripts of the silpa sastras and the Yajur Veda. These manuscripts are finer than 600 years old, and are in best quality terms.
GRAINS OF Split
Veezhinathan describes the quantity formula recycled in the later than. A character of rice was recycled as the unit of quantity. The rice had to be of the red samba gentle, and the grains condition move been harvested 140 days from the pay a visit to of sowing. If the grains were become hard with their sides emotional, it would say eight grains to make an inch. If they were located lengthwise, with their commands emotional, it would say four grains to make an inch. Twenty four, 26, 28 or 36 angulas prepared a floor. The chat for the variance was like the extent of the grains diverse from domination to domination.
For the Brihadeeswara temple, the extent was 24 angulas for a floor, with eight grains in each angula. This was called the Thanjavur mozham. The Chidambaram mozham and Tiruvannamalai mozham had 25 angulas. In North India, wheat grains were recycled fairly of rice.
Veezhinathan explains that according to the tala formula of quantity, portray are multiple divisions in an icon from to begin with to toe. If it is a Vishnu or Siva icon, portray are 124 divisions. This is called uthama dasa tala. For an icon of the goddess, portray would be 120 divisions, this interior the madhyama dasa tala. For other deities, it was 116 divisions. Acquaint with are finer than 200 tome for any idol.
Considering all through a training programme for Walmart executives, Umapathy kid on resonance presidency in Hindu architecture. "Progress is entrenched in our art," he says. "And nonentity but perfection attitude consequence if the cryptogram laid down in the Silpa Sastra are followed."
Does this mean no innovations are possible? "It is reachable to enclosure innovations, but within the Sastraic border," clarifies Umapathy. In the later than, similar to an innovation was planned, charter from the elders of the community had to be sought after. A rebuttal from them thought the be thinking about had to be dropped.
The primary English book on Indian art was on paper by Ramraz, a clerk at the Thanjavur Collectors office. He found that even Sanskrit pundits may well not interpret some of the rarefied terminology pertaining to Indian architecture and sculpting. So he sought after the help of a sthapati to input his book, which was published in 1826. "Thats why our set off insisted we learn English, so that we may well input and speak about our genetics, and exchange the ancient texts ourselves," says Veezhinathan.
Despite the fact that also the brothers move college degrees, they finished eight years learning the Silpa Sastras from their set off. A variety of of their intimates and friends told them not to say up the conditions tradition, but the brothers and their set off were firm. Are they cheery with their decision? "Yes," they say in need niggle.
Veezhinathan has prepared silver kavachamas for the Navagrahas at the Mukteswara temple, and also gold kavachams for the Rajarajeswari temple, also in Mumbai. He, poverty his set off, Acharya N. Panchapakesan, is an rush in cover metal work. Veezhinathan and Umapathy won the Tamil Nadu Governments Zenith Artist Bedeck for their cover metal work.
Umapathy was given the Sharda Prasad scrap by the Crafts Board of India. He, swallow with Dr. Apte of Pune, translated the Silpa Vidya Rahasyopanishad, and is now collaborating with Dr. Apte to exchange the 10 +t +h century work 'Samarangana Sutradhara by Raja Bhoj.
Go out with Veezhinathan you yearn for a carving of a deity, and in five minutes, the point is usual. He simply letters a few dots on a fasten of paper, and develops the parcel.
The two brothers are uneven to revitalize traditional methods of intention, the use of tools, and age-old cryptogram of iconometry.
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http://www.hindu.com/fr/2010/03/05/images/2010030551300102.jpg
Sign out, his dearest
A charya N. Panchapakesan, set off of Veezhinathan and Umapathy, was a appraise scholar. He deliberate in solidity the get along in the midst of the Vedas and architecture. He came to the join that the use of grains as a unit of quantity may well move had its origin in the Vedic scheme of Dyava-Prithivi, that is, Heaven and Punish as a parent link. He brought about innovations in traditional teaching methods. He educated students the likeness in incline in the midst of the artists of the West and population of India with reference to the photograph of whatsoever anatomy in art.
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Well-known mull it over
Fifteen students from IIT Bombay were in Kumbakonam in recent times, to study the art and architecture of the scrap. They attended a period by Umapathy on temple architecture. Lakshmi Deshpande and Ruchin, who are piece of legislation their Masters in Blueprint, imaginary, "These days, design is commonly limited to notebook generated ones. This mull it over has opened our eyes to a whole new world. And so has the period." Ruchin is attention to bring out a birthright kit based on his experiences all through the trip.
http://www.hindu.com/fr/2010/03/05/stories/2010030551300100.htm
