Dance imagery in South Indian Temples: study of the 108-karana sculptures

This dissertation explores the theme of dance imagery in south Indian temples by focusing on one aspect of dance expression, namely, the 108-karana sculptures. The immense popularity of dance to the south Indian temple is attested by the profusion of dance sculptures, erection of dance pavilions (nrtta mandapas), and employment of dancers (devaradiyar). However, dance sculptures are considered merely decorative addtitions to a temple. This work investigates and interprets the function and meaning of dance imagery to the Tamil temple.

Five temples display prominently the collective 108-karana program from the eleventh to around the 17^th century. The Rajaraja Temple at Thanjavur (985-1015 C.E.) displays the 108-karana reliefs in the central shrine. From their central location in the Rajaraja Temple, the 108 karana move to the external precincts, namely the outermost gopura. In the Sarangapani Temple (12-13^th century) at Kumbakonam, the 108 karana are located in the external façade of the outer east gopura. The subsequent instances of the 108 karana, the Nataraja Temple at Cidambaram (12^th-16^th C.E.), the Arunachalesvara Temple at Tiruvannamalai (16th C.E.), and the Vriddhagirisvara Temple at Vriddhachalam (16^th-17^th C.E.), also use this relocation. Situated in the inner passageway of the outermost gopura, the 108-karana are arranged on vertical pilasters in a sequence that moves vertically from bottom to top. In addition, the 108 karana is present in all four of the outer gopuras that encircle the central shrine.

This study situates the 108-karana sculptures within the larger iconographic program of the temple and its structures. In doing so, it analyzes and presents the meaning and relevance of the 108 karana to the vimana, the gopura, and to temple vocabulary. It investigates the 108 karana’s agency in communicating themes associated with Saivite legend. In doing so, it disputes the prevailing notion that dance sculptures are merely aesthetic additions to the temple that carry little or no meaning. Rather, it interprets dance and the 108 karana as agents for depicting visually, core aspects of Hindu worship – ritual, transformation, and meditation.