Bharatha Natyam on temple building structures

Subashini PATHMANATHAN

The fascination of Bharatha Natyam lies in the uniqueness of its traditional repertoire. The repertoire of Bharatha Natyam recital was laid down in the 19th century by the Tanjore Quartette namely Chinniah, Ponniah, Sivanadam and Vadivelu. To this day, the exponents of Bharatha Natya faithfully follow this tradition.

The fascination of Bharatha Natyam lies in the uniqueness of its traditional repertoire

The Alarippu, Jetheeswaram, Sabtham, Varnam, Padams, Thillana and Slokas are the correct sequence in the practice of this art ‘which is an artistic yoga revealing the spiritual through corporal’ says Balasaraswathi, the queen of Bharatha Natyam.

Art and depth

Bharatha Natyam is totally based on Hinduism and Hindu philosophy. Nobody can deny this fact. It is a must that those who involve in this art form must learn and understand the depth of the sacred Hindu philosophy. Bharatha Natyam originated in the temples as Sathir. With the passage of time, it was developed in and around the temple environs with a new dimension and vision as Bharatha Natyam.

Bharatha Natyam is totally a sacred dance form. Earlier it was originally practiced performed and preserved by the temple Devadasi clan.

According to Hindu philosophy says that the Hindu temple structure is based on the human body. The head is regarded as the Sanctorum (Garpagragam). The tall temple tower is built over the Garpagragam is described as Vimanam which adorns with beautiful sculptures. (This temple description starts from sanctum to the temple tower entrance).

The following area in the human body is the neck, which is called or named as Artha Mandapam. Artha Mandapam where the priests stand and engaged in the process of ritual activities for the Garpagragam (Sanctorum).

The chest area of the body is regarded as Maha Mandapam. At the Maha Mandapam.

Main offerings

The stomach area is regarded as Isathapa Mandapam. The sacrificial pit is constructed in the Isathapa Mandapam. During the period of Yaga poojas and Homa poojas sacred offerings are offered in the sacrificial pit. All the offerings mainly the Navathaniyam grains and Yaga pooja offerings are poured into this constructed pit.

At the end of the Isthampa Mandapam where the Kodi Isthampam, Nanthi and Pali Peedam are installed.

The thighs of the body are regarded as Sabha Mandapam of the temple. Earlier the cultural activities were supposed to perform at the Sabha Mandapam. The knee area of the body is regarded as the first entrance of the temple.

Below the knee is regarded as Kalyana Mandapam. This Kalyana Mandapam is also known as Utsava Mandapam where the Utsavamoorthies are decorated and kept. The feet and the toes of the human body are regarded as the main entrance of the temple with majestic Kopuram.

But all these traditional temple features are still found in the present Hindu temple structure to a certain extent.

Balasarawathi further said ‘That the Bharatha Natyam recital is structured like a great temple. Enter through Kopuram(temple tower),the outer hall of Allaripu cross through Artha Mandapam (half way hall) of Jetheeswaram, then the Mandapam (the great hall),Sabtham and enter the holy precinct of the of the deity is Varnam.

This is the place, the place which gives which gives the dancer expansive scope to revel in the rhythm, moods and music of the dance.

The Varman is continuum which gives ever-expanding room to the dancer to delight in her self-fulfillment by providing the fullest scope to her own creativity as well as to the tradition of art. In dancing to the padams, one experiences the containment, cool and quiet of entering the sanctum from its external precinct.

The expanse and brilliance of outer corridors disappear in the dark inner sanctum.

And the virtuosities of the Varnam yield to the soul –stirring music and abinaya of the Padams. Dancing to the Padam akin to the Juncture when the cascading lights of worship are withdrawn and the drum beats die down to the simple and solemn chanting of sacred verses in the closeness of God. The Thillana breaks into movement like the final burning of camphor accompanied by a measure of din and bustle.

In conclusion the devotee takes to his heart the god he has so far glorified outside; and the dancer completes the traditional order by dancing to a simple devotional verse (Slogan’’.

Greatest religion

Hence from the above said verses of the great Bharatha Natya maestro reveals the deep involvement of art with one of the greatest religion of the world.

Therefore it is a must that those who want to learn or want to master this art form must know the basic Hindu link with this great dance form. If anybody tries to learn this great art without knowing the depth of the art with the passage of time this sacred art would be dragged to a social level art.

The link between Hinduism and Bharatha Natyam is inseparable.