2014/11/27 by R.K.K. Rajarajan · 1 citation
Arts and Humanities · Social Sciences · #Indian and Buddhist Studies #Classical Antiquity Studies #Eurasian Exchange Networks #Tamil #Theme (computing) #History #Classics #Convention #Literature #Art #Ancient history #Sociology #Social science
paper · doi:10.1558/rosa.v8i2.197
openalex publication_date 2014/11/27 · openalex created_date 2016/06/24 · openalex updated_date 2026/05/21
The convention among art historians is to begin Nataraja studies with Citamparam. Historically and mythologically, this is a misconception. The earliest mention of Kuttan/Nataraja appears in a fifth- or sixth-century ce literary work, the Alankattumuttatiruppatikam of [Karaikkal]-Ammaiyar, and the theme continued to persist through the ages, being particularly exalted in the hymns of the Tevaram, the first seven compilations of the Saiva canon. The Cidambaramahatmya is a work of the fourteenth century ce or later. Scholarly research has depended more on Sanskritic sources (e.g. Sivaramamurti 1974; Smith 1998) than on the earlier Tamil material. This article says why studies pertaining to Nataraja should begin with Alankatu, the earliest sthala extolled in the Tamil hymns, considered the original base of the Nataraja tradition. It cursorily reflects on the available epigraphical sources. The other dancing venues of the Lord, Tillai/Citamparam, Alavay/Maturai, Nelveli and Kurralam, were added in due course, making with Alankattu a list of five dancing halls (pancanrtyasabha). The article examines a group of five stucco images that appear in the frontal projection of the mandapa to the Alankatu temple.