Spatiality in Bharatanatyam -Explored Through Indian Temple Architecture based on Mayonic Science.

SPATIALITY IN BHARATANATYAM

EXPLORED THROUGH INDIAN TEMPLE ARCHITECTURE

BASED ON MAYONIC SCEINCE

A thesis submitted to TILAK MAHARASHTRA VIDYAPEETH, PUNE For the Degree of

M.A PARANGAT BHARATANATYAM

by SHIVANI MAHADIK

(PRN: 03720602340)

under the

BOARDS OF ARTS AND FINE ARTS

under the guidance of Shrimati Jenita Lopes Pillai

Shri Balmukund Lohia Centre of Sanskrit and lndological Studies

May 2022

I declare that this written submission represents my ideas in my own words and where others' ideas or words have been included, I have adequately cited and referenced the original sources. I also declare that I have adhered to all principles of academic honesty and integrity and have not misrepresented or fabricated or falsified any idea/ data/fact/source in my submission. I have read and know the meaning of plagiarism and I understand that any violation of the above will be cause for disciplinary action by the Institute and can also evoke penal action from the sources which have thus not been properly cited or from whom proper permission has not been taken when needed.

Date: 21 / 05 / 2022

The work presented in this thesis would not have been possible without my close association with many people. I take this opportunity to extend my sincere gratitude and appreciation to all those who made this thesis possible.

Foremost, I would like to express my sincere gratitude to my Guru Jenita Lopes Pillai for providing me with her invaluable knowledge during the course of this research. I also thank her for the continuous support, patience, motivation and enthusiasm at the time of research and writing of this thesis.

I Thank my Parents, family members, friends for their support, guidance, help all throughout my learning.

Finally, I devote this Thesis work at the feet of Lord Nataraja. Thank you.

Spatiality in Bharatantyam

An Exploration Through Indian Temple Architecture based on Mayonic Sceince

SHIVANI MAHADIK

Indian Architecture and Bharatanatyam are two parallelly evolved Disciplines rooted in Indian Philosophy and its Ancient Science. Both carve spaces, and are adhered to Ground, the Earth.

Phenomenological Architecture is that area of research today which studies or leads to designs which are based on person's experience through the space. Phenomenology is the experience, and the same leads here to thrust area of this research, the Experience in Bharatanatyam which creates imaginary spaces and carries the Body and spectator through it. The Journey of a person in Tempie Architecture leads to Higher realisation of Self/Soul. Identical is the Dancer's journey in space crafted with movements and ultimately resonates and delivers the pure bliss (the experience). To understand this parallel the research here aims at analysing of spatial qualities.

A close sight at the aspect of Documentation of 2 disciplines in their Form, Geometry etc., we find ample solid analysis in Architecture. However, in Bharatanatyam it was just recent that we started mapping lines, figures, the movements. The Physical manifestation in Architecture can be used as a tool to analyse the Spatiality in Bharatanatyam Thus bridging this gap between Spatial analysis of movements in Bharatanatyam furthermore its close relation to the Ancient Indian Science & Philosophy.

A. l ) Synopsis

SPATIAL ANALYSIS OF BHARATANATYAM (MOVEMENTS)

by Elements of (Indian) Temple Architecture based on Ancient Science (Mayonic Science).

I ORIGIN

Just Graduated as an Architect, worked on Architectural Thesis which was Experiential Architecture for Stress relief, Alibag (Thesis published on line) 12 Phenomenology 3 was used as a healing tool drawing design elements from Ancient Indian Architecture and its Philosophy. Ancient Indian Architecture traces its root back to 4 Mayonic Science which is the earliest sciences which elaborates the process of Manifestation of the Unmanifested or the Cosmos.

Phenomenology is the experience felt when one moves through a space. Similarly, Bharatanatyam involves crafting imaginary spaces which the dancer's body and experiences and delivers to the spectator. The Foundation of these 2 disciplines is on Mayonic Science

1 https://issuu.com/shivanimahadik/docs/shivani mahadik 35 entire book

2 https://issuu.com/shivanimahadik/docs/shivani mahadik portfolio

3 Phenomenology is a philosophy of experience, further detail explanation in Phenomenology Pg no. 35

4 The science of manifestation of cosmos through a Mathematical order. (Jessie J. Mercay, 2005)

Figure I Abstract Architectural Elements defining Spatial Movement. Lines and circles here denote walls and columns in abstract 3-dimensional space. (Vishnuvaihala}

As one experiences the space in temple Architecture, and resonates with higher self likewise in Bharatanatyam Dancing bodies creates a vibrating architecture in which he/ she resonates and carries forward the vibration to spectator and lead to experiencing of pure bliss.

NEED(CONCERN)

Phenomenology came into light in architecture in 1958, with a dissertation by Charles Moore, and is today's most extensive subject but it's not a centuries before concept.

Ancient Indian Architecture had this experiential aspect since ages, which was practiced, studied, however we don't get ample research and solid analysis in these terms but the documentation of temples can aid out the gap. The temples are documented in terms of form, plan, geometry, pattern and thus provides us with surplus raw data to lead our research in this phenomenological aspect.

However, though Bharatanatyam art form evolved over years but it has its basic rooted in these aspects of Phenomenology or as a Science of Manifestation from the Unmanifested {Mayonic Science). Certainly, it was just recent that we started Mapping of movements, lines, geometry but still its analysation with ancient sciences remains minimal.

Therefore, analysing the Spatial qualities of Bharatanatyam through the lenses of Phenomenological aspects of Tempie Architecture will bridge the gap and help us understand the spatiality in Bharatanatyam rooted in Ancient Science of Manifestation from the Unmanifested (Mayonic Science).

AIM (THURST AREA)

Spatial Analysis of Bharatanatyam (Movements) through Indian Temple Architecture based on Ancient Sciences (Mayonic Science).

IV OBJECTIVES

A) Study of Mayonic Science Elements & their spirituality (connect with creation cosmos)

To understand the base from where all the Indian Arts have evolved.

B) Study Space & its related terms in Architecture & Dance, further draw a parallel between them.

To understand Space as a common medium of expression of the creative element in Both.

C) Study Ancient Temple Architecture - various Architectural Elements like - Form, planes, lines, principles of design & and their Phenomenological aspects likeresonate one's body with cosmic vibration.

D) Study

Origins of Nritta a/ c to various authors, sources

Study aspects of Nritta like Angashuddham, movements

Evolution of Nritta

E) Adavus - Listing out Different types a/ c to approach, usability and significant spatial theories.

F) Analysis of Ancient Mayonic Science(The Sceince Of Unman ifestation to Manifestation)

Indian Temple Architecture Elements

Bharatanatyam Movements

Phenomenogy of Bharatanatyam generated

G) A Practical Perspective

i} For Bharatanatyam Art form

ii} From the lenses of An Architect, Bharatanatyam Dancer, Music student.

V RATINALE (JUSTIFICATION)

The cosmic dance of Shiva from whom the dance originated was primarily in the form of time, frequency. Bharatanatyam Dance form was the one art form that evolved in these set frameworks.

A close analysis to this framework back again will lead to understanding of spatial qualities in Dance.

The notation and analysis of dance is primarily a western concept, as the Indian tradition in arts and knowledge is oral and experiential and passed from guru (teacher) to Shishya {pupil) in a holistic manner. So, a research in this type of representation and documentation will help in experimentation and Growth of art form.

Researching the basics in terms of Geometry, forms, & representing them will help upcoming choreographies explore more spatiality & connect with audience.

This understanding will lit the minds of all people, to what extent our art form is rich and Vibrant in terms of its Spatial Qualities and it's not mere Art form to be seen and applauded for.

By analysing the resonating Basics with Ancient Sciences (Mayonic) will help the art form stand ages.

VI LIMITATIONS AND SCOPE

Here the Analysis of lines and geometries without the analysis of the volume or density of dancer's body, which is subjective. Rasaavad is not analysed as it can't be objective and depends on personal extent of rasa experience. Whether Micro movements such as Mudra, and Facial gestures affect the dance and whether it will lead to any assurance of

the intensity of Spatial experience might prove to be beyond the scope of study and given limitations.

Indian temple architecture is studied here broadly instead of one particular temple, as we intend to analyse today's system of movements in Bharatanatyam which have gone through evolution over the time, as similar to the Indian Temple Architecture.

Analysis will be limited to Single Classical Dance form, but more inclusion of other styles will enrich the inference. Effects of energy put by dancer in the direction or movement is highly subjective but if researched will make the study Stronger.

A) Arts evolution

All Indian Arts be it Architecture, Painting, Sculpture, Dancing have emerged out of a fixed framework. This system can be called as Spiritual association but in precise terms its representation of cosmos and cosmos itself. We have many solid statements in Bhagavatam, and various such treatise written by Great sages, which describes this process of how the Unmanifested can be manifested in terms of aural, visual forms which can resonate at the frequency of cosmos, and thus turn out to be Great Piece of Art.

Dr. V. Ganapati Sthapati goes on to say that Veda Vyasa himself said in the Bhagavatam:

eka eva pura vedo pranavha sarva vangmayha

(9th skandha, 14th chapter, s!oka 48 of Bhagavatam} (Jessie J. Mercay, 2005)

Here Veda Vyasa says, only 1 Veda existed in past which is 'Pranava Veda' - The Veda of the Shilpis of India. It elaborated on Science of Pranava, it presents scientific study of the All-Pervading Substance.

Sabda Veda (Poetry)

Pra nava ~ Veda

Gandharva Veda Music)

Figure 2 Pranava Veda Classified

Natya Veda (Dance)

Sthapatya Veda (Architecture)

Pranava Veda presents the science of "how the invisible substance of the universe {paravastu) makes itself manifest in the visible material (Vaastu) forms." In other words, Pranava Veda reveals the process of how the All-Pervasive pure Energy turns into Matter or material existence. (Jessie J. Mercay, 2005).lt is 5-Fold Veda describing the manifestation process of the Pranava Veda and 4 products of it.

Key highlights from the Veda: -

l) All these art forms generated from Unmanifested Space (Brahamn) which can be measured in the form of space, time, light, sound and thus giving us the aural and visual form

2) Each form are governed by system or a grammar of Koala Mana ( time units) called as Toala maana.

This elucidates a brief of the process of manifestation of Brahman in the aural and visual forms of arts .The Great Sage Mayan has elaborated sufficiently in his book Ai nta ram on this process.

B) Mayonic Science

Mayan, an ancient architect and Rishi perceived that there is one force, one fundamental First Principle from which all life emerges, and in which all life resides and ultimately returns to its Primal state of pure energy. He named this principle Brahman.

Mayan perceived that, that process was accomplished through a mathematical order and that order could be replicated by humans to unfold specific qualities of Brahman that would vibrate in a form that brought health, happiness and spiritual bliss to those who partook in that form. That form could be dance, poetry, music, sculpture, or architecture. (Jessie J. Mercay, 2005).

This brings us to the gist of the whole process of manifestation, furthermore this process will be discussed more in Chapter -BACKGROUND,( B) Mayan's Theory Pg no. 20 Ill

The Absolute Theory of Manifestation )

C) Architecture and Bharatanatyam

Movement creates space. Movement makes one realize space. Movement challenges the essence of space.

Every individual has a unique lens to perceive the space, what lies common is the aspect of movement. What physical movement through space conveys can be a very different experience from using and interpreting space from a static viewpoint (Gannavarapu, 2021 ).Architecture and Dance both uses space as creative element in crafting a space or producing art work

An overview to both of them, brings them parallel in the aspect of time, space and light. In his book, called Aintaram, Mamuni (Sage) Mayan stated as follows (Dr.S.P.Sabharathnam, 1997}

l) Space is the most creative seed-source which is ever vibrant.

2) Time is the vibration of Space

3) The Manduka Mandala. conceivable with the greatest area possible, is the space; and the Manduka mandala, conceivable with the minutest area possible is the Microbode.

4) Space is inseparably associated with the frame of 64 squares (8-fold mandala) 5 •

Here we aim to study the Indian temple architecture which were not only centres for religious or preaching activity but also convention centre for intellectual and spiritual conversation. Their designs were based on this Mayonic science of expressing the cosmos

and thus resonate with users of space. During Chola period rise was seen in Bharatanatyam and the temple Architecture, the exterior, interiors, sculptures, motifs, are all linked and based on manifestation of cosmos and giving them rhythmic beauty and resonance.

D) Bharatanatyam movements

Further as the Cosmic dance is nothing but the rhythmic movement of the eightfold mandala. As Dance involves limbs, hand gestures through the science of curves, numbers it expresses the movement of time, Form and Rhythm. The frame of 64 squares is the manifesting factor of sculpture, drawing, music, dance, orderly speech, languages, scripture and so forth.

The perfect performance of any at or any work is due to the perfect squaric formation in one's own inner space (Dr.S.P.Sabharathnam, 1997).

E) Conclusion

Therefore, this research will elaborate on each of the above-mentioned facets, and many other additional subjects. The primary aim continues to be analysing the basic movements in two disciplines of art, which will help us ponder upon the spatiality in Bharatanatyam its linkages to Architecture during that period and finally having a close view on its pattern of movement through Ancient Sciences (Mayonic Science ) manifesting the cosmos.

B. l) Mayonic Science -

A Lost Science its Elements & their spirituality( connect).

A) MAYAN

Mayan is the Great Scientist/ artist also called as Mamuni Mayan who lived approximately 1 0 thousand or 1 3 thousand years ago . Originator or this ancient work, Vaastu Shastra. He lived in southern India, to the south of Kanyakumari, formerly Kumari Continent. This is thought to home of human race and culture according to ancient texts, and today it is known as Lumerian Continent.

Figure 3 Mamuni Mayan in meditative Posture (Jessie J. Mercay, 2005)

His works comprise of numerous fields like architecture, architecture, sculpture, dance, music and other art forms, astronomy and astrology, and herbology. To differentiate this science from the Vaastu sciences from recent centuries and to give its progenitor credits , this filed of study id called MAYON IC SCIENCE.

Epic Mahabharata , has references where Ved Vyasa introduces him to Arjuna as Vishvakarma ,in addition to that he was adorned by Danava clan as poet .In Ramayana Valmiki praises him as Mahatejasvi (highly enlightened), Maayavvi (Super Human Intelligence), " Mayonaama Mahateja Maayaavi vaanarishabha ". Thus, was aware of space dynamics, able to apply them to structures, towns which resonated like living organism.

B) Mayan's Theory

T here exists an order in the Universe - subtle universe, and material universe. This power is attributed to the consciousness of the cosmic space as well as of the inner space of the animate beings. This consciousness, by its personal effort to express its own inner feelings, causes a kind of vibration or pulsation in the inner space, resulting in energy-grids. The vibration or pulsation, being the causal element of all these events, is called KAALA. This is actually the force of energy aroused by the inner consciousness, causing waves and contributing to the growth of living forms. This KAALA resides in all living beings. So, space is the offshoot of the vibration of the primordial energy. This is how the space was born. All forms of nature are manifest forms of subtle energy. For all to get manifested, the force is KAALAM. This wave-form frequency realm is the creative element of the universe." (Dr.S.P.Sabharathnam,

1997)

The cosmic dance of Shiva will be elaborated later with reference to all the elements of space discussed below.

I Role of S (Ashta) in Cosmic Creation

Cosmic dance Is nothing but the rhythmic movement of the eightfold mandala. Every buildings/ every sculpture is effected through the systematic observation and application of the dynamism of 8 units. Maya is of the view that every growth gets fulfilled by eight constituents, developed in five stages.

"Space Is eightfold; earth Is eightfold; energising factors of soul are eight in number; luminous elements of body are eight in number; souls are in eight groups; substances are in eight groups" {Mayan}

II The science and technology of Manduka mandala (ES X ES)

In the science of Vaastu, the frame of 64 squares is called Manduka Mandala 6 (Tavalai Maneri - in Tamil). It is called so because of its leaping character and its association with sound and light.

The frame of 64 squares is the graphic and atomic structure of the whole cosmos. It is the basic design of inner space and outer space enclosed space and built space. The exact centre of the frame of 64 squares Is called primal dot. This Primal dot, is actually, square in shape. Even within this squaric dot, there Is the presence of 64 squares.

There is ever existing co-ordination between the frame of 64 squares, space and time. All the existent and all the souls, either of this world or other worlds are ingrained with the frame of 64 squares (Manduka mandala}. It is of the nature of trans-cosmic penetration. This frame serves as the fountain head of creative and performing sources and by virtue of this feature,

6 Maya was the only scientist who expounded the scientific and technical principles of Manduka Mandala, and layed foundation for all mandalas from Saka la to lndrakanta.

It is the manifesting factor of sculpture, drawing. music, dance, orderly speech, languages, scriptures and so forth.

Ill The Absolute Theory of Manifestation

The perfect performance of any art or any work is due to the perfect squaric formation of this mandala of 64 squares in one's own inner space. I

A) Within the Primal Space -

First there occurs internally an urge as "let me become like this" this urge turns into a point (dot);

The Absolute Space (Primal Space) can be represented here as Flat Line.

“Though I am unborn and of imperishable nature, though Lord of all beings, yet remaining in My own nature I take birth through My own power of creation.”

(Bhagavad-Gita Ch 4. v6)

B) The Pulse within itself.

The Act of Pulsing here created an Absolute Time. Absolute time can be explained as a Time sequence which was created during its first rise and after the last fall.

C) The Self Spin

Here the space starts to take the form of matter. The rise and fall of the square wave pulse actually occupies what might be called four units of space within the one pulse. this phenomenon visually it becomes immediately apparent that the single pulse of the square wave actually creates four space-time units as shown below.

This Self Spin is represented in many cultures China, Tibet, Nepal, Mexico, Native American, South Pacific and of course India ( The Swastika )

The co-mingling of

l. Absolute Space, and

2. Absolute Time

Continues and forms 3 rd element - The OM SOUND (aural forms) and further forms 4 th element - The Om Light (Visual forms)

The unmanifest continues to spin around the central point called Bindu Point ( Micro cube).

D) Unmanifest takes form of structure and mass

Thus we arrive at the 8x8 Manduka Mandala. The growth dynamics of the unmanifest Fabric of Creation in values of eight and steps of five:

4+8 = 12+8 = 20+8 = 28

1) + Bindu po int (cent ra l po int at i ntersection of li nes - energy source )

2) D

Brahma pada (first concentr i c be t around b i ndu po int) = 4 modu les

3) D Deivi ka pada ( second concentric belt ) = 12 modu les

4) D Maanush a pada ( th ird contiric be lt) = 20 modules

5) II]! Pa isach i ka pada (fourth concentric belt) 28 modu les

The 8)(8 M:mdulca Vastu Mandala formed of 64 vi brating Space T ime un its

Figure 4 The Fabric of Creation in values of 8 and steps of 5

E) The Fabric of Manifestation

Here we understand how the fabric of the unmanifest - the 8x8 cubicle form - becomes the fabric and fundamental structure of manifest Vaastu - the 9x9 cubicle form .

This 8 x 8 Manduka Mandala continues to spin and form and takes various shapes in between like 7 -

The perfect square form is called Satwa; the octagonal form is called Rajas; the circular form is called Ta mas.

A new grid emerges as the grid restores itself into 9x9 cube of tranquillity and stillness. This transformation from the 8x8 cube to the 9x9 cube is called Pranava.

The 9x9 grid {cube) is the fabric of the manifest universe. :

We go ahead to understand the vibrational factor of these forms in its minute version i.e Microbode which plays vital role in understanding the Cosmic Dance of Shiva

IV MICROABODE

The minutest, condensed cubic version of the frame of 64 squares is known as Microbode. As Mayan has ascertained, the entire extent of space field is filled up with microbodes.

Each Microbode is thickly packed with innumerable frames of 64 squares. The exact centre of the Microbode is in constant vibranc y The central thread passing through this centre is called luminous thread or thread of consciousness .This is what is technically called brahma sutra. (Dr.S.P.Sabharathnam, 1997)

Everything is Microbode which is the container of everything. The existence and expanse of universe is due to vibration of this luminous thread of Microbode.

four ,expa nd i ng e n e rg y be lts Soma Su tra

B r a hm a S u tra

outline torm of microabode

Figure 5 Microbode as perceived by Mayan (Jessie J. Mercay, 2005)

The Brahma Sutra - The Thread of light

It flows through the Bindu point or center point of the Brahmasthan. This vibrating energy string is the central cosmic fire from which OM Light, OM Sound, and the Elements arise (Jessie J. Mercay, 2005).

COSMIC DANCE AND THE DANCER

The constant vibration of this luminous thread is conceived as the cosmic dance and the luminous thread is conceived as the cosmic Dancer {Nataraja: Adavallan, or Adalan according to Maya} (Dr.S.P.Sabharathnam, 1997).

This vibration itself is the undivided wholeness of time and its frequencies result in innumerable time-measure and or space measure. The central luminous thread is the ultimate wielder of time. Nataraja is called - -The one who weilds the clusters of time units and time divisions.

Unmanifest microabode vibrating within itself and manifesting as Sculpture, Architecture, Dance.

Kalachakra Pravartakah

Art forms (Sculpture, Architecture, Dance) as manifest microabode vibrating with live giving qualities.

Perceiver's (of Art) microabode (Atman) coming into perfect resonance with the Art form which mirrors life giving qualities of microabode in Universal Consciousness.

Figure 6 Conceptual figures representing Three micobode of, the Perceiver's, the Art form's ,and it in the Unmanifested form

The Mechanism of the Phenomenon is discussed below.

In Vaastu Science {Vaastu Shastra ) we understand that pure wave forms are generated at the Brahmastan moving outwards to Mother wall which starts vibrating with these qualities and the Vibration is carried in structure same we mechanism can be applied to the Dancing Bodies in Space.

The Square waves of 8 x 8 form transform into 9x 9 sine wave forms and proceeds out from the Nataraja Figure ( The Cosmic Dancer) from its Brahmasthana(only one direction is represented here).

Sta nding waves becoming 9

1. This Wave possess through space to the boundary established by the mother wall.

2. When a wave hits a boundary it splits.

3. The Part of the pulse is transmitted into the boundary and causes the boundary to vibrate and the other part is reflected backward to its source.

4. The part of the wave that moves backward causes a co-mingling or interference with new waves moving forward toward the boundary thus causing standing waves.

In Indian Sculpture and Iconography (Dr. V. Ganapati Sthapati) we can study efficiently on the flexions in Nata manam System which has resemblance to Sine Waves.

Nata Manam - measurement of the body in flexion The measure of flexion when turned sideways is none but the form of a sine wave.The book also describes about the axes used for measurement of a body as Sutra s.

Further as one ponders into the Bhangi' sand their flexion analysis it clearly resembles the Sine waves.

Like in Abhanga - Minimal Flexions, Samabhanga, Atibhanga.Here in the fugures below one can see the flexions in actual Brahma sutra relative to the one in Sampada Sthanka

Figure 7 Body Flexions in the Abhanga type (Sthapati, 2019)

VI LORD SHIVA & THE COSMIC DANCE

As referred to earlier by said by Mayan , the constant vibration of Luminous thread is the Cosmic Dance and the thread itself is Lord Nataraja, The cosmic Dancer. Cosmic dance Is nothing but the rhythmic movement of the eightfold mandala.

Time and Space and evolved a system of spiritual arts namely poetry, music, dance, architecture and sculpture - all governed by the principle of energy vibrating into space and spatial form.

The art of Dance flourishes through the features of curves and the science of number and it is capable of expressing the movement of Time, Form and Rhythm through hand gestures

O nly through the mechanism of four-sided frame, the central dot and its energetic existence, its swiftness, gyration, 25 aspects, 64 aspects, time divisions etc, the musical sculptures and forms emerge out and beautify the entire range of universal field. Only through the eight variant stages of central dot, all the patterns of cosmic Dance of Nataraja are effected (Dr.S.P.Sabharathnam, 1997).

The Great Mayan' s treatise on The Great Dance - Perunata Chenool , seems to be lost over the time, which had abundant of description on Dance . His work on luminous thread explains the characteristics of horizontal lines, vertical lines, dots, curves. letters, varieties of OM, six luminous sparks and so forth. However he has left us with all the basics through which we can perceive The Great Dance and its dynamics.

It is said Nritta technique

can be understood well if one has knowledge of Painting /Drawing, Sculpture. Here we'll study in brief different types of ways in sculpture for analyzing geometries and lines of Dance While studying the Cosmic Dance we'll be using the some of the types of Six kinds of lconometric Measurements which can be applied to various aspects of dance like leg extensions of Mandala etc.

SIX AXES OF MEASUREMENTS

Various methods of analyzing the geometry dance movements can be done in different planes as follows.

Figure 8 IO Lord Nataroia ( Karana ) in a hexagram {6 corner star)

Figure 9 Figure 8 - From Front Side of Body The Sutro are as follows l :Purva Sutrom, 2:Mukha Bahya Sutrom, 3: Kaksha Sutrom, 4: Bahu Sutro and to the Side ways Aparo Sutrom, Kayamadhya Sutrom{ Brhma Sutro}, Aparo Sutrom. (Sthapati, 2019}

These are the six planes which will be the basis our analysis of directions geometries in dance. Just as a Shilpi uses them to understand the deflection or flexions along different spaces and directions , Nritta technique can be perceived as movement in planes and directions.

As a Bharatanatyam dancer uses space, it follows the use of various geometries, lines as understood in the shapes, forms, the Microbode and various aspects of Cosmic Creation which are used extensively in the Architecture of Temples and will be studied further.

Figure IO Hikka-sutra (the line passing through the base of the neck), the Bhadra-sutra (passing through the navel) and the Kati-sutra which passes through the hips and the pelvic girdle.

B.2) Space Design : Architecture & Bharatanatyam

A) SPACE

I Space definition

Space always encompasses our living, its volume is what we move ,see, smell, hear, feel. The experience of its aural and visual form depends on the dimension , scale which varies according to perception of the Imaginary or physical boundaries defined by various elements of (art) form like geometry, lines etc. Further as it continues to be modelled , designed, organised through these elements creates an experience.

These elements vary from art form to art form, and need not be perceived all in same one intensity or similarly .When juxtapose the elements in design of Architecture of Indian Tempie and that of Bharatanatyam dance form, we see both of them very similar in these elements of design like form, volume, line, directions etc.

Space in Mayonic Science

As discussed earlier the basic vibration of primal energy gives rise to space .Time is the vibration of space. Space is the most creative seed-source which is ever vibrant.

The Manduka Mandala. conceivable with the greatest area possible, is the space; and the Manduka mandala, conceivable with the minutest area possible is the Microbode.

Space is inseparably associated with the frame of 64 squares (8-fold mandala) 8 .The Microbode ( very basic unit of space) vibrating with a shaft which is called the cosmic dancer Lord Shiva and the Vibration or the dance is called Dance of the cosmos.

These wave forms hit the mother wall or immediate object of obstruction, further mother wall starts vibrating , same applied to Dancing bodies in space who transfers the energy in the space reaching out to spectators. Manduka Mandala guides us about various lines , axes that can be perceived if the whole Mandala with its microbodes vibrating Microbode are considered 3 dimensional as in CHAPTER -B E) IV V . Joining various Bindu points ( Figure4TheFabricofCreationinvaluesof8andstepsofs ), we get various axes, which further can be increased upon going into each Pada, its centre and so on it continues. We here can arrive at innumerable positions lines and geometries in Dance which resonates with these lines and geometries, however its study is overlooked and is main focus area of this research. Figure 4 The Fabric of Creation in values of 8 and steps of 5

Ill Space Design: Architecture

A) ELEMENTS OF DESIGN

Experience is created when a body moves through a space designed with various elements of design in Architecture .Its journey is defined through

Primary Elements - Point, Lines, planes, volume

Figure 11 a) A Point marks position in space b) Coloumn defining an edge of outer space in temple.

Form - Shapes, Linear, centralised, Articulation ,edges, corners

Form and Space - Overhead , Depressed planes, Vertical linear elements

Organisation - interlocking spaces, spatial relationships, centralised , clustered

Circulation - Approach , entrance, path

Scale/ Proportion

Ordering Principles - Axis ,Symmetry, Hierarchy, Rhythm, Datum, Transformation

B) Phenomenology

Experience based architecture is called Phenomenology It is that newly found area of study which deals with human perception or experience based on a psychological thought.

Figure 12 - a} Chennakeshwara Temple, Belur - Star shaped plan b} Lingaraia Temple Bhubaneshwara -Additve forms

Figure 13 a} Multiple Axis b} Hierarchy from the Tip of Shikhara c) Repetition of motif patterns on Shikhara of temple

The historical movement of phenomenology launched in the first half of the 20th century by Edmund Husserl, Martin Heidegger, Maurice Merleau-Ponty, Jean-Paul Sartre, et al.

Architectural Scholars like Steven Holl, Alberto Perez-Gomez, Juhani Pallasmma explains about the role played by human perception and phenomenological experience in architecture.

Peter Zumthor says, A building should not be designed to find a special form, but to give a special feeling, to have special soul and atmosphere .In his architecture the movement is the most important design parameter like movement of people, the way architecture involves movement is like a 'temporal art'.

C) Experiential Themes for Design in Temples

Tempie Design where based on Spirituality. Expressing the cosmos in its parts and in whole was the basic concept behind every aspect of design. Aurobindo Ghosh in his Book called Significance of Indian Art explains about how each element carries forward spirituality. For Example temples located strategically away from populated cities like at some high altitudes, near the sea shore, around forests, in distant or secluded scenes of

Figure 15 Chapel Proiect by Peter Zumthor, The interior of the chapel room was Formed out of I I 2 tree trunks, which were configured like a tent.

Figure 14 Thermal Baths by Peter Zumthor

nature and which allows the positive thoughts or advices to sink into the mind

He explains as not to detach the temple from its surroundings, but to see it in unity with the sky and low-lying landscape or with the sky and hills around and feel the similarity in them as the reality in Nature, the reality expressed in the work of art, the oneness to which this nature aspires in her self-creation, and the oneness to which the soul of man uplifts itself in his conscious spiritual upbuilding.

Further the plans of temples were based on Vaastu shastra principles ( have their origin to Mayonic science, which explain Mandala}, were designed with sacred Geometry.

Use of Sacred geometry in the plan sections of Indian Temple Architecture, based on the geometries of seven chakras.

The fundamental designs of Indian temples involved the use of sacred geometry to create harmonizing energies for everyone's wellbeing. Through our ancient scriptures on VastuShastra Square is the most scared geometry and an absolute geometry. Almost all the temples were designed according the Vastupurusha Mandala. The Nagara Tempie style is characterized by Square Shikhara, rising above the cubical sanctuary.

In the chapter ahead we'll study it in more detail the elements of design in Temple.

Figure 17: Evolution in the plan of proiection around the halls according to Sacred Geometry - a. Simple square plan, (b-e). Square plan with simple proiections, (f-i). Staggered square plan without recesses, (i-m). Staggered square plan with recesses, (n-o). Stepped diamond plan, (p-q}. Ste/late plan with orthogonal central proiection, (r-s). Special stellate plans, (t-v). Uniform stellate plans based on rotated-square star.

Figure 18 Fractal dimension of front elevation of Kandariya Mahadev Temple (Tanisha Dutta & V. 5. Adane, 20 I 8}

IV Space Design : Bharatanatyam

A) Movement in Dance

In Bharatanatyam dance form movement is considered to more grounded unlike other western dance styles which emphasis more on free style movement in air. Comprising of Macro movements to Micro movements, in radial to axial directions, which all can be together understood when compared to the Microbode the smallest vibrating unit of space 9.

However, over the ages this art form has not seen much study of its movements imbibed in ancient science of space creation. The recent studies on Mayonic science have brought to us this science and thus stands as a base for analysis of spatiality in our Dance.

The Manduka mandala (8 x 8 ) is the fabric of the unmanifest .This frame serves as the fountain head of creativity, and manifesting factor for sculpture, dance, music, drawing, languages etc. Abiding to these frameworks is our dance form which has its basic rooted , and evolved in set framework.

B) The Body

The smallest unit is Square, which further forms cube, later undergoes through various stages of 4 x 4, 6 x 6 and lastly 8 x 8 which is the fabric of unmanifest. This geometrical form is identical to Microbode. The point of intersection called as Bindu, joining them in certain geometries lets us visualise dancer's body in 3 Dimensional forms .Thus, a dancer's body is constantly put into forms, geometries and lines, such dance is called Cosmic Dance. The central vibrating luminous thread is the Cosmic Dancer Shiva.

Figure 19 Three - Basic position in Bharatanatyam in a Manduka Mandala (BxB)

Figure 20 - Hands of a pose traversing through all the Bindu points Oiagonaly.

C) Aesthetics Of Dance (RASA Theory)

Raso Theory was expounded deeply by many Aestheticians, and widely excepted theory today is of Abhinava Gupta. Raso is the aesthetic value or experiential essence of an art form. It is perceived as the enjoyment of aesthetic bliss derived by witnessing a performance, and is communicated by the artist to the audience through the art. Phenomenology 10 is identical to Raso Theory as both hold experience to be the soul subject of Design of Movement be it in Architecture or in Dance.

Dancer's body is a vibrating energy which carries forward its vibration to the spectator who starts vibrating and resonating with the performance, this takes us closer to definition of Abhinaya. In Nrttia all the movements are elegant only when they are executed with utmost perfection called Anga-Shuddham, then and then only dancer's body can work as a vibrating instrument. Though Raso is mostly associated with Abhinaya and of which is 4 types as follows

1. Angikam

2. Vachikam

3. Aharyam

4. Satvikam

Thus we can say that any of these Abhinaya when executed with precision will lead to experience of bliss or Rasasvada. For Analysis of movements we emphasis more on Angikam aspect however presence of all the 4 surely contributes to amplification of Rosa.

D) Space Making Theory

The journey from physical planes which transcends to cosmic bliss, is the art of space making in Bharatanatyam. This could also be compared to the Meditation process which takes us from Internal happiness to External one. Though it is temporal but being performed by a lively vibrating instrument called as Body it carves vibrating forms in limitless space.

This continuous rhythm in dance, indicates a constant awareness of the dimension of time and the implication of its continuum to any space and any activity in the space. A dancer creates architecture through a series of levels as follows -

A) The body itself, the shapes and lines it creates.

B) Dancing with other people is about composition, the way the implied body spaces relate and inter-penetrate.

C) The surrounding space in which dance is presented .

The Figure below shows these series levels. The study here will be limited to the first level by understanding the time constraints for the research, and further if one goes further to next 2 levels it will definitely be advantageous to dancers.

The Spatial experience at the 3 levels in group performance and 2 levels with solo performance. Here the Spatial experience of audience will be highly subjective, thus l st level of spatial experience will be of great value.

Figure 2 l - A dancer creates architecture through a series of levels

B.3) Indian Temple Architecture

A) The Parallel Evolution of Indian Architecture and Bharatanatyam

Broadly both can be seen as Art forms evolved during a time period and revolved around the central idea of spirituality. The very base to minute detail in Temple Architecture represents the cosmos and its creations They both design spaces either temporal or static. The base for the arts as discussed earlier( Pg. no. 13 A) Arts evolution) is Mayonic science where the Theory of Space creation is detailed.

The Movement in both Architecture and Dance is similar in its basics, as the axes, directions ,and other elements are set in the framework of 64 squares or 8x 8 Manduka Mandala.

The popularity of Bharatanatyam was clearly reflected in the architectural style of the Dravidian temples as well, which were planned with Mandapas (temple halls) to accommodate the Devadasi performances. These stone temples also had their pillars and door frames sumptuously decorated with sculptures depicting female dancers in various poses. Thus, both these art forms- dance and architecture complemented each other and attributed their development to their common praise of the Lord.

B) History of Temple Architecture

The Major types of Indian Temples (to study) can be broadly classified as Nagara and Dravidian .Nagara belongs to North style and Dravidian of the Southern. Dravidian temples saw an upsurge under the rule of Chola Dynasty, where the prosperity of kingdoms gave boost to art and architecture. The earliest references to Dance in temples

can be seen in the of Cave Temples of Badami in Karnataka, from the 6th century, which houses a 5ft tall Nataraja performing the Tandava. This Lord Shiva sculpture has 1 8 armseach expressing Bharatanatyam mudras (hand gestures). The most prominent example that narrates the connection of south Indian temple architecture and dance is the Chidambaram Nataraja Temple in Tamil Nadu.

Above all the Architecture of temples were based on Vaastu Shastra , which was derived from Mayonic Science itself, and thus all the geometries and forms are designed under that framework. This influenced Bharatanatyam dance form in its framework, design ,and movement, however it's impact wasn't measured over the time. The body of temple and body of dancers could be compared here as both travel through varying experiences at different levels of design and ultimately with the eternal hunger to see the God after traveling from mystic world.

C) Architectural Elements I Temple, Body and Movement

The Dynamics of parts of a temple are having a certain movement pattern. Discussion of movement in architecture can be about how people move through the buildings, about how the eye moves over them or about visual forces; equally, for some kinds of architecture it can be about how architectural forms represent movement or even seem to move. But in no other architecture idea of expressing movements has been seen explicated , consistently, and all pervasively, and demand to be experienced empathetically in terms of human body.

Many lndologist have written about Indian art in terms of movement, like Henrich Zimmer wrote ' the phenomenon of expanding form '.Also he wrote that, ' The notion that there is nothing static, nothing abiding, but only the flow of relentless process, with everything originating, growing, decaying, vanishing- this wholly dynamic view of life, of the

individual and of the universe, is of the fundamental conceptions of later Hinduism' {Hardy, 2007}.

Stella Kramrisch brought together dynamism and published in her book in the same year ( 1946), "Expansion proceeds from the profiles, their projections and recesses Expansion proceeds from central point of the Garbhagriha, in the horizontal, and all the directions of space: this spread with its proliferation and particularisat 1 on is gathered up towards the apex; the broad mass with its many forms is reduced to a point. beyond its total form ." {Hardy, 2007}.

As these are 3-dimensional forms rhythm is not just viewed on the surface but propels like an pulse surging in descending order, and the whole shrine rising upwards. The architects of medieval Indian temples had developed ways of conveying the idea of forms evolving in space, through time. The pattern of centrifugal growth is communicated through clearly identifiable architectural means in following figures.

II Architectural Means of Expressing Movement in Indian Temples.

A) Primary elements - Points, Lines, planes

Points - They a re nothing but Bindu Points( Figure 4 The Fabric of Creation in values of 8 and steps of s) of the 8 x 8 Manduka Mandala and The minutest, condensed cubic version of the frame of 64 squares is known as Microbode. Further moving outwards joining these Bindu Points we get lines ( axial lines ) and cluster of lines form a plane. These primary elements are

fundamental to designs of ceilings, plan , structure and will be detailed in their designs.

B) Form - Shapes, Linear, centralised, Articulation ,edges,

corners

Shrine - Shrine can be termed as Vimana It contains the sanctum, the garbhagriha ('womb chamber'}, usually square. Shrines may be rectangular, apsidal 11 , circular or octagonal. All plan of shrines are developed from square as shown in the figure, orthogonal plans evolve towards a greater number.

Roof Plans Pg No -7 6 Base Plans Etc And Corresponding Terminlogy Like Diamond Shaped ,Stellate Shaed, Orthogonal Plans