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Helmut Nespital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IX-XII
Nachruf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . XIII-XIV
Verffentlichungen von / Publications of Prof. Dr. Helmut Nespital . . . . . . . . . . . . XV-XIX
Vorwort / Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . XXI
Hannelore BAUHAUS-LTZKE arad Jo: Alle frchten sich vor Virginia Woolf . . . . . 19
Gouriswar BHATTACHARYA
Klaus BRUHN
Vit BUBENIK
Georg BUDDRUSS
Klaus BUTZENBERGER
Ramswarup CATURVEDI
Cecilia COSSIO
Theo DAMSTEEGT
Diana DIMITROVA
Ines FORNELL
Monika HORSTMANN
Dirk W. LNNE
Angelika MALINAR
Jan MAREK
Konrad MEISIG
Annie MONTAUT
Thomas OBERLIES
Christina OESTERHELD
Mariola OFFREDI
Tatiana ORANSKAIA
Johannes SCHNEIDER
Ulrike STARK
Danuta STASIK
Ingo STRAUCH
Jaroslav STRNAD
Renate SYED
Jaroslav VACEK
Elisabeth CONZELMANN
Carola EHLERS
Hans HARDER
Klaus HESSE
Katja HOFMANN
Lothar LUTZE
Georg PFEFFER
R.K.K. RAJARAJAN
Falk REITZ
Lukas WERTH
Stpaharaam:
Changing Thematic Idioms in Sanskrit and Tamil
R.K.K. Rajarajan
For the date and translations of the Vlmki Rmyaa, see BROCKINGTON 1984: 1, fn. 1.
For the date and translations of the Kampa Rmyaa, see ZVELEBIL 1974: 146-7 and 1992:
65-69.
3
Kampar deals with the original six kas, viz. Bla, Ayodhy, Araya, Kikindh, Sundara
and Yuddha and not the last one, Uttaraka.
4
Kampar versifies the story against the ecological and cultural setting of the Tamil country. The
Citraka is the Govindarja shrine within the Naarja temple at Citamparam according to the Tamil
Avrs who showed the way to Kampar and present distinct allusions to the Rmyaa events from
the Bla to Yuddhakas. For a case study see SHULMAN 1981: 21-53; KALIDOS 1998: 17-24.
2
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R.K.K. Rajarajan
The present study follows the SASTRIGAL/SASTRI 1958 in Sanskrit and the English translation
by SHASTRI 1957, GRIFFITH 1963, POLLOCK/GOLDMAN 1991.
6
Also Stharaa (hara means taking away, seizing, attracting) but the original text which
gives the subtitle followed in the paper is more apt.
7
So mahkavi Klidsa's mini-epic is called Raghuvaa. For an account of the Rmyaa
story see BASHAM 1954: 412-15. For the gist of the Irmvatram see ZVELEBIL 1974: 146-59,
KALIDOS 1998: 22.
8
The painting from Mattancherry Palace, Cochin, is a good example for rpaakh-bhaga (see
BANERJEE 1986: fig. 98-B) based on Kampar's version. DASH (1994) describes the polarities of Rma's
punishment of rpaakh by quoting Vlmki. But the event is more complicated in case of Kampar's
Irmvatram, where rpaakh was punished by Lakmaa on Rma's order. The former lopped
rpaakh's nose, ears, and mammalian glands, too. To quote MEENAKSHISUNDARAN (1961: 47)
Kampa follows Cilappatikram in giving us a vision of chastity. In the Tamil tradition cutting the
breast is already known from Ilakovaikal's epic heroine Kaaki of Cilappatikram. It is considered
to be a prediction of inauspicious (Tam. amakalam) happening (see OBEYESEKERE 1973, RAJARAJAN
2000), which caused the holocaust of Maturai, when Kaaki removed her mammalian gland. With the
above sequence in mind Kampar must have repeated the same idea, to suggest the destruction of Lak.
785
him the beauty of the princess. Rvaa proceeds to Pacavai with an assistant,
Mrca. Mrca disguised himself a golden deer which St wanted to possess. Rma
went hunting for the deer, and when the beast was shot dead, it imitated the voice of
Rma and cried out for help. St compels Lakmaa to go and help his brother.9 In
the meantime Rvaa entered their cottage, Citraka. He spoke to St, trying to
arouse her libido. St scorned him, so Rvaa started threatening her and assumed
his original form with ten heads and twenty arms.
Rvaa wanted to carry St off to Lak. According to Vlmki, Rvaa with his
left hand caught hold of the tresses of St and with the right hand held her thighs10.
To quote:
vmena St padmk mrdhajeu karea sa /
rvostu dakienaiva parijagrha pin //
(DIVANJI 1963, Vlmki Rmya [VR], rayaka [AK],
sarga [s] 47, verse [v] 16).
Rvaa lifted St up and clasping her, ascended a golden chariot, his vehicle. Keeping her in his grip, Rvaa flew in his chariot. There appeared a powerful kite, Jayu,
to stop the outrage. He attacked Rvaa and shattered his chariot. Rvaa fought with
the mighty bird and finally cut off its wings and feet. Even while fighting, Rvaa
holds St passionately to his breast (ta praha nidhyake, VR, AK, s. 50, v.
23). At the climax of his fight with Jayu, Rvaa has to release St. St went
weeping to the fallen bird and hugged the poor creature. Rvaa's chariot having been
destroyed, he seized St once again and ascended into the air in levitation keeping
her tightly in his lap. The nature of physical touch between Rvaa and St is
pictured by Vlmki in a few lokas as follows:
St's is a very complex figure in the Vlmki version. Her character differs according to the
plot of the story, she is depicted as submissive or aggressive or demanding. Her behaviour towards
Lakmaa is very aggressive, (VR, AK, s. 43, v. 22-24) she accuses him in many ways, even that he
wants to possess her. GOLDMAN (1980: 169) terms St's behaviour as blatant accusation of oedipal
desires. Immediately after Lakmaa leaves the place follows St's abduction. She pretends to be
violent with Rvaa only with her harsh words. But her behaviour is very submissive, as she knows
for her it is not possible to defeat the great demon king. So she cries out for Rma's help. For a brief
study on the behaviour of St see SUTHERLAND 1989.
10
See HILTEBEITEL (1980-81: 196) compares St (apaharaam) with Draupad (kesmbarkaaa), the heroine of Mahbhrata. In both the cases its by hair - as with Draupad - and by the
thigh, HILTEBEITEL gives a brief note on the ornaments of St, which she had during her exile with
Rma.
786
R.K.K. Rajarajan
In the Virdha episode (3.1.17-46), Rma kills Virdha before he can actually touch St, a
form of the story more acceptable to devotees since it preserves St's purity, BROCKINGTON (1984:
253). See the adaptations and translations that clearly pinpoint that Virdha covets St (GRIFFITH
1963: 230-1, SHASTRI 1957: 4-6, POLLOCK/GOLDMAN 1991: 88-90, HART/HEIFETZ 1988: 41). May
be it is only in some folk stories the above concept prevails.
12
The Mewar painting from the Oriental Research Institute, Udaipur, Rajasthan has an
illustration (cf. BANERJEE 1986: fig. 89).
13
Nca literally means low, mean, base, vile etc..
14
Yojana is a measure of land; sometimes regarded as equal to 4 or 5 English square(?) miles,
but not correctly (see MONIER-WILLIAMS 1979: 858).
787
788
R.K.K. Rajarajan
cf. MARR 1985: 95 for translation). It simply means St was lifted by the demon, it
is not clear how, but it could as well be an echo of the Vlmki tradition.18
If ethics comes into the picture, the question of whose ethics becomes a problem to
reckon with. It may not be unethical from the demon's point of view. There were eight
forms of marriages in those time of which one was rkasa (and Rvaa was a rkasa
king)19 which allowed an abduction. But in the case of St, she was married, unwilling
and was not a rkas herself. So Rvaa commited a heinous crime by kidnapping St
without the knowledge of Rma and Lakmaa, using disgraceful tricks like a coward
(cf. HARA 1974: 304-5). This issue raised by
Kampar received literary reaction in other regions
of India.20 The Adhytma Rmyaa, popular in
Kerala, emphasizes the no-physical-contact aspect.
Rma at the time of the deer hunt foresees St's
abduction and asks her to hide in the fire. Thus the
person Rvaa lifted was only My-St. After
Lakdahana, My-St plunges herself into fire
and the original immaculate St arises. In the
Rmcaritamnas of Tulasds as well, though it
follows the Vlmkiyan account of lifting St, it is
added that St plunged herself into fire even
before the haraam. Thus down to the time of
Tulasds (16th century A.D.) the ethical issue relating to the Stpaharaam event has been
debated.
The earliest Stpaharaam in art is a terracotta
Fig. 1 Sitpaharaam, uga terracotta, Kauambi. (After BANERJEE 1986: figurine of the uga period from Kaumb, datFig. 110).
able in the 2nd century A.D (SENGUPTA 1971-72,
18
Vavviya could be the equal of hara or apaharaam. The Tamil Lexicon (Vol. VI, p. 3540)
gives the following meanings of vavvu or vavvutal: to snatch, to take hold of and to carry off.
So it is an equal of apaharaam which means around the early centuries of the Christian era in
Tamilnadu the Vlmkiyan version of the story was popular.
19
BASHAM (1954: 168) mentions the eight forms of marriage. They are Brhma, Daiva, ra,
Prjpatya, Gndharva, sura, Rkasa (marriage by capture) and Paica. See HARA 1974:
296-306 for a detailed study on rkasa form of marriage, their dharmya lawfullness and nindya
unlawfullness. It's clear that the Katriyas even approved the violence that is implied by the
rkasa marriage (cf. KALIDOS 1997: 391-94).
20
For a gist on Vlmki-Rmyaa, Irmvatram and Rmacartiamnasa, see NAIDU 1980:
320.
789
Fig. 3 Stpaharaam, Kailsa (Rrakta), Ellora. (After Markel 2000: 63, fig. 10).
BANERJEE 1986: fig. 110, KALA 1988: fig. 16)21. Rvaa is presented like a hideous
demon who carries the helpless St in both arms (Fig. 1). Most of the scholars say,
when Rvaa was kidnapping St, she intentionally scatters her ornaments on the
ground so that Rma and Lakma could trace the route. But SENGUPTA's argument
differs from the others and is more acceptable, especially for this figurine. St's ornaments fell down on the earth, as Rvaa carried away St in puspakavimna at a
great speed and she also struggled considerably to get rid of Rvaa. In order to convey the nature of the scuffle, St's ornaments (Tam. para) are shown scattered all
around. Vlmki's (VR, AK, s. 50, 27-31) poetical description of the ornaments falling down is also the identification of the force which Rvaa uses in the act of apaharaa. Here the artist conveys the above scene in the same poetical manner but with
delicate, graphical representation. Rvaa is represented in a huge demonic form and
St in his hands as a small figure. He holds her left hand with his left, while his right
21
All the three authors have included and mentioned the image (fig. 1) under study. SENGUPTA
(1971-72) elaborately describes the image and identifies it as Rvaa kidnapping St, by citing
many verses from Vlmki Rmyaa.
790
R.K.K. Rajarajan
hand grips both her left leg and hip. St with her right foot placed on his right hand
tries to free herself from his clutch.
An array of miniature carvings appear in the monolithic section of the Kailsa
temple at Ellora (GAIL 1985; MARKEL 2000). The St's abduction Entfhrung finds
a place in this narrative panel. There are four scenes: (i) Rvaa approaching St, (ii)
Rvaa pulling St by holding her right
arm, (iii) St in the chariot while Rvaa
fights with Jyu, and (iv) Rva and St
together in the chariot. There is physical contact in this illustration, but it is not strictly following the Vlmki tradition (Figs. 2 and 3).
As pointed out by MARKEL (2000: 70, fn. 8)
rpaakh's beautiful appearance in the
relief, instead of the ugly one as narrated in
the Vlmki's version is in accordance with
Kampar's version.22 In any case, this is one
of the most impressive plastic illustrations of
early medieval art.
Of the early medieval specimens, two
more deserve to be mentioned. The first from
the Virpka temple at Paadakal of the
Early Westerm Calukya period and the second from the monolithic Kailsa in Ellora.
One of the niches on the south face of the
Virpka houses the Stpaharaam (Fig.
4). On the south face of the monolithic Kailsa at the pda section, close to the porch,
Sitpaharaam has been depicted. The latter
Fig. 4
Stpaharaam, Virpka temple is of the Rrakta period. The Virpksa
(Early Western Calukya), Paadakal. (Photo: (cf. WECHSLER 1994: 33, fig. 6), being
author).
22
SANFORD's (1974: 26-7) statement is worth mentioning, there was an earlier version which
Kamban used as a model, which would detract from his image as innovator. Even then we would not
know whether this earlier version was Tamil or Sanskrit. All that could be said with certainty would
be that a version resembling Kamban's, but different from Valmiki's, was present in early South
Indian art. The earliest sculptural version of Srpnakh's beautiful appearance, is from the Gupta
period (cf. BANERJEE 1986: fig. 98). Thus depicting rpnakh as beautiful woman prevailed before
Kampar's time but not in Vlmki's version.
791
constructed earlier obviously served as a model for the Kailsa temple at Ellora. In both
the theme is the same: Rvaa and St in a chariot while Jyu attacks Rvaa.
There are three panels illustrating
Stpaharaam on the Amtevara temple
at Amtapura, Karnataka.23 Two illustrations are depicted on the west face and one
on the southern entrance of the mukhamaapa (cf. EVANS 1997: figs. 21, 22
and 39). The figures 21 and 39, are
depicted following the original Rmyaa, where Rvaa is shown in physical
contact with St. But the figure 22 under
study (our Fig. 5) follows Kampar's version. Rvaa is depicted with ten heads
and twenty hands and fighting with Jayu
while carrying St above his head in his
upper hands. St is shown seated inside a
house, which Rvaa has unearthed. The
Hoysaa artist must have been aware of
Fig. 5 Stpaharaam, Amtevara temple at
Kampar's Irmvatram, a good example
Amtapura. (Photo: G. MELZER).
is the Saptalacchedana shooting the
seven trees as EVANS (1997: 64) herself identifies citing MANI (1984: 478).24 So it is
clear that in Amtapura, we see the influence of both Vlmki's and Kampar's
versions as well.
The most picturesque illustration is from the Kagra paintings (MILLER 1994: 1526), dated in A.D. 1775-80, now in the Brooklyn Museum (Fig. 6). The ten-headed
and multi-armed Rvaa is killing Jayu whose wings have been cut by a lance
while the chariot is shattered. Rvaa with his prvahastas holds St tightly in
embrace. Then he is found flying, carrying St in the grip of his front right arm.
23
For brief study on the temple's history, style, architecture and sculpture, see Annual Report of
the Mysore Arch. Dept. 1935: 6-12 and EVANS 1997.
24
See also SANFORD (1974: 27) who refers to the Stpaharaam in Halebidu, which strictly
follows Kampar's version.
792
R.K.K. Rajarajan
Fig. 7 Stpaharaam, Malwa school, Bharat Kala Bhavan, Varnas. (After MORLEY
1981: 245, Pl. R).
793
Vlmki says it is the left arm. On the peak of a mountain some monkeys are seated
while St drops her valuables. This is one of the best representations of Stpaharaam following the Vlmki tradition.
There are two paintings in the Bhrat Kal Bhavan at Vras, dated in the 17th
century, from Malwa. In one (Fig. 7) Rvaa seems to be in levitation, carrying St
on the palm of his left hand. She is seated comfortably. He is perhaps crossing the
habitat of the monkeys, i.e. Kikindh, where St is said to have dropped her ornaments. These ornaments are found in the left corner of the illustration. Below trees
and swans are depicted. This painting is of particular interest because it is closer to
Kampar's version of Stpaharaam. The extended left hand of Rvaa and the
seated posture of St should be noted. Does this indicate that he has unearthed the
piece of territory upon which the cottage was standing (MORLEY 1981: 245, Pl. R).25
The Rmasvmi temple at Kumpakam in its pradakipatha accommodates
a continuous row of the Rmyaa paintings.26 Originally painted in the 18th century
25
Another illustration from MORLEY (1981: 246, fig. 537) is very interesting, Rvaa is shown
with a full coat in the Moghul-Maratha fashion. While St is seen in a bag which is hanging upon
the left shoulder of Rvaa. There is no reference why St is depicted in a bag.
26
Two more illustrations of the Nyaka (17th century) Toaimn (18th century) paintings
depicting Stpaharaam deserve worth mentioning. They are from Aakar Kyil (cf. VIJAYAVENUGOPAL 1987: 412-19), Maturai district and Tirukkaram, Putukkai district. The entire ceiling
of the mukhamapa of Gkarevara temple, Tirukkaram is decorated with the Rmyaa
paintings and remain unreported. Presently I am working on the above panels for my post-doctoral
work. NAGASWAMY (1980: 430) gives a list of ten temples, where Rmyaa paintings are depicted.
794
R.K.K. Rajarajan
A.D. by the Nyaka rulers of Tacvr, due to erosion some of them were repainted
by the Marha rulers of Tcvr. There are two illustrations of Stpaharaam of
the Nyaka (NANDA et al. 1998: Pl. 8) and Marha (ibid. 1998: Pl. 9; our Fig. 8),
18th and 19th centuries respectively. In the Nyaka painting Daagrva-Rvaa is
seated with St in his golden chariot. Jayu attacks and ruins the chariot. Jayu
himself is depicted fallen. The label in Tamil reads, Jayu-Rvaa-yuttam (Skt.
yuddha = Tam. caai). The Marha illustration is very clear. Daagrva-Rvaa is
seated on the chariot in sukhasana pose, while St like in Tamil fashion with a saree
and blouse, is standing nearby. In the Tamil tradition, women in the presence of men
are not expected to be seated, be he a friend or foe. Jayu is attacking the chariot and
has partly ruined it. It could not be ascertained with accuracy whether these two
paintings follow the Vlmki or Tamil tradition as far as the apaharaam is concerned. In both cases there is no intimate contact. With reference to the dress, it might
be suggested that the Tamil tradition is emphasized.
It is in the temple cars
(Tam. tr, Skt. ratha) that
the Tamil tradition is better
portrayed. Dated not earlier
than the 17th century A.D.
these chariots are veritable
abodes of Hindu iconography (KALIDOS 1989). A
continuous array of the Rmyaa carvings in wood
appear in these chariots of
which the best examples
may be found in the following trs: Kal Aakar at
Maturai (RAJARAJAN 1998:
329-48), Rmasvmi at
Fig. 9 Rvaa approaching St, Vavr. (Photo: author).
Kumpakam (DALLAPICCOLA 1991: 77-80, 1994: 11-24), Mriyamman at Tippi (KALIDOS 1991: Figs. 5-9)
and Kdaa Rma at Vavr. At least ten specimens on the Stpaharaam event are
reported (KALIDOS 1989: 352) of which one from the Kdaa Rma temple at Vavr
is in tune with the Tamil tradition (Fig. 9): Rvaa approaching the cottage, as a
mendicant, St is depicted standing away and receiving him from the cottage steps. St
795
is shown wearing a saree and blouse, which highlights the Tamil traditional fashion.
The other temples with Stpaharaam are: Mriyamma at Tippi, Povaradarja
at Rcipuram, Balasubrahmaya at Periyakulam (cf. KALIDOS 1989: 397-400),
Rmasvmi at Kumpakam (cf. DALLAPICCOLA 1991, 1994), Prasanna Vekaea at
Guaslam, Rmantha at Rmevaram, Naccataitavittaruiyasvmi at Devadnam and
r Sailappar at ivasailam. In case of the second typology, i.e., St seated on a
chariot, she is usually attired in the typical Tamil fashion in a saree and seated posture
with head bowed, which conforms to the Tamil cultural tradition (cf. DALLAPICCOLA
1994: Fig. 11). There is no physical contact between Rvaa and St though seated in
close quarters. These might suggest the notion that the images follow the Tamil version
of Rmyaa in keeping with the cultural setting of the region.
Vlmki and Kampar stand at the polarities of two cultural traditions, separated
by the time and space of nearly two millennia. Vlmki's Rma is a true ryan, the
torch-bearer of its cultural usages, taking the cultural values in two directions before
and after his marriage toward Bihar and Lak. What Rvaa did may be fair from
the demonic cultural point of view (cf. ZVELEBIL 1988: 126-34, viewing Rvaa as
a noble Dravidian demon-hero)27 but what Rma finally does is to establish the ryan
dharma which is accepted by the monkey (Sugrva) and bird (Jayu) tribes, including Rvaa's brother Vibhaa. However with the lapse of time, Kampar at the
other end of the millennium polarity accepts the ryan ideology and will not allow
Rvaa to touch St. Several other versions of the Rmyaa (e.g. Adhytma- and
Rmcaritmanas) indirectly echo the same idea and it is very interesting to find these
motifs receiving the serious attention of ilpis through the plastic and pictorial arts of
India through the ages.
Acknowledgements
I gratefully acknowledge the Alexander von Humboldt Foundation, Bonn, which
offered me the prestigious Humboldtian Fellowship to work at the Institut fr Indische
Philologie und Kunstgeschichte, Freie Universitt Berlin. My sincere thanks to my
guide, Prof. Dr. Adalbert J. Gail, and friends, especially Gerd J.R. Mevissen, Dr. Falk
Reitz, Dr. Ingo Strauch, Vandana Nadkarni, Gudrun Melzer and Dirk W. Lnne.
27
It is noteworthy that in Kampa's hands the demon Rvaa frequently takes on proportions
of a heroic figure, and contrasts favourably with the rather weak and unimpressive Rma. Like
Milton, Kamba was of the devil's party without knowing it, BASHAM 1954: 475-6.
796
R.K.K. Rajarajan
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