History of Sacred Pillared Halls

 

 

Mandapa is an inevitable component of Hindu temples. Mandapas are the sacred pillared halls for the assembly of the devotee. Mandapas in Indian temples can be studied with respect to various parameters like its expression, function, proportion and orientation chronology.

 

Ardha Mandapa, the entrance porch, was the first one to be a part of the temple. There are early examples where the temple is only with a Garbha Griha and the Ardha Mandapa. Mandapas increased in number and were added according to different functions like hall for dance called Nat Mandir, hall for offerings called Bhog Mandir. Nat Mandapa in Karnataka were called as Ranga Mandapa.

 

Rang Mandapas were either closed or open. Location of Rang Mandapa is always on the (east west) axis of the temple so that the face of the dancer is in alignment with the eyes of the deity. The ranga mandap is situated along the central colonnaded nave, leading towards the sanctum. The axial path through the temple is a sequence of spaces, increasing in the degree of their sacredness.

 

The Rang Mandapa has a raised square floor or peeth, bound at the corners by four pillars. These four ornamented stone pillars placed at the corners of the square dais serve to visually frame the space of performance. The hall, within which the Ranga Mandapa is situated, is of a larger size in order to accommodate people. Peeth or a dais is a raised platform in the Rang Mandapa mainly for the God to view the performance of the Devdasi. However ‘Asans’ (seats) in stone are also provided for the other devotees to enjoy the performance. Offering in the form of dance is one of the higher levels of piety which demands complete commitment on the part of the performer.

 

Many techniques were used to accentuate the viewing experience of the dance offering. Costume and makeup for the Devadasi has been very specifically mentioned in the Natya Shastra. The various Agamas too prescribe the attire of the devadasi . She would wear a nine-yard white saree with a gold border. It would be traditionally tied with a kashta. She would be adorned with a white garland and white flowers in her hair. She would wear gold bangles, rings and anklets. She would have red Kumkum and vibhuti on her forehead and red alta on her hands and feet. The brightness and contrast offered by the elements of her attire would contribute to her visibility, and also those of her facial and body movements and gestures. Patronage to dance as an art form in the house of GOD speaks volumes about the level of civilisation attained by our ancestors.