padmanabha
3rd October 2006, 09:38 PM
[tscii:f8b49a3c63]Early man was a great worshipper of Nature. Pre-historic man worshipped the Sun, for darkness was a demon to him. With the passage of time he invented fire which helped in sustaining life. So he gave it the status of a God [Agni]. It was considered to be an immortal mediator between man and God. Prayers, rites and rituals were performed in the presence of lamps – the symbol of Sun and Agni-and a sacred token of devotion and benediction. Hence craftsmen, do their best to make them beautiful and graceful. Mythology too has made a strong impact in the designing of lamps.
History says that early lamps were made of stone, shell and clay. With metal age brass lamps started appearing. All ancient lamps were bowl shaped with a beak at one end for the wick. Later lamps with graceful bases, pedestal and chains were designed.
Lamps used in our homes are simple. They are lit in the morning and in the evening. At dusk it is carried to the front of the court yard. Most of the village houses have a forecourt which is graced by little lamps carved in stone. These lamps welcome the returning cattle- a symbol of prosperity.
It was around the temple that the whole of life of the community revolved. The carvings on the ceiling, columns, the wooden doors and frames are artistic masterpieces. So do the lamps which reflect the best craftsmanship. Temple’s halls have been used in our country not only for collective prayers and discourses but also for cultural assemblages. Hence it was necessary on such occasion to brighten the halls.
Ancient temples bear an eloquent testimony to the variety of stone lamps. A very common lamp made of stone that we find in ancient temples is the sthamba lamp. Here a number of circular recesses are placed on a main axis. The largest recess will be at the bottom and their numbers vary from three to 31. The entire structure has a conical profile. Usually the base of this huge structure is erected on the back of a tortoise which is cordoned off by the images of lord Ganesa and five hooded snake arranged alternately.
Recall the oblong corridor at the shrine of Sri Padmanabha Temple. It has 365 granite pillars each having a figure of a girl holding a lamp. When lit the rows of light endow the atmosphere with a mellow and reverent splendor. In certain temples we can see lamps lit in coconut halves, as a Saturday offering.
How can on forget the horse lamp which greets the visitors at the Padmanabhapuram Palace? This lamp has a circular recess forming the base edge. It has a fluted rim at the end of which the figure of the horse comes exactly over the centre of the recess to ensure perfect balance.
Hand lamps, pendent lamp and Deepa Lekshmi are the common lamps that we see today.
The Greek lamp resembles a bird. The head portion holds the oil and the wick. A spoon is suspended by means of a chain to the reservoir. Oil from the reservoir is taken in the spoon for feeding the lamp. It is used in the temple and in the royal processions. Its handle is highly ornamented, assuming the shapes of a snake, peacock or simply a pavithra kettu. In temples hand lamp is used to light other lamps.
Pedestal lamps are of various sizes and patterns. The base on which the recess is arranged is elaborately designed. Oil is poured into the recess and wicks are placed on the petals of the recess. The recess has a parrot, swan, or peacock at its apex. The pedestal lamp in the Kuthira Malika, the royal residence of Maharaja Swati Tirunal has a twin parrot at its apex which acts as the oil reserve as well. There are lamps mounted on elephants and deer. Graceful feminine forms in the standing pose holding the lamp is a very common variety. Of the chain lamps dasavathara lamp is very popular. We have elephant, Goddess Lakshmi, peacock with its plumage spread, are the other varieties of chain lamps.
Lamps are closely knit to our culture. We welcome a bride or a triumphant warrior with a lamp. We greet the ox the grain the cart with a lamp expressing our gratitude for whatever Nature vouchsafes for us.
Our epics and puranas have said much about the lamps. In Bhagavath Gita Lord Krishna compares a steady mind to the flame of a lamp unshaken by the wind. Legends regarding Raag Deepak say that when it is unfolded artistically its lights up a flame in the mind of the listener. It is said that Tansen could perform with such effect that all lamps in Akbar’s court were lit.
Kalidasa’s metaphor with lamps is very famous. The poet describes how Indumati moved like the tip of a lamp during her swayamvara. The faces of the hopeful kings brightened when she approached and darkened when she went past them.
When Mahatma Gandhi set out on his historic Dandi March he was greeted at every village by women with prayer lamps.
According to Deepasastra a flame dying out is considered a bad omen. There are conventions with regard to the direction in which the tip should tend. If a single wick is used it should face the east. It is considered inauspicious if the lamp slips from the hand. To put off the lamp it should be slowly sent off or pacified.
Ghee from cow’s milk is the best for lighting lamps. The wick should be of cotton with seven fibers. The tip should be clean and gracefully spread over. It is believed that if a lamp is donated it guides the prana of the donor in its flight from the earthly existence.
In certain regions lamps made of rice dough [mixture of rice, flour and jaggery] was in vogue. The dough is moulded in the form of a lamp on a plate. Ghee is poured wicks are arranged around and lit. Later the dough is distributed to the devotees.
Come Deepavali, the festival of lights which is celebrated through out the country. Entire house is decorated with lamps to greet the Goddess Lekshmi. During Thrukarthika also lamps are used to decorate the houses. Every type of lamp finds a place during Karthia.
All auspicious functions are concluded with the lighting of the aarathi. The act of consecration of the flame symbolizes the soul of the devotee, which is offered to he deity to integrate the self with the Supreme Being.
Thus the lamps reveal the wealth of our imagination. Our civilization is built around the sun the fire the lamp all sources of light and warmth. Without the worship of the light it would be darkness and ignorance. . [/tscii:f8b49a3c63]
History says that early lamps were made of stone, shell and clay. With metal age brass lamps started appearing. All ancient lamps were bowl shaped with a beak at one end for the wick. Later lamps with graceful bases, pedestal and chains were designed.
Lamps used in our homes are simple. They are lit in the morning and in the evening. At dusk it is carried to the front of the court yard. Most of the village houses have a forecourt which is graced by little lamps carved in stone. These lamps welcome the returning cattle- a symbol of prosperity.
It was around the temple that the whole of life of the community revolved. The carvings on the ceiling, columns, the wooden doors and frames are artistic masterpieces. So do the lamps which reflect the best craftsmanship. Temple’s halls have been used in our country not only for collective prayers and discourses but also for cultural assemblages. Hence it was necessary on such occasion to brighten the halls.
Ancient temples bear an eloquent testimony to the variety of stone lamps. A very common lamp made of stone that we find in ancient temples is the sthamba lamp. Here a number of circular recesses are placed on a main axis. The largest recess will be at the bottom and their numbers vary from three to 31. The entire structure has a conical profile. Usually the base of this huge structure is erected on the back of a tortoise which is cordoned off by the images of lord Ganesa and five hooded snake arranged alternately.
Recall the oblong corridor at the shrine of Sri Padmanabha Temple. It has 365 granite pillars each having a figure of a girl holding a lamp. When lit the rows of light endow the atmosphere with a mellow and reverent splendor. In certain temples we can see lamps lit in coconut halves, as a Saturday offering.
How can on forget the horse lamp which greets the visitors at the Padmanabhapuram Palace? This lamp has a circular recess forming the base edge. It has a fluted rim at the end of which the figure of the horse comes exactly over the centre of the recess to ensure perfect balance.
Hand lamps, pendent lamp and Deepa Lekshmi are the common lamps that we see today.
The Greek lamp resembles a bird. The head portion holds the oil and the wick. A spoon is suspended by means of a chain to the reservoir. Oil from the reservoir is taken in the spoon for feeding the lamp. It is used in the temple and in the royal processions. Its handle is highly ornamented, assuming the shapes of a snake, peacock or simply a pavithra kettu. In temples hand lamp is used to light other lamps.
Pedestal lamps are of various sizes and patterns. The base on which the recess is arranged is elaborately designed. Oil is poured into the recess and wicks are placed on the petals of the recess. The recess has a parrot, swan, or peacock at its apex. The pedestal lamp in the Kuthira Malika, the royal residence of Maharaja Swati Tirunal has a twin parrot at its apex which acts as the oil reserve as well. There are lamps mounted on elephants and deer. Graceful feminine forms in the standing pose holding the lamp is a very common variety. Of the chain lamps dasavathara lamp is very popular. We have elephant, Goddess Lakshmi, peacock with its plumage spread, are the other varieties of chain lamps.
Lamps are closely knit to our culture. We welcome a bride or a triumphant warrior with a lamp. We greet the ox the grain the cart with a lamp expressing our gratitude for whatever Nature vouchsafes for us.
Our epics and puranas have said much about the lamps. In Bhagavath Gita Lord Krishna compares a steady mind to the flame of a lamp unshaken by the wind. Legends regarding Raag Deepak say that when it is unfolded artistically its lights up a flame in the mind of the listener. It is said that Tansen could perform with such effect that all lamps in Akbar’s court were lit.
Kalidasa’s metaphor with lamps is very famous. The poet describes how Indumati moved like the tip of a lamp during her swayamvara. The faces of the hopeful kings brightened when she approached and darkened when she went past them.
When Mahatma Gandhi set out on his historic Dandi March he was greeted at every village by women with prayer lamps.
According to Deepasastra a flame dying out is considered a bad omen. There are conventions with regard to the direction in which the tip should tend. If a single wick is used it should face the east. It is considered inauspicious if the lamp slips from the hand. To put off the lamp it should be slowly sent off or pacified.
Ghee from cow’s milk is the best for lighting lamps. The wick should be of cotton with seven fibers. The tip should be clean and gracefully spread over. It is believed that if a lamp is donated it guides the prana of the donor in its flight from the earthly existence.
In certain regions lamps made of rice dough [mixture of rice, flour and jaggery] was in vogue. The dough is moulded in the form of a lamp on a plate. Ghee is poured wicks are arranged around and lit. Later the dough is distributed to the devotees.
Come Deepavali, the festival of lights which is celebrated through out the country. Entire house is decorated with lamps to greet the Goddess Lekshmi. During Thrukarthika also lamps are used to decorate the houses. Every type of lamp finds a place during Karthia.
All auspicious functions are concluded with the lighting of the aarathi. The act of consecration of the flame symbolizes the soul of the devotee, which is offered to he deity to integrate the self with the Supreme Being.
Thus the lamps reveal the wealth of our imagination. Our civilization is built around the sun the fire the lamp all sources of light and warmth. Without the worship of the light it would be darkness and ignorance. . [/tscii:f8b49a3c63]