Sangam Age: Art and Architecture | History Optional for UPSC (Notes) PDF Download

Sangam Period Architecture: A Reflection of Society

The rich literary sources from the Sangam period offer valuable insights into the secular and religious architecture of the time. During this era, the socio-economic status of individuals significantly influenced the type of buildings they occupied.

Housing Types by Socio-Economic Status

• Kurumbai: For the poorer sections of society, housing consisted of thatched houses known as Kurumbai. These were constructed using grasses such as kusa, darbai, and ugam.
• Valamanai and Nagar: The affluent members of society built houses tailored to their needs and social status. These houses were referred to as Valamanai and Nagar. Royal families had palaces with fortifications.

Role of Architects

• The architects of the time, known as Noolari Pulavar, would consult existing texts on architecture when undertaking construction projects.

Early Religious Architecture

• The earliest form of religious architecture was a simple cell called Podiyil, which contained a wooden plank inside, known as Kantu. This setup served as a place for communal worship.
• Deities were painted on the walls of these cells and worshipped by the community.
• Over time, as the number of devotees increased, larger spaces such as halls were constructed in front of the Sanctum to accommodate the growing number of worshippers.
• These halls were sometimes adorned with stucco and decorated with pearls and precious gems.

Evolution of Temples

• The rise of different cults led to an increase in the number of temples and changes in the placement of deities.
• Stucco figures became common as presiding deities in the Sanctum.
• The connection between temples and society was strengthened through various temple activities such as rituals, religious discourses, and festivals, leading to further expansion of temple structures.

Urban Development

• Between AD 300 and 600, there was a notable increase in the number of both secular and religious buildings.
• A significant advancement in town planning from this period is exemplified by the city of Puhar, described in the epic Silappadikaram as a well-planned urban center.

Madakkoil: A Historical Overview

In ancient texts, the Madakkoil Temple is referred to as Devakulam. The number of religious buildings saw a significant rise during the post-Sangam period. In literary references, temples are called Kottam,Niyamam, and Koil. The construction methods and materials for both secular and religious architecture were similar.

Innovations in Temple Architecture (A.D. 300-600)

• This period marked a significant advancement in architecture. A new approach to constructing structural temples was introduced by Kochenganan in the Madakkoil style, also known as Perunthirukkoil.
• In this style, the Vimana(the tower above the sanctum) was built on a raised,empty Tala(platform).
• The Tala was elevated and sometimes included elements like adhishtana(base),bitti(middle section),roof, and even niches on the walls.

Example: Madakkoil at Nallur

• The Madakkoil at Nallur exemplifies this architectural style.
• Literary sources indicate that Kochenganan constructed around seventy such temples in the Thanjavur-Kumbakonam region.

Purpose of the Elevated Tala

• The elevated Tala was designed to protect temples from heavy rains and potential flooding.
• These temples were typically made of brick,mud, and mortar, materials susceptible to natural disasters.
• During this time, granite was not commonly used in temple construction, and the materials employed were perishable.

Yanai Yera Koil

• These temples are known as Yanai Yera Koil, a concept linked to the mythology of Kochenganan, a figure among the sixty-three Nayanmars.
• The period also witnessed a surge in religious fervor, leading to the establishment of numerous temples.
• Both Saivism and Vaishnavism received significant support, despite the influence of other religious sects.

Dance and Music in Ancient Tamil Nadu

During the Sangam age, dance and music were primarily expressed as folk arts. However, between AD 300 and 600, these art forms underwent a significant transformation. Dance evolved into a professional art, performed on stage according to established norms.

Silappadikaram: A Treatise on Dance and Music

Silappadikaram is a remarkable work that provides valuable insights into the art of dance and music, offering guidance relevant to artists across different eras. Specific sections of the text, such as Arrangerru Kathai, Kadaladu Kathai, Vettuvavari, Ayechchiyar Kuravai, and Kunrakkuravai, contain rich information about various aspects of dance.
For instance, when describing Madavi's dance performance, Silappadikaram delves into details about:

• The art of dance and music
• Dance teachers
• Musicians, both vocal and instrumental
• The performance stage
• Makeup and other performance-related details

Training and Practice in Dance:

• Manimekalai, another literary work from this period, also references dance and music. It emphasizes the importance of rigorous training and practice before a stage performance. Children were trained in dance by teachers known as adalasan, starting from the age of five on an auspicious day and time. This training period lasted for seven years, during which the teacher would monitor the disciple's progress and determine their readiness for performance.
• These details are elaborated in the Arangetru Kadai section of Silappadikaram. Teachers were expected to have a genuine interest in dance and music, as well as a general aesthetic sense.

Performance and Cultural Context:

• During this time, dance was also performed by prostitutes to entertain the royal household and the affluent sections of society. There was a guiding text called Nattiyanannul that assisted teachers in training students in dance.
• Silappadikaram provides a vivid description of the qualifications required for teachers training disciples in dance. These teachers needed to be well-versed in all aspects of dance, familiar with texts and treatises on dance and music, accomplished in the science of music, and knowledgeable about playing musical instruments. Moreover, they themselves had to be performers.

The Connection Between Dance and Music:
Dance was intrinsically linked with music, and the stage for performances, known as arangu in Tamil, was designed with specific dimensions and features:

• The dais, a raised platform, measured 48 x 42 inches and was 6 feet above ground level.
• The ceiling height from the dais was 24 feet.
• The stage had two openings for entrance and exit and featured three curtains.

Music in Ancient Tamil Nadu

Music, as an art form, experienced significant growth in ancient Tamil Nadu, particularly in connection with dance. The term Kotti referred to tala(rhythm) in music, highlighting the evolving science of music during this period. References in texts like Tirikadugam emphasized the importance of music set to a tala beat.

Composition and Oral Tradition:

• Composers and musicians were capable of creating heartfelt music with their melodious voices.
• Music was transmitted through generations exclusively via oral tradition.
• Notable musicians included Panar,Porunar,Kodiar,Viraliar, and Koothar.

Role of Nattuvangam:

• The performers of nattuvangam, who sang and played instruments, played a crucial role in dance performances.
• The impression created by a danseuse depended significantly on the theme chosen and the musicians involved in nattuvangam.

Musical Scales and Tradition:

• The exact musical scales used in ancient Tamil Nadu are not well-documented, except through treatises on music and the living tradition of hymnal music, such as folk music.
• Silappadikaram, an important source of information on the art of music, mentions various musical scales and describes certain pans(musical forms). Music is introduced in Silappadikaram when relevant to the story, particularly in the Arangerru Kadai, which deals with the debut of the danseuse Kanalvari and the song Aichiyar Kuravai.

Arangerrukadi:

• The qualifications of vocal musicians, players of the Yaazh(a string instrument), flutists, drummers, and dance teachers are described.
• The musical instruments used during the debut are mentioned, along with the technique of playing stringed instruments like Yaazh.

Music in Daily Life:

• Music was an integral part of daily life in Tamil Nadu. Cultivators sang specific songs while ploughing the land, and Mugavai pattu was sung during the measurement of grams in the fields.
• Despite the gap between the date of Silappadikaram and the commentaries of Arumpada Urai and Adiyarkkunallar, these commentaries shed light on the past.
• Some of the pans mentioned in Silappadikaram may have predated it, but the commentaries provide valuable insights.

Encouragement of Regional Artists:

• Tamil Nadu was known for encouraging artists from other regions. Dancers from Konganam and Kamataka were invited to perform in the royal court, showcasing the cultural exchange and appreciation of diverse artistic traditions.

Painting as an Art Form

Painting was a prominent art form in ancient Tamil Nadu, evident in the decoration of walls and roofs in the houses of the affluent, as well as in the palaces of kings and on temple walls. The term Oviam in Tamil refers to a picture, and painting was known as oviakkalai.

Artistic Practices and Treatises:

• The Kandiipavai mentioned in Manimekalai refers to a painted figure, and the existence of a treatise on painting called Oviachennool is also noted.
• Painted scenes hung on stages were called Oviya Elini, and the book on painting was known as Oviya Nul.
• The brush used for painting, or kol, was called Vattigai.

Artistic Influences and Techniques:

• The chitra mandapa mentioned in Manimekalai was constructed with guidance from experts from Yavana,Avanti, and Magada, and it featured beautiful paintings.
• Ceilings of houses and palaces were adorned with paintings of various objects and scenes, often including flowers and creepers.

Views on Sangam Paintings and Sculptures:

• There is a lack of concrete evidence about Sangam paintings and sculptures. V.A. Smith noted that statues and pictures were likely executed in perishable materials and have entirely vanished.