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The Sucindram Temple

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Specifications

	Publisher: CBH Publications
	Author K. K. Pillay
	Language: ENGLISH
	Pages: 524
	Cover: PAPERBACK
	8.5x5.5 inch
	Weight 460 gm
	Edition: 2025
	ISBN: 9788198819291
	HBS306

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Book Description

About the Book There is a prevalent misconception that Vishnu Sahasranama caters to only certain beliefs and believers like Vaishnavites; in other words, that it is sectarian and is taboo for others like Saivites, Skandas, Sourahs, Shakthas, Ganapathas, etc. Will a Saivite admit that his Shiva is not omnipresent and all-pervading? If his answer is an emphatic 'No', then the Sahasranama applies to him as much as to the Vaishnavites. This argument holds good for the worshippers of all other aspects of Divinity. The Sahasranama is haphazard collection of words jumbled together, but it is a continuous stream of thought arranged in proper sequence, one word being chained to the other. explaining, completing or complementing the other. In certain contexts, if one is not able to form continuous thread, the inability is due to one's own ignorance rather than to any faulty construction. A more enlightened person will tread his way clearly in the supposed maze. a Almost identical ideas scattered in the Sahasranama are collected and collated to form several compact themes which prove, that the Sahasranama is not a haphazard narration of words, though for a cursory reader it might strike so, but a methodical and orderly construction, It is interesting and satisfying to observe that each theme presented by the Sahasranama is invariably perfect and when it concludes or reaches its climax, one will find that the last word on the subject has been said and established.

About the Author It is a historical study of the Sucindram temple which affords a fertile field for investigation into different aspects of life, spread overlapping the vistas of time. A striking feature of the early history of Nancinad of which Sucindram formed the 'Spiritual Capital', is that it became the cultural cockpit of South India. Little wonder, the different phases of political history were reflected in the development of the temple at Sucindram. The History of the temple, Management, Iconography, Architecure, rituals etc. have been extensively studied. This excellent monograph is the outcome of a Thesis submitted by the author in 1952 to the Madras University. The study was done under the expert guidance of the gret historian Dr. K A Nilakanta Sastri. "In the present unital study of one of the world's masterpieces of architecture and sculpture. Dr.K.K.Pillay has most admirably fulfilled and had brought together in one of the wonderful syntheses, that have made Travancore one of the richest areas of art-creation in India, the Sucindram temple. Dr. Pillay has pointed out, the combined characteristics of the Keralean and Tamil, variants of the Hindu culture out of which they both arose. A refreshing feature of Dr. Pillays' monograph is its freedom of mind and its exercise of the critical faculty." Dr.K.K.Pillay, in this monumental thesis, has given cross-references to objects of art in the Sucindram temple, and such superb units of artistic achievement as at the handsome temples at Tiruvattar and the immense temple of Sri Padmanabhaswamy at Trivandrum."

Preface This monograph is the outcome of a Thesis submitted by me in 1946 to the Madras University. It is an historical study of the Sucindram temple which affords a fertile field for investigation into different aspects of life spread overlapping vistas of time. A striking feature of the early history of Nancinad of which Sucindram formed the 'Spiritual Capital', is that it became the cockpit of south India. Exposed to frequent attacks from outside, Nancinad fell successively under this sway of Ay, Pandya, Cola and Venad rulers, and for a time under the Vijayanagar and Nayak chieftains. Little wonder, the different phases of political history were reflected in the development of the temple at Sucindram. The various edifices and treasures of art, too, owe their rise to different monarchs and patrons. In India, as in Greece, art was the handmaid of religion, and the houses of the gods afforded scope for expression of the artistic genius of the people. A systematic study of the evolution of South Indian architecture, Sculpture and Iconography cannot be undertaken without an in-tensive investigation into the features presented by all the important temples.

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