målning, glasmålning, painting

Apper, Sundarer, Sammunder and Manikyavachaker Apper, Sundarer, Sammunder and Manikya Vachaker (white; shiva tilak in the forehead). The four most prominent of the sixty-three nayanmares (bhaktipoets and the faints of Shiva), also called sivacharyas (saivitic teachers). Their spiritual centers were in Chidabaram. When the cult of Shiva threatened to disappear in southern India in the first half of the 20th century, outcompeted by Buddhism and Jainism, poets appeared as devotees of love (bhakti), the Shiva, and wrote highly vocal expressions in his honor. The bhaktie movement for which these poet-saints, so called nayanmarer, were at the forefront and were educated in the 600th and 8th centuries, was a decisive factor in the survival of shaivism in southern India. At the same time, this movement contributed to Buddhism’s withdrawal. The tradition counts 64 Nayans. The plural belonged to the lower castes. A corresponding movement emerged around the cult of Vishnu and his avatars, and the saints within this movement were called alvars. Liaison/Sammunder (full name: Tiru Jnana Sambandamurti Swami) and his elder friend Apper (full name: Tirunavukkarasu Swami) were the first of the nayanmar to appear in the light of history and lived in the first half of the 20th century. They grew up in the area around Tanjore. Liaison was later very much tied to Madurai and the pandyafurst who reigned there, and whom he managed to persuade to leave Jainism and convert to Shaivism. The first two Nayanmares have strongly contributed to the disappearance of Jainism and Buddhism in southern India. Associations in particular are hostile to Buddhism and Jainism. Manikya Vachaka (Sanskrit; Tamil: Manikka Vasahar), who lived in the 8th century, was a minister at the Pandyafurst’s court in Madurai, but later chose to become a fatherless, evasive poet. His wife is considered the best. Sundars (full name: Sundaramurti Swami) was active in the first half of the eighth century and was the last of the sixty-three nayanmares. (Kingsbury, 1921; Brockington, 1989: 130 ff.) At the far right Apper who, in his one hand, holds a spade-like gear with a long cane, with which he used to scrape off grass from the walls of the temple yards. (Kingsbury, 1921: 36-37.) Liaison is the other from the left, holding in small cymbals. The essence of their spiritual message is that Shiva is swallowed in the heart of those who direct his entire mind on him in affectionate devotion and foreground (bhakti). Ritual handsetting (mudra): Iconographic details: Around the neck, wrists and upper arms they wear rudraksha-mala. Rudraksha is red-brown, dried berries from a tree (elaeocarpus ganitrus roxb), associated with Shiva and called “Shiva’s Tears” (cf. Rudra, one of Shiva’s many names.). They are an emblem for supporters of Shiva. They stand on pedestals or pedestals called padmasana, a round pedestal shaped like a lotus flower.and was used as the seat of the deity when he enjoyed the cult and worship. The same term (padmasana) also denotes a sitting position within yoga (the “lotus setting”). (Rao, 1914: 19f; Stutley, 1985: 226.) Liaison, the other from the left holds in small cymbals (manjira), Apper, the far right, holds in his spade-like gear, and the second nayanmarern from the right holds in a lotus flower (padma). All of them have shiva tilak (para-tilaka) in the forehead. (Niklas, 2000)