Glories in stone, clicked and captured

The Photographic Society of Madras (PSM) and Dakshina Chitra has organised a photography exhibition – The Temples of South India. “Around 80 photographs, including those of 30 PSM members, that have been taken during their tours and visits are on display,” says Poochi Venkat, one of the members who selected the photographs based on the uncommon angles of the shots. According to him, it is appropriate to think of photographers as artists.  “The essence of Indian architecture is being conservative and the participants were asked to submit three prints of their choice of temples. We selected the prints on the basis of technical and artistic grounds,” explains Venkat. Talking on PSM that is celebrating its 150th year of legacy, he says it was established to bring photography enthusiasts together of various genres to exchange ideas and enjoy the art of discovery. In most photographs, the vimaanam is shown with an aesthetic sense, square in plan and surmounted on a pyramid roof where images of god are sited. Also porches (mandapams) that lead to the temple doors are colourfully etched. Gate-pyramids (gopurams) in quadrangular enclosures have also been beautifully captured. The decorative sculptures are fascinating to look at. They are built like towers so that anyone can see it from far. These enable worshipers who cannot visit the temple to send their prayers across. Some photographs emphasise the temple dwajasthambam (backbone of the temple ). Still shots of the Mylai Kapaleeswarar temple and Kanchi Ekambareswarar temple are seen repeatedly in various angles.  Be it the coloured ones, or the black and white, each photo speaks of the temple’s uniqueness. People photography on display highlights one’s expression. Pillared halls (chaultris) shown in some works reveal the intricacy of Indian craftsmanship. Besides these, the photographers’ depiction of the holy water tanks that are used by the priests’ are also spotted. The photographs talk about the designs of the carved stones, statues of deities, warriors, kings and court dancers.  Also, notable contributions of Dravidian architecture through the ages are explained.  Terracotta figurines and toys used in various rituals as well for recreation have also been represented. Animals like bulls and lions represented in small steatite seals have a vibrant realism. Feminism begins at its fine adventure of ambivalence; the visage with its delicacy of molding achieves a rapt serenity of expression.Some prints speak about the rigid forms and basic proportions of the architects that remain unaltered even today. Every architectural element and decorative aspect of the stoned roofs is pointed briefly in the artists’ works. Construction techniques, carving possibilities, and overall exquisiteness of the monuments are stunning but random.  While the sequence photographs reflect the multitude details of figured sculptures; Womb Chamber (garbha griha) – housing the deity in circumambulation passage around the temple is shown less. Some specific features like the plan, positioning of stone-carved deities, workmanship on the outside walls, and the range of devotees entering into the temple courtyard are relatively noticed more. In Aravind Balaraman’s Gangaikonda Chozapuram, the tower reaches the clouds. K Vaithyanathan’s Airawateswar temple, Dharasuram with cottony clouds at the lateral view of an old temple car captivates one’s attention. Venkatakrishnan’s Maasimagam fest of Sri Parthasarathy temple is unique, with many elements on a single frame such as buses, priests and the deity on foot. C Vinoth Chandar’s depiction of 63 Nayanmars of Dharasuram temple reminds one of Sivapuranam. R Ramanidharan’s portrayal of a goddess on a living stone with ornaments adorned of stones is a highlight while Paul Cohn’s shot of two girls studying a Telugu book at Mylai Kapaleeswarar temple shows the artist’s affinity towards people photography. In some works, the silhouette of temple cars and theppa kolam beautifully fall on blue waters as a mark of reflection of light. S Vivekanand’s work shows faith across boundaries where a foreigner is seen praying in a temple. The exhibition is on till July 31 at DakshinaChitra, 1pm onwards. For details, call 24462435