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| Subramanya Swamy temple,Haripad |
Above image: The temple was consecrated on the Pushya nakshatra (constellation) of Makara Masa, and it is annually celebrated as the founding day of the temple. The belief has been that Lord Vishnu appeared as a saint to consecrate the temple, which led to the name "Harigeethapuram" for the present-day Haripad. The temple's main deity is believed to embody not only Subrahmanya Swamy but also Lord Shiva and Lord Vishnu, making it a highly revered and powerful place of worship, indeed a rarity...........
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| Koothambalam,Subramanya Swamy temple,Haripad Kerala upload.wikimedia.org |
Introduction
The construction of traditional buildings in Kerala was governed by historical canons that dictated design, geometry, and construction techniques. The guild of craftsmen, under the guidance of sthapathis (master architects), adhered to these canons to ensure the spatial and functional excellence of structures. Among these are Koothambalam, temple theatres where ritualistic arts like koothu and koodiyattam were performed. This paper examines the guidelines from Silparatna and Thanthra Samuchayam, with a focus on the Koothambalam at the Haripad Subrahmanya Swami Temple.
Position and Orientation of Koothambalam
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| Koothambalam,Subramanya Swamy temple,Haripad Kerala image: Rajesh Unupally upload.wikimedia.org |
The Silparatna specifies that the Koothambalam should be built in front of the deity and on the right side, opposite to the orientation of the sanctum (yoni). The pancha prakara layout places the sanctum in the center and the Koothambalam in the outermost periphery, on an axis parallel to the sanctum. This orientation ensures that performers on the Koothambalam stage face the deity, a key requirement for ritualistic performances.
Measurement Systems and Perimeter Calculation
In traditional Kerala architecture, dimensional systems such as the yavamana (grain size) and angulamana (phalanx length) were used for fine works and constructions. The kol (cubit) varied between 71 to 78 cm in different regions of Kerala. At Haripad, the kol measures 73 cm, aligning with the guidelines. Thanthra Samuchayam prescribes three perimeter sizes for Koothambalam: 108 kol for large structures (jeshtam), 64 kol for medium structures (madhyamam), and 32 kol for small structures (kanishta). The Haripad Koothambalam, with an external perimeter of 71 kol, falls in the madhyamam category.
Geometry and Proportions
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| Koothambalam and temple,Haripad touringwithpk.com |
The Silparatna provides guidelines for calculating the basic module (pada), which dictates the proportions of the structure. The formula ensures that the length and width adhere to the golden ratio, enhancing both the visual appeal and acoustics of the Koothambalam. The maximum distance between the performer and the audience is limited to 32 hasta (approximately 15.2 meters), ensuring clarity in sight and sound for unamplified performances.
Rafters and Roof Construction
The Koothambalam roof features three types of rafters: koti kazhukol (hip rafters), neer kazhukol (main rafters), and chedira kazhukol (secondary rafters). These rafters rest on two sets of wall plates, supported by pillars, and overlap at the corners to prevent lateral movement. Wooden pegs (thari) act as shear keys to maintain stability. The undulating rafters and carvings scatter sound uniformly, ensuring excellent acoustics throughout the hall.
Stage and Green Room Placement
The Thanthra Samuchayam specifies the stage’s placement at the back of the Koothambalam, directly opposite the structure’s finial. The green room is positioned behind the stage, providing seamless entry and exit for performers. The low ceiling of the stage supports sound amplification, and the carvings on the ceiling diffuse sound to avoid echoes and hotspots.
Conclusion
The guidelines from Silparatna and Thanthra samuchayam play a crucial role in the construction of Koothambalam, ensuring that these temple theatres are not only functional but also aesthetically and acoustically superior. The case study of the Haripad Koothambalam highlights the enduring relevance of these traditional canons in creating sustainable and effective architectural marvels to enhance the beauty and artistic excellence on the premises of divinity.
https://touringwithpk.com/haripad
C.R.Jones, 1973. Source material for the construction of natya mandapa in
shilpa ratna and thanthra samuchayam shilpa bhagat. Journal of the American oriental society.
https://hindugallery.com/sri-subramanya-temple-haripad
K. N. Jayaraman
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