the Film Guide

GTVEN TO DANCE:
rNDIA'S ODTSSI
TRADTTTON
Fil-rn cuide
Guide Preparation:
Joseph W. Elder, with the assistance
of Kyo Ladopoulos
Date:
1993 (filned in
Running time:
57 minutes
Funding:
National
Humanj_ties,
Madison
Executive producer:
1983)
Endowment for
the
University of Wisconsin_
Joseph W. ELder, University
Wisconsin-Madison
of
Director/producer:
Co-Director:
Rina cill
Co-Producer, Camera:
Pramod Mathur
Sound:
Cheryl Groff
Field Consultant:
Writer:
Purna Chandra Mishra
Andrew McCord
Graphics:
Jonathan Mark Kenoyer
Dancer, Narrator:
Madhavi Mudgral
Basic Research:
Frederique ApffeI Marglin, Smith
College, Wives of the Cod-t<ing:
the
New York: Oxford University presJ,
Ron Hess
1985
Inquiries:
Distribution office
Center for South Asia
2O3 fngrahan Hall
L155 Observatory Drive
University of Wisconsin-Madison
ltadison, Wf 53206
(608) 262-e224
(6OB) 262-32Os
2
SYNOPSIS
(December 1993)
The filn deals with the evolution of odissi dance, associated with
the Temple of Lord Jagganath of Puri, in the eastern seacoast state
of orissa. fn the past, a few highly select families rituallv
married their younq daughters to Lord Jagganath. Their daughter3
hrere then trained as devadasis (female servants of the Lord,
supported by the Temple) to sing and dance for trr-e Lord in the
Temple. The British colonial adrninistrators mistakenly labeled the
devadasis "temple prostitutes." Today, public pressure has ended
the tradition of the devadasis. The filn interviews a few of the
Iast remaining devadasis, noht in their sixties and seventies. We
hear them describe how they were married to the Lord and what they
experienced when they danced for the Lord. we meet gotipuas, boyi
who dress as girJ-s and provide a more popular form of dance outsihe
the Temple. And vre meet sophisticated, English-speaking
conternporary perforrners of Odissi dance, who organize and attend
odissi seminars and workshops and talk about self-fulfillment and
art for art's sake. The filn captures the dynamics of an elaborate
dance tradition undergoing not one -- but two -- reinterpretations
of its essential features, and the complexities of women's roles
within those changes.
SUGGESTED USE
Anthropology/Sociology of Religion
Art History
Comparatj_ve Religion
Dance
Hisr"J"lItilirnro.,=
History of South Asia
Literature
Religions of South Asia
Sociology
South Asian Studies
Womenrs Studies
World Religions
3TNFORMATTONAL FOOTNOTES
Note - The questions are a*anqed in the sequence in which
the f il_rn presents the relevant rnaterial.
1' rs it true that the English word rjuggernautn comes from rndia?
"Juggernautr'. is .an English corruption of the name of Lord
Jagannath, the major
deity_ of the teiple
puri. one of the first
Englishmen to visit the Puri tempre of at
Lord
Jaqinnatn was Lord
Burton in 1633. Burton describei th:_ "wickedrlr
and idolatryil
associated with the worship of Lord ,tJagernat' and
the zealous
suicides associated with thJr,ord's cart festivar (apparently
based
prirnarily on second-hand sources). From Burtonrs description,
dS
weLl- as those of such i-7th century rndia traveLer=- i=
Bernier
and
Bowrey, Europeans came to associatL the term rrjuggernautrf with
Lord
Jagannath's giant festivar_ cart reputedly
crushing
humans
who
willingly sacrificed themselves under'its wheels. rn time the word
trjuggernauttt entered the English language
meanins: "a massive
inexorabl-e force or object that crushes whatever
is in its pathri
(Websterrs New Collegiate Dictionary , l. }TT).
2 - Who is Lord Jagannath?
Jagan-natha in sanskrit means ,rord of the world., The worship
of
Lord Jagannath is associated with the geographical region around
the town of puri in rndiars contemporary state of orissa. some
scholars ber-ieve that Jaqannath was bnce -a trinar deity. rh" ;;;i
that when the previous image of Jagannath
aestioy"o
twelve
years and a nehr image constructed, only i.s
members br a"rr"ry
particular
tribe are a]lowed to participate in'tne Lonstruction, rends support
to this belief.
According to one account, L9r9 Krishna, in one of his incarnations,
was.killed by a hunter who left Krishni's body to rot under a tree.
A pious person found Krish_nars body, cremated
and placed the
ashes in a box- some time l-ater the- ring of theit,r..rJ
r.= informed
of the sacred ashes in the box and r.= dit"cteJ nv--i"ra
Vishnu to
request the divine artisan, Vishwakarman, to make an image
oi
holy ashes- Vishvakarman agrreed, but on condition that out
!h"
he
be
left undisturbed until he had 6onpreteo the irnage. weeks passed.
The king became inpatient. He found vishvakarman.
vishvakarmnan was
so angry at being disturbed that he refused to complete
the irnage,
leaving it a stump without eyes, handsr or feet. Lord
provided the stump with large eyqs and a soul and served asBrahrna
chief
priest at the imagers conseiration.
According to another tradition, the stump irnage of Lord Jagannath
first appeared in a shrine in puri aio"na :oo c.E. The present
temple hras erected around 5oo c.8., and then siqnificantry
enlarged
by a Ganga raja around 1200 c.E. According t;-B";t;;in
walker:
4ItThe sacred enclosure of the ternple of Jagannatha at puri
is
652 feet long by 630 feet broad, with a stone warl 20 feet
hiqh surrounding it. It contains more than one hundred ternples
and shrines, dedicated to Krishna, Vishnu, siva, the s.rr1:g;d
and other deities. The tower of the main temple rises t; a
height of 2oo feet, and inside stand the sacred images
Jagannatha, and of Balabhadra (Bararana) and subhadri, the
"i
brother and sister of Krishna. The images themselves are,'noi'
the words of B.K. Ghose, ,bulky, hideoG, wooden busts
,,
more than outsize grotesque heads resting on stumps,
with
afns projecting forward horizontally rrofr the ears. A rarcre
diamond gleams on the head of Jagannatha. pirqii*"'"tr!;"=
fabulous gifts to the ternple
retinug of 6rOOO priests, attendants, warders
and guides, who are divided into 36 orders and 97 classes.
There are different sets of attendants to awaken the gods, to
dress them, to feed them, to put them to bed, and numerous
bands of dancing girls to entertain them. A total of 2o,ooo
men, Idomen and children work for or are dependent on the
shrine.rt The Hindu World: An Encyclopedic Survey of Hinduisrn,
New York: Praeger, 1968, VoI. I (A-L), p. 4gL3 - 9that truttr is there to the report that pious pilgrrins ended
their lives beneath the oncoming wheels of r,ora -.l.gannathrs
chariot?
The temple has a
During the second day of the month of Ashadha (June-Jury, at the
onset of the monsoon season) Lord Jagannath,s inage is tlfen from
tl" main temple in Puri and placed in an especiilly-constructed
giant, decorated wooden chariot nforty-five feet high-, thirty-five
feet square, with sixteen wheels each seven feet in aianetei ...r'
(Benjarnin Walker, Ibid. ) and is pulled about a mile to a smaller
temple, where it remains for a week, before being returned. to the
Jagannath in his chariot is accompaiied on this trip
Iail.temple.
by his brother, Balabhadra, and sister, subhadia, each of whorn i3
also drawn on a large chariot
Pilgrims occasionally did voluntarily allow themselves to be
crushed under the wheels of these chariots, perhaps in the belief
that they would thereby attain immediate release (lqokgha) from the
cycle of reincarnation. During these festivals, otfrer pilgrin
deaths also occurred from trampling, heat exhausiion, epilernics,
etc- Evidence suggests that during the annual chariot- festivai
more deaths occurred through such accidents than through
religiously-motivated suicides under the chariots, wheels. western
critics of India or of Hinduism often exaqgerated the frequency and
violence of these suicides, some of thern-hoping thereby- to iaise
more support for christian missionary activities in rndia,
f
4' lftrere do the words rdevadasin and nmaharitr
come fron, and what
does it mean to be a "nrioe oF*tn!"iod?,,
Deva-dasi in sanskrit means
'female servant of the deity. r, Mahari
is rhe word for deva-dasi in tne
ioEi ?:tr".r;;d;;". Accordins ro
the maharis interviEwa ror rhis iii;,
when a girl rdas smalr her parenrs had rn order .o o5;.*:":rsll:_i
some current mahari, who became tne ro sive her ff:i":rti"oi?
,'mother,, and
beqan teaching her aernple sinqinq -r"a ritiiS-gi;i'=
aa.ncing-. At an appropriate
d9€
if the king of puri
'
trr" girl ,'married,, Lord
Jagannath in a formar and expensive
"6;;a";;i,,&airrg-ceremony,
-.
during which
the Lord's croth r^ras tied j"_
as
6muln
a-nusnand,s
would be tied to his wife il . T;'siii
more-tvp]"ir- ;ddd c"remony;.cr_oth
then oD, the girl was a mahari
Frorn
u.'-'brid" or tnl god. ,r A Mahari
b/as considered especiarry ttauspicious',
because sne courd never be
widowed (since ner husba-nd,.
r{as a god and hence
rmmortar) - Throughout her lifel;;q-JJJannatn,
sn"
prace
reo powder in the
parting of her niir 1a sign of a married
"Lura
wbman),irra r,rear bangles
and jewelry' she represenled_ a p"r*i.,"nt,
transcendent state of
whose f'-"E.'"" ar public
i$:113";::"1""==?r:1*? ,ina
r"itiiilvl
5- How courd parents, rike those of Hari Friya,
give their daughter
to a temple for adoption?
There are several reasons why parents
rnight give their daughter to
a temple for adoption: (11 eovlrty. poo,
daughter to a ternple to relier.lii"-""Liori" parents night offer their
strain 6n their famiLv
and possibly enhance the survi,r"i-"n""""s
of
(2) widowhood or widowerhood. A wiaow or the daughter herself.
widower rnight offer a
daughter for- adoprion oltuu=" of the diffi;;iii"=
-oJsire
or raising a
chird in a singl6-parent horne. i3)
I'Donatingn a diuqhier
for
spiritual
benefit.
to
a
tempre'ri=
ber-ievea
to
earn
merit
the donors' (4) oesire for a son. Firstborn
for
daughters may have been
gr-ven to a tempre in the
hope tnJ-=ii"n an .6t ,orrr.a assure her
parents the birth of a sgqnight make a vobr during. ti*"'oi(5) rur.fillment or a vow. a family
(".g.., epidemic, illnessl
etc ' ) to 'tdonatett a daughter to "-.Gi-=
a
iernpre
in return for divine
assistance in overconing tne cri.sis. llt",
o.r"r"ori.g
the crisis,
the famiry was obligated to ndonate' a daughter
to a temple.
5. What is Hari priya doing on carpera with
her needle and thread?
Hari Priva
is preparing
grarland for temple pilgrirns.
3 f 10w-er
eilgrirns -purcha=" &;t'g'arlanos
toi
;=;
as offerings ro the temple
deities 6 ' Ithat are the differences
between the dance forms of Bharata
Natyam' Kathak, and odissi that
r.raonavi uudgal says srre studied?
Each of these dance forms has its own
origins, sets of basic bodily
6
movements, and
movemencs
and
styles of
gll'.reography. A somerirhat
'
StatementbyadancerintheUnitea-Sfateqmirrht.}ra{-}ra+.-Lu.r:*":_.::
unired s€ates rnisht
,.I1
?:::::1*, ll"rl:.,*"n:r:=-li::
rtr:laqcinrl
lr Tnrli--\
::,1"T-::11i**'il')
..,J ;;;;;'-;'";;":- ;;;' ;'#.il::
r
Jii"""-*i;:;"'il.,u'":If,:l
dan;^1i_o_.*:,
;t^-^^
.
parallel
n" Jn"t';;'il;
G^-_.
s_e:_
crirr
_R. .rone=
,-;r"hi';: = ;:ff:
, O.rO*
Kendall Hunt, !97O, pp. 113-136.
7 ' How tlrlrical is it for a dance student
to begin studying with a
giuru's
student before finarry studying witn
th;-g..r.r, as in the
case of lladlravi ltudgal?
students of dance and music are generally identified as menbers
of
the giharana ('rhousehord')
t-heir
particular
guru.
since
arr
.
students of the same guru berong
"t
to in" same grharana, it is not
uncommon for a young student to begin studying affi;
music with
his/her giuru's student- After tnd y"""q stuaent hasorgrasped
basic elements of the dance or nusic form and has shown the
talent, s/he rnight "graduaterr to study aiiectry-ritr, the guru.some
B' How sigrnificant is Hari Priya's statement to I.tadhavi ltudgal
'you dance outsider o' u"-_ stage. Tg you dance is art that
and
knowtedge. we [naharisJ danced onr] inside'th; ;;;;i.,
as
service
to God?tr
Hari Priya is describing one critical
between
contemporary odissi dance ana ooissi dance as difference
it
was
performed
by
maharis like herself inside the ienpte of Lord Jagannath.
contemporary odissi dance (as performed by Hari priya)
came into
existence after a rg57 conferen-ce in Madra! and a l-95g serninar
in
New Delhi, attended by scholars and O.rr"".=, ,rdefinedrr
the
rnajor
components of the dance.
9 ' rn what langruage are rlari kiya
and Irladhavi uudgar conversing?
Madhavi Mudgal (the contemporary odissi dancer) i= speaking
-is
Hindi,
while Hari priya (the - manaii)
speaking
mostry
oriya.
.
Nevertheless, there is enough overiap l"tw"Ln
the rangruages so that
the two hromen can generarry understand each other.
1O. Wtro are ttre Apsaras and Gandharvas (the trmyttric
counterparts of
the maharisn)?
The Gandharvas were nythical heavenry mare musieians
survived
from vedic times as servants of Lord'rrror., the king who
of
gods.
the
The Apsaras hrere their female
who
were
beautiful
and
libidinous, heavenry courtesans,
"orrttt"rpirts,
and rnistress;= ;;gods and men.
The Gandharva-s and Apsaras hrere also considered to be
divine
dancers and singers.
7
11- r{ho is Btrarata, and what is his manual on theatrical arts?
Bharata is a semi-legendary figure generarry considered to
author of a famous early treatiie onin".performing arts. Thebe the
Natya
Sastra, as the work is cal-l-ed, was wriiten in sinskrit sometime
between the 2nd and 4th centuries c.E. and has since-";;;;;;;"
nurtipre revisions. The Natya sastra
is a wide_ranging work
covering poetry, drama, dance, nusic,
criticisrn. Accordinq to
regend, the work was Bharata's attempt"nd
to
i;;;iiXn'.
vision of the Lord rndrars celestial court reproduce
performing a drama.
12 ' vfhat are the likely
rel-ationships between sculpted dance
positions
on temple warli and_ actuar postures
assumed during the
dance by contemporary odissi dsancersd
The earliest sculpted representations of dancers who could
be
interpeted as- dancing in tlie odissi ;lyr" appear on the stone walts
of the Konarak ternpre, constructed pre'sumably between ttre 13th
and
14th centuries c-E- contemporary odissi danc6 instructors
refer
to
those scurpted representations is noaeis of postures to be
assumed
by dancers during a dance performence.
13. Wtrat does Madlravi lludgal mean when
rsculpture and
_slre says,
written te>rts describe fornal positions
in
oeis-si'But rh'thm and
movement come through oral traOition
-- from teacher t"-;lrd;A;
The sanskrit texts and the. sculpted figures on tempre warls
can at
best describe.static positions assumed
by
dancers
during
the
course
of the dance (e-g., the squared-off chowka stance). The manners
in
which the dancer moves f5orn one poEition
i"-lit"
next
must
be
created- rt is at these points that instruction from a giuru (i.e.,
t'rhythm and movementrr becone
most irnportant, as can be seen in the
guru's dance workshop) sequences.
14 - How have the dates been established for
the building of the
Jagannath tenple?
The dates are based prinariry on royal inseriptions, recorded
copper-plates or on stone, corrmemorating the adts or iings.-T;;pi;on
inscriptions (de.scribing,
royar donations) have also
for ""3*pil-,
been used. A series of pioninent
puri attribute the
iniciiptions
building of the greal Jagrannath teinple toin king
Anantavarman
codaganga (1o78-r-r47 c-l'.) o?_tne c..,qfi dynasty. However,
suggests that there was already a temf,te at that rocation evidence
that the
king renovated and enlarged. - ana ri.^ng Anantavarman codaganga's
renovation plans had not been compreted before his death.
15- Wtrat does-I.ri-Friya mean wtren she says, rlte
[ma]rarisl danced
according to the time, the month, the
year, and trre
season?n
The maharis' style of songi and
varied within the same day
between the rnorning (when they dance
danced whire Lord Jagannath ate
8
behind a curtain) and the evening (when they sang before his
shrine). In addition, the ritual duties of the maharies ,r..i"a
according to the tirne intervals Hari Priya mentions (month,
=".=o.,,
and year). For example, the maharis sang a special set of songs
the time of the chariot festival at the onset of the monsoon riins.at
At this critical point in the agricultural cycle, Lord Jagannathis
favor and the various symbolisms (procreative, sexual, rifeproviding:, water-associated, and fertility)
of the mahari.s are most
important.
16. Why do cooks inside the Jagannattr Temple prepare food, and why
is the food ritually offered to Lord .laginnatn Uefore neing eate;l
by hunans?
Cooks inside the Jagannath Temple prepare food both for the 36
categories of tempre servants (who are supported, in part,
by this
food) and for the pilgrirns who come to the Temple. -Offering the
food first to Lord Jagannath is related to the Hindu notion of
prasad. Prasad means frthat which is given by divine favor.
r'
refers to food offered to a deity (often by priests in a ritualft
setting)
for blesing. Ttre deity 'ren joys'r the of fering
(metaphysicalry) and, by doing so, blesses
the food, imbuing if
with divine favor. The food is- subseguently consumed by the tefrp].e
servants or pilgrims, conferring blessing upon thern.
L7 - rthat activities
do non-Bralrnan priests perform in r,ord
Jagannattr's temple?
The most important non-Brahman priests in Lord Jagannath's Temple
are the daitas. Daita is Sanskrit for rrdemon. rr fn Orissa it ref6rs
to priests believed to be descended from the origrinal tribal
worshippers of Lord Jagannath. These non-Brahman priests are in
charge of most activities that require close contact with the inage
of Lord Jagannath (for example, the daitas cook Lord Jagannathls
food). when Lord Jagannath is rtsicktt every year just before the
chariot festival, they alone can attend €o -hin. And during the
navakalevara ceremony every twelve lrears, when the previous irnage
of Lord Jagannath is destroyed and a new wooden inage is created,
the daitas PlaY a central role in removing (and destroying) the old
image, fashioning the new image, and tranJplanting l,or&;Jgannath's
essence from the old to the new image.
18. Ifh.! night be the sigmificance of drawing the curtain before
the shrine of r,ord Jagannattr while he is being fed, preventing hin
fron seeing tlre dancing devadasi?
Frederique Marqrin, in her book wives of the God: The Rituals of
the Devadasis of Puri (p. 95 ff. ) suggests that the cuiiiin is
drawn to separate the deity from the sexual impurity of the dancingr
devadasi. The same sexuality that is key to the tife-rnaintaining
auspiciousness of the devadasi causes her impurity and makes it
necessary to shelter the feeding deity behind the curtain. The
9
mutual yet opposing forces of fernale sexualityrs inpurity
and
auspiciousness are thus "safely" in-orporated into the
feeding
ritual 19- what is known about the sari-binding ceremony wrrereby
a girr
who had been adopted and trained ny tne hanaris
1fo".*"
a
devadasi
and was entitled to perform the iituats before r,ord Jagannathrs
shrine?
The devadasi ttmother't
of the pr-e-puberty
girl had to send a written
-.=.ri-binding
petition to the .Iirg requ"=iirrj
in"
The
king's officers then chec-ked thd gir1,g knowledge ofceremony.
singing
and
dancing and hgt original cqste (-devadasis
not
come
from
castes so 1ow they were forbidden to give water"""io
to brahmans). After
the facts htere found to be satisfa"tory,
Ern
auspicious
date was
chosen for the ceremony. on that day, the qirr ,o16 ,",
bangres
and
cl-othes and had an initiatory ,.itr.- ('iinstrur".ri of
r,
thought,
sacred sound, syrlabre, rq{d, or
wnispeiJ-ln
rr". ear by the
devadasis' guru. she was then taken
""r=")
to
r,or*
Jagannathrs
by
other devadasis, where they stood at the victoi'v vr"t"rv Tempre
Gate
(see
#4 on
. There, in the presence of
the Ternple's chief priest, a cfoth hras'tied.rornJ
qirlrs head
by a temple servant- The c1oth r.= i piece of a sariine
that
had been
Irrorn by the image of Lord Jagannath. i garlana (that
had
arso
been
htorn by the image of Lord Jagannath) wJs plae"d arornd
the
qirys
neck' The girl then circumamburated the Tempre and returned to
her
home, accompanied by musicians .rJ,orn"r,
doing
the
hula_huri
(naking a hiqh-pitcnLo auspicious
by raiii-nq their voices
while. -moving ln-eir tongmes. r,apidry sound
frorn
one
of the mouth to
the other). At home,. tl" g.irl was -gieEeo by side
a
brahman
who
called on various deities to protecl the girl in her newpriest
rol-e.
The
cloth was then untied from thl girt's-nead, and it and the garland
It'ere placed in the home shrine. That evening Cn"-qiii
,.= taken to
the palace to visit the king. She touched tn6 Xinq;s iea
and l_ooked
into the king's eyes.
From that day
the girl was considered to be a devadasi
married to r'o-rd_forward,
Jagannath- she courd now perform the
danee
ritual before Jagannath's shrine. gowever, onry after morning
she
attained
puberty and participated in a large feast celebrating her
aqe could she perform the eveninqi- singing ritual before coming of
the shrine
of Lord Jagannath.
20' wlto was Jayadeva, what is the Gita-Govinda that is attributed
to him' and is thele any truth
that he comlrosed the
Gita-Govinda out of nis iove fortoa tne-story
devadasi of puri?
Jayadeva lras a 12th. century_c.8. Bengari poet, author
of the Gita_
Govinda, a sanskrit poem -describi;d-li"
legendary
rlir""'o=t-#Krishna (Govinda) andtne virlage ;;it"; Radhi. rt fs irnpossi.bre
to
determine if there is any tiuth to the legend that Jayadeva
composed the Gita-Govinda out of his love for
a devadasi of puri
10
he married)- T99.v, €lS werr as in the past, odissi dancers
frequently perform abhinlva.
(story-"nr"i*"rt) -dance to the words of
the Gita-Govinda set to rnusic. nefore trre snrine of Lord Jagannath,
the devadasis performed only pure
which nas no story line
but is said to embody the quirity otaan&,
iiingara -- or romantic love.
(whorn
11
STMPLIFIED
DTAGRAM
OF LORD JAGANNATH'S TEMPLE AT PURI
from Frederigue Apffel Margrin, wives of the God-King:
,
pp
.
l_7
6_7
_>
E
1. Inncrs.nctumlbhion
p*hariO
Z
3,
Gatc:
f
KttiHitrduan
Ostcf 3tncium
pkheriil
(bihire
th. tim. ot Neba Kalebrrc
4. victory, Vicrory Gsr. (/by,
biiay. <tuar.l
5.
Oanc]6 or audionc6 hall
(ritt
maedirt, itgsmoh'.nl
olGaru<te (grrude
5. Thc Piller
stamb|tal
7. Thofoodhalllbhogt
maeSoptl
8.
9.
The main northGrn ontranca to
the main tsmpla.
The platform whar€ the ling
sits (brrrrruAr)
lO- TempleofBimtlS
t.
Temple of thubanc$rari.
Sar!sv.ti. 9e$hi, Savitri,
Gayatrl.
12. T6mplo of Lektmi
l3- Temgle ot th. 3un with im.g.
I
from Konaral
14- TemplcofthrSun
15. Mukti MelCepr
'16. Wetcr-y'ay plrform (1bfe
krida m'.ndtptl.
17- Thc pond of Rohini lFohlai
tuqQel
lE. Thctitchcn
9. Wcll in thc Gerdcn
20. Anorhcr wtll in thc arrdcn
21,22. Tcmprary struclure rt
Thc
Main
Temple
23. Burial ground otiho lmrgo3
lkoiti Vaikhuntsl
2tl. Temple of Sitsli wfth it3
'gof d6n well' lsuna kuil
25. Martd nell3; swa€t shopi
26. Plccc whcra pilgrim3 cat
mahaaraiid
t
27-29 Plecagwhcrc mahEpradtd
is sold
30- Thc bathing platform
bedr)
{snjne
31. Thc'ga:ing prvilion'
lcihini
mt4doptl
l
I Antfita
I
J
32. Thc pilter ottho sun, brought
from tho sun tomglc of
Konaral. laruet st.mbhal
3ii|. The main saliGrn gstG: Uon
Gsto (sr'tnhrduirrf
3. Thc Twenty-two Stcar' (briJ,
prhtir)
35. Thc'mccting prvillion' (Drrrtt
mred'ryl
36. Pa:segc wey from th. kiich.n
to thG mrin tamplc ut.d by
th. coob to bring thc food for
thc oftcring-
uartr