Review of ’From Sacred Icon to Political Sign: A Semiotic Analysis of Rama
Iconography in Indian Temple Traditions’ by Sagnik Mridul
‘From Sacred Icon to Political Sign’ by Sagnik Mridul is a rich semiotic study which
investigates the process of the transformation and sociopolitical recategorisation of
meaning by positioning Rama, the hero of the Hindu Ramayana sacred narrative, as the
subject of analysis. The iconographic analysis includes textual and pictorial language,
statues and shrines, physical gestures and conventional mannerisms, architecture and
design, etc. to offer a comprehensive overview of the evolution of the culturally defined
meanings held by a suite of symbols associated with the religious figure of Lord Rama
in India. Here, close semiotic analysis is combined with historical exploration, and a
discussion of Hindu political identity and the process of symbolic reclamation of territory
via culture.
The article explores the manner in which narrative figures can be used as methods for
the empowerment of political and religious institutions by recalling deeply embedded
religious and sociocultural mores and values contained therein. The political, economic
and cultural needs and expectations tied to the communities in specific geographic
locations is given apt attention in this study. The demands of performing regional
identity, in response to a perceived historical loss of identity, are proposed as a key
motivator of the revival, re-enactment and reinforcement of cultural arts, rites and rituals
connected to the mythological figure of Rama. Mridul shows the potency of these
processes via this semiotic analysis and historical overview, as the elevation of the
figure of Rama is tracked from its origins as decorative bas-relief work accounts of the
Ramayana and related narratives, to the heightened modal forms of statuary and
shrines, as as the expansion of the mythos is reflected through the inclusion of new
component and companion signs in chronological eras.
Mridul’s study places individual representations of Rama within the immediate context of
related and similar icons as well as the broader context of the figure’s role in the political
and spiritual spheres of belief, and the meaning which geography can imbue into an idol.
The insight into Rama’s consistent presentation as an earthly figure (with reference
to the specific design choices and features which connote this status), rather than as
purely divine figure with characteristics similar to other Vishnu avatars, is particularly
revealing and does much to support the author’s argument concerning the viability of
Rama as a politically charged figure in the modern age. Mridul guides us through the
development from initial narrative-focused reliefs to the modally advanced forms of idols
and temple art.
Visual components of the signifiers of Rama’s mythology are emphasised in the
analysis, as the forms of the icon are broken down and examined in their constituent
parts. Accounting for the allusory and denotative effects of the bow and arrow
(Kodandarama), the posture and stature of the terracotta and granite depictions of
Rama, and whether the figure is accompanied by related figures such as his wife, Sita,
or whether he is in his child form, Ram Lalla. This latter point is a particular strength in
this paper. Mridul demonstrates through this close analysis how a sign, already
complete as a multi-faceted signifier replete with signified concepts, can be transformed
and the meaning evolved with the removal or addition of signs, drawn from the related
religious mythos, which derive their associative power from shared cultural forms. This
is a fundamental, even obvious, tenet of semiotics, of course, but the accuracy of this
system is vividly and efficiently demonstrated here. To illuminate the process of cultural
meaning-making in order to better understand, critique, appreciate and develop those
cultures is a chief purpose of semiotics, and Mriduk’s paper is a straightforward
application of the bedrock theory of semiotic analysis to achieve that purpose.
The methodology of the analysis could be applied more directly, and the analysis itself
is somewhat prescriptive and declarative. Semiotics, as supported by de Saussure,
Barthes and Levi-Strauss (whose frameworks are credited as the foundation of this
study) proposes that there is typically a polysemous relationship between signifiers and
signified concepts.
As noted above, the truth of this is demonstrated clearly in the
analysis itself, but the notion remains as an underlying, presumed quality of the
language of icons and pictorial works. In other words, this analysis could draw more
rigorously, specifically and explicitly from relevant foundational theory to both explain
and elaborate upon the nuances of the insights. Similarly, the analysis concerning the
stature, posture, positioning, and proxemics of the idols could be strengthened with
reference to the arms of semiotic theory concerned with posture/expression/gesture, as
developed by Goffman, Mauss, Hall, etc.
The discussion in this paper tends toward identifying one, or two related, concepts
assigned to signifiers. Many of these signifiers are combined/dynamic forms, which lend
themselves to more thorough and varied analysis. This occurs, for instance, in the
pursuit of a core observation about the motivation behind depictions of Rama as a
childlike figure, which may be factually correct, but the meaning conveyed by the altered
form of Rama Lalla may nevertheless be (and would be) much broader that a only
fortification of regional pride and identity. A more nuanced analysis may grow from this
initial paper, one which considers polysemous meaning as well as the intentional, direct
connotations of design choices.
Overall, however, this article successfully presents a history and succinct semiotic
analysis of the gradual adaptation and reappropriation of Rama as a tool of politically-
motivated cultural performance.
Review of “From Reversibility to Integration: Models of Duality of the Sign in Christian Visual Culture” by Yuliia Khlystun
Dr Juliet’s Khlystun has clearly articulated the significance of dual or multilayered meanings associated with Christian symbols such as the cross, dragon and skull and how contextually their meanings can be reversed to add profound meaning to the symbol whilst simultaneously being held in tension.
C S Lewis’ Aslan is also such an example with multilayered meanings associated with his symbolic representation of Christ as king of the beasts but also the Lion of Judah who both dies and is also resurrected and as the one who speaks, in emulation of the the GOD who speaks unlike the gods of the heathen who are speechless idols. This is an excellent semiotic reflection and certainly should be published.