Signifying Adornment: A Semiotic and Performative Reading of Madhavi’s Anikal in Silappadikaram

Abstract

In Silappadikaram, the cultural symbolism of anikal is vividly expressed through the character of Madhavi, whose adorned body reflects the intricate interplay of meaning, identity and aesthetics within the Tamil classical tradition. Rather than serving merely as decorative embellishments, these anikal function as a system of signs that convey multifaceted meanings associated with womanhood, artistic sophistication, and social presence. Through the lens of semiotic theory, specifically drawing upon the works of Roland Barthes- adornment can be understood as a form of cultural signification that encapsulates aesthetic values and construct identity, thereby transforming material objects into carriers of meaning.

At the same time, Madhavi’s ornament takes on a distinctly performative dimension, where the ornamented body becomes a dynamic site of artistic expression. Inspired by performance theory, particularly Richard Schechner, the anikal actively contributes to the performance by intensifying movement, generating rhythm, and shaping visual form, thereby expanding the expressive potential of the dancing body. Ornaments such as anklets, bangles, and necklaces are not external objects but integral components of the performance, contributing to the creation of a multisensory aesthetic experience. Placed at the intersection of meaning and performance, Madhavi’s adornment demonstrates the importance of material objects in the construction of aesthetic identity in Silappadikaram. This paper explores the cultural symbolism of the anikal in terms of symbolic meaning and performative embodiment through the character of Madhavi..