TheSangam landscape (Tamil: அகத்திணை "inner classification") is the name given to a poetic device that was characteristic of love poetry in classicalTamilSangam literature. The core of the device was the categorisation of poems into differenttiṇais or modes, depending on the nature, location, mood and type of relationship represented by the poem. Eachtiṇai was closely associated with a particular landscape, and imagery associated with that landscape—its flowers, trees, wildlife, people, climate and geography—was woven into the poem in such a way as to convey a mood, associated with one aspect of a romantic relationship.

Classical Tamil love poetry assigns the human experiences it describes, and in particular the subjective topics that those experiences relate to, to specific habitats. Every situation in the poems is described using themes in which the time, the place and the floral symbols of each episode are codified. These codifications are used as symbols to imply a socio-economic order, occupations and behaviour patterns, which, in turn, are symbolized, by specific flora and fauna. Details of secondary aspects are just as rigidly codified—the seasons, the hour a god, musical instruments and, above all, the sentimental connotations of each landscape: lovers' meetings, patient waiting, lovers' quarrels, separation, and the anxiously awaited return.

Under this codification, the inner universe associated with love is divided into seven modes, orthinai, five of which are geographical and associated with specific landscapes, and two of which are non-geographical and not associated with any specific landscape. Four of the geographical landscapes are described as being landscapes that occur naturally in theTamil lands. These are: kuṟiñci (குறிஞ்சி)—mountainous regions, associated with union, mullai (முல்லை)—forests, associated with waiting, marutam (மருதம்)—cropland, associated with quarreling, and neital (நெய்தல்)—seashore, associated with pining. The fifth—pālai (பாலை), or desert, associated with separation—is described in theTolkappiyam as not being a naturally existing landscape.^[1]

From these basic associations of landscape and subject, a wide range of specific themes suitable for each landscape were derived. Thus, for example, the commentary on theIraiyanar Akapporul states that as a result of the association of thekuṟiñci landscape with union, it was also associated with the fear of separation, reassurance, the hero's or heroine's discussions with their friends, their being teased or taunted by their friends, their replies to their friends, the friends' role as intermediary, the meeting of the lovers, grief and doubt, and other similar themes. According to theTamilneri vilakkam, a 9th-century text on poetry, the love themes described by the five thinais constitute "the Tamil way of life" or "the Tamil way of love" (tamiḻneṟi).^[2]

The two non-geographical modes—kaikkilai andperuntiṇai—were seen as dealing with emotions that were non-conforming, and therefore were not associated with any specific landscape.Kaikkilai, dealt with unreciprocated or one-sided love, whileperuntiṇai, dealt with 'improper' love or love against the rules of custom.^{[citation needed]}

The following table is adapted from table 7.3 inThe Pearson Indian History Manual for the UPSC Civil Services Preliminary Examination (Singh, 2008).^[3]

In Tamil, each of the five geographical thinais are named for a flower that is characteristic of that landscape. In English translation, however, it is customary to use the name of the landscape rather than that of the flower, largely because the flowers lack the cultural association with a specific language in English that they have in Tamil.

The mountain is the scene of the lovers' union at midnight. It is the cold, dewy season. The forest is rich with lakes, waterfalls, teak, bamboo and sandalwood. In this region millet grows and wild bees are a source of honey.Love in this setting is exemplified byMurugan, and one of his wives,Valli, the daughter of a mountain dweller. He wears the sparkling red kantal flower and rides apeacock, the bird of the mountains.

The name of the region, Kurinchi, is also the name of the famous Kurinji flower (Strobilanthes kunthiana) from the lofty hills of Tamil country. The Strobilanthes, a shrub whose brilliant white flowers blossom for only a few days once every ten or twelve years, blanketing the slopes in radiant whiteness under the sun. This event of jubilation and purity symbolizes the frenzy of a sudden love shared, in concert with the unleashed forces of nature: the amorous dance of peacocks, their echoing cries, the splash of waterfalls, the roar of savage beasts. The lovers hold each other tighter still and forget the dangers of the mountain path.

The people of this region were known by the nameskanavar,vedar andkuravar whose prime occupation washunting,honey harvesting andmillet cultivation.^[4] The Vedars or Vettuvars (derived fromvettai - hunting) were the main hunters, kanavars (derived fromkanam - forest) hunted elephants and pigs, the kuravars or kunravar (derived fromkunru - hill) wereforest cultivators.^[5] Their headmen were known asVerpan,Poruppan andSilamban.^[6] Theirtotems includedMurugan (god of war and hunting, under the nameSeyyon), theVel (spear of Murugan), thetiger and the treeVenkai.^[7] Their settlements were known assirukuti and their place-names attached the suffixeskuricci (hilly village) andmalai (hill).^[8]

Mullai is the land of the forest. The forest is rich with lakes, waterfalls, teak, bamboo and sandalwood. In this region millet grows and wild bees are a source of honey. Mullai or Jasmine (Jasminum auriculatum) is the flower of the forests. The inhabitants are descendants of GodKrishna and were known as Ayar(Male) and Aatchiyar (female),*kōnar,kovalar,Vaduga iyer/Vaduga ayar, Ayar, Sambar idayar, Valathu Kai marappu idaiyar andidaiyar, whose occupation includedRuling land's,livestock,shifting cultivation,husbandry anddairy farming.^[9] Thekovalars werecowherder and theayar were pastoralists involved in cattleherding.^[7] Their settlements were known aspādi/cheri and seven nrega the suffixespatti,vati,katu andental attached to their place-names.^[10][8] Their headmen bore the titles Ayar/kon,Annal,Tonral,Kuramporai,^[11][12][13] and headwomen as Aatchiyar andManaivi.^[6]

The theme of the forest and of shepherds at play, the image of confident waiting for the loved one, produced an original offshoot; for this is the region ofMaayon/kopalan, (Ancient Tamil god), and the love theme it represents symbolizes the devotee waiting in the hope that Maayon will eventually come and fill his soul, thus experiencing the joys of expectation.

The plains were the scene of triangular love plots in which the hero's visits to the courtesan oblige the heroine to counter with a mixed show of coquetry and moodiness, tactics whose limits are described in the Thirukkural ("Sulking is like flavouring with salt; a little suffices, but it is easy to go too far.").Senon, the god of thunderstorm, is the god of Marutham land. The inhabitants were known asulavar,velanmadar, toluvar andkadaiyar or kadasiyan whose occupations were involved inagriculture. The ulavar were theploughers, the velanmadar and toluvar thetillers and the kadaiyars were thefarmworkers.^[14] Their headmen were known asMahinan,Uran andManaiyol.^[6] Their settlements were known asperur and their place-names often had the suffixeseri,kulam,mankalam andkudi.^[8]

The Marutam (Lagerstroemia speciosa) tree was the characteristic tree of this region.

The seashore affords many examples of the compelling charm of Sangam poetry and the extraordinary freshness of its realism. From behind the conventional symbolization of waiting there emerges a picture of the life of the fisherfolk; the nets and boats drawn up on the beach, scuttling crabs and cart wheels bogged down in the sand, the odour of drying fish, cut into thick slices, which attracts the birds, beautiful village girls peering through thePandanus hedges, and the wind blowing through the cracks in the roughly constructed straw huts at night.Kadalon, the water god, is worshiped in Neithal. The inhabitants were known asparathavar,nulaiyar andumanar whose occupations included fishing, coastal trade,pearl diving andsalt manufacturing. The parathavars were sailors and fishermen, the nulaiyar were the divers and umanars the salt manufacturers andmerchants.^[4] Their settlements were known aspakkam orpattinam, which were maritime tradingports.^[14] The headmen were known asThuraivan,Pulampan andSerppan.^[6]

The neithal, orwater lily is the characteristic flower of the region.

In classical Tamil prosody, thepālai or wasteland is not seen as being a naturally occurring ecology. Ilampuranar, in his commentary on the Tolkappiyam, explains that instead, the landscape of the wasteland with which the paalai is associated emerges when other landscapes whither under the heat of the burning sun.The palai flower is identified as Wrightia (Wrightia tinctoria). The people inhabiting this region are known aseyiner,maravar andkalvar who were involved in waylaying, highway robbery andsoldiering. The Eyiner (fromey – bow) were hunters who hunted with bow, the maravar (frommaram – valour) were soldiers and the kalvar (from kal – robbery) were robbers.^[15] Their chiefs were known asmili,vitalai andkalai. Their settlements were known askurumpu.Kotravai, the Mother goddess and goddess of war, is worshipped here.^[16]

The theme of wasteland and separation occupies half of one of the most famous anthologies, the theme of the mountain being only secondary.

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