I wrote about our exploration of Sittannavasal by bicycle earlier. Later during 2000s I had a chance to understand the meaning of the paintings, as elaborated by scholars.
The Samava-sarana theme is a central figure of the Sittannavasal cave paintings. It is dated back to 7th century AD. This beautiful mural depicts a scene from Jain cosmology belief, a delightful Jain heaven containing a hall called Samava Sarana.
Picture source: pudukkottai.org
Samava-sarana or Samo-sharana means refuge-to-all. It is a preaching hall of the Tirtankara-s, stated to have more than 20,000 stairs in it. It is believed that the Samava-sarana seems to have replaced the Jain stupa as an object of worship.
Key aspect of the Samava-sarana painting at Sittannavasal includes the following –
The lotus tank (Khatika-bhumi) where the bhavya-s (jain faith followers attained the heaven) gather to hear the preaching of Tirtankara.
Similar motives can be found in other Jain worshiping places. But Sittannavasal paintings are considered as one of the earliest examples of Jain frescoes in South India.
I lived in and around this town. This has many historical buildings, fit to be museums, but encroached by Government agencies. These buildings, once offices of autocratic kings, became the abode of democracy. If you cross this town, you may visit the collector office, district courts and colleges. You will know how badly are they maintained. This place, once directly connected to British rule, has seen its historical charm fade under democracy.
One of them was the ornamental archway built in 1897 by King of Pudukkottai princely state to commemore the Diamond Jubilee of Queen Victoria as a token of his respect for a queen. East Main Stree is the high street (even now!) in Pudukkottai. He built the arch at the beginning of the high street.
Diamon Jubilee arch, Pudukkottai | Pandian Ramaiah, 16 July 2006
It was notable for its beauty. Thanjavur has such a arch too. Aesthetically, this arch was more appealing. It featured a unique image of Queen Victoria with black hair, her face resting on her left arm. Ironically, when the arch was built, the Queen had lost her husband and had retreated into an isolated life, often wearing mourning dresses. She stopped attending much public meetings. In addition, she never visited India. People used to say, she looks like an Indian queen than British!
The close-up | Pandian Ramaiah 16 July 2006
It provided a good look to the landscape, despite some political statues were erected later, as the entrance of high street.
Until recent days, the arch was standing with its glory. When I get my first camera, I went here to take my first few photographs. The town was under direct influence of British, due to which it was managed by no-nonsense people.
Dewan Seshaya Shastry improved the balance sheet of the state and planned the city with squared streets and roads with excellent water management with multiple ponds.
B.C. Holdsworth, another administrator, built a dam in Kadayakkudi. Present day Gandhi park was originally named after him. As per Indian antique records, a clock tower was declared open in 1933 by him. Swaminatha Pillai was the architect who designed the tower. The actual execution of the structure was entrusted to a contractor named M.K. Mahamadhaneef.
Holdsworth park during colonial times, renamed to Gandhi park | Pandian Ramaiah 16 July 2007
Unfortunately, these structures were poorly maintained over time. Political and cinema posters were stuck on the arch, and the park became uninviting due to poor maintenance. Recently there was some improvement in the maintenance of Park.
But a devastating destruction of legacy happened on Nov 14, 2009.
Erasing the legacy. Picture (c) The Hindu, 14 Nov 2009
as a vehicle rammed into the arch. Despite the arch did not lose its shape and fit to be conserved in other places, the district management demolished it into pieces. The legacy stood majestically for 112 years, vanished leaving a void that reflecting such minds.
You can never object to the justifications given by the management. But historians raised their concerns. Despite being led by highly qualified individuals, the management seemed to lack the historical awareness needed to preserve these remnants in a museum for future generation.
Similar demolition happened in Thanjavur as well. Though the people were different, common denominator is the historical ignorance of democracy and its bureaucracy.
After all, that is the town, had my history teacher, received Government salary, taught me that Ghajini Mohamed came, saw the pulchritude of the sculptures, felt it is fit for his bedroom and smuggled away! Despite this series talks about cultural traces, we need to talk about our own ignorance too.
Kiran and I had a memorable early morning journey to Narttamalai (nārttāmalai/नार्त्तामलै) before two decades. I can’t quite recall how we traveled; I believe it was by car. As the sun began to paint the sky, we started our climb up Narttamalai hill.
Narttamalai, though a remote village along the Trichy-Pudukkottai highway, is a site of national importance. This entire village is a historical gem, though perhaps not as well-known as it deserves to be, even among locals.
Vijayalaya Cholisvaram | MV Kiran June 2003
The hill cradles six treasures
There are two rock-cut temples,
Pazhiyili Isvaram (பழியிலி ஈஸ்வரம்/paḻiyili īśvaram/पळियिलि ईश्वरम्) and
One magnificent structural temple called Vijayalaya Chozhisvaram (விஜயாலய சோழீஸ்வரம்/vijayālaya cōḻīśvaram/विजयालय चोळीश्वरम्), which is a marvellous piece of art, on the hill.
A famous living temple of Mariamman (மாரியம்மன்/māriyammaṉ/मारियम्मन्).
The Kadambar temple (கடம்பூர் கோயில்/kaṭampūr kōyil/कडम्पूर् कोयिल्) at the foot of a hill nearby is another beautiful temple.
The natural cavern of Aluruttimalai (ஆளுருட்டி மலை/āḷuruṭṭi malai/आळुरुट्टि मलै) contains polished stone beds and other Jaina vestiges.
Kiran, well-prepared with research, led the way. My main role, as I saw it, was to offer moral support.
As the rising sun showered the landscape in a warm and golden light, we carefully climbed the sloping, slick rock, eager to capture a beautiful photograph of Vijayalaya Cholisvaram. Later within the temple campus, we were struck by the richness of its cultural heritage.
24 Jun 2003 | Pandian Ramaiah
Vijayala Cholisvaram is a structural Siva temple, Opposite it, excavated into steep hillside, are two cave temples. One is Samanar Kudagu, the cave of Jains.
Samanar Kudagu Cave Temple | June, 2003
Today, let’s focus on the yali – also known as vyali or vyala or vyalaka – a recurring lion-like figure. The motif is often seen in Hindu and Buddhist temples and royal spaces. Samanar Kudagu is not an exception too.
The cave temple seems to have begun as a Jain site around 7th century, later becoming to shrine of vishnu. Mango trees and bushes create a serene atmosphere. A facade or mandapam stands before the cave, and it’s this facade that I want to highlight.
The facade’s base is adorned with procession of yalis. Sculpted to convey power and fierceness, these yalis often serve as brackets, or pillars supporting the structure. Simetimes they feature elephant trunks or bird wings.
Statue of Gajasimha Tower (Gaja yali) of Cham Da Nang Sculpture Museum (photo provided by nv) Picture (c) archives.org.vn
We observed various types of yali-s. The simha yali has a lion’s head and body. The Gaja yali combines an elephant’s head with a lion’s body. The Makara yali features the body of a lion and the head of a crocodine. Similarly, the architecture boast a variety of yalis, such as Sarpa yali and Nara yali.
The yala frieze, Samanar Kudagu, Narttamalai | MV Kiran, June 2003
The plinthe of this facade features makara heads in the corners devouring humans in their mouth. These connect to frieze of elephants and Simha yalis. Though relatively small, they contribute to the basement’s beauty. Carved with dynamic energy, the playful nature of these yalis brought smiles to our faces. What a skill and imagination!
The yala frieze, Samanar Kudagu, Narttamalai | MV Kiran, June 2003
Scholars suggest several reasons for these depictions: protection, good luck and fertility among them. But beyond any symbolic meaning, they contribute an immense beauty that broadens our prospective as we enter these sacred spaces.
We, few boys of age between 11 and 13, traveled to Sittannavasal from Pudukkottai by our bicycles. I think it would be 1990 or 1991. We started with enthusiasm. By the time we came out of the town, the vast landscape and free air soothed our eyes and lungs. Soon we felt a sense of accomplishment, despite having only cycled a short distance!
Before crossing our tenth kilometer, we felt the ache in our legs. We were not sure, there was considerable distance on both sides. We carry no cash to buy any snacks. Then we took short break now and then. By the time the Sittanavasal hill came to our vision, we rejoiced despite losing our gallop.
With full force, we cycled further. The problem is, the entire route from Pudukkottai to Sittanavasal is a gentle uphill. So you can feel our pain. Yet, we decided to reach our target. On the way, another obstacle came in. Yes, It rained. In fact, it was a down pour. We found our shelter in nearby bus stop.
Sittannavasal hill, 12 July 2003 | M V Kiran
By the time rain subsided, we took a decent break. With streams of rainwater flowing alongside the road, we cycled and reached the place. It was so scenic because it was deserted due to rain and there were small streams flowing from the top of the hill, which we never imagined we could see.
We read about that place in our history. Unfortunately, for five years, from class 6 to 10, history was taught in a manner that did not engage me. As I crossed by forties, I won’t even consider them as teachers. I feel they did not effectively convey the importance and interest of history. Coming back, this place Sittannavasal is important for many reasons.
It has one of the earliest Tamil inscription, dating back to 3rd or 5th century BC.
It has the cave temple that is entirely dedicated to Jains (We have many caverns and beds. But Sittannavasal cave is in the form of a temple).
It has one of the early Pandya paintings.
Three of those paintings are the focus of today’s post
My understanding goes like this. Pandyas ruled the southern part of Tamilnadu from Madurai. Cholas ruled the eastern part of Tamilnadu from Uraiyur, Pazhayarai, Thanjavur, Gangai Konda Cholapuram (modern day Jayamkondam). There were clashes and marriage relationships between Pallavas and Pandyas.
Despite their rivalry, the Pandyas were clearly influenced by Pallava architectural styles. In addition, Pallava princesses who married Pandyas likely brought their artistic influences with them.
Kochadayan Ranadhira (7th Century AD) was known to be a popular king who defeated Ays of Thirnelveli-Tiruvanandapuram. He entered into a political marriage alliance with a Pallava princess. His son Maravarman Rajasimha was the one who attacked Pallava King Nandivarman Pallavamalla when their kingdom was in stress.
Maravarman Rajasimha’s son Nedunjadayan had a minister, Madura Kavi, who excavated Anamalai temple for vishnu. This suggests that Pallava artistic influence likely played a role in the development of the Pandyan cave temple architecture.
Entrance to Yoga Narasimhar temple, Anamalai, with the rock in the background (c) Rayappa Kasi
With this background, let’s come to Sittannavasal. It has multiple sites. But let’s talk about the Jain cave temple ‘Arivar Koil’. Outside the temple, there is an inscription belongs to 9th century. It states additions and renovations of the cave temple is done in early Pandya period.
The inscription is our focus. So let me go to the paintings. Let me quote, from Prof S Swaminathan and M V Kiran’s documentation –
On the front face of the southern pillar is a beautiful picture of a dancer, her left arm stretched-out in lata-hasta pose, gracefully. She has her right arm bent at the elbow, in front of her bosom with its palm presenting pataaka. Her ears are adorned with patra-kundala (known as olai in Tamil), rings set with gems,and her arms decked with bracelets and bangles.
Dancer in the southern pillar
Even more graceful is the other dancer on the front face of the northern pillar. She has her left arm starched in lata-hasta pose, while her right arm is bent at the elbow, in front of her bosom with its palm presenting pataaka. The headdress and the ornaments of this dancer are very distinct. The hair is decked with flower garlands.
Dancer in the northern pillar
The painting on the other face of the southern pillar represents a man and a woman, possibly the builder, and his queen. The man has an elaborate kiritam (diadem on the head), a patra-kundala (rings set with gems) in the ear. There is also an umbrella raised over both. His demeanor and his diadem indicate his royal status.
The royal couple
We could not arrive at a clear decision of who these couple are. It is generally believed to be the Pandya king Srimaran Srivallabhan and his queen who renovated this temple and built extensions.
Researchers found that there are two layers of paintings, an earlier and a latter. Possibly there was earlier work done by Pallava painter, later it might be taken over by Pandyas.
C Sivaramamurthy in his South Indian Paintings, clearly mentions that they are Pandya paintings. Let me quote –
The figures, however, like the famous prince and princess with a monk before them, and the two marvellous dancers, as well as the pool filled with flowers, fishes, ducks, a buffalo and elephant, are all Pandyan paintings of great elegance, revealing the craftsmanship of the painter.
We never regret our tiresome cycling to this place. Even then, the extent of damage to the paintings was disheartening. After the heavy quarrying nearby, how much our kids will inherit is a question mark. Prof S Swaminathan proposes a facility to preserve the same. Are we ready to lose the charm of the unique Jain cave temple with Pandya paintings? Or will there be change in our attitude to preserve it? The questions are hanging in the air.
If you happen to travel, do not forget to show this to your kids.
Kiran and I traveled to Kunnandarkoil. Kiran had already read the documentation and was on his way to verify his readings on-site. As a web developer, I recklessly accompanied him. I went there without any expectations, as I had never traveled that route before.
When we entered into the temple complex, the Ratha Mandapam immediately grabbed our attention. It looked majestic despite its dilapidated condition.
The Chariot, Ratha Mandapam, June 2002 | M V Kiran
We rushed to see the rock cut shrine first, as it was evening and we might not be able to see the cave the dark. The cave temple was similar to the cave of Thirukokarnam. We saw similar mandapam supported by pillars, whose sirsa/heads were decorated with simple, folds of carvings.
When we came out of the complex, we walked past boys playing cricket toward the Ratha Mandapam.
This is a chariot-shaped mandapa with 90 pillars. Picture (c) puratattva.in
The chariot wheels of the Konark Sun Temple are famous, and I wrote about the Ratha Mandapam of Darasuram earlier. The one at Kunnandarkoil is relatively small. Yet, the wheels are elegantly carved, and the majestic facade is striking. It is attached to a mandapam with 101 pillars, but most of the mandapam is in a dilapidated condition, and it is not safe to walk inside. If it were well-maintained, the people of this place wouldn’t need a marriage hall.
Sometimes, artifacts from unexpected places are extraordinarily special and unforgettable.
Though just a few kilometers from my native place, I haven’t visited Kudumiyanmalai (Kuṭumiyāmalai / कुडुमियामलै) in a long time. It is a common failing, I think, we often overlook the value of the things close by and readily available.
Kudumiyamalai: A historical gem and a treasure of sculptures
Sikanatha temple, Kudumiyamalai | Pandian Ramaiah, 23 April 2007
Yet, Kudumiyamalai boasts a rick history, with Jain beds on its western side of the hillock believed to date back to 2nd century.
Similar to other natural caverns of Jains, the one here offers a breathtaking panoramic view of the surrounding landscape for several kilometers. Writer Jeyamohan believes that our minds will open upon seeing the wide vision of nature. The River Vellar and its banks are particularly picturesque from this vantage point.
One of the most memorable aspects of my village life during power cuts was the collective experience. We’d all emerge from our homes and instinctively glance towards the hilltop. If the light atop the hill remained dark, a sense of shared relaxation would settle in. At least, we were all in the same boat! It’s a little ironic that despite the decades that have passed since my birth, power cuts still occasionally disrupt life in my village.
On the eastern foothills lies a cave temple, dedicated to Lord Shiva. Near by, a structural temple, Sikakirisvara Temple, houses another Shiva shrine. The exact time of construction for this temple remains unknown. However M V Kiran, my ex-colleague who documented this place along with my ex-Boss, noted that most early Chola inscriptions are found in near by Melakkovil (another shine near by) and second prakaram. This suggests that the main shrine might have been remodeled during later periods. Nayaka too involved in development of this temple with beautifully sculpted pillars with intricate carvings.
Two of these sculptures, Rathi and Manmadan, are the focus of this post.
Rathi and Manmadan: A story of Love and Loss
Belief in Rathi and Manmadan, the Hindu god of love, extends back to Vedic period. The story of Kama (Manmadan)’s destruction in Shiva Purana is well-known. When Indra sought Manmadan’s help to awaken Lord Shiva from his medidation, Manmadan’s arrow of love angered Shiva.
Shiva opened his third eye and destroyed Manmadan. Though later revived, Manmadan was condemned to leave heaven and reside in the hears of all men in earth. Following her husband, Rathi too descended to earthly realm, dwelling within the heards of women.
Sculptures depicting Rathi and Manmadan are found throughout Tamil Nadu, but the one in Kudumiyamalai is particularly notable.
Rathi devi, Kudumiyamalai | Pandian Ramaiah, 23 April 2007Kama / Manmada, Kudumiyamalai | Pandian Ramaiah, 23 April 2007
The damaged state of these sculptures is truly saddening. Imagine their beauty, if they were fully intact!
“What shall I do? Where can I go? What is it that the gods have done in making my husband a victim thus? They have called him here and destroyed him.” –Chapter 19 – Kama’s destruction by Siva
This lament of Rathi devi, upon death of Manmadan, echoes my own sorrow at the sight of these damaged sculptures.
Artist Silpy’s drawings offer a glimpse of their potential splendor.
Rathi of Kudumiyanmalai drawn by Artist SilpyManmadan in kudumiyanmalai, drawn by Artist Silpy
I am particularly fond of this Manmadan sculpture. He is depicted with a distinctly masculine physique and mustache, a feature that resembles Nayaka style.
The Javanese Connection: Wayang Kulit
I am fascrinated by the connection to Javanese culture, Wayang Kulit, a traditional shadow puppetry art form originating from Indonesia, especially Java and Bali, often draws themes from Indian epics and Purana-s. The story of Shiva and Manmadan is depicted in this puppet show – KAMAJAYA-KAMARATIH.
In Javanese puppetry, Batara Kamajaya and his wife, Batara Kamaratih are symbols of a harmonious couple. Both are handsome and beautiful and have the duty as the god of love in the puppet world. Known to be very harmonious, loving each other, and loyal to their partners. There is never a story of a dispute between the two.
It is said that one day, Batara Guru (Parameswara or Shiva) was meditating and suddenly heaven was shocked by an attack by a giant army sent by Prabu Nilarudraka which overwhelmed all the gods. The situation became increasingly critical, the gods then followed Batara Guru to wake him up from his hermitage. However, all efforts failed. Batara Guru remained steadfast in his meditation.
Batara Kamajaya then took the initiative to wake Batara Guru up using the Pancawisaya Arrow. If this arrow hits someone, it will create a feeling of love and arouse lust. The arrow was released and hit Batara Guru, immediately his meditation was cancelled and he woke up in a state of anger. From his third eye, a blue light appeared which immediately hit Batara Kamajaya and burned his body.
Knowing the death of Kamajaya, Batari Kamaratih asked to be killed by Batara Guru too so that she could follow her husband. Batara Guru, who was overcome with anger, then revived Batara Kamajaya using Tirta Amerta. However, because he had made a mistake, Batara Kamajaya was then sent to reside in the souls of men in the world. Meanwhile, Batari Kamaratih also came down and resided in the souls of every woman.
The two gods are tasked with uniting the souls of men and women into a pair of lovers or husband and wife who are equipped with love, affection, and harmonious relationships.
The story in Javanese puppet show resonates deeply. Batara Kamajaya and Batara Kamaratih embody a harmonious couple, fulfilling their duty as gods of love.
I am amazing to consider the interconnections of these cultures across vast distances. Kudumiyamalai in Tamil Nadu and Javanese shadow puppetry tradition – both reflecting the timeless story of Rathi and Manmadan.
Have you been to Thirumayam? If you are a orthodox Vaishnavite, it is a revered divyadesam – one of the 108 holy shrines celebrateed by Alwars in their hymns. The Vishnu shrine here predates the famous Srirangam temple. The Ananta Sayani – Vishnu reclining on his serpent bed with Lakshmi beside him – is larger than that of the one at Srirangam.
Shaivaites also find significance in Thirumayam, home to a magnificent Siva temple. The consort of Lord Shiva here is beutifully named as Venuvaneswari. That means ‘Eswari of Venu Vanam‘ (bamboo forest). The temple is attached with an octagonal shaped uruni – the holy pond.
Satyagirisvara temple (Shiva temple), Pandian Ramaiah, 28 Feb 2010. There are two famous rock-cut shrines, one of Siva [shown here] and the other of Vishnu, adjacent to each other.
Historians will find Thirumayam brimming with centuries of historical facts. The cave temples are believed to date back to 7th century AD. From a chronology perspective, I need to highlight that work at Ellora caves might have started around this time. It features one of the Tamil Nadu’s largest inscriptions. The site witness the stories of colonial aggression too.
Thirumayam Fort, Pandian Ramaiah, 28 Feb 2010. Before reaching the town, one can see a fort atop a large hill. In past centuries, the fort was much larger than what now obtains; this is affirmed by the fact that the main entrance to the old fort lies about one kilometer south of the present-day fort. This extrance to the old fort still stands, it has a courtyard with pillared corridors and shrines of various deities. The sculptures on the pillars are truly beautiful. The Thirumayam fort, set in 40 acres, is of great historical importance. It was built by Sethupathi Vijaya Ragunatha Thevar, ruler of Ramanathapuram in AD 1687.
But I write this post to mention about one of the icons, that left a profound impression on me – Lingodbhava.
How ever this post focuses on a particular icon that deeply captivated me – the bas-relief of Lingodbhava.
It shows the supremacy of Lord Shiva. It begins with a dispute between Brahma and Vishnu over who is superior. To resolve this, Shiva manifested as a colossal pillar of fire, challenging them to find its beginning or end. Brahma transformed into a swan and flew upwards. Vishnu became a boar and dug downwards.
After a long search, Vishnu accepted defeat, recognizing Shiva’s greatness. In contrast, Brahma falsely claimed he found the top with the help of a tāḻampū – screw pine flower (or Ketaki flower in some version). Angered by this deceit, Shiva cursed Brahma to be un-worshipped, thazhampoo and Ketaki flower are banned from using it to adorn gods and declared that the Lingodbhava would symbolize his eternal presence.
Tamil revolutionary poet Bharati’s poem captures this.
Tamil: அடியும் முடியும் அறிய முடியான் Diacritics: aḍiyum muḍiyum aṟiya muḍiyāṉ Hindi: अडियुम् मुडियुम् अऱिय मुदियान्. Meaning: The one whose start and end could not be found.
Usually Lingodbhava statue is found at the rear of Shiva sanctums. The one in Thirumayam, carved inside the 7th century cave temple, is truly inspiring. Rising from the floor to the ceiling, it is a colossal representation of the story. By the time I saw for the first time, it was breathtaking, unable to avert my eyes.
The entire cave temple was likely adorned with vibrant murals in the past. I can only wonder the splendor of the cave with its decorated walls and ceiling. Sadly, most of these murals are lost. mirroring the fate of similar paintings in Sittannavasal and Kanchipuram.
This Lingodbhava in Thirumayam is one of the earliest such artifacts in India.
Since that encounter, whenever I see Lingodbhava, it inevitably evokes the memory of the one in Thirumayam.
The realization of truth in life mirrors this philosophy. The more we dig, more we learn.
Pandian Ramaiah, 28 Feb 2010. There is no connection between this picture and this post. It is the memory of the road and bus existed a decade ago, before taken over by National Highways.
Kodumbalur (கொடும்பாளுர் / Koṭumpāḷūr / कोडुम्पाळूर्) is a hamlet near my birthplace. When something is so near and freely available, you won’t realize its value. This is a general global phenomenon. I am no exception.
It is historically important as it was the headquarters of the Irukkuvels, one of the chieftains of the Chola kingdom. In the popular novel Ponniyin Selvan, Vanathi, Princess of Kodumbalur, was a close associate of the powerful Chola princess Kundavai. She was in love with Arunmozhi Varman, also known as RajaRaja Chola.
According to the epic Cilappatikaram, the protagonists Kovalan and Kannaki crossed this place on their way from Uraiyur (modern-day Tiruchirapalli) – one of the Chola capitals – to Madurai, the Pandya capital. This epic names this place கொடும்பை நெடுங்குளக் கோட்டகம் (Koṭumpai Neṭuṅkuḷak Kōṭṭakam / कोडुम्पै नेडुंगुळक् कोट्टकम्).
Such a busy town is now just a village now. This place has three important archaeological sites:
The Muvar Kovil (Temple of Three),
The Aivar Kovil (Temple of Five),
The Mucukuntesvara Temple.
The Muvar Kovil temple enchants every viewer. It is older than the Thanjavur Brihadisvara Temple (or Big Temple).
Kodumbalur vimanam | 📸 M V Kiran
But the focus of this post is one of the icons we can see at Kodumbalur: the Kalari Murti idol of Shiva.
Kalari Murti, Kodumbalur | 📸 M V Kiran
The story goes like this: Shiva’s devotee Markandeya was supposed to die at the age of 16. Impressed by his deep devotion, Shiva wanted to help him by challenging Yama, the god of death. Shiva performed a ‘playful dance’ (களிநடனம்) on top of Yama, pushing him away and saving his devotee.
Markandeya episode, Raja Ravi Varma.
This sculpture at Kodumbalur is considered one of the finest examples of early Chola art and iconography. The representation of Shiva as Kalari Murti is in the first tier of the eastern niche of one of the remaining temples.
Look at the above picture. Shiva is shown in a dynamic, dancing posture, indicating a destructive attitude. However, killing Yama would stop deaths in the universe, destabilizing the equilibrium. Therefore, Shiva is careful not to push Yama to death. He is dancing on his back playfully. Note the smile on Shiva’s face and the horror on Yama’s face. This symbolizes Shiva’s victory over death.
The soft molding of his abdomen, thighs, and legs makes this sculpture unique. The compassion shown on Shiva’s face brings a smile to our faces too!
If you happen to travel to Tiruchi or Madurai, do not forget to visit this beautiful early chola temple. The same form of Shiva is common to see in other places too.
Kalantaka Shiva, Kailasanatha Temple, Kanchipuram. I found this photo on facebook. Kalantaka Shiva, Gangai Konda Cholapuram, (c) the sculptor, photo (c) Rahul Naidu
Bronze sculpting is one of the unique skillsets of ancient India. The Dancing Girl bronze from the Harappan civilization is believed to be at least 3,500–4,000 years old.
Over time, this art form reached its peak during the Chola period. Chola bronzes are so exquisite that they have attracted smuggling networks. You may read Idol Thief by Vijay Kumar for more on this topic, but it is not the focus of this post.
One afternoon, my first boss called my colleague and me for a discussion. Thiruvarangulam, a place on the outskirts of Pudukkottai Town in Tamil Nadu, was also part of the discussion. This place is home to a beautiful Shiva temple dedicated to Sri Haratirthesvara. In Tamil, it is called Thiru Aran Kula Nathar.
The main shrine dates back to the 12th century. Around that time, the Chola dynasty had already conquered parts of northern Sumatra, the Khmer Empire was prominent in Angkor, the Srivijaya Empire was ruling the Malay Peninsula (though its dominance was declining), and the Majapahit Kingdom had not yet been established.
My boss mentioned that the temple once housed a stunning bronze statue of Nataraja, the dancing Shiva. This statue is now prominently displayed in the Delhi Museum. He marveled at it, saying it is one of the best Nataraja bronzes ever sculpted—perhaps the second best.
(c) Wikipedia
Nataraja performs his cosmic dance on the dwarf Muyalaka, who is positioned on a padma peetam (lotus pedestal). Nataraja has four hands, two on each side. In his upper right hand, he holds a damaru (udukkai); his lower right hand displays the abhaya mudra (gesture of fearlessness); his upper left hand holds fire; and his lower left hand is in a dancing pose. His legs are elegantly positioned in a dancing stance. The entire balance of the Nataraja bronze rests on his hands and the dancing Muyalaka.
I have yet to visit the museum and see this masterpiece in person. One day, I will go.
Pray for it, let it be bestowed, Wish for it, let it rain down like a snow. Take a stand for what is right, and pure, And the nectar of grace shall surely pour.
Water is a gift, a grace so divine, Transforming barren land to liquid fine. Out of its kindness, it softens stone, Turning harsh earth to liquid all its own.
-unofficial translation of a part from Jeyamohan’s novel Kratham.
These are the descriptions about Varuna, the God of rain, by Jeyamohan. Getting wet in rains is a blessing. This a story of getting wet in summer rain.
We went for an interesting trip to saw 4 monuments.
Dilapidated Shiva temple, Pulvayal
Shikanatha Shiva temple, Kudumiyanmalai
Muvar Koil, Kodumbalur
Aivar Koil, Kodumbalur
Our first hop is Pulvayal. The temple is on the right side of Pudukkottai – to Manapparai road.
You can find he temple right behind a school there. The half of the temple is damaged already. It is so pathetic to see the temples like this. There is a beautiful Shiva temple surrounded by parivara temples. Despite not being an worshipped temple, there were traces of viscous of lamp-oil. I am interested to see who that obedient devotee is.
From there, Kudumiyanmalai is not far. Due to summer, all the ponds on the way were either dried or close to dry already. A life size statue of Kangeyar welcomed us inside the temple. The 1000 pillared hall is renovated from its dangerous condition 20 years ago. The temple is at the foot of a massive rock.
Relieves of Nayanmar-s (c) pudukkottai.org
The rock has a fold on it, where 64 nayanmar bas relieves were carved. Annai and Ammai was seating on a bull at the centre.
Kodumbalur is close to 1 hour travel from Kudumiyanmalai. Kodumbalur has 3 archeological sites Muvar Koil, Aivar Koil and Muchukundevara koil. We visited two of them that day.
We started with Muvar Koil.
Muvar temple
Sanjay was reading the ASI board there which said ‘It was built by Boothi Vikrama Kesari, who is a chieftain of Sundara Chola.’
It was just a one liner. But it brought the timeline in our mind. Muvar temple is earlier than the famous Thanjavur Brihadisvara temple. People used to say these may be trials before the construction of Thanjavur temple.
The most beautiful one is Muvar koil, the temple-of-three! But we can see two temples only now. One is demolished. We saw the basements only. The garden was beautiful. Due to rains, it was so pleasant to visit that time. Sun took a short break, to allow us to visit the temple.
Rain water harvesting in Muvar Koil complexRain water harvestingWay to Aivar koil after renovations
Aivar koil is a just a collection the basements of five temples. If it existed, it could be the most massive and beautiful temple complex in Kodumbalur. It is heart breaking to see the temple basement. What those invaders got by destroying art forms? treasure right.
Aivar Temple Complex in Rainy clouds. Must have been a massive structure. Cleanly destroyed and buried
There is a saying in Tamil for those who steal the properties of Siva temple, Sivan soththu kula naasam – ‘Shiva’s property is the destruction of clan’. Despite the condition of those invading countries even in 21st century, still the theft continues.
Pulvayal and Kudumiyanmalai were as pleasant as they were forty years ago.
It is a pleasant surprise to see the latest Kodumbalur monuments after the developments performed by Archeological Survey of India. They have an lushy lawn. There is a path made of stone slabs. Publications of ASI were also available. Entry fee is ₹15 per person.
Another interesting fact is, Kodumbalur was a capital of Irukkuvel-s. It is mere a village now. When Kodumbalur flourished, there is no Chennai. See the way time travels!
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