Madurai‘s bustling street, or ‘kasakasa‘ as we call them in Tamil, were my frequent haunt during my under-graduate years. I’d navigate the crowded Town hall road, hunting for electronic parts for my often-unsuccessful projects. The city’s energy was intoxicating, allowing me to venture there after classes and return home late in the night. Evenings often found me at Periyar bus stand, happily munching onion bajji-s that filled my belly with utmost happiness!
Sri Meenakshi Temple, (mīnākṣī/मीनाक्षी) a stone’s throw from Town Hall Road, became my sanctuary. My reverence for the queen of Madurai grew with each visit, continuing even after I started working, with frequent trips between July and October 2002.
Armed with newfound passion for photography and digital camera, I set out to verify my readings about the temple in person. Sadly many of those captured moments have been lost over time.
The temple stands as testament to magnificent sculpture, with Nayaka dynasty’s contributions during 16th and 17th centuries, being particularly impressive. In the mukha-mandapa of the Sri Sundareswara shrine (śrī sundarēśvarā/श्री सुन्दरेश्वरा), The Agni veerabhadra (agni vīrabhadrā/अग्नि वीरभद्रा) and Agora Veerabhadra sculptures captivate visitors.
Veerabhadra, born from Shiva’s wrath, is a formidable figure Hindu purana-s. The sculpture’s imposing presence is really scary with its four arms on each side wielding various weapons, including a bow in his right hand and left hand taking an arrow from quiver at his back. Notably a long sword – instrument of Daksha’s demise – is in one of his left hands.
As per iconography, Daksha should be depicted with the head of a goat nearby with his hands in a worshiping position. This representation symbolizes his resurrection and humility after Shiva restored him.
Additionally Bhadrakali, who was also created from Shiva’s anger along with Veerabhadra should be beside him. I don’t recall seeing them. I’ll have to check next time to be sure.
One concerning practice I observed was people throwing butter balls at the sculpture. This ritual, of unclear origin, mars the sculpture’s beauty and combined with inadequate maintenance, is a worrying sight.
The story of Daksha resonates even today, reminding us of the consequences of unchallenged ego. His transformation, symbolized by the goat’s head, represents the potential self-recovery and ensure we are on the way to enlightenment.
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