I had an opportunity of attending a temple tour of Sri Airavatesvara Temple (Airāvatīśvara, ऐरावतीश्वर) at Darasuram (Dārāsūram, दारासुरम) by one of the best historian Mr Kudavayil Balasubramaniam. That was my first time visiting this temple. I had been there alone few times to explore. Yet, I need to read and understand about this temple in detail.
Airavateshwarar Temple, Darasuram | Picture: Pandian Ramaiah 27 Dec 2011
This a marvel in south Indian temple architecture. Built by RajaRaja Chola II and later renovated by Kulothunga III as per the inscriptions in this temple.
This marvelous temple is a gallery of fine carvings of Periyapuranam (Periyapurāṇam, पेरियपुराणम्), stories about 64 Saivite devotees. In addition it has micro carvings, small sculptures, ornamental pillars. It makes any visitors mad and forcing them to come back to this temple again and again.
One of the small sculptures in the rear prakaram (pathway) of the temple is the focus of today’s discussion. The panel is of half foot or even lesser. This unique carving shows a pregnant woman giving birth, assisted by two other women, while one other woman is watching near by (probably waiting to hold baby).
Laboring woman, Darasuram | Picture: Pandian Ramaiah 27 Dec 2011
This carving is notable for its detailed portrayal of child birth and the support provided by women during delivery at that time. Giving birth in standing position is widely practiced in many parts of the world. The techniques may vary. When I search for similar sculptures, there a few within in Tamil Nadu itself. But this is one of the best in aesthetically.
People there says, these sculptures are worshiped by conceived ladies for better laboring. In addition to spiritual symbolism, it stands still as a documentation of ancient delivery (which was practiced until recently), the skillful artistry of Chola kingdom.
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.
