Evolution of Temples in Tamilnadu - 1

Tamilnadu is abundantly blessed with a lot of temples. Temples in Tamilnadu are famous for their historical, spiritual aspects and mythological associations with the Puranas and Itihasa. The main reason for such abundant growth of temples and its worship in Tamilnadu has come a long way and many Kings of different dynasties have innovated and patronized this custom of constructing temples in various forms and sizes.

Front Facade of the Lower-Rock-Cut-Shrine, Trichy

If we closely study and understand the temples, the holistic approach and usage of this divine cultural space, it forms a whole ecosystem that provides (still providing) a livelihood for thousands of people. A Temple is not just a place of worship. It is a whole ecosystem that had survived and still thriving beyond a millennium. Temple as a whole is a socio-cultural recreational space. In the first place, constructing a temple means providing a job for the Sthapatis/the sculptors. They were well-paid and patronized for their craftsmanship, keeping in mind that we are always moved by the skills they possessed a thousand years ago. Because of temples, art forms like dance, music and folklores were patronized. Temples were the perfect medium through which art forms were understood by common people.

Other untold art forms that needed understanding and skills like decorations during the festivals (be it floral decoration as well as the decoration done by the priest within the sanctum and for the processional deities) were celebrated. Other ritualistic practices like chanting of the Vedas and other sacred hymns during an occasion were taken care. This in turn made divine literature in Tamilnadu like the sacred Thevaram, Divyaprabhandam and other important poems flourish with the help of various cultural institutions patronizing it.

Gangadharamurthy/Mahendravarman - Upper Rock-Cut-Shrine, Trichy

Now coming back to Temple architecture, In the Sangam literature of Tamil, we have a lot of references to temples that were built of perishable materials like wood, bricks, thatched roofs etc. Then came the ever intelligent Mahendravarma Pallavan of the Pallava dynasty. In the cave temple at Mandagapattu, he inscribes that he’s built the temple out of non-perishable material (i.e. Rock). He also inscribed that he didn’t use wood, bricks, metal nor mortar. While Mandagapattu cave temple being the Northernmost, Lalitankura Pallaveswara Gruham at the Trichy rockfort is the southernmost cave temple of Pallavas in Tamilnadu. There is a common claim by scholars that the Pillayarpatti cave temple constructed by the Pandyas were the first rock-cut cave temple. But for now, we are not getting into this debatable topic. 

Kanchi Kailasanathar Temple

Tamilnadu houses hosts many rock-cut cave temples built by Pallavas, Pandiyas and Muttaraiyars in which the Pallava rock-cut cave temples being beautiful and famous among the others. Pallava Kings can be rightfully called the pioneers of the evolution of temple architecture in Tamilnadu, for their innovative contributions. Cave temples were the initial development in Tamilnadu’s temple architecture during the early 7^th century CE. Narasimhavarman I, son of Mahendravarman started experimenting the concept of “monolithic” structures, which are now known as “Pancha Pandava Rathas” at the Mamallapuram.

Another marvelous development took place when Rajasimha Pallavan decided to build a structural temple, which is now popularly known as the Kailasanathar Temple (685-705 CE). This, being the oldest structural temple existing in Tamilnadu is built of sandstone. The temple has seen 3 layers of development or additions. The central sanctum built by Rajasimha Pallavan, then the sanctum in front of the central shrine built by Mahendravarman II and the dedicatory shrines in the front of the complex were built by the Pallava queens. One remarkable evolution here in this temple is the main entrance. The first ever two-level Rajagopuram is seen here. For me, this temple is a sandstone marvel and the oldest treasure trove of sculptural panels. It also shelters the remnants of paintings of the Pallava period.

 

Vaikunda Perumal Temple, Kanchipuram.

Parameswaravarman further added to this huge development by building the Vaikunta Perumal temple aka Parameswara Vinnagaram. The central shrine has three storeys and in each storey, different forms of Lord Vishnu has a sanctum. The ground floor shelters Lord Vishnu in sitting posture, in the first floor the reclining posture and in the second floor the standing posture of Lord Vishnu is placed. Currently the sculpture in the second floor is absent. Another interesting fact about this temple is the sculptural panels in the circumambulatory passage. These panels depicts the whole history of the Pallava Dynasty as well as few panels depicts the Puranic stories. 

 If you had observed that temples in Kanchipuram, especially the ones which are historically old doesn’t have a separate shrine dedicated to Ambal/Parvati, the consort of Lord Shiva unlike its commonly seen in the temples that were built later. This notable addition came into existence only during the later Chola period (as the scholars term this period).

Dedicatory Shrines in front of the Kanchi Kailasanatha Temple

Pallavas were innovative enough to establish a standard for building temples in Tamilnadu. Along with the temple architecture, Tamil literature saw a significant growth. Many saints and poets sang hymns in praise of Lord Shiva and Vishnu. The Shaivite quartet sang Thevaram and the Vaishnavite Azhwars sang Diyvaprabandham. All these literature were praised and patronized by the Kings throughout different generations from 6^th-8^th Century CE. Cholas who rose to power in the 9^th century further understood the importance and sweetness of this literature which beautifully describe what Bhakti is. We’ll briefly look about the greatest contributions of the Cholas in the next blog post.

Yours East Gaterr

Kunnandar Kovil and its Lost Glory

Kunnandar/Kundraandar Kovil is a small village in the outskirts of Pudukottai. It is easily approachable from Thanjavur. Since it is remotely located village, it is recommended to travel by private vehicle, yet there are rarely buses operated towards this route. 

The Entrance of the Temple

  

Kunnandar Kovil made me realize of the obsession I have for rock-cut cave temples. Earlier I used to explore more of structural temple that are of historic and spiritual significance. When I visited the rock-cut cave shrines at the Rockfort, Trichy, it seems I started falling in love with these type of temples. Rock-cut cave temples were the precursor to the structural temple, a style that evolved with the innovative ideas of Pallava Kings. Mahendravarman Pallavan was the first king to construct a temple without perishable materials like wood, iron, plaster etc. which is inscribed in his first ever rock-cut cave temple at Mandagapattu. 

The Two-tier incomplete Rajagopuram

 

Kunnandar Kovil was in my list since a long time and every time when the plans failed, it just kindled my curiosity. Finally, I got the call from Parvatagirishwarar and explored this beautiful temple with my mom. I was just seeing images from google map and thought this was just another structural temple. To my surprise, I got to know that it is a rock-cut cave shrine only when I reached there. Otherwise I was just thinking that this temple was famous because of the Nritya Mandapam that is within the temple complex. This Nritya Mandapam is a typical Vijayanagara/Nayak style structure. This Mandapam resembles like a chariot being pulled by two horses on each side. The chariot like Mandapam is a famous style yet found in very few places like Kumbakonam, Darasuram, and Melakadambur etc. Building of such Mandapam, shrine that resembles like a chariot developed during the period of later Cholas. 

The front Side of Natya Mandapa Resembling a Chariot

The main rock-cut shrine shelters a Shiva Lingam carved out of the mother rock itself. The deity is named as ‘Parvatagirishwarar’ (the lord of hills). This rock-cut temple reflects the blend of Pallavas-Muttaraiyars style that was prevalent in this region. Also this temple complex is the one among such temples which reflects the stages of evolution in temple architecture. The main shrine is the oldest example of rock-cut cave, then the Ardhamandapa, Mahamandapa, Mukhamandapa, Ambal shrine and the chariot like Nritya Mandapam stands as the example of later structural development of the temple during different period of time carrying artworks of different styles of different rulers.

View of the Sanctum from the Mukha Mandapam

The earliest inscription in this temple is dated back to 8^th century CE. Although it is not about the foundation of the temple, but from then the temple has received patronage from every king and almost from every dynasty. There are about 37 inscriptions in this temple that states the various donation and other kind of information from different periods. There are inscriptions of Pallavas, Cholas, Pandyas and Vijayanagara kings found in this temple.

Ganapati in the Southern Niche

 

The Dwarapalas of the main shrine are in the super-human forms of weapons of lord Shiva. The southern being the Soolathevar (super-human form of the trident) and the northern being the Mazhuthevar (super-human form of the axle). In the southern niche, there is a beautiful Ganesha sculpted. It is the most celebrated form of Ganesha, Valampuri Vinayaka. It looks similar to that of the Ganesha in the Pillayarpatti temple, which is the earliest sculpture dated back to the 3^rd Century CE. In the northern niche, we see Umasahitamurty sculpted which is one of its kind. Lord Shiva is seen seated with his consort Umadevi and to the left of her we see a female attendant.

Umasahita Murty in Northern Niche

 

In the outer Prakara, there is an unfinished cave shrine. To the immediate north of it, is a Chandikeshwara sculpted. Other than these antiquities, we see that the temple has structurally developed over the period of time. The development of the whole temple complex includes the work of Pallavas, Cholas, Pandyas and Vijayanagara/Nayaks contribution. 

Soolathevar and Mazhuthevar - Dwarapalakas

 

The Nritya Mandapam in this temple complex is another notable structure. This Nritya Mandapam proves the importance that this temple would’ve received until that point of time. This Mandapam, once would’ve witnessed many dance and cultural programs. Now it seems only the people from nearby village would be visiting the temple occasionally.

Northern Rock-cut Shrine

On a small hillock behind the temple, there is a shrine dedicated to Lord Kartikeya. Generally, devotees celebrate and worship such shrines located over hillocks, stating such shrines are more powerful. 

Chandikeshwara in the Outer Rock-cut Shrine

  

The vibes around the whole temple complex now just expresses the lost glory of the cultural, religious and societal significance of the temple.

Yours East Gaterr

The Lesser Known Rock-cut Shrines at Trichy's Rockfort

When we hear the term "Trichy", the first thing that comes to our mind is the  vision of the giant rockfort atop in which the Uchi Pillayar is sitting and blessing the fertile land of Cholas. But the efforts of the poor Pallavas are often gone in vain who tried their level best to scoop the hard rock and sculpt a cave temple 200 ft above the ground level.

Shiva Shrine at Lalitankura Pallavesvara Griham (Upper Rock-cut Shrine)

Most of the people are not aware about this beautiful rock-cut cave shrine.  But Kalki’s fans might know about this magnificent sight. This cave temple is an important spot in the historical fiction. Vikrama Cholan plots to hoist the royal flag of Cholas on this Sirappalli hillock after bringing down the flag of Pallavas on a Purattasi Pournami day. Ultimately his uncle conspires against him and informs the Pallava King Narasimhavarman. He then arrests Vikrama Chola and sends him off to one of the islands that’s under the rule of the Pallavas.

Facade of the Lower Rock-cut Shrine

  

Since Pallavas are the ones who significantly understood the necessities of the temples and the temple architecture evolved throughout their rule. From rock-cut shrines to structural temples, Pallavas can be rightly called as the "leading light of building temples". Mahabalipuram exhibits the extent of experiments they carried out to finally innovate the best way of constructing a place of worship that would stand for millenniums to come.  

The Upper cave temple is named as the ‘Lalitankura Pallavesvara Griham’ as per the inscriptions engraved in the pillars and pilasters in beautiful calligraphic Pallava Grantham. This upper cave temple is assigned to the period of the great Vichitra Chittan – Mahendravarman Pallava (600-630 CE). This cave temple, although is not functioning now, but it is interesting for 2 main reasons. One is that Pallavas had so much expertise and their sculptors were adventurous enough to construct a shrine in the hillock at the level of 200ft from ground. It is said that there existed a Jaina bed in the same site, which later was extended by the Pallavas.It is said that Mahendravarman tried to build a sanctum for Lord Shiva. It is still puzzling debate on the exact purpose of the two sockets that is present in this shrine that is guarded by 2 handsome Dwarapalas.

Gangadharamurthy Panel

  

Opposite to this sanctum is the panel which stands as another important reason that this cave temple should be crowded by the people. Here is the beautiful panel of Lord Shiva represented as Gangadharamurthy. This Majestic sculpture of Gangadharamurthy is sculpted in a way such that it is overlooking the river Cauvery that helps the land of Cholas to flourish. The inscriptions engraved on the pilasters near this sculpture carries the Sanskrit verses in Pallava Grantha that talks about the greatness of Gangadharamurthy that is sculpted here. Another fascinating aspect of this Sanskrit poem is that it’s written in a style commonly known as ‘Dhvani’, which means that it conveys a message that has double meaning. Although the iconographical elements of this Gangadhara Panel is of Lord Shiva’s, but it can also be seen as Mahendravarman who imagined himself as great as the Gangadhara, who’s not only holding the sacred river Ganges (can be understood as his own Pallava kingdom) in his matted hair but also overlooks the prosperity of the Cauvery (Can be interpreted as Mahendravarman also overlooks/cares for the land of Cholas as well.

Goddess Durga - Lower Rock-cut Shrine

This is the poetic beauty of these Sanskrit verses that adds to the majestic charm of the Gangadharamurthy or it could also be Mahendravarman. Art historians also jokingly conceive that Parvati, consort of Lord Shiva was extremely angry on him as he not only holds Ganges on his matted hair but also overlooks another woman (river Cauvery), that is why she is not present/sculpted in the panel at all.

Some might get offended that it is not an appropriate way to portray a king through the Panel of God himself. But, Mahendravarman was one of the greatest of his times. Also for a die-hard fan of Mahendravarman like me (after reading Sivagamiyin Sabadham by Kalki and studying about his phenomenal contribution to the architectural evolution of temples and to the world of art), it is still understandable. This Gangadharamurthy panel justifiably reflects the charm of the king Mahendravarman. 

A Monkey amongst the Ganas in the frieze - Lower Rock-cut Shrine

Now, slightly coming back to the real world away from the charm of Mahendravarman. This huge rockfort of Trichy also shelters another rock-cut shrine. This is popularly (although not known to the masses) known as the lower-cave temple. The lower cave temple’s authenticity is still being debated by scholars. Few scholars assign this lower cave as the works of Pandiyans while the ASI claims it as the work of Narasimhavarman, the son of Mahendravarman Pallava. Both of these assumptions roughly dates after 630 CE.

This rock-cut shrine shelters life size sculptures of Ganesha, Kartikeya, Brahma, Surya and Durga in the prominent niches. At the each end of the cave, there are 2 sanctums. One sanctum has the bas relief of Lord Vishnu with two Dwarapalas and the sanctum opposite to this should have probably sheltered a Lingam or a relief of Lord Shiva. In the frieze of the Bhoota Ganas that is sculpted above the pillars in the front façade, monkey faced Gana is a notable inclusion.

Shrine of Lord Vishnu at the Lower Rock-cut shrine

The Ganesha’s relief in this cave temple is an important sculpture that stands as an evidence of the evolution of the Ganapatyam cult during that period of time in the region. Except the relief of Goddess Durga, all other deities are seen with 2 Vidhyadharas flanking them on each side. We can also see a man severing his head to offer it to Goddess Durga. This kind of offering is known as ‘Arikandam’ and this is done by some courageous war-heros in order to win in the battlefield.

Probably the Shrine of Lord Shiva - Lower Rock-cut Temple

Both these cave temples shelters significant sculptural relief. The upper cave temple is the only southernmost rock-cut shrine built by Pallavas.

Lord Ganesha's Relief at the Lower Rock-cut Temple

Both the Upper and lower Cave temples are sadly existing there for over a millennia and awaiting for  people to come and explore them. The deities in these rock-cut shrines would be happy even if half the crowd that visits the Uchi Pillayar and Thayumanaswamy leisurely takes some time and explores them.

Yours East Gaterr

Treat to Our Eyes - Kan Niraindha Perumal Temple, Malaiyadipatti

Tamil Nadu have many surprises for heritage and spiritual connoisseurs. Millennium old temple and their evolution is one interesting subject to delve into. I got curious when I got to know about a cave temple, located within 40 Kms from Thanjavur. It is the Malayadipatti rock-cut cave temple of Ananta Padmanabha Swamy temple, which is known as the Kan Niraindha Perumal Temple. There is also a Shiva Temple, Vageesamudaiyar temple just adjacent to the Vishnu shrine and is older than the latter

Kan Niraindha Perumal Temple Entrance

The inscriptions in the Shiva temple addresses Dantivarma Pallavan, with which the temple can be dated to be built in the 8^th century CE. The shrine of both Lord Shiva and Vishnu are carved out of the same rock. As usual, the shrine of Lord Shiva is simple and divine, while Lord Vishnu’s shrine is the actual treat to our eyes. The shrine of Vageesamudaiyar predates the shrine of Ananta Padmanabha Swamy.

Vageesamudaiyar Shrine shelters one of the earliest Sapta Matrika panels in the temple sculptures. In the same panel, there is Veerabhadrar and Ganesha at each end. This Sapta Matrika panel is unique and is an important development aspect of this sculptural representation. There are some pillars with beautiful floral patterns and interesting inscriptions. The Chola period inscriptions addresses the deity as Vageeswara and renovations done by Sundara Chola.

Simha Pillar of Pallava Era in the sanctum of Lord Vishnu

The Vishnu shrine, facing north has a huge sanctum. The Sthala Sayana Perumal is also known as Sri Ranganathar. He could be easily 15-20 ft. in length and is similar to that of the main deity at the Thiruvananthapuram Ananta Padmanabha Swamy. This Shrine also shelters Ugra Narasimha, Hayagriva, Vaikuntanathar with his consorts Bhoo Devi and Sri Devi, Pundarikaksha Perumal, Garudan near the Perumal, Brahma from the Nabhi of the Perumal, demons Madhu and Kaitabha, Rishi Diwakara and a Lakshmi Narayana with many other processional deity.

As you enter the sanctum, you can see majestic Simha Pillars of the Pallava period. 2 Pillars in front of the Sri Ranganathar which makes the shrine to resemble that of the shrine at Thiruvananthapuram. Outside the shrine of Lord Vishnu, his consort Kamalavalli Thayar’s shrine is built by Achyutappa Nayak of the Thanjavur Nayaks. 

Sapta Kannika Panel in Vageesamudaiyar Temple

Worshipping the Lord Ananta Padmanabha here, helps one to recover from the ailments of eyes and for couple to be blessed with a child. Hayagrivar blesses the devotees for good knowledge, wisdom and education.

Coming around the area of the temple, we can climb the simple hillocks. We can see different signs being carved in the rock on ground. Then there is a butter ball like rock, under which there is again an inscription. The whole temple complex and the view from the top of the hillocks is a peaceful sight for us to relax after a breathtaking and crowd-free Dharshan of both Sri Ranganatha aka Kan Niraindha Perumal and Vageesamudaiyar.

Malayadipatti Butterball

Temples like these are partially left unexplored. People can have a relaxed Dharshan without too much crown unlike the one in Sri Rangam or in any other mainstream temple. Though this temple is located in a remote location, you can reach this temple from Chathram Bus stand of Trichy to Thuvakkudi and then change another bus from there. It is easily located when you commute by personal vehicles. One should visit this majestic shrine at least to witness the grand shrine and also for the beautiful sight from the hillocks.

Contact- Narayana Bhattar: 9944313275

Yours East Gaterr