Tirunelveli Region Travelogue (Pandyan Yatra 2015) Part 4.2: Rajagopalaswamy Kulasekara Perumal temple, Mannarkoil

Rajagopalaswamy Kulasekara Perumal temple, Mannarkoil

Our next stop was the Mannarkoil. Mannarkoil Rajagopalaswamy Kulasekara Perumal temple is located at a distance of about 1 km towards west side from Brahmadesam Kailasanathar Temple. From Ambasamudram The town and the temple is situated at a distance of about 5 km  from Ambasamudram off the Tenkasi  –  Kurtalam Highway.

Mannarkoil is an island  bounded by the Thamirabarani river on the south side, and the Ghatana river on the north side. The island looks like Srirangam near Tiruchirapalli. Rangam means island formed in between two river courses. Mannarkoil has always been in the pilgrimage itinerary in  Tirunelveli district by the vaishnavite population.

The historic Rajagopalaswamy Kulasekara Perumal temple (இராஜகோபாலஸ்வாமி குலசேகர பெருமாள் கோவில்) is situated on three sprawling acres of land in the village of Mannarkoil. The imposing perimeter walls enclose temple structures. The village and the temple are mentioned as Vedhanarayanpuram (sound of Vedas is always heard here) and Rajendra Chola Vinnagaram respectively in ancient records.  
 
Quick Facts

• Name: Rajagopalaswamy Kulasekara Perumal temple, Mannarkoil
• Historical Names: Vedhanarayanpuram (வேதநாராயணபுரம்), Vedapuri (வேதபுரி), Rajendra Vinnagaram (இராஜேந்திர விண்ணகரம்)
• Presiding deity : Veda Narayana Perumal (வேதநாராயணப் பெருமாள்)
• Processional deity : Rajagopalaswamy with Garuda
• Consorts (Goddesses) : Vedavalli Thaayar (வேதவல்லித் தாயார்) and Bhuvanavalli Thaayar (புவனவல்லித் தாயார்).
• Holy Tree: Jack tree  (Artocarpus heterophyllus)
• Holy water: Tamirabarani river, Ghatana river, Bhrgu Theertha
• Time to visit :  The temple is open from morning 7.00 clock till 12.00 noon and from 5.00 to 7.00 pm.
• Location: Mannarkoil, bound by two rivers Thamirabarani  and  Ghatana. About 5 km West of Ambasamudram Town. Located in the Tirunelveli - Senkottah Road.
• Contact: PS. Narasimha Gopalan Acharya @ 04634 252874

Unique Features

• The village and the temple are located in an island surrounded by two perennial rivers - Tamirabarani and Ghatana.
• In the 10th century A.D., after the Chola conquest of Pandyan country, the riverine of Tamirabarani - Ghadana nadi was established as a Chola colony.  Jatavarman alias Sundara Chola Pandya (1017-18 A.D), aka Chola Viceroy (feudatory of the Rajendra Chola I) formed new townships and converted the  forest lands for cultivation. This temple is the Chola temple built in the Pandya country. 
• Ashtanga Vimana (Eight limbs or organs) architecture, one of the very ancient styles of temple construction, is radically distinctive vimana style of this temple. It is structural different from Sashtanga (six limbs or organs) vimana
• Both the vimana and koshtam has Dakshinamoorthi (a form of Lord Shiva).
• Vali worshiping Shivalingam
• A dancing Ganesa sculpture
• This temple has some miniatures of Ramayana.
• The saint Kulasekara Azhvar spent his last 30 years in Mannarkoil and attained moksha here. Therefore Mannarkoil has become the Thiruvarasu Koil for Kulasekara Azhvar (திருவரசுக் கோவில்) (place where Azhvars join the feet of the Lord, is called 'Thiruvarasu' ) .  
• As a token of respect, the temple authorities have aptly named this temple as Rajagopalaswamy Kulasekara Perumal temple.
• Mannarkoil is the birth place of Vaadhi Kesari Azhagiya Manavala Jeer (வாதி கேசரி அழகிய மணவாள ஜீயர்) who wrote extensive explanation (vyakgnanam (வியாக்யானம்) or urai) to Thiruvai Mozhi (திருவாய்மொழி) - 1102 hymns, composed by Nammazhvar (நம்மாழ்வார்), forming part of Nalayira Divyaprabandham (நாலாயிர திவ்ய பிரபந்தம்) or 4000 Tamil Hymns (Pasurams பாசுரம்). The title of the explanation  is known as ‘Panniraayira Padi.’ (பன்னிரெண்டாயிரப் படி).  
• Shri.Narasimha Gopalan Acharya, who belongs to the Periya Nambi ancestry, has taken single handed effort to renovate the temple from dilapidated state. He only received very minimal support from HR & CE. He is very keen in cultivating Shenbagam flower garden. His monthly salary seems to be just Rs. 245 only.

The temple, built in the 11th century A.D., during the rule of the Chola monarch Rajendra Chola I (முதலாம் இராசேந்திர சோழன்) (1012-44 A.D.), has a very unique architectural design. Unlike the majority of the temples which have only one main sanctum enshrining the presiding deity, Mannarkoil has  three vertically aligned sanctums, all facing east, one above the other, each housing one image of Lord Vishnu. The canonical texts call this style as ashtanga vimana.

Ashtanga Vimana

Ashtanga means 'having eight limbs or organs.' Usually, as a rule, vimanas are built on the basic six limbs or components: 1. adishtanam (plinth), 2. padam (pillars and the wall), 3. prastara (roof), 4. khandam (neck) 5. shikara (spire), and 6. stupi or kalasa (finial). In ashtanga vimana the main sanctum enshrines the presiding deity of the the temple. In between prastara  and khandam parts of the vimana the second shrine will be built above the main sanctum on the first stage (floor). The third sanctum will be built in between khandam and shikara  above the second sanctum. Thus ashtanga vimana will have 1. adishtanam (plinth), 2. padam (pillars and the wall), 3. prastara (roof), 4. second sanctum 5. khandam (neck)  6. third sanctum, 7. shikara (spire), and 8. stupi or kalasa (finial). Lord Vishnu, in ashtanga vimanas, is generally seen in either of the 3 forms, Ninraan (நின்றான் - Perumal in standing posture), Irundhaan (இருந்தான் - Perumal in sitting posture) or Kidandhaan (கிடந்தான் - Perumal in reclining posture like Ranganathar)

Ashtanga style of vimana, with three sanctums one above the other, was first built in the Vaikunda Perumal temple (வைகுந்தப் பெருமாள் கோவில்)  aka. Parameswara Vinnagaram (பரமேஸ்வர விண்ணகரம்), Kanchipuram in 690  A.D., during the time of Pallava ruler, Nandivarman II aka Pallavamallan (இரண்டாம் நந்திவர்மன் என்ற பல்லவமல்லன்) (731 - 796 A.D.). Sri Sundara Varadaraja Perumal temple, Uttaramerur (சுந்தர வரதராஜப் பெருமாள் கோவில், உத்தரமேரூர்) was built in 750 A.D. during Pallava rule on the model of Vaikunda Perumal temple, Kanchipuram. But, as a unique feature, Uttaramerur temple ashtanga vimana has three more sanctums around the main sanctum in the three cardinal directions in the ground stage and first stage. There are nine Mula Virats (main deities) under the same vimana. Lord Sundara Varadaraja Perumal in the main sanctum and the deities present in the ground stage include Kalyanavaradhan (south), Achutavaradhan (west) and Anurudhravaradhan (north). Lord Vaikundavaran is enshrined the sanctum above the main sanctum in the first stage and the deities present in the first stage include Bhagvath-Gita Krishnan with Arjun (south), Yoga Narasimmha (Lord in half human half lion form) (south) and Bhuvaragan (Lord in boar form) with Lakshmi (north). There is also Sri Dhakshinamurthi on the vimana facing south which is unusual in Vaishnavite temples. Lord Ananthapadmanaban is enshrined in the second stage sanctum. 

The other temples with ashtanga vimana include Sowmya Narayana Perumal (சௌமிய நாராயணப் பெருமாள்) temple in Tirukoshtiyur, Sivagangai district; Sri Koodalazhagar Perumal (கூடலழகப் பெருமாள்) temple, Madurai; Raja Mannar temple, Srivilliputtur; Sri Aadhi Narayana Perumal temple, Cheranmadevi; and Ashtalakshmi temple, Besant Nagar, Chennai.

The two tier (dvi-tala)  ashtanga vimana is having the Chola style of architectural features. The base vimana structure (from adishtana to prastara) is made out of hard granite stones. The super structure is made of brick and lime mortar mixed with palm sugar. The plinth (prathivari bandha adishtanam) of the sanctum includes jagathi, round (vritta) kumudham, prati or pattika. In between the wall and the basement the vedika component with a frieze of Vyala vari (row of Leogrif motif) elements is shown.   The entire pada portion of the vimana is divided into three segments called the pathis or bhadras. The projected corner pathis are called as karna pathis or karna bhadras. In between karna bhadras is projected rectangular sala pathis or sala bhadra. Between karna bhadras and sala bhadras comes koshta panjaras flanked by spilit pilasters. Usually the koshta panjaras will have shrines, but here it is empty. In between the kapota and first tala is shown another vedika component with a frieze of buta-vari. Each tier of the vimana, above the kapota with kudu arches, is formed with regular arrangement of karna-kuta (square shrine placed on corners), panjara,  sala (oblong shrine placed on sides), panjara, sala and karna-kuta.  

In between prastara  and oblong shaped khandam (neck) parts of the vimana the second sanctum is built above the main sanctum on the first stage (floor). The third sanctum is built in between khandam (neck) and sala shikara (decorated with kirtimukha at both the faces) above the second sanctum. There are five brass (finials) stupis project from the sala shikara 
 

Lord Veda Narayana Perumal

Lord Veda Narayana Perumal (வேத நாராயணப் பெருமாள்), presiding deity of the historic Mannarkoil temple is enshrined in the main sanctum which faces east. The imposing image is seen in standing posture holding the conch (sankha) and discus (chakra) in his upper hands.  The lower right hand in abhaya hasta mudra and lower left hand resting on his hip and flanked by Ubhaya Nachiyar (Sri Devi and Bhu Devi).  Lord is composed of stucco (sudha) of herbals (வர்ண கபால திவ்ய திருமேனி). The two sages Markandeya (மார்கண்டேயா) and Bhirgu (பிருகு) also appear with folded hands.

Procession deity Mannarkoil

The Rajagopalaswamy, the bronze processional deity appear along with goddess Andal and Garuda in the main sanctum.  Also there are bronze icons of Sri Rama, Sita,  Lakshmana and Hanuman found in this sanctum. A small and cute Garuda idol is located before the main sanctum. Also there are flagstaff and balipeeta before the sanctum.

Sitting Perumal @ First stage

A narrow flight of stairs, leading to the first stage has been constructed on the south prakaram of the main sanctum on the ground stage. The Lord appears in sitting posture in the first stage of the ashtanga vimana. A small hole or gap (Pillai Thondu) is found before the sitting perumal.  In Tamil 'Thondu' means way. The women beseeching child boon will pass through this 'Pillai Thondu' as part of their votive prayer to the Lord. Another flight of stairs with narrow width leads to the second stage of vimana. At the second stage still above the first stage the Lord appears reclining on Adisesha.

Mannarkoil Ashtanga vimana

Reclining Perumal @ Second stage

The reclining Perumal has two two different prakaras 1. broader elephant pass (yanai thondu or yanai mudukku) and 2. narrower cat pass (poonai thondu or poonai mudukku). There is a wooden mandapa before the reclining Perumal. The roof of this mandapa has the carved images of zodiac signs. The shrines in the first and second are built with lime mortar and palm sugar. Thus Lord Veda Narayana Perumal graces his devotees in three postures – standing, sitting and reclining.

Ashtangavimana Second stage

The east facing temple has single entrance and two prakarams, an ardhamandaba, mahamnadaba, connecting mandaba surrounded by a cloister mandapa (திருச்சுற்று மாளிகை) around the main sanctum. There are separate shrines for goddesses Vedavalli and  Bhuvanavalli in the circumambulatory path. The circumambulatory path also has separate shrines for Lord Narasimha and Viswakshena. The stucco images of both the goddesses appear seated. Vaishnava saint Kulasekara Azhvar (stucco image) is enshrined in a separate shrine in the northern prakara with separate flagstaff and balipeeta before the sanctum. The sanctums of two Vaishnava acharyas Ramanuja and Manavalamamunigal are located in two separate mandapas. This elaborately decorated structure exhibits typical of the Nayaka architectural style with exquisitely carved composite pillars. There are life size statues of Lord Rama and other gods, kings with folded hands forming part of the monolithic pillars.

Legend

The Mannarkoil region was once dense forest with jack trees. After paying visit to many holy shrines, sages Brigu and Markandeya reached Mannarkoil for penance. They prayed the Lord to appear before them in his three postures (standing, sitting and reclining postures) and Lord Veda Narayana Perumal appeared before them in the same way. The sages expressed their wishes to the Lord and prayed the Lord to appear before one and all who manage to visit this shrine and bless them for happiness and prosperity. Lord gave his consent and decided to stay at Mannarkoil and continue to bless all devotees.

History

The Tamirabarani - Ghadananadi river region was established as a Chola colony after the Chola conquest of Pandyan country in the 10th century A.D. Jatavarman alias Sundara Chola Pandya (1017-18 A.D), the Chola-Pandya king aka Chola Viceroy (feudatory of the Rajendra Chola I) formed new townships and converted the  forest lands for cultivation.  The inscriptions at the Veda Narayana Perumal  temple at Mannarkoil village informs us that the big Brahmadeyam village of 'Rajaraja Chaturvedi Mangalam' in Mullinadu in the 'Mudikonda Chola Valanadu' of Raja Raja Pandinadu was made over to Brahmins as gifts. The hamlets of 'Ilangokudi' (today's Ambasamudram), Kallidaikurichi, Aththala Nallur, Vazuthiyoor, Alwarkurichi and Pappankurichi were parts of this big Brahmadayam village (now Brahmadesam).

Rajagopalaswami Kulasekara Azhwar temple, a Chola temple in the land of Pandyas, was built by Chera king  Rajasimha (1028- 1043 A.D.) with the permission of Rajendera Chola I. The Chera has also donated land to the temple at a later date. The village is also known as Rajendra Chola Vinnagaram, named after the Chola monarch Rajendra Chola I, who has made significant contribution to the temple. Jatavarma Chola Pandya has also made considerable contributions. Finally there are contributions from Nayaka rulers.

Kulasekara Azhvar

Kulasekara Azhvar Thiruvarasu temple

Kulasekara Azhvar, one of the twelve azhvars and believed to be a king from Kerala region (some other consider him as ruler of Kolli hills or Madurai Koodal or Kongu regions). During his early years, he conquered Chola and Pandya kings and was a force to reckon with. Lord Vishnu blessed  him with spiritual insight and led him to renounce power and sing hymns in praise of the Lord and the shrines of the Lord. After having darshan of Lord in several shrines, the Azhvar reached Mannarkoil and he had an emotional attachment with Lord Rajagopalan. It is believed that Kulasekara Azhvar brought away the bronze idol of Lord Rajagopalan from Mannargudi forcibly since he showed intense emotion with Rajagopalan. His aradhana idols Sri Rama, Lakshmana and Sita are being worshiped here as ablution deity (abhisheka moorthy).  The saint spent his last 30 years in Mannarkoil and attained moksha here. Therefore Mannarkoil has become the Thiruvarasu Koil (place where Azhvars join the feet of the Lord, is called 'Thiruvarasu' ) for Kulasekara Azhvar.  As a token of respect, the temple authorities have aptly named this temple as Rajagopalaswamy Kulasekara Perumal temple. His shrine is unusually provided with flag post and bali peetam. Surprisingly Pandya country is known for many 'Thiruvarasus' of Azhvars: Nammazhvar Thiruvarasu at Azhvar Thirunagari (Tamarind Tree), Periazhvar Thiruvarasu at Alagarkoil;  Tirumangaiazhvar Thiruvarasu at Tirukurungudi (Malaimel Nambi).

Inscription

There are numerous inscriptions of Jatavarman Sundara-Chola Pandya found on the outer (southern, western and northern) walls of the main vimana base dating back to the Chola period:- 

According to Ep. Ind., Vol. XI, pp. 294 the Chera  king Rajasimha was a contemporary of the first viceroy Jatavarma Sundara Chola Pandya. Inscriptions mention about the existence of Temple Mahasabha empowered to register all the land grants from monarchs - Chola and Pandya rulers. The land grants were realized when these rulers camped in near by places like Velaikurichi and Kallidaikurichi. In this way there are references about the gifting of the village of Velancholai  (வேலன்சோலை or வேலஞ்சோலை) to the temple.

The 4th year reign - inscription records some decisions taken in the meeting of the assembly held in a hall of the ambalam about the land and houses granted to the gardeners, drummers, potters, garland makers, torch bearers and temple dance girls (devaradiyar). Location: on the south wall of the temple, (ARE No 107 of 1905 - SII Vol XIV 132). 

The 6th year reign - inscription records the order about the gift of taxes on the land (endowed as a devadana to the temple) in a village called Manabharana Chaturvedimangalam. Location: on the north wall of the temple (ARE No 108 of 1905 - SII Vol XIV 133)

On the 139th day in the 13th year reign - inscription records the details of land sale by the sabha of Rajaraja Chaturvedimangalam to the temple. The 14 and odd veli of land in extent was regrouped into a new hamlet called Sola Pandyanallur and converted  into a tax-free devadana. (Ref: ARE No. 109 and 144 of 1905) Location: on the west wall of the temple (ARE No. 110 of 1905 - SII Vol XIV 145).
 

In the 14th year reign - inscription registers the sale of the village Manabharana Chaturvedimangalam, a brahmadeya in Mulli Nadu, which was the property of two brahmanas of Nigarilisola Chaturvedimangalam named Govindan Madhava bhattan and Govindan Tiruvikraman, to the temple. Also records that the brahmanas had originally obtained the village as the gurus of the ruling dynasty. Location:  on the north wall of the temple (ARE No. 106 of 1905 - SII Vol XIV 148). 
 
In the 18th year reign - inscription registers the sale by the sabha of Rajaraja Chaturvedimangalam to the temple. Location: on the north wall of the temple (ARE No. 109 of 1905 - SII Vol XIV 144).

Another inscription records gift of land to 12 brahmins who had settled down in the village from towns such as Thirukurungudi, Tirukurugur (Azhwar Thirunagari) and Thirumaliruncholai (Azhagar Koil), in recognition of their recitation of the 'Thiruvaimozhi' in the Thiruvaimozhi Mandapam (even now called in  the same).

One more inscription records to the Mahasabha accepting the legacy of land from two widows only after their male relatives had agreed to the land being gifted to the temple. In cases where the signatories to a contract were illiterate, others had signed on their behalf.

Two other inscriptions record routine matters like 1. the appointment of Sankaranayanar as the dharmakarta in Kollam year 764; and 2. the gift of land to some common people like the temple watchman.

Mural Paintings
 

Mural Paintings defacement

Mural Painting of Narasimha

The author in his article Paramount Public cry for preservation of India’s Cultural Heritage   refer to the defacement of mural paintings in this temple. His photographs (shown here - taken three years ago) show some surviving mural paintings juxtaposed with the white washed wall on the right where a ceiling-high painting of Lord Narasimha once existed.

Festival 

A number of festivals are celebrated in this temple. The temple is agog with activity during the Chithirai Brahmotsavam is conducted in the Tamil month Chithirai (April - May). Procession of Azhvar Pushpa Pallakku (flower palanquin) and Teppotsavam (float festival) in the Tamil month Thai (Jan - Feb).

How to Get there?

Mannarkoil village is located about 5 km from Ambasamudram  on the western side of Tenkasi - Kutralam Highway. Ambasamudram is is 35 km Tirunelveli. Plenty of buses are plying from Tirunelveli as well as from Tenkasi. 

Reference

1. Besant Nagar (Wikipedia) http://en.wikipedia.org/wiki/Besant_Nagar
2. In the name of a devotee. The Hindu. March 15, 2012 http://www.thehindu.com/features/friday-review/history-and-culture/in-the-name-of-a-devotee/article2998989.ece
3. Mannarkovil Rajagopala Swamy Temple. Raju's Temple Visits. Flickr 
4. Paramount Public cry for preservation of India’s Cultrual Heritage  http://www.hindujagruti.org/news/10650.html 
5. Ramayanam before Kamban 76 - Mannar Koil http://ponniyinselvan.in/forum/discussion/44839/ramayanam-before-kamban-76-mannar-koil/p1
6. South Indian Inscriptions Vol XIV Pandya Inscriptions: Chola-Pandya Viceroys
7. The connection between Kulasekara Azhwar and Mannargudi Rajagopalan http://vishishtadhvaitham.blogspot.in/2014/10/the-connection-between-kulasekara.html

Tirunelveli Region Travelogue (Pandyan Yatra 2015) Part 3.2: Kalugumalai Jain Monastery

 

Picture courtesy: Bhusavalli Pandyan Yatra 2015 Kalugumalai Jain Monastery

Kazhugumalai Jain Monastery 

Kalugumalai is an ancient Jain heritage site that has the natural cavern with rock beds where Jain ascetics observed vigorous penance and an academic center for imparting knowledge in Jain theology for 300 years during early Pandya regime. A veritable open-air gallery of diminutive sculptures of Jina or Tirthankara in three long rows, bold relief panels of Jinas - Adinatha, Parsvanatha, Mahavira, Bahubali, Ambika Yakshi and Padmavati Yakshi. The open-air bas relief is an ensemble of over one hundred and fifty images sculpted with great skills on top of the granite rocky expanse.

The Jain ascetics,  sravakas (disciple), male scholars (bhttarars) and women scholars (kurattigal or nuns) from far off places in Tamilakam traveled to Kalugumalai and stayed in the natural caverns and resolved to spend their lives in splendid isolation, engaging themselves in contemplation and religious pursuits. They also taught or learned Jain theology and propagated Jainism from the 8th century A.D.  Kalugumalai is a "must go place" if you like Jain heritage and architecture. The name Kalugumalai (vultures' hill) originated quite recently i.e, about 200 years or less.

History of Jainism under Early Pandya Reign

It is important, for one who knows little about Jainism, to understand the history of Jainism under early Pandya reign to realize the intense rivalry of vedic or brahminical religion and the up-rise of the Bakthi movement and the hostile conditions under which Jains have survived and maintained and practiced their religion.

The 24 Tirthankaras or Arihants or Jinas were instrumental in spreading the doctrines of Jainism. Among the 24 Tirthankaras the first 22 were mythological personages and Parswantaha the 23rd Tirthankara (877–777 B.C.) and Mahavira the 24th Tirthankara (599 –527 B.C.) were the historical personages. The Sruktakevalin Badrabahu (433 - 357 BC ?) and Vaisaka Munivar, the last two pattadhars or disciples of Mahavira (totally 11 pattadhars or disciples),  were instrumental in founding Jainism in Tamil Nadu, especially in the early Pandya country. On foreseeing famine in large magnitude, Badrabahu left the Kingdom of Magada with the Maurya King Chandragupta (340 BC - 298 BC) and the Jain followers and reached Sravanabelagola in Mysore. Badrabahu acted as the Jain Acharya (religious head) of the Jains. From Sravanabelagola Badrabahu sent his disciple, Vaisaka Munivar, to the neighboring Chola and Pandya kingdoms to spread the gospel of Jainism to the laity.  It is believed that these mendicants reached the Pandya country first as early as the Sangam period - around 300 B.C. The Pandya rulers of the Sangam era were tolerant and broad minded in their religious prospect and hence all religions including Jainism prospered during their reign.

Mahavamsa, a Buddhist text affirms that Jainism was followed in Tamil Nadu even before the 3rd century B.C. Some other scholars believe that Jainism entered South India well before the visit of Bhadrabahu and Chandragupta around 6th century B.C. During 3rd century A.D. Digambara, a sect of Jainism with nudist adherents, recognized itself from the Svetambara, another sect with white-clad adherents. Digambara monks observed full monastic life  and the female wore white clothes and called as Aryikas. The Mula sangh (original assembly) was the ancient assembly and monastic order of Jain monks came from 430 A.D. and this Mula sangh was divided into four major groups: 1. Nandi Gana (நந்தி கணம்), 2. Sena Gana (சேன கணம்),  3. Deva Gana (தேவ கணம்) and 4. Simha Gana (சிம்ம கணம்). Every Gana had sub-sects such as Kachai (கச்சை) and Anvayam (அனுவயம்). The Pallankoil copper plate (பல்லன் கோயில் செப்பேடு) mentions about Vajra Nandi (வஜ்ர நந்தி), the Chief Jain monk Nandi Gana. Another Chola inscription refers about Gani Sekara Maruporsuryan, name of Jain monk from Nandi Gana. Tirugnana Sambandar (திருஞான சம்மந்தர்) in one of his Tevaram hymns (தேவாரம் பதிகம்) cites few monks such as  Kanaka Nandi, Putpa Nandi, Bhavana Nandi, Kumanama Sunaka Nandi, Kunaka Nandi and Dhivana Nandi from Nandi Gana. Bhava Nandi is the author who composed the Tamil Grammar work.

    ‘‘கனக நந்தியும் புட்ப நந்தியும் பவண நந்தியும் குமணமா
    சுனக நந்தியும் குணக நந்தியும் திவண நந்தியும் மொழிகொளா

    அனக நந்தியர்’’

Dramila Sanga (திரமிள சங்கம்) or Dravida Sanga (திராவிட சங்கம்) branched from Nandi Gana and Vajra Nandi was instrumental in instituting Dravida Sanga in Madurai in 470 A.D. (Vikrama year விக்கிரம ஆண்டு - 526).


However the splendid era of Jainism reached its down-slope due to intense rivalry between the vedic or brahminical religions and the up-rise of the Bhakti movement (பக்தி இயக்கம்) in Tamilakam (தமிழகம்) during 7th century  influenced the decline of Jainism in the 7th century A.D. Soon Jainism recovered from the adversities and it became a religion accommodating of the practices from brahmanical religion to withstand religious animosity and the sectarian rancor.

Jain Iconography

Jainism and Jain iconography attached much importance to ritualistic practices and idolatry worship of Jina, Arihant, or 24 Tirthankaras. Jain iconography depicts Tirthankara or Jina appear seated in a lotus posture on the lion throne or standing meditative posture (kayotsarga). The Tirthankaras generally have a triangular mole symbol (Sri-vatsa mark) on their chest, a triple umbrella and a circular halo (radiant light drawn around the head) above their heads and a distinctive lanchana or symbol indicated on the pedestal. The lanchanas are listed in such texts as Tiloyapannati, Kahavaali and Pravacanasaarodhara. Unless the conspicuous lanchana of Tirthankara shown or his name finds mention in dedicatory inscriptions, it is not possible to differentiate the specific Tirthankara image. Two exceptions are there: Parsvanatha identified with five hooded serpent and Adinatha (Rishabanatha) with lock falling on his shoulders.

The early ascetic-abodes in natural cavern (wherein iconic and ritualistic worship of Tirthankaras and their attendant deities received little attention  till about the 6th century A.D.) lost their prominence in the wake of Bhakti movement.  Yaksha and yakshini, or male and female Sasana-devatas or demigods or attendant / guarding spirits, who are also the devotees the Tirthankaras. According to Jain belief, Indra appoints one Yaksha and one Yakshini to serve as attendants for each Tirthankara. Soon the cult of Yakhas like Yaksharaja (Sarvahna or Sarvanubhuti) and Dharanendra Yaksha as well as Yakshis like Ambika, Chakreswari Devi, Jvalamalini, Padmavati Yakshini became popular. 

Several Jaina cavern in Pandyan region including Anamalai, Alagarmalai, Aivarmalai, Chitaral, Kilakuyilkudi,  Kalugumalai, Tirupparankunram, Uttamapalayam etc could be mentioned as the best examples for such new development.  Further to this Jain monks like Ajjanandi bhatarar, Gunasahara bhatara, Kanakanandi bhatara of Kurandai, Pavanandi bhatara, Arattanemi bhatarar, Vajranandi  and few others played the predominant role in spreading Jainism and Jain iconography and speeding up its growth. (SII, Vol. XIV, No. 102; Vol. 5, Nos. 310, 311, 359, 380, 397 etc.).

Pandya kings like Maran Sendan (-624 A.D.) and Arikesari Parankusa (624-674 A.D.) reposed strong faith in Jainism and the later Pandya rulers like Srimara Srivallabha (811-860 A.D) and Parantaka Viranaryana (866-911 A.D), lent adequate support to Jainism and Jain iconography. The inscriptions of Parantaka Viranarayana found at Kalugumalai as well as in Anaimalai, Arivarmalai and Arittapatti speak about the growth of monastic establishments here.

Kalugumalai Jain Bas Relief Images

Lisa Nadine Owen in her monograph, 'Demarcating sacred space: The Jina images at Kalugumalai' published in International Journal of Jaina Studies. 6 (4): 2010. pp 1 -28, explored the types arrangement of approximately one hundred and fifty independent bas relief sculptures of Jinas and Jain deities on the surface of its rock formations in Kalugumalai accompanied by individual donative inscriptions. The rectangular or square niches present the bas relief images. The author represented five separate  groups of images, based on the directional approach - the order in which one views the bas reliefs from north-west to south-east and not based on the chronology order i.e, from ninth or early tenth century A.D. (chronology as viewed by the author) for further analysis and discussion.

Group 1

From the Sastha temple you may find steps leading to the lone panel of Jina / Tirthankara. The rock face is enclosed within barbed wire fence. Lisa Owen categorizes this lone Jina / Tirthankara as Group 1. The deeply hewn niche measures about four feet in height. The Jina appear seated on lion pedestal with an elaborate throne back comprising a bolster and crossbar decorated with makara and vyla motifs at both the ends.  Behind the crossbar two fly-whisk bearers come out into view; also two more ardent male followers located at the sides of throne base. The Jina is crowned by the triple umbrella (chattra). The Tirthankara is seated under the broader canopy of foliage curls. The five foliage circle motifs are arranged in a semi-circle form and the middle circle bear the figurine of dancing girl and the four other circles bear four male musicians (two of the playing long string instrument and two others beat the drum with a pair of cymbals. The ethereal figures appear on top and to the sides of Jina with hands holding the lotus flowers and offering homage. Also figurines in a panel depicting a horse rider and an emerging elephant. Date assigned by the author - ninth or early tenth century.

Group 2 Jain Image Panels

Group 2

To the south - east of Group 1, five panels appear on a rock face just behind an Ayyanar temple. Lisa Owen assigns these panels as Group 2. The Ayyanar temple complex presents Ayyanar, Tamil village folk (prime) deity, gigantic and colorful statues of companion deities of Ayyanar seen mounted on horses or elephants. The Ayyanar temple, constructed about 100 years before the rock face, prevents from viewing the Group 2 and Group 3 panels.  Three distinctly bold panels, striking iconographic resemblance with Group 1 panels, are arranged horizontally across the rock face. The iconographic elements include lion throne, triple umbrella, halo, tree, fly-whisk attendants, standing devotees etc. The panel at the far left strikes precise similitude with the Jina appearing in Group I panel including five foliage circles bearing the dancer, musicians, horse riders and the elephant at the center. Above these two bolder bas reliefs, a long panel bears the series of seven diminutive images of  Jinas appear seated on double lotus seat (lion throne absent) and crowned by triple umbrella. The Group 2 images are accompanied with donative inscriptions.

Group 3

The panels of bas reliefs forming Group 3,  arranged on the broader rock face, are available somewhere contiguous to Group 2 panels.  The Group 3 major panels present both kinds i.e, individual Jinas appear seated on thrones as well as Jinas / Tirthankaras appear in series. Also there are minor panels which include lone Tirthankara figurines with triple umbrella and double lotus seat.

Group 3 Jain Image Panels

Parsvanatha Panel:

Parsvanatha, the twenty third Tirthankara and the historic personage who lived in the 8^th century B.C. He was the the son of King Ashvasena and Queen Vamanadevi of Varanasi and was the prince of Ikshavaku dynasty. The prince abdicated at the age of thirty and became an ascetic. He attained kevalagnana (absolute knowledge) and became the twenty-third Tirthankara or Jina. He is recognized with the blue hue and a seven hooded serpent. He appears with his Yaksha  Dharaṇendra and Yakshi Padmavati.

An interesting legend about the previous life of Parsvanatha reveals his association with his Yaksha,  Yakshi and Kamdan. The Jina in his previous life attempted to protect a pair of serpents from being burnt in sacrificial fire of a brahmin. The Jina reborn as 23rd Tirthankara and the serpents were also reborn as Naga King Dharanendra and Naga Queen Padmavati.  The brahmin also reborn as a demon Kamdan. Kamdan was disturbing the Jina from attaining Kevalagnana and engaged in attacking with fire, torrential

Group 3 Parsvanatha Panel

Bahubali (Sankrit) aka Gommatesvara (Kannada) Panel

Bahubali is an outstanding name in the Jain legends. He was the second of the hundred sons of the first Tirthankara, Adinatha. The warrior prince fought with his on brother Bharata for the share of his father's kingdom. He conquered everything from his brother and could have become an emperor; instead he returned everything to the brother and chose the ascetic life and proceeded to the forest to perform asceticism. While he was in meditation for longer duration, the vines encircled all through his body. Though he attained kavalagnana, he never prophesy Samavasarana. Hence he is not considered as Tirthankara. The panel depicts Bahubali covered with vine creeper all over his legs and appear with two of his female attendants (Vidyadhari).

Group 3 Bahubali Panel

There is an iconographic convention of  pairing of Parsvanatha and Bahubali and the combination is prominent in the Jain caves at Aihole (7th century) and at Ellora (9th century) and other places including Kalugumalai.

After Group 3 panels the rock face shows a smooth bend and the huge tree with its projected branches provide shade. The panels of Groups 4 and 5 are noticed around the rock surface.

Group 4

Group 4 Jain Image Panels

The shallow depth panels bearing the bas reliefs, forming Group 4, are sculpted on the rock face in the lower right corner and the rock formation above the panels is shaped like a canopy.  The shelter appears like a natural cavern and the same could have been modified subsequently as panels of Jina bas relifs. The panels measuring about two feet depth and the central panel presents three Tirthankaras appear seated on double lotus seat and crowned by triple umbrella. The central panel is flanked by Bahubali and Parsvanatha appear standing in separate panels. Four more Jinas appear seated on the left corner panels and the right corner panels also present seated Jinas. The bas relifs are accompanied by donative inscriptions.

Group 5

The huge rock face presents highest number of bas reliefs forming Group 5 panels are nearer to this rock face. Panoramic array of sculpted panels are located on the far right side and are arranged in three rows and depict the seated Jinas on double lotus seat or lion throne and crowned by triple umbrella. Few panels also depict tanding Jinas with the respective iconographic style. Some othe bas reliefs of Jinas situated on the far left side of the rock face appear incomplete.

Group 5 Largest Jain Panels

Yakshi Padmavati Panel

Two Group 5 panels are also dedicated to Yakshi Ambika and Padmavati. Padmavati is adorned with karanda makuta and appear seated on single lotus pedestal in Lalitasana posture under five serpent hoods. The yakshi holds the fruit and rosary in her lower left and right hands and the upper hands hold a goad and a snake. Her panel is taller than the panels of her attendants. Two female attendants appear with flywhisks.

Yakshi Ambika, Husband, 2 Children & Lion

Yakshi Ambika aka Kusmandini attendant (Sasanadevi) to Tirthankara Neminatha occupies the pivotal position in Jain iconography. The cult of Ambika is popular during 7th - 12th century A.D. She appear in an exclusive panel with her husband and two children, a lion (simha) as her vehicle, and the holy tree 'kalpavriksha (areca nut tree).' 'Her husband is shown with a hand raised and his face has no detailing so as to depict his awe and the glare from her "golden appearance" falling on him.'

Legend of Ambika: Ambika and her two children were banished from the house by her husband Somasarman since she offered food (intended for sraddha ceremony) to the Jain monk. While her banishment they were feeling hungry and by divine intervention a mango tree and a water body came to their sight and they ate mangoes. Some miraculous events at Ambika's houehold turned her husband to justify Ambika's actions for a noble cause. Hence he decided to call his family back to his home. On seeing her husband Ambika got frightened and tried to hide herself. She died while hiding from her husband. Ambika was reborn as Sasanadevi to Neminatha Tirthankara. After the death her husband also reborn as her lion vehicle.

Kalugumalai Inscriptions (Vatteluttu)
 
The Jain Monastery at Kazhugumalai has 100 Vattezhuthu (வட்டெழுத்து) inscriptions (SII Vol V, No. 308 - SII Vol V, No. 406; Epi. Ind., Vol. XV, f.. n. 6.) and they are inscribed below the bas reliefs as label inscriptions.

Period:

From the available inscriptions it is inferred by scholars that they belong to different period. They have been generally ascribed to 8th century A.D. However K.V.Ramesh, eminent Epigraphist and former Joint Director-General of Archaeological Survey of India (ASI) assigns them to the 10th - 11th century A.D.

Records, Messages

The prime Jaina deity at Kalugumalai Jain monastery referred to in the inscriptions as Araimalai Alvar of Tirunechuram (SII Vol.V, No. 357, 361). There are about one hundred and fifty sacred images (bas reliefs) were caused to be made by the followers of Jain faith (Tamil Jains) from a number of adjacent villages. The sacred images were caused to be made for the merit of their parents, bhttarars, kurattigal, village elders, Pandya officials and others. The largest donor was Pandya King Maran Sadayan who donated 17 sacred images. Among the other donors include the artisans like carpenters, potters, smiths as well as cultivators and others. Tirunechuram (திருநேச்சுரம்) was also referred to as Ilanechuram (இளநேச்சுரம்) vide an epigraph (SII, Vol. V, No. 369) as well as Perunechuram (பெருநேச்சுரம்) vide epigraph (SII, Vol. V, No. 361). 


The Kalugumalai monastery marked the revival of Jainism in Pandya country. Gunasahara bhattarar (குணசாஹர பட்டாரர்) of Tirunechuram was probably the chief among the monks looking after Jain establishments as well as endowments at Kalugumalai (ARE 117/1894, SII, Vol. V, No. 406). His  disciples administered the academic functions and services. Inscriptions refer to the order of monks and nuns in the Digambara Jain monasticism in Kalugumalai. An Acharya (ஆச்சாரியா) is the highest leader of a Jain order. Upadhyaya (உபாத்யாயா) is the learned monk, who both teaches and studies himself.  Bhattara (பட்டாரா) or Bhattarar (பட்டாரர்) is the male disciple or monk and Bhattari (பட்டாரி) is the female disciple or nun (SII, Vol. V, No. 356). A Muni (முனி) is an ordinary ascetic and Aryikas (ஆரீக) is an ordinary woman ascetic. Women disciples referred as Manakkigal (மாணாக்கிகள்) and women teachers as Kurattigal (குரத்திகள்). Jain scholars and teachers (monks and nuns) from far-off Jain abodes and monasteries such as  Tirumalai, (திருமலை), Tirupparuttikunram (Jina Kanchi) (திருப்பருத்திக்குன்றம்), Perumandur (பெருமாண்டூர்), and Tirunarungondai (திருநறுங்கொண்டை),   traveled to Kalugumalai to pursue and propagate Jain theology and stayed in the natural caverns.  (SIL, Vol. V, Nos. 333, 334, 341,345, 355, 356,369, 371, 372, 373.) -  Tiruchara-nattuk-kurattigal (திருச்சார நாட்டுக் குரத்திகள்) (SII, Vol. V. No. 324, 326); Nalkur Kurattigal (நால்கூர் குரத்திகள்) (SII, Vol. V. No. 355, 356);  Ilanechuram Kurattigal (இளநேச்சுரக் குரத்திகள்)  (SII, Vol. V. No. 369); Kurattigal of Tirumalai (திருமலைக் குரத்திகள்) (SII, Vol. V. No. 370); Kurattigal of Tiruparutti(kundru) (திருப்பருத்திக்குன்றக் குரத்திகள்) (SII, Vol. V. No. 372); Milalur kurattigal (மிழலூர்க் குரத்திகள்) (SII, Vol. V. No. 394); Kurattigal of Kudarkudi (குன்றக்குடிக் குரத்திகள்) (SII, Vol. V. No. 396). It is believed from the Jaina inscriptions in Kalugumalai and others that the Jain theology classes could be coeducational and that ocassionally nuns served as teachers. (SII Vol. III, No.92 and SII Vol. V, No. 308 - 407). Nuns were students of male monks:

1. Kurattigal (lady teachers) of Ilanechuram, disciples of Tirtha bhttara (SII, Vol. V. No. 369)
2. Kurattigal of Tiruparutti (kunru - Jina Kanchi), the lady disciples of Sri Pattini bhattara (SII, Vol. V. No. 372)

Male Students studied under Woman Teachers (nuns):

1. Enadi Kuttanan Satti, disciple of the Kurattigal (lady teacher) of Tirumalai (SII, Vol. V. No. 370) 

Women Students under Women Teachers

1. Nattigabhattarar, the (lady disciple) of Kurattigal (nun) of Nalkur (SII, Vol. V. No. 355)
2. Nalkur kurattigal, the (lady disciple) of Amalanemi bhattara (lady teachers) of Nalkur (SII, Vol. V. No. 356)
3. Arattan nemi kurattigal, the lady disciple of Mammiakurattigal (371)
4. Milalur Kurattigal, the lady disciple of Perurkurattigal who was the d/o Mingaikumaran of Pidangai in Karaikana nadu image (394)

The monastery was also frequented by common public from places like  Alattur (அலத்தூர்), Erahur Pereyirkudi (எலகூர் பெரெயிர்க்குடி), Ilavenbai (இளவெண்பை), Kalakkudi (கலக்குடி), Karaikkudi (காரைக்குடி), Kottaru (கோட்டர்), Kurandi (குறண்டை), Nalkurkudi (நல்கூர்குடி), Pidankudi (பிடங்குடி), Tiruchcharanam etc. 

Jainism condemned caste divisions and respected all humans as equals and the monks encouraged and practiced four forms of charity or dhana - 1.donating food to the needy (அன்னதானம்), 2. imparting education to all (கல்விதானம்), 3. providing medical assistance to the poor (மருத்துவ தானம்) and 4. affording refuge to the helpless (அஞ்சினான் புகலிடம்) - as their important duty. Owing to these, Jainism flourished in ancient Tamil Nadu and the monks brought the religion closer to the Tamil common public. The Tamil Jains influenced and forged the religion, politics, culture and society of the ancient Tamilagam.

Donating food for the needy:   An inscription at Kalugumalai monastery records the construction of a well and the gift of some land for providing some food to the ten  bhattarar expounding Siddhanta, and the Vairagiyar (monks) in the Tirumalai temple at Tirunechuram, by Siddhan of the village at Kadantaikudi, located in Nallur-tumbur kurram. The gift was entrusted with Gunasahara bhattara of Tirunechuram. Mentions some more names connected with the endowment. The Pandya king Varaguna II (Maran Sadaiyan), whose date of accession in 862 A.D. Date: 3rd regnal year (865 A.D.), is identified with  this endowment  (SII Vol V, No. 405).

Another inscription in the same site records some endowment to the deity known as Tirumalaidevar at Tirunechuram by Mahadevan, a resident of the village Perunavalur, located in Nallur - Milalai-kurram for feeding five Vairagiyar (monks - Jaina ascetics) and Bhatarar who expounded Siddanta (Jaina philosophy) to the laity in the temple. The endowment was entrusted to Gunasahara bhattarar of Tirunechuram, who was probably chief among the monks looking after Jaina establishments at Kalugumalai (SII Vol V, No. 406)

The Jain monastery became extinct after 13th century due to loss of Patronage after Pandya kings.


Reference (For Further Studies):

1. Champakalakshmi, R. Jainism in south India, Delhi, 1974
2. Desai, P.B. Jainism in South India and Some Jaina Epigraphs, Jainasamskriti Samrakshakasamgha, Sholapur 1957.  
3. Ekambaranathan, A. Jaina Iconography in Tamilnadu. ed. 1. Shri Bharatvarshiya Digamber Jain (Teert Sanrakshini) Mahasabha, Lucknow.  2002
4. Ekambaranathan, A.  Jaina Temples of Southern Pandiyanadu.
5. Ekambaranathan, A. and C.K. Sivaprakasam, Jaina Inscriptions in Tamil Nadu: : A topographical list. Research Foundation for Jainology, Madras 1987. 464p.
   Jainism under early Pandyas. In Encyclopedia of Jainsim http://en.encyclopediaofjainism.com/index.php?title=03.JAINISM_UNDER_THE_EARLYPANDYAS
6. Ekambaranathan, A. Studies in Jainism (Tamil Nadu). Shree Sarita Jain Foundation, Chennai, 2011 
7. Ghosh, A. (Ed.): Jaina Arts and Architecture, New Delhi, 1974
8. Kazhugumalai deserves universal recognition.  The Hindu. August 8, 2012.
9. Lisa N Owen. Demarcating Sacred Space: The Jina Images at Kalugumalai
   Opulent sculptures - Epigraphist V.Vedachalam's forte is the tudy of Jaina sites. Frontline. Vol 25, issue 21. October 11-24, 2008. 
10. Ravishankar Thiagarajan. Jina Images of Kazhugumalai as seen by Lisa. Site Seminar Talk on 11 Jan 2015 at "Shrinidhi", 12/1 Reserve Bank Colony MG Road, Thiruvanmiyur, Madras 41.  
11. Sivaramamurti. C.  Kalugumalai and Early Pandyan Rock-cut Shrines
12. Sripal, tamizakattil jainam, T. S.  Madras, 1975
13. South Indian Inscriptions (SII), Vol.14. Archaeological Survey of India.
14. Tamil Jain by Mahima Jain The Hindu December 28, 2013 http://www.thehindu.com/features/magazine/tamil-jain/article5504164.ece
15. Tamil Jain Wikipedia http://en.wikipedia.org/wiki/Tamil_Jain.
16. Vijayakumar.S. Engineering Marvel. The Hindu. June 14, 2013.

Dr. Lisa Nadine Owen
Assistant Professor of Art History, School of Visual Arts. University of North Texas

Demarcating Sacred Space: The Jina Images atKalugumalai (10 minutes on video)

Tirunelveli Region Travelogue (Pandyan Yatra 2015) Part 2.2: Malayadikurichi Cave Temple and Sankaranarayanar Kovil

Mahadeva swamy Cave Temple, Malaiyadikurichi

Refer Picasa Album for more photographs on  Malaiyadikurchi
After lunch at Sankarankovil we continued our travel to Malaiyadikurichi Rock-cut cave. From Sankarankovil we traveled towards Puliankudi (புளியங்குடி) road and took diversion at Mullikulam and further proceeded via Thalaivankottai to reach Malaiyadikurichi village. The rock-cut cave is located towards northern side at the outskirts of the village on a rock slope of the hillock.

Name: Mahadeva swamy Cave Temple, Malaiyadikurichi (மலையடிக்குறிச்சி)

Presiding Deity: Mahadeva swamy (மஹாதேவ ஸ்வாமி) (Lord Shiva)

Consort: Marakathavalli Amman (மரகதவல்லி அம்மன்) appears in a separate sanctum. (Later addition)

Date of Visit: 23rd January 2015 between 03.30 and 05.00 am.

Category: Early Pandya Rock-cut cave at Malaiyadikurichi

Architecture Style: Early Pandya style

Architecture: The Malaiyadikurichi rock-cut cave temple consists of a rock-cut sanctum, a mukhamandpa (முகமண்டபம்) or the rectangular pavilion (hall) resting on pillars, facade of the cave, and the structural mahamandapa (மகாமண்டபம்) (an open pavilion (hall) resting on pillars) all arranged consecutively facing east..


The cave temple is surrounded  by the perimeter wall. The entrance to the mahamandapa is seen both on the east and the south. Two Nandhis (நந்தி) images facing the sanctum are located before the eastern entrance. Also there is another Nandhi image facing the sanctum of the consort is located at the southern entrance.

South Entrance showing Nandhis

The pillared mahamandapam or entrance pavilion (hall),  5.70 mts in the east - west and 5.17 mts in the south - north directions, was an addition made in the frontage to the rock-cut cave temple during the Nayaka Rule. The conspicuous components of the mahamandapam basement are upanam, kantha with padha, and pattika or peruvajana. The walls sectioned by brahmakanta (square) pilasters and above the pilasters there are vettu potikas holding the prastara components such as uttira (beam), vajanam, valabhi and kapotha with kudus. The flight of two steps leads to the mahamandapam. was an addition made in the frontage built during the Pandya Rule

Pillared Mahamandapam with Nandhi

The pilasters (door frames) at the eastern and southern entrances bear small nagabandhas, lotus medallion and torana. The roof of the mahamandapam is supported by pillars segmented as three squares with kattu in the middle. Above the pillars, vettu potikas extend its limbs to support prastara components - uttiram, vajana and valabhi. 

Sanctum of consort Marakathavalli Amman: South facing sanctum has upa-peetam, wall without pada, uttiram, vajanam, valabhi and kapotham. The front wall of this sanctum show inscriptions in fragments. Also there are inscriptions on the faces of pillars and there are few inscriptions on the northern wall. Few inscription stones re-fixed on the wall in an inverted direction during renovation. 

Goddess Marakathavalli appears wearing jatamakuta and the right hand holding the flower and the left hand rested on the lap.

Marakathavalli Amman

Facade: Two pillars and two pilasters supports facade. Comparing the upper brahmakanta (square) the lower brahmakanta (square) and kattu are larger. Except  western face of the square pillar, all the faces are decorated with circular medallions with variety of flower patterns - lotus whorls or kodikarukku (leaf pattern). One of the circular medallion is decorated with lotus flower whorls and an image at the center appears in lalithasanam posture with palm leaf coil ear ornament, haram with pendant, short robe around waist and the breast band. The image appear seated and resting its right hand on a pillow. Two chauri bearers also appear. The medallions in the eastern upper faces of the pilaster are also decked with lotus flower whorls. The upper northern face of the pilaster at southern wall possess makara medallion surrounded by kodikarukku (foliate leaf pattern) motif. Similarly the pilaster at northern wall is decorated with medallion with swan (annam) motif at the center.

Lotus Medallion

Kodikarukku

Kodikarukku

Kodikarukku

Lotus Medallion with center figure

Kodikarukku with swan

The taranga potikas with unique coiled edges  and broad median patta rest on pillars and pilasters. The coiled pattern taranga potikas appear unique and different from Tirumalapuram taranga potikas. The potikas support the prastara elements, like uttiram vajana and valabhi, running adjoining roof. The kapota extends out and joins with mahamandapa roof.

Taranga Potika mid-band

Mukhamandapa: The facade extends to the rectangular mukha mandapa which measures 5.32 mts in north-south and 1.91 mts in east-west directions. The unifloor (evenly paved) forms part of the facade as well as mukhamandapa. The lateral walls and roof are forming part of mother rock and they appear plain and simple. The northern part of the wall bears the inscription of the Pandya king Sri Vallabha. The sanctum is excavated from the mid-western wall and appear as the projection. Two shallow niches (enclosed by two square pilasters) are carved on the western wall one on each side to the sanctum. The northern niche shows the traces bas relief image as a silhouette. Looks like a four armed human mounted on elephant and the umbrella and chauris are visible. The southern niche also shows the traces of bas relief image as a silhouette. Appears like a divine form and the bird seated on a stem of twiner is visible.

4 Armed Human Mounted on Elephant

Divine Form in Niche

Sanctum: The 41 cm high plinth (padabhanda adishtanam) with components of jagadi, vritta (rounded) kumuda, kantha flanked kampa without pada and pattika. The padas bear vedikas, vedikantha and kampa. The front wall of the sanctum bears two shallow koshtas one on either side. The two koshtas bear the traces of scrapped bas relief images. Both the bas relief images could be the dwarapalakas. The flight of steps leading to the sanctum also appears to have damaged. Hence new steps added at later date.

Sanctum & Niche Fig. Erased

 Makara Torana: The ornate Makara Torana (Capricorn Arch or festoon) carved out of a single stone with four opposed fierce makara-heads (crocodile heads) adorns above the entrance of the sanctum. It reminds us the Pallava style Makara torana at the Satrumallesvara rock-cut cave temple at Dalavanur and Draupadi ratha at Mamallapuram. Two opposing capricon heads, (facing north and south) are carved at the center of the door lintel and they appear spitting warriors (in miniature size) holding swords and shields. A male image seated on lotus flower flanked by two chauris is shown within the floral ring located at the center between two makara heads. The parallel pair of opposing makara heads are placed one each in the southern and northern corners of the festoon. The intricately coiled feathers appear spread across the entire door lintel.

Makara Torana (4 opposed Capricorn Heads)

Makara Torana: Center Figure

Makara Torana: Figure at Side

Makara Torana: Figure enlarged

 The rectangular sanctum cell (measurement: 1.71 mts height x 1.47 mts width x 1.63 mts length) holds a monolithic Shivalingam with square avudaiyar (ஆவுடையார்). The sanctum is simple and plain and devoid of any ornamentation. The rectangular avudaiyar measures about 0.74 mts in width and 0.41 mts in length and vesara (cylindrical) bana measures 0.29 mts in height and the plinth of the avudaiyar is composed with the elements like upana, athopadmavari (string of inverted lotus), kantha with kampa, urdhva padmavari (string of lotus), pattika with kampa. The gomukha (கோமுகம்) is seen on the northern side of the avudaiyar with a spout like formation.

Inscription:  The rock-cut cave is rich in inscriptions dating from the 7th century A.D. to 10th century A.D.

A Tamil (script) inscription is carved on the eastern face of the potika of the the northern pillar.  It stands as the unique record about the excavation of the cave temple by Sathan Eran of Sevur (சேவூர் சாத்தன் ஈரன்) for Pandya King Ko maran Sendan (கோ மாறன் சேந்தன்) during the king's seventeenth regnal year i.e, 637 A.D. It helps us to ascertain the exact date of the cave temple.

 

Ko maran Sendhan: Inscription

Inscription Northern Wall: Reversely built

Two inscriptions are found on the northern wall.  The royal order was issued to Devakanmi (தேவகன்மி) and Sri Maheswara kankani (மஹேஸ்வர கண்காணி) serving in the 'Pinakkarukkum Mahadeva' temple (பிணக்கறுக்கும் மஹாதேவர் கோவில்) vide inscription  dated in the 3rd regnal year of the Pandya king Sri Vallabha (ஸ்ரீ வல்லபன்). The inscription mentions Malaiyadikurichi as the Thenpitakai (தென்பிடாகை) of the Sri Paranthaka Chaturvedimangalam (ஸ்ரீ பராந்தக சதுர்வேதிமங்கலம்) of Arinattu Brahmadesam (ஆரிநாட்டு பிரம்மதேசம்). The royal order also mentions about the land tax exemptions (நிலவரி விலக்கு) to the piece of lands already gifted for the daily puja rituals (திருப்படிமாற்றுள்ளிட்ட நித்த நிவந்தம்) of Mahadeva temple by the Sri Vallabha and his father.   

Another inscription dated in the 11th regnal year on the 143rd day registers the gift of Ammaikkulam (அம்மைக்குளம்).

The inscriptions on the faces of the pillars in the mahamanadapa mentions the names such as Konamalai Iramanarayana Pillai (கோணமலை இராமநாராயண பிள்ளை),  Patpanatha Pillai (பற்பநாத   பிள்ளை) and Palaimutram Chittan (பாலைமுற்றம்  சித்தன்).

Another royal order was issued to Devakanmis (தேவகன்மி) and Shiva-brahmins (சிவபிராமணர்கள் ) of this temple vide inscription dated in the 12th regnal year of the Pandya King Maravarman Sundarapandyan II (இரண்டாம் மாறவர்மன் சுந்தரபாண்டியன்) (1238-1251).

One more inscription registers the tax exemption to the village called Samanthanallur (சாமந்தநல்லூர்) gifted already by one Chokkanar Samanthan (சொக்கனார் சாமந்தன்) for daily puja rituals (சந்திகால திருப்படிமாற்றுள்ளிட்ட நித்த நிவந்தம்).

It is learned from fragments of inscriptions about the land measuring stick (நில அளவைக்கோல்) called 'Virapandyan kol (வீரபாண்டியன் கோல்) (stick), Pannirendadi kol (பன்னிரெண்டடிக் கோல்) (12 feet measuring stick) as well as few names of the Pandya irrigation canals and tanks and the names of the officials of the Pandya kingdom.

Period: The inscription records the date as 17th regnal year (637 A.D.) and the name of the Pandya king Ko maran Sendhan (கோ மாறன் சேந்தன்) who was instrumental for the excavation of this cave temple. Hence the same date could be assignable to this rock-cut cave.

Getting there

Malaiyadikurichi PIN: 627755, is a small village located near Dharugapuram (தாருகாபுரம்) in the taluk of Sivagiri (சிவகிரி), division of Kovilpatti, district of Tirunelveli, in the State of Tamil Nadu. From Sankarankovil Malaiyadikurichi can be reached by traveling on the Sankarankovil - Puliangudi road and take diversion at 13.4 km and proceed Dharugapuram via Thalaivankottai (தலைவன்கோட்டை).  Puliyankudi , Sivagiri , Sankarankoil and Rajapalayam are the nearby Cities to Malayadikuruchi. Malaiyadikurichi is located about 17 km from Sankarankovil; 09 km from Puliyankudi; 11 km from Sivagirit and 30 km from Rajapalayam. It is located 75 km towards North from District head quarters Tirunelveli. From Chennai it would be around 614 km.

By Road: This is a small village hence you may not get proper and regular transport, so arrange a taxi from whichever town you plan to visit here.

Railway station: Sivakasi Railway Station is major railway station 53 KM near to Malayadikuruchi

Airport: Tuticorin Airport- 100 km; Madurai Airport   111 km and Trivandrum International Airport- 112 km

Reference

1. Inscriptions Tells Tales. Pradeep Chakravarthy. The Hindu Jaunuary 14, 2011
2. மலையடிக்குறிச்சி குடைவரையும் கல்வெட்டுக்களும். தென்மாவட்டக் குடைவரைகள். மு. நளினி, இரா. கலைக்கோவன். டாக்டர். இராசமாணிக்கானார் வரலாற்றாய்வு மையம். திருச்சிராப்பள்ளி.  pp. 81 - 97

Sankaranarayanar Temple, Sankarankovil

Refer Picasa album for more pictures on Sankaranarayanar Temple
After visiting the rock-cut cave Malaiyadikurichi we returned back to Sankarankovil by 05.30 pm. As there was enough time, we thought of visiting the Sankaranarayanar Temple. The temple was not included in our itinerary.

Prime deity: Sankara Linga Swamy aka. Sankaranaaraayana Swamy
Procession Deity: -     
Goddes / Consort: Gomathi Amman
Holy Tree:: Punnai (Botanical Name - Calophyllum inophyllum)
Holy Water: Naga Sunai theertham
Historical Name: Poo Kailaayam, Punnai Vanam, Seeraasapuram, Seeraasai, Vaaraasaipuram, Koozhai Nagar.
Date of visit: 23 January 2015 from 06.00 to 08.00 pm

Temple Tower

Facade

Mandapam

Sankaranarayana Shrine: This temple is the representation of fusion of two Hindu faiths Saivism and Vaishnavism. The name Sankara joining with the name Narayana has given rise to Lord Sankaranarayana.  The Lord  is the combined manifestation of Siva and Vishnu (half - Lord Shiva and the other half - Lord Vishnu) and therefore the sanctum houses the deity by the name Sankaranarayanan, which is Lord Shiva and Lord Vishnu grace the devotees together.  Lord Sankaranarayana shrine is in between the shrines of Lord Shiva and Gomathi Amman.

Lord Shiva is fond of holy bath or ablution (Abhishekam) - the process of bathing Shivalinga with the prescribed eleven ingredients. At this shrine holy bath is offered to to Lord Chandramouleeswara the Spatika Shivalinga or crystal Shivalinga. Lord Vishnu is Alankara Priyar (Desirous of ornamentation). Hence Narayana form of this shrine have elaborate alankaram (decoration ceremony).

Lord Sankaralingam Shrine: Lord Sakaralingam (Shivalingam) appears in a separate sanctum.

Gomathi Amman Shrine: In Sanskrit 'Go' means cow and 'Mathi' means moon. Goddess Ambica is named as Gomathi since she wears a face as radiant as the Moon and being the custodian of cows. For Gomathi, Avudaiyambikai' is the equivalent term in Tamil. Goddess is decorated with flowers on Mondays and appears with golden skirts on Fridays. Sri Chakra (Agna Chakra), personifying the glory and power of Shakti, is instituted either under the peeta or in front of Gomathi Amman. 

Legend: The temple is full of legends. Sambha and Padma (Two serpent kings kept worshiping Lord Shiva and Lord Vishnu respectively) and they wanted to understand as to who was superior Hari or Shiva ? It is at this temple that they were shown that Shiva and Hari are the same (ஹரியும் சிவனும் ஒன்னு).

Manikkireevan, a deva took birth as a Paraiyan (out caste) after being cursed by Goddess Parvathi. He was known as Kavaraparaiyan. By chance he demolished a snake pit and later found a snake and a Shivalingam inside the pit. He got panicked after seeing snake pit and rushed to inform King Ukkira Pandya. During the same time Ukkira Pandya's  elephant also fell into a pit and could not move. Following this the King also heard the voice of Lord Shiva directing him to construct a temple at the spot.

Manikkreevan

Manikkreevan

Architecture

One of the  huge temple complex (4.5 acre) that can be found in the district of Tirunelveli and dedicated to Sankaranarayana. Temple architecture under the Nayaks is quite detailed and elaborate. The temple has a 9 tier imposing Rajagopuram.  This temple is surrounded by high perimeter walls and the gopuram has many beautiful stucco images. 

The large courtyards surrounding the three sanctums of this temple. The temple tower is covered from top to bottom with a vast number of heavily stuccoed images of the Hindu pantheon. The pillars in the mandapas depict life size sculptures - Rathi, Manmadha, Kuravan, Manakkreevan and others. The beautiful fresco paintings adorning the sanctum walls and mandapa ceiling. The stone idol of Nataraja is unique. Lord Narasimha finds a place in koshta in lieu of Lingodbhavar. Nandhi before the sanctum is under a Rudraksha Pandal-tent. 

Ornated Wall

Paintings around Sanctum

Inscription: The construction of this temple was commenced at 1022 A.D. by Pandya king Ukkira Pandyan.

Unique features:

1. One of the Pancha Bootha(five elements) Sthalas in the South Pandya country.
2. People believe that the holy Sand from the anthill (Puttrumann)  from this temple has therapeutic powers which has a holistic way of healing skin diseases  .
3. Devotees believe that Sankarankoil‘s Nagasunai (sacred tank) have been dug by serpent kings named Paduman and Sangam which has a miraculous power to heal those who bathe there.

Festival: Adi - Thapasu Temple falls in Auguest, are celebrated for 12 days with gaiety. 

How to Get there
Sankaranarayanaswamy Temple is located in Sankarankoil Town, Tirunelveli Distirict. It is located 33 km south of Rajapalayam and 120 km south of Madurai and 56 Km NorthWest of Thirunelveli and about 40 kms east of Western ghat Hills.

Train: Sankarankoil is situated in the train route from Chennai to Quilon and shencottai.

Youtube: Sankaran Kovil * Shiva & Vishnu as Sankaranarayanar Selvaganapathy S