Showing posts with label Jain Abodes. Show all posts
Showing posts with label Jain Abodes. Show all posts

Friday, October 28, 2016

Kurathiarai Cave Temple: Hindu Rock cut Cave near Nagerkoil, Tamil Nadu, India


Picture Courtesy: RK Lakshmi (Facebook)
Kurathiyarai (குறத்தியறை) Rock cut cave temple is located in Thovalai (தோவாளை) taluk of Kanyakumari district, Tamil Nadu, India PIN 629851 and the village is forming part of  Azhagiapandiapuram (அழகியபாண்டியபுரம்), town panchayat. Kurathiyarai village is situated in the Nagerkoil - Kadukkarai road. Take diversion before Azhagiapadiapuram and and find out muddy road and travel one km to reach this village. The geographical coordinates of Azhagiapandiapuram are 8°18′35″N latitude 77°26′45″E longitude. As of 2001 India census, Azhagiapandiapuram had a population of 12,060 5966 male and 6074 female). Azhagiapandiapuram is 17 km away from Nagerkoil, 

Kanyakumari district well known for places of legendary, historical and artistic importance. You would be enthralled to see the lush green paddy fields, swaying palms, meandering dusty gravel  roads, bullock carts crawling with loads of straw bale, and criss-crossing water streams. Agriculture is the main occupation in this region. Thovalai and the surrounding area is involved in the fresh flower industry for sale to domestic and foreign markets. The Nagerkoil is the base destination to visit Kanyakumari, Udayagiri fort, Padmanabhpuram Palace, Muttam Beach, Tengapattinam Beach, and Krishnancoil temple.

Architecture

The south facing rock cut cave is excavated on the slope of the hillock at the outskirts of the village. The cave cell is excavated 0.95 cm in width and 1.77 m in height and east-west in orientation. The entrance is 80 cm in width and 1.30 m in height. Local people made provision for wooden door and walls coated with cement. 

The horse shoe shaped cave excavation remains incomplete and the floor, roof and walls of the cave appear coarse. The sanctum is 1.52 m in east-west in length and 1.13 m north- south in width and 2.04 m in height. The niche carved on the rear wall measures 40 cm in height. The niche, flanked by two square pilasters,  houses Lord Vishnu. The pilasters support the angular potika and uttira.  The prastara including vajanam, valabi and kapota are absent.  

Picture Courtesy: RK Lakshmi (Facebook)

Lord Vishnu image appears in samapatha sthanaka posture on the rear wall and image is dull and smudged with oil. The Lord wears kreeta makuta, kundala ear-ring, yagnopavita (sacred cord) runs across his chest, and drapes dhoti as a five fold tuck in wrap (panchkacha) and the waist cloth (idaikattu) is tucked with knot. He holds the chanka (conch) in his back right hand and his back left hand holds Chakra (disc wheel). His right forearm rests on the hip and the left forehand kept half folded. Scholars assign the date of Vishnu as eighth century A.D. 

Picture Courtesy: RK Lakshmi (Facebook)



Two niches carved are carved outside on the rock slope one on each side of the cave entrance. The niche on the west of the entrance is 89 cm in height and 63 cm in width and houses Vinayagar idol The Vinayagar is seated in posture described as ‘Lalitasana’ (posture of royal ease) with his right leg drawn up and folded and the left leg resting on the ground. The Lord in ‘Lalitasana’ represents a calm and relaxed deity and the idol appear with trunk to the right side is known as valampuri Vinayagar (வலம்புரி விநாயகர்). The Lord wears karanda-makutam (கரண்டமகுடம்), sarapali (சரப்பளி) in the neck, armlets (தோள்வளை), bracelets (கைவளை) and short robe around the waist. The right tusk is present while left tusk is absent. The back left hand is damaged and the back right hand shows kapitha mudra. The right fore-hand holds an object which is not unidentifiable and left forehand rests on the lap.

The image on eastern niche is left incomplete and sculpting do not show any shape. However the local people worship this image as Avvaiyar.  Although the presiding deity in this cave is Vishnu, the temple is locally known as Avvaiyaaramman koil. The image on the left side of Lord Vishnu is believed to be that of Avvai.

History

The worship of Avvaaiyar in Thovalai taluk in Kanyakumari district is locally as Avvai Nonbu or Avvai Vratham. The Tuesdays of Tamil month Adi is most auspicious for Avvaiyar worship. Womenfolk offer 'Kozhukkattai' (steam boiled rice ball with sweet stuffing) to Avvaiyaaramman.

From inscriptions from Chitharal mountain, there was a Jain cave temple at the top of Chitharal mountain and was known as Thiru Charanathu Malai.  The monks belonging to the Digambara sect established Thiru Charanathu Palli – the abode of Jain monks during 9th century A.D. Thiru Charanathu Palli was a dynamic center of Jain learning - a monastery and a school. The male teacher was called ‘kuravar’ and the female teacher ‘kurathi.’ The word Kurathi (குறத்தி) also denotes a Jain nun. Influence of Jainism in Kurathiyarai is evident from the first syllable 'Kurathi. The inscription also cites the Ay king Vikramaditya Varaguna (885-925 AD). The scholars assign the date of the cave to 8th century A.D.

How to get there?

Bus Route: Thovalai is well connected by bus from Nagerkoil and Kanyakumari.
Nearest Railway station: Nagercoil Junction is a major railway junction connecting the southern tip of India with all parts of India.
Nearest Airport Thiruvananthapuram

Reference

  1. Kurathiarai Rock-cut Cave -Nagercoil -Kanyakumari DistrictRK Lakshmi. Facebook.
  2. Tales of Avvaiyaar March 6, 2009 (http://hmindia.blogspot.in/2009/03/ack-086-tales-of-avvaiyaar.html)
  3. குறத்தியறை.  மு. நளினி. வரலாறு.காம் இதழ்  47. மார்ச் 16 - ஏப்ரல் 17, 2008.

Friday, March 13, 2015

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 8th 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 (குத்திகள்). 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)


Thursday, February 5, 2015

Tirunelveli Region Travelogue (Pandyan Yatra 2015) Part 1: Planning the Site Seminar


@ Kazhugumalai Photo courtesy: Ms Ramamani Jeyaraman
@ Kazhugumalai Photo courtesy: Kishore Mahadevan

@ Kazhugumalai Vettuvankoil Photo courtesy: Kishore Mahadevan
For the last five years, Tamil Heritage Trust (THT), an organization of heritage lovers in Chennai, have been organizing the site seminar every year as annual event. 'Prof Swaminathan mooted and organized the concept of a Site Seminar, to familiarize a few individuals passionately interested in the heritage of the Tamil country, but clueless about where and how to start.'  Table 1 shows the list of site seminars organized by Tamil Heritage Trust.

Table 1. List of Site Seminars Organized by Tamil Heritage Trust

Year
Name of the Site Seminar
Place or Region
State
2010
Mamallapuram Site Seminar Athyanthakaama Ashrama Vijaya
Mamallapuram
Tamil Nadu
2011
Ajanta and Ellora Site Seminar
Paranjothi Yathirai
Ajanta & Ellora
Maharashtra
2012
Mukkudai Yathirai
Pudukkottai District
Tamil Nadu
2013
Site Seminar: Srirangam Tiruvaranga Ulaa
Srirangam
Tamil Nadu
2014
Gurjari Yatra - Gujarat Site Seminar
Gujarat Select Monuments
Gujarat
2015
Pandyan Yatra
Tirunelveli Region Select Monuments
Tamil Nadu


For the sixth site seminar 2015, 'the southern sections of Pandyan territory, centered around Tirunelveli region' was identified as the heritage site for and the Pandyan Yatra was undertaken by a team of 24 members between January 23 Friday and January 27 Tuesday 2015, both dates inclusive. I was one of the fortunate participant of the Pandyan Yatra.

THT's Pandyan Yatra was NOT a religious tour, or a pleasure trip or sightseeing excursion. Instead Pandyan Yatra clearly focused to cover only on art, archaeology, architecture, epigraphy, history, iconography aspects of the monuments.  The purpose of Pandyan Yatra was to intensely explore the heritage of the southern sections of Pandyan territory for deeper understanding the heritage of the region. 

Tirunelveli region was under the rule of the Pandya Dynasty and was known as 'Thenpandiyanadu'. The Imperial Cholas included this region under the province called 'Mudikonda Cholamandalam'. The Madurai Nayakas preferred to call it as 'Tirunelveli Seemai'. The British East India Company formulated the 'Tinnevelly district', which was composed of the present Tirunelveli and Thoothukudi districts and parts of the Virudhunagar and Ramanathapuram districts.

Map of Tirunelveli Region

The region also comprise all five geographical traditions of Sangam Tamil Literature: Kurinji (mountains), Mullai (forest), Marudham (paddy fields), Neithal (coastal) and Palai (desert). Ancient holy hill 'Pothigai,' the abode of Tamil sage Agasthiyar (who developed Tamil language) forms part of this region. The   crawling   clouds  on the Western Ghats, the picturesque Pothigai hills and the Kurtallam water falls are  the  special features which make  Tirunelveli  unique. Tirunelveli region is blessed with the perennial river Thamirabharani - the lifeline of the region and forms the major river basin in this region. The other  streams include Vaippar, Nambiar and Hanumanathi. The fertile land is blessed with lush green paddy fields, coconut groves, banana plantations,  water-falls and palm trees add a picturesque dimension. The region is dotted with many early Pandyan rock-cut caves and well-preserved structured temples built by Pandyas, Cholas and Nayakas.

Since the culturally rich Tirunelveli region is very vast, it is not easy to travel the entire region. Therefore the site seminar set to catch a glimpse of the region's heritage and planned to focus on some specified heritage monuments as shown in Table 2:

Table 2: Itinerary of Pandyan Yatra 2015

Date
Monuments
Region
23 Jan 2015
Kazhugumalai - Jain Monastery,
Kovilpatti Region
Kazhugumalai - Vettuvankoil,
Kazhugumalai - Kazhugachalamurthy Temple
24 Jan 2015
Malayadikurichi Rock cut Cave of Early Pandya
Sankarankovil Region
Thirumalapuram Rock cut Cave of Early Pandya
Singampatti Zamin Palace located near the foothills of Manjolai Estate
Kutraleeswaran Temple and Chitra Sabha - one of five dancing halls of Lord Nataraja
25 Jan 2015
Mannar Koil Rajagoplalaswami Temple. Ashtanga Vimana. 
Ambasamudram Region
Thiruvalivaram Tiruvalisvarar Temple
Brahmadesam Temple
Kallidaikurichi Temples
Ambasamudram Temples,
Thirupudaimarudur Temple
Cheranmadevi Bhakthavatsala Perumal Temple
26 Jan 2015
Tirukurungudi Nambi Temple (108 Divya Desam)
Nanguneri & Tirunelveli Region
Tirunelveli - Palayankottai Museum,
Nellaiappar Temple,
Nanguneri Vanamamalai Perumal Temple
27 Jan 2015
Srivaikuntam Vaikuntanathaswami temple Navatirupati (108 Divya Desam)
Toothukudi Region
Alwartirunagari Temple Navatirupati
(108 Divya Desam)
Tirukolur. Temples

Krishnapuram Temple

Tamil Heritage Trust - Site Seminar itinerary Brochure
Tamil Heritage Trust - Site Seminar itinerary Brochure
Tamil Heritage Trust - Site Seminar itinerary Brochure


The participants were provided with best available information to ensure a successful journey. The Pandyan yatra 2015 was slightly modified from the itinerary shown in Table 2 in terms of timing of visit and few cancellations and additions of places.

The participants organized number of weekend preparatory site seminar meetings on Sundays during 16th November 2014 - 18th January 2015 and invited few persons, who are familiar with these sites, to deliver the series of pre-visit lectures and power-point presentations. The participants also research out  on one or two places of interest and shared information through presentations. 

Arkay Center is conveniently located in Mylapore, and Mr Ramakrishnan has been very kindly hosting preparatory site seminar meeting there. V Chandrasekhar, has very kindly offered his house at "Shrinidhi", 12/1 Reserve Bank Colony MG Road, Thiruvanmiyur, Madras 41 and his residence has often been the venue for most site seminar meetings.. 

Table 3: The preparatory lectures for the Sixth Site Seminar:

Date
Talk on
16.11.2014
History of the Pandyas -Sangam, Early and Imperial by Ramakrishnan at  Arkay Center, Mylapore
30.11.2014
Iraiyanar Agapporul - a book on Tamil grammar, which changed the nature and subjects of Tamil Literature by Badri Seshadri  "Shrinidhi", 12/1 Reserve Bank Colony MG Road, Thiruvanmiyur, Madras 41
MaduraiKanchia Sangam era epic that describes the city in that period by Badri Seshadri  "Shrinidhi", 12/1 Reserve Bank Colony MG Road, Thiruvanmiyur, Madras 41
14.12.2014
Madurai Sultanate The fall of the Pandyas & Muslim rule in Madurai by Ravishankar Thiagarajan 
"Shrinidhi", 12/1 Reserve Bank Colony MG Road, Thiruvanmiyur, Madras 41
Singing along the Tambraparni - Verses from the Thevaram and Prabhandam by Pradeep Chakravarthi Navneet Krishnan has accompany Pradeep by singing some of these compositions.  "Shrinidhi", 12/1 Reserve Bank Colony MG Road, Thiruvanmiyur, Madras 41
21.12.2014
Nanguneri Temple and Vanamamalai Mutt by Deivanayagam   "Shrinidhi", 12/1 Reserve Bank Colony MG Road, Thiruvanmiyur, Madras 41
Pandyan Cave Temples & Monoliths by Vijayakumar.S (Poetry in Stone)    "Shrinidhi", 12/1 Reserve Bank Colony MG Road, Thiruvanmiyur, Madras 41
11.1.2015
Pandya temples by K.S Sankaranarayanan    "Shrinidhi", 12/1 Reserve Bank Colony MG Road, Thiruvanmiyur, Madras 41
Jina Images of Kazhugumalai as seen by Lisa by Ravishankar Thiagarajan    "Shrinidhi", 12/1 Reserve Bank Colony MG Road, Thiruvanmiyur, Madras 41
18.1.2015
Nellaiyappar and Kanthimathi Amman Temple by Siva Thiyagarajan and Kishore   "Shrinidhi", 12/1 Reserve Bank Colony MG Road, Thiruvanmiyur, Madras 41
 
The following documents were shared 'Athyanthakama' Yahoo Group:

  1. பாண்டிய நாட்டில் பயணமும் படிப்பும் Kanaka Ajithadoss (Yahoo Group 20.11.2014)
  2. Jaina Images of Kazhugumalai (PDF) shared 

The following documents published elsewhere were included in the Guide 'Pandyan Yantra':
  1. A new Pandya Record and the Dates of Nayanmars and Azhvars  by Nagaswami R
  2. A Brahmadeya Gift by Pandya Arikeari  by Nagaswami R
  3. Kalugumalai: Jain Images by Dr. Lisa N. Owen
  4. Malaiyadikurichi Inscriptions Tell Tales  by Pradeepchakravrthi
  5. Nellaiyappar Temple: Rare kritis by Pradeepchakravrthi
  6. Dakshinamurti on vimanas of Vishnu temples by RKK Rajarajan
  7. நின்றிருந்துகிடந்த நெடியோன் ஜெயமோகன் November 24,2010 (http://www.jeyamohan.in/9346)
  8. ஸ்ரீவைகுண்டம் ஆழ்வார்திருநகரி கிருஷ்ணாபுரம் ஜெயமோகன்
Pandyan Yatra 2015 (Guide Book) THT
This is a travelogue of Pandyan Yatra 2015 covering around 20 heritage monuments in 5 days. Traveling through 'Tirunelveli Seemai' is a fulfilling experience if you are a lover of culture, heritage and history. 'Tirunelveli Seemai' is the heritage land of the south and the cradle of ancient Thamirabharani river line civilization. The Thamirabharani river valley on either side of the river is fertile and there are large acres of lush green paddy fields, coconut groves and banana plantations. The lofty temple towers and the tall and imposing temple walls in the backdrop of majestic and picturesque Western ghats invited us  It gives me inspiration and satisfaction to bring you a travelogue of Pandyan Yatra 2015.


I would like to profusely thank Prof.S.Swaminathan, S/shri Badri Seshadri, R.Gopu, Ashok Krishnaswami, Siva Thiagarajan, Kishore Mahadevan, guest speakers, Kizhakku Pathippagam staff, Temple staff and Priests, ASI staff, participants and all others for contributing to the success of Pandyan Yatra 2015.
Related Posts Plugin for WordPress, Blogger...