Tirunelveli Region Travelogue (Pandyan Yatra 2015) Part 3.3: Kalugasalamurthy Rock cut cave and Kutralanathar Temple, Kutralaum

Facades of Kalugasalamurthy & Kutralanathawami Temples

Kalugasalamurthy Entrance Pillared Hall

Kalugasalamurthy rock cut cave temple excavated on the south-eastern slope of the low rising Araimalai hillock. The present rock cut cave temple has transformed into huge complex with the structural additions such as  shrines for associate (Parivara) deities, mandapas and cloister mandapas and holy water tank. The Lord Jambukesvara (form of Lord Shiva) appear as Shivalinga in the east facing sanctum at the mandapa and the goddess Akilandesvari also appears in a separate south facing sanctum. The pillared mandapa is supported by pillars with aesthetic bas relief sculptures.

The rock cut cave temple can be accessed through a mahamandapa or entrance pavilion (hall) which has two entrances, one at west and the other at north. The structural mahamandapa is actually an extension of the rock cut cave temple. There are two sanctums adjoining to the northern wall of the mahamandapa housing Lord Nataraja and Lord Arumuganayanar (Lord Muruga). The rock cut cave temple consists of a facade, mukha mandapa and sanctum.

Facade

Peacock Vehicle

The facade comprise two stupendous pillars in the middle and pilaster on both ends with the features of square, octagonal kattu and square. The pillars and pilasters are insulated with brass sheets. The original facade of the rock cut temple has been modified to suit the flight of steps and the plinth (floor) formation of the structural main mandapa. The facade, with evenly leveled floor,    is 2.05 mtr in the east - west and 6.30 mtr in the north - west.  The facade also extends by 6.46 mtr in the north - south and 60 cm in the east -west and the height is 2.08 mtr. The flight of four steps (only three in the north) leading to the mukha mandapa pass through the anganas of pillars.  The kapodabandha adishtanam of the facade comprise elements such as upana, supporting upana, thamarai, jagadi, eight patta kumuda, kantha with pada flanked by kampa, pattika and uparikampa and kapota.  

The octagonal kattu of pillars rest on the wide-angular vettu potikas (corbel brackets) which support the prastara elements such as uttara (beam), vajana and roof. The prastara elements also extends as unsculpted kapota. The north and south walls forming part of the mother rock extends evenly up to one mtr.

Mukha mandapa
 

Mukhamandapam From Mahamandapam

Another row of two pillars and two pilasters are cantoning the part of facade and mukha mandapa. The angana (space between pilaster and pillar) at north bears a brick wall partition. The south angana (between pilaster and pillar) modified with brick wall partition with an entrance to the rock cut sanctum. A flight of single step leads to the sanctum. The angana between the two pillars is also modified as the main entrance to the cave sanctum.  The brass sheet insulated pillars bear lotus medallions. The lintel of the main entrance (below the kapota insulated with brass sheet) shows makara torana with goddess Gajalakshmi at the center. The square section of the pillars and wide angular vettu potikas support the prastara elements like vajana and roof. 

Inner mandapa

An inner mandapa is located in between sanctum and mukha mandapa. measuring 6.50 mtrs in the south - north and 2.00 mtrs in the east - west and 2.77 mtrs in height.

Sanctum

 

Sanctum from the Main Mandapam

The flight of single step leads to the sanctum.  The sanctum is a cubical cell with 1.98mts in east-west and 2.48mts in north-south directions. The height of the sanctum is 2.48mts. The anterior wall of the sanctum is sectioned with the four pilasters. There are two platforms constructed adjoining to the south wall of inner mandapa and sanctum.  The sanctum houses Lord Kalugasalamurthy with consorts.

Lord Kalugasalamurthy appears with consorts in Cave sanctum

Lord Kalugasalamurthy appears seated on his pea-cock vehicle in utkudikasana posture. The Lord is accompanied by his two consorts: goddess Valli on his left and facing north and goddess Dheivanai on his right and facing south. The jewelry of the goddesses includes Karanda makuta, pathra kundalas, sarapali, armlets , bracelets and silk garments on their waist. Goddess Dheivanai alone wears breast band. The Lord wears Karanda makuta, patra kundala, pearl and rudrakha beads malas, and silk garments on his waist. Of the twelve hands the upper right hand holds vajra (thunderbolt), middle right  hand holds the khadga (sword), the lower right hand shows abhaya hasta mudra (gesture of fearlessness); the upper left hand holds saktivel (spear), middle hand khetaka (shield) and lower hand varada hasta mudra (gesture of generosity).

Inscriptions

The Vikrama Pandya's 15th regnal year inscription engraved before the sanctum of Lord Jambukesvarar (on the south wall) records the gift of fifty goats and one sheep to provide ghee for burning perpetual lamp by the Sri Rudramaheswara of this temple.  The inscription also mentions about the tank for collecting the ablution water. (ARE 1966: 349 / SII V: 307 - 406).

Period

The scholars have assigned the period of this rock cut temple structure to eighth century A.D. based on its architecture.

Kavadi Chindhu  of poet Annamalai Reddiar

Annamalai Reddiar of Chennimalai, in Tirunelveli district (1865 - 1890 / 1891), an ardent devotee, has composed the 'Kavadi Chindu,' one of the forms of light compositions in Tamil, in praise of Lord Kalugasalamurthy.  ‘Chindu’ means a couplet or poem in Tamil set to a particular meter. Kavadi Chindu, a kind of folk song is sung by ardent Muruga devotees as they carry the ‘kavadi’ to Muruga temples, typically located up on the hillocks, to ease out some of the strain and physical exhaustion resulting from the journey. The stanzas are highly popular for its simplicity, rhymes,  musical rhythm  and melody. The poet also has set to music in ragas like Sindhu Bhairavi, Chakravaham, Ananda Bhairavi, etc. He has also compiled the 'Thalapurana.' (Mythological history). Opposite to Kalugasalamurthy temple there is a small palace which served as local residence of Raja of Ettayapuram.

Reference

Kalugumalai kutaivarai (in Tamil). Nalini, M and Kalaikkovan R. Dr. Maa. Rasamanickanar varalarru ayvu maiyam, Tiruchirapalli. Dec 2009. pp. 76 - 80. (கழுகுமலை குடைவரை (தமிழ்). நளினி, மு; கலைக்கோவன் இரா. டாக்டர். மா. இராசமாணிக்கனார் வரலாற்று ஆய்வு மையம், திருச்சிராப்பள்ளி. டிசம்பர் 2009. பக்கங்கள். 76 - 80)

Lunch Session

 By 1.30 pm we were able to complete our Kalugumalai itinerary. We were so tired as well as hungry and therefore rushed for lunch at a dining hall in a temple choultry maintained by Kalugasalamurthy devasthanam. To our surprise Kizhakku Pathippagam staff have arranged a  delicious home made South Indian Variety Rice Lunch. We enjoyed the home made lunch and relaxed till 3.00 pm. We also had group photo sessions.

Travel to Kutralam

Location: 72 km from Kalugumalai; 55 kms from Tirunelveli; 6 kms from Tenkasi; Located in the Southern part of Tamil Nadu state, India.

Nearest Railway Station: Tenkasi or Senkottai

Nearest Airport: Madurai (around 200 kms)

How to reach: Easily reachable by road from Tirunelveli, Tenkasi, or Madurai

Since our itinerary for the Day 3 was tight, we planned to save as much time as possible. So the rest of the day's travel and night stay was planned at Kutralam (anglicised version is Courtalum), `the Spa of South.'  With new regained energy we continued our travel towards Kutralam (Courtallum), the land of cascading waterfalls. 

The entire travel route of 72 km between Kalugumalai and Kutralam was filled with lush green paddy fields and coconut groves and we traveled through the heritage towns like Puliyangudi, Kadayanallur, Ilanji, Tenkasi and countless picturesque villages.

We reached the town by 4.30 pm. After refreshment we rushed to the Kutralanathaswami temple near main falls.

Kutralanathaswami Temple (குற்றாலநாதசுவாமி கோவில்)

Entrance to Kutralanathaswami Temple

• Name of the Shrine: Kutralanathaswami Temple (குற்றாலநாதசுவாமி கோவில்)
• Other Names of the Shrine: Trikootaachalam, Tirukkutralam, Mukthiveli, Nannagram, Pithur Kanda, Theerthapuram, Thirunagaram and Vasanthaperur.
• Prime deity (மூலவர்): Lord Shiva appears here as Kutralanathaswami (குற்றாலநாதசுவாமி) aka Kuruambaleeswarar (குறும்பாலீஸ்வரர்). The main sanctum of this temple houses dwarf Shivalingam.
• Five Dance Halls of Lord Nataraja: Kutralam represents one of the 5 Pancha Sabhas (பஞ்ச சபை) of Nataraja - Chitra Sabhai (சித்திர சபை).  
• Amman shrine: Goddess Kuzhalvoymozhi (குழல்வாய்மொழி அம்மை) appears in a separate sanctum on the southern side of prime deity.
• Inner Periphery (உள்பிரகாரம்) - Associate Deities (பரிவார தேவதைகள்): The peedams of Annavi Pillai (அண்ணாவி பிள்ளை) and the other associate deities appear before Amman shrine. Lord Kailasanathar appears on the southern corridor and goddess Durga on the northern corridor.
• Outer Periphery (வெளிப்பிரகாரம்) - Associate Deities (பரிவார தேவதைகள்): Vallabha Ganapathi (வல்லபகணபதி), 63 Nayanmars, Sahasralingam (one thousand lingam), Papanasar - Ulagamman, Nellaiyappar - Gandhimathi, Manakkolanathar (மணக்கோலநாதர் (சிவன்), Narumbunathar, Sankaralinganathar, Pavalavannathar - Oppanai Amman, Chokkalingam - Meenakshi Amman, Madunatheswarar - Aramvalartha Nayagi, Kasi Viswanathar - Visalakshi, Bairavar, Nannagara Perumal (நன்னகரப்பெருமாள்), Navagraha, sage Agastyar and others.
• Holy Tree: Dwarf Jack fruit tree (Kurumpalaa) (குறும்பலா) (Artocarpus heterophyllus)
• Holy water: The main falls (Shivamadhuganga சிவமதுகங்கை), Vadaaruvi (வட அருவி) and Chitra River (சித்ரா நதி)
• Holy Hymn: Invoked in Tevaram (தேவாரம்), Tiruvasagam (திருவாசகம்), Tirukkovaiyar (திருக்கோவையார்) hymns by Tevaram foursome (தேவர நால்வர்) (Appar, Sambandar, Sundarar and Manickavasagar). The name Kutralam finds its place for the first time in Tevaram. Sekkizhar also glorifies the town and the Lord in his  Periapuranam. Sages like Pattinathar and Arunagirinathar have also sung stanzas in praise of the Lord.
• Literature: Tirikootaraasappa kavirayar's (திரிகூடராசப்பகவிராயர்) well known work Kutrala Kuravanji (குற்றாலக்குறவஞ்சி), poetic drama (இசைநாடகம்) (composed during 19th century A.D.) glorifies this shrine. This unique Tamil poetic form has Vasanthalakshmi as heroine, Sinki (Kurathi), nomadic tribal woman and foreteller making predictions about the hero and Sinkan (Kuravan) her husband. He has also compiled the Shrine history of Kutralam (குற்றாலத் தலபுராணம்).

Legends:

Pothigai Hills

Sage Agastyar (அகஸ்திய முனிவர்), at the instruction of Lord Shiva, proceeded to the south (Pothihgai Hills) to stabilize the imbalance of the earth. The Devas and all other celestial beings assembled at Mount Kailash (abode of Lord Shiva) in Himalayas to witness the celestial wedding of Lord Shiva and goddess Parvati. This resulted the imbalance of the earth. At Kutralam shrine (originally the Vaishnava shrine) sage Agastya was prevented at the entrance by the Dwarpalakas of Lord Vishnu. Sage Aagastya invoked Lord Kumaran (Lord Muruga) of Ilanji (இலஞ்சி) (2 km. away from Kutralam).

Agastyar

Lord Kumaran instructed Agastya to enter into Kutralam shrine and  he entered the shrine disguised as Mularikanna, a Vaishnavite devotee from Tirupati. Agastya followed the instruction and entered into the shrine and directed the priest to fetch flowers for archana. Thereafter the sage took "Omni-form" or "Viswaroopa" (விஸ்வரூபம்) before Lord Vishnu and put his hand on the head of the the Vishnu deity and pushed it  to shrink into extremely dwarf Shivalingam. Thus Kutralam was transformed as the Saivite shrine. Lord Shiva showed himself here as Bhrama and Vishnu.

History

This temple has more than 2000 years old history. It is believed that the temple was constructed even before 5th century B.C. Since Sangam literature (சங்க இலக்கியம்) describes the 'Pothigai' hills (பொதிகை மலை), Kutralam town could have been one among the towns of Sangam period.

“பொற்கோட்டு இமயமும் பொதியமும் போன்றே” (புறம் 2:8) புறநானூற்றுப் பாடல் 

""வடவர் தந்த வான் கேழ் வட்டம் / குட புல உறுப்பின் (அகம். 340.16-17-வடநாட்டில் உள்ளவர் கொண்டு வந்த வெண்ணிற வட்டக் கல்லில் மேற்கே உள்ள பொதிகை மலை)

The Ay dynasty ruled parts of southern India from the early Sangam age to the 10th century AD. Among the Ay (ஆய்) rulers of the Sangam Age, Ay Antiran (ஆய் அண்டிரன்) is  the most outstanding chieftain of this Velir clan. The Velirs were regarded as the 3rd chain of Philanthropists (கடை ஏழு வள்ளல்கள்). Ay Antiran's name is mentioned in the Purananuru as the lord of Podiyil Malaya in southern Western Ghats.

Dwarf Jack fruit (Holy) Tree

Kochenganan (கோச்செங்கனான்), the Chola monarch of early Sangam era, built number of temples in Tamilakam. He also set forth the specific tree as the 'holy tree' (Sthala Vriksham) (தலவிருட்சம்) for that specific shrine. Thus Kutralanathaswami shrine was associated with Jack fruit tree (குறும்பலா) aka Artocarpus heterophyllus. From the foregoing evidences lead the scholars to believe that Kutralanathaswami worship could have existed since from Sangam period. Poet Kapiladeva Nayanar (புலவர் கபிலதேவ நாயனார் aka கபிலபரணர்), believed to have lived during 10th century A.D., describes Kutralam town in poetical work 'Sivaperuman Tiruvandadhi' (சிவபெருமான் திருவந்தாதி) as:

   கொக்கரங் குற்றாலம் கூற்றின் பொருள் முயன்ற குற்றாலம் ('Kokarang kutralam koorrin porul muyanra Kutralam')

    கொழுந்தேன் கமழ் சோலைக் குற்றாலம் ('Kozhunthen kamazh solaik Kutralam') 

Lord Nataraja Chitra Sabha

Kutralam is one among the five dance floors (பஞ்ச சபை) of Lord Nataraja (Shiva). It is known as Chitra sabha (சித்திர சபை). Among 14 Shiva shrines of Pandya country, Kutralam is believed to the most ancient. Parasakthi Peetam (பராசக்தி பீடம்), one among the 64 Sakti peetams (சக்தி பீடம்), forms part of Kutralanathaswami temple. The peetam is also known as Yoga peetam, Dharani peetam (தரணி பீடம்) and Arutparasakthi peetam.


Architecture: 

The temple has a conch (சங்கு) shaped corridor (Prakaram) plan and is referred to as  Sangakkovil. The present Kutralanathaswami temple was constructed by the Chola monarch Rajaraja Chola I (முதலாம் இராசராச சோழன்) and built the wall around the inner corridor. Archaeologist claim that there was a Vishnu shrine on the left of the prime deity. The Pandya kings built the sanctum, ardha mandapa, separate sanctum for goddess Kulalvai mozhi amman and Pillayan Kattalai mandapa (பிள்ளையன் கட்டளை மண்டபம்). Nayakka rulers constructed the temple for Parasakthi, periphery wall, inner streets, Sangu street (சங்கு வீதி), new sanctums for some associate deities. The ancient sanctum meant for Vishnu is now being converted as Vagana room. Kings of Vadakarai Aadhikkam (வடகரை ஆதிக்கம்) of Sokkampatti (சொக்கம்பட்டி) built the Thirikooda mandapam (திரிகூட மண்டபம்), Pasupirai (பசுபிறை), Thattodi (தட்டோடி), vaitheeyappa vilasam (வைத்தியப்ப விலாசம்), the mahamandapam of Kulalvai mozhi amman, sangai veethi and kalpavuthal (கல்பாவுதல்) at vasantha veethi. 

Inscriptions

Inscription on the Pillar

Kutralanathaswami temple has 89 inscriptions in total.  Of the 89, ten inscriptions discovered on the east and west walls of the first periphery records the gifts of cow, sheep, goat, buffalo for burning perpetual lamp (நந்தா விளக்கு) and endowments of land, gold and coins to the Tirukutrala Perumal temple by the Chola monarch Madiraikonda Ko-Parakesarivarman (மதிரை கொண்ட கோப்பரகேசரிவர்மன்) aka Parantaka Chola I (முதலாம் பராந்தக சோழன்) (907–955 A.D.). In the entire Pandya country, the inscriptions of Parantaka Chola I in Tamil Vattezhuthu (தமிழ் வட்டெழுத்து)  script were discovered only in Kutralanathaswami temple.

Inscription in Vattezhuthu script on the east wall of the first prakara Kuttalanathasvami temple assignable to Parantaka I

Inscription

It records a gift of 26 cows for burning a perpetual lamp in the temple of Tirukkurralattu-Perumal (திருக்குற்றாலத்துப் பெருமாள்) by Adittan Muvenda-Palla[varaiyan] (ஆதித்தன் மூவேந்த பல்லவராயன்) of Arrur in Tiruppanangattu-nadu (திருப்பனங்காட்டு நாடு) in Solanadu.  (A.R. No. 444 of 1917) (The inscription mentions the name of the Lord as ‘Tirukkurralattu-Perumal’ )

It records a gift of 26 cows for burning a perpetual lamp in the temple by Dharma-setti (தர்ம செட்டி) alias Sadaiyan Kavayan (சடையன் கவயன்) a member of the Manigramam (மணிக்கிராமம்) (guild) at . . . . in Tenvara-nadu. (A.R. No. 439 of 1917)

vatteluttu script and is damaged.  It records a gift of cows for burning a perpetual lamp in the temple by a lady by name Ariyampoduviyar (அறியாம்பொதுவையார்) wife of [Na]ranappallavaraiyar (நாரணப்பல்லவராயர் ). (A.R. No. 442 of 1917)

It records a gift of 25 sheep for burning a lamp with an ulakku of ghee (உழக்கு நெய்) every day in the temple of Mahadeva (மகாதேவ) at Tirukkurralam by one Nakkan Appi Tirumurtti (நக்கன் அப்பி திருமூர்த்தி).   (A.R. No. 428 of 1917) (This inscription observe the Lord's name as  ‘Mahadeva at Tirukkurralam' )

22nd regnal  year of Parantaka I. This is a damaged Vatteluttu inscription assignable to Parantaka I. It records gift of 16 ma of land for burning a perpetual lamp in the temple at Tirukkurralam in Tenvari-nadu (தென்வரி நாடு) by Kandan Iravi (கந்தன் இரவி), made on the day of a solar eclipse (சூரிய கிரகணம்). (A. R. No. 441 of 1917.)

35 regnal year of Parantaka I It  records a gift of 6 buffaloes for burning a perpetual lamp in the temple at Tirukkurralam in Tenvari-nadu ((தென்வரி நாடு)) by Kovadi Kdnra ... a ywwv  Vellala resident of Vallapuram in Mala-nadu. (A.R. No. 447 of 1917) (The inscriptions of Paranthaka also cite the date and time of the 'solar eclipse' which enabled the scholars to precisely compute the period of Paranthaka I. ). There is also one inscription in Tamil script.  

Three inscriptions of Rajaraja Chola I (முதலாம் இராசராச சோழன்) discovered on the western wall of the first periphery records the renovation work carried over the dilapidated structure as well as the construction of new mandapas. The Chola monarch also copied the Vattezhuthu Tamil inscriptions and inscribed back after renovation. The prime deity was mentioned in his inscriptions as 'Kutralathu Bhattaragar' (குற்றாலத்து பட்டாரகர்). The Chola emperor also left an inscription (which is not readable now) to tell us about structural additions made to this temple as well as the transformation  of Tamil script from Vattezhuthu Tamil script. The fragmented inscription of Rajendra Chola I (முதலாம் இராசேந்திர சோழன்) discovered on the third pillar of the eastern corridor in the first periphery. 

Palmyra Sap + Tender Palm Fruit 

On our way to Chitra Sabha, we were invited by the vendor selling Pathaneer (பதநீர்) (palmyrah sap) with Nungu (நுங்கு) or tender palm fruit or ice apple cocktail. All tourists gathered around his bicycle carrying a pot full of palm juice and bunches of  nungu. The cocktail juice was served in fan shaped palmyra (Borassus) leaf (பனை மட்டை) folded like a pot and we consumed it in gulps.

Chitra Sabha (Murals)

The Chitra Sabhai aka the hall of paintings is located nearer to the main temple. There is a holy water tank before Chitra Sabhai. Architecturally rich Chitrasabha showcaes hundreds of murals on the walls depicticting scenes from Hindu Puranas. Chitra Sabha murals are drawn out of medicinal herbs. The wooden carved planks serve as doors, beams, cornices and roof structure. The temple authorities have conserved the paintings and they appear bright with modern touch. The roof of the painting hall is covered with copper sheets. Unfortunately they are not allowing photography.


Kutralam 'the Spa of South'

Main Falls

Kutralum is situated at an elevation of about 167m (520 ft) on the Western Ghats. Numerous rivers such as the Chittar River (சித்தாறு), the Manimuthar River (மணிமுத்தாறு), and the Pachaiyar River (பச்சையாறு) originate here. The mother nature's own water slides from the peaks of mountains and drops from hundreds of feet as small cascades as well as thundering waterfalls. It is certainly a feast to our eyes to watch the surreal landscape and the water cascades from every ledge and crevice. 

Five Falls

Snuggled in the Western Ghats, there are nine waterfalls in 10 Sq.km area around Kutralam town. The main falls located near the temple. Five falls (Aintharuvi - ஐந்தருவி) lies 4 km away from main falls.  Small falls (Chittaruvi - சித்தருவி) lies between main fall and five falls. Chembakadevi falls (செம்பகாதேவி அருவி) lies deep into the forest and devotees visit this falls and Agastya temple on full moon days. Honey falls (Thenaruvi - தேனருவி) is located still more deep into the thick forest. Old falls (Old Kutralam falls - பழைய குற்றாலம் அருவி) is 8 km away from the town. On your way to Old falls you may find Tiger falls (Puliaruvi - புலியருவி). Also there are two falls New falls (Puthiyaruvi - புதியருவி) and fruits garden falls (Pazhathotta aruvi - பழத்தோட்ட அருவி).  It is believed that the water has medicinal and therapeutic properties and also cures physical ailments since it flows through forests full of herbs. Therefore this popular health resort attracts tourists to have bath, enjoy the soothing effects of water current and to get relieved from pains and body aches rapidly and regain energy. With the advent of the season the oil masseurs (use til oil, sandal oil and herbal oils) are in great demand.

Kutralam has moderately chilling climate throughout the year and filled with scenic surroundings. During the season (period June to September in every year) thousands of tourists from far and near visit this place to enjoy the sizzling of rain drops of 'Saral' (சாரல்) season and cool breeze from Pothikai hills (பொதிகைத் தென்றல்). The town also markets spices like clove and cardamom and exotic varieties of fruits such as jack fruit, mangoostan, doarian, ramdan, egg fruit etc.

Our Stay at Kutralam: Merriment and Gaiety

Hotel Saral Resort

During night we stayed at Hotel Saral Resorts at Shengottai Road. The surrounding of the hotel was calm and quiet. The room was spacious, clean and maintained hygienic with all the amenities. The food at the hotel was delicious. It is a nice place to stay.

After refreshing coffee few of us went to the Main falls for bathing. One can bath safely at anytime at the main falls even in midnight. The `bath police' is there to regulate the crowd. The flow of water in this main falls will be depending up on the rain fall in the catchment region in Kerala. However main falls will have little flow of water even during summer. The scenic beauty of Chitar river sliding from top of Sahya mountain and falling with thunderous rhythm. We found both ladies and gents were enjoying the water current under the falls. Water droplets  moisturize the air and make the atmosphere very chilling . We had the fun time under the falls.

Double Bedroom

The restaurant of  Hotel Saral served buffets of the appetizing delicacies of South Indian menu for dinner. After peaceful sleep in the hotel room, every one joined for a bath in the early morning at five falls (Aintharuvi). The water flow was minimum. Yet we enjoyed our bath for an hour. After bath we packed our luggage and vaccated the hotel and assembled for breakfast in the restaurant. The South Indian breakfast was scrumptious. Now we are ready for our Day 3 journey.


Reference

Thiru Courtrallanathar Swamy Temple. Courtrallam (TNHRCE Website)

Tirunelveli Region Travelogue (Pandyan Yatra 2015) Part 3.1: Vettuvankoil and Kazhugumalai Cave Temple

Vettuvankoil & Pallava Monoliths Mamallapuram

Vettuvankoil & Dharmaraja Ratha Shikara

After strenuous travel around Sankarankoil region the Day 1 programe came to an end and returned back to Tirunelveli. We looked forward the delicious food at Tirunelveli and found a restaurant to suit our taste. After dinner we retired to our rooms. After comfortable sleep, we had a bath and breakfast and re-gained energy and ready for the second day itinerary.  Also packed our luggage as we have planned to stay at a lodge in Kutralam after Day 2 travel.

Day 2:   Kovilpatti Region

The Toothukudi district is one of the most urbanized region. It has hot and dry climate. Kovilpatti and Tiruchendur are the two major towns. Kovilpatti region is known for the match factory (cottage)  industry.  Cotton is cultivated in Kovilpatti, Ottapidaram and Thoothukudi Taluks. The archaeological site at Adichanallur (part of Toothukudi district) holds the remains of the ancient Tamil civilization. 

The travel time between Tirunelveli and Kalugumalai was one hour. We traveled through SH 41 Tirunelveli - Sankarankoil Road and took diversion to the right and proceeded through Sivakasi - Alangulam Road. Traveled through the rural villages of Tirunelveli - Toothukudi with interest. Finally reached Kalugumalai.

Everyone was interested in visiting the Jain Abode and Vettuvankoil. Few of us were interested in visiting the Kazhukasalamurthy Rock cut cave Temple at the foot hill. We also visited this rock cut cave.

I will devote one post each for 1. Vettuvankoil 2. Jain Abode 3. Kazhukasalamurthy Temple and Kutralanathar Temple (Including Chitra sabha)

Kalugumalai Town:

The inscriptions of Nechuram aka. Tirunechuram, an ancient Pandya town (presently known as Kalugumalai ("Hill of the vulture") forming  part of the Kovilpatti Taluk, Tirenelveli district, Tamil Nadu) speak about the glorious past of the early Pandya kingdom. The coexistence Jain abode and academic center and the Hindu cave temple and monolithic rock cut temple at Araimalai hillock tell tales about the prevalence of religious harmony between Saivism and Jainism during that period. Nechuram was a sprawling trading center in olden days.

Monuments

There are many monuments of interest at Kalugumalai (Nechuram). 

1. Kazugasalamoorthy Rock cut Cave temple (the Kazugasalamoorthy (Murugan) Temple)
2. Jain Abode above the hillock (Bas relief images and Vattezhuthu inscriptions)
3. Vettuvan Koil (Freestanding Monolithic Rock cut temple)

Three posts will cover about three monuments situated on Araimalai hillock.

Vettuvan Koil (Sculptor's paradise)

Name of the Monument: Vettuvankoil (Sculptor's Paradise)
Historical Name: Nechuram and Tirunechuram (as found in inscriptions)
Type of Monument: Freestanding Monolithic Rock cut Vimana
Name of the Hillock: Araimalai or Tirumalai (300-foot high  hillock spreading 52 acres)
Location:  On the east side of the Kalugumalai Vettuvan Koil is situated.
Period: Pandya rock cut monolith vimana built between 8th and 9th century
Date of visit: 24th January 2015. Timing 09.30 am to 01.00 pm

Vettuvankoil: Pandyan Yatra 2015

The wonder - struck Kalugumalai Vettuvan Koil ( Sculptor's paradise ) is the unique early Pandya rock cut monolith vimana built between 8th and 9th century and it has survived the rampage of time. Pallavas cut out and sculpted only the free standing rocks in Mamallapuram, Tamil Nadu.

 

Kailasnath Monolith Ellora

The Kailasnath temple at Ellora, the Rashtrakuta monolith in Deccan has been cutout by entrenching the soft rock all round. At Kalugumalai aka. Araimalai the Pandya sculptor's scooped out about 7.5 mts of granite rock from top to down. After trenching the sculptors formed about one mtr wide passage around the vimana.

Vettuvankoil: Neither Cave nor Monolith

In a strict sense the free standing Vettuvankoil vimana is neither a cave nor a monolith since the rectangular rock was shaped as vimana. It was a challenging task for the Pandya sculptors to excavate a rock cut two tier vimana out of a scooped out rock from the top to the bottom and they  cannot afford to make any mistake since correction was impossible.' If it had been completed, this would have been the best among the monolithic structures of the sub-continent.'

Araimalai Hillock

Kalugumalai foot hills is around 600 mts from the mofusil bus stand. We have reached Kalugumalai foot hills. Located Kalugumalai Vettuvan Koil on the east side of the Araimalai hillock and the Jain Abode on the south side of Araimalai. State Archaeolgical Department is protecting the monuments with barbed wires and the security staff will come and open the door at frequent intervals. There are steps (with rails) laid by the State Archaeolgical Department to reach Vettuvan koil site.

Vettuvankoil View from Jain Abode

From Vettuvan koil it is hardly around 20-40 steps to reach Jain abode. A pillayar koil is located at the summit of the hill and there is a flight of steps to the temple. First when we reach the Vettuvan Koil we first we had a glimpse from top of the rocks protected with parapet walls. State Archaeological Department has constructed parapet wall on all three sides of the rock surrounding the Vettuvankoil. 

We spent about 3- 4 hours to take note of each and every information about the monuments and the sculptures. From above, the vimana looks like a rising lotus surrounded by the hill on three sides. Also there were very few local visitors and tourists. We enjoyed in witnessing the sculptures and discussed in detail and clicked photos from our cameras and tablet PCs.

 
Architecture

This east facing monolithic rock cut temple is the main attraction of Kalugumalai site and it receives the significant place in monolithic rock cut architecture and often draw comparison with monolithic Kailasnath temple in Ellora, monolithic temples of Pallava at Mamallapuram such as Arjuna ratha, Dharmaraja ratha and Pidari ratha and structural  temples such as Shore temple and Mukund Nayanar temple in Mamallapuram, Vijayalaya Cholisvaram in Narthamalai and Pattadakal in Bijapur, Karnataka. These monuments may be considered as a precursor of Vettuvankoil. In the book Kalugumalai and Early Pandyan Rock-cut Shrines, C. Sivaramamurti remarks “By far the most beautiful rock-cut temple of the Pandya period is the one at Kalugumalai, a half-finished free-standing monolith which recalls the famous temple of Siva at Ellora.”

For the first time full fledged stone monolithic vimana with all its basic six parts, the basement, wall, roof, griva, sikhara, and the stupi was attempted in Arjuna ratha, Dharmaraja ratha in Mamallapuram. It was at  Arjuna ratha, two-tired monolith, karnakuta (square shrine placed on corners) and Salas (oblong shrine placed on sides) as well as octagonal shaped Sikara (head) and Griva (neck) have been introduced.  The Karnakutas and the Salas above the roof are together called a 'Hara'. In Dharmaraja ratha a novel element called 'Panjara' was brought in between the Karnakutas and the Salas in the Hara structure. The Pallava sculptors treated the hara, shikharas and griva with skill and concern to represent miscellanea.  The Pallava sculptors also chiseled the sculptural masterpieces on all the tiers of these monoliths including different themes from Hindu puranas representing Shiva, Somaskandha, Vishnu, Krishna,  Varaha, Brahma, Mahishasuramardhini and other deities.

Vettuvankoil:Sanctum, Mandapa

The architecture and sculptures in Vettuvankoil reverberate the style of early Pandya era. mandapa (hall) without any pillar and sanctum (garbha-griha). Adhishtana (plinth or base), pada (pillars - wall) and prastara (roof) have not taken shape. The Pandya sculptors have only completed roof, two tiers, octagonal griva and octagonal shikara. The adhishtana and pada portions are incomplete. The walls, floors and roof of the mother rock including interiors and exteriors sanctum and mandapa appear rough and unfinished.

Pillaiyar Idol Installed

At a later date a Pillaiyar aka Vinayakar idol was installed and worshiped. The incomplete rock cut monolith temple appear plain and simple look.


The typical kapota or cornice is roughly sculpted between the prastara and the first tier of the vimana and it is common  for all South Indian temple structures. The horseshoe-shaped kudus are carved on kapota without any refinement with a row of hara over it.

Vettuvankoil Vimana

In Vettuvankoil the aditala or the first tier has the regular arrangement of the hara above the edge of the roof (harmya). Hara includes the string of miniature shrines known as karnakutas and salas. The shikhara of karna-kutas and salas have nasika (kudu like structure) on all four sides. Kudus are carved on these shrines with an image placed below the kudu. The image is large enough to cover the niche formed by pilasters of this storey.

Annavasal-karukku & Kodimangai

The karnakutas and sala are decorated with annavasal-karukku design and maiyappalaikarukku design with a kodimangai (nymph) appear in reclining posture.

Kudu: Feminine Figure

The typical kapota or cornice is sculpted with refinement in the first tier of the vimana. The kudu ('Nest') an arched or horse-shaped opening are carved on kapota. The kudus are adorned with interesting feminine figure in the middle. Canonical pilasters below the kudu encloses beautiful feminine figurine.

Buta Ganas

A frieze of 'bhuta ganas' shown under the cornice in the first tier of the Vimana. The dwarf attendants of Lord Siva, super humanbeing, are shown with odd characteristics - strange dwarf figures, some are seen with pot bellies, some with swelled faces, some with projected teeth, some playing the flute, some drumming, some dancing, some clapping etc. A frieze of Ganas is often an Indian temple architectural motif and prescribed in the canonical texts of Hindu temple architecture.  Many odd images of the bhuta ganas are shown in various actions mostly of dancing.

South Sala Shrine: Shiva

The south sala shrine houses the image of Lord Shiva appear seated in Suhasana posture with the left leg hanging down and the right leg placed on the right thigh; the body is slightly slanting towards the left and leaning forward. Of the four hands, the back right hand holds deer and the back left hand holds mazhu (an axe-like weapon), the front left hand resting on the left thigh and the front right hand is showing abhaya hasta  mudra (broken). His hair is arranged in jatamakuta. The ear ring is badra kundala. The yagnopavita (sacred cord) runs across his chest and the ornamentation includes kandikai, udara bandha, nagabandha armlets bands, bracelets and anklets.

West Sala Shrine: Vishnu

The west sala shrine houses the image of Vishnu, appear seated in Utkutikasana posture with the left leg hanging below the seat and rests on a pedestal while right leg kept bent upwards. He holds the chanka (conch) in his back left hand and his back right hand holds the characteristic Prayoga Chakra (an early sculptural feature where the Chakra is held straight instead of the later side-on posture). He rests his left hand on the seat and the right hand is broken. The body is slightly slanting towards left. Lord wears kreeta makuta, kundala earring, yagnopavita (sacred cord) runs across his chest and ornamented with sarapali; udarabandha, keyyura /  tolvalai and valai. He wears silk dhoti around the waist. The seat of the Lord is supported by two simha images.

North Sala Shrine: Brahma

The north sala shrine houses the image of Brahma appear seated in Utkutikasana posture. Of the four hands, his back right hand holds akshamala; the left hand holds lotus flower; the front right hand is resting on his right thigh and and the front left hand rests sidewards on the floor. His hair is arranged in jata-bandham. The yagnopavita (sacred cord) runs across his chest and ornamented with sarapali, udara-bandha, armlets, bracelets and draping the bright yellow garment on his waist.

Capstone: Nandi 4 corners & Yali frieze

The square capstone is interspersed between the top of the second storey of the vimana and the base of the octogonal griva. At the top of the square capstone of the second storey four Nandi images are placed one each at four corners at the square base of the griva. These Nandis either face east or west but no north and south. The capstone cornices are embellished with lion (yali) frieze.

Octogonal Shikara, Griva & Mahanasika

Above the second tier is placed the octogonal griva (neck) which is topped with octogonal shikara. The octogonal shaft  of the griva is decorated with pilasters adorned with kodikarukku. The octogonal form of shikara put the vimana under Dravida architectural style. Octogonal shikara has maha-nasikas embellished with a kind of sculptural ornamentation known as 'Koor karukku' in middle of each side. Kodipalai Karukku, a kind of sculptural ornamentation, adorns the corner joints of the octogonal bar.  Below maha-nasikas niches are provided and the niches houses the veritable gallery of sculptures:

Uma Sahita Murthy

Shiva as Uma Sahita Murthy with consort Uma (Parvathy) appear below the east mahanasika. The Lord is depicted in 'Ardha Padmasana' posture with four hands. The rear right hand holds mazhu (an axe-like weapon) and the left hand holds the maan (deer). The right forehand shows some mudra (broken) and left forehand rested on the lap. His hair is arranged in jatamakuta. The ear ring is badra kundala. The yagnopavita (sacred cord) runs across his chest and the ornamentation includes kandikai, udara bandha, elbow bands, bracelets. The consort is depicted in 'Maharaja lilasanam' posture seated with royal ease with right leg bent to rest on the seat and the left leg bent upwards. The goddess wears karanta makutam a head-gear.  She also ornamented with rich necklaces, keyura or tolvalai, bracelets and fine clothing and mekala in the waist. The excellently modeled images of the divine couple appear seated casually with ease. Graceful smile of Shiva attracts the consort and she looks at him with slight tilt of head. The sculpture exhibits the well-developed craftsmanship of the early Pandyas and strikes the correct balance between dignified masculinity and graceful femininity. 

Mridanga Dakshinamurthy

Shiva as Pushkara Dakshinamurthy, the Master of instruments appear below the south mahanasika. The Lord is depicted with four arms and his upper body is slightly turned and slanting towards the right, balancing the mridangam held gracefully upon his right thigh. With the two forehands the Lord is playing on a mridanga (drum with two faces). The Lord appears in virasana posture with left leg is stretched down (lambaka padam) and is stamping upon (samharaka) the dwarf (apasmara – purusha: representing ignorance and delusion) -- (apasmaroparishthat tu lamba-pada-talam nyaset). This suppression (nirodha) of ignorance is described as the tirobhava aspect of Sri Dakshinamurti. And, his right foot bent at the knee is resting on his left knee or thigh (sayanam padakam or kunchita-paada). His hair is arranged as jatamandala woven into circular form. His sitting posture is relaxed; his body position and carriage is free from bends and rigidity. His general aspect is calm and meditative. Lord wears karnavali or vrutta-abharana or open circular earring,  yagnopavita (sacred cord) runs across his chest and ornamented with  sarapali; kati-bandha jewelled waist band; naga-bandha armlets and anklets. The sculpture is breathtakingly real and artistic.

Naraimha (Vihnu)

Vishnu as Lord Narasimha (lion-headed avatar of Vishnu), appear below the west mahanasika and keep seated in yogasana or in meditation posture with the two legs crossed each other like the Swasthik symbol. He holds the chanka (conch) in his back left hand and his back right hand holds the characteristic Prayoga Chakra (an early sculptural feature where the Chakra is held straight instead of the later side-on posture). He rests his left hand on the seat and the right hand is broken. The body is slightly slanting towards left. Lord wears kreeta makuta, kundala earring, yagnopavita (sacred cord) runs across his chest and ornamented with sarapali; udarabandha, keyyura /  tolvalai and valai. He wears dhoti around the waist. The seat of the Lord is supported by two simha images.
 

Brahma

Brahma appear below the north mahanasika and keep seated in Ardha Padmaana (cross-legged - in the Half-Lotus posture) posture on a lotus seat. Of the four hands, his back right hand holds akshamala (rosary beads); the left hand holds lotus flower; the front right hand is in abhaya mudra and the front left hand rests on his thighs. His hair is arranged in jata-bandham. The yagnopavita (sacred cord) runs across his chest and ornamented with sarapali, udara-bandha, armlets, bracelets and draping the bright yellow garment on his waist. Two elephants are shown before the lotus pedestal.

Shikara: Lotus Whorl. Finial Absent

The shikra top shows a small pit by which we can easily guess about the presence of finial or stupa and now it is absent. The octogonal shikara is decorated with a lotus whorl on top. The lavish decoration of the shikara with kodipalaikarukku and the mahanasikas with koorkarukku.

History:

The local legend give an account about the Perunthachan or the chief architect of Vettuvankoil and his son. On top of the Araimalai hillock the father engaged in sculpting the Vettuvankoil. At the bottom of the hillock the son was hearing the rhythmic sound of the chisel engaged in sculpting Vettuvankoil and applying the same rhythm to sculpt similar structure at the bottom of the hillock. Perunthachan sensed activities at the bottom of the hillock and never knew that his son only was following him. In a fit of jealousy Perunthachan throw the chisel to slash the neck of his own gifted son. When he realized that his hasty action has killed his son, he wanted to penalize himself and as a penalty he left the Vettuvankoil construction work unfinished. As a result the Vettuvankoil was never completed.

Period

According to scholar K.V. Soundararajan, the octagonal shikara was the early architectural style or feature of the southern Pandyan kingdom and the Vettuvankoil could be the 'oldest in the series.' 'Any Pandyan architectural activity with Chalukyan indebtedness, aside of Pallava influence in the homeland itself, would esentially be of post Mamalla phase. The earliest structural temples of the Pandyas with octagonal and square ‘sikhara,' in that order, would suggest that the Kazhugumalai temple, which has an octagonal ‘ sikhara,' would have been part of a viable earlier phase of temple design when the octagonal ‘ sikhara' held the field. All these would seem to help in the circumscription of the incidence of the rock cut temple mode of southern dynasties – notably the Pandyas – almost securely between c. A.D. 675 and c. A.D. 860.'


However the name of the ruler who was instrumental in commissioning this monolith and why this structure was left incomplete remain as mystery. Some wild guess by scholars indicate the name as the celebrated Pandya king, Parantaka Nedunchadayan, who had patronized and over-generously gifted for both Brahamanical and Jain religious orders and promoted their temple construction. The Jain monument located on a somewhat raised area of the same hill too carries his inscriptions.


Maintenance & Timing:

The monument is maintained by the Department of Archaeology, Government of Tamil Nadu.  Timing - 7.30 am to 7.30 pm. The entrance to the monuments is free. The Vettuvan Koil and Jaina Abode are protected with grill and barbed wire and the entrance remain under lock and key. If requested the Dept. of Archaeology security will open the doors. 

How to get there:

Kalugumalai is around 20 km from Kovilpatti. All the buses to Sankarankoil via Kovilpatti will stop at Kalugumalai. Kovilpatti is well connected with Madurai and Tirunelveli.  Kalugumalai Vettuvan koil is about 600 mts towards north from the moffsal bus stand and can be reached by  walk.

By air: Thoothukudi airport is closest to the kazhugumalai (80km) to fly from Chennai.

By train: The peal city Express or Nellai Express from Chennai Egmore station to Kovilpatti Junction is the comfortable overnight option and other train to Kanyakumari.

By bus: Well connected road available for Kazhugumalai because it is 20km away from Kovilpatti (which is in NH7) at Kovilpatti Sankarankoil road in Thoothukudi district. Kazhugumalai is 150km from Madurai 60km from Thirunelveli and 25 km from Sankarankoil.

Reference (For Further Studies also):

1. Desai,     P.B. Jaina Epigraphs, Jainasamskriti Samrakshakasamgha, Sholapur 1957. 
2. Ekambaranathan, A and Sivaprakasam, C.K. Jaina Inscriptions in Tamil Nadu, Research Foundation for Jainology, Madras 1987.
3. Ekambaranathan, A Kazhugumalai (Tamil) (Professor, Department of Ancient History and Archaeology, University of Madras)
4. Ekambaranathan, A. Kalugumalai and Jainism.
5. Engineering Marvel. Vijayakumar.S. The Hindu. June 14, 2013.
6. Ganapathi, S.M. Kazhugumalai, Vettuvan Kovil (Tamil) (Retired Curator, Tamil Nadu Department of Archaeology)
7. Kazhugumalai deserves universal recognition.  The Hindu. August 8, 2012.
8. Opulent sculptures - Epigraphist V.Vedachalam's forte is the tudy of Jaina sites. Frontline. Vol 25, issue 21. October 11-24, 2008.
9. Rockcut shrine. The Hindu. July 20, 2011.
10. Royal shrines. Frontline vol. 25, issue 01. Jan 05-18, 2008
11. Sivaramamurti, C.  Kalugumalai and Early Pandyan Rock-cut Shrines 
12. Southern Connection. Frontline. July 25, 2014.

Youtube:Kazhugumalai, Tamilnadu India by Subashini Tremmel