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