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

Rajagopalaswamy Kulasekara Perumal temple, Mannarkoil

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

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

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

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

Unique Features

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

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

Ashtanga Vimana

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

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

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

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

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

Lord Veda Narayana Perumal

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

Procession deity Mannarkoil

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

Sitting Perumal @ First stage

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

Mannarkoil Ashtanga vimana

Reclining Perumal @ Second stage

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

Ashtangavimana Second stage

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

Legend

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

History

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

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

Kulasekara Azhvar

Kulasekara Azhvar Thiruvarasu temple

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

Inscription

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

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

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

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

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

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

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

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

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

Mural Paintings
 

Mural Paintings defacement

Mural Painting of Narasimha

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

Festival 

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

How to Get there?

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

Reference

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

Tirunelveli Region Travelogue (Pandyan Yatra 2015) Part 3.1: 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

 

Kirtimukha Motif in Temple Architecture

Temple Vimanam

Kirtimukha at the Nasika of Meenakshi Sundareswarar Temple Tower Madurai

Kirtimukha above a Hindu temple entrance in Kathmandu, Nepal (Wikipedia)

Kirtimukha at Kasivisvesvara Temple at Lakkundi, Gadag district, Karnataka, India (Wikipedia)

Kirtimukha in Rock cut Ratha

Kirtimukha on the Vimana (Exterior wall)

Kirtimukha at the Adhishtana

Kirtimukha on Pillar Capitals

Kirtimukha at the top of the metallic arch structure over the deity (Thiruvachi)

Jewelry Pattern showing Kirtimukha

Have you come across in many Indian Hindu temples over the lintel arch (torana) of the inner sanctum entrance or the ramparts, nasikas of the temple tower, kapotas, dormer arches, at the top of the metallic arch structure over the deity (Thiruvachi)  the monstrous disembodied head with swallowing fierce face with decorative line of triform arch representing the eye-brows, narrow forehead, protruding eyeballs,   two horns with fanciful shape, erect ears of the lion, thick moustache, bulged cheeks, grooved and sharp  fangs, the rows of gory teeth, wide open mouth and protruding tongue? You might have wondered how this seeming incongruity came to adorn the inner entrance of sanctum. The Hindu iconography represents Kirtimukha aka Kirttimukha (Sanskrit terminology: 'Kirti' means glory or fame and 'Mukha' means face) with opposite meaning, 'the glorious face.' The Southeast Asian tradition represent it as 'Kala' and the Chinese iconography discern it as  T'ao t'ieh (Monster of Greed).

In Skanda Purana, the ancient Hindu mythological tale of Lord Subramanya, Lord Shiva created  from His 'Third Eye' an all-devouring monster to destroy  Jalandhara, the powerful king of the Daityas. The monster was roaring like thunder.It was in intense hunger and prayed the Lord for food. Lord Shiva instructed the monster to appease its hunger by devouring its own body commencing from its tail. The monster finished eating its own body leaving only its face in tact. The monster's face with sanguinary appearance impressed Lord Shiva and preferred to call it as Kirti Muka aka 'Face of Glory.' Lord Shiva ordained to represent 'Kirtimukha' at the lintel of the sanctum of the Lord. The Lord also noted that whosoever worship the Kirtimukha would acquire the benevolent grace of the Lord.

Due to this reason Indian Manual of Hindu Architectural texts like 'Manasara' have prescribed it, and the sculptors, wood carvers and painters used to  represent Kirtimukha as a decorative motif. The motif often find its place on the lintels of the gate of the inner sanctum,  at the corners of the pillars and pilasters, surmounting the pinnacle of a temple tower or vimana or in the iconography of an Hindu deity. Often the image of the Kirtimukha resembles the monstrous lion's face engaged in swallowing some object with bulging eyes and protruding tongue and gory teeth.

Earliest Kirtimukhas in India are demonic in forms.In western India this motif is understood as 'Grasamukha'and Rahu-mukha in eastern parts of India and 'Kala' in in South East Asian Countries. Also known as Simha-mukha in some other parts. Medieval Maurian (Indian) artists represented kirtimukhas as stylised lion's face on pillar capitals. The research has identified the presence of similar decorative motifs in Scythian, Helenic, Chinese art traditions.  Traditionally Kirtimukhas are believed to be warding the edifices off the evil and destroyers. The Kirtimukha motif was often used as a decorative motif surmounting nasikas of the temple tower or or at the top of the metallic arch structure over the deity (Thiruvachi). At the beginning our temple architecture widely used in the  "chaitya" arch with a "kirtimukha" above it. It is very popular in Hoysala temples and others. The motif was profusely used as sculptural decorations, where the artist wants to show strings, foliage or festoons issuing from its mouth, till 14th century. After the use of this motif was occasional used. In Gujarat people pay much respect to this motif when they are about to cross the thresholds of the sanctum and even sprinkle scented water while making entry.