Temples in and around Madurantakam

by B. Mekala | 2016 | 71,416 words

This essay studies the Temples found around Madurantakam, a town and municipality in Kancheepuram (Kanchipuram) District in the Indian state of Tamil Nadu. Madurantakam is one of the sacred holy places visited by Saint Ramanuja. It is also a region blessed with many renowned temples which, even though dating to at least the 10th century, yet they c...

Atcheeswarar Temple at Acharapakkam

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Acharapakkam, the headquarters of the Acharapakkam Panchayat Union is about 96 km from Chennai and 15 km from Madurantakam. This place in one of the important Siva sthalas, was sanctified by the Nayanmars like Sambandhar, Tirunavukkarasar, Manickavasagar in Devaram and by Sekkilar and other poets.^[1]

Name Study of the Village

Three cruel demons Tharakatchan, Vidyunmali and Kamalatchan had a quarrel with the Devas and used to torture them and other people with their three flying forts (i.e., built fortresses of gold, silver and iron with wings) which they received from Lord Brahma, by their intense penance with the view to hursh Devas. The Devas begged for help from Lord Siva who promised to destroy the forts. The Devas prepared a chariot for Lord Siva to use in the battle against the three demons. For that they use the heaven as the chariot roof, the earth as the chariot base, the four Vedas as four horses, Lord Brahma as the driver, the sun and the moon as the wheels, the Meru mountain as the bow, Lord Thirumal as the arrow, Agni (fire God) as the arrow’s sharp point, Adhiseshan (snake) as the string and Vayudeva as the chariot wings. Lord Siva and the Devas amongst their busy in war preparations forgot to worship Lord Vinayaka, which is a rule to worship Vinayaka before starting any work. Lord Vinayaka, who in return thought it fit to teach the Devas a lesson by, broke the axle of the chariot. Realizing the Lord Siva worshipped Vinayaka to help in his task soon his son Vinayaka obeyed his father Lord Siva. The place at which the axle was broken was called Achirupakkam (Achu+Iru+Pakkam) ‘Achu’ means axle; ‘Iru’ means broke; and ‘Pakkam’ means village. Achirupakkam has been later corrupted as Acharapakkam.^[2] Lord came to be known as Atcheeswarar.

Another story related with this place and temple is that the Pandya King deputed his Minister to bring sand from the Ganges for the erection of temple in his country. When the cart return with the sand, it was not able move beyond from this place and the axles of the cart which broke made the cart immovable. The king heard this news through the hum from the heaven. Immediately he came to this place and dedicated a temple to God Atcheeswarar. As this the place where axle was broken it came to be known as Achirupakkam.^[3]

Inscriptions

The temple has inscribed twenty nine inscriptions assigned to various dynasties. Among the twenty seven inscriptions, eighteen belongs to Chola Period, seven belongs to Pandya, another three belongs to Vijayanagar Period and one belongs to Sambuvaraya.

The earliest inscription in the temple belongs to Parakesarivarman alias Rajendra Chola Deva I. The lithic record dated in his third regnal year mentions about the gift of sheep for burning a lamp.^[4]

There are nine inscriptions assigned to Rajakesarivarman alias Tribhuvana Chakravartin Kulottunga Chola Deva-I, A lithic records dated in his third regnal year mentions that the king clubbed several villages together into one called it Kalikadinda-Solan-Sattanur and granted it to the temple. The village belonged to the Oymanadu alias Vijayarajendravalanadu.^[5] His another inscription dated in his fifth regnal year registers a gift of land and mentions the image of Kulottunga -Choleswara, which was set up in the temple and Oymanadu alias Vijayarajendravalanadu.^[6] Other inscription dated in his ninth regnal year denoted the gift of sheep for burning a lamp^[7] A lithic record dated in his twelewth regnal year refer to the gift of jewels by Sengeni Ammaiyappan "who took the Pandya country".^[8] Yet another lithic record dated in his fifteenth regnal year cited that Attimallan Kulottunga Sola Sambuvarayan granted the proceeds of certain taxes to the temple.^[9] His other inscriptions dated in his forty second, forty third, forty ninth regnal years’ mentions about the gift of sheep for burning a lamp^[10] and also point out the name of his chieftain as Ammaiyappan Sambuvarayan^[11]

Two lithic records of Parakesarivarman alias Tribhuvana Chakravartin Vikrama Chola dated in sixth and seventh regnal year spotted the gift of lamp for burning.^[12] Another three inscriptions of Tribhuvanachakravartin Rajarajadeva II dated in his third regnal year elucidate the gift of sheep for burning lamp^[13] and also refer to gift of ten buffalo-cows for burning a lamp to the temple of Atchikondaruliyadeva^[14] Yet another lithic record dated in his eighteenth regnal year reveals the grant of the proceeds of a tax by Rajanarayana -Sambuvaraya of the Sengini Family.^[15] A lithic record of Tribhuvana Chakravartin Konerimaikondan refers to the gift of land to an image set up by Atkondanayaken alias Sediyarayan.^[16] A lithic record of Tribhuvana Chakravartin Tribhuvanaviradeva dated in the thirty fifth regnal year register the gift of gold for burning lamp.^[17] Inscription of Virarajendra dated in his fifth regnal year mentions the gift of paddy and of the proceeds of taxes.^[18]

Four lithic records of Pandya king Maravarman alias Tribhuvana Chakravartin Vikrama Pandya Deva " who conquered every country" dated in his third, fourth and fifth regnal year register the gift of land to the temple.^[19] Other Pandya inscriptions dated in the sixth regnal year of Maravarman Tribhuvana Chakravartin,^[20] fifteenth regnal year of lithic record of Jatavarman alias Tribhuvana Chakravartin Sundara Pandya Deva^[21] and seventh regnal year lithic record of Tribhuvana Chakravartin Vira Pandya Deva^[22] also cited the gift of land to the temple.

The inscription of Vijayanagar King Krishnaraya records a gift by ViraNarasimharaya-Nayakkar on the merit of the occasion of a lunar eclipse.^[23] Another inscription of Vira Bukkana-Udaiyar reveals the gift of land.^[24] Yet another inscription of Kampanna Udaiyar II son of Virabukkana Udaiyar II denoted the minister names as Somappar and Koppanar and also refers to the gift of land to a matha at kanchipuram.^[25] Finally an unfinished lithic record of Sakalalokachakravartin Rajendra Sambuvarayan dated in his eighteenth regnal year is also reported from Achirupakkam.^[26]

Temple History

Once a Pandya king was on a pilgrimage to Lord Shiva shrines, the axis of his car was broken. When his men were repairing the wheel, the king noticed a giant golden lizard running through the bushes and climbing tree and changing its colours. He followed it but suddenly the lizard hid itself in a Sarakondai tree. He ordered his men to axed the tree, when they axed the tree, it began to bleed The king was shocked but the lizard could not be traced despite all efforts. That night, Lord Siva appeared in the dream of the king and told him that he appeared here in the guise of the lizard in order to inform that he was there in a form of Swayambu under the tree and build a temple for him.

The king obliging the command of the Lord and decided to build the temple as said. He came across a sage Trinetradharai and sought his help to build the temple. Then he continued his pilgrimage. On his return, he saw the temple had been constructed with two presiding deities in two sanctum and sanctorum (garbharaha). One was in the middle of the temple with nandi, balipitha and dwajasthampa called Emai Atcheeswarar and the second is behind this opposite to the Rajagopuram called Umai Atcheeswarar. When he asked the sage Trinetradharai about it, sage said, “Lord who graced you, graced me too in the form of Chameleon (lizard). So I built one garbagraha for the lord who graced you as Umai Atcheeswarar whereas the word ‘Umai’ means “You” the king and one for Emai Atcheeswarar whereas ‘Emai’ means “Me” the devotee which is the main shrine. The king agreed with him.^[27] In Inscription of Rajaraja–II the temple was cited as ‘Temple of Atchikondaruliyadeva’.^[28]

Components and Architectural Features of Atcheeswarar Temple

The Atcheeswarar Temple consists of two garbagraha enshrined with Siva Linga’s, one is Swayambu Linga called as Emai Atcheeswarar which is the main sanctum and other one is called Umai Atcheeswarar.

Emai Atcheeswarar Shrine

Emai Atcheeswarar Shrine is straight to nandi, balipitha and dwajasthampa. Lord Siva in the form Swayambu Linga is called by various names such as Paakapuraesar, Atchieesar, Atchikondar, Istheeravasapurieswarar, Mullaikaanamudaiyar. The Goddess in the is called as Sundara Nayaki,Balambikai,Illangiliammai and Athisundara Meenaalammai.

Emai Atcheeswarar Shrine facing towards east. It consists of garbagraha[ G.P.No.1] , which is followed by the ardhamandapa [G.P.No.2] , next to the ardhamandapa is the cloistered mahamandapa[ G.P.No.3] consists of four pillars in two rows. A note worthy feature in this temple is that Asuras Tharakan and Viyunmali who were killed by lord Siva are the dwarapalakas adorned on either side of the entrance of mahamandapa which is followed by the Pillared mukhamandapa [G.P.No.5] in an axial line. The Nandi and balipitha [G.P.No.4] are enshrined in the mukhamandapa facing towards the Linga in the garbagraha. The mukhamandapa leads to the pillared corridor [G.P.No.10] and inner prakara [G.P.No.9]. The southeastern corner of the mukhamandapa is adorned with anjanayer shrine [G.P.No.6] facing towards the Vishu shrine. The southeastern corner of the corridor has small shrine for Polla Pillaiyar [G.P.No.7] and near to this shrine sculptures of Appar, Sundarar, Sambandar and Thirunavukarasar enshrined [G.P.No.8]. The southern corridor consists of sculptures of sixty three Nayanmars in a row. The south western corridor has door way. Next to is Alamelumangai Amman shrine[G.P.No.11], Srinivasa Perumal Shrine [G.P.No.12], Umai Atcheeswarar shrine, Palani Andavar shrine [G.P.No.17], shrine for Uttchavar [G.P.No.18] adorned in the western corridor. Murugan shrine [G.P.No.19] is enshrined in the northeastern corridor. The Northern corridor adorns the bronze images of sixty three Nayanmars in a row [G.P.No.21]. The Northern side of the lower prakara a small shrine for Chandikesvara [G.P.No.20] is enshrined. The shrine of Nataraja [G.P.No.22] is enshrined in northern corridor of the mukhamandapa.

In the eastern side of the mukhamandapa consists of small shrine for Arunagirinathar [G.P.No.23], Kalyana Bairavar[G.P.No.24], and Suryan [G.P.No.25] which leads to the entrance [G.P.No.26] followed by outer or second prakara [G.P.No.29] adorns the nandi [G.P.No.27], dwajasthampa and balipitha [G.P.No.28]. The right of the eastern side of the outer prakara has temple office [G.P.No.31]. The south eastern corner of the outer prakara is adorned with madapalli [G.P.No.32] and vahana mandapa [G.P.No.33]. The southern side of the outer prakara has small shrine for Sapthakani’s [G.P.No.34]. The south western corner of the outer prakara is adorned with Vasantha mandapa [G.P.No.35]. The north eastern side of the outer prakara has sthalavriksham-the Kondrai tree[G.P.No.36]. The northern side prakara has Kondrai Adi Siva shrine [G.P.No.37] in which Siva is enshrined in the form of Linga and straight to it nandi has seen and sculpture of sage Trinetradharai is depicted under the tree in a worshipping form near to this, there is a well [G.P.No.38] resemblance like auvudayar. In north western side of outer prakara there is a separate shrine for Illangilli Amman[G.P.No.30] is enshrined with the garbagraha, ardhamandapa and mukhamandapa with eight pillars four in two row. There is Palliarai and Iyyapa shrine. Adjacent to Amman shrine is adorned with Navagraha [G.P.No.39] is seen. The Amman shrine leads the temple main entrance which is with five tiers Gopura [G.P.No.40] (Plate 1). The temple is encompassed with highly raised madhil with nandi at regular intervals. The temple tank [G.P.No.41] (Plate 19) is seen opposite to the main entrance.

Umai Atcheeswarar shrine

Umai Atcheeswarar shrine is straight to the Raja Gopura, the temple entrance. It faces towards east. Umai Atcheeswarar shrine comprises of garbagraha [G.P.No.13], plain ardhamandapa [G.P.No.14] and mukhamandapa with four pillars two in a row[G.P.No.15]. The garbagraha enshrined with God Umai Atcheeswarar in the form of linga and the sculpture of Lord Siva and Parvathi has carved in koshtha at his rear side. The sculpture of Lord Siva and Parvathi is seated in Marriage posture. A meditative nandi [G.P.No.15] facing towards Linga in garbagraha is adorned in the mukhamandapa and it is believed that the Samadhi of sage Trinetradhari is cited below the sculpture of nandi. A small shrine for Umaparvathi Amman [G.P.No.16] is enshrined in the mukhamandapa.

The temple bears simple architectural features, the square Garbagriha has simple adhisthana, it seems a portion of the adhisthana is buried under the ground. The wall or the pithi is embellished pilasters and devakoshtha. The devakoshtha adorned sculpture of Narthana Vinayaka, Dakshinamurthy on south, Maha Vishnu on the west and Brahma and Durgai on the north. The Prastara has kudu motifs at regular intervals, above which raises the dwitala Vimana (Plate 2a). The tala is square in shape and Karnakudu on all four corners, which look like a miniature shrine. Above which is placed a circular Sikhara, The Stupi is placed on top of it.^[29]

Sculptures: Narthana Vinayaka(Plate 5f)

The sculpture of Narthana Vinayaka is in standing in dancing posture on Padmapitha. His head is adorned with Krita makuta. Off his four hands the upper right holds ankusa and upper left holds pasa. The lower right and left hand holds damuru. He is shown with belly and his trunk is turned left and touching the damuru. He is adorned with ornaments and yajnopavitha is adorns across his chest.

Dakshinamurthy (Plate 5g)

Dakshinamurthy, adorns the southern wall of the garbagraha Devakoshtha. He is seated under a tree on a patrapitha. The right leg is hanging down vertically straight, and resting on a Muyalaka (demon). The left leg is bent and it rests on the right thigh. He has four hands. His upper right holds damuru and upper left hand holds Agni(fire). The lower right hand is in Abaya hasta like teaching and lower left is in Pustaka hastha, holding pustaka (book).The jatabara flows on either side of his head. His elongated ears bear patra Kuntalas. He wears simple ornaments adorn his neck, bracelts, armlets in hands, and anklets in leg. The smiling face enchants the viewers.

Mahavishnu (Plate 5h)

On the western devakoshthas, the sculpture of Vishnu is enshrined. He is in standing posture on a padmapitha. He wears kritamakuta on his head, kuntalas in his ears, haras in his neck of his four hands, the upper right and left hold the Chakra and sangha, the lower right is in abhaya hasta and the left is in uru hasta. He is carved with belly. A finely carved out drapery with its folding is depicted in his waist.^[30]

Brahma and Durga

The sculptures of Brahma and Durga enshrine the northern wall of devakoshtha. Both are depicted in standing posture.

Chandikesvara (Plate 14)

The sculpture of Chandikesvara is enshrined in the small shrine is located on the northern prakara facing toward the south. He is in a seated posture. The right leg is bent vertically at the knee and the left leg is bent cross so as to rest upon the right thigh. He has two hands. He holds parasu in the right hand and keeps the left rested on the thigh. He is adorns with ornaments in his body and mukuta in his head.

Srinivasa Perumal (Plate 15)

The sculpture of Srinivasa Perunal is enshrined as standing in samabhanga posture on an padmapitha above Avudaiyar. He wears kritamakuta. His Lower right hand is in varadhahasta and left in uru hasta (Katayavalambita hasta). His upper right hand holds sangha and the upper left hand holds chakra. The finely carved out drapery is sculpted beautifully from his waist. He is adorned with ornaments.

Murugan, Valli, Devayani (Plate 16)

The sculptures of Murgan along with his consorts Valli and Devayani are enshrined in the north eastern corner of the corridor. Lord Murugan is depicted with six heads known as Arumugam. He is seated in his peacock vahana by hanging his right leg down and rests on his Peacock vahana and his left leg is folded. Of his two hands his right is showing abhaya hastha and left hand is in varadha hasta. His consorts Valli and Deivayani is depicted in tribangi posture and holding flowers in one hand and other in lola hasta.

Dwarapalakas (Plate 4c)

The entrance of the mahamandapa is flanked with two dwarapalakas on either side. The dwarapala on the south is named Tharakan and the dwarapalaka on north is known as Viyunmali. They are in standing posture with their right leg firmly footed on a danda, and the left leg is stood straightly and firmly footed on the patra pitha. The makuta adorn their head. Off their four hands, the upper right and left holds Sanka and Naga. The Lower left hand of Tharakan and lower right hand of Vidyumali were placed on gada ayutha and The Lower right hand of Tharakan and lower left hand of Vidyumali were in susihasta. He wears kuntalas in his ears, haras in his neck.

Portrayed Sculpture (Plate 17b)

The wall around Emai Atcheeswarar shrine has depicted with portrayed sculptures such as cow pouring milk on the Siva Linga (kamathenu) which is usually seen in early Chola temples, another scene narrates about the Hiranyakasipu Vatham, Lord Siva rushed to stop Kannapa Nayanar from digging out his second eye. The other portrayed sculpture elucidates the scene of Chandesa Nayanar cutting his father’s leg for having stamped upon the Siva lingam made of sand. Yet another scenes depicted is an elephant and Snake worshipping Lord Siva and Karaikal Ammaiyar walking on her head to mount Kailash. Finally a scene portrays Lord Siva Seated along with Parvathi with Child Skanda (Murugan) is in standing posture in between them.

Bronzes (Plate 18d,e,f)

The temple is decked with large number of bronze idols such Somaskandar, Vinayaka, Uttachava deities, images of sixty three Nayyanmars in anjali hasta, images of Goddess, Image of Iyappan, etc. Apart from this there is raised platform which enshrined the bronze image of Nataraja and Sivakama Sundari. Nataraja is in Annada tandava posture by on footing his right leg on muyalaka (demon) and the hair are arranged like a fan adorning his head. The right hand is in abhaya hasta and the left it’s slightly bent like Pallava hasta and is shown by the side of his abhaya hand. The upper hands hold deer and damuru. Simple ornaments are shown in ears, neck and waist. The bronze image of Siva Kamasundari is standing by the side of Nataraja in tribhanga pose by wearing Kritamakuta in her head.

The study of the above three temples elucidate the history of the places and origin of the temple history. The architectural features of temples, sculptures and bronze icons show that the place under study had greater influence towards both Saivism and Vaishanavisim, which explicit the religious harmony existed in this region.