Temples of Munnur (Historical Study)

by R. Muthuraman | 2016 | 67,784 words

This essay represents a historical study of the Temples in and around Munnur, situated in the Dakshina Kannada district in the state Karnataka (India). Munnur is regarded as an important religious city for the followers of both Shaivism and Vaishnavism. The ancient history of Munnur traces to the reign of the Chola, from whom the city derives it's ...

Images of Brahma

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Several legends have grown around His the origin and control of the universe. Out of these the popular one sets out that the supreme soul and self existent Lord created the waters of the earth and deposited in a seed which became the golden egg, out of which Brahma was born. In due course he produced a daughter Vach symbolizing speech (among several other names), by whom He fathered all other creatures.^[1] Brahma is the first of the Hindu Trinity going by many other names like Visvakarma, Prajapati, Lokesa, Paramethi, Kamalasa, Chaturanana and so on. Brahma is the Creator and the Universal Principle from whom everything emanates.^[2]

Formerly, Brahma had five heads, but one of them was cut off by Siva. The remaining four faces are respectively facing the four quarters.^[3] Rupamandana, states that the four faces Brahma symbolized the four Vedas, the four yugas and the four varnas. Brahma is shown either in a standing or seated posture with four hands.^[4] Brahma, despite being in the Trinity, is not held in such reverence as the other members of the Trinity. He had assisted Siva in killing three asuras and officiated as priest on the occasion of the marriage of Siva and Parvati (Parvati kalyanam). The place of Brahma in the hierarchy of Gods is secondary. There are very few temples dedicated to Brahma. The swan is regarded as his vehicle. He is accompanied by Sarasvati, the goddess of learning and Savitri, the tutelary deity of an important mantra is referred Brahma.

In the Sangam age, Brahma is denoted as having been born from naval of Vishnu.^[5] He is also called Adiandavan.^[6] Cilappadikaram^[7] and Manimekalai^[8] allude to the worship of Brahma in the post Sangam period. Manendravarman I made a cave temple for Brahma, Isvara and Vishnu without the use of perishable materials. It is confirmed by an inscription of him on the walls of Lakshitayatana cave temple of Mandagapattu.^[9] Like Mahendravarman I, his son Narasimhavarman I also erected a cave temple (Trimurti mandapa) at Mahabalipuram to the Hindu Trinity that is Brahma, Vishnu, and Siva.^[10]

In the Mahisasuramardini mandapa, Brahma stands behind Siva in standing posture with four heads and four hands.^[11] In the Varaha panel of kaivardha mandapa, Brahma is shown behind the Varaha figure. An exquisite Brahma figure of Kaveripakkam is an advanced example of the later phase of Pallava sculpture.

The four armed Brahma is standing in tribanga pose with three heads^[12]. In the panel of Trivikrama the same Brahma image is seated on kamalasana by the side of Lord Trivikrama's uplifted foot^[13] in Tripurasurasamharamurti panel of Kailasanatha temple at Kanchipuram.^[14]

In the Rajasimha period, Brahma is always sculptured in the attitude of offering homage of Siva. He is sitting as a charioteer. Brahma is seated with four hands on the kamalasana in a kingly pose. In his upper right and left hands, he holds a rosary and a kamandala respectively in kartarimukhahasta. His lower right hand is in abhaya hasta and his left hand rests on his lap in katyavalambitahast.^[15] During the Chola period there is no Siva temple without Brahma sculpture. The images of Brahma occupied the northern side devakostha on the exterior wall of the vimana aditala and his other forms are repeated on the northern niches of the upper talas of the vimana, superstructure of Siva temples.

The sculpture of Brahma is shown in the, eastern devakostha of the garbhagrha at Munnur Adavalleswarar temple. It is standing in samapadasthanaka pose on the bhadra pitha, with four hands. The upper two hands hold the akshamala and kamandala which are placed between the index and middle fingers. The right lower hand is in abhaya hasta and the left lower hand is hanging down and rests on the thigh in katyavalambitahasta. He has calm face with ornaments and heavy lower garments. Brahma's three heads are facing the three directions that is south, north and east and the fourth one of the rear is on the west. They are adorned with jatamakutas. At the bottom the curls of hair fall over the forehead. From the edges of the ear lobes are dangling beautiful Vridhakundalas. Kandigai adorns the neck and beneath it the graiveyaka is seen. Close to it the kandasara is shown with buds of jasmine attached to it.

A ribbon like yajnapavita with pearls stitched to it is flowing over the left shoulder. The udarabandha runs around the stomach. The vagumalas on the shoulders, the keyuras worked with floral design on their heads in the upper arms, the katakavalayas on the elbows and the ratnavalayas on the wrists lend special charm to the shoulders and arms.

The lower garments show close parallel lines suggesting folds. The stiff waist band has a simhamukha clasp in front. The bow like decorations are issuing out from either side of lion faced motif. A series of alternating festoons and tassels are hanging from the waist band. The two bands of uttariya round the waist are in two courses, of which the upper one is flat while the lower one is in the form of a median loop in front. The side bows of the uttariyas and the flowing ends of cloth are gentle in workmanship. The beaded chain-like thing with a knob in the middle hangs from the median loop in between the legs. He wears padasaras of kinkinis on his feet. It is one of the best examples of the early period of the later Cholas.