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...

Sri Venkateswarar Temple

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The Sri Venkateswarar Temple is refers to the Temple of Tiruvenkattil Parameswara,^[1] Tiruvenkadudaiya Mahadeva^[2] and Temple of Tiruvenkambam Udaiyar.^[3] The God is called as Aludaiyar Tiruvenkadudaiya Nayanar,^[4] Tiruvenkattu-Parameswara,^[5] Madurai-Venkadar^[6] and goddess is called as Aludaiyar Pirattiyar,^[7] and Svetararanyesvara Temple.^[8] At present it is called as Tiruvenkateswarar Temple.

Inscriptions

The temple possesses twenty seven epigraphs assigned to various dynasties. Among the twenty seven inscriptions, twenty five belongs to Chola Period, one pertaining to later Pandya and another one pertaining to Vijayanagar Period.

The earliest inscription in the temple belongs to Rajakesari Parantaka II (Sundara Chola), “who took Madura” dated in his twelveth regnal year register a gift, by purchase of common and unapportioned land, made tax free to the temple of Tiruvenkattil Parameswara for the long life and victory of the king by [Eluna]yarradigal alias Sembiyan Valivanattu-Muvendavelar, son of Anikilan Parameswaran Paropakari alias Pandikulantaka–Muvendavelar of Jgalambakkam in kanrur Nadu, a subdivision of Manayir Kottam.^[9]

Two inscriptions of Rajaraja i.e., Rajakesarivarman “Who destroyed the ship at Kandalur Salai” dated in his fouth regnal year register the agreement of the big assembly of Madurantaka-Chaturvedimangalam for conducting the festival of the god Tiruvenkattu-Parameswara in the month of Vaigasi with the 25 pon collected from the merchant of Virasola pperangadi and also the assignment of the tax kalalavu -kolkuli. The arbitrator (Madhyastha) Siralan karunakaran alias Tillai-Muvayiravu Mangalottaman figures as the signatory.^[10] His another inscription register a assignment of land by the big assembly of Madurantaka -Chaturvedimangalam for opening a street round the temple, which was named " Tiruvenkattapperuntervu' and the restriction placed upon and privileges granted to the Siva brahmanas, Uvachchars,Tapasvins and devaradiyars who were allowed to settle in it.^[11]

There are nine inscriptions of Kulottunga–I reported from the Tiruvenkateswarar Temple. Two lithic record dated in his sixth regnal year register that two individuals who had received 20 kasu from the temple of Tiruvenkadudaiya-Mahadeva, being unable repay the amount, borrowed the same from Adavalan Ponvannan alias Madurantaka -Muvendavelan and paid it into the treasury and for the interest due agreed to grant their tax free land for the maintenance of a garden presented to the temple by their creditor.^[12] And other records the pledging of certain lands^[13]

Three other lithic records dated in his sixteenth, twenty ninth and thirty fifth regnal years refers to the Gift of lamp.^[14] Yet another lithic record of Rajakesarivarman alias kulottunga Chola Deva dated in his thirty third regnal year begins with the introduction " Pugazhmadhu Vilanga" and registers a gift of 20 Padagam of waste land for the maintenance of that Tillaivalandanan matha in the temple of Tiruvenkadudaiya Mahadeva and for feeding the Siva yogins and tapasvins, by the assembly of Madurantaka -Chaturvedimangalam, an independent village of Kalattur Kottam in Jayangondasola Mandalam and states at the end that this gift was made at the instance of Tillaiyali alias Viranarayana-Muvendavelan.^[15]

The inscription dated in his forty seventh regnal year registers a gift of ninty five sheeps for a perpetual lamp to the god Tiruvenkadudaiyar by Panri Kayilayan alias Rajendra sola Palandiyarayan of Pudavai, a resident of Talainar in the Chola country. The Siva brahmans of the temple under took charge of the sheep and under took to maintain the lamp.^[16] Finally one of his undated lithic records begins with the introduction "Pugazhmadhu Vilanga" registers a gift of 5¼ Padagam of land, by purchase for the procession of the god on the days of the pushya^[17] and one record is much damaged.^[18]

One of the inscriptions of Ko Rajakesarivarman Rajadhirajadeva refer to the gift of money.^[19] Three inscriptions of Tribhuvana Chakravartin Vikrama Chola dated in his fifteenth regnal begins with the introduction " poomadhu Punara" was spotted from the Tiruvenkateswarar Temple. One inscription registers the agreement of the Siva brahmanas of the temple of Tiruvenkadudaiyar to supply a rice daily in lieu of the interest on 16 kasu received by them for offerings(mantraponagam).^[20]

His another inscription registers the agreement of the shepherds residing at Madurantaka Chaturvedimangalam to burn a perpetual lamp in the temple of Tiruvenkadu-Udaiyar, for the 96 sheeps receievd from Pukkaturaivallvan alias Akalanka-Sambuvarayar, the follower (tunaivan) of sengeni Nalayiravan Ammaiyappan.^[21] Yet another inscription registers the agreement of the merchants settled in " Buvanamulududaipperunteruvu" to burn a perpetual lamp for the interest on 12 kasu received by them form the same individual.^[22]

Five inscriptions of Rajaraja–II pointed from the place of study. The ninth regnal year inscription refers to gift of land.^[23] His other inscription dated in the same regnal year begins with the intoduction " Poomaruviya Thirumadhum" and registers a sale of land to the temple of Tiruvenkambam Udaiyar by certain member managing committee of Madurantaka -Chaturvedimangalam an independent village in Kalattur kottam.^[24]

Another inscription dated in his fourteenth regnal year registers a gift of 15 veli of land, free of taxes, in Vittamaniyanpatti for celebrating the Panguni festival in the temple, by Tribhuvana-Virac-Chambuvarayar.^[25] Yet another inscription dated in his sixteenth regnal year register a gift of 91 sheep for a perpetual lamp to the God Aludaiyar Tiruvenkadudaiya -Nayanar at Madurantaka Chaturvedimangalam, an independent village of Jayandondasola Mandalam by Alagiya-Siya alias Alagiyasola-Chambuvarayan, Son of Pallavandar Edirillisolach-Chambuvarayar, one of the Sengeni chief.^[26] Finally his undated lithic record seems to register a gift of land to the godess Aludaiyar Pirattiyar for procession, sacred bath, offerings and other expenses connected with the worship of the goddess on sundays.^[27]

Another Chola inscription of Tribhuvana Chakravartin Konerimaikondan dated in his thirty seventh regnal year register an order of the king remitting the taxes on the temple lands to meet the expense of offerings at the service instituted by Vikramasola Devar alias kanmayadevan and for the repairs to the temple of Tiruvenkadu-udaiya -Nayanar^[28]

There are also two unnamed Chola inscriptions, one record that certain Mallayan constructed the surrounding verandah in the temple of MaduraiVenkadar.^[29] Another inscription register the agreement between Koneti-ayyan, the agent of Ubhayavedantacharya Ettur Tirumalai Kumara Tatacharya, the great men of Madhurantakam and the temple treasures, that the devadana lands which had been recently released from the mortage during the regime of Koneti Ayangar, should be mortaged again under any circumstances^[30]

The Tiruvenkateswarar Temple of Kadapperi also had the inscriptions of Pandyas and Vijayanagar kings. The inscription of Pandya King Ko Maravarman alais Kulasekharadeva dated in the forth regnal year on the inner side of the east wall of the second prakara, refers to gift of lamp.^[31] The inscription of Vijayanagara King, Praudba Devaraya on the inner side of the south wall of the second prakara, records the gift of the village Karunguli to the temple.^[32]

Components and Architectural Features

The Tiruvenkadudaiyar temple comprises the following components.

The temple is facing east. The square garbagraha is enshrined with Linga, [G.P.No.1] next to garbagraha is antrala [G.P.No.2] which is connecting ardhamandapa. The entrance of the antrala is embellished with the sculptures of Iratai Vinayaka. The ardhamandapa [G.P.No.3] houses the shrine for Nataraja and Amman [G.P.No.4] which is facing south and a raised platform in the northern side is adorn with bronze images of Someskandar, Vinayakar, Amman etc., The raised platform on the southern side is adorn with the sculptures of Appar, Sundarar, Sambandar and Manikavarasakar The ardhamandapa consists of six pillars in two rows. Adjacent to ardhamandapa is a room adorned for utchavar deity. The entrance of the ardhamandapa is flanked with two dwarapalakas on either side. Next to the ardhamandapa is followed by mahamandapa [G.P.No.8]. The Nandi [G.P.No.5] and Balipitha [G.P.No.6] are seen in the pillared mahamandapa facing the main deity in an axial line. Shrine for Uttchavar [G.P.No.7] is adorned adjacent to the mahamandapa. The southwestern corner of the mahamandapa is adorned with store room [G.P.No.9], which leads pillared corridor [G.P.No.10] and inner circumbalatory path [G.P.No.10].On the southeastern of the Southern corridor a small shrine for Vinayaka is enshrined [G.P.No11], and northeastern corner of the northern corridor sculptures of Vinayaka, Linga [G.P.No.12] and Murugan with his consorts [G.P.No.13] are placed. The Northern side of the inner prakara a small shrine for Chandikesvara [G.P.No.14] is enshrined. The northern side of the mahamandapa has a raised plat form adorned with sculptures of four types of Bairava [G.P.No.15].The mahamandapa is preceded by mukhamandapa [G.P.No.16] . The mukhamandapa is adorned with the sculpture of Bhuvaneswari Amman and Pandiswarar in the form of Linga. The northern side of mukhamandapa has separate shrine for Meenakshi

Amman[G.P.No.17] with Simha (Lion), balipitha and dwajasthampa [G.P.No.18] in an axial line. The southern side of the mukhamandapa is adorned with vahanas. The mukhamandapa has fleets of steps on east and south side leads to the circumbulatory path or outer prakara [G.P.No.22]. The eastern side fleets of steps leads to the four pillared nandimandapa[ G.P.No.19], dwajasthampa [G.P.No.20] and balipitha [G.P.No.21] in an axial line facing garbagraha and followed by gopura. The eastern side of the prakara consists of office [G.P.No.23] and madapalli [G.P.No.24]. The southwest side of the outer prakara consists of raised two pillared platform for Narthana Vinayaka [G.P.No.25] with modern construction is found. The northeastern side of the outer prakara has six pillared alankaramandapa [G.P.No.26]. Navagraha [G.P.No.27] is also seen near the alankaramandapa. This leads to the entrance adorned with five tiers gopura [G.P.No.28] (Plate 1). There is a raised platform on either side of the entrance, whereas the sculpture of Vinayaka is seen in the southern side raised plat form.

The temple is encompassed by highly raised madhil and the four corners of the Madhil is embellish with Nandi. The temple tank [G.P.No.29] is seen in the eastern side of the temple. There is a dilapidated mandapa called Natakasalai [G.P.No.30] is adorned in front of the outside the temple. Temple ratha (Chariot) is seen on the right side, out of the temple.

The temple vimana consists of upapitha with adhisthana, Pithi, Prastaram, griva, sikhara, and stupi. The adhisthana consists of the following parts viz, Upana, Jagati, kumuda, pattikai, gantha and vedika. The adhisthana raised vertically upto the cornice. Above adhisthana, wall portion begins from vedipadai. The outer wall of the garbagraha and ardhamandapa consists of five devakoshthas. The southern wall of the garbagraha and ardhamandapa has devakoshtha for Ganesa, Dakshinamurthy and empty closed koshtha. The east wall of the garbagraha has devakoshtha for Vishnu. Likewise the northern wall of the ardhamandapa has devakoshthas for Durga and The northern wall of the garbagraha has devakoshtha for Brahma. There is a pilaster, around the pithi or wall of garbagraha and ardhamandapa, raised up to the wall is in stone. The pilasters consists of kal, kalasa, tadi, kudam, kantha, padma, square palagai and pothigai.

The uttara is shown with bhutavari and the prastara is embellished with eluthagams, kapotam and the yali frieze is seen above. Kudu is also seen with regular intervals.

The temple consists of diwtala vimana (Plate2). Top of the tala is adorned with the round griva. Grivakostha is adorned on the four sides of the griva. Dravidian type (round) sikhara is shown over the griva. On the top of the sikhara, stupi is shown.

Kamashi Amman shrine

The cloistered mukhamandapa houses the shrine for Kamakshi Amman, which is facing south. The Kamashi Amman shrine comprises of garbagraha and ardhamandapa with prakara. The outer wall of the Amman shrine has empty devakoshtha. The simha (lion) ,Balipitha and Dwajasthampa [G.P.No.17] are placed in the outer Prakara of the temple in an axial line to the Goddess.

Sculptures: Ganesa (Plate 5a)^[33]

On the Southern devakoshthas, sculpture of Ganesa is shown in seated posture on Padmapitha, with his right leg half folded and the left horizontally bent. He is represented with four hand. His upper right holds a aksa mala and the upper left hand holds ankusa or tanka, lower right is in a kadaka hastha and lower left holding modaka, which is touched by his long trunk. His head is adorned with karandamakuta and decorated with ornaments in neck. yajnopavitha adorns his chest. Two flowers are shown on either side of the Ganesa.

Apart from Ganesa in devakoshthas, two other sculptures of Ganesa is seen in the western corridors which is seated posture as with similar features as denoted earlier

Dakshinamurthy (Plate 5b)

Dakshinamurthy is one of the most important forms of Siva. The sculpture of Dakshinamurthy occupies the southern wall of the garbagraha. He is seated under tree, the tree are linked to form a chain like structure. He is shown with his left leg folded, his right leg firmly footed on muyalaka (a demon). The jatabara flows on either side of his head. His elongated ears bear patra Kuntala and Makara Kuntala. His upper right and left hand holds the trisula and akshamala adjoining with Naga and the lower right hand showing abhaya hasta and left holds pustaka. He wears simple ornaments adorn his neck. He enchants with smiling face. On both sides of Dakshinamurthy, near his feet, four munivars (saints) are shown, listening to the teachings of Siva, two on each side.

Vishnu (Plate 5c)

On the western devakoshthas, the sculpture of Vishnu is enshrined. He is standing in a samabhanga posture. He is wearing kritamakuta. His Lower right hand is in varadhahasta and left in uru hasta Katayavalambita hasta. The upper hand holds sanku and the upper left hand holds chakra. A thin Yajnopavitha passes through his chest. The finely carved out drapery is sculpted beautifully from his waist.

Brahma (Plate 5d)

Brahma occupies the northern devakoshthas of the Siva temple. He is standing in a samabhanga posture. Of the fore head, three are visible. He is wearing kritamakuta. His Lower right hand is in abhayahasta and left in Katayavalambita hasta. The upper hands holding kendi and akshamala. A thin Yajnopavitha passes through his chest. The finely carved out drapery is sculpted beautifully from his waist.

Durga (Plate 5e)

The sculpture of Durga adorns the northern devakoshthas of the temple. The Image is proportionate to the height of devakoshthas. She is standing in tribhangi posture on a circular padmapitha. She looks very slender with smiling face. She is wearing Kritamakuta on her head. The upper right and left hand holding the tanka. The lower right hand is in abhayahasta and the left in uru hasta or Katayavalambita hasta. ornaments like the haras, the necklace, keyuras and valays and anklets adorn her body. The breast band Kujabhanda and the finely carved out drapery are sculpted beautifully up to her thigh.

Chandikesvara (Plate 6)

Another important deity, enshrined in the Siva Temple, in the northern corridor, facing south, is Chandikesvara. Chandikesvara is adorned with jatabhara. He is seated on patra pitha, with his leg hanging down and the right leg folded and kept on the pitha. He is represented with two hands, the right is in kadaka hastha by holding the parasu and the left resting on the thigh by showing pusthaka hastha. Patra kundalas adorns his left ear while the right kundala is missing. Haras decorate his neck and anklets in pada.

Murugan, Valli, Devayani (Plate 7)

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 in a seated posture by hanging his right leg down and rests on his Pea cock 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.

Bhairava (Plate 8)

kadapperi Sri Venkatesvarar temple at Madurantagam also enshrines four forms of Bhairava namely Kala Bhairavar, Unmatha Bhairavar, Asithaanga Bhairavar and Swarna Akarshana Bhairavar, found installed at the north-eastern corner of the inner prakara facing south in standing in samapatha postures, three of them with typical juvalsikha head dress shown flowing in upward conical shape while the last image namely Swarna Akarshana Bhairava is very differently profiled with volute shallow gentle hair dress with his left leg shown slightly projected out the knee level. Almost all the image are depicted with same weapons namely passa, damaru, kapala and trisula. Three of them with the same head dress that is juvalamaguda head dress flowing in a conical shape, accompanied with the vahana namely dog found flanking the rear side of the images. They are adorned with much ornamentation. The unique Swarna Akarsharna Bhairava. is differently profiled with volute swallow gentle hair dress and his left leg showing slightly projected of the knee level. Moreover it is with less ornamentation than the others and devoid of vahana. On the basis of execution of iconographic features the Swarna Akarsharna Bhairava seems to represent the features as that of the Pallavas, whereas the other three of the Imperial Chola times.

The sculptures of Bhairava’s were located in the North eastern corner in a raised rectangular platform. All the sculptures are in standing posture along with their vahana dog is shown on rear side, except dog is absent in Iswarnakarshana Bhairava rear side. All the sculptures were shown with four hands.^[34]

Pandieswarar and Bhuvaneswari Amman (Plate 9)

A Linga with round avudaiyar is enshrined in the mukhamandapa called Pandieswarar. Near to him a sculpture of Bhuvaneswari Amman is depicted standing in samabhanga posture, holding the usual weapons. The lower right is in abaya hasta and left hands in vardha hasta. Her upper right hand holds ankusa and upper left hand holds pasa. She wears Kritamakuta on her head.

Kamakshi Amman (Plate 10)

She is depicted as Standing in samabhanga posture on round Padmapitha. The lower right is in abaya hasta and left hands in vardha hasta. Her upper right left hands holds flowers. She wears Kritamakuta on her head. She wears Kritamakuta on her head. She is adorned with ornaments.

Dwarapalakas (Plate4b)

The entrance of the ardhamandapa is flanked with two dwarapalakas on either side.The dwarapala on the south stands in dwibhanga posture with his right leg firmly footed on a danda, and the left leg is stood straightly and firmly footed on the patra pitha. The Kritamakuta adorn his head. Off his four hands, the upper right and left are raised upwards and the lower right in susi hasta and the left palm placed on the danda. He wears kuntalas in his ears, haras in his neck a thick Yajnopavitha passes through his knee. A fine drapery is tied to his waist.

The northern Dwarapala slightly differs from counterpart. He stands in dwibhanga posture. The right leg firmly footed on patra pitha and the left leg placed on the danda. He has shown with four hands, the upper left is raised upwards whereas the upper right hand is not seen clearly and the lower right in susi hasta and the left palm placed on the danda on the right so the left hand is brought to right. He wears kuntalas in his ears, haras in his neck a thick Yajnopavitha passes through his chest. A fine drapery is tied to his waist.

Portrait Sculpture (Plate 17a)

A portrait sculpture is depicted on the pillar in mukhamandapa. The sculpture is in standing posture with Anjali hasta. There is a knob in the right side of the head. He is adorns with simple ornaments. He is dressed around his waist up to knee.

Bronzes (Plate 18c)

The temple is adorned with lot of bronze idols such as Pitchadanar, Girmadevadai, Somaskandar, Amman etc. Apart from this there is raised platform for the bronze image of Nataraja in Annada tandava posture on muyalaka (demon) and the hair are arranged like a fan adorning his head and a prominent skull affixed in the middle of the head dress. The right hand is in abhaya hasta and the left its slightly bent and is shown by the side of his abhaya hand. The upper right and left hold deer and damuru. The Uttariya is flown in the side. Simple ornaments are shown in ears, neck and waist.

Parvathi is standing by the side of Nataraja in tribhanga pose.

Hero Stone and Vinayaka–kadapperi [Plate.2 & 3]

The Hero-stone is found in front of the Sri Venkateeswarar temple tank.

According to traditions the temple tank popularly called as “Vidagartheertham” is believed to heal skin diseases. Behind the Hero-stone is a Vinayaga sculpture also chiselled out of a granite found placed on a pedestal under a neem tree without a super structure daily poojas are conducted to these sculptures facilitating the local people are worship, perform poojas and rituals

This Hero-stone is sculpted on a granite stone slab without inscription intact in position is facing east in the standing posture. The length and breath of the stone slab with the high bas-relief of the hero measurement 45cms and 36cms. The image is aptly executed with two arms, tuft being held front by his right while the left simply shown pierce the sword into his neck i.e with the act of head offering by the hero himself. His ear lobes are pendent in nature. He wears kankana, keyuras, utara bandhas with a central knot. On the basis of its execution the image could be dated to the late phase of Pallava.^[35]