Adavalleswarar or Adavalleeswarar Temple (Architecture)

Vimana:

The Sanskrit term vimana refers to a temple of southern order.

In its vertical segment a vimana from bottom to top, is composed of six main constituent parts viz.,

1. adhistana (basement),
2. pada (foot pillar),
3. prastara (entablature),
4. griva (neck),
5. sikhara (roofing) and
6. stupi (finial).

In short, a vimana means the entire edifice from upana to stupi. A vimana has often small vestibules in front called ardhamandapa and muhamandapa on its adhisthana axis.

Garbha Graha

Sri Adavalleswarar (Adavalleeswarar) temple faces south. The fine medium sized square cella is an attractive one. The interior surface is 2.35 square meters which houses Adavalleswarar, the Lingamourtham [lingamurtha] of this temple. The entrance of the cella is very simple and its height is 1.78 meters and its width is 1.16 meters. The cella is constructed with granite stones right from the upapita to the prastara.

The inner surface of the Garbha Graha is dimly plain, while the outer surface is lavishly visible with finest works of art and architecture. The vimana built under the Dravidian type.

Upapitha

Upapitha, a sub-base of a vimana, possesses identical parts of its adhisthana. The use of upapitha as a structural part was introduced by the Pallavas and was almost continued by the succeeding dynasties in Tamil Country. It was functional in big temples. The infrequent employment of the upapitha is seen in the big Chola temples. The Vijayanagar temples followed, by and large, the upapitha traditions of the Cholas. The upapitha is, consisting of upana, kantha and vajana forms the lowest part of the vimana.

Adhisthana

Adhisthana, the plinth of the vimana, for the first time appear in some of the cave temples of the Pallavas. Besides, these types of adhisthana, padapandha, vaprabandha, sundaraboja varieties are popular in the Chola temples. The decorative elements like mahapadma, vrittakumuda, pratikantha and vyala busts are more frequent in the Chola monuments.

The adhistana moldings in this garbagraha are of the simplest type, devoid of any ornamentation. This together with other features like the massive pilasters and taranga potika may give it an early date. The earliest inscription of this temple found on a Pillar which is using on the ground in the prakara walls of garbhagraha is dated to 5^th regnal year of Rajendra I and it does not refer to the construction of the central shrine. Hence it can be ascribed to the early part of the eleventh century A.D.

From the above mentioned four inscriptional records of Chola Rajendra I, it is clear that Munnjur Adavalleswarar temple enlarged a medium stone structure and become a prominent Saiva centre during the time of Chola Rajendra I. Among the four inscriptions only two of them mention the place name as Munnjur instead of Mudur as mentioned in the Sangam literature Sirupanatruppadai^[1] and the Presiding deity as Sri Mulasthanaththu Paramaswami which may be the prominent name of the Presiding deity during time of the Cholas Rajendra I.

Rajadhiraja was the first son of Rajendhra I and ascended the throne in A.D. 1044.From the time of Chola Kulottunga II to that of the Vijayanagar rulers, Adavalleeswarar or Adavalleswarar temple preserves many inscriptions. This temple received its extension and reconstruction in the hands of Chola Kulottunga II and his successors. It is proved by three Chola Kulottunga II inscriptions found on the Mahamandapa of the central shrine.

In all the inscriptions of Kulottunga II this Presiding deity is mentioned as Sri Mulasthana Mudaiyar^[2]. The previous records refer the main deity as Sri Mulasthanaththu Paramaswamy. From this we can infer that the main deity is renamed as Sri Mulasthana Mudaiyar after the renovation work completed^[3]. Besides the place Munnjur is mentioned as Rajanarayara Chathurvedhimangalam. Previously it was known in the inscriptional record as Sri Pandithasola Chathurvedhimangalam. From this it is also clear that the existing temple renovated or rebuilt during the time of Kulottunga II and this Mahamandapa perhaps might have been built during the time of Kulottunga II.

The adhistana stands on the upapitha the adhistana of the temples is comes under Padapandha type. The adhistana carries jagati which is high, plain and rectangular in shape. The projecting viritha kumuda rests on the jagati. Over the kumuda a plain pattika that is a flat band is placed. Pattika is interposed between kanta mouldings. The kanta is divided into a number of gala padas on which the vedi, the top most molding of the adhistana composed of a padmavajana and prati, is seen.

Here it is worthwhile to understand the padhabandha adhistana and related architectural motifs. The foregoing study reveals that upapitha motif of the Chola tradition is absent in the later Pandya temples. Its presence, however, in the Vijayanagar temples suggest Chola influence. Padabandha adhisthana is standard type to both the Cholas and Pandyas. Similarly, pratibandha and kapota bandha are popular in the Vijayanagar temples. The Vijayanagar temples alone have vargabedha adhisthana. Miniature adhisthana over the main adhisthana is another notable feature of the Vijayanagar period. Decorating galapadas was originally a Chola tradition and it did not affect the undecorated tradition of the Pandyas. However, Vijayanagar crafts men revived the Chola tradition.

Pranala

Pranala, water chute or gargoyle, is used as another source of embellishment. A small hole called ambumarga or varimarga is provided to drain the abhisheka water at the pattika level on the northern walls in the early Pallava shrines. With the development of rituals in the Chola period, ambumarga is developed and made into a projecting external part which discharged sacramental water from the sanctum.

The Pranala which is fixed on the eastern side of the adhistana, appears to come out of the open mouth of a vyala. It serves to discharge the ablution water from the Garbha Graha.

Bhitti

In the bhitti or the wall portion of the sanctum sanctorum above the vedi is carrying three devakosthas on the west, north and the east. These niches are filled with high relief stone images of Daksinamurti on the west, Narasingamurthi on the north and Durga on the east.

The Chola walls are more developed than the Pallavas and Pandyas as they illustrate the rhythms. Segmentations like karna bhusanas, pratikarna and bhadra buttresses of equal size besides central bhadras have been achieved in the Chola walls. Chola panjarakosthas show ganas and apsaras as decorative mortifs. Patratorana, chitra torana, ratna torana and the combination of chitra and ratnatoranas are popular varieties of the Cholas. Niches are accommodative to the deities.

The Pallava pilasters are relatively simple. Faceted kalasa, kumbha and wide phalaka of the Pallava period continued in the succeeding Chola period. Potika, the corbel bracket of a pillar or a pilaster is useful point of reference to study the date of the temples. The Pallavas maintained tarangapotika as standard one ratna and chitra kinds of potikas were familiar to the Cholas temples.

The bhitti portion is remarkable for the disposition of fifteen brahma kantha pilasters five on each side. The brahma kantha pilasters are made in a simple manner without any embellishments. The square shafts came with mulasthana on the top decorated with floral scrolls and pearl strings.

Above the mulasthana, a band of straight and inverted lotus petals known as padmabandha is arranged. The vase shaped kalasa is delicately adorned by festoons and fixed on the padmabandha. The intervening part called tadi separates the kalasa and kumbha. The petals of a blossomed lotus (padmatala) are spread around the kumbha. The petals are supporting the thick square palagai with virakanda. The roll corbel at the top is throated with median band (tarangu potika) and the cross corbels of similar type in the cantering pilasters. The cantering pilasters carry the double corbel. The pilasters are well in line with vari or in axial line of adhistana.

Prastara

The portion rising above the corbels is known as prastara. It is the roof of the vimana which connects the sanctum sanctorum and its superstructure. The prastara is consisted on the usual moldings such as bhutavari, kapota and yalivari on the corbels carry uttara. This is not equal in width and height to the corbels found below. A vajana comes over this, and has intervening panels of figural miniatures corresponding with the pilasters below. It is decorated with a frieze of ganas.

Above the vajana, kodungai is found with nasikas beautified by scroll work ornamentations with interior empty circles. The row of circles (circular bosses are the prototype of nail heads in wooden architecture) runs along its lower edge is the characteristic feature of the Chola architecture. Each corner of the cornice ends with a beautiful scroll designs (kodikkarukku).

Standard four member vedika is a common feature in all the temples and an advanced level of padma petals are seen in the case of Vijayanagar vedika. Asvapada and nagabandha motifs are absent in the Chola and Pandya pilasters but are used in the Vijayanagar pilasters. Pearl garland and flower garland are almost common to all periods. The former type seems to be due to the Pandya influence. The lowest band of idaikkattu of the Chola period is undecorated excepting the peripheral areas. Sudarkarukku designs in the katasa and kumba are uniform through the ages in and around Munnur region. Plain and deep cut padma petals are noticeable in the temples of Munnur.

Three types of corbels namely angular, ten on-boss and pushpa are employed in the Munnur temples. A continuity has been noticed from the Chola to later Pandya with overlapping. Pushpa potika predominates the Vijayanagar temples. Shallow devakostha is standard to all the periods. Makara,chitra, bhadratoranas and sala finials are employed in the devakostha. All toranas, except sala, which is absent in the later Pandya temples, are found in all other temples. Padmavajana is standard to the Cholas and the Vijayanagar period. Hamsa frieze in full profile is the motif of the later Pandyas.

All kapotas, excluding the Naduvul Appan, are decorated. The Vijayanagar kapotas are bigger than the Cholas and the later Pandyas. Kapotakudus are embellished with miniature carvings of human heads, gods and goddesses and vimanas.

The foregoing investigation of the architecture of Munnur temples further reveal the fact that the Cholas, later Pandyas and Vijayanagar-Nayak craftsmen adhered to their respective art traditions and maintained their decorative motifs and symbols. The usage of shallow devakostha in the Chola and Vijayanagar temples do not mean to say that they adopted early Pandya tradition. The change may well be attributed to engineering reason rather than decorative interest. Thus, the architectural feature of Munnur region reflects common traditions of the embellishment of Tamil country in miniature.

The Super Structure

The tapering super structural part of the central shrine is built of bricks. Above the roof, one can notice an Tiritalavimana, square in plan. A hara of miniature pavilions such as the karnakutas in the extreme corners, the bhadrasalas in the middle and the panjaras in between the salas and karnakutas runs round the harmya of the each tala. The salakosthas are devoted for figures in the east, in the south, in the north and in the west.

The griva of the vimana is spherical in shape with tetragonal pilasters and grivakostas. The figures of the grivakosthas are the same as in the salakasthas below. The griva is capped by an elliptical sikhara. The surface of the sikhara, the top element of the roof, is decorated with idaikattu, padmam, kattumalai, kannadisattam and mahapadma. The four mahanasikas crowned by simhavaktra and intervening nasikas are presented on the sikhara in the four directions. Above the sikhara, all single copper Stupi is placed with padmapatri, kumbha, nalika and mukula. The superstructure over the garbhagraha has completely been renovated and repleted in the present century.

Antarala

There is an antaralas between the garbhagraha and ardhamandapa. The flat roofed antarala has the same type of the external features like that of the vimana of the central shrine. The walls of the ardhamandapa has two east and west niches. The niches had the images of Vinayaga on the east and west niches respectively. The external configurations of the walls are similar in style to that of the garbhagraha. The adhistana shows only the jagathi portion. The rest of the adhistana is not to be seen.

Ardhamandapa

There is an ardhamandapa adjoining the front part of the antarala with an entrance of 1.10. m. and 2.00m. high on their southern end. It is intended for keeping the puja materials. The four central pillars of the ardhamandapa are missing. The pillars consist of base, shaft, and capital. The square appears to hold the bottom of the pillar, a reminder of wood and bamboo constructions. On this, the inverted lotus moulding is found. The shaft of the pillar, is round in shape. The topmost part of the pillar is the potika, circular at the edges with taranga ornamentation, and apatta (flat median band).

Mahamandapa

The rectangular mahamandapa lies next to the ardhamandapa with a flat topped roof supported by pillars. It is of 7.20 mtrs length, 7.20 mtrs width and 4.00 mtrs height and is open on the southern side. Eight pillars have standing in 2 rows with four pillars in each row shouldering the flat roof of this mandapa. The crowning member of the pillars are heavy beveled corbels with prominent tenon like projections. The pillars carry a horizontal beam lending support to the superstructure. The square type of pillar composed of three sadurams (square) and two octagonal intervening portions. This mandapa is closed by walls on the three sides and opened on the south side. It has a porch approached by a flight of steps on the south east and south west corners of this mandapa decorated with balustrades.

Below the adhistana there must have been an upapitha, which is evidently buried in the inner flooring. The bottom most layer of adhistana is upana which is plain without any ornamentation. This upana is followed by padma. Then comes Tripattaikumuda with padmadala followed by vyalavari over it the bhitti portion is plain. Niches and pilasters are absent in the walls. The wall is capped by ribbed mouldings. Of uttara, padma, and hanging inverted kodungai with kudu profiles inset with gandharvamukha on its key holes. A balipitha and a Nandi are furnished in front of the mahamandapa. The walls of this mandapa are filled with inscriptions.

The development of Munnur Adavalleswarar temple by Rajaraja II is revealed by his third epigraph. Issued in his 15^th regnal year (A.D.1164) is found on the western side wall of the Mahamandapa of the shrine. One Ariyan Andan Kamalakara Bhattan^[4] setup an image of Vishveswara Devar on the western side of the prakara of this temple complex as a parivara deity. Further this record mentions the gift of nine gold coins for burning the santhi^[5] lamp in every day in this sub-shine.

Footnotes and references:

[1]:

Sirupanatrupadai,

[2]:

Unpublished Inscription., See Appendix, No. 1

[3]:

Unpublished Inscription., See Appendix, No. 2

[4]:

A.R.E., 72 of 1919.

[5]:

A.R.E., 71 of 1919.