Kudumiyanmalai has a very old Shiva temple, which is currently being maintained by the Archaeological Survey of India (ASI). The presiding deities of this temple are Shikhagireeshwarar and Akhilandeshwari. |
; | |||
Sthala puranam (The story behind the name Kudumiyanmalai) Seeing the king enter the temple just as the Dasis were leaving, the priest got worried and took the flowers from them who had already worn it on their hair and gave it to the king. Seeing a strand of hair on the flower, the king became suspicious and questioned the priest about the presence of hair in the flowers. Overcome by fear, the priest lied that it was from Lord Shiva?s head. Angered by the priest?s reply, the king locked him inside the temple, telling him that he would come the next day and check if the Lord did really have hair. Worried, the priest prayed to the Lord.
The next day when the king came, there was indeed a kudumi/shikha (tuft) on the Shiva linga! Becoming suspicious, the king tried to pull it from the Shiva linga, only to see blood coming from the lingam! That?s how the Shiva here got the name ShikhagirIshwarar & the place got the name, Kudumiyanmalai.
Sculptures galore! | ||||
The pillars in the outer corridor have sculptures of Hanuman, some of the Avatars of Vishnu, etc.. |
;; |
|||
;;;
|
The pillars in the inner corridor has sculptures of Shiva, Parvati, Vinayaka, Muruga, Shiva in Urdhvatandava,Narasimha. |
|||
Some of the sculptures are damaged. It feels sad to see broken arms etc. on the otherwise very beautiful sculptures. |
||||
Goddess Akhilandrshwari's shrine is adjacent to that of ShikhagirIshwarar's. |
||||
When you enter it from outside, to the right is the old idol of Akhilandeshwari. This was replaced by the one present in the sanctum sanctorum now, since the old one got damaged. After that is the Rasi mandapam. The ceiling of the mandapam has sculptures of all the 12 raasis. |
||||
; |
On the right side of the rasi mandapam is a door. There were beautiful sculptures, including that of anril paravai (bird with two heads and one body), bordering the door. |
|||
After that is the hexagon-shaped mandapam made of a single piece of stone. This was where the king was crowned. Nowadays, weddings take place here. Right from the entrance to Akhilandeshwari?s shrine till the sanctum sanctorum, there are pillars with miniature sculptures/designs carved on them. |
; |
|||
; |
Here were sculptures of dancers. Were those that of Dasis who danced at the temple? |
|||
There are lots of inscriptions on the temple walls.Outside the temple is a mandapam having pillars. After the mandapam there are rows of pillars. Maybe there was a long mandapam which is now gone? |
; | |||
; |
After the pillars is Nandi in a small mandapam. After that is the road, on the other side of which is the Ratham [Ther] broken into pieces and lying in ruins! |
|||
Time for some History While the sanctum was built by the Cholas, the outer portions were architecturally expanded by the Pandyas and the Vijayanagara kings. Thanks to attending Chithra Madhavan's lectures, I was able to correctly identify that there must have been Vijayanagar's contribution to the temple. The sculptures of some of the dasAvatArs of Vishnu was one of the things that made me think Vijayanagaras might have added to the temple, since it was during their time that sculptures of Dasavatars became popular. Temple on the hill There is a cave temple in the hill. Some time back, there was an article on Kudumiyanmalai in The Hindu's Friday Review which has lots of information about the temple. I didn't read it at that time and remembered it only after I visited the temple and read it later. Quoting the lines relevant to this post, from the article, The Kuduminatha temple came a few centuries after the cave temple, sometime in the 10th century. Built by the Cholas, it was renovated by the Pandyas in the 13th century and by the Vijayanagar Kings in the 15th. There is what is called a 1,000-pillared mandapam at the entrance, which, however, has only 645 pillars. The sculptures here are of Vijayanagar style. Here one finds figures of Hanuman, Sugreeva and Vali. Completely smeared with butter and vermilion, it is not possible to take in the beauty of the sculpture. In the Vasantha mandapam, the sculpture of Nrisimha tearing out the entrails of Hiranayakasipu, captures attention with its expression. The agony of a terrified Hiranyakasipu, whose hands and legs are held in vice like grip by the ferocious man-animal. The Rati and Manmadha figures are noteworthy for their attention to detail. The Siva in Urdhva tandava pose is a masterpiece. There are also two sculptures of soldiers on horseback, trampling down their enemies here. |
; | |||
;;; | The panel of Siva-Parvathi with the Nayanmars Above the Melakkoil is a rare bas-relief of Siva and Parvati on rishaba vahanam, flanked by the 63 Nayanmars. When the temple property was auctioned in the 13th century, Thiru-k-kaariyaan Magal Umaiyal Nachiar, a temple dancer, bought it and transferred ownership back to the temple. She later built the Soundaravalli Amman temple, near the cave temple. King Sadayavarman Veerapandian II gave the Goddess the name Thirukkaama Kottathu Aruvudai Malai Mangai Nachiar. |
|||
Built by the Cholas |
||||
PUDUKOTTAI: The Archaeological Survey of India (ASI) has speeded up the renovation of the 1,000-pillar mandapam at the rock-cut temple of Sri Kuduminathar at Kudumiyanmalai, in Tamil Nadu's Pudukottai district. |
||||
; | ; | |||
History ? River Vellar, flowing north of Puddukkotai town, was the boundary line between the Cholas andPandya empire. During the time of Mahendravarman I (CE 600-630) this region might be under Pallavasthrough their vassals, northern part of Puddukkotai, however they were not able to retain it for long andPandyas won back this from them. Mahendravarman I would have got this region from his father,Simhavishnu, in heritance. Simhavishnu in turn would have won this from the hands of the Cholas. TheCholas were in hibernate mode till their resurgence in ninth century. Till that time, this region oscillated between the Pallavas and the Pandyas. Hence Puddukkotai became the important town witnessing various clashes between these two dynasties. Muthariyars and Irukkuvelirs were the vassal chief of the Pallavasand the Pandyas, which acted as the proxies in the wars between these two kingdoms. There are very few reference of the Pallavas found in inscriptions of this region, one such reference is the defeat ofNandivarman Pallavamalla (CE 730-796) in the hands of Maravarman Rajasimha (CE 730-760) atKodambalur in Velvikudi and Sinnamanur plates of Pandyas. The presence of musical inscription, written in seventh century Grantha script, suggests that this cave temple would have been in existence at or before that time. There are other early Pandya inscriptions as well which are dated to seventh and eighth century. From the time of Cholas, we have many inscriptions telling us the continuous extensions of the temple. As the early inscriptions are found in the cave temple and in its boundary wall, hence the main structural temple seems to be remodeled in later times. This remodeling would have done in the time of Maravarman Sundara Pandya I. The Cholas won over vast region of Tamilnadu in ninth century and kept it with them till thirteenth century. Pandyas re-surged in thirteenth century and got back the region from the hands of the Cholas. After them, this region came under the Vijayanagara rulers. The temple got patronage under Vijayanagara rulers as we see mention of prince Vira-Kampana-Udaiyar and viceroy Gopa-timma in inscriptions. After the fall ofVijayanagara, Madurai Nayakas ruled over this tract of land. Later this went into the hands of Marungapurichiefs and after them to Pallava Rayars. Sivendezhunta Pallava-rayar did many extensions to the temple in form of gopuram, mandapa, flower gardens and temple car. Rock-cut cave temple was extended in the reign of Raghunatha Raya Tondaiman (1686-1730) who built a mandapa in front of the cave with his ministerKurundha Pillai. In 1730 Pacchai Tondaiman opposed the succession of Vijaya Raghunatha Raya and took shelter in this temple. However he was defeated and forced to surrender to Vijaya Raghunatha Raya. Vijaya Raghunatha Raya (1730-1769) was crowned in this temple in 1730. Later he built the steps to the mandapa, built earlier by Raghunataha Raya. In 1865, Raja Ramachandra Tondaiman celebrated a kumbhabhishekamin this temple. |
; | |||
This town would have been known as Tirunalakkundram in 8th century as suggested by one inscription ofKochadayan Ranadheeran or Sadayan Maran (CE 700-730) of early Pandyan dynasty. Later in 14th century, this has been referred as Siganallur (Shikhanallur), with the main deity as Siganaatha (Shikhanatha) in the temple. Later in 17th century we see a reference to Kudumiayanmalai, with the main deity as Kudumiyaar. There is an interesting story behind this name, Kudumiyaar. As per the story, from sthala-puranam, a king,Sundara Pandiyan, used to visit the temple daily in the evening to perform his prayers. The priest used to give the prasadam to the king after his evening prayers. One day the priest was waiting for the king and the king did not turn up. Since it was getting late so the priest gave prasadam to a temple dancer. Just when the dancer was leaving the king entered into the temple. The priest got scared as prasadam was finished, so he borrowed the flowers from the dancer which were already worn by her. The priest offered those flowers to the king as prasadam. The king noticed as strand of hair in those flowers hence asked for explanations for the presence of the hair from the priest. The priest was very scared so he lied that the hair is of the lord, Shiva?shead. The king was astonished and locked the priest inside the temple telling him that he will come tomorrow to see if the deity really has hair or not. The priest prayed the whole night to lord Shiva to save him. The next day the king arrived and he found a tuft (kudumi) on Shiva lingam. When he tried to pull it, the blood came out of lingam. This is how the deity in this shrine is known as Kudumiyaar and the place as Kudumiyamalai. Another version of the story replaced the temple dancer with the lover of the priest. There is another interesting fact that kudumi not only meant tuff of hair but also the top of hill. In that case Kudumiyaar seems to the god on top of the hill. It seems, this story may have been invented in 17th-18th century. Let?s go to the monuments now. |
||||
Cave Temple ? Excavated on the eastern slope of low rising hillock, this cave temple would have been excavated in early seventh century. Originally this cave temple was attributed to Pallavas, however now it has been seen as an early Pandya shrine. As per K R Srinivasan, Pallavas were never in this region hence it is hard to assign this to them. However though Pallavas were not directly ruling this area, but it was withMuthariyars who were vassals of the Pallavas. The original cave temple is 12 feet by 13 feet hall. The ardha-mandapa inside, measuring 23 feet by 8 feet. In front of the cave, is a maha-mandapa, which was built in the reign of Kulottunga Chola I (1070-1120). The mandapa in front is built during the reign of Raghunatha Raya Tondaiman (1686-1730) and his minister Kurundha Pillai. Later Vijaya Raghunatha Raya Tondaiman (1730-1769) built the steps to this mandapa. The pillars of the ardha-mandapa are very different from Pallava pillar style as they resemble more to Chalukyan style of Badami. Inside the main sanctum is a Shiva linga, carved out in situ from the original rock of the cave. Above the sanctum door lintel are four dwarf figures. Two figures are in opposite direction just above the sanctum door, while two figures are shown moving away are placed at the corners of the door lintel. All the four are shown in flying profile. There is a Ganesha, valamburi(referred if the trunk is curled to right), figure carved on the inner wall of this temple. He is shown with two hands, left hand is holding a rosary while the left hand is holding some unidentifiable object. He is wearing akaranda-makuta on his head and a yajnopavita across his waist. There are two free standing images inside this cave, one is of Chandikesvara and another is of Somaskanda. On south of the mandapa of this cave, on prepared wall of the rock, is carved the celebrated musical inscription. There is a five feet high Ganesha, this time idampuri (if the trunk is turned to left), image carved in relief to the right of this inscription. This musical inscription is a topic of controversy. Inscribed in Pallava Grantha script in Sanskrit language. Now, we know that Pallava Grantha script was started during Pallavas. This Grantha script evolved in style during its usage in later times. In the evolution of this script, we find four stages, archaic & ornamental, transitional, medieval and modern. The initial archaic and ornamental Granthascript is known as Pallava Grantha script. Being archaic and ornamental, this script was perhaps only used to inscribe inscriptions but not in regular daily usage. Transitional Grantha script is seen in later Pallava times and Pandyan times. As stated earlier this musical inscription is written in Pallava Grantha, hence the common understanding would be that it was done by some Pallava king. Among Mahendravarman I, Mamalla and Rajasimha, this Pallava Grantha script is also used by Mutharaiyar chiefs. Many scholars, like of K R Srinivasan, are in opinion that this region was not under Pallava reign so this inscription could not be related to that dynasty. We will talk about it in details while dealing with the inscriptions of this monument. Out of the cave, on little north of the cave, on the hill above are carved figures of sixty-three nayanars with Shiva with Parvati and Nandi standing in the middle. |
||||
Shikanatha Temple ? This is the main structural temple of the complex. The current temple is the result of continuous growth and extensions with time. This temple consists a garbha-griha (sanctum sanctorum),ardha-mandapa, maha-mandapa, sabha-mandapa, anivetti-kal-mandapa and ayirakkal mandapa. The original sanctum and ardha-mandapa would have been built during tenth century during the Chola reign, however the current sanctum and ardha-mandapa are recent structure, even later than of other four mandapas. When you enter into the temple, you first pass through ayirakkal mandpa (thousand pillars mandapa) supported on 645 pillars. The pillars have sculptures of Vishnu incarnations and various scenes and figures from epicRamayana. From the style and architecture, this would have been executed during Vijayanagara period. We also see similar thousand pillar mandapa at other locations, which were also executed during Vijayanagaraperiod. From this mandapa, you will pass through anivetti-kal mandapa (vasanta mandapa). This hall has life size sculptures of various gods, including Kama (Manmatha), Rati, Ganesha, Ravana, Narasimha, Shiva asurdhva-tandava-murti, Rama, Vishnu, Subramanya, Mohini. There are two figures of Nayaka rulers as well in this mandapa. At the end of this hall, entrance into sabha-mandapa, are two dvarpalas in portrait sculptures. They are shown with four hands holding a massive club which is entwined with a serpent. One feet of thedvarpala is resting above the hood of the serpent. Passing through these dvarpalas, you enter into sabha-mandapa. This mandapa is built in Pandya style and has exquisite bronze collection. There is a stone image of Nataraja which is about 6 feet high. In the bronze collection, you will find Chandkeshvara andSomaskanda. Next you enter into maha-mandapa where more bronze statues are enshrined. You will findGanesha, Subramanya, Subramanya as Shashta, Sapta-matrikas, Shiva as Bhikshatanamurti. There are twonayanars, Sambandar and Manikka-vachakar as well among the bronzes. After this you pass through ardha-mandapam which is remodeled recently. Though it is remodeled, it preserves the old sculptures, in which you will find a Ganesha sculptures and dvarpalas of ninth century. There is a covered pradakshina-path around the main shrine. On the inner walls of this path you will see Lingodbhavar, Sapta-matrikas, Jyestha,Subramanya, Gaja-Lakshmi and Saiva saints (nayanars). These images are from various periods. The niche of the main shrine house Dakshinamurti on south, Vishnu on west and Brahma on north. The arrangement of deities in niche are as per shilpa-sastra and this arrangement is very common in the temples of Chola period. |
||||
Subsidiary Shrines ? In this temple complex, two more shrines are constructed, Akhilandesvari Shrine andSoundara-nayaki Amman shrine. The first one is located in the pradakshina-path of the maha-mandapa of main temple. There is a rashi-mandapa in front of this shrine, where on the roof are carved twelve zodiac signs. Soundara-nayaki Amman shrine is located south of the cave temple and was built by danseuse ofKudumiyamalai. As per an inscription, a deva-dasi Umaiyalvi-Nachchi, referred to as the daughter of Durgai-aandar, bought some of the temple?s lands for 73,300 gold coins. She also built Amman shrine dedicated to the goddess Malaiya-mangai or Soundara-Nayaki. This shrine is consisted of garbha-griha, ardha-mandapaand mukha-mandapa. Above the hill is located a Murugan shrine which seems to be Pandya construction of thirteenth century. Inscriptions of the Cave Temple ? There are about 120 inscriptions found in the cave temple and in the temple. Most of the inscriptions are of the nature of some grant or endowment towards the temple in various periods. These inscriptions have helped a lot to trace the history of the town and the temple. However the most important inscription of the cave temple is the musical inscription carved on the living rock on south of the cave temple. This inscription is carved on 13 by 14 feet wall and is in good state of preservation. This inscription is written in Pallava Grantha script and is in Sanskrit language. The Pallava Grantha script used in this inscription is of archaic and ornamental style which was in use during seventh century among the various Pallava inscriptions. This inscription was discovered in 1904 by Rao Saheb H Krishna Sastri and was edited by Rao Bahadur P R Bhandarkar in Epigraphia Indica volume XII. He states that the characters of the inscription resemble closely to early Chalukyan period and belong to seventh century. He edited the inscription with relation to the musical notes but not on the epigraphy comparisons. The earliest music treatise of India is Natyasastra of Bharata Muni. However the chapters of this work are handled and re-handled and all parts of it are not from same period. This text can be assigned to fourth century. The next treatise on music is Samgita-ratnakara by Sarngadeva, which is written between CE 1210 and 1247. Hence the discovery of a music inscription, dated in between these two works, is of great importance. It is divided into seven sections corresponding to the seven classical ragas of the time. These seven sections are 1)Madhyamagrama, 2) Sadjagramah, 3) Shadava, 4) Sadharita, 5) Panchama, 6) Kaishikimadhyama, and 7)Kaishika. Each section consists of a collection of groups of four notes, arranged in sub-sections of sixteen, each sub-section taking up one line of the inscription. The music in the inscription appears to be intended for the vina, since it has been given the title chatushprahaarasvaragamah or authoritative texts of notes produced by four striking (of the string). It is clear that the seven ragas of the inscription do not appear in theNatyasastra of Bharata, but they appear in Samgita-ratnakar. Hence this inscription is the earliest record of these seven ragas however when they came into existence is not very clear. Let?s have a look at the inscription first, |
||||
Musical Inscription सिद्धं I नमः शिवायः ॥ |
||||
There is another inscription, above the Ganesha relief image on north side of the musical inscription, which is also written in Pallava Grantha script, and it refers to some stringed musical instrument. This consists of a single label which gives the name of the musical instrument called Parivadinida. It seems that the notes in the musical inscription would have been meant to be played on this musical instrument.
Apart from this celebrated inscription, there are many other inscriptions of interest. Four of them are published in South Indian Inscription Vol. 19, number 413-416. The text, cited from this volume, of the inscription is given below: | ||||
This is a small village with no proper accommodation facility. You may either stay at Trichy or Puddukkotai and visit this place. Food will be available from small village restaurants however if you are very specific to hygiene and preparations then use your own discretion. I ate food at small stall there and I should accept that food was really delicious.
How to Reach ? Kudumiyamalai is 20 km from Puddukkotai on Puddukkotai-Kodambalur road. Bus facility is available from Puddukkotai to Kudumiyamalai, however frequency is not very good. You can also arrange a taxi as this is not very far from Puddukkotai town.
Link to Yahoo Map for Kudumiyamalai
Web References:
|