Temples of South India

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Location: South West Of Bangalore, Karnataka Consecrated In 1268 A.D Build By: Somnath Dedicated to: Lord Keshava

History of Somnathpur

"There is a stillness and everlastingness about the past, it changes not and has a touch of eternity," wrote Pt. Jawaharlal Nehru in his "Discovery of India." These words somehow hold true when one arrives at Somnathpur, a tiny village on the banks of the Kaveri, 140 kms, south-west of Bangalore. Here in this everlasting rural stillness, like a milestone to eternity, stood one of the last and the grandest of Hoysala monuments - the Kesava Temple built 740 years ago.

By the year 1268 A.D., the year in which the Kesava temple at Somnathpur was built, the Hoysala rule had completed 260 years. The riches and splendour of the Hoysala court were already evident in their grand temples at Belur and Dvarasamudra (present day, Halebid).

In the dust and turmoil of history, India was witnessing the Golden Age of the mighty Cholas, Pandyas and the Hoysalas. The last named dynasty which ruled Karnataka for nearly 350 years, was founded in 1006 A.D., soon after the collapse of the Ganga Dynasty.

Coming to the temple at Somnathpur, one need not search far for its history. An inscribed stone slab, in old Kannada, at the entrance says it all. The reigning monarch was Narasimha III (1254-91 A.D.) whose full regal title runs into a sizeable paragraph: "Sri Vishnuvaradhana, Pratapa Chakravarti, Hoysala Bhujabala, Sri Vira Narasimha, Maharajadhiraja, Raja Paramesvara, Sanivarasiddhi, Giridurgamalla etc.

The Somnathpur Temple

The temple, however, was not built by the king but by his celebrated army commander, Somnath. Some year ago he had founded a village on the left bank of the Kaveri River, which he named Somnathpur, after himself. Now in a bid for further immortality, Somnath petitioned the king to grand him the permission and resources for his project of setting up a grand temple to glorify Hoysala craftsmanship.

Soon work began. The best sculptors in the realm were commissioned for the task. There came sculptors whose wizardry with the hammer and chisel was almost legendary. Among them was the famous Mallitamma. Then there were sculptors: Ballayya, Chaudayya, Bharmayya, Kamayya and the Nanjayya. Of the 194 carved images on the outer walls, Mallitamma's contribution was forty. We know this because all the sculptors have signed their works - a practice unusual for its times, but also evident in Hoysala temples at Belur and Halebid.

The king not only bestowed Somnath with his largesse, but also sanctioned an annual grant of 3,000 gold coins for the temple's upkeep and maintenance. All these facts are duly mentioned on the slab and appear as though to have happened yesterday!

Interestingly, the earliest Hoysala monarchs were Jains. It was the great Vishnuvardhana (1108-42) who embraced Vaishnavism under the influence of the celebrated Vaishnava reformer Ramanuja. Later Hoysala rulers even became Saivites. But general tolerance of all faiths was typical of their rule. The Hoysala Dynasty finally came to an end around 1346 A.D. when the Vijayanagar Empire rose to power. Today Somnathpur is like any other Lackadaisical Indian village surrounded by farms of millet and sugarcane. Not as famous as Belur and Halebid, the Hoysala temple at Somnathpur, however, is truly unique in design, perfect in symmetry and the stone carvings are remarkable marvels in stone.

For the inscription on the stone slab, it becomes fairly evident that the magnificent temple was completed and consecrated in 1268 A.D. The shrine stands in the middle of a walled compound, around which runs an open verandah with 64 cells. The temple itself, stellar in shape, has three profusely carved pinnacles with a common Navranga and stands on a raised platform. The three sanctums once housed beautifully carved idols of Kesava, Janardhana and Venugopala. Today the idol of Lord Kesava is missing, but the other two still adorn the sanctums in their original form.

Location: Madurai, Tamil Nadu Consecrated In: Lord Somasundara (Lord Shiva) And Goddess Meenakshi Build By: The Pandyan King, Kulasekhara Dedicated to: Meenakshi Kalyanam In April-May And The Teppam Festival

Madurai or "the city of nectar" is the oldest and second largest city of Tamil Nadu. This city is located on Vaigai River and was the capital of Pandyan rulers. The Pandyan king, Kulasekhara had built a gorgeous temple around which he created a lotus shaped city. It has been a center of learning and pilgrimage, for centuries. Legend has it, that the divine nectar falling from Lord Shiva's locks, gave the city its name - 'Madhurapuri', now known as "Madurai".

The Origin Of The Meenakshi Temple

The Sri Meenakshi Sundareswara temple and Madurai city originated together. According to tradition, Indra once committed sin when he killed a demon, who was then performing penance. He could find no relief from remorse in his own kingdom. He came down to earth. While passing through a forest of Kadamba trees in Pandya land, he felt relieved of his burden. His servitors told him that there was a Shivalinga under a Kadamba tree and beside a lake. Certain that it was the Linga that had helped him; he worshipped it and built a small temple around it. It is believed that it is this Linga, which is till under worship in the Madurai temple. The shrine is called the "Indra Vimana".

When the next Pandya, Malayadhvaja, and his queen, Kanchanamala, performed a sacrifice for a child, Lord Shiva caused Goddess Parvati Herself to step out of the fire as a little girl. She had three breasts. Lord Shiva told the couple that the third breast would disappear when she set eyes on he who was to be her husband. They were to name her "Thadathagai" and bring her up as if she were a boy.

Once Dhananjaya, a merchant of Manavur, where the Pandyas had arrived after the second deluge in Kumari Kandam, having been overtaken by nightfall in Kadamba forest, spent the night in the Indra Vimana. When next morning he woke up, he was surprised to see signs of worship. Thinking that it must be the work of the Devas, he told the Pandya, Kulasekhara, in Manavur, of this. Meanwhile Lord Shiva had instructed Pandya in a dream to build a temple and a city at the spot Dhananjaya would indicate. Kulasekhara did so. Thus originated the temple and city.

She succeeded her father to the throne at his death. She gained many military victories. Finally she marched on Kailasa itself. When she saw Lord Shiva, her third breast disappeared. The Lord told her to return to Madurai and said that He would marry her there. The divine marriage was celebrated. This is the theme much beloved of Madurai artists. There is a superb sculpture of this in the temple. The crowning of Meenakshi, for She was the same as Thadathagai, is celebrated as a festival in the temple.

The Lord performed many miracles at the wedding. These are described in a celebrated poem, the "Tiruviayadal Puranam". Under the name of "Sundara Pandya", the Lord ruled the land as a mortal. After sometime, crowning Lord Muruga, their son, who was named "Ugra Pandya", Sundara Pandya and Thadathagai went into the temple and assumed divine forms as "Lord Somasundara" and "Goddess Meenakshi" respectively.

How to Get There

By Air: Madurai is connected by air with Mumbai and Chennai. Madurai airport is 10-km away from the city.

By Rail: Madurai has direct rail connections to Bangalore, Coimbatore, Kollam, Chennai, Rameshwaram, Thanjavur, Tiruchirappalli, Tirunelveli, Tirupathi and Tuticorin.

By Road: There are excellent roads connecting Madurai to all parts of South India. Madurai city has 5 Major Bus Stands- Periyar Bus Stand, Anna Bus Stand, Palanganatham Bus Stand, Arapalayam Bus Stand, Mattuthavani Bus Stand. From Madurai town buses, suburban buses, taxis, auto rickshaws and cycle rickshaws are available to reach the temple.

About The Temple

While the temple originated in times to which no date can be assigned, the structures that are standing today date mostly from the twelfth to the eighteenth century. They occupy a vast space, 258 m by 241m. There are the two main shrines, no less than twelve Gopuras, a tank and innumerable Mandapas. At every turn there is superb sculpture, magnificent architecture.

Earliest References Of The Temple

Paranjothi Munivar wrote the Tiruviayadal Puranam in the sixteenth century. It is regarded as the temple's Sthalapurana. An earlier work adds a few celestial sports not included in the latter. These are, or rather were painted on the walls around the Golden Lily Tank. Some of the painted wooden panels are in the Temple Museum.

In the 14th century an invasion by Malik Kafur damaged the temple. In the same century Madurai was under Muslim rule for nearly fifty years. The temple authorities closed the sanctum, covered up the Linga, and set up another in the Ardhamandapa. When the city was liberated, the sanctum was opened, and, tradition says the flower garlands and the sandalwood paste placed on the Linga were as fresh as on the first day, and two oil lamps were still burning.

The earliest references available to any structure in this temple is a hymn of Sambhandar's, in the seventh century, which refers to the "Kapali Madil". The present inner walls of the Lords shrine bear this name today. In the early times the entire temple must have been confined to the area between these walls, and the structures must have been of brick and mortar.

Mudali Pillai Mandapa

The Mudali Pillai Mandapa follows the Chitra Gopura. Added in 1613, it is 183m long and 7.6m wide. On its wall are many puranic scenes. It used to be without any natural light, but windows were added in the last renovation.

The Golden Lily Tank

The lovely and historic Golden Lily tank then comes into view. It is from its banks that most popular photographic views of the temple are taken, showing the gigantic south outer Gopura. The northern corridor leads directly to the shrine of the Goddess. On its pillars are the images of some of the Sangam poets, of Kulasekhara Pandya, the first builder of the temple, and of Dhananjaya, who figures in the traditional story of its origin. There is no fish in the tank.

The corridors around the tank are rightly called the "Chitra Mandapa", for the walls carry paintings of the divine sports of the Lord, as narrated in the "Tiruvilayadal Puranam". They have been renewed from time to time. A short while ago there were paintings on wooden panels affixed over an older series. They have since been removed to the Temple Museum in the thousand-pillared Mandapa, leaving some dilapidated murals to view. It is impossible to ascertain the date of these.

It was in the sixteenth century that the corridors and the steps leading down to the tank were constructed; the northern corridor and steps in 1562, those on the east in 1573, and those on the south five years later.

Samagam Meenakshi Naicker Mandapa

A smaller Mandapa connects the large one with another large one with another large hall, called the "Samagam Meenakshi Naicker Mandapa", after its builder, a minister of Vijayaranga Chokkanatha (1706-32), who erected in 1707. In former times the temple's elephants camels and bulls used to be stabled here. A brass "Tiruvatchi" holding a thousand and eight lamps stands here, 7.6m high. Marudu Pandya, one of the early opponents of the growing British power, installed it.

The Meenakshi Naicker Mandapa is a huge hall, 42.9m long and 33.5m wide. It contains 110 stone columns, each 6.7m high. There are yalis in the capital and delicate reliefs below. Some of the carvings are unfinished.

The "Chitra Gopura", its name amply justified by its exquisite sculptures, 740 in number, stands over the entrance from this Mandapa into the shrine complex of the Goddess. It could have been the original entrance into the sanctum. Over seven tiers, and 35.6m high, it is the tallest of those over the shrine of the Goddess. It was built about 1570 by Kalatthi Mudaliar, a son of Aryanatha Mudaliar, who helped Vishwanatha Nayak, the founder of the Madurai Nayak dynasty, to consolidate his power. He rose from poverty and obscurity to the highest post after the Nayak. There are equestrian statues of him in two places in the temple, in the Pudumandapa and in the thousand-pillared hall. The Gopura was extensively renovated in 1960-63.

Ashta Sakthi Mandapa

It is a convention in this temple, different from that followed in others, that the devotee offers worship first to Goddess Meenakshi. Therefore, while there are four other entrances into the temple, under huge Gopuras in the four cardinal directions, it is customary to enter not through any of them but through a Mandapa, with no tower above it. This entrance leads directly to the shrine of the Goddess.

An interesting story is told of what an artist did in 1923 when adding some paintings there. In one of these depicting the coronation of Goddess Meenakshi, he included a figure of Mahatma Gandhi. The British authorities ordered that it be removed. What the artist did was to add to the lasting oil painting long locks of hair in watercolour so that a sage resulted. But shortly after, the locks disappeared and Gandhiji re-merged.

This Mandapa is an impressive structure, with a hemispherical ceiling. It is 14m long and 5.5m wide. There are bas-reliefs all over the place. Over the entrance one of them depicts the marriage of Goddess Meenakshi with Lord Somasundara. The Mandapa derives its name, the "Ashta Sakthi", from the fact it contains sculptures of the eight Sakthis (also spelt as Shakti). Those of the four principal Nyanmars were added during renovation of the temple in 1960-63.

Queen Rudrapathi Ammal and Queen Tholiammal, consorts of Tirumalai Nayak (1623-1659) erected the Mandapam. Tirumalai, the greatest of the Nayaks of Madurai, who were originally viceroys of the Vijayanagar Rayas, but who later made themselves virtually independent, was the grandest builder in the history of the temple and the city. Formerly, pilgrims used to be fed in this Mandapa.

The Unjal And Kilikatti Mandapas

Two Mandapas, the Unjal and the Kilikatti, stand on the farther way to the shrine of the Goddess. On their ceilings are more paintings. A celebrated mural, opposite to the entrance of the shrine, depicts the marriage of Goddess Meenakshi. The Kilikatti Mandapa derives its name from the fact that there are parrots in a cage here. On its walls are carvings of the divine sports. The most ornamental of the temple's Mandapas, it was built in 1623.

Near the flagstaff is a six-pillared structure, which is of historic interest. A famous poet, Kumaragurubarar, composed verses in praise of the Goddess at the request of Tirumalai Nayak. He recited the work in this part of the temple with Tirumalai present. As he was doing so, a little girl walked upto the Nayak, took a pearl necklace from his neck, gave it to the poet and disappeared. She was the Goddess Meenakshi Herself. There is a stone bell on the ceiling of the Mukhamandapa. The entire shrine measures 68.5m by 45.7m.

A Gopura of three tiers stands over the entrance from this Mandapa into the shrine of the Goddess. Built in 1227 by Vambathura Ananda Tandava Nambi, it is named the Vambuthurar Gopura after him. The shrine consists of a square sanctum, an Ardhamandapa and a Mukhamandapa. In the niches on the walls of the shrine are images of Iccasakthi in the south, Kriyasakthi in the west, and Jnanasakthi in the north. There are shrines of Vinayaka and Subramanya in the outer Prakara. They probably belong to the fifteenth century.

On the way to the Lord's shrine from here there are two Gopuras, the Nadu Kattu over the doorway leading from the Kilikatti Mandapa, and the Gopuranayaka, which rises above the actual entrance into the shrine. Each is of five storeys and perhaps belongs to the mid-sixteenth century.

Beyond the former, facing south, is a huge image of Lord Vinayaka, engagingly the "Mukkuruni Vinayaka" from the fact that a single enormous edible, the "Kozhukattai", made from 34 kg of rice, is offered to Him on Vinayaka Chaturthi Day. There is a tradition that the image was discovered when Tirumalai Nayak was digging the beautiful tank on the outskirts of the city, called the "Vandiyur Teppakulam" .

The Kambathadi Mandapa

The Kambathadi Mandapa, which contains the flagstaffs of the Lord's shrine, has, besides some of the most striking baroque sculpture in the country. It was originally built by Krishna Veerappa Nayak (1572-95) and renovated in 1877 by the Nagarattars, a class of Chettiars, who have built and renovated many a fane in Tamil Nadu.

This Mandapa encloses the Nandi shrine, two flagstaffs and the balipitha, has eight monolithic columns, which carry huge sculptures of the Lord in various forms. These includes Somasundara, the Protector of Markandeya, Nataraja, Chandrasekhara, Ardhanariswara, Dakshinamurti, Bikshatana, Somaskanda,Rudra, Ekapadamurti and Rshbaruda. There are also the ten incarnations of Lord Vishnu. It is here that the celebrated sculpture of Goddess Meenakshi's marriage is to be found. On either side of the entrance there are imposing monoliths of Bhadrakali, Agora Virabhadra, Agni Virabhadra and Urdhatandava. A carved ceiling made of a single stone covers the Nandi shrine.

Over the entrance into the shrine stands a Gopura of three storeys. It was originally built by a Pandya in 1168 and, therefore, is one of the oldest surviving structures in the temple. Flanking the entrance are huge dwarapalkas, each 3.6m high, made of a single stone each, and standing on a pedestal about 1.5m high.

The shrine is a square of 10.4m. Eight elephants, thirty-two lions and sixty-four sportive dwarfs support its base. On its outer walls there are prominent niches on the three sides, each projecting 1.8m. In the south there is Dakshinamurti in the west Lingodbhava, and in the north Durga. These niches are so big as to be small shrines. Stone elephants about 3m high flank each of them. There is always a concourse of worshippers in front of the Durga image. The Vimana above the sanctum is of three storeys. The Sikhara is plated with gold.

In front of the shrine there are successively an Antarala, an Ardhamandapa, a Mukhamandapa and a Mahamandapa so that this is virtually a temple by itself. The whole measures 128m by 94.5m. There are two Prakaras and five Gopuras. The outer walls are called the "Sundara Pandya Madil" and the inner ones, which measure 76.2m by 47.5m, the "Kapali Madil". The latter is referred to by Sambandar in the 7th century.

Thousand Pillared Mandapa

Among the other Mandapas in the temple is the celebrated thousand pillared one. Aryanatha Mudaliar, who bestrides a horse at the entrance, erected it in 1569. Measuring 76.2m by 73m, it contains 985 pillars. The central nave leads to a shrine of Lord Sabapati. On every pillar there are sculptures. These are varied iconographic interest. Among themselves they make a veritable pantheon. On the ceiling near the entrance there is a wheel, which gives the cycle of sixty years of Tamil calendar. Fergusson calls the Mandapa "The wonder of the place".

West of it is a small Mandapa added during the renovation of 1960-63. It commemorates Sambandar's reclamation of the Pandya to Hinduism. It contains a Linga and images of 'Sambandar', 'Mangayarkarasi', 'Kulachirayar' and 'Kun Pandya'. The second was the queen, the third the minister of the Pandya.

The Historic Shrines In The Prakaras

There are a number of historic shrines in the Prakaras. Opposite to an entrance into the first from the Mahamandapa there is one of Lord Sabhapathi. This is the famous Velliambalam where one of the Lord's divine sports took place when, at the request of the sages, Patanjali and Vyagrapadha, He danced as Lord Nataraja.

In the second Prakara a shrine, now called that of the Sangam poets, contains images of many of them. In the same Prakara there is a shrine apparently dedicated to Kariyamanikka Perumal, but now empty. Also in the same Prakara there is a row of fourteen small shrines, called the "isvarams". Many of them contain Lingas.

The Pudumandapa

Near the east outer Gopura stands the celebrated Pudumandapa. Built by Tirumalai Nayak between 1626 and 1633, it is a large hall, 100m by 32m, and contains a hundred and twenty four pillars. These magnificent columns carry bold reliefs. There are equestrians and yalis on the outer pillars, while at the centre there are portraits of ten Nayaks from Viswanatha, the first of them to Tirumalai.

There are, besides, some of the Tiruvilayadal scenes, the wedding of Goddess Meenakshi, Goddess Meenakshi as Thadathagai, and Ekapadamurti, among other themes. At the western end there is a canopied Mandapa, the Vasanta, where the images of the Lord and the Goddess are brought on certain festival occasions.

The Kalyanamandapa

The Kalyanamandapa, built by Vijayaranga Chokkanatha (who stands here in effigy) in the first decade on the eighteenth century, contains much excellent woodwork. It was originally open on all sides. In the center is a large platform, where annually the marriage of the Lord and the Goddess is celebrated. On two of the walls are two huge paintings of the "two worlds" of Hindu cosmogony, each about 1.8m in diameter.

The Gopuras Of The Temple

The Gopuras Of The Temple The four outer Gopuras in the four directions are marvellous works of art. They are of perfect proportions, though they were built at different time and though, moreover, they have been repaired and renovated from time to time. The Gopuras of Tamil Nadu, by themselves, form a chapter in the history of Indian Art. Some of the brightest pages are due to the towers of Madurai.

The West Gopura
The west Gopura was built in the fourteenth century, a troubled period in the history of the temple and the city following the Muslim invasions. It is difficult to believe that a venture of this magnitude could have been possible in that time of travail. But the sources of information are clear. They attribute the Gopura to a Parakrama Pandya. There were many kings of that name in the century. Since the famous Pandya crest of two carps appears on this Gopura, it may be accepted that the Pandyas did build it. This was their swan song in the temple, which will always be associated with their piety, munificence and glory. It is 48m high, rising on a base that is 31m by 14m. Like the three other Gopuras, it is of nine tiers.

The Southern Gopura
The most beautiful and the most artistic of the four, the southern, frequently photographed for its lovely eminence over the Golden Lily Tank, is also the tallest, 49m. Its stone base measures 32.9m by 20.4m. The tower sweeps in a graceful curve. It was built about the middle of the sixteenth century by Siramalai Sevvanthi Murti Chettiar, a scion of a family of Tiruchi, which has contributed much to the temple.

The Northern Gopura
The latest in date is the northern Gopura, which was built by Krishna Veerappa Nayak (1564-72). For some reason, it was without a Sikhara and was not plastered. Therefore, it was called the "Mottai" Gopura. The deficiencies were supplied in renovation about the end of the last century.

Such an ancient and renowned fane has attracted considerable literature and many beautiful traditions, apart from those narrated above. It is said for example Rous Peter, a Collector in the early decades of the last century, was so beloved of the people that they called him "Peter Pandya". Every day he would go round the temple on horseback. One night when he was asleep, there was heavy rain. A little girl woke him up and beckoned him outside his house. The girl then vanished. Peter, convinced that She was Goddess Meenakshi, presented valuable jewels to the temple.

Mariamman Teppakulam

Connected with the temple is the lovely tank called the "Mariamman Teppakulam", about 3 km to the east. It measures 345m by 290m, and has steps leading down to the water. In the center is a towered Mandapa, with four smaller Mandapas around it. The tank was excavated and the Mandapas built by Tirumalai Nayak. On his birthday a float festival of the images of the Lord and the Goddess is celebrated. On the other side of the road there is a famous Mariamman temple.

Location: Tirupati, 67-kms From Chittoor, Andhra Pradesh Famous as: Lord Venkateswara Or Venkateshwara Or Venkatramana Dedicated to : World's Richest Temple Siginificance : Tirumala Tirupati Devasthanam

Tirupati town is 67-km from Chittoor in Chittoor district, the southern portion of Andhra Pradesh. The most important place of interest at the place is the historic shrine of Sri Venkateswara, the Lord of Seven Hills, who is famous all over the country.

The shrine is located on a hill at Tirumala, a cluster of seven hills known as Seshachalam or Venkatachalam with an elevation of 853m (2,800ft.) above the sea level. Said to be the richest temple in the world, this temple is a vibrant cultural and philanthropic institution with a grand history spanning several centuries. It attracts pilgrims from all over the country who stand in line for hours together to obtain a glimpse of the presiding deity for a few fleeting seconds.

Tirupati - A Fine Example Of Dravidian Temple Architecture

The temple at Tirumala is believed to have existed from ancient times. The dynasties like the Pallavas of Kanchipuram, the Cholas of Tanjore, the Pandyas of Madurai and the Kings and chiefs of Vijayanagara, vied with one another in endowing the Shrine and offering worship of the presiding deity. The Tirupati temple with its 'gopuram' or tower is a fine example of Dravidian architecture.

The elaborate rituals and mode of worship in the temple were prescribed by the saint Ramanujacharya and are being followed even today. Anointing the idol with camphor, and the offering by pilgrims of the hair on their heads by getting themselves shaved by licensed barbers are the important customs in vogue at Tirupati Temple.

The 'Vimana' or Cupola over the sanctum sanctorum is covered entirely with gold plate and is known as "the Ananda Nilayam". The Shrine consists of three 'Prakarams' or enclosures. The outermost enclosure contains the 'Dhvajastambha' or the banner post and, among others, the statues of Vijayanagara king Krishnadevaraya and his consorts, and of Todarmal, the minister of Akbar. The idol of the deity, the full figure of Lord Venkateswara or 'Venkataramana' or 'Srinivasa' or 'Balaji' (as is called in various parts of the country) has the attributes of both Vishnu and Shiva, preserving and destroying aspects of the Hindu Trinity.

Festivals of Tirupati

Everyday is a day of festivity at Tirumala. The most famous is the annual festival called 'Brahmotsavam', which is celebrated on grand scale for nine days in September, attracting pilgrims and tourists from all parts of the country. The fifth and ninth days of the festival are especially significant in as much as Garudostavam and Rathotavam takes place on those days.

The Daily Routines - Tirupati Tirumala Balaji Temple

The daily program starts with 'Suprabhatam' (awakening the Lord) at three in the morning and end with the 'Ekanta Seva' (putting the Lord to sleep) at one in the night. Daily, Weekly and Periodical 'Sevas' and 'Utsavams' are performed to the Lord. Interested pilgrims can choose from the list and pay to get the Sevas or Utsavams done on their name. Devotees offer their gifts and donations in the "Hundi", which is the main source of income.

Location: 58-Km From Chennai, Tamil Nadu Called: Mamallapuram, The City Of Bali Famous: Centre For Pallava Culture And Arts Imported festival Celebrated : Dance Festival In The Month Of December

About Mahabalipuram

The history of Mahabalipuram dates back to two thousand years, it contains nearly forty monuments of different types including an "open air bas relief" which is the largest in the world, for centuries it has been a centre of pilgrimage, it figures in the early annals of the British search for the picturesque in India in the 18th century, today it attracts shoals of foreigners in search of relaxation and sea bathing, and most strange of all, it has an atomic power plant for neighbour. A small library has been written on it. Over its history and that of its monuments a number of scholarly controversies rage.

Mahabalipuram was already a centre of pilgrimage when, in the 7th century Mamalla made it a seaport and began to make temples fashioned of rock. It was through Mahabalipuram that many Indian colonists, who included sages and artists, migrated to Southeast Asia. Sri Lanka's national chronicle, the "Mahavamsa" testifies to this fact.

How to Get There

By Air: Chennai (58-km) is the nearest airport with both domestic and international terminus. Chennai is connected with all the major places in India through the numerous domestic flights. International flights operate from various parts of the world to Chennai.

By Rail: The nearest railway stations are Chengalpattu (29-km) and Chennai (58-km). From these stations one has to take road to reach the Mahabalipuram.

By Road: Buses are available from Pondicherry, Kanchipuram, Chengalpattu and Chennai to Mahabalipuram daily. The road to Mahabalipuram is good. Tourists can also hire a taxi from Chennai.

Temple Town Of Tamil Nadu

Located at a distance of 58-km from Chennai, Mahabalipuram has everything that makes a site memorable; tradition, history, piety, western annals, and current importance as a centre of tourism.

Name Of The Site

The proper name of the site is "Mamallapuram", after Mamalla, an honorific of the Pallava king, Narasimha Varman I (630-668), who created the earliest of its monuments. But it is popularly called "Mahabalipuram", or "The city of Bali", whom Lord Vishnu chastised for his pride and of whom there is a relief in one of the excavated temples here.

Temples In Mahabalipuram

There are, or rather were, two low hills in Mahabalipuram, about 400m from the sea. In the larger one, on both sides, there are eleven excavated temples, called Mandapas, two "open air bas reliefs", one of which is unfinished, and a third enclosed one. Out of a big rock standing free nearby there is a "cut out" temple, called a "Ratha". This type is unique to Mahabalipuram.

Out of the other hill, much smaller and standing about 200m to the south, are fashioned five more rathas, and three big sculptures of a Nandi, a Loin and an Elephant. On the top of the bigger hill there is a structural temple, and a little distance the magnificent beginnings of a Vijayanagar Gopura and also survivals of what is believed to be a palace.

The Shore Temple

The Shore Temple occupies a most extraordinary site, by the very margin of the Bay of Bengal so that at high tide the waves sweep into it and the walls, with their sculptures, have been eroded by the winds and waves of thirteen centuries. The European name for Mahabalipuram, since the first western visitor wrote of it in the 16th century, is the "Seven Pagodas".

There are not seven temples here. The number has been made up fancifully and even whimsically. Some of the Europeans believed that the sea has overwhelmed a part of the town containing some temples. But, there is no sunken city in the waves off Mahabalipuram. The European name, "Seven Pagodas", is irrational and cannot be accounted for.

The Shrines In The Shore Temple

There are three shrines in the Shore Temple. That facing the sea and another facing west into the township are Saiva. The one between is Vaishnava, with an image of Lord Anantasayi made of live rock. There are Vimanas over the Saiva (also spelt as Shaiv or Shaiva) shrines, but none over the third; it seems to have disappeared with time. There are Somaskanda reliefs on the walls of the Saiva shrine. In front of the eastern shrine there is a stone dhvajastambha, frequently under the waves. The light that shone on it at night must have been the last sight of home for thousands of Pallava citizens immigrating to South East Asia.

The Dhvajastambha and the Balipitha, which normally stand in front of the main shrine, are here located to the west of the shrine. There was a Prakara here, with small Nandis on its walls. Some of the Nandis still stand on the survivals of the walls.

Till some decades ago parts of the temple were under sand. The sea is an ever-present danger. A semi-circular groyne wall has been built to the east. But what is notable is the fact that the temple has survived all these centuries. Built by Narasimha Varman II Rajasimha, the maker of the Kailasanatha temple in Kanchipuram in the 8th century, this is one of the earliest structural temples in Tamil Nadu.

Temple of Sthalasayana Perumal

Immediately to the north of the bigger hill there is the temple of Sthalasayana Perumal, much enlarged in Vijayanagar times. By the very margin of the sea, with the waves often flowing at its foot, there is a magnificent fane with three shrines in an axial line, called the "Shore Temple".

To the west of the five Rathas there are three more rathas, two side by side. About 600 m north of Mahabalipuram, along the coast, is Saluvankuppam, where there are magnificent excavated temples and, near it, a rock Mandapa with tiger heads along its periphery, called the "Tigers Cave". Between Saluvankuppam and Mahabalipuram, less than 200m from the sea, stands another structural temple, the Mukunda Nayanar.

Each and every one of these monuments of different types, structural temple, excavated temple "cut out" temple, "open air bas relief", not to mention sculptures and Mandapas to be found here and there, is important and interesting. The Shore temple, the celebrated "open air bas relief" called "Arjuna's Penance", the Mahishamardhani and the Adivaraha "Cave" temples and the Five Rathas are the especial rewards of the visitor. All the monuments are Pallava except that the original Sthalasayana Perumal temple was expanded in Vijayanagar times. To the Chola days belongs a Mandapa at the entrance to the township.

The Depictions Of Arjuna's Penance

There have been strong differences of opinion among eminent scholars on what this scene depicts. An old view was that it represents Bhagiratha's penance. But the opinion that currently holds the field is that it depicts Arjuna's Penance. This "Mahabharatha" incident, also represented in both mural and relief in Lepakshi and a number of other sites, relates to Arjuna's obtaining a weapon to use in the impending war against the Kauravas.

Bharavi, the Sanskrit dramatist, who, it is believed, was living in Kanchipuram in the seventh century, when this masterpiece was made, has made it his theme in his "Kiratarjuniyam". The Pallava court in that century was a nest of singing birds. It is highly probable that it is this scene, which is depicted here. The main scene of action is on the southern face. Here an ascetic is performing severe penance, standing on one leg. Near him is Lord Shiva, with His attendants. Immediately below them there is a small shrine with a relief of Lord Vishnu inside. By its side are many seated sages in meditation.

The fissure indicates a river. This is clear from a fact and a suggestion. The fact, also strengthened by the presence of water serpents, is the depiction at the edge of the southern surface of some persons performing the rite of "Sandhya vandhana" by the river. The suggestion is that, in Pallava days, actual water flowed down the cleavage from the hill behind, where there are survivals of what would be called a water tank. The notion is similar to what is found in the Isurumuniya in Anuradhapura, the ancient capital of Sri Lanka.

On the northern face are some huge elephants, among the very best of their kind in the whole range of Indian sculptures. There is, besides, the hypocritical cat which, pretending to perform penance, draws to it a number of unfortunate unsuspecting rats. This is a touch of humour not very common in Indian art. There are, besides, the Lion, the Tiger, the Boar. In the upper part off the surface there are rows of semi-divine beings effortlessly flying, all towards the fissure. Close by is placed an engaging composition of a monkey picking out lice from the head of another. It was brought here from near the Mukunda Nayanar temple.

A little distance to the south there is an unfinished attempt at the depiction of the very same scene on another boulder. Probably the maker of the first bas-relief initially tried his hand here.

There is a third bas-relief, this time depicting Sri Krishna protecting the good people of Brindavan from Indra's wrath by interposing a mountain. This is a fine pastoral scene, which visitors to Mahabalipuram in the early centuries would have readily understood. Strangely enough, there are a few small sphinxes and gryphons at the edges of the huge composition. A Mandapa was built in Vijayanagar times in front of what originally was an open-air bas-relief.

Arjuna's Penance - An Open Air Bas Relief

If a temple by the sea and, at times, in the sea is a tour de force, the "open air bas relief" is even more so. In Mahabalipuram alone of all innumerable sites of monuments in India sculptor was impelled to choose a large cliff face on which to make his carvings. What is more, he chose a scene from the "Mahabharatha" (also spelt as Mahabharata), which a great Sanskrit dramatist, probably then living in Kanchipuram, had popularised.

This surface, 29m by 13m, consists of two large boulders with a fissure in between. In the cleavage there are a serpent god and a serpent goddess in the act of worship. Covering the surface on the boulders on either side of them there are nearly one hundred figures of Gods, sages semi-divine beings, huge elephants and a few other animals.

The Five Rathas - The Dharmaraja, The Bhima, The Arjuna, The Draupadi and The Sahadeva

The Five Rathas, about 200 m south of the main hill, were fashioned out of a smaller hill sloping down from the south. From the largest part was made the biggest of the five rathas, the Dharmaraja. Then followed onwards north, in the descending order of height, the Bhima, the Arjuna and the Draupadi.

A little to the west of Draupadi there was a comparatively large rock and out of it the Sahadeva Ratha was made. Immediately in front of the Draupadi again two smaller rocks were sculptured into an elephant and a lion. Behind the Draupadi and the Arjuna, which stand on a common base, there is a Nandi.

Not Exactly Temple Chariots!

These rathas (an irregular expression, for they are really Vimanas, and not temple chariots, as the word means) perpetuate the forms of the temple in use when they used to be made of perishable materials. A Pallava who must have been something of an art critic or art historian decided that these styles should be preserved in eternal rock. Outside Mahabalipuram except in Kazhugumalai (in Tirunelveli district), there is nothing like these rathas anywhere in India.

There are four rathas elsewhere in Mahabalipuram so that there are nine in all. Among themselves they represent four main styles: the apsidal, the barrel vaulted, the domical and the so-called "hut". The third was to dominate the future, with some modifications. The first two are comparatively rare and the last very much so.

The rathas with the domical sikhara are the Dharmaraja, the largest of them all; the Arjuna, a smaller version of the first, the Pidari and the two Valayankuttai, these three located elsewhere in Mahabalipuram. The Bhima Ratha and Ganesa Ratha, which is near the larger hill, are barrel vaulted, the Sahadeva is apsidal, and the Draupadi is "hut shaped".

There are some superb sculptures on the Dharmaraja and the Arjuna. The former contains splendid divine and secular portraits, with labels beside some of them. The later are certainly kings, but it is difficult to identify them. There are some lovely royal couples on the Arjuna. Again, it is impossible to say who they are. Nevertheless, these sculptures show how beautifully delicate and sensitive Pallava sculpture is, making it one of the great schools of Indian art.

The lion, Goddess Durga's mount, stands right in front of Her shrine, here called the "Draupadi". Just alongside the apsidal Sahadeva Ratha stands the elephant, also apsidal in shape. Such touches are frequent in Mahabalipuram. It is very probable that there was a school of sculpture here in ancient days. For, probationary and incomplete sculptural and architectural efforts are to be seen at every turn. An important point is that not a single monument in Mahabalipuram is quite complete.

Mahishamardhani and the Adivaraha Mandapas

Of the many excavated rock temples in Mahabalipuram anomalously called "Mandapas", two of the best are the Mahishamardhani and the Adivaraha. The former contains on walls facing each other two of the most superb sculptural reliefs known to Indian art, both connected with each other in their common scriptural source. The latter Mandapa has two groups of royal sculptures, also facing each other. Besides, it is the only temple in Mahabalipuram apart from the Sthalasayana Perumal, where worship continues today, but fitfully.

The Mahishamardhini temple has been excavated in a rock on the eastern side of the top of the hill. Right above it there is a structural temple, one of four of a lighthouse for decades until a new lighthouse was erected close by. Near the Mahishamardhani temple there is a smaller rock where an unfinished attempt at excavating a fane has been made.

There are three shrines in the Mahishamardhani Mandapa. A small Mandapa projects forward from the central shrine. On the northern and southern walls of the Ardhamandapa there are the great sculptural reliefs of Goddess Durga fighting the demon and of Lord Vishnu in His cosmic sleep. The incidents are from two consecutive cantos of the "Devi Mahatmyam". In the one relief the energy with which the young Goddess goes forth to war with the buffalo headed demon is in magnificent contrast with the cosmic sleep of Lord Vishnu on His serpent couch.

The royal groups in the Adivaraha temple are, in one, of a seated king with two queens flanking him and, in the other, of a standing king with two consorts standing by him. There are many opinions but it is generally thought that the seated monarch is Simhavishnu (574-600) and the standing one his son and successor, Mahendra I (600-630). There are, besides, reliefs of many divinities.

Fair & Festival at Mahabalipuram

Dance Festival at Mahabalipuram
The internationally acclaimed and globally renowned "Mahabalipuram Dance Festival" is organised by the Department of Tourism, Government of Tamil Nadu every year in Mahabalipuram - the renowned and ancient 7th century centre for Pallava culture and arts.

The Dance festival starts on the 25th of December every year and is conducted on all Saturdays and Government holidays, upto February first week. Dancers and musicians of repute from India and abroad thrill the crowds every year. Folk dances of India are an added attraction.

Sit before an open-air 'stage' created 13 centuries ago, the incredible monolithic rock sculptures of the Pallavas, next to the sea in this ancient city of Mahabalipuram. Lovers of dance will be treated to a very unique and unforgettably aesthet ic event: Bharathanatyam, Kuchipudi, Kathakali and Odissi, presented by the very best exponents of the art besides folk dances.

Location: Western Ghats, Kerala Famous as: Lord Ayyappa Dedicated to : 914 m Above Sea Level Siginificance : Sabarimala Temple Festival

Sabarimala is a renowned pilgrim centre atop the rugged hills of the Western Ghats. This holy shrine is dedicated to Lord Ayyappa. The sanctum sanctoram nestles 914 m above sea level, amidst the virgin forest wilderness of the Western Ghats.

The Village of Sabarimala is named after Shabari who did severe penance in order to meet Rama who granted her wish for her devotion and faith during her penance.

The main pilgrimage is undertaken between November and January. Regardless of caste, creed, colour, they wear black dhotis and carry on their heads, bundles containing traditional offerings like coconut filled with ghee, camphor and rice.

How to Get There

Transportation is available upto Pamba, from where one has to travel a distance of 5 kms on foot. Devotees undertake rigorous penance, ritualistic vows and fasts before they visit the temple.

The Main Festival

Sabarimala is one of the most important Hindu temples of Kerala. The Sabarimala Temple festival is celebrated in honour of Lord Ayyapan who is revered by all in India.

There are two main pujas called the Mandal Puja and the Makara Sankranti Puja, which are celebrated from November to Middle of January in Kerala, during which time the devotees perform austerities and penance.

The Penance

Devotees undergo rigorous penance and austere living before starting on the pilgrimage. Devotees wear black 'dhotis' and are bare-chested as they prepare for the pilgrimage to Sabarimala.

The temple is at the top of the Neeli hills and the devotees have to climb the treacherous route carrying their meagre provision in a bundle called "Iru Mudi" meaning in "two folds".

The distance from the base of the hill to the top takes about three days to cover and the most important part of the pilgrimage are the final 18 steps, which lead to the temple. The temple dome is covered with gold and the devotees break the coconuts before climbing the steps.

An Unmatched Instance of Religious Tolerance

Opposite the main temple complex, there is a smaller temple for the Muslim god called Wavar, who is an ally of Lord Ayyapa.

Signifying religious tolerance and harmony of the olden days, the devotees pay obeisance to Lord Wavar, on their way to the main temple. After the devotees complete their pujas and offerings, they return to the base of the hill and return to their homes.

The people making the pilgrimage for the first time are known as "Kanni Swamys" and the person leading the group is known as 'Guru Swamy' or the lead person of a team who is incharge of all the rituals.

Devotees take a ritual bath, while climbing up the hill in the holy river Pamba, which is believed to absolve one's sins.

Restricted Entry At The Festival Time

Only young girls who have not attained womanhood and old women who have reached menopause are allowed to worship at this time.

The men must vow to walk bare foot, not cut their nails and hair, sleep on the floor and practise absolute abstinence during the period of their penance.