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Monday 29 August 2011

Epiode-2


Episode-2

By a tooth’s skin



This morning (11th July 2011), when I opened the newspaper, the disturbing news was a couple of Train accidents, one in Assam and the other in U.P. causing invaluable loss of human lives and huge loss of property. When I switched on the T.V, the video clippings were shocking. Coaches riding one above the other, coaches rolled over and one or two were mangled leaving very little chance for entrapped passengers to escape.

My thoughts went down the memory lane. It was 1981, 11th day of February. Winter in Chennai already started to taper down.  As usual, I reached my office at a quarter past nine, parked my shiny Royal Enfield Bullet, and walked in. After exchanging greetings with my service colleagues in the ground floor, I walked up the stairs to my room. My secretary, who always beats me to the office, was in her cubicle, arranging some papers. I went into my room, kept my brief-case on the side table, sat down to check my day’s work. My secretary walked in, and informed me, that our regional manager had come early and wanted me to see him on my arrival. Picking up my scratch pad, I stepped into his room.

Once, I was settled in a chair opposite to him, he started without any preamble and briefed about a case in Salem handled by my colleague, which required some follow-up work. As he was held up in another case, my RM wanted me to do some follow-up work. Among our team members, both marketing and service team members, we had good rapport and an excellent understanding. We always used to exchange notes on cases, and compliment one another on individual cases. So I had no difficulty in grasping what my RM wanted and knew that there is no urgency. As I had already planned to visit that area shortly, I told him that I could take it up and go in a couple of days. But he insisted that I should leave immediately. Knowing his nature, I didn’t argue and agreed.

Back in my room, I called up our travel agent and asked him to get me a ticket, by the late night train. Spent the rest of the morning, clearing my pending papers, and collecting whatever I needed for my tour. Meantime, my travel agent called to inform, that he got a wait-listed ticket. But there is a possibility of confirmation of berth and he will deliver the ticket to me at the station. By the time I cleared my table and collected necessary papers for my tour, it was lunch time. Two of my service department colleagues joined me, and we went over to our favourite restaurant. After lunch, I made a couple of visits, and by five o’clock, started for home.

At home, after a cup of hot coffee, I refreshed myself and packed my bag. After dinner, I left for the station around half past eight. When I reached Central Station, it was a quarter to ten. Our travel agent was waiting for me at our common meeting point. Seeing me, he walked to me and handed over my ticket. Bidding him farewell, I started walking up the platform. Unusually, the rake was already in the platform. When I approached the first class compartment, the TTE standing there, greeted me with a warm smile. Being a frequent traveler, I was familiar with most of the TTE’s. I returned his greeting and told him that I was holding a waitlisted ticket. He said that he will see what he could do about it, and asked me to board the coach.

When the train started moving, he came in and informed me, that I was lucky, as a bulk booking was cancelled and I could get a berth. I was also happy, least knowing what was in store for me. After checking the other passengers, he allotted me a berth. By that time it was 11.15 pm. After making a receipt for the reservation charges, he started a casual conversation, first checking whether I would like to retire. Since I was not sleepy, and we both shared a mutual interest in the works of a Tamil writer, we started a discussion. No other passenger boarded on the way, so we were not disturbed.

A little after mid-night, the train stopped at Katpadi junction.  Just as I was getting up to go to my berth, a railway staff boarded the train and the train started to move. The way he was wobbling, I could make out he was drunk. The moment he came in he started prattling in an abusive language. The TTE offered him a place to sit, and asked him to keep quite. But he wouldn’t. Instead he started walking and shouting, making a nuisance of himself. The TTE requested my help. Together, we made him sit and tried to keep him quiet, but to no avail. Then I suggested that we should hand him over to the Railway Police at the next station. When the train crawled into the next station, as our coach passed the Station Master’s room, the TTE signaled the Station master. When the train came to a halt, both of us literally carried the drunk and handed him to the Railway Police. At that time I was not aware that our move saved his life. We got back into our coach, and the train started to move. I looked at my watch. It was 2.50 am. Deciding to get some sleep, I took leave, went to the toilet to relieve myself and went to my berth.

Mine was upper berth, and I was in the process of climbing up. There was a big noise and a sudden jolt. I lost my hold, my face hit something and I fell upside down. The moment I fell on the floor, I blacked out. I don’t know how long I was unconscious. May be ten minutes, may be more. When I came round, all I could feel was a shooting pain in my back and wetness on my face. It was dark.  I tried to get up, and banged my head on some thing. I lied still for a few minutes to clear my head. I could realize that a mishap had taken place. Then I started to feel around with my hands. I could make out that I had fallen below the lower berth. Slowly, I rolled and tried to sit, but started to slide. Only then I realized that our coach was slanting on one end. In the darkness, I couldn’t find the status of the other two passengers. I thought, it will be better to try to get out and get help.

Managing to get a hold, I tried to locate door of the cabin. Before going to bed, I forgot to close the door, which proved to be blessing in disguise. The door had slid open. I crawled out of the cabin, got hold of a window in the vestibule and moved towards the gate. By the time I reached the gate, the pain in my back was unbearable. I rested for a while and lifted the shutter of the window. I could hear a commotion outside. People were shouting and gathering. As it was dark, nothing was visible. I hollered for help and reached the door.  Then I heard a faint voice from one of the cabins. I called out, said that help is coming and he should try to open the cabin door. I reached the door of the coach, and with some difficulty released the latches.

By then five or six people assembled near the coach, and two have climbed up and opened the door from outside. (Later I came to know that they were the passengers from the tail end of the coach, which were derailed but intact). They came in and asked me if I am hurt. I said I could manage, but there are others who are trapped. One of them had a torch light. I took them to my cabin and together we carried the elderly lady who was in the lower berth and a middle aged man who was travelling in the upper berth. Both were unconscious. We handed over them to the others, waiting outside the coach. Two more climbed into the coach. Then methodically we started to open each cabin. In the meantime, I got back into my cabin, located my bag and retrieved my torch light which I always carry. One by one the cabin doors were forced open and the injured were carried out and handed over to the willing hands outside. The crowd outside had increased. There were more light and more people. After ensuring that no one was left behind, we also got out. From the door it was a six feet jump.

Then the dawn set in and I could see more clearly. The injured were made to lie on the side of the track. By then the rescue team of the Railways and from local hospital starts to arrive. There was nothing much for me to do but wait. When I looked around the scene was horrible. All around men from the Railways, hospitals, fire service and volunteers carrying the dead and the dying. I could hear the sirens of ambulances in the distance. The track was on an embankment. I could see a coach rolled and turned upside down, coaches sliding down the embankment and coaches telescoping into one another. Coaches were lying down on both the sides of the track. Men were breaking open the doors and windows of the coaches to rescue the trapped.

Here, I would like to mention, what I have witnessed was not the result of one accident, but two. It was a multiple train collision. (I will explain a little later what really had happened). Suddenly there was a huge cry and people were running in my direction. When I looked up I could see about thirty feet away on the parallel track, flames coming from a coach. Later I came to know, that it was an A/C coach. A rescue team was trying to gain access into the coach, by cutting the window bars with a gas-cutter, and the flame caused some material to catch fire. I thought it is better to move away. With the help of an RPF jawan, who was coming down, I got into the coach and retrieved my bag. The blood stain on the berth and floor of the cabin indicated, that the other two passengers were badly injured. Brushing aside the thought, I got out of the coach. The jawan was still there and helped me to get down. He also pointed out to my bleeding mouth (I was actually slurring when I spoke to him) and blood on my shirtfront. He advised me, if I could walk, I should move towards the station to get medical attention.

 I started walking. There were others also walking towards the station. I reached a temporarily set up first-aid post. Someone examined and told me, that my upper lip was cut. The wound was deep and required stitches. He dressed the wound and kept a compress to prevent further bleeding. He asked me to get into a truck, waiting nearby. There were already 10-15 injured in the truck. I also got in. After about five minutes, the truck started. I looked at my watch. It was broken. The person sitting next to m e said it is 11.15. He added we are being taken to Krishnagiri, a town 60k.m away for treatment.

After an hour and half, the truck went into the Government hospital and stopped. Passengers with broken limbs were carried first and admitted. I, along with others got down and were taken in. The hospital made emergency provision to treat accident victims, including a couple of telephone lines with STD facility. I called my house and my office to inform that I am safe and waited for my turn for treatment. When my turn came, I was examined. My upper lip, below the nose was almost split open. I also lost a front tooth. It took three or four stitches. I had also sustained cuts and bruises on my body which were cleaned and dressed. After dressing, I rested for an hour, asked the doctor, whether I could go. He said I can, took my name and address and advised me to rest and report if there is any problem. I collected the medicines given to me.

I came out, got into an auto-rickshaw, and asked him to take me to any decent Hotel or Lodge. He took me to a decent looking hotel. I checked in after explaining to the receptionist about the bandage and blood-stains. As the news of accident had already spread, being a survivor, I got a good treatment of a good room and attention. The first thing I did after getting into the room was to change my shirt. Though famished, as I couldn’t eat anything solid, had some fruit juice and slept. I stayed for the next day and on the third day left for home.

It was really a freak accident.  I am narrating here, what I had seen and what I had later gathered from the media. There were two parallel tracks.  On one track, a goods train was proceeding towards Chennai. About two kilometers from Vaniyambadi, few coaches got de-coupled and were trailing behind. By the time the driver noticed the drop in vacuum and the brakes applied, the goods train had travelled about a kilometer. In the same track, Tiruvananthapuram mail was coming at full speed. Where the loose goods wagons were moving slowly, was a curve. So when the driver of the mail couldn’t see the wagons till the train approached the curve. By the time he noticed the wagons and applied the brake, it was too late. The impact was so severe, that the Engine was crushed and the first few coaches were mangled beyond recognition.

Both the driver and his assistant were killed instantly. Among the derailed coaches, the first two telescoped into one another. A few fell on the left side, sliding down the embankment,  and a few on the right side on the parallel track. At the same time, our train was cleared from Vaniyambadi station on the parallel track. On this track our train was moving at a fairly good speed. It collided with the fallen coaches of the Mail. Here also the driver was killed instantly. The time between the first accident and the second was hardly a few minutes. Unfortunately, many of the passengers, who were alive after the first accidents, were killed in the second.

More than a hundred were killed and nearly two hundred were injured. I was fortunate to have escaped with a cut upper lip, a broken tooth and a broken wrist watch. I still carry the scar. I had also sustained an injury, which I came to know much later. A slipped disc in my vertebrae and a crack in my lumber. Anyway I had learned to live with them. The pain had gone, but memories remain.

Accidents do not happen, they are caused..

____________

Monday 11 July 2011

Reminiscence-Episode-1

Reminiscence

Earlier, I had published two articles. One on Doddamallur Ambegalu Krishna Temple, and the other on Perur Patteeswarar Temple. In both cases, apart from the magnificence of the deities, I have shared the beauty of the temple, its history, and the rich architecture. Before I go into the next article on another temple, I would like to make a temporary departure. Here, I would like to share interesting incidences occurred during my various tours, which I used to share with my friends and relatives. Among them, a professor, a writer and a poet used to insist, that my narration is interesting and I should pen them down. So here I go…..

During my career spanning four decades, barring the first seven years, rest of the years involved extensive travelling. Since I like travelling, irrespective of a few shortcomings, I enjoyed my career, as it gave me a chance to travel through the length and breadth of our country, and overseas. After doing justice to my work, I used every opportunity, to visit interesting places, observe the behavior of the people and understand their culture. These sojourns taught me patience, perseverance, tolerance and most of all, humility.

There were different incidences. Adventurous, Enlightening, Educative, Entertaining and a few were Touching. Each will be a journey through the 70’s, 80’s and 90’s and the millennium. Lot of time had gone past. Whichever I could recollect, I am going to narrate as an Episode (Of course not a mega serial!!!)

Episode-1 Water-a- wash


 It was one those rough monsoon time. I was in Hospet (Karnataka) following a client all the way from Bangalore. As he was expected the next day, I decided to spend the afternoon, visiting Tungabhadra Dam, to have a long stroll and to enjoy the scenery. It was a wonderful sight. Here, I would like to say a few words about this great river and the Dam.

Tungabhadra, is actually a combination of two rivers, Tunga and Bhadra. A dam was constructed across this river in Hosapete (now known as Hospet). Thirumalai Iyengar, an Engineer from Madras was the chief architect for this project. There is a general purpose hall in Hospet, named after him. Though proposed in the year 1860, the work began just before independence, in the year 1945. Bulk of the work was carried out between 1950-1953. It became fully operational in 1958. The dam measures 2441 meters long and 43.38 M high. It had an initial capacity of 135 Tmcft. There are 33 flood-gates, which are opened when the dam overflows. One end of the dam is in Hospet and the other end in Munirabad. Both ends have wonderful gardens.



I started walking from the Hospet end, continued along the dam, till I reached the centre. The dam was filled up to the brim and on every wave, water flowed over the floodgate onto the spill-way. The water level was so high, that I felt, that I could touch it with the tip of my umbrella. Then I continued and reached the Munirabad end. On this side also there is a nice garden. I rested for about 15 minutes. As it started raining, I returned to my hotel.


It was raining incessantly throughout the night. In the morning the rain stopped and the sky cleared.Around 7.00 am, I got up, rang for the room-boy (in those days, immaterial of the age, the person providing room service used to be called room-boy), ordered a cup of coffee and switched on the piped music system. (Those days, room-service by phone, CCTV were not known. Piped music itself was a luxury. Usually there will be two channels. One channel connected to the audio system operated by the manager/receptionist/telephone operator, and the other channel connected to the local radio station). Only the radio station was on, broadcasting devotional songs in the local language. By that time my coffee arrived. Sipping the coffee, I asked the room-boy, if he could get me a news paper. He said only Kannada paper is available, and I dismissed him. By that time news broadcast had started. As this was also in Kannada, which in anyway, I couldn’t understand. I switched it off, and started to get ready.


After a good breakfast in the restaurant in the ground floor, I went into the town to look for my customer, hopefully that he might have arrived. When I reached his place, I was informed that he did arrive the previous night, but left in the early morning to Gangavati. Gangavati is another small town about thirty k.m from Hospet, beyond Humpi. After collecting his address at Gangavati, I decided to go there.


As I didn’t want to rely on the local transport in the peak monsoon, I hired a car from Hospet and left for Gangavati. It was around 10.15 in the morning. The road was good, but there was negligible traffic. After travelling some distance, just before Anegondi, we came across a cause-way. It was fairly long, could be about 800 meters. About ankle deep water was flowing in the cause-way. As the current was strong, Raju, my driver drove slowly. When we were mid-way, we heard the roar of water, and before I could guess what is happening, I could see on my left side, a huge expanse of water rushing towards the end of the cause-way, which we just crossed, and spreading across. I shouted at Raju to step on it. By the time, we have crossed 75%; water started entering into the car and we could feel the car being pushed along the flow. From the extreme left end of the cause-way, we were already pushed beyond the center. Raju pushed hard and moved forward. With hardly about 30 meters left, we were closer to the right end of the cause-way. I shouted at Raju to shift to first gear, and push the throttle to the floor. At first Raju didn’t understand, but when I bent down to reach the gear shift lever, he got me and responded. The car, an old faithful Ambassador, responded too and literally leapt out of water on to the dry road. Raju drove another 100 meters and stopped the car. Both of us got down, and, when we looked back, we started shivering. The entire cause-way was submerged and water was flowing at break-neck speed.

Now that we cannot go back, we sat in the car for a few minutes to steady our nerves. After about ten minutes, I told Raju to drive towards Gangavati. Since, it will take another forty five minutes to reach Gangavati, let me explain what really had happened.

The previous day, when I was on the top of the dam, I had noticed that the water level was up to the brim and each wave was pushing the water over the flood-gate. In view of the heavy inflow, the authorities have decided to open the flood gates. This was published in the paper and was also announced in the radio. One the one hand, I could not get an English news paper and on the other my lack of knowledge of Kannada, prevented me from getting the warning from the radio news broadcast. To add to my woes, the driver, though had a local newspaper, kept it on the dash board, to read later. So, I was totally un-aware, what was in store, which resulted in the near mis-adventure.

After about forty five minutes drive, I reached the entrance to Gangavati town, only to be met by another cause-way. This of course was smaller. About a foot deep of water was flowing. People have gathered on both the sides of the causeway. A truck and a few cars were crawling ahead. We also joined and inched our way forward. After crossing three fourths of the distance, the left front wheel got into a pot-hole, and was struck. I got down from the car and tried to push it, but to no avail.

That was the moment I understood the purpose of the crowd of people on either side of the cause-way. They were not mere on-lookers, but were on a help-and-rescue mission. About a dozen youngsters rushed towards us with hooks, thick manila ropes, crow-bars etc. Together they practically lifted the car from the pot-hole. Then they attached hooks and ropes to the car and dragged it ashore. They refused to accept cash, which I offered. Thanking them profusively, I left in search of my customer’s house.

As he happened to be a senior level politician, it was not difficult to locate his house. In the house, I was met by his secretary, who bade me to sit, and offered a cup of hot coffee. After my ordeal, the hot coffee really helped. Then he broke the news that my customer had left an hour ago, but refused to tell me where he went. After explaining to him, that I had travelled all the way from Madras (Chennai)to meet him, and will not return without seeing him. Then, reluctantly he informed, that his master had proceeded to his farm-house for a couple of days’ rest, and not to be disturbed. But, after undergoing such a chilling, thrilling experience, which I just underwent, at the cost of my life, I decided to disturb him.

The secretary had no option, but to give the location of the farm-house. It was in a village, about fifteen kilometers away, called Boodhaguppe. By around 3.00 pm I reached the farm-house. On my knock, a servant opened the door. I gave my card and told him to announce me to his master. After a few minutes my customer came out. His face expressed surprise, irritation and anger like a psychedelic show. He looked at my card again and his face softened. The first question he asked me is, how did I locate him. When I explained, he was astonished. Though he was upset at being disturbed, he appreciated my efforts in meeting him, to the extent of risking my life.

He invited me to another chamber and offered some snacks and coffee, and started discussing the purpose of my visit. It was around 4.00 p.m. I got up to take my leave. He suggested that I may travel upto Gangavati, and take the road to Kampli, and at Kampli, to turn right to Kamalapur, and then to Hospet. This may be a longer route, but I can avoid cause-ways. I took his directions and reached my hotel by sunset. It is needless to say, that I concluded the deal.


    

Sunday 26 June 2011

Perur Patteeswarar Temple



Perur Patteeswarar Temple



Location
 
About 6 or 7 km from Coimbatore, on the way to Siruvani Dam, in a village, by the name Thiruperur (locally called Perur), this wonderful temple is located. Here God Shiva is known by the name Patteeswarar, and Goddess Paarvathi as Maragadambal or Pachai Nayaki.

History

In this temple, one could observe a blend of Saivism and Vaishnavism. (Covered separately). This may probably be, due to the fact, that this place has seen the rule of early Cholas, the later Cholas between 11th & 13th century, and thereafter by the Hoysala and Vijayanagara emperors. The innermost sanctum sanctorum was built by Karikala Cholan (270 BCE). The main temple was later constructed in 1000 AD. There were a number of additions, during the period of later Cholas (11th-13th Century) and thereafter by the Hoysala and Vijayanagara kings.


Starting from the main door of the Sanctum sanctorum, till the Gharbagraham, on each pillar there are carvings of Krishna on a Banyan leaf (Vadapathra Saayi), Krishna dancing atop Kaalingan (five headed snake),and  Hanuman in different postures. There is a separate sannithi for Varadarajar (Mahavishnu).  In addition, the Vimanam is also constructed similar to that of a Vishnu temple. (In Vishnu temples, immaterial of the shape of the bottom levels, the peetam below the kalasam(kalash) will always be circular. Exemptions are Ardhachandra vimanam and Pranavakara  vimanam. In the case of Shiva and Muragan (karthik) temples it will be square. In the case of Vinayaka temple, it will be rectangular. As original Perur was further up on Velliangiri, it is ambiguous, whether this could have been a Vishnu temple earlier.  There are a few more similar temples constructed between 3rd to 11th century in southern India with such ambiguity.

Sthala Puranam

Certain portions of Perur Puranam, written by Kachiappa Munivar (I think 6th century BC) are used in this article. The relevant  padalam(chapter) and verses are indicated at appropriate places. This place Perur was also known by other names. Thiruperur, Naradeswaram. Kamadenupuram and Pattipuri.


Naradeswaram

Once, in Kailash, Nandideva asks Lord Shiva, as to which place on earth He will consider equal to Kailash. He replied that there is Uthara Kailash, Madhya Kailash and Dhakshina Kailash, but, the place to his most liking is Thiruperur.  His son Murugan who was listening, informed Narada. Naradamuni decided to go to that place.  Nardamuni came to Thiruperur, and had dharshan of Uma Maheswara. He then came to the bank of Kanchi Manadhi (now known as Noyyal river), made a Shivalingam from the sand of ant-hill (putrumann) and started worshiping. He was then blessed by Shiva. (As per puranic  records this place was a little away from the present temple). Later this place came to be known as Naradeswaram. (Ref. Naradar Vazhipadu Padalam-Padalam-6, Verses 273-339)

Kamadenupuram

During his creation work, Brahma out of exhaustion went asleep. Mahavishnu on seeing this wanted Brahma to rest. At the same time to continue creation, called Kamadhenu, who was already on the quest to learn the secrets of creation and asked her to seek the blessings of Shiva and learn the secrets of creation from Him. Kamadhenu went to Kailash and preyed to Shiva. Even after a long time she could not get an audience. At that time Narada came there and advised Kamadhenu, to proceed to Thiruperur, where he himself was blessed by Shiva. Kamadhenu then reached Thiruperur and started worshiping the Sivalingam (hidden in an ant-hill), installed by Narada, with her milk. This incidence gave the name to Perur as Kamadenupuram (Ref.Kamadenu Vazhipadu Padalam- Padalam-8, Verses 419-503)

Pattipuri

One day, her calf Patti, playfully kicked the ant-hill, and his front hoof made a deep mark on Shiva’s head. Very much perturbed, Kamadhenu prayed  and pleaded to Shiva to forgive her child. God Shiva appeared before Kamadhenu, and said that it was time to reveal himself and that He had forgiven the calf Patti. He declared that henceforth He may be known as Patteeswarar, and will bear the hoofmark on his head. (It is visible even today on Moolavar). This incidence gave the names to Perur as Pattipuri . (Ref.Kuzhagan kuLappuch cuvdutra Padalam-Padalam-9, Verses 504-627). 

Naatru Nadal, Oordhva Thandavam

Lord Shiva is known to be fond of Sundaramurthy Nayanar (also known as Sundarar, one of the famous foursome saivite saints. The other three being Appar, Manickavachakar and Sambandar). Once He wanted to enlighten Sundarar on the philosophy, that He is all pervading (Aham Sarvam) in a playful manner. It was the transplantation time (Naatru Nadum Paruvam) in the fields. Knowing that Sundarar will be coming to see him, He instructed Nandi not to inform Sundarar about His whereabouts. Then, Shiva and Parvathi took the form of paddy field workers (Pallan, Palli) Both of them went to the paddy field, and started working as farm laborers.  Sundarar, on coming to the Perur temple, could not find the God and Goddess. Sundarar was highly perturbed and tense, not finding his Lord. He started pestering Nandi to know what happened. Unable to bear the agony of Sundarar, Nandi revealed the truth. Sundarar rushed to the field. He broke-down on seeing his Lord as a farm labourer. Shiva consoled him. As it was nearing sunset , Shiva took all of them to the river kanchimanadhi (Noyyal river). Every one took bath in the river and went back to the temple. Once inside, Shiva accosted Nandi for having disobeyed Him, He hit him on the jaw with the trowel he used in the paddy field. This mark could be seen on Nandi’s jaw even today. (Ref:PaLLup Padalam-Padalam-19, verses 1277-1345)


Then Shiva blessed all, and performed His Oordhva Thandavam. Dance in which, one leg is on the ground and other lifted towards the sky. (Ref.Nirutha Padalam- Padalam 12, Verses 746-883). This event is celebrated as a festival every year during July. (It is worthwhile to mention here, that Mahavishnu also struck a similar pose as Thiruvikrama in his Vamana Avatharam, which can be seen in Thirukkoilur and Sirgazhi. But one is Thandavam and the other is Samharam).
Kachiappa Munivar had written 18 Chapters (1276 verses) on this temple. I have restricted myself only to four of them to keep this article concise, and reserve space to share my observations on the deities, constructional features and architectural beauties, inside the temple.
Inside

At the outset, I would like to mention, that I am giving a description of the temple from memory, as I visited this temple about an year back. The reader may correct me, if there is any variation. I have mentioned earlier, that in this temple, there is a blend of saivism and vaishnavism. As we go inside, we will find quite few features common to  vaishnavism. I have marked them with the capital(V).
Right in front is the Rajagopuram. It is east facing and has five levels (Nilai). After walking through the ornamental main gate, we enter the temple. Inside there are two praakaarams (parikrama). There is a long passage connecting both.  Pillars in this passage contain wonderful carvings. Noteworthy are, Yoga Anjaneyar, Hanuman tearing out of the stomach of Simhika (a female demon- Sundarakandam of Ramayana), and Krishna dancing on the five headed snake Kaalingan. Baby Krishna lying on a banyan leaf (vadapathra sayee)(V).
   
In the outer praakaaram, there are independent sannithis for Narthana Vinayakar, Dandapani (Karthik standing with a staff and dressed in a loincloth), Visalakshi and  Viswanathar. There is Yagasala, where regular Yagnams are conducted. On the west side there is a Swarga vassal. (In every Vishnu temple, where there is more than one gate, then one of the gates, preferably on the east or west side will be called as swarga vaasal. This will be opened only once a year, during Sukla paksha ekadasi in the tamil month Margazhi (December) known as Vaikuntha Ekadasi. (V)
In the inner praakaaram, there are independent sannithis for Vinayakar , Shanmukar(karthik here with 6 faces carrying his Vel).  Then  the 63 nayanmar.  In one corner (I think it is south-west) Suryan is standing facing east, and in the opposite corner Chandran, facing west. There is one more sannithi for Karthik. He is with his spouses, Valli and Devanai. In the mandapam on the northside, there are statues of Sundaramurthy Nayanar (to remind us about His thiruvilaiyadal, and a statue of Chereman Perumal Nayanar (Who built the mandapam). There is a unique statue of Bhairavar. Unlike in other places, there is no dog with him, He is with folded hands as Jnana Bhairavar.
Sanctum sanctorum is located in the centre of the inner praakaaram. On the entrance,two Dwarapalakas (Gate keepers) guard the entrance. Then there is Mahamandapam. Here also we can see carvings of Krishna on banyan leaf, Kaalinga narthanam, and Yoga Anjaneyar. After this Mahamandapam is the Ardha Mandapam, leading to the Garbhagriham. God Shiva sits inside as Patteeswarar.  On his head the hoofmark can be seen. On the left, Maragadhambal (Parvathi) is seated in a separate sannithi. After darshan, on coming out, if we look up at  the vimanam above Garbhagraham, it will be a thrilling experience. The vimanam is Ashtanga ( 8 faces or 8 corners)  vimanam, similar to what could be seen in Vishnu temple.(V).

On the eight faces, statues made in Sudhai (Limestone) of Ashtadikpalakas are Installed. They could be identified, by the direction and their mounts. In the East-Indira on Airavatham (white Elephant), in South East-Agni on Mesha (Ram), in South-Yama on Mahisham (Buffalo), South West-Niruthi on Ashwam (horse), West-Varuna On Makaram (Crocodile), in North West-Vayu on Mruga (deer), in North-Kubera on Nara (Man), in North East- Isana on Vrishaba (bull). Next to Swamy sannithi on the southern side is Amman Sannithi. Here Maragadhambal (Parvathi). She is standing, facing west. Amman sannithi vimanam is conventional Nagara style square type.
On the northern side of Amman sannithi, is a separate Sannithi for Vardharajar, (Mahavishnu). In many ancient Shiva temples, idols of Vishnu and Lakshmi can be seen, either as a bass-relief or as a bracket statue. Separate Sannithi is rare. (I recollect Chidambaram and Suseendram).(V)

 
Kanakasabai
This is an important part of the temple. This basically is Natarajar Sannithi. Here Nataraja idol is gold plated. Below him, Gowmuni and Pattimuni are seeking blessings from Natarajar. This was commissioned between 1625 CE and 1659 CE during the reign of Raja Sivathiru Azhagathiri Nayakar.  It is a big hall, with 8 pillars, each containing a monolithic pillar sculpture. From the roof, stone chains are hanging. Each link could be moved within the other. On the Vidhanam(roof), there are paintings on the history of 63 Nayanmars, and on the sides, episodes from Perur puranam.  Statues of  Nrithya Ganapathy (Dancing Ganesh), Subramanyar (Karthik sitting on a peacock),  Agniveerabadrar (created by Shiva to punish Dakshan), Alankattu Kaliamman (created by Parvathi), Bhkshadanar (Shiva as a mendicant), Gajasamhara moorthy (Shiva killing Gajasura  elephant demon), Agora veerabadrar (created by Shiva), and most important of all, Oorthuva thandava moorthy (Shiva in a difficult dancing posture). I am giving a brief description of each sculpture.

 


Nrithya Ganapathy
Lord Ganesh dances in ecstasy. He is resting one foot on his mount Mooshika (Mouse). His right hand holding a scribe and the in the left, His favourite  Modhakam. On careful observation, we can see the sharp nails on the mouse’s feet. What a precision!




 

Subramaniyan 
Lord Subramanya, with six arms and twelve hands, is seated on his mount peacock. He is sitting  with his left leg folded and right leg on the peacock’s wing. The front two arms are held in Abhaya-Varadha hastham. He is wearing a rudrakshamala with a pendant. The peacock’s tail is so beautifully carved, we could feel the folds. There is adove seated on one of his left lower arms.



Agni Veerabadrar
Agni Veerabadrar, was created by Shiva for punishing King Dakshan. Look carefully for the scorpion on his hair. He decapitates Dhakshan. 








 Agora Veerabadhrar
Lord Shiva created Agni Veerabadrar, Agora Veerabadrar, and Badrakaali for destruction of evil. Here he is seen killing a demon with his lance.  He also has three eyes, like Shiva, but ferocious looking. Even though Veerabadra,  is  not Shiva, but a creation by Him, is listed in the twenty forms of Shiva.





  
Kaliamman
She was created by the power of Parvathi, to fight along with Veerabadrar against Dhakshan. She is with eight arms each holding a Sword, Arrow, Trishul and Udukkai (a small drum like instrument Shiva always carries) on her right side. A Bow, Mace, Shield and a skull on her left side. The sculptor had taken so much of care,  you can see the folds of her dress.





Bikshaadanar
There are two versions about Bikshadanar. One is Lord Siva takes the form of a mendicant, to atone from Bramahathi- dosham. He incurred this after removing the fifth head of Brahma. For removal of the curse, he shall beg for food, till the bowl is full. But whenever food is dropped in the bowl, it will drain out. Ultimately, when Goddess Lakshmi offered food, the bowl filled up.
 
The second version is, when Rishis, in Daarakavanam started advocating, that Karma is supreme, and there is no need to pray or worship. Lord Shiva wanted to put them straight, thereby to show the whole world that nothing and no one is supreme, except the God and humility is the best virtue. For this he takes the form of a naked beggar. On seeing the mendicant’s beautiful and devine form, all the rishi pathnis rush to him to offer. Since the offerings were huge, He created Gundodhara, who can consume any quantum of food.
The statue here depicts both. We can see a beautiful Lord Shiva, Patting a mrug(deer) with his right hand, and holding the Brahma Kapalam on his left hand. Gundodhara with the bowl is standing below on his left side. We again see a blend of Saivism and Vaishnavism  

(V)   Gajasmhararar
This is an interesting peace of art. Here, I would like to take reference from Saint Paranjothi’s Thiruvlaiyadal Puranam.  In part II- Chapter 22, from verse 1386 to 1427, he gives a vivid description Lord Shiva’s encounter and destruction of Gajasura. He severs the head of Gajasura and like a ferocious lion tears his stomach, removes the internals.  He then holds the skin above his head like a cloak, dances on the head of the demon. The sculptor had brought the whole scene with vivid clarity.
We can see Gajasamharar, with His left foot on the severed head. With six of his hands, He is holding atop the elephant’s skin. Fore-legs and hind-legs can be seen in the top & bottom.


Oorthva Thandavar
There could be no second opinion, that this is the best statue in this hall, hence I reserved it as my last of the eight. Here, as described earlier, Lord Shiva is dancing, keeping his left foot on top of the demon Muyalakan, and the right lifted towards the sky. Let us take a real close look.
First striking feature is Lord Shiva’s youthful face, with a double chin, sharp nose, curved nostrils, bow like eye-brows and benevolent looking eyes. We can see the fingers, with lines, cuticles, and sharp nails. His front left hand is held above his head, with thumb and index finger in Chin-Mudhra. One hand as Abhaya hastham and in the other twelve various attributes. (Being a novice, I am unable to understand the detailing in the hands and the attributes. Some are quite unique). Being the greatest dancer and musician, like any other musician, he is adjusting or tuning his drum with his front hands. In his left leg, see the knee-cap, toes, ring of the sandal and in his uplifted right leg see the reverse kneecap, which is so detailed, that you can see the cavity and the nerve. How could such a great dance go without accompaniment? The sculptor provides that also. Lord Vishnu is see playing the Maddalam (drum) and Brahma playing the Cymbols (set of two brass discs, either flat or bell shaped to keep timing). Here Brahma can be seen with his five heads, holding the deer and the axe, the attributes of Shiva.

Below Shiva’s left foot is the demon Muyalakan, fondly hugging his snake. Seated below, witnessing the dance, in total rapture, is Karaikkal Ammaiyar. Such masterly depiction of the shriveled breasts, the loose folds of skin across the neck and throat, an old lady, prematurely aged- giving up her beauty to become a ghost.




With this last part on Oorthva Thandavar, I conclude this article. I request the readers, if they have not visited this temple, to kindly visit.





    

Perur Patteeswarar Temple



Perur Patteeswarar Temple



Location
 
About 6 or 7 km from Coimbatore, on the way to Siruvani Dam, in a village, by the name Thiruperur (locally called Perur), this wonderful temple is located. Here God Shiva is known by the name Patteeswarar, and Goddess Paarvathi as Maragadambal or Pachai Nayaki.

History

In this temple, one could observe a blend of Saivism and Vaishnavism. (Covered separately). This may probably be, due to the fact, that this place has seen the rule of early Cholas, the later Cholas between 11th & 13th century, and thereafter by the Hoysala and Vijayanagara emperors. The innermost sanctum sanctorum was built by Karikala Cholan (270 BCE). The main temple was later constructed in 1000 AD. There were a number of additions, during the period of later Cholas (11th-13th Century) and thereafter by the Hoysala and Vijayanagara kings.


Starting from the main door of the Sanctum sanctorum, till the Gharbagraham, on each pillar there are carvings of Krishna on a Banyan leaf (Vadapathra Saayi), Krishna dancing atop Kaalingan (five headed snake),and  Hanuman in different postures. There is a separate sannithi for Varadarajar (Mahavishnu).  In addition, the Vimanam is also constructed similar to that of a Vishnu temple. (In Vishnu temples, immaterial of the shape of the bottom levels, the peetam below the kalasam(kalash) will always be circular. Exemptions are Ardhachandra vimanam and Pranavakara  vimanam. In the case of Shiva and Muragan (karthik) temples it will be square. In the case of Vinayaka temple, it will be rectangular. As original Perur was further up on Velliangiri, it is ambiguous, whether this could have been a Vishnu temple earlier.  There are a few more similar temples constructed between 3rd to 11th century in southern India with such ambiguity.

Sthala Puranam

Certain portions of Perur Puranam, written by Kachiappa Munivar (I think 6th century BC) are used in this article. The relevant  padalam(chapter) and verses are indicated at appropriate places. This place Perur was also known by other names. Thiruperur, Naradeswaram. Kamadenupuram and Pattipuri.


Naradeswaram
Once, in Kailash, Nandideva asks Lord Shiva, as to which place on earth He will consider equal to Kailash. He replied that there is Uthara Kailash, Madhya Kailash and Dhakshina Kailash, but, the place to his most liking is Thiruperur.  His son Murugan who was listening, informed Narada. Naradamuni decided to go to that place.  Nardamuni came to Thiruperur, and had dharshan of Uma Maheswara. He then came to the bank of Kanchi Manadhi (now known as Noyyal river), made a Shivalingam from the sand of ant-hill (putrumann) and started worshiping. He was then blessed by Shiva. (As per puranic  records this place was a little away from the present temple). Later this place came to be known as Naradeswaram. (Ref. Naradar Vazhipadu Padalam-Padalam-6, Verses 273-339)

Kamadenupuram

During his creation work, Brahma out of exhaustion went asleep. Mahavishnu on seeing this wanted Brahma to rest. At the same time to continue creation, called Kamadhenu, who was already on the quest to learn the secrets of creation and asked her to seek the blessings of Shiva and learn the secrets of creation from Him. Kamadhenu went to Kailash and preyed to Shiva. Even after a long time she could not get an audience. At that time Narada came there and advised Kamadhenu, to proceed to Thiruperur, where he himself was blessed by Shiva. Kamadhenu then reached Thiruperur and started worshiping the Sivalingam (hidden in an ant-hill), installed by Narada, with her milk. This incidence gave the name to Perur as Kamadenupuram (Ref.Kamadenu Vazhipadu Padalam- Padalam-8, Verses 419-503)

Pattipuri

One day, her calf Patti, playfully kicked the ant-hill, and his front hoof made a deep mark on Shiva’s head. Very much perturbed, Kamadhenu prayed  and pleaded to Shiva to forgive her child. God Shiva appeared before Kamadhenu, and said that it was time to reveal himself and that He had forgiven the calf Patti. He declared that henceforth He may be known as Patteeswarar, and will bear the hoofmark on his head. (It is visible even today on Moolavar). This incidence gave the names to Perur as Pattipuri . (Ref.Kuzhagan kuLappuch cuvdutra Padalam-Padalam-9, Verses 504-627). 

Naatru Nadal, Oordhva Thandavam
Lord Shiva is known to be fond of Sundaramurthy Nayanar (also known as Sundarar, one of the famous foursome saivite saints. The other three being Appar, Manickavachakar and Sambandar). Once He wanted to enlighten Sundarar on the philosophy, that He is all pervading (Aham Sarvam) in a playful manner. It was the transplantation time (Naatru Nadum Paruvam) in the fields. Knowing that Sundarar will be coming to see him, He instructed Nandi not to inform Sundarar about His whereabouts. Then, Shiva and Parvathi took the form of paddy field workers (Pallan, Palli) Both of them went to the paddy field, and started working as farm laborers.  Sundarar, on coming to the Perur temple, could not find the God and Goddess. Sundarar was highly perturbed and tense, not finding his Lord. He started pestering Nandi to know what happened. Unable to bear the agony of Sundarar, Nandi revealed the truth. Sundarar rushed to the field. He broke-down on seeing his Lord as a farm labourer. Shiva consoled him. As it was nearing sunset , Shiva took all of them to the river kanchimanadhi (Noyyal river). Every one took bath in the river and went back to the temple. Once inside, Shiva accosted Nandi for having disobeyed Him, He hit him on the jaw with the trowel he used in the paddy field. This mark could be seen on Nandi’s jaw even today. (Ref:PaLLup Padalam-Padalam-19, verses 1277-1345)


Then Shiva blessed all, and performed His Oordhva Thandavam. Dance in which, one leg is on the ground and other lifted towards the sky. (Ref.Nirutha Padalam- Padalam 12, Verses 746-883). This event is celebrated as a festival every year during July. (It is worthwhile to mention here, that Mahavishnu also struck a similar pose as Thiruvikrama in his Vamana Avatharam, which can be seen in Thirukkoilur and Sirgazhi. But one is Thandavam and the other is Samharam).
Kachiappa Munivar had written 18 Chapters (1276 verses) on this temple. I have restricted myself only to four of them to keep this article concise, and reserve space to share my observations on the deities, constructional features and architectural beauties, inside the temple.
Inside

At the outset, I would like to mention, that I am giving a description of the temple from memory, as I visited this temple about an year back. The reader may correct me, if there is any variation. I have mentioned earlier, that in this temple, there is a blend of saivism and vaishnavism. As we go inside, we will find quite few features common to  vaishnavism. I have marked them with the capital(V).
Right in front is the Rajagopuram. It is east facing and has five levels (Nilai). After walking through the ornamental main gate, we enter the temple. Inside there are two praakaarams (parikrama). There is a long passage connecting both.  Pillars in this passage contain wonderful carvings. Noteworthy are, Yoga Anjaneyar, Hanuman tearing out of the stomach of Simhika (a female demon- Sundarakandam of Ramayana), and Krishna dancing on the five headed snake Kaalingan. Baby Krishna lying on a banyan leaf (vadapathra sayee)(V).
   
In the outer praakaaram, there are independent sannithis for Narthana Vinayakar, Dandapani (Karthik standing with a staff and dressed in a loincloth), Visalakshi and  Viswanathar. There is Yagasala, where regular Yagnams are conducted. On the west side there is a Swarga vassal. (In every Vishnu temple, where there is more than one gate, then one of the gates, preferably on the east or west side will be called as swarga vaasal. This will be opened only once a year, during Sukla paksha ekadasi in the tamil month Margazhi (December) known as Vaikuntha Ekadasi. (V)
In the inner praakaaram, there are independent sannithis for Vinayakar , Shanmukar(karthik here with 6 faces carrying his Vel).  Then  the 63 nayanmar.  In one corner (I think it is south-west) Suryan is standing facing east, and in the opposite corner Chandran, facing west. There is one more sannithi for Karthik. He is with his spouses, Valli and Devanai. In the mandapam on the northside, there are statues of Sundaramurthy Nayanar (to remind us about His thiruvilaiyadal, and a statue of Chereman Perumal Nayanar (Who built the mandapam). There is a unique statue of Bhairavar. Unlike in other places, there is no dog with him, He is with folded hands as Jnana Bhairavar.
Sanctum sanctorum is located in the centre of the inner praakaaram. On the entrance,two Dwarapalakas (Gate keepers) guard the entrance. Then there is Mahamandapam. Here also we can see carvings of Krishna on banyan leaf, Kaalinga narthanam, and Yoga Anjaneyar. After this Mahamandapam is the Ardha Mandapam, leading to the Garbhagriham. God Shiva sits inside as Patteeswarar.  On his head the hoofmark can be seen. On the left, Maragadhambal (Parvathi) is seated in a separate sannithi. After darshan, on coming out, if we look up at  the vimanam above Garbhagraham, it will be a thrilling experience. The vimanam is Ashtanga ( 8 faces or 8 corners)  vimanam, similar to what could be seen in Vishnu temple.(V).

On the eight faces, statues made in Sudhai (Limestone) of Ashtadikpalakas are Installed. They could be identified, by the direction and their mounts. In the East-Indira on Airavatham (white Elephant), in South East-Agni on Mesha (Ram), in South-Yama on Mahisham (Buffalo), South West-Niruthi on Ashwam (horse), West-Varuna On Makaram (Crocodile), in North West-Vayu on Mruga (deer), in North-Kubera on Nara (Man), in North East- Isana on Vrishaba (bull). Next to Swamy sannithi on the southern side is Amman Sannithi. Here Maragadhambal (Parvathi). She is standing, facing west. Amman sannithi vimanam is conventional Nagara style square type.
On the northern side of Amman sannithi, is a separate Sannithi for Vardharajar, (Mahavishnu). In many ancient Shiva temples, idols of Vishnu and Lakshmi can be seen, either as a bass-relief or as a bracket statue. Separate Sannithi is rare. (I recollect Chidambaram and Suseendram).(V)

 
Kanakasabai
This is an important part of the temple. This basically is Natarajar Sannithi. Here Nataraja idol is gold plated. Below him, Gowmuni and Pattimuni are seeking blessings from Natarajar. This was commissioned between 1625 CE and 1659 CE during the reign of Raja Sivathiru Azhagathiri Nayakar.  It is a big hall, with 8 pillars, each containing a monolithic pillar sculpture. From the roof, stone chains are hanging. Each link could be moved within the other. On the Vidhanam(roof), there are paintings on the history of 63 Nayanmars, and on the sides, episodes from Perur puranam.  Statues of  Nrithya Ganapathy (Dancing Ganesh), Subramanyar (Karthik sitting on a peacock),  Agniveerabadrar (created by Shiva to punish Dakshan), Alankattu Kaliamman (created by Parvathi), Bhkshadanar (Shiva as a mendicant), Gajasamhara moorthy (Shiva killing Gajasura  elephant demon), Agora veerabadrar (created by Shiva), and most important of all, Oorthuva thandava moorthy (Shiva in a difficult dancing posture). I am giving a brief description of each sculpture.

 


Nrithya Ganapathy
Lord Ganesh dances in ecstasy. He is resting one foot on his mount Mooshika (Mouse). His right hand holding a scribe and the in the left, His favourite  Modhakam. On careful observation, we can see the sharp nails on the mouse’s feet. What a precision!




 

Subramaniyan 
Lord Subramanya, with six arms and twelve hands, is seated on his mount peacock. He is sitting  with his left leg folded and right leg on the peacock’s wing. The front two arms are held in Abhaya-Varadha hastham. He is wearing a rudrakshamala with a pendant. The peacock’s tail is so beautifully carved, we could feel the folds. There is adove seated on one of his left lower arms.



Agni Veerabadrar
Agni Veerabadrar, was created by Shiva for punishing King Dakshan. Look carefully for the scorpion on his hair. He decapitates Dhakshan. 








 Agora Veerabadhrar
Lord Shiva created Agni Veerabadrar, Agora Veerabadrar, and Badrakaali for destruction of evil. Here he is seen killing a demon with his lance.  He also has three eyes, like Shiva, but ferocious looking. Even though Veerabadra,  is  not Shiva, but a creation by Him, is listed in the twenty forms of Shiva.





  
Kaliamman
She was created by the power of Parvathi, to fight along with Veerabadrar against Dhakshan. She is with eight arms each holding a Sword, Arrow, Trishul and Udukkai (a small drum like instrument Shiva always carries) on her right side. A Bow, Mace, Shield and a skull on her left side. The sculptor had taken so much of care,  you can see the folds of her dress.





Bikshaadanar
There are two versions about Bikshadanar. One is Lord Siva takes the form of a mendicant, to atone from Bramahathi- dosham. He incurred this after removing the fifth head of Brahma. For removal of the curse, he shall beg for food, till the bowl is full. But whenever food is dropped in the bowl, it will drain out. Ultimately, when Goddess Lakshmi offered food, the bowl filled up.
 
The second version is, when Rishis, in Daarakavanam started advocating, that Karma is supreme, and there is no need to pray or worship. Lord Shiva wanted to put them straight, thereby to show the whole world that nothing and no one is supreme, except the God and humility is the best virtue. For this he takes the form of a naked beggar. On seeing the mendicant’s beautiful and devine form, all the rishi pathnis rush to him to offer. Since the offerings were huge, He created Gundodhara, who can consume any quantum of food.
The statue here depicts both. We can see a beautiful Lord Shiva, Patting a mrug(deer) with his right hand, and holding the Brahma Kapalam on his left hand. Gundodhara with the bowl is standing below on his left side. We again see a blend of Saivism and Vaishnavism  

(V)   Gajasmhararar
This is an interesting peace of art. Here, I would like to take reference from Saint Paranjothi’s Thiruvlaiyadal Puranam.  In part II- Chapter 22, from verse 1386 to 1427, he gives a vivid description Lord Shiva’s encounter and destruction of Gajasura. He severs the head of Gajasura and like a ferocious lion tears his stomach, removes the internals.  He then holds the skin above his head like a cloak, dances on the head of the demon. The sculptor had brought the whole scene with vivid clarity.
We can see Gajasamharar, with His left foot on the severed head. With six of his hands, He is holding atop the elephant’s skin. Fore-legs and hind-legs can be seen in the top & bottom.


Oorthva Thandavar
There could be no second opinion, that this is the best statue in this hall, hence I reserved it as my last of the eight. Here, as described earlier, Lord Shiva is dancing, keeping his left foot on top of the demon Muyalakan, and the right lifted towards the sky. Let us take a real close look.
First striking feature is Lord Shiva’s youthful face, with a double chin, sharp nose, curved nostrils, bow like eye-brows and benevolent looking eyes. We can see the fingers, with lines, cuticles, and sharp nails. His front left hand is held above his head, with thumb and index finger in Chin-Mudhra. One hand as Abhaya hastham and in the other twelve various attributes. (Being a novice, I am unable to understand the detailing in the hands and the attributes. Some are quite unique). Being the greatest dancer and musician, like any other musician, he is adjusting or tuning his drum with his front hands. In his left leg, see the knee-cap, toes, ring of the sandal and in his uplifted right leg see the reverse kneecap, which is so detailed, that you can see the cavity and the nerve. How could such a great dance go without accompaniment? The sculptor provides that also. Lord Vishnu is see playing the Maddalam (drum) and Brahma playing the Cymbols (set of two brass discs, either flat or bell shaped to keep timing). Here Brahma can be seen with his five heads, holding the deer and the axe, the attributes of Shiva.

Below Shiva’s left foot is the demon Muyalakan, fondly hugging his snake. Seated below, witnessing the dance, in total rapture, is Karaikkal Ammaiyar. Such masterly depiction of the shriveled breasts, the loose folds of skin across the neck and throat, an old lady, prematurely aged- giving up her beauty to become a ghost.




With this last part on Oorthva Thandavar, I conclude this article. I request the readers, if they have not visited this temple, to kindly visit.