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 11^th & 13^th 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 (11^th-13^th 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 3^rd to 11^th 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 11^th & 13^th 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 (11^th-13^th 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 3^rd to 11^th 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.

    

Doddamallur Temple

Rajagopuram

Srimathe Aravindavalli nayika samedha Sri Aprameya Parabrhammane Namaha

In Doddamallur there are three temples to be visited. 1) Sri Aprameya Perumal/Navaneetha Krishnan temple. 2) Sri Ramar temple and 3) Sri Nadhi Narasimhar temple. Seeking the blessings of these deities, I am recording here, my observations and appreciation of our forefathers’ efforts in propagating our religion. It is also my desire to pass on to those who may visit these temples, the pleasure I got in my visit.

There are very few temples, which date back not in years, but in yugas. Sri Aprameya perumal temple in Doddamallur is one such temple. In fact, one could go to the extent that this temple is beyond period. Thinking about period, I am compelled to say a few words about period/time.

Our celestial calendar or the Hindu Cosmological Time Cycle measures time in relation to the life of the creator Brahma. Citing Vishnu Purana or Surya Sidhdhantha (Chapter1 Sloka 11 to 23), one day (i.e. sunrise to sunset) for Brahma is one Kalpa. There are thirty kalpas, one for each day of Brahma.  Kalpa consists of fourteen Manvantharam, each Manvantharam consisting of 71 Mahayuga, each Mahayuga consisting of four yugams (Kritha-17,28,000 solar years,Thretha-12,96,000 solar years, Dwapara-8,64,000 solar years and Kali yuga-4,32,000 solar years) One Mahayuga is equivalent to 43,20,000 solar years..1000 such Mahyuga is a day for Brahma. His life of 100 years is divided into two Paraardhas. He has completed 50 years and is on the first day of 51st year. We are living in His Dwidheeya Paraardha (2^nd half) in Swetha Varaha Kalpam (first kalpa), Vaivaswatha Manvantharam (7^th manvanthara) and first

North Madal

part of Kaliyugam. As per the Proleptic Julian Calendar, our Kaliyugam began during the midnight 17^th/18^th Feb.3102 BC.

In our conventional Hindu calendar, we use a sixty year cycle, called Samvatsaram. We are in Khara (25^th) year. To put all this in a simplified manner, one may recollect our sankalpam during puja. 

“Dwidheeya Paraardhe, Sri Swetha Varaha Kalpe, Vaivaswatha Manvanthare, Kaliyuge, Prathame

South Madal

paadhe--- khara naama samvathsare, followed by ayana (2), rhuthu (6), vasaram (7) and nakshathram (27)".

I Sri Apprameya Perumal Temple.

Puranik records mention that the Aprmeyar vigraham was installed by Vyasa Maharishi and,Rishi kapila (some say Raja Vijayapalan), worshipped this deity in Krithayugam.Kanva Mahirishi worshipped in Threthayugam,Rishi Lambhashrava worshipped in Dwaparayugam and worshipped in Kaliyugam.

Northface Gopuram

It is obvious that neither the temple nor the deity could have lasted this long. They would have been damaged and re-constructed a number of times. From the present available records, as per the local version this is 3000 years old, but other evidences point out that the present deity could be 1500 years old. This could be possible, as there is an inscription in the temple, mentioning that Sri Ramanuja had worshipped here and initiated a Nandaa Vilakku, (which is still kept burning). Sri Ramanuja (AD 1017-AD 1137), during his life time had visited the temples in this region and stayed in Melkota for 12 years.

Rajagopuram

From the archaeological records, we find that it is of 6^th century, built by Hoysala / Vijayanagara kings. There are also evidences like the Gopuram and vimanam which points to Chola type of architecture. It is possible as cholas were in exile during this period. Unlike most of the Hoysala structures, this temple does not have a peetam. The most unique feature is that the Main Gopuram has no foundation. The Gopuram rests on sand. (I guess they might have used the principle of uniformly distributed load.). Interestingly, if you carefully observe the Gopuram, it appears like a typical Chola type of architecture. That is rectangular. But, if you look at the south & north faces, you will notice, that in the centre, there is another rectangular projection, concentric with the main face. This is a common feature in the Hoysala/Vijayanagara constructions.On the north (left) side of the Main Gopuram (known as Madal) we can see Mathsya, Koorma, Varaha, Narasimha and Vamana

Avatharams of Vishnu. On the south (right) side we can see Balaraman, Krishna dancing on Kaalinga, and Hayagreevar. There are two more sculptures, disfigured. I couldn’t identify them. Surprisingly on both ends of the madals, Vishnu’s Dwarapalakas Jayan & Vijayan are standing guard. On the front, south & north sides of the Gopuram, replica’s of the deities inside the temple can be seen. In all our Hindu temples, this is a common feature. This is with a purpose, that whenever, the main doors are closed, a devotee can see the idols on the Gopuram and worship. Once inside, facing the main Gopuram is Purandaradasa Mandapam. It is said, that sitting here the saint composed the famous krithi “Jagadho dhaarana”. After offering prayers to the Dwajasthambam we enter the Shukanasika Mandapam where the main sannithi is located. The moolavar vighraham of Apprameyar is of salagramam. Ninra thirukkolam (standing posture). The upper right-hand holding Sudarsanam (Chakram -anugraha chakram), and in the upper left-hand Panjajanyam (Sangam). The lower left-hand holds a Gadhayudham and the lower right-hand as Abayahastham. Thereafter, on the left is thayar sannithi. Aravindavalli Thayar is seated on padhmasanam. She is holdind lotus flower in her upper hands. Her lower left-hand is in Varadhahastham (surrender to me) and upper right-hand in Abhayahastham (I will protect you) postures. Uthsavar is also similar to moolavar, but with Sridevi & Bhoodhevi.

Coming round in the inner praakaaram, we worship Sri Andal and the other11 Azhwars. Next there is a sannithi for Ramanujar, Koorathazhwar, Vedantha Desikar, Pillai Lokacharya and Manavala Mamuni.

Going round, we come to the sannithi of Navaneeta Krishnan, locally known as Ambegalu Krishna. He is so dark and beautiful. Bedecked in jewellary like chain, araignnan (on the hip) thodu, thandai, Golusu and what not! The chain with Puli Nagam is supposed to be to prevent dhrishti. He is crawling towards you, with his right hand raised and holding a lump of navaneetham. You get an urge to lift him and hug him. (approx.  140 years ago the then Mysore Maharaja did it. But he took Him to his palace and for that suffered a punishment.) That’s a legend.

II Sri Ramar Temple

On the aghraharam road facing the Apprameya/Krishna temple, about 100 meters away Ramar Temple is located. As you enter, there is a big mandapam. Facing this mandapam are three sannithis. The center is of Sri Rama. Rama and Seetha Devi are sitting. Lakshmanan with folded hands is standing left side of Seetha Devi Anjaneya is sitting at the feet of Rama. On the right side of Ramar sannithi, is Sri Lakshmi Narasimhar Sannithi. Sri Lakshmi Narasimhar vigraham is two sided. In the front side, SriLakshmi Narasimhar and in the back Sri Sudarsanar. One the left side of Ramar Sannithi is Sri Venugopalan. Unlike in other places, He is standing with four arms, two upper arms holding Sangam, Chakram and in the other two, his venu. 

III Sri Nadhi Narasimhar 

After getting back to the Bangalore- Mysore highway, crossing the road, there will be a sign board pointing the country road leading to the temple. (Though the board says 1 km, it is slightly more than 2 km, through the fields.) This will ultimately lead to the temple, which is on the bank of Nirmala nadhi. (In earlier days it was known as Kanva Nadhi. Here Sri Narasimhar appears as Yoga Narasinhar. On the outer praakaram there are two idols. One of Anjaneya, and the other I presume to be one of the Dasrau. Of course, there is a name plate in Kannada, but I couldn’t read it.

 

The trip to Doddamallur is so satisfying that there is an urge visit it again and again. Let the other visitors also derive the same pleasure, which I have received.