chap12
chapter11.html
chapter12.html
chapter13.html
Art and Culture of Tamilnadu
R. Nagaswamy
12. TEMPLE AT TIRUVĀRŪR
Achaleśvara, a small shrine in the second prākāra of the Tyagarāja temple of Tiruvārūr, is an interesting early Chöḻa temple; interesting for its impressive structure and elegant sculptures adoring the niches of the outer walls of the shrine. It is a moderate sized shrine consisting of a small garbhagṛha, preceded by an antarāla? and a mahāmaṇḍapa and having its main entrance facing West. The garbhagṛha and the antarāla? are the original structures, the mahāmaṇḍapa and the portico being later additions. In addition, the mahāmaṇḍapa has an opening facing the south, preceded by an open maṇḍapa also, a later structure. The vimāna has undergone renovations in recent times.
The presiding deity, now called Achaleśvara, is mentioned in the inscriptions as Tiru Araneri Īśvara?, the name by which he is referred to in early Tamil literature also. The lives of four Śaivite Saints, amongst the sixty-three, are intimately connected with this temple. The life of Naminandi Aḍigal is the most famous that deserves mention here.
This great devotee of Siva was looking after lighting the lamps of the temple. At the instance of the Sramanas (Jains), the people of the village once refused to supply him oil for lighting the temple lamps. The saint prayed to the Almighty that he may be blessed to overcome the difficulty and with His blessings was able to keep the lamps burning with the water from the temple tank. Appar, who was a contemporary of Mahendravarma Pallava I, refers to this episode in his Tiruviruttam.
Architecture
The small square garbhagṛha and the preceding antarāla? contain sixteen niches around the outer walls, wherein are placed elegant sculptures, much in the same way as at Śrīnivāsanallūr and Kumbhaköṇam. The yāḷi frieze at the base, which is very pronounced at Śrīnivāsanallūr and other early Chöḻa temples, like the Brahadīśvara temple of Thanjavur and Gaṅgaikoṇḍachöḻapuram, is absent in this temple. Circular, square and octogonal pilasters adorn the outer walls with floral designs and big phalakas, characteristic of early Chöḻa temples. The adhiṣṭhāna has padmakośa ornamentation. The niches, flanked by pilasters, are surmounted by kuḍu ornamentation with floral designs issuing from the mouth of makara on either side encircling elegant sculptures in bas relief. Small square panels of bas reliefs are noticed at the base also, a feature characteristic of the period.
There is no vase ornamentation on the outer walls as at Śrīnivāsanallūr or Kumbhaköṇam. The roll cornice contains kuḍus encircling human heads; below the cornice are of gaṇas and above the cornice could be noticed the yāḷi frieze. The mahāmaṇḍapa, which abuts the antarāla? with pilaster and window ornamentation but devoid of niches and sculptures, is a later addition, as could be seen from the way in which it hides the niche and kuḍu ornamentation. A close study of this with much of the architectural details resembling the main shrine will place the date of addition within a hundred years of the original structure.
The maṇḍapa on the southern side with a flight of steps, abuts the mahāmaṇḍapa and hence is a later structure. The maṇḍapa is a raised platform, in fact, the whole temple is on a raised platform. The roofs are supported by pillars with seated lions at the bottom. The capitals and the big phalaka of the pillar suggest that the maṇḍapa could not be dated later than A.D. 1250. Inside the mahāmaṇḍapa is placed a Nataraja image with Śivakāmi.
Sculptures
The central niche on the south Wall of the garbhagṛha probably contained a Dakṣiṇāmūrti which is missing and in its place a modern piece is placed with a small sanctum added in front. The central niche at the back wall contains Liṅgapurāṇadevar (Liṅgodbhava), with Brahma and Viṣṇu, represented as Swan and boar respectively; on either side of niche they are represented as standing in adoration. In the central niche of the garbhagṛha facing north is Brahma with three heads and four arms, in standing posture. On either side of these central niches are recesses containing portrait sculptures, probably of kings, with two arms, holding flowers in the right. These portraits, flanking the three main deities on the outer wall of the grabhagṛha, are in profile with two arms; one of the arms in the Kaṭyavalambita pose and the other holding flowers as offerings. A broad vastrayañopavīta is adorning the figure while the head bears jaṭāmakuṭa. There are five such sculptures (the sixth one is missing) resembling each other. Like dvarapālakas flanking the main deity, these sculptures stand on either side of these three main deities around the garbhagṛha.
Ardhanāriśvara, Durgā, Bhikṣāṭana, Agastya, Ganeśa and Nataraja scuptures are found in the niches on the south and the north walls of the antarāla. The positions of the figures of Ganeśa and Durgā on south and northern sides are conventional. Of the few temples, dated prior to the time of Rājarāja I, none is known to have had the sculpture of Nataraja in the Ānanda Tāṇḍava mode, as could be seen at Śrīnivāsanalūr and Kumbhaköṇam. Strangely enough, there are two sculptures of Nataraja in the temple, occupying adjacent niches in the south wall; only a niche containing Ganeśa intervening. But it is quite unfortunate that both the sculptures are badly mutilated; the major part of the body, legs, etc., are missing. There could be no doubt as to their identity. The jaṭāmakuṭa bearing moon, etc., is well-preserved with flowing jaṭas on either side. The figure of Gaṅga is represented on the right jaṭā. The palms of upper arms carrying fire and damaru are also clearly seen; the face is badly damaged. The body, hands, legs, etc., are completely missing. The leg thrown across the body is clearly seen. The right leg placed on the apasmara, who is represented as in all Other Nataraja icons, is also seen. On to the left of this mutilated sculpture could be noticed Kāli, in bas relief, also represented as dancing with eight arms. She is represented as an ematiated deity performing her dance. Below this sculpture could be noticed three figures; one with four arms probably representing Viṣṇu playing the musical instrument called kuṭumuḻa; the other is a dwarf with the face of Tumburu playing vīṇā while the third, also a gaṇa, plays cymbals.
It is interesting that there are two Kāli figures represented on either side of the Nataraja fiures at Kaṇdiyūr and at Gaṅgaikoṇḍachöḻapuram; the figure of Kāraikkāl Ammai, a great woman devotee of Śiva, is also represented below in both the sculptures mentioned above. But the Nataraja sculpture in the temple has only one Kāli figure and it is interesting, as this figure is also made to dance on Muyalaka. The figure of Kāraikkāl Ammai is, however, absent. On the eastern side is Saint Vyaghrapāda seated in añjali pose with his body below the waist shown as a tiger.
This is perhaps the period when the Ānanda Tāṇḍava mode not only caught the imagination of the Chöḻa emperors but also became crystalised into a form of expression. We see, here of all the various representations, the Nataraja alone being represented twice on the southern wall. It is but proper that the early Chöḻa artist, who was at work in this temple, was so enamoured of this divine mode that he thought fit to represent the same figure, side by side and thus immortalise the glory of Nataraja. The other Nataraja, very close to the mahāmaṇḍapa, also mutilated bears close resemblance. But Patañjali, Vyāghrapāda and the musical party bellow the panel are not represented.
The figure of Ganeśa in between these Nataraja sculptures is conventional, with a chhatra? above the head. In the south wall is the bearded sage, seated with a kuṇḍika in his left hand and akṣamāla on the right. He is represented as a short pot-bellied ṛṣi, adorned with akṣamālas and a broad vastrayañopavīta. To the left of him is a standing figure, probably that of a sage, in the pose of adoration.
On the northern wall very close to the mahāmaṇḍapa, is Ardhanārīśvara with three arms; the right half being represented as Śiva and the left as Umā. A paraśu is represented in the upper right arm, while the lower is made to rest on the bull standing behind; the only left arms holds a flower. The right part of the figure wears yañopavīta and the left a chhannavīra; The portion below the right knee, upto the ankle is unfortunately broken and missing. Even the pedestal on the left side is sunk back to obviate the Ardhanāri aspect.
The next one is an elegant sculpture of Durgā, fascinating for its moulding and charming for its composure. This eight-armed Devi standing on the head of Mahiṣa holds with the right arms triśūla, chakra, khaḍga and the abhaya pose, while with left she holds śaṅkha, chāpa, shield and the kaṭyavalambita pose; a parrot is seated on the hand in kaṭyavalambita pose. The Devi wears a kuchbanda and chhannvīra. The karaṇḍamakuṭa on the head, the charming face. the Well-treated torso and elegantly proportioned limbs, are unmistakably in the best traditions of early Chola art. On either side of the niche are two persons seated, one on the left cutting off his own head with a sword, evidently offering navakhaṇḍa; the one on the right holding an unsheathed sword in his hand. It is interesting to note that the representation of navakhaṇḍa offering so boldly represented in Pallava sculptures, continued to linger in the early Chola period also.
Next to this is a graceful sculpture of Bhikṣāṭana with elegant proportions. The God holds a chauri at his back with his left upper arm; the other left arm holds a kapāla. The upper right arm holds a damaru while lower right feeds the antelope, which is so fondly looking up, and standing on its hind legs. Guṇḍodara carrying a vessel is represented on the right side of the niche, while on the left is carved a ṛṣi patni.
Bas Reliefs
There are many interesting sculptures in bas-reliefs, which are represented inside the kūḍu ornaments, in the pilasters and basements, but most of them unfortunately are indistinct due to a thick coating of whitewash. However, some of the very interesting sculptures are visible and deserve mention here. On the south wall, by the side of Nataraja sculpture is represented Gajasamhāramūrti with eight arms skinning the elephant-headed demon. On the left is represented Parvati. The pilaster in between Nataraja and Ganeśa sculptures contains an elegant figure of Viṣṇu as Garudārūḍha. An Umāmaheśvara panel is noticed inside the kūḍu over the Ganesa sculpture. The fight between Vāli and Sugrīva is graphically depicted in the pilaster next to the Agastya. The kūḍu ornament above the empty niche in the south wall contains a very interesting sculpture representing the visit of Sundaramūrti and Cheraman Perumaḷ to Kailāśa. Cheraman is represented as riding a horse in front. Turning his body, he extends his right arm towards Sundara and holding the reins with the left. Sundaramūrti is shown seated on an elephant and proceeding towards Kailāśa. This panel is graphically portrayed in the painting, found at the Bṛhadīśvara temple of Tañjāvūr and is very much similar to the sculpture as portrayed here. Evidently, this great episode of Sundaramūrti's life was a favourite theme at this period.
Śiva performing Chaturatāṇḍava could be noticed in a bas-relief above the niche containing Dakṣiṇāmūrti. Another interesting basrelief is the figure of Chaṇḍeśanugṛhamūrti, found on the northern wall. In the same wall is represented Kāliya-Kṛṣṇa in a small square panel below the Durgā and Bhikṣāṭana figures. Another interesting panel is that of the Kirāṭārjuniya scene, depicting the fight of Kirāṭa and Arjuna. The two elephants encircled by the floral designs on the top of Ardhanāri also deserve mention.
Inscriptions
There are altogether eight inscription recorded from the temple. Two of them refer to the gifts of gold for burning lamps by Madurai koṇḍa Parakeśarivarman, evidently, Parāntaka I dated in the sixth and thirty-second regnal years respectively. The inscriptions are said to be comparatively modern and are engraved on the outer walls of maṇḍapa in front of the shrine; probably these are copies of earlier ones. During the second year of Rajakeśarivarman alias Rājarāja is recorded a gift of silver vessels by Uḍayapirāṭṭiār Cembian Mādeviār for the merit of Uttamachöḻdeva. The inscription is recorded on the base of the main shrine and so there could be little doubt as to the existence of the structure before Rājarāja I. Another inscription dated in the seventh regnal year of the same king records the additions to the temple carried out by Cembianmādeviār and the setting up of two images by the same person and records that she presented 234 kācu for daily requirements of the temple and repair. This is evidently a reference to the construction of the mahāmaṇḍapa which abuts the antarāla, which is confirmed by the architectural details.
The other inscriptions are those of Rājarāja I and Rājendra, recording gifts, etc., made to the temple. When the Great temple at Tañjāvūr was completed by Rājarāja, he transferred many servants, musicians, dancing girls and others from many temples of his country and in the list is included the Tiru Aranerīśvara temple of Tiruvārūr.