.
Note: The list of all my blogs has been compiled and can be seen at the link below. With a large number of blogs on the website, at times it is difficult to locate specific blogs.
.
Introduction
.
A journey to divine Tamil Nadu leads one to uncover its treasures and witness ancient traditions, stunning architecture, and breathtaking natural beauty. Deeply entrenched in its rich cultural legacy, Tamil Nadu continues to embrace progress while preserving its heritage. The spiritual richness of Tamil Nadu can be experienced through its over 33,000 ancient temples, which showcase our heritage and traditions. The state boasts some of the finest UNESCO World Heritage sites, namely the “Group of Monuments at Mahabalipuram” and the “Great Living Chola Temples”. That’s not all, Tamil Nadu has 48 government-declared Heritage Towns. Among the numerous temples and structures, the Great Living Chola Temples symbolize the zenith of the State’s cultural and artistic excellence. Comprising of the Brihadeeswara Temple at Thanjavur, the Gangaikonda Cholapuram (or Gangaikondacholeeswaram Temple) in Ariyalur, and the Airavatesvara Temple at Darasuram, these awe-inspiring temples showcase the architectural prowess of the Chola dynasty from the 11th and 12th centuries.
.
.
The temples in Tamil Nadu have a distinct aesthetic. Often, they’re marked by a tall gopuram, or stepped tower, covered with elaborately carved and brightly painted figures from ancient Hindu scriptures. The inner sanctum lies in the middle of a series of concentric courtyards and is surrounded by many subsidiary/minor shrines. The temples are usually made of stone, blacking out the daylight. Inside, they’re dark, and in these shadows emanate divine energies connecting the devotee to their higher Self.
.
.
Characterized by intricate rangolis, fragrant flowers, grand celebrations, and delectable festival foods, Tamil Nadu’s vibrant festivals showcase another aspect of the region’s traditions. Pongal, the harvest festival, is marked with grand celebrations. Puthandu, the Tamil New Year, falls in mid-April, heralding the beginning of the Tamil Calendar. ‘Natyanjali,’ a festival dedicated to Lord Nataraja, is highly revered. Thaipusam, the birth of Lord Subramaniam, witnesses devotees fulfilling their vows with unwavering faith. Held once in 12 years in Kumbakonam, this festival holds great significance in Tamil Nadu. The Thiruvaiyaru Festival, a celebration in honour of the revered music composer and Saint Thyagaraja, enlivens the town of Thiruvaiyaru every January. Lastly, the Karthigai Deepam, known as the ‘Festival of Lights,’ is celebrated on the day of the Karthigai constellation alignment, bringing radiance and joy to the festivities.
.
My Journey
.
It is impossible to capture these vast treasures in one trip. My journey last month was a 10-day trip as part of our Sappers’ course mate’s group. Though we meet as often as time and other constraints permit, the initial suggestion of undertaking a “tirtha yatra” did raise eyebrows. When I first thought of converting one of our course get-togethers into a temple trip, I was unsure if the idea would appeal to all. This is a very different genre from a traditional course bash! Starting from the locations, stay, hopping from place to place, the absence of a daily chat over a drink, and, of course, the subject itself, is very different. But as things moved along, and Girinath agreed to accompany us, things slowly fell into place. I had traveled with Girinath earlier and made it a point to try to rope him in, despite his busy schedule of heritage tours.
.
.
It was not a regular trip organized by a commercial tour operator, which I have realized is a ‘waste’ of time and resources. Other than clicking pictures, one hardly learns any worthwhile history of the place. We were fortunate we were accompanied by a very learned Indologist, Girinath Bharade. His knowledge and the enthusiasm of his delivery kept our group mesmerized, equally by the magnificent monuments we visited, as with their associated legends and history from the era when the Gods and Goddesses once walked on the hallowed premises where we now stood.
.
.
The journey started from the southern end of the popular Chola trail of temples at Tiruchirappalli and wound its way northwards, ending at Kancheepuram. Hundreds of temples dot the landscape in the region, and keeping in mind the time available, we had to narrow down to the major ones. In addition to the temples, we spent two days at Auroville, Pondicherry, which I will discuss separately.
.
.
I have listed the places we visited during the journey. This is more of an introduction to whet the readers’ appetite. I will subsequently be posting separate detailed blogs on all these temples.
- Tiruchirappalli
- Ranganathaswamy Temple
- Thanjavur
- Brihadeeswara Temple
- Thanjavur Palace Museum & Saraswati Mahal Library
- Kumbakonam
- Airavatesvara Temple
- Brihadeeswara Gangaikonda Cholapuram Temple
- Chidambaram
- Chidambaram Nataraja Temple
- Auroville
.
Interestingly, I had traveled down this route and visited these temples in the reverse direction – from Chennai southwards – on my Yezdi motorcycle with my wife, Ranjana, in 1977! I was then based in Pune and had driven down to Chennai (then Madras) to attend the wedding of a course-mate. Since we had time left from my 4-week term break, we decided to explore south India further and eventually landed in Kanyakumari before returning to Pune. Over 5,500 km in 4 weeks, no bookings, no internet, no GPS – I only had a huge Survey of India fold-out map, which opened up to reveal new secrets every morning when we planned where to head next!
Since our journey covered a large number of temples, describing all of them in one blog would make it too long. Thus, I have split the description into two parts, with the first one covering the journey from Tiruchirappalli to Auroville. It was here we took a two-day break, enjoying the serene surroundings of the township. In Part 2, the balance of the journey from Auroville to Kanchipuram will be covered.
.
.
Tiruchirappalli
.
.
Our journey commenced from the ancient city of Tiruchirappalli (also known as Trichy), famous for its ancient temples. Among them are the Ranganathaswamy and Jambukeswarar temples. The first temple we visited was also the biggest temple complex in India.
.
Ranganathaswamy Temple
.
.
The Ranganathaswamy Temple is dedicated to Ranganatha (a form of Vishnu) and his consort Ranganayaki (a form of Lakshmi) and is in Srirangam, Tiruchirappalli. The temple is glorified by the Tamil poet-saints called the Alvars. It has the unique distinction of being the foremost among the 108 Divya Desams dedicated to Vishnu. Divya Desams (“premium” and “places/temples”) refer to 108 Vishnu temples mentioned in Naalayira Divya Prabandham. 105 of these are located in India, 1 in Nepal, and 2 are located outside of the Earthly realms. The Srirangam temple is spread over 155 acres, making it the largest living religious complex in the world. Angor Wat is bigger, but it is not a living temple.
.
.
Beyond its ancient textual history, existing archaeological evidence such as inscriptions date the temple to late 100 BCE to 100 CE. Making it not only the largest but also the oldest surviving living temple complex in South India. The deity is even mentioned in the epic Ramayana, pushing its antiquity even further back to that era. Numerous inscriptions indicate that this temple served not only as a spiritual center but also as a major economic and charitable institution that operated education and hospital facilities, ran a free kitchen, and financed regional infrastructure projects from the gifts and donations it received.
.
Sesharaya mandapam is the intricately carved hall built during the Nayaka rule period. It is on the east side of the fourth prakara courtyard. The northern side of this community hall has 40 leaping horses with riders on their back, all carved out of monolithic pillars.
.
Old Tamil literature refers to the place as Tiruvarangam. The name owes itself to the legend that once the vimana (Sriranga Vimana) of Vishnu, landed at this place. An isle lying amid the winding branches of a river is called arangam in Tamil. Thus, the spot came to be known as Srirangam in Sanskrit and Tiruvarangam in Tamil. According to the legend, Rama performed aradhanam (puja) of Vishnu. At the request of Vibhishana, Rama gave him the murti to take back to Lanka. However, Rama informed him that he could not place the murti on the ground. While traveling to Lanka, Vibhishana came upon the banks of river Kaveri. He placed the murti on the banks where a utsavam was in progress. When the utsavam finished, the murti could not be moved. When Vibhishana requested the deity to come with him, Vishnu refused as liked the environs of Srirangam; but he promised to continue to bless Vibhishana by always facing south (the direction of Lanka). Due to this reason, the deity (in a reclining posture) faces south.
.
The grand corridors of the Ranganathaswamy Temple reflect the massive proportions of the structure
.
Srirangam is one of a few self-manifested shrines (Svayam Vyakta Kshetras) of Vishnu. The temple has seven prakaras (enclosures). These enclosures are formed by tall, thick rampart walls running around the sanctum. There are 21 gopurams in all the prakaras, decreasing in height inwards, along with 81 shrines, 39 pavilions, and many water tanks integrated into the complex. The temple town lies on an islet formed by the rivers Kaveri and Kollidam. The southern gopuram of the temple is called the Rajagopuram; it is 239.5 feet tall and the tallest in Asia.
.
.
The main shrine for Ranganatha is in the innermost courtyard. The sanctum has a Vimana made of gold, shaped like the Tamil Omkara (OM symbol). The main vigraha is a striking black 20 ft image of Ranganatha reclining on Adishesha, the coiled serpent. Adisesha has five hoods and is coiled into three and a half rounds. A pendant containing Lakshmi’s image is placed on Ranganatha’s chest. Neither Sridevi (Lakshmi) nor Bhudevi (Earth) are depicted near his feet, as found in late medieval era paintings.
.
.
There is a separate shrine of Dhanvantari within the temple. He is the great physician mentioned in the scriptures and is considered an avatar of Vishnu.
.
.
There are numerous mandapas in the complex. The more famous ones are the 1000-pillared mandapam from the Vijayanagara period, the Sesharaya mandapam from the Nayaka period, the Garuda mandapam also from the Nayaka period, and the Kili (parrot) mandapa dated to the 17th century.
Ramanuja (11th century), one of the most celebrated theologians of Hinduism, made his monastic home by the temple at Srirangam. He wrote his famous commentaries on the Brahma Sutra here. Ramanuja’s body is said to be preserved in this temple.
.
.
In 2017 the temple won the UNESCO Asia Pacific Award of Merit 2017 for cultural heritage conservation, making it the first temple in Tamil Nadu to receive the award from UNESCO.
The annual 21-day festival conducted during the Tamil month of Margali (December–January) attracts over 1 million visitors.
.
.
I was blessed to visit this foremost Divya Desam on the auspicious occasion of Janmashtami. It was not planned, but a divine providence.
.
Thanjavur
.
Thanjavur is considered the cultural jewel of Tamil Nadu. Whether you’re a history enthusiast, a connoisseur of ancient art, or simply looking for an authentic cultural experience, Thanjavur promises an unforgettable adventure into the heart of South India’s cultural heritage. The ancient historical town is also known as Thanjai. It is the original home of Carnatic music and dance, the finest hand-woven silk saris, exquisite bronze figurines, and unique paintings embellished with gold and semi-precious gems. Thanjavur boasts of a heritage spanning millennia, once serving as the capital of the mighty Chola Empire.
.
.
The legacy of the Cholas is epitomized in the city’s awe-inspiring monuments, notably the Brihadeeswara Temple, also known as the “Big Temple”, recognized as a UNESCO World Heritage site. The temple is dedicated to Shiva. Constructed under the patronage of King Rajaraja Chola I in the 11th century, this architectural and engineering marvel stands as a testament to the Chola dynasty’s magnificence and architectural finesse. The temple is one of the tallest in the world and the world’s first complete granite temple.
.
.
The Airavatesvara Temple, another UNESCO World Heritage site, is lauded for its elaborate carvings and unique architectural elements. Again, dedicated to Shiva, this temple is a testament to the Chola dynasty’s artistic achievements and architectural prowess. The town also hosts the sprawling Thanjavur Maratha Palace, constructed by Maratha rulers in the 17th century. The palace complex houses a museum exhibiting a remarkable array of artifacts, including bronze sculptures, musical instruments, and royal regalia, offering a glimpse into Thanjavur’s regal heritage.
.
Brihadeeswara Temple
.
.
Brihadeeswara Temple, also known as Rajarajesvaram, and locally called Thanjai Periya Kovil and Peruvudaiyar Kovil, was built in the Chola architectural style and is located on the south bank of the Cauvery River in Thanjavur. It is one of the largest Hindu temples and an exemplar of Dravidian architecture. It is also called Dakshina Meru (Meru of the South).
.
.
Built by Chola emperor Rajaraja I between 1003 and 1010 CE, the temple is a part of the UNESCO World Heritage Site. It is a wonder that such a massive structure with its numerous finely carved sculptures was completed in just seven years.
.
.
Two stunning gopuras welcome visitors, who arrive for a Darshan. While the first gopura ascends five stories, the second one is smaller and has three tiers. The smaller gopura is further flanked by two life-size and fierce-looking dwarapalas.
.
.
Built using granite, the 16-storey 208-foot-high sky-kissing vimana tower above the shrine is one of the tallest in South India. The shikhara, a cupolic dome (25 tons), is octagonal and rests on a single block of granite, weighing 80 tons. The master designers built the hollow tower using interlocking stones without any binding material. The superstructure perhaps served as a metaphor for the grandeur of the Chola Empire. The taller the temple tower, the more awe the emperor generated among friends and foes alike.
.
.
It is yet to be ascertained how this massive granite block was installed at the top of the shikhara. It is popularly believed to have been dragged up to its current position along an inclined plane that had its base at a place called Sarapallam, which is 6.44 km distant. Even more remarkable is that all the estimated 130,000 tonnes of stone required for the construction of the temple had to be quarried upstream, near Tiruchirappalli, and transported by water, a distance of almost 100 km.
.
.
The exterior of the temple is adorned with alternating ‘koshtha panjara’ or niches and decorative ‘kumbha panjaras’ or columnar niches with pot-like bases. The ‘koshtha panjara’ display carvings manifesting Saivite themes, with a handful having Vaishnavite themes.
.
Beautiful black granite sculptures adorn the external walls of the temple
.
The sculptures are distributed along two layers. The lower niches depict Ganesha, Vishnu with Sri-Devi and Bhu-Devi, Lakshmi, Vishnuanugraha Murti, Bhikshtana, Virabhadra, Dakshina Murti, Kalantaka, and Natesa on the southern wall, Hari-Hara, Ardhanarisvara, Chandrasekhara on the west wall, Gangadhara, Sarasvati, Uma–Mahesvara, Mahisasuramardini, Chandrasekhara, Bhairava on the north wall.
.
.
The upper niches on all walls contain Tripurantakas repeated in each niche. The Tripurantaka iconography somewhat represents the imperialist achievements of Rajaraja I himself. Just as Siva in his Tripurantaka form is the destroyer of three cities of the ‘asuras’, Rajaraja was the conqueror of three kingdoms of Pandyas, Cheras, and Eelam (Sri Lanka).
.
.
Inside the inner passageway of the sanctum, the walls showcase the unfinished series of 81 of the 108 ‘karana’ or dance poses from Bharata’s Natya Shastra. Interestingly, here Siva himself, as the Nataraja or lord of dance, is depicted as the dancer.
.
.
The innermost sanctum houses a linga, which is named Rajarajesvaram – Udayar after Rajaraja I, its author. It is also called ‘adavallan’ or ‘One who can Dance Well’ and ‘Dakshina Meru Vitankan’. The huge linga is 29 feet high, occupying two storeys of the sanctum. It is one of the largest monolithic lingas in India.
.
.
A huge monolithic Nandi sits under a canopy of mandapa and faces the main shrine. The mandapa is a later addition, and its ceiling bears paintings from the Nayaka period. The Nandi weighs about 25 tonnes and is one of the largest in the country.
.
.
The ‘kovil’ was all rolled into one – the landholder, employer, and consumer of goods and services, while also filling in as a bank, school, museum, hospital, and theatre. It served as a nucleus gathering around itself all that was best in art, music, poetry, and technology. The temple at the center of the city was a cultural and artistic emporium.
.
.
An amazing temple in all respects, without doubt!
.
Thanjavur Palace
.
.
Nestled in the heart of Thanjavur lies a gem that often gets overshadowed by the Big Temple – the Thanjavur Palace. This regal edifice, located within the Big Fort complex, is a harmonious blend of architectural styles that narrates the tale of two dynasties, the Nayaks and the Marathas, who left an indelible mark on the region’s history. The palace’s origins can be traced to the last Nayak ruler, Vijayaraghava Nayakka, who initiated its construction between 1633 and 1674 CE. Over the next two centuries, the Maratha rulers expanded and embellished the structure, resulting in a unique architectural fusion where buildings from different eras merge seamlessly across the complex.
.
.
The towering observation towers, including the ‘Bell Tower’, dominate the surroundings. Throughout, ornate rooms showcase vibrant frescoes, creating a mesmerizing blend of architectural and artistic splendor.
.
.
For those seeking a glimpse into Thanjavur’s golden age, the Art Gallery beckons with its exquisite bronze figurines and paintings adorned with gold foil and gems. However, the crown jewel of the complex is the Saraswathi Mahal Library, a repository of knowledge that pays homage to the Maratha Scholar-King Serfoji II.
.
Sculptures displayed in the Museum: (L) A woman, (R) Shiva-Parvati
.
The library has a rare collection of palm-leaf manuscripts dating to the 3rd to the 4th century BCE and papers in Hindi, Tamil, English, Marathi, Telugu, and a few other local languages that define India’s rich cultural and diverse heritage.
.
.
The library collection counts to some 60,000 units. The majority of the manuscripts here are written in Sanskrit as Grantha, Nadinagari, Devanagari, Tamil, and Telugu, reflecting titles for music, literature, and medicine. Besides, the library is also home to around 3076 Marathi manuscripts coming in straight from the South Indian Maharashtrians belonging to the 17th, 18th, and 19th centuries.
.
.
There’s a lot to dig in for Ayurveda lovers as the library holds several medical records including case studies and interviews of the patients. These Ayurvedic manuscripts are available under the Dhanvantari section.
.
.
What makes it more incredible is its listing by Encyclopaedia Britannica’s survey as ‘the most remarkable library in India.’
.
Kumbakonam
.
Kumbakonam is in eastern Tamil Nadu, 45 km north of Thanjavur. The city is bounded by two rivers, the Kaveri River to the north and Arasalar River to the south. Kumbakonam has around 188 temples within the municipal limits. Apart from these, there are several thousand temples around the town thereby giving the town the sobriquets “Temple Town” and “City of temples”. It is also noted for its Mahamaham festival, which happens once every 12 years, attracting people from all over the country.
Kumbakonam dates back to the Sangam period and was ruled by the Early Cholas (600 BCE-300 CE), Pallavas, Mutharaiyar dynasty, and Medieval Cholas. Later Cholas, Pandyas, the Vijayanagara Empire, Madurai Nayaks, Thanjavur Nayaks and the Thanjavur Marathas. It rose to be a prominent town between the 7th and 9th centuries CE when it served as the capital of the Medieval Cholas.
The name “Kumbakonam”, roughly translates as the “Pot’s Corner”. It is believed to allude to the kumbha (pot) of Brahma that contained the seed of all living beings on earth. The kumbha was displaced by a pralaya (dissolution of the universe) and ultimately came to rest at the spot where the town of Kumbakonam now stands. This event is now commemorated in the Mahamaham festival held every 12 years.
According to the chronicles of the Hindu monastic institution, the Kanchi Matha, the matha was temporarily transferred to Kumbakonam in the 1780s following an invasion of Kanchipuram by Hyder Ali of Mysore. When Tipu Sultan invaded the east coast of South India in 1784.
.
Airavatesvara Temple
.
.
Details of the gopura
.
Airavatesvara Temple is a temple of Chola architecture located in Darasuram, in the neighborhood of Kumbakonam. This temple, built by Chola Emperor Rajaraja II (c.1150-1173 CE) in the 12th century and is a UNESCO World Heritage Site, along with the Brihadeeswara Temple at Thanjavur, the Gangaikondacholisvaram Temple at Gangaikonda Cholapuram that are collectively referred to as the “Great Living Chola Temples”.
.
.
The temple is a storehouse of art and architecture and has exquisite stone carvings. Built more than 100 years after the two great Brihadeeswara temples, Airavatesvara is smaller and different in its layout, structure, and design. However, it is more exquisite in detail. Its Vinaman is five storeys high and 79 ft in height. Legend has it that Shiva was worshipped at this temple by Airavata, the white elephant of Indra, King of Heaven, because of a curse given to it by Rishi Durvasa during the Samudra Manthan. He had its white colours restored by bathing in the sacred waters of the temple. This legend is carved in stone in the inner shrine, and Indra’s elephant gives this temple its name.
.
.
Outside the main podium is the bali-pitham. The carved balustraded steps leading to it produce a musical note. They are the famous “singing steps”, which have now been enclosed with an iron grill to prevent damage from visitors.
.
Sculptures of the Nayanars- the Bhakti saints of Shaivism – adorn the outer walls
.
The main temple itself sits on a plinth and has three mandapas – ardhamandapa, mukhamandapa and agramandapa. The maha-mandapa has 48 pillars with reliefs and intricate carvings. Beautiful patterns of decorative creepers are depicted on the pillars. They are further decked with circular medallions flaunting figures dancing in diverse poses and musicians. The ceiling is equally ornate, with square and rectangular patterns. Almost all the central medallions contain dancers and musicians in tune with the main theme of the temple’s decoration, nitya vinoda, or perpetual entertainment.
.
.
The wall of the main garbhgriha in the mukha-mandapa has exquisitely carved statues of Devi Cauvery, Saraswati, Dwarapala, and Saint Kanappa, the great Shiva devotee. The striking fact is the fashionable footwear Kanappa is wearing, a design with toe straps and thongs that is very popular even today!
.
.
To the east of the maha-mandapa is the agra-mandapa also called the Rajagambhiran-tiru mandapam after the king. It is conceived as the chariot of Tripurantaka, with wheels, hubs, and spokes carved in relief, and drawn by caparisoned horses. The agra-mandapa has a flight of steps to the east and west. Interestingly, this depiction of a chariot precedes the Konark Sun Temple by nearly a century.
.
Intricate carvings narrate stories from the scriptures on the pillars of the agra-mandapa: (L) Shiva astride Nandi in a procession for his wedding, accompanied by dancing ganas; (R) Kalyanasundara, the wedding
.
Exquisitely carved ceiling panels narrate their own stories
.
The agra-mandapa has eight outer pillars supported by squatting yalis. The pillars inside flaunt Bodhika decorations and depict small panels illustrating mythological stories such as the penance of Parvati, Siva’s marriage, the birth of Kumara, the attack of Manmatha, and so on. Among other friezes, the story of Kalidasa’s famous poem Kumar Sambhava is depicted in detail, running over several panels on the pillars.
.
.
The outer walls of the Airavatesvara Temple contain niches fashioned as alternating ‘Koshtha Panjara’ and ‘Kumbha Panjara’. The niches house superb specimens of early Chola sculptures.
.
Joyous scenes adorn the pillars of the maha-mandapa; the left sculpture is unique, where three women in yoga poses are shown with one head
.
Noteworthy sculptures are Ardhanarisvara with three faces and eight arms, a four-armed Nagaraja with serpent hood over his head, the dwarf sage Agastya, dancing Martanda Bhairava with four hands and three heads, a standing Ganesa, Dakshina Murti attended by sages, Lingodbhava Siva emerging from a flaming pillar, eight-armed Mahisasuramardini, a seated Devi Bhuvanesvari, Tripurantaka Siva carrying the axe, deer, bow, and arrow, Gajantaka dancing upon the slayed elephant demon, a six-armed Bhairava with his dog behind him, and Mahesa-murti with three heads and four arms carrying the spear, axe, rosary, and kamandalu.
.
The beautiful murtis of Devi Cauvery and Ganga
.
.
A separate shrine is attached to the outer wall of the garbhgriha of Sarabeshwar (a form of Shiva). The depiction of Sarabeshwar is quite rare, and here he is shown fighting with Narasimha, whom he defeats.
.
.
Brihadeeswara Temple, Gangaikonda Cholapuram
.
.
The Brihadeeswara Temple is dedicated to Shiva in Gangaikonda Cholapuram, in Jayankondam. Completed in 1035 CE by Rajendra Chola I (c.1014-1044 CE) as a part of his new capital, this Chola dynasty-era temple is similar in design and has a similar name to the older 11th century Brihadeeswara Temple in Thanjavur. The ambitious and adventurous king expanded the Chola empire far beyond the boundaries of India by sending forces on ships across the seas to conquer the southern half of Southeast Asia. Additionally, the armies marched over 1,700 km to the north, right to the Ganges. The Chola Empire then encompassed the whole of southern India, till the river Tungabhadra in the north. Thus, for administrative and strategic purposes, they built a new capital and named it Gangaikonda Cholapuram, which remained the capital for about 250 years.
.
.
The Gangaikonda Cholapuram Temple is smaller yet more refined than the Thanjavur Temple. UNESCO declared this temple a World Heritage Site in 2004, along with the Brihadeeswara Temple at Thanjavur and the Airavatesvara Temple at Darasuram. Collectively, these are referred to as the “Great Living Chola Temples”.
.
.
Rajendra wanted to emulate the temple built by his father after his victory in a campaign across India that covered Karnataka, Andhra Pradesh, Odisha, and Bengal. After his victory, he demanded that the defeated kingdoms send pots of Ganges River water and pour them into the temple’s well. The well was originally called Cholagangam as it was filled with water from the Ganges. It is a concatenation of four words, Gangai meaning Ganga, Konda meaning conquered, Chola refers to the ruler/dynasty and Puram means city. Put together, it refers to the “City of the Chola who conquered the Ganges.” He assumed the title of Gangaikondan, The One Who Conquered Ganga.
.
.
.
The Vimana is 9-storey 180 ft high, 10 ft smaller than the Thanjavur Temple. Historians believe the temple’s height was deliberately kept lower compared to the Thanjavur temple as a mark of respect for his father’s masterpiece.
.
.
.
The temple has a 175 ft pillared maha-mandapa, among the first temples to incorporate them in temple design. The sanctum houses Brihadeeswara (Shiva) in the form of a lingam. This lingam is 13 ft tall with a circumference of 59 ft.
.
.
The Northern and Southern Kailasa shrines on either side of the main temple were built to commemorate Rajendra I’s conquest of the universe and the symbolic relocation of Mount Kailasa to Chola lands. Alongside the temple is a 5 km long reservoir built to hold the initial water of the Ganges, and later kept functional by feeding it by a branch of the river Kaveri.
.
.
However, nothing remains of the fortified capital city at the heart of which the temple was built, razed to the ground by the armies of the Delhi Sultanate who plundered the Chola kingdom.
.
The Nandi keeps watch near the entrance, while a devotee seeks blessings
.
Chidambaram
.
Chidambaram is one of the many temple towns in the state named after the forests dominated by a particular variety of trees found in the area. The traditional name of the temple is Chidambaram Thillai Nataraja-Koothan Kovil. The mangrove forests of Thillai trees were abundant in the town once. The temple and the town were once amid Thillai trees. The Thillai trees of the nearby Pichavaram wetlands, the second-largest mangrove forest in the world, extend to the temple area. There is a reference to the temple or the town in Sangam literature of the 1st to the 5th centuries.
.
Chidambaram Nataraja Temple
.
.
Thillai Nataraja Temple, also known as the Chidambaram Nataraja Temple, is dedicated to Nataraja, the Lord of Dance. This temple is in Chidambaram, Tamil Nadu. Chidambaram means “stage of consciousness”. This temple has ancient roots, and a Shiva shrine existed at the site when the town was known as Thillai, following Thillaivanam, derived from the mangrove of Tillai trees.
.
Numerous gopurams dot the temple complex
.
The temple architecture symbolizes the connection between the arts and spirituality, creative activity, and the divine. Among the many unique aspects of this temple are the wall carvings displaying all the 108 karanas from the Natya Shastra by Bharata Muni, and these postures form the foundation of Bharatanatyam, the Indian classical dance. These are depicted on the eastern gopuram where each posture is shown in a separate niche.
.
.
The Chidambaram temple legend is contained in the 12th century text Chidambara-mahatmya. According to legend, in the Thillai forests resided a group of sages who believed in the supremacy of magic — that the gods could be controlled by rituals and mantras. Shiva, hearing this, assumed the form of Bhikshatana, a simple mendicant seeking alms, and went walking in Thillai. He was followed by his consort, Vishnu as Mohini. Mohini triggers the lustful interest of the sages, while Shiva performs the Tandava dance that triggers the carnal interest of the wives of these sages. On seeing their womenfolk enchanted, the angry sages performed a ritual to create serpents (nāga). Shiva lifted the serpents and donned them as ornaments on his matted locks, neck, and waist. Further enraged, the sages invoked a fierce tiger, whose skin was used by Shiva as a shawl around his waist. Then followed a fierce elephant, which was ripped to death and devoured by Shiva (an episode depicted in the Gajasurasamhara). The sages gathered all their spiritual strength and invoked the powerful demon Muyalakan — a symbol of complete arrogance and ignorance. Shiva smiled gently, stepped on the demon’s back to immobilize him, and performed the Ánanda Thandavam (the dance of eternal bliss), thus disclosing his true form. The sages then surrendered, realizing that rituals cannot control the gods.
.
.
After the intervention of Shiva, the sages realize how superficial their austerities have been. This story spread far and wide. Two sages named Patanjali (also called Sesha – for his connection to Vishnu) and Vyaghrapada (also called the Tiger-footed sage) wanted to see the repeat performance of this “dance of bliss”. They set up a Shivalinga, prayed, and meditated to Shiva. Their asceticism impressed Shiva who appeared before them in Chidambaram and performed “the dance”. At this spot, the temple came into existence according to the mahatmya embedded in the Tamil Sthalapurana.
.
.
According to another legend, once Shiva and his consort Parvati challenged each other to know who among them was a better dancer. Shiva asked Vishnu to be the judge, and the latter wanted the competition held in Tillaivanam. Shiva won with the urdhva-tandava pose that raises the right leg vertically up, a posture that Parvati refused because she was a woman. Vishnu thus declared Shiva as the winner. Parvati got angry at this outcome and became Kali at the Thillai Kali temple. A sculpture depicting this dance pose exists in the temple.
.
.
The present temple structure was built in the 10th century when Chidambaram was the capital of the Chola dynasty, who considered Nataraja their family deity. The temple complex covers 40 acres and has two courtyards, nine gopurams, and several water storage structures, of which the Shivaganga sacred pool is the largest. The complex has numerous gathering halls called sabha, and two major choultry called the 100-pillared and 1,000-pillared halls.
.
.
The temple is one of the five elemental lingas in the Shaivism tradition and is considered the subtlest of all Shiva temples (Kovil) in Hinduism. It is also a site for performing arts, including the annual Natyanjali dance festival on Maha Shivaratri.
.
.
The main complex is dedicated to Shiva Nataraja and contains shrines to deities such as Shivakami Amman, Ganesh, Murugan, and Vishnu in the form Govindaraja Perumal. The temple’s earliest structures were designed and erected by ancient craftsmen called Perunthakkan. The golden tiled roof for the Chitrambalam (the Vimana) was laid by the Chola King Parantaka I (907-950 CE) following which he was given the title “Thillaiyambalathhukku porkoorai veiyntha thevan”, meaning “the one who constructed the golden roof”.
.
.
The main Devi (Shakti) shrine in the Nataraja temple complex is offset towards the north of the sanctum inside the third prakara, west of the Shivaganga pool. It is known as the Shivakama Sundari Shrine, dedicated to Parvati. The temple faces east and has an embedded square plan, though the stacked squares create a long rectangular space. The shrine has its own boundary wall and an entrance gopura. Inside are the dedicated mandapas and brightly coloured frescoes from the 17th century Vijayanagara period. These narrate the story of Shiva and Vishnu together challenging the “learned sages, ascetics and their wives” in the forest by appearing in the form of a beautiful beggar that dances (bhikshatanamurti) and a beautiful girl that seduces (Mohini) respectively.
.
The carved pillars and the Vijayanagara-era frescoes on the ceiling of the Devi temple
.
The garbhgriha is unusual as it does not have a Shivalinga, rather, it has the Chit Sabha (consciousness gathering, also called chit ambalam) with a murti of Shiva Nataraja made of silver. This introspective empty space is called the rahasya (secret). The Chidambaram Rahasya is the “formless” representation of Shiva as the metaphysical Brahman.
.
.
The Tandava dance is described as a pictorial allegory of the five principal manifestations of eternal energy:
- Srishti – creation, evolution
- Sthiti – preservation, support
- Samhara – destruction, evolution
- Tirodhana – illusion
- Anugraha – release, emancipation, grace
The Nrithya Sabha (Hall of Dance) is a 56-pillared hall. It is in the south section of the second courtyard that circumambulates the Nataraja sanctum of the complex. The 13th century Nrittya Sabha is traditionally considered the place where Shiva and Parvati originally held their dance competition. Shiva won with the urdhva-tandava pose that raised his right leg straight up. The Nrithya Sabha platform’s base is carved as a chariot, with horses and wheels, as if it is rising out of the ground. The hall’s center is an open square with an ornate inverted lotus ceiling decoration.
.
The depiction of the 108 karanas from the Natya Shastra by Bharata Muni; these postures form the foundation of Bharatanatyam
.
The temple is run by Brahmins called the Thillai Muvayiravar, or the Three Thousand of Thillai. They were originally the ritual arbiters of imperial legitimacy in the Chola Empire, ritually crowning successive Chola monarchs. They are now known as Dikshitars.
.
Auroville
.
During our journey to the numerous temples of Tamil Nadu, our group took a break at Auroville. Auroville is an experimental township in Viluppuram district, mostly in the state of Tamil Nadu, with some parts in the Union Territory of Pondicherry. It was founded in 1968 by Mirra Alfassa (known as “the Mother”) and designed by architect Roger Anger. Additionally, it is named after Sri Aurobindo (1872–1950). The inauguration ceremony of the township was attended by delegates from 124 nations, held on 28 February 1968.
.
.
In the geographical center of the town is a banyan tree, adjacent to which is the Matrimandir. It was conceived by Alfassa as “a symbol of the Divine’s answer to man’s aspiration for perfection”. Silence is maintained inside the Matrimandir to ensure the tranquillity of the space, and the entire area surrounding the Matrimandir is called the Peace area. Inside the Matrimandir, a spiraling ramp leads upwards to an air-conditioned chamber of polished white marble, referred to as “a place to find one’s consciousness”.
The Auroville Foundation owns and runs the township. It is an autonomous body under the Ministry of Human Resource Development. The Government of India only finances a small amount of Auroville’s budget, which is mainly formed by contributions from Auroville’s commercial units which contribute 33% of their profits to Auroville’s Central Fund and by donations, largely foreign, from Auroville’s multiple international bases set up all over the world.
.
.
The Matrimandir is in the form of a huge sphere surrounded by twelve petals. Golden discs cover the Geodesic dome and reflect the sunlight, which gives the structure its characteristic radiance. Inside the central dome is a meditation hall known as the inner chamber – this contains the largest optically-perfect glass globe in the world. The Matrimandir and its surrounding gardens in the central Peace Area are open to the public by appointment. The four main pillars that support the structure of Matrimandir, and carry the Inner Chamber, have been set at the four main directions of the compass. These four pillars symbolize the four aspects of The Mother as described by Sri Aurobindo and are named after them.
.
Experiencing the unique Vibrational Sound Bath
.
We had the opportunity to visit the Matrimandir and meditate in the inner chamber. It was an out-of-the-world experience as the design, aesthetics, and all-pervading silence transports one to another dimension. Another unique experience we had was a visit to one of the music laboratories on the campus. They conduct experiments on sound produced by various materials and shapes. Though experiential, their products are also for sale. Adjacent to this workshop was another surprise awaiting us – taking a sound bath. This was another unique experience, as the name suggests. During the sound bath, we experienced a harmonious play of rich, powerful tones to invoke inner peace and tranquillity, bringing deep physical and psychological relaxation. Numerous sound-creating instruments and bells blend to create the overall effect.
The Auroville experience differed from visiting temples and was a welcome change during our journey. Unfortunately, those looking forward to a change of another kind, at the local bar, were disappointed! It was only when we checked in at the guest room that we spotted a large pamphlet stating that alcoholic drinks were BANNED in the township.
.
.
The journey continues….. click on the link below for Part 2
.
Note: All photographs displayed above are my exclusive property and copyright; their use is prohibited without explicit consent, in writing.
.
2 Responses
how you’ve blended history, architecture, and personal experiences to create an immersive reading experience. Looking forward to Part 2 of this amazing journey—thank you for sharing such a wonderful piece.
Thanks for the appreciation. Part 2 of the journey is already posted.