Samanar Kudagu, Narthamalai
Opposite to the structural temple Vijayalaya
Chozhisvaram there are two cave
temples, excavated on the steep slope of the rock. Of these, the one on the
northern side is popularly called Samanar kudagu (‘cave of the Jains’).
This cave temple is also called Padhinen bhumi
Vinnagaram. ‘Padinen’ refers to the ‘eighteen regions’ (seats of the
corporation of Ainurruvar). Vinnagaram means temple for Vishnu.
Perhaps, it was originally a Jaina cave in the 7th
century AD, but converted into a Vishnu shrine in 12th or 13th century AD. The
date of this conversion is still under debate.
After this conversion it came to be called as Thirumerkoil
or Merrali and Padhinen bhumi Vinnagaram. Presently it looks like a Vaishnavite
shrine.
This larger cave is excavated opposite to structural
temple and is probably one of the largest caves of
the Pudukkottai region. It is referred as Thirumerkoil in
a Chola inscription and Patinen bhumi vinnagar in
a Pandya inscription.
Architecture
Its east facing front façade is supported on two pillars
and two pilasters forming three entrances. The pillars are almost square from
top to bottom however the architects tried to style these pillars in
typical Mahendra-order with square base and top and middle octagonal
section. Such demarcation between square and octagonal section can be seen on
southern pillar. A cubical cell is excavated in middle of the back wall.
There is a mutilated square Shiva linga base inside this cell.
It consists of a rectangular garbha griham and an ardha mandapam
in front, both excavated from the living rock. Presently the garbhagriham is
empty, except for a broken stone pitham. This pitham is also carved out of the
living rock.
The ardhamandapam has two massive pillars and two
pilasters in the front, also carved out of the rock. It houses twelve identical
but wonderful relief sculptures of Vishnu on the walls.
Each of them is six feet five inches tall and carved on
the rock. The sankhu (conch), chakra (discuss), the garments and the
ornamentation deserve praise. One of the lower hands is in the abhayamudra
(pose indicative of protection) and the other touches the thigh.
There is an extended mandapa constructed in
front of this cave however only base of this mandapa has survived.
There are few loose sculptures lying in front of the mukhamandapa of
the cave. Two dvarpalas, one on either side of the middle entrance, are
also sculpted on loose stones.
Dvarapalas are very much mutilated and it seems
that these were later additions probably during the Chola rule. A saptamatrika panel,
broken in two parts, also lies at the entrance. Saptamatrikas are
without Veerbhadra and Ganesha. An image
of Shiva as Veenadhara and an image of Chandesha are
also seen placed at the entrance.
Inside the rectangular mukha mandapa of the
cave, there are twelve nearly identical images of Vishnu carved on
lateral and back walls. There is one image on both lateral walls and ten
images, five on either side of the entrance to the central cell, on the back
wall. They all are shown standing over a lotus pedestal. They carry
asankha (conch) and a chakra (discus) in their rear hands while
one front hand is in abhaya mudra while another front hand is rested
on waist (katyavalambita). As there are twelve such images hence these could be
a representation of dvadash (twelve) Adityas of Hindu
mythology.
A most interesting feature of the cave is seen in the
platform of its extended mandapa. A vyala/yali row
above kumudam is one of the most exquisite representations of these
mythological animals. Makara heads protrude out from each corner
while elephants and vyalas occupy the whole side. There are many
kinds of vyalas seen, some with the head of a lion and some with the head
of an elephant. Most amazingly there are few vyalas who have shown
with a human head having striking resemblances with the Sphinx of Egypt.
One such early representation was seen in Krishna
Mandapa at Mahabalipuram.
A mutilated Shiva linga base in the central
cell and so many Vishnu images in mandapa are quite interesting
indeed. It could be that during Vaishnava insurgence
the Shaiva feature, Shiva linga, of the cave was mutilated to
convert it into a Vaishnava shrine. This change would have been done
before the commencement of Vijayalaya Choleeshvaram temple. As
a Shiva cave was changed into a Vaishnava shrine hence
construction of a Shiva temple was necessary.
All the inscriptions found here refer only
to Shiva but none to Vishnu hence it is clear that no ruler
patronized the Vishnu cave. However we have
a Pandya inscription where the cave has been referred
as Vaishnava cave only. So it could be a case that the cave was
indeed dedicated to Shiva and the twelve images
in mandapa represent twelve Adityas.
Another suggestion is that the twelve figures perhaps
represent those of the twelve common names of Vishnu – Kesava, Narayana,
Madhava, Govinda, Trivikrama, Vamana, Achyuta, Sridhara, Padmanabha, Damodara,
Vasudeva and Madhusudhana.
In front of this cave temple is a stone plinth of the
maha mandapam. Judging from the remains, this mandapam must have been a closed
one supported by square pillars, with walls ornamented with pilasters crowned
with capitals.
On the plinth of this mandapam, above the kumudam, runs
a beautiful frieze of lions, elephants, and vyalis. At the corners are projecting
makara heads, with human figures sporting inside their gaping mouths. Carved
with loving care, these graceful figures of elephants, lions and vyalis in
playing are one among the finest in existence in this region. They exhibit high
levels of creativity, artistic skill and imagination of the sculptors.
There are a number of loose sculptures broken parts
sculptures kept on this plinth and also inside the ardha mandapam. Those on the
plinth include two dvarapalakas, a Saptamatrika group and an Ayyanar. Those
inside the ardhamandapam include two Ganesas. All these sculptures are
excavated in and around Narttamalai.
There is an inscription on the moulded basement dated in
the 45th year of the Chozha king Kulottunga I (1115 AD). This inscription
registers a sale of land by the Nagarathar to Thevan periyan also called
Mudikonda Chozha Telungai Araiyan for the conduct of daily worship to the
arumanikka azhvar of Thirumerkoil.
There is also another inscription dated 1228 AD on the
rock, north of the cave temple (PSI 281) of the reign of Maravarman Sundarapandya
I mentioning that the ‘western temple’ was consecrated and in it were installed
the idols of Vishnu and those of his consorts.
So the date of conversion of the Jain cave into the
Vishnu shrine is still under debate.
Inscriptions
No 125 – A of the
Inscriptions of the Pudukkottai State – On the molded base in front of the
cave – Written in Tamil in 54 lines – damaged and incomplete – dated to forty –
fifth regnal year of the Chola king Rajakesarivarman alias Kulottunga-Choladeva
(Kulottunga I), approximately to 1115 CE – States that the members of the
Nagaram of Telungakulakalapuram in Annavayil kurram of Irattappadi konda chola valanadu
made a deed for provision of daily food offerings to god Karumanikkalvar of the
Tirumerkoyil temple of the city. According to this agreement, Mudikondachola – Telungaiyarayan,
a merchant of this city was directed to pay 75 kalams of paddy annually to the
above temple by cultivating the lands which he himself reclaimed. The merchant
was invested with the right of kudinina – devadana over the lands.
No 364 of the Annual Report on Epigraphy 1904/No 364 of
the South Indian Inscriptions vol XVII/No 281 of the Inscriptions of the
Pudukkottai State – On the rock of the north of this cave – Written in
Tamil in 31 lines – dated to twelfth regnal year of the Pandya king
Maravarman alias Sundara Pandyadeva (Sundara I), approximately to 1228 CE
– Records the setting up of images of Patinenbhumi vinnagar Emberuman and his
consort in the Tirumerkoyil temple at Telungakulakalapuram alias
Kulottungacholapattinam, and the gift of 5 ma and 3 kanis of land, freed from
all dues by the Nagaram of the town for food offerings and other daily
requirements for services. The latter portion of the record mentions the dues
to be paid at the time of marriages for the temple repairs to be collected by a
Vilakkattaraiyan at the following rates: 200 kasu for the bride’s house and 180
kasu from the bridegroom’s house. In addition to this 120 kasu were to be paid
when the bride went to set up her new family.
No 282 of the Inscriptions of the Pudukkottai
State – On the same rock – Written in Tamil in 46 lines – very much
damaged – dated to twelfth regnal year of the Pandya king Maravarman alias
Sundara Pandya I, approximately to 1228 CE – Appears to record provisions
made for conducting festivals in the temple of Vijayalaya Cholisvaramudaiyar at
the town by the Nagaram of Kulottungacholapattinam. It seems a numbers of
persons undertook to conduct the festivals in turn, each for one day.
