Vijayalaya Choleeswaram, Narthamalai
Vijayalaya Choleeswaram in Narthamalai, a
panchayat town in Pudukottai district in the South Indian state
of Tamil Nadu, is dedicated to the Hindu god Shiva. Constructed in
the Nagara style of architecture and rock cut architecture, the
temple is believed to have been built during the 9th century by Muttaraiyar kings, the cardinals of Pallavas, with later
expansion from the Cholas.
The Vijayalaya Choleeswaram in Narthamalai, though so
called under the name of the founder of the Chola dynasty of Thanjavur, is a
fine example of Mutharayar style of construction and indeed a forerunner of the
magnificent temple at Gangaikondacholapuram built by Rajendra Chola. The first
and second tala (base) of the temple vimanam is square in shape while the third
is circular (vasara) and the griva and Sikhara also are circular. This is the
first time when Nagara and Vasara styles have been incorporated in the
construction of the vimanam.
The inner wall enclosing the sanctum sanctorum is
circular (omkhara shape), leaving an intervening passage all around. The Aditala
hara extended over the top of the mandapam shows a series of dance sculptures.
The Dwarapalakas at the entrance of the temple are beautifully decorated. The
temple as well as the six shrines and one upto the foundation level around the
temple are all built with granite stones. About 15 years ago, the
Archaeological survey of India had restored and re-built the dilapidated parts
of the temple complex in a brilliant manner keeping to the original style which
exhibits the pioneering efforts of the Mutharayars.
Located on the top ledge of the hill, there is a somber
magnificence about this Siva temple as it stands in its loneliness. As one
approaches the site, the sighting of this temple edifice among the sparse
vegetation and shingled rock, is breathtaking. The temple is maintained and
administered by Department of Archaeological Survey of India as a protected monument.
History
Narthamalai was originally called Nagarathar malai on
account of the business men (called Nagarathar in Tamil) who were active in business in the Trichy - Pudukottai
- Madurai regions. The Nagarathars are attributed to the major contributions in
terms of the canals, temples and religious establishments in the region.
Narthamalai was ruled by the Muttaraiyars during the 7th to 9th centuries,
where were under the Pallavas. The region was later captured by Medieval
Cholas. Though the temple
is called Vijayalaya Choleeswaram, the temple was originally built by Muttaraiyar lieutant, Sattan
Paliyili, during the seventh regnal year of Pallava king Nripatungavarman during 862 CE.
As per some accounts, the temple is believed to have
been built by the first king of Medieval
Cholas, Vijayalaya
Chola (848- 891 CE), but
the view is highly debated. As per the inscriptions, immediately after the
construction, the temple was damaged by rains and lightning. The restoration
work was carried out by Tennavan Tamiladiaraiyan.
The temple Vijayalaya Chozhisvaram is a marvellous piece
of art built by a Muttaraiyar chief, Ilango Adi Araiyan. This is inferred from
an inscription under one of the Dwarapalakas. The inscription says that the
temple was originally built by one Sembudi, also called Ilango Adi Araiyan, and
that is suffered damage by heavy rains and was repaired by one Mallan viduman
also called Tennavan Tamil Adi Araiyan.
The temple obtained its present name after Vijayalaya
Chozha, the founder of the imperial Chozha line (second half of 9th century
AD). This name was referred to, for the first time, in a 13th century,
Maravarman Sundarapandian inscription and it has survived obscuring the fact
that the temple was erected by the Muttaraiyars. As far as the dating of the
builder Ilango Adi Araiyan is concerned there are two opinions. Some are of the
opinion that he belonged to the time of the Pallava king Nandivarman II or even
to that his predecessor (8th century AD). Other experts opine that he belonged
to the time of Vijayalaya Chozha (second half of 9th century AD).
The shrine is an important one in the history of temples
of the Tamil country. According to K.V. Soundararajan (in his book titled
Studies in Indian Temple Architecture) this is ‘one of the important temples of
the early Muttaraiyars, entirely circular from the ground tala up to the
sikharam, constituting a single Vesara example’.
In the opinion of S.R. Balasubrahmanyam (in his book
titled Early Chozha Art I) ‘it is unique in many respects. It is four tiered,
and is the earliest and grandest of the early Chozha temples. It is built of
stone. It has a circular garbhagriham (in Pranava form) and a wonderful
vimanam. Above all it is the fore-runner of the glorious monuments of the
Chozhas.
In modern times, the temple is maintained and
administered by Department of Archaeological Survey of India as a protected monument.
Architecture
The temple faces west and has the unusual arrangement of
a circular cella (the omkhara garbhagriha) within a square prakara. Above the
cella and the prakara rises the vimana in four diminishing storeys (talas) of
which the three lower ones are square and the uppermost circular, the whole
surmounted by a dome shaped sikhara with a round kalasa on top. There is an
enclosed mantapa in front with Pallava style pillars. Two dvarapalas, five feet
tall, guard the entrance.
Round the main temple in the open yard are seven small
sub-shrines built of stone and all facing inwards in a typical early Chola
style. Beautiful sculptures of Uma Sahithar and Vina Dhara Dakshinamurthy
belonging to the deva koshta on the griva of the main temple are now the
Pudukkottai Museum. The entire complex is now an archaeological monument.
This is an interesting Muttaraiyar temple constructed in
Vesara style and with ashtaparivaras. The west facing main shrine would have
been at the centre of a large courtyard and surrounded by the eight sub-shrines
within the courtyard. These sub-shrines are in various stages of ruin. The
complex is surrounded by a prakaram.
Presently, only six out of the original eight sub
shrines remains around the main shrine. Each of them has a small square
garbhagriham and a closed rectangular ardhamandapam in front. They are all one
storied (eka tala).
The arrangement of these eight sub shrines is as
follows: Chandra in east, Surya in south - east, Sapta - matrika in
south, Ganesha in south - west, Subramanya in
west, Jyestha in north-west, Chandesha in north
and Bhairava in north-east. Shrine for Sapta-matrika is usually
constructed in oblong shape to accommodate seven or nine images of this group.
The arrangement of the shrines is little peculiar as Sapta-matrika shrine is
placed on south-east corner instead of south side. Hence while assigning the
shrines to respective deities; we need to accommodate this diversion from
regular arrangement. Other early Chola period parivara shrines can be
seen at Thirukkattalai and Kodumbalur.
The central shrine holds an important position for
temple architecture studies. The temple is consisted of
amandapa (hall), antarala (vestibule) and garbhagriha (sanctum).
The adhisthana (platform) is simple in nature. It
has upapitham, upanam, kumudam, kandam
and agrapattiyal, from bottom to top. There is no vyala row on
the agrapattiyal block as seen on platforms of the
cave mandapas. Pilasters rise above agrapattiyal forming deep
niches on vimana and shallow niches on mandapa. However all
niches are empty. Corbels are placed on square protruding
abacus. Bhuta/gana row is seen under cornice which is mounted above
the corbels. Kudus in single and pair are carved on the cornice.
The door to the shrine is on the west, has a pleasing
floral design, and is guarded by a pair of two-armed Dwarapalakas, one arm
resting on a club and the other held out in the vismaya pose, and with legs
crossed. Two life size dvarpalas greet you at the entrance. They are
shown with two hands with one hand resting on a club and another one raised in
air. Both are depicted with protruding tusks however their calmness on face
cover up their ferocious nature.
Dvarpalas on proper right is much better preserved
in comparison with the left one. It has protruding Trisula (trident)
from his head suggesting that it represents Trisula of Shiva.
There is an important inscription on its base which gives information about the
construction of this temple by a Muttaraiyar chief.
Present dvarpalas statues are well mortared in niches. Excepting
these doorkeepers, figures and portraits adorn only the upper terraces.
The main temple stands on a double lotus base with walls
running round the sanctum and ardha-mandapam. These are embedded with elegant
pilasters topped by palagais (‘stone planks’).
The covered ardha-mandapam stands on six pillars that
are square at the top and bottom but octagonal in the middle. These monolithic
pillars are crowned with bracket capitals. Over the pilasters and palagais and
the corbels, is the curved roll cornice with its chaitya arches and decorated
with kudus, containing figures of human heads and animals and surmounted by
trifoliate finials. There are usual rows of bhutha gana.
The garbhagriham (sanctum) is circular and is enclosed
within a square hall. Around the circular inner wall and the outer square wall
there is a narrow pradakshina (circumbulatory) passage.
The vimanam is a hollow superstructure made up of four
tiers, each separated from the next by a cornice. The lowest is rectangular and
built over the ardhamandapam and the garbhagriham, the rest are over the
garbhagriham only.
On every tier under and over the roll cornice are rows
of frolicking gana, vyalis, Apsaras and gods. The first two tiers have broad
parapet walls running over the edge. These are topped by domical cell like
roofs.
The parapets contain recesses and adorned with Apsara-s
in dancing poses. Here one can see some of the most graceful poses of Indian Classical
dance. The circular top tier is topped by a round sikharam. At the base of the
sikharam on four coordinal directions are four beautifully moulded Nandis with
broad shoulders and with rippling muscles.
In between the bulls are four elaborate chaitya arches
with the niches containing superb portraits. One is Vinadhara Dakshinamoorthy.
He wears a look of supreme serenity. Another is a portrait of Siva seen with
Parvathi in a tender mood caressingly tilting her chin with his right hand.
Main entrance is provided at west which takes a visitor
into a pillared mandapa. Pillars are in characteristics
Mahendra-order with cubical top and base and octagonal shaft in
between. Taranga band is used for corbels. There is a Shiva
linga inside circular sanctum. Traces of paintings can be seen
on mandapa walls. Paintings
of Vishnu and Bhairava are little clear however other
paintings are not. It is suggested that these paintings were not put during the
construction of the temple but of very late origin not earlier than the 17th
century, according to the Manual of the Pudukkottai State (1944). Except for
these paintings temple from inside is very simple.
Though badly battered by weather over more than a
thousand years, the entire effect of Vijayalaya Chozhisvaram from its base to
its terraced top is one of breath taking beauty. Modeled with loving care,
graceful figures and rollicking elephants and ganas emerge continuously from
the granite surface. The Apsaras of the recesses have an alluring charm about
them, their graceful pose offering unending delight.
In front of the main shrine there is a nandi mandapam
with four pillars and without a roof. There is a stone Nandi inside.
Significance
The temple in a combined rock cut and Nagara
architecture is an early example of Cholan Art, continuing the tradition of the
Pallavas. It is believed that the temple was the inspiration for
the Gangaikonda Cholisvaram Temple built by Rajendra Chola
I (1014-44 CE). The sanctum (garbhagriha) has four storeys in Omgara,
shape of Hindu symbol Om. There were originally eight subsidiary shrines around
the temple, out of which six still exist. Each of them is identical with a
semi-spherical top and a four pillared Mandapa in the front.
The Vimana, the shrine over the sanctum has sculptures
of Uma, Shiva, Dakshinamurthy and Saptamatrikas. The individual
images retrieved from the place are maintained in the Pudukottai Government
Museum. The temple is the foremost structural of the Chola kings, who would
later on go on to make Great Living Chola Temples in the next 300
years, declared as UNESCO as a World Heritage Sites. The temple is first among South Indian temples to
incorporate Nagara and Vasara styles to be incorporated in the vimana.
Inscriptions
No 11 – A of the Inscriptions of the Pudukkottai
State – On the base of the north dvarapala at the entrance – Written in
Tamil in 4 lines – dated to ninth century CE – Records that the stone temple
erected by Chembudi alias Ilangodi-araiyar was damaged by rain and that it was
renovated by Mallan Viduman alias Tennavan Tamiladiaraiyan.
No 216 of the Annual Report on Epigraphy 1940-41 –
On the east wall of the mandapa in front of the central shrine – Written in
Tamil – dated to ninth century CE – Records that this temple which had
been destroyed by heavy rains was renovated by Mallan Viduman alias Tennavan Tamiladiaraiyan.
It is said that the temple was originally built by Chattampudi alias
Ilango-Adiyaraiyar.
Small
Pond – There is small pond near this temple on north
side which is supposed to be a Jain cave probably.
No 366 of the Annual Report on Epigraphy 1914/No 11 of
the Inscriptions of the Pudukkottai State/No 396 of the South Indian
Inscriptions vol XVII – On the rock to the north of the pond called
Arunmaikkulam – Written in Tamil in 10 lines – dated to ninth century CE –
Records that Tamiladiaraiyan alias Mallan Vidaman got a sluice made to the tank
called Animadayeri. He also gave some land to the mason named Chonanaraiyan who
made the sluice.