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Thursday, February 18, 2016

Annamalaiyar Temple – First Prakaram

Annamalaiyar Temple – First Prakaram
The first prakara is a closed court with two openings – one on the east other on the north enclosure wall, enclosing the garbhagriha and ardhamandapa, or antarala, mukha mandapa, mahamandapa and a rectangular pavement on all the sides of these three structures.
The Central shrine is enclosed by a high wall right round. The eastern third is an extension built later than the western two-thirds of the wall. There are many inscriptions on the wall. The western two-thirds of the wall may have been built in the latter half of the 9th century by Aditya I or early in the 10th century by Parantaka I. The eastern extension was perhaps built by Uttama Chola. The second door one passes through on the way to the interior is referred to as the Uttama Chola door. The first door and the Gopura on top of it are referred to as Vena Odeyan’s door and Gopura. 

On the left of the second door, there is a panel containing figures representing King Uttama Chola and his Queen. On the door frame, is a figure of the Thambiran, a contemporary of Uttama Chola is found. This and the second door are believed to have been built in the second half of the 10th century A.D. The first door and the small Gopura on top may have been added by Vena Odeyan in 1230 A.D.
On entering the quadrangle, which is covered by a stone roofing there is a Bali Peeta and a Nandi. This fourth Nandi is known as Ratha Vilaku Nandi and is smaller than the previous three.
In front of the fourth Nandi (Ratha Vilaku Nandi), on a raised platform, are the Maha Mandapam and the central shrine. The platform is wide enough around the shrine for circumambulation. Along the walls of the enclosure there is a raised verandah all round. The roof is supported by colonnades of stone pillars in two rows. The pathway between these two raised portions is also for circumambulating the central shrine. 

Renovation work was done in the Garbagriha by Aditya Chola III in 750 A.D. and Parantaka Chola I in the 10th Century A.D. In 1216 during the reign of a Bana chief named Ponparapinan Magadesan (also known as Vanakovarayan), the central Shrine of the Arunachaleswarar Temple was gilded. The chieftain also gave three villages to the Temple, and donated 96 cows and 3 bulls for the purpose of burning three perpetual lamps (Nanda Vilakku) to the Lord.
Garbhagriha, Antarala & Mukha Mandapam
Lord Annamalaiyar is personified in the form of Linga in the sanctum - sanctorum of the temple. The Linga is a Suyambu, because it has emerged on its own accord, from the protrusion of Aruna hill from underneath. The Linga is an upright stone, square at the bottom, octagonal in the middle, then cylindrical with a rounded top. The base is embedded in a circular or over plinth. The base of the Linga has a thick gold band around. Its middle is resting in the Aavudaiyar with immense beauty. While the Aavudaiyar is round, the Rudrapagam is covered with golden plate. The Linga is considered to be a living divinity filling the entire space. On the exterior surface of the garbhagriha wall, on the right side, there is Meru chakra, the bed room idol in a recess. To the left of Meru chakra, in a recess of the wall, there is a sculpture of Vinayakar.

In the ante chamber of the Lord, there is to the left Vallabha Ganapathy and next a small silver canopy covering the Chakra of Annamalaiyar—a representation of Mount Meru made out of the five precious metals (panchalohas) with an imprint of Lord Siva’s footprints on top. It is this Chakra that is taken to the retiring Chamber at night to meet with Goddess Ambal Itcha Shakti who arrives from the Inner Shrine of Unnamulai Amman where she is permanently housed during the daytime.

The Shrine of Arunachala marks the centre of the Temple. It is square and access is from the east. At the centre the Annamalaiyar Lingam is enthroned on a circular platform (Aavudaiyar). The bottom portion of the Linga where it meets the Aavudaiyar is encircled by a gold band.

There is a small aberration on the Lingam, which has an origin connected to its original discovery. This aberration is in the form of a slight depression believed to be due from contact with a utensil such as a pick-axe when the Lingam was originally unearthed. As a result of centuries of Abhishekam performed on the Linga, the Linga appears different in this spot than elsewhere.
Before the daily services commence to the prime deity of the temple, first puja is performed to this Vinayaka. On a recess in the wall, on the left side, there is an idol of Yokasakti Amman. She is called Vaibhoga Nayaki. Mount Meru is made up of five precious metals (Panchaloka) and has the imprint of Siva’s foot prints on top. It is really Siva Chakra of a very special design and has a very special function.

The adhishtana ornamentation is entirely sunk under the raised platform on all the sides of garbhagriha and antarala. Dakshinamurti is housed in the southern Devakoshta. This sculpture is decked with snake, fire, rosary and a book in his hands. He is in a sitting posture. Beneath him are Muyalagan and the four sages. Lingodbhavar is enshrined in the western Devakoshta. He is the most important deity of Thiruvannamalai whose holy sport has resulted in the magnificent Aruna Lingam and in the majestic Annamalaiyar temple.
Lingodbhavar is seen with Vishnu in the form of a boar digging the earth and Brahma as a swan. Usually, the swan will be seen in a flying pose. But here it is found seated on the top of Lingodbhavar. Brahma is found on the northern side of the Devakoshta of the garbhagriha in a standing pose holding rosary, kamandalam and bestowing in the Devakoshta of the antarala or the same side she is standing on the buffalo’s head. Abhaya and Katyavalambita are the poses of her hands. Chandikeshwarar is housed in a small shrine facing south just opposite to the sculpture of Durga Devi on the raised platform.

The Dvarapalakas on the exterior walls of the antarala facing east have two hands. The right hand holds a snake and the left is placed on the Gadha and exhibits tarjani mudra. The Ganas found in the vimana are seen supporting the structure, some playing the flute, some drumming, some dancing, same clapping, etc.

The mukha mandapa, a square structure bigger than the sanctum- sanctorum is found detached from the antarala. It has a nandi in the centre called Pradosha nandi and there are sculptures of Surya and Chandra on the walls. The spaces in between the antarala and mukha mandapa on the north and south sides are used as passages to and front in the antarala.
Dhakshinamurthy
Dhakshinamurthy is enshrined in the ghoshta of the sanctum in the first prakara. This deity decked with Snack, Fire, Rosary and Book and is in a seated pose. Beneath him are the Muyalkan and the four sages.
Lingodbhavar
Lingodbhavar is seen with Vishnu in the form of a Boar digging the earth and as a Swan. Usually the Swan will be seen only in a flying pose. But here, peculiarly it is found seated on his head.
Brahma
Brahma with rosary, Kamandalam in two hands and bestowing Abaya by the other hand is seen standing.
Durga
Durga Devi is standing on the head of a Buffalo, Abaya and Katyavalambita are the poses featured by her hands.
Chandikeswarar
As seen in all other temples Chandikesvara is present in a separate shrine.
Friezes of Buta (Ganas)
The Ganas found in the Vimana are seen some supporting the structure, some playing the flute, some drumming, some dancing, some clapping etc.
Dvarapalakas
The two dvarapalakas in the first Prakara is 10 ft high (3mt). He is adorned with Jata Mukada, Mazhu, and Danda and displays Tarjani, mudra, leaning on the Danda. The Dwarapalaka on the left has a snake. The Dvarapalakas in the Sanctum has only 2 hands. Holding a snake in his hand, he has a Gadha and exhibits Tharajani mudra.
Mahamandapa
This is also known as the Eastern Great Hall. In front of the central shrine and over the steps is a platform. The central shrine itself consists of a large and a small room. The large room, which is the eastern portion, is called the Maha Mandapam. It has two doors, one on the east, and the other in the west. The western door opens into a passage running from north to south, which separates this room from the Sanctum Sanctorum.
Surya is installed in the north-eastern direction facing Arunachala. It is thought that the reason that Lord Surya is positioned so close to the Central Shrine at Arunachaleswarar Temple is because during Karthigai Deepam, Surya as representative of the Sun and Light has a particular connection with the mythology of the Festival.
In the centre of this mandapam is the Pradosha Nandi, the first Nandi of the Temple – as is so with the other four Nandis, Abhishekam is performed to Pradosha Nandi during bi-monthly Pradoshams. On the base of the Garbhagriha are found epigraphs of Vijayalaya and Parantaka I; but the base of the Mahamandapam is completely hidden by the platform which is believed to have been built quite recently by the Chettiars. The thick lime-wash in many places has obliterated inscriptions. In this hall there are some inscriptions on the walls. In the passage, between this hall and the Garbhagriha on the western wall of the Mahamandapam—on the left is the figure of a man with a beard and on the right there is a figure of a clean-shaven man. 

The first prakaram goes all around the inner shrine. On the outside wall of the inner shrine there are the following murtis: Ganapati and Dakshinamurti to the south, Lingodbhavamurti in the west with Brahma and Durga in the north.
After Goddess Durga, there is a small shrine dedicated to Chandikeswara. The statue dates from the mid 19th Century. There are two Dwarapalakas (Celestial Gate Keepers) guarding entrance to the Central Shrine – they have matted hear, wear crowns and carry dhandam sticks as weapons.
The main shrine, made up of a cella and a vestibule, bears tenth-century inscriptions on its base, but above there has been extensive remodelling. The Sanctum Sanctorum or Garbhagriha has only one door to the east, opposite the door of the Mahamandapam. These two structures are estimated to be over 1350 years old. On entering the Garbhagriha one finds it has two divisions, the eastern portion is for accommodating devotees to perform Puja through the agency of Gurukals while the western hall contains the Lingam representing ‘Aroopa Nishkala Arunachala.’ This ancient Lingam has been worshipped by devotees for over 2000 years. 
The mahamandapa is an open square mandapa supported by four rows of pillars of six pillars in each row. While the exterior rows are at the ends of the mandapa, the interior two rows from a passage leading to the main structures. There are two pillars at the entrance of the main structure forming a rectangular space in the middle in which situated the Bali peedam and nandi. On the eastern side also there are two pillars one on each side in between the rows.

All the pillars supporting the mukha mandapa are aniottikkals with rampant yalis facing each other and an elephant beneath. At the top of these pillars there are lion faces supporting the beams of the mandapa. On the front eastern side there are lamps called rathavilakku (lamps in an order of a ter). The Dvarapalakas is adorned with jatamakuta, Mazhu, danda and displays tarjani mudra leaning on the danda. On the left side of the Dvarapalakas, there is a snake. The entrance of the mukha mandapa is called Uthama Cholan Vayil.
Thiruchutrumalikaipatti adjoining the Enclosure Wall & Shrines
On all the sides of the enclosure wall of the first prakara there are Thiruchutrumalikaipatti on a raised platform. Excepting the eastern portion where there are many rows of pillars, the southern and northern Thiruchutrumalikaipatti are supported by twenty pillars each. The western Thiruchutrumalikaipatti has fourteen pillars. The eastern side is supported by four rows of pillars. The eastern most rows have 16 pillars. The other three rows have 14 pillars each. All the rows leave a central passage by dividing them equal half of the numbers of pillars facing the garbhagriha, ardhamandapa, mukha mandapa and mahamandapa and the reciprocal side of pillars of the main structure are of the same type to that of the central pillars of the mahamandapa.
The Thiruchutrumalikaipatti adjoining the enclosure wall on the southern, western and northern sides has statues, Lingas and little shrines. Starting from the south – east side, there are the figures of Tirugnanasambandar, Tirunavukkarasar, Sundarar and Manikkavacakar glowing in their shrines. Next to them are the sculptured images of sixty – three Nayanmars, together with some Lingas. The south – west corner of this Patti has the shrine of Sthala Vinayakar. It is said that it was erected by Sembiyan Madevi, the queen of Kandaratirtha Chola. The shrines cover 4 pillars on the western side. In the centre of this western Patti there is the shrine of Venugopala. Venu is the flute, a musical instrument. The Lord is found with his two consorts Ratha and Rukmini. Hanuman and Garudalwar are also in this shrine worshipping the Lord. This shrine was built by Kulottunga.

Lord Arumuga with six faces and twelve hands along with his consorts Valli and Devasena adorn the shrine situated on the north – west corner of this Patti. In northern side, there is a passage leading to the Unnamalai Amman shrine. The passage is called Vaikuntha Vaasal and it is located between the tenth and eleventh pillars. The north western row consists of the utsavamurtis of various deities, sixty three Nayanmars, Pitchadanar and Shanmuka. On the north eastern side, there are the shrines Kala Sankarar, Bhairavar, Bed chamber and the shrine of Nataraja. The image of Kalasankara is three feet high. He is armed with Mazhu, pasa, sula and kapala. He is in the pose of killing Yama, who is called Kalan. This beautiful image dates back to thirteenth century A.D. The image of Bhairava is three and half feet high. He holds damaru, pasa, sula and kapala in his hands. The image of dog is nearby. The fire halo necklaces are his ornaments. The bed chamber is situated next to Bhairava shrine. The idol of the Goddess is small. The Lord is represented by Meru chakra. Besides the bed chamber, there is a well from which water is drawn for ablutions to the deities.

Lord Natarajar Shrine
This shrine is situated on the north – eastern part of the northern Thiruchutrumalikaipatti facing the east corridor. The Lord is in dancing posture. Goddess Sivakami is on his left side. The utsavamurtis of these images and of Manikkavacakar in anjali pose are also in this shrine. The Lord’s dance represent the Panchakrityas namely creation, sustention, concealment and bestowal of grace. The damaru represents the principle of sabda and hence Akasa (ether) which immediately proceeds from the Atman and is responsible for creation. The fire which is in the left hand represents Pralayagni, the fire that destroys at the time of destruction of the universe and symbolizes the process of destruction. The lower left hand which points to the raised left leg indicates the need to take refuge at the feet of the Lord, and the lower right shows abhaya mudra which represents the protection and bestowal of grace. The right leg is placed on Apasmarapurusa who symbolizes the ignorance which makes us lose our real nature. This is concealment.
The Eastern Thiruchutrumalikaipatti
In the north – eastern part of this broader Thiruchutrumalikaipatti there are the utsavamurtis of Somaskandar, Sivakami, Subramanyar, Vinayakar, Chandrashekarar together with Sivakami and Astradeva all facing south. This part is fenced with iron rods. Dress chamber is also within this part. The south western part is vacant and is used by temple priests for their spiritual activities.
Venu Udaiyan Vayil
The main entrance to the first prakara has huge wooden doors called Venu Udaiyan Kathavukal and the entrance is called Venu Udaiyan Vayil. On either side of this entrance Dvarapalakas stand watching the devotees carefully. As one enters through the open doors one could see the lion – faced statues that are hanging suspended from the ceiling close to the entrance. The tower which is directly on the main entrance is called Rishi gopuram. This tower is not generally counted with the other nine gopurams. It is stated that this court was started by Rajendra Chola I and was completed by the Kadava King Kopperunjingan.
Kodimaram Mandapam
The Kodimaram or flag staff mandapa is a rectangular open mandapa adjoining the western side to the enclosure wall of the first prakara and is supported by four rows of pillars, each row containing 5 pillars each, leaving a central passage. The Nandi locally called Adhikara Nandi is in the central eastern part. It is housed in the four pillared mandapa. Nandi being the holder of all powers over the Siva Ganas, it is called Adhikara nandi. Nandi is the first Guru. In front of it, in western side, there is Bali peedam where the devotees are expected to kill their egoism, ahamkara.
The flag staff is on the back of the Nandi and in front of the mandapa. The flag staff has 32 strips. It represents the back bone of the human being which has 32 bones. It is also divided into six aortas representing the six adharas Mooladhara, swathisana, manipuraka, visddhi and ajnai. In another aspect, the flag staff is Lord Siva, the coir is bestowal of power, the cloth is the self, and the dharbha grass is pasa. The Dhavajarohana or flag hoisting represents the taking up of the prana from susuma nadi through the six chakras to sahasranama.
Sambanda Vinayakar Shrine
This shrine is located in the area to the south of the Kodimaram mandapam. The intervening space between the Kodimaram mandapa and this shrine is connected by 4 pillars adjoining the north side of this shrine. There is a small passage between the back of this shrine and the enclosure wall of the first prakara. The statue of Sambanda Vinayakar looks crimson smeared with saffron. Hence, it is called Sennira Vinayakar.
Palaniandavar Shrine
This shrine is situated to the north of the Kodimaram mandapa and adjoining the enclosure wall of the first prakara. It consists of a square cella and a square ardhamandapa. In front of it there is an open mandapa supported by two pillars on the eastern side. The adhishtana shows upana, jagati, tripatta kumuda, kanta pattiyal, kanta and vedhi, and the Nagara vimana has a circular kalasa.
The deity in the garbhagriha is similarly to that of Palani Dhandayuthapani Swamy temple. Hence, the deity is called Palani Andavar.
Though the above description is made under the first prakara, the archaeologists do not consider it as a prakara since it has no open count. They consider the temple as having only three courts. Tradition treats even the so called first prakara as comprising two prakarams, one the pavement along the main structure, and two the Pradakshina Patha in between the pavement and Thiruchutrumalikaipatti adjoining the enclosure wall, and hence it believes that the temple has five prakarams. Architecturally, only when the Mada Veedhi is treated as a prakara, the total comes to five courts. Traditionally people believe that the Car Street and Girivalam path are also the prakaram of the temple.