Kailasanathar Temple, Brahmmadesam – The Temple
The
Brahmmadesam temple is huge hidden gem of Chola, Pandya, Vijayanagara and
Pandya style architecture. The devotees and connoisseurs of art and
architecture will enter into the Brahmmadesam temple through the east facing
massive seven tier Chola style Rajagopuram (brick and wooden structure)
profusely adorned with stucco images. The top of the gopuram has a Shala
shikhara resembling a barrel made to rest on its side and crowned with seven
finials (kalasams). The steps are leading to all the seven tiers of
Rajagopuram. The seventh tier of the gopuram has small corridors on all four
sides and served as watch tower.
The
temple doesn’t find mention in the Thevaram but inscriptions are aplenty. The
temple is an architectural marvel. Nandikeswara, Nataraja (Punugu
Sabapathy), Athma Vyakya Dhakshinamoorthy with chin mudra facing his own self
in a rare self-preaching posture and Jwarahara Deva are a few examples of the
sculptural treasures of this temple.
The Arudra Mandapam and Somavara Mandapam
are examples of Architectural excellence. The magnificent Dharma Nandhi is
skillfully carved in a single stone. This is a very fertile village benefitted
by Thamirabarani and Ghatana River.
The
temple and the village were gifted to the Brahmins by the Raja Raja Chola for
the chanting of all the 4 Vedas. It is easily one of the largest temples in
that region. Everything about the temple is massive. The temple even has five
wells within its compound.
Towering pillars support the numerous halls in the
temple, with each adorned with wonderful sculptures. There are ten gopurams in
the temple and there is one specific point within the temple compound from
where all the ten gopurams of the temple can be witnessed.
The huge
wooden doors with intricate carvings at the main entrance and the wood
sculptures inside the temple indicate the active participation of artisans from
Kerala in the construction of this temple. Pradosha Sabhai with Pradosha
Moorthy, Ashta Dik Balakas with their respective Vahanas, Siva Boothaganas and
Apsaras women are very rare specimens of iconography. Chandikeswari goddess
Saraswathi and Uchchhishta Ganapathy are seen in the Prakara of the goddess
Brahmanayaki’s shrine.
This is
the birthplace of Sri Sarvagna Atmendra Saraswathi Swamigal, the second Acharya
of Sri Kanchi Kamakodi Peetam. This temple is very big, ancient and rich in
sculptural wealth. Unfortunately, the temple had lost its sheen over the years
and presents a relatively dull state at the entrance. It is only when one gets in;
one realizes the majesty of the temple and one easily gets into a reverie of
how the temple would have been in its glorious days.
The
reigning lord is called Kailasanathar. Apart from this there are five Siva Lingas
in the temple, including Kasi Viswanathar, Arunachaleswarar and Madurai
Meenakshi Sundareswarar, each having their own individual sanctum. This is just
one instance for one to imagine the size of the temple. The temple even has
five wells within its compound. Towering pillars support the numerous halls in
the temple, with each adorned with wonderful sculptures.
The
temple door (those familiar with the serial Annamalai would not have forgotten)
is gigantic in size with intricate wooden carvings. Aesthetically designed
long pillared mandapa is located between Rajagopuram and main sanctum. The
mandapa is supported by 10 square-based pillars and two non-figural cluster
pillars carved with 12 lion brackets and 12 drop brackets. The pillar faces
also bear bas reliefs. The roof of the pillared mandapa showcases the Kerala
wooden roof pattern but sculpted in stone.
Balipeeta
and Dwajasthambam on carved platform also appear huge. The unparalleled bell
and three chain links sculpted from single stone is suspended from the
roof. The niches on the outer wall for Ganapathi and Subramanya are
sculpted according to Mada kovil architecture. A small sanctum for the four Thevara
sages is at south side. On top of the entrance to the main sanctum there is a
small gopuram.
Entrance:
The east
facing temple has a gigantic seven tiered tower (Rajagopuram). The
sight of the tower is stunningly beautiful. A big lotus pond is found outside
the temple tower. The majestic wooden doors at the entrance are carved
with the beautiful images of various deities. Undoubtedly, the combination
of the above three things, increase the ambience of the site in the
beginning itself.
The
huge wooden
doors with intricate
carvings at the main entrance and the wood sculptures inside the
temple indicate the active participation of artisans from Kerala in
the construction of this temple. Pradosha Sabhai with Pradosha Moorthy,
Ashta Dik Balakas with their respective Vahanas, Siva Boothaganas and Apsaras
women are very rare specimens of iconography. Chandikeswari goddess Saraswathi
and Uchchhishta Ganapathy are seen in the Prakara of the goddess Brahannayaki’s
shrine.
Front side Mandapa:
The area
between the tower and the entrance to the main temple is completely covered on
top. Although it looks like a typical Kerala type roof made up of roof, it is
actually made of stone. The stone bell along with the chain can be seen in this
roof. It is also made up of single stone which itself is a sculptural marvel. The
Bali peetha is unusually big in size.
The huge
Nandi idol is made up of single stone and very impressive carvings are found on
its body. The Nandi mandapa (the platform where Nandi is placed) has
some beautiful sculptures of divas. The flag staff (dhwajastambha) is thick and
tall and it is unusually placed on top of a carved platform. The entire area is
full of wide pillars with sculptures.
A unique
feature of these pillars is that there are six pillars placed together to
form a single pillar; there are two such combination of six pillars found in
this mandapa. The either side of the entrance of the main temple has two big
shrines dedicated to Ganesha and Subramanya respectively. Both these shrines
are built as per maada kovil architectural style.
Main Shrine:
The main
shrine has four sections sanctum, ardha mandapa, maha mandapa and the exterior
mandapa. Lord Kailasanathar (Shivalingam), the presiding deity of this
Brahmmadesam temple is enshrined in the east facing main sanctum of the
temple. There is a smaller size ardha mandapa in front of this sanctum
that leads to the pillared maha-mandapa in front. The maha-mandapa is the long
spacious construction consisting of carved pillars on which are bas relief
images depicting compositions from Saivite mythology.
The
niches on the outer wall on either side of the entrance of the sanctum,
houses the tall Dwarapalakas. Lord Ganesha is also enshrined in a separate
niche on the left corner of the outer sanctum wall. The vimana above the main
sanctum is embellished with elegant images illustrating legends from Puranas.
A dwarf Nandhi is located before the main sanctum. There is a closed
circumambulatory (Pradakshinapatha) passage around the sanctum. There are
shrines for Surya, Saptamatrika and Chandra before the sanctum.
There
are also few small sanctums for Lord Athma Vyakya Dhakshina Moorthy
(appear with chin mudra facing his own self in a rare self-preaching posture),
63 Nayanmars, Jwarahara Deva, Bala Ganapathy and Mahishasuramardhini in the circumambulatory
path (prakara) of the main sanctum. There is an exterior mandapa which has an
interesting wooden entrance with intricate sculptures of four divas.
This wooden structure appears to be hardly 200-300 years old.
The
statue of king Viswanatha Nayaka appear with folded hands appear in maha-mandapa
before the sanctum. There are separate sanctums for Lord Nataraja and goddess
Sivakami (bronze procession deities) in the maha-mandapa. On the way to Brahmma
Nayaki sanctum, one can notice the yali image with a stone ball on its wide
opened mouth. No one is able to remove the ball from yali's mouth.
Punugu Sabapathy Shrine:
Punugu
Sabapathy (Lord Nataraja) with consort and the sages Patanjali and Vyagrapathar
are enshrined in the south facing sanctum located in the northern prakara of
the main sanctum. Punugu is the highly perfumed substance extracted from a
specific kind of rarely living civet cat (Viverra Civetta) and the image
of Lord Nataraja was composed with Punugu.
Goddess Shrine:
The
presiding Goddess of the temple is Periya Nayaki aka Brahmanayaki. Her
sculpture is big in size and extremely beautiful. She is in the standing
posture and carries a lotus flower on her right arm. Her shrine looks like a
separate temple with separate vimana, prakara, Bali peetha, flag staff and
Nandi. Her shrine is located to the left side of the main shrine. The Goddess
shrine is usually found outside the main shrine, adjacent to the main shrine or
in the prakara. However, in this temple the Goddess shrine is located in a
faraway place from the main shrine and facing south. Instead, it is located
adjacent to the shrine of the original deity of the temple.
The
front side mandapa of the shrine has pillars with impressive carvings. The
entrance of the shrine has the idol of Ganesha. The prakara surrounding the
shrine has the sub-shrines of Saraswathi, Arumugam with Valli and Devasena, Chandikeswari,
Siddhi Vinayaka, Saneeswara holding lotus in his right arm (unique style)
and Nalayiraththamman (a powerful village deity).
The Original Deity:
Although
the current presiding deity of the temple is Kailasanathar, it is believed that
the original deity of the temple is Ilandai Adhinathar. The shrine of
Ilandai Adhinathar is found adjacent to the shrine of the Goddess. As per the
legend, Lord Brahma and his grandson Romasa Rishi worshiped the deity. The Sthala
Vruksha (holy tree) of the site, Ilandai tree is found on the back
side of the shrine.
The God
is probably named after the holy tree. The Shiva Linga is small in size. It is
believed to be a Swayambu deity. A small Nandi is found facing the shrine. The
shrine has a separate vimana. The Dwarapalas images at the entrance of the site
are very attractive. The Shrine is situated in the northern corner in the outer
circumambulatory path (prakara).
Apart
from Lord Kailasanathar the temple has four more Shivalingams enshrined in
separate sanctums in the second circumambulatory path (prakara):
·
Ilandhaiadinathar (Badari Vaneswarar)
·
Kasi Viswanathar with
consort Visalakshi)
·
Arunachaleswarar (with
consort Unnamulai)
·
Sundareswarar (with
consort Meenakshi)
Somavara Mandapa:
This
intricately sculpted pillared mandapa is located before goddess Brahmma Nayaki
shrine and nearer to Ilandai Adhinathar shrine. Elaborately decorated pillars
of this mandapa form an integral part of this architecture and have ornamental
pendant (terminating in an inverted flower bud) potigai (or cornice bracket) or
seated lion potigai. On all four faces of the pillars are dotted with
elaborate bas relief’s image compositions depicting mythological themes.
Large
life-size sculptures of Bheema, Purushamrigam, Arjuna, Karna, Vali,
Sugreeva, Rati and Manmadan adorn the pillars. Some other pillars are
monolithic yali pillars showcasing the charging yali (often compared with
hippogryphs) standing on hind legs with fore legs lifted.
Thiruvadirai Mandapam:
Thiruvadirai
Mandapa is an important place within this temple compound. This long
mandapa has a shrine dedicated to the stone images of Nataraja and Sivakami.
The hall is full of beautiful sculptures and intricate carvings in the pillars.
The sculptures and carvings depict various Gods, Goddesses, seers, epic
characters, mythological animals such as yazhis, elephants, dance, music,
battle and even erotic. The temple’s nellkuthupirai or the mandapam to
process and store rice lies in a dilapidated condition.
Arudra Mandapam:
Arudra
Mandapa, huge Nayaka / Vijayanagara style pillared mandapa, is located on the
North Eastern corner of the temple complex and one can see this structural
mandapa on his right side when he enters into the temple. The mandapam was
built on four to five feet high rectangular Athistana with conventional moldings
has bas relief images on Natya Sastra and carved friezes at a fairly high
kantha moulding. It also has ornate stepped entrance on the south side of the
balustrades (parapets) with mounted rider on elephant, horse standing
on its hind legs with fore legs lifted and mounted rider on the back, woman
playing drum and the rampant yali.
The
sixteen decorated peripheral pillars of this mandapa are elaborate
compositions: two rows of four monolithic cluster pillars at the
facade and twenty monolithic yali pillars at the rear side showcasing the
charging yali (often compared with hippogryphs) standing on hind legs with fore
legs lifted. The mythological Yali motif, deemed as the hybrid of five animals
i.e, lion head and body, goat horn, pigs ear, cow's tail, elephant trunk and
tusk, has been widely adopted in Vijayanagara and Nayaka pillars. The leonine
beast often imagined as hippogryph.
Each
cluster pillar is really a cluster of delicately carved smaller pillars around
the central pillar shaft. Over the cluster pillars the immense size brackets
support the heavily carved entablatures and plane ceiling. The five to six feet
high cluster and yali pillars have 12 carved lion brackets and 12 drop
brackets. Some pillars also showcases awesome sculptures of elephant, amorous
couples, dancers, musicians, sages, gods and goddesses depicting events from
Hindu mythology and so many intricate carvings.
Kankalanathar Shrine:
The
south facing Kankalanathar (Kankala means skeleton - fearsome form of Lord
Shiva with the skeleton) shrine is unique and found only in Brahmmadesam
temple. It is located near Ilandai Adhinathar shrine. The prime deity in the
sanctum is Lord Kankalanathar (one of the three most popular aspects of
Bhairava, a form of Lord Shiva and the others being
Brahmashiraschedaka-murti and Bhikshatana-Murti - known for seeking
alms).
The
Kankala-Murti iconography is quite similar to Bhikshatana-Murti and
the subtle difference is that Bhikshatana is nude but Kankala-Murti is clothed.
Although Kankalanathar image is found in many temples, it is very rare to
find him along with so many deities and seers. It is really an awesome sight to
find so many sculptures and bas-relief stucco images in just one shrine. Here
comes the really unique feature of the temple. There is a special sanctum;
rather a room and the mere entry into it left us spell-bound. We have largely
witnessed Siva in the form of a Linga. Here, Lord Siva takes a human form.
There is
a standing statue of Lord Siva in the name of Kankalanathar who goes out
seeking alms in the normal human form. The entire deva loka is awe-struck by
the simplistic form taken by the lord and come all out to watch the glorious
form of the lord. This sight is so vividly and beautifully captured by
sculptures embedded on all the four walls of the room. As such the walls are
fitted with beautiful stone carvings of various gods and goddesses and you can recognize
Vishnu, Brahma, Saraswathi, Vinayaka among others who have come down to watch
this proceeding. In fact, staying in the room one gets a feeling of being part
of a grand procession.
At this
shrine Lord Kankalanathar and the Buta Ganas are the sculpted deities.
The 7 feet in high idol of Lord Kankalanathar appear in a sthanaka (standing)
posture with his left leg straight and firm on the ground and his right one,
slightly bent, suggesting walking. The lord wears jata makuta (crown like hair
dress) with crescent moon on the right and a serpent and datura flowers on the
left. He wears snake ornaments all over the body, yajnopavita (sacred thread)
across the chest, waist-band on the waist with golden dagger tucked in it, and
ordinary kundalas (earrings) or a makara-kundala (makara-shaped earring) in the
right ear and a shankhapatra (earring made of conch) in the other.
Of the
four arms, the lower left arm holds the damara (the hour-glass drum); the lower
right arm beats the damara with bana (drum stick); the upper right hand
stretched downwards in kataka mudra; and the upper left hand holds 'Kankala
Danda' (skeleton-staff). The staff appears to be resting on the shoulders of
the Lord. Some other legends point out that the Lord carries the corpse of Lord
Visvakshena, the prime guardian of Lord Vishnu. The Lord appears with number of
associate deities, sages, and demonic attendants like Buta ganas,
animals and love-sick women. The six numbers of dwarfs Buta ganas appear
in either sides of the Lord. All the six of them carry some music instruments
like sirattai kinnari, mridangam, conch, flying whisk and
flute.
The rear
wall shows the following bas relief stucco images:
1.
Surya (sun) and Chandra
(moon) on top
2.
Lord Kubera mounted on
horse vehicle
3.
Lord Brahma mounted on
Swan (Hamsa or Anna pakshi)
4.
Lord Vishnu mounted on
Garuda (Eagle) vehicle
5.
Lord Indira mounted on
elephant vehicle
6.
The celestial beings like
Kinnaras, Kimpurusha and Sage Agastya appear with his two consorts and the sage
is holding Veena and some other instruments;
7.
Lord Vigneshwara mounted
on Mooshika vehicle
8.
Karthikeya mounted on
peacock vehicle
9.
Lord Vayu mounted on deer
vehicle
10.
Lord Varuna mounted on
Makara vehicle
11.
Lord Eshanan (Lord Shiva)
mounted on bull vehicle
12.
Lord Agni mounted on goat
vehicle.
13.
There are also stucco
images of lovely divas aka Apsaras appear in various postures - standing,
sitting, viewing mirror (adarsa), sleeping etc.
Other Important Shrines:
Behind
the holy tree, there is a big shrine dedicated to Chokkanathar.
Chokkanathar is found in the form of Shiva Linga. His
consort Meenakshi is also found in a separate sub-shrine. This shrine
looks like a separate temple with a separate vimana on top and Nandi in-front.
The front side mandapa has many pillars with intricate carvings. In the outer
prakara, there is a separate shrine dedicated to Subramanya and his
consorts Valli and Devasena. This shrine too has a separate vimana.
The
outer prakara also houses the shrine of Vishwanathar and Vishalakshi. It
is also a big shrine with a separate vimana. Another important shrine found in
the outer prakara belongs to Annamalaiyar and his
consort Unnamulai. This is again a big shrine almost in the size of small
temple. However, this main shrine strangely does not have a separate vimana.
The Dhakshinamoorthi idol
found in the inner prakara is in unique posture of chin mudra; it is said that
he is self-preaching. The idols of twin Ganeshas called as "Irattai
Vinayaka" along with Vishnu and Brahma are unique; they are located
in the outer prakara. From a particular point at the backside of the prakara,
we could get the sight of all the seven vimanas and three towers together.
Other Deities:
The idol
of Bhairava is found near Kankalanathar shrine. The inner prakara around
the main shrine has the idols or sub-shrines of Nalvar, 63 Nayanmars, Jura
Deva, Shasta, Sapta Matas, Ganesha, Vishnu Durga, Mahishasuramardhini, Surya,
Chandra, Subramanya, Chandikeswara and Gaja Lakshmi. There are no koshta
deities in the prakara. However, there are some interesting stone carvings
depicting elephants, yazhis and other animals in the outside wall of main
shrine.
Mural Paintings:
There
are few mural paintings which are almost destroyed in the walls of outer
prakara.
Theerthams:
·
Brahma Theertham
·
Romesa Theertham
·
Tamirabarani River
·
Ghatana River
Inscriptions:
Sadasiva
Raya of the Vijayanagar dynasty gifted an entire village to the temple, and the
village came to be known as Raja Raja Chaturvedimangalam, a Brahmadeya (a tax
free land gifted to Brahmins) in Mulli Nadu. Another inscription mentions the
gift from Veppangulam to fund festival expenses through the year. Many 16th
Century inscriptions speak of gifts by local merchants. Another from the same
time mentions one Ayyangara Nayaka, the son-in-law of Peddu Nayaka, who built
the inner gopuram.
Another
long inscription dating back to 1,625 is seen at the entrance. It records the
royal writ granted by Viswanatha Nayaka through which the members of the five sub-divisions
of artisans (Kanmalar) should not intermingle with each other. The temple
authorities also declared the same for the benefit of their subordinates.