Vandiyur Mariamman Teppakulam

Vandiyur Mariamman Teppakulam

Madurai in Tamilnadu, is known popularly as the 'City of Festivals'. And among the many festivals big and small which take place there throughout the year, one of the most picturesque is the Float Festival or ' Teppothsavam'. On that day, the idols of Goddess Meenakshi and her consort Lord Sudareshwarar are taken in grand procession to the big lake called Teppakolam, and drawn round and round a shrine built in the middle of the small island in the center of the lake, seated on a decorated float called 'Teppa'.

The float festival was originated in the 17th century by king Tirumala Nayaka who reigned in Madurai. The local story is that the king had a new palace built and to make bricks for it, a great excavation was made. Later, he converted the excavated depression into a sixteen acre lake, fed the same by the Vaigai river through underground channels and built the temple of Ganesha on the artificial island in the middle. Then he started the custom of taking the divine idols for a boat ride on the waters of the lake on his birthday. Generally, this festival is celebrated during January of the year beginning with Sankranthi (Pongal) festival.

At dawn, the processional idols of Meenakshi and Sundareshwarar start out from the main temple in great pomp. The deities are carried in golden palanquins escorted by elephants, horses, musicians and thousands of devotees. After reaching the Teppakolam, about three kilometres away, the deities are placed in a prepared 'Mandapam' on the banks of the lake, where the devotees are allowed to worship them. The idols are then taken in palanquins and placed on a great raft-like structure, colourfully decorated with varieties of flower garlands, silken buntings, paper lanterns and masses of flowers.

Hundreds of devotees catch hold of the two big ropes by which the float is drawn and they await the signal to start. One rope is pulled by men standing on the central island and second by those on the bank of the lake. After the final ritual of worship the priests give the signal and the men strain at the ropes.

Slowly, the great float moves away from the shore and begins its circuit. As the men on the rope run along the bank of Teppakulam the thousands of spectators crowding there enjoy by shouting the names of the deities in great joy. The float itself moves around the lake at a slow, steady pace. After a couple of rounds, which take more than three hours, the ornamental raft is moved to the central island and remains there till the evening. All through the day, a number of boats ply to the island bringing thousands of devotees to worship.

The scene in the evening is even more wonderful and over a lakh of people gather to watch the procession. As dusk falls, all the five towers of the island temple glow with coloured light illumination. And thousands of little oil-lamps are lighted in the niches of the walls overhanging the lake. All are brightly reflected in the water and it looks as if the lake is a glow with its own light. After the gun signal booms, the float is also illuminated with strings of coloured electric bulbs, banks of fluorescent tubes and a blaze of flood lights turning the ornamental raft into a dazzling sight.

Soon afterwards, a display of fireworks starts on the shore and an answering boquet of red and green flares soars up from the central island. Another gun signal booms and the float begins to move. The water ripples and the reflections of coloured lights form ever changing patterns. As the raft makes its slow round of the lake, the fireworks continue and the people cheer and fold their hands in prayer to the deities. After completing a full round, the float is brought to the shore and the divine idols are taken out with great ceremony. Then follows the enactment of scenes from the legend relating to the deities. Finally, the idols are mounted on a beautifully decorated golden horse and return to the main temple in a great procession.

This float festival attracts large number of tourists and visitors and the entire city wears a festive appearence.

Brought from the Vagai through an ingenious system of underground Channels. King Thirumalai Nayak born in 'Poosa' Star. so in commemorating the birth of the king, Float festival is conducted in Tamil Month 'Thai' (Jan/Feb) in the tank in a colourful way, which attracts thousands of tourists.

Azhagar Kovil

Azhagar Kovil

Located 21 kms northwest of Madurai is a Vishnu Temple on a picturesque wooded hill. Here 'Vishnu' presides as Meenakshi's brother 'Azhgar'. During the Chitrai festival in April/May, when the celestial marriage of Meenakshi to Sundareswarar is celebrated, Azhagar travels to Madurai. A gold processional icon called the Sundararajar is carried by devotees in procession from Azhagar Kovil to Madurai for wedding ritual. Palamudhirsolai, one of the six abodes of Lord Subramanya is on the same hill, about 4 kms. above. A natural spring called Nuburagangai where pilgrims bath, is located here. Alagarkovil, a village situated very near Madurai at the foot of the range of hills called Alagarmalai, is famous for its ancient . Vaishnavite temple, and the beauty of exquisite sculptures in the hall and other 'mandapams' of the temple. The Alwars have sung in praise of the deity of the place and the hills. In addition, Nakkirar, the Tamil poet has composed several popular poems about this deity. As the place itself suggests, the temple is dedicated to Alagar who is popularly known as Sundararajar. It is said that Alagar kovil attracted pilgrims even in the early days of the Sangam age. The temple is built on an extensive area in a very picturesque spot, surrounded by the ruins of a historic fort. The impressive main tower at the entrance, believed to have been built by the Pandyan Kings, has some beautiful sculptures depicting scenes from the epics. According to historical records, Malayadhwaja Pandyan, son of Kulasekhara Pandyan, who is said to have established the Pandyan kingdom, appears to be the earliest known monarch who patronised this temple. Jatavarman Sundara Pandyan, who reigned during the period 1251-1270 A.D., beautified the 'vimana' of the 'sanctum sanctorum' with gold plates. Later, during the reign of the Vijayanagar king Krishnadeva Raya, the temple was endowed with revenues from two villages for conducting regular festivals. After the end of Pandya rule in Madurai, the Nayaka kings became the chief patrons of this deity. The famous Nayaka king Vishwanatha, who ruled in Madurai during 1558-1563 A.D., made magnificent donations to this temple. The main deity of this temple is called Paramaswamy and the processional idol is called Alagar and also Sundararajan. This beautiful idol is made of pure gold and is a fine example of craftsmanship of the ancient period. The shrine of Kalyana Sundaravalli, the divine consort of Alagar, is in the southern enclosure. There is another shrine in the north dedicated to Andal who is said to have visited this place with Periyalwar from Srivilliputtur. Other important shrines are those of Sudarshanar and Yoga Narasimha. Karuppannaswamy, the God of Kallars and the finely carved eighteen steps, are held in great reverence by the devotees. It is claimed that nobody will dare tell a lie at this spot. The hill by the side of the temple is about 300 metres high and is famous for its holy springs called Silamboru and Noopura Gangai. According to local tradition, this spring is said to have originated from the anklets of Maha Vishnu during His incarnation as Trivikrama. The 3 kms path on the hillock to the temple of the summit, where bathing facilities are available, offers some beautiful natural scenery to the visitors. The Kalyana Mandapa of the temple has beautiful sculptures on its pillars which are fine specimens of Nayaka art. In addition to the life-size sculptures of the kings who ruled over this place, there are many delicately carved idols relating to the epics. They are magnificent in concept and yet jewel-like in the delicacy of the chisel. Some of them surpass the workmanship found in similar pillars of the famous Meenakshi temple of Madurai. The notable ones are those of Narasimha, Krishna, Rathi seated on the parrot, Manmatha and Vishnu on Garuda and a few others. Apart from these the idol of Tirumala Nayaka found on a pillar is claimed to be the best when compared with similar figures found elsewhere. The inscriptions of various dynasties found in this temple, as also in a cavern on the hill, throw light on the antiquity of this place. Some of them date back to the glorious reign of Ashoka. It is believed that the renowned Jaina teacher Ajjanandi and his disciples were staying on the caves of this hillock. Amongst the many festivals that are conducted here, the Chitra festival is the most important one. During this festival, the processional idol of Alagar is taken to Madurai, halting at various places on the way. This festival attracts thousands of pilgrims and visitors from South India as well as from other parts of the country. A legend is popular how Alagar, the brother of Meenakshi was unable to attend her marriage in time and how he turned back from the banks of the Vaigai river. It is surprising what a strong visible influence this picturesque belief has been left in the environs of Madurai. Alagarkovil is only 21 kms from Madurai and is connected by an excellent road. Frequent buses operate to this place from Madurai. Taxis are also available. There are a few rest houses at Alagar koil, but it is advisable to stay at Madurai where excellent lodgings of all grades are available.

Thirupparamkundram

Cave temples have been so much identified with the Pallavas (600-850 A.D.), that many people do not know that other rulers also excavated similar rock-cut cave temples and monoliths. The Pandya rulers especially could be credited with a large number of these cave temples but for want of a more definite nomenclature, historians club all these together under the common term, Pallava style even though these temples are in the heart of the Pandya country where no Pallava ever set foot. Many of the big and small temples around Madurai in Tamilnadu and the Muruga temple at Tirupparankundram are popular. Situated almost on the outskirts, only 7 kms away from Madurai, Tirupparankundram, Parankundram, as it was known in the olden days, has been a place of pilgrims throng to the shrine of Muruga (Subramanya) in their multitude, but hardly one of these devout souls pays attention to the beauty of the temple or the construction of the sanctum. From the beautiful Asthana Mandapam on the main front facing the street, which figures in every tourist's photograph collection, one climbs, through two higher mandapams to the Sanctum of Subramanya, where one is lost in the sanctity of it and hardly notices anything else. Actually, the shrine is a large rectangular chamber excavated into the huge main rock. There can be no doubt about its age and there are many inscriptions, which speak of repairs and renovations refer to this shrine in the ancient days. Other insciptions refer to the founding of a few more shrines at the place. From these evidences, we could see that the shrine of Murugha should have existed prior to the eighth century A.D. It is probably very much earlier as it is mentioned in the Agananuru and other Sangam works and in the Thevaram. All these works refer to the place as Parankundram. The Paripadal (about the 6th century A.D.) gives a very graphic description of the route from Madurai to Tirupparankundram when the Pandya king visited the place in state. The Poem describes in minute details, the many shrines, mandapams and painted chambers not omitting even the monkeys which were as plentiful then as they are even to this day. This rock-cut Pandya sanctum follows the usual plan of many such edifices with two chambers on either side and reliefs on the facing wall. In the chamber on the west is a Linga with the characteristic Somaskanda panel on the back wall as in many early Pallava shrines. The Chamber on the eastern side has a relief of Vishnu and on the wall facing the entrance is a figure of Durga inside a shrine chamber. On either side of this are the figures of Subramanya and Ganesha respectively. The entrance has early type cubical pillars with lotus medallions and angular bevel corbels with roll ornament, so characteristic of the Pandya caves. There are two Dwarapalas at the main entrance and two more each on either side of the Linga and Vishnu shrine chambers. The sculpturing of these Dwarapalas is in the style of the period. Coming out of the main shrine, we find a number of reliefs sculptured on the rock surface on either side. On the face of the rock east of the entrance, we find carvings of Narasimha, Vishnu and Varaha. On the rock face on the western side of the entrance, are Shiva with Nandi, Nataraja and Devi. There are probably others but are hidden within the modern structures. Many of these reliefs seem to have undergone repairs and restoration in later times. Many pilgrims and tourists who visit Tirupparankundram do not seem to know of the existence of subsidiary cave shrines excavated in the rock, which are as interesting and one may even appear most valuable to the student of archaeology. All these cave shrines are small and approached through narrow dark passages, which are at different levels below the main sanctum. It is very much doubtful whether similar group of cave shrines exist elsewhere. The idols have been arranged in such orderly manner that one wonders that even the top-ranking studio photographer could not have arranged them better than the ancient Sthapathis have done here. The Devi who is seated on a throne in the centre is described as Annapoorna. Two attendant chauri bearers and Surya and Chandra on either side are at the back. Two groups of three stately figures each are carved on the two side walls. Two figures who are probably Sage Parasara and Sage Veda Vyasa are seated on the ground in front of the Devi while figures of other minor sages and musicians playing on the flute and the veena comprise the rest of the group. Two interesting figures, one with the head of a goat or horse, flank the chamber. Though some of the figures are restored, the early age of this group is clear and it needs careful study by the interested student of Hindu art and iconography. Adjoining this group is another chamber on the east side, known as the Tulasi Arai, a room used for storing the pooja flowers. Here is a group of carvings, which were quite new to our understanding, It is such a narrow chamber that no proper photographs could be taken of the entire group of carvings. No authentic information was available about these sculptures from the temple authorities or the department of Archaeology. The figures probably refer to the incident of Sura Samhara. The sculpture is quite archaic and the figures are in the state in which the sculptor left then probably without complete finish. Kartikeya in his chariot with his mount, the peacock, numerous Ganadevathas, all in a fury, a large four-headed figure with four hands, make up this group and are symbolic of the great fight. It is a pity that the large four-headed figure should have his face disfigured as an ugly hole is bored through it to serve as an outlet for water. This vandalism is unthinkable and surely pains the visitors. The walls of the chamber contain a large number of inscriptions which may perhaps belong to the early medieval period. Quite likely from their obscure location they might have escaped the attention of the epigraphists. On the eastern side of this chamber is another one which has a carving of Gaja Lakshmi. Proceeding further through a long low narrow and dark passage, is another old rock-cut chamber, which has an idol said to be Jyeshta Devi with her son and daughter on either side. Jyeshta Devi is sculptured in old works as a handsome and mild Devi. This group which is in very early style is in its pristine gory and is well preserved. Outside the chamber are two Dwarapalas who are named as Anandabharana and Ugramurthy. These idols are usually missed by the visitors. They are very interesting early specimens. Curiously, Anandabharana is said to have the reputation of being more powerful deity than Ugramurthy, quite contrary to the names given to them. Circumventing the rock, one can come across on its southern side another rock-cut with more sculptures in relief. This is locally called the Umiyanda Kovil. The rock-cut with its cubical but worn out pillars is a very early one through the sculptures within it and on the rock surface outside appear to later executions. There is no doubt that some kind of altering and changing has been done to some earlier works which must have existed there. Our temples are vast treasure houses of our history, tradition, art and culture. Owing to various factors, there is a growing popular interest in the art and architecture of our shrines. The temple authorities would be doing a real service to the community if in addition to the excellent arrangements they have made, they also concentrate on the cultural side by throwing open the iconography and sculptural treasures in the shrines. They should also provide authoritative information about cultural and aesthetic aspects of these treasures. Tirupparankundram is only 7kms from Madurai connected by an excellent road. Frequent buses and vans operate to the place. Taxi or auto may be hired from Madurai. It is best to stay at Madurai where very good lodges are available.

Thirumalai Nayak Palace

This Palace was built in 1636 by King Thirumalai Nayak with the help of an Italian Architect. The building we see today was the main Palace where the King lived. The original Palace Complex was four times bigger than the present structure. This palace consisted mainly of two parts, namely Swargavilasa and Rangavilasa.

In these two parts, there are royal residence, theatre, shrine, apartments, armoury, palanquin place, royal bandstand, quarters, pond and garden. King Thirumalai Nayak celebrated festivals like Sceptre festival, Navarathri, Chithirai festival, Masi festival and the Float festival.

He conducted daily dance and music performances in the palace. This palace was destroyed by his grandson Chokkanatha Nayak and the valuables were transferred to other places.

During 19th century, Lord Napier, governor of Madras between 1866 and 1872 made several renovation works. Today, only the spacious rectangular courtyard called the swarga Vilasam and a few adjoining biuldings survive, their awesome scale evoking the grandeur of a vanished era. The courtyard measures 3,900 sq.m and is surrounded by massive circular pillars. To its west lies the Throne Chamber, a vast room with a raised, octagonal dome. This room leads to the Dance Hall. Then the palace was utilized to house some officials of the judiciary and district administration. After independence, this palace was declared as a national monument and is now under the care of the Tamilnadu Archaeological Department. It can be visited from 9a.m to 5 p.m on payment of the entrance fee.

The thousand pillar mandapam is supposed to have been built by Arya Natha Mudaliyar, the Prime Minister of the first Nayaka of Madurai (1559-1600 A.D.) and the founder of 'Poligar System'. An equestrian statue of the Mudaliyar flanks one side of the steps leading to the 'mandapam'. Except the inner shrines, probably no part of the temple is older than the 16th century. The general plan of the sanctuary is typical of the gigantic South Indian temples with vast quadrangular enclosures and lofty 'gopurams' overlooking the central shrine. Round about the temple, outside the higher wall is, a neat garden fenced with iron railings.

Even a casual visitor is fascinated by the many paintings and sculptures in this shrine. The ceilings are decorated with large paintings showing Shaivite and Vaishnavite themes. There is a beautiful painting of the marriage of Sundareswarar with Devi Meenakshi. Another beautiful painting is that of Harihara.

In the outer corridor are the most popular musical pillars, five in number, each composed of twenty two slender rods carved out of a single rock of granite, which produce the 'Saptha Swaras' when gently tapped with a wooden rod. There is a spacious 'pushkarini' in front of the Meenakshi shrine called the Golden Lotus Tank or 'Ponthamaraikulam'. Beautifully paved stone steps on all the four sides are set to reach the placid water. The great tower of the south reflected in the Golden Lilly Tank is perhaps the best known view of the Meenakshi Sundareshwarar temple.

According to mythology, Indra from Devaloka entered this tank and it was filled with golden Lillies. It is said that the tank was also used to judge the literary merit of the manuscripts of poets and authors. When placed on the water, the manuscripts would float supported by a plank if its value was considered worthy otherwise it would sink to the bottom. This testing miraculous plank was called 'Sanga Palkki' (sanga plank) and can still be seen in the temple museum. This tradition amply substantiates the view that Madurai was once a centre of learning and erudition. The Pandyan kings were great patrons of arts and letters. One of the first monarchs of the dynasty, Ugra Paruvaludi (128-140 A.D.) is gratefully remembered for the patronage he extended to poet Tiruvalluvar.

In the 14th century, Madurai aroused the cupidity of Malikkafur who invaded it and set up a Mohammadan dynasty that remained in power for nearly fifty years, at the end of which it was conquered by a General of the Vijayanagar Empire and became a feudatory. The Vijayanagar Emperor, while guarding the kingdom against the invaders, subsequently restored it to the descendants of the Pandyan kings.

From the middle of the 16th century, right up to the eighth decade of the 18th century. the city retained its glory as the principal seat of the Nayakas. Although Vishwanatha Nayaka, the first and greatest of a long line of distinguished rulers, is credited with having laid the foundations of a well planned and well fortified city. Tirumala Nayaka, who ascended to throne in 1623 A.D., and ruled over Madurai for 36 years can be said to have made the largest single contribution towards the enhancement of the beauty and splendour of the town by magnificent edifices and monuments.

A little away from the temple precincts in the town is the ruins of Palace of Tirumala Nayaka constructed during his reign (1623-1645 A.D.). It contains beautiful domes and arches. One of the domes stands without the support of girder -an architectural feat of everlasting wonder. They must have been an extravagance of stucco in its heyday.

Tirumala Nayaka was undoubtedly the greatest of the Nayaka rulers. The Nayakas of Madurai like those of Thanjavur and gingee ruled South India as the Governors of Vijayanagar emperors and gradually became independent rulers as the empire began to decline and breakup, though they did not like to call themselves as kings due probably to their reverence to the dynasty

Sree Meenakshi Temple Page

The Meenakshi Temple - Madurai The enormous temple complex is dedicated to Shiva, known here as Sundareshvara and his consort Parvati or Meenakshi. The original temple was built by Kulasekara Pandya, but the entire credit for making the temple as splendid as it is today goes to the Nayaks. The Nayaks ruled Madurai from the 16th to the 18th century and left a majestic imprint of their rule in the Meenakshi - Sundareswarar Temple. The temple complex is within a high-walled enclosure, at the core of which are the two sanctums for meenakshi and Sundareshwara, surrounded by a number of smaller shrines and grand pillared halls. Especially impressive are the 12 gopuras. Their soaring towers rise from solid granite bases, and are covered with stucco figures of dieties, mythical animals and monsters painted in vivid colours.

Temple Towers

There are 12 temple towers(Gopurams). The outer towers are the landmarks of Madurai. They are: East Tower (Nine Storeys). Height 161'3". This Gopura has 1011 sudhai figures. South Tower (Nine Storeys). Height 170'6". This Tower has 1511 sudhai figures. West Tower (Nine Storeys). Height 163'3". This Tower has 1124 sudhai figures. North Tower (Nine Storeys). Height 160'6". This Tower has lesser figures of sudhai than other outer towers.

Gopura

Pyramidal gates(gopuras) rise to a height of more than 50m. These towering gateways indicate the entrance to the temple complex at the four cardinal points, while lesser gopuras lead to the sanctums of the main dieties.

Stucco Work

The figures of dieties on the tower are repaired, repainted and ritually reconsecrated every 12 years.

Ashta Shakthi Mandapam

A visitor who enters the temple through the eastern gateway, first enters this Mandapam(Hall). It was built by Thirumalai Nayakar's wives Rudrapathi Ammal and Tholimamai. In this hall food was once distributed to the devotees who came from far off places. Next to this hall is the Meenakshi Nayaka Mandapa, a spacious columned hall used for shops and stores. This hall has a votive lamp-holder with 1,008 lamps, which are lit on festive occasions and present a spectacular sight. The sculptures on the pillars here relate some of Lord Shiva's Thiruvilayadals (miracles) and also the story of Meenakshi's birth and her life as the princess of Madurai. The story descripted on the stones is as follows: Malayadwaja Pandya, a king of Madurai , was childless for a long time. He performed a number of yagnas (sacrifices made before a sacred fire) because he wanted an heir to his throne. On one occasion, a three-year-old girl came out of the fire and Malayadwaja adopted her. But the girl had three breasts and this worried Malayadwaja. However, a divine voice assured him that the third breast would disappear as soon as she met her consort. The girl grew into a brave and beautiful princess. she won many battles, but eventually lost her heart to Lord Shiva, when she met him on the battle-field in Kailas. As soon as she saw him, her third breast disappeared and she recognized her divine consort, for the princess was none other than Shiva's wife, Parvathi. After ruling over the Pandya kingdom for a while, they settled in the Madurai temple as Meenakshi andSundareswarar.

Meenakshi Nayakkar Mandapam

This big hall is adjacent to Ashta Shakthi Mandapam, consisting of 110 pillars carrying the figures of a peculiar animal with a lion's body , and an elephant's head called Yalli.

Potramaraikulam (golden lotus tank)

This temple tank is an ancient tank where devotees take bath in the holy water. The area around this tank was the meeting place of the TamilSangam - the ancient academy of poets. The history of the sangam goes back to the days when gods dallied with men. This academy judged the worth of any work of literature presented before it by throwing it into the tank. Only those that did not sink were considered worthy of attention. The tank is surrounded by a pillared corridor. Steps lead down to the tank, enabling worshippers to take bathe in it.

Oonjal Mandapam

The Oonjal (swing) Mandapam and Killikoontu (parrot cage) Mandapam are on the western side of the tank. Every Friday, the golden idols of Meenakshi and Sundareswarar are seated on the swing in the Oonjal Mandapam and hymns are sung as the deities gaily swing to and fro. The parrots in the Kilikoontu Mandapam have been trained to repeat Meenakshi's name. But more interesting are the 28 pillars of the mandapam which exhibit some excellent Sculptures of figures from Hindu mythology.

Swami Sundareswarar Shrine

Lord Sundareswarar (Shiva) the consort of Goddess Meenakshi is to the north of Kilikoontu Mandapam . On your way you can worship a gigantic idol of Sri Ganesh called Mukkurini Pillaiyar. When the king Thirumalai Nayakar excavated a temple tank 3 km from Meenakshi temple he unearthed this idol of Vinayaka and erected the same here. In the outer pragaram (corridor outside the main shrine) there is stump of the kadamba tree, which is said to be a part of the same tree under which Indra worshipped Shiva linga. Also in the outer corridor there are the Kadambathadi Mandapam and big hall called 'Velli Ambalam'. Here, an idol of Nataraja (Shiva as the Lord of Dance) is seen. This idol of Nataraja is covered with silver leaves. Hence this hall is named as Velli Ambalam (Silver Hall)..

The Thousand Pillar Mandapam

It is the 'wonder of the palace'. Actually the number of pillars count to 985 beautifully decorated columns. Each pillar is sculptured and is a monument of the Dravidan sculpture. There is a Temple Art Museum in this 1000 pillars hall where you can see icons, photographs, drawings, etc., exhibiting the 1200 years old history. There are so many other smaller and bigger mandapams in the temple. Just outside this mandapam ,towards the west, are the Musical Pillars. Each pillar when stuck, produces a different musical note. The kalyana mandapa, to the south of the pillared hall, is where the marriage of Shiva and Parvati is celebrated every year during the Chitirai Festival in mid- April.

Vasantha Mandapam

This mandapam was built by Thirumalai Nayakkar. Vasanthosavam - the Spring festival-is celebrated in this mandapam in Vaikasi (April/May). Its pillars contain elaborate sculptures of Shiva, Meenakshi, scenes from their wedding as well as the figures of ten of the Nayak Kings and their consorts. This is also called Pudhu Mandapam.