History and Art of Ramasamy Temple at Kumbakonam a Study

TAMILNADU STATE COUNCIL FOR HIGHER EDUCATION CHENNAI - 600005

MINI PROJECT

SCHEME STUDENT MINI PROJECT OF GOVERNMENT ARTS AND SCIENCE COLLEGES

Submitted by

P.SUGANYA

2017 - 2018

(D.O.RC.NO.745/2017A)

PROJECT TITLE

HISTORY AND ART OF RAMASAMY TEMPLE AT KUMBAKONAM A STUDY

GUIDE BY

Dr.A.KARKHUZHALI

ASSISTANT PROFESSOR

DEPARTMENT OF HISTORY

KUNTHAVAI NACCHIYAR GOVT ARTS COLLEGE FOR WOMEN

THANJAVUR - 7.

UTILIZATION CERTIFICATE

This is to certify that Rs.15.000/ - (Fifteen Thousands only) has been spent toward s the implementation of the student mini Research project for Tamil Nadu state council Government Arts and Science Colleges (D.O.RC.NO.745/2017A) entitled History and Art of Ramasamy temple at Kumbakonam approved by the Tamil Nadu State Council for Higher Educations.

STUDENT GUIDE HOD PRINCIPAL

TAMIL NADU STATE COUNCIL FOR HIGHER EDUCATION

CHENNAI – 600005.

1 Reference No. and Date (D.O.RC.NO.745/2017A)

2 Name of the principal P.Suganya investigator Dr.A.KARKHUZHALI 3 Guide Assistant Professor of History East Street, yusaf 4 Communication Address Colony, Papanasam (Po), Thanjavur – 614205. Cell .No. 9080601894 9600464266 PG& Research Department of History, 5 Institution Address Kunthavai Naachiyar Govt Arts College for Women (Autonomous) Thanjavur – 613007. “ History and Art of 6 Title of the Project Ramasamy temple at Kumbakonam ” 7 Sector HISTORY 8 Date of Implementation 18.2.2017 9 Tenure of the Project 18.2.2017 to 30.2.2018 10 Project Submit 02.04.2018

To:

Student Mini Project: D.O.RC.NO.745/2017A

Date of Starting Project: 18.12.2017

Date of Completion of Project: 02.04.2018

Name of the Students Mini Project: History of art of Ramasamy temple at Kumbakonam a study .

EXPENDITURE: SANCTION AMOUNT: 15,000/

S.No. Heads Amount Total

1 Book’s 2000 2000

2 Travel/Field Work 4000 4000

3 Photos 2000 2000

4 DTP Work 5000 5000

5 Accomantation 3000 3000

Total 15,000/

CONTENT PAGE NO S.NO.

1 INTRODUCTION 1 – 5

2 HISTORICAL BACKGROUND 6 – 10

3 VAISHNAVISM OF DASHAVATAR 11 – 28

4 LAYOUT AND ARCHITECTURAL FORMAT 29 – 39

5 SCULPTURES IN STONE 40 – 51

6 WOOD CARVINGS 52 – 56

7 PAINTINGS 57 – 66

8 CONCLUSION 67 – 70

BIBLIOGRAPHY 71 – 77

APPENDIX - 1

ILLUSTRATIONS

INTRODUCTION

Ramasamy temple is situated in Kumbakonam. The one of the best architecture is in Ramasamy temple. It contains Art, Sculpture of wooden carves of many more things in it. but it is described in brief. It contains five chapters, Noorpatiyal of diagrammatic representation.

LOCATION

Kumbakonam is a town in Thanjavur District of Tamil Nadu. Kumbakonam is located 273km south of Chennai, 90 km east of Tiruchirappalli and about 40 km north - east of Thanjavur. The town is bounded by two rivers, the Kaveri River on the north and Arasalar river on the south.

There is gentle slope from north of the town to south.

Located in the southern region of India in Tamil Nadu, at 10.97N, 79.38E.

273 km South of Chennai, 96 km East of Tiruchirappalli, 40 km North east of Thanjavur. 313 km East of Ciombatore, 385 km South west of Banglore, 18 km.

WEATHER IN KUMBAKONAM

Kumbakonam experiences both hot and pleasant climate in different seasons. Sum mers (March to May) are dry and hot with temperature in the range of 320cto 380c, Tourist prefer to a void hot daysb in April and May.

Monsoons (June to September) are accompanied with medium rainfalls. The place is beauti ful in rains and offers some relief from the hot atmosphere.

Winters (December to February) are pleasant with moderate temperatures in a range of 20 ˚ C to 26 ˚ C.

Best Season to visit Kumbakonam is October to March. June to September is humid but pleasant with moderate temperature and suitable for temple visits.

October to March is perfectly ideal for religious visits and all kinds of tourist activities.

There is retrieving rain Kumbakonam in December also. Thus make necessary arrangements for the weather. One should carry umbrellas and raincoats.

Summers are quite harsh thus preparations must be done according to that. It is very important to book AC rooms during this weather.

Kumbakonam, known as the kasha on Cauvery, is a picturesque temple town located in the Cauvery river basin. It occupies a unique position in H i ndu Myth and legend, because of the invaluable inscription, iconography and religious architecture. The city of kumbakonam is a traditionally rich city, where the modern globalization has not yet affected the culture of the people. People here are still in touch to the traditions their ancestors followed many thousands of years ago. Located in the Southern region of Tamil Nadu, one can reach Kumbakonam easily from Thanjavur, Tiruchirapalli or Chennai.

Kumbakonam is known for its temple architecture and epigraphy. The city origin ated as a religious city, with areas like Kumbeshwara Temple and Mahamaham Tank in the core of the city. Kumbakonam was also the capital of the historically import ant Chola dynasty who ruled the region during the medieval period.

They built many important temples in and around the city. Kumbakonam is known for its temple architecture and epigraphy. The city originated as a religious city, with areas like Kumbes hwara and Mahamaham

Tank in the core of the city. The town occupies a unique position in the Hindu Myth and legend, because of the invaluable inscription, iconography and religious architecture. This is the place where Lord Shiva broke the pot of creatio n preserved by Brahma. Thus it has a very important place in Hindu mythology. Also it is the centre for the Navagraha temples pilgrim.

The city celebrates the great Mahamaham festival, once in 12 years which is an equivalent to the Kumbha festival of north . It attracts large number of crowd and is a very important festival for people in South India.

During the time of british rule, it became the prominent centre of European education and Hindu culture; and thus was commonly referred to as the Cambridge of south India.

It has been an established economic centre for trade and commerce and arts and crafts. Bronze tradition is one of the oldest living tradition here. Last wax technique is still used to create master pieces which is a unique piece of beautiful art and heritage.

Silk is another important trade of the people in Kumbakonam. They are very famous in whole of South India and are called Thanjavur silk sarees. Brassware, specially p uja utensils, lamps etc, are all produced here, and Kumbakonam supplies it to the entire South Indian region.

Kumbakonam is also the birth place of the great mathematician Srinivas Ramanuja. His house is now converted into a museum.

Raja Veda Pathsthala in Kumbakonam is 400 yrs old in which 1000s of scholar get their knowledge based on Sanskrit.

Today Kumbakonam is a special grade municipality of the Thanjavur dis trict. The temples in the town are all living except for few. Manu are under the heritage foundation and are bring conserved, where as many are maintained

3 by the locals. These temples are the soul of the city and because there are so many the city is called the temple town.

THE STHALA PURANAM

Making of the city

Kumbakonam is associated with the cosmognic myth of Shiva as “Adikumbeshwara” or “Lord of the Pot” As per the myth,” the creator (Brahma) seeks to preserve the most precious things from destruction, which completes a cosmic cyc le. So, he places the Hindu scriptures and the seed of creation in a golden pot, which floats south on the cosmic flood, till it is shattered by Shiva’s arrow who disguished as a hunter. There by, releasing the embroyonic amrita (nectar), which flows and congests to form Kumbakonam’s tanks and temples, marking the start of a new creation.

The Banupurishvara temple, for example, marks the spot where Shiva launched his arrow, while the place where the pot was ruptured is celebrated today as Adikumbeshwara Temple. The two holy tanks of Kumbakonam, Mahamaham tank and Pottramarai tank, are considered the most sacred and beautiful, as the tie up with the legend – “they are the pools of nectar that fell from Shiva’s pot of creation.

The Tamils were tradition ally noted for their belief in God. The ancient Tamilagam was classified into five regions viz., Kurinji, Marudam, Mullai, Neydal and Palai. Murugan, Tirumal, Indiran were the presiding deities of ancient Tamil people.

The idea of God began to emerge when man realized that there is a supreme power. The Upanishads emerged when the people came to know about God. The Kaviyas were the explanation of Vedhas. The smaller deities

4 mentioned in Vedas were raised on the Peeda and became as supreme God. The co - exist ence of Bagavan and Tirumal together emerged into Vaishnavism.

Alvars and Nayanmars. It was divided into six sects namely Saivism, Vaisnavism, Saktham, Kanapadhtyam, Kowmaram and Souram.

Vaisnavism is one of the divisions of Hinduism. In one Yugam or Kal pa all Anukkal came from him only and ends with him by the end of the Yugam. He only protect the world. So he os called as Jaganathan or head of the world. He is called by various names like, Kannan, Perumal, Govindan, Kesavan, Narayanan, Madavan, Madhusud hanan, Dhamodharan, Padhbanabhan, Thurivikramman, Greedharan, Vamanan . The Vaisnavist worshipped Visnu as their supreme God. They also worshipped Laxmi, wife of Visnu and Hanuman. The meaning for ‘Vaisnavism’ is one who have mercy heart and could not toler ate other’s sorrows.

Kumbakonam a leading Municipal town of the present Thanjavur district, occupies a significant place in the history of Tamilnadu and it is known for its name and fame for Hinduism.

CHAPTER I

HISTORICAL BACKGROUND

Kumbakonam dates back to the Sangam period and was ruled by the Early Cholas, Pallava, Medieval Cholas, Later Cholas, Pandyas, the Vijayanagar Empire, Madurai Nayakas, Thanjavur Nayakas and the Thanjavur Marathas.

It rose to be prominent city between the 7 th and 9 th centuries AD, when itserved as a capital of the Medieval Cholas.

From 7 th century to 13 th century, Chola kings developed a characteristicalle Tamil aggregative urbanism and were the first to recognize the Cauvery river delta as an ideal place to settle, as it was rich in alluvial soil, which was best suited for agriculture. They set up their capital at Uraiyur in Tiruchirapalli. Kumbakonam was the second capital of Cholas, who r uled since 3 rd century 1 .

Sangam Period(300 B.C. 300 A.D.)

The Sangam period is the earliest historical period in the history of Tamil Nadu, spanning about the 3 rd century B.C. to the 3 rd century AD. It is named for the Tamil Sangams or “assemblies”. Approximately during this period Tamilakam was ruled by the three Tamil dynasties of Chola, Pandya and Chera, and a few independent chieftains , the Velir.

In old Tamil, the term Tamilakam referred to the whole of the “Ancient Tamil Country,” as distinct from the many kingdoms that existed within its bounda ries, corresponding roughly to the are known as South India today, including the territories of the present - day Indian states of Tamil Nadu, Kerala, Laccadives, parts of Andhra Pradesh and some parts of Karnataka, as well as

the Maldives. South India wa s known as Damirica, dramira of Lymirike to Greco - Roman geographers.

Kumbakonam was the religious centre organized around its several temples, while Palaiyari, a few kilometers to the south west, was the imperial centre with its palaces royal and sepul chral temples as well as administrative and military establishments. It was developed as a religious centre organized around several temples. Most of the old Shiva temples, mandapa and padishore belong to this period 2 .

Pallava and Pandya Period ( 300 A.D - 500 A.D)

The Pallava dynasty was a Tamil dynasty of South India which ruled the northern Tamil Nadu region and the southern Andhra Pradesh region with their capital at Kanchipuram. Pallavas are most noted for their patronage of architecture, still s een today in Mahabalipuram. The Pallavas who left behind magnificent sculptures and temples, established the foundations of medieval south Indian architecture.

It can be easily discerned that Kumbakonam’s primary underpinnings as “city” refer back to its Chol a foundations more than a thousand years ago. The fifteenth to seventeenth century Vijayanagara - Nayaka reappropriation, together with the eighteenth century Maratha intervention, was a spatial embodiment of subtle negotian between historical and cosmic tim e, as well as the sacred, the royal, and the laity. Over and above this, the nature of Kumbakonam’s fluvial myths and their primacy as transferreddown to present day elevate the city to pan - Hindu tirtha, pilgrimage site, he which is as primordial as the Cauvery itself 3 .

Chola Period 900 A.D. – 1200 A.D.

The Chola dynasty was a Tamil dynasty which was one of the longest - ruling in some parts of southern India. The heartland of the Cholas was the fertile valley of the Kaveri River, but they ruled a signif icantly larger area at the height of their power from the later half of the 9 th century till the beginning of the 13 th century.

Their patronage of Tamil literature and their zeal in building temples have resulted in some great works of Tamil literature an d architecture. The Chola kings were avid builders and envisioned the temples in their kingdoms not only as places of worship but also as centres of economic activity. 3 big temples made by Cholas Gangaikonda, Brihadeshwara and Airavateswara Thanjavur and World Heritage Sites 4 .

Vijayanagar and Nayak Period 1400 A.D. – 1800 A.D.

The Vijayanagara Empire was a South Indian empire based in the Deccan Plateau. Established in 1336 by Harihara I and his brother Bukka Raya I. The empire’s legacy includes many monuments spread over South India, the best known being the group at Hampi. The empire’s patronage enabled fine arts and literature to reach new heights in the languages of Kannada, Telugu, Tamil and Sanskrit, while Carnatic music evolved into its current form.

The Pandyas of Madurai came into power in 13 th century. Hoysalas ruled from 14 th century onwards, who were overpowered by the Vijayanagara kings, who appointed Nayaka to rule the region. The Nayakas made addition to the existing Shiva temples and made new Vaishnava temples. Art, Architecture, craft, literature, music and dance were patronized by Chola, Nayaka and Maratha rulers in the region. Through its complex evolution, Kumbakonam has

earned itself the exalted reputation of a panch krosha , or five – fold ritual landscape 5 .

Pandya revival and Muslim rule 1200 A.D. - 1400 A.D

The dynasty revived under Kadungon in the early 6 th century, pushed the Kalabhras out of the Tamil Country and ruled from Madurai. They again went into decline with the rise of the Cholas in the 9 th century and were in constant conflict with them. The Pandyasallied themselves with the Sinhalese and the Che ras in harassing the Chola empire until they found an opportunity for reviving their fortunes the 13 th century 6 .

REFERENCES

1 . Annual Epigraphical Reports, 1903. 2 . A Topographical of Inscriptions in the Tamilnadu and Kerala states. 3 . Epigraphic India Vol XV. 4 . South Indian Inscriptions, Vols VII, XIIII , XIX. 5 . Annual Epigraphical Reports, 1903. 6 . Ibid, p.77.

CHAPTER II

VAISHNAVISM IN TAMILNADU

Vaishnavism ( vaishnava dharma) is one of the major traditions within Hinduism along with S haivism, Shaktism, and Smartism. I t is also called Vishnuism, its followers are called Vaishnavas, and it considers Vishnu as the Supreme Lord.

The tradition is notable for its avatar doctrine, wherein Vishnu is revered in one of many distinct incarnations . Of these, ten avatars of Vishnu are the most studied. Rama, Krishna, Narayana, Vasudeva, Hari, Vithoba, Kesava, Madhava, Govinda and Jagannath are among the popular names used for the same supreme. The tradition has traceable roots to the 1 st millennium BC, as Bhagavatism, also called Krishnaism. Later developments led by Ramananda created a Rama - oriented movement, now the largest monastic group in Asia. The Vaishnava tradition has many sampradayas (denominations, sub - schools) ranging from the medieval er a Dvaita school of Madhvacharya to Vishishtadvaita school of Ramanuja. New Vaishnavism movements have been founded in the modern era such as the ISKCON of A.C, Bhaktivedanta Swami.

The tradition is known for the loving devotion to an avatar of Vishnu (ofte n Krishna), and it has been key to the spread of Bhakti movement in South Asia in the 2 nd millennium AD. Key texts in Vaishnavism include the Vedas, the Upanishads, the Bhagavad Gita, the Pancaratra (Agama) texts and the Bhagavata Purana.

Vaishnavism orig inates in the latest centuries BC and the early centuries AD, as an amalgam of the heroic Krishna Vasudeva, the ‘divine child” Bala Krishna of the Gopala traditions, and syncretism of these non - Vedic traditions with the Mahabharata canon, thus affiliating itself with Vedism in order to

11 become acceptable to the orthodox establishment. Krishnaism becomes associated with bhakti yoga in the medieval period 1 .

ORIGINS

Northern India

Although Vishnu was a Vedic solar deity, he is mentioned less often compared to Agni, Indra and other Vedic deities, thereby suggesting that he had a minor position in the Vedic religion. Other scholars state that there are other Vedic deities, such as water deity Nara (also mentioned as Narayana - Purusha in the Brahmanas layer of the Vedas), whi together from the historical roots of Vaishnavism. In the late - Vedic texts ( - 1000 to 500 BC), the concept of a metaphysical Brahman grows in prominence, and the Vaishnavism tradition considered Vishnu to be identical to Brahman, just like Shaiv ism and Shaktism consider Shiva and Devi to be Brahman respectively.

The ancient emergence of Vaishnavism is unclear, the evidence in consisted and scanty. According to Dalal, the origins may be in Vedic deity Bhaga, who gave rise to Bhagavatism. According to preciado Solis, the Vedic deities Nara and Narayana form one of the Vedic roots of Vaishnavism. According to Dandekar, Vaishnavism may have emerged from merger of several ancient theistic traditions, where the various deities were integrated as differe nt avatars of the same god. In Dandekar theory, Vaishnavism emerged at the end of the Vedic period, c losely before the second urbanis ation of northern India, in the 7 th to 4 th century BC. Vasudeva and Krishna, “the deified tribal hero and religious leader of the Yadavas, gained prominence, merged into Bhagavan Vasudeva - Krishna, due to the close relation between the Vrsnis and the Yadavas.

This was followed by a merger with the cult of Gopala - Krishna of the cowherd community of the Abhiras at the 4 th centu ry AD. The character to Gopala Krishna is often considered to be non - Vedic. According to Dandekar, such mergers consolidated the position of Krishnaism between the heterodox sramana movement and the orthodox Vedic religion. The “Greater Krsnaism”, states D andekar, then merged with the Rigvedic Vishnu.

Syncretism of various traditions and Vedism resulted in Vaishnavism. At this stage that Vishnu o f the Rig Veda was assimilated into non Vedic Krishnaism and became the equivalent of the supreme God. The appea rance of Krishna as one of the Avatars of Vishnu dates to the period of the Sanskrit epics in the early centuries AD. The Bhagavad Gita was incorporated into the Mahabharata as a key text for Krishnaism. Finally, the Narayana - cult was also included, which further brahmanized Vaishnavism. The Nara - Narayana cult may have originated in Badari, a northern ridge to the Hindu Kush, and absorbed into the Vedic orthodox as Purusa Narayana. Purusa Narayana may have later been turned into Arjuna and Krsna.

This complex history is reflected in the two main historical denominations of Vishnavism. The Bhagavats, worship Vasudeva - Krsna, and are followers of brahmanic Vaishnavism, while the Pacaratrins regard Narayana as their followers of Tantric Vaishnavism.

Southern India

According to Hardly, there is evidence of early “southern Krishnaism”, despite the tendency to allocate the Krishna – traditions to the Northern traditions. South Indian texts show close parallel with the Sanskrit traditions of Krishna and his gopi companions, so ubiquitous in la ter North Indian text and image ry. Early writings in Dravidian culture such as Manimekalai and the Cilappatikaram present Krishna, his brother, and favourite female companion in

13 the similar terms. Hardy argues that t he Sanskrit Bhagavata Purana is essentially a Sanskrit “tradition” of the bhakti of the Tamil alvars.

Devotion to southern Indian Mal( Tirumal) may be an early form of Krishnaism, since Mal appears as a divine figure, largely like Krishna with some elemen ts of Vishnu. The Alvars, whose name can be translated “sages” or “saints”, were devotees of Mal. Their poems show a pronounced orientation to the Vaishnava, and often Krishna, side of Mal. But they do not make the distinction between Krishna and Vishnu on the basis of the concept of the Avatars. Yet , according to Hardly the term “Mayonism” should be used instead of “Krishnaism” when referring to Mal or Mayon.

Gupta Era

Most of the Gupta kings, beginning with Chandragupta II (Vikramaditya) (375 - 413 AD) wer e known as Parama Bhagavatas of Bhagavata Vaishnavas. During the Gupta age, most of the Vaishnava Puranas and the Tantric Vaishnava samhitas were written 2 .

Early Medieval Period

After the Gupta age, Krishnaism rose to a major current of Vaishnavism, and V aishnavism developed into various sects and subsects, most of them emphasizing bhakti, which was strongly influenced by south Indian religiosity.

Vaishnavism in the 8 th century came into contact with the Advaita doctrine of Adi Shankara. Many of the early Vaishnava scholar such as Nathamuni, Yamunacharya and Ramanuja, contested the Advaita Vedanta doctrines and proposed Vishnu bhakti ideas instead. Vaishnavism flourished in predominantly Shaivite South India during the seventh to tenth centuries AD with the twelve Alvars, saints who spread the sect to the common people with their devotional hymns. The temples that the Alvars visited or founded are now

14 known as Divya Desams. Their poems in praise of Vishnu and Krishna in Tamil language are collectively kno wn as Naal a yira Divya Prabhandha (4000 divine verses)

Later Medieval Period

The Bhakti movement of Late Medieval Hinduism started in the 7 th century, but rapidly expanded after the 12 th century. It was supported by the Puranic literature such as the Bhaga vata Purana, poetic works as well as many scholarly bhasyas and samhitas.

This period saw the growth of Vaishnavism Sampraday as (denominations or communities) under the influence of scholars such as Ramanujacharya, Vedantha Desikacharya, Madhvacharya, Nimb arkacharya and Vallabhacharya. Bhakti po ets or teachers such as Manavala Mamunigal, Namdev, Ramananda, Surdas, Tulsidas, Eknath, Tyagaraja, Chaitanya Mahaprabhu and many others influenced the expansions of Vaishnavism. Even Meera bai(princes of Mehwar and Rajasthan) took part in this specific movement. These Vaishnavism sampradaya founders challenged the then dominant Shankara’s doctrines of Advaita Vedanta, particular Ramanuja in the 12 th century, Vedantha Desikacharya and Madhava in the 13 th , building the ir theology on the devotional tradition of the Alvars(shri Vaishnavas) 3 .

In North and Eastern, India Krishnaism gave rise to various late Medieval movements: Nimbarka and Ramananda in the 4 th century, Kabir and Sankaradeva in the 15 th and Vallabha and Chai tanya in the 16 th century. Historically, it was Chaitanya Mahaprabhu who founded congregational chanting of holy names of Krishna in the early 16 th century after becoming a sannyasi.

Modern times

During the 20 th century, Vaishnavism has spread from India n and is now practiced in many places around the globe, including North America, Europe, Africa, Russia and South America. This is largely due to the growth of the ISKCON movement, founded by A.C.Bhaktivadanta Swami Prabhupada in 1966.

Vishnuism and Krishn aism

The term “Krishnaism” has been used to describe the sects focused on Krishna, while “Vishnuism” may be used for sects focusing on Vishnu in which Krishna is an Avatar, rather than a transcended Supreme Being. Vishnuism believs in Vishnu as the suprem e being, manifested himself as Krishna, while Krishna accepts Krishna to be Svayam bhagavan or “authentic”, that manifested himself as Vishnu. As such Krishnaism is believed to be one of the early attempts to make philosophical Hinduism appealing to the m asses. In common language the term Krishnaism is not often used, us many prefer a wider term “Vaishnavism”, which appeared to relate to Vishnu, more specifically as Vishnuism.

Vishnu

In Vishnu centered sects Vishnu or Narayana is the one suprem e God. The belief in the supremacy of Vishnu is based upon the many avatars (incarnations) of Vishnu listed in the Puranic texts, which differs from other Hindu deities such as Ganesha, Surya or Durga.

To the devotees of the Sri Sampradaya “Lord Vishnu is the Supreme Being and the foundation of all existence.

Krishna

In the Krishnaism branch of Vaishnavism, such as the Gudiya Vaishnava, Nimbarka and Vallabhacharya traditions, devotees worship Krishna as the one Supreme form of God, and source of all avatars, Svayam Bhagavan.

Krishnaism is often also called Bhagavatism, after the Bhagavata Purana which asserts that Krishna is “Bhagavan Himself” , and subordinates to itself all other forms: Vishnu, Narayana, Purusha, Ishvara, Hari, Vasudeva, Janardana, etc.

Krishna is often described as having the appearance of adark - skinned person and is depicted as a young cowherd boy playing a flute or as a youthful prince giving philosophical direction and guidance, as in the Bhagavad Gita.

Krishna is also worshipped a cross many of ther traditions of Hinduism, and Krishna and the stories associated with him appear across a broad spectrum of different Hindu philosophical and theological traditions, where it is believed that God appears to his devoted worshippers in many different forms, depending on their particular desires. These forms include the different avatars of Krishna described in traditional Vaishnava text, but they are not limited to these. Indeed, it is said that the different expansions of the Svayam bhagavan are uncountable and they cannot be fully described in the finite scriptures of any one religious community. Many of the Hindu scriptures sometimes differ in details reflecting the concerns of a particular tradition, while some core features of the view on Krishna are shared by all.

Radha Krishna

Radha Krishna is the combination of both the feminine as well as the masculine aspects of God. Krishna is often referred as svayam bhagavan in

Guadiya Vaishnavism theology and Radha is Krishna’s supreme beloved. W ith Krishna, Radha is acknowledge as the Supreme Goddess, for it is said that she controls Krishna with Her love. It is believed that Krishna enchants the world, but Radha “enchants even Him. Therefore She is the supreme goddess of all. Radha Krishna.

Whi le there are much earlier references to the worship of this form of God, it is since Jayadeva Goswami wrote a famous poem Gita Govinda in the twelth century AD, that the topic of the spiritual love affair between the divine Krishna and his devotees Radha, became a theme celebrated throughout India. It is believed that Krishna has left the “circle” of the rasa dance to search for Radha. The Chaitanya school believs that the name and identity of Radha are both revealed and concealed in the verse describing this incident in Bhagavata Purana. It is also believed that Radha is not just one cowherd maiden, but is the origin of all the gopis, or divine personalities that participate in the rasa dance 4 .

DASHAVATARS

According to the Bhagavatas, there are ten av atars of Vishnu, inclueding Rama and Krishna. In contrast, the pancaratins follow the vyuhas doctrine, which says that God has four manifestations (vyuhas), namely Vasudeva, Samkarsana, Pradyumna, and Aniruddha. These four manifestations represent “the hi ghest Self, the individual self, mind, and egoism.

An avatar a concept in Hinduism that means ‘descent”, refers to the material appearance or incarnation of a deity on earth. The relative verb to “alight, to make one’s appearance” is sometimes used to ref er to any guru or revered human being.

The word avatar does not appear in the Vedic literature, but appears in verb forms in post - Vedic literature, and as a noun particularly in the Puranic

18 literature after the 6 th century C.E. In spite of that, the concep t of an avatar is compatible with the content of the Vedic literature like the Upanisads as it is symbolic imagery of the Saguna Brahman concept in the philosophy of Hinduism. The Rigveda describes Indra as endowed with a mysterious power of assuming any f orm at will. The Bhagavad Gita expounds the doctrine of Avataras but with terms other than avatar.

Theologically, the term is most often associated with the Hindu god Vishnu, though the idea has been applied to other deities. Varying lists of avatars of Vi shnu appear in Hindu scriptures, inclusiding the ten Dashavatara of the Garuda Purana and the twenty - two avatars in the Bhagavata Purana, though the latter adds that the incarnations of Vishnu are innumerable. The avatars of Vishnu are important in Vaishn avism theology. In the goddess - based Shaktism tradition of Hinduism, avatars of the Devi in different appearances such as Tripura Sundari, Durga and Kali are commonly found. While avatars of other deities such as Ganesha and Shiva are also mentioned in med ieval Hindu texts, this is minor and occasional. The incarnation doctrine is one of the important differences between Vaishnavism and Shaivism traditions of Hinduism.

Incarnation concepts similar to avatar are also found in Buddhism, Christianity and othe rs. The scriptures of a deity on earth. The relative verb to any guru or revered human being.

The word avatar does not appear in the Vedic literature, but appears in verb forms in post - Vedic literature, and as a noun particularly in the Puranic literature after the 6 th century CE. In spite of that, the concept of an avatar is compatible with the content of the Vedic literature like the Upanishads as it is symbolic imagery of the Saguna Brahman concept in the philosophy of Hinduism. The Rigveda describes In dra as endowed with a mysterious power of

assuming any form at will. The Bhagavad Gita expounds the doctrine of Avatara but with terms other than avatar.

Theologically, the term is most often associated with the Hindu god Vishnu, though the idea has been a pplied to other deities. Varying lists of avatars of Vishnu appear in Hindu scriptures, inclu ding the ten Dashavatara of the Garuda Purana and the twenty – two avatars in the Bhagavata Purana, though the latter adds that the incarnation of Vishnu are in numerable. The avatars of Vishnu are important in Vaishnavism theology. In the goddess - based Shaktism tradition of Hinduism, avatars of the Devi in different appearances, such as Tripura Sundari, Durga and Kali are commonly found. While avatars of other deities such as Ganesha and Shiva are also mentioned in medieval Hindu texts, this is minor and occasional. The incarnation doctrine is one of the important differences between Vaishnavism and Shaivism traditions of Hinduism.

Incarnation concepts simil ar to avatar are also found in Buddhism, Christianity and others. The scriptures of Sikhism include the names of numerous Hindu gods and goddesses, but it rejected the doctrine of savior incarnation and endorsed the view of Hindu Bhakti Movement saints s uch as Namdev that formless eternal god is within the human heart and manis his own savior.

ETYMOLOGY AND MEANING

The Sanskrit nounis derived from the Sanskrit roots ava (down) and. These roots trace back, states Monier - Williams, to taritum, tarati, r itum.

Avatar literally means “descent, alight, to make one’s appearance, and refers to the embodiment of the essence of a super human being or a deity in another form. The word also implies to overcome, to remove, to bring down to cross something. In Hind u traditions, the crossinf of coming down is symbolism,

20 states Daniel Bassuk, of the divine descent from eternity into the temporal realm, from unconditioned to the conditioned from infinitude to finitude. An avatar states Justin Edwards Abbott, is a sagu na (with form attributes) embodiment of the nirguna Brahman or Atman.

Neither the Vedas nor the Principal Upanishads ever mention the word avatar as a noun. The verb roots and form, such as avatarana, do appear in ancient post - Vedic Hindu texts, but as “action of descending”, but not as an incarnated person (avatara). The related verb avatarana is states Paul Hacker, used with double meaning, one as action of the divine descending, another as laying down the burden of man” suffering from the forces of evil.

The term is most commonly found in the context of the Hindu god Vishnu. The earliest mention of Vishnu manifested in a human form to emperor the good and fight against evil, uses other terms such as akriti and rupa elsewhere. It is in medieval era te xts , those composed after the sixth century C.E. that the noun version of avatar appears where it means embodiment of a deity. The idea prolifereates thereafter, in the Puranic stories for many deities and with ideas such as ansha - avatar or partial embodi ments.

The term avatar, in colloquial use, is also an epithetor a word of reverence for any extra ordinary human being wo is revered for his or her ideas. In some contexts, the term avatara just means a “landing place, site of sacred pilgrimage”, or just a chieve one’s goals after effort”, or retranslation of a text in another language. The term avatar is not unique to Hinduism. It is found in the Trikaya doctrine of Mahayana Buddhism, in descriptions for the Dalai Lama inTibetan Buddhism, and many ancient cultures 5 .

Avatar versus incarnation

The manifest embodiment is something referred to as an incarnation. The translation of avatar as “incarnation” has been questioned by Christian theologians, who state that an incarnation is in flesh and imperfect, whi le avatar is mythical and perfect. The theological concept of Christ as an incarnation, as found inChristology, presents the because avatars in Hinduism are unreal and is similar to Docetism. Sheth disagrees and states that this claim is an incorrect u nderstanding of the Hindu concept of avatar. Avatars are true embodiments of spiritual perfections one driven by noble goals, in Hindu traditions such as Baishnavism.

Avatars of Vishnu

The concept of avatar within Hinduism is most often associated with Vishnu, the preserver or sustainer aspect of God within the Hindu Trimurti of Brahma, Vishnu and Shiva. Vishnu’s avatars descend to empower the good and fight evil, thereby restoring Dhar ma. An oft - quotedpassage from the Bhagavad Gita describes the typical role of an avatar of Vishnu.

Whenever righteousness wanes and unrighteousness increases I send myself forth. For the protection of the good and for the destruction of evil and for the es tablishment of righteousness, I come into being age after age. Bhagavad Giata4.7 - 8.

The Vishnu avatars appear in Hindu mythology whenever the cosmos is in crisis, typically because the evil has grown stronger and has thrown the cosmos out of its ba lance. The avatar then appears in amaterial form, to destroy evil and its sources and restore the cosmic balance between the ever - present forces of good and evil.

The most known and celebrated avatars of Vishnu, within the Vaishnavism traditions of Hinduis m, are Krishna, Rama, Narayana and Vasudeva. These names have extensive literature associated with them, each hasits own characteristics, legends and associated arts. The Mahabharata for example, includes Krishna, while the Ramayana includes Rama 7 .

DASHAVA TAR

The Bhagavata Purana describes Vishnu’s avatars as innumerable, though ten of his incarnations (Dashavatara), are celebrated therein as his major appearances. The ten major Vishnu avatars are mentioned in the AgniPurana, the Garuda Purana and the Bhaga vatha Purana.

The en best known avatars of Vishnu are collectively known as the Dasavatara (a Sanskrit compound meaning “ten avatars”). Five different list are included in the Bhagavata Purana, where the difference is in the sequence of the names. Freda Ma tchett states that this re - sequyencing by the composers may be intentional, so as to avoid implying priority or placing something definitive and limited to the bstract.

Matsya Half narwhal – half man avatar. He saves the world from a cosmic deluge, with th e help of a boat made of the Vedas (knowledge), on which he also rescues Manu (progenitor of man) and all living beings. Demon, Hayagriva steals and tries to destroy the Vedas.

Kurma Tortoise avatar. He supports the cosmos, while the gods and demons churn the cosmic ocean with the help of serpent Vasuki to produce the nectar of immortality (just like churning milk to produce butter). The churning produces both the good and the bad, including poisonand immortality nectar. The demons attempt to steal the nect ar, wherein Vishnu appears as enchantress Mohini avatar, for whom they all fall , and give her the nectar.

Varaha Boar avatar. He rescues goddess earth when the demon Hiranyaksh kidnaps her and hides her in the depths of cosmic ocean. The boar finds he r and kills the demon, and the goddesses holds into the tusk of the boar as he lifts her back to the surface.

Narasimha Half lion - half man avatar. Demon king Hiranyakashipu becomes enormously powerful, gains special powers by which no man or animal could kill him, tehn bullies and persecutes people who disagree with him, including his own son. The man – Lion avatar creatively defeats those special powers, kills Hiranyakashipu, and rescues demon’s son Prahalda who opposes his own father. The legend is a part of the Hindu festival Holi folkore.

Vamana Dwarf avatar. Demon king Bali gains disproportionately enormous powers, rulling the entire universe and abusing it. The dwarf avatar approaches Ball in the form of a monk, when Bali is try ing to show of by g iving alms at a sacrifice. Bali offers the dwarf any riches he wants, the monk refuses and asks for three steps of land. Bali grants it to him. The dwarf grows, in his first step takes the earth, the second all of the heavens, and for third the netherwor ld where Bali returns to.

Parashurama Sage with an axe avatar. The warrior class gets too powerful, and seizes other people’s property for their own pleasure. The avatar appears as a sage w ith an axe, kills the king and all his warrior companions.

Ram a Subject of Ramayana 8

Mahabharata and Ramayana

The two Indian epics, the Mahabharata and the Ramayana present Vaishnava philosophy and culture embedded in legends and dialogues. The epics are considered the fifth Veda, in Hindu culture. The Ramayana d escribes the story of Rama, and avatara of Vishnu and is taken as a history of the ‘ideal

24 king’, based on the principles of dharma, morality and ethics. Rama’s wife Sita, his brother Lakshman, with his devotee and follower Hanuman all play key roles within the Vaishnava tradition as examples of Vaishnava etiquite and behavior. Ravana, the evil king and villain of the epic, is presented as an epitome of adharma, plauing the opposite role of how not to behave.

The Mahabharata is centered around Krishna, pre sents him as the avatar of transcendental supreme being. The epic details the story of a war between good and evil, each side represented by two families of cousins with wealth and power, one depicted as driven by virtues and values while other by vice an d deception, with Krishna playing pivotal role in the drama. The philosophical highlight of the work is the Bhagavad Gita.

Krishna Subject of the Mahabharata and the Bhagavad Gita

The Bhagavad Gita is a central text in Vaishnavism, and especially in the co ntext of Krishna. The Bhagavad Gita is an important scripture not only within Vaishnavism, but also to other traditions of Hinduism. It is one of three important texts of the Vedanta school of Hindu philosophy, and has been central to all Vaishnavism sampr adayas.

The Bhagavad Gita is a dialogue between Krishna and Arjuna, and presents Bhakti, Jnana and Karma yoga as alternate ways to spiritual liberation, with the choice lft to the individual. The texts discusses dharma and its pursuit as duty without cravi ng for fruits of one’s actions as a form of spiritual path to liberation. The text state Coloney and stewart, succinctly summarizes the foundations of Vaishnava theology that the entire universe exists with Vishnu, and all aspects of life and living is not only a divine order but divinity itself. Bhakti, in Bhagacvad Gita, is an act of sharing and a deeply personal awareness of spirituality within and without.

The Bhagavad Gita is a summary of the classical Upanishads and Vedic philosophy, and closely assco aited with the bhagavad and related traditions of Vaishnavism. The text has been commented upon and integrated into diverse Vaishnava denominations, such as by the medieval era Madhvacharya’s Dravita Vedanta s chool and Ramanuja’s Vishishtavaita Vedanta school as well as 20 th century Vaishnava movements such as the Hare Krishna movement by swami Prabhupada 9 .

Vaishnava Agamas

The Pancaratra Samhitas (literally, five nights) is a genre of texts where Vishnu is presented as Narayana and Vasudeva, and this g enre of Vaishnava texts is also known as the Vaishnava Agamas. Its doctrines are found embedded in the stories within the Narayaniya section of the Mahabharata. Narayana is presented as the ultimate unchanges truth and reality (Brahman), who pervades the e ntirely of the universe and is asserted to be the preceptor of all religions.

The Pancaratra texts present the Vyuhas theory of avatara to explain how the absolute reality (Brahman) manifests into material form of ever changing reality (Vishnu avatar). Vasudeva, state the Pancaratra texts goes through a series of amanations, where new avatars of him appear. This theory of avatar formation syncretically integrates the theories of evolution of matter and life developed by the Samkhya sc hool of philosophy. These texts also present cosmology, methods of worship, tantra, Yoga and principles behind the deisgn and building of Vaishnava temples (Mandira Nirmana). These texts have guided religiously and temple ceremonies in many Vasishnava com munities, particularly in South India.

The Pancaratra Samhitas are tantric in emphasis and at the foundation of tantric Vaishnava traditions such as the Sri Vaishnava tradition. They complement and compete with the Vedic Vaishnava traditions such as the

Bh gavata tradition, which emphasize the more ancient Vedic texts, ritual grammar and procedures. While the practices vary, the philosophy of Pancaratra is primary derived from the Upanishads, its ideas synthesis Vedic concepts and incorporate Vedic teachings .

The three most studied texts of this genre of Vaishnava religious texts are Paushkara Samhita, Sattuvata Samhita and Jakkhya Samhita. The other important Pancaratra texts include the Lakshmi Tantra and Ahirbudhnya Samhita. Scholars place the start of t his genre of texts to about the 7 th or 8 th century CE, and later.

Buddha Subject of Buddhism. Some Hindu texts replace Buddha or another avatar with Balarama, or with Lord Balaji, or with Rishabhanatha the first Tirthankara of Jainism.

Kalki The last avatar appears as a man with a winged white horse projected to end of the Kali y uga, in order that the cosmos may renew and restart 10 .

Kalki is the final incarnation of Vishnu in the current Maharaya, foretold to appear at the end of Kaliyuga , the current epoach religious texts called the puranas fore tell that kalki will be atop a white a drawn blazing sword. He is the harbinger of the end time in Hindu eschatology, after which he will usher in satya yuga.

REFERENCES

1 . https.// en.m.wi kipedia.org. 2 . N.Subramanian, Tamilaga varalaru 1565 - 1982, Ennes Madurai, 198 8, p.128. 3 . N.Rama Rao, Krisnadvaraya, National Book, Trust New Delhi, 1971, p.181. 4 . B.V, History of Vaisnavism in south Indian , Madras, 1973, p.88. 5 . R.Dasar, Ramaswami Ramanuja, Srivainavism, Madras , 1986, p.188. 6 . https://en.m.wikipedia.org . 7 . Bhagavad Gita, 7 - 8. 8 . Ibid, p.128. 9 . Ibid, p.188. 10 . https;//nilayashokshah.word press.com.

CHAPTER III

LAYOUT AND ARCHITECTURAL FORMAT

Quick facts

Location: Almost n thecentreofthe town at the southeastern part of ‘porthmarai kulam’ which is near the big street.

Deity: Has a unique idol in the form of Lord Rama and his consort Sita in the Pattabhisekam Temple.

What clan: Vaishnavite Temple

Who Build: King Raghunatha Naicka, who ruled Tanjore from 1614 - 1640 A.D. built this temple, Govinda Dikshita, a minister of this king wasinstrumental in erecting this edifice 1 .

RAMASWAMY TEMPLE

Of all the temples in Kumbakonam t hat of Ramaswamy at the south end of the bazaar streets is the most important. It shines ass an art gallery exhibiting exquisite works of the Naick kings of Tanjore. The Muka mandapa is filled with more than 62 massive sculptures, all illustrating Dasavath ara episodes.

The prakaras in the inside are adorned with paintings of Ramayana. The coronation scene in this temple is the prime attraction of the pilgrims.

The story of the erection of this Rama temple is an interesting one. Ragunath, who ruled Tanjore from 1614 - 1640 A.D. was a devotee of Rama. Once he dug a tank in Darasuram, which is west of Kudandai, and while digging he found the idols of Rama and Sita. That tank can still be seen on the border of Darasuram and is called Rama’s tank. Inspired by the discovery of these idols, the king with the help of Govinda Dikshitar caused temples of Rama

to be built in three places Kudandai, Sri rangam and Rama Sethu, of which that at Kudandai achieved fame by its sculpture 2 .

Nayaka Kings of Thanjavur

Sevappa Nayak (1532 - 1580 )

Achuthappa Nayak (1560 - 1614)

Ragunatha Nayak (1600 - 1634)

He is regarded as the greatest in the Thanjavur Nayak dynasty. He is famous for his patronage of literature other scholarly research).

Vijaya Raghava Nayak (1633 - 1673) 3

Layout

Ramaswamy temple is almost in the centre of the town and faces north. A grand Rajagopura admits us and on entering we face a big mandapa with huge columns all supporting artistic images. There is a small Vimana over the Sanctum. The temple has one pillared Mandapa with columns telling stories of Ramayana and Dashavtara. The pillars have been numbered and labeled to facilitate the pilgrim to understand the episodes. These columns are beautiful pieces of art and thetemple is popular for them.

The tem ple has two prakaras. The inner prakara has the whole Ramayana painted on the walls and the outer prakara is around the temple. The Main Sanctum has Lord Rama in his Coronation scene with Sita, Lakshman, Bharata, and Shatrughan. Hanuman is also therereciti ng the hymns of Ramayana 4 .

THE LAYOUT

The layout of the temple is very simple. It is not a complicated structure as are the temples at Madurai, Tiruvannamalai, Tiruvarur and Chidambaram.

The core of the temple is its garbhagraha, which faces the north, s ubjoined to it are the ardhamandapa, mukhamandapa and mahamandapa, all facing north. At the northern fringers of the mahamandapa is a small gateway where in the second prakara ends. There is a tirumatil going around this part of the temple.

The third Prak ara is almost an empty space, save the alankaramandapa that lis adjacent to the mahamandapa. At the northern end stand the Rayagopura. At the southern end, a small gopura is fitted to the outer tirumatil. Thus, the temple complex ends with two tirumatils. Just within a few yards to the north of the rayagopura, the temple (architecture) is stationed.

In short, the Ramaswami temple when compared with several other big temples in Tamilnadu is not conspicuous from the setting of its plan. It is a moderate stru cture, which include the salient features of Nayaka art 5 .

The Sanctum

The entrance of the sanctum has Raghunatha and his two queens. Opposite to tehm are their two daughters.

Inside the sanctum one can see Rama and Sitainstalled in a single pedestal only i n this sthala. One is facing thescene of Coroation. Bharata is holding the parasol, Satrukana is waving the Chamara (Fan) while Lakshmana is awaiting the orders of Rama in Anjali - hasta pose. Hanuman with a veena in his hand is reciting the hymns of Ramaya na. The majesty of Rama, the merciful looks of SIta, the obedience of brothers and the devotion of Hanuman are faithfully recorded. The walls of the sanctum too carry sculptures like Indra on his elephant Iravatam, Narasimha, Ragunatha Naicker, Chakrapani, Sugriva, Vbhisana, Visvaksena, Vishnu on Hanuman etc. Eeven the kitchen has not been spared. The walls contain Gajalaksmi, Brahma, A raamudan, Madapalli.

Mandapa

This is not Mandapawhere one can rush through in haste should be studies at leisure and the sculptures enjoyed. Varadaraja, Kothandarama, Vishnu, CHakrapani, Radhakrishnan, Narasimha, Parasura, Krishna, Gajendra Moksha, Krishna Lila, Krishna Kalinga Vadha, Asvamedtham, Vamana avatar,Krishna, Garuda sevai,wedding of Sita and Rama, coronation of Vibhisana, coronationof Sugriva, Ravana vadha, Mohini, Chakrapani, ascene from Ramayana, Laxmi Narayana, Rama Laxmana and Guha in boat, Trivikrama, Hanuman are some of the sculpture that have no parallel in any other temple.

The Ramaswami temple at Kumba konam occupies the heart of the city. To its north lay the Sarangapani and Cakrapaniswami (Vaishnavan) tample. The Kumbheesvara (Siava) falls to the northwest and exactly west of the Sarangapaniswami temple. To its eas the Abimukhesvara (Saiva) temple and the huge tank of the mahamaham festival by a network of roads 6 .

Writing of the “Architectural features” of the temple Vivek Nanda, Anna L.Dallapiccola and George Michell (The masterminal behind the project ) add.

The plinth on which building is elevated has panels divided by strips of scrollwork. Headed by a cornice and frieze of miniature yalis. The basement displays curving petal led molding at bottom and top with a multifaceted curved molding in between. Thes e elements are replaced by a ribbed central element and cornice at the central projections of the sanctuary and antechamber. Pilasters dividing the walls into rectangular bays have part - octagonal shafts, pronounced projecting square capitals and simple co rbelled brackets. Niches in the central projections on three sides of the sanctuary (means the Garbhagraha) and on two sides of the antechamber (means the headed by cornices and salas (barrel vaulted roof forms with arched ends).

Recesses in the joints be tween the sanctuary and antechamber are emphasized by small performatted windows headed by cornices and salas. Niches in the side recesses of the sanctuary and antechamber those on the sidewalls of both Mandapas, are headed by foliated Kudus (horsehoe shap ed blind arches) in shallow relief containing diminutive figures, mostly of Krishna many unfinished. The cornice that runs around the unit has crudely fashioned Kudus: the frieze of yalis above marks the ends of the roof slabs. The pyramidal tower over the sanctuary rises in five storey’s, each with a sequence of corner Kutas (square to domical roof form) and central salas, cap peal by hemispherical roof, substantially remodeled in recent times. The two mandapas have columns with circular shafts, four in t he inner hall, sixteen in the outer hall, all tapped with stunted lotus brackets 7 .

The authors also add. “The architectural glory of the Ramaswami is without doubt the grandly conceived calankara mandapa inserted into the space between the two gopuras” (italics, transliteration and matter within parenthesis mine).

The above three authors go on further explaining the architectural features of the temple. It is simple and concise another recent author, N.Seethalakshmi, has a lengthy chapter on architecture developments in the Tamil country since the Pallavas.

ARCHITECTURAL FORMAT

It was during the Nayaka period that the Hindu temple in the Tamil country reached the optimum level of its expansion. When compared with the micro temple on the seashore at Mamal lapuram, called Mukunda Nayanar (which consists of the garbhafraha and a small mukhamandapa) temples acquired a macro format by about the Nayak time. Good examples of such

33 massive temple are from Madurai, Srirangam, CHidamparam, Tiruvarur and so on. Temple s of the macro format included the following important aspects.

1 . The core Garbbhagraha 2 . Several shrines for goddesses and minor divinities 3 . Several Mandapas aligned to the Garbhagraha (eg Aredhamandapa, Mukhamandapa Mahamandapa) 4 . Several Mandapas f or festiva l (eg olotsavamandapa, Vasantamandapa) 100 pillared Mandapa, 100 pillared Mandapa, Milaimandapa in temple tank. 5 . Soaring Rayagopuras and small gopuras in all cardinal directions (the maximum expansion seen in the Srirangam temple). 6 . Vahanas like ter 7 . Teppakku lams of vast size and so on

Including some of the above noted features, the Ramaswami temple poses to be a typical Nayaka temple.

The Ramaswami temple as already states is not a big complex like Madurai or Chidamparam. It is a moderate structure and inclu des several elements typical of Nayaka art 8 .

They are:

1 . The core Garbhagraha dedicated of Sri Rama with Sita, Lakshmana and others 2 . Mandapas aligned to the Garbhagraha (eg) Ardhamandapa, Mukhamandapa and Mahamandapa. 3 . ]Other Mandapas; the Alankaramandapas 4 . Go pura a Rayagopura on the north and a small gopura on the south 5 . Vahanas the tern and few other Vahanas.

The fact that temple was built under the Nayaka is proved by literary evidences. The architectural motifs of the temple attest the fact that the temple belongs to the Nayakar art.

THE VIMANA

The Vimana of the Ramaswami temple is a Dravida – Satanga - Vimana. It consists of six parts. They are,

1 . Adhisthina (basement). 2 . Pada (wall portion), 3 . Prastara(shoulder), 4 . Griva(neck), 5 . Sikhara (Literally head, the doom pa rt) and 6 . Kalasa(the finial)

The basement usually consists of two members celled upapitha and abhisthana. In the Ramaswami temple the upaitha is hidden I later renovations.

Linking the six angas of the dravida - vimana with purusa (literally ‘man’), it has been told by art historians since the time of stella kramrisch that it represents the parts of vastapurusa. The Hindu or as for the Indian temple is a virtual purusa 9 .

THE PADA

The pada part of the temple is plastered with archi tectural motifs. There are devakoshas, housing images of gods. The rest of the pada is decorated with Kumbhapanjaras and Kosthapanjurs.

THE SUPERSTRUCTURE

The Superstructure of the Vimana is in five talas. The talas are pinnacles by the sikhara and stupi d. The sikhara is in vesara mode, the shape being

35 circular. The talas are decorated with models of shrines like kutasalas and karnakudus. Certain stucco images sporadically appear on the Vimana.

ALANKARAMANDAPA

The Alankaramandapa is the pride of the Ramaswami temple. It falls in the space falling in between the northern rayagopura and short middle gopura that is present to the north of the Mahamandapa. It consists of two sections in the north - south order. On the southern side four rows of pillars (Colonnade) are found. On the north, three rows of colonnade are present. At the northern end, the number of pillars is eleven (see plan). In the eastern end of the number of pillars is nine, one falling in the northeast er and being common to both the rows. Leaving there are seven rows of six pillars each. The total number of these pillars is 42. Totally there are 61 pillars. All the pillars uniformly for sculptural decorations. They aer called “Sculptual pillars (Tamil c irppattun). If these no sculpture, tehn yalis may project the pillars. Tehse are called Yali - Pillars (Tamil Yalittun) 10 .

OTHER MANDAPAS

The other mandapas in the temple liked with the sanctum in the inner prakara are Ardhamandapa, Mukhamandapa and Mahaman dapa . The ardhamandapa fails to provide for any pillar. There are four arshathambas (half pillars) merging with the wall on the east and west. The Mukhamandapa provides for four centrally aligned pillars. The Mahamandapa consist of sixteen pillars. All the pillars in these mandapas are simple and do not provide for decoration with yalis and sculptures.

THE GOPURAS

The gopura are temple gateways, which make their faint appearance in early medical period. Such diminutive gopuras may be found in the

Kailasana tha temple at Kanchi, Virubapksa temple at Pattadakkal, Kailasa (cave XVI) of Ellora and the Ganesalena group in Ellora. It seems the idea of fixing these early gopuras to the Indian temple way a Tamil innovation. During the Chola period, these gopuras pr oject prominently as may be found in the Rajarajvarams at Thanjavur, Kankaikondacholapuram and Taracuram. Tall Rayagopura appear only during the Vijayanagara - Nayaka time. At the later phase, gopuras were also aligned on the four cardinal directions in ever y Prakara. A perfect modeling of such a kind of alignment may be found in the Sriranganatha temple at Srirangam .

The Rammaswami temple provides for three gopuras in the north, south and middle. The northern one is the Rajagopura the others are short. The rajagpura stands on a massive stone plinth. It is in four talas, so called Catustala. The griva is fitted with a barrel shaped sikhara with mahamasikas in all four sides. The central part provides in both front and back. The devarsa are guared by Visnu - dvarapalakas. The corners of the superstructure are fitted with karnakudu motifs. On all four side of eh gopura in its different talas stucco images appear.

To sum up, the Ramaswamy temple at Kumbakonam is a perfect model of the Nayaka architect ure. However, there are no inscriptional evidences to point out its origin. Literary sources gives unmistakable clue to it origin under Achyutappa Nayaka and Raghunatha Nayakas of the Thanjavur ru ling family. The different parts of the temple, such as gar bhagraha, mandapas, gopuras and the pillars prove its identity with Nayaka architectural. It is good example of Nayaka art in the Kumbakonam city 11 .

NOTES

1 . Vivek Nanda, Anna L.Dallapicola an George Michal, The Ramaswami Temple, Kumbakonam, South Asian St udies, 13, 1997 Pg.4 - 6. 2 . N.Seethalakshm i, A Study on the Iconographical importance of the Ramaswami temple ar Kumbakonam (PhD thesis, The Tamil University, 2002) chap3. 3 . For a historical study of these temples under the Vijayanagara - Nayaka phase see James Fergussion, A study of Indian and Eastern Architecture and Percy Brown, Indian Architecture: I Buddhist and Hindu. 4 . For fundamentals of Dravidian temple architecture see G.Jouveau – Dubreuil, Dravidian Architecture, Madras 1917. 5 . For a histo rical study of Gopura architecture see J.C.Harle, temple gateways of South India., Oxford 1963. 6 . For a study of the temple cars see RajuKalidos, wood carving of Tamilnadu: An Iconographical survey, journal of the royal Asiatic society of the great Britain a nd Ireland, 1988, No.1, PG 98 - 125; Temple cars of medieval Tamilnadu, Madurai 1989. 7 . For acese study of such Mandaps in the temples at Ta tikkompu (Rangamandapa) and Madurai (Pudumandapa) see S.Gopalakrishnan, The Rangamandapa of the Ttikkompu temple. A stud y of an Iconographic programme of the Vijayanagara time, east and west, Vol46: 3 - 4, Pg 415 – 31: Jeyapriya Rajarajan. The Iconographic programme of he Pudumandapa at Madurai, east and west (forth coming) for a good note on Mandapas n general of the Nayaka time as see R.K.K.Rajarajan, Art of the Nayakas (PhD thesis, The Tamil University), Thanjavur 1998.

8 . For a crystallization of Nayaka idioms in art see R.K.K.Rajarajan, op.cit. 9 . For a recent account see. R.Chapakalakshmi, The Hindu temple, New Delhi, 2001. 10 . I t comes nearer to the categorization of a 100 pillared Mandapa but it is not 100 - pillared 11 . For definitions see S.Gopalakrishnan, Cited in fn - 7.

CHAPTER IV

SCULPTURES IN STONE

Coronation of Bali

Scene from Ramayana. Lord Rama is seen coronating Sugriva after killing his brother BALI. Sugriva, with his army of monkeys helped Rama in the war against Ravan.

Coronation of Vibhisha

Next Lord Rama is coronating Vibhishan brother of Ravana. When Ravana had not li stened to his advice to return Sita, he joined Rama’s army.

Wedding of Sita and Rama

Bot in tribhanga pose, Lord Rama holding Sita’s hand. They are wearing lots of ornaments. Sita has a lotus in her left hand.

The most of the interesting feature of the Ramaswami temple is its images in stone, particularly carved on the Pillars of the Alankaramandapa. Scholars like Vivek Nanda, N.Seethalakshmi and other have already reported these images. Yet their full dimension has not been brought to light. They are s ubject to further interpretations. The present chapter presents a consolidated account of the images first and then attempts an interpretation of the most striking ones 1 .

The images found in the Alankaramandapa have been clustered under certain heads in t he sequence of the columns or pillars. This pattern has been devised by Vivek Nan da et al. They are as follows.

Venugopura, Hanuman carrying the hill of medical herbs, Gopi Vastrapaharana, River goddesses, Rama consercrating Vibhisana and Balakrishna 2 .

Vishnu - Dvarapalakas, Adimurti seated on Adisesa, Lakshmana consercrating Sugriva (Hanuman, Angada and Jambavan beneath the column), maidens responding below a tree, one with parrots.

Vibhidana holding a mace, crowned, Sugriva, Rama with Lakshmana and Vibhisana maiden holding l otus, a nobleman Govinda Piksita.

Nayaka king, preferably Raghunatha with his wife, marriage of Rama, meeting of Rama and Hanuman, Lakshman present on the occasion of the coronation o f Rama, Rama with Sita and Lakshmana, Mohini seducing rsis and Krishna with a Gopi.

A dancing gypsy carrying parrots, Rama riding on a chariot, Rati riding on a parrot 3 .

Vamana - Trivikrama episode, meeting of Rama and Parasurama both the events are dramatically illustrated.

Story of Ahalya, Vibhisana and Hanuman.

Rama, Lakshmana, Hanuman and Sugriva, Krishna stealing garments of Gopis, Venugopala, Balakrishna, Krishna embracing Rukmani and Satyabhana, European wearing.

The are a number of other ill ustration in the Alankaramandapa of which the important ones are Narasimha Rsyasrnga at Dasaratha’s court, Rama chasi ng the golden deer, Vali - Sugriv, Yuddham, Kaliyamardana, Kishna stealing curds, Rajagopala with consorts, Ranganatha with Sridevi and Bhud evi and so on 4 .

In the ensuring part of the thesis the most outstanding images in the Alankaramandapa of the Ramaswamy temple are described and their unique features pointed out. The interpretation manly depends on logic and intuition in the absence of any canonical mandate or supporting literature.

The uniqueness of the mandapa lies in the fact that several novel iconic themes appear.

The lord who is seat, Adisesa is known as Adimurti or Vaikunthamurti. An outstanding image of the type may be found in B adami cave 5 .

According to the canonical mandate provided by h e Sarasvatiya Citrakaramasastra, Adimurti is seated in Sukhasana on Adisesa. Sridevi and Bhudevi are presen with the lord. The other attendants are the Saptarisis, Indra, Dasavaaramurti, Brahma, Siva and others.

According to another version, Vaikundamurti is seated on the per carp of a lotus. Sridevi and Bhudevi are presen. Interestingly in this image Bhudevi is supposed a hold a parrot in a hand. Sridevi holds a mauling fruit in her hand.

The image under study is seated on the coils of Adisesa that is laid up like a pedestal. The five headed hood of the king cobra appears above the Kiritamakuta of the lord. He is seated in Sukhasana. The parahastas hold the Cakra and Sankha. The front right hand holds a goda. The front left hand a mauling fruit. Two attendants stand on either side with full pitchers in their hands as pour the Abisheka water on the lord’s head. Above the figure in between two rearing line four miniature deities are standing. These might represent the Avataras of Vishnu, preferably Sri Rama, Parasurama, Balarama and Krishna, Vivek Nanda et al and other writers have not properly identifies these figures.

According to the canonic mandate the lord is excepted to be present with his Devis. In the badami specimen, noted above no Devis appear. In case of the present image, it is naively suggested that the Devi is present within the lord. The matulinga, an attribute of Devi(Supra), held by the lord suggests the presence of Devi in h im. Above all the lord always carries his Devi with him because of the Srivastava, supposed to be present in all images of Vishnu 6 .

The identification of the image with Abhisekapujita - Adimurti is with due reference to the Abhiseka offered to the lord. No rmally such images of the lord are very rare. Usually Gajalakshmi appears in such a mode, the Abhiseka - Lakshmi. Our nomennelature, Abhisekapujita may not be a missioner. It means Adimurti who is worshipped by the anoinment of hold water, may be the wate rs of the nine rivers (Ganga, Kaviri and others) that meet in the tank of Kubhesvara on Mahamaham day when Jupiter crosses over the Leo. The River symbolism of Kumbakonam by this way Saivas and the Vaishnavas.

Another plausible interpretation is that Vi shnu himself in the image may represent Ragunatha Nayaka. Had Achyuttap undertake the construction of the temple, finished by Raghunatha. It is quite likely that latter installed such an image to mark his owns coronation to the Tahanjavur royal throne. It is also quite likely that after demise of his father when Raghunatha mounted that throne, the present temple itself was consecrated by way of Kumbhabhiseka. The Abhiseka offered to the lord in the present image is likely to earmark this event.

Though Kris hna is myth logically credited with several thousands of lovers or wives (Antal would say tevikal pantinayiramavar) “Ten - thousand Devis” 7 .

The most beloved by the lord were Rukmani (a subordinate by character and Sathyabhama a commander by character).

Ther e are two images of which one is seated and other standing. In the seated image Krishna is in the centre while his side on the same pedestal seats Rukmani and Sathyabama. Krishna offers his kiss to one of the mistresses while the other turns the face way. It is a likely the person on the right side receiving the kiss is Rukmani to his right and embraces her. Sathyabama is on the left whose hand Krishna holds tightly. In these images, all three wears rich lion clothes while the body is bare. A number of ornaments are found but not a piece of cloth to cover the upper part of the body even in the case of the two damsels. Krishna wears his typical kontai “Topknoy” which is a big bun, called Krishnakonai. It is feature typi cal of Nayaka art 8 .

Another remarkable image is that of Lakshmi - Nrsimha “Manion” united with Lakshmi. According to mythology Nrsimha was an Ugramurti, terrific lord. Even after the slaughter of Hiranya, his ugra did not vanish. The presence of Lakshmi was solicited so that his ugra a might vanisg. Accordingly, when lakshmi came to the company of Neiimha, his ugra appeared. In the presence image, Nrsimha is seated on a Bhadrapitha is Sukhasana mode. Lakshmi is seated on his left thigh, Nrsimha has a face of a lion, which is not terrific. The eyes are balding and the tingue peeps out to point out the disappearing anger. His parashastas hold the Cakra and Sankha the front right hand is in Abhayamudra while the left embraces Devi. Devi is dvibhuja and holds a f lower in the left hand. Images of Lakshmi - Mrisimha and Yoga - Nrisimha are common idioms in Vijayanagara Nayaka art 9 .

Trivikrama is the fifth incarnation of Vishnu. He follows the Nrsimhavaratara. Ot begin with, he appeared as a dwarf, Vamana and elongangat ed himself into the in accessible Trivikrama by lifting the left leg.

The image in a pillar of the Ramaswami temple is quite interesting. The lord stsnds lifting the left leg up to his shoulder. He hs eight handed. The right

44 hands hold the Cakra, Khadg a and Abhaya. One of the left hands, alone is visibleand holds the Sankha. Above the lifted, Brahma appears offering Anjali. Thisd idiom could be found in the image of Trivikrama in the Varahamandapa of Mamallapuram of the Pallava period. It is a rare idio m .

Another uniquences of the image is that the thigh of the standing les alone is visible. It is not known whether the pillar was broken and reinstalled. This klnd of disfiguration of he image, e.g. presenting in bust from (e.g. the Elephant a type of Trim urti, the triune) is unpopular with the Indian tradition. Image may be cast intherimorphic from but no in any disfigured from.

The lord appearing on his kite vehicle is an theme in Indian art. Its earliest occurance may be found in eh Dasavatara temple at Deogad, which belongs to the latter Gupta period 10 .

The present image represents Narayana mounted on the shoulder of a flying Garuda. The lord is seated in Sukhasana. He is eight handed. The front two hands are in Abhaya and Avahana - mudras. The Parahastas hold the cakra and sankha. The other two right hands hold the bane and knife. Garuda is human in form. He has the nose of an eagle. The wings are missing. To the right of the image a dwarf human being stands with hands folded in Anjalibandha.

The illustrat ion mightrepresent the elephant that Narayana is said tohave rescued from the clutches of a fiendish crocodile. This mythology appears in the Bhagavata Purana and still earlier versified by the Alvars in their hymns. Normally in other illustrations the zoo morphic crocodile and elephant. Interestingly, the elephant is in anthropomorphic from in the present illustration. It might suggest the face that the elephant was originally a human being cursed to be an elephant that was dedicated to the worship of Naray ana. An excellent example of Bhakti ‘devotion’ in Indian tradition, the image is a popular theme right since the later Gupta period atDeogadh 11 .

]Sri rama was an incarnation of Vishnu and the hero of the Ramayana. He comes under the Dasavataras of the lord . In the present image, Sri Rama is standing in Dvibhanga mode. He holds a long arrow and bow in the two hands. He is fitted with a Kiritamakuta and all other ornaments. Therefore to one of the events before his excommunication to the forest or his arrival at Ayodhya after the Ayana “Paregrinations”. The image is set within two pillar - like motifs. At the top two divinities are seated on a throne. They are likely to be Rama and Sita.

In another image, Rama is seated on a throne. He holds the bana and dhanus in both his arms. Lakshmana and Bharat stand on either side of Rama. Above the image, a dwarf image of Rama appears in standing mode. Below two monkey hero’s and a human being appears . these are likely to be Sugriva, Jambava and Vibhisana. Below hands f olded in Anjalibandha. He is likely to be Hanuman. All oher Rama hold their hands in Anjalibandha as a mark of respect to the hero of the temple, Sri Rama 12 .

Another image presents the corinted Sri Rama. The lord is seated on Simhasana in Sukhasana mode. Dvibhuja, he holds the right in Abhayamudra while the left is suspended below. Sita is seated to his left. She is dmnitive. Lakshmana in diminutive from stand s to the right. At the top of the illustration sesasay is carved. He is recliging on the bed provided by the fove hooded Adisesa. Below Sesayi, Vishnu appears in sthanaka mode with Sridevi and Bhudevi standing to the right and left. At the extremity two s eated Dveis appear. These two are robust personality econometrically. They are likely to be Sro and Bhu who fail to appear along with Sesayi in the upper relief. Below the main figure of seated Rama four dwarf beings appear. These are likely to be Bharata , Hanuman and other.

The repeated occurrence of the images of Sri Rama in the rtemple might be justifies with reference to the fact that temple itself is dedicated to Ramaswami. The builder of the temple was. Raghunatha Rama hailed from the race of illus trious. Raghu, the Raghuvamsa of Mahakavi Kalidasa. In all the stone, stucco, wooden and painted images of the temple, it is all the presence of Sri Rama.

There are two images of Cakkrattalvar on the pillars of the Alankaramandapa. Both the images are Sthanaka. The standing image appear within the rim of a disc., Cakra. The image is in Samapadasthanaka mode, fitted with eight arms . Te parahastas hold the Ca kra and Sankha. The Purvahastas hold a Padma and Naga. There is a halo of jvala behind the face to point out its terrific nature. Cakkrattalvar is the personified Cakra. He is known as Sudarsana. The function of the weapon is to punish the evil monger. He is called Nigraha - Cakra. The Cakra also denotes time that revolves, taking one from the bottom to the top and one from the top to the bottom.

The other image is in walking mode. He is fitted with eighteen hands, holding difference weapons. The terrific nat ure of the lord is pointed out by the harsh face and the sparks of jvala which appear behind the face.

The cult of Cakkrattalvar was popular during the Vijayanagara Nayaka time. As an Ayudhapurusa, he was worship with fear. separate temples came to be ere cted for the lord. One such temple is found in the Kumbakonam sity. In Vishnu temples separate chapels for the lord was also erected.

Hanuman is the moneky hero of the Ramayana who makes his appearance first in the kiskindhakanda of te epic. He be friended Sri Rama and was of great help to cultivate the friendship of Sugriva, rendition of Vali and to trace the where about of the abducted SIta. It was he along with all other heroes of the monkey horde that wayed a war with Ravana is an effort to liberate Sit a 13 .

Hanuman became a cult hero during the Vijayanagara - Nayaka time and came to be elevated to the status of a major God. Separate temple came to be erected in his honour. In one of the pillars of the Alankaramandapa an image of Hanuman appears is Sthanaka mode. He is fitted with a crown and al other ornaments. He basically Anthropomorphic but for the monkey face hank meaning the facial projection.

A number of the images of Mohin and Surasundaris appear on the fron level row of pillars. The image, of Mohini presents a charming damsel who stands cross - legged in a relaxed mood. She holds the right hand in Uruhasrta while the left is holding a flower. The lock of hair arranged in big bun is pushed to the left. She has attractive breasts and wears various garmen ts and ornaments.

Mohini is an Amsavatara of Vishnu. She has chances for appearance in connection wit several myth logical events.

1 . A visit to the Daruka forest in the company of Bhiksatanamurti. 2 . Distribution of amrta to gods after the churning of the oc ean of milk. 3 . Rendition of Bhasmasura, and 4 . Sexual dalliance with Siva 14 .

Leading to the birth of Hariharaputraa. All these events with sculptural illustration have been published in their hands. Several parrots appear near the face of a damsel.

In few other pillar images of Sura sunndaris (heavenly damsels) appear. Some of them hold musical instruments in their hands. Several parrots appear near the face of a damsel.

In one of the centrally pillars an image of Raghunatha Nayaka appears. He stands h olding both the hands in Anjalibandha. He wears a crown and holds a sword across the body. To his left is found his wife, holding the hands in

Anjalibandha. To the right another dwarf feminine figure appears, identified with a daughter of the king.

The sto ne sculpture of the Ramaswami temple present wide spectrum of the iconographical form of Vishnu. Several of them are canonified forms, e.g. Adimurti Sesasayi, Nrsimha and so on. Many of the images pertain to the Ramayana events, a fitting compliment to a temple of Sri Rama. Temples for Rama exclusively appear only during the Vijayanagara Nayaka period. The present temple is a nice example near Tancavur, there is a temple for Gadanda Rama at Vaduvur. This temple is noted for its Ramayana carving in th e ter. The eloquent picture of their Ramaswami temple is its sculpture in stone. It excels all other temples in this respect. On the whole the Ramaswami temple is a veritable gallery of Nayaka art in the plastic medium 15 .

NOTES

1 . Vivek Nanda et al., The Ramaswami Temple, Kumbakonam, South Asian Studies, Vol. 2 . 13 Pg 7 - 111. 3 . Raju Kalidos, Encyclopedia of Early Hindu Iconography, Vol I, Vaisnava, Chap III. 4 . Raju Kalidos, temple cars of medival Tamilaham, Pg 184, Sarasvatiya Citrakaranasa trea, chap II. 5 . Srital tvanidhi, 1.2.2. 6 . Jeyapriya Rajarajan, A rare image of Abisekapujita - Adimurti, paper presented in the Tamilnadu History congress, Thanjavur - Poondi 2003. 7 . Raju Kalidos, The Hymns of Kotai, An Essay in Eroctism, Sectarian Rivalry in Art an d literature ed. Raju Kalidos, PP.??? 8 . For a comprehensive account of Nrsimha see Raju Kalidos, Nrisimha in literature and Art, Annali del institute Orientale.??? 9 . Chasing image is bust or disfigured from is not popular in Indian traditional several hands a nd heads for a human being or god may be common but disporting the images by way of disfiguration is not favored. The only exception is the Elephanta type of Trimurti who is a bust. 10 . For facets of Garuda in art and literature see P.Chandramohan, Garuda in m edieval Indian art (PhD thesis, The Tamil University), Thanjavur 1999. 11 . The myth is Saskrit and Tamil Literature has been licidly elaborated in the book cited in fn 2 above/ 12 . R.K.K.Rajarajan painting of the Tirukokarnam Temple. Postdoctoral project of the A laexander von Humboldt Foundation, Freic Universitat Berlin (forth coming). 13 . W.E.Begey, Vishnu’s Flaming heel. TheIconography of Sundarsanacaka, Newyork 1973.

14 . Raju Kalidos, Pancamukha – Anjaneya in canonic literature and Art, east and west, Vol.1, 1 - 4, Pg 133 - 51. 15 . Raju Kalidos, Vishnu’s Mohini incarnation, East and West, Vol 36:1 - 3, 16 . Pg 183 - 204.

CHAPTER V

WOOD CARVINGS

Wood carvings in the Hindu temple in Tamilnadu appear mostly in the form of Vahanas ‘vehicles’ of the gods and goddesses. Prof.Rajkolidos we the pioneer in the field who has surveyed most of the temple cars. (ter in Tamil and Radha in Sanskrit) in Tamilnadu with casual reference to the other Vahanas. The art heritage in wood still remains and area open for investigation. The Ramaswami temple is in possession of a chariot for the lord. Perhaps Ragunatha Nayaka him self donated the ter. It illustrates the iconographical forms of Vishnu and the Ramayana themes. These are few Vahanas. Important among them Garuda and Airavata. The present chapter presents an account of the wood carvings found in the Ramaswami temple 1 .

GARUDA – VAHANA

Garuda is the Vahana of Vishnu in Hindu mythology according to the Garuda Purana. This Vahana is basically wood and covered with brass plates. Garuda is anthropomorphic with bold eyes and the nose of an eagle. The bird’s wings are fitted to him. He is in alidhasana. The hands are held up as though in exaltation of the lord. A seat is provided on the back of the bird for seating th e processional images.

AIRAVATA

Airavata is the vehicle of Indra. He is a white elephant, fitted with four tusks. A vahana of the type has been reported by Rajukalidos in the journal of the Royal Asiatic Society. The Airavata from the Ramaswami temple has been reported in the M ary. The cited author has photoset the image from the side. For the frontal image, see the present thesis(plates). Airavata is squatting on its four legs. The face is majestically lifted up. The proboscis is sent side was on the

52 right. The four tasks are c lear. The ears are winnow - like. On the back of the zoomorphic vahana, a seat is provided for mounting the processional image.

THE TER

The ter is vasara, i.e. circular in shape. The ter of the Kodanramasvami temple at Vaduvur is also circular. Most of the images in the ter are on the Ramayana theme. The illustrated events book by book is as follows.

BALAKANDAM

Events of the book begin with the usual pattern, Vishnu is in the Vaikuntha, keen on understanding another incarnation. The Ramavatara stars king Da saratha has no son. He consults the ministry and decides to conduct the Patarakamesti - Yajns. The events in sequence are the following.

Dasaratha invites Rsyaringa to conduct the sacrifice. The sacrifice is conducted four children are born to the king. Rs i Rsyasrnga has the head of an antelope and human body.

The scene shifts to the forest. Rama follows visvamitra to the wilderness. The ogress, Tadaka arrives at Visvamitra hermitage to cause obstacles to the sacrifice conducted by the rsi. Rama kills Tada ka and Subhanu marica with injuries escapes. Visvamitra resumes his sacrifice.

Visvamitra takes Raman and Lakshmana to Mithila. On the way Ahalya is redeemed. Rama breaks the Rudhradhanus and takes the hand of Sita.

Rama and the marriage party return to A yodhya. On the way, Rama meets the other incarnation Parasurama who challenges him to wield the Vishnudhanus. Rama curbs the pride of Parasurama. This event is known as Parasurama - Garvabhagam 2 .

AYODHYAKANDAM

The married couples return to Ayodhya. Dasarat ha decides to offer the crown to Rama. Mandra advise kaikeyi to stop the corination Kaikeyi seeks the born. Rama is exiled. Rama takes of his mother. He crosses the Ganga with the help of Gutha. They arrived at Citrakuta and settle here.

ARANYAKANDAM

Surp anakai arrives to Citrakuta. She starts doting on Rama rejected she dotes on Lakshmana. He cuts her nose. Surpanakha reports the matter to Ravana. She advises him to kidnap Sita. Ravana first dispatches marica to beguile Rama. He arrive a golden deer. Sita want to posses it and asks Rama to catch it. Rama goes chasing the running antelope. He shots an an arrow on the animal and kills it. Marica shouts the name of Rama. SIta want Lakshmana to go in pursuit of Rama. Lakshmana leaves the cottage. Ravana arrive s as a mendicant. He attempts to cajole Sita but fails in his efforts. SIta rebukes him for his falsehood. He assumes the form of a demon with ten head and twenty arms and takes Sita forcibly in his chariot. Jatayu chases the chariot and fights with Ravana . He shatters Ravana’s chariot. Ravana wounds Jatayu mortally and leaves for Lanka with Sita. Sita was imprisoned in the Asokavanika.

KISKINDAKANDAM

Rama and Lakshmana go south in pursuit of Sita. They find Jatayu on the way and know about the happineings . Jatayu dies and is sent to Vaikuntha by Rama. Going south, they meet Hanuman with his help. They befriend Su g riva. Rama shoots the seven trees. Vali is killed Sugriva is crowned king of Kiskinda 3 .

SUNDARAKANDAM

Hanuman goes southward, clashes with the sea - ogress, and finds Sita in Lanka. He is taken prisoner by Indrajit. Hanuman seats himself on his own tail. Ravana orders fire to be set to the monkey’s tail. Hanuman causes havoc with the same fire. Lankadahanam takes place. Hanuman reports the matter of his mission to Lanka. He hands over the Cudmani to Rama.

YUDDHAKANDAM

Rama orders the building of the causeway. Setubandhanam takes place. The monkey forces their into Lanka. Battle scenes are illustrated in a graphic way. The important events of the battle are.

Awakening of Kumbhakarna

Fall of Kumbhakarma

Fall of Indrajit

Routing the army of Ravana

Fall of the ten - headed Ravana

Sita is brought to the presence of Rama. He expresses his willingness to set fire. So that Sita could plunge in the fire. Sita performs the agnipravesa. Rama with his retinue returns Ayodhya. He is crowned king with the Pattabhisekam of Rama, the portrayal ends.The Ramaswam i ter is an important heritage of the Tamil century. Episodes of the Ramayana have been carved in several ters in Tamilnadu found in various places, eg Vaduvur, Madurai (Kudal - Alakar), Tanippadi and so on. The Ramaswami and Vaduvur temple are very importan t because both are dedicated to Rama. In these chariots, the Ulsavabera of Rama is taken in a procession during the annual brahmotsava 4 .

NOTES

1 . Rajukalidos, wood carving of Tamilnadu. An iconographical survey, Journal of the Royal Asiatic Society of Greet B ritain and Ireland, 1988, No.1, Pg 98 - 125. Temples cars of medieval Tamilaham, Madurai 1989. The same author has written a number of articles in international journals from Rome, Naples and Copenhagen. Others in the field are Rita Regginer (Paris),R.K.K.R ajaraja (in Berlin and east and west), George Michall (in marg), Anna L.Dallapiccola (in mary and south Asian studies) and K.Kandan (Ph.D thesis). 2 . P.Chandramohan, Garuda a medival Indian Art (Ph.D thesis, Tamil University, Thanjavur 1999, chap). 3 . Joanne pun zo wagborne, Vahanas conveyors of the Gods, mary, Vol LXIII: 2 Fig 10. 4 . It is very interesting because according to manuals of Indian architecture vesara is a form connected with Siva.

CHAPTER VI

PAINTINGS

Indian paintings has very long tradition and history art. The earliest Indian paintings were the rock paintings of the pre - historic times. The petroglyphs as found in India, the history of Indian painting dates back to the era of Ajanta, Ellore and other murals, other famous examples are Buddhist temples and palm leaf manuscripts, the jain temples ext…

Ramaswamy temple which depicts the paintings of Ramayana is another important Vaishnavite temple in Kumbakonam.

Ramayana

Ramayana is one of the great epics of India. This story of Sri Rama by the great sage Valmiki is referred to as the Adi Kavya. Rama, the ancient idol of the heroic ages, the embodiment of truth, of morality, the ideal son, the ideal husband, and above all, the ideal king. The Ramayana consists of 24, 000 verse sin seven books and 500 cantos, and tells the story of Rama, whose wife Sita is abducted by the demon king of Lanka, Ravana.

Characters of Ramayana

Lord Rama. He is the hero of the tale. Postrayed as the seventh incarnation of the God Vishnu, he is the sld est son of the king of Ayodhya. Dasharatha Sita, is the beloved wife of Rama and the daughter of king Janaka.

Hanuman: is a vanara belonging to the kingdom of Kishkindha and an ideal bhakta of Rama.

Ravana: a rakshasa, is the king of Lanka, Vishnu incarnat es as the human, Rama to defeat him.

Inner Prakara

If the outer mandapa excels in sculpture, the inner prakara will show us the entire Rama - story in brilliant colours. The paintings in the inner prakara are in Tanjore style. And the last paintings is e mbedded with coloured stones, which sparkle. To read the whole Ramayana one has to go along the prakara three times. The outer Prahara consists of all 219 all paintings. Alwar Sannathi, Sreenivas Sannathi and Gopalan Sannathi are the other temple locate d within the Temple complex.

ART OF RAMAYANA PAINTINGS

The greatness of the Nayaka art is that a whole series of the Ramayana events in paintings and wooden chariots make their presence felt. Such Ramayana paintings may be found in the Saundararaja Perumal temple at Alakarkoyil, near Madurai, Tirugokarnesvara temple at Tirugokarnam (in Pudukkottai) and the Ramaswami temple at Kumbakonam. The paintings in the Ramaswami temple were originally painted during the time of Ragunatha Nayaka. Du e to the revenge of time and weather, the original paintings were damaged. The damaged paintings were recast during so many renovations. Therefore, what appear today are the later ones. In some cases, the originals have survived. The present chapter presen ts a picture of the Ramayana paintings. Totally 220 paintings on the subject exist.

THE BEGINNING

The Ramayana serial begins with a paintings of Sesasayi, reclining on the coils of Adisesa in the ocean of milk. In the next carving, Kumbhakarna lifting th e Rangavimana of the Srirangam temple on his head is shown. Thereby it is suggested that the Ramayana begins at Srirangam.

Events of the Balakandam are on display one by one. The first important event is the birth of Rama. Dasaratha had no sons. He consult ed his minister, Vasistha as to what to do.

He was advised to invite the celebrate rsi, Rsyasrnga to conduct the Putrakamestiyajna. The rsi comes to the court of Ayodhya. He has the head of an antelope and the body of human being. He conducts the Yajna. F rom the Yagokuda a messenger comes with a pot of food. He hands it over to the king and advices him to offers the heavenly food to his wives. They give birth to four children who were names Rama, Lakshmana, Bharata and Satugna. The Balakanda events proceed with the early life of the princes in the royal lace at Adodhya.

BALAKANDAM

The next important events is the arrival of the sage Visvamitra to the royal court at Ayodhya. He requests the king, Dasaratha to send Rama with him to the forest to quell the mu isance of demons. Dasaratha hesitates Vasistha persuades the king to comply with the Maharsis request Rama and Lakshmana go to the forest with Visvamitra. They say with the rsi in the forest. A day break, the sage addresses the following sang to Rama to w ake him up.

Kausalyasupraja Rama PurvaSanshya Pravattee….

“O, Rama son of Kausalya, het up the morning Sandhya time has come..”

The verse provides the beginning for the Suprahadam (sog of arousal) of Venkatesvara in Tirumala. The job of Rama in the forest was to quell the muisance of two powerful demons, Tadakaand Marcia. Tadaka is killed while Marcia escapes. All these events are illustrated in the paintings. Tadaka and Marcia are sho wn like sturdy demons.

After the eradication of demons in Visvamitra’s hermitage, the sage takes the princes to Mithila where king Janaka was holding a vayamvara for the marriage of Sita. On the way, the sage on telling the princes the story of Ahalya who was raped by Indra. She laid cursed a son on the way that the princes move. Finding the stone on his way Rama places his foot on it. Immediately Ahalya comes redeemed she was asked to unite with her husband.

He princes and the rsi arrive at the court of M ithla. Janaka and arranged a contest for the marriage of Sita. One who could lift the mighty Rudradhanus (bow of Rudra - siva) as to be offered the hand of Sita. Several princes and gods tried their best but could not lift the bow. Rama did with ease, leadin g to his marriage with Sita. The members of the Ayodhya royal family arrive at Mithila Rama and his three brothers are married to princesses of Mihila.

After the marriage jubilations, the Ayodhya party departs Mithila and proceeds to Ayodhya.On the way Sri Ram, an Avatara of Vishnu, has an encounter with another incarnation of Vishnu, Parasurama. Parasurama was an emasculater of the race of Ksatriya and challenges Rama to wide the Visnudhanus in his possession. Rama meets the challenge successfully and curb s the pride of the rsi.

AYODHYAKANDAM

On reaching Ayodhya, Dasaratha consults his ministry and decide to offer the crown to Rama. All arrangements for the coronation ceremony are on progress. Kaikeyi, most beloved among the wives of Dasaratha, misled by a servant - woman, called Mandara, seeks a promised boon from kings, asking him to crown his own son, Bharata and exile Rama to the forest for fourteen ears. In fact Kaikeyi loved Rama dearly but was under the ill advice of her servant that she demanded such an unruly boon. Unable to overcome Kaikeyi, Dasaratha yields. On hearing the orders of his fathers, Rama decides to go the forest. Sita

and Lakshmana followed him and left the royal palace. The whole country was immersed in sarrow. The broken hearted Da saratha died.

Bharatha was summoned from his grandfather’s country and asked to be crowned. He rebuked all those for the exile of Rama and went in search of him. His aim was to bring back Rama to Ayodhya. In the meantime, Rama, Sita and Lakshmana reached the Ganga. They had to cross the great river to move to the South they met a friendly boat man called Guha and asked his help to cross the river. Guha took the tree in his boat and crossed the Ganga. While camping on the southern bank of the Ganga, the ro yal party saw Bharatha arriving with a huge retinue. He met Rama, apologized to refuse the offer, saying it was his father wills that he should be in the forest on exile. Bharata also informs Rama of the death of his father. Rama performed the final obsequ ies to his father on the bank of the Ganga. Felling disturbed by the visit of kin, Rama decided to go deep into the south and stay at Citrakuda.

Citrakuta was an enchanting place and the royal party decided to stay there for a long time. On one of the days , Surpanakha, sister of the demon king of Lanka, Ravana arrived at the place and fell in love with Rama. Refused by him, she doted on Lakshmana. In great fury Lakshmana cut nose and breast. Insulted Surpanakha reported the matter to Ravana. She also told h im of the beaty of Sita and instigated him of kidnap her.

ARANYAKANDAM

This part of the book deals with the life of Rama in aranya ‘forest’. Ravana sent him assistant Marcia to beguile Rama an take him away from his hermitage. Marcia came disguised as a golden antelope and played near the cottage. Falling in love the antelope, Sita wanted Rama to catch it. Rama went in search of the animal. It ran way taking Rama deep into the forest. Unable to catch it, Rama sent an arrow and killed it. It died shouting he name Lakshmana,

61 in a voice a kin to that of Rama. Sita thought Rama was in dancer and asked him to go pursuit of the lord. Akshmana said it was a falls voice. Insisted by Sita, Lakshmana went in search of Rama. In the meantime, Ravana arrived at the co ttage is disguise as a medicant and sought alms from Sita. He spoke pleasingly it her and wanted her to elope with him. Rebuked by Sita, Ravana by force abducted her in his aerial chariot to Lanka. Sita dropped her jewels one by one on the way so that the search party may detect her way of transport. While Ravana was in flight, a mighty bird, jataya stopped him. He offered Ravana’s chariot and ought heroically with him. At last Ravana cut the bird’s wings and flew away to Lanka with Sita in his grip.

For a brief discussion of these see Rajarajan in the east and west, Vol 48:3 - 4 PP 345 - 6. See also Anna.Dallapiccda in the marg vol 43:2, pp 7780. Regarding Sita abduction by Ravana. Rajarajan has written an exclusive paper, published in Berlin.

KISKINDAKANDAM

The events take place in the Kiskinda Mountain and so the name. not finding Sita in the cottage, Rama and Lakshmana move out of Citrakuta in search of Sita. On the way they meet the dying bird jatayu. Jatayu tells them of the said plight of Sita and die s . The royal prices perform the obsequies for jatayu and reach Kiskinda. Rama and Lakshmana meet Hanuman. Knowing their story. Hanuman romises help to trace the where abouts of Sita. He introduces them to Sugriva the monkey - hero and brother of Vali. Rama promises to kill Vali and crown Sugriva the king of Kishkindha. In order to demonstrate his skin in rchery, Rama shoots seven trees at a stroke. Sugriva challenges Vali for a duel. RamakillsVali. Sugriva was crowed the king of Kiskindha.

SUNDARAKANDAM

Ha numan was sent to find the place where Sita was imprisoned. He went by levitation towards Lanka. On the way, a sea - demons stops him. Hanuman kills her and reaches Lanka. At the gates of the city, he meets the goddess of the city and as encounter with her. After overcoming Lankadevi, Hanuman enters the city. He searches the nooks and corners and finally finds Sita in the Asoka forest, imprisoned and guarded by ogresses. He seats himself on the bough of a tree and observes the sad plight of the mother. He t alks with Sita and hands over Rama’s momentum to her and takes the Cudamani form her as a mark of identification to Rama. Finding a monkey in the Asokavanika, Ravana sends his army to imprison him. Hanuman defeated all. At last, Indrajit, son of Ravana com e to the scene. He imprison Hanuman by releasing the Brahmastra. Taken to the court of Ravana, he was not offered a seat. Hanuman created a seat our of his tail a sat on it. Ravana set fire to his tail. With the same fire, Hanuman set fire to Lanka. The e vent is known as Lankadahana.

YUDDHAKANDAM

The book deals with the war with Ravana for retaking Sita. Hanuman report forces to built a caose way to reach Lanka. The event is known as Setubandhanam. The war with Ravana is described in great detail. Kumb akarna, Idrajit and Ravana were killed in various battles. Sita was asked to perform agnipravesa to prove her innocence. By this time the fourteen years of exile had expired. The royal party reaches Ayodhya. Rama was crowned the king.

The story proceeds f urther in the Uttarakanda. Sita expresses her willingness to visit the forest again. Lakshmana drops her in Valmikis hermitage. Two sons, Lava and Kusa born to her. They fight with Rama. Sita tops the fight telling the prices with Sita, Rama asks her to pe rform Agnipravesa for the second time. Unable to bear the disgrace, Sita gets into the bowels of the

63 earth. Rama crowns his sons and plunges himself into the Saryu, he River that flows also to Ayodhya. The Raavatara comes to an end. Valmiki in his Ramayana was the first tell the story of Rama. Aranya means peregrination Rama undertakes his Ayana twice. The first experience was with sage Visvamitra who takes them to the eastern forest up to Mithila. The second Ayana was in the south, taking Rama from Aryavar ta in the north to Lanka in the south. Rama’s Ramayana is suppose to ear mark the Aryanisation of India. The Tamil India and eastern languages. In Hindu it was written by Tulsidas as Ramacaritamenas (the lake of Raman’s story). It is a popular story in the entire east.

During the Vijayanagara - Nayaka period, the cult of the Rama was nurtured very much. Separate temples came to be built in his honor of which the Ramaswami temple at Kumbakonam in the best example. The story of the Ramayana came to be cat in st one, wood and painting of which those narrated in the present chapter is one of the best. A continuous narration of the events from the Ramayana is preented in about 250 episodes. Of all the illustrations the most striking ones are the following.

1 . Vishnu re clining in the Vaikuntha. 2 . Kumbakonam lifting the Rangavimana. 3 . Patrakamesti yajna conducted by Rsyasnnga and his dalliance with girls. 4 . Visvamira taking the princes to the forest. 5 . Adaka Vadham. 6 . Ahalya - Sapavimoksanam. 7 . Sita - Kalyanam. 8 . Encounter with Parasurama. 9 . Kaikeyi with Dasaratha. 10 . Rama travelling in Guha’s boat.

11 . Surpanakaha - Garvabhangam. 12 . Sitapaharaanam. 13 . Jatayu fighting with Ravana. 14 . Rama’s meeting with Jatayu. 15 . Jatayu - Moksam. 16 . Rama meeting Hanman. 17 . Rama shooting seven trees. 18 . Vali - Sugriva - Yuddham. 19 . Hanuman meeting Sita. 20 . Hanuman in Ravana’s court. 21 . Yudhakandam events in several panels. 22 . Sita – Agnipravesam. 23 . Coronation of Sri Rama.

Rama is blue in color. The demons are shown in dark colors. Sita wear the modern saree. Ravana appears with tehm heads and twenty arms. The monkeys are with a monkey face, human body and tail. Ravana appears in Sita’s cottage with a human from and assumes ten heads and twenty arms at the time of her abduction. Kumbakonam is short and strudy. When Rama schools at the seven trees a huge snake is found below the trees. Takada is a dark and sturdy woman. At the time of Sita’s Agnipravesa, Agni appears within the fire with two heads.

Thus, the Ramaswami temple is one of the few in Indian where in the story of Rama is pictured scene by scene. A templ e dedicated to Sri Rama, it is a fitting complement not only to the hero of the epic but also to his biography. The Tirugokanam to Rama. These paintings are not originally drafted by artists of the Nayaka time some four hundred years have gone sine the pai ntings seem to have been renovated from time to time. The present images are quite modern. Yet they retain traces of the Nayaka style.

NOTES

The present chapter is based on the Ramayana of Valmiki, Kampa – Ramayanam and the paintings of the Ramaswami temple. Raju Kalidos, Anna L.Dalapicola, R.K.K.Rajarajan have written on the Ramayana theme in art. These articles have been cited in the previous chapter VI Ramayana and the paintings of the Ramaswami temple with delings puranaya stories. Rama is pictu red scene by the refere to photo .

CONCLUSION

The Ramaswami temple is an important contribution of the Nayakas of Thanjavur to Indian art and Architecture. The Nayakas hailing from Vijayanagara came to the Tamil country after the days of Islamic oppression. They were dedicated to the cause of rebuildi ng the country from the chaotic yester regime. In addition to provide good administration to the country, they dedicated themselves to the propagation of the temple arts staunch Vaisanavitces, they had no inhibition in extending their services to temples o f Siva and other Hindu deities. They renovated older temple of Siva and Hindu deities. They renovated older temples which were ruined during the days of Islamic onslaught. An example of such a temple is the Sriranganatha temple at Srirangam. They built sev eral new temples. A good example is the Ramaswami temple at Kumbakonam.

The Ramaswami temple is not an enormous structure as the temple, at Srirangam and Madurai. It is campact. It has all the accessories of a macro temple such as the garbhagraha, severa l mandapas, gopuras, vahanas and so on. There is only one sanctum sanctorum dedicated to Rama and Sitha. His retinues are present in the garbhagraha.

Thre Alankaramandapa as a concept is not innovation of the Nayakas. Earlier temples also provide for such ornate pillars, carved with images. A good example is the agramandapa of the Airavatesvara [ Rajarajeswaram ] temple at Tarasuram. Nayaka temples such as Tattikkompu and Madurai [Putumandapa, Kapattaimandapa] provide for such mandapas. The original intent ion of adding such mandapas was to hold one of the annual festivals in such pavilions.

The pavilions are fitted with a number of ornate pillars, after called sculptural pillars and yazhi pillars with horse rider motifs. All these the sanctum faces the n orth and subjoined by several mandapas such as Ardha, Mukha,

Maha and Alankara manapas. The Rajagopura stands on the northern extremity. The entire temple fals with in a Tirumatil. A little beyond the Tirumatil on the north is stationed the temple car.

The most striking aspect of the Ramaswami temple its decoration with images of the Vaisnava gods and goddesses. These images are various media such as stone, wood, painting and stucco. The stone sculptures are in the mandapas of the temple in its various pillars. The most attractive pavilion is the Alankara or Ranga Mandapa categories of the pillars are found in the Rangamandapa of the Ramaswami temple. In yazhi pillars, the mythical dragon called yazhi is added to the sculpture in a gigantic for. Thes e are typical of Vijayanagara Nayaka art. In the other type of pillars, riders mounted on gigantic horses are mounted. These two types of pillars could be found in all parts of Vijayanagara Nayaka lineage. The thired type is the sculptural pillar. In th is type an image of a god or goddess patron are fitted in life size. Such types of pillars with their iconographical masterpieces have been earlier reported by scholars to international journals, eg

S. Gopalakrishnan [on Tatikkompu in east and west Rome] Sita Narsimhan [on perur in east and west] and Jeyapriya Rajarajan [on pudumandapa of Madurai in east and west]. Others have surveyed several of the mandapas of the Nayaka time [e.g. R.K. K. Rajarajan, crispin Branfoot]

Basing on these earlier models the present study has paid attention to the Rangamandapa of the Raaswami temple. In is an elaborate structure, which is supported by 64 pillars. On the north and east where the mandapa is open yazhi and horse pillars appear. The others are almost sculptura l pillars. The sculptural pillars accommodate mostly vaisnava themes. Several canonical forms appear,

e.g . Vaikuntha - Adimurti, Sesasayi, Cakkarattalvar and so on. Several events from the Ramayana are illustrated normally no exception to this general rule. Portrait sculptures include those of the outstanding among those images in that of Abisekapujita - Adimur ti and Raghunatha Nayaka . The two image of Chakkarattalvar are other masterpieces of the temple. To say crisply, the mandapa is an outstanding contrinution of the Thanjavur Nayakas to the art heritage of the world in its design and sculptural establishme nt. It is a wonder of Nayaka art. It needs to be father studied to bring out its multifaceted glory to the history of world art.

The other dimension of the temple is its paintings on the Ramayana theme. More than too illustrations on the theme were pain ted on the wall of the second parakara of the temple. Events begin with the lord of his Sesasayi aspect in the Vaikundan and Vibhisana lifting the Rangavimana. Scene by scene, the events of Balakandam, Ayodhyaakndam, Aranyakandam , Kiskindakandam, Sundara kandam and Ynddhakandam depicted. Normally the Ramaswami temple illustrations of the Ramayana in various media such as stone, painting and wood do not include the Uttrakandam events.

The Same illustrations appear in wood found in the temple car. In all these the story of the Ramayana told by Valmiki and Kambar are followed. To specify a case, Ravana in Valmiki lifts Sitha forcibly by touching her. In the Tamil culture of the medial times, the physical touch of any man on women other than her husband w as considered unchaste. It is the version of Kambar that is followed in the paintings. Other events such as the sacrifice conducted by Rsyasrnga, Rama slaughtering the demons [e.g. Tadaka], Sita - Kalyanam, travelling on Guha’s boat, shooting the seven tr ees, variation to Lanka, the battle scenes and the coronation of Rama are vividly portrayed in the paintings and the wood - carvings.

The Ramaswami temple is an art gallery. It is a good example of the Nayaka art its best in stone, paintings and wood. The many faceted glory temple shall be the subject - matter, for several more studies. The preset thesis has investigated few rare aspects of iconography.

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