205

CHAPTER - V

TEMPLES AND HERO STONES

This Chapter attempts to higlight the temples which were constructed

and renovated, during the period of Co-ruler Aditya- II Karikala. The pujas and

festivals were a part of temple structure. These pujas and festivals are

discussed, on the basis of basis of as the inscriptions of Aditya- II Karikala.

Further, the inscriptions and sculptures depicted on the Hero Stones are also,

discussed elaborately. Aditya- II Karikala was the only Yuvaraja who

contributed to nearly eleven temples. But only eight temples are mentioned in

detail as they were constructed by him and the remaining three are explained

briefly, with th available data.

Temples – Architectural and Sculptural Development

Temples are an integral part of our socio-cultural activities of Tamil

Country. It contributes significantly not only to the field of religion but also to

the development of education, literature, music, dance, art, and architecture. It

is a way of the life of the people and pervades their external as well as internal

development. The popular Tamil phrase reveals this fact thus:

“Koil illadha Uril Kudi Irukka Vendam”

“Alayam Thozhuvadhu salavum nanru”

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Great rulers of Imperial Cholas constructed innumerable temples not

only in Tamil country but also throughout South India. But regarding the co-

rulers, Aditya -II Karikala was the only Yuvaraja who contributed more to the

temple construction. A systematic analysis has been attempt to study the origin

and the architectural features of the temples. However, some of the temples

have undergone renovation.

Stone images and bronze images, which adorned the devakoshthas, have

been studied systematically. Apart from that, the Chapter also analysrs nine

Hero stones.

As far as Co- Ruler Aditya- II Karikala was concerned, the temples are

arranged chronologically. But a probable date can be figured out on the basis of

the available epigraphs and the architectural features. Since his inscriptions are

the earliest ones, the following temples during the reign of crown prince,

Aditya- II Karikala, are mentioned here elaborately.

• Agastyeswara Temple at Perungudi

• Tiru Talaisanga Nanmadaiya Perumal Temple at Talachangadu

• Natrrunaieswara Temple at Punjai

• Tirusadaieswarar Temple at Pudukudi

• Sringiswara Temple at Mappedu

• Agastyeswara Temple

• Avesa Perumal Temple at Theyyar

• Pidari Temple at Timichchur

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1. Agastyeswara Temple at Perungudi

The first temple that came into esistence, during the time of Aditya-II

Karikala, was Agastyeswara Temple at Perungudi. Sri Agastyeswara temple is

located at Perungudi. The village is situated about 15 kms from Trichirappalli,

on the way to Kumaravayalur and 2 kms north of Somarasanpettai village. At

present, the temple stands in an area of 0.15 acres. The temple has 5.32 acres of

wet land, fetching an income of Rs.1500/- per annum.1

Toponymy of the Village

The name of the village has been variously mentioned as Perunmudi,

Thiru Perunmudi 2 and Perungudi. 3 The name, Perungudi, is extant till now.

According to the Tamil Lexicon, the word, Perungudi, means Uyarkudi i.e.,

Noble Class.4 Y.Subbarayalu surmised that the term ‘Kudi’ was used to denote

the non- cultivators also. The Brahmin landholders were called Perungudi or

greater kudi, who cultivated their land. Perungudi enjoyed one third of the

gross produce.5 As it was the place of landholders of higher class, it was called

Perungudi. Another view is that the Cholas had a administrative unit called
6
Perunguri Sabha which consisted of Brahmans. This Perunguri Sabha

became Perungudi in later times. Thus the village is called Perungudi.

1
. Nambiar, P.K., and Narayana Kuruf, K.C., Census of India,Temples of Madras
State, Trichirappalli and South Arcot Districts, Vol IX, Madras, 1966, p.218.
2
. Ibid.
3
. A.R.E., 396 of 1939-1940.
4
. Tamil Lexicon., Vol.V, Part.I, p.2872.
5
. Subbarayalu,Y., South India under the Cholas, New Delhi, 2012, pp. 95,153 and
161.
6
. Nilakanta Sastri, K.A., The Colas, op.cit., p. 671.
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Temple (Plate 10)

Since the early epigraph of this temple is assigned to Aditya- II

Karikala, 7 7 the main temple is set to have been constructed by Aditya- II

Karikala and the additions were made by his successors, Hoysala and

Vijayanagar Rulers.

The present place and temple were sanctified by Arunagirinathar in his

Tirupugal 8 (Appendix-IX). Agathya Mamuni mentioned this temple in his

manuscript, as follows:

“Varamathil Thiruperunmudi talamathanil

Valamaga archanai parameswaranukum

Sarchaiilla Kariyanukum ariya nanmai

Vasam thada maaruthikkum seithu vara

Patilla panisukamum seiyum kandu

Matrangal manam polla manral ariyummunara”9

This proves that this temple was existed during his period. Later it was

reconstructed by Aditya - II Karikala.

Inscriptions

The Agastyeswara Temple possesses nearly eleven epigraphs. They are

assigned to the Cholas, the Pandyas, the Hoysalas and the Vijayanagar Rulers.

It has only one inscription of Aditya- II Karikala on the northern garbagraha

wall. A lithic record of Parakesarivarman, ‘who took the head of Virapandya’

7
. A.R.E., 392 of 1939-1940.
8
. Gurunamachivayan, (ed.), Tirupugal, Madurai, 1974, p.710.
9
. Oral Tradition.
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(Aditya- II Karikala), dated third regnal year, refers to a gift of land by

Sembiyan Uratturnattukkon alias Mayilai Tindan of Pudukkudi, for lighting a

perpetual lamp, in the Temple of Tirupperumudi Parameswara (Appendix-X).

10
A lithic record of Rajaraja- I, dated in his ninth regnal year, refers an

agreement made between two Siva brahmanas, to light the twilight lamp for 2

kasu.11A lithic record of eighth year of Rajakesarivarman, refers to a gift of

sheep, for a lamp, by Majansendi.12 Another fourteenth year lithic record of

13
Rajakesarivarman records an endowment of land. A record of

Konerimaikondan, dated in the twelfth year, records remission of taxes on land

belonging to the temple.14 A Hoysala lithic record of Viranathadeva, dated in

his tenth year, refers to a gift of 3 kalanju of gold, for completing an unfinished

portion of the temple and in his nineteenth year, he presented a forehead plate

to the temple, in gratitude for the recovery of the eye sight of his son,

Nallamangai.15

Architecture

The temple faces east and its main components are garbagraha

(G.P.No.1), ardhamandapa (G.P.No.2), two pillared mahamandapa

(G.P.No.3), mukhamandapa (G.P.No.5), nandimandapa (G.P.No.14),

balipitha (G.P.No.15) and main entrance(G.P.No.16) . These components are

placed in an axial line to garbagraha. Separate shrine is designed for

10
. A.R.E., 392 of 1939-1940.
11
. A.R.E., 396 of 1939-1940.
12
. A.R.E., 397 of 1939 -1940.
13
. A.R.E., 395 of 1939-1940.
14
. A.R.E., 393 of 1939-1940.
15
. A.R.E., 394 of 1939-1940.
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Chandikesvara (G.P.No.12) in the northern side of mahamandapa. Amman

shrine is placed on the north eastern side of the main shrine. The

mukhamandapa leads to the outer prakara (G.P.No.8). The image of the

presiding deity, namely, Sri Agastyeswara is in the form of Linga. The image

of the Linga is placed at the centre of a garbagraha.

Components of the Temple (Plate. 10)

The architectural details of the temple are the padmabandha adhisthana,

above which brahmakantha pilaster which is segmented by devakoshtha.

Bhutamala is found under the prastara. Above the prastara rises the ekatala

vimana, which is built of brick. The circular griva enshrines Dakshinamurthy

(south), two armed seated Vishnu (west), Brahma (north) and possibly Indra

(east).The early Chola temples, in Chola mandalam, bear Bhutaganavari on the

lintel above the entrance. However, the adhisthana, pilasters and prastara are

in stone. 16

Garbagraha

The god residing in this temple is mentioned as Thiru Perumudi –

Paramesvara,17 in the record of Aditya- II Karikala and Tiruvagatisvaramudiya

Nayana18 in the record of Jatavarman Sundara Pandya Deva. At present, it is

16
. Balasubrahmanyam , S.R., Early Chola Temples, New Delhi, 1971, p.150 ;
Michael Weister, Encylopaedia of Indian Temple Architecture South India,
Lower Dravidadesa (200 B.C. –A.D), 1999, p.1324.
17
. A.R.E., 392 of 1939-1940.
18
. A.R.E., 391 of 1939-1940.
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called the Agastyeswara Temple.19 On the outer walls of the garbagraha, there

are decorative miniature panels.

Mandapas

In front of the garbagraha, there is a plain ardhamandapa. It is followed

by a square mahamandapa, with four pillars. Two massive dwarapalakas

(Plate 49b) are found in the mahamandapa (G.P.No.4) There are sixteen

pillars in the open mukhamandapa. Followed by the mukhamandapa, there is a

four pillared nandimandapa (Plate 20a), erected by Sandan Kandan of

Arumulai. 20

Amman Shrine (G.P.No.6)

The goddess has a separate shrine. She is called Sivakama Sundari

Nachchiyar. The Amman shrine lies on the north eastern side of the main

shrine. The image of goddess, Sivakama Sundari Nachchiyar, was consecrated

by Tiruvanaikkavudaiyan, a member of the sabha of the village. 21

Sculptures

Dakshinamurthy (Plate 22)

T.A. Gopinatha Rao states that Siva is said to be seated facing south

while teaching the rishis (saints) and hence known as Dakshinamurthy (dakshin
22
means south). On the south side of the garbagraha, devakoshtha

19
Nambiar, P.K., and Narayana Kuruf, K.C., op.cit., p.218.
20
. A.R.E., 391of 1939-40; 398 of 1939-1940.
21
. A.R.E., 401 of 1939-1940.
22
. Gopinatha Rao, T.V., Elements of Hindu Iconography Vol.II, Part.I, Madras,
1962, p.15.
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Dakshinamurthy is represented in a seated posture (G.P.No.9), with his left leg

folded and kept above his right leg. His right leg rests on Muyalaka (a demon),

under his feet. Among the four arms, upper right arm has akshayamala, lower

right arm is in upadesamudra, upper left arm bears lotus flower while his lower

left arm holds a book. The devakoshtha of Dakshinamurthy is adorned with a

two pillared mandapa.

Ardhanareesvarar (Plate 23)

The Ardhanarisvara is on the western side devakostha (G.P.No.10) of

the garbagraha. He is standing in tribhanga posture. He wears jatamakuta and

Karantamakuta on the right and left side of his head. Likewise, makarakundala

and Patrakuntala adorn the respective ears. He holds a lotus flower in his upper

right arm and left in katyavalambita (resting upon the hip) hastha. A thick

yajnopavitha (sacred cross belt) passes through his chest, uttarabandha in

stomach. The image has an enchanting face.

Brahma (Plate 24)

The standing image of Brahma is seen, with four arms on the northern

side devakoshtha (G.P.No.11) wall of the garbagraha. The upper right bears

akshamala while the lower right is in abhaya hasta. The upper left holds kendi

while the lower left is a katyavalambita. He wears a number of haras around

the neck and Uttrabhanda is tied around his stomach.

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Chandikesvara (Plate 12)

The small shrine houses Chandikesvara (G.P.No.12) who is in a seated

posture. It is located on the northern prakara. He is regarded as the chief

controller of a Siva temple. He is usually honoured in Siva temple by being

enshrined in a separate shrine, very close to sanctum, in the northern part of the

prakara. The image is in a seated posture, facing south. The right leg is bent

vertically at the knee and the left leg is bent cross so as to rest upon the right

thigh. He has two hands. He holds parasu in the right hand and keeps the left

rested on the thigh.

A Portrait Image (Plate 51a)

The Mukhamandapa consists of sixteen pillars and in one of the pillars,

a portrait image of Aditya- II Karikala is carved out in anjali pose, with a

sword in his left waist. The image is not labelled. But as the temple was

constructed by Aditya- II it leads to the presumption that the image represents

only Aditya- II Karikala.

On the four walls of the Amman shrine, some portrait sculptures are

carved out at intervals. They are yakshini, turtle, fish, birds, dancing women,

cow pouring milk on the Siva Linga (kamathenu) (Plate. 51f), Rishabam,

lingam, Narthana Vinayaga in dancing posture and Murugan in standing

posture with his vahana(vehicle) peacock. (Plate. 51e)

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Miniature Panel Sculptures (Plate 52a)

A unique feature of the temple is that around the outer wall of

Garbagraha, the pilasters consist of panel sculptures like Ganesa,

Markendeyan, Devargal, Brahma, Siva, war scenes and dancing scenes etc.

Loose Sculptures (Plate 26) (G.P.No.7)

The loose sculptures of Murugan, Varagi, Vaishnavi, Brahmi and

Lakshmi Narayanan, Venketasa Perumal, Maha Ganapathi and Saneesvarar

are placed on the two sides of the Mukhamandapa.

At present, the temple is under the control of TNSDA, Tamil Nadu. This

edifice has been declared historically important (Plate 10) (G.P.No.13).

2. Tiru Talaisanga Nanmadaiya Perumal Temple at Talachangadu

The second temple of Aditya-II Karikala was Tiru Talaisanga

Nanmadaiya Perumal Temple. It is situated at the western corner of village,

Talachangadu, which is situated about 25 kms north east of Mayiladuthurai and

1 km from the Punjai village. The village was also called, Talai-Udaiyar-

Koyilpattu, Sankuvanam, Sankarnyam and Talaisenganam.

Toponymy

This village is called Talachangadu. In revenue record, this was

recorded as Talai Udaiyar Koil Panchayat. ‘Talai’ means head, ‘sangu’ means
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flower bud (mottu) and ‘kaadu’ mean forest or garden. Since this village was

adorned with many flower gardens, it was called Talachangadu.23

Temple

It is one of the 26th Sthalas, among 108 Divyadesams and 13th Sthala

among the 40 Divyadesas of Chola Nadu. The temple has been sanctified by

Tirumangai Alwar’s Mangalasanam, as follows:

“Kannar nakpuram, kadigai, Kadikamalum

Thannar Thamarai suul Talai Sanga Melthisaiyul

Vinnornanmathiyai Veerikindravensudarai

Kannarakkandu kondu kalikindrathu ingu entro kolo?” 24

Legend

The legend, associated with the temple, is that Lord Vishnu left goddess

Tirumakal in Tiruvalampuram while he went for meditation. In Tiru

Talachangadu Temple, he worshipped Siva and got Panchasanyam Sangu.

Hence Siva, who gave the Sangu, is called Sangarunatheswarar,

Sangaraneswarar and Sanguvananathar. Perumal, who received the Sangu from

Siva, again went to Tiruvalampuram and worshipped goddess and got Padmam

(flower) and two hands to hold that padmam. So he was called Talaisanga

23
. Abdul Majid , ‘Perungudi Agatheswararkoil’ in Chandramurthi, M.,Tamil Nattu
Sivaalyangal (Tamil), Vol.II,Chennai, 2004, p.105; Muthusamy, Ko.,
Nagapattinam Mavatta Tholliyal Kaiyedu, Chennai, 2012, p.50; Tamilaga
Varalattru Chinnagal, (Tamil), Chennai, 1989, p. 7.
24
. Tirumangai Alwar, Periya Tirumozhi (8-9-9), Prasuram - 2, 1736.
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Perumal. 25 Apart from this, Sthala Chandra worshipped Perumal and got

relieved from the curse. Hence the Tirtha (holy water) in the temple is called

Chandra Pushkarani.26

Inscriptions

This temple has only one inscription of Aditya -II Karikala, dated in his

third regnal year and it referes to a gift of a lamp to the Sri-Madhurai Adi

Varaha Temple at Talachangadu, by a lady, the wife of a native of

Thirukkottiyur in Pandi-Nadu. 27 However, Talaisanga Nanmadaiya Perumal

Temple possesses nearly six epigraphs. They are assigned to the Aditya- II

Karikala (1), RajaRaja (2), 28 Rajendra (1), 29 and Rajakesarivarman (3). 30 In

inscriptions, this temple was called Sri-Madhurai Adi Varaha Temple at

Talachangadu. 31

Architecture (Plate 11)

The temple is in a raised platform of Madakoil type, which was referred

to by Tirumangai Alwar as:

“Mannumanimada koilmanavalanai

Nalnir talaisangananmathiyai- naan Vanakum”32

25
. Sree Venkatadhri Kirupa, Sri Vaishnava Monthly Journal, Malar.3, Idhal.4, May
2004,p.9 ; Murali, G.Sa., Tamilaga Tirumal Sthalangal, Chennai,1998, p.107.
26
. Ibid.
27
. A.R.E., 200 of 1925.
28
. A.R.E., 198 of 1925.
29
. A.R.E., 203 of 1925.
30
. A.R.E., 199 201 and 202 of 1925.
31
. A.R.E., 199 of 1925.
32
. Murali, G.Sa., op.cit., p.108.
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The temple faces east. The temple comprises of square garbagraha

followed by rectangular ardhamandapa, mahamandapa and open front

mandapa. A small circumbulatory path (prakara), adjacent to the main shrine,

is found on the upper platform (G.P.No.9).The flight of steps (G.P.No.10), on

the two sides, leads to the circumbulatory path (prakara) of the lower portion

(G.P.No.11). In circumbulatory path, on the south east corner of the entrance

of the temple is adorned with madappalli (G.P.No.12), On the south west

corner of the temple, there is a shrine for the goddess. At the centre of the

southern prakara in-between the madappalli and Amman shrine, there is a

Linga (G.P.No.13). The northern prakara consists of a well (G.P.No.15) and

the north east corner is adorned with Garudalwar shrine (G.P.No.16). On the

eastern prakara, straight to the inner side of the main entrance, is Anjanayer

shrine (G.P.No.17), facing the main shrine. The temple complex is

encompassed by a high raised madhil. It has its entrance on the east and the

super structure has been renovated and beautified now. The temple has small

gopura in modern type (G.P.No.18). On the eastern side of the temple is a

temple tank called Chandrapushkarni (G.P.No.19) (Plate 21b).

Garbagraha (G.P.No.1)

The square garbagraha is adorned with the main deity Nanmadiya

Perumal, otherwise called, Vensudar Perumal, in a standing posture, along with

his consorts, Sridevi and Bhudevi Nachiyar (Plate 27).

Nanmadiya Perumal is in padmapitha which is enshrined in patrapitha.

The upper right hand is in Kati hastha, by holding a Chakara. The lower right
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hand is in abhaya hastha. The upper left hand is in kathiri mudra but holding

Sankha and his lower left hand is in Uru hastha. His Head is adorned with

kreeta makuta and Sirachakra. He is decorated with ornaments like

makarakundala in the ears, kandikai, Maniyara, Savadi, armlets, bracelets,

yajnopavitha, Uttrabhanda, pitambara and anklets.

Goddess Sridevi is standing on the left side of the Vishnu, in tribhangi

posture, with two hands. The right hand is in Kadaka Mudra, holding Nirlopa

flower. Her left hand is hanging down in Lola hastha. She is decorated with

Makara Kundalas in the ears. Her neck is adorned with Kandacharam

(necklaces). Foldings in her garments are clearly displayed. There is absence of

Kujabanda (garment covering the upper portion) in the chest.

Goddess Bhudevi is standing on the right of Vishnu, in tribhangi

posture. Her head is adorned with Karantamakuta. She is decorated with

ornaments like Patrakuntala, kandacharam, manivadam, armlets, bracelets,

waist band and anklets

In the garbagraha, apart from the main stone deities, there are bronze

images of Nanmadiya Perumal and his consorts, Andal, Nammalwar,

Tirumangai Alwar, Ramanujar, Manavala Mamunigal etc.

Ardha Mandapa (G.P.No.2)

In front of the garbagraha is a plain ardhamandapa.

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Mahamandapa (G.P.No.3)

Followed by Garbagraha and ardhamandapa, there is a rectangular

mahamandapa. The mahamandapa is embellished with four pillars, two in a

row. The upper and lower part of the pillars are square in shape and the middle

portion of the pillar is octagonal. There is a two headed Potigai, with flower in

the edge. The square portion of the pillar is engraved with miniature sculptures

viz, image of King and crown prince, Kalinga Nardhana, Garuda in Anjali

posture, monkey depicted as eating fruits. Senathipathis in anjali posture, by

holding dragger in left hand, images of birds, animals and Gandhravas

(Plate 51c). These pillars belong to the tweleveth Century A.D.

The south west corner of the mahamandapa is adorned with stock room

(G.P.No.5). On the northern side of the mahamandapa, on a raised plat form,

the stone images of Talaisanga Perumal, Andal, Senapathi, Visvasenar,

sculptures of twelve Alwars, Manavalamamni, Ramanujar and Annandalwar

are installed (G.P.No.4).

Mukha Mandapa (G.P.No.6)

The Mukhamandapa or open Front mandapa is adorned with eighteen

pillars. In this mandapa, a small shrine of Garudalvar is enshrined in anjali

pose facing west (G.P.No.7) (Plate 34). It is a modern structure. On the

southern side of the Mukhamandapa entrance, the loose sculptures (G.P.No.8)

of Yoga Narashima and Padmavathi Amman are located, facing east. There are

two flights of steps (G.P.No.10) on the two corners of eastern side of

Mukhamandapa, facing towards the main gate.

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Components of the Temple

As far as the Vimana is concerned, the lowest portion of the adhisthana

is buried under mahapadmam and it is not visible. The adhisthana consists of

the following parts viz, Jagati, Vrittakumuda, the projected pattiga and vedika

on the top. The Adhisthana has decorations like yali frieze, karna kudu, and

mukhapatra. There is a pilaster, around the wall of garbagraha and

ardhamandapa, raised up to the wall which is in stone and later raised up to

cornice which was constructed by brick.

The bhadra portion has empty devakosthass on the south, north and

west side. The uttara is plain and the prastara is embellished with eluthagams,

kaptam and the yali frieze is seen above. The sculpture of Garudalvar is on all

four cardinal corners of the prastara. He is in a seated posture, closing his

hands in anjali hastha. His head is adorned with kirtamakuta.

A vimana with a round type of sikhara, lies above the prastra. The

stucco figures have been renovated and decorated recently. The griva kostha

has the figure of Brahma in the north, Vishnu with his consorts in the west and

east and lakshminarashimar in the south. The round sikhara is bedecked with

kirtimukhas and on the summit is the single stupi. It has been painted recently.

Amman Shrine (G.P.No.14)

To the south west of the main shrine, stands Talaichanga Amman shrine,

facing east. Normally, it is located on the north east corner of the temple

complex but here it is located on the south west of the main shrine. It comprises
 221

of the square garbagraha and ardhamandapa, four pillared open mandapa,

with separate vimanas.

Sculpture

Talaisanga Perumal (Plate 28)

The sculpture of Talaisanga Perumal is located on the mahamandapa.

He stands in a samabhanga, on the padmapitha, with a long Krita Makuta. The

upper right hand is in Kathiri Mudra and holds Chakra and his upper left hand

holds sanka. The lower right hand is in abhaya hastha and a lower left hand is

in his waist, showing a Kadi hastam. His head is adorned with Krita Makuta.

The forehead is decorated with Ratanapatam. His two ears are decorated with

Makara Kundalas. His neck is decorated with haras Pushpamalai, Manivadam

and Pushpasuvadi. The Muppuri Yajnopavitha adorned chest and the left chest

is adorns with Brahma Sudra. His arms are decorated with armlets, and

Manivalai and Muthuvalai decorate the hands. A finely carved out drapery,

with its folding, is depicted in his waist. The garment designed like

panchakacha covers the lower part of his body. The garment is decorated with

kirthimuha style. The legs wear a kalal like anklet. His square face, wide

opened eyes and arrow like eyebrows, a small nose and beautifully opened

mouth and the prominent chin, evidence the characteristic feature of the Chola

Period i.e. second half of the Tenth Century A.D. As the figure of this Perumal

is shown coming from the Sanku, he is called Talaisangaperumal.

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Vishvasena (Plate 29)

The sculpture of Vishvasena is installed in the mahamandapa. He is

seated on a pathiapitha, with his left leg folded and right leg hanging down and

placed on the pedestal, padmapitha. Of his four hands, the upper right and left

hold the Chakra and sangha, in Kadi hasatha, the lower right is in abhaya

hastha and the lower left hand is placed in Kadayutha by showing Singarana

Mudra. He wears Kritamakuta on his head. The rear side of the head is adorned

with Sira Chakara, Makara kuntalas in his ears, haras like arumbucharam,

kandacharam in his neck, Yajnopavitha and Bajibandam, Udarabhandha adorn

chest, bracelets in hands. A finely carved out drapery is depicted in his waist.

His round face, wide opened eyes and arrow like eyebrows, a nasi and

beautifully opened mouth and the prominent chin, the massiveness and the flat

features, are marks of sculpture, assigned to Vijayanagar Period (Sixteenth

Century.A.D.)

Andal (Plate 30)

The sculpture of Andal is installed in the mahamandapa. She is in a

standing posture, by keeping her right leg on a Padma pitha, above pathira

pitha, and with her left leg in front, slanting her waist in the right with two

hands in Tribanga posture. Of her two hands, the left is in kadaka mudra by

holding lotus and her right hand is in lola hastha by hanging down.

Karanda makuta, Sira chakra, pathra Kuntala, kandacharam, hara,

bujabandam, chanaveeram, armlets, keyuram, bracelets, hip chain, waist

 223

band,Vangi, anklets adorn her. Generally, Andal is shown with a knob bent in

the left side of the head and she is adorned with Karanda makuta. The

sculpture is assigned to Vijayanagar Period. i.e. Sixteenth Century A.D.

Alwars and Achariyars (Plate 30a)

Except Namalwar, all the other eleven were shown in Anjali posture.

Manavala Mamuni and Ramanujar were the two achariyars, accommodated in

the Mahamandapa. Ramanujar is shown with turban (i.e. decorated with

urumal in the head). All the sculptures are assigned to Vijayanagar Period. i.e.

Sixteenth Century A.D.

Yoga Narasimhar (Plate 31)

The sculpture of Yoga Narashimar is kept in the south east corner of the

open mukhamandapa. The sculpture was dug out during the renovation work.

The height of the sculpture is 1.m 12 cm and breadth is 9.0 cm. It was slightly

damaged in front of the left hand and right leg.

Yoga Narasimhar is seated on a padmapitha, with his two legs folded in

Yohasana posture. Of his four hands, the upper right is in katri hastha, by

holding Chakra and left holds the sangha, the lower right hand and left hanging

down straight. The lower left hand is smashed up. He wears Karantamakuta

on his head and Sirachakra is shown on the back side of the head. Kuntalas in

his ears, haras in his neck, Chanavira is seen clearly in his chest and back, he

is also decorated with uttrabhanda, bracelets, anklets. A finely carved out

drapery, with its folding, is depicted in his waist. The architectural features
 224

prompt the scholar to assign the sculpture to early Chola Period (Tenth

Century.A.D). However, it might be the sculpture of the period of Aditya- II

Karikala also.

Padmavathi Amman (Plate 32)

The sculpture of Padmavathi Amman is kept in the south east corner of

the open mukhamandapa. The Amman is in Padma Pitha at a highly Patra

pitha. She is in a seated posture by folding two legs, left kept above the right.

Of her four hands, the upper right and left hands hold the Lotus flower. Her

lower right hand is in abhya hastha and lower left hand is in varadha hastha.

Her head is adorned by Karantamakuta and the ears by the Patrakuntala. The

haras, the necklace, keyuras and valayas are the ornaments on her body. She

also adorns Bujabhandam. The neat execution of drapery is seen in the lower

part of the body. It is assigned to the Fifteenth Century A.D.

Hanuman (Plate 33)

The sculpture of Hanuman is installed in the lower prakara. Hanuman is

sculpted in a single rectangular stone slab. It is like a hero stone. Hanuman was

sculpted in a full fledged fashion. He is in a standing posture, by raising his

right leg bended and kept in front, followed by his left leg. His hands raised

upwards in kadaha hastha. He wears waist band. He wears Kundalas in the

ears, bracelets in the hands, anklets in the legs and also wears necklace around

the neck. The tail is raised upwards.

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3. Natrrunaieswara Temple at Punjai

The third temple, constructed during the period of Aditya- II Karikala

was Natrrunaieswara Temple at Punjai. This temple existed even during the

time of Pallavas, as proved by the visit of Appar and Sambandar to this

Temple. The earliest inscription of Aditya- II Karikala, in this temple, proves

that this temple was constructed by Aditya - II Karikala.

Location

Natrrunaieswara Temple is situated in the middle of the Punjai Village.

Punjai is the hamlet of Kidaramkondan. It is four kms from Chemponar Koil

and 12 km from Mayiladuthurai. It was surrounded by the villages such as

Kadaramkondan and Semponar Koil.

Toponymy

Sambandar’s mother Parvathyammai, was born in this place. This place

was originally a dry land (desert). When Sambandar visited this place, at the

request of the devotees, he rendered a patigam (song) and it is believed that he

converted the palai (desert) land into neythal. Thus this place is known as

Punjai. It is situated in the south bank of Kaveri.33 In epigraphs, the village was

called Tiru Nanipalli, “Jayamkonda solavalanattu akkur nattu bramhadeya

Nanipalli”.34 The word ‘palli’ indicates that the spread of Jainism or Buddhism

33
. Agaramuthalvan, Tha., Tirunanipalli Sthala Varalaru, (Tamil), Punjai, 2001,p. 6;
Pakavathi, K., Illakiyathil Ur Peyargal (Tamil), Vol.II, Chennai, 1984, p. 173;
Vijayalakshmi, R, An Introduction to Religion and Philosophy- Tevaram and
Tivviyappirapantam, Chennai, 2001,p.298.
34
. A.R.E., 180 of 1925.
 226

in this village. This temple was sanctified by Tirugnana Sambanthar, 35

Tirunavukkarasar (Appar) 36 and Sundarar37 (Appendix-XI). It is the forty third

Devara sthala. It was also sanctified by Sekkilar in Periyapuranam 38

(Appendix-XII).

History

Natrrunaieswara Temple survived from the time of Sangam Period, as

Tirukarrali. In Seventh Century A.D. this temple was sanctified by

Tirugnanasambandar and Appar. Tirugnanasambandar’s grandmother resided

in this village. In Eighth Century A.D., this temple was sanctified by Sundarar.

In Tenth Century.A.D., this temple was reconstructed by the Chola Yuvaraja,

Aditya- II Karikala.

Inscription

There are nearly eighteen inscriptions in the Natrrunaieswara Temple at

Punjai. This temple has only one inscription of Aditya- II Karikala, which is on

the east wall of Chandeswara Shrine, dated in his fourth regnal year (Plate 8).

It records the gift of 2 ma of land and 12 kasu for the midday offerings in the

temple by Ilanjinga Veladarayan of Narasingamangalam.39 The other fifteen

35
. Gopala Iyer, (ed.), Tevaram, Vol.I, Nanacampantar, Pondichery, 1984, song II
:84.
36
. Sadasivam Chettiyar, (ed.), Tevara Pathigangal (Tamil), Chennai, 1974, song
IV:70.
37
. Vijayalakshmi, R., op.cit., Song.VII :97; Balasaranathan, Su., Thirutalangal
Varalaru, (Tamil), Part.I, Chennai, 2011, p.205; Balasubramaniyam, S.R., Early
Chola Temples, New Delhi, 1971, p.156.
38
. Agaramuthalvan, Tha., op.cit.,p. 6.
39
. A.R.E., 192 of 1925.
 227

epigraphs are assigned to the Cholas such as Raja Raja- I (1), 40 Rajendra (2), 41

Rajendra II(2), 42 Kulottunga I (2), 43 Vikrama Chola- I (1), 44 Rajadhiraja I

(5),45 Vira Rajendra(1),46 one lithic record assigned to Vijayanagar King, Vira
47
Patra Virakrishnamahadevaraya and yet other one is unknown. 48 The

inscriptions also denote the existence of other two temples in this village such

as Periya Tali Mahadevar49 and Tiruvalangulam Udaiya Mahadevar. 50

Temple (Plate 12)

Since the early epigraph of this temple is assigned to Aditya- II

Karikala, the temple is believed to be constructed by Aditya- II Karikala, in his

fourth regnal year.Additions were also made by his successors. Garbagraha

and ardhamandapa were constructed by Aditya- II Karikala. Snapana

mandapa, mahamandapa and Mukhamandapa, also called Mumudi Chola

51
mandapa, named after Rajaraja- I, were improvements. This temple

inscriptions, belonging to Rajendra -I, Kulothunga- I, and Vikrama Chola,

evidence the growth of the temple under them.

40
. A.R.E., 186 of 1925.
41
. A.R.E., 182 and 187 of 1925.
42
. A.R.E., 193 and 194 of 1925.
43
. A.R.E., 180 and 183 of 1925.
44
. A.R.E., 181 of 1925.
45
. A.R.E., 185, 188, 189, 191, 195 and 196 of 1925.
46
. A.R.E., 190 of 1925.
47
. A.R.E., 184 of 1925.
48
. A.R.E., 197 of 1925.
49
. A.R.E., 187 of 1925.
50
. A.R.E., 193 and 194 of 1925.
51
. A.R.E., 187 of 1925.
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Architecture

The temple faces the east. The main components of the temple are

square garbagraha, ardhamandapa, snapanamandapa, mahamandapa,and

Mukhamandapa,leading to the circumbalatory path(prakara) and mottai

gopura (G.P.No.34), Nandimandapa and Balipitha (G.P.No.35,36) are in an

axial line. The south east corner of the prakara is enshrined with madappalli

(G.P.No.18), Amman shrine, Kalyanaeswarar shrine, the sub shrines for

Ganesa, Subramaniya, Chandikeswara shrine and well is in the north west

prakara (G.P.No.27). Temple tank is on the north of the temple on the road

side. The tirtha is called swarna tirtha (G.P.No.37).

Garbagraha (G.P.No.1)

The garbagraha is square. The Linga is enshrined round avuadaiyar.

The main deity is called Naltunai Isvarar. In inscription, it is referred to as Tiru

nani Palli Udaiyar. The inner portion of the garbagraha is elongate. The upper

portion of the garbagraha is octagonal, square and round in shape. The lengtlh

and breadth of the garbagraha entrance is very massive. Temple priest told the

Researcher that this was so because on earlier days the elephant of the king,

brought Tirumanjanam water (holy bath) into the garbagraha and poured it on

the Linga and went around it. The inner portion of the garbagraha is like

Thanjai Periya Koil. It is surmised that Raja Raja - I followed his brother

Aditya- II Karikala.
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Ardhamandapa (G.P.No.2)

Followed by garbagraha and antrala, there is an ardhamandapa. It is

supported by four pilasters, close to the wall and four Chola central pillars, two

in a row. There are two massive Dwarapalakas at the entrance of the

ardhamandapa (G.P.No.4). The pilasters at the entrance of the ardhamandapa,

are adorned with dancing damsels in miniature sculptures. The inner prastara

of the ardhamandapa above the entrance is adorned with lines of 14

bhutaganas viz., waging war, holding dagger, playing musical instruments like

venna, dammuru and a simha figure is shown in one bhutagana’s stomach

which is peculiar (Plate 50).

Snapana Mandapa (G.P.No.3)

Next to the ardhamandapa is Snapana mandapa, with two gate way

entrance on the two sides of the mandapa, facing north and south (G.P.No.5).

It is rectangular in shape and supported by four pillars, with bulbous capital.

This mandapa connects ardhamandapa with Mahamandapa.

Mahamandapa (or) Mummudi Chola Mandapam (G.P.No.6)

The Mahamandapa, otherwise called Mummudi Chola Mandapa and

Mumudi Sola Perambalam, was either built by Raja Raja or named after him.

This mandapa is adorned with sixteen pillars, four in each row. On the

northern side, there is a raised platform for Nataraja. Again there is a raised

platform on the western and southern side, which is used to keep the bronze

images (G.P.No.9). Now it is absent and they are kept in a museum. The south
 230

east corner of the mandapa is designed for a store room (G.P.No.10). The

centre of the mandapa is enshrined with nandi (G.P.No.7) and balipitha

(G.P.No.8). There is entrance in the southern side (G.P.No.11).

Mukhamandapa (or) Open Pillared Mandapa (G.P.No.12)

It is adorned with thirty pillars and six pilasters. (Plate 20b) The south

and northern side are adorned with a raised platform. Wooden vahanas viz.,

peacock, elephant, annam and bull (G.P.No.15) are kept on the northern side

platform of the mahamandapa.The southern side platform (G.P.No.13) is

adorned with the sculptures of parivara deities such as Surya, Bhairavar and

the sculptures of three Nayanmars, Appar, Sundarar and Sambandar and three

Ganesa sculptures (Plate 40). Saneeswaran is enshrined in the northwest

(G.P.No.14). On the northern side near the vahanas, a separate shrine for

Barathvajaputhri Amman is enshrined (G.P.No.16). It faces south. This

mandapa leads to the circumbalatory path (Prakara) (G.P.No.17, 20).

Components of the Temple

The main components of the temple vimana consist of adhisthana,

padmam, prastara, griva, sikhara and stupi. Adhisthana is raised on upapitha.

It consists of uppana, jagati, kumuda, kantha and pattiga. Simple jagati padai,

tripata kumuda and panel of miniature sculpture are decorated in the mouldings

of the plinth. Kanthapadai vari is placed above the pattiga. Pithi is raised up to

cornice. There are tweleve pilasters and five devakoshtha, around the wall of

garbagraha and ardhamandapa. The pilasters consist of components like pada,

kal (shaft), kalasa, tadi, Kumdam, padmam, palagai, vira kandam and potigai.
 231

The pilasters are also decorated with miniature sculptures like corbel designs,

birds, elephants, deers, dancing girls and musicians etc. Above the pithi is

prastara. It consists of bhutaganas, kapota and Yali frieze. The bhutaganas

frieze, below the cornice, has 120 bhutaganas of men and women. The

bhutaganas (Plate 50) are in various postures such as dancing bhutaganas,

playing musical instrument, bhutagana holding dagger and sword, bhutagana

in a pregnant posture and bhutagana involved in secular life. Nasikudu is

embellished in between the kapota. Kodikkarukku design is shown on both

sides of the nasi kudu. Kritimukha is decorated over the head of nasikudu.

There are totally ten nasikudus.Inside it the temple structure, karakudu, sala,

Panchara, griva, Sikhara and stupi are clearly engraved. Above the prastara,

the Yali frieze is exhibited with various figures such as lions, soldiers fought

with lion, elephant, tigers, horses, soldiers fighting with sword and draggers.

Above the yalis bhutaganas are seated. Above the Yali frieze, the circular

round griva is located. The griva consists of griva koshthas on four sides,

adorned with Siva Parvathi on east, Dakshinamurthy on south, Sridevi with

Tirumal on west, Saraswathi and Savithri with Brahma on north. Vesara type

of sikhara is on the griva and above the sikhara is adorned with mahapadma.

In the middle of the mahapadma, stupi is placed. From adhisthana to yali

frieze, it is made up of stone while griva and sikhara are made up of brick and

stucco.
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Amman shrine (G.P.No.19)

Goddess Malayala madandai shrine lies at the centre of the southern

prakara. The important components of the shrine are square garbagraha, plain

ardhamandapa, with dwarapalakis on the either side of the entrance and four

pillared mukhamandapa, with round Sikhara, with single stupi. She is in

standing posture with four hands. Of the four, the upper right is in Kathiri

mudra and holds aka mala and the lower holds Padmam. Lower right hand is

in Abhaya hastha and lower left is in uru hastha. She is decorated with jata

mukuta, Makara kundala, necklace and bracelets.

Sub shrines

On the south western corner, there is a small shrine, erected for

Vinayaka (G.P.No.22), with ektala vimana in a raised platform. It consists of

square garbagraha and rectangular ardhamandapa and faces east. On the

southern prakara, near devakoshtha of Dakshinamurthy, there is a shrine called

Kalyana Eswara (G.P.No.21) enshired with his consort.

On the north western corner of the temple, there is a small shrine

assigned to Lord Subramanya (G.P.No.24). He adorns the shrine, along with

his consorts. It consists of square garbagraha, ardhamandapa and

Mahamandapa. It faces east. The rear side of the Subramanya Shrine, a loose

Sculptures of Jeshta, Mandan and Mandi (G.P.No.23) are found. On the

northern side of the ardhamandapa, there is a small shrine called

Chandikesvara Shrine (G.P.No.25). It faces south. A linga is enshrined in the

northern prakara, outside mahamandapa (G.P.No.26).

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Sculptures

Devakoshtha Sculptures and Devakoshtha Torana Sculptures

The southern side devakoshtha (G.P.No.28, 29, 30) is adorned with the

sculptures of Agathya, Kaviritha Vinayaka and Dakshinamurthy. Lingodbhava

is in the western devakoshtha (G.P.No.31). Northern side devakoshtha

(G.P.No.32, 33) is adorned with Brahma and Durga. 52 There are beautiful

makara toranas over each Devakoshtha.

Agathya (Plate 35a)

The rishis (saints) are also considered as Demi Gods. Agathiyar is one

of the seven rishis and he is mentioned in one of the legends of this place.

Agathiya is seated on patrapitha, with his left leg folded and the right leg

hanging down and kept on the pitha. He is represented with two hands, right

hand is in gnana mudra with aksamala and the left hand holding kamandala.

His head is decorated with jatamakuta and rudraksham (Holy Beads) around

his neck, yajnopavitha adorns his chest and drapery covers his waist. His face

is elongate, round with beard and bow like eye brows. Two gandharvas are

shown in adoration posture, on either side of the Agathiya. The gandharva in

the right side is holding lotus flower in his right and the other holds Alli flower.

The sculpture is assigned to Tenth Century A.D. The toranas, above the

Agathya sculpture is represent sculptures of Chandikesvara, Siva and

Garudalwar in a standing posture.

52
. Nagaswamy, R., Art and Culture of Tamil Nadu, Delhi,1980, pp.69-70; Sita
Narasimahan, Saivisim Under the Imperial Cholas As Revealed Through their
Monuments, Delhi, 2006, p.40.
 234

Kaviritha Vinayaka (Plate 35b)

Kaviritha Vinayaka is seated on Padmapitha, with his right leg half

folded and the left horizontally bent. He is represented with four hands, in a

lalitha hastha. His upper right holds a bunch of leaves and the upper left hand

holds banana, lower right is in a kadaka hastha and lower left holds modaka.

His head is decorated with karandamakuta and haras in neck, bracelts, armlets,

Keyura and anklets. Pushpa yajnopavitha adorns his chest. Two gandharvas

are shown in adoration posture, on either side of the Vinayaka. The gandharva

on the right is holding lotus flower in his right and other holds Alli flower in

his left. The sculpture is assigned to Tenth Century A.D.

The torana above the Ganesa sculpture, is represents the sculpture of

Kalyana Sundara, in a standing posture. The marriage scene of Sivan and

Parvathi is depicted beautifully. Brahma is conducting the marriage whereas

Vishnu holds the hand of Parvathi and hands her over to Siva. Siva holds the

hands of Parvathi and Sridevi and Bhudevi are also depicted.

Viyakana Dakshinamurthy (Plate 35c)

Dakshinamurthy, one of the most important forms of Siva, adorns the

southern wall of the garbagraha. He is seated under a Banayan tree on a highly

raised patrapitha. The right leg is hanging down vertically straight, and resting

on a ‘apasmarapurusa’. The left leg is bent and it rests on the right thigh, as in

Virasana. He has four hands. His upper right is in kadaka hastha by holding

Akshamala and upper left hand is in kadaka hastha, holding the Agni( fire) .
 235

The lower right hand is in Chin mudra like teaching and lower left is in

Pustaka hastha, holding pustaka (book).

The jatabara flows on either side of his head. His elongated ears bear

patra Kuntalas. His body is very rigid, without any bend, in the posture of a

yogi. He wears simple ornaments adorn his neck, bracelts, armlets in hands,

and anklets in leg. He wears uttrabhanda and drapery covers his waist upto

thigh. The smiling face enchants the viewers. It can be assigned to the early

Chola Period.

On both sides of Dakshinamurthy, near his feet, four janagathi munivars

(saints) are shown, listening to the teachings of Siva, two on each side. Under

his feet, naga (snake) and deer are shown.

Lingodbhava (Plate 35d)

Lingodbhava is another form of Siva. Siva is said to have appeared in

the form of a blazing pillar of immeasurable size, to quell the pride of Brahma

and Vishnu. The Lingodbhava is on the western devakoshtha of the central

shrine (garbagraha). Lingodbhava is carved out within the Linga, standing in

samabhanga posture. Off the four hands, upper right and left hold the axe and

the antelope while the lower right and left are in abhaya hasta and

Katayavalambita hastha. The head is decked with jatamakuta and cirachakra,

the ears are decorated with makarakundala in the right and Patrakuntala in the

left and the haras, the necklace, keyuras and valays are the ornaments on his

body. He is adorned with uttrabhanda. The neat execution of drapery is seen

on the lower part of the body. Besides, Brahma, in the form of a swan, soaring
 236

up, is carved, on the right, leading towards the left side of Siva, while on the

left Vishnu in the form of boar is seen delving into the ground. It can also be

assigned to the Tenth Century A.D.

The torana, above the Lingodbhavar Sculpture, is decorated with the

sculpture of Rishabha Ardhanari, along with his consort, Parvathi, in a standing

posture. The right hand of Siva holds malu and his left hand is over the head of

the Rishabam. Parvathi’s hands are in kadakahasta and another Ardhanari

holds a samarai.

Brahma (Plate 35e)

Brahma, one of the foremost deities of Hindu Pantheon, occupies the

northern devakoshtha of the Siva Temple. He is standing on a high raised

circular padmapitha, in a samabhanga pose. He is wearing jatamakuta. His

lower right hand is in abhayahasta and left hand in uru hastha. The upper hand

holds kendi and akshamala in the right hand. He is decorated with pushpa

kundala in the ears and the haras, the necklace, keyuras and valays and anklets

are the ornaments on his body. Uttrabhanda is passes through his chest. The

finely carved out drapery is sculpted beautifully. The sculpture is well carved

out. On the whole the image is enchanting to the viewers. This image can be

assigned to Tenth Century A.D.

The torana, above the Brahma Sculpture, representing the dancing

sculpture of Urdhavatandava Kali, with eight hands and on both side of Kali

four girls are dancing.

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Durga (Plate 35f)

The only female deity, accommodated in the northern devakoshtha of

the ardhamandapa, is Durga. She stands in tribangi posture, on a buffalo head,

with karantamakuta on her head. Of her four hands, the upper right and left

hand are in katri mudra and hold the sangu and chakra. The lower right is in

abahya hastha and left is in uru hastha. Trisula is shown on the rear side of the

Durga. Simha (lion) is shown on the rear right side and deer is shown on the

rear left side. She wears the makarakundala and patrakuntala in her ears.

Simple ornaments like the haras, the necklace, keyuras and valays and anklets

adorn her body. The breast band Kujabhanda and the finely carved out drapery

are sculpted beautifully. Navaganda sculpture is shown near her right side feet

and this sculpture is shown in adoration near the left side feet. This image also

can be assigned to Tenth Century A.D.

Chandikesvara (Plate 36)

Yet another important deity, enshrined in the Siva Temple, in the

northern corridor, facing south, is Chandikesvara. Chandikesvara is decked

with jatabhara. He is seated on patrapitha, with his right leg hanging down

and the left folded and kept on the pitha. He is represented with two hands, the

right is in kadaka hastha by holding the mazhu and the left resting on the thigh

by showing pusthaka hastha. Patra kundalas adorns his left ear while the right

kundala is missing. Haras decorate his neck and anklets in pada. A thin

yajnopavitha adorns his chest and drapery covers his body. This is one of the

huge sculptures in Tamil Nadu. It is also assigned to Tenth Centuary A.D.

 238

Chandikesvari (Plate 37)

Inside the Chandikesvara Shrine, near Chandikesvara, there is a

sculpture of Chandekesvari. She is standing on a padmapitha in samabhanga

posture, with jwalamala around his head. Off his four hands, the upper hands

hold damaru in the left hand and noose in the right. The lower right holds

Trisula and the lower left holds kapalamala. He is virtually nude. The

kabalamala (chain of skull) passes from his left shoulder, down to the knee.

The sculpture belongs to Sixteenth Century A.D.

Loose Sculptures

Jeyesta, Mandan, Mandi (Plate 38)

The loose sculptures of Jeyesta, Mandan, Mandi are sculpted from a

single slab and kept in the rear side of the Subramaniya Shrine, in the north

western corner. This relief sculpture belongs to the Tenth Century A.D.

Jeyeesta occupies the middle portion. She is in a seated posture, in a

highly raised and elongated patra pitha by hanging her two legs down. Her

right hand is on the left thigh of Mandhi. she is decorated with Karantamakuta

in the head, makarakundalas in ears, and haras decorate her neck. A finely

carved out drapery is sculpted beautifully.

Madan is placed on the right side of Jeysta, in a seated posture, with his

right leg hanging down and the left folded and kept on the pitha. He is

represented with two hands, the right is in kadaka hastha, by holding the Gada
 239

ayutha and the left resting on the thigh, by showing Uru hastha. He is shown

with an animal (cow) head and human body, which is damaged.

Mandi is positioned on the left side of Jeysta, in a seated posture, with

his left leg hanging down and the right leg is shown inside the sculpture. She is

represented with two hands, the right is in kadaka hastha, by holding the

flower and the left is in bhoomiparisa mudra (nithramudra). She is decorated

with Karantamakuta in the head, patrakundala in ears, and haras decorates her

neck. A finely carved out drapery is sculpted beautifully.

Balipitha Devakoshtha

The highly raised palipitha is embellished with devakoshtha, on the

bottom of the four sides. The sculpture of Sanganithi is in the north, dancing

damsel in the west, Padmananithi in the south and Vinayaka in the east koshtha

(Plate. 39).

Sanganithi

Sanganithi is in a seated posture, by folding her left leg and keeping her

right leg, half folded, with two hands. She kept her right hand on her knee and

left hand in her thigh and both the hands hold the Sangu. She is adorned with

Karantamakuta and ornaments like Patrakuntalas in the ear, necklaces in the

neck, and valaya etc. The sculpture is assigned to Tenth Century A.D.

Padmanithi

Padmanithi is in a seated posture, by folding her right leg and keeping

her left leg, half folded, with two hands. She keeps her left hand on her knee
 240

and right hand is in kadaka hastha and padmam (lotus) is shown on the rear

side of the hands. She is adorned with Karantamakuta and ornaments like

patrakuntala in the ear, necklaces in the neck, manivada, valaya and

Chanaviram etc. This sculpture is assigned to Tenth Century A.D.

Narthana Vinayaka

The Narthana Vinayaka is sculpted in a dancing posture, with belly and

two hands. The right hand is in abhaya hastha and left is in a dancing posture.

The sculpture is assigned to Tenth Century A.D.

Dancing Girl

The western devakoshtha contains the sculpture of a dancing girl. She is

standing with two hands, in a dancing posture. This sculpture also is assigned

to Tenth Century A.D.

Dwarapalakas (Plate 49a)

There are two massive Dwarapalakas, at the entrance of the

ardhamandapa. The Dwarapalaka on the south is in a standing posture, by

resting his right leg on a tree stem and left leg rests on a patrapitha, with two

hands. The right hand is raised upwards, in vismaya hastha and left hand is

resting on a tree branch. He wears jatamakuta in his head. He wears naga

kuntalas in right ear and simha kundala in the left ear and haras in his neck. He

adorns uttrabhanda. The protruding tooth is shown in the figure. A fine drapery

is tied to his right waist. The north Dwarapalaka bears similar features as his
 241

counterpart, except that his lower hand is in reserve position. These sculptures

are assigned to Tenth Century A.D.

Panels (Plate 52b)

There are sixty four panels of miniature sculptures, at the basement of

the outer side of garbagraha and ardhamandapa, fixed in the mouldings of the

plinth as in Pullanmangai, Nagesvara and Tirukkandiyur Temples. The panels

elucidate the story of Ramayana, Mahabharatha and Puranas viz., scenes like

Ravana riding ratha (chariot), Maharishi Vasista conducting yaha, Sheep

herders, Ministry of Ravana, Sita in Ashoka Vanam, Muruga Asura vatham,

war scene etc. 53

Portrayed Sculpture (Plate 51b)

In the corner of the south wall of the ardhamandapa, there is a portrayed

sculpture of two persons adoring Siva Linga, with his hand closed in anjali

hastha in a standing posture. The natives of the village opined that it is a

sculpture of Aditya- II Karikala. Muthusamy observed that it is the sculpture of

Raja Raja- II. 54 In the north side of open mandapa wall, a small sculpture is

depicted, in a standing posture, with Anjali hastha.

53
. Elzhil Athirai. Ko, ‘Punjai koil kandapakuthi Sirpangkal- katchiyum karuthum’in
Chandramurthi,M., and Muthu Ethirasan, (ed.), Nagapattinamavatta Thadayangal,
Chennai, 2014,pp. 286- 303; Thangavelu,Ko., Indhiya Kalai Varalaru, (Tamil),
Chennai, 1976, p.493; Sasikala, Pullanmangai (Tamil), Chennai, 2012, p. 146.
54
. Muthusamy, Ko. op.cit., pp.30-33.
 242

Bronzes

Nataraja (Plate 57)

Siva in dancing form is called, Nataraja. A bronze image of Nataraja

from Punjai is kept in the Madras Museum. This icon, fixed on a round shaped

prabhavali (Thiruvatchi), is shown dancing on Muyalaka (a demon). The left

leg is lifted up, slightly turned towards the right leg and kept across it. The

demon has his head on the right side and his leg on the left side. The back right

hand holds damaru and the left hand holds agni (fire). The right front hand is in

abhaya pose while the left front is in the varada pose. He wears jatamakuta,

with a crescent moon and goddess Ganga on its jata. The feathers are arranged

like a fan, adorning his head and a prominent skull affixed in the middle of the

head dress. The icon is adorned with ornaments like finger rings, necklaces and

kundalas. 55

Sivakamasundari (Plate 57)

By the left side of the Nataraja, a standing icon of Sivakamasundari is

seen with two hands, the right hand is in katahahasta and the left in lolahasta

(hangs down by the side). Her head is decorated with karantamakuta. She is

standing in a simple abhanga posture. She is also adorned with all ornaments.

This icon belongs to Eleventh Century A.D.56

55
. Srinivasan, P.R., Bronzes of South India, Government of Tamil Nadu, Madras,
1994, pp.295-296.
56
. Ibid., pp. 296-297.
 243

Ganesa (Plate 58)

Another remarkable bronze icon is a standing Ganesa, with four hands

on the padmapitha. His head is decorated with karantamakuta and his trunk is

in his lower left hand. His belly is little too big. Among his four hands, the

upper right holds ankus and upper left holds pasa. The lower left is in varada

pose and the lower right is in abaya hastha. He is decorated with ornaments.57

4. Tiru Sadaieswarar Temple at Pudukudi

This is the fourth temple of Aditya- II Karikala. This Temple,

reconstructed after the Muttaraiyars, by Aditya- II Karikala is a remarkable

one. The original structure of the temple has vanished and now the Temple is

under construction. The architectural features of this old Temple are

noteworthy.

Location

Tirusadaieswarar Temple, at Pudukudi, is situated on the Trichy -

Thanjavur National Highways, in between the border of these two Districts. It

is a village of Thanjavur District. The epigraph of Aditya- II Karikala refers to

the village name as Nankur. It is the only earliest inscription which mentioned

the place as ‘Nankur’.

57
. Ibid, pp. 296-297.
 244

Toponymy

According to the Tamil Lexicon, the term ‘Pudu’ means ‘new’ and

‘kudi’ means settlement. As it was a new settlement, the village came to be

called, Pudukudi.58

History

A ruined Siva temple is in Pudukudi village and Temple encompasses

the main shrine, the Amman Shrine, sub shrine and a compound wall. At

present, the temple is completely renovated with the same stone and new

bricks.

The Temple consists of several fragments of unpublished inscriptions.59

The inscription of Aditya- II Karikala, dated in his fourth regnal year, is a

notable one. This inscription was actually present in the garbagraha entrance

of this temple. From this location of the inscription, it is concluded that

garbagraha was constructed by Aditya -II Karikala (Plate 7). This inscription

reveals that the earliest name of the village was Nangore. This is the only

Temple of Aditya- II Karikala, where the inscription is located inside the

garbagraha.This inscription confirms Aditya - II Karikala’s construction of the

temple. This inscription also describes that Palai Sendanan of Thenkarai Nattu

Muttaraiyan, donated 240 sheep in order to light a perpetual lamp to the Lord

Sri Raghava Perumal of Nangur Palli Agaram. His nephew was Narayana

58
. Tamil Lexicon, Vol.V, Part.I, University of Madras, Madras, p. 2765.
59
. Field Survey conducted at Pudukudi, dated on 24 November 2013.
 245

Vaikunda alias Ananda Kopa Muttaraiyan. At present, it is kept near the

temple.60

A line in the inscription reads this “Nangore Palli Agarathu Sri

Raghavar”. There the word ‘Palli’ denotes Buddhism or Jainism but the name

of the god denotes Vaishnavism. It clearly shows that during the reign of Co-

Ruler Aditya- II Karikala Chola, this village was a centre of Buddhism or

Jainism, Vaishnavism and later Saivism.

The other inscription of the temple belonged to Muttaraiyars. This

inscription consists of a song in praise of Perumpidagu Muttaraiyar.This

discloses the existence of Siva Temple as karrali in Pudukudi in Eighth

Century A.D itself. Another fragmentary, unnamed and undated inscription,

refers to the salary of 30 kalam of paddy to a temple servant who prepared food

for the god, another 30 kalam of paddy as a salary to the uvacchar (musician)

who played the Tivilai (musical instrument) and 60 kalam of paddy as salary to

a dancer in the temple. Among the other fragmentary pieces of inscriptions, one

refers to the name of Rajendra Chola and another refers to the donation made to

Chandikesvara Shrine and some others refer to the boundaries.61

Temple (Plate 13)

The Muttaraiyar inscription reveals the existence of Siva Temple as

Karrali in Eighth Century A.D itself. Since the inscription of Aditya- II was

60
. Field Survey conducted at Pudukudi, dated on 24 November 2013.
61
. Kudavoyil Balasubramanyam, Pudukudi Sthala Varalaru, pp.5-6
 246

found in the garbagraha entrance, it is construed that the temple was

reconstructed, with stone, by Aditya -II Karikala.

Architecture

The old architectural feature was found in the old temple of this place.

The architectural features are mentioned with the help of the old photographs,

obtained from Kudavoyil Balasubramaniyam and information available in the

Sthalapurana of this temple.

The temple faces the east. The main components of the temple consist of

square garbagraha, enshrined with pana linga, ardhamandapa, and

mahamandapa, amman shrine with the vimana, Ganapathi shrine, Murgan

shrine, Chandikesvara Shrine and Madappalli. It has a madhil.

Ardhamandapa and Mahamandapa

In front of the garbagraha, ardhamandapa is found in the photographs.

Mahamandapa is facing eastern side, with plain, two pillars on both sides. The

basement walls are plain like that of garbagraha. It has a flat roof.

The vimana, constructed by Aditya -II Karikala, has features like

adhisthana, jagathi, tripattakumuda and pithi. Above the adhisthana, the plain

wall is decorated without devakoshtha and pilaster. On all sides, the

garbagraha wall is plain. Above the garbagraha, wall reaches upto the

cornice. Above the cornice, the tala accommodates four dilapidated nandi,

seated two on each side. Above the plain, garbagraha was seated griva

koshthas. Above the griva, the plain vimana, with stupi, is seen.
 247

Amman Shrine

The Amman shrine is located on the north eastern corner, facing south.

The photographs show that it has garbagraha and ardhamandapa, with single

tier round sikhara, with a stone stupi. The outer garbagraha wall is plain,

without pilasters. The Amman Shrine was built by stone upto pithi whereas

tala, sikhara were made up of brick. Amman Shrine still exists now, without

sikhara and sculpture.

In front of the Amman Shrine wall, there is a small portrayed sculpture

of kamadenu, i.e., cow pouring milk over the Siva Linga and licking the Linga

with his tongue. A similar sculpture was also seen in Perungudi Agastyeswara

Temple (Plate 51f).

Prakara and Sub shrines

From the information available in the Sthalapurana, it is known that the

temple had a prakara, with a compound wall. Ganapathi Shrine is in the south

west, and Murgan Shrine, along with his consorts, is in the northwest.

Chandikesvara Shrine is in the north of the garbagraha, without a ceiling.

Madappalli is in the south east corner. There is also a Well.

Sculptures

The main deity, sculptures of Amman, Ganesa, Chandikesvara, Bairava,

Murga, Valli deivayani and Iyyanar are kept in a hut, near the temple and they

are taken care of by the temple priest, Paramasivam because of the renovation

work.
 248

Lingam (Plate.41)

The Panalinga is enshrined in the round avuadaiyar. It is an ancient

one.

Sivagami Amman

Sivagami Amman is depicted in a standing posture, with four hands, by

adopting the abhaya hastha.

Ganesa

Ganesa is in a seated posture, with four hands. The sculpture belongs to

the Chola Period.

Chandikesvara (Plate. 44)

Chandikesvara is seated, with his right leg hanging down and the left

folded in a sukasana pose. He is represented with two hands, the right holding

the mazhu and the left resting on the thigh.

Bhairava (Plate. 43)

Bhairava is in a standing posture, with jwalamala around his head. He

holds damaru in the upper left hand and noose in the upper right hand. He

holds trisula in the lower right hand and kabala in the lower left hand. His

vahana , the dog is shown at his back.

 249

Murgan, Valli, Devayani (Plate. 42)

The sculptures of Murgan, Valli and Devayani belonged to a later

period. Lord Murugan is in a standing posture by showing abhaya hastha with

his consorts Valli and Deivayani and holding flowers.

Iyyanar (Plate 45)

The Iyyanar sculpture was found buried in the eri in the village. It was

brought by the people of the village and kept along with the other sculptures of

the temple.62 This sculpture belonged to 8th -9th Centuries. He is in a seated

posture by folding his right leg, and keeping his left leg half folded. Of his two

hands, right holds the gadaayuda and keeps his left hand on the knee. He is

adorned with jatabhara and ornaments like kuntalas in the ear, necklaces in the

neck, and valaya etc.

5. Sringisvara Temple at Mappedu

Location

The fifth temple of Aditya- II Karikala is the Sringisvara Temple.

Sringisvara Temple, at Mappedu, is located about 75 km from Chennai. The

village is in Thiruvallur Taluk and District. This is one of the ancient temples

of Tondaimandalam. At present, it is under the control of Hindu Temple

Endowment.

62
. Interview with Paramasivam, Tirusadaieswarar Temple Priest , Pudukudi, dated
on 24 November 2014
 250

Toponymy

A legend is associated with the place name. When Devars and Asuras

churned milky ocean, Lord Vishu took the avathara of Mohini. In order to get

his original figure, he worshipped Siva in this place. Hence this village was

earlier called Tirumalppedu where ‘Peddu’ means a girl. Later this was

transfigured into Meippedu. At present, it is called Mappedu.

According to sthala purana, Nataraja performed anandatandava dance

at Tiruvalankadu village and hence the nandi is named Sringi. Sringi enjoyed

playing musical instrument. While he was playing miruthanga, he forgot

himself and missed the dance of Nataraja. In order to watch the dance again in

this place (Mappedu), Sringi worshipped Siva. Siva danced again in this place.

Hence Siva in this temple is called Sringisvarar and temple is Sringisvarar

Temple (Appendix-XIII).63

Inscriptions and History

Since the early epigraph of this temple was assigned to Aditya- II

Karikala, the temple was considered to be constructed by Aditya- II Karikala,

in his third regnal year. Stone slab on the floor, under the main gopura,

contains the epigraph of Aditya- II Karikala, which is in a state of fragmentary

condition (Plate 9).64 It records a gift made for lighting a lamp in the temple. It

proves that the temple existed from the time of Aditya -II Karikala. There is

63
. Sthala Purana given in a Board at Sringisvara Temple at Mappedu
64
. A.R.E., 60 of 1947-48
 251

another inscription of Sada Siva Maharaya, a Vijayanagar King.65 In the year

1501 A.D., Aryanatha Mudaliyar, a Saiva Vellalar, a native of the village,

worked in the court of Krishna Devaraya and constructed Raja Gopura and

sixteen pillared mandapa in front of the Amman shrine and a compound wall. 66

Temple (Plate 14)

The temple is facing towards east. The main components of the temple

are square garbagraha, enshrined with Linga (G.P.No.1), ardhamandapa

(G.P.No.2), flanked by dwaravinayagar on both sides, mahamandapa with

four pillars(G.P.No.3) and the entrance is flanked by dwarapalakas, on both

sides (G.P.No.8), followed by square mukhamandapa (G.P.No.4), decorated

with eighteen pillars. On the northern side of the mukhamandapa, Lord

Nataraja is located(G.P.No.5). Nandi and balipitha(G.P.No.6,7) are located in

an axial line to the garbagraha. The mukhamandapa has two entrances

(G.P.No.9 &9a), with flights of steps, one facing east and the other to the south

leads to the Circumbalotry bath (Outer Prakara) (G.P.No.10). Following the

east entrance of mahamandapa, Nandi, Dwajasthambam and Balipitha are

located (G.P.No.21,22,23). It is on the same axial line of the garbagraha. The

south entrance leads to the prakara which accommodates subshrines.

The walls of the garbagraha and ardhamandapa have devakoshtha.

They are house the deities of Rudra Ganapathi, and Dakshinamurthy on the

south, Mahavishnu on the west and Brahma and Vishnu Durga on the north.

65
. A.R.E., 61 of 1947-1948.
66
. Sthala Purana given in a Board at Sringisvara Temple at Mappedu; Interview with
Temple Preiest, dated on 25 June 2014
 252

Components of the Temple

The lower most portion of the vimana is called, adhisthanam. The

temple adhisthana contains upana, kumuda, gantha, padmam, kopotta and

frieze. Above adhisthana, the garbagraha wall rises upto the cornice. Pilasters

are found, on all sides of the wall, at intervals. Pilasters are also found on the

two sides of the devakoshtha. The pilasters are octagonal. In between the

pilasters is beautiful kumbhapancaram type of pillars, decorated with kudu

motifs. Above cornice, there is a two tala vimana (diwitala). Above the tiers,

griva is found. Griva consists of griva koshtham. Above the griva, there is a

round sikhara, with a single stupi.

Amman Shrine (G.P.No.14)

Amman Shrine is located on the northwest corner, facing east. It consists

of components like garbagraha, plain ardhamandapa, four pillared

mahamandapa and twelve pillar open mandapa. The Amman is called

Pushpakujalambal or Poomulai Nayaki. It has a ekatala vimana, with griva,

sikhara and stupi.

Subshrines

Southern side prakara has subshrines like Asthana Vinayaka as

Idampuri Vinayaka (G.P.No.11) is on the south west corner, Shrine of

Subramaniya (G.P.No.12), along with his consorts Valli, Deviyani, in a

standing posture, in the west side. Shrine of Adhikesava Perumal (G.P.No.13),

along with his consort Sridevi and Bhudevi, in a standing posture is on the
 253

western side. Amman Shrine is located on the northwestern corner. Shrine for

Chandikesvara is on the northern prakara (G.P.No.15). The Chandikeswara is

in a seated posture, by folding his left leg and hanging his right leg, with two

hands, right hand holds malu and left is in uruhastha. The north eastern side of

the prakara is accommodated with nagabhana (G.P.No.16), Yahasala

(G.P.No.17) and Virabalisvarar (G.P.No.20) in Linga form. It is considered to

be the ancient one. Vasantha mandapa (G.P.No.18), adjacent to the small

Shrine of Vinna Vinayaka is on display (G.P.No.19).

Vasantha mandapa (Plate 20c) has 16 finely decorated pillars. The

sculptures on the pillars in this mandapa are Virapathra, Lady holding Vina,

Pichchadana, Narashima, Bhudagana playing musical instruments, Rama,

Lakshmana, Sita, Hanuman, Kamadenu, Kalingan, and animal motifs etc are

found on the pillars. The architectural features indicate that the vasantha

mandapa was constructed by the Vijayanagar Rulers. It is a fine example of

Vijayanagar Style.

The south eastern corner of the prakara is accommodates the

Madappalli (G.P.No.24) and in front of that is a small Shrine of Surya

(G.P.No.25). Near the Shrine there is the sthala vriksha tree.

The entrance to the centre of the southern prakara leads to the Raja

Gopura, with five talas (G.P.No.26). The Raja Gopura is on a highly raised

upapitha. Gopura is constructed with stone and the five talas are constructed

with brick and stucco. At the entrance of the Raja Gopura, walls are decorated

with panel sculptures, related to the story of Ramayana, Manunithi Chola and
 254

Kannappar, Siva Purana, Aryanatha Mudaliyar on the two sides of the wall of

the gopura.

The temple complex is covered by high raised madhil. It has entrance on

all four coordinal directions (G.P.No.26a, b, and c) and the four edges of the

madhil consists of nandi. The raised madhil consists of miniature sculptures

like elephant worshipping Linga, Sarabeswarer, bull, elephant and bull fight,

plough, sage etc (Plate 51d). On the outer side of the western madhil, there is a

temple tank called Venthamarai Kulam (Plate 21a) and Tirta is called

Esvedapadma Pushkarni (G.P.No.27).

6 &7. Agastyeswara Temple and Avesa Perumal Temple at Theyyar

Location

Agastyeswara Temple and Avesa Perumal Temple at Theyyar were the

sixth and seventh temples, built by Aditya- II Karikala. Theyyar is a place of

historical importance and it is 10 km away from Vandavasi in Tiruvanamalai

district. It is surrounded by villages such as Madam in the east, Kodiyalam in

the west, Palaveri Katteri in the south and Mambakkam in the north. It is

famous for its twin temples, dedicated to Lord Siva and Vishnu. 67

67
. Theyyar Sthala Puranam and Mamakum Manvaasam Jounal, 26 May 2002, p.
86.
 255

Toponymy

In ancient days, there was a river called Theyyar that flowed in this

village. Hence this village has been called Theyyar. It is the place where two

famous rivers of Tonadaimandalam, Senji Sankarabarani and Tellaru merge. 68

Legend

The legend connected with the temple is that the Sage (rishi) Agathiyar

visited the place during his journey from Kancheepuram to Tiruvannamalai. He

was said to have performed puja to the Lingam by offering the fruit. Thus the

temple is called Agastyeswara Temple and the tank is also known as Agathiya

Tirta. Its Sthala Virsha is vembu (Neem). Agathiya kshethram is another name

of the place. Another view is Chola King Parantaka- II and Co ruler Parakesari

Aditya- II Karikala vanquished the Pandya King, Virapandya in the battle. In

the war, 700 soldiers were killed. In order to get rid of the brhamahasti dosha

(sin) and to pacify the souls of the departed soldiers, the King set up 700 homa

kundas and conducted yagna and built the temple for Siva. In the same period,

Avesa Perumal Temple was also constructed by the same King in the village.

At present, the temple is called Varadharaja Sri Avesa Srinivasa Perumal

Temple69

68
. The Hindu, 8 November 2002 ; Interview with R.Santhanam, dated on 12
February 2015.
69
. Theyyar Sthala Puranam ; Kumuda Jothidam, 19 December 2014, p.1.
 256

History and Inscription

Since the early epigraph of this temple is assigned to Aditya- II Karikala

the temple must have been constructed by Aditya- II Karikala. At present, the

temple is reconstructed with modern structure. The Agastyeswara Temple

possesses nearly four fragmentary pieces of epigraphs. One is assigned to the

Aditya- II Karikala (1), and other three are undated and unnamed. Undated

lithic records of Aditya- II Karikala, record the construction of a mandapa and

provisions made for a perpetual lamp. 70 Another inscription begins with

Parakesari, “Venkundra kottam, Teiyarrur Erikku maanaya perumal adi kadava

seithu vinakavumkudiyum”, The second piece of inscription mentions that

“Kengumari Idai ellunuttru seitha pavam”. Another piece of lithic record refers

to, “Teiyarril nan seitha pavam kola villaiyavathu. Some war took place at

Theyyar and in that war, 700 warriors lost their lives. In order to get rid of the

sin, something had to be done there, either it may a offering or construction of

a temple. As the inscriptions are damaged, the information was not clear.71

Vishu temple presents only one inscription, belonging to Aditya -II

Karikala. It is damaged and fragmentary. It refers to the hamlet, Teiyarrur, in

Venkundra Kottam. It also refers to a lady, Varanavalliyar, who constructed a

mandapa in the temple and donated a land in memory of her husband. Other

70
. A.R.E., 250 of 1990-1991 and Text collected from Prof. R.Santhanam.
71
. A.R.E., 251 of 1990-1991 and Text collected from Prof. R.Santhanam.
 257

details are not clear.72 However, at present, there is no inscription found in the

temple.

Since the earliest inscription of these temples belonged to Aditya- II

Karikala, the main temple must have been built by him. At present, both the

temples have been renovated and modern temples exist in the place of old

Temples.73

Architecture of Agastheeswarar Temple at Teyyar (Plate 15)

The temple is facing east. The main components of the temple consist of

square garbagraha, enshrined with Linga (G.P.No.1), Plain ardhamandapa

(G.P.No.2), and open Mukhamandapa, with 12 pillars (G.P.No.3). In the north

side of Mukhamandapa, the adjoining Annandavalli Amman Shrine is located

(G.P.No.6), (Plate. 90). The mukhamandapa consists of nandi and balipitha

(G.P.No.4, 5) in an axial line to the garbagraha. Loose sculptures of Vinayaga

and Arumugam are also kept in the mandapa (G.P.No.7). The open

mukhamandapa has three entrances towards east, south, and west. The east

entrance leads to the circumbulatory path (prakara) (G.P.No.8). The outer wall

of the garbagraha and ardhamandapa is adorned with devakoshtha. Natana

Vinayagar, Dakshinamurthy is in the south devakoshtha, (G.P.No.9,10),

Lingodbhava in the west (G.P.No.11) and Brahma and Durga in the north

(G.P.No.12,13).

72
. A.R.E., 251 of 1990-1991; Text collected from Prof. R.Santhanam.
73
. Field survey conducted at Teyyar, dated on 15 February 2015.
 258

The south west corner of the prakara is accommodates the sub shrine

Karpagavinayagar. (G.P.No.14) Inscription on the slab is found on the west

side of the garbaraha (G.P.No.15). The north side of the garbagraha

accommodates the Chandikesvara Shrine (G.P.No.16). In the north, near the

mukhamandapa a sculpture of Chandikesvara was buried in the earth and it was

dug out during the field survey (G.P.No.17). There is a well on the north side

(G.P.No.18). Navagraha is found in the east side (G.P.No.19). The entire

temple is encompassed by highly raised madhil, with entrance on west and

south sides (G.P.No.20)

Components of the Temples

The components of the temples are upapitha, adhisthana, jagathi, and

tripattakumuda. Above the adhisthana, the plain wall is not decorated with

devakoshtha and pilaster. Above the garbagraha, the wall reaches upto the

cornice and above that the kudu motif is located. Above the cornice, there are

two tala, with round sikhara and above it, a single stupi is located.

Sculpture

Chandikesvara (Plate 46)

The sculpture of Chandikesvara is on the north side of the prakara. It is

half buried into earth and worshipped as a durga or kaval deivam (guard). At

the time of field survey, it was fully dug out and photos were taken. After

verifying with the photo, M.Chandramurthy, an archaeologist, helped to

ascertain the sculpture to be Chandikesvara.

 259

The sculpture of Chandikesvara is in a seated posture, by folding his

left leg and keeping his right leg, half folded. Of his two hands, the right holds

the gadaayuda and his left hand on the knee. He is adorned with jatabhara and

ornaments like kuntalas in the ear, necklaces in the neck, and valaya etc.

Architecture of Adikesava Perumal Temple (Plate 16)

At present, the temple is renovated and shaped into a modern structure.

The temple is facing east. The main components of the temple consist of square

garbagraha(G.P.No.1), enshrined with Adikesava Perumal and his consorts

Valli and Deivayani. Bronze images of Vikshaswar Senamudali, Manavalar,

Ramanujar, Swamidesikar are located in ardhamandapa (G.P.No.2).

Mahamandapam (G.P.No.3) with two pillars. In the mahamandapa,

Alamelumanga Shrine (G.P.No.4) is located on the south western corner and

on the north western corner, Andal Shrine (G.P.No.5) is located. In the

mahamandapa, a raised platform on the northern side (G.P.No.6)

accommodates the stone sculptures of Vikshaswar Senamudali, Manavalar,

Ramanujar, Swamidesikar, Adikeasvar and Sadakopar. In front of the

mahamandapa is mukhamandapa (G.P.No.7), with six pillars. Yoganarashimar

(G.P.No.8) sculpture is kept on the north western corner of mukhamandapa

and on the east side, a Garudalwar is located (G.P.No.9) (Plate 48), facing

towards east, in an axial line. The south side of the mukhamandapa leads to the

prakara (G.P.No.10) and well is situated on southern side of prakara

(G.P.No.11) and vahana is on the northern prakara and the western prakara,

leading straight to the entrance. Light lamp and balipitha are located
 260

(G.P.No.12,13). A shrine for Hanuman,(G.P.No.14) (Plate 47) is located on

the south eastern side of prakara. The Hanuman is depicted similar to that of

Talaisanga Nanmadaiya Perumal Temple at Talachangadu. The temple is

covered by a raised madhil, with entrance (G.P.No.15).

Components of the Temple

The vimana has features like upapitha, adhisthana, jagathi,

tripattakumuda. Above the adhisthana, the plain is not decorated with

devakoshtha and pilaster. Above the garbagraha, wall reachs upto the cornice.

Above the cornice, the two tala are located, with Garudalwar seated at four

corners. Above the griva koshthas, there is a round sikhara, with single stupi.

Pidarai Temple at Timichchur (Plate 17)

A fifth regnal year inscription of Aditya- II Karikala, on a boulder,

known as tadangal near the Siva Temple in Timichchur, Thirukkoyilur Taluk,

describes that by the order of Aditya -II Karikala, Mummudi Sola -

Kadupattigal built a temple of Pidari in the village. 74 At present the temple

exists as a modern structure.75

Paranesvarar Temple at Tirupperundurai (Plate 18)

Tirupperundurai is a village in the Kumbakonam Taluk, Thanjavur

District. S.R. Balasubramaniyam has observed that the local temple, dedicated

to Paranesvarar, was an early Chola foundation. The original temple was

converted into stone in the reign of Aditya- II Karikala, and became old and

74
S.I.I., Vol. XXXII, No.76.
75
Field Survery conducted at Timichchur, dated on 22 January 2015.
 261

dilapidated in the intervening two centuries. In the reign of Kullotunga – III, it

76
was renovated. The earliest inscription of the temple is ‘Madurai konda

Parakesarivarman’, dated in his twenty second regnal year and it refers to the

grants made before its reconstruction. Prior to his twenty second year,

mandapa, in front of the central Shrine, was added.77 Kutottunga- III inscription

records that the central shrine was rebuilt in stone by Aditya- II Karikala and

became old and dilapidated in the intervening two centuries and in the reign of

Kulottunga- III, it was renovated and at that stage, the old inscription was

engraved on the wall of the central shrine and complete inventory of the temple

lands and ornaments of the deities of the temple was prepared and recorded on

the wall. 78 Thus the central shrine, as seen today, is a later Chola structure

while the mandapa in front of it belongs to the early Chola period.

As explained by Kulottunaga- III inscription, though the temple was

reconstructed by Aditya -II Karikala in stone, now we do not have a single

monumental evidence except inscriptional evidence, to bring out his

contribution to the temple.

Anantisvarasvamin Temple at Udayargudi (Plate 19)

The second year lithic record of Aditya- II Karikala, mentions that

Araiyan Geyavitankan, one of the Singalantakatterinja-Kaikkola Community,

made a gift of ten kasu and from its interest, a pair of cloths was to be

76
. Balasubramaniyam, S.R., Later Chola Temples( Kulottunga I to Rajendra III)
A.D. 1070-1280, Haryana, 1979, p.344.
77
. A.R.E., 135 of 1931-1932.
78
. A.R.E., 134 of 1931-1932.
 262

presented to Kuttapperumal (i.e., Nataraja). It also mentions that the same

individual built the shrines of Kuttar, Ganapati and Pichchar in the temple.79

Based on this epigraph, in a book ‘Lower Dravidadesa’, it is recorded that the

original temple probably existed in brick by the thirty second year of

Parantaka- I and the present structure is dated from Aditya- II Karikala. 80 But

there is no Shrine for Kuttar, Ganapati and Pichchar in the temple. The field

study revealed that it may be Devakoshtha. The sculptures in it are fully

dilapidated. However, the architectural style is similar to Punjai temple.81 The

earlier inscriptions of Parantaka- I are evident in this temple.

Brahadeeswarar Temple at Thanjavur

Further contribution was not stopped with the above mentioned eleven

temples. According to the manuscript, ‘Cholamannar Magathuvam’ (T.2994),

Thanjai Periya Koil was built by Rajaraja I but the main god (the huge

sivalingam) was the one brought from Narmada, by Aditya- II Karikala. 82 The

Indian Antiquary, a journal of Oriental Research also confirms this.83 It shows

that Aditya- II Karikala had his contributed to the construction of the Big

Temple at Thanjavur.

79
. S.I.I., Vol. XIX, No.15.
80
. Michael W. Meister, (ed.), Encyclopaedia of Indian Temple Architecture, South
India-Lower Dravidadesa 200 B.C - A.D 1324, 1999, pp. 178-179.
81
. Filed survey conducted at Anantisvarasvamin Temple at Udayargudi, dated on 12
January .2014.
82
. Soundarapandian,S ., (ed.), Chola Mandala Varalarugal (Tamil),
Chennai,1999,p.35.
83
. Burgees.Jas, The Indian Antiquary, a journal of Oriental Research, Vol. XIII,
Delhi, 1984, p.59.
 263

This information confirms that Aditya- II Karikala’s Temple at Punjai

was the first step towards the construction of Rajarajeswaram Temple at

Thanjavur. Raja Raja- I might have constructed Thanjavur Temple after he

followed the style of his elder brother, Yuvararaja Aditya- II Karikala.

Table No.V.1

List of Temples of Aditya- II Karikala

King/
Place Name Tk/Dst Temple
Reg.Year

Perungudi Trichy Agastyeswara Temple Siva AdityaII/3rd

Nanmadaiya Perumal
Talachangadu Nagapattinam Vishnu AdityaII/3rd
Temple

Punjai Nagapattinam Natrrunaieswara Temple Siva AdityaII/ 4th

Pudukudi Tanjavur Tirusadaieswarar Temple Siva AdityaII/ 4th

Mappedu Tiruvallur Sringisvara Temple Siva AdityaII/ 4th

AdityaII/
Agastyeswara Temple Siva
Undated
Theyyar(Theiyur) Wandavashi
AdityaII/
Avesa Perumal Temple Vishnu
Undated
Tirukoyilur/
Timichchur Pidarai Temple Pidari AdityaII/5th
Villupuram

Aditya- II Karikala Contribution to other Temples

KulotungaI/ rd/
Tirupperundurai Kumbhakonam Pranesvarar Temple Siva 3

Udaiyarkudi Chidambaram Anantisvarasvamin temple Siva AdityaII/2nd

Thanjavur Thanjavur Brahadeesvarar temple Siva Raja Raja I

 264

Pujas and Festivals

Hindu temples conducted several rituals, pujas and festivals, based on

the agamas. Agama is a manual which provides details of religious formalities,

offerings and rituals of the temple. This can be categorised as Nitya Puja (daily

puja), Vara Puja (weekly), Masa Puja (monthly puja) and Varsha Visesha

(annual festival).Inscriptions of Aditya- II Karikala also referred to some pujas

and festivals.

Avitta Tirunal

A lithic record dated in his fourth regnal year, from the same place

refers to a gift of 96 sheep and a ram by a private individual of Kalattur, for

burning a perpetual lamp in the day of Vrischika, Wednesday, on Avitta

Tirunal.84

Tiruppalliyezhuchchi and Thirumanjanam

The daily puja starts with Ushakkala puja, when the priests would go to

Palliyari (bed Chamber) and wakeup the deity by chanting mantras and verses.

This is called Tiruppalliyezhuchchi. There is a reference to it in an inscription

of Co-Ruler, Aditya- II Karikala, dated in the fourth year, from Udaiyarkudi,

which describes a gift of gold for providing the sacred bath for the god, on

rising from sleep (Tiruppalliyezhuchchi).85

Thirumanjanam means ceremonial bath to the deities. Aditya- II

Karikala’s inscription from Bahur, records that Thirumanjanam ceremony was

84
. A.R.E., 619 of 1920; Transcript referred in ASI, Mysore.
85
. A.R.E., 600 of 1920; Transcript referred in ASI, Mysore.
 265

conducted in the Thirumulasthanesvara Temple, for which 30 kalanju of pon

was gifted. It further states that Punniya Ganattu Perumakkal had agreed to

conduct the abhisekha by supplying water through lift on three to six sandhis.86

Yet another inscription, from Thiruthavathurai, dated in his fourth regnal year,

describes that at the time of Uttaramayanam (i.e. at the time Sun turns to

north), 108 pots of water was used for Tirumanjanam to Tiru Nachchiyar

Perumal and for this purpose, land was donated by Sirupalavur Savanthi

Nakkan.87

Chittirai Uttaraditta Day (April –May)

It is a Festival celebrated on the Star Day. The fourth regnal year

inscription of Aditya- II Karikala, from Sendalai, refers to sahabayar agreeing

to conduct puja for Ganapathy every month of Uttaraditta day by offering 4

nalli Avul and 1 coconut. Chittirai Uttaraditta day food was prepared and

offered to Ganapathy with the help of this donation.88

Vaigasi Thiruvadirai (May-June)

Arudra Festival is observed in the month of Vaigasi (May to June). The

‘Arudra’ (Thiruvadirai) holds sway on that day. 89 Kirttimaraikkadan starts

with Arya Kuttu on Arudra in the month of Vaikasi and continues with three

Kuttus, on continuous days.90

86
. P.I., No.10 ; S.I.I., Vol. XXXII, No.68.
87
. Varalaru, Vol,4, Ins.No.1.
88
. S.I.I., Vol.VI, No.441.
89
. Jagadisa Iyyer., South Indian Festivities, New Delhi, 1982, p. 75.
90
. S.I.I., Vol.III. 202 ; S.I.I., Vol.V. No.718; Select Inscriptions of Tamil Nadu,
No.IX:2.
 266

Karthigai (November- December)

The fourth regnal year lithic record, from Udaiyarkudi, mentions the

Uttara Magaram Festival, in the month of karthigai. Another lithic record from

the same place, dated in his fourth regnal year, refers to a gift of gold for a

perpetual lamp, on the day of Magaranayiru puja.91

Arudra in Margali (December –January),

Arudra Festival is observed in the month of Margali (December to

Januray). The asterism, ‘Arudra’ (Thiruvadirai) holds sway on that day. This

occasion is specially associated with the dancing aspect of Siva as Nataraja and

hence worshipping Nataraja on this day is supposed to purify the coarser

92
emotions in man. The fifth regnal year inscription from Koyil –

Tevarayapettai, hamlet of Pandaravadai, refers to the celebration of Margali

Thiruvadirai Festival. On this day, offering of avul, ell, sugar, coconut and 45

kasu and ½ kal Akkam are offered to Thiruvisalur Ganapathi.93

Tai Pusam Tirunal (January –February)

Thai Pusam is an important and remarkable festival in the month of

January-February. When the moon is in asterism, Pusam, during the month of

Thai, it is celebrated. Thai Pusam is considered a Brahmotsava (a 10 day

festival). The fourth regnal year inscription, from Mahalingaswamin Temple, at

Tiruvidaimarudur, mentions that Kirttimaraikkadan starts with Arya Kuttu, on

91
. Transcript referred to in ASI, Mysore.
92
. Jagadisa Iyyer, op.cit., p.159.
93
. A.R.E., 275 of 1923.
 267

the day of Pushya, in the month of Thai and continues with three parts of

kuttus, on consecutive days in the Temple. 94

Hero Stones of Aditya-II Karikala

In the ancient Tamil Country, it was a custom to erect a Hero Stone in

honor or memory of the deceased heroes who sacrificed their lives in protecting

people, cattle and country, from the clutches of their enemy or from the wild

animals. The incident is depicted as full-fledged relief or bas relief sculptures.

Epigraphs are engraved with the sculptures or in adjacent slabs. The epigraph

provides the information about the hero and the related incident. These Hero

Stones are considered to be historically important because it provides valuable

information about the ancient Tamil culture and ritual.The Hero Stone is also

called ‘Nadukal’ or ‘Virakal.

There were also literary references to the Hero Stones. Cattle lifting or

cattle retrieving is commemorated in the Mahabharata Epic. 95 The Tamil

grammatical treatise, Tolkappiyam, graphically enumerates six different stages

of rituals, connected with the erection of Hero Stones (Nadukkal) to

commemorate the death of heroes. Such as:

“Katchi kalkol nirpadai naduthal

Sirttaku Sirrappin Perumpadaivattal” 96

94
. S.I.I.,Vol.III, 202 ; Vol.V, No.718 ; Select Inscriptions of Tamil Nadu, No.IX :2
95
. Soundara Rajan, K.V., Glimpses of Indian Culture, History and Archaeology,
Delhi, 1980, p.148.
96
. Tolkappiyam, Poruladikaram, Purattinai songs, 5 and 6.
 268

Thirukkural, popularly known as ‘Ulaka Tirumarai’ (Universal Book of

Religion), also refers to Hero Stones in Chapter 78, as “the typical warrior

warns his enemies from approaching his leader, saying that many had stood

before him and then stood as stones”.

“O,Ye,my foes!Dare not to stand and face my lord because

Many do stand as stones for having boldly faced by foes” 97

In this connection, there are references to Hero Stones erected during the

time of Royal Chola Prince, Aditya- II Karikala. There were nine Hero Stones

issued by him. Among the nine, six (4 – Vankattur, 2- Panankatteri) are

reported from Vellore District, two from Chettittangal, Cuddalore District and

yet another one from Kulipatti, Salem district, which indicate his extension of

power.

Hero Stones at Vankattur (Vellore District)

A group of four Hero Stones of Aditya- II Karikala found on the way to

Chittor, near a village called Kallappadi, in a small hamlet, Vankattur, in the

mango grove of Duraiswamy Naidu, Gudiyattam Taluk, Vellore District. These

Hero Stone inscriptions are in Tamil language in character. These Hero Stones

are published in a historical Journal “Avanam”, 98

The first Hero Stone inscription, dated in the third regnal year of Aditya-

II Karikala, refers to the death of Sattayan, a son of Vikkiramadittan alias

97
. Thirukkual: Chapter: 78, 771.
98
. Subarayalu, A., (ed.), Avanam, Vol. 6, Thanjavur , 1995, pp.15-17.
 269

Tinamachetti, a keeper of sluice (tumbu – adaippar) at Senkundram, in a cattle

raid at Solanur.99

The Hero Stone (Plate 53b) is in a rectangular shape, with 7 feet in

length and 3 ½ feet in breadth. In the upper part of the stone, six lines of

inscription are engraved and below, the hero is sculpted as a full fledged figure.

The hero is in standing posture by raising his left leg bent and kept in front and

right leg in the back. He wears waist a band and the drapery is hanging in

between the middle of the legs. He wears Kundalas in the ears, bracelets in the

hands, anklets in the legs and also necklace in the neck. There is a knob in the

right side of the head. The dagger is entangled in the waist. The neck and his

body are pierced with four arrows, in four places. Near them there is a pot on a

tripod and a brass lamp on a long stand (kuttuvilaku). A group of cows are

depicted in a standing posture below the legs.

The second Hero Stone (Plate 53c) inscription dated, in the third regnal

year of Aditya - II Karikala, refers to the death of Sattayan Tiruvural, a keeper

of sluice of Senkundram while rescuing cattle at Solanur. 100 The name of

Tiruvural was added with the name of Sattyan, which has been mentioned in

the earlier inscription. The name ‘Tiruvural’ denotes the ancient name of the

place, ‘Takkolam’. Thus a place name could be used by a person also.101

99
. A.R.E., 57 of 1995-1996 ; Krishnamurthi, Sa., Nadukarkal, Chidambaram , 2004,
pp. 252 -253.
100
. A.R.E., 58 of 1995-1996.
101
. S.I.I., Vol. III, No. 184, 190.
 270

Here also the Hero Stone is rectangular in shape, 7 feet in length and

3½ feet in breadth. In the upper part of the stone, five lines of inscription are

engraved and below the hero has been sculpted in full shape. The hero is in a

standing posture, by raising his left leg bent and kept in front and right leg in

the back. He wears the waist band and the drapery is hanging in between the

middle of the legs. He wears kundalas in the ears, bracelets in the hands,

anklets in the legs and also necklace in the neck. There is a knob on the right

side of the head. The dagger is tied to the waist. The neck and his body was

pierced with arrows. Near them, there is a pot with tripod and a brass lamp on a

tall stand (kuttuvilaku). Below their legs, there is group of cows, depicted in a

standing posture.

Generally, Hero Stone inscription employs the term either ‘Thoru

Kondapothu’ or ‘Thoru Mitapothu’. ‘Thoru’ means Cattle. ‘Thoru

Kondapothu’ means capturing the cattle and ‘Thoru Mitapothu’ means

redeeming the lost cattle.102 But both Hero Stone inscriptions from Vankattur

record the verse “Thorukkolla Kottupusal Poi Thorumittupattan”. 103 This

means that while the hero going for capturing cattle, drums (kottu) was used to

beaten. Hence both the terms ‘Thorukkolla’ and ‘Thorumittupattan’ have been

employed.

102
. Ranganathan, B., Hero Stones of South India with Special Reference to Tamil
Nadu, Madras,1979, p.147.
103
. A.R.E., 57 of 1995-1996 ; 58 of 1995-1996
 271

Another term, referred to in both the inscriptions, is ‘Kottu pusal’.104

The term ‘Paraiarainthu’, is referred to as ‘kottupusl’ in Hero Stones, i.e.,

Kottu refers to musical instrument, which was used to beat before the event by

ancient Tamils. This practice still persists today in villages. The same was also

referred to by Nachiniyar in Pura Porul Venbamalai. It mentions that at the

occasion of cattle lifting battle, the Vetchiyar and karandaiyar used to beat the

drum (i.e. Paraiarivipathu)105

As far as third and fourth Hero Stone epigraphs are concerned, they

referred to a cattle raid without denoting the king’s name and regnal year. But

both refer to the same hero, Sattayan Tiruural, which help us to confirm that

these two Hero Stones belong to Aditya- II Karikala. Among these, one records

the death of Ur Perariyan Muttaraiyan Kari, a servant along with Sattayan.106

Another Hero Stone refers to the death of Muttaraiyan Tumban, along with

Tiruvural.107

These two Hero Stones, is smaller in size. Among these one is mostly

buried two into the earth and another is totally buried into the earth

(Plate 53d). These Hero Stones also exhibit similar features i.e. in the upper

part of the Hero Stone, two lines of inscription are engraved and below, heroes

are sculpted in full fledged shape. The heroes are in a standing posture, by

raising their left legs bent and kept in front and right leg in the back. They wear

waist band and the drapery is hanging in between the middle of the legs. They

104
. Ibid.
105
. Krishnamurthi, Sa., op.cit., p. 253.
106
. A.R.E., 59 of 1995-1996.
107
. A.R.E., 60 of 1995-1996.
 272

wear kundalas in the ears, bracelets in the hands, anklets in the legs and also

necklace in the neck. There is a knob on the right side of the head. The dagger

is entangled in the waist. The body is pierced with two arrows.

Natana Kasinathan observed that apart from erecting Hero Stones for

heroes, there are some interesting things like erecting Hero Stones to

commemorate the death of a father and son, a master and his servant and two

brothers.108 These four Hero Stones are fine examples for the above mentioned

statement. Among the four Hero Stones from Vankattur, two refer to the death

of father and son and other two commemorate the death of a master and his

servant.109

The field survey, at Vankattur, brought to light the buried and damaged

condition (Plate 53a) of four Hero Stones of Aditya - II Karikala and the same

was highlighted in Thinathanthi Newspaper, Vellore (Appendix-XIV). This

matter was reported to the Archaeology Department in order to persuade them

to keep them in Museum.110

Hero Stones at Panankatteri (Vellore District)

Two Hero Stones of Aditya- II Karikala are reported from Panankatteri

near Ambur), Vaniyambadi Taluk, Vellore District and now they are being

preserved in the Fort Museum, Vellore. One Hero Stone is dated in the fourth

regnal year of Aditya- II Karikala. The upper portion of the stone reveals four

108
. Natana. Kasinathan, Hero Stones in Tamil Nadu, Chennai, 1978, p.6.
109
. A.R.E., 58 to 60 of 1995-1996.
110
. Field Survey conducted and Interview with the Wife of Duraisamy Naidu on 23
April 2014.
 273

lines of an epigraph and the figure of the hero has been carved below it in a

standing posture. The rear portion of the stone is also engraved with four lines

of an epigraph. The hero is portrayed with turban in the head. His raised left leg

is bent. His left hand possesses a bow and in his right, he holds a dagger.

Drapery is over his waist and it is hanging in between the middle of the legs. A

dagger was entangled in the waist. The weapons portrayed in the hands of

heroes were probably the ones used by soldiers in the battle field. Two arrows

pierced the two thighs and the chest was also pierced with arrows. The hero

wears kundala in the ears and necklace in the neck. Between the two legs, a

small figure of elephant has been carved. (Plate 55a)

The front portion of the epigraph refers to the king as ‘Swasti shree

Virapandiyanai Mudi Talai Konda Parakesarivarman’ and his regnal year. The

rear portion of the epigraph narrates that while Tovittan came to destroy the

country, the hero fought against the enemy at a place called Panaichchunai and

killed him with the bow and he also died in the war.111

Another Hero Stone (Plate 55b), dated in the fifth regnal year of Aditya-

II Karikala from the same place, is preserved in the Fort Museum, Vellore.112

The top and side portion of the stone are engraved with epigraph and the figure

of the hero was carved in the middle. Here also the hero wears head dress

(turban). His raised left leg is bent and he has bow in the left hand and dagger

in the right. Akaepine like garment appears over his waist and drapery (waist

band) is hanging in between the middle of the legs and a dagger is entangled
111
. A.R.E., 320 of 1992-1993 ; Krishnamurthy, Sa., op.cit., pp.244-245.
112
. Field Survey conducted, dated on 23 April 2014.
 274

into the waist. Here two arrows are penetrating the sides of the neck and one is

piercing the knee. The two thighs and the chest were also pierced with arrows.

The hero wears kundala in the ears, necklace in the neck and armlets. The

epigraph mentions only the village name as Panachchunai.113

Hero Stones at Kulipatti (Salem District)

A Hero Stone, dated in the fourth regnal year of Aditya- II Karikala was

recovered from Kulipatti, near Perumal Temple, Kadukinattrumedu, Namakkal

Taluk, Salem District. It was published in a historical Journal called, Avanam114

and preserved in the Salem Government Museum. It was in a damaged

condition and kept in the store room in the museum.115 The hero was carved in

the middle portion of the stone, in a standing posture. Both the side portions of

the stone are engraved with epigraph. The hero is portrayed with a knob on the

left side of the head. He wears a head dress and his raised left leg is bent. His

left hand has a bow and his right hand is holding a dagger which is entangled to

the waist. Akaepine like garment appears over the waist and drapery (waist

band) is hanging in between the middle of the legs. The hero wears kundala in

the ears, necklace in the neck and armlets in the arms. Two arrows are

penetrating the sides of the neck and one is piercing the knee. The two thighs

are pierced and the chest is also pierced with arrows (Plate 56).

113
. A.R.E., 321 of 1992-1993.
114
. Subarayalu, A., (ed.), Avanam, Vol. 7, Thanjavur,1996, pp. 30-33.
115
. Field Survey conducted and Interview with Ramesh of Government Museum,
Salem, dated on 9 July 2014.
 275

The epigraph obviously commemorates the death of hero, Araiyan

Aayaravanan Ilansinga Muttaraiyan and Ekka Vira Muttaraiyan carved this

hero stone in memory of his heroic deed.116

Head Offering or Navagandam Offering to Hero Stone at Chettithangal

Hero Stones were not only raised for those who died in a cattle raid but

also for those who died by offering their head which was called, Head Offering

or Navagandam Offering.117 Example for this kind of Hero Stone was evident

during the time of Aditya- II Karikala.

An undated Hero Stone of Aditya- II Karikala, is set up in front of the

Kaliyamman Temple, Chettithangal, Chidambaram. The epigraph is on the

upper portion of the stone, which has been badly damaged and nothing is

known beyond the King’s name as Swasti Sri Pandyanai Talaikonda Ko

Parakesari Aditya Panmar.118 In all epigraphs of Aditya- II Karikala, he was

referred to as ‘Vira Pandiyan Thalaikonda’ or ‘Pandiyan Thalaikonda’ but the

name Aditya - II is engraved.

Next to this hero stone, there is another stone of Aditya - II Karikala,

depicting self decapitation, which is unreported.119 In both the Hero Stones, the

hero was depicted by the act of cutting off his own head, held by the tuft in the

left hand, with a sword in the right hand. Here also the hero is adorned with

ornaments like kundalas, necklaces and armlets (Plate 54).They are washed

116
. A.R.E., 232 of 1990 – 1991 ; Manickam, V., Kongu Nadu (A history upto A.D.,
1400), Chennai, 2001,p.262.
117
. Ranganathan,B., op.cit, p.128
118
. A.R.E. 105 of 1946 –19 47.
119
. Newly found during field Survey on Chettittangal.
 276

with fresh water and decorated with peacock feathers .Drums were sounded

and honey is offered during the worship. 120 These Hero Stones are being

worshipped continuously.121

The Table No.V.2 displays the list of Hero Stones of Aditya - II

Karikala in a chronological order.

Table No.V.2

Hero Stones of Aditya- II Karikala

No. of
Village TK/Dist. Reg. year Hero
Stones

Vankattur Gudiyattam/ Vellore 3 2

Kulippatti Namakkal/ Salem 4 1

Panankatteri
Gudiyattam/ Vellore 4 1
(near Ambur)
Panankatteri
Gudiyattam/ Vellore 5 1
(near Ambur)

Chettittangal Chidambaram/South Aroct undated 2

Vankattur Gudiyattam/ Vellore undated 2

Total No. of Hero Stones 9

120
. Chandini Bi, Krishna Naik ,K., and Siva Nagi Reddy , E., ‘Constructing History
from Hero Stones of Tamilnau’ in Cultural Contours of History and
Archaeology: In honour of Snehasiri Prof. P.Chenna Reddy, Vol. II,
Delhi,2015, p.134
121
. Nagasamy, R., Facets of South Indian, Art and Architecture, Vol.I, New Delhi,
2003, p.18.