|
Entertainment
Marked by exclusive carvings
The aesthetic ambience adds to the beauty of Narumboonathar temple.
THE ARULMIGU Narumboonathar Swamy Temple in Tiruppudaimaruthur village, on the bank of river Tamiraparani, in Tirunelveli district, is situated in an aesthetic ambience.
The temple, with Lord Narumboonathar and Goddess Gomathi Ambal as presiding deities, is a model of Pandya architecture, with simple but appealing form and grace.
Even the incomplete base of the tower (popularly known as mottai gopuram) lends an epic grandeur, with elegant wooden carvings and human and mythological images drawn from the bhakti cult, over a period of more than thousand years.
Over the years, royal and feudal patrons and literary and common folk have been adding to the charm and grace of the temple that has withstood the test of time. The four or five tiers of wooden carvings and paintings demand a separate and detailed analysis.
Of the three Arjuna kshetras Tiruppudaimaruthur is the last, situated at the Southern tip of the peninsula, the other two being Mallikarjuna or Srisailam situated on the bank of river Krishna and Mathyarjuna or Tiruvidaimaruthur, near Kumbakonam.
Of these three places, two places have been sanctified due to its association with Adi Sankara, but this stands aloof. Karur Siddhar is believed to have visited the place and one finds an interesting episode connecting him with Tiruppudaimaruthur.
It is but common knowledge that the poet-saint was a contemporary of King Raja Raja (10th century). The holy place has been a luring symbol of devotion since then.
Innumerable paintings are found all over the interior walls of the five towers, in addition to many sculptures drawn from common life and Hindu mythology.
An old inscription in the South West corner of the first prakara speaks of the antiquity of the temple. There is another inscription about the naval victory of King Raja Rajan.
Flanked by the incomplete mottai gopuram is the main temple... awesome and alluring.
According to Mr. C. Subramanyan, an art historian, these inscriptions could date back to a thousand years, to the name of Udaya Marthanda Varman, who ruled from Padmanabapuram, in Kanyakumari district. His image with folded hands in all humility is at the left as one enters the temple, passing through the main tower.
While mythological figures induce awe and fear in the devotees, human figures draw them nearer. Apart from the human figures, life in the King's court has been vividly carved out. This is an exclusive aspect of the Tiruppudaimaruthur sculptures.
The central tower-like structure that is characteristic of Chola art can be seen in Mannarkoil, Brammadesam etc. Even the Neerazhi mandapam, has its own transcendental magic of its own. This is more so when the tank is filled with water for float-festival on Thaipoosam day.
The miniature tower on the water speaks of imagination and artistry. The same thing can be said about the Rishaba vaahanam, Mr. Subramanyan adds.
This temple was renovated in 1995, thanks to the initiative taken by the former Supreme Court Judge, Justice S. Rathnavel Pandian, hailing from this village.
Several abandoned stone mandapams found on the road leading to Tiruppudaimaruthur, from Veeravanallur, once served as resting places for pilgrims.
Since the renovation, the temple has been attracting art lovers and devotees from all corners of the country.
SYED MUTHAHAR
Send this article to Friends by
E-Mail
Entertainment
|
