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CHAPTER – V

TEMPLES IN ATTUR

As Religion is an inseperable force in Indian culture. Attur has

two famous temple dedicated to Lord somanather and somasundari,

kailasanather and soundrara Nayagi. It is interesing note that these

temple stand for different sect of Hinduism namely saivism

vaishnavism, Ganapathiam, kaumaram and sakthan. The presence of

the temple in Attur stands as testimony for the religious unity which is

the characteristic feature of Hinduism in India.

Attur is one of the oldest holy centres in Tamil Nadu. The

temples of Attur has made a unlque contribution in constructing the

religious social and political life of the past and present people. These

templese of Attur also supply the various valuable Inscribtions which

serve as authentic evidences to constructed the history of the early

pandyas, cholas and later pandyas who were the ruling class of ancient

and medival period of south India.

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Ground Plan of the Temple (Not to scale)

1. Siva’s cella (Garbhagraha)

2. Antarala

3. Tiruch-churru maligai

4. Arthamandapa

5. Mahamandapa

6. Pandalmandapa

7. Alankara mandapa

8. Dhakshinamurti

9. Chandikeswarar

10. Icons of 63 Nayanmars

11. Chandi (Dwarapala)

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12. Nandi

13. Mundi (Dwarapala)

14. Door

15. Suradeva

16. 63 Nayanmars

17. Saptamatrikas

18. Kannivinayaka

19. Utsavamurti

20. Kaasi Viswanatha-Visalakshi

21. Chokkar-Meenakshi

22. Somaskandar

23. Muruga-Valli-Deivanai

24. Ananta Padmanabha (Vishnu)

25. Saturn

26. Nataraja

27. Kalabairava, 27a) Chandra, 27b) Adhiharanandi, 27c) Surya

28. Vinayaka

29. Muruga, II Prakara

30. Executive office

31. Madappalli

32. Store room

33. Vinayaka

34. Muruga

35. Yagasalai

36. Vinayaka

37. Muruga

38. Amman Shrine

39. Arthamandapa

40. Palliyarai, 40a) Nandi

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41. Mahamandapa

42. Woman statue

43. Mukha mandapa

44. Unjal mandapa

45. Palipita (Amanshrine)

46. Flagmast (Ammanshrine)

47. Palipita (mainshrine)

48. Flagmast (mainshrine)

49. Pandal mandapa

50. Ayyappa shrine

51. Kattalimandapa

52. Front Gopura

53. Holy tank

54. Big car

55. Small car

Garbhagriha

The main part of the temple is the sanctum - sanctorum. The

walls of the sanctum contain devakoshtas and pilasters. The entire parts

are enclosed by an inner enclosure wall which has the main entrance

on the eastern side. The sanctum-sanctorum houses the stone image

Someswarar in the form of linga. The sanctum is of square shape. The

adhistana has some principal features. They are the upana, jagati,

tripatta, kumuda kanda, patti, wall kanda and vari.1 On the two feet

height stone platform, Lord Someswarar is seen in the linga posture.

1 Radakrishna Pillai, Thennattu Kovilgal, part II, Madras, 1957, p.232.

191

The sanctum measures 35 ft length and 35 ft width with 9 ft height.

The characteristic pyramidal tower of the gopura rests on four-storeyed

oblong base. The sanctum–sanctorum (Karuvarai) which is enclosed

with walls on three sides except at the front fitted with double-halves

doors to open and shut. Thus the mulavar (the primary deity) is kept

under protection around it prakaras are provided.

Base

The Attur temple has the padabandha base, comprising the usual

mouldings such as jagati, tripatta kumuda, kanta and pattika. The

panels of kanta, also called galapadas are adorned with miniature

relief sculptural and floral carvings as seen in several Chola

monuments of the Cholamandalam. A upapita having upana, padma,

jagati, kanta and kapota embellished with mango leaf designs and

simhamukha Kudu motifs supports the base of the shrine. Since the

Attur temple lies on a loose water logged soil on the bank of the

Tamraparani, the architect might have added an upapita to provide

more stability to the temple. The yali friezes of the temple show full

yalis occasionally mounted by warriors holding swords and shields,

and miniature relief carvings of opposing warriors or opposing yalis or

pearl strings in the gaping mouths of the makaras.

Arthamandapa

The arthamandapa reflects similar architectural characteristics

in the concerned sanctum in all aspects, except the walls and kapotas.

192

The walls as they have been shrunk, always avoid niches and carry

lesser number of pilasters than the sanctum. The kapotas bear only

two kudus irrespective of their number in the sanctum. The

arthamandapa is rectangular in shape and is with a circumambulatory

passage and tirru-churrumaligai. The garbhagriha and the antarala

constitute one unit on a common plinth, while the arthamandapa is at a

lower level, from which the antarala is reached by a flight of three

steps. There are four pillars in the arthamandapa in the traditional

Imperial Chola style, round and capped by a plain carbel with beveled

edges. The Arthamandapa is considered as the shoulder of the deity of

the shrine.2 The flat roof (30x35 ) of Arthamandapa which remains

part and parcel of the cell arises at a height of about 9ft from its interior

ground level. It is covered with walls on all four sides and at the front

wall the entrance door is fixed. There are eight pillars in two rows in

the Arthamandapa with the height of 9ft each and 2ft width. The pillars

have a gap of 7ft to each other. Icons are kept on the northern side of

the Arthamandapa. Devotees stand to worship the Lord in this

mandapa. On the outer-front of the arthamandapa, one on either side

of the entrance, are two beautifully carved Rajaraja style dvarapalakas,

measuring about 1.22 cm(4’) in height knows as Chandi and Mundi.

They are pleased to receive devotees and to extend welcome and they

report to God about the presence of devotees.3

2 Najan, Alayankalalum Agamankalum, Madras, 1983, p.37.

3 Sambandam, Tirumular Tiruvirunthu, Madras, 1995, p.224.

193

Door-ways

The architects of the temple left their art-imprints not only on

the exterior parts of the temple but also on the door-ways. The refined

and delicate doorways of the temple are to be appreciated.

Door-ways of the temple

While the jambs and lintel of the sanctum door-way display

wonderful foliage patterns throughout the jambs and lintel of the

sanctum entrance, besides the foliage designs show creeper patterns

194

with miniature sculptural carvings at the bottom of the jambs. The

jamb and lintel of the arthamandapa door-way exhibit foliage patterns.

First Prakara

The first prakara is also called karuvarai prakara. A platform

shape encircles sanctum- sanctorum and Arthamandapa. On three sides

of the prakara walls encircle it leading to front portion of

Arthamandapa in which one door and two ways on each side in north

and south. On the southern side of this prakara, Suradeva shrine, 63

Nayanmars shrine and Saptamatarikas shrine are located. On the

western side of the karuvarai prakara, kannimula Ganapathi shrine,

Utsavar shrine and kasivishwanatha shrine are situated. Subramania

with his consorts, Chandikeswarar shrine, pallikondar shrine and

Saneeswarar shrine are situated on the northern side of the first

prakara, Yoga-Dhaksinamurthi shrine is located on the southern side

of this prakara.

Pallikondar Shrine

On the north-western verandah of the first prakara of the

temple, there is a shrine, dedicated to Vishnu called the Pallikonda

Perumal shrine. The shrine is outside the wall of the

tiruchchurrumaligai, the entrance to it being on its wall and the

garbhagraha being in a cella built outside, with a wagon shaped

vimana. The recumbent Vishnu has His head to the west and the feet

to the east and lies on a serpent whose coils however, are not to be seen

195

above the floor level; the hood (with five heads) is a modern

replacement. Sridevi and Bhudevi are seated. In the same chamber, on

the western side, there are four bronze images of exquisite quality and

finish, of Rama, Vishnu, Sridevi and dancing Krishna. The image of

Rama is fascinating. His two arms are in the posture of holding the

bow and arrow. He wears patra-kundalas. These four icons measure

89cm, 69cms, 58cms and 61cms respectively.

The virmana of the Pallikondar shrine has two storeys. On the

southern side, Sudai sculptures of Krishna playing flute, on the north,

Vishnu holding conch and cakra in sitting pose. On the west, sitting

pose of Narasimha image is depicted and the image of Vishnu is

placed at the centre of the eastern side. On the top of the vimana,

tunganamada structure stupi is erected and the simhalada structure is

decorated on the eastern and western side of the madam. Four

Garudalvars along with eight sitting pose lions are placed on the four

corners of the vimana.

Mahamandapa

In front of the Arthamandapa, there is a covered hall known as

the Mahamandapa supported by ten stone pillars in two rows and the

height of each pillar is 10ft and 2 ft width. The pillars have the gap of

10ft to each other. The Mahamandapa consists of 35ft length and 50ft

width. All the pillars have floral designs and variety of animal structure

decorations. In the middle of the northern wall of Mahamandapa,

196

Natarajar shrine is situated. Kalabairavar shrine is located next to the

Natarajar shrine towards the north-eastern side. At the right-inner side

of the Mahamandapa eastern wall, the statue of Chandra is kept and

the left-inner side of the eastern wall, Adikaranandhi and Surya statues

are placed. On the western corner of Mahamandapa and infront of the

Arthamandapa, sitting pose Nandhi is erected.

Second Prakara

The second prakara is also known as Talavarisai prakara. It is

located between the garbagraha prakara and Seevili prakara.

Third Prakara

It is called Seevili prakara. To enter this prakara, there is an

entrance situated in the middle of the southern side of the

Mahamandapa. In this prakara, madappalli, temple Executive office,

Vinayagar shrine, Yagasalai and Alankara mandapa are located. This

prakara as a whole is supported by a single row of 70 pillars and one

side walls on each side.

Architecture of the Amman Shrine

There is a separate Amman shrine on the north-western corner of

the first prakara of the main shrine locally called as Somasundari

Amman. It has a garbhagraha, ardhamandapa, mahamandapa and

unjalmandapa. The sanctum is 25 ft length and 25ft width. The walls

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of the sanctum are decorated with three devakoshtas and twenty

pilasters. On the top of the roof, a three–tier vimana of ten feet height

is erected. On the northern side of vimana, sitting pose of Saraswathi

image and sitting pose of Lakshmi image is placed on the southern

side. The sitting posture of Somasundari Amman image is placed

towards the western side along with Karunakudu and Simhalada motif.

Eight sitting pose lions two on each corner along with the direction

guards are erected.

Arthamandapa

The Arthamandapa of the Amman shrine situates infront of the

sanctum. A sitting pose of Nandhi is erected infront of the sanctum

door-entry and middle of the Arthamandapa. On the middle of the

northern wall of the Arthamandapa, palliyarai is situated. Karuvarai

prakara of the Amman shrine is located around the walls of sanctum

and Arthamandapa. The door-entry of the same is situated both on the

southern and northern side of the Mahamandapa. The Arthamandapa

of the Amman shrine is rectangular in size consisting of 15 ft length

and 25 ft width supported by six pillars of two rows.

In front of the Arthamandapa, there is a covered hall known as

Mahamandapa. It is of 40ft length and 40 ft width. The Mahamandapa

is supported by 20 pillars of 4 rows each five with decoration. There is

a separate mandapa called Unjalmandapa of 15ft length and 15 ft

198

width with a height of 7 ft is located infront of the mahamandapa. This

mandapa is situated on the two feet height platform. The four pillars of

the Unjal mandapa are decorated with swan, dancing girls, women

holding lamps and the designs of Nayak representatives. Floral

decoration with Valaipu potigai is the special features on the top of the

four corners of the Unjalmandapa. In front of the Unjalmandapa,

Kampathadi mandapa is situated. It is supported by 28 pillars of 4

rows having 7 pillars each. There is a kodimaram of 20 ft height is

erected in between the second and third pillars of the second and third

rows.

Alankaramandapa

Another important mandapa of the temple is the Alankara

mandapa which is situated in between the southern side of the

kodimara mandapa of the Amman shrine and the northern side of the

Muka mandapa of the main shrine. It is supported by 20 pillars of 4

rows. In between the second and third pillars, 2 ft height platform is

erected. Compound wall of the temple is of 160ft length and 106 ft

width.

Mukamandapa

Next to the Mahamandapa, Mukamandapa is situated. It is

supported by 36 pillars of 4 rows with 9 pillars each. At the entrance of

Mahamandapa and the western wall of Mukamandapa, image of

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Vinayaka and Subramanya are erected on both sides of south and north

respectively. This mandapa is of 55 ft length and 40 ft width.

Fourth Prakara

It is known as outer prakara. This fourth prakara is situated out

of the compound walls of the temple. The main entrance of the temple

is located on the south - eastern side of the compound wall. The main

door is of 10 ft height and 10ft width. The compound wall of the

temple is 25ft height.

Kodimaramandapa

In front of the Mukamandapa and outer prakara, another

mandapa called Kodimaramandapa of the main shrine is situated. It is

supported by 52 pillars of 4 rows having 13 pillars on each row. It is of

70ft length and 30ft width. Kodimaram is erected in between the 5th

and 7th pillars of the second and third rows. The height of the

Kodimaram is of 30ft. Two more mandapas are erected on the western

side of the Kodimaramandapa with one feet heights platforms on each

side of the main entrance.

Pandalmandapa

In front of the Kodimaramandapa, situates another mandapa

called the Pandal mandapa It is of 30 ft length and 30 ft width. It is

supported by 16 pillars of 4 rows having 4 pillars each. On the top of it,

separate provisions for housing the Sudai images of Vinayaka,

200

Someswarar, Somasundari and Muruga sitting on their vehicles

respectively. Someswarar - Somasundari on bull’s back and Muruga

on peacock’s back respectively are made. Two Sivaganas (guardian

deities) are decorated and placed on each corner of the top of the

Pandal mandapa (main entrance). The pillars of the Pandal mandapa

are beautifully decorated with floral designs of the Nayak period. On

the northern side of the Pandal mandapa, another small mandapa

meant for the 7th

and 8th

day festival and a Sastha shrine are located.

Teppakulam

The Teppakulam (holy tank) is situated infront of the south-

eastern corner of the temple with a distance of 50 ft from the temple. It

is square in shape with 85 ft length and 85 ft width. The tank has

symmetrically laid steps of granite on the northern side. In the centre of

the tank is an islet-like structure which is more elevated platform in

granite red laterite slabs. Both the image of Someswarar and

Somasundari Amman are taken in procession around the holy tank on

the night of the 10th

day Pankuni festival.

The Somanather Temple

The origin of most of the South Indian temples is a mystery. It

is very difficult to identify the exact date of establishment. With the

help of inscriptions alone is difficult to confirm the person who

constructed the temple. However, with the help of literatures,

201

inscriptions and the style of architecture, one can define the date of

establishment. The origin of the Somanather temple is also a riddle.

This temple is located at the centre of Tuticorin and Tiruchendur

highway. It is about 15 kms distance from Tiruchendur towards the

northern direction. The original structure of this temple was

constructed during the early Pandya period and was developed by

erecting more mandapas by the Chola king Rajaraja I (c.A.D. 985-

1014) in 1006 A.D. when he annexed the Pandya territory.4

The special feature of this temple is that the Vishnu Shrine by

the name, Pallikonda Perumal,5 located on the north-west of the central

shrine in the form of Ananda Sayanam (sleeping posture) worshipping

Siva. There are five holy sites in Tamil Nadu on the basis of this

structure. They are Tillai (Chidambaram), Nellai (Tirunelveli),

Uttirakosamangai (Ramnad), Tiruchiralaivai (Tiruchendur) and Arrur

Sendamangalam6

(Attur). The above mentioned five holy places are

called Panchasthalas.

The inscription7 which was inscribed on the upper side of the

Vinayaka image on the Mahamandapa mentions about the origin of the

temple. Attur area was filled with forest and grass land in ancient time.

It was a centre of grazing land for cattle from the nearby areas. One

4 Balasubramanyan,S.R., Middle Chola Temples, Faridabad, 1975, P. 331.

5 ARE 1929-30.No.415,

6 ARE 1929-30.No.415,

7 SII Vol. XIV No. 186, pp. 102-103.

202

fine morning when the cows were grazing, to the great surprise, one of

the cows extracting its milk by itself in a particular place. This

wonderful incident happens everyday. A cattle-rearing boy noticed the

scene and the same was reported to the king. The king went to the spot

along with his ministers in person and witnessed the scene. Then he

returned to the palace. In the midnight of the same day the king had a

dream and got the vision of god. The deity in dream told him that he

was in the form of Linga under the ground, take the Linga by digging

the soil and conduct pujas on the basis of Saiva agamas. Moreover, if

you construct a temple for me in the same spot, you and your country

will be benefited. After uttering these words the deity disappeared.

The king rushed to the spot in the very next day and dug the soil. To

his great surprise, he could find a Sivalinga inside the soil as per the

dream of the previous day. So he constructed a temple and worshipped

Lord Siva in the form of Linga. The prime deity of the place named as

Someswarar (Somanathar) and the goddess as Somasundari Amman.8

The prime deity is named so, because once rishi Gautama, after taking

bath in the holy tank Chandra Pushpakarni got the vision of God in the

form of Soman (Chandra) and got relieved from his leprosy.

Structure of the Temple

The main shrine consists of a garbhagriha, an antarala,

and an arthamandapa with a circumambulatory passage and a

8 Attur Sthalapurana, p.24.

203

tirucchurrumaligai. In the front there is a covered hall

(mahamandapa) supported by three rows of six pillars each. The

garbhagriha and the antarala constitute one unit on a common plinth,

while the arthamandapa is at a lower level, from which the antarala is

reached by a flight of three steps. There are four pillars in the

arthamandapa in the traditional Chola style, round and capped by a

plain corbel with bevelled edges.

On the outer front of the arthamandapa one on either side of the

entrance, are two beautifully carved dvarapalas, measuring about 1.22

ms (four feet) in height. The three niches of the garbhagriha, which are

shallow, very much in the Pandyan style, with little scope for housing

any Koshta deities. There is a sparsly distributed bhutagana frieze

below the cornice. On the southern side, however, where there ought to

be a Dakshinamurti niche figure, and have a modern structure to house

an old and fine stone sculpture of Yoga-Dhakshinamurti. Away from

the dvarapalas and infront of the eastern wall of the arthamandapa,

there are some fine bronzes. There is a separate Kodimaram (flag

pole) on the outer circumambulation of the temple and the flag hoisting

ceremony is being done during the Pankuni festival.

Sculptures Stone

From east to west along the southern wall in the tiruch-churru-

maligai, there is a fine image of Jvaraharadevar, facing north, followed

by the sculptures of the 63 Nayanmars (Saiva Saints); further west

204

along this wall, there is an excellent set of sculptures in stone of the

saptamatrikas, with Virabhadra and Ganapati bracketing the group,

facing each other at right angles to the row of the seven Matrikas

(saptamatrikas). In the south-western corner of the prakara, facing

east, is an image of Ganapati. Correspondingly on the north-western

corner, a fine set of stone images of Kartikeya and His two consort

(Valli and Deivayani), facing east. In the north-eastern corner,

adjoining the northern wall and facing south is an image of Bhairavar.

On the inner side of the eastern wall of the mahamandapa are images

of chandra in the north and surya in the south. Close to surya and near

the door way of the mahamandapa leading to the later date

agramandapa is an image of Adhikaranandi.

Bronzes: In this temple some of the finest bronzes are those of

Nataraja, Sivakami, Manikkavasagar and Karaikkal Ammaiyar, all in

one group, in a chamber to the north-east of the circumambulatory

passage. The Nataraja image measures 112 cms (3 8 ) from the base

of the padmapitham to the top of the jatha, which is beautifully shaped

and from tip to tip of the fingers of the outstretched arms breadthwise it

measures 81 cms (2 8 ). From the top of the aureola (arthachandra

element) to the base of the bhadrapitham it measures 160 cms (5 3 );

there are 12 tongues of flame on either side of the ardhachandra,

which rests on two pillars (kals).

205

Nataraja wears the jathamakuta, on which are the cresent moon

and Ganga-Bhattari; He wears the usual malu in the upper right arm

and the fire in the upper left arm; the lower right in varada pose has the

coiled snake on it while the fourth arm is in the gajahasta posture. He

stands with his right foot on Muyalagan who is prostrate on his belly

and holds a snake by the neck which lies along the entire length of

Muyalagan’s body. He is on a padmapitham placed on a

bhadrapitham.

The equally beautiful and majestic image of Sivakami Amman

stands on a Padmapitham with a nilotpala in the right hand. The other

arm falls gracefully with a fine natural bend down. The length of the

left thigh, measures 84 cms (2 9 ). Both the Nataraja and Sivakami

images are rest on a common bhadra pitham. To the proper right of

Nataraja, there is an image of Manikkavasagar with the chevudi in the

left arm and the right arm is in the chin-mudra pose. There is a small

image of Karaikkal Ammaiyar with sagging breasts and shrunken belly

and holding cymbals in both hands. This entire group constitutes a fine

set of bronzes in the true Chola tradition, installed in a Chola temple

built in the Pandya country. The style of these sculptures may be

termed Chola-Pandya.

There are also two beautiful Somaskandar metal images and a

Tani Amman. Besides, there are the icons of Appar, Tirunavukkarasar,

Sundarar, Astradevar and Chandesvarar. Flanking the stone

206

dvarapalas referred to earlier, there are, on the south, metal images of

Bhikshatanar and of Kevala-Chandrasekharar. North of the

dvarapalas are images of Subramanya along with his two consorts.

All these are exquisite specimens of Chola-Pandya bronzes of the

period.

Inscriptions refer to the gift of a number of icons to the temple

of Someswarar. Mentioned among them are images of Uloga vitankar

and Nityasundarar. While the former could be identified with the

Somaskandar in the rear verandah adjoining the Ganapati icon, the

identification of the latter presents some difficulty. Yet, it is believed

that it was the other Somaskandar image, on the northern side of the

rear verandah.

Inscriptions again refer to the gift in the days of Rajaraja I of

two villages, viz., Varandiyal9 and Kiranur

10 for various services of the

temple. They could be identified with Varandiyal, a suburb of Attur,

which is less than a kilometer from the temple and with another suburb

which goes by its old name of Kiranur. These places are at present

hamlets of Attur.

Pallikonda Perumal Shrine

The special importance about the Someswarar temple is the

existence of a shrine on the north-western verandah of the prakara,

9 ARE 1929-30.No.387,

10 ARE 1929-30.No.425,

207

dedicated to Pallikonda Perumal (Vishnu), similar to the one at the

Nellayappar temple at Tirunelveli. This temple was also referred to as

“RajaRaja Vinnagar Pallikondarulina Devar11

during the time of

Rajaraja and in the period of Sundara Pandya the deity was called

Tirunarayana Vinnagar.12

The shrine is outside the wall of the

tiruchchurru-maligai, the entrance to it being on its wall and the

garbhagriha being in a cella built outside, with a wagon shaped

vimana. This shrine was built by Rajaraja I during his 22nd

regnal year

(c.A.D. 1007).13

The recumbent Vishnu has his head to the west and

the feet to the east and lies on a serpent whose coils however are not to

be seen above the floor level; the hood (with five heads) is a modern

replacement. Sridevi and Bhudevi are seated. In the same chamber, on

the western side, there are four bronze images of exquisite quality and

finish, of Rama, Vishnu, Sridevi and dancing Krishna. The image of

Rama is fascinating. His two arms are in the posture of holding the

bow and arrow, which however, are not there now. He wears

patrakundalas. These icons measure 89 cms (2 11 ), 69 cms (2 3 ), 58

cms (1 11 ) and 61 cm (2 ) respectively.

11

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12 SII, Vol. XIV, No. 61, p. 43.

13 ARE 1929-30.No.388,

208

Inscriptions of the Temple

The temple contains a large number of inscriptions ranging from

the days of Rajaraja I to the sixteenth century A.D. These are of the

Later Cholas and their Chola-Pandya viceroys cover almost half the

number of the total of ninety and odd records. The remaining, relating

mostly to the Pandyas of the post-Chola era. The inscription14

refer the

presiding deity as “Somadeva alias Ten Tribhuvanam Udaiyar” and the

Vishnu shrine as Rajaraja Vinnagar PalliKondarulina Devar and was

also called as Tirunarayana Vinnaga Devar in the period of Sundara

Pandya.15

There are ten inscriptions of the days of Rajaraja I, which are the

earliest to be found in this temple. They are all engraved on the walls

of the central shrine. A twenty first year (c.A.D 1006) inscription16

which is the earliest of them, records a gift of sheep for a lamp to the

temple of Someswarar by Kandan Sittan of Alangudi in Vandalai-

Velur in Arulmolideva valanadu. Three others belong to his twenty

second regnal year (c.A.D 1007); one of them stops with the mention

of Somanatha devar alias Ten Tiruppuvanam Udaiyar.17

Another

incomplete piece18

in the same characters mentions a merchant Velan

14

ARE 1929-30.No.415,

15 ARE 1929-30.No.388,

16 SII, Vol. XIV, No. 61, p. 43.

17 ARE 1929-30.No.415,

18 ARE 1929-30.No.392,

209

Teran alias Purusha-Manikka Setti. The next record19

seems to state

that tiruvunnaligaiyar agreed to provide for offerings to the deity with

the income from the land endowed, by purchase, to the temple by the

kings regiment called Arulmolideva terinda parivarattar. The third

one20

of the year registers a gift of land as Kudininga-devadanam for

the expenses of the tiruchchennadai of the images of Olakka-Vitankar

and Nityasundarar in the temple of Somanathadevar alias Ten

Tiruppuvanam Udaiyar at Arrur, a brahmadeya in Kudanadu in the

sub-division of Rajaraja Valanadu by Bharadvajan Madhava Udaiya

Divakaran of Kalitava-mangalam, with himself as a tenant.

There are two records21

of the next year, the twenty third (c.A.D

1008) year. One of them mentions a sale of land made tax-free by the

assembly of Kiranur for worship and offerings to the images of

Rajaraja Vinnagar Pallikondarulina-dever (Vishnu), Durga-

Bhagavati, Sapta-matrikas, Kshetrapalar and Ganapati set up in the

temple of Somanathadevar alias Ten Tiruppuvanam Udaiyar at Arrur

Sendamangalam. The other inscription22

which is on the basis of the

characters belonged to the time of Rajaraja I refers to a gift of sheep

by a person from Parantaka valanadu.

19

ARE 1929-30.No.419,

20 ARE 1929-30.No.409,

21 ARE 1929-30.No.415,

22 ARE 1929-30.No.390,

210

In the twenty-fourth year (c.A.D1009) inscription,23

a lady of

Kalkurichchi in Tiruvaludi valanadu makes a gift of sheep for a

perpetual lamp to the temple. In continuation of this inscription is

another record24

of the 17th year (c.A.D 1002) of the same king

recording gift of sheep by a Vellala of Marudur in Manavira-

Valanadu. Another record25

of the twenty-seventh regnal year (c.A.D

1012) of Rajaraja I also refers to a gift of sheep for a lamp. A twenty-

eighth year (c.A.D 1013) inscription26

mentions a gift of land after

purchase from the uravar of Varandivayal, for the mid-day offerings to

the image of Purambalai Pillaiyar Ganapatiyar in the temple of

Somanathadevar alias Ten Tiruppuvanam Udaiyar at Arrur-

Sendamangalam.

Surprisingly, there are only five records of the days of Rajendra

I (c.A.D 1012-1044), three in his third year (c.A.D 1015) and the rest

in his fifth year (c.A.D 1017). Among his third regnal year

inscriptions,27

one is incomplete and another28

refers to a gift of sheep

and the third29

which is on the east wall of the Perumal shrine, registers

a sale of land to the temple of Someswarar by the assembly, the

23

ARE 1929-30.No.386,

24 ARE 1929-30.No.413,

25 ARE 1929-30.No.397,

26 ARE 1929-30.No.387,

27 ARE 1929-30.No.391,

28 ARE 1929-30.No.399,

29 ARE 1929-30.No.471,

211

Karanmai tenants and Nakkan Tukka dichchan. The two records of the

fifth year (c.A.D 1017), one30

of the 200th day, both refer to the gifts of

sheep for perpetual lamps from persons in Chola mandalam. 31

Next, there are three records of the days of Vira Rajendra;

(c.A.D 1064-1070) the fourth year (c.A.D 1067) inscription32

mentions

the provision made for offerings in the temple of Somanatha devar

every Sunday by one Narayana Tiruvengadam alias Atula-Vichchadira

Muvendavelan, the headman of Attur. The fifth regnal year (c.A.D

1068) inscription33

of Virarajendra on the north wall of the

Someswarar temple registers a gift of land, after purchase, by Virasir

Muvenda Velan, the headman of Karuppur and a resident of Vetchiyur,

a village in Serrur Kurram, a sub-division of Arumolideva Valanadu in

Chola mandalam, for providing on the day of Ayilyam, the natal star of

the king, special worship to the several deities in the temple. A

seventh year (c.A.D 1070) record34

deals with a gift of money to the

aganaligaiyar for a twilight lamp in the temple by one Arangan Sodi, a

Vellala of Tidarcheri in Pampur nadu.

30

ARE 1929-30.No.412,

31 ARE 1929-30.No.414,

32 ARE 1929-30.No.401,

33 ARE 1929-30.No.389,

34 ARE 1929-30.No.400,

212

Apart from these records, there are others given with the regnal

years of the Chola-Pandya Viceroys, three relate to Jatavarman alias

Sundara Chola Pandya deva and are of his sixth, twenty-first and

thirtieth regnal years; The first35

(c.A.D 1024) refers to a gift of

buffaloes for a lamp in the temple of Somanathadeva by a Vellala of

Arrur-Sendamangalam, a brahmadeya in Kuda nadu. Two

Sivabrahmanas of the temple received the gift and undertook to supply

the ghee required for the lamp. The second inscription36

found in a

random stone in the pavement of the Soma Sundari Amman shrine,

records the provision made by Bharadvajan Lokaditya Kuttan of Arrur

for a perpetual lamp. The third inscription37

records a gift of sheep and

a lamp-stand for a perpetual lamp by one Pandan Kattangan of the

Sundara Sola Pandya terinda palayaval (a unit of the army).

Similarly of another Viceroy, Maravarman Vikrama Chola

Pandya deva’s four records have been found. One, inscription38

of

c.A.D 1020, records a gift of buffaloes for a perpetual lamp to the

temple of Somesvarar. Another inscription39

of his twenty-second

regnal year (c.A.D 1042), also deals with a gift for a perpetual lamp to

the temple of Someawarar, Attur in Rajadhiraja Chaturvedi

mangalam, a brahmadeya of Kudanadu, a sub-division of Uttamachola

35

SII, Vol. XIV, No. 135, P. 70.

36 SII, Vol. XIV, No. 172, P. 96.

37 SII, Vol. XIV, No. 169, P. 93.

38 ARE 1929-30.No.403,

39 SII, Vol. XIV, No. 186, PP. 102-103.

213

Valanadu in Rajaraja Pandi Nadu, by a native of Kshatriyasikhamani

Valanadu. A third of his twenty-fifth year (c.A.D 1045) inscription40

states that the gift of money made by one Kandan Ayyanar alias

Nirpasikhamani Muvendavelar of Mangalakkal which was invested in

the purchase of lands out of the yields of which the aganaligai

Sivabrahmanas of the temple agreed to provide milk-porridge to the

deity and feeding 15 Sivabrahmanas in the temple on each ‘New moon

day’. The menu is given for the food to be served in detail and the

articles to be used in cooking, including pots and vessels, as well as

betel and nuts are also mentioned. And finally, the fourth inscription,41

also of his twenty-fifth year (c.A.D 1045) mentions coins a unit of

measure for grains called the Somanatha marakka42

which throws light

on the social aspect of the period and was named after the prime deity

of the temple.

The Amman Shrine

The Amman shrine is devoted to ‘Somasundari’, the consort of

Siva. It is located in the north-western outer-circumambulation of the

temple complex. The shrine is divided into four parts-the

Garbhagriha, Arthamandapa, Mahamandapa and the Unjalmandapa.

There is a Kodimaram (flag pole) on the Unjalmandapa of the Amman

shrine and the flag is being hoisted during the Aippasi festival of the

40

SII, Vol. XIV, No. 191, PP. 105-106.

41 SII, Vol. XIV, No. 192, P. 107.

42 ARIE (1926-29) No. 393, p. 40.

214

shrine. All the three shrine viz, Someswara shrine, Pallikondar shrine

and the Amman shrine have separate vimanas. All such vimanas are

specially meant for architectural and sculptural beauty. There is a 25

feet height compound wall constructed around both the Somesvarar

and Amman shrine. The top of the front entrance of the temple, there

were images of Siva and Parvati (Sakthi). The Patchai Sathi Mandapa

in the outer-circumambulation of the Mahamandapa which is meant

for the Pankuni festival is being nowadays used as a granary for

paddy.

The first entrance of the main shrine is housed with Vinayaka on

the left corner and subramanya on the right corner. On the southern

side of the first Prakara of the central shrine, Surya, Sura Devar, 63

Nayanmars (Saiva saints), Kanni Vinayaka and Dakshinamoorthi

images were placed. Kasinathar Visalakshi, Subramanya with his

consorts Valli-Deivanai, Anantasayana Perumal, Saneesvarar,

Chandikesvarar, Chandra and Vairava images were installed on the

western prakara of the main shrine.

There is a Vinayakar image on the southern side of the outer

Prakara and Vinayaka and Subramanya images were also placed at the

entrance of the Somasundari Amman shrine. On the outer-

circumambulation, there are images such as Vinayaka, Subramanya,

Chandikeswara, Kodimara Vinayaka and pillar-Hanuman. A separate

shrine with the Someswarar temple called Dharma Sastha shrine is

215

being constructed at Melamadaviti near Attur. A special variety of

sculptures of the women of the Chera country on the Somasundari

Amman shrine is a unique feature in this temple.

Structure of the car

A car is a group of wood carved monument noted for its

structural and iconographical excellence. It was not just a monument

of architectural and iconographical excellence but an institution which

was deep-rooted in the socio-economic and religious tradition of the

society.43

As an institution, it acquired a multi-dimensional character

encompassing the entire fabric of the Attur society in the medieval

period. The temple car seems to be a Cakadai or Cattattēr Tervidi44

(car street) also figures prominently in the Twin Epics which stands for

the street in which temple car procession moves. 45

The temple car is an embodiment of gods and sacrifices. By

exalting the position of gods and sacrifies, its cosmic symbolism is

indicated. In structural designs and ritualistic aspects, the car is the

symbolic of the cosmos. The fact that its structural outline from base to

finial strikingly compares with the Buddhist Chaityas (halls of

43

Raju Kalidas, Temple Cars of Medieval Tamilaham; Tanjore, 1989, p. 5.

44 Samuel Beal (ed.), Travels of Buddhist pilgrims from China to India,

NewDelhi, p.7.

45 Subramanyan,N., Pre-Pallavan Tamil Index, Madras, 1969, p. 459.

216

worship) proves its cosmic symbolism.46

The car is bulky in nature

which is the characteristic of the earth. In the purana, Bhudevi

(Mother Earth) is said to have served as the car to Siva in his war

against the demons of Tripura. Tēr and ratha are the Tamil and

Sanskrit words respectively which mean a car. The word Ter implies

an elevated structure connected with the term terri which means high

or elevated structure and that the phrase terri ambalam stands for an

elevated mandapa (pavilion) or temple.47

In all Dravidian languages

ter or teru is popular.48

The Attur temple car is a wood carved one called vairater,

seems to have derived its name from vairm (literally diamond, heart-

wood) from which it was made. Since vairam was considered to be

strong and keep thing made out of it away from whiteants and worms;

it was generally preferred for making all kinds of domestic agricultural

and technical implements. So the popular expression, vairam panja

kattai (the wood permeated with diamond) was used to denote

anything exceptionally strong. For making the axles, wooden beams

and logs meant for carving icons, the heart-wood was used. So the car

46

The Buddhist Chaitya is supposed to be the symbolic of the five cosmic

elements, viz; earth, water, fire, sky, eather.

47 Tamil Lexicon, Madras, 1963, IV, pt.I, p. 2042.

48 Burrow,T., and M.B. Emerson, A Dravidian Etymological Dictionary,

NewDelhi, 1972, p. 227.

217

of Attur temple made of heart-wood was known as Vairatter49

and was

also called cittiratter (the carved car) which came after the icons which

were carved in the plinth of the car. Cittiram refers to the icons.

Namalvar, one among the twelve Alvars, has the earliest reference to

this phrase50

Kambar describes the car of Indrajit as cittirattēr.51

The

similar type of ter is found in Attur which has a permanent fitting

plinth containing wood carved images.

The Someswarar temple car is significant in two respects, viz; (i)

its architectural order which imitates the garbhagrha of the temple and

its location (placement) in the temple complex. This temple car was a

replica of the garbhagrha in architectural design. The constituent parts

of garbhagrha viz; plinth, pada and vimana were brought out in the

temple car. It has an eloborate plinth, consisting of ādhāra, upapitha,

adisthāna and nārasana. The wheels in the vairatter of the Attur

temple are solid. The wheels are attached to the axle at the nabhi or

kudam (nave) point. The linch-pin, called āni (nail), holds it closely

attached to the axle. The rim is known as Patta or Vattai.52

The minute

details relating to the measurements of the wheels are given in the

Silpasastras.53

Its height is half the measure of the height of plinth.

49

Census Report of Tirunelveli, 1921, Madras 1928 p. 267.

50 Nalayiram Divya Prabandam, VIII, seventh, Ten, V. 3.

51 Kamba Ramayanam, VI, 18, V. 181.

52 Tirunagarapatalam, V. 64.

53 Mayamata Ch. 31, V. 29. (P.K. Acharya, Architecture of Mānasāra, V.V. 9-18,

New Delhi, 1979).

218

Depending upon the height and weight of the car, the diameter of the

wheel extends from a minimum of 2’8” to a maximum of 10’2” from

the smallest to the biggest cars. The rimi measures from a minimum of

6’ to a maximum of 1’10”. All the component parts of the wheel,

including the wedge54

are made of wood. It is also enjoined by three or

five kinds of wood to be employed for making the wheels.55

The car of the temple, belonged to the 20th

century one.56

The

shape of the car is octagonal and the height is 12 feet. The length of

the axle is 11 feet and contains 6 wheels. The measurement of arc is 3

feet and the car has 5 pārs in all.57

The car height here stands for the

height of plinth and not the total height of the car. The total height

could be worked out by multiplying plinth height with 4. This is

because the pāda and vimana are usually1-2 and 2-3 times as tall as the

plinth.

There are 126 iconographical specimens in the car. The

specimens are located in the first row of the back side. Architecturally,

the car has an octagonal frame work and an octagonal platform and is

rectangular in shape. The adhisthana and nārāsana are designed

octagonally. It has a vimana and the cuts are found both at the

platform level and upto the level of adhisthana and nārāsana. For the

54

Visvakarma Vastusastra Chap. 84, p. 799.

55 Kumaratantra, ch. 44, V.V, 9–10.

56 Raju Kalidoss, op.cit., p. 274.

57 Field study of the car dated 26-05-05.

219

upapitha, slight projections are provided in the centre of all the four

sides. In the right and left sides, these projections are so arranged that

they present the shape of an inverted pyramid, which at the summit are

decked with rearing yalis on all four sides with images of gods in

between them. Devakosthas lodging the images of gods, are also set up

in the front and back of the first tier of the car.

Arrangement of Images

The upapitha, adhistana and nārāsana are the depositories of

images in the temple car. The devāsana and simhasana contain some

sculptures. The Mānasara gives a list of images that are expected to

be deposited in the temple car. They are lions, elephants, crocodiles,

nātaka bhutas (dancing demons), yaksas, hooded serpents, Gurupāda

(Brahma) Saroruha (Vishnu), Sanmukha Saraswati, Ganapati, the

beloved of Sankara (Durga), the nude images of heavenly women,

minor gods, kings, chiefs, priests, Brahmanas, bhaktas, dvarapalas

(gate-keepers), Kinnāras, nāgās, Garuda and others.58

So Silpasastras

have ordained the temple car to be the abode of iconography.

According to the Visvaakarma Vastusastra,59

all gods must be

seated on their mounts. The Isvarasamhita,60

Sriprasanasamhita61

and

58

Acharya,P.K., (ed.), Architecture of Manasara Chap. 43, V.V. 59-62,

NewDelhi 1979.

59 Visvakarma Vastusastrā Chap. 84, V.V. 11-15.

220

Kumaratantra62

give clue to the various gods who are to be installed in

the various parts of the temple car. These are mostly carved out of

solid blocks of wood and affixed to the tiers63

with the use of ayaskila

(iron nails). Each of these tiers of sculptures are usually bordered by a

row of miniature sculptures at their base. The height of images in the

main tiers differ from a minimum of 8 inches to a maximum of 2½

feet, depending upon the height of the plinth. The miniature sculptures

are at the most 6 inches in height. The axles are the lower most part of

the temple car to lodge sculptures. These sculptures are usually of the

same number as the cross bars and affixed on the main axles, just

below the cross bars. The images enshrined here are mostly those of

bhuta ganas. Ganapati and Muruga are found among them in rare

specimen. They are supposed to be the guardians of axles. In the

Someswarar temple car the bhuta ganas are placed in the first tier of

the car. The love making parrots are placed at pār edges in the Attur

temple car.

The upapitha is the next member of the car which lodges

images. Here the arrangement of images is done on a uniform pattern

in all four sides without leaving any empty space. In rare cases

sculptures are arranged sparsely. In the polygonal car the images are

60

Infra Chap. IX, N. 41.

61 Infra Annexture I, No. 13-21.

62 Infra Annexure I, N. 22.

63 For all practical purposes the expressions first tier, second tier and third tier

stand for the upapitha, adhisthana and nārasāna respectively.

221

arranged as alternated by brackets.64

At times a few sculptures are

grouped together and enclosed by brackets. The brackets are mostly

yalis,65

rearing horses, rearing lions, standing elephants and hooded

serpents. The Octagonal car (Attur car) has brackets only at the four

corner. The busts of the images of Zoomorphic kūrma, Bhudevi and

the hooded Ādisesa are lodged in the front centre at the base of the

upapitha. The tails of kūrma and Adisesa and the feet of Bhudevi are

lodged in the back side of the same tier. They are supposed to bear the

weight of the car. The right and left sides of the upapitha are much

hidden by the outer wheels. It is this concealed zone which provides

the encampment for erotic sculptures. The nātakabhutas are lodged in

the centre of these two sides. Yalippen (girls resting on yali) also find

a place on both the extremities.

The adhisthana and nārasana enshrine sculptures in the same

pattern as in the upapitha. A feature characteristic of the adhisthana is

the arrangement of sculptures in slanting way which gives a pyramidal

shape to it. In both the adhisthana and nārāsana also the images are

bracketed. In the Someawarar temple car, the brackets are provided at

the corners of the octagon. The adhisthana lodges iconographical

specimen of a multitedious nature relating to Hindu mythology and the 64

By brackets we mean the yalis and such other figures which are used to

enclose images.

65 Yalis are mythical dragons, having a leonine face and elephantine probosois.

Yalis are always presented in the rearing attitude. In between the hind legs of

a Yali usually an elephant stands. Both their trunks are twisted. This is a

characteristic features of Nayak art.

222

day-to-day life of the Hindus, their beliefs and customs. Some

decorative aspects such as ornamental pillars, bud-like wooden bulbs,

arches, metallic bells and the like are also lodged here.

The last member to lodge images is the pedestal. Images of

dancing girls, instrument players,66

ācāryapurusas, astadikpalas and

Gajalakshmi are in two tiers. In the car of the Someswarar temple, the

first tier of the pedastal alone lodges sculptures. Here images are

found very sparingly. The images carved in the temple car are out of

solid blocks of wood. Generally, woods containing milky substance

alone are preferred for making images. Such woods alone are expected

to keep the Iongevity of images.

Silpasastras and agamas codify elaborate rules relating to the

wood meant for iconic purposes and the methods for procuring them.

The master craftman among silpis was called sthapati. He was assisted

by sūtrāgrahi (surveyor), taksaka (sculptor) and vardhahin (builder or

plasterer).67

Inscriptions refer to them as taccan and the remuneration

due to them as taccāryakkani.68

All the artists worked in groups as

directed by a sthapati.69

66

Players of pipes, lutes and drums. (P.K. Charya, op.cit., Vol.V., pp.163–64).

67 Stella Kramrisch, The Hindu Temple, Delhi, 1976, Vol. 2, P. 9n.

68 ARE 1909.No.188,

69 At present a number of reputed group of artists are engaged in fostering the art

of the temple car.

223

The Teppakkulam

The Teppakkulam (the holy tank) of the temple is called as

Chandra Pushpa Karani. It is located on the south-eastern side of the

main entrance of the temple. Today the tirta seems to be a holy pond

and the top of the entrance of the pond is placed the image of Selva

vinayaka. It is believed that one can heal his sickness and get a fresh

life if he takes bath in the holy tank. Hence the tirtakattam (holytank)

in this temple is considered to be of divine significance. During the

Pankuni festival season, both the images of Somesvarar and Soma

Sundari Amman are taken in procession around the holy pond for 11

times on the night of the 10th

day Pankuni festival.

PUJAS AND FESTIVALS

The day-to-day ceremonies connected with the worship are

called Nitya-puja.70

The daily offerings are obligatory and are very

essential to preserve the sanctity of the shrine. They represent the

basic ceremonial rituals which are governed by the agamas. If the

Nitya-puja denotes the daily offerings to the deity, the Naimittika-class

includes the various festivals celebrated in particular months of a year

not only for the main deity but also for the subsidiary ones. These

festivals are not compulsory but they add colour and grandeur to the

70

Viraraghavacharya,T.K.T., History of Tiruppati, Madras, 1978, p. 208.

224

temples. They are great occasions when the devotees from even the

distant places gather to take part in the celebration. But their scale and

grandeur are determined by the financial resources of the temple and

the benefactions of the devotees. This temple was richly endowed with

provisions for the daily offerings as well as a number of festivals

which have, in the course of centuries, become famous for their

grandeur and beauty.71

Pujas

‘Puja’ means a ritual worship with oblutions (abisheka) and

floral offerings to the accompaniment of chanting of mantras (sacred

syllable). It is the core-ritual of the temple worship. It has a powerful

sensual impact on the devotees. This is enhanced by the sound of

musical instruments combined with the ringing of bells and the

chanting of the sacred texts.72

Scented smoke emerging from the

burning of incence and camphor, mingled with the heavy perfume of

sandalwood, jasmine and roses further enhance the sensual impact. The

bright silks and jewels covering the images scintillate as the priest

waves the oil lamp inside the dark chamber. The waving of the

camphor is the climax of the ritual, when the devotees forget

71

ARE 1929-30.No.442,

72 Field Study on 25.05.2013..

225

themselves atleast for a fraction of a second and essentially they cry

the name of the God aloud, and lift their hands to offer worship.

The universally omnipresent God is welcomed to be present in

the icon by means of the prayers.73

He is visualised as the king of

kings, or the ruler of cosmos, ready to accept the offerings and prayers

of his subjects present there, listen to their grievances and to bestow

His blessings on them then and there. All the royal paraphernalia

meant for a king is shown to the god in the garbhagraha.74

According to the agamas, man can elevate himself to Godhood

by means of penance, prayers and austerities. As a preliminary to this

ascent of man, the descent of God becomes essential. The puja is the

methodology for calling the omnipresent to confine itself in the

grabhagraha for the benefit of the creature. When once the deity is

visualized as a king, He is also thought to be pleased with offerings75

with which man is pleased. Thus He is awakened from slumber, given

water for mouth-wash, bathed, given food in the form of sweet meals,

offered milk, followed by a coconut and betel leaves and so on.76

In the

night the icon of god is carried to the bed chamber, where the Goddess

(in the form of her icon) is awaiting the arrival of God. Both these

73

Nalayiram Perumal Tirumoli, 1.7.

74 Balasubramanyam,S.R., op.cit., p. 182.

75 ARE 1929-30.No.401.,

76 SII, Vol. XIV, No. 191, pp.105-06.

226

icons are kept on a swing and swung to the accompaniment of music.

All these acts are symbolic and so, not grotesque.

The puja consists of sixteen ‘Hospitalities’ (Shodasopachara).77

They are Invocation of the deity (avahana), offering a seat to the deity

(asana), offering water for washing the seat of the deity (padayan),

offering water for washing the hands and body of the deity (argyam),

offering water for rinsing the mouth (achamana), Bathing (abhisheka),

dressing or offering a garment (vastra), putting on the sacred thread

(upavita), sprinkling with perfumes (gandhan), adoring with flowers

(archanas), offering food (neivedya), burning incense (dhupa), waving

the oil lamp (dipam), waving camphor flame (diparadana), prostrating

(namaskar) and circumambulation (Pradakshana).

A mirror is held before the deity so that it gazes upon its beauty.

This is done after bathing the deity78

clothing it and decking in

jewellery and garlanding with flowers. The deities are offered a meal,

ideally of sumptuous splendour. It is entertained by music and

dancing.79

Then decorated lamps are waved before it. During such

moments, generally it is the priest who chants the mantras. However,

at the end of the pujas the assembled devotees express their personal

affection in various ways. Some communicate mentally in silence,

some whisper, some cry aloud, some sing the hymns Tevaram,

77

Field Study on 25.05.2013.

78 Ganapathi Pillai,W.E., Ettayapuram Past and Present, Madras, 1890, p. 126.

79 ARE 1929-30.No.419.,

227

Tiruvasakam etc.80

In short, the whole process of puja creates a

communion between the god and the worshipper.

It dissolves the difference between the worshipper and

worshipped. It is done four times a day and in some temples six times

a day. Tirupallielichi, the rousing of God from sleep, to the

accompaniment of music, early in the morning around 5.30 AM,

Uchikala, (the midday puja), performed at 11:30 AM, Sayaratchai, the

evening puja done mostly around 5.00 PM and Arthayama puja

conducted in the late night mostly around 8:30 PM are some of the

important pujas of the Siva temples.81

The pujas performed to the

temple have been broadly divided into three stages. First one is Nitya

puja (day-to-day pujas) the second one is Varantra puja (weekly pujas)

and the third one is Masapuja (monthly pujas).

Daily Pujas

The daily pujas of the temple comprise of seven times a day.

Thiruppanandal puja is being conducted at 5.30 AM, the second puja

called Udayamartandam which is performed at 6:30 AM. The third

puja is being done at 7:30 AM which is called Sirukalapuja. The

fourth puja, kalachanthi is being conducted at 8.00 o’clock in the

morning and the fifth puja named Uchikala puja is being performed at

11:30 AM and after conducting these five pujas, the temple is being

80

ARE 1929-30.No.463,

81 ARE 1929-30.No.430,

228

closed.82

The temple again opens at 5.00 o’clock in the evening. Now,

the sixth puja of the day called the Sayaratchai puja is being done at

6.00 o’clock in the evening and the last puja of the day named the

Arthajama puja is being performed at 8.30 PM.83

All the above

mentioned day-to-day pujas are conducted on agama basis. Devotional

hymns like Tevaram, Tiruvasagam etc being sung, temple bells are

rung along with musical accompaniment during these pujas.

Of these above mentioned pujas, the most important and

elaborately done is the early morning service. The morning worship

consists of six stages. The temple priest conducts the worship. The

first stage is the mantra stage by which the presence of the Almighty is

invoked: the second is the Snana stage during which the tirumanjanam

or holy bath is performed to the deity; the third is the Alankara stage

when the deity is clothed and adorned with jewels. The fourth is the

Bhoga stage, when food is offered to the deity. The fifth is the mantra-

pushpam stage i.e., archana is done by offering tulsi (basil) leaves and

chanting the mantras. This is done for about ten to fifteen minutes.

Then comes the last stage known as Sayana stage, when the deity is

believed to go to sleep. The puja ceremony is closed with this. This

last-mentioned service is reserved for the night.

82

Interview with Mr. Kailasam, temple priest on 15.05.2013.

83 Field Study on 5.5.2013.

229

Another important feature in the Nitya-puja is known as the

congregational recitation of the portion of Tirujnanam84

(Thevaram and

Thiruvasagam) which takes place during the entire duration of the puja.

This ritual reaches its climax with Sathumurai after which the

consecrated water (tirtham) and food (prasadam) are distributed to the

reciters and other devotees.

The puja ceremonies at other times of the day are not done so

elaborately. In the evening service mantra pushpam and the

congregational recitation are again done. During the last service in the

night sweet rice-pudding is offered to God before He goes to sleep.

A portion of the consecrated food is taken and offered to

Nayanmars and Srimaheswaras in the temple. There are priests in all

the ancillary shrines also attend to the daily puja and holy bath in their

respective shrines. Separate offerings are done to Pallikonda Perumal

and Amman shrine. The holy bath forms an essential daily item in the

worship. The processional deity is occasionally taken to the

abhisheka-mandapa where the holy bath is preformed to the

accompaniment of chanting of Sanskrit and Tamil verses and the

periodical display of the trumpets and drums. In the evening during

the festive occasions there would be a procession of the deity in the

streets. The endowments for the holybath became more in the Pandya

times.

84

ARE 1929-30.No.463,

230

An inscription85

on the south wall of the mandapa in front of the

central shrine of A.D 1246 registers the sale of land to the temple tax-

free devadana by the uravar of Attur for the money endowed by one

Uyyavandan of Kallakudi for offerings and holybath of the god and

goddess during the midnight service. Another inscription86

on the west

wall of the temple of A.D 1138 records the gift of taxes (Kadamai,

Urkkalanju, and antarayam inclusive of Kumara kachchanam) due

from Tiruchchirrambala-devanallur, which was separated from Korkai-

nadu in Kudanadu, for food offerings and holy bath to the deity. An

epigraph87

of Kulottunga I dated A.D 1106 mentions the sale of land

by two residents of Tirukkadavur, who made a gift it to the temple for

the sacred bath of the deity. It also refers to the objects used for the

holy bath but does not specify them. But usually, on such occasions,

various items are used for bathing the deity such as oil, milk, curd,

coconut-water, rose-water, turmeric and sandal. After the bath is over,

the images are dried with cloth and dressed with fine clothes and

bedecked with ornaments and fresh garlands. A salad with the mixture

of fruits, coconut, honey (Panchamrutham) and lemon juice (panagam)

and betels are offered to the deity and later distributed to the devotees.

An epigraph88

mentions the following items of perfumery and other

articles used during the holy bath such as, kasturi (musk), kunkumappu

85

ARE 1929-30.No.430,

86 SII, Vol. XIV, No. 214, p. 122.

87 ARE 1929-30.No.402,

88 SITI p.362.No.372,

231

(saffron), pannir (rose-water), chandanam (sandal-paste), karopuram

(camphor)parimalam (scented oil) and pitambaram (fine silk clothe).

Kasturi or musk is usually placed on the forehead as tilaka before the

pundra is applied Kunkumappu or saffron is mixed with water for the

bath as it gives a fine smell. Refined camphor or Pachai-Karpuram is

also added. The ordinary camphor is used for the Dipaarati or waving

a light in front of God. Pannir or rose water and sandal-paste mixed

with water are used for the bath.

Special services

Apart from the normal daily offerings, special offerings or

services were instituted by kings and other men of note and rank. Such

offerings were instituted in large numbers in the 12th

and 13th

centuries

and they were often named after the donors. An inscription89

on the

north wall of the central shrine dated AD 1045 records the gift of

money made by one Kandan Ayyanar of Mangalakkal which was

invested in the purchase of lands out of the yields of which aganaligai

Sivabrahmanas of the temple agreed to provide milk-porridge to the

deity and feeding 15 Sivabrahmanas on each new moon day. The

menu is given for the food to be served in detail and the articles to be

used in cooking, including pots and vessels, as well as betel and nuts

are also mentioned.90

Another epigraph91

of Virarajendra dated A.D

89

SII, Vol. XIV, No. 191, pp. 105-106.

90 ARE 1929-30.No.393,

91 ARE 1929-30.No.389,

232

1068 on the north wall of the central shrine registers a grant of land,

after purchase by one Virasir Muvendavelan, the headman of Karuppur

near Attur for providing special worship to the several deities in the

temple on the day of Ayilyam the natal star of the king. A record92

of

Virarajendra chola dated A.D. 1067 on the west wall of the temple

mentions the special provision made for offerings in the temple every

Sunday by one Narayanan Tiruvengadam, the headman of Attur.

Another record93

of Maravarman Vikrama Chola Pandya deva dated

A.D. 1045 on the west wall of the central shrine registers a gift of

paddy for provision of panchagavya on Newmoon days to the deity

Pallikonda Perumal. The gift also provides for the feeding of 10

Brahmanas on the same day. It is stated that the brahmanas were to be

outsiders with good characters. The donor was one Udayadivakaran

Tirumurti of Madevi mangalam near Attur.

An inscription94

of Kulottunga I dated A.D 1092 on the South

wall of the temple states that the sale of land made tax-free to the

temple by the urar of Attur to provide for the walking service of the

deity. It also mentions about the sale of land by the assembly of Attur

for the money endowed by one Kanpuravan Sankaradevan of

Koluvanur to provide for the celebration of a festival in the Tamil

92

ARE 1929-30.No.401,

93 SII, Vol. XIV, No. 192, p. 107.

94 ARE 1929-30.No.442,

233

month of Chittirai (April-May). Another inscription95

of Kulottunga I

dated A.D. 1118 on a pillar in the antarala of the central shrine of the

temple registers the gift of land tax-free to the temple by two residents

of the village for lamps and other offerings to the deity on the day of

Kartigai.

A record96

of A.D. 1199 on the wall of the north verandah of the

temple mentions the order of the king remitting the taxes on certain

lands in favour of the temple at the request of one Kalingarayan for the

expenses of the Virapandyan sandi instituted in the name of the king

and for a special festival on the day of sadaiyam his natal star. Another

record97

on the south wall (outside) of the first prakara in the temple

registers the royal order issued by the king remitting the taxes on the

land granted to the temple by one Siviyan Puvali of Attur for offerings

to the deity and for the maintenance of the person reciting the

Tirujnanam in the temple. An inscription98

on the north wall of the

first prakara of the temple states that the nattar of Kudanadu gave

effect to an order of the king assigning certain lands to one

Pundravardhana Tiruchchirrambalam udaiyan Narayanan for reciting

the Vedic texts in the temple.

95

ARE 1929-30No.422,.

96 ARE 1929-30.No.452,

97 ARE 1929-30.No.463,

98 ARE 1929-30.No.460,

234

Food offerings

Offering of water and food or tirtham and prasadam to the

deities on different occasions or specified hours of the day is an

important items in the daily pujas. This holy water and food after they

are offered to God are distributed among the temple employees and

also to the devotees who have gathered for the service. The terms used

in the inscriptions for the holy food are Amudu prasadams or taligai.

The latter term is peculiar to the Pallikonda Perumal shrine. The food

is offered thrice in a day in the morning (udayakalam), mid day

(uchikalam) and the early hours of the night (ardhajamam). The

offering occurs usually at the end of each of the series of functions in

the course of the worship of the deity. During the later Chola and

Vijayanagar periods, extensive provisions for the food-offerings are

recorded in the inscriptions, not only for the daily routine but also on

numerous festive occasions. In fact, most inscriptions99

give a long list

of details regarding the different proportions of the various provisions

and groceries required for different kinds of food-offerings. During the

Pandya period, a Maha-neivedyam, a big special offering was

instituted in the temple. While for the daily routine, only ordinary

plain rice was offered and special food preparations were offered

99

SITI, No. 346, p. 318.

235

often.100

The followings are the important items of food offerings

offered to the deity

Panagam - Lemon juice mixed with water and

jaggery

Vadaparuppu - Gram soaked in water and mixed with

salt, green chillies etc.

Kari-amudu - Cooked vegetables.

Daddhiyodanam - Rice mixed with curd

Dosaippadi - Rice - cake

Adirasapadi - Sweet - cake

Appapadi - Sweet - cake

Vadai - Cake made with bengal-gram

Sukiyin padi - Made of dried ginger.

Puliyotarai - Cooked-rice mixed with tamarind and salt

Ellorai - Cooked-rice mixed with Gingelly seed.

Kadugorai - Cooked-rice mixed with mustard.

Pongal - Rice-pudding.

Iddali - Rice-cake.

Akkaravadasil - Sweet pudding with cooked rice and milk.

Weekly pujas

There is a special prayer conducted on every Friday in this

temple by the Association of Tirugnanasambandhar Divine Service. It

100

SITI, No. 353, p. 325.

236

is a combined weekly prayer. Much importance is given to music

accompaniment during this prayer and Panchapurana, and Sivapurana

are being sung and special religious discourses are also conducted in

these occasions.

Monthly Pujas

From 1995 onwards (for the last ten years) every English

month’s last Sunday, there takes place the chanting of Thiruvasagam.

101 The first Monday of every Tamil month, there is a special puja

called Thiruvilakku Puja is being conducted by the women folk.102

Most probably, the virgins take part in large number, lighting thousand

and one lamps during this special occasion.

The day of pratima titi of Pratosam on each month is a special

day in the temple. Special offerings and worship are being done to

Nandideva during this occasion. Another noteworthy feature of the

day of Pratosam is the rounds of Sivili Nayagar on his rishaba

vehicle.103

Lot of men and women have taken part in this special

occasions and is being looked after by the Committee of Pratosa

worship.

101

Interview with Mr. Paramasivam, temple accountant on 10.04.2013.

102 Field Study on 21.05.2012

103 Field Study on 21.07.2013..

237

Festivals

If pujas are daily rituals, festivals are annual. Every Hindu

temple in south India there are two icons for the deity. One is made of

stone and fixed in the grabhagraha and the other is made of

Panchaloha (an alloy of five metals consisting of gold, silver, copper,

tin and brass).104

The Panchaloha idol is called Utsavar which means

the icon meant for festival. This icon will be taken in procession on

certain important days. This procession may be confined to the

prakaras inside the temple or may be taken outside the temple, once a

year. The intra-temple procession will be taken in a small planquin in

case of small temples with meagre income or on the back of an

elephant in case of big temples with rich resources, so that they can

maintain an elephant.105

In case of extra temple procession, the deity is

taken on a huge Rata (temple-wooden car). This is called Ratotsava106

or Brahmotsava. At the time of procession, it is the king of kings, who

is coming out to the shrine to see his subjects and receive their petition.

So the icon will be decorated as king, a royal person. In case of annual

Brahmotsava the pomp and pageantry shows its climax commensurate

with the wealth and economic resources of the temple.

104

SII, Vol. XIV, No. 192, p. 107.

105 BesbarvahM.P., (ed.), Fairs and Festivals of India, New Delhi, 2003, p. 291.

106 Rajukalidoss, Temple Cars of Medieval Tamilaham, Tanjore, 1989, p. 223.

238

The pageantry of the festival is not only an indication of its

wealth but also the clarity and the presumed power of the deity in the

edges of the common man. It must be said here that festivals can be

taken as an indicator of the popularity of the temple. A popular temple

has more festivals and less popular temple has only one. If it is no

festival, it indicates that the temple has the least popularity. It is

believed that pujas and festivals increase the prosperity of the land. It

is thought that the gods and goddesses were pleased when they were

honoured with festivals and offerings of abhisekhas (sacred baths) and

oblations. The highest propitiation to the gods was the procession in

vehicles and cars.107

So it was hoped that good rains poured, good

health prevailed and women gave birth to good children in a land

where rathanirmana (manufacture of cars) and rathotsava (car

festival) were conducted. It was also thought that the seven day

festival to the gods symbolically eradicated the seven māyās (illusions)

which haunted human life.108

Of the various festivals the rathotsāva

was the symbolic of the burning of Tripura by Siva.109

So the Hindus

celebrated various festivals with a view to please the gods and ensure

107

Visvakarmavastu Sastra, Ch. 84, v.v. 1–2.

108 They were anjanam (ignorance), poy (falsehood), avaiva (exhaustion), moham

(infactuation), cumyam (void), māccaryam (fault finding) and bayam (fear).

109 Sthalapurana of the Someswarar temple, p. 25.

239

the prosperity of the land. The major festivals in this temple are two.

One is Aippasi Skantha Sasti and the other is Pankuni Uttira festival.110

Aippasi Festival

In the Tamil month of Aippasi (October-November), flag

hoisting ceremony is being done in the Amman shrine. Everyday,

Somasundari Amman (the goddess) is decorated with pomp and show

and goes around the temple on various vehicles. Immediately after this

procession, there conducted the holy marriage between Somasundari

Amman and Someswarar. This marriage ceremony is also conducted

by the Sivacharyars on the basis of Saiva Agamas. 111

Skanthasashti Festival

In every year in the Tamil month of Aippasi, particularly the

days of Sashti, there conducted a special festival with pomp and show

to Lord Muruga for six days. The observance is to propitiate Lord

Subramanya, in his aspect of Kameswara for having overcome and

destroyed the asura called Surapadma, and his followers. This

ceremony is called Surasamharam112

held on the sixth day of the

festival. The ceremonial holy marriage to Lord Muruga is being

conducted on the next day of Surasamharam.

110

Interview with Mr.Saravanabhavan, temple maniam on 19.04.2013.

111 Field Study on 22.10.2012.

112 Field Study on 12.02.2013..

240

Panguni Uttiram Festival

Another important festival in this temple is the Panguni Uttiram

festival. It falls on the full-moon day in the Tamil month of Panguni

(March-April) and is celebrated for ten days in the Barani star day.

The moon is then in the asterism Uttira (Beta Leonis). Hence the day

is considered to be specially favourable for the worship of Siva and

consequently is dedicated for that purpose. The festival is also called

Kalyanavratha for the reason that Goddess Somasundari is said to

have wedded God Someswara on such a day of a particular year.113

It

is the belief of the Hindus that the people who observe this Vratha are

blessed with all boons, provided the observance is whole-hearted and

sincere. Panguni uttiram day is supposed to be the turning point of the

season from that of cold to one of hot or in other words the season

changes from winter to summer.

Every day Someswarar and Somsundari are taken in procession

with devotional hymns and decorations on various vehicles. On

seventh day of the festival, the icon of Someswarar is decorated on

Rudra shape and is taken in procession around the temple. This day is

very much significance throughout Attur and the neighbouring

villages. Nearly 50,000 people used to participate in this festival. On

the 10th day of the festival there is a car festival in the temple.

114

Vinayagar, Someswarar and Amman are taken in procession on the 113

Interview with Mr.Ganesan, temple executive officer on 20.05.2013.

114 Sriprasnasamhita chapter. 36.

241

car.115

Amman and Someswarar are combinely taken in procession

around the holy tank called Teppotsava, the festival of float for eleven

times on the night of the 10th day of Panguni festival. The festival

marks the conclusion of the prime annual temple festival and it is

celebrated with as much pomp and éclat as the Brahmotsavam.

The lay-out of the temple precincts and the processional path-

ways are almost identical. The main entrance of the temple faces a

rather large tank, square in shape and having on all sides symmetrically

laid steps of granite, red laterite rectangular slabs leading down. There

is a perfect geometrical symmetry in the four sides and the steps. In

the centre of the tank is an islet-like structure which is more an

elevated covered platform in granite red laterite slabs.

The belief probably is that the deity having concluded his

ceremonial perambulation with all the attendant paraphemalia on land,

must have his aquatic sojourn before he returns to the sanctum of the

temple to come out only for the next festival. The float is a large raft,

on the day fixed for Theppotsavam the image of the deity, elaborately

and exquisitely decorated is placed on the raft which is drawn around

the water in the tank to the accompaniment of loud chant of Vedic,

mantras, hymns and prayers. The float is moved to the mandapam in

the middle of the tank. The image of the deity is lifted to a special dais

erected in the mandapam and worship in elaborate customary style is 115

Field Study on 30.03.2013.

242

then offered to the deity. After the worship, the image is brought back

to the temple. The huge congregations of pilgrims watch the

Theppotsavam festival.116

It is believed that the idea behind the

Theppam festival is that an opportunity to be presented to the aquatic

beings also to worship the deity at least once a year.117

The

illumination from thousands of lights placed on all sides of the tank

and the presence of thousands of devotees enthusiastically watching

the ceremonial round of the deity through the tank make it a wonderful

sight not to be missed by devout pilgrims.

In addition to the above said main festivals, there are some other

monthly festivals also celebrated in the temple. They are Vasantha

utsavam in the Tamil month of Chitrai (April-May), Vaikasi Visakam

in the month of Vaikasi (May-June), Brahmotsavam in the month of

Ani (June-July), Adipuram in the month of Adi (July-August), Avani

Mulam festival in the month of Avani (August-September), Navaratri

festival in the month of Purattsi (September-October), Kartigai

Deepam in the month of Kartigai (November-December), Tai-pusa

festival in the month of Tai (January-February) and Mahasivaratri

festival in the month of Masi (February-March).

Vasantotsavam

116

Field Study on 26.05.2013,

117 Sthalapurana of Someswarar temple, p.24.

243

This festival is celebrated in the month of Chittirai (April-

May)118

in the Vasantha mandapa, an integral part in the general lay-

out of the temple. This mandapa is specially and tastefully decorated

for the Vasantotsavam, and in the centre, there will be an improvised

water reservoir.119

During the festival the deity is taken round the

Vasantha mandapa three times daily. On the last day, there is a

ceremoninal procession along the main street similar to the

Brahmotsavam procession.120

Vaikasi Visakam

The festival Vaikasi Visaka is observed on the day when the

asterism Visaka (Libra) rules in the month of Vaikasi (May-June). It is

the full-moon day of the month and the celebration of the festival

consists of offering worship to Dharmaraja, the God of death. The

day is also said to be the one on which god Subramanya incarnated in

this world when this asterism Visaka was in the ascendant. Hence this

festival is said to be double important and meritorious.

Brahmotsavam121

is celebrated twice in a year in the month of Ani

(June-July) each lasting ten days. On the ninth day is the car festival

and the tenth day is the day of ‘Nataraja Dharsan’.

118

ARE 1929-30.No.442.

119 ARE 1913.No.69,

120 ARE 1901.No.201,

121 The term ‘Brahmotsavam’ seems to take its origin from Brahma who

according to the stalapurana of the temple is said to have instituted festival to

expiate himself from the sins incurred by him.

244

On this day Lord Siva is taken outside the sanctum - Sanctorum

adorned with the costliest jewels and is taken in the ceremonial

procession in the car. In the evening, he is taken to the pillared

mandapa. The ceremonial bath commences there in the early hours of

the morning and continues for several hours till late in the afternoon.

After the abhishekam, the deity is again decorated, deepa aradhana is

performed and he is taken out of the mandapa for darsan within the

temple premises. It is stated that when the procession reaches the open

space, the birds of the sky will be hovering round in worship of the

deity. After darsan, the Lord is restored to sanctum sanctorum.

Adipuram Festival

It is celebrated in the temple in the month of Adi (July-August)

when the asterism Puram(Delta Leonis) is in the ascendancy. The

festival is one intended to propitiate the Goddess Somasundari who is

said to have come into this world on this occasion to bless the

people.122

People, therefore, worship her to secure happiness not only

for themselves but also for those near and dear to them. If the

Adipuram festival happens to fall on a Friday, the occasion is

considered to be highly propitious and meritorious. The people in

consequence, worship the Goddess then with more than ordinary

devotion and enthusiasm.

122

Stalapuranam of Attur temple, p.24.

245

It is said that there are eight sakties (forces of nature) in the

universe and they are under the control of the Devi.123

The eight

magical arts called in Hindu mystic parlance the Ashtamaha Sidhis are

derived from the knowledge of those forces. They are (1) Anima,

which is the art of entering into a foreign body, (2) Mahima, the art of

increasing the bulk of one’s body. (3) Garuna , the art of rendering

small things tremendously ponderous, (4) Laghima, the art of lifting

with ease the largest and heaviest substances, (5) Prapthi, the art of

gaining across through a small hole to Brahma’s heaven, (6)

Prakamya, the art of transubstantiating and entering into various

worlds of tenuous matter, procuring all things needful from these and

ascertaining the locality of various substances, (7) Isathwam, the art of

creating protecting and destroying the world as well as rendering the

planets obedient to the will and (8) Vasithwam, the art of bringing

under subjection one and all created beings, Indra and various Gods

included.124

The Adipuram festival is observed with great éclat in the

temple.

Avani Mulam Festival

The Avani Mula festival falls in the month of Avani (August-

September). The festival day is said to be under the influence of the

123

Bezbarvah M.P., (ed.), op.cit., p.290.

124 Bezbarvah M.P., (ed.), op.cit., p. 291.

246

asterism Mulam (Scorpionis) and its presiding deity is an asura named

Nimithi.125

According to the Hindu belief there are two forces working

in the universe, one favouring the evolution of souls and the other

hindering it. There are intelligences working in both these currents of

influences. As the universe is governed in strict justice, certain periods

are under the control of one force and certain periods under the other.

The night hours between midnight and 4.00 o’clock are said to be

favourable for the play of forces adverse to human spiritual progress.

Similarly this month under the influence of the Asura Nimithi has a

preponderable of Asuric tendency, not favourable for the progress of

human souls. Hence, to ward off the harm and evil effects resulting

from the Asuric tendencies of the Asura Nimithi, human beings are

advised to lead a religious life which would enable them to find out

and cast off from them the germs of subtle evil influences sown into

them by the Asuric influences.126

Navaratri Festival

Each year two Navaratri festivals are celebrated in the temple.

They are Sharada Navaratri and Vasanta Navaratri. That is the period

when the goddess Somasundari in her benign form is worshipped. But

some how, the two festivals have been celebrated more faithfully

owing to factors unknown. During the celebration Yama sports a

125

ARE 1929-30.No.427,

126 ARE 1929-30.No.444,

247

scowling face and to protect oneself, one has to offer worship to the

goddess Somasundari. This is both a festival and an observance. The

goddess assumed a diabolical form and killed the ‘Asuras’. She came

to this earth on a ‘Navami’ day. Strong worship is carried out atleast

on the last three days of the festival and traditionalists on those days

give cash and kind to the poor and needy.127

Shakti upasakes

especially symbolic, Lakshmi as lccha Shakti Saraswati as Kriya

Shakti, and Durga(uma) as Gnana Shakti and so ritualistic worship to

attain salvation.128

These are the Goddesses who confer on us wealth,

knowledge and health and ordinary people offer worship to gain these

wordly requirements.

The last day is meant for Goddess Saraswati and special worship

is done; This is called ‘Ayudha Puja’ and the workers worship their

implements by means of which they earn their livelihood. Saraswati

is consecrated on the star mula and the worship is completed when the

spherism of Shravan.

Karthigai Deepam

Karthigai Deepam festival is celebrated on the full-moon day in

the month of Kartika (October-November) when the moon is in

127

ARE 1929-30.No.411,

128 Stalapuranam of the temple, p.21.

248

conjunction with the asterism Krittigai (Pleiades).129

Though, the

observance of the Vratha is to propitiate the five elements, greater

importance is attached to the propitiation of Agni (fire) and all the

houses are profusely lighted and illuminated after sunset, for this

purpose.

The reason why fire is given prominence over the other elements

is furnished in the allegorical and deeply spiritual myth in which it is

stated that Lord Siva, one of the Hindu Trinity, is pillar of fire to teach

the creative and preservative aspects Brahma and Vishnu-the

knowledge of infinity beyond time, space and limit, on this particular

occasion.130

Brahma is said to have assumed the form of a swan and

flown upwards to find the top of the pillar, while Vishnu took the form

of a boar to dig down and reach its bottom. The flag staff or Dwaja

stambam in the temple is intended to symbolic this pillar of fire. The

Indian yogis (sages) say that the pillar of fire is nothing but the halo of

brilliant light surrounding and interpenetrating the spinal chord within

the spinal column in man.131

The peculiar custom of burning heaps of dry leaves, twigs, etc

going by the name of Chokkappanai in front of the temple deserves its

rational explanation. The custom appears to have originated from the

incidents recorded in the myth wherein Siva is said to have burnt the

129

ARE 1929-30.No.422,

130 Sivapuranam, p.32.

131 Ibid., p.24.

249

chariots of certain Asuras who were harrassing the sages and others on

this earth. The Chokkappanai (collection of dry leaves, twigs etc) are

symbolical of the aerial cars of Asuras burnt by the fire emanating

from the third eye of Siva.

Tai Pusam

The Hindu festival which goes by the name Taipusam is

observed on the day over which the asterism pushya (cancri) presides,

in the Tamil month of Tai (January-February).132

The day generally

falls on the full moon day of the month. The planet Brihaspati or Guru

(Jupiter) is said to be the presiding deity of asterism ‘Pushya’ and

consequently worship offered to the asterism Pushya is considered to

have special merit, since Brihaspati symbolizes wisdom and the

Hindus consider him to be the preceptor of the Gods, and one of the

most important of the seven planets if not the most important planet. A

bath in a sacred river on this day is considered to be very meritorious

and people of all sorts, old, flock to the nearest one for the purpose.133

Mahasivaratri

It is celebrated in the Tamil month of Masi (February-March).134

The festival is observed only in night. As far as Sivaratri is concerned,

132

ARE 1929-30.No.459,

133 ARE 1929-30.No.458,

134 ARE 1929-30.No.466,

250

there are Nithya Sivaratri (daily), Paksha Sivaratri (fortnightly)

Mahasivaratri (monthly) and Yoga sivaratri which are scrupulously

observed by the devotees of Siva. This observance to be started

closely following the rules laid down in the scriptures and should be

performed at the appropriate time. During the night of Mahasivaratri

Rudrabhisek should be performed on all the four jamas (three hours

duration) with the thousand and eight names of Siva duly uttered each

time showing Bilva leaves which are regarded as his favourite even

more than the fragrance of the flowers which abounds at that time. This

Mahasivaratri festival is celebrated with much enthusiasm.135

Car Festival

The temple car was not just a monument of architectural and

iconographical excellence. It was an institution deep-rooted in the

socio-economic and religious traditions of the Indian society. As an

institution, it acquired multi-dimensional character, encompassing the

entire fabric of society, only in the medieval period. In the earlier

phase of history it was not so. It had an evolutionary process of

development, including the pre-historic roots of Indian culture,

reaching the zenith under the Vijayanagar rulers around the 15th

century AD.

135

ARE 1929-30.No.462,

251

The car festival was known as Rathotsava or Rathayatra136

(Tertiruvila Terottam in Tamil). In inscription the term tiruter or ‘ter’

itself stands for the car festival. The detailed rules for conducting it are

laid down in the Isvarasamhita, Sriprasnasamhita and Kumaratantra.

The concentration of a newly built car was known as Ratapratisha137

or Rathasthapana.138

The mounting of the idol on the car was known

as Ratharohana. Taking the vadam (rope) with a view to pull the car

was known as Tirutervada muhurttam.139

In the Someswarar temple, preparation for the car festival

commences since the day of dvajarohana itself. On that day the high

priests perform the Kalnattu (pillar planting) ceremony by planting a

pillar on the pedestal of the car. It not only serves to arouse the festival

spirit but also ensures a festival for the car. The preparations for

getting ready the car begin with this. The carved plinth of the car is

cleared of dust and washed with a mixture of castor oil and

buttermilk140

to get the cars neat and tidy. Wooden pillars are

implanted on the pedestals. From above the pillar the bamboo frame

136

Jayakhyasamhita, part. 20 and Paramasamhita ch.22.

137 Kumaratantra, part. 44.

138 Skanda puranam, ch. 25.

139 Tevarula, v.138.

140 In rare cases it is found painted.

252

work of the super structure is mounted. The tercilai141

(coloured cloth)

is hung over the super structure. Vadams142

are fitted to the cars.

During the car festival, the car is decorated with golden bells,

pearl garlands, tender leaves, curious portraits and clothes.143

Plantain

fruits, Kamuhu (raw betelnut) and coconut are added here and there.

Symbolically they proclaim the prosperity of the land. Toranas

(ornamental uuuarch) of mango and aracu leaves are tied. Such a car

having a golden initial and eagle flag were sanctified by sprinkling the

holy water upon Garuda who symbolically represents the car and all

the gods are offered worship.144

The deity is to be taken in procession in the car is offered

upacharas (formalities) such as seeking the mirror and taking

tambalam (betel leaves and areca nuts as a mark of respect).145

Then

the processional images146

are taken in a vehicle147

to the car having

141

Colour pads and papers are used in the cars.

142 Vadams (ropes) are usually made of coconut fibres. Iron chains are also

popular. A part of it is tied to the car while a major portion remains stretched

infront of the car for the use of pullers.

143 According to Isvarsamhita, the car was decorated with pearls, beads, yellow

coloured flowers and flags. They were all auspicious symbols.

144 According to Isvarasamhita (ch. II. VV. 284-99) the various parts of the car

and their guardian deities were to be adorned.

145 He was offered sandal to put on his feet.

146 Image of Someswarar is taken along with the image of Sakti (Somasundari).

147 The procession was conducted to the tune of musical instruments such as

conch, tarai (a long flute), tambattam (a big drum) and anka (a small drum) and

the recital of the holy verses like vedas. The procession was followed by

dance and music recital.

253

undergone dvapratistha.148

As seated in the car, the deity is to be

offered puja. Sugar pongal is offered.149

A mirror is shown near his

face so as to allow him check up himself. Harati (waving camphor

light) is done. All these raja upacharas (royal formalities) are done to

please the deity. Then vadam pidittal150

takes place. The car is pulled

through the four main streets151

of the town and brought back to its

stand.152

Harati is done once again to the image after the car reaches

the stand. With this the Rathotsava comes to an end.

The Car Operation

The success of the car festival depends upon the process of

taking the cars along the concource. The mechanism of car operation

is designed in a very simple manner, involving a difficult mode of

operation. Its success to a great extent depends upon the condition of

the car street153

and the car wheels.154

In the rainy season it is very

148

Sri Prasana Samhita, ch. 36, vv. 93-114.

149 A dish cooked with rice, jaggery, ghee and spices.

150 Vadam pidittal is an important event Donors to the car festival have to claim to

take the first vadam as a mark of honour.

151 The rathamarga (car route) for procession was the King’s street.

152 The procession was to be completed quickly.

153 It was usually called ‘tervidi’ or terodum vidi. It was also called as Mangala

vidi (ARE 1911 No. 372, 13:1926 No. 116).

154 Due to the weight of the car, its wheels easily got entangled into pits while

moving on its course.

254

difficult to move the cars since chances for entanglement of wheels in

muddy meshes are frequent.155

On the eve of the festival, the wheels and axles checked and

minor repairs done. At the time of ratharohana, the car pullers hold

the vadam and pull them with all their might. Some men from behind

the two outer back wheels apply a wooden lever called ‘tadi’ with a

view to push the wheel forward. As a result of both these forces, the

standing car gives way and moves slowly. Since there is no automatic

mechanism to arrest its movement while moving, some men run along

as the front wheels by constantly applying a hurdle called Kudil

(literally obstacle) across the wheels. This serves as a break and makes

the car move slowly and steadily. The process works out well as long

as the car moves in a straight road. In case it is to turn sidewise, trouble

comes. Often big ones such as the car at Attur stand at corners for

hours together, unable to turn sidewise.156

Sacrifices

The car procession as described in medieval inscriptions and

literatures reveals that they were most rhythmic among festivals. The

car rattled as accompanied by the festival orchestra included the flute,

drum, mattalam and conch.157

The Vedas and other sacred verses were

155

Pattinattar’s Tiruppallandu V. 12.

156 Field Study on 15.03.2013.

157 Tiruranikkaula vv. 169-30.

255

sung while the procession was on the move158

devadasis presented

dances. Thus the ula network was grandiose in its format. Oblations

such as adirasa padi and appa padi159

were given to the gods when the

cars moved infront of their houses. In addition to the provisions gifted

to the god himself, the donors considered it a meritorian act to reward

the participants also with drinks, fruits, sandal-woodpaste and betel

leaves.160

Sometimes animal sacrifices were also offered. Goats,

buffaloes and other animals were sacrificed in large numbers.161

The

Portuguese traveller Domingo Paes (16th century AD) has left a

description of animal sacrifices, offered to the car during car

festivals.162

It was a repentence for mistakes and offences. Thus, the

temple car is an abode of artistic works. Having been part of the

temple, the car is linked with a number of rituals, both of the folk type

and the agamic type. It attracts all sections of the society and has sent

its roots in both urban and rural cultures.

158

ARE 1935.No.104.

159 ARE 1903.No.58,

160 Such benefactions are narrated in a literary piece called karamadaimalai which

is associated with the Ranganatha temple at Karamadai.

161 Baliga B.S., (ed.), Madras District Gazetteers, Madras, 1960, p. 480.

162 Robert Sewell, The Vijayanagar Empire as seen by Domingo Paes, New Delhi,

1985, p.51.

256

KAILASANATHAR AND SOUNDARA NAYAKI TEMPLE –

SERNTHA POOMANGALAM

Kailasanathar temple of Attur serntha poomangalam situates an

area of 12 cents and 135 square feets Thirumathils are of 120 feet

length and 70 feet width.

GARBAGRIHA

Garbhagriha is twele feet length, twelve feet width and ten feet

height. One and half feet kailasanathar is enshrined this Garbhagriha.

Four pilasters and one Devakhosta are decorated on the western wall of

karuwara. Poothathana varies are decorated on the pirastharam or

border of vimana thirty feet vimana situated on the ten feet height

terrace of Garbhagliha. Total height of vimana is forty feet, two tier

storeys, Griva, simhala dam and kalasam are situated on the terrace of

karuvarai.

Sculptures of sitting posture sivan, parvathi on the bull,

Brahamma, Murugan, Valli and Deivanai are decorated on the northern

side of first storey. Brahma and sarasvalthi sulptures decoirated on the

second row of vimana. Sitting post pakrshinamootthi sculptures

decorated on the first and second rows of southern side storeys. In the

eastern side storeys of vimana are decorated by the sculptures of

Dvarapaiakar, Gowuri sankara Ganapathi, sitting posture Indra on

Travathi clephant and two Deva Rishi. In the westerm side storeys of

vimana is decorated by the sculeptures of sitting posture Lakshmi

257

Narasimhar, Thisai Kavalar Nandhi, Vishnu, Sridevi, Boomadevi,

sitting on the five headed cobra and siva toring the elephant with his

eight arms.

ARTHA MANDAPAM

Artha mandapa is supported by ten feet height four rowsof

sixteen pillars. It is of fourteen feet length and eighteen feet width in

rectangular shape. Small size sitting posture Nandhi is erected in front

of the Karuvaral, Vinayakar, Murugan, Duvarapalakar statues and

palliyarai are situated in the western wall of Karuvarai and north east

corner of Artha mandapa.

MUHAMANDAPAM

Mohmandapam is situated bebore the Arthamandapa this

mandapa is kept on the five feet height plat form. Its of eight feet

length and eighteen feet width soundara Nayaki shrine is situated in the

northern side of Mahamandapam. It is of eleven feet length and seven

half feet width. Four pilasters and one Devakhosta are decorated an

each side of the walls of Amman shrine. Soundaranayaki Amman

shrine is situated facing the south. Southern entrance is situated in the

middle of southern wall of Mahamandapam.

Total height of Soundara Nayaki Amman shrine is thirtytwo

feet. Twenty five feet vimana situated over the roof of Amman

258

decorated by the suthai sculptures of Vishnu worshipping pose women,

old man, two women carrying the pots and sitting pose sivanadiyars. In

the southern side of vimana is decorated by the suthai sculptures of

sitting pose Amman, worshipping Vishnu, Lakshmi, Sivan, Parvathi,

Brahanma, Sarasvathi, Natarajar and Rishi.

MAHAMANDAPAM

Mahamandapam is located before the Arthamandapa. It is of

fourly four feet length sixty nine feet width and ten feet height of his

mandapa is supported by 28 pillars in four rows. Nandi, Altar and flag

mast are situated in the middle of Muhamandapa.

Two and half feet length, two and half feet width, and two half

feet height sitting pose Nandhi statue is kept on the five feet height

platform.

Altar or palipida is kept behind the Nandhi. It is of 41/2 feet

height, 3 feet length and 3 feet width.

Fifty one feet flag mast is erected behind the Altar anon five feet

height, six feet length and six feet width platform. Two karnakudus and

inverted lotus decortated on the top of plat form.

Vinayagar shrine, Saneeswarar shrine, Navagriha shrine, Vahana

Mandapam, Chandran, Suryan and Madappalli are situated respectively

259

in the south, south west, North west, North, North East, South and

south east.

EASTERN ENTRANCE PANTHAL MANDAPAM

Eastern Entrance panthal Mandapam is of nine feet length

eighteen feet width and ten height. This mandapa is equally divided

into three parts. Two feet height platform situated in the north and

southernside of panthal Mandapam. Two feet depth middle lower part

is leading to the Muhamandapa. Pandya symbol fish engraved on the

ceiling of this mandapam.

Southern entrance panthal Mandapam is supported by two rows

of sixteen pillar. It is of eight feet width, and sixty one feet length.

KAILASANATHAR AND SOUNDARANAYAKI TEMPLE

SERNTHAPOOMANGALAM

Inside the sanctum sanctourum, the principal deity kailasanathar

is in linga form of he length of karauvarai is 12 feet and 12 feet width

and 10 feet height. Four pilasters and one Devakosta are decorated on

the western wall of Karuvarai. Sculptiures of sitting pose sivan and

parvathi on the Bull, Brahamma, Murugan, Valli, Deivanai decorated

on the northern side of first story. Brahama and sarasivathi sculptures

are decorated on the second row of vimana on the first and second

260

story of southem side of vimana sitting pose Dakshinamoorthy

sculptiures are decorated. In the eastern side of vimana sculptures of

duvarapalakas, Sivan, Paravathi, Vinayakar sculptuers. Indra sitting on

the elephant Iravatha and two Deva Rishi are decorated respectively on

the first and second storeys. In the western side of kailasanathar

vimana poothakana varies are decorated on the prastharam. Sculptures

of simhlada, griva, sitting pose Lakshmi Narasimhar, Thisai kavalar

Nandy Vishnu sitting on the Five head copra with sridevi and

Boomadevi. Siva toring the Elephant with his eight arms are decorated

respectivly, the first and second storeys.

Arthamandapais situated before the karuvarai in rectangular

shape. It is of fourteen feet length and eighteen feet width anhd ten feet

height. There are sixteen pillars in four rows are situated in this

mandapa. Small size sitting pose Nandi statue is kept before the

Karuvarai. vinayagar, Murugan statues and palliyarai are situated

respectively in the each side before the Karuvarai and north-east corner

of Arthamandapa.

Mahamandapam is situated before the Arthamandapa on five

feet height platform. It is of eight feet length and eighteen feet width.

SoundaraNayaki shrine is situated in the northern side of

Mahamandapa. It is of eleven feet length and seven and half feet width.

Four pilasters and one Devahostas are decorated on the each side of the

261

wall of Amman shrine. Amman shrine is situated facing the southern

direction southern entrance is situated in the southern wall of

Mahamandapa.

KODI MARA MANDAPAM

Kodimaramandapam is situated before the Mahamandapa. It is

of 44 feet length, 69 feet width and 10 feet height of his mandapa is

supported by 28 pillay in four rows. Nandhi Attur and kodimara are

situated in front of the Mahamandapa entrance. Two and half feet

length, two and half feet width and two and half feet height sitting pose

Nandi statue is kept on the five feet height of flat from.

Aitar or palipida is kept behind the Nandi. It is of four and half

feet height, three feet length and 3 feet width. Fifty one feet kodi mara

is erected behind the Aitar on five feet height six feet length and six

feet width platform. On the top of plagmast platform is decorated by

the imverted Lotus, and two karnakudu suryan and chandran statues

are kept in the each side of east well.

Dakshinamoorthy shrine is 12 feet length and 12 feet width,

vimayagar shrine, 5 fet l;ength and 5 feet width, Murugan shrine 15

feet length and 8 feet width. Sandikeswarar shrine, Navagraka,

Vahanamandapam, and kitchen are situated respectively in the south,

south west, middle east, East, North east corner and south east corner.

262

EASTERN ENTRANCE PANTHAL MANDAPAM

It is of nine feet length, 18 feet width, and 10 feet height. This

mandapa is divided into three parts, two feet height platform situated in

the north and southern part. Two feet depth middle part is leading to

the kodimaramandapa. Pandya symbol bish engraved on the ceiling of

this mandapa.

Southern entrance is decorated by a panthal mandabha. It is of

eight feet width and sixty one feet length.

Total lenghth of kailasanathar shrine is 120 feet, and seventy

feet width. Four corners of Thirumathils are decorated with sitting pose

Nandi and two devakonas.

VIMANA OF SOUNDARA NAYAKI SHRINE

Total height of Amman shrine vimana is 32 feet. Twenty five

feet vimana situated over the roof of Amman shrine. Northern side of

vimana is decorated by the suthai sculptures of Vishnu. Worshipping

pose women and old man, Two woman bring the water and sitting pose

sivanadiyar. In the southern side of vimana is decorated by the suthai

sculptures of sitting pose Amman, Worshipping Vishnu, Lakshmi,

Sivan, Paravathi, Brahamma, sarasvathi, Narathar, Rishi.

In the western side of vimana is decorated by the suthai

sculptures of sitting pose siva, Amman, Rishi, women beating the drum

263

and sitting pose Amman. In the eastern side of vimana is decorated by

the suthai sculptures of Vishnu, women and Nandhi.

In the karuvarai five feet height soundara Nayaki, stone status is

erected left hand of the Amman is in lifting position. Right hand

holding lotus.