Varadharäja Perumal Temple, Kanchipuram

Varadharäja Perumal Temple, Kanchipuram

I went here by default thinking it to be Vaikuntha Perumal Temple. It is huge and the lay out is confusing. It is reportedly the most popular temple in Kanchipuram. It is indeed a huge complex, topped by a seven-storeyed Räjagopuram.

The Vijayanagara kings constructed the temple, whose grand Gopurams are architectural marvels. The Gopurams are painted white with striking Nämam painted in Blue.

On the left of the entrance is the 100-pillared Hall, a masterful exposition of sculptures in the Vijayanagara style. At the entrance are a intricate chain of rings made of stones (which we have in our Anaikatti Ashram) in front of the Yali (a lion-like structure) regularly seen in various Temples.

There was another maëòapam where the intricate filigree work in lace-like structure was there, which I filmed frantically.

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Ekambareswara Temple, Kanchipuram

Ekämbareçwara, Kanchipuram

Çré Ekämbareçwara Temple is one of the Panchabhüta Sthalas (signifying five elements – space, air, fire, water, and earth). Lord Çiva is worshipped here in the form of Påthivé (earth) Liìgam. Hence, Kanchipuram is considered as one of the Panchabhüta Sthalas.

Period & Builder

The Pallavas and the Cholas had contributed to the upkeep of this Temple. The Pallavas had pulled down the then existing structure, and rebuilt it. The present structure however, owes its existence to the Vijayanagara Kings.

Temple architecture/style/specialty

The Ekämbareçwara Temple is Kanchipuram’s largest Temple and most important Çiva shrine. It is also known as Ekämbranath, and is easily identifiable by its colossal white-washed Räjagopuram. The towering Räjagopuram can be seen miles away from Kanchi (I photographed it from far). It rises to a height of 194 feet, thus the 3^rd tallest Gopuram  { i) Sri Rangam 240-feet, ii) Tiruvannamalai 217-feet, iii) Ekambareswara 194-feet, iv) 11-tiered Srivilliputhur 192-feet v) Southern Rajagopuram of Madurai 160-feet vi) Eastern Rajagopuram of Madurai 153-feet, vii) 12-tiered Rajagopuram of Sarangapani 146-feet, viii) Suchindram 134-feet} and was built by the great Vijayanagar Emperor Sri Krshnadeva Raya in 1509 CE, the first year of his rule.

The Räyas were great benefactors of this 40-acre Temple, building its towering gopuras, long corridors, and maëòapams, including pillared hall in front of the sanctum.

The entrance, through a high arched passageway beneath an elaborate gopura in the south wall, leads to an open courtyard and a majestic ‘Thousand-Pillared Hall’ - Kalyäëa Maëòapam, whose slightly decaying grey stone columns are modeled as nubile maidens, animals, and deities.

In the courtyard is a venerable mango tree under which Çiva and Kämäkñé were married. This union is celebrated during a festival each April, when many couples are married in the Kalyäëa Maëòapam.

Many ancient classics, including Maëimekalai refer about this temple. It finds mention in the hymns of saints Appar, Sambandar and Sundarar.

Legend

Siva, worshipped here in his form as Kämeçwara – ‘the Lord of Desire’. Legend connects it with the goddess Kämäkñé (having eyes of desire), Çiva’s consort, who angered Çiva by playfully covering his eyes, and plunging the world into darkness. Çiva reprimanded her by sending her to make a liìgam from the earth in his honour. Once it was completed, Kämäkñé found that she could not move it.

	Famous Gopurams		Tier	Height	Builder
1	Sri Ranganathaswamy Temple	Trichy		240 feet	1980
2	Arunachaleswara Temple	Tiruvannamalai		217 feet
3	Ekambareswara Temple	Kanchipuram		194 feet
4	Sri Andal Temple	Srivilliputhur	11-tier	192 feet
5	Southern Rajagopuram of Minakshi	Madurai	9-tier -1511 sculptures	160 feet	Sevvanti Murty Chettiar in 1559 CE
6	Eastern Rajagopuram of Minakshi	Madurai		153 feet	Maravarman Sundara Pandyan
7	Sarangapani Temple	Kumbakonam	12 tier	146 feet
8	Suchindram	Kanyakumari		134 feet
9	Rameswaram	Rameswaram		126 feet

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Kämäkshi Temple, Kanchipuram

Kämäkñé Temple, Kanchipuram

Period & Builders of Kanchi

The town of Kanchi was the capital of the ancient Pallavas. The golden city of Kanchipuram is one of the seven sacred places of India. Ancient Kanchi was an important place of pilgrimage for the Hindus as well as the Buddhists and the Jains. The city is sacred for both Çaivites and Vaiñëvites. Kanchi stood next to Varanasi as a centre of learning. The great poet Kalidasa described it as the best amongst cities Nagareñu Kanchi. The Tamil classics, Maëimekalai and Perumpanattu Padai vividly describe the city as it was 2000 years ago.

The city located on the banks of river Vegavati, was the capital of the early Cholas, and later of the Pallavas between 6^th and 8^th centuries. More than any dynasties, it was the Pallavas with which this place is best identified. If the Pallavas could be described as the builders of Kanchi’s temples, it was Vijayanagara Kings who restored them to their former glory, besides building new ones.

The Kanchi temples represent the first phase in the art of temple-building, which was followed and improved upon by the Cholas and the Vijayanagara monarchs.

Deity

The Kämäkñé Amman Temple at Kanchipuram is one of the three important Çakti Piöhams, the other two being Çré Ménäkñé of Madurai and Çré Viçäläkñé of Käçi. The Tamil saying Kanchi Kämäkñé, Madurai Ménäkñé and Käçi Viçäläkñé illustrates the importance of Çakti worship. Incidentally, Kämäkñé being the principal Goddess in Kanchipuram, the Çiva temples here have no separate sanctum for Çakti.

The Temple covers an area of about five acres, and the sanctum is crowned with gold-plated vimänam facing the Gäyatré Maëòapam. The beautiful image of Devé Kämäkñé is in a padmäsana posture in the sanctum, holding a bow of sugarcane and arrows of flowers, and is referred to as the Parabrahma Swarüpiëé, seated with Brahmä, Viñëu, and Rudra. She is also referred to as Räjaräjeswari, Mahä-Tripurasundari, and Lalitä Kämeçwari. A Çré Chakram has been installed in front of the image by Ädi Çaìkaräcärya and worship is offered to it.

Temple architecture/style/specialty

The present structure was built in the 12^th century by the Cholas. The layout of the Temple is rather complicated. 

The outer prakäram houses several maëòapams including the hundred-pillared hall, the dhvajäroha-maëòapam etc. One enters the four-pillared hall, and then the inner prakäram, climbs a flight of steps, and reaches the sanctum enshrining Çré Kämäkñé. There is always a long queue to have darçan. Immediately surrounding the sanctum are small shrines to Ardhanäriçwara, Saundaryalakñmi, Kallar (who has been mentioned in the hymns of Tirumangaialwar) and Varähi. The sanctum enshrining Amman is surrounded by smaller shrines enshrining Baìgäru Kämäkñé, Mahä Saraswaté, Ädi Çaìkaräcärya and Sage Durväsä, a Devé Upäsaka.

Imposing views of the golden vimänam can be had from the outer prakäram, which is pierced with four entrances on all four sides. Images of Viñëu are seen near the temple tank.

History

It is believed that Kämäkñé was originally Ugra Swarüpiëé, and that Ädi Çaìkaräcärya  upon establishing the Sri Chakra, personified her as the Çänta Swarüpiëé. It is believed that during the days of Ädi Çaìkara, the presence of the Ugra Swarüpiëé was felt outside the temple precincts, and that Çaìkaräcärya had requested her not to leave the temple complex. Symbolic of this, the utsava (festive) image of Kämäkñé, symbolically takes leave from Çaìkaräcärya, at his shrine in the inner prakäram, each time she is taken out in procession.

Legend

Legend has it that Kämäkñé offered worship to a Çivaliìga made out of sand under a mango tree and gained Çiva’s hand in marriage.

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Airävateswara Temple, Däräsuram

Airävateçwara Temple, Däräsuram, Kumbakonam

The Çiva Temple in Däräsuram is dedicated to Airavateswara. Built by Raja Raja Chola II (1145-1173 CE), the Temple is in form of a chariot.

This temple was originally fortified by seven massive walls, and seven prakäras. However, currently (as I saw in 2010), the beautifully carved, but dilapidated Gopuram (main entry gate) at a distance from the Temple, stands unrecognizable. It is completely lost, but the form of which may be imagined from the second Gopuram. (Just as we try to visualise the main Temple of Konark, seeing the mukhasala that exists now). The ASI has virtually rebuilt the Temple in recent years. It is now a UNESCO World Heritage Monument as part of the Great Chola Temples. The pyramidal vimänam (tower) is only 26 metres (85 feet) tall, and like the temple itself, smaller than the towers of Båhadéswara and Gaìgaikoëòa Choläpuram.

The Nandi is in a small maëòapa, below the ground level, as well as the main Temple. The Nandi is also small, compared to the colossal Nandi in Båhadéswara and Gaìgaikoëòa. A modest Räjagopuram, embellished with images of gods and goddesses, in the front as well as the rear, greets the visitors. The main entrance is propped up by two pillars on either side. The Temple is a complete Räjagaàbhira-maëòapam housing the sanctum, ardha-maëòapam, and mahä-maëòapam.

The Räjagaàbhira-maëòapam is built in the form of a chariot (other Chariot Temples being Konark in Odisha, and Sarangapani in Kumbakonam), complete with wheels, and galloping horses. There are galloping horses on either side of the mandapa-extension with a huge wheel carved behind it.

On both sides at the entrance steps are small balustrades in the form of elephants (also seen in Sarangapani Temple), with beautiful makara-sculptured on their outside.

The makara with a floriated tail, short legs, and curled up snouts, and a pair of dwarf gana-riders on it form a lovely decoration.

  

Inside, delicate, intricate, miniature stone- carvings depict various Puranic stories. A particularly spectacular miniature shows Siva on Nandi, flanked by Devas, while the bottom half depicts dancing girls in various poses.

  

There is an element of peace and tranquility in Darasuram, as opposed to the heroic element, which is the keynote o sculptures at Tanjavur and Gangaikonda Cholapuram. The keynote of the sculptures in Darasuram Temple is nitya-vinoda - perpetual entertainment.

The pillars of the main maëòapa contain beautiful patterns of decorative creepers, so arranged that in the circular medallions created therein, are figures in diverse poses, musicians. These figures are mostly dance poses, or playing musical instruments, and sometimes some deities.

The profuse occurrence of dance and musical scenes and figures are indeed striking. One has to recollect that Chola period was one of the great patronage and encouragement for dance and music. The Gopurams of Chidambaram subsequently have a number of dance figures illustrating various sthänas and karaëas of Bharata’s Näöyaçästra.

The rectangular portions of the pillars are decorated with small panels illustrating mythological stories (mostly from Çiva Puräëa) , such as attack of Kämadeva being destroyed by Çiva, Siva’s fight with the asuras, penance of Pärvati, prayer of the gods for a son of Çiva, the birth of Kumära. The stories also depict an atmosphere o peace and fulfillment.

The mukha-maëòapa pillars are held by a strange looking animal with features of at least five animals. – horns of a ram, trunk of an elephant, mane and legs of a lion, and tail of a cow etc.

You would not believe this. But the Gaëeça and the next figure above are of one inch in length each.

An unusual depiction of Çiva as Çarabha (Çarabheçwara) destroying Narasiàha is in a niche to which a small maëòapa is provided (reached by a flight of steps).

The outer walls  of the maëòapa has some noteworthy Chola specimens such as, a fine Ardhanäriçwara, unique o its kind with three faces and eight arms; a four-armed Nägaraja having snake hoods over his head and hands joined in adoration, Agastya, the dwarf sage, seated with one of his hands in teaching posture and the other hand carrying a kamaëòaÿu, a dancing Märtäëòa-Bhairava or Aghora-Vérabhadra with four hands, three heads and a terrible countenance.

The outer fortification is surrounded on the inside by a running verandah, like in most Çiva temples. Over this fortification are seated Nandis (like in Shore Temple of Mahabalipuram) every ten metres or so. 

There is museum that contains some exquisitely carved figures. The one on top shows fine workmanship, where a thin straw can be inserted in the nose of the deity. The pillared hall also can be seen as well as the family tree o the Cholas.

Märkaëòeya frantically holding on to Çivaliìga. The sculpture depicts the ravage of time.

Strangely there is a Radha-Krshna sculpture on the outside wall, although Darasuram is a Siva Temple.

As per rules in Iconography, most temples do depict avatäras in the temples. Here in Darasuram, the Buddha is depicted on the outside temple wall in teaching mudrä.

(Left)Våñabha-Gaja(Right) sculpture

Such interesting combined sculpture are found in many temples. Speaks a lot about the imagination of the sculptor/s.

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