Kancheepuram

Kancheepuram – 2008
Sriperumbuthoor is on the way to Kancheepuram. In recent times, it gained notoriety as the place where Rajiv Gandhi was assassinated. There is a memorial to mark the spot. However, the historical significance of this place predates said event by about 1000 years with the birth of Ramanujar, the proponent of Dvaita philosophy and the father of modern Vaishnavism. Interestingly, in keeping with the Dvaita philosophy of the separation of the omniscient God and the spiritual self in each of us, Ramanuja is considered an avatar similar to Adhisheshan, Lakshmanan and Balaraman as a follower of the Supreme being. The sthala puraanam (temple history) of the place offers that the ghouls (boothas, hence the name) who laughed at Shiva’s Thandavam were banished and Vishnu in his eternal mercy redeemed them . Vishnu as the redeemer of Boothas resides there with his consort and there is the shrine for Ramanujar. The temple is undergoing renovations now and is a thousand years old, with pillars and architecture typical of the Pallava era. This temple whetted our appetite for more and we got what we wanted at the Kancheepuram temples.

Our first stop is at the Kamakshi Amman Koil. Goddess Kamakshi is venerated by Shaivaites and Vaishnavaites, so staunch is the belief that she is the all powerful diety who can see us through the Kaliyuga woes. The temple has elements of the ancient and the modern. There are beautiful carvings once again dating back to the Pallava Kings and the nuanaced architecture is quite distinctive, though nowhere near as resplendent as in the 5 temples that we visited next. Ekambareswarar is one of five of the holiest Shaivite temples in India, each of which is said to represent an element. This temple represents the element Earth. It has the highest gopuram in Kancheepuram, at 53 metres. The temple portal is magnificent and as high as a two storey building. It rests on a 1000 pillars in the inner and outer sanctum sanctorams. Its other features are its 108 lingas and a Sahasra linga which is made up of a 1008 small lingas. As I approach the latter, the priest’s voice beckons with the strains of a beautiful Thyagaraja song in Karaharapriya “sokkani raja..”. I recall reading that Dikshithar has composed a number of songs in praise of this temple “Ekambrasa Nayike” being one. The corridors, lined with pillars, are endless. I prayed to the Sahasra Linga and the refrain “Om Namah Sivaya” has remained in my head ever since I performed that sankalpa. This temple is said to house a tree which is 3600 years old – the stump remains to this day and on it another mango tree appears to have taken root. The branches of the original tree were four in number, representing the 4 vedas and each branch is believed to have borne a different fruit.

The Ulagalanda Perumal Koil’s main attraction is the deity in Vishwarupam. The story goes that the Lord appeared as a little child to Mahabali a generous king who was power hungry. When the king asked the child what he wanted, the latter replied “three feet of land”. However, before the King could act upon this request, the Lord took to his original form, conquering the earth with one limb, the heavens with another and settling for a third spot on Mahabali’s head. The sculpture, again 1200 years old, is 15 feet high and magnificent. There is a fluidity to it that captures the mood, the intent and the stance of the Lord in all his resplendence. I could not tear myself away from this sanctum.

The Vaikunta Perumal temple has three tiers. It is beautifully maintained, having been designated a heritage site under the auspices of the Central Government by Archeological Society. This temple was constructed by Pallava King Nandivarman about 1200 years ago to replicate the experience of being in Vaikunta. It has Lord Vishnu in sitting, standing and lying down poses, the last representing His repose in Ananda Shayana or Supreme Bliss. The courtyard that surrounds the temple has resplendent carvings of the lives of the Pallava Kings and offers a wonderful narrative of their life and times. A few of the sculptures have been defaced and temple staff informed us that contrary to popular belief that held Muslims responsible for the vandalism, these works of art fell prey to clashes between the Vadagalai and Thengalai sects of Vaishnavas. This according to art historian Dennis Hatcher of Smith College, whose book, a 2400 page tome on this temple and its carvings. Beside this temple, is a mosque which shares a common pond. The shrine of Thaayar (Goddess mother) which was originally located within the precinct of the mosque saw worshippers go there first before entering the temple. The deity has since been shifted though the original shrine still remains within the mosque. Interestingly, it is said of Kanchi Swami Chandrasekara Saraswathi that he responded to the request of his devotees that the mosque beside the Kanchi Madam be moved with “I wake up each morning to the call for namaz at 4 a.m. It suits me well”.

Another temple which has been beautifully preserved by the Archeological Society is the Kailasanatha temple. The Siva Linga with its 16 faces is identical to the one in Mount Kailas and this temple is meant to substitute that experience for people who cannot make the treacherous journey to Kailas. The sanctum even replicates the crawl space entrance and exits. Of all the temples, this one offers the most creative sculptures with many combinations of deities and the union of male and female, Shiva and Parvathy and male and male, Shiva and Vishnu. Siva is Somaskanda here, with his consort Parvathi and their son Skanda. Ayyappan, born of the union of Siva and Vishnu, as Mohini, has a place here. There are numerous cubicles for meditation and each of these has gorgeous paintings some of which remain to this day. Siva is present in all his glory in various states of meditation and dance, with Parvathi as witness representing life itself where we all partake of the dance and where within each of us our consciousness resides as the silent witness.

Varadaraja perumal temple is on Hasthigiri (elephant hill). It is the place where God is said to have redeemed Devendra from his form as elephant, and two lizards from theirs. The temple is an architectural marvel, with the Lord sitting on the upper tier about two storeys high. The upper floor of the temple is supported by columns and pillars and has evidence of some of the most beautiful paintings of that era. This temple’s unique feature is its 100 pillar mandapam. It will take a lifetime to study the exquisite carvings on each of these pillars which are made of black stone polished smooth. They clearly represent a later era, given that the temples of the Pallava kings that are a thousand years old are made of sandstone and lime. This temple appears to have been improved upon during Chera, Chozha, and Krishnadeva Raya periods with later architectural developments, dating back only 500 years.

Our last stop was at the Sankara madam where there was ample evidence of the scriptures being passed on by the oral tradition. Young brahmin boys ages 5 to 15 dressed in veshti and sporting a kudumi sat in small groups in this large open courtyard repeating the chants of their instructors. The Vedas are alive and well here.

The Kancheepuram temples are not museums but places of worship. There is beauty to that and a sublime energy born out of the ardency and devotion of the people who come here. Those temples that are dedicated heritage sites are well maintained, the rest could do with a good washing and some strict observances around littering and smearing Kumkum and ash. I urge everyone to make a trip to Kancheepuram. It’s a crowded little town, with none of the romance that a beautiful temple city should offer. However, its temples are a must see.