Kanchipuram, most popularly called as Kanchi, known as the ‘Golden City’ very near to Chennai, is situated on the banks of the river Vegavathi.1 It abounds in precious antiquities and rich in its historical associations. Renowned as a cultural centre of the south, it is hailed as the ‘Dakshina Kasi’. From time immemorial, the ‘Sapthapuris’ – seven sacred places have been considered as the holy places of pilgrimage. They are Kanchipuram, Ayodhya, Mathura, Haridwar, Varanasi, Avantika and Dwaraka. Of these, three are sacred to Saivites and three to Vaishnavites, while Kanchipuram is sacred both to Saivism and Vishnavism.2 It was the foremost of the seven Kshetras (Nagareshu Kanchi), Kanchi is considered as the best place for the close study of the antiquarian remains of South India. Saivism, Vaishnavism, Buddhism and Jainism have all had their influence here in turn and have left behind distinct traces of their existence in architectural peculiarities of the place.
According to the Chinese pilgrim Hiuen Tsang who visited India about 640 A.D., Buddhism had a strong influence in the city at the time of his visit. He mentions several hundreds of ‘Sangharamas’ and a large number of Buddhist Bhikkus of that time.3 Once it was a flourished capital of the Dravidian rulers, the people of Kanchi were superior in learning, piety, bravery to all others in India. Some of the rulers of Kanchi were devout Saivites and several Vaishnavites also. Buddhism and Jainism also flourished. It echoed the teachings of Buddha and Mahavira and reverberated those of the Alwars of Vaishnavism and Nayanmars of Saivism, in an atmosphere of tolerance.
The revival of Saivism by Adi Sankaracharya and Vaishnavism under Ramanujacharya contributed to the decline of Buddhism and Jainism.4 Kanchipuram was once the capital of the Pallavas, Cholas and the Vijayanagar Kings. These dynasties were responsible for the construction of the picturesque temples and monuments of architectural excellence which the place abounds in.
Narasimha Varman, the most distinguished Pallava ruler was mainly responsible for the construction of wonderful and large number of temples of exquisite architectural beauty at Kanchipuram.5 Many other temples were constructed during the reign of Raja Simha in the early years of the 8th century A.D. The Pallava School of Architecture and sculpture – Dravidian School – was one of the most important and interesting aspects of Indian culture.6 Kanchipuram has two divisions, one is called the Saiva Kanchi or the Big Kanchi and the other Vishnu Kanchi or the Little Kanchi. The famous temples in Kanchipuram are Kamakshi Amman temple, Ekambaranathar temple, Kailasanatha temple, Trivikrama temple, Varadaraja Perumal temple, Vaikunta Perumal temple and others.7
In the Kamakshi Amman temple, the Goddess is depicted in the form of ‘Yantra’ an emblem called ‘Sri Chakra’ which is placed in the sanctum sanctorum.8 The deity is recognised as having Saraswathi and Mahalekshmi in her two eyes. Goddess Kamakshi sits at the centre of the Gayathri mandapa, which has five steps representing Panchakshri Mantra of Lord Siva and 24 pillars signifying the 24 letters of the sacred Gayathri Mantra. She is seated in Yagashala and has noose, goad, sugarcane, flower bow and arrow in her four hands. When the influence of the deity began to decline, Sri Sankaracharya put up a ‘Peetham’ in front of the deity with Ashta Lakshmi cut on the cardinal points, and thus brought back thoroughly the power of the deity.9 To the north-east is a sacred ‘Pushkarini’ (the holy pond).
Ekambaranatha temple is another notable Shiva temple in Kanchipuram. It is a big temple enclosed by huge walls covering a vast area having many Sivalingas.10 The main shrine has the ‘Pritivi Linga’, one of the sacred ‘Pancha Lingas’, made of sand. As such, no Abhishekha (sacred bath) using water is performed to the Linga. Instead, the Linga is bathed only in honey, scented oil and Vilva leaves. The southern gopuram of the temple is one of the highest in South India.11 It is 57 metres high, having ten storeys and was built by the Vijayanagar emperor Krishnadeva Raya (1509-1529). The temple is unique with a tradition dating from the pre-pallava period and has been shaped by the hands of generation of sculptors from time to time of Pallavas to the Cholas and Vijayanagar empire.12 There is a sacred tank known as ‘Sivaganga’ within the enclosure of the temple. There is also a sacred mango tree which is said to yield four types of fruits on its four branches. It is said that Goddess Parvathi performed austerities under the mango tree. The front part of the Mukamandapa contains some exquisite reliefs depicting incidents from the Puranas and images of deities.13 The four great saints of the Saiva school, Thirunavukkarasar (Appar), Sambandar, Sundarar and Manikavasagar had composed a number of hymns in praise of the presiding deity.
Many important festivals are celebrated in this temple, ‘Arupathumuvar’,14 as the Tamil name indicated is a festival, dedicated to the sixty three Saiva saints called ‘Nayanmars’. The bronze images122 of these saints are taken in procession in wooden, rectangular structures with a slightly carved canopy at the top, supported by tiny pillars. The long row of ‘Chapparams’, as the wooden structures are called, headed by the chief deities in the front emerging from a sea of human heads and accompanied by giant size white umbrellas, present a memorable sight. The festival which lasts for more than ten days, is dedicated to Lord Ekambareswar. The awe-inspiring temple tower is tastefully decorated with coloured lights. Uthiram day is the culmination of the festival as it marks the marriage of Lord Siva with Parvathi.15
In the temple of Trivikrama, the mightiest of the three worlds, the form in which Vamana, the dwarf incarnation of Vishnu revealed Himself before the demon king Mahabali, there is a huge idol of the deity which is nearly five metres in height.16
The famous Kailasanatha temple at Kanchipuram is one of the very ancient and most outstanding monuments of Tamil Nadu. It has a main ‘Chatusthala Vimana’ with an octagonal ‘sikara’ having sub-shrines integrated on the three cardinal sides and also at the four corners.17 The seven shrines which surround the main shrine in the outerside contain bas-relief figures of Siva in different forms while inside the central shrine, there is a ‘Somaskanda Panel’ on the back wall.18
The small tower (gopuram), the elegant ‘vimana’ over the sanctum, the pillared hall for the congregation of devotees etc. are enclosed by thick outer walls.19 On all the sides, with interiors decorated with sculptures of exquisite beauty and finish are some of the outstanding features of this unique temple. The temple complex is a real museum of art and iconography.20
Varadaraja Perumal temple, also known as Devaraja Swamy temple, situated in the Vishnu Kanchi is a massive and impressive edifice. The shrine is on an elephant – shaped rock called Hastigiri.21 The presiding deity Varadaraja Perumal means “the greatest among the givers of boons”. It has a beautiful pavilion in the courtyard and a remarkable hall of hundred pillars with picturesque carvings. The “hundred pillared mandapa” consists of ninety six granite pillars arranged in twelve rows of eight each and four on either side of the central aisle.22 In the junction of the two aisles, there is a platform about a metre high resting on a huge Koormam (tortoise).
The aisles are all carved with huge equestrain statues and yalis23 alternately. Rati and Manmatha are shown riding on a parrot and swan. There are massive carvings on all the emaining pillars. The ten incarnations of Vishnu are depicted in the panels. Lakshmi Narayana, Lakshmi Varaha, Lakshmi Hayagriva are also represented on many of the panels.24 Within the enclosure of the temple is a sacred Pushkarini called ‘Ananda Sarova’. In the ‘sanctum sanctorum’ Lord Varadaraja, a beautiful idol two metres high with four arms is seated. There is a garland of ‘Saligramas’ round the neck of Varadaraja.25 The temple celebrates a number of festivals as are done in many of the Vaishnava shrines. However, the Garudothsavam to Varadaraja Perumal attracts thousands of worshippers from all over the country. Popularly called as ‘Kanchi Garudasevai’, it is celebrated on the morning of the third day of the annual Brahmothsavam26 held in the Tamil month of Vaikasi (June).
The Vaikunta Perumal temple is also a famous temple built by the Pallava kings. It is a fine example of South Indian sculpture depicting various forms of Vishnu.27 Built of sandstone with an admixture of granite at the top and bottom courses, it has a square storeyed ‘Vimana’. Except the top storey, all other storeys are functional and contain three superposed ‘sanctum sanctorums’ to enclose the three poses of Vishnu – standing, sitting and reclining in all the three tiers of cells.28
The sculpture of the temple depict the wars which the Pallavas waged against the Chalukyas. The paintings of the temple which date from the 8th century represent some of the specimens of mural art.
Dr. P. Selvamani, Assistant Professor, Department of History, Annamalai University, Annamalai Nagar – 608002.
END NOTES
- M. Gopalakrishnan (ed.), Gazetteers of India Kancheepuram and Tiruvallur Districts (Erstwhile Chengalpattu District), (Chennai : Govt. Publications, 2000), p.1698.
- A. Kesavan, The History of Tondaimandalam, (Madras : University of Madras, 1962), pp. 2-4.
- Belinder and Harinder Dhanoa, Hsuan – Tsang’s Journey to India, (New Delhi : National Book Trust, 1988), p. 52.
- K.A.N. Sastri, Development of Religion in South India, (Madras : Orient Longman, 1963), pp. 89-90.
- C.S. Crole, Manual of Chingelput, (Madras : Govt. Press, 1879), pp. 109-112.
- Jouveau Dubreuil, Pallava Antiquities, (London : Probsthain & Co., 1916), p. XVI.
- K.R. Srinivasan, Temples of South India, (New Delhi : National Book Trust, 1972), pp. 110-111.
- Jouveau Dubreuil, Dravidian Architecture, (New Delhi : Asian Educational Services, 1987), pp. 30-31.
- T.A. Gopinatha Rao (ed.), Copper Plate Inscriptions belonging to the Sri Sankaracharya of the Kamakoti Pitham, (Madras : Law Printing Press, 1916), pp. 10-19.
- K.M. Muthusamy Pillai, Temples of Kanchipuram District, (Thanjavur: Tamil University Publications, 1994), pp. 23-24.
- S. Padmanabhan, Temples of South India, (Nagercoil : Kumaran Pathippagam, 1977), p. 58.
- South Indian Inscriptions Vol. III, No. 82, pp. 342-346.
- O.C. Gangoly, Art of the Pallavas, (Calcutta : Rupa & Co., 1957), pp. 19-25.
- Raja Pandyan, Enathi Nathar (Tamil), (Chennai : Kovan Pathippagam, 2001), pp. 8-10.
- Gopinatha Rao, Elements of Hindu Iconography, (Madras : Law Printing House, 1916), pp. 35 -37.
- M. Arunachalam, Festivals of Tamil Nadu, (Tiruchitrambalam : Gandhi Vidyalayam, 1980), pp. 251-252.
- R. Gopalan, History of the Pallavas of Kanchi, (Madras : University of Madras, 1928), pp. 101-120.
- S. Velayudham, The city of Madras, (Madras : Madras University Publications, 1957), pp. 56-58.
- Vasudeva S. Agrawala, The Heritage of Indian Art, (New Delhi : Publications Division, 1964), pp. 21-23.
- R. Nagasamy, The Kailasanatha Temple, (Madras, Dept. of Archaeology, 1969), pp. 7-12.
- C. Sivaramamurti, Indian Painting, (New Delhi : National Book Trust, 1970), pp. 51-52.
- C.R. Srinivasan, Kanchipuram Through the Ages, (Delhi : Agamkala Prakashan, 1979), pp. 202-204.
- K.V. Raman, Varadarajaswami Temple, Kanchi, (New Delhi : National Book Trust, 1975), pp. 15-25.
- Yali means a vanished animal with lion shaped body with an elephant head.
- K.V. Soundara Rajan, Invitation to Indian Architecture, (New Delhi : Arnold – Heinemann, 1984), p. 23.
- Shanti Swarup, 5000 years of Arts and Crafts in India and Pakistan, (Bombay : D.B. Taraporevala Sons & Co. Pvt. Ltd., 1968), p. 53.
- Vidya Dehejia (ed.), Royal Patrons and Great Temple Art, (Bombay : Marg Publications, 1988), pp. 49-55.
- K.V. Soundara Rajan, Cave Temples of the Deccan, (New Delhi : ASI Publications, 1981), p. 14.