India is a land of myriad
temples
and other sacred places of worship. According to experts,
Hindu
temples did not exist before or during the Vedic period (1500-500 BC). The
concept of idol worship came into existence only after this era - this in
turn gave rise to the construction of shrines and temples of all shapes and
sizes.
Most of the major Hindu temples are truly amazing, jaw-dropping creations,
which inspire a sense of awe and wonder in us. Yet others give rise to a
totally different sensation in us - that of being in a mystical; sort of
magical and surreal location.
In this post, we bring you a feature on five major Hindu temples, which seem
unusually numinous and are shrouded in mystery and mysticism.
Konark Sun Temple
The
Konark
Sun Temple, also referred to as Konarak Sun Temple and Surya Deula,
was built in 13th century CE. Located about 35 kilometers northeast of Puri,
it lies along the coastline of Odisha. This temple is attributed to King
Narasimhadeva of the Eastern Ganga Dynasty (around 1250 CE).
Dedicated to Surya (the
Sun
God), this structure is presently a 100-foot high chariot with huge
wheels and horses; all carved from stone. Today, much of the temple is in
ruins. A large shikhara, which rose high above the present mandapa, has
unfortunately fallen off. The surviving structure is famed for its intricate
sculpture, artwork and themes including the erotic Kama and Mithuna scenes.
Built in the typical Oriyan style of temple architecture, it stood over 200
feet high before the start of its ruin.
Because its great shikhara appeared black and served as an immense landmark
for ships in the Bay of Bengal, it used to be referred to as the "Black
Pagoda"
by European sailors in the 17th century. Partially restored by the
archaeological teams during the British Raj in India, it was declared a
UNESCO world heritage site in 1984. Even today, it is a major pilgrimage
site for Hindus, who gather here annually for the Chandrabhaga Mela held
around February.
Construction
The name Konark comes from the Sanskrit words, "Kona" (meaning angle or
corner) and "Arka" (the Sun). Kona, thus, may refer to the angle or
direction in which the temple was aligned to face the sunrise.
The Sun Temple is built from stone and appears as a giant ornamented
chariot, dedicated to the Sun God. In Hindu
mythology,
Surya is portrayed as rising in the east and traveling quickly across the
sky in a chariot drawn by seven horses. The deity is shown as a luminous
entity, standing inside the chariot, holding a lotus in both his hands. The
chariot is driven by Aruna and the seven horses are named after the seven
meters of Sanskrit prosody; namely,
Gayatri,
Brihati, Ushnih, Jagati, Trishtubha, Anushtubha and Pankti. Surya is flanked
by the dawn goddesses, Usha and Pratyusha. They are shown to be shooting
arrows, which represent their foray from the darkness into the light of
dawn.
Sundial
The main attraction of the temple is its twelve pairs of wheels. These
wheels are completely out of the ordinary - the spokes of the wheels
actually create a sundial. One can calculate the exact time of day by just
observing the shadow cast by the spokes on the wheel.
Chariot Wheel of Konark Temple
Stone Sculpture
Architecture
The architecture of the Konark Temple, which follows the Kalinga style of
architecture, is symbolic with twelve pairs of wheels corresponding to the
12 months of the Hindu almanac. These 24 wheels are nearly 12 feet in
diameter and are elaborately carved. They are pulled by seven horses.
Interestingly, during dawn and up to
sunrise,
the temple seems to appear from the depths of the blue sea, carrying the sun
along with it.
The general construction of the temple adheres to typical Odisha temple
design, including square and circle geometry. The main temple is called
deul; this is surrounded by secondary shrines, dedicated to other Hindu
deities; particularly Surya in his many aspects. In front of this was the
smaller sanctum, called the jagamohana (commonly referred to as mandapa in
other parts of India). The main temple and the jagamohana comprise four
zones, namely, the platform, the wall, the trunk and the mastaka (crowning
head). On the east of the temple is the Nata mandira (dance temple), which
stands on a high platform and is intricately carved.
The temple was made from three types of stones, including Chlorite, Laterite
and Khondalite. The third type weathers faster - this may have contributed
to the erosion and resulting damage to several parts of the temple.
Konark - Monumental Legacy
Book
Sculptures
The main attractions of the temple are the sculptures, carvings and
ornamented reliefs, which adorn all the pillars and terraces of the
structure. These include images of deities, animals and birds, the daily
lives of ordinary people, musicians and dancers, bullock carts, geometric
patterns and much more.
Apart from these, the Konark temple is also known for its erotic sculptures
of maithunas. They show couples in various stages of courtship, intimacy and
even coitus. While they were long considered infamous for their uninhibited
exhibition of sexuality, they are actually associated with tantra and the
vama marga tradition of the same. The sculptures found on the temple’s
Shikhara actually describe the bandhas and mudra forms described in the
Kamasutra.
Shrines and Monuments
Several Hindu deities are depicted in other places of the temple, including
Vishnu, Shiva, Parvati, Gajalakshmi, Narasimha, Krishna and so on.
Additionally, the Jagamohana features Vedic deities such as
Indra,
Agni, Varuna, Kubera and so on.
Besides, the temple complex includes several subsidiary shrines and
monuments, including the Mayadevi Temple, a Vaishnava Temple, a Kitchen
monument, two huge wells and much more. Besides these, a collection of
fallen sculptures can be found at the Konark Archaeological Museum.
The Mystery of the Magnets and the Floating Idol
The Konark Sun Temple was initially built along the sea. However, the sea
has receded now and so, the temple lies a few kilometers away from it. This
being an ancient temple, there are several myths, legends and mysteries
associated with it. One of the most popular legends is that of its magnets
and floating idol.
The uniqueness of the Sun temple architecture lies in the fact that it was
built using the power of magnets and magnetic force. While creating the main
tower of the structure, the artisans placed an iron plate between every two
pieces of stone. There is a lodestone at the top of the temple, which is
believed to be a staggering 52-ton magnet.
Legend has it that the statue of the Sun God inside the temple is actually
floating in mid-air, without touching the ground, and without having any
other form of external support. They say that this feat has been possible
due to the magnetic field created by the magnet at the top, interacting with
the one at the bottom, plus the reinforced magnet around the temple walls.
Incidentally, the main temple has been so planned that the very first ray of
the Sun would cross the Nata mandira and would reflect light from the
diamond placed on Surya’s crown.
Legends behind the Collapse of the Structure
According to one legend, the magnetic pull of the lodestone was so strong,
that it would cause disturbances in the compasses of ships which passed
along that area. This would end up making navigation difficult for sailors.
In order to save their ships and their trade, the Portuguese sailors
destroyed the temple and took away the lodestone. This is believed to be one
cause of the collapse of the main temple structure. There is no historical
or other evidence to support this theory. No one really knows if the magnets
ever existed.
Some historians opine that, due to the early death of King Langula Narasimha
Deva, the construction of the temple stopped halfway and was then left
incomplete. It is said that this was the reason behind the collapse of the
structure. However, there is some evidence to show that the temple was
actually complete between 1253 and 1260 AD. Hence, this argument does not
hold water.
One other popular legend relates that Kalapahada invaded Orissa in 1508. He
destroyed this and several other temples. Though it was impossible to break
this stone temple, he somehow managed to displace the Dadhinauti or the Arch
stone, thus giving rise to its collapse.
A few experts aver that the temple could have been damaged by a severe
earthquake, thunder or lightning. However, there is no proof of such a
massive earthquake hitting the area. Besides, no thunder or lightning would
have been able to affect the temple walls, which are 20-25 feet in
thickness.
There are no actual historical records to prove any of the above-mentioned
hypotheses and the real reason for the ruin of the temple’s main structure
remains a mystery. Irrespective of who or what caused it, it may never be
restored to its original state.
Brihadeeshwara Temple
The Brihadeeshwara Temple, also referred to as the Rajeshwara Peruvudaiyar,
is a
Shiva
temple, located in Tanjavur, Tamil Nadu. The term "Brihadeeshwara" is
a combination of two Sanskrit words, "Brihat" (meaning huge, imposing,
massive) and "Eeshwara" (which means the supreme Lord or Godhead). True to
its name, this is one of the largest South Indian temples; also one of the
finest examples of Tamil architecture. Constructed by Raja Raja Chola I
between 1003 and 1010 AD, this temple is considered as a "Great Living Chola
Temple" and a UNESCO World Heritage Site.
Lord Shiva - Terracotta Statue
The original monuments of this temple were built around a moat and included
a gopuram, the main temple and its tower, frescoes, inscriptions and
sculptures. Mainly focusing on Saivism, it also includes certain aspects of
Vaishnavism and Shaktism traditions. During the course of history, the
temple was damaged and some of the artwork is now missing. More mandapams
and monuments were added at a later time and now, the structure stands
amidst strong walls, which were built post the 16th century.
The vimana or the massive tower above the main sanctum is one of the tallest
in the whole of South India. The temple has a huge prakara or corridor and
features one of the largest ever
Sivalingas
in India. A favorite tourist destination, it is famed for its various
shrines and sculptures; and especially for including the huge brass
Nataraja,
the Lord of Dance. Other shrines that can be found within the complex are
dedicated to Parvati, Nandi, Ganesha, Kartikeya, Sabhapati, Dakshinamoorthy,
Varahi, Chandeshwara and many more.
Architecture
During the Chola period, buildings predominantly featured projecting square
capitals, and impressive columns and pillars. This created a whole new style
of architecture. The temple inscriptions related how the main architect and
engineer, Kunjara Mallan Raja Raja Rama Perunthachan, adhered to this
tradition and undertook construction of the temple.
The temple plan uses axial and symmetrical geometry. This comprises five
main sections, namely, the sanctum with the huge vimana, the massive Nandi
mandapam in front, the mukhamandapam (main community hall) in between, the
mahamandapam (gathering hall) and the ardhamandapam (pavilion connecting the
hall with the sanctum).
The complex integrates a large pillared and covered prakara, with a
perimeter of about 450 meters for devotees to circumambulate the temple.
Outside this verandah are two walls of enclosure.
On the east end is the original main gopuram or gateway. Additional entry
and exit points help devotees enter and leave the temple from multiple
locations. The towering vimana stands 63.4 meters high.
The Sanctum
The main sanctum is at the center of the western square. Surrounded by huge
walls, it houses the huge stone Shivalinga. The sanctum is in the form of a
miniature vimana. The entrance of this sanctum is elaborately decorated. The
inner wall and the outer wall together create a sort of path around it for
pradakshina (circumambulation).
The main Shikhara or Vimana is 16 storeys high and dominates the entire
area. It is elaborately decorated with Pilaster, piers and columns.
Connection with the Natya Shastra
On the second floor is an effigy of Shiva in the form of Tripurantaka, in
different postures. The wall of the aditala corridor on the upper floor is
carved with 81 of the 108 karanas (movements) of
Bharata
Natyam, as prescribed by the Natya Shastra, the most extensive
treatise on Indian dance. The rest of the 27 karanas are blank blocks of
stone. It is not known why they were never carved. These sculptures indicate
the importance that Bharata Natyam enjoyed even during the 11th century.
Bharatnatyam Dancer - Hand Painted Wall
Hanging
Murals
The Brihadeeshwara temple has a layer of Chola frescoes along the
circumambulatory passage way. These creations, which spanned from the floor
to the ceiling, were discovered as late as 1931. The painters had used
natural pigments and infused them into the wet limestone layer to set in.
The themes of these frescoes were largely based around Shaivism - they were
restored in the 2000s. Some other frescoes painted later included other
Vaishnavite deities and the royal family as well.
Some paintings within the sanctum sanctorum have been damaged due to the
soot collected on them from the burning lamps and camphor within the
chamber.
Inscriptions
The temple walls feature innumerable inscriptions in Tamil and Grantha
scripts. Many of these are in Tamil and Sanskrit. These unique inscriptions
actually give detailed accounts of the temple personnel; the people employed
there, their roles, names and wages. There are records of over 600 people
who the temple employed and supported; including priests, sacred parasol
bearers, washermen, jewelers, tailors, carpenters, artisans, artists,
devadasis, dance and music gurus, and so on. They received their wages in
kind - they would receive parcels of land for their services.
Besides, the temple also provided free meals to devotees and pilgrims.
Wayfarers could stay there as long as they wished. On festivals and
occasions, these meals would be elaborate and grand.
Additions and Renovation
The several raids and wars, particularly those fought between the Hindu
kings and Muslim Sultans, caused immense damage to the Brihadeeshwara
temple. These damages were repaired when the Hindu rulers regained control.
In some cases, the rulers even replaced the old paintings with newer murals.
Others constructed secondary shrines within the temple complex. According to
inscriptions dating back to 1801, the Marathas contributed vastly to the
repair of several shrines, the prakara walls, the courtyard and even the
temple kitchen.
Millennium Commemoration and Cultural Festivals
The Brihadeeshwara temple turned 1000 years old in 2010. In order to
celebrate this occasion, the government and the town held several cultural
events; including a Bharatanatyam Yagna, which featured famous classical
dancers such as Padma Subramaniam. It also included a program by 1000
dancers, hailing from different corners of the world - they all jointly
performed to 11 verses of Thiruvisaippa, the ninth volume of the Thirumurai.
Other cultural events include an annual dance festival called the Brahan
Natyanjali festival, held around February, during Mahashivaratri.
The Brihadeeshwara Temple Fire
A massive fire accident occurred in the temple during its Kumbhabhishekham
(consecration) on June 7, 2000. Some experts opine that the source of the
fire was a mystery. A stampede ensued, which resulted in the death of
several people, also injuring over 200 devotees. The fire accident was
declared to be one of the four major accidents in that town.
Rescue efforts were ably carried out by the police and several non-profit
organizations and renovations had been undertaken on the temple as well.
Mysteries of the Brihadeeshwara Temple
The Brihadeeshwara temple holds several mysteries within its walls. Here are
the major ones:
- Its Shadow Disappears at Noon: One of the most
surprising things about this structure is that its shadow never falls on
the ground at noon. Being one of the tallest temples, it is so designed
that the vimana does not cast any shadow at noon, at any time of the
year.
- First All-Granite Temple: This is the first
all-granite temple in the world. No granite quarry is present within a
100 km radius and hence, it is not clear where the material was sourced
from. Granite is harder to carve and yet, Raja Raja Chola had wanted it
to be most intricately carved and designed.
- Tallest Ever Temple: The Brihadeeshwara temple is
the tallest till date. The real wonder, though, is that it was completed
in just 7 years, including the time taken to move and place up to 50
tons of solid rock each day, carving and then putting them in position.
Atop the towering vimana is a capstone which weighs 80 tons. After dusk,
when the structure is lighted, its topmost light shines over the dome
like a star glowing closer to earth. This is one of the major
attractions for devotees and tourists alike.
- Musical Pillars: You can find two idols of Ganesha
near the entrance of the sanctum sanctorum. On tapping them, you can
feel the sound traveling via stone in one idol and through the metal on
the other. Besides this, there are some musical pillars around the main
hall of the temple. These, when tapped, produce different musical
sounds.
Veerabhadra Temple
The Veerabhadra temple is located in Lepakshi in the Anantpur district of
Andhra Pradesh. Built in the 16th century, it features the typically
Vijayanagara style of architecture, featuring innumerable carvings and
paintings on almost every exposed surface in the temple. The multi-colored
frescoes are detailed and elaborate, depicting scenes from the Ramayana, the
Mahabharata and the Puranas. This temple is counted among UNESCO World
Heritage Site and is protected and maintained by the Government of India.
History
The Veerabhadra temple dates back to 1583 and was built by brothers
Virupanna Nayaka and Viranna, who were Governors under the Vijayanagara
Empire, during the reign of King Achutaraya at Penukonda. Much of the
structure is built on a low, rocky hill, called Kurmasailam, which literally
means, "tortoise-shaped hill".
According to the Skanda Purana, this temple is one of the divyakshetras, or
sacred pilgrimage sites of Lord Shiva.
Architecture
The main temple comprises three parts. The Mukhamantapa (assembly hall),
also called the Natya mantapa or Ranga mantapa; the Arda mantapa or antarala
(ante chamber); and the Garbhagriha or the sanctum sanctorum.
The temple is encircled by two enclosures. The outer walled enclosure has 3
gates, out of which the northern gate is used most frequently. The inner
east gate offers access into the assembly hall. This is a large open hall.
This leads to the sanctum sanctorum and features immense sculptures and
paintings across the entire length and breadth of the halls, fully covering
the columns and the ceiling. These include images of the 14 avataras of
Shiva, saints, divine beings, guardians, musicians, dancers and so on. The
sanctum is flanked by figurines of Ganga and Yamuna on each side. The temple
additionally features a pyramid tower and pillars with amazing carvings.
The open space in the middle of the hall has large columns or piers, which
feature carvings of triple figures. In the columns of the northeast part of
the hall, you can find images of Natesha, along with Lord
Brahma
and a drummer. In adjoining columns are figurines of nymphs dancing,
accompanied by drummers and cymbalists. The column on the southwest part of
the hall shows an image of Parvati, along with her female entourage.
All the frescoes are painted over an initial plaster layer of lime mortar.
Vegetable and mineral dyes are blended with lime water to breathe life into
the paintings. These paintings are stunningly lifelike and feature
impressive period costumes, high in detail and precise facial expressions as
well.
Sanctum Sanctorum
The presiding deity of the temple is an almost life-size effigy of
Veerabhadra, fully armed and ornamented with skulls. The sanctum includes a
cave chamber, wherein sage Agastya was believed to have lived, when he
installed the image of the Linga at this location.
The ceiling of the sanctum has paintings of the builders of the temple.
Here, they are depicted with their entire staff, in a state of utter
devotion and prayer.
Other Monuments
The eastern side of the temple complex has a separate chamber for Shiva and
Parvati, carved on a boulder. Another shrine chamber is dedicated to Lord
Vishnu.
On the eastern side, there is a huge granite boulder, featuring an elaborate
carving of a coiled, multi-hooded serpent, forming a sort of umbrella cover
over a Shivalinga. Legend has it that members of the Naga race carved this
marvel while they waited for their mother to prepare lunch.
Located about 200 meters from a temple is a huge 20-foot by 30-foot granite
Nandi, carved out from a single block stone. What immediately strikes the
observer is the fine detailing of the statue; including the calm and serene
look on the bull’s face and the amazing precision with which the sculptor
created each and every line on its face, neck and so on. Interestingly, this
Nandi is aligned in such a way that it faces the statue of the serpent
within the precincts of the temple.
Mythological Significance
The origin of Lepakshi has two interesting legends associated with it.
Le-Pakshi
This legend relates the epic battle between Jatayu, the Eagle, and Ravana
from the
Ramayana.
In order to rescue Sita from Ravana’s attempt to adbuct her, Jatayu fought
valiantly against the ten-headed demon. He gave tremendous resistance to the
latter. However, Ravana gained the upper hand when he cut off both of
Jatayu’s wings. It is believed that the great bird then fell off to the
earth, hitting the rocks at this very location.
Jatayu Vadh - Raja Ravi Varma Painting on
Canvas
When Lord Rama saw
Jatayu,
he tried to coax the bird to rise. This is how this place got the name
Le-Pakshi.
Lape-Akshi
Another legend about Lepakshi is about the brothers Virupanna and Viranna.
Virupanna’s son was blind since birth. It is believed that he got back his
eyesight while playing near the Shivalinga within the temple premises.
The King then came to know that Virupanna, who was the royal treasurer, was
using the funds from the treasury to build these shrines. He was doing this
without taking prior permission from the royalty. The enraged King ordered
his henchmen to take away Virupanna’s eyesight and make him blind.
On hearing this, Virupanna pried off his own eyes and threw them against the
walls of the Kalyana Mantapa, which was then under construction. The place
thus got the name Lape-Akshi (village of the blinded eye). Even today, one
can see two prominent red blotches on that very wall. What’s more, tests
have confirmed that they are indeed human blood stains.
Mysteries of the Lepakshi Veerabhadra Temple
The Mystery of the Hanging Pillar
One of the biggest mysteries of the Veerabhadra temple at Lepakshi is the
"hanging pillar". The outer portion of the Dance Hall is filled with
numerous pillars supporting the roof. One corner pillar, which is known as
the hanging pillar, does not touch the temple floor. When some experts tired
to force a corner of this pillar to touch the ground, it led to a tectonic
shift in the entire roof of the outer hall. The engineers then realized that
any further attempt on their part would end up destroying the entire
edifice. One other thing was that the pillar acted as a sort of ballast to
the hall’s roof. Hence, changing its angle even slightly would cause damage
to the entire structure.
3D Mural
In the same hall, a Gopalakrishna mural on the roof appears to be
three-dimensional. It also seems to look directly at you from anywhere in
the hall below.
Large Footprint on the Rock
Outside the temple on one hillock, one can find a large footprint next to
the Sita Amman Kovil. This structure includes shrines dedicated to
Rama,
Sita and Hanuman. This is believed to be the footprint of Hanuman, as he
jumped to find Sita and give her Rama’s ring (incidentally, there are
similar giant footprints of Sri Rama and Sita at Sphatika Shila and in
Chitrakoot as well). The footprint at this temple always has a trickle of
water coming into it. The source of this water remains unexplained to date.
Sri Padmanabhaswamy Temple
The
Padmanabhaswamy
Temple is located in Thiruvananthapuram, Kerala. Anantha Puram literally
means the "City of Anantha" and so, the city itself is named after Lord
Ananta, or Lord Sri Maha Vishnu. Built in a mix of the Kerala and Dravidian
styles of architecture, it features high walls and a 16th century Gopuram.
To some extent, the temple is quite similar to the Adikesava Perumal temple
in Thiruvattar, Kanyakumari.
The principal deity of the Padmanabhaswamy temple is
Vishnu,
in his Anantashayanam posture. This is his eternal yogic nidra (sleep)
posture, resting on a bed of coiled snakes in the Milky Ocean, with Devi
Lakshmi seated at his feet and the great serpent Adishesha forming a
protective umbrella over his head.
Lord Vishnu in Anantashayan
Sri Padmanabhaswamy is the tutelary deity of the royal family of Travancore.
The Maharaja of Travancore, Moolam Thirunal Rama Varma, is the trustee of
the temple. Even today, this ancient temple follows strict conventions. Only
Hindus are allowed to enter and everyone has to follow a strict dress code.
Females have to dress in saree or the traditional Kerala Mundu set, whereas
males have to wear the veshti and angavastram.
History
The Padmanabhaswamy receives prominent mention in ancient texts, such as the
Puranas and the
Mahabharata.
It even features in Sangam literature, which dates back between 500 BC and
300 AD. According to the Bhagavatam, Lord Balarama visited the city
(referred to as Phalgunam) and took a dip in Panchapsaras (Padmateertham).
Though the sannidhanam (sanctum) of Padmanabha has always been present in
this holy city, the actual temple came up much later.
Several experts opine that the temple had once been called as "The Golden
Temple", on account of the immense wealth that it possessed. Many pieces of
Sangam literature and works by poets such as Nammalwar talk about the temple
and the city as having walls made of pure gold! In several places, there is
reference to it as the "Temple of Heaven".
In Vaishnavism, the Padmanabhaswamy temple is one of the 108 Divya Desams
(Holy Abodes) and is glorified in the Divya Prabandhams. The Ananthapuram
temple in Kasargod is said to be the Moolasthanam of the temple.
Legend about the Temple
Legend has it that the sage Vilvamangalathu Swamiyar, who lived near the
Ananthapuram temple, prayed to Vishnu for his darshan. The Lord came to him
in the guise of a mischievous little boy and defiled the idol that he kept
for his pooja. Enraged, the sage chased away the boy, who disappeared in
front of his eyes.
After searching high and low, the sage was walking on the banks of the
Arabian Sea, when he heard a pulaya (untouchable) lady threatening a child
that she would throw him in the Ananthakadu. The moment he heard the word
"Ananthakadu", he was elated and enquired from the lady as to how he could
reach the place. He then went there, hoping that he could find the boy in
that place. Sure enough, he saw the boy merging into an Iluppa (Indian
Butter) tree. The tree fell down and became the Ananthashayana Moorthi
(effigy) of Sri Vishnu.
The effigy, however, was extremely large, with the Lord’s head at
Thiruvallom, his navel at Thiruvananthapuram and His Lotus Feet at
Thrippadapuram. This spanned about 8 miles in length. Dismayed, the sage
requested the Lord to shrink in size. Immediately, the Lord shrank to the
form that can currently be seen at the Padmanabhaswamy temple.
The sage saw the Lord in the above-mentioned three parts. He prayed to the
Lord to be forgiven for his sins and offered rice kanji and uppumanga (mango
in brine) placed in a coconut shell - he had obtained this from the pulaya
woman.
He then took the assistance of the ruling king and some Brahmin households
to construct a temple for the Lord. This temple, which is located to the
west of the Padmanabhaswamy temple, still stands as the Ananthakadu Nagaraja
temple. Later, a Krishna temple was built over his Samadhi. This temple is
known as the Vilvamangalam Sri Krishna Swami Temple.
Temple Structure
Inside the sanctum sanctorum, Padmanabhaswamy is shown assuming the
reclining position. The massive idol rests on the bed of the coiled
Adishesha; the snake’s five hoods facing inwards and forming a protective
cover over the Lord. Vishnu’s right hand is stretched below, in such a way
as to be placed over a Shivalinga there. His divine consorts, Sridevi, the
Goddess of Wealth and Bhudevi, the Goddess of the Earth, are by his side.
Lord Brahma sits on a lotus, which comes out from the Lord’s navel.
This massive deity is made from 12,008 saligramams, which had been gathered
from the banks of the Gandaki River in Nepal. The idol is covered with
Katusarkara Yogam, which is a special plaster mix, in order to keep the
deity clean. The daily worship routine includes abhishekham, flowers, arati
and other rituals.
The two platforms in front of the vimanam where the deity reclines are
carved out of a single stone. Hence they are called "Ottakkal-mandapam".
This rock had been cut out of a rock at Thirumala, about 4 miles north of
the temple.
To take darshan or to perform puja, the devotee has to ascend to the
mandapam. The deity is visible through three doors, symbolic of how the sage
had seen the Lord. The face of the Lord and the Shivalinga is seen through
the first door. His torso, along with his consort Sridevi and Brahma and
other divine beings can be seen through the second door. The third door
gives the devotee a darshan of the Lord’s feet, Bhudevi and several other
Rishis (sages).
Only the King of Travancore can perform a sashtanga namaskaram (offering
obeisance lying completely prostrate on the ground) on the Ottakkal
mandapam. Traditionally, it is believed that anyone who prostrates on the
mandapam has surrendered his or her everything to the Lord. Since the ruler
has already done that, only he has the permission to prostrate thus.
Other Shrines
The temple includes two other major shrines within itself, namely, the
Thekkedom and Thiruvambadi shrines, for the deities, Ughra Narasimha and Sri
Krishna respectively. The Thirvambadi shrine is older than the main shrine
and hence, enjoys independent status. It has its own namaskara mandapam,
bali stones and flagmast. The deity here is Parthasarathy, the Divine
Charioteer of Arjuna, during the Great War of
Kurukshetra.
The granite idol is depicted in standing posture, holding a whip in one
hand, with the other resting on the left thigh, holding a conch close to it.
On Ekadasi days, the Lord is dressed up as Mohini.
There are yet other shrines for Rama and Sita, Vishwaksena, Vyasa, Ganapati,
Sasta (Ayyappa), Garuda and Hanuman. the thevara idols of Chithira Thirunal
Balarama Varma and Uthradom Thirunal Marthanda Varma can be found in the
southeast side of the temple.
Gopuram
The temple features a massive 100-foot, seven-tier gopuram, constructed in
the Pandyan style. The temple, which is located by the side of a tank,
called Padma Theertham, has a corridor with 365 and one-quarter sculptured
granite pillars having elaborate carvings on them. This corridor extends
from the eastern side, right to the sanctum sanctorum. An eighty-foot
flagstaff stands proud, right in front of the main entry from the prakaram.
There is a Nataka Sala on the ground floor under the gopuram. Here,
Kathakali performances were staged all through the night during the ten-day
uthsavam, conducted twice a year, during the Malayalam months of Meenam and
Thulam.
The Royal Family of Travancore
In the first half of the 18th century, Anizham Thirunal Marthanda succeeded
his uncle King Rama Varma at the age of 23. On 17th January, 1750, he
surrendered the kingdom to Sri Padmanabhaswamy and pledged that all his
descendants would serve the Lord as his dasas (servants). Since then, all
the rulers of the land have the title Sri Padmanabha Dasa, while the female
members are called Sri Padmanabha Sevinis. This donation of the kingdom to
the Lord was known as Thrippadi-danam. Marthanda Varma was most particular
that no deviation whatsoever should be made in this aspect and that all
future territorial acquisitions should be made over to the Devaswom.
Temple Rituals and Festivals
There are several festivals associated with this temple. The Alpashy
festival in October/November and the Panguni festival in March/April, which
lasts for 10 days each, are the major festivals. On the ninth day, the
Maharaja of Travancore escorts the deities, on foot, to the vettakkalam for
Pallivetta. The festivals end with the Aaratu or purifying immersion ritual
procession to the Shanmugham Beach. The Utsavamoorthis of Padmanabhaswamy,
Narasimha Moorthi and Sri Krishna are all given a bath in the sea, after the
traditional pujas. After this, they are taken back to the temple.
Yet another major festival is the 9-day Navaratri. The idols of
Saraswati,
Parasakti and Murugan are brought to the Kuthira malika palace in front of
the temple in a procession. The Swati music festival is also held as part of
the festival.
The biggest festival is the laksha deepam, or the festival of the one lakh
lamps. This happens only once in 6 years. Prior to its commencement,
prayers, pujas and veda recitation are performed for a period of 56 days
(Murajapam). On the last day, one hundred thousand lamps are lit all around
the temple premises. The next event is scheduled for January 2020.
Temple Records
One of the most important aspects of the temple is the "granta-pura" or the
record-room, which is housed within the temple complex itself. This room was
constructed in 1425 AD by the then Venad King Veera Iravi Iravi Varma. Over
30 lakhs of those documents from this Mathilakam had been donated to the
Archives Department in 1867. Only a small fraction of cadjan leaf (bundles
of coconut palm leaves) records have been deciphered. The scripts are in
proto-Tamil and archaic Malayalam, which makes it difficult to understand
and translate. The rest is lying unread at the Archives Department.
Temple Vaults and Assets
While the temple and its assets were controlled by a trust headed by the
Royal Family of Travancore in the past, the Supreme Court of India has now
radically changed the workings of the management. In 2011, the Supreme Court
ordered the Archaeology Department to open several secret chambers of the
temple, which were kept under lock and key in the past. The temple has six
hitherto known Kallaras (vaults), labeled from A to F. In April 2014, 2 more
subterranean vaults had been discovered and they have been name G and H.
While A was probably opened in the 1930s and vaults C to F have been opened
and accessed from time to time, vault B has never been opened for centuries.
Vaults A,C, D, E and F were found to contain a three-and-a-half foot tall
solid idol of Mahavishnu, crafted in pure gold. This moorthi was studded
with hundreds of diamonds, rubies and other precious gems. Apart from this,
there were an 18-foot long pure gold chain, a 500-kilo gold sheaf, a 36-kilo
golden veil, 1200 gold chains embedded with precious stones and several
hundreds of 18th century Napoleonic era coins, golden coins from the Roman
Empire, gems, precious stones, artefacts and other objects. These findings
proved that the Padmanabhaswamy Temple was the wealthiest ever place of
worship in the whole world.
The Mystery of the Unopened Vault B
Though all the other vaults have been opened several times, vault B has
never been tampered with. The Trust members, the rest of the Royal Family
and leading astrologers consider that chamber to be mysterious, sacred and
risky (or even dangerous) to open it. The chamber is considered to be shut
with the help of 16th century siddhas (people with yogic powers), who shut
it permanently with the means of powerful mantras such as ‘naga bandham’ or
‘naga paasam’
It is believed that this door can be opened only by a highly erudite sadhu,
tantric or mantrika, who have adequate knowledge of the ‘garuda mantra’,
which is the only chant that can successfully extricate the powers of the
‘naga bandham’. It is believed that, in that case, the doors would unlock
automatically, without needing any force to be put on it. Legend further
states that if any ordinary human being attempts to open it with technology,
terrible catastrophes are likely to occur in the temple or even in the whole
of India.
As per legend, hunters tried to invade and loot the temple somewhere in the
1930s. However, their attempts were foiled when huge deadly serpents came
out of hiding and drove them out.
Attempt to Open the Chamber
According to legend, several Devas and Rishis; including the Naga Devatas;
requested Balarama to permit them to reside in vault B. Balarama granted
them that boon. Along with them, the Kanjirottu Yakshi also resides in this
Kallara, worshipping the ferocious and powerful Ughra Narasimha. To further
enhance the power residing here, sacred objects such as the Sreechakram too
were installed here.
In 2011, the antechamber to vault B was opened. But no one succeeded in
opening the main vault. Then, a Devaprashnam (ritual to know the will of the
deity) was performed. The Pushpanjali Swamiyar, who is considered to be the
highest spiritual authority of the temple, expressed his strong opposition
to opening the chamber and even sent letters to the Chairperson of the
Administrative Committee, advising them against the act.
No other attempts were made to open the vault after this. So what does this
imply? Is it only superstition? Or is the temple actually protected by
Divine Beings? The answer to this question still remains an unsolved
mystery.
Kailasanatha Temple
The Kailasanatha Temple, also known as the Kailash Temple, is one of the
largest ancient, rock-cut, Hindu temples in India. This is located in
Ellora, in the Indian State of Maharashtra. A massive megalith, carved out
from a single rock, this is considered to be one of the most amazing cave
temples.
Ellora - Monumental Legacy
Book
The Kailash Temple is one of the 32 cave temples and monasteries, which
collectively make up the
Ellora
Caves. This temple lies in Cave 16 of the entire cave structures. Attributed
to the 8th century Rashtrakuta King Krishna I (756-773 CE), the general
architecture seems to be done in the Pallava and Chalukya styles.
History
The cave temple does not possess any particular set of inscriptions
regarding its history. However, a Baroda copper-plate inscription of
Karkaraja II records Krishnaraja as the patron of Kailasanatha; also
mentioning a Shiva temple at Elapura (Ellora). It states that the King
constructed a structure so wondrous that even the Gods were stupefied by it.
Experts believe that that this refers to the Kailasha temple. The Kadamba
grant of Govinda Prabhutavarsha also seems to credit Krishnaraja in a
similar fashion.
So, though there is no direct resource to prove that Krishnaraja did indeed
construct the temple, it is largely assumed that he may have been
responsible for its construction.
Method of Construction
The Kailasha Temple is most famous for its vertical excavation method. The
carvers started at the top of the original rock, moving downwards.
According to a Marathi legend, the local king suffered from a chronic
disease. His queen prayed to Lord Ghrishneshwara (Shiva) at Elapura, vowing
to construct a temple if her wish was granted. She also promised to observe
a fast till the time that she could see a shikhara on top of the temple.
As soon as the king was cured, she asked him to build the temple
immediately. But the architects stated that it would take much time before
they could finish the construction of the shikhara.
One architect called Kokasa, however, came forward and assured the king and
the queen that they would be able to see the shikhara within a week’s time.
The clever architect started carving from the top, thus finishing the
shikhara by just a week. The queen was able to fulfill her promise to the
Lord and was also able to break her fast after the construction of the
shikhara.
Some experts think that Kokasa was the main architect of the temple, which
was probably known as Manikeshwara at that time. Several 11th-13th century
inscriptions found all over central India mention architects born in the
brilliant family of Kokasa.
Architecture and Sculptures
The Kailasha temple features several distinct architectural and sculptural
styles. This, combined with its massive size, has led some experts to aver
that its construction spanned the reign of several kings.
Some reliefs feature the same style as the ones found in the Dashavatara
cave, which is located just next to this temple. The latter contains an
inscription of
Krishna’s
predecessor and nephew, Dantidurga. Based on this, some historians think
that the temple’s construction could have begun during the reign of
Dantidurga. With time, other rulers such as Dhruva Dharavarsha, Govinda III,
Amoghavarsha I and Krishna III could have also contributed to its
construction. Finally, Ahilyabai Holkar commissioned the last layer of the
paintings therein.
Some historians aver that the entire temple structure was planned out right
at the beginning. The main shrine is similar in structure to the Virupaksha
Temple at Pattadakal and the Kailasa Temple at Kanchi. The latter was
commissioned by the Chalukyas of Badami. The fact that the main
architectural style is non-Rashtrakuta in nature itself may be an indication
of the involvement of Chalukya and Pallava artists.
The entrance to the temple courtyard includes a low gopuram. Most of the
deities at the left of the entrance are Shaivite, while the ones on the
right are mostly Vaishnavite. A two-storeyed gateway leads to a U-shaped
courtyard, edged by a brilliantly sculpted columned walkway, three storeys
high. Originally, bridges of stone connected these galleries. However, these
have fallen in the present day.
The central shrine is dedicated to
Shiva
and his mount
Nandi.
The sanctum sanctorum houses an enormous Shivalingam and features a
flat-roofed mandapa, supported by 16 pillars and a shikhara built in the
Dravidian style. The shrine additionally features several pillars, windows,
inner and outer rooms and gathering halls, all carved with the images of
deities, mithunas and other figures.
As always, the Nandi sits on a porch, right in front of the sanctum. The
Nandi mandapa and the main shrine are each about 7 meters in height and are
built on two storeys. The base of the temple is carved, so as to suggest
that elephants are holding the structure aloft. A rock bridge connects the
Nandi mandapa to the main porch of the temple.
Other Structures
There are two Dhwajasthambas in the courtyard. One striking sculpture is
that of Ravana trying to lift Mount Kailasa.
One can also find five detached shrines within the temple complex. Out of
these, three are dedicated to the Sacred River Goddesses, Ganga, Yamuna and
Saraswati.
Mysteries of the Kailasanatha Temple
- The Kailasha temple is carved out of a single rock. It remains a
mystery as to how workers during that time managed to achieve that feat
and construct a structure of that size.
- The entire complex was carved from top to down. It is amazing to even
try and imagine how the artisans would have successfully managed to do
this; that too, with just rudimentary tools such as hammer, chisels and
picks available to them at that time.
- The Kailasanatha temple has the largest cantilevered rock ceiling in
the world. And this was created in 700 AD; probably even earlier.
- Larger in area than the Pantheon in Greece, it is said that over four
hundred thousand tons of rock had been scooped out to build this temple!
- The temple was supposedly designed so as to mimic Mount
Kailash. The pyramidal structure of the main temple is believed to
represent the actual shape of Mount Kailash.
- It is believed that work happened only 16 hours a day. Since there
was no electricity those days, the sun’s rays were reflected onto
mirrors to help the artisans continue with their work. However, there
are several inner parts of the structure, where the sun’s rays cannot
reach, no matter how many mirrors are used for the purpose. It is
baffling to think how the workers had managed such intricate carvings
and sculptures in those areas.