Sri Chandrasekaraswami Temple History - Part X

What you see above is yet another view of the moola vimanam of the Chandrasekaraswamy Temple, and the ornamental engravings in one of the panels.
(photo courtesy – Early Chola Art – S.R. Balasubrahmanyam)

Some of the images in the vimana, have been affected by nature - rains, and sunshine, but are fairly visible.

The Tiruchendurai Temple has the deity in ‘chandrasekara moortham’. According to the ancient manuscript ‘Siva Parakramam’, there are sixty four forms of Lord Siva, and Chandrasekara belongs to the group ‘Uma Kesa Murthy’, and the others in this group are Somaskanda, Rishabaarooda, and Gangadhara et al.

The legend says that Daksha gave in marriage to the charming Chandra, his twentyseven daughters (the twentyseven stars), on condition that Chandra should love and treat all twentyseven girls alike, and should not show special favours to anyone in particular.
However, Chandra did not keep his promise, and treated Aswini and Rohini specially and neglected all others (there is a second version that he gives the place of pride to Rohini alone).. Naturally the other girls are disappointed and complained to Dakshan, who speaks to Chandra and gives him a warning that he should mend his ways, otherwise he will face the displeasure of Daksha. For awhile Chandra treats all alike, but then goes back on his words – angered by Chandra’s act, Daksha curses Chandra and says that all his charms will go down day by day. Chandra’s brightness starts waning day by day and when he becomes the size of the ‘crescent moon’ Chandra surrenders himself before Lord Siva and pleads with him to restore his charm and beauty.. Lord Siva responds to Chandra’s appeal, and immediately adorns his forehead with the ‘crescent moon’ -- when Chandra pleaded again, Lord Siva advises him that he cannot prevent the waning aspect, but as a special favour to Chandra, assures him that he will grow back to the full charm in an identical period. This is the waning and waxing aspect of Moon.

Chandra was cursed by Daksha, because he broke his promise to treat all the girls alike, but when Chandra realized his mistake, and penitently surrendered before the Lord, he became eligible for a normal life, and that is why Lord adorned him on his forehead… that is the legend behind the “Chandrasekara Murthy”

Knowingly or unknowingly if one were to commit a mistake, and later realizes the fault, he/she should surrender before the Lord to absolve oneself of the wrong deed, and Lord is sure to grace one by his kindness. (excerpts from Siva Murthys 64 – by Thellaru Mani)

The legend circulating around our villages on this, according to Sri Shanmugasundara Sivacharya of the Chandrasekaraswamy Temple in Tiruchendurai, is also on identical lines, but with a change. Dakshayani, the eldest of Dakshan’s daughters was given in marriage to Lord Siva, and there is another episode about Daksha and Siva resulting in the annihilation of Daksha. The daughters very close to Chandran were Krithika and Rohini, and that when Chandran surrendered to the Lord , he appeared along with Uma in an embrace, astride Nandi, in the vrishabarooda/vrshabhantika mode and gave him asylum by adorning Chandran on his forehead.

It is said that Tiruchendurai also was a ‘paadal petra sthalam’ but that the paadal was lost; the nayanmars have sung the praise of the nearby temples, Kulittalai, Thiruvanaikoil, and when they have some so close, would they have missed Tiruchendurai? This has been haunting me all the while.

(to be continued)

-Sethuraman

Sri Chandrasekaraswami Temple History - Part IX

What you see here below is the moola vimanam of the Chandrasekaraswamy temple at Tiruchendurai , quite some decades ago. You also have a glimpse of the sthalavriksha Palamaram on the left corner.. You can see the images of some of the Hindu deities in the gopuram..

(Moolavar Temple at the Tiruchendurai Chandrasekaraswami Temple – courtesy Encyclopaedia of Indian Temple Architecture – South India, Lower Dravidadesa 200 B.C. – A.D. 1324 – contribution by K.V.Soundararajan, edited by Michael W. Meister – publication of the American Institute of Indian Studies)

According to Douglas Barrett,The vimanam is of two talas (bases) with a square griva and sikara, all of stone but obscured by stucco. The north and west Devakoshtas (abode of devas) are empty, but the south contains a good vrsvahana in only fair condition. The tympana are of the most elaborate form, but covered with paint. There are excellent images in the second tala, Dakshinamurthi in the south, Vishnu in the West, and Brahma in the north, and beautiful small figures of adorers.

Just as there are many parts that go into the making of a human body, the temples are also made of various parts, reflecting the skills of the ancient sthapathis (temple builders).. The Padhabandham (basement/foundation), the Prathibandham/Padmabandham (structures, pillars, pilasters, walls etc. – the torso), the gireevam (neck) – the vimanam. The Padabandham consists of Jagathi, Kumudham, Kandam, and Pattikai. Stone inscriptions are usually found in Jagathi, and the Kumudam contains flower patterns. @

If it is a square pillar, it is called Brahmakantham, an octagon pillar is called Vishnukantham, and one with sixteen sides is called Indirakantham.. Similarly circular pillars are called Rudrakantham @. -- (@ excerpts from article on Temple Architecture by Dr.S.Kamalakannan, in the Varalaaru magazine).

Dr. S.R.Balasubramanyam, in his book “Early Chola Art” has the following to say:

The Tiruchenduraii Chandrasekaraswami Temple is built of stone, known as ‘karrali’. The garbagraha is a square measuring 17’6” each side in the exterior and 7’ in the interior.

The Ardhamandapa runs 17’6” in front and is supported in the interior by four pillars in the centre, and two pilasters, on each side. The corbel and the capital of the pillars are of fine workmanship.

You would have noticed from the picture of the ardhamandapa, in the previous post, how the interior and the pillars looked. There are two square pillars, and two circular pillars in the ardhamandapa, and the square pillar has also other patterns and designs displayed in it. You would also have seen some dark patches in the pillars, and these are actually sculptures, somewhat worn out, and hidden by the white lime coating – someone has tried to bring out the images, and they are visible to some extent. Next time you visit the ardhamandapa, look for these sculptures.

The adhishtana (moulded basement) has padmam and kumudam mouldings, with a yali frieze above it. Circles adorn the edges of cornic. It has two talas (storeys). There are pancharas with a barrel roof in the centre and cubical ones with four sided curvilinear sikharas on the edges.

The griva is foursided, and the sikara is square and curvilinear. The niches on the walls of the garbagriha contain Rishabavahanar in the south replaced in its front by a modern Dakshinamurthi, Vishnu in the west and Brahma in the North.

The deity of the Siva temple is called in early inscriptions “Tiruchchendurai Karrali Parameswarar’ or Perumanadigal, situated in the brahmadeya of Isanamangalam in Uraiyur Kootram

SRB also makes a mention that the Viswanatha shrine situated within the Chandrasekara temple has an inscription of the 20th year of Rajakesarivarman, stating that there was, in the western part of the village, a Vishnu temple called Merrali (the western temple). Usually all Vishnu temples are located in the western part of the village and are called Tirumerrali. This was known as Pulalaya Vinnagar but this temple cannot be traced now.

(to be continued)

-Sethuraman