SMALL IS ALWAYS CUTE!

The vimana of Vasugiswaramudaiyar at Visalur is one of my favourite vimana, a charming one, for me it’s a perfect blend of architecture in petite. Usually, vimana of presiding deity are of reasonable size or even colossal to accentuate its prime-ness in the complex. However, the vimana of Vasugiswaramudaiyar, though it is of the principal deity, is comparatively smaller in size. It is unique and one among the very few small vimanas of Tamil Nadu, the other being at Kaliyapatti, Enadikulam, Tiruppur, Panangudi etc in the same district. Let us have a virtual and descriptive tour on Vasugiswaramudaiyar temple complex. 

Visalur is a small hamlet in the Kundrandarkoil block in Pudukkottai district and about 27 kms north of the district headquarters Pudukkottai. The Varasugiswaramudaiyar temple complex is a single prakara complex with the main shrine consists of vimana, mukha mandapa, mahamandapa and an open pillared mandapa encompassed by huge compound wall and thiruchurru malika with a gopura in the east. The deity at present is known in the name Margapuriswara however the Chola inscription (ARE 217 of 1941, 12^th regnal year of Rajaraja I) mentions the deity as Sri Vasugiswaramudaiyar. The name of the deity can even be read as Sri Varasugiswaramudaiyar. The Pandya inscription (IPS 598 :14^th regnal year Virapandiyadeva) mentions the deity as Visalidaiyar Varadukasuramudaiya Nayanar.

In the front, adjoining the Vasugiswaramudaiyar temple complex lies a prakara encompassing the shrine of a folk deity. It gives a look of an outer prakara to the main shrine, but not encompassing the entire complex. Besides, in front of the temple complex lies the temple tank.  The entrance on the east for the outer prakara forms the main entrance of temple complex. Inside, on the northern side the shrine of Aladikaruppu consists of a vimana, a mukhamandapa and a open pillared mandapa lies facing south. In between the entrances corresponding to the main shrine is seen a balithala and a nandi inside a mandapa.

The inner prakara has a two tier sala gopura with a newly constructed super structure and the prakara walls that extend on both sides encompass the main shrine. Inside adjoining the wall the thiruchurru malika runs on all the sides. The tiruchurru has a upapitha and a single row of pillars. The pillars are three squares and kattu in between and the potikas are vettu. On the northwestern corner of the thiruchurru is seen the shrine for Subrahmanya, on the southwest corner is seen the shrine for Ganesa and the madapalli is seen on the south eastern. The shrine for Chandeswara and a well in octagonal shape are seen on the northern side of the prakara. 

The vimana of Vasugiswaramudaiyar is a pure ekatala nagara vimana; nagara tala with nagara sikhara. It has padabandha adhishthana, bhitti, prastara, griva, sikhara and stupi.  The bhitti is cantoned by brahmakantha pilasters four on each side representing the karna-bhadra-karna sections. Projection and recession of karna-badhra sections, koshthas adorning the karna sections are absent in the aditala. The brahmakantha pilasters possess capital ornamentation and above the pilasters rest the plain angular potikas. The roof is extended as a flexed overhanging kapota and decked with a pair of kudu arches on each side. The edges are rimmed and decked with chandramandalas, the corners are ornamented with konapattas. Above the bhumidesa rests the vedica complex on which raise the griva and sikhara.

The walls of the griva are decked on all the sides with a pair of brahmakantha pilasters besides, on the cardinal directions deities are shown. A full-fledged koshtha is absent i.e. a koshtha flanked by split pilasters is absent instead the deities as bas-relief sculptures are placed in the cardinal directions. However, the kirthimukha with kuduarch shown on the body of the sikhara forms the finial of the cardinal direction deities. The deities on the cardinal directions are Dakshninamurti in the south, Vishnu in the west, Brahma in the north and Muruga in the east. 

The nagara sikhara that rests above the griva is ornamented with kodipalai in the corners, chandramandalas in the ridges but the body of the sikhara is plain. The apex is ornamented as a bloomed lotus with a stone stupi in the center. A nagara stupi is seen placed on the top of the vimana.   

Above the aditala at the four corners Nandis are shown seated. On the southern side of the vimana Dakshinamurti is placed in the bhadra division and a small mandapa is also added to it. 

The doorway to the sanctum is on the eastern side with a very small opening of 0.65mts width and 1.17mts height and has door jambs, lintel, sill. Inside, the sanctum is cubical and measures 1.43 mts in all directions, the walls are plain but have the prastara element of uttira. Lord Vasugiswaramudaiyar in the form of Linga housed the sanctum. The small linga has circular avudaiyar with a small gomukha facing north and rudra bana in the middle.   

The mukha mandapa has the same features of a vimana; padabandha adhishthana, bhitti cantoned by single pilaster on each side and prastara with all usual features. The potikas are angular, the kapota lack kudu ornamentations besides, the bhumidesa is also plain. Inside the mukha mandapa measures 1.39 mts in the east-west direction, 1.17 mts in the north south direction and 1.35mts height.

The maha mandapa is a pillared hall carry the same features of mukha mandapa; has a padabandha adhishthana, bhitti cantoned by four brahmakantha pilasters on all sides, vettu potikas resting over the pilasters and bear the prastara. The pilasters possess the same features as the pilasters of the vimana. But the kudu arches in the prastara lack ornamentations. The maha mandapa has doorway both on the east and on the south. The pilasters have the ornamentation of three squares and kattu in between. A nandi is seen placed in the center of the mandapa facing the Lord.

The open pillared mandapa extend on the east and also on the south. The pillars of the mandapa have the ornamentation of three squares and kattu in between, the potikas are vettu and at some places plain angular is also seen.  

SCULPTURES IN THE GRIVA

Lord Muruga in suhasana on a padma pitha is carrying sakthi and vajram in back hands, the front hands are in abhaya and ahuyavarada. He is decked with karantamakuta and chenni in his head, short attire draping his lower body and idaikattu slackly worn over it. He is also decked with ornaments like patrakundalas, kandigai, charapali, kankanas and keyuras, udarabandha. Vastra yajnopavita is worn in upavita style. 

Lord Vishnu in suhasana on a padma pitha is decked with kirita makuta, silk attire, while the front hands are in abhaya and ahuyavarada, his back hands in kartari mudra carry sankha in the left and chakra in the right. He is draped in silk attire, idaikattu and yajnopavita besides, decked with ornaments like makrakundalas, charapali, kankanas, keyuras, udarabandha and anklets. 

Lord Brahma is seated in suhasana on a padmapitha with his front right hand in abhaya and front left hand is placed on his lap whereas the back hands in kartari mudra carry akshamala in the left and kamandalu in the right. In jatamakuta and silk attire, he is decked with ornaments like stone studded charapali, makarakundalas, keyura, kankanas, udarabandha, thazhlseri. Vastra yajnopavita is worn in upavita fashion.

Lord Dakshinamurti is seated in yogasana with his front right hand in chin mudra and front left hand placed on the left leg facing up and holding palm leaf. His back hands are in kataka mudra and carry snake in the left and akshamala in the right. His locks are gathered as jatabhara, and decked with head ornament, besides, charapali, keyuras, kankanas, patrakundalas are the other ornaments adorn by him. His lower body is draped in short attire fastened by hip belt and idaikattu is slackly worn above it. Vastra yajnopavita is worn in upavita fashion.    

DAKSHINAMURTI SHRINE ON THE SOUTH

Lord Dakshinamurti on the southern side of the vimana is seated in virasana with his front right hand in chin mudra and front left hand placed on the left leg facing up and holding palm leaf. His back hands are in kataka mudra and carry snake in the left and akshamala in the right. His locks are gathered as heavy jatabhara, and decked with head ornament, besides, charapali, keyuras, kankanas, patrakundalas are the other ornaments adorn by him. His lower body is draped in short attire fastened by hip belt and idaikattu is slackly worn above it. Yajnopavita is worn in upavita fashion. The traits of the sculpture place it to later period. 

Chandeswara is seated on a pedestal in suhasana with his right hand in kataka mudra is also carrying the parasu and his left hand is placed on his lap. His locks are gathered as jatabhara and his lower body is draped with short attire. Patrakundalas, chavadi, keyuras, kankanas, udarabandha are the ornaments adorn by him. Thick yajnopavita is worn in upavita fashion, the brahmasutra is shown near the chest. The traits of the sculpture place it to early period.  

Lord Bairava is standing in sama on a pedestal with his front right hand in katakamudra carry sula with long stalk, the front left hand is carrying the scull bowl. The back hands are in kataka mudra and carry damru in the right and pasa in the left. His naked body is adorned with ornaments like charapali, kankanas, keyuras. His ears are elongated and the left ear is decked with patrakundalas while his right ear is without kundala. The yajnopavita is a scull garland worn in upavita fashion, extend upto his calf. A ferocious dog is seen standing behind him.

Jyeshta is seen seated on a pedestal with her son Manthan and daughter Manthi. Decked in jatamakuta, silk attire, patrakundalas in the elongated ears, stone studded charapali, keyuras, kankanas, svarnavaigaksha, and thazhlseri are the ornamented adorned by her. Her left hand is resting on the lap of her daughter whereas her right hand in katakamudra is carrying nilothpala. Her emblem crow is shown to her right. Bull faced Manthan seated to her right is decked with karandamakuta and short attire is carrying pasa in the right, the left hand is holding his mother. His left leg is placed in swastika. The damsel to her left is decked with karandamakuta, silk attire, charapali, kankanas, keyuras, patrakundalas. Her left hand is resting on her lap whereas her right hand in kataka is carrying lotus. Both Jyeshta and her daughter are seen in slight grin. 

Usually Jyeshta is shown with flabby belly and pendulous breasts to depict her as aged but here shown as young goddess with slim waist and stiff breasts. Besides, added with graceful smile.

INSCRIPTIONS

Inscriptions are dealt separately in the inscription section. But an overview and some interesting facts are detailed here. About thirty three inscriptions are seen in this temple complex, except eleven the rest are fragments. The Inscriptions of Pudukkottai State have published text for five inscriptions (231, 598,609,773, 1130). Gist of an inscription copied in the year 1940 was published in the ARE 1941 in No. 271. Fragment inscriptions on stone slabs are seen placed in the northern side thiruchurru. Inscriptions of Rajaraja Chola I, Kulottunga Chola I, Vikarama chola deva, Sri Virapanadya Deva are seen in this temple complex. 

It is quite interesting to see in an inscription that (12th regnal year inscription (ARE 1941, 271 of Rajaraja Chola I) while detailing about the offerings to the deity have listed it under a separate heading ‘bryt[’ and the notation of colon like punctuation is also used. 

A 4^th regnal year inscription found on the northern side of the vimana mentions Rajakesari Rajendra Chola, Rajakesari Rajendra chola is none other than Kulottunga Chola I. The 14^th regnal year inscription (IPS : 598, 609) of Jatavarma Sri Virapandya Deva mentions Thiruverumbur, Puliyur. A Chola period inscription (IPS 773, 1130) found in various fragments is placed on the northern thiruchurru mentions ‘…rupamathan, nakkan, ‘kavamozhi vinnagara’. The inscription refers the word ‘Adaiyolai’, that is, document maintained in the Government Record Office. Interesting aspect of these fragments is that the speck over the soul-body letters is beautifully formed as ‘c’ hook.  The inscriptions mention the village as Visalur in Misengilinadu a subdivision of Jayasingakulakala valanadu. The above mentioned administrative division remains the same even during the Pandya period. The village was under the administration of Ur. The architecture and sculptures of the vimana, the architecture of the mukha mandapa help us to place it to C.E. 9^th century. The presence of vettu potikas in the pilasters of maha mandapa, open pillared mandapa, thiruchurru and gopura help us to assign its period to last quarter of C.E. 11^th century or C.E. 12^th century. Vasuki Iswaramudaiyar vimana, a small and humble vimana reflects the spirit of the society to which it belongs.