Lord Siva, the originator and expounder of yoga, jnana, vina and vyakhyana is represented in Dakshinamurti form. As a expounder of Music He is known as Vinadhara Dakshinamurti and quite commonly depicted in sculptural form either in asana or sthanaka postures handling the instrument ‘Vina’. However, it is quite interesting to see Lord Dakshinamurti depicted with percussion instrument ‘mattalam’ or ‘mridangam’ at Vettuvankoil.
Vettuvankoil, the unfinished Pandya monolith cave temple at Kalugumalai is a wonder in stone, it is so unfortunate to see the rock-cut monolith remain incomplete. Vettuvankoil is known for its sculptural splendour and rare depictions, sculptures are extremely known for its elegance, natural and realistic attributes. One such sculpture is Lord Dakshinamurti depicted in the southern griva koshtha handling a percussion instrument.
Lord Siva is known for his cosmic dance with his udukkai and sometimes his dance used to be accompanied by various instruments especially handled by the Ganas. The authors of Thirumurai picture the various dances of Lord Siva and the accompanied instruments for his tandava. Instruments like edakkai, talam, tannumai, muzhavu, veenai, thimilai, udukkai, kokkarai, sallari, ekkalam, thaguni, mondhai and it goes on. Around seventy-five musical instruments are mentioned in Thirumurai among which only very few are in existence now and performed in the temples as Kailayavadyam, Panchavadyam, Panchamuga vadyam. We get a glimpse of some of the instruments in the valabhi sections of the vimana, mandapas of Siva shrine usually adorned with gana frieze, ganas are shown in dancing posture and handling some of the above said instruments.
Chapter thirty-three of Bharata’s Natyasastra vividly deals about the percussion instruments; its legendary origin, types, making and lessons. It mentions the percussion instruments collectively as ‘Pushkaras’ and speaks about the three pushkaras viz., mridanga, dardura and panna. As like, Music and Musical instruments are age old to Tamil society, pictured in Sangam literature, its elite knowledge gleaned through post-Sangam literature especially, Silappathikaram, Thirumurai and visually in Temples. ‘Thol karuvi’ (instruments made of hide and skin) forms major accompanist for performing arts. In that tannumai, idakkai, thimilai, muzhavu, ciruparai, are few to mention. Tannumai one of the primeval percussion instrument gleaned through the Sangam literature continued as a principal percussion instrument for performing arts which is known through Silapathikaram. In Thirumurai also throughout this instrument is mentioned in the accompanying list of instruments for the Lord’s dance or as the music performed or heard in the Lord’s abode. Usually Nandi handle the percussion instrument for Lord Siva’s tandavam and sculptures of Nandi or Gana handling drum is quite commonly seen accompanying the Nrittamurti or Vinadhara Dakshinamurti. But, in Vettuvankoil, God himself is shown handling a long percussion instrument, probably tannumai or mridangam.
Lord Dakshinamurti handling tannumai is seen on the southern griva koshtha of the unfinished monolith vimana. The Lord is seated in suhasana on a pitha formed above the roof of the second tala with his right leg folded flat on the floor of the pitha and the left leg dangling and resting on the muyalaka. The back hands are in kat̩aka and hold akshamāla in the left and mazhu in the right. The front hands are handling the mridangam resting on his right leg.
The instrument is long, resting to the thigh and foot of the deity, while the right left hand is holding, His left hand is handling the drum. The handling of the instrument gives a mild turn in his upper body towards right side with his head tilted right, his left shoulder is lifted up slightly and his right shoulder relaxed and handling the mridangam with slight grin and gaze at the instrument.
Besides, the deity is beautifully decked with attire and ornaments. He is draped in short attire covering his thigh and above that the idaikattu is slackly worn. The attire is fastened by the araipattigai (katibandha) and the excess girdle is bow knotted in the center. The idaikattu is heavily bow knotted on the sides, and shown flowing on the pitha in the left side. In addition, a hip ornament taragaichummai adorn the hip and udarabandha worn around the abdomen. The ears are elongated and decked with patrakundala in the right while the left ear is plain without kundala. Charapali, and heavily stone studded ornament adorn the neck. Both the arms are slightly broken, keyura, kankanas are the ornaments adorn in the upper and lower arms respectively. Thick Yajñōpavita is worn in upavita fashion. His locks are heavily curled and styled as jatabhara besides, decked with head patta, a datura is shown in the left side.
The muyalaka at the foot of the God is lying in prone position and holding a snake in his right hand. He is decked with short attire, pootukundala in his elongated right ear, kankanas, keyura are worn in the arms, udarabandha around the abdomen and the locks are gathered in jatabandha style. The snake is with its hood spread facing the muyalaka.
Dakshinamurti of Vettuvankoil is not only a rare form but also a masterpiece exhibiting the prodigy of Early Pandya art. The Lord handling of the instrument with slight grin shows enchanted and also enchanting the world by His music.