Tirunelveli Region Travelogue (Pandyan Yatra 2015) Part 3.2: Kalugumalai Jain Monastery

 

Picture courtesy: Bhusavalli Pandyan Yatra 2015 Kalugumalai Jain Monastery

Kazhugumalai Jain Monastery 

Kalugumalai is an ancient Jain heritage site that has the natural cavern with rock beds where Jain ascetics observed vigorous penance and an academic center for imparting knowledge in Jain theology for 300 years during early Pandya regime. A veritable open-air gallery of diminutive sculptures of Jina or Tirthankara in three long rows, bold relief panels of Jinas - Adinatha, Parsvanatha, Mahavira, Bahubali, Ambika Yakshi and Padmavati Yakshi. The open-air bas relief is an ensemble of over one hundred and fifty images sculpted with great skills on top of the granite rocky expanse.

The Jain ascetics,  sravakas (disciple), male scholars (bhttarars) and women scholars (kurattigal or nuns) from far off places in Tamilakam traveled to Kalugumalai and stayed in the natural caverns and resolved to spend their lives in splendid isolation, engaging themselves in contemplation and religious pursuits. They also taught or learned Jain theology and propagated Jainism from the 8th century A.D.  Kalugumalai is a "must go place" if you like Jain heritage and architecture. The name Kalugumalai (vultures' hill) originated quite recently i.e, about 200 years or less.

History of Jainism under Early Pandya Reign

It is important, for one who knows little about Jainism, to understand the history of Jainism under early Pandya reign to realize the intense rivalry of vedic or brahminical religion and the up-rise of the Bakthi movement and the hostile conditions under which Jains have survived and maintained and practiced their religion.

The 24 Tirthankaras or Arihants or Jinas were instrumental in spreading the doctrines of Jainism. Among the 24 Tirthankaras the first 22 were mythological personages and Parswantaha the 23rd Tirthankara (877–777 B.C.) and Mahavira the 24th Tirthankara (599 –527 B.C.) were the historical personages. The Sruktakevalin Badrabahu (433 - 357 BC ?) and Vaisaka Munivar, the last two pattadhars or disciples of Mahavira (totally 11 pattadhars or disciples),  were instrumental in founding Jainism in Tamil Nadu, especially in the early Pandya country. On foreseeing famine in large magnitude, Badrabahu left the Kingdom of Magada with the Maurya King Chandragupta (340 BC - 298 BC) and the Jain followers and reached Sravanabelagola in Mysore. Badrabahu acted as the Jain Acharya (religious head) of the Jains. From Sravanabelagola Badrabahu sent his disciple, Vaisaka Munivar, to the neighboring Chola and Pandya kingdoms to spread the gospel of Jainism to the laity.  It is believed that these mendicants reached the Pandya country first as early as the Sangam period - around 300 B.C. The Pandya rulers of the Sangam era were tolerant and broad minded in their religious prospect and hence all religions including Jainism prospered during their reign.

Mahavamsa, a Buddhist text affirms that Jainism was followed in Tamil Nadu even before the 3rd century B.C. Some other scholars believe that Jainism entered South India well before the visit of Bhadrabahu and Chandragupta around 6th century B.C. During 3rd century A.D. Digambara, a sect of Jainism with nudist adherents, recognized itself from the Svetambara, another sect with white-clad adherents. Digambara monks observed full monastic life  and the female wore white clothes and called as Aryikas. The Mula sangh (original assembly) was the ancient assembly and monastic order of Jain monks came from 430 A.D. and this Mula sangh was divided into four major groups: 1. Nandi Gana (நந்தி கணம்), 2. Sena Gana (சேன கணம்),  3. Deva Gana (தேவ கணம்) and 4. Simha Gana (சிம்ம கணம்). Every Gana had sub-sects such as Kachai (கச்சை) and Anvayam (அனுவயம்). The Pallankoil copper plate (பல்லன் கோயில் செப்பேடு) mentions about Vajra Nandi (வஜ்ர நந்தி), the Chief Jain monk Nandi Gana. Another Chola inscription refers about Gani Sekara Maruporsuryan, name of Jain monk from Nandi Gana. Tirugnana Sambandar (திருஞான சம்மந்தர்) in one of his Tevaram hymns (தேவாரம் பதிகம்) cites few monks such as  Kanaka Nandi, Putpa Nandi, Bhavana Nandi, Kumanama Sunaka Nandi, Kunaka Nandi and Dhivana Nandi from Nandi Gana. Bhava Nandi is the author who composed the Tamil Grammar work.

    ‘‘கனக நந்தியும் புட்ப நந்தியும் பவண நந்தியும் குமணமா
    சுனக நந்தியும் குணக நந்தியும் திவண நந்தியும் மொழிகொளா

    அனக நந்தியர்’’

Dramila Sanga (திரமிள சங்கம்) or Dravida Sanga (திராவிட சங்கம்) branched from Nandi Gana and Vajra Nandi was instrumental in instituting Dravida Sanga in Madurai in 470 A.D. (Vikrama year விக்கிரம ஆண்டு - 526).


However the splendid era of Jainism reached its down-slope due to intense rivalry between the vedic or brahminical religions and the up-rise of the Bhakti movement (பக்தி இயக்கம்) in Tamilakam (தமிழகம்) during 7th century  influenced the decline of Jainism in the 7th century A.D. Soon Jainism recovered from the adversities and it became a religion accommodating of the practices from brahmanical religion to withstand religious animosity and the sectarian rancor.

Jain Iconography

Jainism and Jain iconography attached much importance to ritualistic practices and idolatry worship of Jina, Arihant, or 24 Tirthankaras. Jain iconography depicts Tirthankara or Jina appear seated in a lotus posture on the lion throne or standing meditative posture (kayotsarga). The Tirthankaras generally have a triangular mole symbol (Sri-vatsa mark) on their chest, a triple umbrella and a circular halo (radiant light drawn around the head) above their heads and a distinctive lanchana or symbol indicated on the pedestal. The lanchanas are listed in such texts as Tiloyapannati, Kahavaali and Pravacanasaarodhara. Unless the conspicuous lanchana of Tirthankara shown or his name finds mention in dedicatory inscriptions, it is not possible to differentiate the specific Tirthankara image. Two exceptions are there: Parsvanatha identified with five hooded serpent and Adinatha (Rishabanatha) with lock falling on his shoulders.

The early ascetic-abodes in natural cavern (wherein iconic and ritualistic worship of Tirthankaras and their attendant deities received little attention  till about the 6th century A.D.) lost their prominence in the wake of Bhakti movement.  Yaksha and yakshini, or male and female Sasana-devatas or demigods or attendant / guarding spirits, who are also the devotees the Tirthankaras. According to Jain belief, Indra appoints one Yaksha and one Yakshini to serve as attendants for each Tirthankara. Soon the cult of Yakhas like Yaksharaja (Sarvahna or Sarvanubhuti) and Dharanendra Yaksha as well as Yakshis like Ambika, Chakreswari Devi, Jvalamalini, Padmavati Yakshini became popular. 

Several Jaina cavern in Pandyan region including Anamalai, Alagarmalai, Aivarmalai, Chitaral, Kilakuyilkudi,  Kalugumalai, Tirupparankunram, Uttamapalayam etc could be mentioned as the best examples for such new development.  Further to this Jain monks like Ajjanandi bhatarar, Gunasahara bhatara, Kanakanandi bhatara of Kurandai, Pavanandi bhatara, Arattanemi bhatarar, Vajranandi  and few others played the predominant role in spreading Jainism and Jain iconography and speeding up its growth. (SII, Vol. XIV, No. 102; Vol. 5, Nos. 310, 311, 359, 380, 397 etc.).

Pandya kings like Maran Sendan (-624 A.D.) and Arikesari Parankusa (624-674 A.D.) reposed strong faith in Jainism and the later Pandya rulers like Srimara Srivallabha (811-860 A.D) and Parantaka Viranaryana (866-911 A.D), lent adequate support to Jainism and Jain iconography. The inscriptions of Parantaka Viranarayana found at Kalugumalai as well as in Anaimalai, Arivarmalai and Arittapatti speak about the growth of monastic establishments here.

Kalugumalai Jain Bas Relief Images

Lisa Nadine Owen in her monograph, 'Demarcating sacred space: The Jina images at Kalugumalai' published in International Journal of Jaina Studies. 6 (4): 2010. pp 1 -28, explored the types arrangement of approximately one hundred and fifty independent bas relief sculptures of Jinas and Jain deities on the surface of its rock formations in Kalugumalai accompanied by individual donative inscriptions. The rectangular or square niches present the bas relief images. The author represented five separate  groups of images, based on the directional approach - the order in which one views the bas reliefs from north-west to south-east and not based on the chronology order i.e, from ninth or early tenth century A.D. (chronology as viewed by the author) for further analysis and discussion.

Group 1

From the Sastha temple you may find steps leading to the lone panel of Jina / Tirthankara. The rock face is enclosed within barbed wire fence. Lisa Owen categorizes this lone Jina / Tirthankara as Group 1. The deeply hewn niche measures about four feet in height. The Jina appear seated on lion pedestal with an elaborate throne back comprising a bolster and crossbar decorated with makara and vyla motifs at both the ends.  Behind the crossbar two fly-whisk bearers come out into view; also two more ardent male followers located at the sides of throne base. The Jina is crowned by the triple umbrella (chattra). The Tirthankara is seated under the broader canopy of foliage curls. The five foliage circle motifs are arranged in a semi-circle form and the middle circle bear the figurine of dancing girl and the four other circles bear four male musicians (two of the playing long string instrument and two others beat the drum with a pair of cymbals. The ethereal figures appear on top and to the sides of Jina with hands holding the lotus flowers and offering homage. Also figurines in a panel depicting a horse rider and an emerging elephant. Date assigned by the author - ninth or early tenth century.

Group 2 Jain Image Panels

Group 2

To the south - east of Group 1, five panels appear on a rock face just behind an Ayyanar temple. Lisa Owen assigns these panels as Group 2. The Ayyanar temple complex presents Ayyanar, Tamil village folk (prime) deity, gigantic and colorful statues of companion deities of Ayyanar seen mounted on horses or elephants. The Ayyanar temple, constructed about 100 years before the rock face, prevents from viewing the Group 2 and Group 3 panels.  Three distinctly bold panels, striking iconographic resemblance with Group 1 panels, are arranged horizontally across the rock face. The iconographic elements include lion throne, triple umbrella, halo, tree, fly-whisk attendants, standing devotees etc. The panel at the far left strikes precise similitude with the Jina appearing in Group I panel including five foliage circles bearing the dancer, musicians, horse riders and the elephant at the center. Above these two bolder bas reliefs, a long panel bears the series of seven diminutive images of  Jinas appear seated on double lotus seat (lion throne absent) and crowned by triple umbrella. The Group 2 images are accompanied with donative inscriptions.

Group 3

The panels of bas reliefs forming Group 3,  arranged on the broader rock face, are available somewhere contiguous to Group 2 panels.  The Group 3 major panels present both kinds i.e, individual Jinas appear seated on thrones as well as Jinas / Tirthankaras appear in series. Also there are minor panels which include lone Tirthankara figurines with triple umbrella and double lotus seat.

Group 3 Jain Image Panels

Parsvanatha Panel:

Parsvanatha, the twenty third Tirthankara and the historic personage who lived in the 8^th century B.C. He was the the son of King Ashvasena and Queen Vamanadevi of Varanasi and was the prince of Ikshavaku dynasty. The prince abdicated at the age of thirty and became an ascetic. He attained kevalagnana (absolute knowledge) and became the twenty-third Tirthankara or Jina. He is recognized with the blue hue and a seven hooded serpent. He appears with his Yaksha  Dharaṇendra and Yakshi Padmavati.

An interesting legend about the previous life of Parsvanatha reveals his association with his Yaksha,  Yakshi and Kamdan. The Jina in his previous life attempted to protect a pair of serpents from being burnt in sacrificial fire of a brahmin. The Jina reborn as 23rd Tirthankara and the serpents were also reborn as Naga King Dharanendra and Naga Queen Padmavati.  The brahmin also reborn as a demon Kamdan. Kamdan was disturbing the Jina from attaining Kevalagnana and engaged in attacking with fire, torrential

Group 3 Parsvanatha Panel

Bahubali (Sankrit) aka Gommatesvara (Kannada) Panel

Bahubali is an outstanding name in the Jain legends. He was the second of the hundred sons of the first Tirthankara, Adinatha. The warrior prince fought with his on brother Bharata for the share of his father's kingdom. He conquered everything from his brother and could have become an emperor; instead he returned everything to the brother and chose the ascetic life and proceeded to the forest to perform asceticism. While he was in meditation for longer duration, the vines encircled all through his body. Though he attained kavalagnana, he never prophesy Samavasarana. Hence he is not considered as Tirthankara. The panel depicts Bahubali covered with vine creeper all over his legs and appear with two of his female attendants (Vidyadhari).

Group 3 Bahubali Panel

There is an iconographic convention of  pairing of Parsvanatha and Bahubali and the combination is prominent in the Jain caves at Aihole (7th century) and at Ellora (9th century) and other places including Kalugumalai.

After Group 3 panels the rock face shows a smooth bend and the huge tree with its projected branches provide shade. The panels of Groups 4 and 5 are noticed around the rock surface.

Group 4

Group 4 Jain Image Panels

The shallow depth panels bearing the bas reliefs, forming Group 4, are sculpted on the rock face in the lower right corner and the rock formation above the panels is shaped like a canopy.  The shelter appears like a natural cavern and the same could have been modified subsequently as panels of Jina bas relifs. The panels measuring about two feet depth and the central panel presents three Tirthankaras appear seated on double lotus seat and crowned by triple umbrella. The central panel is flanked by Bahubali and Parsvanatha appear standing in separate panels. Four more Jinas appear seated on the left corner panels and the right corner panels also present seated Jinas. The bas relifs are accompanied by donative inscriptions.

Group 5

The huge rock face presents highest number of bas reliefs forming Group 5 panels are nearer to this rock face. Panoramic array of sculpted panels are located on the far right side and are arranged in three rows and depict the seated Jinas on double lotus seat or lion throne and crowned by triple umbrella. Few panels also depict tanding Jinas with the respective iconographic style. Some othe bas reliefs of Jinas situated on the far left side of the rock face appear incomplete.

Group 5 Largest Jain Panels

Yakshi Padmavati Panel

Two Group 5 panels are also dedicated to Yakshi Ambika and Padmavati. Padmavati is adorned with karanda makuta and appear seated on single lotus pedestal in Lalitasana posture under five serpent hoods. The yakshi holds the fruit and rosary in her lower left and right hands and the upper hands hold a goad and a snake. Her panel is taller than the panels of her attendants. Two female attendants appear with flywhisks.

Yakshi Ambika, Husband, 2 Children & Lion

Yakshi Ambika aka Kusmandini attendant (Sasanadevi) to Tirthankara Neminatha occupies the pivotal position in Jain iconography. The cult of Ambika is popular during 7th - 12th century A.D. She appear in an exclusive panel with her husband and two children, a lion (simha) as her vehicle, and the holy tree 'kalpavriksha (areca nut tree).' 'Her husband is shown with a hand raised and his face has no detailing so as to depict his awe and the glare from her "golden appearance" falling on him.'

Legend of Ambika: Ambika and her two children were banished from the house by her husband Somasarman since she offered food (intended for sraddha ceremony) to the Jain monk. While her banishment they were feeling hungry and by divine intervention a mango tree and a water body came to their sight and they ate mangoes. Some miraculous events at Ambika's houehold turned her husband to justify Ambika's actions for a noble cause. Hence he decided to call his family back to his home. On seeing her husband Ambika got frightened and tried to hide herself. She died while hiding from her husband. Ambika was reborn as Sasanadevi to Neminatha Tirthankara. After the death her husband also reborn as her lion vehicle.

Kalugumalai Inscriptions (Vatteluttu)
 
The Jain Monastery at Kazhugumalai has 100 Vattezhuthu (வட்டெழுத்து) inscriptions (SII Vol V, No. 308 - SII Vol V, No. 406; Epi. Ind., Vol. XV, f.. n. 6.) and they are inscribed below the bas reliefs as label inscriptions.

Period:

From the available inscriptions it is inferred by scholars that they belong to different period. They have been generally ascribed to 8th century A.D. However K.V.Ramesh, eminent Epigraphist and former Joint Director-General of Archaeological Survey of India (ASI) assigns them to the 10th - 11th century A.D.

Records, Messages

The prime Jaina deity at Kalugumalai Jain monastery referred to in the inscriptions as Araimalai Alvar of Tirunechuram (SII Vol.V, No. 357, 361). There are about one hundred and fifty sacred images (bas reliefs) were caused to be made by the followers of Jain faith (Tamil Jains) from a number of adjacent villages. The sacred images were caused to be made for the merit of their parents, bhttarars, kurattigal, village elders, Pandya officials and others. The largest donor was Pandya King Maran Sadayan who donated 17 sacred images. Among the other donors include the artisans like carpenters, potters, smiths as well as cultivators and others. Tirunechuram (திருநேச்சுரம்) was also referred to as Ilanechuram (இளநேச்சுரம்) vide an epigraph (SII, Vol. V, No. 369) as well as Perunechuram (பெருநேச்சுரம்) vide epigraph (SII, Vol. V, No. 361). 


The Kalugumalai monastery marked the revival of Jainism in Pandya country. Gunasahara bhattarar (குணசாஹர பட்டாரர்) of Tirunechuram was probably the chief among the monks looking after Jain establishments as well as endowments at Kalugumalai (ARE 117/1894, SII, Vol. V, No. 406). His  disciples administered the academic functions and services. Inscriptions refer to the order of monks and nuns in the Digambara Jain monasticism in Kalugumalai. An Acharya (ஆச்சாரியா) is the highest leader of a Jain order. Upadhyaya (உபாத்யாயா) is the learned monk, who both teaches and studies himself.  Bhattara (பட்டாரா) or Bhattarar (பட்டாரர்) is the male disciple or monk and Bhattari (பட்டாரி) is the female disciple or nun (SII, Vol. V, No. 356). A Muni (முனி) is an ordinary ascetic and Aryikas (ஆரீக) is an ordinary woman ascetic. Women disciples referred as Manakkigal (மாணாக்கிகள்) and women teachers as Kurattigal (குரத்திகள்). Jain scholars and teachers (monks and nuns) from far-off Jain abodes and monasteries such as  Tirumalai, (திருமலை), Tirupparuttikunram (Jina Kanchi) (திருப்பருத்திக்குன்றம்), Perumandur (பெருமாண்டூர்), and Tirunarungondai (திருநறுங்கொண்டை),   traveled to Kalugumalai to pursue and propagate Jain theology and stayed in the natural caverns.  (SIL, Vol. V, Nos. 333, 334, 341,345, 355, 356,369, 371, 372, 373.) -  Tiruchara-nattuk-kurattigal (திருச்சார நாட்டுக் குரத்திகள்) (SII, Vol. V. No. 324, 326); Nalkur Kurattigal (நால்கூர் குரத்திகள்) (SII, Vol. V. No. 355, 356);  Ilanechuram Kurattigal (இளநேச்சுரக் குரத்திகள்)  (SII, Vol. V. No. 369); Kurattigal of Tirumalai (திருமலைக் குரத்திகள்) (SII, Vol. V. No. 370); Kurattigal of Tiruparutti(kundru) (திருப்பருத்திக்குன்றக் குரத்திகள்) (SII, Vol. V. No. 372); Milalur kurattigal (மிழலூர்க் குரத்திகள்) (SII, Vol. V. No. 394); Kurattigal of Kudarkudi (குன்றக்குடிக் குரத்திகள்) (SII, Vol. V. No. 396). It is believed from the Jaina inscriptions in Kalugumalai and others that the Jain theology classes could be coeducational and that ocassionally nuns served as teachers. (SII Vol. III, No.92 and SII Vol. V, No. 308 - 407). Nuns were students of male monks:

1. Kurattigal (lady teachers) of Ilanechuram, disciples of Tirtha bhttara (SII, Vol. V. No. 369)
2. Kurattigal of Tiruparutti (kunru - Jina Kanchi), the lady disciples of Sri Pattini bhattara (SII, Vol. V. No. 372)

Male Students studied under Woman Teachers (nuns):

1. Enadi Kuttanan Satti, disciple of the Kurattigal (lady teacher) of Tirumalai (SII, Vol. V. No. 370) 

Women Students under Women Teachers

1. Nattigabhattarar, the (lady disciple) of Kurattigal (nun) of Nalkur (SII, Vol. V. No. 355)
2. Nalkur kurattigal, the (lady disciple) of Amalanemi bhattara (lady teachers) of Nalkur (SII, Vol. V. No. 356)
3. Arattan nemi kurattigal, the lady disciple of Mammiakurattigal (371)
4. Milalur Kurattigal, the lady disciple of Perurkurattigal who was the d/o Mingaikumaran of Pidangai in Karaikana nadu image (394)

The monastery was also frequented by common public from places like  Alattur (அலத்தூர்), Erahur Pereyirkudi (எலகூர் பெரெயிர்க்குடி), Ilavenbai (இளவெண்பை), Kalakkudi (கலக்குடி), Karaikkudi (காரைக்குடி), Kottaru (கோட்டர்), Kurandi (குறண்டை), Nalkurkudi (நல்கூர்குடி), Pidankudi (பிடங்குடி), Tiruchcharanam etc. 

Jainism condemned caste divisions and respected all humans as equals and the monks encouraged and practiced four forms of charity or dhana - 1.donating food to the needy (அன்னதானம்), 2. imparting education to all (கல்விதானம்), 3. providing medical assistance to the poor (மருத்துவ தானம்) and 4. affording refuge to the helpless (அஞ்சினான் புகலிடம்) - as their important duty. Owing to these, Jainism flourished in ancient Tamil Nadu and the monks brought the religion closer to the Tamil common public. The Tamil Jains influenced and forged the religion, politics, culture and society of the ancient Tamilagam.

Donating food for the needy:   An inscription at Kalugumalai monastery records the construction of a well and the gift of some land for providing some food to the ten  bhattarar expounding Siddhanta, and the Vairagiyar (monks) in the Tirumalai temple at Tirunechuram, by Siddhan of the village at Kadantaikudi, located in Nallur-tumbur kurram. The gift was entrusted with Gunasahara bhattara of Tirunechuram. Mentions some more names connected with the endowment. The Pandya king Varaguna II (Maran Sadaiyan), whose date of accession in 862 A.D. Date: 3rd regnal year (865 A.D.), is identified with  this endowment  (SII Vol V, No. 405).

Another inscription in the same site records some endowment to the deity known as Tirumalaidevar at Tirunechuram by Mahadevan, a resident of the village Perunavalur, located in Nallur - Milalai-kurram for feeding five Vairagiyar (monks - Jaina ascetics) and Bhatarar who expounded Siddanta (Jaina philosophy) to the laity in the temple. The endowment was entrusted to Gunasahara bhattarar of Tirunechuram, who was probably chief among the monks looking after Jaina establishments at Kalugumalai (SII Vol V, No. 406)

The Jain monastery became extinct after 13th century due to loss of Patronage after Pandya kings.


Reference (For Further Studies):

1. Champakalakshmi, R. Jainism in south India, Delhi, 1974
2. Desai, P.B. Jainism in South India and Some Jaina Epigraphs, Jainasamskriti Samrakshakasamgha, Sholapur 1957.  
3. Ekambaranathan, A. Jaina Iconography in Tamilnadu. ed. 1. Shri Bharatvarshiya Digamber Jain (Teert Sanrakshini) Mahasabha, Lucknow.  2002
4. Ekambaranathan, A.  Jaina Temples of Southern Pandiyanadu.
5. Ekambaranathan, A. and C.K. Sivaprakasam, Jaina Inscriptions in Tamil Nadu: : A topographical list. Research Foundation for Jainology, Madras 1987. 464p.
   Jainism under early Pandyas. In Encyclopedia of Jainsim http://en.encyclopediaofjainism.com/index.php?title=03.JAINISM_UNDER_THE_EARLYPANDYAS
6. Ekambaranathan, A. Studies in Jainism (Tamil Nadu). Shree Sarita Jain Foundation, Chennai, 2011 
7. Ghosh, A. (Ed.): Jaina Arts and Architecture, New Delhi, 1974
8. Kazhugumalai deserves universal recognition.  The Hindu. August 8, 2012.
9. Lisa N Owen. Demarcating Sacred Space: The Jina Images at Kalugumalai
   Opulent sculptures - Epigraphist V.Vedachalam's forte is the tudy of Jaina sites. Frontline. Vol 25, issue 21. October 11-24, 2008. 
10. Ravishankar Thiagarajan. Jina Images of Kazhugumalai as seen by Lisa. Site Seminar Talk on 11 Jan 2015 at "Shrinidhi", 12/1 Reserve Bank Colony MG Road, Thiruvanmiyur, Madras 41.  
11. Sivaramamurti. C.  Kalugumalai and Early Pandyan Rock-cut Shrines
12. Sripal, tamizakattil jainam, T. S.  Madras, 1975
13. South Indian Inscriptions (SII), Vol.14. Archaeological Survey of India.
14. Tamil Jain by Mahima Jain The Hindu December 28, 2013 http://www.thehindu.com/features/magazine/tamil-jain/article5504164.ece
15. Tamil Jain Wikipedia http://en.wikipedia.org/wiki/Tamil_Jain.
16. Vijayakumar.S. Engineering Marvel. The Hindu. June 14, 2013.

Dr. Lisa Nadine Owen
Assistant Professor of Art History, School of Visual Arts. University of North Texas

Demarcating Sacred Space: The Jina Images atKalugumalai (10 minutes on video)

Tirunelveli Region Travelogue (Pandyan Yatra 2015) Part 3.1: Vettuvankoil and Kazhugumalai Cave Temple

Vettuvankoil & Pallava Monoliths Mamallapuram

Vettuvankoil & Dharmaraja Ratha Shikara

After strenuous travel around Sankarankoil region the Day 1 programe came to an end and returned back to Tirunelveli. We looked forward the delicious food at Tirunelveli and found a restaurant to suit our taste. After dinner we retired to our rooms. After comfortable sleep, we had a bath and breakfast and re-gained energy and ready for the second day itinerary.  Also packed our luggage as we have planned to stay at a lodge in Kutralam after Day 2 travel.

Day 2:   Kovilpatti Region

The Toothukudi district is one of the most urbanized region. It has hot and dry climate. Kovilpatti and Tiruchendur are the two major towns. Kovilpatti region is known for the match factory (cottage)  industry.  Cotton is cultivated in Kovilpatti, Ottapidaram and Thoothukudi Taluks. The archaeological site at Adichanallur (part of Toothukudi district) holds the remains of the ancient Tamil civilization. 

The travel time between Tirunelveli and Kalugumalai was one hour. We traveled through SH 41 Tirunelveli - Sankarankoil Road and took diversion to the right and proceeded through Sivakasi - Alangulam Road. Traveled through the rural villages of Tirunelveli - Toothukudi with interest. Finally reached Kalugumalai.

Everyone was interested in visiting the Jain Abode and Vettuvankoil. Few of us were interested in visiting the Kazhukasalamurthy Rock cut cave Temple at the foot hill. We also visited this rock cut cave.

I will devote one post each for 1. Vettuvankoil 2. Jain Abode 3. Kazhukasalamurthy Temple and Kutralanathar Temple (Including Chitra sabha)

Kalugumalai Town:

The inscriptions of Nechuram aka. Tirunechuram, an ancient Pandya town (presently known as Kalugumalai ("Hill of the vulture") forming  part of the Kovilpatti Taluk, Tirenelveli district, Tamil Nadu) speak about the glorious past of the early Pandya kingdom. The coexistence Jain abode and academic center and the Hindu cave temple and monolithic rock cut temple at Araimalai hillock tell tales about the prevalence of religious harmony between Saivism and Jainism during that period. Nechuram was a sprawling trading center in olden days.

Monuments

There are many monuments of interest at Kalugumalai (Nechuram). 

1. Kazugasalamoorthy Rock cut Cave temple (the Kazugasalamoorthy (Murugan) Temple)
2. Jain Abode above the hillock (Bas relief images and Vattezhuthu inscriptions)
3. Vettuvan Koil (Freestanding Monolithic Rock cut temple)

Three posts will cover about three monuments situated on Araimalai hillock.

Vettuvan Koil (Sculptor's paradise)

Name of the Monument: Vettuvankoil (Sculptor's Paradise)
Historical Name: Nechuram and Tirunechuram (as found in inscriptions)
Type of Monument: Freestanding Monolithic Rock cut Vimana
Name of the Hillock: Araimalai or Tirumalai (300-foot high  hillock spreading 52 acres)
Location:  On the east side of the Kalugumalai Vettuvan Koil is situated.
Period: Pandya rock cut monolith vimana built between 8th and 9th century
Date of visit: 24th January 2015. Timing 09.30 am to 01.00 pm

Vettuvankoil: Pandyan Yatra 2015

The wonder - struck Kalugumalai Vettuvan Koil ( Sculptor's paradise ) is the unique early Pandya rock cut monolith vimana built between 8th and 9th century and it has survived the rampage of time. Pallavas cut out and sculpted only the free standing rocks in Mamallapuram, Tamil Nadu.

 

Kailasnath Monolith Ellora

The Kailasnath temple at Ellora, the Rashtrakuta monolith in Deccan has been cutout by entrenching the soft rock all round. At Kalugumalai aka. Araimalai the Pandya sculptor's scooped out about 7.5 mts of granite rock from top to down. After trenching the sculptors formed about one mtr wide passage around the vimana.

Vettuvankoil: Neither Cave nor Monolith

In a strict sense the free standing Vettuvankoil vimana is neither a cave nor a monolith since the rectangular rock was shaped as vimana. It was a challenging task for the Pandya sculptors to excavate a rock cut two tier vimana out of a scooped out rock from the top to the bottom and they  cannot afford to make any mistake since correction was impossible.' If it had been completed, this would have been the best among the monolithic structures of the sub-continent.'

Araimalai Hillock

Kalugumalai foot hills is around 600 mts from the mofusil bus stand. We have reached Kalugumalai foot hills. Located Kalugumalai Vettuvan Koil on the east side of the Araimalai hillock and the Jain Abode on the south side of Araimalai. State Archaeolgical Department is protecting the monuments with barbed wires and the security staff will come and open the door at frequent intervals. There are steps (with rails) laid by the State Archaeolgical Department to reach Vettuvan koil site.

Vettuvankoil View from Jain Abode

From Vettuvan koil it is hardly around 20-40 steps to reach Jain abode. A pillayar koil is located at the summit of the hill and there is a flight of steps to the temple. First when we reach the Vettuvan Koil we first we had a glimpse from top of the rocks protected with parapet walls. State Archaeological Department has constructed parapet wall on all three sides of the rock surrounding the Vettuvankoil. 

We spent about 3- 4 hours to take note of each and every information about the monuments and the sculptures. From above, the vimana looks like a rising lotus surrounded by the hill on three sides. Also there were very few local visitors and tourists. We enjoyed in witnessing the sculptures and discussed in detail and clicked photos from our cameras and tablet PCs.

 
Architecture

This east facing monolithic rock cut temple is the main attraction of Kalugumalai site and it receives the significant place in monolithic rock cut architecture and often draw comparison with monolithic Kailasnath temple in Ellora, monolithic temples of Pallava at Mamallapuram such as Arjuna ratha, Dharmaraja ratha and Pidari ratha and structural  temples such as Shore temple and Mukund Nayanar temple in Mamallapuram, Vijayalaya Cholisvaram in Narthamalai and Pattadakal in Bijapur, Karnataka. These monuments may be considered as a precursor of Vettuvankoil. In the book Kalugumalai and Early Pandyan Rock-cut Shrines, C. Sivaramamurti remarks “By far the most beautiful rock-cut temple of the Pandya period is the one at Kalugumalai, a half-finished free-standing monolith which recalls the famous temple of Siva at Ellora.”

For the first time full fledged stone monolithic vimana with all its basic six parts, the basement, wall, roof, griva, sikhara, and the stupi was attempted in Arjuna ratha, Dharmaraja ratha in Mamallapuram. It was at  Arjuna ratha, two-tired monolith, karnakuta (square shrine placed on corners) and Salas (oblong shrine placed on sides) as well as octagonal shaped Sikara (head) and Griva (neck) have been introduced.  The Karnakutas and the Salas above the roof are together called a 'Hara'. In Dharmaraja ratha a novel element called 'Panjara' was brought in between the Karnakutas and the Salas in the Hara structure. The Pallava sculptors treated the hara, shikharas and griva with skill and concern to represent miscellanea.  The Pallava sculptors also chiseled the sculptural masterpieces on all the tiers of these monoliths including different themes from Hindu puranas representing Shiva, Somaskandha, Vishnu, Krishna,  Varaha, Brahma, Mahishasuramardhini and other deities.

Vettuvankoil:Sanctum, Mandapa

The architecture and sculptures in Vettuvankoil reverberate the style of early Pandya era. mandapa (hall) without any pillar and sanctum (garbha-griha). Adhishtana (plinth or base), pada (pillars - wall) and prastara (roof) have not taken shape. The Pandya sculptors have only completed roof, two tiers, octagonal griva and octagonal shikara. The adhishtana and pada portions are incomplete. The walls, floors and roof of the mother rock including interiors and exteriors sanctum and mandapa appear rough and unfinished.

Pillaiyar Idol Installed

At a later date a Pillaiyar aka Vinayakar idol was installed and worshiped. The incomplete rock cut monolith temple appear plain and simple look.


The typical kapota or cornice is roughly sculpted between the prastara and the first tier of the vimana and it is common  for all South Indian temple structures. The horseshoe-shaped kudus are carved on kapota without any refinement with a row of hara over it.

Vettuvankoil Vimana

In Vettuvankoil the aditala or the first tier has the regular arrangement of the hara above the edge of the roof (harmya). Hara includes the string of miniature shrines known as karnakutas and salas. The shikhara of karna-kutas and salas have nasika (kudu like structure) on all four sides. Kudus are carved on these shrines with an image placed below the kudu. The image is large enough to cover the niche formed by pilasters of this storey.

Annavasal-karukku & Kodimangai

The karnakutas and sala are decorated with annavasal-karukku design and maiyappalaikarukku design with a kodimangai (nymph) appear in reclining posture.

Kudu: Feminine Figure

The typical kapota or cornice is sculpted with refinement in the first tier of the vimana. The kudu ('Nest') an arched or horse-shaped opening are carved on kapota. The kudus are adorned with interesting feminine figure in the middle. Canonical pilasters below the kudu encloses beautiful feminine figurine.

Buta Ganas

A frieze of 'bhuta ganas' shown under the cornice in the first tier of the Vimana. The dwarf attendants of Lord Siva, super humanbeing, are shown with odd characteristics - strange dwarf figures, some are seen with pot bellies, some with swelled faces, some with projected teeth, some playing the flute, some drumming, some dancing, some clapping etc. A frieze of Ganas is often an Indian temple architectural motif and prescribed in the canonical texts of Hindu temple architecture.  Many odd images of the bhuta ganas are shown in various actions mostly of dancing.

South Sala Shrine: Shiva

The south sala shrine houses the image of Lord Shiva appear seated in Suhasana posture with the left leg hanging down and the right leg placed on the right thigh; the body is slightly slanting towards the left and leaning forward. Of the four hands, the back right hand holds deer and the back left hand holds mazhu (an axe-like weapon), the front left hand resting on the left thigh and the front right hand is showing abhaya hasta  mudra (broken). His hair is arranged in jatamakuta. The ear ring is badra kundala. The yagnopavita (sacred cord) runs across his chest and the ornamentation includes kandikai, udara bandha, nagabandha armlets bands, bracelets and anklets.

West Sala Shrine: Vishnu

The west sala shrine houses the image of Vishnu, appear seated in Utkutikasana posture with the left leg hanging below the seat and rests on a pedestal while right leg kept bent upwards. He holds the chanka (conch) in his back left hand and his back right hand holds the characteristic Prayoga Chakra (an early sculptural feature where the Chakra is held straight instead of the later side-on posture). He rests his left hand on the seat and the right hand is broken. The body is slightly slanting towards left. Lord wears kreeta makuta, kundala earring, yagnopavita (sacred cord) runs across his chest and ornamented with sarapali; udarabandha, keyyura /  tolvalai and valai. He wears silk dhoti around the waist. The seat of the Lord is supported by two simha images.

North Sala Shrine: Brahma

The north sala shrine houses the image of Brahma appear seated in Utkutikasana posture. Of the four hands, his back right hand holds akshamala; the left hand holds lotus flower; the front right hand is resting on his right thigh and and the front left hand rests sidewards on the floor. His hair is arranged in jata-bandham. The yagnopavita (sacred cord) runs across his chest and ornamented with sarapali, udara-bandha, armlets, bracelets and draping the bright yellow garment on his waist.

Capstone: Nandi 4 corners & Yali frieze

The square capstone is interspersed between the top of the second storey of the vimana and the base of the octogonal griva. At the top of the square capstone of the second storey four Nandi images are placed one each at four corners at the square base of the griva. These Nandis either face east or west but no north and south. The capstone cornices are embellished with lion (yali) frieze.

Octogonal Shikara, Griva & Mahanasika

Above the second tier is placed the octogonal griva (neck) which is topped with octogonal shikara. The octogonal shaft  of the griva is decorated with pilasters adorned with kodikarukku. The octogonal form of shikara put the vimana under Dravida architectural style. Octogonal shikara has maha-nasikas embellished with a kind of sculptural ornamentation known as 'Koor karukku' in middle of each side. Kodipalai Karukku, a kind of sculptural ornamentation, adorns the corner joints of the octogonal bar.  Below maha-nasikas niches are provided and the niches houses the veritable gallery of sculptures:

Uma Sahita Murthy

Shiva as Uma Sahita Murthy with consort Uma (Parvathy) appear below the east mahanasika. The Lord is depicted in 'Ardha Padmasana' posture with four hands. The rear right hand holds mazhu (an axe-like weapon) and the left hand holds the maan (deer). The right forehand shows some mudra (broken) and left forehand rested on the lap. His hair is arranged in jatamakuta. The ear ring is badra kundala. The yagnopavita (sacred cord) runs across his chest and the ornamentation includes kandikai, udara bandha, elbow bands, bracelets. The consort is depicted in 'Maharaja lilasanam' posture seated with royal ease with right leg bent to rest on the seat and the left leg bent upwards. The goddess wears karanta makutam a head-gear.  She also ornamented with rich necklaces, keyura or tolvalai, bracelets and fine clothing and mekala in the waist. The excellently modeled images of the divine couple appear seated casually with ease. Graceful smile of Shiva attracts the consort and she looks at him with slight tilt of head. The sculpture exhibits the well-developed craftsmanship of the early Pandyas and strikes the correct balance between dignified masculinity and graceful femininity. 

Mridanga Dakshinamurthy

Shiva as Pushkara Dakshinamurthy, the Master of instruments appear below the south mahanasika. The Lord is depicted with four arms and his upper body is slightly turned and slanting towards the right, balancing the mridangam held gracefully upon his right thigh. With the two forehands the Lord is playing on a mridanga (drum with two faces). The Lord appears in virasana posture with left leg is stretched down (lambaka padam) and is stamping upon (samharaka) the dwarf (apasmara – purusha: representing ignorance and delusion) -- (apasmaroparishthat tu lamba-pada-talam nyaset). This suppression (nirodha) of ignorance is described as the tirobhava aspect of Sri Dakshinamurti. And, his right foot bent at the knee is resting on his left knee or thigh (sayanam padakam or kunchita-paada). His hair is arranged as jatamandala woven into circular form. His sitting posture is relaxed; his body position and carriage is free from bends and rigidity. His general aspect is calm and meditative. Lord wears karnavali or vrutta-abharana or open circular earring,  yagnopavita (sacred cord) runs across his chest and ornamented with  sarapali; kati-bandha jewelled waist band; naga-bandha armlets and anklets. The sculpture is breathtakingly real and artistic.

Naraimha (Vihnu)

Vishnu as Lord Narasimha (lion-headed avatar of Vishnu), appear below the west mahanasika and keep seated in yogasana or in meditation posture with the two legs crossed each other like the Swasthik symbol. He holds the chanka (conch) in his back left hand and his back right hand holds the characteristic Prayoga Chakra (an early sculptural feature where the Chakra is held straight instead of the later side-on posture). He rests his left hand on the seat and the right hand is broken. The body is slightly slanting towards left. Lord wears kreeta makuta, kundala earring, yagnopavita (sacred cord) runs across his chest and ornamented with sarapali; udarabandha, keyyura /  tolvalai and valai. He wears dhoti around the waist. The seat of the Lord is supported by two simha images.
 

Brahma

Brahma appear below the north mahanasika and keep seated in Ardha Padmaana (cross-legged - in the Half-Lotus posture) posture on a lotus seat. Of the four hands, his back right hand holds akshamala (rosary beads); the left hand holds lotus flower; the front right hand is in abhaya mudra and the front left hand rests on his thighs. His hair is arranged in jata-bandham. The yagnopavita (sacred cord) runs across his chest and ornamented with sarapali, udara-bandha, armlets, bracelets and draping the bright yellow garment on his waist. Two elephants are shown before the lotus pedestal.

Shikara: Lotus Whorl. Finial Absent

The shikra top shows a small pit by which we can easily guess about the presence of finial or stupa and now it is absent. The octogonal shikara is decorated with a lotus whorl on top. The lavish decoration of the shikara with kodipalaikarukku and the mahanasikas with koorkarukku.

History:

The local legend give an account about the Perunthachan or the chief architect of Vettuvankoil and his son. On top of the Araimalai hillock the father engaged in sculpting the Vettuvankoil. At the bottom of the hillock the son was hearing the rhythmic sound of the chisel engaged in sculpting Vettuvankoil and applying the same rhythm to sculpt similar structure at the bottom of the hillock. Perunthachan sensed activities at the bottom of the hillock and never knew that his son only was following him. In a fit of jealousy Perunthachan throw the chisel to slash the neck of his own gifted son. When he realized that his hasty action has killed his son, he wanted to penalize himself and as a penalty he left the Vettuvankoil construction work unfinished. As a result the Vettuvankoil was never completed.

Period

According to scholar K.V. Soundararajan, the octagonal shikara was the early architectural style or feature of the southern Pandyan kingdom and the Vettuvankoil could be the 'oldest in the series.' 'Any Pandyan architectural activity with Chalukyan indebtedness, aside of Pallava influence in the homeland itself, would esentially be of post Mamalla phase. The earliest structural temples of the Pandyas with octagonal and square ‘sikhara,' in that order, would suggest that the Kazhugumalai temple, which has an octagonal ‘ sikhara,' would have been part of a viable earlier phase of temple design when the octagonal ‘ sikhara' held the field. All these would seem to help in the circumscription of the incidence of the rock cut temple mode of southern dynasties – notably the Pandyas – almost securely between c. A.D. 675 and c. A.D. 860.'


However the name of the ruler who was instrumental in commissioning this monolith and why this structure was left incomplete remain as mystery. Some wild guess by scholars indicate the name as the celebrated Pandya king, Parantaka Nedunchadayan, who had patronized and over-generously gifted for both Brahamanical and Jain religious orders and promoted their temple construction. The Jain monument located on a somewhat raised area of the same hill too carries his inscriptions.


Maintenance & Timing:

The monument is maintained by the Department of Archaeology, Government of Tamil Nadu.  Timing - 7.30 am to 7.30 pm. The entrance to the monuments is free. The Vettuvan Koil and Jaina Abode are protected with grill and barbed wire and the entrance remain under lock and key. If requested the Dept. of Archaeology security will open the doors. 

How to get there:

Kalugumalai is around 20 km from Kovilpatti. All the buses to Sankarankoil via Kovilpatti will stop at Kalugumalai. Kovilpatti is well connected with Madurai and Tirunelveli.  Kalugumalai Vettuvan koil is about 600 mts towards north from the moffsal bus stand and can be reached by  walk.

By air: Thoothukudi airport is closest to the kazhugumalai (80km) to fly from Chennai.

By train: The peal city Express or Nellai Express from Chennai Egmore station to Kovilpatti Junction is the comfortable overnight option and other train to Kanyakumari.

By bus: Well connected road available for Kazhugumalai because it is 20km away from Kovilpatti (which is in NH7) at Kovilpatti Sankarankoil road in Thoothukudi district. Kazhugumalai is 150km from Madurai 60km from Thirunelveli and 25 km from Sankarankoil.

Reference (For Further Studies also):

1. Desai,     P.B. Jaina Epigraphs, Jainasamskriti Samrakshakasamgha, Sholapur 1957. 
2. Ekambaranathan, A and Sivaprakasam, C.K. Jaina Inscriptions in Tamil Nadu, Research Foundation for Jainology, Madras 1987.
3. Ekambaranathan, A Kazhugumalai (Tamil) (Professor, Department of Ancient History and Archaeology, University of Madras)
4. Ekambaranathan, A. Kalugumalai and Jainism.
5. Engineering Marvel. Vijayakumar.S. The Hindu. June 14, 2013.
6. Ganapathi, S.M. Kazhugumalai, Vettuvan Kovil (Tamil) (Retired Curator, Tamil Nadu Department of Archaeology)
7. Kazhugumalai deserves universal recognition.  The Hindu. August 8, 2012.
8. Opulent sculptures - Epigraphist V.Vedachalam's forte is the tudy of Jaina sites. Frontline. Vol 25, issue 21. October 11-24, 2008.
9. Rockcut shrine. The Hindu. July 20, 2011.
10. Royal shrines. Frontline vol. 25, issue 01. Jan 05-18, 2008
11. Sivaramamurti, C.  Kalugumalai and Early Pandyan Rock-cut Shrines 
12. Southern Connection. Frontline. July 25, 2014.

Youtube:Kazhugumalai, Tamilnadu India by Subashini Tremmel