The Kanaga Sabhai at Perur

One of the most exquisite experiences in appreciating the beauty of temple sculptures in South Indian Temples would be a visit to the “Kanaga Sabhai” or Golden Hall in Perur, Coimbatore. The Kanaga Sabhai at Perur is situated in the Temple of Shiva as Patteeswarar at Perur. The Hall is on our right hand side i.e. The Northern Side) as we enter the Temple through the main Gopuram.

The His

torical Link

Before we proceed to appreciate the beauty of this hall and its famous sculptu

res, we should understand the link between Perur and Chidambaram. It is said that the Thillai Vazh Anthanar, who are the hereditary caretakers of the Chidambaram Temple visited Perur at the behest of the Nayanmar Sundarar and acknowledged that the Kanaga Sabhai was, indeed, a beautifu

l sight to behold. This is possibly why you can see many of the sculptural masterpieces in the Perur Kanagasabhai figuring as motifs on the main Raja Gopuram at the Chidambaram temple; for example the image of Gaja Samharamoorthy and Bichadanar.

But, I think

to truly understand the link between Perur and Chidambaram, one needs to accept the Madurai connection, which arguably is the common link. This is because both Perur and Chidambaram have benefitted from the patronage of the Naickers of Madurai. So the statues of Agora Veerabhadrar and Agni Veerabhadrar which are gigantic icons in the outer praharam of the Madurai Meenakshi Amman Temple are depicted at Perur as smaller life size figures.

To understand why these three temples which are thus widely separated spatially have such close sculptural links, we must, as I said, understand the Naicker link. The Kana

ga Sabhai, which took 34 years (1625 AD to 1659 AD

) to build, was the brain child of one, Alagadhri Nayak, a brother of Thirumalai Nayak, the Telugu ruler of Madurai. (The Telugu connection in Tamil History is a story by itself and it needs another post of its own!)

The chief Architect who built the Kanaga Sabhai was Kambanachari. The Kanga Sabhai has a symbolic structure.

The Spiritual Symbolism

The Kanaga Sabhai has 36 Pillars

representing the 36 principles of Saiva Sidhanta. There are fifteen steps situated at three different elevations. Each set of five steps represents the Panchakshara or the five letters of the sacred Mantra of Shiva, “Om Na Ma: Shivaya”

The santum santorum of the Lord Nataraja, the Divine Cosmic Dancer is supported by four pillars representing the Four Vedas; it has Nine Windows signifying the Nine Planets likewise the Human Body which has Nine orfices. ( Nava Dvarey Purey Dayhee (Bh. Gita 5:13) Mentally renouncing all actions, the Sovereign dweller in the body (i.e. Atman) resteth serenely in the “City of nine gates” I’e. the body. What are the Nine Gates? The nine apertures that give access to and from the human body seven of them on the face (two eyes, two nostrils, two ears and one mouth) and the two apertures onthe trunk—the gental organ and the excretory organ.)

The lord is reached by the Panchakshara and is to be found inside the Nine Gated City. Veda is knowledge, true knowledge; which is the knowledge of truth, and which alone can libera

te the deluded jeeva and in one effulgent cosmic brilliance make everything known. This is Chidambara Ragasyam or the Secret of Chidambaram which lies open and accessible to all who seek here at Melai Chidambaram or the Chidambaram of the west, which is another name for Perur.

As this wondrous and liberating secret is disclosed here at the Kanagasabhai in Perur, It is not surprising that Perur is considered a place of liberation from the continuous and painful circle of birth and death.

But, the reason why Perur Kanaga Sabhai is of great importance to the Connoissieur of Indian arts and culture are the eight exquisite sculptures on the pillars (four on either side) lining the hall. The stones used to carve the sculptures were brought down from Maruthamalai. These sculptures are, for want of a better word, the star attraction!

Luckily,

the sculptures are in good condition and can be viwed through glass panels which protect them from the unsavoury attentions of the devout and curious alike. The same cannot be told of the smaller icons on the other three sides of each pillar. Well, who except this blogger would walk around each pillar to see these smaller figurines that are linked to the tale told by the main sculpture? An attempt is herein made to describe them.

Nirutha Ganapathy

The father is dancing; so why not t

he eldest son? Left leg on his vahan the mouse a

nd right leg slightly raised and gently touching the ears of the animal, the elephant-headed lord is immersed in the dance eternal. The deity is here represented with eight hands and the trunk twisted to the right (Valam Puri). The Lord’s pot belly is circled by a jeweled ornament with excellent detailing. Even the Mooshikam or Mouse is detailed minutely. One can discern the nails on the Mooshik’s toes!

As we move from from the Lord of Auspicious Beginings who is the embodiment of all knowledge, we behold his Brother.

Arumuga Peruman

Sitting in a relaxed pose (Sukasan) with his left leg folded on the Dancing Peacock Lord Subramanya or Shanmukh (Six Headed one) is also ready for the dance. The usually extended tails of the

peacock are here shown together. The Peacock forms an exquisite curve that compliments the six- headed twelve-armed warlord. (Well, we can see only five as the sixth is believed to be at the back of the figure which is attached to the pillar.) Do take a little time to appreciate the fold of the Peacock’s tail feathers, the decorations including the eyelets on it and the shaping of the Peacock’s legs.

As you behold the Lord can you hear the invitation of Arunagiri Nathar when he beseeches the Lord to come before Prabuda Deva Raya

n and his court: “ Come dancing O Lord, Come Dancing to us, Come dancing seated on a dancing peacock, come dancing nowhere!!! (Now Here!)

Oorthva Thandavar

Shiva is the King of Dancers. Once Kali invited him for a contest in Dancing. As the contest became fierce, the Lord decided to end it all and make Kali realize her true self.

So he

raised his right leg directly right up to towards his right ear! This pose with the upward rised right leg is the best among the 108 dancing postures of Shiva as depicted above the sanctum sanctorum of the Big Temple at Thanjavur.

Just see the intricate workmanship that shows one of the eight pairs beating the damru or the drum below the raised leg! The drum is held in front while the hand comes down from behind the raised leg creating a vivid image. The contortions of the body are carefully shown with every dimension perfectly right. In fact, the figure makes it clear that the pose is not impossible for the human anatomy to attain. But it needs a suppleness of the muscles and bones that comes effortlessly to the Lord and after much effort to mere mortals!

Observe the implements in each hand. Can you see the abayahastha on the second hand from the bottom on the right? Th

e Lord never forgets the welfare of his creation!

Brahma is shown with five heads as this scene occurs before The Lord Shiva removed it as a punishment for his ego and pride. You can see Lord Vishnu keeping the time of the beat with his hands and Karaikaal Ammaiyar who had wished to be below the Lord’s feet when he danced. On the other sides of the Pillar are Nandhi and Narad Muni.

Alankattu Kali

Perur brings together the memorable stories of many of the South Indian Temples. For example the story of the contest between Kali and Shiva was enacted at Thiruvaalankaadu a temple near Thiruvallur not very far from Chennai.

To depict the contest in its entirety, Kambanachari has placed the image of the Kali of Thiruvalankaadu right

opposite the Oordhva Thandava Moorthy. The face of Kali viewed from the sanctum of Lord Nataraja shows remorse and shame while from the doorway we see anger and frustration. What a human touch. No one like’s to be defeated. But all of us have to control our emotions!

Behind the Kali on the Pillar are the other two Shakthis embodied in her, Lakshmi and Saraswathi.

Agni Veerabadrar and Agora VeeraBadrar

The Son of Brahma, Daksha Prajapathi performed a Yajna where he refused and neglected to give Shiva his due sacrificial portion. Enraged by this Shiva created from Himself, sixteen VeeraBhadras to punish Daksha. The Agora Veerabhadra, here depicted in the very act of killing the Demon. His Trishul is embedded on the Asura’s head. A scorpion is enmeshed in the God’s matted hair. His eyes spout fire and his raised whiskers show a just anger that rushes to destroy the forces of evil and darkness wherever they are present. Sometimes even inside the dark recesses of the devotee’s soul!

Agni Veerabhadra is shown after the killing of the Demon. As I remarked, larger-than- life versions of these two sculptures can be seen at Madurai.

After Daksha’s head was severed from his body, he was brought back to life

by the Lord. But, unfortunately as his head had been thrown by the enraged VeeraBhadras into the sacrificial fire he was revived with the Head of a Goat. And, I have been told that the prayer that he chanted with his voice bleating through his Goat Throat was the Chamakam, a prayer where very line ends with “Mey” which resembles the sound made by a goat! (This is possibly Apocryphal!) But, you can see the figure of the Goat-headed Daksha on the Pillar behind thew Agni Veerabhadra Swami.

Gaja Samhara Moorthy

The Lord Shiva killed the Elephant-shaped demon Gajaasura. Shiva placed his left leg on the head of the Elephant and skinned the animal and spread out the skin like a blanket around him. This sculpture shows clearly the contour of the Elephant with its bent head, legs and tail. The Eight-armed God is shown with his right leg raised and bent. The symmetry of this figure is classicand defies description.

In fact, the figure is so well balanced it could stand freely without a pedestal to hold it!

Bikshaadanar

Lord Shiva took the shape of an attractive young sanyasi in order to teach a lesson

to the Rishis of the Tharuka Vanam. The rishi Pathnis on seeing the young Sanyasi lost their self control and ran after him. This sarvaloka vassekara Moorthy is shown opposite the Gaja Samhara Moorthy. A diligent perambulation of the sculpture would show you the figurine of a Rishi Pathni immersed in her contemplation of the Lord!

The pinnacle of the South Indian school of Sculpture can be witnessed at Perur. And the crowning glory of the Kanaga Sabhai is the central free hanging stone-made chains with a stone lotus dangling at the end which can rotate and move around! Obviously, the entire arrangement of chain and lotus must have been crafted from a single boulder!

Don’t believe me, go and see for yourself!