Tag Archives: thiruparankundram

A cave with many questions – Parankundram, Part 1

Not all mysteries in archeology need an Indiana Jones or a Lara Croft to make it reveal its secrets, however, if ever there was one that would even baffle them, it is the wonder that stands forgotten in the glory of the famed Murugan temple in Tirupparankundram. That the famed shrine itself is a cave temple is not common knowledge, however there exists another cave at the foothills of the same hill but a little further away to the left as you drive around it.

The main cave face.

The first and foremost is the date assignable to the original excavation. The rather plain bulky set of two pillars and pilasters (half pillars) combined with the lack of any artistic fluting on their corbels help us to assign an early 8th C CE date to the cave.
It is very rare to see reliefs on the outer wall of excavated caves as usually we get to so only door guardians. However, in this cave there are many niches into which deep relief sculptures have been carved. We will visit them in the second part of this post as we need to move to the inside – to view some very intricate sculptures, whose superior iconography seem to suggest a 12th C CE to 13th C CE date.

The popular reasoning is that this was an extant Jaina cave which was later converted. Let us look at the shrine that has been cut into the left wall as we enter the cave. Inside this beautifully framed shrine is a relief sculpture of the androgynous from of Shiva as Ardhanari gracefully leaning on his bull mount.

The four armed sculpture has clear demarcation of the Shiva and Sakti portions, with him wearing a thigh length garment while hers is a sari to the knee.

Ardhanari in the Sanctum

For all its grace and form, there are many aberrations in the form. Firstly we do not get to see relief sculptures of this form in any contemporary sites. Secondly it is quite plain that its size is too small for this sanctum’s proportions. The height of the pedestal is more suitable for a seated figure and not a standing figure. The the placement of the bull is also strange. A study of the evolution of the ardhanari form clearly shows the difficulty the sculptor has in balancing the male and female body proportions.

Such early examples are the forms in the Dharmaraja ratha and the Agasteshwara temple in Perungudi. While the Sama banga profile of the Dharamaraja sculpture lacks aesthetic appeal, the problems of the larger male proportions are evident in the Agasteshwara sculpture.

Ardhanari – Dharmaraja Ratha


Ardhanari – Agastheswara

The sculptors hence bring the Rishabava Vahana and let the form lean on its head to provide the counter balance. This is seen in the later day Chola sculptures including this stunning beauty from Vriddachalam and also seems to be the accepted norm as far as Elephanta.

Ardhanari – Vriddachalam

Ardhanari – Elephanta

The problem now with the Parankundam sculpture is the bull is positioned on the opposite side ie. Not on the male side but is on the female side and hence doesn’t lend the necessary balance to the composition. These are not consistent with the the amount of planning that is needed to complete a rock cut cave shrine.

Things seem to further go wrong as we explore the rather crude attempt to shape the pedestal below, but the most crucial aspect of the puzzle rests in the totally unconnected curly patterns on the top.


At first glance it would be easy to dismiss them as a tree etc but then only the Daksinamurthy form is shown with a tree canopy on top. This is where we need to explore the Jaina aspects. Take a look at these images.

We shall explore more such in part 2….

Photo Courtesy: Mr. Udayan, Mr. Arvind Venkatraman , the hindu archives.
http://www.hindu.com/2003/05/22/stories/2003052203230500.htm
http://www.hindu.com/2006/02/06/stories/2006020602410200.htm
http://www.herenow4u.net/index.php?id=76895

Divine Grace – Tiger Suckles a fawn. Tiruparankundram

Today, we are seeing another interesting pillar from Tiruparankundram – two natural enemies coming together in a show of tender motherly affection and care. Thankfully, the authorities haven’t tried their hand at exhibiting their ignorance and tried to decipher this legend and instead have just simply named it as Shiva and Tiruvilaiyadal Puranam. ( unlike the previous one where they named Shiva as Varaahi !!). The mindless iron railing, anchored on a priceless piece of art and to add insult to injury the thick coir ropes, make you retch. Isn’t there anyone who can campaign their cause at all !!

This is such a rare depiction, maybe the only one of its kind – a sculpture relating to a very lovely act of Lord Shiva, from the Tiruvilayadal Puranam of Vembathur Nambi.

For starters, how do we confirm that this is indeed Shiva? Simple, look for his attributes.


Pretty simple ahh. You cant miss the Axe and the deer !! ( unless ofcourse you are the temple authorities – naming shiva as varaahi!!)

But then what is so unique about this pillar sculpture? Check out what is in Shiva’s hands.

This does look like a tiger. See how Shiva is holding it like an infant on his hip!!

But then this, is a stunner.

His other hand carries a fawn and it seems to be suckling from the tiger’s udder!!

Yes, its correct. The legend goes that a lactating mother deer, comes to a lake to quench its thirst, when its felled by a hunter. As it breathes its last, the mother languishes at the plight of its just born fawn. Overcome but its motherly love, Lord Shiva , comes to the rescue of the fawn by having it suckle from a tiger that was nearby.

We have seen many poses of shiva, his role as a destoryer, his fiery dance – but here in this unique pillar sculptures – of Shiva – himself taking the form of a mother pig to suckle piglets and now – having a tiger suckle the fawn – natural enemies but then mysterious are his ways. Such a poetic way of expressing the infinite grace of Shiva, his tender heart and wonderful depiction.

Its shiva not Varahi – feeding the piglets

An interesting discussion in Agathiar forum by Dr Jaybee set me up on this post. Thanks to his expert guidance we could understand this much misunderstood sculpture. He had mentioned about this sculpture of Shiva feeding piglets – an interesting episode from the 64 acts of Shiva, which was (is) wrongly depicted as Varahi ( one of the seven mothers in the saptha matrikas). So we had our antennas out for this sculpture in Madurai and Tirupparankundram. But we got a chance glimse of this episode,couple of days before we reached Madurai and tiruparankundram, n a relief panel in Chidambaram just as completed our darshan there.

The interesting part of this sculpture is the line of praying pigs to the left of the panel ( your right as you view it). We will see this as the post progresses.

Ok, the puranam aka story first.

There was once a farmer named Sugalan in a small village called Athimanimaadamuthoor near Madurai. He and his good natured wife were pious and led a astute life. In sharp contrast were their 12 sons. They did all sorts of irresponsible and bad stuff including neglecting their farming duties, teaming up with the hunters in the forest and hunting for sport. During the pursuit of one such hunting expedition, they came across a shrub in which a ascetic was doing penance. They disturbed him for fun, pelting him with stones and hitting him with their arrows. Enraged the ascetic cursed them to born as piglets and to loose their parents at a young age and lead a miserable life. Realising their folly, the misguided youth fell at the ascetic’s feet and begged for his forgiveness and a way out of their curse. Seeing them repenting, the ascetic relented and told them that Lord Shiva himself will redeem them from their curse.

In due course, they were born as piglets and the Pandyan king who had ventured into the forest felled their parents. The piglets were left at the mercy of the elements and devoid of even nursing at their mother’s breasts. Taking pity on them, the loving shiva in his infinite mercy, himself took the form of a pig, sprouted breasts and nursed them and redeemed them from their curse. .

So, armed with the knowledge, we set on our search to find this pillar. It was not inside the Madurai Meenakshi Amman temple precincts ( remember this was after our sojourn with the Bronze gallery) – when we were directed to the Pudhu Mandabam. We were sufficiently warned that it was taken over by commercial establishments and spotting anything lest alone searching for a sculpture would be impossible, better to return early in the morning and request the watchman to open up !! But we stood our ground and went for a quick run, scouting for anything that resembled the legend. As luck could have it, we spotted it at exactly the opposite end of the Pudhu (new) mandabam. A few requests for the friendly shop keeper to resettle his wares and we could take our shots. ( we did return the next day for some more of the bottom panels )

Is it Shiva or Varahi?

Well its definitely shiva for you can clearly see the Axe blade being held in his right hand, the left hand has unfortunately broken off.

But some interesting panels in the foot of the pillar tell the full story

The hunter felling the mother pig.

There were piglets allover, clamoring to be fed. Its the same episode for sure

The clincher – our line of grown ups ( pardon the angle – the steel chairs didn’t make life easier for us!)

Armed with this knowledge, we headed to tiruparankundram and were pleasantly surprised to see an exact replica ( ok, some important differences at the base) – but the basic composition was the same, but sadly named as Vaarahi and anointed with turmeric allover !!!

Another angle showing the same styling of the sculpture as the one from Madurai

Including the line of impatient piglets

Again , is he Shiva? Can you spot his attributes.

I did mention a difference, didn’t I, the hunter is shown here shooting down the mother pig from the side of the panel and the carcass is shown inside the main sculpture.

By the way, did you notice the line of grown ups just coming into frame in the bottom of the last picture….a common factor in all three !!

Whats more interesting is a paired pillar to this – which contains an even more interesting aka rare depiction of Shiva from the Thiruvilaiyaadal Puranam. We shall see that is a subsequent post. But with all this clinching evidence, hopefully someone will restore the rightful name for this sculpture in Thiruparankundram.