The Majestic Arumukha Nayinar Shrine of Tirunelveli
Continuing my series on the Kantimati Sameta Nellaiyappar Temple in Tirunelveli, today let's explore the remarkable Arumukha Nayinar shrine. This shrine, located on the southern outer prakara of the Nellaiyappar sanctum, is more like a separate temple in itself.
Arumukha Nayinar, another name for Shanmukha (Murugan with six heads), is the central deity of this shrine. The deity here is depicted with six heads and twelve arms, each holding various weapons, and is flanked by his consorts Valli and Devasena. The entire sculpture, including the deity seated on a peacock with a Tiruvasi (halo) around his upper body, is carved from a single stone. This stunning sculpture showcases Murugan’s beauty in a way that is hard to describe and is unique to this temple—allowing devotees to see all six heads of Murugan as they walk around the inner prakara.
Vadamalaiyappa Pillai, the Viceroy of Tirunelveli under the Madurai Nayakas, was a devout follower of Lord Subramanya. He significantly contributed to the Tiruchendur Murugan temple and other Murugan shrines in Tirunelveli, including the construction of the Sangili Mandapam in this temple. He built this extrordinary shrine in the mid-1600s.
The prakara houses murtis of Shiva Linga and Ganesha in its southeast corner.
In the 1800s, the shrine was closed for many years due to negative energies. In the early 1900s, on the insistence of Kulathur Zamindar Tillai Thandavarayar, a Siddha named Amavasai Siddhar installed a powerful Sri Chakra yantra in the shrine. After this installation, the shrine was reopened and has been conducting regular poojas ever since. Amavasai Siddhar even lived in the shrine for many years, offering guidance to devotees.
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The shrine boasts two long Mukha mandapas, with the inner mandapa being particularly exquisite. It features eight pairs of pillars on either side, with alternate pairs being Yazhi pillars. The bases of these pillars are adorned with various sculptures, including elephants and soldiers.
The southern end of the mandapa, facing the Shanmukha shrine, showcases life-size sculptures of Purushamriga and Bheema. Bheema is depicted as short and stout with a bun of hair on his head, while Purushamriga is shown with lion-like arms and tail, beard on his face, a visible spine in the middle of his back, a small dagger at his hip, and a ferocious expression as he faces Bheema.
The northern end of the mandapa features more lively and beautiful life-size sculptures, Manmatha and Rathi. Manmatha is portrayed with a sugarcane bow in his left arm and a flower arrow in his right. His handsome features are accentuated by a multi-layered decorated conical crown, a flower-like earring, four garlands around his neck, and three garlands on his stomach. The base of this pillar depicts wheels and parrots, symbolizing the chariot carrying Manmatha. Alongside him is a strikingly beautiful girl with broad breasts, and the backside of the pillar features three small females and a larger female carrying flags, dresses, and chamara.
If the male Manmatha is depicted with such striking beauty, it is only fitting that his female counterpart, Rathi, is portrayed even more exquisitely. Indeed, the sculpture of Rathi at the Arumukha Nayinar shrine is a masterpiece that captures the viewer’s heart at first sight. One wonders if the real Rathi could be as breathtakingly beautiful as this artistic creation from the 1600s.
The sculptor’s imagination and skill shine through in every detail. Rathi is adorned with three or four flower garlands around her neck, a girdle on her waist, and two to three garlands on her abdomen. Her broad chest and the flower she holds in her right arm, resting gracefully on her hip, add to her allure. Her hair is styled in an ornamentally decorated bun, visible from the back, and her left arm is placed elegantly on the head of a smaller attendant figure. This attention to detail highlights the sculptor's exceptional talent and creativity.
Equally captivating is the attendant girl standing next to Rathi, who is almost as tall and holds a chamara (fly-whisk). This chamara bearer, like Rathi, is depicted with unparalleled beauty, reflecting the splendor of Rathi and Manmatha's divine kingdom. Between these two enchanting figures, there is another girl, stylishly posed with her left arm on her hip and her right arm pointing upwards, adding to the dynamic and lifelike quality of the scene.
The wheels and parrots on the base of the pillar depict that Rathi and her attendants travel on a Ratha carried by parraots.
This intricate and beautiful depiction of Rathi and Manmatha is a testament to the remarkable artistry of the 1600s, showcasing the rich cultural and artistic heritage preserved in Tirunelveli region.
The outer Mukha mandapa has many pillars with regular carvings.
Happy travelling.
This article is Part 35 of the series of articles I write about Kantimati Sameta Nellaiyappar Temple.
The other parts of the series can be accessed through the below-listed links.
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