Krishnapuram – A Temple of Timeless Sculptures - Part 6
About 13 kilometers from Tirunelveli lies the historically significant village of Krishnapuram, home to a splendid temple dedicated to Venkatachalapati. Tradition holds that those unable to make the pilgrimage to the famed Tirupati temple may offer their prayers here instead, at this 16th-century shrine.
While most temple narratives begin with the presiding deity, the architectural layout, and associated legends, Krishnapuram demands a different approach. The true marvel here lies in its breathtaking, life-sized sculptures from the Nayaka period—works of art so refined and vivid in execution that one could return for days or even weeks, each time uncovering new layers of detail and beauty. With photography prohibited inside, experiencing these masterpieces in person becomes even more precious.
As my primary focus is on these extraordinary sculptures, I’m deviating from convention by beginning with them—before exploring other aspects of the temple.
Just past the entrance gopuram, on the northern side, stands the grand Veerappa Nayakka Mandapa, a hall supported by six rows of pillars. The front six pillars, facing south, are adorned with remarkable, life-sized sculptural panels.
This article is the sixth in my series. In the previous five, I described the first five sculptures positioned from the eastern end: a striking Kurathi, a Kurathi abducting a prince, Arjuna, Karna, and a warrior abducting a princess. Let us now turn to the sixth pillar from the eastern end.
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The sculpture here is a divine embodiment of feminine grace—a female dancer captured mid-movement. Her body forms a classic tribhanga pose, bent at three places—neck, torso, and knee—creating a fluid, sensuous form that is both elegant and dynamic.
She wears an elaborately carved, towering makuta (crown), and her hair appears arranged in a tiered bun. Her face radiates serenity, with almond-shaped eyes, a slender nose, and a gentle smile that captures inner tranquility. A subtle tilaka adorns the forehead, adding a divine aura.
Her ears are decorated with large, stylized patra-kundalas (leaf-shaped earrings). Her bosom is bare but richly adorned with heavy necklaces (mala) layered across the chest. She wears an ornate udarabandha (belly band) and a kati-bandha (waistband), tightly embracing her midsection and highlighting her poised stance.
Her waist is slender, and the body is beautifully proportioned. The kachha (lower garment) is intricately carved, with fan-like pleats flaring outward to reflect movement, much like the costume of a classical dancer mid-performance. Her limbs are adorned with detailed armlets (keyura), bangles (valaya), girdles (mekhala), and anklets (nūpura). Each ornament is rendered with remarkable precision, testifying to the sculptor’s mastery.
She holds a flower in her right arm. She holds an unidentified circular object in her left arm, adding a touch of whimsy to her enchanting presence.
The legs are muscular and active, sculpted to convey motion and rhythm. The bent knees, particularly, suggest that she is caught in the middle of a dance step, perhaps from a divine performance.
On the eastern side of the same pillar, a smaller yet evocative sculpture of a female figure appears, accompanied by a male figure behind her. The male is depicted with a Namam tilaka on his forehead and a janeu (poonal) across his chest. He gently embraces the female figure from behind.
On the western side of the same pillar, a dynamic image of a male dancer, possibly evoking Nataraja, stands with one leg folded in the classic posture. His raised left arm, sharp moustache, and bun-style headdress complete the look of a vigorous performer, frozen in the midst of divine rhythm.
Happy travelling.
This is Part 6 of the series of articles on Krishnapuram Temple. If you are interested to read the earlier parts of the series, click the links below.
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