Krishnapuram – A Temple of Timeless Sculptures - Part 5

About 13 km from Tirunelveli lies Krishnapuram, a historically significant village home to a magnificent temple dedicated to Venkatachalapati. According to tradition, those unable to visit the famous Tirupati temple can offer their prayers here at this 16th-century shrine.

Typically, descriptions of temples begin with details of the deity, architecture, history, and legends before delving into the sculptures. However, the true highlight of this temple is its breathtaking, life-sized sculptures from the Nayaka period. Their craftsmanship is extraordinary—so detailed and lifelike that one could spend an entire month revisiting the temple just to admire them. With photography prohibited, experiencing them in person becomes even more special.

Since my primary focus is on these sculptures, I will break from convention and begin with them before covering other aspects of the temple.

Upon entering through the gopuram, to the right (on the northern side), stands the imposing Veerappa Nayakka Mandapa. This hall features six rows of pillars, with the front six adorned with exquisite, life-sized sculptures.

This is the fifth article in my series. In my previous pieces, I described the first four sculptures—positioned at the eastern end and facing south—depicting a striking Kurathi, a Kurathi abducting a prince, Arjuna, and Karna. Now, let’s explore the sculpture on the fifth pillar from the eastern end.

The sculpture on this pillar portrays a warrior abducting a princess, his body slightly twisted in a dynamic stance. His legs are firmly planted in a wide position, enhancing the sense of motion. His expression is fierce—wide-open eyes, a sharp, now-broken nose, and slightly parted lips conveying determination and aggression. His thick mustache and long bun, styled as a headdress, add to his imposing presence.

Adorned with intricate jewelry, his neck bears kanthāhāra (a long necklace), muktāhāra (pearl-like beads), and other chest ornaments. His arms feature keyūra (armlets), and his wrists are decorated with kankana (bracelets). His waist is secured with an elaborately detailed katibandha (waist belt), and he wears a finely sculpted half-trouser with drapery folds. His muscular build is meticulously carved, with visible veins on his arms, neck, and chest—a testament to the sculptor’s skill.

In his right hand, he wields a khadga (sword), raised in an attacking position. His left hand holds a bow, suggesting he is adept in both melee and ranged combat. A dagger is tucked into his waist. The detailing of his physique—his powerful arms, strong thighs, and chiseled torso—showcases the artist’s masterful rendering of the human form.

Behind the warrior sits the princess, depicted with grace and elegance. Her expression is serene, with a gentle smile on her face. She holds an umbrella-like hood in her left arm while resting her right hand on the warrior’s headdress. Unlike traditional depictions of abductions where resistance is evident, she appears calm and composed, even willing to be carried away by the warrior. Her posture, sharp features, and well-defined breasts add to the striking realism of the sculpture.

On the eastern side of the same pillar, a warrior is depicted riding a horse, its two forelegs dramatically raised. Below him, two smaller figures are engaged in combat. Their intertwined arms and legs, along with their weapons, capture the intensity of battle. One figure is clearly being subdued, showcasing the sculptor’s ability to portray movement and struggle.

The western side of the pillar features another warrior, this time holding a spear while riding a horse. Below him stands another warrior, similar in height, possibly engaging in a duel or supporting the central figure.

This sculpture is yet another testament to the artistic brilliance of the Nayaka-period sculptors. The level of detailing—from the warrior’s muscular tension to the princess’s poised expression—makes it one of the finest examples of Nayaka art.

Happy travelling.

This is Part 5 of the series of articles on Krishnapuram Temple. If you are interested to read the earlier parts of the series, click the links below.

Part 1

Part 2

Part 3

Part 4