Krishnapuram Temple Sculptures – Episode 11: Rati on the Parrot, Gaja Yazhi, and the Power of Veerabhadra

By Indian Columbus - May 17, 2025

About 13 kilometers from Tirunelveli lies the historically resonant village of Krishnapuram, home to the awe-inspiring Venkatachalapati Temple. For those unable to journey to Tirupati, this 16th-century shrine offers a sacred alternative. But beyond spiritual fulfilment, Krishnapuram offers a breathtaking artistic experience—a sculptural gallery carved in stone, unmatched in narrative and finesse.

Unlike typical temple narratives that begin with the presiding deity or architectural layout, Krishnapuram demands a different approach. Here, it is the sculptural brilliance of the Nayaka period that commands attention. With photography strictly prohibited inside, every visit becomes a fresh discovery.

This is the 11th article in my series. The first six episodes detailed the remarkable pillars of the Veerappa Nayakka Mandapa, while the seventh through ninth episodes explored the north-facing row of the Mukha Mandapa. In the previous episode, we turned to the opposite row of pillars that face south, beginning from the westmost pillar.

In this 11th episode, we move deeper along the south-facing row of pillars in the Mukha Mandapa. After exploring the first three pillars in the previous article, we now turn our attention to the fourth through seventh pillars—a journey that brings us face-to-face with divine beauty, mythical beasts, and animated narratives of love, strength, and devotion.

Krishnapuram Temple

Fourth Pillar: Rati, the Devi of Love and Her Companion

At the center of this pillar is a life-sized sculpture of Rati, the consort of Manmada (the Lord of love). She is depicted in a majestic pose, seated gracefully atop a parrot, her vahana.

She holds:

A flower in her right hand, symbolizing sensual allure.
A circular object in her left hand.
Her torso is adorned with multi-strand haras, while her waistband (mekhala) and anklets (nupura) glisten in carved detail.
The hair is tied in an elaborate bun, with side locks falling over the shoulders.
Her full, sharply defined breasts, slender waist, and poised smile highlight her status as the epitome of celestial beauty.

Sidenote: Rati, is often depicted with a parrot symbolizing playful desire and the art of romance.

West Face:

A companion sculpture possibly representing a friend or maid of Rati, standing in a cheeky pose, as if spitting pan into a small vessel in her left hand.
A small soldier holding a bow, carved with youthful energy.
On the capital, a figure with hands joined in Anjali mudra, expressing reverence.

East Face:

A beautiful woman with her left arm hanging down and her right hand poised with thumb and index finger touching—a refined and relaxed gesture.
Two small dancing girls and a musician complete a scene of festive celebration.
A lion-faced Bhuta Gana adorns the capital.

Fifth Pillar: Gaja Yazhi and Celestial Protectors

A massive Gaja Yazhi dominates this pillar. Its lion-like body with an elephant’s trunk blends power and wisdom. Below it, a smaller Yazhi reinforces the multi-tiered visual symbolism of guardianship.

West Face:

A vibrant set of divine and mythical figures: Hanuman, Garuda, an elephant, and a lion.
On the capital is a male dancer in dynamic movement.

North Face:

A lone soldier holding a bow, alert and battle-ready.

East Face:

A Bhuta Gana wielding a mace.
A lion, and another depiction of Hanuman.
On the capital, a dancing male, mid-pose.

Sixth Pillar: Fierce Veerabhadra and a Harmonious Ensemble

The sixth pillar features a striking sculpture of Veerabhadra, Shiva’s wrathful form, depicted with the powerful visual style typical of the Nayaka era.

Veerabhadra is shown:

With a thick beard and a large, arching moustache, adding to his fierce appearance.
Holding a raised sword (khatga) in his right hand, and a shield or bowl in his left.
His broad chest is covered in ornate jewelry, including charapali, keyura, and udarabandha.
The legs are bent like Nataraja's dancing pose
A multi-tiered kiritamakuta crowns his head.

Sidenote: Veerabhadra's depiction with beard and sword, reflects classic Nayaka iconography.

West Face:

A veena-playing figure wearing a tall crown.
A graceful girl appears on the capital, anchoring the scene with elegance.

East Face:

A dancing girl, holding a parrot in her right arm, symbolizing romantic devotion.
A dwarf carrying an umbrella, humorously carved.
On the capital is Kaliya Nardana Krishna, dancing over the serpent—an iconic scene from Krishna Leela.

Seventh Pillar: Simha Yazhi and Scenes of Drama and Affection

This pillar is anchored by a massive Simha Yazhi, roaring with strength and authority.

West Face:

A girl is shown pulling the beard of a man, possibly in jest or confrontation.
A soldier in Nayaka style, and a dancing girl strike energetic poses.
A lion, and a bearded soldier with a bow are carved into the capital.

North Face:

A pregnant woman, gently resting her hand on her head, a posture conveying fatigue or contemplation.
She carries an infant on her hip, suggesting maternal tenderness.
A soldier with a bow adds balance to the composition.

East Face:

A Nayaka-style soldier, formally posed.
Two dancing girls, each placing one hand on the other’s shoulder—a coordinated posture symbolizing synchrony in dance.

With these pillars, the south-facing row of the Mukha Mandapa continues to dazzle. From Rati’s celestial grace to Veerabhadra’s fierce power, from playful dwarfs to expressive dancers—each figure, each gesture, and each ornamented detail tells a story. Krishnapuram is not merely a temple; it is a sculptural theatre frozen in stone.

In the next episode, we’ll continue to explore the remaining parts of this stunning temple.

Happy travelling.

This is Part 10 of the series of articles on Krishnapuram Temple. If you are interested to read the earlier parts of the series, click the links below.