Krishnapuram Temple Sculptures – Episode 10: South-Facing Pillars Begin – Gaja Yazhi, Veerabhadra, and the Dancing Girl

By Indian Columbus - May 16, 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 tenth 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 this episode, we turn to the opposite row of pillars that face south, beginning from the westmost pillar.

Krishnapuram Temple

First Pillar: Simha Yazhi and Iconic Veerabhadra

This pillar is dominated by a powerful Simha Yazhi, with a small elephant carved beneath it. The massive Yazhi, many times larger than the elephant, seems to subdue or consume it—a sculptural metaphor perhaps representing the supremacy of celestial forces over worldly strength.

West Face:

Purusha Mriga sculpted on the capital.
A lion, warrior, and two male dancers.
A unique depiction of Veerabhadra with a beard, posed like Nataraja, exuding dynamic energy—a fine example of Nayaka sculptural styling.

North Face:

A soldier holding a bow, ready for action.
A dancing male, dancing female, and a male blowing a conch—invoking celebratory and martial moods.

East Face:

A king with a tall Kirita Makuta (crown).
A seated woman, serene and composed.
Two dancing girls, and on the capital, a mridanga—suggesting a musical context.

Second Pillar: The Dancing Girl and Vignettes of Daily Life

The highlight of this pillar is the life-sized sculpture of a dancing girl, beautifully carved and rich in Nayaka-period features.

She is depicted with:

A pronounced tribhanga posture—hip and shoulder swaying gracefully.
The left arm rests on her thigh, indicating rhythm and movement.
The right arm is raised in a warning gesture (suchi mudra).
Her face is composed and mildly expressive, with wide-open eyes.
She wears elaborate makara-kundalas, a multi-tiered kirita (crown), heavy necklaces, and a richly decorated mekhala (waist ornament).
Her breasts are sharply defined—typical of Nayaka sculptural treatment—and the waist is narrow and supple, suggesting agility and grace.

Sidenote: This is a classical example of the tribhanga pose, widely used in Indian art to express elegance and natural movement.

West Face:

A dwarf holding a parrot in his left hand and a mace in the right, dressed in a shirt and laughing—a rare and humorous human moment in stone.
A small dancing Krishna, and a mother carrying an infant on her hip, the child reaching to touch her breast—intimate and tender.

North Face:

A finely carved Durga, accompanied by a lion and a deer.
Garuda, the vahana of Vishnu, captured in his vigilant form.

East Face:

A woman with a prominent breast, holding a large Yazh in her right arm, the left arm relaxed and hanging—a dramatic, powerful pose.
A Nayaka-style soldier, sculpted with detail.
A second soldier on the capital, suggesting continuity and protection.

Third Pillar: Gaja Yazhi and Heroic Scenes

This pillar features a majestic Gaja Yazhi, a composite creature with the body of a lion and the trunk of an elephant. Below it is a smaller Yazhi, indicating a hierarchical or layered mythic structure.

Sidenote: Gaja Yazhi is a mythical creature blending the power of a lion and the wisdom of an elephant—a popular motif in South Indian temple architecture.

West Face:

A Garuda with a sharply pointed beak, poised for flight or attack.
A hunter, armed and intense.
A Bhut on the capital

South Face:

A dancing girl, radiating charm.
Two male fighters engaged in a dynamic scene.
Hanuman, carved with strength and devotion.

East Face:

Vishnu, serene and powerful.
A Rishi with matted hair and ascetic expression.
An elephant and a soldier.
On the capital, another depiction of Hanuman, anchoring the pillar with his loyal and protective energy.

As we move to the south-facing row of the Mukha Mandapa, the sculptures take on a more personal and narrative quality. Alongside divine figures, we see hunters, mothers, musicians, dancers, and dwarfs—a celebration of both the sacred and the human. The artistry continues to astonish with its range, expression, and technical finesse.

In the next episode, we will continue along this row, discovering more sculptural marvels hidden within the granite pillars of Krishnapuram.

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.