The PRAMBANAN of india-The Meenakshi Temple of

Madurai

Dr Uday Dokras
B.Sc., B.A.(Managerial Economics), LLB. Nagpur University,India
Graduate Studies,Queen’s University, Canada
MBA (CALSTATE,USA)
Graduate Diploma in Law, Stockholm University,Sweden
Ph.D (Management) Stockholm University, Sweden
Currently- CONSULTANT- Gorewada International Zoo, Nagpur,India- Largest Zoo and
Safari in Asia
_______________________1 The city of Madurai is as a lotus flower that springs from the
navel of Lord Vishnu. The streets of the city are the petals. The ktjl ' at the centre is the thalamus
within the petals.
-Paripidal

The Meenakshi Temple is the physical center of the city of Madurai as well as its economic,
mythical, and spiritual heart. Its importance radiates outward from the central shines through
Madurai to the entire Tamil-speaking region in south India, and beyond. The Meenakshi
Temple is in many ways a microcosm of the earthly and spiritual characteristics of Bharat

The Meenakshi Temple is the physical center of the city of Madurai as well as its economic,
mythical, and spiritual heart. Its importance radiates outward from the central shines through
Madurai to the entire Tamil-speaking region in south India, and beyond. The Meenakshi Temple is in
many ways a microcosm of the earthly and spiritual characteristics of Hindu India. Madurai a major
city in the Indian state of Tamil Nadu, is the cultural capital of Tamil Nadu and the administrative
headquarters of Madurai District, the third largest city in Tamil Nadu and 44th most populated city in
India. Located on the banks of River Vaigai, Madurai has been a major settlement for two millennia.
The city is believed to be of significant antiquity and has been ruled, at different times, by
the Pandyas, Cholas, Madurai Sultanate, Vijayanagar Empire, Madurai Nayaks, Carnatic kingdom,
and the British East India Company British Raj.The city has a number of historical monuments, with
the Meenakshi Amman Temple and the Tirumalai Nayak Palace being the most prominent. The
region is believed to have been covered with Kadamba forest and hence called Kadambavanam.

Madurai is closely associated with the Tamil language, and the third Tamil Sangam, a major
congregation of Tamil scholars said to have been held in the city. The recorded history of the city
goes back to the 3rd century BCE, being mentioned by Megasthenes, the Greek ambassador to
the Maurya empire, and Kautilya, a minister of the Mauryan emperor Chandragupta Maurya. Signs of

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human settlements and Roman trade links dating back to 300 BC are evident from excavations
by Archeological Survey of India in Manalur.

According to Iravatham Mahadevan, a 2nd-century BCE Tamil-Brahmi inscription refers to the city
as matiray, an Old Tamil word meaning a "walled city".Madurai is one of the many temple towns in
the state which is named after the groves, clusters or forests dominated by a particular variety of a tree
or shrub and the same variety of tree or shrub sheltering the presiding deity. The region is believed to
have been covered with Kadamba forest and hence called Kadambavanam.The city is referred by
various names including "Madurai", "Koodal", "Malligai Maanagar", "Naanmadakoodal" and
"Thirualavai".

The word Madurai may be derived from Madhura (sweetness) arising out of the divine nectar
showered on the city by the Hindu god Siva from his matted hair. Another theory is that Madurai is
the derivative of the word Marutham, which refers to the type of landscape of the Sangam age. A
town in the neighbouring Dindigul district is called Vada Madurai (North Madurai) and another
in Sivagangai district is called Manamadurai. The different names by which the city has been referred
to historically are listed in the 7th-century poem Thiruvilayaadal puraanam written by Paranjothi
Munivar.

Koodal means an assembly or congregation of scholarly people, referring to the three Tamil Sangams
held at Madurai. Naanmadakoodal, meaning the junction of four towers, refers to the four major
temples for which Madurai was known for. Tevaram, the 7th- or 8th-century Tamil compositions on
Shiva by the three prominent Nayanars (Saivites), namely Appar, Sundarar and
Thirugnanasambandar, address the city as Thirualavai.

Madurai has been inhabited since at least the 3rd century BCE. Megasthenes may have visited
Madurai during the 3rd century BCE, with the city referred as "Methora" in his accounts.The view is
contested by some scholars who believe "Methora" refers to the north Indian city of Mathura, as it
was a large and established city in the Mauryan Empire. Madurai is also mentioned in Kautilya's
(370–283 BCE) Arthashastra. Sangam literature like Maturaikkāñci records the importance of
Madurai as a capital city of the Pandyan dynasty. Madurai is mentioned in the works
of Roman historians Pliny the Younger (61 – c. 112 CE), Ptolemy (c. 90 – c. CE 168), those of
the Greek geographer Strabo (64/63 BCE – c. 24 CE), and also in Periplus of the Erythraean Sea.
After the Sangam age, most of present-day Tamil Nadu, including Madurai, came under the rule of
the Kalabhra dynasty, which was ousted by the Pandyas around 590 CE. The Pandyas were ousted
from Madurai by the Chola dynasty during the early 9th century. The city remained under the control
of the Cholas until the early 13th century, when the second Pandyan empire was established with
Madurai as its capital. After the death of Kulasekara Pandian (1268–1308 CE), Madurai came under
the rule of the Delhi Sultanate.[ The Madurai Sultanate then seceded from Delhi and functioned as an
independent kingdom until its gradual annexation by the Vijayanagar Empire in 1378 CE. Madurai
became independent from Vijayanagar in 1559 CE under the Nayaks. Nayak rule ended in 1736 CE
and Madurai was repeatedly captured several times by Chanda Sahib (1740 – 1754 CE), Arcot
Nawab and Muhammed Yusuf Khan (1725 – 1764 CE) in the middle of 18th century.

Madurai is built around the Meenakshi Amman Temple, which acted as the geographic and ritual
centre of the ancient city of Madurai. The city is divided into a number of concentric quadrangular
streets around the temple. Vishwanatha Nayak (1529–64 CE), the first Madurai Nayak king,
redesigned the city in accordance with the principles laid out by Shilpa Shastras (Sanskrit: śilpa
śāstra, also anglicised as silpa sastra meaning rules of architecture) related to urban planning. These
squares retain their traditional names of Aadi, Chittirai, Avani-moola and Masi streets, corresponding
to the Tamil month names and also to the festivals associated.The temple prakarams (outer precincts
of a temple) and streets accommodate an elaborate festival calendar in which dramatic processions
circumambulate the shrines at varying distances from the centre. The temple chariots used in
processions are progressively larger in size based on the size of the concentric streets. Ancient Tamil
classics record the temple as the centre of the city and the surrounding streets appearing liken a lotus

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and its petals.The city's axes were aligned with the four quarters of the compass, and the four
gateways of the temple provided access to it. The wealthy and higher echelons of the society were
placed in streets close to the temple, while the poorest were placed in the fringe streets.With the
advent of British rule during the 19th century, Madurai became the headquarters of a large colonial
political complex and an industrial town; with urbanisation, the social hierarchical classes became
unified.

Meenakshi Temple is at the center of the ancient temple city of Madurai mentioned in the Tamil Sangam
literature, with the goddess temple mentioned in 6th century CE texts. It is also referred to as Meenakshi
Amman or Meenakshi-Sundareshwara Temple located on the southern bank of the Vaigai Riverdedicated
to Meenakshi, a form of Parvati, and her consort, Sundareshwar, a form of Shiva.
History: Madurai Meenakshi temple was built by King Kulasekara Pandya (1190-1216 CE). He built the
main Portions of the three-storeyed gopura at the entrance of Sundareswarar Shrine and the central portion
of the Goddess Meenakshi Shrine are some of the earliest surviving parts of the temple. The traditional
texts call him a poet-saint king, additionally credit him with a poem called Ambikai Malai, as well as
shrines (koil) each for Natarajar and Surya near the main temple, Ayyanar in the east, Vinayagar in the
south, Kariamalperumal in the west and Kali in the north. He also built a Mahamandapam. Kulasekara
Pandya was also a poet and he composed a poem on Meenakshi named Ambikai Malai. Maravarman
Sundara Pandyan I built a gopura in 1231, then called Avanivendaraman, later rebuilt, expanded and
named as Sundara Pandya Thirukkopuram. Chitra gopuram (W), also known as Muttalakkum Vayil, was
built by Maravarman Sundara Pandyan II (1238-1251). This gopuram is named after the frescoes and
reliefs that depict secular and religious themes of Hindu culture. Maravarman Sundara Pandyan II also
added a pillared corridor to the Sundareswara shrine and the Sundara Pandyan Mandapam . It was rebuilt
after the 14th-century damage, its granite structure was renovated by Kumara Krishnappar after 1595.
Though the temple has historic roots, most of the present campus structure was rebuilt after the 14th
century CE, further repaired, renovated and expanded in the 17th century by Tirumala Nayaka. In the early
14th century, the armies of Delhi Sultanate led by Plundering and rebuilding: Muslim Commander Malik
Kafur plundered the temple, looted it of its valuables and destroyed the Madurai temple town along with
many other temple towns of South India. The current structure is the result of rebuilding efforts started by
the Vijayanagara Empire rulers who rebuilt the core and reopened the temple. In the 16th century, the
temple complex was further expanded and fortified by the Nayak ruler Vishwanatha Nayakar and later
others. The restored complex now houses 14 gopurams (gateway towers), ranging from 45–50m in height,
with the southern gopura tallest at 51.9 metres (170 ft). The complex has numerous sculpted pillared halls
such as Ayirakkal (1,000 pillar hall), Kilikoondu-mandapam, Golu-mandapam and Pudu-mandapam. Its
shrines are dedicated to Hindu deities and Shaivism scholars, with the vimanas above
the garbhagrihas (sanctums) of Meenakshi and Sundaresvara gilded with gold.

The temple is at the center of the ancient temple city of Madurai mentioned in the Tamil Sangam literature,
with the goddess temple mentioned in 6th century CE texts.It is a major pilgrimage destination within the
Shaivism tradition, dedicated to Meenakshi Devi and Shiva. However, the temple includes Vishnu in many
narratives, sculptures and rituals as he is considered to be Meenakshi's brother. This has made this temple
and Madurai as the "southern Mathura", one included in Vaishnava texts. The Meenakshi temple also
includes Lakshmi, flute playing Krishna, Rukmini, Brahma, Saraswati, other Vedic and Puranic deities, as
well as artwork showing narratives from major Hindu texts. The large temple complex is the most
prominent landmark in Madurai and attracts tens of thousands visitors a day. The temple attracts over a
million pilgrims and visitors during the annual 10-day Meenakshi Tirukalyanam festival, celebrated
with much festivities and a ratha (chariot) procession during the Tamil month of Chittirai (overlaps
with April–May in Georgian calendar, Chaitra in North India).

Location: The Meenakshi temple is located in the heart of historic Madurai city, about a kilometer south
of the Vaigai River. It is about 460 kilometres (290 mi) southwest from Chennai, the state capital. The city
roads radiate from the temple complex and major ring roads form a concentric pattern for the city, a
structure that follows the Silpa Sastra guidelines for a city design.Madurai is one of the many temple
towns in the state which is named after the groves, clusters or forests dominated by a particular variety of a
tree or shrub and the same variety of tree or shrub sheltering the presiding deity.

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Meenakshi (Sanskrit: मीनाक्षी, lit. 'Mīnākṣī', Tamil: மீனாட்சி, lit. 'Mīṉāṭci') is a Sanskrit term meaning "fish-
eyed", derived from the words mina ("fish") and akshi ("eyes"). She was earlier known by
the Tamil name Tadadakai ("fish-eyed one"), mentioned in early historical account as a fierce, unmarried
and meat-eating goddess which was later sanskritised as Meenakshi. According to another theory, the
name of the goddess literally means "rule of the fish", derived from the Tamil words meen (fish)
and aatchi (rule).She is also known by the Tamil name "Angayarkanni" or "Ankayarkannammai" (literally,
"the mother with the beautiful fish eyes").

The goddess Meenakshi is the principal deity of the temple, unlike most Shiva temples in South
India where Shiva is the principal deity. According to a legend found in the Tamil
text Tiruvilaiyatarpuranam, king Malayadwaja Pandya and his wife Kanchanamalai performed
a Yajna seeking a son for succession. Instead a daughter is born out of the fire who is already 3 year old
and has three breasts. Shiva intervenes and says that the parents should treat her like a son, and when she
meets her husband, she will lose the third breast. They follow the advice. The girl grows up, the king
crowns her as the successor and when she meets Shiva, his words come true, she takes her true form of
Meenakshi. According to Harman, this may reflect the matrilineal traditions in South India and the
regional belief that "penultimate [spiritual] powers rest with the women", gods listen to their spouse, and
that the fate of kingdoms rest with the women According to Susan Bayly, the reverence for Meenakshi is a
part of the Hindu goddess tradition that integrates with the Dravidian Hindu society where the "woman is
the lynchpin of the system" of social relationships.

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The marriage of Meenakshi and Shiva was the biggest event, with all gods, goddesses and living beings
gathered. Vishnu is believed to be the brother of Meenakshi. Vishnu gives her away to Shiva at the
wedding.
Meenakshitutelary deity of Madurai is considered an avatar of the GoddessParvati. She is the divine
consort of Sundareswarar, a form of Shiva. She finds mention in literatures as the princess or queen of the
ancient Pandya kingdom who elevates to godhood.The goddess is also extolled by Adi Shankara as Shri
Vidya. She is mainly worshipped in South India where she has a major temple devoted to her known as the
Meenakshi Temple in Madurai, Tamil Nadu. She is also known by the Tamil name "Angayarkanni" or
"Ankayarkannammai" (literally, "the mother with the beautiful fish eyes"). According to another theory,
the name of the goddess literally means "rule of the fish", derived from the Tamil words meen (fish) and
aatchi (rule). Various meanings of this appellation have been suggested, including that she was originally a
goddess of the fisher-folk, that her eyes are "large and brilliant" like that of a fish, or that she has "long and
slender" eyes shaped like the body of a fish. Another interpretation is that the name is based on the belief
that the fish never close their eyes: the goddess similarly never stops watching over her devotees.Yet
another interpretation states that the name is based on the ancient belief that the fish feed their young by
merely looking at them; the goddess supposedly supports here devotees by merely glancing at them.

Several great hymns on the goddess were composed in the early modern period by many saints and
scholars, including the famous Neelakanta Dikshitar. The stotram Meenakshi Pancharatnam (Five
Jewels of Meenakshi), composed by Adi Sankaracharya (8th century AD), is an incantation to her.
Meenakshi does not directly appear in the stotram Lalita Sahasranama, though there is a reference to
her in the line Vakthra lakshmi parivaha chalan meenabha lochana (She who has auspiciousness and
glory of Lakshmi and has beautiful eyes which look like fish in the pond of her face).

One Tamil poem/song (Tamilpillai) portrays Meenakshi as the intersection of domesticity and divinity
and as a global icon for all who deal with "impossible" children or husbands:The great Shiva with the
metel flower / Wanders through the courtyard of space / Destroying your work again and again / And
then he comes before you. // You never get angry. / Every day you just pick up the vessels.
The 13th century Tamil text Tiruvilaiyatarpuranam, mentions king Malayadhwaja Pandya and his
wife Kanchanamalai who performed a yajna seeking a son for succession. Instead a daughter is born
who is already 3 year old and has three breasts. Shiva intervenes and says that the parents should treat
her like a son, and when she meets her husband, she will lose the third breast. They follow the advice.
The girl grows up, the king crowns her as the successor and when she meets Shiva, his words come
true, she takes her true form of Meenakshi. According to Harman, this may reflect the matrilineal
traditions in South India and the regional belief that "penultimate [spiritual] powers rest with the
women", gods listen to their spouse, and that the fate of kingdoms rest with the women. According to
Susan Bayly, the reverence for Meenakshi is a part of the Hindu goddess tradition that integrates with
the Dravidian Hindu society where the "woman is the lynchpin of the system" of social relationships.
Her eyes are fabled to bring life to the unborn.

The town of Madurai is ancient and one mentioned in Sangam era texts.These are dated to be from the
1st to 4th century CE. The Sangam Age was the period of history of ancient Tamil Nadu and Kerala
and parts of Sri Lanka (then known as Tamilakam) spanning from c. 6th century BCE to c. 3rd
century CE. It was named after the famous Sangam academies of poets and scholars centered in the
city of Madurai. Some early Tamil texts call Madurai as Koodal, and these portray it as a capital and a
temple town where every street radiated from the temple. Goddess Meenakshi is described as the
divine ruler, who along with Shiva were the primary deities that the southern Tamil kingdoms such as
the Pandya dynasty revered. The early texts imply that a temple existed in Madurai by the mid 6th
century.In medieval literature and inscriptions, it is sometimes referred to as Kadambavanam (lit.
"forest of Kadamba") or Velliambalam ("silver hall" where Shiva danced). It was described to be the
sangam of scholars, or a place where scholars meet. It is mentioned in the Tamil
text Tiruvilayadalpuranam and the Sanskrit text Halasya Mahatmya.It is one of the shrines of the
275 Paadal Petra Sthalams that are revered in the verses of SaivaNayanars in the 6th-9th century CE
and are amongst the greatest Shiva temples of the continent. The Divya Desams by comparison are

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the 108 Vishnu temples glorified in the poems of the contemporary VaishnavaAlvars of Tamil Nadu,
India.

Various names: The origin of the temple is mentioned in early Tamil texts, some in the regional
Puranam genre of literature. All of these place the temple in ancient times and include a warrior
goddess, but the details vary significantly and are inconsistent with each other. Thirugnanasambandar,
the famous Hindu saint of Saiva philosophy for example, mentioned this temple in the 7th century,
and described the deity as Aalavai Iraivan. Some link to it deities they call Alavai Iraivan and Alavai
Annal, or alternatively Angayar Kanni Ammai. Some link its legend to other deities such as Indra
who proclaims the primacy of the goddess, while some describe Hindu gods appearing before ancient
kings or saints urging wealthy merchants to build this temple in the honor of a goddess. One legend
describes a childless king and queen performing yajna for a son, they get a daughter who inherits the
kingdom, conquers the earth, meets Shiva ultimately, marries him, continues to rule from Madurai,
and the temple memorializes those times. Instead of such inconsistent ahistorical mythologies,
scholars have attempted to determine the history of the temple from inscriptions found in and outside
Madurai, as well as comparing the records relating to South Indian dynasties. These largely post-date
the 12th century.

Invasions and destruction

In the north, the Indian subcontinent had been conquered by the Delhi Sultanate. Muslim armies had
begun raiding central India for plunder by the late 13th century. Between 1310–1311, the Ala ud Din
Khilji's Muslim general Malik Kafur and his Delhi Sultanate forces went deeper into the Indian
peninsula for loot and to establish annual tribute paying Muslim governors. The records left by the
court historians of the Delhi Sultanate state that Malik Kafur raided Madurai, Chidambaram,
Srirangam and other Tamil towns, destroyed the temples, and they were the sources of gold and
jewels booty he brought back to Delhi.
This Islamic invasion in the 14th century brought an abrupt end to the patronage of Tamil Hindu
temple towns. After the conquest and destruction, the Delhi Sultan appointed a Muslim governor in
Madurai, who seceded within the few years from the Delhi Sultanate and began the Madurai
Sultanate. This Sultanate sought tribute from the temple towns, instead of supporting them. The
Muslim Madurai Sultanate was relatively short-lived, with Hindu Vijayanagar Empire removing it in
the late 14th century. According to one poetic legend called Madhura Vijayam attributed to Ganga
Devi, the wife of Kumara Kampana, she gave him a sword, urged him to liberate Madurai, right the
vast wrongs, and reopen the Meenakshi temple out of its ruins. The Vijayanagara rulers succeeded,
removed the ruins and reopened the temple for active worship.They restored, repaired and expanded
the temple through the 16th century, along with many other regional temples. The Tamil Hindus
revived these towns but in some places such as Madurai, it took a long while.

Rebuilding
The temple was rebuilt by the Hindu Nayaka dynasty ruler Vishwanatha Nayak in the 16th and 17th
century. According to Susan Lewandowski, the Nayaka rulers followed the Hindu texts on
architecture called the Shilpa Shastras in redesigning the temple city plan and the Meenakshi temple.
The city was laid out, states Lewandowski, in the shape of concentric squares and ring-roads around
them, with radiating streets culminating in the Meenakshi-Sundaresvara temple. These streets use
traditional Tamil Hindu month names, such as Adhi, Chitrai, Avani-moola, Masi and others. In each
of these months, the Hindus started their tradition of taking the temple bronzes festively through the
street of the same name.The temple and the city was once again east facing to greet the
rising Surya (sun god).The temple city grew again around the new temple, with human settlements
structured along their castes, according to Lewandowski, with the royalty, Kshatriyas and Vaishya
merchants lived on the southeast side of the temple, the Brahmins in a special quarter close to the
temple, while others in other areas and fringes of the city. The king started a procession tradition
linked to the temple to link his authority with the divine and maintain the social system. In contrast,
according to Bayly, the procession reflects the traditional matrilineal social values, the brother-sister-
groom kinship values that better explain its popularity. The warrior goddess worship tradition is

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ancient in the Tamil Hindu tradition, states Bayly, and it dramatically expanded after the 14th-century
wars.

The work completed by Vishwanatha Nayaka in 1560 was substantially expanded to the current
structure during the reign of Tirumala Nayaka (1623–55). Tirumala Nayaka, a Hindu king, took
considerable interest in erecting many complexes inside the temple. His major contributions are
the Vasantha Mandapam for celebrating Vasanthotsavam (spring festival) and Kilikoondu
Mandapam (corridor of parrots). The corridors of the temple tank and Meenatchi Nayakar
Mandapam were built by Rani Mangammal. The initiative for some changes to the structure was
under the supervision of Ariyanatha Mudaliar, the prime minister of the Nayaka Dynasty.
During the colonial era, the population around the Meenakshi temple attracted a hub of Christian
missionary activity headed by competing missions from Portugal and other parts of Europe.The
British rulers first gave endowments to the temple and the British troops participated in temple
festivities to gain socio-political acceptance. Lord Clive, for example, donated jewels looted by the
East India Company from Sringapatam, but in 1820 they withdrew from their roles as temple patrons
and participating in temple festivities.The missionaries ridiculed the temple artwork and criticized the
temple practices while introducing themselves as "Roman Brahmins" and "Northern Sanniasis" [sic].
The missionary efforts were largely unsuccessful with people continuing to patronize the temple after
baptizing. The missionaries wrote back that the Tamils were "baptizing, but not converting", for they
baptize if "someone wants a wife who is Christian" or medical aid when they have a disease, material
aid if they are poor.

After the end of the Nayakas, start of the Madras presidency and withdrawal of the colonial British
from support, the temple condition degraded. In 1959, Tamil Hindus began collecting donations and
initiated restoration work in consultation with engineers, Hindu monasteries, historians and other
scholars. The completed restoration was celebrated with a Kumbhabhishekam in 1995.The temple is
sometimes spelled as Minaksi and the city as Madura in 17th to early 20th-century texts.
The temple has its traditional version of history that it calls Shiva-lilas (sports of Shiva), and sixty
four of these episodes are painted as murals around the temple walls. These depict the many
destructions of Madurai and the temple, then its rise from the ashes and ruins of the destruction every
time.In 1801 the British East India Company took direct control of Madurai and brought it under the
Madras Presidency. In 1837, the city was expanded to accommodate the growing population by
demolishing the fortifications around the temple. This was done on the orders of the then collector
John Blackburn. The moat was drained and the debris was used to construct the new streets - Veli,
Marat and Perumaal Mesthiri streets. The city was constituted as a municipality in 1866.

TRADITIONAL PLANNING STRATEGIES: The old city of Madurai is considered to be

designed according to the Rajdhani plan, described in Manasara, one of the Shilpasastra, and has the
fivefold concentric rectangular formation with Meenakshi- Sundareshwara Temple at a very centre
point. The city was a well- planned one with bazaars and many broad streets with high and luxurious
mansions on both sides. The city was built around the temple complex as the focal point with a
combination of a concentric street pattern.The streets concentric to the temple complex formed the
major streets viz., Chithirai Streets, Avani Moola Streets and Masi Streets. The next order of streets is
perpendicular to the above streets and lead to the temple entrances. The developments within and
beyond these streets are on an irregular pattern. A definite hierarchy of street pattern was adopted with
the width of the Streets decreasing as they branched out, ending up in stone paved streets and lanes
the width of some being just 0.60 m. The entire city was enclosed within the fort walls and
surrounded by a moat. The fort walls have been razed down and the moat filled up to form the present
day Veli Streets.

SETTLEMENT PATTERN : The settlement pattern of Madurai is planned according to the ancient
system of town planning which is based on caste and occupational hierarchies. The map shows the
present settelemnt pattern and its relavance with the ancient town planning system. Ancient south
indian temple towns are designed by placing the temple complex at the centre with concentric

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rectangle pattern of streets around. This can be seen in another southern temple town srirangam also.
Map showing Settlement Pattern of Madurai city with ancient town planning system:
Madurai, Meenakshi Amman Temple is at the center. Royal Palaces, Brahmins and Priests at the first
concentric rectangle.Traders, Kishatriyas and Vaishnavaites on the second rectangle. The lower caste
Sudras and immigrants zoarashitrains in the third rectangle. Map showing Settlement Pattern of
Madurai city with ancient town planning system.

An aerial view of the compound from the top of the southern gopuram, looking north.

Mandala: A mandala (emphasis on first syllable; Sanskrit मण्डल, maṇḍala – literally "circle") is a
geometric configuration of symbols with a very different application.The basic form of hinduism
mandalas is a square with four gates containing a circle with a center point and it is called also
a yantra. Each gate is in the general shape of a T. Mandalas often have radial balance. The temple
plan, as well as the old city, suggests that it is mandala, a cosmic diagram laid out based on principles
of symmetry and loci. The physical space contained in the mandala form is believed to represent the
universe – including the earthly and spiritual realms – and is one of the chief ways that Hindu
practitioners can focus and meditate on the sacred. Each design and element in a Hindu mandala
serves a symbolic purpose, and therefore, contemplating or creating these works can be a highly
detailed and ritualized process. After the city's destruction in the 14th century, the Tamil tradition
states that the king Vishwantha Nayaka rebuilt the temple and the Madurai city around it in
accordance with the principles laid down in the Shilpa Shastras (Sanskrit: śilpa śāstra. The city plan is
based on concentric squares with streets radiating out from the temple. Early Tamil texts mention that
the temple was the center of the city and the streets happened to be radiating out like a lotus and its
petals. The temple prakarams (outer precincts of a temple) and streets accommodate an elaborate
festival calendar in which processions circumambulate the temple complex. The vehicles used in the
processions are progressively more massive the further they travel from the centre.

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One of the chief symbolic purposes of the mandala is to represent the different layers of the universe –
the spiritual realm, the lived environment, the inner experience of man – and how each of these layers
can flow into and out of the next. Therefore, the mandala is perhaps the most essential tool when
practitioners seek enlightenment or spiritual connection. The temple complex is spread over about 14
acres (5.7 ha). The courtyard is close to a square with each side of about 800 feet, but more accurately
a rectangle with one side about 50 feet longer. The complex has numerous shrines and
mandapas.Monuments inside arein a number of concentric enclosures, each layer fortified with high
masonry walls. The outer walls have four towering gateways, allowing devotees and pilgrims to enter
the complex from all four directions.

Significance: According to the Tiruvilaiyatal Puranam, of the list of 68 pilgrimage places in Shaivism,
four are most important: Kashi (Varanasi), Chidambaram, Tirukkalatti and Madurai. The sacrality of
Madurai is from this temple. The shrine of Sundareswarar is considered as one of the Pancha Sabhai (five
courts), where the Tamil Hindu tradition believes Shiva performed cosmic dance. The Tamil
word velli means silver and ambalam means stage or altar. This massive Nataraja sculpture is enclosed in a
huge silver altar and hence called "Velli Ambalam" (silver abode).

The marriage of the goddess and god is a symbolic paradigm for human marriage.The Meenakshi Temple
is a theologically and culturally significant temple for Hindus. The temple is a popular site for Hindu
weddings, though it is not the exclusive site. The short main ceremony is completed in the temple,

9
followed by receptions and other rituals elsewhere. The Meenakshi temple is not only a religious center,
but is also an economic center. The goods and services for temple-related pilgrims and visitors is a
significant part of the Madurai economy. The wedding of Meenakshi and Sundaresvara the "supremely
important rite of passage" for women, the cultural concept of "sumangali" or "auspicious married woman"
who lives with her husband but is also independent, organizer of the social connections and who is central
to Tamilian life. This event is commemorated with an annual festive procession that falls sometime around
April.

The temple is also significant because it implies an affinal, protective relationship

between Shaivism and Vaishnavism traditions of Hinduism, by making Shiva the husband of Meenakshi,
and Vishnu her brother, a significant relationship in Dravidian kinship system. Meenakshi herself is a
central part of the Shaktism tradition of Hinduism, and represented as the dominant figure of the pair in
this temple. The temple thus symbolically celebrates all three of its major traditions.

Walls
The ancient temple complex was open. The courtyard walls were added over time in response to invasion
and the plunder of the temple complex. According to the text Thirupanimalai, the Vijayanagara
commander Kumara Kampana after completing his conquest of Madurai, rebuilt the pre-existing structure
and built defensive walls around the temple in the 14th century. Lakana Nayakar added the defensive walls
around the first prakara (courtyard), as well as expanded and renovated the Mahamandapa and Meenakshi
shrine about the middle of the 15th century.
After the destruction of the Hindu Vijayanagara Empire in the late 16th century by a coalition of Islamic
Deccan sultanates north of Karnataka, the Madurai region declared its sovereignty. Visvanatha Nayak then
poured resources to heavily fortify the temple complex, set a new plan for the temple complex. The
Nayaka ruler also gilded the vimana of the primary shrines with gold. Chettiappa Nayakkar rebuilt the
Dvarapala mandapam in front of the Sannadhi gopuram, as well as the north colonnade of the Golden
Lotus Tank, the second protective wall around the Meenakshi Devi's shrine.

Meenakshi temple has 14 colorful gopura. These are gateways to various shrines and mandapas .
Gopurams
A Gopuram or gopura गोपुरम्, is a monumental entrance tower, usually ornate, at the entrance.
Ancient and early medieval temples feature smaller gopuram, while in later temples they are a
prominent feature of Hindu temples of the Dravidian style; or in many cases the temple compound
was expanded and new larger gopuram built along the new boundary. They are topped by
the kalasam, a bulbous stone finial. They function as gateways through the walls that surround the
temple complex. Another towering structure located towards the center of the temple is
the Vimanam. Both of them are designed and constructed as per rules given in the texts of Vaastu
shastra. The gopuram's origins can be traced back to early structures of the Pallava kings, and relate to
the central shikhara towers of North India. Between the twelfth and sixteenth century, during
the Pandya, Nayaka and Vijayanagara era when Hindu temples increasingly became a hub of the
urban life, these gateways became a dominant feature of a temple's outer appearance, eventually
overshadowing the inner sanctuary which became obscured from view by the gopuram's colossal size
and courtyards. It also dominated the inner sanctum in amount of ornamentation. Often a shrine has
more than one gopuram as in our case

10
The shrines of Meenakshi temple are embedded inside three walled enclosures and each of these have
four gateways, the outer tower growing larger and reaching higher to the corresponding inner one.
The temple has four main towering gateways (gopurams) that look identical to each other. Apart from the
four ‘gopurams,’ the temple also houses many other ‘gopurams’ that serve as gateways to a number of
shrines. The temple has a total of 14 towering gateways. Each one of them is a multi-storey structure and
displays thousands of mythological stories and several other sculptures. The major ‘gopurams’ of the
temple are listed below:
1. Kadaka Gopuram – This towering gateway leads to the main shrine that houses Goddess Meenakshi.
The gateway was rebuilt by Tumpichi Nayakkar during the mid-16th century. The ‘gopuram’ has five
storeys.
2. Sundareswarar Shrine Gopuram – This is the oldest ‘gopuram’ of the temple and was built by
Kulasekara Pandya. The ‘gopuram’ serves as a gateway to the Sundareswarar (Lord Shiva) shrine.
3. Chitra Gopuram – Built by Maravarman Sundara Pandyan II, the gopuram depicts the religious and
secular essence of Hinduism.
4. Nadukkattu Gopuram – Also called as the ‘Idaikattu Gopuram,’ this gateway leads to the Ganesha
shrine. The gateway is placed right in between the two main shrines.
5. Mottai Gopuram – This ‘gopuram’ has fewer stucco images when compared to the other gateways.
Interestingly, ‘Mottai gopuram’ had no roof for nearly three centuries.
6. Nayaka Gopuram – This ‘gopuram’ was built by Visvappa Nayakkar around 1530. The ‘gopuram’ is
astonishingly similar to another gateway called ‘Palahai Gopuram.’
Mandapams: The temple also has numerous pillared halls called ‘Mandapams.’ These halls were built
by various kings and emperors and they serve as resting places for pilgrims and devotees. Some of the
most important ‘mandapams’ are given below:
1. Ayirakkal Mandapam – It literally translates to ‘hall with thousand pillars.’ The hall, which was
built by Ariyanatha Mudaliar, is a true spectacle as it is supported by 985 pillars. Each and every
pillar is sculpted magnificently and has images of Yali, a mythological creature.
2. Kilikoondu Mandapam – This ‘mandapam’ was originally built to house hundreds of parrots. The
parrots that were kept there in cages were trained to say ‘Meenakshi’. The hall, which is next to the
Meenakshi shrine, has sculptures of characters from Mahabharata.
3. Ashta Shakthi Mandapam – This hall houses the sculptures of eight goddesses. Built by two
queens, the hall is placed in between the main ‘gopuram’ and the gateway that leads to the
Meenakshi shrine.
4. Nayaka Mandapam – ‘Nayaka Mandapam’ was built by Chinnappa Nayakkar. The hall is
supported by 100 pillars and houses a Nataraja statue.

The temple has 14 gopurams, the tallest of which is southern tower, rises to over 170 ft (52 m) and
was rebuilt in the late 16th century. The oldest gopuram is the eastern one (I on plan), built
by Maravarman Sundara Pandyan during 1216-1238. Each gopuram is a multi-storeyed structure,
covered with sculpture painted in bright hues. The outer gopurams are high pyramidal tower serving
as a landmark sign for arriving pilgrims, while the inner gopuram are smaller and serve as the
entrance gateways to various shrines.
The temple complex has 4 nine-storey gopurams (outer, raja), 1 seven-storey gopuram (Chittirai), 5
five-storey gopurams, 2 three-storey, and 2 one-storey gold-gilded sanctum towers.Of these 5 are
gateways to the Sundareshvara shrine, 3 to the Meenakshi shrine. The towers are covered with stucco
images, some of whom are deity figures and others are figures from Hindu mythology, saints or
scholars. Each group or sets of panels in each storey present an episode from regional or pan-Hindu
legend. The four tallest gopurams on the outer walls alone depict nearly 4,000 mythological stories.
Portions of the three-storeyed gopura at the entrance of Sundareswarar Shrine and the central portion
of the Goddess Meenakshi Shrine are some of the earliest surviving parts of the temple. These were
constructed by king Kulasekara Pandya (1190-1216 CE). The traditional texts call him a poet-saint
king, additionally credit him with a poem called Ambikai Malai, as well as shrines (koil) each for
Natarajar and Surya near the main temple, Ayyanar in the east, Vinayagar in the south,
Kariamalperumal in the west and Kali in the north. He also built a Mahamandapam. Kulasekara
Pandya was also a poet and he composed a poem on Meenakshi named Ambikai Malai.
Some of the major gopurams of the Meenakshi temple complex are

11
 1. Maravarman Sundara Pandyan I built a gopura in 1231, then called Avanivendaraman, later
rebuilt, expanded and named as Sundara Pandya Thirukkopuram.
2. Chitra gopuram (W), also known as Muttalakkum Vayil, was built by Maravarman Sundara
Pandyan II (1238-1251). This gopuram is named after the frescoes and reliefs that depict
secular and religious themes of Hindu culture. Maravarman Sundara Pandyan II also added a
pillared corridor to the Sundareswara shrine, and the Sundara Pandyan Mandapam. It was
rebuilt after the 14th-century damage, its granite structure was renovated by Kumara
Krishnappar after 1595.
3. Vembaturara Ananda Nambi built the early version of the three-tiered gopuram in 1227. Like
other gopurams, it too was destroyed in the 14th century and later rebuilt. This gopuram is
found between Meenakshi shrine and the Kilikuttu (parrot) mandapam. Some inscriptions
refer to it as Vembathurar gopuram.

The south gopuram is the tallest and curvilinear (above: inner and outerviews). The colorful
sculptures narrate legendary scenes from Hindu texts.
The gopuram east to the Sundareshwara shrine is 5 storeyed. It was completed about 1372 by
Vasuvappan after the Vijayanagara rulers reopened the temple complex after remaining in ruins and
dormant for about five decades. The gopuram west to the Sundareshwara shrine is also 5 storeyed,
and was completed around 1374 by Mallapan.
1. According to the inscriptions found on the foundation of the gateways, Visvappa Nayakkar built
the Nayaka gopuram in the second prakara around 1530, while Palahai gopuram was built about
the same time by Mallappan. Both the gopuram have similar style and architecture, likely built by
a collaborating group of same artists.
2. Kadaka Gopuram in Meenakshi’s shrine was built by Tumpichi Nayakkar around the mid 16th
century, but different texts give different dates. It is five-storeyed, was walled up and closed
through 1963 for unclear reasons. This gopura was reopened after the renovations completed in
1963.
3. The gopuram near the Ganesha shrine (Mukkuruni Vinayakar), also called the Nadukkattu
gopuram or Idaikattu gopuram, was built by the Siramalai Sevvanthimurti Chetti family. It is
called Nadukkattu because it is between the shrines of Meenakshi and Sundareswarar. They also
rebuilt and renovated the Idabhakkuri gopuram, a five-storey tower on the northern segment of
the Adi street.

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4. The nine-storey southern gopura, the highest tower, was also built by Siramalai Sevvanthimurti
Chetti family, a wealthy Hindu who lived near Thiruchirapalli. It was completed in the second
half of the 16th century. The gopuram is notable for its extensive artwork with over 1,500
mythological characters in panels that narrate legends from the Hindu texts, particularly
the Puranas.
5. Mottai gopuram ("bald" gateway) was started by Krishnappa Nayakkar, also called the North
Raya gopuram (this is not on the plan, below the bottom edge). It was completed by Amaravati
Purur Vayinagaram Chettiyar family in 1878 CE. The Mottai gopuram for nearly three centuries
did not have the roof structure, is simpler and has fewer stucco images than the other major
entrances, giving it a relatively bald appearance and the local name. Before its completion in the
19th century, the gopuram made of stone and brick had even fewer stucco images.
ShrinesThe Shrine of Lord Sundareswarar (Shiva) the consort of Goddess Meenakshi is to the
north of Kilikoontu Mandapam . There's a gigantic idol of Sri Ganesh called Mukkurini Pillaiyar on
the way. There's a stump of a Kadamba tree, in the outer pragaram (corridor outside the main
shrine), which is said to be a part of the same tree under which Indra worshiped Shiva linga.
There's also Kadambathadi Mandapam in the outer corridor and big hall called 'Velli Ambalam'.
There's also an idol of Nataraja (Shiva as the Lord of Dance), covered with silver leaves. Thus this
hall is named as Velli Ambalam (Silver Hall).

A sculpture in the pilgrim pillared hall//// The golden vimana over the sanctum

The Meenakshi temple has two separate shrines for the goddess Meenakshi (Parvati, Devi, Amman)
and god Sundaresvara (Shiva, Deva, Cuvami), just like most Shaiva temples. Both open to the east.
The Devi shrine is on the south side (B), while the Deva shrine is more centrally placed, to the north
thus placing the goddess as the pradhana murti or the "more important" right side within the complex,
states Fuller.

13
The goddess shrine has the green stone image of Meenakshi, standing in bent-leg posture. Her raised
hand holds a lotus, on which sits a green parrot. Her left hand hangs by her side. This image is set in a
square garbha griya (central sanctum). A copy of this image has been made from metal and is kept in
the temple complex. The metal version is used for a festive procession. A distinct feature of
Meenakshi in terms of iconography is the presence of parrot in her right hand. The parrot is generally
associated with the Vaishnava azhwar saint Andal. The Sundareswarar shrine has a stone linga in its
square plan sanctum, and this anicon is shaded under a stone cobra hood. In the northeast corner is
another stone image of his consort. None of these travel during a festive procession. Rather,
Sundareswarar is represented in the form of anthropomorphic Somaskanda image. There is another
metal symbolic image of Shiva called the Cokkar, which is merely a pair of embossed feet on a metal
stool. This symbol is kept near Sundareswarar sanctum all day, then carried in a palaki daily to
Meenakshi's chamber every evening so that the two can symbolically spend the night together. In the
morning, the temple volunteers wake the divine couple and the symbolic Cokkar image is carried
back to the Sundareswarar sanctum.

The shrine for Sundareswarar[ The Shrine of Lord Sundareswarar (Shiva) the consort of Goddess
Meenakshi is to the north of Kilikoontu Mandapam . There's a gigantic idol of Sri Ganesh called
Mukkurini Pillaiyar or Mukuruny Vinayakar on the way. There's a stump of a Kadamba tree, in the
outer pragaram (corridor outside the main shrine), which is said to be a part of the same tree under
which Indra worshiped Shiva linga. There's also Kadambathadi Mandapam in the outer corridor and
big hall called 'Velli Ambalam'. There's also an idol of Nataraja (Shiva as the Lord of Dance), covered
with silver leaves. Thus this hall is named as Velli Ambalam (Silver Hall). It is the largest within the
complex and its entrance is aligned with the eastern gopuram. The shrine for Meenakshi is smaller,
though theologically more important. Both the Meenakshi and Sundareswarar shrines have gold
plated Vimanam (tower over sanctum). The golden top can be seen from a great distance in the west
through the apertures of two successive towers. A large measure of rice measuring 3 kurini (a
measure) is shaped into a big ball of sacrificeand hence the Ganesh is called Mukkurni
Vinayagar (three kurinis).

Kumara Kampana, states the Thirupanimalai text, donated jewels and made grants to cover the
expenses for daily operations of the two shrines in the 14th century. The Tamil Hindus who had
hidden the temple idols in Nanjil Nadu, brought them back and reconsecrated them ending the nearly
five decades era when the temple had been closed under the Madurai Sultanate rule. The temple
inscriptions suggest that the Vijayanagara rulers participated worship ceremonies in the temple and
donated gold, through the 16th century. Lakana Nayakar built the Paliarai (bed chamber) in the
mid15th century for the icon goddess and god to symbolically spend their night together. The Nataraja
shrine was also added in the 15th century by Arulalan Sevahadevan Vanathirayan, who also renovated
the Thiruvalavaudaiyar shrine.

The temple has other shrines, such as for Murugan in the northwest corner of the second courtyard. It
was built by Krishnappa Nayakar II. A tall, monolithic Ganesha sculpture with a large rice ball,
locally called the Mukuruny Vinayakar, is carved on the way between the Meenakshi shrine and the
Sundareshwarar shrine, reflecting the legend that gave him the elephant head.

Temple tank and surrounding portico

As mentioned earlier Nayakas, expanded the temple complex. In 1516, Saluvanarasana Nayaka added
the sacred pool for pilgrims to take a dip, naming it Ezhukadal (seven seas, ) Another Nayak -
SaptasaharamChettiappa Nayakkar rebuilt the north colonnade of the Golden Lotus Tank, as well as
Dvarapala mandapam in front of the Sannadhi gopuram.

14
Golden Lotus in the temple pool.
The sacred temple tank is called Porthamarai Kulam ("Pond with the golden lotus"). It is also referred
to as Adhi Theertham, Sivaganga and Uthama Theertham. The pool is 165 ft (50 m) by 120 ft (37 m)
in size. The pool walls were painted with frescoes. Only a fraction of 17th and 18th-century paintings
of Nayak period survives and one such portion is found in the small portico on the western side of the
tank. It depicts the marriage of Sundareswarar and Meenkashi attended by Vijayaranga Chokkanatha
and Rani Mangammal. The painting is executed on a vivid red background, with delicate black
linework and large areas of white, green and ochre. The celestial couple is seated inside an
architectural frame with a flowering tree in the background.
The small six pillared swing mandapam (Unjal) was built by Cheventhi Murthi Chetti during this
period, and this remains in use currently for a Friday ritual and it also houses the model of the entire
temple complex created in 1985.

Halls or Mandapams
The temple complex has many mandapas (pillared-halls) built by kings and wealthy patrons over the
centuries. They are choultry, or a place for the pilgrims to rest. Some of these mandapas include:

Main mandapams
Chinnappa Nayakkar constructed the 100 pillared Mandapa Nayaka Mandapam in the
northeastern part of second courtyard in 1526. This mandapa houses the famed Nataraja statue with
his "right" leg up in dance mudra, instead of the left leg typically found in Nataraja bronzes.

The small six-pillared swing mandapam (Unjal, oonjal) was built by Cheventhi Murthi Chetti
during this period, and this remains in use currently for a Friday ritual. The images of Meenakshi and
Sundareswarar are placed on the swing every Friday evening and swung. The shrine has a 3-
storied gopuram flanked by two Dvarapala (guardians) and supported by golden, rectangular columns
that bear lotus markings. Along the perimeter of the chamber, granite panels of the divine couple are
present. The hall is situated in the western bank of the temple tank. This mandapam also houses the
model of the entire temple complex created in 1985.

Kambathadi mandapam was built by Krishna Virappa Nayakkar (1572- 1595). This choultry hall is
known for intricately carved sculptures and eight Shiva forms: Ardanarishwara (half Parvati, half
Shiva), Rudra (angry Shiva), Bhikshadanamurti (Shiva as a monk), Dakshinamurti (Shiva as yoga
teacher, guru), Lingobhava (Shiva emerging out of a linga), Ekapathamurti, Rishaba, Somaskanda
(Shiva, Parvati and Skanda), Chandrasekara, Nataraja (dancing Shiva) and Somasundara.

Ashta Shakthi Mandapam ("Hall of eight goddesses"), was built by two queens.It is the hall near
the East gopuram, between the main entrance for visitors and the smaller gopuram leading to the
Meenakshi shrine tower. The passage was named for eight forms of goddess Shakti carved on its
pillars: Koumari, Roudri, Vaishnavi, Maha-lakshmi, Yagnarupini, Shyamala, Maheswari and
Manonmani. These reflect the feminine and power aspects of all major traditions of Hinduism. Other
sculptures and paintings depict the Tiruvilayadal (holy games of Shiva). The sculptures of heroes
of Mahabharata, the Pancha pandavas can be seen in the Pancha Pandava Mandapam (Hall of

15
Pandavas). The hall also has four sculptures of Shiva scholars, as well as a statue of Mahatma
Gandhi added in 1923.

One of the pillared halls in Meenakshi temple.

Kilikoondu Mandapam, also called Sangili mandapam (E), is near the Meenakshi shrine. The word
Kilikondu means "parrot cage", and in past the parrots kept here were trained to say "Meenakshi". This
pillared hall was completed in 1623 by Muthu Veerappa Nayakar. The cages were later removed.In
contemporary times, girls perform the kolattam dance, a type of stick dance that involves acrobatics and
forming chains with long ropes hanging from the ceiling, which is why it is called sangili. These dances
celebrate Hindu festival days. The Kilikoondu Mandapam is notable for its sculpture of characters from
the Mahabharata, a Hindu epic. It also has a yali sculpture on a pillar, inside whose mouth is carved a
stone ball that freely rotates.

The Kambatadi Mandapam ("Hall of temple tree") with its seated Nandi (sacred bull) has various
manifestations of Shiva carved and also contains the famous "Marriage of Meenakshi" sculpture.Other
sculptures here include those Shiva and Kali in a dance competition, a golden flagstaff, Durga as Siddar.
The Vira vasantha raya mandapam is to the south of the 1,000 pillar mandapam, and was completed in
1611 by Muthu Veerappa Nayakar I. It contains a Nandi facing the main Sundaresvara sanctum. To the
south of this hall is the kalyana mandapam, or wedding hall. It is here that the marriage of Shiva and
Parvati is celebrated every year during the Chithirai festival which falls sometime in or abouts April.
Pudumandapam, also called Vasantha mandapam (bottom of plan) was completed by Thirumalai Nayak in
the 17th century. It is in front of the eastern tower, outside the current walled complex. It leads to the
unfinished Eastern gopuram. It has 124 pillars, each with intricately carved sculptures of Meenakshi's
wedding to Shiva, Kali, Nataraja, Surya, Chandra as well as common life scenes such as elephants eating
sugarcane stalks are found in this mandapam. Its popularity led to shopkeepers occupying the pillared hall,
some of which hide or make a complete view of the sculpture difficult.

Golu mandapam was built by Thittiyappa Chetti, a common man, in 1565 during the rule of Krishnappa
Nayakkar. This mandapam is used during the Navaratri festival every year when goddess Meenakshi is
decorated like a golu doll, in nine different forms on each of the nine days of the autumn festival.

The Thousand Pillar Hall (Q) contains 985 (instead of 1000) carved pillars, with two shrines occupying the
space of the remaining 15. The hall was built by Ariyanatha Mudaliar in 1569 and blends engineering skill
and artistic visionAriyanatha Mudaliar was prime minister and general of Viswanatha Nayaka, the first
Nayaka of Madurai (1559–1600). At the entrance of the hall is the statue of Ariyanatha Mudaliar seated on
a horse-back, flanking one side of the entrance to the temple. Each pillar in the hall is a carved sculpture.
The more prominent among the carved figures are those of Rati (wife of Kama), Karthikeya, Ganesha,
Shiva as a wandering mendicant. The Meenakshi Nayakkar Mandapam ("Hall of 1000 pillars") has two
rows of pillars carved with images of yali (mythological beast with body of lion and head of an elephant).
It is situated to the north of Sundareswarar flag staff hall. There is a Temple Art Museum in the hall where
icons, photographs, drawings, and other exhibits of the temple are displayed. Just outside this hall, towards
the west, are the Musical Pillars. Each pillar, when struck, produces a different musical note.

16
Other mandapams
o Lakana Nayakar expanded and renovated the Mahamandapa in late 15th-century.
o The Urchava Nayanar Mandapa and the small six pillared mandapa in front of the
Mahamandapa was rebuilt by Sundaratolydaiya Mavali Vanathirayar in the 15th century.
o Chettiappa Nayakkar rebuilt the Dvarapala mandapam in front of the Sannadhi gopuram, as
well as the north colonnade of the Golden Lotus Tank in the late 16th century.

17
 o Vanniyadi Natarajar Mandapam and Annakkuli Mandapam were built by a woman named
Chellappen Mannikkam in the late 16th century.
o Murthiyamman mandapam and Nandi mandapam were built by Krishnappa Nayakar (1564-
1572). The Nandi mandapam was renovated again in 1877.
o The Mudali Pillai Mandapam or Iruttu Mandapam (dark hall) is a wide and long hall built by
Muthu Pillai during 1613. On the pillars of the halls, there are fine sculptures of Shiva
narrating the legend of Bikshadanar.

The Mangayarkarasi mandapam is a newly built hall situated opposite to the wedding halls and bears
the name of queen Mangayarkarasi who contributed to Saivism and Tamil language.To the south
of Mangayarkarasi mandapam lies the Servaikarar Mandapam, a hall built by Marudu brothers in
1795. The Nagara mandapam (Hall of beating drums) lies opposite to Sundareswarar shrine was built
by Achaya Rayar, the minister of Rani Mangammal in 1635. The Kolu Mandapam is a hall for
displaying dolls during the Navarathri festival celebrated during September–October. This hall is
situated in the second corridor of the Meenakshi shrine at the western side.The mandapas also feature
community gathering halls. The Kanaka Sabha and Ratna Sabha are in the first prahara, Rajata Sabha
in Velliambalam, Deva Sabha in the 100 pillar mandapam and Chitra Sabha in the 1000 pillar
mandapam.

Sculptures: There are an estimated 33,000 sculptures all over the temple. The temple wasn’t always
so vividly painted. The original structure was probably unpainted granite. Then people started
painting the sculptures because they wanted the temple to look colorful during big events and
festivals.
Concept of Thousand Pillared Halls has been there for over at least 3500 years. The halls in
Madurai and Sirangam are shining in their full glory and splendour.

Rig Vedic Concept-- Huge mansion of a 1000 columns:-

What is the origin of the 1000 pillared halls? Who conceived the idea
It is in the Rig Veda, the oldest scripture in the world!!RV 5-62-1 (Hymn to Mitra – Varuna)
“B y your high law, firm order is established there where they loose for Surya’s horses.

18
Ten hundred stood together; there I looked on this the most marvellous Deities’ one chief
glory.

RV 5-62-6
With hands that shed no blood, guarding the pious, whom Varuna, you save amid oblations.
You two, together, kings of willing spirit, uphold dominion based on thousand pillars.
Probably this hymn inspired our sculptors to construct a thousand pillared halls.
Decimal system was invented by the Hindus. We have got hundreds of references to decimal
numbers such as 1000, 10,000, lakh and crore in the Vedic scriptures and post Vedic Hindu
scriptures. One of the architectural wonders of the world is Thousand Pillar Mandap (hall) in
South Indian Temples. It originated in the Rig Vedic period and went up to Central America.
All the thousand pillared halls in the South Indian temples are sculptural museums.Madurai,
Rameswaram, Srirangam, Tirunelveli, Tiruvannamalai, Chidambaram and several other
temples of Nayak period have got huge stone halls called 1000 pillar Mandapas. The
celebrated thousand pillar mandap/hall in Madurai has 985 pillars now. It was erected in 1569
by Aryanatha Mudaliyar, whose statue riding a horse is at the entrance. The hall is measuring
76.2 metres by 73 metres. There is a central shrine for lord Shiva in his dancing form. There
are beautiful sculptures on every pillar. On ceiling near the entrance there is a wheel which
gives the cycle of sixty years of the Tamil calendar. Aryanatha Mudaliyar who built this huge
mandap was the minister for 71 years under four Nayak kings. Probably he was the minister
who served the longest period in Indian history or world history. He served them between
1529 and 1600 CE.
The Madura hall is famous for its Kuravan-Kurathi statue (nomads) with a basket on
Kurathi’s houlders. The workmanship of it is unparalleled. She has a child on her bac , one
inside the basket and a third clinging on to her breasts. Kuravan is loaded with jewels
according to the custom of his clan. Puranic King Harichandra and queen Chandramathi are
sculpted in one pillar. Rati-Manmatha, Kannappa and Pandava brothers are also sculpted
beautifully. There are 22 pillars in a corner which emit different musical notes when struck
with a piece of stone or metal.
Ferguson in his “Indian and Eastern Architecture” says, “it is not the number of pillars but
their marvellous elaboration that makes this hall the wonder of the place”. Thousand pillar
mandap in Srirangam is larger than Madurai mandap. Measuring 152 metres by 48.8 metres,
it contains 953 granite pillars. As in Madurai each pillar has got beautiful sculptures and the
pillars are monoliths.
Research paper written by London SwaminathanPost No.1151; Dated 5th July 2014.

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