CHAPTER4

DETAILED CASE STUDY OF TIMBER TEMPLES OF CENTRAL

TRAVANCORE

4.1 GENERAL

From these eight temples studied, three temples are selected for the detailed study by
taking into consideration the historical, geographical, architectural, and archaeological
value. The temples selected for study are Kaviyoor Mahadeva temple, Sattankulangara
Narasimhamoorthy temple and Ettumanoor Mahadeva temple. The temples selected are
from each the three districts of Central Travancore viz: Pattanamthitta, Alappuzha and
Kottayam. Two of them Kaviyoor Mahadeva temple and Ettumanoor Mahadeva temple
are maintained by the Travancore Devaswom Board and Sattankulangara
Narasimhamooorthy temple is the protected monument of the State Archaeology
Department. There was no documented evidence of these temples. So the measured
drawings of all the three temples were prepared by the author. The three temples
represent the greatest wooden monuments in South India (Bernier, 1982).

4.2 CASE STUDY 1: KAVIYOOR MAHADEVA TEMPLE

4.2.1 Introduction

The Mahadeva temple is located at Kaviyoor in Thiruvalla taluk in Pattanamthitta

district. The Srikovil is vritta (circular) and has a timber superstructure built on granite
adhishtana and belongs to the early phase. The temple has been renovated in its wood
work pada in the 17 th century A.D. (Soundara Rajan, 1974). The sthalapuranas mention
that idols in Kaviyoor temple were installed in the threthayuga, but there is no material
evidence to prove it (S.Jayasankar 1997). This temple certainly belongs to the early
phase. Kaviyoor Mahadeva temple is also known as Hanuman temple and Sriparvathy
temple. The ascending steps and platforms, the rising volume of gopuram(Fig 4.1)
increasing degree of enclosure and the transition from the semi-open, multidirectional
pavilions to the uni-directional dark sanctum enclosed by walls, all together heighten
the progression from the worldly to the spiritual as one progress towards the
Garbhagrha.

83
The Prasada or the Srikovil has splendid and excellent wood carvings on the outer
walls. Each intricate carving depicts an episode from the puranas. The plans and
sections ofthe temple are shown in (Fig Al.1-Al.4). The temple is ofPanccaprakara
type as shown in Fig A1.5 with the akathebalivattam, chuttambalam, vilakumadam,
bahyahara with the agramandapa, dwajastambha, sivelipura and the maryada. The
temple also has an oottupura in the maryada. The temple complex is situated in a 2 Yi
acre plot. The temple has a pond and another old temple ofKrishna in the close vicinity
ofthe temple complex.

Fig 4.1 Entrance Gopuram

4.2.2 History

According to the legend the, idol oflord Siva at Kaviyoor has been consecrated by lord
SriRama in the Tretayuga. The history of the temple goes accordingly. It is said that
SriRama while returning to Ayodya in his Pushpavimana after the assassination of
Ravana saw the beautiful piece of land and found it ideal for the Siva temple. The lord
requested Hanuman to go in search for a perfect idol oflord Siva and Hanuman went in
search of the idol. As Hanuman could not return in time and the muhurta for the
consecration ceremony of idol was about to be over, Lord himself moulded an idol of
Siva with clay and darbha grass and positioned it on the ground. When hanuman
returned with the idol ofSiva, he found that the ceremony was already over and became
annoyed. So Rama asked him to remove the idol and replace it with the new idol. But

84
Hanuman could not lift the linga, instead he asked Rama to give him an abode in that
serene locality. Sri Rama agreed for it and hence the extant Hanuman temple. The place
is known as the abode of Hanuman (Kapiyoor) which later was transformed to
Kaviyoor. The temple is on a hillock and is approached by a series of twenty one steps.

4.2.3 Components of Temple

4.2.3.1 Srikovil
The Srikovil has a Circular (vritta) v1mana enclosing a square Garbhagrha which
houses the deity. The roof of the Srikovil has a conical Ekatala vimana as shown in Fig
4.2 and the Garbhagrha has a roof made by corbelling of stone (katalikakarana), the
square garbhagrha being made into octagon by putting up corbels at the comers above
the door height and gradually closing the gap by successive layers of corbels right up to
the centre. It is a dark enclosure. The diameter of the Srikovil is 10. 77 m and the
circumference is 47 K. The sivalinga (idol) is facing the east and so it is in the pancha
(vrishbha) yoni. The Srikovil is of Sandhara type with double circumambulatory
passage around the garbhagrha with twelve columns in the ambulatory. The outer wall
and the inner wall are made of wood. The wood used is Teak (tectona grandis). The
outer wall or the bhitti (Pada) has intricate carvings. The Srikovil has a raised plinth of
about IK 14A made of granite and is approached by a flight of five steps through a
sopana as shown in Fig 4.2. The garbhagrha is again approached by five steps. The
circular outer wall made of timber has four openings in the cardinal direction like the
Sarvatobhadra type of temple.

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 ·· ·-----------···-··-------- FINlAL(IHAZlflXAltUDAM)

COllAR (VALA BANDHAM)

-------COLLARPIN(VAI.A.)

KSUDROJTARA
F.=:;e:..-;:-:;---VAllOITARA

'DIAI>I ll1TARA

ADHISHfANAM
SOPANAM

Fig 4.2 Section of Srikovil

4.2.3.2 N amaskara mandapa

The Namaskara mandapa is situated in front of the Srikovil which is square in plan of
size 530cm x 530cm and has a pyramidal copper tiled roo£ The roof is constituted with
36 teak wood rafters. The height of the Adhishtana is 20A. It is of Pratiyoni to the
srikovil as it is facing the deity. The Adhishtana of the Namaskara mandapa is made of
stone and has the same parts like paaduka, jagathy, kumuda, gala and padi as that of the
Adhishtana of the Srikovil.

This mandapa is provided for offering pranams to the deity by the priests after pooja.
The roof of the mandapa as in Fig 4.3 rests on two rows of stone columns which are
ornamental. The ceiling of the Namaskara Mandapa has an elaborate art in wood
carvings. The ceiling has the ashta dikpalas with lord Brahma in the centre carved on it.
There is an intricate carving of a series of scenes from Ramayana all around the ceiling.
The roof rests on 12 columns on the outer ring which carries the bahyottara and four
circular columns inside which supports the arudottara. The arudottara is provided as an
additional support to the rafters.

86
 FINIAL (fHAZHIKAKUDAM)

COLLAR PIN (VALA)

TEAK WOOD RAFTER

TEAK WOOD CEILING

KSUDROTTARA

VAROTTARA

STONE COLUMN

ADHISHTANAM

Fig 4.3 Section of Namaskara Mandapa

4.2.3.3 Well
The well is located in the north east side of the srikovil. The water from the well is used
for abhishekams (ablusions). The well room as shown in Picture 4.1 is also made
ornamental with the sabha type roofwhich is a combination of koshtha and sala type of
roofwith a kata and the ridge. The upper ends of the straight rafters are connected to the
ridge (monthayam) and the slanting rafters are connected to the kata. Since the kata is
supported on the ridge its major portion will be below the ridge. The rafters and the
collar are made ornamental with cuts and grooves. There two sets of collar pin (vala)
which connects all the rafters together and also fix the collars (vala bandham) to the
rafters. They are square section in order to prevent buckling of the rafters.

Picture 4.1 Well Room

87
4.2.3.4 Churtambalam
This Chuttambalam or nalambalam with cloistered walls provides sanctity and
protection to the shrine. It forms the anthahara or the second priikiira of the
panccapriikiira scheme. The Chuttambalam has many ancillary spaces which cater to
the immediate sacred needs of the temple like the Thidapally (kitchen) for preparing
food (Nivedyams) which is given as an offering to the deity situated on the south eastern
side, Mulayara for germinating seeds of grain for mulapooja on festive occasions.
There is also a small structure in the north east comer for Brahmins. There is also room
for the priest and also space for making flower garlands and grinding sandalwood
needed for the deity. The chuttambalam (Picture 4.2) has a pitched roof with copper
tiles. The chuttambalam is left uncared and has lack of maintenance. The wood used for
construction is Aini.

Picture 4.2 Chuttambalam

4.2.3.5 Valiambalam
Valiambalam is also a part ofthe chuttambalam or nalambalam. The Chuttambalam is a
structure all around the shrine with the valiambalam in front of the shrine through
which the devotees enter and exit as shown in Fig 4.4. The valiambalam also houses the
venue for koothu and other temple performances with a small podium and a green room
(naipathya). The koothambalam is in front of the srikovil and towards the right side of
the deity.The ceiling over the koothambalam is decorated with wooden carvings and has
two separate circular wooden columns. The ceiling of the valiambalam has floral
patterns carved on it and has elaborate wood work. The valiambalam is a two storeyed
structure with trellis work in the upper storey and is approached by a ladder.

88
 FINIAL ITHAZHIKAKUDAMj--------A

COLLAR PIN (VAlAj -------h~~."

KSUDROTIARA - - - - -.....

UTIARA-------J\,~
A - - - - - - - F I N I A L ITHAZHIKAKUDAM)

COLLAR PIN IVA l A ) - - - - - - n / 1 ~~-----'COLLARPIN IVAlAj

11\\\.'It~~----TEAK WOOD RAFTER

KSUDROTIARA ~-KSUDROTIARA

VARonARA=~~i~I!If_-----=--~n~=-=:~~~~~~~~~~~~~~=:VARonARA
STONE COLUMN ~ STONE COLUMN
;----SOPANAM

ADHISHTANAM--+ 11--~;;;;;r--'-'-l.-1--'-'=4,3:_\_-ADHISH1ANAM

Fig 4.4 Section of Valiambalam and Agramandapa

4.2.3.6 Vilakkumadam
It is a boundary enclosing the temple complex including the Srikovil which is classified
as the Madhyahara according to the Panccapra.ka.ra scheme. It is made of laterite wall
which is 52 cm (17A) thick on which wooden trellis work is fixed with nine rows of
brass oil lamps which goes all around the temple as shown in Picture 4.3. It is protected
from rain and sun with a pitched roof having an overhang of 1K16A cm supported with
beautifully carved ornamental wooden brackets as in Picture 4.4. It is completely lit
during festivals.

Picture 4.3 Wooden Trellis with Lamps Picture 4.4 Brackets Supporting the Roof

89
4.2.3.7 Agramandapa
Agramandapa is also called the balikal mandapa because it houses the valiya balikal
(stone for offering) as shown in Picture 4.5. It is a projected veranda which forms the
main entrance to the temple complex. The ceiling of the mandapa made of wood has
intricate carvings where each motif is entirely different from other. There is a stone
seating (thinnai) provided around the mandapa. It is approached by a series of three
steps with a sopana. The Valia balikal made of stone is about 202cm (2K 19A) high.

Picture 4.5 Valiabalikallu

4.2.3.8 Dwajastambha
The Dwajastambha as shown in Picture 4.7 is a tall pillar which is visible from a
distance.Worshipping the dwaja is equal to worshipping the main deity. It is made of
wood and covered with panchaloha. The wood used is teak which is got as a single long
log. On top of the dwajastambha houses the Vahana of the main deity of the temple as
an emblem which acts as a symbol for identification of the deity of the temple. As Siva
being the main deity of the temple Nandi the vahana of Siva is placed on top of the
dwajastambha. Ashtadikpala idols were placed at the bottom part of the dwaja.
Dwajastambha represents the spine of the body and hence the panccaloha covering
with ribs is symbolic of the ribs around the spine. It is situated outside the balikal pura.
The position of the dwaja is based on the height of dwara (front door) which is taken as
the danda.

90
 Picture 4.6 Dwajastambha

4.2.3.9 Anakottil
Anakottil (Sivelipura) is placed in front of the dwajastambha as shown in Picture 4.7
which is used to house the elephants during festivals and is a place for conducting
marriages and other ceremonies. The structure rests on columns and has a gable roof

Picture 4.7 AnakottiJ

4.2.3.10 Gopuram
The entrance Gopuram which forms the iconic structure forms a prelude to the
threshold of the temple complex. The Gopuram as in Fig 4.5 rests on a raised plinth
which is approached by a flight of21 steps. The scale of the Gopuram and its treatment
varies with the size and scale of the temple. The Gopuram is a two tiered structure with
sloping tiled roof The lower storey fronted with a row of columns forming the front
veranda. It has a raised platform on either side of the entrance way which is used for

91
sitting or resting by the devotees. This forms a transition space between the devotee and
deity or a communication zone. The upper storey as in Picture 4.8 is approached by a
wooden stair and has a wooden favade made of trellis work which gives a vision to the
outside and provides light and ventilation to the inside. The entrance door of the Gopura
as shown in Picture 4.9 has a height of 390 cm (5K-10A) and 180 cm (2K-12A) width
made of teak wood. It is fixed to the bottom and top by means of kudumas through
which the wood bearing rotates. There are two doors one being the main door and other
being the sub door. The sub door is always opened for the devotees and the main door is
open only during festivals. There are two leaves for the door. The latching system used
is arama and agrala.

------------FINIAL (THAZHIK AKUDMI)

'_:.t==:::;:;=�,;;:-----------COLLAR PIN (VALAJ

�--------KSUDROTTARA

�---------VALA

I
I
r-----
I

r-----
1------ ---STONE COLUMN
1-----­
f-----­
f------
�-----

.i----ADHISHT ANM\
8

Fig 4.5 Section of Entrance Gopuram

92
 Picture 4.8 Upper Floor of Gopura Picture 4.9 Entrance Door

4.2.3.11 Ootupura
The Ootupura or the dining hall which is along the outer wall or Maryada forms the
Fifth Priikara of the Panccaprakiira scheme. Earlier this was used to serve the
Brahmins. Now it is place where the annadanam (offering food) is performed for the
devotees. It has a large kitchen attached to it. It is a simple elongated long hall with
hipped roof (sabha) as shown in Picture 4.10. There is a temple pond close to the
ootupura which could be used for washing utensils.

Picture 4.10 Ootupura

4.2.4 Parts of the Temple

The temple is compared to a Purusa with the feet as Adhishtiina, body with walls or
Bhitti and head as the Sikhara. The different parts of the temple structure are explained
in detail.

93
4.2.4.1 Adhishtana
The Adhishtiina (basement) of the Srikovil has vertically moulded tiers and each tier
from bottom to top arranged in a specified order and shape. Each tier has a distinct
name viz. padukam, jagathy, kumudam, kumudapadi, galam, vajanam and padi. The
shape and size of the Adhishtiina is used for two different functions frrstly for spreading
the basement by different mouldings beyond the line of the vertical structure which
would help in spreading the load and giving greater strength and stability to the
structure. The high, raised plinth gives a monumental character to the structure and adds
beauty to the structure as shown in Picture 4.11. The Adhishtiina is made of stone and
has a height of 115cm. The Adhishtiina is kapothabanda type. It is approached by a
I
series of 5 steps with balustrades on either side called the Sopana which is the approach
from the antharmandala. The sopana is made of granite. There are carvings on the
balustrade. There are two dwarapalas on either side of the sopana. The Pranala also
known as the ovu or go-mukha is used in the Srikovil for draining away the lustral or
abhisheka water from the sanctum. Pranala is set in the kantha or gala. The Pranala
drain of the Srikovil leads across the paved inner court to the cloister walls, and the
interior of the shrine ::from which it flows is visually accessible, with its enshrined linga
on yoni base. The Pranala is gomukha (cow's mouth) which empties into the north side
of the court. The Adhishtiina of the Namaskiira mandapa is made of stone and has the
same parts like piiduka, jagathy, kumuda, gala and padi as that of the Adhishtiina of the
Srikovil.

Picture 4.11 Adhishtana ofSrikovil

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4.2.4.2 Bhitti
The Bhitti (wall) of the Srikovil is constructed on a Vedika. It is made of teak wood
(tectona grandis) with elaborate carvings. Timber has the moisture buffering property
which maintains the comfort level of the interior in the warm humid climate of Kerala.
The walls rest on a thick wooden vedika which is also intricately carved and forms a
decorative element. The wall panels have pierced openings as in Picture 4.12 and
intricate carvings which lets in diffused light and ventilation into the ambulatory space.
The walls have a Kudyasthambha (pilaster) which is a structural member has high relief
carving which alternate with ashta dik palakas and dasavatara motifs carved on the
surface. The walls have Jalaka panjara motifs accompanied by perforated screen motif
Ghana dwaras (false doors) are found on one cardinal direction (north). The main
functional door of the Srikovil (Prasadadwara) is found in front of the deity. There are
other functional doors to the south for Dakshinamurthy and Ganapathy and to the west
for goddess Parvathy which is accompanied by Dwarapalas made of wood. The
Valiambalam and Agramandapa have walls made of wood in the form of trellis work
which provides good light and ventilation. The Namaskara Mandapa is supported on
stone columns which are higWy ornate and wooden uttara rests on these two rows of
columns.

Picture 4.12 Pierced Opening on Wall

95
4.2.4.3 Roof
The typology of roof used in Srikovil is Kostha type which has a conical roof as shown
in Picture 4.13 with one end of rafters (kazhukol) resting on the wall plate (uttara) and
the other end joins a Kuta at the top. The Kuta is a solid wooden 'piece having a
diameter sufficient to hold all the rafters by bearing on its sides. The kUta will have
mortises (randra) to accommodate the tenon of all the slanting rafters. The number of
mortises have to be made is according to the number of tenons of the slanting rafters.
This process of construction is very difficult and hence is used only in the construction
of temples. The ekatala roof of the Srikovil rests on 44 wooden rafters of width 12 A
and thickness 2A and the end grain of rafters are protected by rafter shoes made of
bronze metal. The rafter division ofthe srikovil has been shown in Fig 4.6.

Picture 4.13 Roof of Srikovil Picture 4.14 Roof of Namaskara Mandapa

The rafters are interconnected by two circumferential pins (Vala) of 21/2 A square
sections passing through the rafters. The Vala not only provide connection between the
rafters but also prevent buckling and bending of the rafters. 'Jala' is provided by adding
fIxing another wooden piece by wedged mortise and tenon joint to the eave end of the
rafter (Fig 4.7) so that their eaves project almost horizontally from the face ofthe walls
forming a deflection and in order to break the awkward angle made by the meeting of
the two slopes, the roof is bent with slight and gradual curve. This method is used to cut
off the straight down pour of water.

96
 , ,,,,,,,,,cou

- ,,,,,,, l/TTAAA

·V>U.

Fig 4.6 Rafter Division (Srikov1l) Fig 4.7 Detail of Rafter End

Teak wood panels are nailed to the rafters and copper sheet tiles are screwed to the
wooden panels on top. The rafters, Vala, and the Kuta together form a unified roofunit.
The eave projection ofthe roofis 1K-17A. The pitch ofthe roofis positioned 45 ° to the
horizontal. There is a thazhikakudam (finial) on the topmost part of the Vimana. The
Namaskiira Mandapa has a pyramidal roof as shown in Picture 4.14 with a
thazhikakudam and has 36 wooden rafters made of teakwood. The rafter division is
shown in Fig 4.8. The eave end ofthe rafters have been fixed with ']ala' by mortise and
tenon joint so that the roof end projects horizontally outwards and a gradual curve is
formed at the eave end. This is done to prevent the direct down pour ofwater during
heavy rain. By providing 'Jala' the water is taken away from the structure. The upper
end ofrafters including the hip rafter (Koti) and the other slanting rafters (upakoti) are
joined to the Kuta on top and its bottom ends are fixed to the uttara (wa11 plate) and
teak wood panels are screwed to the rafters and copper tiles are nailed to the wooden
panels. The ceiling ofthe Mandapa has elaborate wood carvings and decorations which
is highly ornate. The carvings depict the ashta-dik-palas with Brahma in the centre.
There are also carvings on the beams and rafters. This Mandapa is used by priests for
performing namaskara in front ofthe deity after each puja. The Valiambalam houses the
koothambalam with a stage for performing all forms oftemple art. The wooden ceiling
has floral patterns carved on panels. It has a two tiered roof with trellis work on the
upper level. It has a hipped roof The ceiling of the Agra Mandapa (Balikal Mandapa)

97
has extensive wood carvings on it with bracketed motifs. None of the figural motifs
look alike. Each motif is a hand carved marvel of the old taccans. The roof of the Agra
Mandapa has radiating rafters. The ceiling height is 5K-3A.

10

VALA

~ KOTI RAFTER

Fig 4.8 Rafter Division (Namaskiira Mandapa)

4.2.4.4 Thazhikakudam
Thazhikakudam (Finial) is placed on the topmost part ofthe Vimana as shown in Picture
4.15. The Thazhikakudam is an architectural element consisting of various parts from
bottom to top (Eight petalled lotus or mahapadma; Kumbha or pot; Naala or lotus stalk;
and Kuta maala or lotus bud). The Thazhikakudam is made of copper and plated in gold.
Each finial has lotus petalled base with a crenated pot (Kumbham), from the mouth of
which lotus petals are spouting out.

Naala
-.......,'f--- Kuta mala
Kumbha

Mahapadma

Picture 4.15 Thazhikakudam

98
4.2.5 Wood Crafts
Timber is extensively used in the temple construction, being an organic material, as man
has a natural affinity towards it. Its texture, warmth of colour, ease of workability and
high strength to weight ratio have made it a most important building material for
vernacular construction. Teak wood was mainly used for temple construction because of
its availability, durability, workability and texture. The extant wood crafts which
Kaviyoor temple showcases are the residue of its past five hundred years of life.
Kaviyoor temple is a store house of embellishment in wood. The perfection and the skill
of the craftsmen are reflected in the carvings seen on the walls and ceilings of the
temple.

Organic and geometric patterns were used in decoration with finite and infinite bands.
Figural, natural and geometric motifs were also used. Motifs when used singularly or in
a cluster form in a simple or ornate manner produces a design around which a boundary
can be drawn and is finite in extent. Such bounded designs known as finite designs were
commonly used. Relief carving, Undercutting, Incised carving, Sculpturesque carving
and Pierced carving techniques were done using the hand tools. Pierced carving
technique was used for perforations made on timber walls of the srikovil as in Picture
4.16 which provided ventilation and lighting in the ambulatory path. No two motifs on
the wall of the srikovil are similar. Floral motifs are provided on the walls. The
mukhamandapa of the srikovil incorporates two elaborate relief carvings of Yamana
avathar and Pradosha Nrittam as shown in Picture 4.17 on either side of the door
opening which evoke emotions. The sculpturesque carving technique used to create
large dwtiraptilas (guards) on either side of the door is an exaggeration in wood. All the
four doors in the cardinal points of the srikovil are guarded by the grotesque images as
in Picture 4.18. The Jalli or latticed screens with square panels of simple lotus, circular
wheel and plain cross hatch square added simplicity and beauty to the structure.
Desavathara and ashtadikpalas are alternatively carved on the pilasters. Relief carvings
such as Krishnalila, Markandeya epics, the trinities, the scenes from Ramayana are also
carved on the walls. The screens are separated by columns that have many carved
records and framed by borders of flower garlands. There are striking panels of gods on
the sides of the perforated screen at the centre which depicts stories from the puranas.
Gajendramoksha is carved with utmost splendour and is emotionally evocative. The

99
ceiling of the Namaskiira mandapa as shown in Picture 4.19 has carvings of ashta
dikpalas with Brahma in the centre.

Picture 4.16 Lattice Screen

Picture 4.17 Decorative Carving in the Mukhamandpa

Picture 4.18 Dwarapala Picture 4.19 Ceiling with Ashtadikpalas

100
4.2.6 Decay of Timber
The srikovil ofKaviyoor temple doesnot show much of natural decay even though it has
survived through more than five centuries. The timber used in the construction of the
srikovil is teak. It is the decay due to vandalism by human action which is more evident.
The srikovil has been painted with varnish which gives black tint to the natural texture
of wood. The pasting of sandal paste by the devotees has affected the wood surface
showing discolouration and producing stains. The end grains of rafters which are
exposed to moisture and water penetration have been subjected to decay especially in
the chuttambalam. The rafter ends ofthe srikovil are protected with rafter shoes made of
bronze, so the decay is not evident. But the decay is seen in rafter ends of the
chuttambalam where the ends are not protected by metal shoes. The chuttambalam
lacks maintenance. The wood used for the chuttambalam is Aini (artocarpus hirsutus).
Even though the wood grains are densely packed in Aini the repeated wetting and rapid
drying of the unprotected end grains of the rafters have suffered deterioration which
swell and shrink in response to moisture changes and thereby develop case hardening,
checking and lifting of the grains. The chemical changes induced by the ultraviolet
radiation and the abrasive action ofthe windblown sand also assist in the breaking up of
the surface layers. Termite attack is also seen on the gable end in the interior of the
chuttambalam as in Picture 4.20.

The ceiling of the Valiambalam also experiences decay on its surface which is attacked
by termites and the panels have fallen off. Damage produced by people during the
festival season by nailing on the copper sheets of the roof has caused permanent holes
and have produced water leakage in the Agra mandapa. This has produced white
patches on the beautifolly carved ceiling of the mandapa as in Picture 4.21. The end
grains of the rafters have started decaying and have been attacked by wet rot fongi and
have become spongy. The exposure to wetting due to heavy rainfall is the major reason
for the decay. The condition of the end grains of the rafter has come to the secondary or
advanced stage of fungal decay as shown in Picture 4.22 and has become spongy. So the
only remedy which could be taken is to repair the part by cutting off and replacing the
piece. The fungi identified are peniophora sp. and coniophora sp. which are wet rot
fungi. Carpenter bees have started attacking the rafter ends at the eaves of the
chuttambalam and holes have been drilled into it. They have started constructing their

101
nests under the wooden rafters. Carpenter bees are found hovering under the eaves of
chuttambalam and drilling holes as shown in Picture 4.23. They come under the specie
of Xylocopa latipes as in Picture 4.24. Carpenter bees do not eat wood. They excavate
the tunnels for shelter and as chambers in which they rear their young. They will cause
considerable structural damage in due course of time. A carpenter bee constructs her
nest by drilling a perfectly round entrance hole (about 1/2 inch diameter) into the wood.
This hole is usually against the grain ofthe wood. When the tunnel is about 1 inch deep,
the bee turns at right angles to the initial hole and tunnels with the grain of the wood.
Bees prefer to attack wood that is greater than two inches thick. They usually attack
unpainted and unprotected surface.

Picture 4.20 Gable Affected by Termites Picture 4.21 White Patches on Ceiling of
Agramandapa

Picture 4.22 Fungal Attack by Wet Rot Fungi

102
Picture 4.23 Holes Drilled by Xylocopa Picture 4.24 Xylocopa Latipes (Carpenter Bee)

4.2.7 Conclusion
Kaviyoor Mahadeva temple which is splendour in wood crafts in Central Travancore
has more than 500 years of history. The structural members and the joints cannot be
easily identified as they also act as decorative elements with intricate carvings. The
splendid wood work needs cleaning and dusting. The devotees have to be prevented
from pasting sandal wood offered to them on the wooden carvings which has produced
discolouration. Some of the carvings have been damaged by human action. The black
cement paint on the adhishtiina has to be removed which camouflages the engraving of
the dates on the kumuda of the adhishtiina. The wiring which is exposed on the walls
and ceiling affects the aesthetics and the danger of fire. The bronze shoes of the rafters
have to be checked periodically to avoid decay of the end grains due to water trapping.
The decayed end grains of the rafters of the chuttambalam facing south have to be
repaired and new piece has to be inserted. The old damaged copper tiles have to be
replaced with new. The ceiling of the namaskiira mandapa and the agramandapa has to
be cleaned with brush to remove the stains produced. Technically qualified conservation
personal has to be employed to supervise the work and give guidance.

4.3 CASE STUDY 2: SATTANKULANGARAI NARASIMHAMOORTHY

TEMPLE

4.3.1 Introduction
Sattankulangarai Narasimhamoorthy temple is located at Chengannoor in Alappuzha
district is an alpapriisada with the deity facing west and an embellishment in timber. It
is a square Siindhara type temple with copper tiled roof of Nagara style and a square

103
garbhagrha with a pradakshina patha all around. The Srikovil has a perimeter of
37K16A, which is Eka yoni. As one approaches the gopura the simplicity of the temple
is reflected in its exterior. But the srikovil which forms the nucleus of the temple
complex creates awe in the mind of the spectator. The highly decorative wooden
carvings on the walls of the srikovil are an amazing experience and also a moment for
remembering the craftsman responsible to this work of arts. The chuttambalam encloses
the well decorated srikovil in timber. The temple is managed by Nair Service Society. It
is now a protected monument of the Archaeology department. The temple renovation
dates back to the 14th century as mentioned in chapter 3. The plans and sections of
temple are shown in Fig A1.6-A1.8.

4.3.2 Components of the Temple

4.3.2.1 Srikovil
The Srikovil is a chaturasra alpavimana with the deity facing the west. It is of dwaja
yoni. The adhishtiina of the srikovil is made of granite which has a height of 110cm (lK
13A).The adhishtiina consists of upana, a short jagati, vritta kumuda, kanta with
simhamala and pattika. Above the adhishtiina is the vedika over which rests the bhitti
(wall) made of timber. The timber wall is intricately carved with scenes from puranas.
The side of the srikovil measured along the uttara (wall plate) is 663cm (9K 5A). The
perimeter of the srikovil is 37K16A. The square shaped Garbhagrha (sanctum
sanctorum) of side 390cm (5K lOA) having perimeter of20K 8A has its own octagonal
Griva (neck of the done) and Sikhara (cupola) crowned by a Stupi.

Picture 4.25 Pranala

104
The wall height of the srikovil is 139 cm. The entrance to the shrine is by means of a
flight of five steps with hasti hasta banisters on either side. On either side of the door
is the wooden dwarapalas standing on granite pedestals. The temple has four functional
doors each one associated with dwarapalas. A circumambulatory path runs around the
garbhagrha.

The Pranala as shown in Picture 4.25 is located on the northern side of the srikovil and
it sprouts out from a simha's mouth and rests on the hands of a bhuta figure in the
standing posture. It has a beautifully carved thadi uttara (beam) which is highly ornate
on top of the wall. On the valabhi is carved the scene of samudra-manthana which is a
continuous succession; besides scenes from the puranas. The roof of the srikovil is
pyramidal topped with copper tiles and has an eave projection of 128 cm ( lK 18A) as
shown in Fig 4.9. The pitch of the roof is 45 ° and is crowned by a thazhikakudam
(finial). The roofing unit comprises of the Ksudrottara, rafters, Vala-bandha (ties), the
Vala (pins) and the Kuta. It has teak wood 44 rafters as shown in Fig 4.10. The ends of
the rafters rest on the uttara and the top is fixed to the Kuta. All the rafters are joined to
the kuta by means of mortise and tenon joint (ajayudha sandhi). The end grains of the
rafters are provided with copper shoes to protect the rafter ends from water ingress
because the end grains are the weak points of water access. Copper tiles are used for
covering the roof which has been nailed to the teak wood planks.

']ala'( piece of wood) is fixed to the eave end of the rafter so that their eaves project
almost horizontally from the face of the walls forming a deflection and in order to
break the awkward angle made by the meeting of the two slopes, the roof is bent with
slight and gradual curve. This method is used to cut off the straight down pour of water.
It is joined to the rafter ends by means of arukuduma (six tenons) joint.

105
 ll--------FJNIAL (THAZHIKAKUDAM)

---COPPER ROOFING

.--·- KSUDROTTARA

THAO! UTTARA

Fig 4.9 Sectional Elevation of Srikovil

-KUTA

11
·····- --KOTI RAFTER

Fig 4.10 Rafter Division of Srikovil

4.3.2.2 Namaskara mandapa

Namaskara mandapa is square in plan of side 5K 21 1 hA (425cm). The Mandapa has a
tiled pyramidal roof as shown in Fig 4.11. The roof rests on two rows of four granite
columns towards the outer side and four granite columns towards the inside. It has a
wooden ceiling as shown in Picture 4.26 is not very ornate as is usually seen in the
namaskara mandapa of other temples. The roof structure consists of forty teak wood
rafters and the divisions as shown in Fig 4.12. The columns are raised on adhishtana
(plinth) of height 23A (70 cm). The height of the pada (wall) is 2K 4 1 hA (158cm)
above the adhishtii.na. Mandapa is in prati yoni to the srikovil as it faces the deity.

106
 ~----FINIAL (THAZHIKMUDAMI

AJl,~~---TEAl( WOOD RAfTER

~--TILE ROOFING

..4.1),!l,\W1J===~~-COLlAR PIN (V AlA)

KSUDROTIARA

A~~~tR%It:=:::;;;;:::~~~-VAROTIARA
.,,----t:.AV'E RAFTER
n--LSf_-EAVE BOARD

I +----STONE COLUMN

---ADHISHTAN ~

Fig 4.11 Sectional Elevation of Namaskara Mandapa Picture 4.26 Wooden Ceiling

VAMADA

VALA

GS~~.:...ij.;d=1---KUTA

Fig 4.12 Division of Rafters in Namaskara Mandapa

4.3.2.3 Chuttambalam
The temple is surrounded by chuttambalam which has a sala type of roof construction.
It is provided with a tiled roof The chuttambalam has under gone renovation in 2007.
The tiles and the decayed rafters have been replaced. The Jack wood (artocarpus
heterophillus) rafters have been replaced with thembavu (terminalia tomentosa). The
size of the rafters is 4.5cmx20 cm. The spacing between the rafters is 75 cm. The koti
(hip rafter) is 27cmx7cm. The uttara (wall plate) is of size 20cm x 8.5cm and the
chittutharam or the ksudrottara is of size 9cm x 5cm. The kila (wedge) with which it is
fIxed is of size 20cm x 5.5cm x 2cm.The eave board or the thuvana palaka is also
replaced which is of size 16.5cm x 2 em. The chuttambalam houses the thidapally
107
(kitchen) where the food is cooked for offering the deity. The section of chuttambalam
with the agramandapa is shown in Fig 4.13.

ANIAL ITHAZHIKAKUDAM)----
TEAKWOOD RAFTER
COLLAR PIN(VALAI----~~-==~ ~~

nLE ROOFING - - - - - . , J .
KSUDROTTARA ---
VAROTTARA-----;,~·~==~~===it
EAVE RAFTER---...
EAVEBOARD-~-L---{l

sToNEcOLUMN--;;l~==~===jliii~~~!!~i~iE~~~ll
ADHISHTANAM--=:--f

Fig 4.13 Chuttambalam and Agramandapa

4.3.2.4 Agramandapa
The agramandapa of size 727 cm x 406 cm is located in front of the srikovil in the west
which houses the valia balikallu. The roof rests on eight granite pillars of size 20cm x
20cm on either side of the mandapa. The roof is sabha type with a gable in front. It has
a wooden trellis wall.

4.3.2.5 Dwajastambha
The dwajastambha (flag mast) made of teak wood is covered with copper and is placed
in front of the srikovil. It houses a garuda on top to represent Narasimha as shown in
Picture 4.27.

Picture 4.27 Dwajastambha

108
 4.3.2.6 Gopuram
The temple has a sloping two tiered gopura on its northern side which forms the main
entrance gateway to the temple as shown in Picture 4.28. It is constructed in accordance
to the human scale. The wooden ceiling of the gopura is decorated in a chequered
pattern. Above the entrance door is an ornamental plank of wood called citraphalaka or
mangalaphalaka as shown in Picture 4.29.

Picture 4.28 Gopura Picture 4.29 Entrance Door

4.3.3 Wood Crafts

Our traditional taccans had an artistic intuition through the knowledge of the technical
aspects of the materials and the innate ability to put this knowledge in practice. Such
skills were acquired through experience and penance. For practicing and promoting
these skills the craftsman should have knowledge of the species of wood to be selected
for the element to be carved, proper seasoning of wood, knowledge of tools, techniques
of finishing the product and lastly the rightful execution to produce the desired
ornament is highly essentiaL With these acquired knowledge in mind they were able to
make stunning master pieces in wood in these temples. Each work of art had its own
uniqueness.

The srikovil has a granite adhishtilna with different mouldings and above this is a
Vedika followed by a bhitti (wall), the latter was made of timber and carved with
puranic scenes. Above the Vedika runs the frieze of animal procession, followed by
another horizontal frieze of Vimilna motifs. The horizontal frieze of animal procession
is also seen in Ettumanoor Mahadeva temple. These friezes discontinue when
devakosthas intervene as in Picture 4.30. Over the frieze are the jalakas Galli windows)
as shown in Picture 4.31 and vertical panels with puranic scenes. The temple has four

109
functional doors each one associated with dwarapalas as shown in Picture 4.32. Teak
wood is used for the wood crafts. Wood carvings on the wall form an excellent form of
wood craft showcasing minute details of various scenes arranged in horizontal registers.
The western wall depicts the scenes from Krishnalila. In the devakoshtha is enshrined
the figure ofNarasimha tearing the entrails of Hiranya. The northern half of the eastern
wall is devoted mainly to the story of setubandanam. To the south of the eastern door is
a niche enshrining the figure of Lord Ganesha. One of the vertically arranged panels
exhibits in five registers the Dasavatharas of Vishnu. Of all the decorative elements
made of timber the jalakas (the pierced jalli screen) occupy the maximum space; other
elements comprise of vertically aligned panels of devakoshtas and ornamental
kudyastambhas (pilasters).

The same arrangement continues also on the southern wall. Its eastern part of the panel
displays in three registers Siva parvathy, Ganesha, and Nataraja. The western half of the
southern wall has three jalli screens, the centre one being more conspicuous. Wood
sculptures on the northern wall include Krishna playing on the flute enshrined in a
devakhoshta as shown in Picture 4.33. Below the functional door of the northern wall is
placed the pranala in the form of the fluted sundu with three ornamental bands. As
usual it is held in the simha's mouth and its gomukha rests on the head of the bhuta
figure in standing posture. On the valabhi is carved the scene of samudra-manthana in
continuous succession, besides scenes from the puranas. It is indeed a treasure of
sculptural art in wood. Teak wood is used for the wall and the rafters. The arrangement
of panels and myriad of decorative elements bear close similarity with those of murals
which was influenced more by the tradition of wood sculpture than any other sculptural
art. Considering the stylistic features, these reliefs may be dated as fifteenth century,
when the temple in the present form came into existence.

Relief carving, pierced carving and sculpturesque carvings are mainly seen in these
wood crafts. The sculpureque carving technique is used for carving figural motifs like
dwarapalas which are seen on either sides of the functional doors of the srikovil and the
brackets. The different motifs are carved out in the thadiuttara which is an additional
wall plate into which the panels of wall are inserted. The walls of the srikovil are
decorated with high relief and low relief carving technique. Pierced carving is employed
for the jalli which is seen on the walls of the srikovil. The technique of wood carving

110
 was inherited by the carpenters through oral tradition and perfected through practice and
experience. This form of artistic carpentry (wood crafts) was well appreciated in
architecture.

Picture 4.30 Frieze and

Picture 4.31 Pierced Jalli Screen
Devakosthas

Picture 4.32 Dwarapala Picture 4.33 Devakostha

4.3.4 Decay of timber

The Narasimhamoorthy temple which has stood for more than 500 years underwent its
renovation in 2007 under the supervision of the archaeological department. The
renovation was carried out only on the chuttambalam and the ancillary structures which
had shown signs of decay. The srikovil and the namaskiira mandapam did not undergo
any changes except for cleaning and painting works. The work was done on contract
basis by inviting tenders and the usual contract procedure was followed.

111
The main decay was seen in the chuttambalam. The rafters and beams were in a
deteriorated stage as shown in Picture 4.34 and 4.35. The main cause of decay was due
to the water leakage through the broken tiles. The decayed Jack wood (artocarpus
heterophyllus) rafters were replaced with new rafters of Thembavu (terminalia
tomentasa) wood which was against the conservation practice of the international
preservation community ICOMOS and ICCROM which supports the use of existing
materials. By using different specie the identity and authenticity of the object is lost.
The identity of the building is related to the substance acquired through its history. As
far as possible it should be replaced with the wood of same species. The authenticity of
its substance has to be maintained. The eave boards and the tiles were replaced as in
Picture 4.36. The beams which were decayed were also replaced as in Picture 4.37. The
beauty ofthe building is not only related to its form but to the 'patina' of its materials.
The new timber used stands out from the old timber members. The traditional jointing
techniques used have to be adopted. The namasktira mandapa which was destroyed in
mishap was reconstructed in front of the Ganesha shrine outside the nalambalam or
chuttambalam. Anti-termite treatment is done for the agramandapa and the gopura. The
size of the wooden members was retained. The wall of the srikovil was painted with
clear varnish and the adhishttina painted with black cement paint which has started to
peel off from the surface. The black colour of the balikallu is maintained by applying
sesame oil mixed with powdered roasted sesame seeds. As the renovation was carried
out recently the temple doesn't need much of maintenance. The end grains of the rafters
of the srikovil, the namaskara mandapa and chuttambalam are well protected. The
white stains which had occurred on the ornamental timber ceiling of the gopura as
shown in Picture 4.38 due to water seepage were cleaned with a brush and varnish was
applied on the ceiling as in Picture 4.39.

Picture 4.34 Decayed Rafters of Picture 4.35 Decayed Beam

Chuttambalam

112
 Picture 4.36 Broken Tiles being Picture 4.37 Decayed Beams being Replaced
Replaced with New

Picture 4.38 Ceiling of Gopura Picture 4.39 Ceiling of Gopura after

before Renovation Renovation

4.3.5 Conclusion
The Narasimhamoorthy temple at chengannoor is a masterpiece in wood as exclaimed
by Bernier. The wood crafts reflect the Hoysala tradition in soft chlorite schist. The
traditional methods of preservation techniques have been followed to an extent. The
temple is an embellishment in wood which has lived for more than 500 years. The
maintenance of the srikovil and the namaskara mandapa is taken care of The copper
sheet used for the roof of the srikovil prevents leakage of water whereas the tiles used in
the rest of the parts are a cause for water leakage due to the breakage of tiles. The
roofing .of the chuttambalam is done with mangalore tiles instead of copper tiles which
is reason for the damage caused and water seepage which has to be replaced
periodically. The renovation work carried out is not according to the principles of
preservation of historic timber structure recommended by the international community
(ICOMOS, 1999).

113
4.4 CASE STUDY 3: ETTUMANOOR MAHADEVA TEMPLE

4.4.1 Introduction
The temple is an image of the microcosm, as shaped from that primordial wood which
is Brahman (Kramrisch). Ettumanoor Mahadeva temple one of the largest temple
complexes in Kerala is located in Kottayam district of Central Travancore is a marvel in
wood art. The west facing Siva (Aghora moorthy) temple has a circular sanctum
(Srikovi[) which is a very unique temple form not seen anywhere in India. The Srikovil
having a diameter of 15.3m and perimeter of 67K encloses a square Garbhagrha. It has
a conical one storeyed (Ekatala) roof which is covered using copper tiles crowned with
a finial (Kalsam). The temple has a towering and inviting gateway ( Gopuram) with
sloping roof erected in perfect scale and proportion as shown in Picture 4.40. The
increasing degree of enclosure and the transition from the semi-open pavilion to the uni­
directional closed sanctum, all together heighten the progression from the worldly to the
spiritual as one progress towards the sanctum. The Srikovil is of Siindhara type with the
Garbhagrha enclosed by an inner wall (Anthar bhitti) and an outer wall (biihya bhitti)
with an ambulatory passage in between called the Madhyanadi. There is a portico
(Mukhamandapa) from which one can access the Garbhagriha. The epics say that the
three Siva idols at Vaikkom, Ettumanoor and Kaduthuruthy were installed at the same
auspicious moment by Sage Khara Prakasha. The temple has five enclosures
(Panccaprakara) which consists of akathebalivattam, anthahara ( Chuttambalam),
madhyahara (Vilakkumadam), bahyahara with the Agramandapa, Dwajastambha,
Sivelipura and the maryada (outer wall). The Oottupura (the dining hall) is along the
maryada. The plans and sections are shown in Fig Al .9- Al . I 1.

According to Sarkar this temple falls in the early phase. This was further reconstructed
by Pandya King Chanda Bhakaran in the present form and the repair work started
around 1542 AD according to inscriptions on the basement (Adhishtiina) (Sarkar,1978)
and consecration ceremony in 1544 AD (Devaswom publication). Three stages of the
temple are discernible according to (Soundararajan, 1974). The early stage when the
temple was constructed with only an ambulatory at the edge of the wall of the temple,
the next one introducing the wood work scheme and then the erection of the outer
Gopuram. The construction and form of the temple was creatively thought out and

114
calculated by the craftsmen with each part in proportion with the other. The vast land
was offered to the temple by a Brahmin house 'Ettonnasseri illom" at Ettumanoor.

The seven and half elephants (in Malayalam: Ezharaponnaana) made ?f gold (nearly 13
Kgms.), donated by a Travancore Maharaja is a priced possession of the temple. The
temple, one of the wealthiest Devaswoms in Kerala, has many valuable possessions.
Ezharapponnaana is now displayed only during festival time.

Picture 4.40 Entrance Gateway

4.4.2 Components of the Temple

4.4.2.1 Srikovil
The Srikovil is circular in plan which is the very unique temple form seen only in
Kerala. It has a conical roof with 68 wooden rafters and large projecting eaves
extending to about 170 cm. The roof projection is supported with wooden brackets
which are in the form of sculpturesque figures and are 20 in number. Each bracket is a
different sculpture. The foundation is made of stone and has a height of 170 cm from
the ground as shown in Fig 4.14. The end spacing between rafters is 76cm. The wood
used is Teak. The diameter of the Srikovil is 15.3m. The perimeter is 67K. It is one of
the largest circular temples in Kerala (Bernier, 1982). It is in the Eka yoni (dwaja) with
the deity facing west. The roof is covered with copper tiles. The srikovil is sa-ndhara
type with double circum-ambulatory path around the garbhagrha.

115
The timber used for the structures improves the indoor climate provide better comfort in
the indoors. The wall of the Srikovil has been painted and the actual texture and grains
of the wood used have been camouflaged. The sculptures are made of teak wood. The
reliefs and sculptures on the wall are coloured using paint which has spoilt the natural
texture of the original wood.

ll-------------ANIAL (lHAZHIWCUDAM}

------COUAR (VALABANOHAM)

COl.lAR PIN (VALA)

�����..,,.__,.._____AROOOOnARA
;----KSUORonARA
�===:===::::; !cc�,,.-'s:··--·----·-······-VAROlTARA

Fig 4.14 Section of Srikovil

4.4.2.2 Narnaskara rnandapa

The Namaska.ra mandapa is square in plan and in pratiyoni to the srikovil as it faces the
deity. It has a pyramidal copper tiled roof crowned by a tha.zhikakudam as shown in Fig
4.15. The rafters are supported on the Kuta on the upper end and the uttara at the lower
end. It comprises of thirty six rafters. The roof is supported on twelve columns in the
outer edge and four columns enveloping towards the inside. The mandapa has a flat
beautifully carved wooden ceiling panel which consists of 25 divine figures which is
highly remarkable.

116
 FINIAl(lHAZHIICAl:\IOAM) -----------

KSUOROTTARA ------.

VAROTTAIIA-----�.,,.;;;:::J 1---�-�--��-- -1

COUAR PIN (VALA)---•J

=--­
�O�COUJMN-----�

Fig 4.15 Section ofNamaskara Mandapa

4.4.2.3 Chuttambalam
The Chuttambalam (Nalambalam) is an enclosure which protects the Srikovil from
outside. The width of the chuttambalam is lesser on three sides and broader towards the
front side or main entrance to the Srikovil which is called the Valiambalam. The
Valiambalam is a two storied structure as shown in Fig 4.16. It has trellis work all
around to let in light and provide ventilation. The chuttambalam houses the mulayara
on the north east and thidapally on south east side. The valiambalam houses the
koothambalam where temple arts like koothu, koodiattam are performed. The
valiambalam is approached through the agramandapa (balikalmandapa) which houses
the valiabalikal.

117
 FINIAL (THAZHIKAKUDAMJ --------,1

TEAK WOOD RAFTER ___...,.

J���������r::�::��::�=--------'¥� W0QDIW1J'R

--���==1
�--KSUDROTTAAA
KSUDROTTARA
i==��===��:=.:�---VAROTTAAA
VAROTTARA
COU.,AR Plt"(VAI.A)

STONE COLUMN ----< 1+---STOl'IE COLUMl'I

!----ADHJSHT/.J'I A

Fig 4.16 Valiambalam and Agramandapa

4.4.2.4 Vilakkumadam
It is a structure with dandikas (pillars) and azhis (lattice) affixed with galaxy oflamps
on it. It is located at Yi danda from the inner wall of the chuttambalam. The outer
distance of the madhyahii.ra is up to the wick of lamp. There is a space between the
chuttambalam and the vilakkumadam which is 3m. The height of the base of the
vilakkumadam is the same as the base of the chuttambalam and is 75 cm. There is a
projected platform of 70cm above the adhishtiina (base) for perambulation and lighting
ofthe lamp. The lamps are fixed at equal distance from each other on the azhis (lattice)
which creates an order. There are 13 rows oflamps.

4.4.2.5 Dwajastambha
The dwajastambha in Ettumanoor temple is of teak wood covered with panccaloha in
the form of the vertebral column. It was replaced in 2010 due to decay which had
already stood for more than 200 years. Straight log ofTeakwood without any bent was
chosen for this. This was immersed in Ennathoni (a tank constructed and filled with
preservative oil). It is immersed in the oil for a period of 200 days so that the
preservative enters the log which has to be preserved for years and then taken out for

118
erection by conducting rituals and is covered with panccaloha (an alloy consisting of
five metals). The dwajastambha houses the nandi on top of the stambha. It is placed in
front of the balikalmandapa as shown Picture 4.41.

Picture 4.41 Dwajastambha

4.4.2.6 Gopuram
The temple has two tiered gopura with beautifully carved timber ceiling. The gopuram
houses the beautiful mural paintings of Ananthasayana and Nataraja which is
noteworthy. The wall and roof is in good proportion.

4.4.3 Parts of the Temple

4.4.3.1 Adhishtana
The basement (A dhishtana) of the Srikovil is made of stone and has a height of 170 cm
above the ground. The raised Adhishtana gives the Srikovil a monumental character
with a flight of steps (Sopana) flanked by Hasti hasta (elephant's trunk) banisters which
is the main entry in the western side as shown in Fig 4.17 and also has another Sopana
leading to the Garbhagyha. The temple is Sarvatobhadra type having four openings in
the cardinal directions and with only three Sopanas on the three sides. The Sopana is
absent in the northern direction because of the presence of Pranala. The Pranala as
shown in Picture 4.42 made of stone drains out the abhisheka water from the
Garbhagyha to the outside. It rests on the head of a seated dwarf figure in stone blowing
a conch. The Adhishtana of the Srikovil is Kapota-bandha type. It has a small Upapitha
below the Adhishtana. The Adhishtana has vertically moulded tiers, each tier from

119
bottom to top arranged in a specified order and shape. Each tier has a distinct name viz.
Padukam, Jagathy, octagonal Kumuda, Kumudapadi, Galam, Vajanam, Padi and
Kapota. The high raised plinth gives a monumental character to the structure and
protects the timber structure from decay due to water seepage ~

Picture 4.42 Pranala Spouting from

Fig 4.17 Sopana
Adhishtana

4.4.3.2 Bhitti
The outer wall of the Srikovil made of wood, believed to be of the sixteenth century is
constructed on a Vedika. The Vedika is placed above the Adhishtiina, followed by the
frieze showing animal procession and above this is another continuous frieze depicting
the story of Ramayana as shown in Picture 4.43. The wall above the frieze is in the form
of screen or jalli. The reliefs on the wall and sculptures used as brackets are made of
teak (Tectona grandis). The walls are made of intricately carved panels with
perforations and lattice windows which provide diffused light and ventilation as in
Picture 4.44. There are intricately carved motifs on the pilasters which depict the scenes
from epics. The carvings on the wall have been painted with colours and the actual
texture of the wood has been camouflaged. The Srikovil has four doors in the cardinal
directions, out of which the one facing the west is the door opening into the
Garbhagrha (Priisada dwiira ) and the northern side has a false door (Ghana dWiira)
because of the presence of Pranala. All the four doorways are guarded by Dwarapalas
made of wood. The Garbhagrha is miniature Driivida vimana made of granite,
surrounded by twelve columns. The Namaskiira Mandapam has no walls but rests on

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columns which have been covered with bronze sheets. The Chuttambalam and
Agramandapa have walls made of wood in the form of trellis which offer better comfort
to the indoors.

Picture 4.43 Carvings on the Picture 4.44 Carvings on the Wall

Frieze

4.4.3.3 Roof
The Srikovil has a circular plan with a conical roof made of timber rafters which tapers
to the top and meets the pinnacle with a Thazhikakudam. The pitch of the roof is 45°,
size of the rafter is 30 cm x 9 cm (lOA x 3A), end spacing between rafters is 76 cm with
conical roof made of 68 rafters, over which teak wood planks are placed as shown in
Fig 4.18. The timber roof structure is covered with copper tiles. The Srikovil belongs to
the Vesara type. The eave projection is 170 cm to the outside supported by wooden
brackets as in Picture 4.45. The Garbhagriha has an octagonal spire (Shikhara). The
Namaskiira Mandapam has a pyramidal roof having 52 numbers of rafters as shown in
Fig 4.19. In conical and pyramidal roof, all the rafters are joined to an independent
member in the centre known as the Kuta which imparts structural stability along with tie
beams. The wall plate (Uttaram) made of wood, supports the roof and transfers the load
on to the wall or pillars. The Chuttambalam has a sloping roof with a ridge in the
middle supporting the rafters which is covered with copper tiles. The Agramandapa and
Valiambalam also have hipped roofwith gable in front and are two tiered.

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 CUU
~BJU"AAA
~ VIoJ.A

7<::/--- TEAK WOOD

RAfTER

Fig 4.18 Rafter Division of Roof (Srikovil)

~~~d--f---IKUTA

Picture 4.45 Eave Projection Fig 4.19 Rafter Division of Roof

(Namaskara Mandapa)

4.4.4 Wood Crafts

The wood carvings and craftsmanship in Kerala temples is noteworthy in the history of
art and architecture. The wood craft tradition ofKerala is almost similar to the Hoysala
tradition of carving on soft chlorite schist (Sarkar, 1978). Teak which is known for its
durability has been tremendously used in the superstructure and the walls. Its texture,
hydrophobic property, ease of workability, high strength to weight ratio and easy
availability has also made it the most appropriate building material for temple
construction. The wood carving is unique for the different components of the temple
like the Srikovil, Namaskiira Mandapam, Valiambalam, Agramandapa and

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Vilakkumiidam. The wood sculptures look realistic and has no resemblance to the
original form of the material and also to one another. The wall of the Srikovil made of
teak wood has relief works of interesting categories carved minutely and beautiful
motifs depicting scenes from the epics as in Picture 4.46. The frieze above the
Adhishtiina has interesting repetitive motif of animal procession and scenes from
Ramayana which acts as a horizontal border. There are lattice panels which let in light
and ventilation into the structure. The carved timber walls give an impression of
lightness and delicacy and yet retain strength. The walls have been coloured which has
masked the original texture of wood. The large projecting eave of the Srikovil is
supported by 20 wooden brackets in the form of both male and female figures
representing various deities in fascinating iconographic forms as shown in Picture 4.47.
In the thadi uttara above the wall the prominent mouldings are Valabhi and Kapota, of
which the Valabhi has intricate carving depicting battle, procession and dance forms.
The Dwiirapalas which are located on either side of the Priisada dwara are excellent
wooden sculptures showcasing Kerala's three dimensional wood arts. The southern side
adorns similar type of Dwarapalas and Sopana as on the western side. The flat wooden
ceiling of the Namaskiira Mandapam bears intricate carvings of the Navagrahiis and
has a panel of25 divine figures which is adorable as in Picture 4.48. The Valabhi part of
the ceiling shows minute carvings depicting scenes from epics. Scroll work and floral
patterns are carved on the ceiling. The wooden tradition had cast a tremendous spell in
shaping the form of art in Kerala in the late phase (Sarkar1978).

Picture 4.46 Motifs on the Wall Picture 4.47 Brackets Picture 4.48 Ceiling of
Namaskara Mandapa

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4.4.5 Decay of Timber
Timber being an organic material is susceptible to decay. Teak is the mainly used in
construction of the temple which is hydrophobic (water repellent) in nature. The
durability of teak which depends on its chemical properties and the indigenous
preservation techniques used are the main reason for the long lasting of the structural
members. Insect attack decreases the strength of the timber members. The rafter ends of
the Chuttambalam are badly attacked by Carpenter bees which have drilled holes
(Picture 4.49) into it as they are left exposed and unpainted. The damage created
through subsequent years broods will expand the tunnel through branching activities
and may cause considerable structural damage. As the rafters ends of Srikovil and the
Namaskiira Mandapam are well protected with metal shoes they are left unharmed. The
rafter members inside the Srikovil are susceptible to tanning effect by smoke and soot
from the burning of oil lamp, camphor and other perfumeries inside the Garbhagrha.
The timely maintenance and up keep of the Srikovil and the Namaskiira Mandapam
have kept the rafters intact. The wooden reliefs and the carvings on the wall of the
Srikovil have been coloured which ceases the breathing action of timber. The sandal
paste applied by the ignorant devotees on the timber wall of the Srikovil and the rafter
ends of the Chuttambalam have produced stains which are commonly seen in all
temples. Nesting of House sparrow (passer domesticus) is seen on the beautifully
carved wooden ceiling of the entrance Gopuram as shown in Picture 4.50 which
encourages the decay process.

Picture 4.49 Hole Drilled by Carpenter Bee Picture 4.50 Nesting of Birds

4.4.6 Conclusion
Ettumanoor Mahadeva temple, one of the largest temples as per the erstwhile records is
a marvel in timber architecture of Central Travancore. To maintain its interest and

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value, every effort must be made to preserve the surviving temple in its original context.
From the case study conducted it was observed that the rafter ends in the Chuttambalam
have started decaying by the attack of carpenter bees. Periodical cleaning and inspection
especially the underside of the roof and the timber members is recommended to increase
the lifespan of the temple and the colours applied on the wall of the Srikovil camouflage
the wood texture and also prevent the breathing action of the material. The covering of
the columns with bronze in the Namaskiira Mandapa also hides the mouldings and
masks the original texture of the column surface. The nesting of the House sparrow
(Passer domesticus) is seen on the ceiling of the Gopuram which will accelerate the
decay process of timber.

4.5 Summary
The three temples exhibit the intricacy in wood carvings which is seen in the walls of
the srikovil. The temples studied varied in their size viz. large, medium and small. More
number of devotees visits the Ettumanoor temple than at Kaviyoor and
Sattankulangarai. In the other two, the crowd is visible only on festivals and such
occasions. The pasting of sandal wood by the devotees on the walls of Kaviyoor temple
is noticed as an action of misuse. The walls have to be cleaned to remove the dust and
the sandalwood paste applied. But in Sattankulangarai, a barrier has been created with
steel bars around the srikovil, which actually does not match with the elaborately carved
wooden walls. It was observed that Ettumanoor temple has not shown much of decay of
the timber members and no significant renovation work needs to be immediately carried
out. Only the paint on the wall of the srikovil need to be removed and the drainage
which has been blocked has to be cleaned to prevent water entering into the
chuttambalam during rainy days. The nesting of house sparrow (Passer domesticus)
should be removed as it would decay wood slowly. Kaviyoor temple needs attention in
the chuttambalam where the end grains of the rafters have undergone decay and the
rafter shoes of the srikovil needs to be checked. The copper tiles which have under gone
decay by misuse has to be replaced immediately to stop the water seepage into the
structure causing stains on the wooden members. The holes drilled by the carpenter bees
as seen in the two temples at Kaviyoor and Ettumanoor have to be plugged.
Sattankulangarai temple has under gone renovation only six years back and so there are
not much of defects noticed in this temple at present.

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