Guha Ghoshanam In Inscriptions

Sunitha Madhavan

I
ndia’s architectural splendor hark back to an Saluvankuppam). Identifying places and personages
enchanted past. The antiquity of the Indian found in inscriptions is a challenge to epigraphists who
continent and the galaxy of monuments contained decipher them. During the excavations, the discovery of
in it provided a vast canvas for epigraphic research a terracotta plaque depicting Kuravai Koothu, a dance
. Epigraphy is the science of deciphering inscription popular in Murugan temples reaffirmed the existence
on stones[lithic records] and metals [copper-plate/ of the temple of yore. That it was a tradition to sing
Tamara sasanas]. They are the primary resources for and dance in praise of Lord Murugan’s fame, valor,
historical reconstruction of the land. Literary works and skill with his victorious spear could be witnessed
and numismatics, aid epigraphical findings. It will in ‘Ponniyin Selvan’ movie which has immortalized
presently be seen, as a part of our cultural history Kalki’s historical novel.
from authentic facts, how worship of Muruga/Skanda Well documented records for reconstruction of South
had been in vogue all over Bharath and, continued Indian history are available from 7th century CE when
down the ages. Pallava power peaked in the region. The inscriptions
Archaeological and epigraphical proofs: in Pallava Grantha are bilingual. In the year 1888, the
German Indologist, Dr. E. Hultzsch, the epigraphist
Major natural disasters, and increasingly climate
at ASI with his assistant V.Venkayya, the first Indian
change, challenge our ability to preserve our heritage.
epigraphist, scanned Mamallapuram area [earlier
The Indian Ocean tsunami that hit coastal Tamil
known as Kadalmallai] for its hoard of inscriptions.
Nadu in Dec2004 devastated the region; but the
receding giant waves scooped out and left exposed an
inscribed rock at Saluvankuppam, near the UNESCO
heritage site Mamallapuram. The lithic record bore
evidences of a shrine for Lord Muruga. It threw light
on endowments made to the temple in gold and land
holdings during the times of Rashtrakuta King Krishna
III [939-967CE], and the Chola Kings, Parantaka I
[907-955CE] & Kulothunga I [1070-1122CE]. The
news made waves, unmasking the oldest ever temple
Inscriptions in Pallava Grantha script at Kanchi Kailasanathar temple.
for God Subrahmanya in India. The Archaeological
Survey of India [ASI], acting upon the clues, unearthed At Saluvankuppam, Venkayya identified the inscriptions
in 2005 two layers of construction: a granite Pallava of Rajasimha Pallava, Narasimhavarman II who built
temple dating to 8th century CE, and beneath it a the Kailasanatha temple in Kanchipuram. However the
brick structured shrine belonging to 3rd BCE. We buried Murugan temple at Coramandal coast
recall the Sangam poet Nakkiranar, who is credited [Cholamandalam] remained unknown at that time.
with Tirumurugatrupadi. Further excavations revealed
Dr. Hultzsch being a foreigner was denied entry into
inscriptions in ancient Tamil on pillars that surfaced
ancient temples in worship. Venkayya deciphered the
during digging operations. They spoke of grants made
Pallava Grantha script inside Kanchi Kailasanathar
by Pallava kings Dantivarman, Nandivarman, and Chola
temple [known earlier as Rajasimhesvara]. He found
kings Rajaraja I, and Rajendra III for the maintenance of
an inscription wherein the glorious Rajasimha Pallava
the Subrahmanya temple at Thiruvizhchil (present day

Sri Guha Ghoshanam Mahotsavam 39

Guha Ghoshanam In Inscriptions Sri Siva Vishnu Temple
is compared to God Guha (also called Kumara and in Tiruttaniyal nadu, to the village sabha of Melirunjeru
Subrahmanya). The Pallavas were feudatories to the and stipulated that the village should pay one thousand
Satavahanas who reigned supreme in the Deccan padi of paddy to Lord Subrahmanya who is pleased to
region.. The last king of that dynasty was Siva Skanda stand on the hill. The record details the boundaries of
Satkarani (145CE-152CE). In the Pallava dynasty too, the land gifted and the land tax exemptions conferred
Skandavarman was a name borne by three kings. An on the village. The Pallava king Aparajitavarman [9th
inscription at Thirukazhukunram dated in the 27th regnal century CE] is portrayed as the great devotee of the Lord
year of Rajarajadeva records the renewal of a grant made of Tiruttani. That takes the temple to a remote antiquity.
by Skanasishyan and protected by Narasimhavarman-I. The moolavar worshipped today belongs to the time
Venkayya identified Skandasishyan to be the second of the Vijayanagara Empire. The idol worshipped in
Skandavarman because the Pallava capital , Kanchi is Aparajita’s time is seen in the prakara.
only thirty miles away. The veneration of god Muruga by Next to the Pallavas, South India came under the
Pallavas therefore lends credence to the fact that there had hegemony of the Imperial Cholas. South Indian
been a temple for Him at Mamallapuram region. Inscriptions[S.I.I], is a series published by ASI. Its
Volume II, Part-I is entirely devoted to the stunning
Tanjai Rajarajesvara temple, replete with inscriptions
built by Rajaraja the Great. A single image of the god
Subrahmanyadeva was set up by the king in the Tanjore
Big Temple. On a pillar of the northern enclosure of the
temple an inscription records, that king Rajarajadeva set
up a copper image of the god Subrahmanya before the
29th year of his reign. In the Introduction to Vol-II of
S.I.I., penned by Venkayya, there is an elaborate account
on worship of Muruga. In the Tanjore inscriptions
A stone Vel [spear] positioned at the entrance to the excavated shrine at Saluvankuppam.
reference is made several times to Thiruvilangoyil
One of the sculptural marvels in Mamallapuram is a
temple in Kadambur. Venkayya’s elucidation is, “the
panel dated 675CE where the god is with his parents.
word Ilangoyil itself means ‘the house of the young king’
This type of and may be taken to denote a shrine of Subrahmanya.”
depiction is The Kannanur BalaSubrahmanya temple is attributed to
known as Rajaraja’s great grandfather, Aditya Chola-I. It should
Somaskandar. be remembered that the Shanmatha system of worship
The earliest propagated by Adi Sankara included Shanmugar.
reference to a
The Tiruchendur temple has four lithic records of Pandya
temple for god
Varaguna Mara Varman [875CE]. They record his
Subrahmanya is in
endowments for the upkeep of the shrine. In his 13th regnal
the copper-plate
year the king had provided 1,400 gold coins. The money was
grant of Pallava
distributed amongst 16 villages which were required to pay
Aparajitha.
interest annually in kind [paddy], maintaing the principal
Somaskandar at Mamallapuram The Tampara intact. Three officers were deputed for supervision. At the
Sasana was found in 1977 accidentally at the playground temple, payment of wages for employees, stipends to Vedic
of a school in Velanjeri village near Tituttani, TamilNadu. It students were in paddy. Besides Neivediyam [food offerings]
mentioned that the Pallava king gifted the village Pudur, and Annadhanam requirements were met.

40 Sri Guha Ghoshanam Mahotsavam

 Siva Vishnu Temple
Sri
It is not known for sure who built the Palani temple. The
Navapashanam idol was made by Siddhar Boganathar.
In Jan 2023, the kumbabishekam of the hill temple was
performed. At the foot of the hills is a temple where a
Soduku-like genre is found on a pillar. It shows a 3x3
square with markings of numbers written in Tamil. The
numbers add up to 15 which is Murugan’s number, says
archaeologist, V. Narayanamoorthy. According to Hindu
beliefs, every God has a number and Lord Murugan’s
number is six (1+5=6). Interestingly, during festivities the
deity, Palani Murugan is placed in front of this pillar.
Literary sources:
Analyzing available literary texts supportive to
archaeological and epigraphical studies, Venkayya
traces the surnames Shanmukha, Skanda, and
Kartikeya to Vedic literature. Besides there are Skanda-
Upanishad and Skanda Puranam. Kumara’s birth is
briefly mentioned in Ramayana. In the Mahabharata
his origin from Agni is described and he is also
known as Agnikumara. “Senaninam Aham Skanda”,
declared Bhagawan in Gita, Ch-X, v.24. Kalidasa’s
poem Kumarasambava is a description of the birth of
the god Shadanana and of his achievements. He is the
commander of the celestial armies and is also known
as Senani. Venkayya surmises that “it was probably
this aspect of his nature that led to some of his temples
being built on hills, e.g.,Tirupparangunram, Parani
and Kunnakkudi in Madura district, Karugumalai and
Tiruchendur in the Tinnevelly district, Tiruttani and
Vallimalai in the North Arcot district and Svamimalai
in the Tanjore district”. Dr. Clothey in his book ”Many
faces of Murugan” conjectured that as agriculture
gained currency, the hill god came to be adored by
the farming community. Recall Vayalur Murugan
temple in the midst of luxurious paddy fields. In the
opinion of Venkayya, the connection between god
Subrahmanya and the serpent probably arose at the
village of Subrahmanya in South Canara district. Mr.
R. Sewell points out that the principal objects of worship in
this temple [Kukke Subrahmanya] are two images of a Naga
[Rahu, Kethu] and a six-faced deity which stand side by side
in the Garbhagriha.
Sri Guha Ghoshanam Mahotsavam
Guha Ghoshanam In Inscriptions
The pioneering epigraphist Venkayya was an erudite
Tamil scholar. He produced references from Tamil
works. Citing Sirpachintamani, he says it “describes
forms of god Subrahmanya, viz., Jnanasaktidhara,
Dandayudhapani, Senapati, Arumugam [Skt.
Shadanana]. Suppiramaniyar [Skt. Subrahmanya],
Saravanorpavar [Skt. Saravanodbhava], Kumara,
Shanmugan [Skt. Shanmukha], and Tarukariyan [Skt.
Tarakari]. Another Tamil work entitled Suppiramaniya-
Parakkiramam describes eighty-eight different feats of
the god and the forms assumed by him on each of these
occasions”. In Thirumurugatrupadai the god is portrayed
as having six faces and twelve arms. The six places
sacred to the god mentioned by the Sangam period poet
Nakirrar are Tirupparangunram, Tiruchchiralaivay,
Tiruvavinankudi, Tiruvavenragam, Kunrutoradal and
Paramudirsola. In the Tamil epic Manimegalai, Muruga
is described as the son of Siva, and as having subdued
the mountain Kiravunjagiri.
Indology and Tradition:
Seeing through the lens of Indological perspective,
Venkayya informs: “According to Varahamihira’s
Brihatsamhita the image of Skanda should be made to
appear young with the weapon known as sakti in his
hand and mounted on a peacock”. Tradition has it that
kings in North India, as in the South, took the name of
the warrior god. Varahamihira was senior to Kalidasa
at the court of Empoeror Chandra Gupta-II who was
succeeded by his son Kumara Gupta-I whose son was
Skanda Gupta-I. It is interesting to note that a 4th century
CE inscription discovered in the North West Frontier
Province, Pakistan, talks of a Kumara Sthanam. With
immigrants coming to South India, there was a blending
of the Northern Karttikeya/Skanda tradition and the
South Indian Murugan concept. The 11th century bas
relief at Tiruvengaivasal featuring Subrahmanya in
Veerasena posture depicts the deity as a guru and a
healer holding a rosary and the Vel. Originally built
by Cholas, the temple was extensively renovated by
Pandyas. Epigraphist, Dr. S. Ramachandran adds that
Sundarar [one of the Nayanmars] refers to Murugan
as “Chetti” -a term used for the merchant class, and
41
Guha Ghoshanam In Inscriptions Sri Siva Vishnu Temple
this could be seen as an association of the deity with same posture. The coinage of Gupta kings [ 4th-6th CE] had
business and wealth. the design of Muruga’s mount, the peacock.
The Kadambas of Banavasi, an ancient dynasty Keladi Nayaks in Karnataka, feudatories to Vijayanagara
established in 345 CE ruled from northern Karnataka became independent when the Empire crumbled..
Interestingly, the name of the founder is Myurasharma! Their ruler Sadhasiva Nayaka [mid 16CE] issued a
Venkayya, the epigraphist cum historian noted: “The copper coin. Obverse shows Muruga with peacock
Kadambas are represented as meditating on the god behind. Reverse has Nandi with Sivalingam, no legend.
Svami-Mahasena, i.e., Karttikeya”. The Chalukyas of Religion being the unifying force, popular deities on
Badami, once the vassals of the Kadambas emerged coins made them easy for identification among subjects
supreme when Kirtivarman-I routed them out. After him in the kingdom.
there was a formal division of the kingdom between his
two sons. Western Chalukya was ruled by Pulikesi-II.
His brother Kubja Vishnuvardhana became the Eastern
Chalukya king. In the Timmapuram copper-plates of
the first Eastern Chalukya king Vishnuvardhana-I, the
Chalukyas are described as “having been rendered
prosperous by Mahasena, who by his own arm had The take from the above narration is, there could be
defeated the great army of the sons of Danu”. The no qualms in conceding that Muruga had been in
tradition of adoring Mahasena continued and Venkayya worship all over India and beyond, signifying cultural
explained: “As he was the god of war, he became the homogenization. Linguistic and geographic fetters are
object of worship for reigning kings and families like inconsequential. We are now aware of the past cultural
the Kadambas and Chalukyas” milieu that echo in Guha Ghoshanam. Before winding
up, Venkayya’s point of view may be kept in sight: “It
The boundary of epigraphy may be extended to include
seems to me that Murugan is not a new name but only
numismatics. They too contain information comparable
a Tamil translation of the Sanskrit designation Kumara.
to lithic records and copper charters. Inscriptions on
There is no reason to suppose that Muruga was an ancient
coins are called legends. Epigraphical studies are
Dravidian god, afterwards assimilated with Skanda”.
authenticated by numismatic findings. Judging from
the names of kings, their inscribed records, and their REFERENCES
coinage, we observe that Muruga has emerged as a Pan 1. South Indian Inscriptions, Volume-I, edited by Dr. E. Hultzsch, 1890.
2. South Indian Inscriptions, Volume -II, Introduction by V. Venkayya,
Indian god. In North India the Kushan king Huvishka 1891.
issued Skanda type coins. Besides Siva and Uma, son 3. “Four ancient Tamil Inscriptions at Tirukkallukkunram”, by V.
Venkayya; Journal Epigraphia Indica, Volume-III, 1894-95.
Kartikeya also finds a place in his gold coins. The
4. “Dravidian and Sanskrit Inscriptions”, Part-IV, by V. Venkayya,
Yaudheyas emerged dominant in Punjab and Rajasthan Madras Christian College Magazine, October 1890.
after the decline of Kushans in the 3rd CE. They struck 5. The Dynasties of the Kanarese Districts of the Bombay Presidency, J.F.
Fleet, 1882.
two copper coins depicting the war god Karttikeya,
6. “Timmapuram Plates of Vishnuvardhana-I”, by Dr. E. Hultzsch,
their tutelary deity. The obverse of one copper coin shows Journal Epigraphia Indica, Volume-IX, 1907-08.
one headed Karttikeya standing, holding a spear in the right 7. Thiruttani and Velanjeri Copper Plates by Dr. R. Nagaswamy,
hand and resting the left hand on his hip. Vahana, peacock is T.N.S.D.A. Publication, 1979.
beside him and the other has six-headed karttikeya with the 8. Coins, by Parameshwari Lal Gupta, National Book Trust, India,1969.

Smt. Sunitha Madhavan, M.A., M.Phil. is the great granddaughter of V. Venkayya, the first Indian epigraphist and historian who served as the Chief Epigraphist
to the Government of India from 1908 to 1912. She was Professor of Economics for 30 years at Ethiraj College, S.I.E.T. College and retired as H.O.D of Economics from
Meenakshi College, Chennai. Author of “Life and Works of Rai Bahadur V. Venkayya”, with foreword by Padma Bhushan Dr. R. Nagaswamy, Tamil Arts Academy, 2020.

42 Sri Guha Ghoshanam Mahotsavam

 Arupadai Veedugalil Aarumugan
GuhaPremi - Mrs. Prema Venkatraman

L
ord Murugan, known as the “Tamil God”, is the imprisoned devas and restore lord Indra’s (Deva’s
worshipped by Tamil communities around the king) throne. He is known as ‘Deva Senapthy’, the
world. Devotees believe that Murugan is the commander-in-chief who led his army (Padai) against
presiding deity of this kali yugam (hence the name the asuras. Although there are hundreds of temples
‘Kaliyugavaradhan’) and his spear or Vel, symbolizes dedicated to Murugan and many Shiva temples like
victory, restoring peace, harmony, and destroying all Vaideeswaran temple, has a separate sannidhi for
evil forces. On the occasion of Guha Ghoshanam, let’s Muthukumaran, the ‘Arupadai Veedu’ are considered
review the glory of Aarumugan – the lord with six faces. very special by the devotees for their connection to
Murugan’s various leelas. The six padai veedu are,
“SIX” – This number may be seen by many as merely
an integer in the natural number series. But Lord 1. THIRUPARANKUNDRAM
Murugan’s devotees all over the world attach a special
significance to it. 2. THIRUCHENDUR
The significance of six can be seen in:
3. THIRUVAVINANKUDY
(i) SIX – are the manifold paths promulgated by
Sri AdiSankara for the people to choose from 4. THIRUVERAGAM
and worship their preferred deities. They are
5. THIRUTHANI
Sowram, Ganapthyam, Shaivam, Saktam,
Vaishnavam, and Kowmaram. The devotees of 6. PAZAMUDHIRCHOLAI
Skanda follow Kowmaram.
(ii) Syllables in the moola manthiram Each of the Padai Veedus have a significant
‘SA-RA-VA-NA-BHA-VA’ (i) geographical location,
(iii) Fire sparks that emerged from Lord Shiva’s (ii) name for the presiding deity,
third eye (iii) connection to the place from an episode of the
avatar,
(iv) The divine babies that emerged when the sparks
were laid by mother river Ganga on the celestial (iv) celebration at the temple
pond – ‘Saravana Poigai’ (v) Prasadam given at the temple and
(v) Karthigai mothers who cared for the six babies. (vi) Poems in praise of Murugan.
When mother Parvathi took them and embraced,
they became one child with six heads and 1. THIRUPARANKUNDRAM:
twelve hands - Skanda, a very unique form of
Located about 6KM south of Madurai, this 1st padai
Shanmugan.
veedu is known as Parangiri and Parankundram, and
(vi) The abodes of Aarumugan known as ‘Padai the lord is worshiped in this temple as Subrahmanya.
Veedu’ in Tamil Nadu, India The specialty of this padai veedu is the hill carved
inside depicting the lord’s marriage with Devayani,
According to Skanda Puranam, the lord takes the Indra’s daughter. Panguni Uthiram is an important
‘Murugan’ avatar to destroy the asura king celebration here.
Soorapdhman, put an end to the asura dynasty, release

Sri Guha Ghoshanam Mahotsavam 43

Arupadai Veedugalil Aarumugan Sri Siva Vishnu Temple
gather each year to witness the enactment of the
Arunagirinathar in his thirupugazh praises the lord as
“Kudakku thenparam poruppil battle between Murugan and Suran. At the end of the
thangumang Kulathil Gangai battle, Suran assumes the form of a tree and Murugan’s
than siriyone” Vel (spear given by his mother Goddess Sakthi)
destroys the tree in half. Per Suran’s request, Murugan
“Madiyum kathirum thadavum gives him salvation by making one half of him as a
padi rooster in his flag, there upon known as ‘Seval
Uyargindra vanangal porundhia Kodiyon’ and another half as a peacock to be his
Valamondruparangiri ‘vahanam’ (vehicle).
vandharul perumale” Another special feature of this temple is the
[the child of river Ganga, who resides on Parangiri, that Vibuthi prasadam given in the ‘Paneer leaf ’. Adi
is on Southern hills covered with lush green canopies of Sankara in his famous Subrahmanya bhujangam
tall trees from the forest]. very respectfully refers to this.
“Apasmara Kushta Kshayarcha prahmeha Jwaron
madha gulmadhi rohan mahantha Pisasascha sarve
2. THIRUCHENDUR: bhavath Pathra Bhoothim Vilokya Kshanath Tharakare
dhravanthe”
[Oh, Conqueror of Taraka! Severe epilepsy, leprosy,
consumption, lung diseases, venereal diseases, fevers,
mental diseases of all types, they run away the moment
they see Thy vibhuti contained in a leaf]
A very popular poet and devotee, Nakkeeran in his epic
‘Thirumurugatripadai’ praises the glory of Murugan’s
victory over Suran as
“Kundram erindhoi, kuraikadalil Surthadinthoi” [O’
Lord, you destroyed the krauncha-hill, you annihilated
the demon Surapanman, in the roaring sea!]

Located in the Tuticorn district, the 2nd padai veedu

is also known as Thiruseealaivai, Senthil and
Sendhur, and the deity is worshipped as ‘Bala
Subramanian’ and ‘Senthil Anadavan’. While most
Murugan temples are on a hill, the specialty of this
temple is that it is on the seashore of Bay of Bengal.
This padai veedu is also special because the very
reason for Shanmuga to take the avatar as
‘Aarumugan’, the chief commander of Gods to defeat
Surapadman in a battle - ‘Soora Samharam’, took
place here. Year after year, the event is celebrated for
6 days, after the Hindu festival - Deepavali, and the
last day is ‘Skanda Sashti’. Thousands of devotees
3. THIRUVAVINANKUDI:
Popularly known as Pazhani, this 3rd padai veedu in the
Dindugal district has a unique shape and it’s a grand sight
to see the temple on the hilltop from the neighboring
areas. The deity here is ‘Bala Dhandayudhpani’, fondly
known as ‘Pazhani Aandavan’. One specialty of the
deity is that the single statue of Muruga with shaven
head is not made of stone but with nine kinds of unique
herbs known as ‘Navapashanam’ created by the great
siddha, Bhogar.
The origin of this sthalam is widely known. Lord Shiva

44 Sri Guha Ghoshanam Mahotsavam

 Siva Vishnu Temple
Sri Arupadai Veedugalil Aarumugan
announced a competition for his children; the winner to to reply, Murugan knocked Brahma on his head with
circle the world would be the winner of a special fruit of his knucles and punished him with imprisonment.
knowledge brought by sage Naradha. Though Murguan Learning about this, when Shiva asks Murugan to
diligently circled the world, Ganesha came around his explain the meaning to him to test his knowledge,
parents and won the special fruit as he claimed that he agrees on one condition. He will teach the sacred
his parents were his world. Feeling annoyed, Murguan meaning, if Shiva agrees to be his student and accepts
left Kailsah to stay in Pazhani. People from all over him as his Guru to which his father agrees. Murguan
Tamil Nādu come to Pazhani on foot for ‘Thai Poosam’ sits on Shiva’s shoulder and whispers the meaning in
carrying the ‘Kaavadi’. The ‘Alankaram’, where the his ears. The lord is worshiped here as ‘Thagappan
deity is dressed like a king with a grand turban, is very Swami’ – meaning guru to his own father. Thai Poonam
popular. and Vaikasi Visagam are celebrated with grandeur. Sri
Arunagirinathar, praises the lord in thirupugazh as,
The one of a kind prasadam offered here is the special
‘Panchamrudam combination of bananas, ghee, dates, “ azhiththu kamalaththanai maNikkudumi patri malar
jaggery, and honey. chiththira karaththalam valippa pala kutti natanam
Kolvelle..
Thirupugazh describes
the origin of this temple [you grabbed Brahma sitting on the lotus by his hair,
as and knocked on his head with your knuckle and danced
triumphantly]
.. guru verpilurai
Sirparamarukkoru gurukkal ena muththar pugazh
“Paran vetkida ulamigavum vegundu Akkaniai
thambirane
tharavilaiyena arul Senthil
Pazhani sivagiri thanilurai Kandha Perumale” [You are the Unique
Master of Lord Shiva,
[You were enraged, making Lord Shiva uncomfortable and as the Symbol of
for denying you the fruit, and you went to the Pazhani True Knowledge, you sit
from where you shower grace on your devotees, O in Swamimalai” - You
Kandha, the Great One!] are their Lord, Oh Great
One!]

4. THIRUVERAGAM:
Popularly known as Swamimalai and Gurumalai, this 5. THIRUTHANI:
4th Padai veedu is in the Tanjore district, about 6 km The 5th padai veedu is in
from Kumbakonam. The temple is on a small hill in an the Thiruvallur district.
elevated plane. One must climb 60 steps to reach the Situated on a hilltop, this
sanctum for darshan and these 60 steps signify the 60 temple is also known as
Tamil years in the Tamil calendar. Murugan is worshiped Thanigai and Thanimalai
here as ‘Swaminathan’ and ‘Kumara Guruparan’. the presiding deity is
This temple has a significant reference in the story of known as Thanigesan and Sengalvarayan. Both Valli
Skanda Puranam. As a small boy, Murugan asks the and Devasena have separate sannidhis. As per Skanda
meaning of ‘OHM’ to Brahma. When Brahma fails puranam, after meeting Valli in vallimallai, Murugan
marries her in Thiruthani. This padai veedu is special

Sri Guha Ghoshanam Mahotsavam 45

Arupadai Veedugalil Aarumugan Sri Siva Vishnu Temple
because ‘Padivizha’, a popular event in many Murugan she is blowing on the fruit as if it was too hot. Only
temples that involves climbing the steps while singing then she realizes that the boy is none other than Lord
thirupugazh songs originated here many years ago by Murugan. This event emphasizes the popular name for
few prominent Murugan devotees. This event is the lord as ‘Tamizh Kadavul’. Arunagirinadhar writes
celebrated during the beginning of every New Year in the significance of the padai veedu as
January all over India, especially in Tamil Nadu. Poet “Surar kulam vendru vaagaiyodu sendru
Arunagir praises the lord as Solaimalai nindra Perumale”
“Thiruthani poruppnil viruppuru perumale” [Winning the Sura dynasty, Lord Murugan victoriously
[one who loves to reside on the hills of Thiruthani] comes to stay in the picturesque Solaimalai]
and “Thanigai Kaavala” [one who guards and protects Thirumurugatrupadai by Nakeerar has referenced
the people from the hills of Thiruthani]. “Izhumena Izhi tharum aruvi
Pazhamudhir solai malai kizhavone”
6. PAZHAMUDIRSOLAI: [the waterfall is thundering down from the hill-top with
Popularly known roaring torrent at Pazhamudhirsolai].
as Solaimalai, this
temple is the 6th
There are many more interesting and educational
padai veedu and
events woven throughout the ‘Skanda Puranam’ – the
located in Azhagar
longest of all 18 puranas, written by poet and devotee
malai in Madurai
Kachiappa Sivachariyar.
district.
Kumaraguruparar in his ‘Kandar Kalivenpa’ praises the
The avatar of
lord as
Murugan residing with his two consorts Valli and
Devasena is complete here and also has a separate “Ullam uvandhu aaru thirupadai kandu Aarezhuthum
sannidhi for ‘Vel’ (Spear). The sacred natural spring anbinudan koorumavor Sindhai kudi kondone “
‘Noopura Gangai’ flows from hilltop and devotees [Lord Shanmuga dwells in the hearts of devotees who
climb up the hill to bathe in the holy spring. The story come to the six ‘Padai veedu’ and chant sadhaksharam
of Murugan testing Avaiyar – the great old Tamil poet with love and devotion]
is said to have happened in this site. As a shepherd boy,
Murugan teases Avaiyar with a pun in Tamil language Let us all pray to Lord Subrahmanya whom the vedas
asking if she wants ‘Sutta Pazham’ or ‘Sudaatha praise as the supreme God and chant three times:
pazham’, the literal meaning of the expression is whether “SUBRAMANYOHAM”
she wants hot or not-so- hot fruit while implying if she
would prefer ripe or raw fruit. Avaiyar, amused at the
boy’s ignorance on how fruit could be hot, asks for
‘Sudaatha Pazham’. The boy shook the tree, and the
old poet blows on the fallen ripe fruit to remove the
sand stuck to it. The boy teases Avaiyar and asks why
Prema Venkatraman (GuhaPremi) is an ardent Murugan devotee and a renowned Tamil scholar, author, and poet. She lives in Chennai, India. She has composed over
3000 songs and published four books in praise of Lord Subrahmanya. She is currently working on her fifth book with an emphasis on “Shanmatham” - the six forms of
Hindu worship promulgated by Adhi Shankara. She was awarded the title “Muruga Kavidhayini” by Rathnagiri Mouna Swamigal.

46 Sri Guha Ghoshanam Mahotsavam

 “MURUKOLI”
Unravelling the secrets behind Skanda Iconography
Sthapati.R.Selvanathan & Ponni Selvanathan
Dr.V.Ganapati Sthapati Vaasthu Research Foundation,Chennai

Introduction etc.), the Vaasthu concept defines the built-in temple

space as the material form - sthulam and the energy
India has innumerable and magnificent temples and
prevailing inside the structure as the subtle aspect -
sculptures that are left by our ancestors for Image
sukshmam. Thus, Temple is not just a home for the God
worship. These are the treasure troves of our land that
but is an extended or cosmic form of the God himself in
attracts tourists from across the world.
Vishwaroopam. The deity residing inside the sanctum is
Sanatana Dharma has divided Image worship into the soul – the subtle energy which resonates and renders
two different systems as Athmaartha (for individual physical and spiritual bliss to one and all devotees who
sake) and Paraartha (for others or public sake) Pujas. worship at the Temple.
Further, these pujas are carried out based on Agamic
In addition, the various other parts of the temple
rituals, through Bhajans, Nama sankirtanas and so on.
structure denote various angaas or parts of the human
Besides, deities under Paraartha puja are not merely
form in standing posture. Examples are Hairlock
imaginary forms or artistic statuettes instead these are
represented by Kalasha, Head by Shikara, Neck by
meant for image worship created by Rishi Munis as the
Galam, Arms by Prasthara, Thighs by Adhistanam,
key tool to attain the spiritual bliss and physical welfare.
and Feet by Upapeetam.
Temple Architectural tradition and its science is one
The following illustration is the depiction of a Temple in
of the most ancient traditions in the world also known
its vishwaroopa form - standing and reclining postures.
as Vaasthu Marabhu – Vaasthu Shilpa Tradition. This
tradition precedes many ancient civilizations and the
scientific and technological principles embedded in
them are meant to promote peace and harmony for
mankind.
This is cited in Sage Varaha Mihira’s Brihat Samhita
as, “Vaasthu Shastram pravakshyaami lokaanam
Hitakaamyaya”.

Temple in its Vishwaroopa form

Science of Vaasthu mentions that when an empty
space is enclosed with four walls in accordance to the
Vaasthu grammar it becomes an energised building
or a living organism capable of breathing in and out.
Just as any living organism has the material or gross
aspect (consisting of the body and senses) and the
subtle aspects (physiological functions providing vital
energies such as breathing and nourishment, intellect

Sri Guha Ghoshanam Mahotsavam 47

“MURUKOLI” Unravelling the secrets behind Skanda Iconography Sri Siva Vishnu Temple
Moreover, these images under worship residing inside Patthupattu and Thirumurugatrupadai mention that
the sanctum sanctorum are considered highly sacred Murukoli is omni-present in all the five elements.
and scientific forms created by Shilpi Rishis from yore.
Personification of Murukoli –
Image worship is enfolded with three kinds of
Padmabhushan Vaasthu Scientist Dr.V.Ganapati
divine forms cited by sage Agasthya Maharishi in
Sthapati’s research about Murukoli unveils the birth of
Sakaladhikkara shastra as;
Skanda which as earlier mentioned from the Supreme
xÉMüsÉ ÌlÉwMüsÉ ÍqÉ´É ÌuÉpÉÉaÉiÉÈ Ì§ÉÌuÉkÉqÉãuÉ uÉmÉÑÈ mÉUqÉã̸lÉÈ | Energy Siva or Para Brahman. Shilpi Rishis had a
ÌuÉÍkÉÍqÉqÉÇ xÉMüsÉxrÉ rÉjÉÉãÌSiÉÇ zÉÍzÉkÉUãhÉ iÉjÉÉ MüjÉrÉÉqrÉWûqÉç || challenging task to anthropomorphize Murukoli, the
unparalleled beauty and brilliance that originated
Sakala nishkala misra vibhaagataha trividha meva
from the param porul. One of Dr.Ganapati Sthapati’s
vapuhu parameshhtinaha …
research about Pranavedam cites the following verses
meaning that there are three kinds of Images which are , in Tamil language,
1. Sakala - Uruvam – Iconic - Form wherein physical æñ¢ æñ¢ º¼ªè£÷¤ ÜÁ²ìó¢,
attributes such as limbs are clearly defined.
äï¢ï¤¬ô äñ¢ñ¬ø ºîô¢ñ¬ø«ò
2. Nishkala - Aruvam - Symbolic – Form which
Om Om Murukoli Arusudar,
has no definite form.
Ainilai Aimarai Muthalmaraiye…
3. Sakala-nishkala - Aru-uruvam-misra - Mixed-
Combination of Iconic and symbolic form -Brahmarishi Mayan’s Pranavam

There is another perception glorified by sacred scriptures
known as Murukoli which is the bright radiant light
energy that had emanated from primeval time or the
primordial light.
Murukoli a term in Tamil language - Muruku means
utmost beauty + Oli means light energy – is an effulgence
of light with utmost beauty. Hindu Puranas recorded
that Skanda was born out of the six luminous rays that
sprang from Lord Shiva’s third-eye on his forehead.
Lord Shiva in his state of nishkala form is but the
symbolic form of the Supreme Energy that existed
before the creation of the Universe. This has been
corroborated in Mayamatha Shilpa Shastra as
Sarvaatmeeyam lingam Aaakasa meva - meaning that
all animate and inanimate beings have been manifested
from the Lingam. Remarkably, Linga Puranam states
that all that we see in the Universe have emerged out
from the Lingam the luminous shaft or the Oli Thoon
as stated by Tamil scholars. We would also like to
point out to the readers that Agama and shilpa scholars
address this luminous shaft as Moola Sthambam, a
Sanskrit terminology. Sangam literature like kalithogai,
Hence, this luminous six-rays or the six-faceted
Murukoli that originated from the supreme energy was
addressed as Lord Muruka. He always remained the
synonym for Beauty. Strikingly, Skanda Muruka was
considered to be the only commanding bright energy
who expounded the meaning of pranava mantram
(primordial sound) to its own Creator - Lord Siva.
Therefore, this effulgence light sparkle, the skanda, was
the Commander in chief who removed the evil forces
and brought peace and harmony to the abode of Devas
according to the Skanda Puranam.
The erudite Shilpi Rishis had to symbolize all the above
attributes in the personification of the unparalleled
beauty concept. So, they followed the rules and
principles based on – Prathimaa-maana - lakshanam -
in the making of Murukoli worship worthy.
The knowledge system of vaasthu devised by the shilpi
Rishis are being continued till date by the traditional
experts. Moreover, this knowledge was passed on from
Guru to disciple in Gurukula system or from father to
son while practicing the craft. Later, sthapatis belonging
to the Vaasthu Shilpa paramparyam preserved all

48 Sri Guha Ghoshanam Mahotsavam

 Siva Vishnu Temple
Sri “MURUKOLI” Unravelling the secrets behind Skanda Iconography
verbal sutras of the vaasthushilpa tenets, application of TABLE OF SPACE UNITS
techniques and aesthetics in small manuals known as
8 PARAMANU 1 CAR DUST
Sirpiyar kaiyedu.
8 CAR DUST 1 TIP OF HAIR
During the course of time, Rishi Munis collected 8 TIP OF HAIR 1 NIT
more than 100 treatises and preserved them as the 8 NIT 1 LOUSE
authentic records and thus built up the technical 8 LOUSE 1 BARLEY GRAIN
wealth of India for future generations. Shastraical 8 BARLEY GRAINS 1 VIRAL/ANGULA
rules, formulae, flexions, hand gestures (mudraas), (FINGER MEASURE) –
postures (aasanaas), head-dresses, ornaments 0’.1 3/8”
(abharanaas), costumes, weapons (Ayudhaas) 24 VIRAL/ANGULA 1 KISHKU MUZHAM
and other aesthetical aspects were compiled in 2’.9” /0’.33”
manuscripts to be adhered to during the creation
This shastraical measure is then converted into feet,
of divine Forms or sculptures.
inches and British metric units suitable to the modern
These manuscripts were categorized under three understanding and application.
sections; original, secondary and regional works such
as Moorthy Dhyanam, Sirparathnam, Mayamatham, Aayadhi Lakshanam
Manasaaram, Kumara Tantram, Kashyaba Aayadhi Lakshanam is significantly supporting tool
Shilpam, Saraswathya chithrakarmam, Brahmeeya in deriving the divine measurement of the subtle and
chithrakarmam, Sakalathikaram and so on. Further, gross forms of sacred structures. This is also addressed
these shilpaic guidelines describe the form, quality and as Aayadhi Porutham in Tamil language – This
characteristics of each and every divine image for its means matching of Aayadhi.
own purpose.
What is meant by Aayadhi?
Dr. Ganapathi Sthapati says “These manuscripts
Aayaadhi = Aayam + Aadhi
elucidate the science and technology of making
worshippable images based on the experience of many Aayam meaning length – wave length and Aadhi means
generations and experiments of centuries.” primal energy particle (aadhi moolam in Tamil)

Deriving sacred measure Deriving the sacred measurement of Murukan,

Mayamatha shastra cites that “ paramaanur iti proktam Lord Murukan nakshathram – Karthigai
yoginam drishti gocharam”. Kartha nakshathram – let’s say Sadhayam
The space around is replete with invisible minutest Village/Town nama nakshathram – let’s say Rohini
particles -paramanu - otherwise called micro atom
Divine measurement of Lord Murukan will be
which is visible only to the great seers. It is interesting
calculated using Maanangulam . For this we
to note that Dr.Ganapati Sthapati mentioned in his
have to select the matching Aayadhi star with its
works that “the anu/particle is one part of 1,90,650 of
prescribed number (in viral) and examine whether
an English inch and hence it is not perceptible to our
the dimension will be beneficial and resonate
naked eye”. Yogis who were in profound meditation
with the wave length of the Kartha and the Town/
derived the perimeter of this paramanu as the divine
village. Next, based on the Aayadhi manual, one
measure. A paramanu, the minutest particle, is a
has to examine Aayadhi nakshathra matching with
square in two dimensions. The following is the space
the above three nakshatras by following one of the
derivation which is furnished in a simple Table:
given aspects below;

Sri Guha Ghoshanam Mahotsavam 49

“MURUKOLI” Unravelling the secrets behind Skanda Iconography Sri Siva Vishnu Temple
Shadayadhi – 6 aspects –Aayam, Vyayam,Yoni, F Shat Tala – Dwarfs
Nakshathram,Vaaram, Amsam F Saptha Tala – Rishi, Human
Dasayadhi – 10 aspects –6 aspects + Thithi,Vamsam, F Ashta Tala – Rishis, Alwars
Aayul and Rasi
F Nava Tala – Devas, Navagrahas
Shodasayadhi– 16 aspects –10 aspects + Gunam,
Ganam, Bhutham, Chusthram, Nethram & Yogam F Dasa Tala – Brahma, Vishnu, Mahesawaran

We are not going in detail with Aayadhi lakshana but The Dasa Tala measure is recommended under three
would like to point out that that Aayadhi is a significant divisions as shown below in the making of the Trinities
vital part in prescribing the beneficial measure that and deities like Skanda, Mahavira and Arthanarisvara
will bestow spiritual harmony and physical welfare to in Svathanthira aalaya.
everyone going to the Temple. 1. Uthama dasaTala - 124 (Kooru) units – Three prime
For bigger size Iconic representation 0’.1 3/8” – 1 deities – Shiva Vishnu and Brahma
VIRAL x matching Aayadhi no 2. Madhima dasa Tala – 120 units – For the consorts
For smaller size Iconic representation 0’1 3/8” /8 = 0’.0 of Trinities, Sapthamatha, Durga.
3/16” -1 YAVAI x matching Aayadhi no 3. Adhama dasa tala – 116 units – Dik Palakhas,
Technically defining linear measurement in Tala Veerabhadra and so other deities.
system – A special scale also known as Talamaanam. SSVT’s Lord Muthukumaraswami with Valli and
It is a rhythmic system handled in the Vaasthu Shilpa Devasenai occupy the parivaralaya. Hence, as per the
tradition to mode various types of divine beings. scriptures Muruka has been set out in adhama dasataala
Dr.Ganapathi Sthapati frequently mentions in his system and the images of his consorts in Uthama
works that Taalam Mukhamevacha - meaning that navataala.
the basic unit of one Talam is one face length, which Shan maanas in the making of a vigraha– Shan maanas
is used repeatedly or in multiples to fashion the image are the six measures generally followed as :-
proportionately. The facial length is considered to be
i) Maana – length
the extremely significant part in the composition of
sculptures with appropriate artistic features. There are ii) Pramana –width
ten types of Tala measure followed in the making of iii) Unmaana-thickness
various sacred Images. iv) Parimaana-perimeter
v) Upamaana-interspace
Taalam Mukhamevacha vi) Lamba maana- vertical projection/offset
(Thazhthumaanam in technical parlance).
Tala measures adopted in the fashioning of various
types of vigrahas are as follows:
F Eka Tala – Tortoise,Kurma avatars Some features of Sutra vinyasam
F Dwi Tala – Machavatara Apart from the governing rules of six maanas
the shilpi has to pay attention to the sutra
F Tri Tala – Kinnarar
vinyasa to make sure on the balancing and
F Chathus Tala – Vanaras,Balakhas stability of the form when erected vertically
F Pancha Tala – Ganesha, Balaskantha,Vamana or horizontally.

50 Sri Guha Ghoshanam Mahotsavam

 Siva Vishnu Temple
Sri “MURUKOLI” Unravelling the secrets behind Skanda Iconography
Sutra Vinyasam - Plumb lines : Lord Karthikey at SSVT is positioned in Sthanakam with
• Purva sutram – Front axes Raajasa guna bhavam. It was carved in granite stone at
Dr.V.Ganapati Sthapati’s pattarai at Mamallapuram like
• Apara sutram – Rear axes all other sila vigrahas of SSVT.
• Mukha Bahya Sutram – Axes on either side of the In brief - Stones used for fashioning Lord
face Muthukumaraswami vigraha,
• Kaksha Sutram – Centre of armpit Sila pariksha – Examining and selection of granite
• Bahu Sutram – Outside of the shoulder stone.
• Kayamadhya sutram -central line Selecting a stone quarry and procuring suitable stones
are a complex method in the shilpi tradition. All our
Deities at SSVT are housed in different position inside
stone images at SSVT are carved with resonant variety
the sanctum sanctorum and inside the parivaralayam
of stones from Pattumalai kuppam quarry based on the
under various Postures, Flexions and gunabhava.
following rules:
The different types of postures are classified according
1. Deeply rooted in the earth
to their activities as shown below;
2. Uniform in colour
1) Sthanakam – standing posture
3. Appearance (pleasing in shape) without any flaws,
2) Asasnam – Sitting posture
rekha lines, knots, cracks or spots
3) Sayanam – Reclining posture
4. Producing Nadham (sweet sound)
4) Sthanakasanam – Various standing postures
There are three types of stones in the making of vigrahas
5) Sayanasanam – Various sitting postures for worship. Namely,
Flexions – Bhangam F Male stone (Pul lingam)
This is another important tool to clearly indicate Uniform in colour, even shape (mostly cylindrical)
graceful images with various curves named as follows, and when tapped - sound (Nadham) is produced
• Aa bhangam - one curve/flexion like an elephant bell.

• Samabhangam - equal balanced position F Female stone (Stri lingam)

• Atibhangam - more than one flexion Uniform in colour, shape looks wide bottom and
narrow top without any flaws, cracks or spots .
• Abhasabangam – For dancing images like Nataraja
Sound (Nadham) resembles that of sweet ringing
and his 108 karnas.
sound.
Guna Bhavas – which are identified based on three
F Neuter stone (Nabumshkam)
different and divine actions.
Narrow top and bottom with a wide center part.
Saatvika Guna bhava - Peaceful expression.
With unpleasant sound or no sound.
Raajasa Guna bhava - richly adorned with abharanas
Concluding remarks;
and blessing expression.
We would like to conclude with a sloka as stated by
Taamasa Guna bhava - Fearsome expression.
our most Revered Guru Padmabhushan Dr.V.Ganapati
Sthapati,

Sri Guha Ghoshanam Mahotsavam 51

“MURUKOLI” Unravelling the secrets behind Skanda Iconography Sri Siva Vishnu Temple
Manena nirmite bimbhe swayam aabhati daivatam –
meaning deities made in accordance with shastraic
form and measures will automatically emit the divine
energy well before the pranaprathistai -installation and
kumbabhisekam -consecration ceremony.
Dr.V. Ganapati Sthapati, the Chief Shilpacharya had
configured and Indianised SSVT complex in tune with
Vaasthu principles and formulae. Thus, the ancient
is always visually pleasing and spiritually rendering
bliss to one and all thronging the Temple premises.
Resources:-
- Ganapathi Sthapati, V., (1978), Sirpachenool, Directorate of
Technical Education, Chennai
- Acharya, P.K., (1995), Manasaara Series – Architecture of Manasara,
Low Price Publications, Delhi.
- Ganapathi Sthapati, V., (2001), Building Architecture of Sthapatya
Veda, Dakshinaa Publishing House,Chennai.
- Mayamatha shastra – Saraswathy Mahal Library, Tanjore.

science governing the design and construction of SSVT

Sthapati R. Selvanathan hails from an illustrious family of Temple Architects and Sculptors and is nephew and the direct prime disciple of Vaasthu Scientist (Vijnani)
Padmabushan (the late) Dr. V Ganapati Sthapati. He graduated in Temple Architecture from the University of Madras. During his 30 years long association of Guru-
sishya , Selvanathan Sthapati gained wealth of knowledge and experience under the direct tutelage of Dr.Ganapathi Sthapati.
Ponni Selvanathan an Executive Administrator with Sri Vaidyanatha Sthapati Associates is a laureate from Cambridge University Syndicates, Mauritius and an
executive business graduate. She has more than 25 years of experience in operations of Temple architecture and sculptures under the aegis of Dr. V.Ganapathi Sthapati,
her maternal uncle. She conveys her research findings and the knowledge gained in the field of Vaasthushilpa shastra through various platforms.

52 Sri Guha Ghoshanam Mahotsavam