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SriRangaSri List Archive: Message 00035 Jan 2002

 
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Delivered-To: cln@xxxx
Reply-To: "chitralakshmi" <chitralakshmi@xxxx>
From: "chitralakshmi" <chitralakshmi@xxxx>
To: <chitralakshmi@xxxx>, <poundariga@xxxx>
Subject: A TALE OF RENAISSANCE
Date: Thu, 8 Nov 2001 00:58:50 +0530
X-Mailer: Microsoft Outlook Express 5.00.2615.200

  A write up by PREMA NANDAKUMAR well known writer in ' THE HINDU' dated 2nd Nov on her visit to PAUNDRIKAPURAM is reproduced below:
                             A TALE OF RENAISSANCE 
   (History and Mythology merge at the Paundrikapuram Rajagopala temple which is ready for Samprokshanam on Sunday the 4th Nov.  PREMA NANDAKUMAR writes...)
   In her celeberated Telugu classic, Mannarudasa Vilasamu, Pasupuleti Rangajamma, court poetess of Vijayaraghava Nayak (1633-1673) has given an unforgettable portrait of the royal perceptor, Satakratu Srinivasa Tatayyacharya. We see him seated to the left of the king lecturing on the epics and the puranas. Then we watch him take paternal interest in the king's love-lorn state and going Chief Rajachandra to propose Princess Kantimati's marriage with Vijayaraghava. The work concludes with Tatayyacharya reciting Andal's Nachiyar Tirumozhi at the wedding festivities.
   Certainly an unusually daring picturisation of a contemporary Acharya of high eminence. It only goes to show the high reverence and affection inspired by him. He must have been immensely popular and because of his dignified bearing, he could be depicted within the framework of a romantic tale. Vijayaraghava's devotion to his guru Tatayyacharya (also known as Ayya Kumara Tatadesikan) was total. For he was greatly indebted to the perceptor's counsel that had helped him to hold the reins of power for four decades, which was no easy task in the 17th century.
   Tatadesikan who came in the line of Lakshmi Kumara, the Rayaguru of Vijayanagara Kings, was deeply learned in Vedic rituals, which had earned him the sobriquet, 'Satakratu'.
   Among the yagas he conducted was the Paundraka that took place at the Neelamega Perumal temple in Vennatrankarai village. To commemorate the yaga, a piece of land in Yenadimangalam area was built up and named Paundrikapuram Agraharam. About 200 families, well versed in Vedic lore, lived here. A temple to the Supreme Lord Rajagopala was also built in the village. Ample land was provided for for the regular conduct of worship. Fed by three canals---the Keerthimanaru, Nattaru and Arisillaru--- Paundrikapuram village lay as a gem in the heart of the cauvery delta.
    In less than 300 years, this lovely rural paradise has become a deserted village. None of the Brahmin families, except an odd two or three, live here any more. The canals have gone dry and the Rettai Kulam tank in front of the temple is a hapless spread of dirt and weeds. Greenery is still alive but wheb the writer went to the village recently, she found some big trees being felled. When will we stop axing trees indiscriminately and learn to guard our oxygen apparatus.
    Such a question must have already passed through the minds of a few persons connected by ties of ancestry to Paundrikapuram. They formed the Paundrikapuram Sri Rajagopalaswamy Kainkarya Sabha and set to work under the guidance of a retired judge, Mr K. S. Narasimhan. Within a year the sabha has generated a modest financial base and an immense amount of enthusiasm to start work, and now the temple is poised for Samprokshanam on Sunday, November 4th.
    Paundrikapuram is within two miles of Tirunageswaram and is easily accessible by bus. Leaving behind the 21st century election posters and blaring mike systems behind, I find myself transported to 18th century. Prabhara Bhattar, the temple priest, leads me to the temple thrugh a narrow path overgrown with thorny bushes. Suddenly the entrance gleams before me with bright paint. I can make out the Dasavatara fugurines at the top. I am told the entire structure, including the vast outer mandapam with mosaic flooring, is new. The Bhattar introduces me to Velayudham Sthapathi and the young artist Murali. The tale I hear is fascinating for it is the tale of renaissance, a re-flowering of faith, devotion, art and social comraderie.
     Till less than a year ago, the temple remained almost totally dilapidated with no proper access to the entrance. Hardly any worship was possibleas the walls, the gopurams and the prakara were covered by overgrowth. Thick roots had pierced through the walls. Once popular for 'Ettam Thirunal Uthsavam' when Lord of the Oppiliappan  Temple would come all the way in the morning of Ettam Thirunal of Panguni Uthsavam in a Palanquin and return in the evening in his horse mount. It is now decades since this Uthsavam took place. A special Hall was built for Oppiliappan to EZHUNDARULA. Where can you have the deity when the Hall itself is gone, an aged villager wonders.
      "We are planning to revive the festival from next year " says Mr Narasimhan. "Applications are  being drafted for the purpose. Look this is the Hall which we have renovated completely for Oppilliappan's day-long stay, same as before".  The good old days are coming back then. We move leftwards in the prakara where the kitchen that had been in ruins had been rebuilt and a "balalayam" made. Niche for Nammazhwar, Vedantha Desiakn and Ramanujar is also getting ready.
      The temple to Goddess Senkamalvalli( also known as Hemambujanayaki) stands austere. A lovely image, but regular worship will begin only samprokshanm. The temple has a striking vimanam which has been decorated with new figures of Lakshmi. There are Garuda figures under preperation. They will be set up on the four corners of the temple's fortwall. There is a Hanuman too.
      The vimanam of the main deity is to have representation of Vishnu(Lakshmi Narayana, Paramapadanatha) on the four sides. The ardha mandapam is rather large for a temple of this size. Velayaudha Sthapathi says: "Here it is mosaic but inside it is granite. The temple was built as a brick structure with the entire roof in the style of VAVVAAL THALALI or "Bat's Head". That was a favourite with the Nayak Kings. We have not changed it in the garbhagriha, mukha and ardha mandapams. This was possible as with some extra effort the walls could be cleared of weeds without affecting the roof structure. But the roof of the front hall caved in so we had to pull down the entire thing."
       In the ardha mandapam there is a charming granite image of Krishna as a dancer with a pot of butter in his hand.
      A snake spreads its hood above him. (Nagam Kudaipiditha Nadamadum Krishnam). One of the villagers assures me that abhisheka for this Krishan gifts progeny and saves the person from fear of serpents (naga dosham) There are also images of Vishvaksena, Nammazhwar, Ramanuja and Vedantha Desika. From the mukha mandapa we get a clear view of the moolavar image of Vasudeva. Tall and well-wrought, he is flanked by Sridevi and Bhudevi. So apt, the goddess of wealth and earth worshipped by the hard working, sincere village folk, seeking assurance of peace and prosperity. The temple rituals follow the Vaikhanasa Agama. The circular vimana is known as Karakkovil.
     There is a small square in front of the temple which might have been the Teerthavari Mandapam, as it is directly above the steps leading to the tank.
    The tank is known as Rettai kulam as there was a passageway connecting the temple with the agraharam streets. It must have presented a wonderful sight to watch the path connecting the steps slicing the spread of water into two portions. The guardian deity of the village is Veera Makali. She is verily an image of Mother Might, clad in red and carrying a gleaming trident. In an enclosed place, all the utsava vigrahas have been arrayed. Rajagopala here is a smaller but perfect replica of Mannargudi deity. The Chendu weapon in the Lord's hand has flawless, curved hook. Ayya Kumara Tatadesikan's anxiety to recreate a royal Rajamannargudi in the little village of Paundarikapuram can very well be imagined. Such perfect images of Senkamalavalli, Andal and Vedantha Desika.
     Curiously there are other images ----Ganesha, Somaskandha and a huge figure of a cosmic dancer, tuned within the flaming tiruvasi, pulsating with movement as it were the lips turned to an eternal smile. " They are from the Someswara temple of the village. The temple built of stone is now overgrown with weeds and anthills," says Prabhara Bhattar. " But the renaissance begun in our temple may touch it also, and that would be good for the village."
      Here the Dalits had there living area between the forward castes and Brahmins and all lived in amity worshipping Veera Makali, Someswara and Rajagopala. The importance given to the Dalits can perhaps be understood by the original name of the village, Yenadimangalam. The Enadis are a tribal caste generally found in hills. The Enadi Senchu tribe has given us the legend of Senchulakshmi and Narasimha at Ahobilam. There is a possibility that some members of fierce hill tribe from Andhra were brought to Thanjavur by Nayak kings as soldiers and this area was ear-marked for them. It may also be pointed put the Enadi was a title for army commanders used by the Tamil kings. It may have been the idea of Tatadesikan too as he was after all, a true Srivaishnavite. In this religion, one worships Tiruppan Alwar and reveres Maraner Nambi. Does Rajagopala reject any living being from his Grace?
     In India, history always gets subsumed by myth-making genius of the nation. Thus the revenue village of Yenadimangalam has become Yamanadimangalam in popular parlance with the tank in front of Someswara temple being named Yama Theertham. Yama performed askesis here and was blessed by Siva. Why should we doubt it? After all, the clean and healthy breeze that blows around in Paundrikapuram can keep Death away for very long!
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