Many people also come to the dargah after their wishes have been granted. The dargah is open to all and the local population of Karaikudi and the surrounding areas visit the dargah in large numbers everyday.
Many people suffering from various diseases and ill health also pray at the dargah for faster recovery. There are many testimonies to this and locals will tell you real stories of real people who have been blessed with good fortune and good health after visiting the dargah. Idaikattur is a village in Sivaganga. It is at a distance of 37 kms towards the Madurai on the Madurai — Rameswaram national highway. Ferdinand Cells SJ. This is a replica of the Rheims Cathedral in France.
Since the church was said to be built by angels, Fr. Ferdinand Celle SJ has placed depictions of angels in and around the church Another powerful source we have in this church to get the great divine help is the relics of 40 saints kept on the altar. It is constructed with different types of moulded bricks and tiles in lime marty.
They are used for its decoration. The inner gothic arches rest over the columns embedded with ribs, its corner rising up to the vaulted roof. The widows are decorated with small brick pillars adjoined with hollow flower bricks and stained glass works which depicts the events of the journey of the cross colorfully and beautifully.
Since South India is a tropical country, utilization of the hollow bricks in the construction, reduces the heat and also the vacuum gap between inner vaulted roof makes and air-conditioned system below the shelter of the wall. The stucco figures and the statues of Saint, Angels and the sacred Heart of Jesus, his foster father St.
Joseph and the Holy Family Statue with golden gilt and the Mother of Sorrows are of great beauty and symbol of ancient French art work. Kundram means hillock and Kudi means village. Hence this village is called Kundrakudi. Kundrakudi is 10 km from Karaikudi and 12 km form Tirupathur. On the western side of the hill are three excavated shrines at the ground level.
Later structures have been added to these shrines. All these caves are dedicated to lord Shiva. There are a number of old inscriptions in this region which attracts research minded historians.
This Temple attracts large number of pilgrims throughout the year. Kundrakudi Adigalar a famous Tamilsaint lived here and served the religion and the society.
He attained Samadhi here. The temple is praised in the Tirupugazh hymns of Ssaint Arunagirinadhar. The special feature of the temple is that Valli, Deivanai and Lord Muruga grace darshan individually sitting on a peacock. The temple is open from 6. It is a popular Vaishnavita Temple. It is considered as Badrinath of South India. The vimana in this temple is Ashtanga and it rises to a height of 96 ft. Most noteworthy feature of the shrine is that the deity can be found in all three postures — standing, sitting and sleeping.
The temple tower is 85 ft tall. The Golden Kalasam is 5ft tall. Temple Timings: 6. Buses are available only at specific hours. Then Tirupati is years old and is considered to be a distinct change from traditional temples. Garuda, the eagle vehicle of Lord Vishnu, is shown with two lions on each side.
This temple is especially associated with Garuda. A special pooja is performed on this day. Sevugan Chettiar took special efforts to get Thiruvenkamudayan worshipped by the Ramanuja Acharya for this temple.
This temple is an important abode of Lord Balaji. The Sadari Padukas or feet of the Lord were brought from Tirupati and Agni fire from Thirumayam to commence the temple work. Since then this place came to be known as Ariyakudi rare land and Then Tirupathi Tirupathi of the south. Then Tirupathi temple is considered important next to Srirangam.
People who are unable to go to Tirupathi to fulfill vows can alternatively visit this shrine or Uppiliappan in Kumbakonam. Kalayarkovil was called as Kaanapair during sangam period. This temple is called as Sorna Kaleeswara Temple.
There are three shrines in this temple associated with the threefunctions of creation, preservation and completion. This hill is known as Thenkailayam and workshipped by many saints. This place can be reached either from Thenmadhimangalam or from kadaladi. It is at a distance of 25 km from Polur and 30 Km from Tiruvannamalai. Javadhu hill is a part of eastern ghats extends to an area of sq.
The malayee triblas live at a great number in this hills. Moe than hamlet villages are present here. Evidences of New stone age people are found in the place pathiri and head stones and funeral symbols are seen in Kilcheppili and Mandaparai.
Tombstones from Pallava period to Nayaka period can be seen here. The Kovilur Shivan temple built at Chola dynasty is of historic importance. The people cultivates millet like Thinai, samai and varagu.
Honey, pepper, fruits are also provides the livelihood for these people. Beema falls, boat house, park Kovilur Siva temple, Vainu bappu Observatory, Amirthi Zoo are the important tourist spots. Bus facilities are available from Polur and Tirupatthur. It is a famous Jain temple. The 18 feet statue of Neminadhar, 23 rd theerthangarar is present in the hilltop.
The thirupathangal and Kundavi nachiyar inscription are present here. The temple is present at a peaceful and proper ventilated place. This temple is one of the biggest cave temples of Tamilnadu.
There are 4 Cave temples located in Narasamangalam — Mamandur Village hill. These temples were constructed by the king Magendiravarma and his successors. The 1 st and 2nd cave present at the extreme right are for Vishnu and Shivan, respectively and there is no idol in the third cave at the hill top.
The 4 th cave present at the southern end is an incomplete one. The pallva grantha inscription which says about the special names of King Mahendiravarma and the 10 th century stone inscription which says about the chitramega thadagam which is present at the back of the hill are historical treasures.
Valeeswarar and Bairava temples are situated at the hill top. The cave temples like Avagibagana palavaneshwaram, Simha Vishnu are just cave temples during Pallava period. Later kings extended these into artha mandapam, Muga mandapam, kopurams The name of the idol is Thunandar. The historians mentioned that the natarajar statue in the pillar is the first natarjar statue. More than 30 stone inscriptions present here contains rare and important historical news. The hill present at the opposite to the temple has jain bed and various statues.
This temple located at a distance of 2 km west to Desur. This temple was constructed during the chola period, the main deity is Thadakapurishwar. The place was mentioned as Jeyankonda Cholamandalathu palkundrakottathu thennattur nattu kulathur in the temple stone inscription.
The stone inscriptions in Rajakkal rock and Sarukum rocks mentions about administration and details about the land donations and few more. The raja gopuram eas erected as a remembrance of the victory of Vijayanagar emperor over Sambuvarayars.
The temple is a unique one which contains sagaskara lingam which has more than lingams on it, marriage hall, statues, stone inscription which is located at the centre of the place Madam.
It is located at a distance of 5 km from Enthal junction in Chetpet — Vandavasi road. This is a stone temple built by Eesana Siva pandithar, guru of the King Rajendra chola during his period. The place was mentioned as Jeyankonda chola mandalathu kaliyur kottathu Aakkur oor adutha Bagur nattu nagaram vikrama chola mandalathu choleeswaram.
The east facing temple is with two storey vimanam and artha mandapam next to it followed by muga mandapam. The name of the Lord Shiva is Gangaikonda Sozheeswarar. It is maintaind by Tamilnadu archialogocal department. The temple is located in vandavasi — Kanchipuram highway, km east to Kuzhamandal village.
It is therefore not clear which is the main ritual axis or even the primary entrance to the temple for all the gopura s are of similar size. Chidambaram is important for its four gopura s, but the plan of the temple is far from typical of the late Chola period or indeed thereafter.
Other late Chola period temples in the central Kaveri delta—such as those around Kumbakonam at Darasuram, Tribhuvanam fig. These temples are more representative of the period than Chidambaram alone.
The arrangement of gopura s spreading out on all four sides from the main shrine was still in its infancy in the twelfth and thirteenth centuries. The geographical center for these developments was central Tamil Nadu, the Chola heartland along the Kaveri River. But the developing conception of the Tamil temple was part of a shared religious culture across the region, including Pandya Nadu further south, and cannot be tied to dynastic patronage or the flow of master-architects from an imperial center.
The expansion of Chola hegemony in the later eleventh and twelfth centuries cannot fully explain the diffusion of the gopura across the Tamil country. The earlier temple may have been damaged during the fourteenth-century rule of the Madura Sultanate, even before the renovations and expansions of the Nayaka period, and thus the layout of this earlier temple and its relationship with the current one cannot be clearly ascertained.
Though there may be a spatial distinction in the layout of Tamil Jain temples in comparison with contemporary Hindu ones, the use of the gopura as a gateway is shared to some extent. The absence of a series of large gopura s in Jain temples can be partially explained by a different conception of temple symbolism.
The symbolism of the Jain temple is less explicitly dynamic, a consequence of a more static underlying cosmology and the conception of the temple as modeled on both the world of perfect order and the samasavarana , the preaching hall from which a Jina delivers his first teaching following his enlightenment to an assembly of gods, humans, and animals. But what of the Buddhist temples of the Tamil region? The situation in neighboring Sri Lanka is suggestive and offers evidence for the mobility of architectural design across geographical, political, and religious boundaries.
The huge dual-language Sinhala and Tamil inscriptions on the rock surfaces are striking features of both sites. This may have been a consequence of the different ritual requirements or symbolic meanings of the Buddhist image-house, in contrast to the Hindu temple in the fourteenth—fifteenth century. The great degree of late sixteenth- to early seventeenth-century damage means that the fourteenth-century layout of these temples cannot be determined accurately.
Within a short time, all the old polities of southern India disappeared. This long period of political upheaval in the Tamil country continued from the s, as the newly founded and expansionist Vijayanagara Empire extended its rule over northern Tamil Nadu from its capital in northern Karnataka. In the fifteenth century, little was built within the empire, except at the capital; only in the early to mid-sixteenth century did temple construction pick up, and then on a massive scale.
As is well known from the extensive research on the architecture at Vijayanagara conducted since the s, the temples built in the fourteenth and early fifteenth centuries, such as those on Hemakuta Hill, continued a local, Deccani mode of design.
Although built within a walled enclosure, the Tamil form of gopura was not included: the eastern and northern gateways do not have a soaring superstructure but are flat-roofed.
Over the course of the fifteenth century, and especially in the early sixteenth century, coinciding with the establishment of the third Tuluva dynasty of Vijayanagara kings, there was a transformation in scale, design, and elaboration of imperial temple construction.
This was the moment when the gopura became not simply a regional, Tamil architectural form but a broader southern Indian one that transcended geographical, ethnic, and linguistic diversity across the wide and disparate empire. The study of the visual culture of the Vijayanagara Empire has tended to emphasize the arts of the capital at the expense of the different imperial regions across modern Karnataka, Andhra Pradesh, and Tamil Nadu, and discussions of the varied patterns of building activity over two centuries usually mention only the peak of activity in the early sixteenth century.
Artistic development across the wide region in the fifteenth and sixteenth centuries is not simply about centrifugal diffusion away from the capital. In many regions of the empire, provincial emulation and adoption of those metropolitan forms joined the continued development of existing local traditions, especially in Kanara, the lowland coastal strip of Karnataka beneath the Western Ghats, and the Tamil country.
Broadly speaking, the answer would be a cautious affirmative, but a detailed examination of the architecture of this wide region over two hundred years is nevertheless informative. Outside the capital, in central and southern Karnataka, there are very few sites with substantial building activity from the mid-fourteenth right through to the mid-sixteenth century; the paucity of substantial construction is striking after the richness of the capital.
At Chitradurga, for example, a great hill fort enclosed a large inhabited area that was a major urban center throughout the Vijayanagara period.
While the fortifications are fifteenth or sixteenth century, temples were clearly not a priority at the site, for there is no great multi-enclosure temple complex with towering gopura s as one might expect after seeing the similar urban landscape of Vijayanagara.
The greatest architectural activity was around the periphery of Karnataka, the Kannada-speaking region—along the western coast and the borders of the Telugu and Tamil countries.
In Kanara, the coastal strip between Goa and Mangalore, large numbers of Hindu and Jain temples were built in the fifteenth and through the mid-sixteenth century. Most temples in the region were built in a distinctive regional tradition of architecture with steep, pitched roofs in stone that imitated earlier wooden construction.
They are almost all built on a relatively small scale and do not demonstrate any clear architectural connection with the imperial center. The increasing use of stone, rather than the ephemeral and more readily available wood, is one of the few clear signs of change as a result of the Vijayanagara conquest of the region in the s, though stone had been used for basements and a very few complete, though modest, temples before this.
On the border of the Telugu and Tamil countries to the east and southeast of Vijayanagara—modern Andhra Pradesh and Tamil Nadu—there are further clear signs of Vijayanagara temple construction. It was modest in the later fourteenth and fifteenth centuries and on a widespread and monumental scale in the first half of the sixteenth century, demonstrating a similar pattern to that at the capital.
Across the Deccan plateau, in Andhra, is the most substantial evidence for Vijayanagara period temple construction outside the capital itself—at temples established before the fifteenth century, such as Ahobilam and Srisailam, and new foundations, for example, Tadpatri, Vontimitta, and Somapalem.
Far fewer temples were constructed in the sparsely populated areas of the eastern Deccan, and so the new ones built in the Vijayanagara period, especially in the early sixteenth century, had a greater visual impact, including the establishment of the gopura as a standard design element.
Though there is no foundation inscription, this temple is undoubtedly a new structure of the mid-sixteenth century, judging by the architectural forms. Next to the east gopura , two stele, just over 1. The dissemination of Tuluva monumentality and the establishment of a Vijayanagara presence in the Tamil country are evident from the construction of wholly new temples and the extensive expansion of existing ones.
The gopura is a building type that developed in the Tamil region in the eleventh to thirteenth century and was built on a monumental scale at Vijayanagara before it was disseminated south both back to its source region and across wider South India.
But one specific type of gopura seems to indicate Vijayanagara innovation. The genesis of this gopura type seems to be firmly Tuluva. As with much of Vijayanagara imperial design, however, the sources appear to be both the temple architecture of eleventh- to thirteenth-century central Tamil Nadu and regional Deccani architecture, in this instance, a form of entrance pavilion.
For though this temple does not include a gopura , two of the flat-roofed entrances have extended porches. The later examples of the six such entrances identified have a projecting extension to the base, similar to some later porch- gopura s, suggesting their morphological relationship.
Several examples of this new gopura type at the capital date from the first half of the sixteenth century. The latter two temples demonstrate that this form of gopura was one option, for the standard rectangular form was used alongside the porch- gopura in the same temple.
Wagoner notes that the southern approach to temples often was favored over the eastern in the Deccan, a pattern shared with the entrance pavilions discussed above. This characteristically early sixteenth-century Vijayanagara gopura type spread to outlying sites in the eastern Deccan during the same period.
Further south in the region, around Tirupati, which received much patronage and architectural activity in the Tuluva period, porch- gopura s were built at Srikalahasti, Nagalapuram, and Narayanavanam. Inscriptions from the reigns of Achyutadeva and his successor suggest a construction date in the s.
Further examples of a Vijayanagara addition to the Tamil sculptural repertoire are the high-relief women on the jambs of gopura s built across southern India. But from the early to the mid-sixteenth century these sculpted women were prevalent across the whole South. This is in contrast to pre-sixteenth century Tamil gopura s, which omit such figures, an example of the dissemination of a motif from the capital region across the empire. Gopura s in sixteenth-century Tamil Nadu frequently included women on all four jambs, similar to gopura s across the empire.
The chronology suggests a connection with the move from a conquest state in the fourteenth century to a tributary empire. It has also been suggested that the adoption of a Tamil mode of architecture was a conscious move on the part of the Vijayanagara rulers, who sought to visually emulate the power and prestige of the former Chola empire that had dominated South India for several centuries.
By the sixteenth century, memory of the Cholas and their empire had dissipated to a much greater degree than that of the Pandyas at the height of power and authority across southern India, and with subordinates in northern Sri Lanka, more recently in the late thirteenth and early fourteenth centuries.
The memory of past Pandya power lingered longer in the Tamil country than the Cholas; indeed, several figures claiming Pandya royal descent were still issuing inscriptions in the early eighteenth century. But it was the most popular tradition from the late fifteenth century.
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