Pudukkottai, a princely state during the British time is rich in archaeological monuments. It has produced eminent people in many walks of life

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2. India, our motherland, can boast of an unbroken tradition of 5000 years. Truly, a nation of unity in diversity. by S. Swaminathan (sswami99@gmail.com)

3. Tamilnadu, the land of our forefathers, is a land of culture and arts. Tamil, our language, is ancient and classical, and at the same time modern.

4. Our tradition has a hoary past. It is unique; unique in many respects.

5. Thol-kaappiyam not just a treatise on grammar; but a treasure-house of contemporary Tamil tradition... Sangam poetry, a collection of marvelous dramatic monologues. Kural won the appellation of ‘world gospel’. Bharathi not only the morning star of modern Tamil literature, but also a leading light of the 20th century renaissance in Indian life and letters.

6. Thus would go on our unique culture

7. PUDUKKOTTAI Public Office Building, Pudukkottai PUDUKKOTTAI, a district of Tamilnadu, is a museum of South Indian arts and can be called an archaeological paradise.

8. PUDUKKOTTAI This tiny slice of South India has a glorious past and can be proud of its contributions to Indian culture, especially to Tamil culture. The palace of the last Maharajah (present Collectorate) in Indo-Saracenic style

9. THIRUVARANGULAM This is Lord Nataraja performing the cosmic dance. This beautiful bronze is from Tiruvaran-gulam, Pudukkottai One may see this imposing bronze at the entrance of the National Museum, New Delhi. Some even say that this the second best bronze ever sculpted by humankind.

10. AVUDAIYARKOIL Thiru-p-perum-thurai, a place blessed by the Saint Manikka-vasagar. A great story of great significance is attached to this place. Every one knows the story how jackals became horses. Manikka-vasagar Now known as Avudaiyarkoil, the temple in addition, is well known for its exquisite sculptures.

11. SITTANNAVASAL A scene from the Sittannavasal painting Sittannavasal the best known archaeological site of the district. The celebrated paintings here of the 9th century AD are considered to be second only in importance to the paintings in the Ajanta caves.

12. SITTANNAVASAL This is a pre-historical burial site, at least 3000 years old. A Pre-Historic burial site

13. SITTANNAVASAL Here are some highly polished stone beds in which the Jain sages fasted unto death as religious austerity from the 3rd century BC onwards. The famous inscriptions in Tamil-Brahmi of the 3rd century, Vattezhuththu of the 2nd century AD & later Tamil inscriptions are milestones in Tamil history Ancient Tamil inscription found around this Jaina bed

14. TEMPLE ARCHITECTURE The district can boast of largest number of cave temples in Tamilnadu. The celebrated ones are Thiru-go-karnam Thirumayam Malayadippatti Kudumiyanmalai.

15. TEMPLE ARCHITECTURE Most of the early temples that led to the great Chozha temples, like the Brihadisvara Temple can be seen in the Pudukkottai tract. Kodumbalur Narttamalai Narttamalai, Kodumbalur, Kaliyapatti, Panangudi, Kannanur, Tirukkattalai etc are some of the early Chozha temples

16. SCULPTURES Pallava-s initiated the tradition of temple building in Tamilnadu, starting from cave temples and perfecting structural temples. Their sculptures are of great beauty, unexcelled even by the Imperial Chozha-s. Their equals are here in Pudukkottai. Kalari-moorthi and Rishabha-rudha are some of the masterpieces one finds in Muvar-koil of Kodumbalur. Kalari-moorthi Rishabha-rudha

17. IDENTITY OF PUDUKKOTTAI Many places in Pudukkottai tract find mention in Sangam literature. The traditional boundary between the Chozha-s and the Pandya-s was the river Vellar which runs in the middle of Pudukkottai tract. CHOZHA-S RIVER VELLAR PANDYA-S

18. IDENTITY OF PUDUKKOTTAI The present Pudukkottai District has become an administrative entity from the time of the Thondaimans in 17th century. Rule of the Thondaiman dynasty continued with the support of the British, until its merger with the Indian Union in 1948. Rajah Rajagopala Tondaiman, the last Maharajah Rajah Ramachandra Tondaiman in Darbar

19. IDENTITY OF PUDUKKOTTAI Amman Kaasu Coin minted by the Thondaimans.

20. EPOCH MAKERS FROM PUDUKKOTTAI SOIL The Pudukkottai town is one of the few fully planned towns in India, thanks to the great administrators. William Blackburne 200 years ago laid the foundation stone. Sashiah Sastri 100 years ago completed the task. Tottenham whose administrative procedures are followed through out Tamilnadu. Sashiah Sastri W. Blackburn Tottenham

21. EPOCH MAKERS FROM PUDUKKOTTAI SOIL Veeramamunivar that is Fr. Beschi, a great Tamil savant, was living in Avur during 1732 AD, and during the turbulent days of Carnatic war the Father bore ill-treatment by the army of Chanda-Saheb with unruffled equanimity

22. EPOCH MAKERS FROM PUDUKKOTTAI SOIL Dr Muthulakshmi Reddy the first woman MBBS in the country. Also the first woman to be elected to a legislative body in the country. Her contribution to women emancipation is immense

23. EPOCH MAKERS FROM PUDUKKOTTAI SOIL Sathyamoorthy the famous freedom fighter.

24. EPOCH MAKERS FROM PUDUKKOTTAI SOIL Akhilan the first Tamil to receive Bharatiya Jyanpith award.

25. EPOCH MAKERS FROM PUDUKKOTTAI SOIL Al. Valliyappa The famous poet for children. Pudukkottai was an important centre for publishing. Its contribution to children’s literature is substantial.

26. PERFORMING ARTS Pudukkottai’s contribution to music and dance is impressive. It is believed that Saint Thyagaraja first sang in the Thondaiman court

27. PERFORMING ARTS The nada upasakar and laya vidwan Mamundia Pillai created Kanjira and established the Pudukkottai school of mridangam. Among his worthy disciples was the redoubtable Dhakshinamoorthy Pillai. Dhakshinamoorthy Mamundiya Pillai

28. PERFORMING ARTS The veena brothers, Subbarama Iyer and Sambasiva Iyer, perfected the Thanjavur bani of veenai playing.

29. PERFORMING ARTS Sivarama Nattuvanarand a host of dance teachers of this princely state were celebrated all over the dance world

30. PERFORMING ARTS Rukmani Devi Arundale was mainly responsible for making Bharathanatyam an art form fit for concerts.

31. PERFORMING ARTS The list of musicians, dancers and dance teachers hailing from Pudukkottai is long and their contribution to their chosen field is considerable

32. PERFORMING ARTS In the popular field of cinema Pudukkottai-ans carved a place for themselves. Raja Sandow, the hero of the silent movie, who made a mark in Mumbai too. PU Chinnappa, the then superstar. Gemini Ganesan, the romantic hero AVM Rajan, a well known actor of yesteryears.

33. One may go on...... This is our PUDUKKOTTAI.

34. THE PRESENT SCENARIO It is certain that there are similar reasons for every person to be proud of his/her own district. But, how many of us are aware of our own history?

35. THE PRESENT SCENARIO Those who are born in Pudukkottai and lived in there for considerable time would be aware of some part of its history and its importance. But most, particularly belonging to the younger generation, may not. Worse we witness helplessly destruction of our heritage, our history.

36. THE PRESENT SCENARIO Most of the priceless paintings of Sittannavasal are damaged by vandalism and apathy.

37. THE PRESENT SCENARIO The celebrated temples are dilapidated. This is not due to lack of resources, but for lack of historical sense.

38. THE PRESENT SCENARIO Valuable documents, palm-leaf manuscripts, books, personal memoirs and those that can help trace history are irrevocably lost, and being destroyed.

39. I now take the pleasure of presenting Sittannavasal, which, along with Kodumbalur and Narttamalai form a Golden Triangle of Pudukkottai.

40. SITTANNAVASAL MONUMENTS

41. Location of Sittannavasal Trichy Thanjavur To Illupur Pudukkottai To Madurai Karaikkudi Sittannavasal, a small village in the Pudukkottai district of Tamilnadu, is a world-famous archaeological site. It lies at 15 km from Pudukkottai on the road to Illuppur.

42. Sittannavasal monuments There are four interesting monuments on and around a large rocky hillock: Arivar-koil It is renowned for its mural paintings in the Jaina cave temple. These paintings are second only in importance after Ajanta paintings and have an important place in the Indian art history. It was a flourishing centre of Jaina influence where Jainism flourished for over 1200 years (3rd century BC to 10th century AD).

43. Sittannavasal monuments Ezhadippattam There are a number of natural caverns with polished stone- beds in this hillock where Jain ascetics performed austerities. One of such caverns, called Ezhadippattam, contains 17 stone-beds, with inscriptions in Tamil dating from 3rd century BC.

44. Sittannavasal monuments Navachchunai A tarn situated on the northern part of the hillock, with a submerged rock-cut shrine inside.

45. Sittannavasal monuments Burial sites This village was one of the oldest inhabited sites in this area. The megalithic burial sites here testify to this.

46. ARIVAR-KOIL

47. Arivar-koil This is a Jaina cave temple, excavated before the 9th century AD and has the famous mural paintings Originally thought of an excavation of Mahendra-varma Pallavan, this is now considered to be a Pandya contribution Still there is uncertainty regarding the origin of this temple

48. Arivar-koil The cave temple lies on the west face of the hillock, near the northern end. A walk of about 100 feet over the sloping rock takes the visitor to the cave temple.

49. ARIVAR-KOIL architecture

50. The cave temple consists of a garbha-griham, an ardha-mandapam and a pillared veranda. Garbha-griham A mukha-mandapam that was added in 9th century AD has collapsed. Ardha-mandapam Pillared-veranda The pillared veranda is a later addition in the 20th century.

51. Originally the entire space, except the floor, had been plastered and painted. But only a part of the paintings on the ceiling and patches elsewhere remain.

52. Pillared-veranda

53. Pillared Varenda This pillared veranda, in front, is a later construction, added in the 20th century by the Tondaiman-s of Pudukkottai. It provides much needed protection from rain and sun.

54. Pillared Varenda A 17-line Tamil inscription on the rock-face of the original cave can be seen from here. It mentions about the repair and extension of the cave temple by a Jaina Acharya called Ilan Gautaman, during the reign of the Pandya king, Srimaran-srivallabhan (9th century AD). It is from this inscription we find that the cave temple was excavated before the 9th century.

55. Ardha-mandapam

56. Ardha-mandapam From the front veranda one enters this ardha-mandapam which is 22½ feet by 7½ feet. On the side walls are two niches containing sculptures of a Tirthankara and an Acharya.

57. The ardha-mandapam contained some exquisite paintings, of which precious little remains.

58. Garbha-griham

59. Garbha-griham Beyond the ardha-mandapam is this Garbha-griham. It is 10 feet by 10 feet. On the back wall are three images carved in relief. On the ceiling is carved a Dharma-chakra. The ceiling contains relics of paintings.

60. ARIVAR-KOIL sculptures

61. There are only five sculptures, all in relief, in this cave temple. Two of them are in the ardha-mandapam, on the side-walls. The garbha-griham contains three figures in a row, on the rear-wall. These sculptures are of Jaina Tirthankara-s and Acharya-s.

62. Ardha-mandapam

63. Ardha-mandapam The niche on the southern wall contains a figure of Parsvanatha, the twenty-third Tirthankara. He is seated cross-legged in the dhyana (meditative) pose. There is a five headed serpent spreading its hood over his head identifying him as Parsvanatha.

64. Ardha-mandapam The niche on the northern wall is a figure of a Jaina Acharya seated in the same pose. There is a single umbrella over the head of the image, which indicates that it is not a Tirthankara.

65. Garbha-griham

66. Garbha-griham On the back-wall of the garbha-griham are three images carved in relief in a row. All of them are in the same dhyana (meditative) posture. The northern and central figures have ‘mukkudai’ (‘triple umbrella’), indicating them to be Tirthankara-s. The southern figure has a single umbrella, and probably a Chakravarti or an Acharya.

67. ARIVAR-KOIL paintings

68. Indian Paintings Ajanta, 200BC-600AD Sittannavasal paintings are an early example of post-Ajanta period painting and are of the classical Ajanta style with variation in the handling of the material by the artists.

69. Indian Paintings Kanchipuram 7th century AD The paintings in Kailasanatha Temple in Kanchi antedate the Sittannavasal paintings.

70. Indian Paintings Thanjavur 1100AD The paintings in Brihadiswara Temple in Thanjavur are the continuation of the Sittannavasal tradition.

71. Sittannavasal Paintings The technique used is known as fresco-secco, that is, painting done on dry wall. In this process, the surface is first covered with lime plaster,then coated with lime-wash and the painting done on it. Mineral colours of permanent nature were employed for the painting.

72. Sittannavasal Paintings The subjects of the Sittannavasal paintings include the Samava-sarana of the Jaina mythology, a few solo-pictures, that includes dancing damsels, birds, floral decorations, and various carpet canopy designs.

73. Sittannavasal Paintings Originally the entire cave temple, excluding the floor, including the sculptures was covered with plaster and painted. Only traces of these are now extant. All these paintings, which would rank among the great paintings of India, are barely visible now, mainly due to vandalism with in the last 50-60 years.

74. Sittannavasal Paintings This Jaina site and its paintings were first noticed by a local historian S. Radhakrishna Iyer in 1916. But Jouveau Dubreuil and T.A. Gopinatha Rao brought it before the archaeological world in 1920.

75. Sittannavasal Paintings In 1942, Dr. S. Paramasivan and K.R. Srinivasan found that there are two layers of paintings, an earlier and a later superimposed over the earlier one. The layer of painting, which we see today and admire, is probably the work of Ilan-Gautaman (9th century AD), mentioned in the inscription. These are some of theearliest frescos in South India and only example of early Jaina frescoes.

76. Ceiling of ardha-mandapam On the ceiling of ardha-mandapam, canopies of floral pattern are painted over the two relief images.

77. Ceiling of ardha-mandapam The samava-sarana composition In Jainism, where worship of great souls occupies an important place, Tirthankara-s are the most venerated religious prophets. One of the five important events in the life of a Tirthankara is the first sermon after attaining the kevala-jnana (realisation), in a specially designed complex called Samava-sarana. This Samava-sarana is a favourite motif for representation in the Jaina temples.

78. Ceiling of ardha-mandapam The samava-sarana composition The scene painted in the ardha-mandapam is a lotus tank which is a part of the Samava-sarana complex. It is the second region, called khatika-bhumi (region-of-the-tank). Here, we see, the bhavya-s (the good ones), rejoice while washing themselves, as they pass on from region to region in order to hear the discourse of the Lord in the heavenly pavilion of Samava-sarana.

79. Ceiling of ardha-mandapam The samava-sarana composition This painting shows bhavya-s enjoying themselves in a pool, full of flowering lotuses. Flowers with their stalks and leaves, various kinds of fishes frolicking, a makara (mythical fish), buffaloes, elephants and numerous birds are shown with simplicity, charm and naturalness.

80. The samava-sarana composition The pose and expression of the bhavya-s shown in the picture have a charm and beauty, which compel attention. Two of them are shown together in one part of the tank. One is picking lotus flowers with his right hand and has a basket of flowers slung on the other.

81. The samava-sarana composition His companion carries a lotus in one hand, the other is bent gracefully, the fingers forming the mrigi-mudra (‘deer-gesture’).

82. The samava-sarana composition The third bhavya, an extremely beautiful figure, carries a bunch of lotus over his left shoulder and lily over his right. The three figures are naked, except for their loin-cloths. The hair is neatly arranged and the lobes of the ears are distended.

83. The samava-sarana composition The three figures are naked, except for their loin-cloths. The hair is neatly arranged and the lobes of the ears are distended.

84. Ceiling of ardha-mandapam The samava-sarana composition

85. Pillars of ardha-mandapam There were some exquisite paintings of dancing girls on the pillars. These priceless treasures are now lost forever and only their outlines are traceable today. These animated figures, with their broad hips, slender waists, and elaborate ornaments, recall the beauty of the apsara-s of mythology; their pose and expression suggest rhythm and dynamic movement. These portraitures of dancers must rank as one among the best in the whole of India.

86. Pillars of ardha-mandapam One of them has her left arm stretched-out in lata-hasta pose and right arm bent at the elbow. Her ears are adorned with olai (patra-kundala), rings set with gems, and her arms decked with bracelets and bangles.

87. Pillars of ardha-mandapam The other is even more graceful. Her left arm stretched-in lata-hasta pose, while her right arm is bent at the elbow. The head-dress and the ornaments of this dancer are very distinct. The hair is decked with flower garlands.

88. Pillars of ardha-mandapam There is also remnant of a painting of a royal couple, on the southern pillar.

89. Cornice & beam of ardha-mandapam There are paintings on the corbels, beam and cornice. On the corbel are scroll designs with lotuses. Painted lotuses in different stages of flowering.

90. Cornice & beam of ardha-mandapam The painting on the cornice is made up of carpet designs with lotuses. In front of each of the two pillars are painted hamsa (mythical swan). On the northern wall are the figures of fruits and flowers in yellow and red.

91. Ceiling of garbha-griham The painting above the three relief sculptures suggests a carpet, with striped borders and irregular squares and circles interlinked. Within the squares are lotus flowers. Inside the circles is a cross, with two human figures on upper side andtwo lion figures on the lower side of the horizontal arm.

92. EZHADIPPATTAM

93. Ezhadippattam Ezhadipattam is the name given to a natural cavern where over more than a thousand years since 3rd century BC, Jaina ascetics practiced severest penance such as Kayot-sarga (meditation-till-salvation-in-standing-pose) and sallekhana (fasting-unto-death).

94. Ezhadippattam A few hundred meters south of the cave-temple is the beginning of the path that leads to Ezhadippattam.

95. Ezhadippattam The cavern is near the top of the centre of the hill, on the eastern side. But the approach is from the west. The Cavern Entry to the Cavern Originally this path to the cavern, along a narrow ledge was difficult and dangerous.

96. The stone-beds The cavern is roomy but low. The floor is marked out into spaces for seventeen beds, each with a sort of stone pillow. They are highly polished. Most of the beds are inscribed. But all these inscriptions are barely visible now, due to vandalism within last 50-60 years.

97. Inscriptions One of the beds, the largest, is the oldest It contains an inscription in Tamil in the Tamil Brahmi script of the 3rd century BC. This is one of the oldest lithic records of South India. It mentions that Ilaiyar of Tenku-ciru-posil made this seat for Kavutiborn at Kumizhurin erumi-naadu (probably in Karnataka).

98. Inscriptions Near other beds, names of other Jaina ascetics who practised penance are inscribed. There are a number of inscriptions belonging 7th to 10th centuries AD.

99. Ezhadippattam; stone beds & inscriptions nearby There are a number of stone-beds and inscriptions around Ezhadippattam. There is also a passage to reach the hill through a very narrow cavern, now under disuse.

100. NAVACH-CHUNAI

101. Navach-chunai The pool takes its name from a naval-maram (Syzygium jambolanum) close by.

102. Jambunatha submerged cave temple The sunai contains a submerged Pandya rock-cut shrine inside. It contains a lingam in the centre and a narrow passage to walk around. The water is occasionally baled out, and the lingam is worshiped. However, there is no clue as to why such temples were excavated at all.

103. MEGALITHIC BURIALS

104. Megalithic Burials Certain typical modes of disposing the dead in the mega-lithic period (3rd century BC to 1st century AD) are preserved in the Pudukkottai tract.

107. Megalithic Burials Loosely called ‘dolmans’, these are stone-capped burial monuments with chambers in stone. Mudu-makkal-thazhi (‘burial-pots-of-the-old-people’) is the most widely used local name. These are easily identifiable by the appearance of a circle of laterite or granite stones and small boulders on the surface of the spot.

108. OTHER INTERESTING PLACES

109. Other places of interest At the foothills of the hillock, on the western side, are two temples in ruins. One is dedicated to Siva and another to a Goddess. There are a few loose sculptures near to these shrines. These two temples have not been studied in detail yet.

110. Other places of interest There are shrines for local deity, Ayyanar with the customary terracotta sculptures of horses, etc. nearby.

111. The Sittannavasal Complex offers an opportunity to travel in time from the 3rd century till modern times, and to savour certain unique features of our past.

112. Thank you S. Swaminathan Kiran & Pandian

113. This presentation is made possible by Sudharsanam, a centre for arts and culture, Pudukkottai, Tamilnadu and the presenters acknowledge their gratitude to the trustees.