THIRUMALAI NAICKER PALACE , MADURAI

THIRUMALAI NAICKER PALACE , MADURAI – A GLANCE..

TamilNadu is a grand repository of ancient cultural and natural treasures of exceptional value. In this way temple city of Madurai has played a remarkable role in the history of south. The antiquity of this city goes back to 2500 years. Third Tamil Sangam was functioned from this city. History reveals as its glories trade relations linked up to the Roman empire of Italy in early 2^nd Century ACE. Sandal, Pearl, Semi precious stone beads, conch, bangle, cloths are exported to Rome; Wine, revaluated potteries are some of the imports.

In early Pandiyan period, Madurai town layout was like a lotus. Madurai was referred as Koodal Maanagar, Mukkoodal, Alavaay Nagar in old Sangam literature and in inscriptions. The three Tamil Sangam literary Associations were operated at Madurai by Pandiyan Kings. The Sangam literature refers as the wood workers from Rome are utilized for making pillars and podigai for early Pandiyan Palace decorative works.

HISTORY OF THIRUMALAI NAYAK PALACE

This Magnificent Palace was constructed in the year 1636 A.D. by King Thirumalai Naicker (1623-1659 ACE) who ruled as the seventh ruler of Madurai Nayak dynasty and designed by an Italian Architect, with huge tall pillars of 32 feet (average) height and 18 feet (average) circumference.

The early Palace enclosures may have its main entrance at Manjanakara Street with enclosures of a theatre, a Palace shrine, Queens apartments, an armory, building for housing palanquins, royal bandstand, quarters for relatives and servants, a pond garden etc. The length of enclosure walls are 900 feet length in East West and 660 feet in North South and 40 feet height. It took seven years to complete the old Palace which is four times bigger than the present one. The Palace originally consisted with Swarga Vilasam & Ranga Vilasam.

Ranga Vilasam was purely a residential quarter in which Muthialu Naick, brother of Thirumalai Naick lived. In addition, Rajarajeswari Amman Shrine, Queens Chambers, Armoury, a water fountain, a Pool, residential quarters of servant and relatives were located. Only one forth of the Palaces is now in existence, which is the king’s pavilion, pooja room, dancing hall and the bed room.

The original entrance of this Palace stood on the Northern side of the present Palace, i.e. through Ranga Vilasam Palace is remains which are now called as Ten Pillars lane. The four boundaries of those twin Palaces are East Veli Street, south Veli Street, West- Manjanakara Street, North Vilakkuthoon. These Palace enclosures are having a compound, and also having a city enclosure fortification wall all around outer Veli Streets with seventy two bastions. These fortifications are dismantled in the year 1901 by a British Engineer Mr.Marrat with the help of Perumal Maistry. Only one bastion is now in existence at the western end of Nethaji Road near Katta bomman Statue Roundana and the same being utilized as a sub office of the Madurai Corporation.

ARCHITECTURAL BEAUTY OF THIS PALACE:

An architectural point of view it is believed to have been designed by an Italian Architect and considered the “most marvellous” building south of Bombay.

Main portion of the rectangular open court yard in the centre of the Palace measures 50.00 Meters east and west by 32.00 meters north and south surrounded by inner and outer corridor with rows of various sizes tall colonnades on either side, the vaults and domes supported by gothic arches rest over the capital of the pillars. The Mahara thoranas ate embedded at the edge of the gothic arches. The top parapets of open court yard are decorated with boothavari and dragons etc. The inner corridors are having three domes on each side. The square base rest over the four pillars are covered as octagonal sides by providing four triangles, supported by teak wood beams with Thuthiyali figures which rest over an elephant which is standing over a pillar. The octagonal side walls raised are converted as sixteen sides by providing eight triangular projection having Thuthiyali with poocharam. Then, these sides are converted in to spherical and embedded with lotus stucco works of four petals with kodi, kodipalai and kandarvas behind the petal. The gothic arches are having kodi mangai at its top. The angels, doves, parrots and other miniature ornaments are decorated inside the spherical domes. Inclined ventilators are provided at the side walls for natural lightning and air circulation. Complete ornamentation is worked out in the exquisitely fine stucco using Chunam.

The Raja dome at Swargavilasam which is called king’s celestial pavilion approached by a flight of steps guarded by sculptures of horse riders having 75.00 meters from north to south by 52.00 meters across and 32.00 Meters height which rest over twelve pillars, three in each corner enclosing a square 21.00 meters across. These columns are first linked together by massive saracenic arches. Four similar arches are then thrown across the corner and the octagonal drum rises from these pierced by celestory. Above these cornice 15 metres up, the octagon changed to a circle and the dome rises in the surrounded on all sides by arcades of very great beauty. The supporting pillars are of stone 12.0 metres in height and are joined by foliated brick arcade of great elegance and design carrying a cornice and entablature rising to upward of 20.0 metres in height. The Eastern façade of Swargavilasam are decorated with Niches, Mahara thoranas, Flower petal pouring angels and Naasithalai at the top of the Gothic arches. Veena Saraswathi,Vishnu , Kodimangai, Pushpapothigai , Kodikarukku etc; are seen on the sides. The octagonal side walls are strengthened with mugabadras at its junctions. Cavity walls with segmental arch opening of two rows are provided in first floor for providing natural cooling at the king’s pavilion on the west and also for the vaulted roofs of ministers seat on the south and north side of Dharbar hall. According to the historical records, the Great Nayak ruler used the pavilion for celebrating festivals like Chitrai and Navarathiri during which vassals used to pay tributes and present costly jewels and other gifts to the king. The bottom of the adjacent domes at Swargavilisam is decorated with palm leaf bracings. The barrel vault of the adjacent ceiling are decorated with bootha ganas holdings the roof intact.

The most beautiful stucco works are embedded at the dancing hall, which is basically the replica design located on the North West corner of the building, the roof of which is a pointed arch of brick work strengthened by granite ribs springing from a double series, one above the other, of pointed arches supported on columns. Behind the upper series of these arch runs a gallery of Pallavas style at Mamallapuram. The special futures of the dancing hall is the king use to sit on the western corridor and the dance performance was held at the depressed floor at the down steps east of it. The ministers and other gents were sitting in the raised portions adjacent to east of the dancing floor. The royal Queen and other maids were sitting on the eastern corridor of the first floor. The royal ladies in first floor are unable to see the gents on the ground floor platform and they may see the performance & the kings only. Similarly, the gents on the eastern platform when they turned back they are also unable to see the ladies behind them on the first floor. The concept behind these techniques is the parapet wall in front of the queens in eastern corridor of first floor is 6.5 feet thick by which the eye angle inclination fell in to the dancing platform and beyond.

The ribs are raised up to the roof on either side. The pancharas with Nagabandas rest over the capital of the dancing hall short pillars. Kodi coming out of a dragon mouth in the pancharas are of minute ornamental beauty. Swans, parrot, lion with wings dove, Dwarabalagas, maharathoranas with yali, lion, elephant, cow are decorated at the edge of the Gothic arches.

The karukku decorated at the edge of the thoranas over the steel fishplate of British period, indicate the later period architecture. The lion with wings are found to be of foreign influence. The elevated middle facades are full of stucco works of architectural beauty.

The Pooja room is having Ashtangavimana with a flat ceiling at the edge of inclination at the top of inner roof. The flat ceiling is decorated with lotus of colourful beauty. The pooja room is having two black polished granite pillars on south side with a highly elevated madras terrace roof behind it. The doors are raised to a height of 20 feet in order to enter the elephant which carry the sengol procession from Meenakshi Amman temple to this pooja room during Dashara festival. The Madras terraced roof was constructed during British period after dilapidation of the roof which is seen on the adjacent ground.

The harem portion sides walls are constructed by the British were as the main walls are explored adjacent of it at the basement level. The bed room is the only square building having an elevated hemispherical dome at the middle and vaults around it. Ventilators are provided at the octagonal side walls. The ribs and kumba pancharas are decorated inside the roof.

There are 248 pillars all over the Mahal portions as detailed below:-

1. Entrance 2

2. Pillars in Corridor 158

3. Pillars in Ground Floor 40

4. Pillars in Pooja Room 2

5. Pillars in Grinding Room 2

6. Pillars in Natagasalai 24

7. Pillars in western side of Natakasalai 12

8. Pilaars in Palliyarai (Square) 8

Total Pillars in Nayak Palace 248 Nos.

The pillars central core is with granites stone of semicircular and circular in shapes. During renovation works, while 5 layers of plastering were removed from court yard pillars, 32 paintings of Thirumalai Nayak period has been found out. This denotes during Thirumalai Nayak period these pillars are with crude granite stone only. These line drawings drawn as ladies with kalasam, mulaipari and other auspicious things welcoming the inmates with kolavai sound which is the traditional welcome of the Pandia country. These pillars are spread with semi solid grinded lime mortar by hand as a base coat and other four layers of plastering were laid decade by decades in the later period. Intact paintings have been preserved carefully with plastic sheets visible for public.

The anivertikal (Sub-column) are provided at the Kalyana mahal portion in front of Swaragavilasam in order to increase the arch width for safe distribution of big barrel vaulted roof load into the basement. The beam is squared and projected beyond the capital on the northern side middle bay pillar which leads to crack and failure in early British period was mended by them during 1997.

The lotus stucco works are found in the outer hemispherical Raja dome, Kalyana mahal vault, Eastern hemispherical domes, etc. The Raja dome kalasam is of 9’-6” height, where as the minister dome kalasam is of 6’-6” height. The kalasam are having a teak wood decoration at the middle with a painted edge penetrated in to the roof structure. The kalasam are five and eleven numbers in vaults and single in hemispherical domes. There are thirteen domes and six vaults all over the roof area of ground, first and second floors.

The foliations in Gothic arch projections are having wooden reapers twisted with coir ropes, mended with brick bats and plastered. The corbels in vaults and domes are having teak wood beams, twisted with coir ropes and coping with flat tiles in lime mortar. The floorings are provided with cut stone pavement over a base of pebble stone lime concrete. The basements are with two stages with Upa peedam and Adishthanam of ashlars’ masonry.

Thus, the ancient treasure of Madurai city is proved that the architecturally – rich Thirumalai Naicker Mahal stands gigantic manner with majestic pillars with images of the wonderful and curious workman ship, glow under the spot light.

This Palace will be open to public for all 365 Days without any break.. Timings :10.00 A.M - 5.00P.M

Sound and Light show conducted by the TamilNadu Tourism development Corporation by making certain improvements in the text which throws light on the heritage – rich Madurai city and its unique festival besides Naicker’s achievements, including his victory in the battle with the king of Mysore with digital Technology. The sound and light show which will run for 50 minutes is conducted both Tamil and the language as two shows per day.

Timings for Sound and Light show

English Version : 6.45 P.M

Tamil Version : 8.00 P.M

DANES BURGH MUSEUM TRANQUEBAR

DANES BURGH MUSEUM TRANQUEBAR

The Tamil Nadu government has taken steps to reproduce the ancient glory, form a thematic museum as “Danes burgh museum “ by depicting the Indo-Danish contact in political, social and commercial fields was established in the year 1979. Since its inception the museum has collected a more than 100 of Danish documents relating to land and revenue transactions. They are both on the paper and palm leaves and dates from 1790. Some of them are records of the British period .A copy made on 12^th January of 1987 the sale deed of Tranquebar to British is included among the Archival material. Some of the records carry the seal of the then Governors of Tranquebar. Te museum has also acquired more than 100 Indo-Danish coins of different issues beginning from the time of Christian IV.

A set of colour transparencies of painted manuscripts, prepared in Tranquebar during the Danish period, and now preserved in the Royal Archives, Copenhagen has also been received as gift .The museums houses nearly 50 weapons like daggers, revolvers etc used by the native soldiers, the portraits of the Tanjore king Vijaya Raghunatha Nayak and Christian IV.

The fort of the historical significance of the Danish times in Danish architectural beauty still enchant the people with the archaeological thematic museum.

Courtesy: TNSDA

SETHUPATHI FORT

SETHUPATHI FORT , KAMUDI, KAMUDHI TALUK, RAMANATHAPURAM DISTRICT ,TAMIL NADU,INDIA

Fort at kamudi is 280 years old situated on the high ground above the GUNDAR river near the town Kamudi. This was built by King Thiru Udaya Thevar alias Muthu Vijaya Raghunatha Sethupathi of Ramnathapuram whose reign extended up to 1725. According to the Manual of Ramanathapuram Samasthanam published in 1891 this fort was originally planned and built with the assistance of French Engineers.

This is a small fort but had two lines of fortifications and contained buildings and a fine wall. In another document related to 1770 AD available at the Tamilnadu archives at Chennai this fort was in the midst of thick forest and it was considered as the strongest fort next to Ramanathapuram since it was situated on the Highway leading to Panachalankurichi and Tirunelveli.

During the armed rebellions organized by one Mylappan servaikarar, captain and faithful servant of King Muthuramalinga Vijaya Raghunatha Sethupathi (1762 - 1796AD) attempts were made by British Garrison and to seize the fort 1799 AD which was defeated. After the fall of Panachalankurichi on 25^th August 1801 the forces of East India Company controlled this strong fort of Kamudi belonging to Ramanathapuram. The forest of Sivagangai under Marudhu brothers captured this fort. But the fort was soon recaptured by the company’s forces.

To avoid further recurrence of local rebellion for which the Britishers paid heavy praise, the court of Madras Presidency ordered the demolition of all forts in Tirunelveli, Madurai, Ramanathapuram and Dindigul in 1801 itself.

As such the collector of Ramanathapuram made necessary arrangements to demolish the Kamudi fort also. The inner and outer wall of the fort completely destroyed the present walls were belonging to the core wall portions.

Legend also says that Kattabomman stayed for a day in this fort on his way to Ramanathapuram to meet the then English Collector Jackson on 9^th September 1978.Eventhough it was constructed by Sethupathi king, this fort was called ‘Kattabomman Fort’ by the local people.

This ancient fort is preserved by the Tamilnadu State Archaeological Department by declaring it as a protected monument.

COURTESY : TNSDA

Ramanathapuram

MURAL TREASURE HOUSE oF SETHUPATHIES

The Mullai and Palai tracts of Ramanathapuram were in-habited by the Maravas and their kings right from sangam age. The Sethupathi kings of Ramanad who are direct descendents of Maravas Chieftains constructed the beautiful Palace during 17^th century.

The Sethupathi bore the responsibility of protecting the Rameswaram Island. By virtue of that yeoman work they were conferred title “SETHU KAVALAR” (Protector of Rameswaram Bridge). They were the pious devotees of presiding deity of Rameswaram. In honour of that they named the palace as “Ramalinga Vilasam”

Ramalinga Vilasam is the important landmark in reflecting our Indian culture. Tradition has it that the pilgrims, who make a visit to Rameswaram, necessarily pay a visit to this palace to complete their religious bows.

Ramalinga Vilasam displays on its wall murals datable to 18^th century which are still extents. The front’s portions of the Palace houses a Mahamandapa in front and inter connecting Mukhamandapa beyond which lies the Palace portions of royal personages. All are situated in the Ground Floor.

A flight of steps leads to the first floor. The first floor houses a larger room and other flight of steps leads to second floor and to the terrace. On the walls and ceiling of ground floor arches one can see many panels of colorful murals. They represent various facets of historical details in color.

The art of painting has been referred to it sangam literature variously as screen painting, wall painting etc. Of these; those picturised in the wall remains in the fore front. In deed they are a real challenge to the present day painting. The paintings of yore were a true reflection not only of the art of those days but also in true picturisation of historical events. The painting one seen in the temples represent the mythological aspects in great details. Hence they are religious in content rarely do we come across historical details and social aspects.

The mural of Ramalinga Vilasam however represents faithfully the life and times of Sethupathi Kings, the wars they participated, their queens and some representation of their private lives too

In these murals the portrait of one particular Sethupathi king has been repeated several times and he identified as Muthu vijaya regunatha Sethupathi in the labels. The artist who painted these murals gave priority first to creating the scenes and the explanatory labels were written only later. The scripts were written either on the top and bottom of the concerned panels first in black and then in white.

In certain panels the labels were in red oxide. The labels were written in running fashions. On the completion of sentences certain marks were shown. These shows that the label notes were the handy work of several people. In places were Sanskrit words were used, the corresponding Tamil phonetics were written in conversational style.

SELECT MURUALS FROM THE PAINTINGS

A. HISTORICAL INCIDENTS

On the left wall of Maha mandapa is picturised a battle scene between Tanjore Maratha king Serfojee and Muthu Vijaya Regunatha Sethupathi. Both are waging the war seated on their elephants, Sethupathi nephew Suryanarayana Devar is fighting on horse back. Cannons were used in the battle. Each cannon has a separate name engraved on it. The next panel soldiers use their rifles. Another panel depicts a Britishers operating the cannon. In the next panel portion, Vijaya regunatha Sethupathi is shown riding the bedecked horse with spear in his hand.

In the next scene Vijaya Regunatha Sethupathi and his queen are shown seated on their throne. Three English men are sitting before them. Their hats and coats are drawn in Western European style. These scenes represent a conversation between the king and foreigners. Beneath this panel is portrayed the welcome accorded to the Christian missionary in his traditional dress by a soldier of the king.

Another panel depicts Muthu Vijaya Regunatha Sethupathi welcoming a royal figure. They were shown seated each carrying a flower in his hand. The royal personages were shown in rich decoration. Two soldiers are shown carrying diamond ornaments on golden plates.

A panel in the interior pictures Muthu Vijaya Regunatha Sethupathi seated on a throne. The Madurai Nayak king Vijaya Regunatha Chokkanatha Nayak showers rubies on the Sethupathi

B. RELIGIOUS SCENES

The various temples the Sethupathi kings patronized like Trichy Uchi Pillagar Temple were picturised. Several Marava chieftains, their queens and other kith and kin were also represented. Not only saivite temple but Vishnu temple and their presiding deities have been shown.

In the intermediate Muhamandapa the tales of lord Krishna were drawn and each scene is described in spoken Tamil of that age. In between the panels portrait figure of sethupathies have been drawn

Scenes from the Bhagwat Purana were done in the left side western wall of Maha mandapa and Scenes from Ramayana were done in Muha mandapa wall. Scenes like the birth of lord Krishna, imprisonment of vasudeva , Devaki by kamsa, killing of krishna’s elder , death of kamsa, the gokula pranks of Krishna were done in separate panels

The centre Ramar piths have several arches and all sides’ carry paintings.

The Ramayana panels do not portray the parasurama episode in balakanda and it concludes the portrayal of Rama’s marriage with sita. Probably the subsequent scenes of pathos should not be portrayed. The artist should have though in that fashion.

The Ramayana panels commence from the east. The important panels like the arrival of sage rishyasringa, the yaga scene for the birth of a son, the birth of four Princes , their education , their mastery in archery, the arrival of sri Viswamitra, Rama and Lakshmana following the sage Viswamitra to the forest ,death of Tadaka, Ahalya’s emanicipation etc and ends with Sita’s marriage.

C. SCENES FROM SETUPATHIES LIFE

A scene depicts Regunatha Sethupathi receiving the scep’ter from his titular deity Rajarajeswari. The attire and ornamentation of the king is done in Mughal pattern. Beside him is ported the queen. The throne of Rajarajeswari is done is European Fashion. The son of Sethupathi is also shown.

Another panel shows the sethupathies worshiping Lord Vishnu. The deity is shown with four hands and Lakshmidevi is standing beside Lord Vishnu. The king along with his queen is shown worship being the deity bare headed.

Another panel depicts Vijaya Regunatha Sethupathi hearing the story of Ramanaya from an elderely person. A palm leaf in front of Sethupathi beats legend Sri Rama Jeyam in Telugu character. In each and every panel Muthu Vijaya Regunatha Sethupathi is shown in different dresses. Once scene shows the king enjoying the dance performance. Both the king and dance were dresses in Mughal pattern. A panel shows the king being carried on in a palan quin by female attendants.

Music and dance parties was shown preceding the Palanquin. The next panel picturised the sethupathies as Manmatha (Lord Cubid) carrying a sugar cane bow. He is aiming an arrow made of flowers at his concert who is decorated like Rathi seated on a swan.

Next panel shows the king seated on the throne, Two European shows there respect to the king. One of them is saluting the king in that fashion by removing his cap and the other is carrying royal tribute on a plate.

The next on shows the lady decorating herself in front of a large mirror and a servant maid is shown holding the mirror

The bed room murals portray Vijaya Regunatha Sethupathi enjoying sexual pleasure in various poses.

One panel shows the king enjoying the water sports in a tank swimming with the company of girls.

One panel depicts the king performing the Kolatum dance with the company of girls. Yet another panel portrait the king and the queen as Rathi and Manmahtan seated on parrot and swan. The pecularity in the scene is that the parrot and swan are made up of lady attendants.

A scene depicts the queen drawing the figures of yali and the king admiring the painting.

One Interesting scene shows the king enjoying the drink along his queen. The bottles in different shape sizes and colors are quite musing. A scene shows three ladies performing the veena recital in front of the king and queen.

Two girls are doing dance performances. Another three girls are playing other musical instruments. The episode of Sethupathi kissing a sweet heart in various poses is also portrayed.

Another panel showing the Sethupathi in the garb of a hunter and the lady attenders spraying water colors on one another.

The fighting episode of Sethupathy along with his queen is also neatly done.

Such a treasure houses of 18^th century mural painting hosted a confrontation between Kattabomman and Jackson.

Due to ravages of time and ignorance of visiting public the painting to has received a drubbing and disfigurement.

The Tamilnadu states Department of Archaeological took over the Treasure house from the late Ramanatha Sethupathi to preserve it for posterity. Now, the treasure house stands in majestic splendor and open to public.

Courtesy: TNSDA

Paintings found in Ramalinga vilasam