Bewitching Brahmapureeswarar Temple

I had long standing desire to have a glimpse of the Brahmapureeswarar temple at Pullamangai, which was built during the reign of Parantaka I (907-954 CE), and is an outstanding example of early Chola temple architecture. During a visit to Trichy in connection with a wedding, I expressed my interest to my friend Dr T Krishnamurthy and one fine morning we set off to explore this place. Since it is often known as Brahmapureeswarar temple, guided by the google map, we landed in a place with a decrepit, dilapidated temple. We enquired around and were told that this was the Brahmapureeswarar temple. However, not convinced by this information, we went in search of the real one. Since Pasupathikoil is also mentioned in relation to the temple, we searched for and found an old temple which again was definitely not the one we were after. Fortunately, I found an old lady near the temple and I showed her the photo of the temple we wanted to visit. Without any hesitation, she described the precise direction to reach it, like a live google map and we finally landed up at Brahmapureeswarar temple at Pullamangai, only to find it locked up. It was a sleepy little village with a single road. TK went ahead, knocked at the doors of the houses and came back with the information that the priest in charge lived elsewhere and they did’nt have his contact number. Our spirits sank and it was also getting hotter. Noticing our plight, a few young boys on a bike, came up and said that they could guide us to the priest’s house. Energised by this information, TK climbed onto their bike and went in search of the priest. He came back triumphantly after a while, announcing that the priest had been located and he would come over shortly. It was music to our ears. A few minutes later, the priest arrived and opened the locks of the temple.
Brahmapureeswarar temple is a very small structure consisting of the main garbhagraha attached to an ardha mantapa, both of which were around six feet below ground. As a consequence the adhirstana is below the ground level. 
The first sculpture that took my breath away as I began circumambulating the temple was that of Ganesha. The god is seated on a throne with folded legs. His trunk hangs vertically and then curves to the left in the form of an inverted question mark.  Ganesha is shielded by a beautifully sculpted parasol with a central pendant. Two saluting figures are shown in flying posture on either side. Ganesha, ‘Lord of the Ganas’, is flanked by joyous Ganas in three superimposed rows. One of them is holding Ganesha’s vahana (vehicle) Mushaka (Mouse).  Right on top is the Makara Torana, with two Makaras carved on either side. Rows of Yalis, some of them with human riders, emerge from the mouth of the Makaras and form a canopy. Right in the middle of the canopy is a dancing figure (Siva?). Below it is another row of Ganas. In the midst of this elaborately carved canopy is a very small sculpture which depicts Siva, Parvati and Chandesa Nayanar. Incidentally,there is a large, beautifully carved sculpture of Chandesa Anugraha Murti in Gangaikondacholapuram.
The Devakoshtas are adorned with beautiful sculptures. On the western wall there is Lingodhbhava flanked on either side by Brahma and Vishnu. There is an extraordinarily beautiful tall,long limbed, Brahma sculpture. According to ancient temple iconometry, sculptures are carved on the basis of the Tala system. Each Tala is equal to 12 Angulas. This particular sculpture of Brahma has been carved according to the Dasa (ten)tala system. On either side of Brahma are two Rishis writing down the Vedas chanted by him, on palm leafs. Curiously, in the midst of the makara torana on top was a small figure of Aalilai Kannan!
There is also an interesting figure in the Vimana of Narasimha fondly holding Prahlada on his lap
The niche on the northern wall of the temple is occupied by Durga with eight arms standing on the head of the buffalo. I was totally entranced by the sculpture and stood there for several minutes absorbing its beauty. Noticing my absorption, the priest moved aside the decorations adorning the idol, for me to have a good look. I have never seen a sculpture of Durga as stunning as the one in front of me.  The goddess is tall and slender standing in a tribhanga pose: tri meaning “three” and bhanga meaning “posture”. It entails bending the body at three places, namely the knee, the hip and the shoulder. The flowing lines of the sculpture have an elegant, sinuous quality. Over her head is an umbrella (called the Venkotra Kudai). On the right above, is a small stylised lion and on the left a deer held by a bhuta. Two kneeling figures are depicted on the wall on either side of the main niche, cutting parts of their body as a sacrificial gesture. The person on the left is seen holding his hair with his left hand and is attempting to cut off his head with his right hand. The one on the right is about the cut off his leg at the knee. A similar depiction can be found in the Draupathi Ratham at Mahabalipuram. 
What struck me was the portrayal of Durga. Here the focus is not on the combat with Mahishasura but her triumphant visage after vanquishing him. There is sublime elegance in the depiction of Durga. Her face is very serene with a tranquil smile on her lips as described in the Devimahatmyam. 
ईषथ सहसं अमलं परिपूरण चन्द्र
भीबनुकरी कनकोत्तमा कान्ति कण्ठम्.
All the intricately carved, exceptionally proportioned,serene  Devakoshta figures exude an air of nobility and gentleness. 
A distinctive feature of the temple is the rows of Yalis that have been carved on the base moldings. Each one is distinctive and the ones in the corner have warriors sculpted inside their wide open mouths. The adhirstana contains small sculptures 6 by 5 inches which depict various scenes from Puranas.Since these figures are six feet below the ground level, one has to get down to have a good look at them. Many of them have lost their sharpness and are in varying stages of decay. One possible reason may be that during the rainy season the moat surrounding them gets filled up with water and since there is no clear outlet for the water to drain, the stagnant water seeping into these small carvings must have eroded them. If this is not attended to, even the remaining ones will soon be lost, forever. One can also notice plants growing luxuriantly amidst the various sculptures in the vimana.
There is an overwhelming sense of neglect pervading this little gem of a temple which is managed by the Hindu Religious and Charitable Endowments Department of the Govt of Tamil Nadu. I wonder why it has not come under the purview of ASI, given its distinctive historical and aesthetic legacy.
After we finished seeing the temple in detail we were talking with the priest and were shocked to hear that he was being paid a paltry sum of  Rs.900 as a salary. With this meagre income, he carries on with his life officiating as a priest in religious functions. I was deeply moved by his plight but was also angry at the callous way these exceptional treasures are taken care of and managed by the state.e
Do have a look at the glimpses of this beautiful temple at: 
drive.google.com/file/d/1vKLEQxckC-vn1adEXmOSoLwPI7UsL8Yw/view?usp=sharing

Once you have had a good look, do pen your thoughts and reflections here!

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