Approach | Historical Background | The Monuments | The Muvar Koil | The Muchukundesvara Koil | The Aivar Koil | The Tripurantaka koil | The nandi
the MUVAR-KOIL (மூவர்கோயில்)
The Muvar-koil (‘temple-of-three’) is a beautiful temple of early-Chozha period, built by the Irukkuvel (இருக்குவேள்) chief Bhuthi-vikrama-kesari (பூதி விக்கிரமகேசரி). According to his inscription he built these three Siva shrines, one on his own behalf and, the other two on behalf of his wives, Karrali (கற்றளி) and Varaguna (வரகுணா).
As far as the dating of Bhuthi-vikrama-kesari and his Muvar-koil is concerned, there is more than one opinion. Some experts date them to the second half of the 10th century and some others to the last quarter of 9th century. In any case, one can say they belong to the early Chozha period (9th - 11th centuries AD).
In spite of inscriptional evidences, fanciful interpretations have been given to explain the term Muvar. Some claim that the Saiva saints Appar (அப்பர்), Sundarar (சுந்தரர்) and Manikka-vachakar (மாணிக்கவாசகர்) constructed one shrine each. Others claim that the Muvarasar (மூவரசர்) or the three kings - the Chera, the Chozha and the Pandya - built one each. Yet another ingenious interpretation is that the shrines were intended to house the Trimurthi-s - Brahma, Vishnu and Siva, one in each.
The first impression about Muvar-koil is one of enchanting beauty, perfect composition in stone. The poise of the vimanam, the beauty of the supple figures that have been modelled with loving care and the refined contours of the domical terrace edgings, all indicate the Pallava style for delicacy of structure and form. The Pallava influence, it is believed, is due to the marital relationship of the Irukkuvel-s with the Muttaraiyar (முத்தரையர்)-s, who were the vassals of the Pallava-s.
The Temple Complex
This is an interesting parivara type temple which had three main shrines and many (fifteen or sixteen) sub-shrines, in the same compound.
The three main shrines stand side by side in a row, along the north-south direction, facing west. Out of these three, only two, the central and southern vimanam-s are now extant. Of the third or the northern shrine, the basement alone remains. Each of the shrines had a closed ardha-mandapam (அர்த்த மண்டபம்). Now only the basement of the ardha-mandapam-s survives.
There stood once a common maha-mandapam (மகாமண்டபம்), in front of the main shrines. Only basement of these structures remains now. It measures 91 feet by 41 feet. Remains of the basement of a nandi-mandapam (நந்தி மண்டபம்) and a bali-pitham (பலி பீடம்) or a dhvaja-sthambham (கொடிமரம்) could also be seen, in front.
Surrounding this group are remnants of the original 15 or 16 symmetrically arranged sub-shrines, or parivara shrines. Each of these sub-shrines had a garbha-griham (கர்பகிரகம்) and an ardha-mandapam.
The main shrines and the sub-shrines were encircled by a madhil (மதில், compound wall). This massive stone wall had perhaps two gates, one in the west and another near the north-eastern corner.
The north-eastern gate leads to a well, approachable by a flight of stone steps. Outside the temple complex, near the road on the northern side, is a shed which is a gallery of fine sculptures.
The Temple
 Makara-head |
The plinth of the three shrines rests on a lotus base. Above it runs a frieze of vyali-s (யாளி) with makara-head-s, with human figures inside the mouths. The pilasters on the walls are tetragonal, giving the whole temple a slender effect. The niches on the walls are surmounted by makara-torana-s (மகரத்தோரணம்), while friezes of bhutha-gana (பூதகணம்) playing on different kinds of musical instruments run on the top of the walls. These impish figures, in their abandon, show the uninhibited frolics of the Siva-gana (சிவகணம்). Over the cornice are the vyali-s with projecting makara heads at the corners.
 Bhutha-gana frieze |
 The vimanam of the temples |
The vimanam is of three tiers, diminishing in size. The edging of the lower tier has a line of domical cells with an ornamental railing. The lowest has niches surmounted by 'wagon-shaped' tops, reaching up almost to the top of the tier above. The second tier contains pilasters on either side of the wagon tops. On the top tier is the square grivam (கிரீவம்). It has niches topped with a chaitya arch. The arch itself is embellished with scrolls and bas-relief sculpture. Four beautifully moulded nandi-s (நந்தி) adorn the four corners of the grivam. The terraces culminate in a square curvilinear sikharam (சிகரம்).
Relief Sculptures in the Niches
Decorating the niches in the walls are some of the finest sculpture of our country. The sculptor's devotion and intensity of religious fervour are reflected in the depiction of these gods.
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The beautiful Ardha-nareesvara (அர்த்தநாரீஸ்வரர், 'half-woman') is eloquent in its declaration that the male and the female principles are inseparable and found together in cosmic evolution. |
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The youthful Siva with an enigmatic smile depicted as Vina-dhara Dakshina-moorthi (வீணாதாரதக்ஷிணாமூர்த்தி, 'Veenai holding south facing deity') is an arresting figure. |
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It is with dignity of pose and careless elegance we have Siva as the rider of the bull, Rishabha-rudha (ரிஷபாரூடர்), with his bent arm attempting to rest on His vahana. |
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A sculpture of Siva in sitting pose. He is depicted with four hands and along with his vehicle, Nandi |
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A figure of Siva as Gaja-samhara-moorthi (கஜசம்ஹாரமூர்த்தி), A destructive mood of Siva. The fierce ecstasy portrayed on the face of Gaja-samhara-moorthi is awe-inspiring. |
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The lord Kalari (காலாரி) is arrested in a movement of the chatura pose of dancing. One feels that at any moment he may renew the dance. There is so much suppressed action in the soft moulding of the thighs and legs. The look of sublime compassion on Siva's face while dancing over Kala is superb. |
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The play and the sequel; Shiva-Parvathi on the north side of south temple On the walls of the southern temple is a play in stone enacted the Pallava way. In the top niche is Siva as Gangadhara in a sportive mood and lower down its sequel. In the top we find His face is sufficed with a tender, but mischievous, smile while Parvathi has moved away in mock anger. The whole composition of the Goddess trying to edge away by squeezing Herself into the narrow space of the niche shows great aesthetic sensibility. Below in the next niche, in its sequel, the Devine Couple is now reconciled and Parvathi's face is lighted up with happiness as she is encircled by the arm of Her Lord. The touch itself is light and the gesture almost casual. |
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A chawri-bearer ('flywhisk-bearer') stands a little further away discreetly fanning the couple from behind a ledge. Her slender elongated limbs remind once again of the Pallava sculpture at Mahabalipuram. The artist has shown an exquisite sense of restraint. |
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Indra |
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The Art gallery
Outside the temple complex, near the road on the northern side, is a shed which is a small museum of fine sculptures.
 Sapta-matrika frieze
Some loose sculptures |
 An inside view of the gallery |