Cauvery deluge

Thanjavur is often hailed as the "Rice Granary of the South." The primary reasons for this distinction are the Cauvery River and the Grand Anicut (Kallanai) dam, constructed by the great, illustrious Chola King Karikala Chola. Consequently, this land came to be known as a "land that yields gold," and the Cauvery River itself was affectionately called "Ponni" (the Golden One). Whenever fresh waters surged into the Cauvery, the people celebrated the occasion as ’Aadi Perukku’. However, on numerous occasions, the Cauvery has also overflowed its banks, causing massive destruction. Such catastrophic floods came to be known as the "Cauvery Pralayam" (The Great Flood of the Cauvery-Cauvery deluge). During these great floods, many towns and the temples situated within them suffered severe damage. Among the ’Divya Kshethrams’ (sacred sites) thus affected—which we have previously explored—are the "Aandalakkum Aiyan Perumal Temple""" in Adhanur and the "Jagathrakshaka Perumal Temple" (also known as Aduthurai Perumal Temple) in Thirukkoodalur. Located in proximity to these sites, the ’Paadal Petra Sthalam’ (a sacred site glorified in hymns) known as Chakkarappalli was also devastated by the Cauvery floods. Following this great deluge, numerous sacred sites on both the southern and northern banks of the Cauvery were ravaged, eventually becoming sand mounds.

Following the reign of King Raja Raja Chola, his son, Rajendra Chola, relocated the Chola capital from Thanjavur to Gangaikonda Cholapuram. It is widely believed that the devastating Cauvery floods were a primary catalyst for this decision. Subsequently, the political and strategic significance of Thanjavur began to wane. Following invasions by the Pandya dynasty, the Chola-era palaces, forts, and fortifications in Thanjavur suffered extensive destruction and fell into ruin. Shall we now turn our attention to "Ayyampettai"—a town that played a pivotal role in restoring the lost glory of a once-faded Thanjavur—and explore the magnificent Sri Rama Temple located there?

Ayyampettai

There is a town named Ayyampettai located near both Thanjavur and Kanchipuram. Both towns are renowned for their weaving industries. Furthermore, both are settlements of great antiquity. The term 'Pettai' denotes a specific location where commerce or trade activities take place. Ayyampettai is situated approximately 15 kilometers from Thanjavur. This locality lies in close proximity to Chakrappalli, a sacred site celebrated in devotional hymns. It is noteworthy that, dating back to ancient times—specifically for over a thousand years—this settlement has served as a significant trading hub. The town currently known as Ayyampettai has historically been referred to by various names, including Ramachandrapuram, Rama Soyirapuram, Manojiyappasavadi, and Aiyanpettai.

The Vijayanagara Rule

The Vijayanagara Empire was a polity established—with the blessings of a ’Sannyasi’ (ascetic)—for the express purpose of upholding ’Dharma’ (righteousness). This empire was governed by approximately thirty monarchs belonging to four distinct dynasties—the Sangamas, Saluvas, Tuluvas, and Aravidus—who collectively reigned for roughly three hundred years. It was the administratively astute Vijayanagara monarchs who, six centuries ago, practically implemented the very concepts that we today term as "Federalism" and "Autonomy."

Their empire, which spanned the entirety of the southern Indian subcontinent, maintained Hampi as its capital. They granted autonomous status to the regions of the Pandya country, designating Madurai as the administrative capital for those territories. Subsequently, they resolved to grant similar autonomous status to the regions of the Chola country, designating Thanjavur as the administrative capital for that domain. Consequently, the reigning Vijayanagara Emperor of that era, Krishnadevaraya, dispatched Sevappa Nayak—a nobleman hailing from Nedungundram—to Thanjavur to govern the Chola country.

Thanjavur’s Splendor Restored

Since the site of the former Chola palace in Thanjavur—including the palace mound, the fort, and its battlements—lay in ruins at the time, it became imperative to undertake extensive restoration work. Until such time as the restoration could be completed, Sevappa Nayakkar chose Soolamangalam as the temporary base where he would reside—alongside his soldiers, attendants, artists, and artisans—to oversee the reconstruction of Thanjavur. To the north of Soolamangalam village, situated along the southern bank of the Kudamurutti River, he established a new settlement. In Nedungundram—Sevappa Nayakkar’s birthplace—a magnificent, standalone temple stands dedicated to his family deity, Lord Ramachandra Murthy. Consequently, he erected a new temple for his family deity, Lord Ramachandra Murthy, within this newly established settlement. He named the town "Ramachandrapuram" and made permanent provisions for daily rituals and worship within the temple. This very settlement is known today as Aiyanpettai.

Ramachandrapuram

Among the artists who migrated to Thanjavur alongside Sevappa Nayakkar, he settled the ’Pattu Saliyars’ (also known as Saurashtrians)—a community renowned for their expertise in silk weaving—here in Ramachandrapuram. To this day, members of this community remain highly skilled in vocal music, theatrical arts, and the playing of musical instruments. It is noteworthy that members of this community subsequently migrated to regions such as Madurai and Thanjavur, where they further expanded and flourished in their traditional craft of silk weaving. Venkataramana Bhagavathar—the foremost disciple of Sri Tyagaraja Swamigal (one of the "Trinity" of Carnatic music)—hailed from this very town. The phrase "Ramachandrapura Vara Venkataramana" serves as the ’mudra’ (signature) embedded within the songs he composed.

Thus, the settlement of "Ramachandrapuram"—established by Sevappa Nayakkar—continued to thrive with great splendor and distinction, even after the Nayak kings subsequently established Thanjavur as their permanent capital. Even during the era of the Marathas—who succeeded the Nayakas—the region continued to flourish without any decline whatsoever. The contribution of the Saurashtras residing in Ayyampettai was immense in achieving this.

Prasanna Kothanda Rama Temple

The Sri Prasanna Kothanda Rama Temple—erected in Ayyampettai by Sevappa Nayaka—and the Sri Prasanna Rajagopala Swami (Krishna) Temple. Both the temples are administered by the Sourashtra Sabha. This community has donated a glass palanquin for the grand Sapthasthanam festival, which centers around Chakkarappalli—a sacred site glorified in devotional hymns.

An exquisite four-pillared festival pavilion (Utsava Mandapam) welcomes visitors at the entrance of the temple. The temple, which faces east, features a three-tiered ’Raja Gopuram’; the first tier is adorned with stucco sculptures depicting the ’Dashavatara.’ A magnificent ’Kumbhabhishekam’ was celebrated on August 22, 2024. Upon offering obeisance to the tower and entering the premises—passing the ’Kodimaram’ and ’Balipitam’ —one beholds beautiful stucco sculptures of Lord Rama, Goddess Sita, Lord Lakshmana, and Lord Hanuman adorning the ceiling of the front pavilion. Within this front pavilion, positioned to offer a direct view of the presiding deity, stand the figures of Garuda, with Lord Anjaneya to his left and Soyarabai—the wife of Chhatrapati Shivaji—to his right. Additionally, a separate, dedicated shrine for Lord Anjaneya is situated within the front pavilion; this shrine is designed to appear as though Lord Anjaneya is standing there to welcome devotees of Lord Rama.

Within the sanctum sanctorum, Lord Kodanda Rama graces devotees alongside Goddess Sita, who is positioned to his right, and Lord Lakshmana, who stands to his left. The ’Utsava Moorthies’ include Lord Rama, Goddess Sita, Lord Lakshmana, and Lord Anjaneya—depicted with folded hands in reverence, holding his mace. Venkataramana Bhagavathar—the foremost disciple of Sri Tyagaraja Swamigal—has offered hymns of praise to the presiding deity through his ’Sri Rama Pancharatna Stotram’, as has his own disciple, Sri Venkata Suri.

The ’Vimanam’ surmounting the sanctum sanctorum features stucco sculptures of Lord Varahaswamy, Lord Krishna, and others. The outer precinct is spacious and enclosed by a sturdy perimeter wall.

The Anjaneyas of the Rama Temple

As previously mentioned, this sacred temple houses two distinct shrines dedicated to Lord Anjaneya. Both Lord Anjaneyar appear in the same posture. The statue of Garuda and the adjacent statue of Anjaneyar are of equal height. However, the statue of Anjaneyar housed in a separate shrine is larger in size and features a ’Prabhavali’ (decorative arch/halo). Both sculptures exhibit the distinct artistic style of the Nayak era. It can be inferred that the first statue was installed when the temple was originally constructed, while the second statue—distinguished by its ’Prabhavali’—and its dedicated shrine were added at a later date. In the first statue, humility is the dominant expression reflected in Sri Anjaneyar; in the second, humility is blended with a majestic grandeur. It is a profound truth that true humility is the very source of majesty.

Prasanna Veera Anjaneyar

A majestic Anjaneyar resides in a shrine positioned as if to face and welcome the devotees of Sri Rama. Standing upon a tall pedestal adorned with exquisite carvings, the heroic Anjaneyar presents a majestic appearance, framed by a ’Prabhavali’.

He stands in a dynamic, powerful, and energetic posture. His sacred feet—poised as if ready to stride forward—are adorned with anklets (’thandai’ and ’nupura’). He wears a traditional dhoti, draped in the ’Kaccham’ style. His waist is adorned with an intricately carved ’Udarabandha’ and ’Kadibandha’. His left-hand rests upon his left thigh, holding the stem of a ’Saugandhika’ flower; the bud of the flower, poised to bloom, is visible resting against his left shoulder. His broad chest and graceful neck are embellished with various ornaments. His right hand is raised in the ’Abhaya Mudra,’ dispelling the fears of his devotees. He wears wristlets (Kankanam) and armbands (Keyuram) on both his hands. The armbands further accentuate the breadth and prominence of his shoulders. As a symbol of his valor, his long tail rises high above his head. ‘Sundarar’ possesses a beautiful countenance, characterized by long ears adorned with floral ornaments, earrings that brush against his neck, full and rounded cheeks, and gentle, expansive eyes. The crown he wears partially conceals the lustrous locks of his youthful hair, which sway gently in the breeze.

 

 

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SRI HANUMAN THINKS DIFFERENTLY, THINKS FAST
THINKS AHEAD AND ACTS FOR SURE

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Ed [April 2026]

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