Gandhi Memorial Museum

The Gandhi Memorial museum at Madurai has been built and organised by the Gandhi Smarak Nidhi. it was in Madurai, in the year 1921, that Gandhiji adopted for the first time the loin cloth as his mode of dress which made him known throughout the world as the "Half Naked Fakir". It was in Madurai again that the doors of the great Meenakshi Temple were thrown open to Harijans, thus winning a historic battle against 'Untouchability'. Gandhiji visited this temple in 1946 along with the Harijans as a triumph for the cause of Harijan Temple Entry.

The building that houses the Gandhi Memorial Museum Madurai is the historic Tamukkam Palace of Rani Mangammal of Naick dynasty built about 1670 A.D.

It was in 1955 that the palace with about 13 acres of land was gifted by the Tamilnadu State Government, to the Gandhi Smarak Nidhi for the purpose pf housing Gandhi Memorial Museum. The picture Gallery presents a visual biography of Gandhiji.

The Museum may broadly be divided into the following sections:

• Special Exhibition on "India" Fights for Freedom" with 265 illustrations, depicting the history of the Freedom Movement, greets you first.
• Then follows the exhibition of the choice specimens of Handicrafts donated by the states of Tamilnadu, Mysore, Andhra and Kerala.
• This leads to the Pictorial Gallery depicting a visual biography of Gandhiji by means of photographs, quotations, paintings etc and some of the selected Photostat copies of many of Gandhiji's letters.
• Then you enter 'The Hall of Relics' where some of Gandhiji's personal belongings (original and replicas) are preserved.
• Lastly you come to the Khadi and Village Industries Section in the ground floor of the building, where you come across the Exhibits of some of the Village Industries, which Gandhiji revived.
• To the south of the building is a big open-air theatre with a capacity to accommodate about 8,000 people. Cultural programmes, weekly film shows and public meetings on special occasions are held in this theatre.
• In front of the main building, a little towards south, there is "Gandhi Kutir"- a replica of Gandhiji's hut in Sevagram.
• The northern wing of this building, houses the Library, which contains books giving the cultural background of India, books on and by Gandhiji and allied literature. There are about 20,00 volumes in the library. Photostat copies of about 2,70,000 letters of Gandhiji and 62 reels of Micro-films are the very important and valuable part of the collections in the Library.
• Five study alcoves have been provided in the first floor of the Library for Research Scholars. Readers forum and Book Review Meetings are held periodically in the Library. A research section is also functioning, books are also published.

Alagar Kovil

Located 21 kms northwest of Madurai is a Vishnu Temple on a picturesque wooded hill. Here 'Vishnu' presides as Meenakshi's brother 'Azhgar'. During the Chitrai festival in April/May, when the celestial marriage of Meenakshi to Sundareswarar is celebrated, Azhagar travels to Madurai. A gold processional icon called the Sundararajar is carried by devotees in procession from Azhagar Kovil to Madurai for wedding ritual.

Palamudhirsolai, one of the six abodes of Lord Subramanya is on the same hill, about 4 kms. above. A natural spring called Nuburagangai where pilgrims bath, is located here.

Alagarkovil, a village situated very near Madurai at the foot of the range of hills called Alagarmalai, is famous for its ancient . Vaishnavite temple, and the beauty of exquisite sculptures in the hall and other 'mandapams' of the temple. The Alwars have sung in praise of the deity of the place and the hills. In addition, Nakkirar, the Tamil poet has composed several popular poems about this deity. As the place itself suggests, the temple is dedicated to Alagar who is popularly known as Sundararajar. It is said that Alagar kovil attracted pilgrims even in the early days of the Sangam age.

The temple is built on an extensive area in a very picturesque spot, surrounded by the ruins of a historic fort. The impressive main tower at the entrance, believed to have been built by the Pandyan Kings, has some beautiful sculptures depicting scenes from the epics. According to historical records, Malayadhwaja Pandyan, son of Kulasekhara Pandyan, who is said to have established the Pandyan kingdom, appears to be the earliest known monarch who patronised this temple. Jatavarman Sundara Pandyan, who reigned during the period 1251-1270 A.D., beautified the 'vimana' of the 'sanctum sanctorum' with gold plates. Later, during the reign of the Vijayanagar king Krishnadeva Raya, the temple was endowed with revenues from two villages for conducting regular festivals.

After the end of Pandya rule in Madurai, the Nayaka kings became the chief patrons of this deity. The famous Nayaka king Vishwanatha, who ruled in Madurai during 1558-1563 A.D., made magnificent donations to this temple.

The main deity of this temple is called Paramaswamy and the processional idol is called Alagar and also Sundararajan. This beautiful idol is made of pure gold and is a fine example of craftsmanship of the ancient period. The shrine of Kalyana Sundaravalli, the divine consort of Alagar, is in the southern enclosure. There is another shrine in the north dedicated to Andal who is said to have visited this place with Periyalwar from Srivilliputtur. Other important shrines are those of Sudarshanar and Yoga Narasimha.

Karuppannaswamy, the God of Kallars and the finely carved eighteen steps, are held in great reverence by the devotees. It is claimed that nobody will dare tell a lie at this spot. The hill by the side of the temple is about 300 metres high and is famous for its holy springs called Silamboru and Noopura Gangai. According to local tradition, this spring is said to have originated from the anklets of Maha Vishnu during His incarnation as Trivikrama. The 3 kms path on the hillock to the temple of the summit, where bathing facilities are available, offers some beautiful natural scenery to the visitors.

The Kalyana Mandapa of the temple has beautiful sculptures on its pillars which are fine specimens of Nayaka art. In addition to the life-size sculptures of the kings who ruled over this place, there are many delicately carved idols relating to the epics. They are magnificent in concept and yet jewel-like in the delicacy of the chisel. Some of them surpass the workmanship found in similar pillars of the famous Meenakshi temple of Madurai. The notable ones are those of Narasimha, Krishna, Rathi seated on the parrot, Manmatha and Vishnu on Garuda and a few others. Apart from these the idol of Tirumala Nayaka found on a pillar is claimed to be the best when compared with similar figures found elsewhere.

The inscriptions of various dynasties found in this temple, as also in a cavern on the hill, throw light on the antiquity of this place.

Some of them date back to the glorious reign of Ashoka. It is believed that the renowned Jaina teacher Ajjanandi and his disciples were staying on the caves of this hillock.

Amongst the many festivals that are conducted here, the Chitra festival is the most important one. During this festival, the processional idol of Alagar is taken to Madurai, halting at various places on the way. This festival attracts thousands of pilgrims and visitors from South India as well as from other parts of the country.

A legend is popular how Alagar, the brother of Meenakshi was unable to attend her marriage in time and how he turned back from the banks of the Vaigai river. It is surprising what a strong visible influence this picturesque belief has been left in the environs of Madurai.

Alagarkovil is only 21 kms from Madurai and is connected by an excellent road. Frequent buses operate to this place from Madurai. Taxis are also available. There are a few rest houses at Alagar koil, but it is advisable to stay at Madurai where excellent lodgings of all grades are available.

Thirupparankundram

Cave temples have been so much identified with the Pallavas (600-850 A.D.), that many people do not know that other rulers also excavated similar rock-cut cave temples and monoliths. The Pandya rulers especially could be credited with a large number of these cave temples but for want of a more definite nomenclature, historians club all these together under the common term, Pallava style even though these temples are in the heart of the Pandya country where no Pallava ever set foot.

Many of the big and small temples around Madurai in Tamilnadu and the Muruga temple at Tirupparankundram are popular. Situated almost on the outskirts, only 7 kms away from Madurai, Tirupparankundram, Parankundram, as it was known in the olden days, has been a place of pilgrims throng to the shrine of Muruga (Subramanya) in their multitude, but hardly one of these devout souls pays attention to the beauty of the temple or the construction of the sanctum.

From the beautiful Asthana Mandapam on the main front facing the street, which figures in every tourist's photograph collection, one climbs, through two higher mandapams to the Sanctum of Subramanya, where one is lost in the sanctity of it and hardly notices anything else. Actually, the shrine is a large rectangular chamber excavated into the huge main rock. There can be no doubt about its age and there are many inscriptions, which speak of repairs and renovations refer to this shrine in the ancient days. Other insciptions refer to the founding of a few more shrines at the place.

From these evidences, we could see that the shrine of Murugha should have existed prior to the eighth century A.D. It is probably very much earlier as it is mentioned in the Agananuru and other Sangam works and in the Thevaram. All these works refer to the place as Parankundram. The Paripadal (about the 6th century A.D.) gives a very graphic description of the route from Madurai to Tirupparankundram when the Pandya king visited the place in state. The Poem describes in minute details, the many shrines, mandapams and painted chambers not omitting even the monkeys which were as plentiful then as they are even to this day.

This rock-cut Pandya sanctum follows the usual plan of many such edifices with two chambers on either side and reliefs on the facing wall. In the chamber on the west is a Linga with the characteristic Somaskanda panel on the back wall as in many early Pallava shrines. The Chamber on the eastern side has a relief of Vishnu and on the wall facing the entrance is a figure of Durga inside a shrine chamber. On either side of this are the figures of Subramanya and Ganesha respectively.

The entrance has early type cubical pillars with lotus medallions and angular bevel corbels with roll ornament, so characteristic of the Pandya caves. There are two Dwarapalas at the main entrance and two more each on either side of the Linga and Vishnu shrine chambers. The sculpturing of these Dwarapalas is in the style of the period.

Coming out of the main shrine, we find a number of reliefs sculptured on the rock surface on either side. On the face of the rock east of the entrance, we find carvings of Narasimha, Vishnu and Varaha. On the rock face on the western side of the entrance, are Shiva with Nandi, Nataraja and Devi. There are probably others but are hidden within the modern structures. Many of these reliefs seem to have undergone repairs and restoration in later times.

Many pilgrims and tourists who visit Tirupparankundram do not seem to know of the existence of subsidiary cave shrines excavated in the rock, which are as interesting and one may even appear most valuable to the student of archaeology. All these cave shrines are small and approached through narrow dark passages, which are at different levels below the main sanctum. It is very much doubtful whether similar group of cave shrines exist elsewhere. The idols have been arranged in such orderly manner that one wonders that even the top-ranking studio photographer could not have arranged them better than the ancient Sthapathis have done here.

The Devi who is seated on a throne in the centre is described as Annapoorna. Two attendant chauri bearers and Surya and Chandra on either side are at the back. Two groups of three stately figures each are carved on the two side walls. Two figures who are probably Sage Parasara and Sage Veda Vyasa are seated on the ground in front of the Devi while figures of other minor sages and musicians playing on the flute and the veena comprise the rest of the group. Two interesting figures, one with the head of a goat or horse, flank the chamber. Though some of the figures are restored, the early age of this group is clear and it needs careful study by the interested student of Hindu art and iconography.

Adjoining this group is another chamber on the east side, known as the Tulasi Arai, a room used for storing the pooja flowers. Here is a group of carvings, which were quite new to our understanding, It is such a narrow chamber that no proper photographs could be taken of the entire group of carvings. No authentic information was available about these sculptures from the temple authorities or the department of Archaeology. The figures probably refer to the incident of Sura Samhara. The sculpture is quite archaic and the figures are in the state in which the sculptor left then probably without complete finish.

Kartikeya in his chariot with his mount, the peacock, numerous Ganadevathas, all in a fury, a large four-headed figure with four hands, make up this group and are symbolic of the great fight. It is a pity that the large four-headed figure should have his face disfigured as an ugly hole is bored through it to serve as an outlet for water. This vandalism is unthinkable and surely pains the visitors. The walls of the chamber contain a large number of inscriptions which may perhaps belong to the early medieval period. Quite likely from their obscure location they might have escaped the attention of the epigraphists. On the eastern side of this chamber is another one which has a carving of Gaja Lakshmi.

Proceeding further through a long low narrow and dark passage, is another old rock-cut chamber, which has an idol said to be Jyeshta Devi with her son and daughter on either side. Jyeshta Devi is sculptured in old works as a handsome and mild Devi. This group which is in very early style is in its pristine gory and is well preserved. Outside the chamber are two Dwarapalas who are named as Anandabharana and Ugramurthy. These idols are usually missed by the visitors. They are very interesting early specimens. Curiously, Anandabharana is said to have the reputation of being more powerful deity than Ugramurthy, quite contrary to the names given to them.

Circumventing the rock, one can come across on its southern side another rock-cut with more sculptures in relief. This is locally called the Umiyanda Kovil. The rock-cut with its cubical but worn out pillars is a very early one through the sculptures within it and on the rock surface outside appear to later executions. There is no doubt that some kind of altering and changing has been done to some earlier works which must have existed there.

Our temples are vast treasure houses of our history, tradition, art and culture. Owing to various factors, there is a growing popular interest in the art and architecture of our shrines. The temple authorities would be doing a real service to the community if in addition to the excellent arrangements they have made, they also concentrate on the cultural side by throwing open the iconography and sculptural treasures in the shrines. They should also provide authoritative information about cultural and aesthetic aspects of these treasures.

Tirupparankundram is only 7kms from Madurai connected by an excellent road. Frequent buses and vans operate to the place. Taxi or auto may be hired from Madurai. It is best to stay at Madurai where very good lodges are available.

Thirumalai Nayakkar Palace

Thirumalai Nayakar palace is one of the important palace which was built by Thirumalai Nayaakar in 1636. The paintings, carvings and designing of the mahal shows the amazing talents of the nayak kings. This Mahal is situated 2kms south east of Meenakshi Amman Temple. A classic example of the Indo-saracenic style, the piece de resistance of this mahal is its carved dome outsoars without the support of girders or rafters. This mahal has 248 pillars of each 58 feet tall and 5 feet in diameter. The gigantic pillars and paintings of the events that took place before, the ethics impress ourselves and takes us to the 16th century. There is a dancing hall and a courtyard at the center of the mahal. The stucco work on its domes and arches is remarkable. Now this mahal is used for cinema shooting.

A song was shot in this mahal from the film Bombay and some more.The palace is a famous tourist spot, which covers many of the peoples thoughts. It makes everyone wonder about its architectural designs. The mahal is equipped to perform light and sound shows depicting the story of Silappathikaram in both Tamil and English language. Inside the palace, furniture and utensils used by the kings have been exhibited. Another important feature of Thirumalai Nayakar palace is that, when seen from this palace we will be able to see koodal alagar kovil. The mahal is designed in such a way that the people visiting this mahal is also benefitted by receiving the blessings of the God perumal. In the early period, Thirumalai Nayakar Mahal was so very big, but only a portion of it is remaining today. On knowing its importance, it gives us a inducement to visit this mahal very soon. Every human being should get a chance to visit this mahal, should enjoy its beauty and that's my wish

Meenakshi Amman Temple

The enormous temple complex is dedicated to Shiva, known here as Sundareshvara and his consort Parvati or Meenakshi. The original temple was built by Kulasekara Pandya, but the entire credit for making the temple as splendid as it is today goes to the Nayaks. The Nayaks ruled Madurai from the 16th to the 18th century and left a majestic imprint of their rule in the Meenakshi - Sundareswarar Temple.
The temple complex is within a high-walled enclosure, at the core of which are the two sanctums for meenakshi and Sundareshwara, surrounded by a number of smaller shrines and grand pillared halls. Especially impressive are the 12 gopuras. Their soaring towers rise from solid granite bases, and are covered with stucco figures of dieties, mythical animals and monsters painted in vivid colours.

There are 12 temple towers(Gopurams). The outer towers are the landmarks of Madurai. They are:

• East Tower (Nine Storeys). Height 161'3". This Gopura has 1011 sudhai figures.
  
• South Tower (Nine Storeys). Height 170'6". This Tower has 1511 sudhai figures.
  
• West Tower (Nine Storeys). Height 163'3". This Tower has 1124 sudhai figures.
  
• North Tower (Nine Storeys). Height 160'6". This Tower has lesser figures of sudhai than other outer towers.
  

Gopura

Pyramidal gates(gopuras) rise to a height of more than 50m. These towering gateways indicate the entrance to the temple complex at the four cardinal points, while lesser gopuras lead to the sanctums of the main dieties.

The Thousand Pillar Mandapam

It is the 'wonder of the palace'. Actually the number of pillars count to 985 beautifully decorated columns. Each pillar is sculptured and is a monument of the Dravidan sculpture. There is a Temple Art Museum in this 1000 pillars hall where you can see icons, photographs, drawings, etc., exhibiting the 1200 years old history. There are so many other smaller and bigger mandapams in the temple.

Just outside this mandapam ,towards the west, are the Musical Pillars. Each pillar when stuck, produces a different musical note. The kalyana mandapa, to the south of the pillared hall, is where the marriage of Shiva and Parvati is celebrated every year during the Chitirai Festival in mid- April.

Theppakulam

The Mariamman Theppakulam in Vandiyur - 5km south east of Meenakshi Temple is one of the the huge Temple tank in south India. It was built in 1636 and was commissioned by Thirumalai nayakar in 1646. The area of the tank and the island pavilion with a garden in the center is approximately equal to the area of Meenakshi Temple.

The length of the tank is 1000 feet and width is 950 feet. The mandapam and temple in the center of the tank enshrines an idol of Lord Vigneshwara, the elephant-faced god. It is said to have been found when the earth was being dug out from here to build the Tirumalai Nayakkar Mahal. So the place attained sanctity and was converted into a Teppakulam (tank).

Madurai

Madurai is one of the oldest cities of India, with a history dating all the way back to the Sangam period of the pre Christian era. The glory of Madurai returned in a diminished form in the earlier part of this millennium; it later on came under the rule of the Vijayanagar kingdom after its ransack by the ravaging armies of Delhi (Malik Kafur). During the 16th and 18th centuries, Madurai was ruled by the Nayak Emperors, the foremost of whom was Tirumalai Nayakar. The Sangam period poet Nakkeerar is associated with some of the Thiruvilayaadal episodes of Sundareswarar - that are enacted as a part of temple festival traditions even today.

The Sangam age or the Golden age of Tamil literature – produced masterpieces way back in the Pre christian era and in early 1st millennium . Madurai was the seat of the Tamil Sangam or Academy of learning. The entire city of Madurai, is built around the Meenakshi Sundareswarar Temple – the temple par excellence. Concentric rectangular streets surround the temple, symbolizing the structure of the cosmos.

As early as the 3rd century BC, Megasthanes visited Madurai. Later many people from Rome and Greece visited Madurai and established trade with the Pandya kings. Madurai flourished till 10th century AD when it was captured by Cholas the arch rivals of the Pandyas.

The Cholas ruled Madurai from 920 AD till the beginning of the 13th century. In 1223 AD Pandyas regained their kingdom and once again become prosperous. Pandian Kings patronised Tamil language in a great way. During their period, many master-pieces were created. "Silapathikaram' , the great epic in Tamil was written based on the story of Kannagi who burnt Madurai as a result of the injustice caused to her husband Kovalan. In April 1311, Malik Kafur, the general of Alauddin Khilji who was then the ruler of Delhi, reached Madurai and raided and robbed the city for precious stones, jewels, and other rare treasures. This led to the subsequent raids by other Muslim Sultans. In 1323, the Pandya kingdom including Madurai became a province of the Delhi empire, under the Tughlaks.

The 1371, the Vijayanagar dynasty of Hampi captured Madurai and it became part of the Vijayanagar empire. Kings of this dynasty were in habit of leaving the captured land to governors called Nayaks. This was done for the efficient management of their empire. The Nayaks paid fixed amount annually to the Vijayanagar empire. After the death of Krishna Deva Raya (King of Vijayanagar empire) in 1530 AD, the Nayaks became independent and ruled the territories under their control. Among Nayaks, Thirumalai Nayak (1623-1659) was very popular, even now he is popular among people, since, it was he who contributed to the creation of many magnificent structures in and around Madurai. The Raja Gopuram of the Meenakshi Amman Temple, The Pudu Mandapam and The Thirumalai Nayakar's Palace are living monuments to his artistic fervor.
Madurai started slipping into the hands of the British's East India Company. In 1781, British appointed their representatives to look after Madurai. George Procter was the first collector of Madurai.

Now after India's independence, Madurai is one of the major districts of Tamilnadu State. Later on Madurai district was bifurcated into two districts namely Madurai and Dindugul Districts. In Madurai District, there are 15 State Assembly constituencies and two parliament constituencies.