Changes

== Structure ==

== Structure ==

Sarangapani temple occupies a prominent position in the city of Kumbakonam and has provided solace to all for centuries. It is enclosed by stone walls and strengthened by pillars. The three prahar temple surrounded by the town and the busy market has an oonjalmandap, door panels, paintings, Garud shrine, Sheesh Mahal, etc.  

Sarangapani temple occupies a prominent position in the city of Kumbakonam. It covers an area of over 3 acres and has one gopuram and two praharas which is then surrounded by the town and the busy market. The temple with oonjal mandapa, door panels, paintings, Garud shrine, Sheesh Mahal, etc is enclosed by stone walls and strengthened by pillars.

An imposing tall tower dominating the landscape is visible from a distance. It is one of the most impressive structures remarkable for its ornamentation and rhythmic harmony. Its elegant construction and gigantic proportion are truly remarkable. The temple is noted for its excellent sculpture which includes royal procession, dancing damsels, hunting scenes and devas in a infinite variety of poses and postures. The main temple and the other shrines have jointly given the entire pilgrim centre a balanced architectural assemblage. The layout, design, colour and wooden carvings of the temple reflect the best traditions of Chola style. Thus the concept of the temple complex is very mature architecturally and is the synthesis of town planning and urban design concepts. The temple presents an austere image to a visitor today but one has to imagine it in the ever-flowering colourful environment enriched by distant past. The shikara presents a well-developed phase of Dravidian architecture. The carvings on the pillars on both sides are very elaborate and attractive. The style of the craftsman is very forceful and effective in the depiction of the puranic themes. A large number of cultural panels reflect the prolific Hindu deities in numerous aspects. Standing on par with Srirangam and Tirupathi, this DivyaDesa has a planned elevated fleet of steps at short distances.  

Just as Srirangam, on the two sides of Kumbakonam flow Kaveri and Arasalar rivers as a grand necklace. The temple has two separate entrances. The two entrances have nine steps each which is symbolic of the nine steps leading to Moksha. There are two entrances to the shrine, south and north. The southern entrance is used during Dakshinayana (14th Jan-15th July) and the northern side used during Uttarayana (16th July-13th Jan). The Dakshinayana entrance is known as the doorway to marriage as Lord Sarngapani came out of this corridor after his marriage to Komalavalli.

Inside the sanctum the atmosphere is calm and serene and darkness adding to its sublime glory. This serenity in the sanctum is the most remarkable feature of the shrine. Goddess Lakshmi is enshrined separately near the Uttarayana steps.   

An imposing tall tower dominating the landscape is visible from a distance. It stands on a base of 30 mtrs. x 18 mtrs. The temple measures 90 feet by 51 feet at the base. It has eleven tiers and there are steps to reach the top tier from where one can have a panoramic view of the entire town. The sanctum and the front mandapam are designed to look like a chariot on wheels and horses. The temple is 147 feet tall with 9 tiers. The Pottramarai, the Golden Lotus tank is behind the temple. The temple tank measures 361 feet by 285 feet. The tank is known as Lakshmi theertha and Amudavani. A mandapam with sixteen pillars is right at the middle of the tank. The front Mandapam is of Nayak style. It is called ThiruMamaniMandapam and is supported by 12 pillars.   

It stands on a base of 30 mtrs. x 18 mtrs. It has eleven tiers and there are steps to reach the top tier from where one can have a panoramic view of the entire town. The Pottramarai, the Golden Lotus tank is behind the temple. A mandapam with sixteen pillars is right at the middle of the tank. The Temple covers an area of over 3 acres and has a gopuram and two praharas. The sanctum and the front mandapam are designed to look like a chariot on wheels and horses. The temple is 147 feet tall with 9 tiers. The temple tank measures 361 feet by 285 feet. The tank is known as Lakshmi theertha and Amudavani.  

Inside the sanctum the atmosphere is calm and serene and darkness adding to its sublime glory. This serenity in the sanctum is the most remarkable feature of the shrine. Goddess Lakshmi is enshrined separately near the Uttarayana steps. The sanctum of Komalavalli is near the Uttarayana steps.  

The temple belongs to a very early period as referred to by Boothathalwar in his hymns. The front Mandapam is of Nayak style. It is called ThiruMamaniMandapam and is supported by 12 pillars. The Lord here wields a bow called Sarngam and therefore he is known as Sarngapani. The temple measures 90 feet by 51 feet at the base.  

It is one of the most impressive structures remarkable for its ornamentation and rhythmic harmony. Its elegant construction and gigantic proportion are truly remarkable. The temple is noted for its excellent sculpture which includes royal procession, dancing damsels, hunting scenes and devas in a infinite variety of poses and postures. The shikara presents a well-developed phase of Dravidian architecture. The carvings on the pillars on both sides are very elaborate and attractive. The style of the craftsman is very forceful and effective in the depiction of the puranic themes. A large number of cultural panels reflect the prolific Hindu deities in numerous aspects. Standing on par with Srirangam and Tirupathi, this DivyaDesa has a planned elevated fleet of steps at short distances.  

How benign is our Lord and how much concern he embodies ! Bhoo and Sri are nearby even as Brahma is seen rising from his navel. Hemarishi, Saptharishis, Kaveri and Devas are paying homage. The sanctum of Komalavalli is near the Uttarayana steps.  

The main temple and the other shrines have jointly given the entire pilgrim centre a balanced architectural assemblage. The layout, design, colour and wooden carvings of the temple reflect the best traditions of Chola style. Thus the concept of the temple complex is very mature architecturally and is the synthesis of town planning and urban design concepts. The temple presents an austere image to a visitor today but one has to imagine it in the ever-flowering colourful environment enriched by distant past.

This is aUbhayaPradhanaDesa where both the presiding and processional deities are given equal importance. The temple has two separate entrances. The two entrances have nine steps each which is symbolic of the nine steps leading to Moksha.

The temple belongs to a very early period as referred to by Boothathalwar in his hymns. The Lord here wields a bow called Sarngam and therefore he is known as Sarngapani. The Lord is facing the east in a Sayana posture.The sanctity of the temple stems from its holy head Aravamudha and the temple dates back to vedic times.How benign is our Lord and how much concern he embodies ! Bhoo and Sri are nearby even as Brahma is seen rising from his navel. Hemarishi, Saptharishis, Kaveri and Devas are paying homage. This is aUbhayaPradhanaDesa where both the presiding and processional deities are given equal importance.

Just as Srirangam, on the two sides of Kumbakonam flow Kaveri and Arasalar rivers as a grand necklace. There are two entrances to the shrine, south and north. The southern entrance is used during Dakshinayana (14th Jan-15th July) and the northern side used during Uttarayana (16th July-13th Jan). The Dakshinayana entrance is known as the doorway to marriage as Lord Sarngapani came out of this corridor after his marriage to Komalavalli. This sacred shrine is sung by seven of the twelve alwars. Because of Nathamuni, this shrine has a special significance in the history of Vaishnavism. It was in this sannadhiNadhamuni, the grand father of Alavandar first heard the ten hymns of Nammalwar in praise of Amudan and he heralded the renaissance of all the four thousand hymns of the Alwars at AlwarThirunagari.  

This sacred shrine is sung by seven of the twelve alwars. Because of Nathamuni, this shrine has a special significance in the history of Vaishnavism. It was in this sannadhiNadhamuni, the grand father of Alavandar first heard the ten hymns of Nammalwar in praise of Amudan and he heralded the renaissance of all the four thousand hymns of the Alwars at AlwarThirunagari.  

 

== Legends ==

== Legends ==