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== Structure ==

== Structure ==

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. However, the imposing tall tower dominating the landscape is visible even from a distance. It stands on a base of 30 mtrs x 18 mtrs. While the temple itself 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.   

Sarangapani temple occupies a prominent position in the city of Kumbakonam. It covers an area of over 3 acres and has one gopura and two praharas which is then surrounded by the town and the busy market. The temple with oonjal mandapa, door panels, paintings, Garuda shrine, Sheesh Mahal, etc 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 carvings on the pillars on both sides are very elaborate and the style of the craftsman is very effective in the depiction of the puranic themes. Thenclosed by stone walls and strengthened by pillars. However, the imposing tall tower dominating the landscape is visible even from a distance. It stands on a base of 30 mtrs x 18 mtrs. While the temple itself 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. Also, the shikhara presents a well-developed phase of Dravidian architecture.   

The temple has two separate entrances in the south and north with nine steps each which is symbolic of the nine steps leading to Moksha. The southern entrance is used during Dakshinayana (approx. January to July) and the northern side entrance is used during Uttarayana (approx. July to January). The Dakshinayana entrance is known as the doorway to marriage as Lord Sarngapani came out of this corridor after his marriage to Komalavalli.   

Infact, the temple Standing on par with Srirangam and Tirupathi, this Divya Desha has a planned elevated fleet of steps at short distances.   

The sanctum and the front mandapam are designed to look like a chariot on wheels and horses. The front Mandapam called Thiru Mamani Mandapam is of the Nayak syle and is supported by 12 pillars. 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 has two separate entrances - one in the south and one in the north with nine steps each which is symbolic of the nine steps leading to Moksha. The southern entrance is used during Dakshinayana (approx. January to July) and the northern side entrance is used during Uttarayana (approx. July to January). The Dakshinayana entrance is known as the doorway to marriage as Lord Sarngapani came out of this corridor after his marriage to Komalavalli.   

The Pottramarai (the Golden Lotus tank) behind the temple measures 361 feet by 285 feet and is known as Lakshmi teertha and Amudavani. The tank also has a mandapa with sixteen pillars right at the middle of the tank.  

The sanctum and the front mandapa are designed to look like a chariot on wheels and horses. The front Mandapa called Thiru Mamani Mandapa is of the Nayak style and is supported by 12 pillars. Mahavishnu here wields a bow called Sarnga and therefore he is known as Sarngapani. He is in the Shayana posture facing the east flanked by Bhudevi and Sridevi. And Brahma is seen rising from his navel. Hemarishi, Saptharishis, Kaveri and Devas are also seen paying homage. This is a Ubhaya Pradhana Desha where both the presiding and processional deities are given equal importance. Goddess Lakshmi as Komalavalli is enshrined separately in a sanctum near the Uttarayana steps. There is a Pottramarai (the Golden Lotus tank) behind the temple that measures 361 feet by 285 feet and is known as Lakshmi teertha and Amudavani. The tank also has a mandapa with sixteen pillars right in its midst.

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.

Talking about the grandeur of the temple and its architecture, Prof. S. Narayanan says,  

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. 

"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 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.  

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.   

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. 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.  

 

The temple belongs to a very early period as referred to by Boothathalwar in his hymns.   

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.  

Brahmandapuran and Bhavishyapuran bring out its religious merit and prominence. Several puranic accounts focus on the importance of the shrine. This place is much venerated by its association with ThirumazhisaiAlwar, Nathamuni and Hema Maharishi. It is said that the Lord gave darshan to Hema Maharishi.  

Brahmandapuran and Bhavishyapuran bring out its religious merit and prominence. Several puranic accounts focus on the importance of the shrine. This place is much venerated by its association with ThirumazhisaiAlwar, Nathamuni and Hema Maharishi. It is said that the Lord gave darshan to Hema Maharishi.