PURBANCHAL UNIVERSITY

ACME ENGINEERING COLLEGE

DEPARTMENT OF ARCHITECTURE

REPORT WRITING ON

MEENAKSHI TEMPLE

SUBMITTED BY: SUBMITTED TO:

AAKRITI SHRESTHA AR.ELINA BAJRACHARYA

AAYESHA MAHARJAN

ANUSKA TULADHAR

BIBISHA TRIPATHI

LHAMEN LAMA

MONIKA SHRESTHA

POOJA SHAH

RISHU MANANDHAR

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ACKNOWLEDGEMENT
I have taken efforts in this project. However, it would not
have been possible without the kind support and help of
many individuals and organizations.
I would like to extend my sincere thanks to Mrs.Tulasa
Ar.Elina Bajarcharya who assigned us with this report.
We believe this report has helped us to understand the
course details more vividly. I am highly indebted to Ar.
Elina Bajracharya for her guidance and constant
supervision as well as for providing necessary
information regarding the project & also for their support
in completing the project.
We also would like to thank all those people who have
co-operated with us during this entire process of re- port
making.
My thanks and appreciations also go to my colleague in
developing the project and people who have willingly
helped me out with their abilities.
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Table of Contents
ACKNOWLEDGEMENT 2

INTRODUCTION 4

OBJECTIVE AND METHODOLOGY 5

FINDINGS 6
HISTORY AND MYTHOLOGY 6
ARCHITECTURE OF MINAKSHI TEMPLE .
………………………….………………..7
RELIGIOUS IMPORTANCE………………………13
ROLE OF MEENASKHI TEMPLE IN TOURISM
……………………………………………..15
CONCLUSION………………………………………16

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INTRODUCTION

It is a temple complex where you are greeted by a soaring

gateway more than fifteen stories tall, covered in 1500 brightly
painted sculptures of divine and demonic figures. It’s
overwhelming and disorienting, but it is just a taste of what awaits
the pilgrim or sightseer at the Meenakshi Temple in the town of
Madurai in southern India. With its numerous towers and its
warren of associated sacred spaces, it embodies the active
continuation of an ancient set of religious and artistic traditions in
southern India.

Today, approximately 20,000 people per day visit the Meenakshi

Temple’s almost 700,000 square feet of space, including the two
principal sanctuaries and dozens of shrines of varying sizes.
Bordered by high walls and gateways, it is a bewildering collection
of indoor and outdoor spaces: small, cramped shrines, vast halls,
low and high ceilings, darkness, light. hustle and bustle, quiet
spaces, and chaos. All told, it contains around 30,000 sculptures.

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OBJECTIVE

 To identify the historical and religious value of Meenakshi

temple
 To identify the archeological importance of the site.
 To collect information about the various architectural features
of the site
 To study about the role of shikhara in tourism

METHOD OF STUDY
PRIMARY METHODS:
Direct field observation, direct questionnaire, and collection of
related expert’s opinions. We used the most extensive method of
data collection Questionnaire. The people to fill the questionnaire
were chosen randomly and they asked to fill some of the aspect
of this. It helped us to uncover the work being done here.

SECONDARY METHOD:
Study of related books, journals, newspapers. Different books and
the different media were properly searched so that we the student
could get a proper information about the place. The inscriptions
were also studied with the help of the translated writings which
became an important part to discover the ancient site.

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FINDINGS
HISTORY AND
MYTHOLOGY:
The story of the figure of Meenakshi is also legendary. It
describes a Pandya king, Malayadhvaja, who hoped for a son and
heir. He carefully performed a fire ceremony requesting that the
gods fulfill this wish. Instead, he was granted a daughter,
Meenakshi, who was born with three breasts. The gods told the
king not to worry, but to raise Meenakshi as a brave warrior, just
as he would a son, and that when she grew up and met her true
love, her third breast would disappear. Meenakshi proved herself
gifted in battle, conquering armies in all directions. When she
sought to attack the north, however, she was confronted by the
god Shiva, who dwells on Mount Kailasha, deep in the Himalayas.
Upon seeing him, one of her breasts fell off and the prophecy was
realized.Kumaraguruparar, a great seventeenth-century Tamil
poet and devotee of Shiva, described this moment:
When you saw Shiva on the battlefield, your third curving breast
disappeared. You bowed to him shyly and were amazed to see
that suddenly you had only two breasts.Your heart was filled only
with him. You looked at him sweetly with a nectar-like side glance,
and felt shy.
Another principal god in the Hindu pantheon, Vishnu (in the guise
of Meenakshi’s brother), presided over the wedding of Shiva and
Meenakshi, and the divine couple made their home in Madurai,
where they ruled (and continue to symbolically rule) as queen and
king.

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MEENAKSHI ARCHITECTURE
Temple complex plan:
The earliest temple at Madurai was likely constructed in the 7th
century C.E., but the temple complex we experience today is
largely the work of the Nayak dynasty in the 16th and 17th
centuries. They enlarged the complex and redesigned the
surrounding streets in accordance with the sacred tradition of the
Vastu Shastra (Hindu texts prescribing the form, proportions,
measurements, ground plan, and layout of architecture).The
Meenakshi Temple is a prime example of Dravidian architecture—
a style of Hindu architecture common in the southern states of
India. Characteristics of Dravidian architecture often include
covered porches on temples, tall entry gate towers on two or
more sides, many-pillared halls, and a water tank or reservoir for
ritual bathing.

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 The Gopuras
We now return to the most noticeable feature of the complex—
the massive towers, or gopuras, which are actually entry gates,
marked on the plan above as black rectangles. Some visitors to
the Meenakshi Temple in Madurai mistake the gopuras for the
sacred temples and shrines themselves. The word gopura may be
derived from the Tamil words ko meaning “king,” and puram
meaning “exterior or gateway”; or from the Sanskrit go meaning
“cow” and puram meaning “town.” Here, there are fourteen
gopuras roughly oriented to the cardinal directions and flanking
either the temple of Meenakshi or Sundareshwara, or the entire
walled compound. They generally increase in height as one
moves further away from the center of the complex, as the
outermost sections were continually added to by a succession of
rulers, who commissioned ever grander towers as a sign of their

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power and devotion. The gopuras act as symbolic markers for the
sacred space into which they lead and most are covered with a
profusion of brightly painted stucco figures representing gods and
demons.

The tallest gopura rises to approximately 170 feet and contains

more than 1500 figures that are repaired and repainted every
twelve years. This multitude of brightly-colored figures excites
some visitors and repels others. It is likely that most Hindu
temples (just like their ancient Greek and Egyptian counterparts)
were painted in vibrant hues, and many are still today.

VIMANA:
They are two golden sculptured vimanas over the garbhagrihas
for main deity

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MANDAPAS :
 Chinnappa Nayakkar constructed the 100-pillared Mandapa
Nayaka Mandapam in the northeastern part of second
courtyard in 1526. This mandapa houses the famed Nataraja
statue with his "right" leg up in dance mudra, instead of the left
leg typically found in Nataraja bronzes.
 This is a Shaivism tradition temple that includes deities and
narrative friezes of Vaishnavism and Shaktism. Above: Krishna
sculpture at the Meenakshi temple (sketched in 1801).
The small six-pillared swing mandapam (Unjal, oonjal) was built
by Cheventhi Murthi Chetti during this period, and this remains in
use currently for a Friday ritual. The images of Meenakshi and
Sundareswarar are placed on the swing every Friday evening and
swung. The shrine has a 3-storied gopuram flanked by two
Dvarapala (guardians) and supported by golden, rectangular
columns that bear lotus markings. Along the perimeter of the
chamber, granite panels of the divine couple are present. The hall
is situated in the western bank of the temple tank. This
mandapam also houses the model of the entire temple complex
created in 1985.
 Kambathadi mandapam (H) was built by Krishna Virappa
Nayakkar (1572- 1595). This choultry hall is known for
intricately carved sculptures and eight Shiva forms:
Ardanarishwara (half Parvati, half Shiva), Rudra (angry Shiva),
Bhikshadanamurti (Shiva as a monk), Dakshinamurti (Shiva as
yoga teacher, guru), Lingobhava (Shiva emerging out of a
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 linga), Ekapathamurti, Rishaba, Somaskanda (Shiva, Parvati
and Skanda), Chandrasekara, Nataraja (dancing Shiva) and
Somasundara.
 Ashta Shakthi Mandapam ("Hall of eight goddesses", O on
plan) was built by two queens. It is the hall near the East
gopuram, between the main entrance for visitors and the
smaller gopuram leading to the Meenakshi shrine tower. The
passage was named for eight forms of goddess Shakti carved
on its pillars: Koumari, Roudri, Vaishnavi, Maha-lakshmi,
Yagnarupini, Shyamala, Maheswari and Manonmani. These
reflect the feminine and power aspects of all major traditions of
Hinduism. Other sculptures and paintings depict the
Tiruvilayadal (holy games of Shiva). The sculptures of heroes
of Mahabharata, the Pancha pandavas can be seen in the
Pancha Pandava Mandapam (Hall of Pandavas). The hall also
has four sculptures of Shiva scholars, as well as a statue of
Mahatma Gandhi added in 1923 while the Indians were midst
their independence struggle from the colonial British rule.

 One of the pillared halls in Meenakshi temple.

Kilikoondu Mandapam, also called Sangili mandapam (E), is near
the Meenakshi shrine. The word Kilikondu means "parrot cage",
and in past the parrots kept here were trained to say "Meenakshi".
This pillared hall was completed in 1623 by Muthu Veerappa
Nayakar. The cages were later removed. In contemporary times,
girls perform the kolattam dance, a type of stick dance that
involves acrobatics and forming chains with long ropes hanging
from the ceiling, which is why it is called sangili. These dances
celebrate Hindu festival days.The Kilikoondu Mandapam is
notable for its sculpture of characters from the Mahabharata, a
Hindu epic. It also has a yali sculpture on a pillar, inside whose
mouth is carved a stone ball that freely rotates.
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 The Kambatadi Mandapam ("Hall of temple tree") with its
seated Nandi (sacred bull) has various manifestations of Shiva
carved and also contains the famous "Marriage of Meenakshi"
sculpture. Other sculptures here include those Shiva and Kali
in a dance competition, a golden flagstaff, Durga as Siddar.
 The Vira vasantha raya mandapam (R) is to the south of the
1000-pillar mandapam, and was completed in 1611 by Muthu
Veerappa Nayakar I.It contains a Nandi facing the main
Sundaresvara sanctum. To the south of this hall is the kalyana
mandapam, or wedding hall. It is here that the marriage of
Shiva and Parvati is celebrated every year during the Chithirai
festival which falls sometime in or abouts April.
 The Pudu Mandapa is outside the east gate of the Minakshi
temple at Madurai, by Thomas Daniell
Pudumandapam, also called Vasantha mandapam (bottom of
plan) was completed by Thirumalai Nayak in the 17th century. It is
in front of the eastern tower, outside the current walled complex. It
leads to the unfinished Eastern gopuram. It has 124 pillars, each
with intricately carved sculptures of Meenakshi's wedding to
Shiva, Kali, Nataraja, Surya, Chandra as well as common life
scenes such as elephants eating sugarcane stalks are found in
this mandapam. Its popularity led to shopkeepers occupying the
pillared hall, some of which hide or make a complete view of the
sculpture difficult.
 Golu mandapam was built by Thittiyappa Chetti, a common
man, in 1565 during the rule of Krishnappa Nayakkar. This
mandapam is used during the Navaratri festival every year
when goddess Meenakshi is decorated like a golu doll, in nine
different forms on each of the nine days of the autumn festival.
1,000 pillar hall lit up
The thousand-pillared hall
A sculpture in the pilgrim pillared hall
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Every pillar is carved with religious or secular sculpture
The Thousand-Pillared Hall (Q) contains 985 (instead of 1000)
carved pillars, with two shrines occupying the space of the
remaining 15. The hall was built by Ariyanatha Mudaliar in 1569
and blends engineering skill and artistic vision. Ariyanatha
Mudaliar was prime minister and general of Viswanatha Nayaka,
the first Nayaka of Madurai (1559–1600). At the entrance of the
hall is the statue of Ariyanatha Mudaliar seated on a horse-back,
flanking one side of the entrance to the temple. Each pillar in the
hall is a carved sculpture. The more prominent among the carved
figures are those of Rati (wife of Kama), Karthikeya, Ganesha,
Shiva as a wandering mendicant. The Meenakshi Nayakkar
Mandapam ("Hall of 1000 pillars") has two rows of pillars carved
with images of yali (mythological beast with body of lion and head
of an elephant). It is situated to the north of Sundareswarar flag
staff hall.[68] There is a Temple Art Museum in the hall where
icons, photographs, drawings, and other exhibits of the temple are
displayed.[68] Just outside this hall, towards the west, are the
Musical Pillars. Each pillar, when struck, produces a different
musical note.

RELIGIOUS IMPORTANCE
Two principal sanctuaries (accessible only by Hindus) sit at the
center of the temple complex: one dedicated to Meenakshi (who
is considered a manifestation of the goddess Parvati), and
another dedicated to Sundareshwara or “Beautiful Lord” (a form of
the god Shiva). A gold , visible only from a high vantage point,
caps each of these sanctuaries. Fronting each sanctuary is a
mandapa (a pillared, porch-like structure) that pilgrims pass
through as they make their way to the garbagriha (the innermost
sacred areas of the sanctuary).
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Each Friday evening, sculpted figures of Meenakshi and
Sundareshwara are placed upon a swing in the temple and gently
rocked in imitation of a romantic interlude, and each spring they
are celebrated in a massive multi-day festival.At the south end of
the complex is the Golden Lily Tank, which is used by believers
for ritual bathing before they enter the sanctuaries of Meenakshi
and Sundareshwara. The northeast corner of the complex is
occupied by the Thousand Pillar Hall, a vast, ornate mandapa.
Although there are actually only 985 pillars, the effect is
impressive, with most of the stone pillars carved in high or low
depicting gods, demons, and divine animals. Originally this space
was likely used for religious dancing and musical performances
as well as a place to gain an audience with the king. Today the
Thousand Pillar Hall functions primarily as a museum, with
exhibitions of bronze sculptures, paintings, and objects from the
temple’s history.

The heart of Madurai

The Meenakshi Temple is in many ways a microcosm of the

earthly and spiritual characteristics of Hindu India. It is bustling,
crowded, and filled with people from all walks of life. As is true for
many Hindu temples, one can find many small shops throughout
the Meenakshi temple complex, selling fruits and flowers for
offerings, guidebooks, small votive sculptures, jewelry,
commemorative t-shirts, and other souvenirs.The temple’s
shrines, pillars, sculptures, and paintings are populated with a
dazzling quantity of divine beings who engage in various
activities, can manifest in multiple guises and places
simultaneously, and are subject to dissolution and rebirth. On the
famous gopuras, figures of gods and goddesses are repeated as
though reincarnated many times over as they rise towards the

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heavens, symbolically preventing the defilements of the everyday
world from polluting the sacred spaces within.

The Meenakshi Temple is the physical center of the city of

Madurai as well as its economic, mythical, and spiritual heart. Its
importance radiates outward from the central shines through
Madurai to the entire Tamil-speaking region in south India, and
beyond

Major Festivals

The Thirukalyanam [divine wedding] during the Chithirai

Brahmotsavam is the most celebrated festival at the Meenakshi
Temple Madurai. A throng of people, likely millions gather during
this occasion to watch the holy marriage of their beloved
Meenakshi Devi and Lord Sundareswarar. Navarathri festival
during September – October is also a great spiritual gathering of
the temple which is second in importance next to the
Thirukalyanam. Avani Moolam Festival during August-
September, the Masi Mandala Utsavam during February – March
are the other major festivals of the Madurai Meenakshi Amman
Temple.

TEMPLE TIMINGS

The temple is open for devotees from

9:00 am to 7:00 pm

ROLE IN TOURISM
Madurai Meenakshi Amman Temple, the most revered heritage
site and spiritual retreat in Tamil Nadu, moreover it is the face of
Tamil Nadu Tourism. The temple has a magnificent charm of its
own which captivates every visitor who visits to experience the
splendour of this huge pilgrim center. The presiding deity of the
temple is Goddess Meenakshi [Parvathy] and her consort Lord
Shiva worshipped as Lord Sundareswarar. As per the statistical
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data collected, likely 15,000 devotees visit this holy temple every
day, and during the "Thirukalyanam" festival which is the most
auspicious occasion of the Madurai Meenakshi Temple, it attracts
more than a million visitors. It was a nominee for the "New Seven
Wonders of The World".

CONCLUSION
Meenakshi temple is one of the most famous temples of South
India. It is built in the Dravidian style. The temple houses the
wife of Lord Shiva, Meenakshi (fish-eyed). The temple is a
double shrine, one dedicated to Meenakshi and the other to her
consort, built inside a larger shrine.
The main temple is enclosed in a wall about 850 feet by 725
feet and at the centre of each wall is a Gopuram (pyramidical
structure built over the gare.vay) which is a distinctive feature of
Dravidian temple architecture.
The main entrance is by the eastern gateway which
communicates with a fine pillared avenue 200 feet long and
about 100 feet wide.
This leads directly to a smaller Gopuram, forming the eastern
entrance to the second Prakarma, a rectangular enclosure of
about 420 feet x 310 feet also having 4 gateways one in the
middle of each side but all smaller than the preceding.
BIBILIOGRAPHY

https://en.wikipedia.org/wiki/Meenakshi_Temple

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https://www.khanacademy.org/humanities/art-asia/south-asia/x97ec695a:1500-1850-deccan-south/
a/the-meenakshi-temple-at-madurai

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