Parasurameswarar Temple, Gudimallam – The Temple

Parasurameswarar Temple, Gudimallam – The Temple

The Sanctum Sanctorum is at a lower level and the two mandapas in front are at an elevated level. The entrance gopuram has a flat roof and the Temple stands in a vast area. The prime sanctum is built with brick super-structure (Hara, Griva and Shikara) studded with stucco images and the granite substructure (from adhishtana to prastara) and the plinth of the vimana has prativaribanda adhishtana with the components of upana, jagadi, vritta (round) kumuda mouldings. The external walls are segmented by pilasters and carry niches housing the images of Ganesha, Vishnu and Brahma.  

The upper tala (storey) built with brick and lime mortar carries hara with apsidal sala shikara. Three metal stupis (finials) crowning the shikara of the vimana. The vimana over prime sanctum has an apsidal shape i.e., Gajabrushta vimana meaning 'back of an elephant' due to its structural design. The apsidal vimana of Parasurameswarar is hollow inside and the vimana is named as Lingakriti vimana since the elevation of the vimana resembles the shape of the Shiva Lingam. 

The sanctum has a false ceiling over wooden joists. Gajabrushta vimanas, in general can be seen in many Chola built temples around Chennai and its suburbs. This east facing sanctum is enclosed all around externally by a peristylar cloister and the entrance to the sanctum is through the south side of the Mahamandapam. The semicircular shrine is a clear feature of the influx of Buddhist architecture into Hindu ones, as was common in the period.

The low railing surrounding the idol has floral patterns typical of Buddhist and Jain architecture. It is believed that the bana and the peeta were under the tree. Successive rulers i.e., Pallavas, Cholas, Banas and Vijayanagara kings augmented the structures. The apsidal shaped sanctum could be the most ancient part of this temple since sanctum flooring is much lower than the floorings of antarala and mukhamandapam.  

Shiva Lingam:

The prime deity seven-sided monolithic Shiva Lingam (Savedika Linga), measuring about five feet (1.35 meter) in height and one feet in diameter is housed in the prime sanctum. The Shiva Lingam is believed to be the manifestation of the Hindu Trinity; Brahma manifests at the bottom; Vishnu at the mid-part and Shiva on top. The Shiva Lingam depicts the tall and wide bana. The Linga is openly set up within the square base. The square base is surrounded by a low three barred railings on slabs and the top railings found damaged and now replaced with new slabs during renovation.

The bana and the peeta alone are considered as the most ancient form and all the remaining structural augmentations are later additions by rulers of various dynasties. It is interesting to find a deep slanting groove cut about one floor from top of the bana. Within the groove the sculptors have carefully sculpted the high relief image of a hunter. The hunter exhibits perfect anatomical proportions and his torso resembles the shape of a bull's head. The image is well built with broad shoulders, narrow hips, tight buttocks and toned abdominal muscles. He is radiating an abundance of vitality and energy.

The hunter stands in sthanaka posture and spreading his legs wide apart and his feet are firmly planted on the shoulders of Amarapurusha (crouching dwarf Yaksha). His face is peaceful and serene, if not smiling. The two-armed idol exhibits both hands keep hanging loosely. His right hand holds the dead goat by the hind legs and his left hand also holds a globular pot and it also clutches the long thick battle axe (Parasu) at its handle. The fierce weapon also rests on his left shoulder. According to some scholars the image of the hunter represents 'Vedic and proto puranic concepts of Rudra.' 

His hair is arranged like jatabhara 'burden of braids' characterized by large number of penitential plaits worn in a bunch. His elongated ear-lobes wear heavier ring shaped kundalas. Elongated ear lobes have become a sign of power, nobility and wealth. His neck is adorned with sarapali (most elaborate neck jewelry) around his neck; armlets with keyura / tholvalai (ornament around arms) on his shoulder-arms; elbow with kangana (elbow jewelry - bracelets of beads on each wrist (thick usually 3 – 5 strings) on his elbow; wrists with kataka Valai / bangles in the wrists; rib cage with udarabandha - broad ornamental belt below the ribs; and thin garment worn around the waist are generously pleated and also wears beaded katibandha (hip belt) around the waist. Unusually the hunter has no yajnopavita. 

The Amarapurusha seen seated on his knee and his body appear shrunken. His face show tight teethes - maybe he is finding it difficult to balance the weight of the super Lord. His ears appear like leaves. Some of the Copper coins obtained at Ujjain and belonging to the 3rd century of BC. contain figures which resemble the Linga of Gudimallam. A 1st century sculpture in the Mathura Museum also contains a figure resembling the Gudimallam Shiva Linga. J.N. Banerjee in his work " Religion in art and archaeology" observes: "The Lingam in Arghya motif was comparatively late phase. In the course of its conventionalization and development, the Arghya was supposed to symbolize the female part and it was described, in many late texts of a tantric character.

But originally in comparatively early times, the emblems of the male and the female deities were worshiped separately, as the earliest specimens of the Phallus and ring stone testify. The Gudimallam Shiva Linga or for that matter the Shivalingas of the Pre-Gupta and the early Gupta periods did not show any real base in the shape of the latter characterization of the Arghya or pita. Even in latter representations of the emblem, the projecting section of the Pita really served the very useful purpose of draining off the water profusely poured on the top of the Shiva Linga to some distance from its base.

This statement needs revision, for it is evident from the recent excavations conducted by the Archaeological survey of India, South eastern Circle of Hyderabad, clearly revealed that Gudimallam Linga was originally provided with a pedestal." Gudimallam Linga combines several later aspects of Siva; for example, the God's eyes focusing on the tip of his nose indicates the Virupaksha and Yoga-Dakshinamurthy aspects of later years. The holding of a ram in his right hand indicates the Bhikshatana Murthi aspect of Siva.

Falling of Sun Rays on top of Lingam:

There is yet another remarkable feature of the temple. The rising sun’s rays pass through the grills carved on the stone walls twice a year during the solstices (Utharayana and Dakshinayana) and fall directly on the forehead of the main Shiva Lingam. 

Mysterious Event of Flooding of the Sanctum:

A mysterious event associated with the temple is that of the main chamber getting flooded every sixty years. A small underground tank and a duct connecting the tank to the Shiva lingam can be seen even today. These remain stone dry except during the 60-year phenomenon when water suddenly gushes through with such force that it rises over the column of the lingam, flows over the top and subsides as suddenly. The last time this happened was on December 4, 2005.

It has been recorded in the temple register. This episode lasted just a few minutes. The water then fell and remained at six inches for four hours, after which it disappeared as though it was never there. Elders of this village said that similar phenomenon had happened in 1945. The water table in the area is at a depth of 300-350 feet, so there is no tangible explanation for the phenomenon. Devotees believe that the water comes all the way from Kashi to do Abhishekam to the lingam. 

Other Shrines:

A separate shrine for goddess Anandvalli is located at north west corner of the temple. Another notable shrine in the Temple premises is the shrine for Lord Murugan. He is six faces and gracing the devotees with his consorts Valli and Deivanai. There is an exclusive shrine for Lord Surya in the Temple premises. The idol of Lord Surya is exquisitely carved. The sun god is shown standing erect with a flower in each hand, one of the earliest known depictions, comparable to the temples at Konark and Arasavalli in Srikakulam district.