About 13 km from Tirunelveli lies Krishnapuram, a historically significant village home to a magnificent temple dedicated to Venkatachalapati. Traditionally, it is believed that those unable to visit the famous Tirupati temple can instead offer their prayers here at this 16th-century shrine.
While it is customary to first discuss the temple’s deity, architecture, history, and legends before delving into its sculptures, the true highlight of this grand structure is its breathtaking, life-sized sculptures from the Nayaka period. These sculptures are so astonishingly lifelike and intricate that one could spend an entire month revisiting the temple just to admire their beauty. Words cannot do justice to their craftsmanship. Since photography is not permitted, experiencing them in person becomes even more special.
As my primary focus is to provide a detailed account of these sculptures, I will depart from tradition and begin with them before covering other aspects of the temple.
Upon entering through the gopuram, to the right (on the northern side), stands the imposing Veerappa Nayakka Mandapa. This hall features six rows of pillars, with the six front pillars adorned with exquisite, life-sized sculptures.
This is the second article in my series. In my previous piece, I described the first sculpture—positioned at the eastern end and facing south—a striking Kurathi. Now, let’s explore the second pillar from the eastern end.
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This sculpture portrays a tall, graceful tribal woman (Kurathi) with striking features—sharp nose, large expressive eyes, well-defined eyebrows, and full lips. She wears large circular earrings but minimal jewelry, emphasizing her natural beauty. Her slender waist and small abdomen contrast elegantly with her sharp, well-defined breasts.
She stands in a dynamic tribhanga (triple-bend) posture, lending rhythm and grace to her stance. Her left leg is slightly bent and positioned forward, suggesting movement. Her left arm is raised, supporting a male warrior seated on her shoulders, while her right arm is bent at the elbow, holding a parrot.
She wears a richly detailed lower garment (antariya) secured with a knotted belt adorned with beaded decorations. Heavy kāṭihāra (waist ornaments) drape across her hips, while multiple layers of hāras (necklaces) and granthīs (torques) adorn her chest. Her wrists and arms are decorated with thick vaḍyāvalayas (armlets) and keyūras (bracelets). The intricate craftsmanship is particularly evident in the gap between her body and the hanging ornament below her hip.
Seated on her shoulders is a warrior or prince, his legs bent at the knees. He holds a sword in his right hand and sports a mustache, though he is much smaller in stature compared to the Kurathi. His left hand rests on his hip in a commanding pose. He wears a dhoti-style garment with a decorative waistband, while his upper body is adorned with a yajnopavīta (sacred thread) and mālās (garlands). Heavy anklets and wristbands signify his warrior status, and his head is adorned with a kirita-mukuta.
This motif, depicting a Kurathi kidnapping a prince, is a common theme in Nayaka-era temples across the Tirunelveli region.
On the south-facing side of the same pillar, a kneeling male figure supports the weight of a horse above him. His head is slightly tilted forward, suggesting a submissive or burdened role. With his hands placed on the ground, he appears to be physically bearing the load, possibly symbolizing a defeated enemy. Above him, a warrior with a mustache rides a horse, which raises its front legs in a dynamic pose.
On the north-facing side of the pillar, a stunning female figure, a companion of the Kurathi, is seated on a mythical swan (called Annam in Tamil). Her head is tilted backward, and her right arm is elegantly raised to touch her head, exuding grace and poise.
Adjacent to this, another beautiful lady sits with her legs folded. She extends her arm towards a kneeling woman, seemingly engaged in fortune-telling—referred to as kuri sollal in Tamil.
Happy travelling.
This is Part 2 of the series of articles on Krishnapuram Temple. If you are interested to read the earlier parts of the series, click the links below.
Part 1