Chitra Sabha — great Hall of Murals

Sculptures, paintings and figurines in the Chitra Sabha depict the Tandava murti

CHENNAI : TAMIL NADU : 15/12/2012 : Nandini Ramani, Bharathnatyam Exponent. Photo : N.Sridharan

Among the Great Divine Halls (Ambalams) associated with Lord Siva-Nataraja, two are situated in the environs of the sacred Tamiraparani. The Taamra Sabha, representing the Tureeya force or the Sahasraara Chakra of the Soul is enshrined in the divine exquisite precincts of the Kantimati-Nelliappar temple. The Chitra Sabha — Hall of Pictures — is situated in the beautiful surroundings of Tirukkutraaleeswarar -Kuzhalvaymozhi Ammai temple in Kutralam. Both these spaces are replete with exquisite sculptures, murals, paintings and wooden figurines, most of them depicting Siva-Nataraja as Tandava Murti, in His other manifestations as Tripura Tandavamurti, forms of Sri Dakshinamurti and so on.

A famous painting in Chithira Sabha at Courtallam. Photo: The Hindu Archives

The Chitra Sabha is associated with Sage Agastya who witnessed here the divine wedding of Siva-Parvati, after being sent by the Lord Himself to the Podigai hills from Mount Kailash, the actual venue of the divine wedding. The Chitra Sabha is celebrated in the song ‘Sankara Sri Giri’ (Nrtta Viraajita Chitra Sabha me) of the royal composer Swati Tirunal.

‘Vaanarangal Kani Koduttu…’ sang Tirikoota Rasapakkavirayar, in his Tirukkutrala Kuravanji, extolling the exquisite beauty of Nature and adds ‘Sutrada oor Thorum Sutra Vendam Pulaveer! Kutralam Endru Oru Kaal Koorinaal” (mention once the name of Kutralam, your search ends there, oh! poets); his unique blend of philosophy and Nature’s beauty comes out beautifully in ‘Odakkaanbathu Poompunal Vellam, Odunkakkaanbathu Yogiyar Ullam!” while admiring the fresh flow of expansive waters and its impact on the minds of the saints who withdraw themselves into yogic practice.

Lilting lyric

The holy waters of Tamiraparani used for the 1000-kalasa ablution with sankha (conch) and recitation of the 108 names (Sankhadyashtottara Sahasra Kalasaabhishekaa modam), which creates joy for Devi Kantimati, is embedded in the lilting lyric of the Samashti Charana kriti with a majestic Madhyama Kala sahitya, ‘Sri Kantimatim’ (Hemavati) of Sri Muthuswami Dikshitar, who addresses, ‘Sankara Yuvatee’ (the goddess) as ‘Suddha Tamraparnee Tata Sthitaam’. ‘Salivateesvaram,’ and Sri Lakshmi Varaham’ are some of the other compositions of Dikshitar with references to the gods residing on the banks of Tamiraparani.