Tamirabarani Run

 A brief  log of a three-day trip along the banks of the River Thamirabarani  (Taamraparni) , in Tirunelveli district , Tamil Nadu ( March 2024), sampling random temples to get an idea of the unique culture of the land where Pandya, Chola , Chera and Nayaka influences were intermingled . 

THAMIRABARANI  has a lot of historical , spiritual, cultural and emotional significance to the Tamils in general and to the people of the region in particular.  A  "lifeblood " kind of thing . It even has its own mythology in  "Thamraparni Mahatmyam".

Geography : It originates in the  southern part of  Sahyadris (Western Ghats) , in the Pothigai Malai hillrange ( aka Agasthyarmalai) , runs about 120kms and empties into The Gulf Of Mannar  (a bay in Indian Ocean around Lakshadweep ) . 

Name : Tamira - Parni translates to Copper Leaves .  Visualising a sparkling river sprinkled generously with  shiny russet leaves , swishing along  emerald valleys?......but no , cannot see a single  brown leaf sailing , not even a distant tree in Fall Colors ! ....no  Sangham poems singing of  such a scene. either  In our Nadu , dry leaves just fall , splashing no color. 

But wait , i hear that the aforesaid Mahatmyam packs in a legend to fit , afterall :

 ' A string of Red Lotus flowers that Agasthya was wearing while at Pothigai Hills transformed into a damsel who, out of love of Shiva, flowed as a river down the hills to enrich the land.' Some allied color....OK !

A school of scholars , however, summarily  dismiss all talk of  Copper Leaves and Lotus Petal Females and assert that the name Tamraparni comes from unfortunate corruption of language down the ages, the original , documented name being "Tan Porunai"....To add to the clunk, SriLanka used to be called Tambapanni ( Tamraparni) in Pali Texts , though our river does not even touch good old Ceylon .

BTW, some "new research" is saying the water of this river is rich in Copper ! 

Korkai of The Pandyas, the port once famed beyond the seas , in all Yavana countries  (Greek, Roman, Persian, who-ever-else-traded) for the wealth of Pearls it exported , was located at the point where Tamirabarani met the Gulf....Korkai is somewhere near present day Thoothukkudi. 

History  : Tamirabarani land , especially Nellai Cheemai ( Tirunelveli District) is inextricably linked with Pandya history . Pandyas , who unfortunately don't get as much fanfare as The Cholas in history books or popular culture, are in fact India's ( perhaps the World's) longest reigning Dynasty - 1000 whole years ! Pearls from Pandya Land are mentioned in the Ramayana itself. The Pandyas have contributed immensely to the region's culture and economy . Even after getting subsumed by Chola might, they continued to nurture their land  as Chola-Pandyas . Much Later, the region prospered well under the Nayakas of Madurai and Tirunelveli. All the shrines around here bear indelible marks of the immense architectural and cultural contributions made by these Nayakas.  

The sparkling Tamirabarani  flows and flows and flows, the only perennial river of Tamil Nadu , paying homage to a vast collection of temples along its banks. Scores and dozens of them ! Categorised by the pious into Sets  of Tirupathis , Kailasams, Samudrams, Veerattanams, Krosas , Asanasthalas and the like.

 The Gods must really love this territory !.....and why wouldn't they !

Driving towards CHERANMAHADEVI from the base ,Tirunelveli,  is like entering a Picture Postcard . Only a fable-book illustrator can come up with such shimmering quilts of greens, alternating with  banana patches , hemmed in by lines of tall coconut palms disappearing into a backdrop of  undulating  mountains ranged against bright opaline blue skies . Pinch me ! 

The ooohs,  aaahs and clicking don't fail to please the big teddy-bear of a Cabman. He promptly produces his mobile to show a screenshot of Google Maps where some smitten local has labelled this road "Cinema Shooting Highway" . 

" 80% of Tamil cinema songs that eulogise village life are shot here ." He says proudly , reeling off movie names , snatches of lyrics and  trivia about random actors. 

If Cheranmahadevi sounds like a lady's name , it is. The region reportedly came as a gift in  the trousseau of a royal Chera bride.  Chera, as in Kerala ?  Yes, stretch your hand, there lies  Kerala  just beyond those hill ! So close , you can shop in another State and be back home for lunch ! The Tamil spoken here too  bears a lot of Malayalam garnishes . 

This region is situated exactly on the historical trade route between coastal Kerala and the Tamil hinterland and has been enriched by longtime trade and cultural exchanges . A  strategically important place.  Our Raja Raja Cholan, when still a prince, took this route to enter his pet hate : Kerala . On his victorious return after pounding the Chera land , he built some pretty temples here as thanksgiving  for earning the (self bestowed) title :  Keralantaka. 

As the road winds through the Picture Postcard , Temple Gopurams, big and small, old and new, pop up from the fields at regular -and short- intervals. So, so many ! 

Also appearing at regular intervals are curious looking pyramidal masonry structures , not more than 2 or 3 feet high . Mostly plain lime washed , some with a figure painted on one side. Some with drawings of the Mariamman face . Mostly abutting fields, in waste patches. My instinctive deduction is , they are memorials to the dead, modern Nadukkals . A travel companion asserts they must be  shrines to Village Guardian Deities. 

'Will ask the driver at the next stopping.' Many stoppings through the day . Ended up never asking . Too much distraction at each stop, at each temple , at each lunch break and the rumble tumble through dirt tracks between each.......

RAMASWAMI TEMPLE , Cheranmahadevi : has an architecturen, not native to this region,  seen more in Pallava territory. The temple is three storied (ashtanga vimanam), enshrining Vishnu in all  His three  postures : Standing/Ninra- , Seated/Iruntha- and Reclining/Kidantha- (-kolams) , one at each level. All  the three presiding icons  - AdiNarayana(standing), VeetrirunthaPerumal(seated) and Tirupaarkadalnathan(reclining) - are stucco images , so ablutions are offered only to the Utsava-murthy who is Ramaswami . A 10th Century inscription calls him Raghava Chakravarthi. How sweet ! Reminded of the "Rama Raja" of Orccha, (M.P.)  

It is commendable that the numerous Inscriptions on the walls of the temple have been spared by  painters  during recent renovation. 10th Cent inscriptions speak of grants for upkeep of pujas, appointment of a watchman by a Merchant Guild ,resolving a case of alleged theft by Priests, creation of the Chaturvedimangalam ( Brahmin settlement) . Of interest is one of 985CE which, in the Meikeerthi ( eulogistic preface), hails RajaRajaCholan's desctruction of Kandalur Chalai and Mandalurchalai , among other conquests, specifically referring to the beheading of  certain inmates there. The accompanying historian's theory is that Merchant Guilds in Chera country were getting too powerful for comfort, controlling economy, operating own mints, maintaining private armies , almost running a parallel government . It was in the interest of  RajaRaja's  dream of Empire building to raze them down at the earliest.  The usage of a strong, violent  word ,"Kalamm-aruttha " in his inscriptions, is significant.  

The most endearing sculpture in this temple is the one on the pillar right at the entrance,  of Rama standing with hand above Hanuman's head and Hanu  in a gesture of deep reverence,  slightly bowed ,with hand over mouth , listening in rapt attention . Very natural . 

APPAN VENKATACHALAPATHY TEMPLE , lying about a kilometer away , is interesting for more than one reason. Primary reason is that it is neither a Chola nor a Pandya construction , but Chera . 

Reason two : "Milagu Rasam" ( pepper rasam) is a votive offering ! 

It had remained abandoned for 50 years  and was renovated and re-opened only about a decade ago. Apparently, the Travancore Royal Family of Kerala has had a long connection with this small temple and the rededication of the renovated temple was also held in presence of a scion of that Royal Family .

Interesting to learn that traditionally , Vishnu Perumals of  south are always referred to by one of  these three monikers only : Arangan , Appan and Azhagan . 

This Appan's shrine is not all that grand , a  modest affair built with access to the terrace. But its importance lies in the wealth of epigraphic records on its walls , close to 60 , dating from 12th Cent ( Kulasekhara Pandyan I ) A majority are grants made for the upkeep of the temple and for daily offerings. Some refer to the creation of Tax Free holdings ( Chaturvedimangalams) .One  tax-free grant provides for the maintenance of a Matha and a school for teaching  Vedas & Shastras. Such instituitions were called Saraswathi Bhandaras . The inscriptions give fascinating insights into the accounting systems of the day as well as measurements like Acchu , Padi , Uzhakku etc. 

A locked room here  bears the name "Kannadiyan Chhatram". Piques interest! Priest says it was an erstwhile inn run for pilgrims from Kannada desam , no longer in use. Kannada pilgrims , so far south ? Apparently, the Hoysalas had spread their footprint far south , even erecting a victory pillar in Rameswaram . They took active role in playing allies to Pandyas and Cholas in different battles. They also often gave grants and repaired temples in lands they moved into. Probably this Chhatram dated from that period. Pertinent to note the presence of a still- in -use "Kannadiyan Kalvaai" ( check dam and canal) across the river not far from here. 

But the local legend of that Canal's origin  is a lot more interesting than the theory of a Hoysala Chief building a public utility. Story goes that 600 years ago , a King of Tiruvananthapuram was advised by astrologers to transfer his accumulated bad karma (Paapam) to a Willing Receiver, in order to be rid of an incurable illness. Who would  willingly receive another person's Paapam? But a Brahmachari from Kannada Desam , shining with accumulated Merits(Punyam) , boldly came forward ! To cut the story very short , the King "donated" his Sins  to the lad, along with gold equal to his own weight as dakshinai. (Hope the King was big made.)  The altruistic lad used  this pile of Gold entirely for public good - creating that Kaalvai  ( earning enough Punyam to cancel the effects of the received sins) The Kannadiya boy's actual name is not recorded , but his good deed  has earned him a place in oral traditions.

The most entertaining part of this folktale deals with the antics of a Voodoo Doll made of Sesame Seeds , the personification of the King's Sins !( too long to recount here) The tale keeps us entertained till  our van reaches the next destination. 

A short distance away , 

BHAKTHAVATSALA PERUMAL TEMPLE .   Rising like a mini fort  from among paddy fields ,with the river running by its backyard. It is dated to 12th Century and claims Pandyas, Cholas and Nayakas as contributors to its architecture. And what an architectural eye candy it is ! The symmetrical lines of pillars, pilasters and adhishtana mouldings that run  vertically and horizontally create a stunning geometry that is as pleasing as an intricate Mandala or fractals. And they say , all they used in those times was a thick thread - no scale , no set squares , no calipers , yet achieved such precision ! And the smooth finish is unbelievable . Almost as if the temple is cast in pewter  ! 

There are no koshta murthis on the outer wall to break the uniformity of the lines , except one small  Yoga Narasimha on the back wall .  

Good to see that the living temple  is also a  protected monument under ASI and so, will not suffer ruin or rogue renovations. The pillared hall has some sculptures , all standard Nayaka ones. Cannot understand why the bas relief panels  of  bejeweled  Nayaka women of this place are repeatedly mentioned as noteworthy , when they are just , well , Standard Nayaka . The presiding Vishnu is an eyeful though . Actually, all presiding Vishnus , everywhere , are. The Alankara priyan ! Here He stands alone without consorts. 

The sun getting sunnier , there's no mood to explore the smaller temple within campus or the Naga stones and Pillaiyars arrayed under a giant peepal tree . But have to oblige the enthusiastic priest .

For  lunch break and some siesta , on  to Kallidaikurchi on the right bank of Tamirabarani . A neat and clean little town with multicolored houses and not a soul to be seen on the road . Such heat ! Place is known for Appalam making. Big cottage industry. Every house seems to make them. We were given to expect seeing traditional methods of making Appalam . Turned out, traditional methods couldn't supply to the demand , so now , everything is mechanised ,going Whirrr ....Whirrr ... dhak...dhak...White rice flour ,like snow drifts, everywhere ......atishoo !

Lunch at a nice traditional homestay . A groggy 40 winks , And, back on the road towards

TIRUPPUDAIMARUTHUR , Ambasamudram Taluk . Where River Ghatana meets Tamirabarani . The breezy, brimming ghat behind the Narumpoonathar temple is a place you can sit in forever , watching fish, birds, clouds and stray pilgrims . 

Its a quiet place except for bird calls . The temple lies within a Bird Conservation Sanctuary where Storks dominate - both native and migratory varieties. Vegetation is so old, thick and tall that it is difficult to spot the birds, except when the occasional one circles the  gopuram. These birds have inviolable Right to Peace ! no fireworks or loud drums during any temple festival , lest the noise scares them away  ! 

Any uncrowded, noise- free temple is Heaven. Can explore at leisure the various pavilions . Corridors . The many Natarajas .  Added bonus , allowed to climb up to the roof of the mahamantapa to view the back of the Gopuram up close and the top of the Vimanas . 

Special feature here are the Murals of Vijayanagara vintage , found on the inner walls of the five tiered gopuram ! Entry by special permit from ASI only . Steps are steep, the narrow  stairway keeps getting narrower at each tier , and no rails to hold on to . But well worth the trouble.  At 5pm , light  is very poor in there , but enough to show the glorious woodwork, reflecting Kerala workmanship,  and the beauty of the restored murals . Each wall / panel has a different theme . The lines, the colors, the garment and border designs ....somewhat Lepakshi, yet quite different. Interestingly , its not just all puranic episodes. There are scenes depicting European horse traders , foreign ships , battle scenes et al !....and then you see modern graffiti  scratched on the wonderful 16th Century paintings ! That was done before the ASI locked up the door of the Gopuram's stairway and got strict about permits. Happy that a treasure house is being safeguarded well. 

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On a trip focused majorly on temple visits, the most frustrating thing can be the Temple Timings. In small towns and villages, these Timings can be very elastic. Except on some Holy days , people hardly visit lesser known temples , however  ancient, grand and beautiful they may be. So the priests have no incentive to keep the temple open after the morning Puja is done. Moreover , in small towns , a single priest officiates at more than two temples and is always in a hurry to finish his rounds and leave - to attend to other businesses . With the pittance they receive as Salary , priests cannot be blamed for multitasking. 

It can get tiresome when the Cabman keeps reminding that the next-on-list temple will close in 20 mins, so hurry please ! When all you have covered in the present place is one and a half pavilions ! There's no fun in just dashing straight to the Sanctum of a temple, hail the lord and dash back to the cab , leaving the wealth of artistry lavished on its walls, pillars, cornices, niches  unsavoured -  and The Doors ! The divine doors !

In this region abutting Kerala , known for its intricate woodwork,  temple doors take the breath away . Gigantic 25ft  high doors , their square panels crammed with intricate carvings, With evenly spaced bronze "lotus bud" fittings that  not  only  add aesthetic value , but, in medieval times, repelled  attacks by charging war elephants . Each door at each temple deserves much  attention and time. 

So too other details like the Yaali friezes , the ornate balustrades, the ceiling bays , Nandis....But hurry , one must , so as not to inconvenience the others . 

Mental Notes to Self  : 'Sampling now . Full feast , on a later trip - ALONE. ' By which time, could have also researched more about each place , so that later , there will be no hand wringing and  crying over missed murthis and unseen corridors.  

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Present at the door of  the temple at MANNARKOIL, near AMBASAMUDRAM ,  even before arrival of the priest . Location :   between Rivers Tamirabharani and Ghatana . Name of temple is Rajagopalaswami- Kulasekhara Perumal Temple. Its common to hyphenate the Devi's name with the Lord's , but here, an Alwar gets the honour , even though there are two Devi-s :Vedavalli and Bhuvanavalli. 

Kulasekhara Peruman was a  Chera king , who sickened of his power, wealth and wars , renounced everything and came here to serve God and attain Mukthi . He is counted as an Alwar  and is honoured with his own Sannidhi ( Sanctum ) here. 

This temple too has the three-tiered Ashtanga Vimana . The top most tier has some fine woodwork toranas. All the other features like life sized figures emerging out of pillars, decorative adhishtana mouldings, inscriptions are note worthy too . But the piece de resistance is the Paramapada Vasal's ( Vaikuntadwara's)  twin doors. With a frame  of dark wood  highlighting the square panels of lighter wood ( Jack or Mango) . The panels are so finely carved  into narratives , as to resemble excellent ivory carvings ! Even the thin stream of water that flows from Vishnu's kamandalam on to Shiva's hand as he gives away Parvathi is so realistically thin and flowing ! Awed . 

Its fortunate that a grill door has been erected in front of this door , else, our garden variety pilgrims , in the name of venerating , could reduce the delicate carvings to splinters. As it is, many icons are missing  a hand, leg or weapon. 

Urgent calls from the Priest of TIRUVALEESWARAM to one of  the group ( who had requested in advance to keep the Temple open for us) prompt us to bid bye to Rajagopala and  hurtle towards the shrine, somewhere back of beyond ....but sudden stop : the road above the narrow canal has collapsed . Have to plod across rubble on foot , egged on by the swish-swish of breeze through palm fronds .... to an unremarkable masonry tower. 

Once inside , be amazed !  The stone Vimanam is a beauty like none other . 10th Century . One of the very best examples of  medieval Chola art . Though small in size , the vimana is encrusted with many Maheshwara murtis  all around , capped by couchant Nandis in the top tier. Each murti , so perfect , so elegant , so handsome . The temple has its share of round pillars , cute  Nandis, old Saptamatrikas, nice lingam ( Valeeswara)  and such . But who can tear eyes off this Vimanam ! But, again, the priest is waving the bunch of big keys at us........

Head  fairly reeling with the intoxication of so much beauty , we next troop into the temple of Sivasailanathar at SIVASAILAM , a mere 20mins away , near River Ghatana . To be met by the most charming Nandi of these parts ! Cant tell if he is medieval  or modern . The temple does look rebuilt in modern times  though moolavar lingam is "self-manifested". The flooring of the mantapams is Chettinad Athangudi tiles . But did they have to paint the stone pillars ?  Here again, The Doors ! Rich, dark chocolatey in color. With panels having  Kerala-Mural style carvings . Wonderful. But cobwebbed. 

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The last morning is for two very holy , very hoary , much glorified Vishnu kshetrams . 

NANGUNERI is the site for VANAMAMALAI temple , housing Totadri Perumal , a self-manifested Vishnu . While swayambhu lingams are fairly common ( probably because of the very basic shape ) , swayambhu Vishnus are only 8 and this is one of them.  Additionally here , there is a whole host of other "swayambhus" surrounding the main one in the sanctum , 11 in all ! -the Lord, two consorts, Surya , Chandra , Rishis Brighu and Markandeya, apsaras Urvashi and Tilotthama , Garuda and Vishwaksena . 

This DivyaDesam is administered by the Vanamamalai Matham , established in 1447 . Goddess Lakshmi , as Sri Vara Mangai, is regarded here as a daughter of the head of the Matham and during the annual Kalyana Mahotsavam , the Jeeyar plays the role of Father of The Bride . ( Psst : reportedly , all the household articles given as  Seer -varisai (bridal gifts) , from kitchen utensils to baskets to combs , are made of  pure gold . The display can be seen during the annual wedding festival, it seems  ) 

Huge premises with three precincts . Architecture is Pandyan and Nayaka .  So there are those life sized sculptures on pillars , with gym-toned bodies and elaborate head dresses . The Purusha Mriga eluding Bhima seems a favourite theme in this region, found in many temples ; seen here too.   Notable is  the narrow frieze in one of the outer prakarams built in Nayaka times. Like "comic strips" , small and full of detailing. Of interest , too , is a huge deep well where herbal oil from the daily ablution to the presiding deity is collected ( its unusual that Vishnu gets a daily abhishekam ) The oil from the well is sold to pilgrims seeking its curative properties . The oil apparently has been collecting continuously in the well for ages now , but no odour. 

The best feature is the temple's Tank , named "Settruthamarai" by an Alwar. No Thamarais/ Lotus visible  , but the  sheer size of the water body is stunning  ! Like a sea ! Never seen a temple tank this voluminous ! Lovely to watch local kids having fun,  splashing around , with plastic cans fastened to their waist as  improvised buoys ! 

The next stop is TIRUKKURUNGUDI , Temple of  Vishnu as  Vaishnavanambi aka Azhagiya Nambirayar . Sweet name ! A DivyaDesam too. The Kshetram encompasses 5 Nambis . In addition to the Standing, Sitting, Reclining Nambis in the main temple , there's the fourth  called Tiruparkadal Nambi enshrined near the river and a Tirumalai Nambi on a nearby hill. For lack of time , giving the last two a miss. 

The granite compound  encompassing the temple's 18 acres , is Fortress-like . The entrance portal lacks a tower, (Gopuram present in  next precinct)  but the walls are eye-catching for the neat  bas relief sculptures of Shiva Leelas  . Shiva ? Thats right , no squeamish rejection of shaiva icons here . For, within the compound is a sanctum for Shiva , Mahendragirinathar, and a Bhairava sannidhi too ! It is customary for the Head Priest to ask, before performing daily rituals to the presiding Nambi , "Anything  found wanting for our Lord's Friend ?" and the Priest attending to Shiva replies "No wants" . This ritual was probably incorporated to establish goodwill among the two sects , which ,during a particular phase in medieval history ,were at loggerheads with each other. 

The various pavilions inside have awesome sculptures, not only of deities but of common folk like kuravan-kurathi too , almost leaping alive from the pillars. Attention to detailing of attire and accessories is remarkable - in granite ! Nayaka , mostly. 

We are told that two spectacularly operatic  ritual performances, called Arayar Sevai and Kaisiki Natakam originated in this Kshetram . They had faced obscurity by the early 20th Century , but have been revived with gusto in modern times , when traditional Art Forms are being sought out and resuscitated by young and enthusiastic heritage lovers. 

This gorgeous Kshetram , being the  ancestral village of  the  well known industrialist family, TVS,  is getting all the care it deserves. 

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The noon session is dedicated to  TIRUNELVELI Town and environs. The Centerpiece is of course the uber-gorgeous NELLAIAPPAR Temple Complex. Like a whole locality . It has a hoary history and much religious significance . The temple houses the Thamira Sabhai ( Copper Pavilion) , one of The  Pancha Sabhas where Nataraja performed his Cosmic Dance . 

The eastern entrance has that amazing carved wood canopy , so high up , its a strain on the neck to view it continuously . Pilgrim traffic is reasonably good for a  non-holy weekday . But hardly anyone looking up ! Some artisan of old has spent his days sweating over the intricate creation and gone hunchbacked from the effort no doubt . And we dont even give a nod of acknowledgement, for all his pains ? Determined to offset the uncaring public's disrespect , i look up continuously and stare and stare , click and click , when suddenly i realise why the rotund flower seller, sitting in a niche along the walkway under the canopy , is giving me amused looks. Among the rows and rows of tiny carved figures looking down from the canopy , most are .....well, naughty men flaunting  improbably long personal endowments . And  dancing girls making bold ,soliciting gestures. Yikes ! ....but there are very decent horsemen, soldiers, royal women , pregnant lady , jugglers and gypsies too , I need to click them ....let onlookers smirk at a shameless old woman.

Fine woodwork is a specialty of this region , so  influenced by Chera craft in the neighbourhood. Another masterpiece of ( rosewood?) carving is the entire facade of the Dakshinamurthy sannidhi , on the way to the Kanthimathi Amman shrine.  

The corridor leading to the Amman Shrine is full of pillars with those huge mythological figures - Bheema & Prushamriga incl - and a colonnade by a holy tank .

Sculptures in other pavilions of the main wing are peerless . Photography prohibited.

My vote for the most glorious, enchanting, spellbinding sculptures seen during the whole trip is for the set of four  towering giants who guard the main portal of Nellaiappar. The hands that chiseled these were truly powered  by Divinity . Deserve to  be listed among the very  best in India. But  Nellaiappar temple is hardly known outside Tamil Nadu. 

KRISHNAPURAM  Venkatachalapathy  temple ( 16th Century, Nayaka vintage) is also known for its  sculptures of this particular style. Ever since I  first saw line drawings of the Krishnapuram sculptures, by the great artist Sirpi , in a magazine's Deepavali Issue more than 50 years ago , I have been  in love with them . So very different from the Pallava, Chola or Hoysala sculptures one was used to. Making a  pilgrimage to this temple of Art had been  a devout Vow. Now, fulfilled after so many years .... after having relished sculptures of the same style in so many other temples in the preceding days! Not saying Krishnapuram doesn't  impress . But the anticipated breathcatching  has toned down to a 'Wow'. (Krishnapuram temple, 12Kms from town,  too prohibits photography. )

I have decided to stand by my above vote for the Giants of Nellaiappar as the best . 

On the way back to base from Krishnapuram , the Cabbie asks if the District Museum is of any interest . Not really , but why pass it ? 

As expected , the Museum is dingy , dusty and  badly curated . It  is housed in a colonial building where the rebel Oomaithurai was once incarcerated. 

The main hall is  littered with cartons of political propaganda leaflets and buntings. Some ladies, sitting on the floor ,  are busy preparing charts. Have to weave across them to see the few  fine Burial Urns . 

 Its  here , in the Sculpture Garden of the Museum , that I see a Subrahmanya's  hind face, for the very first time ! 

Bidding bye to the fiberglass T.Rex looming above the broken swing  in the kids park section, we leave in a hurry .,,,,,, 

.....Because Iruttu Kadai would've opened , the serpentine line would've formed and the 'fresh-from-oven' stock might run out soon! Hurry hurry ! ....(buying tinned is not a choice for picky connoisseurs.)

Halwa shopping in Iruttu Kadai  is as much a religious activity as visiting Nellaiappar , when in Tirunelveli. The kadai  (shop)is no longer Iruttu (dark) , has some light . A simple  signboard says "Krishna Singh Sweet Stall" , but it is still known as Ituttu Kadai.  In a place so soaked in Tamil Culture , the best known snack is from a shop established by Rajasthani immigrants a century ago. The region , after all ,was  always on a busy  Trade Route , benefitting from exposure to various alien influences. 

But , of all Halwas , why is Iruttu Kadai Halwa so special ? " It keeps good for a whole year , even without vacuum packing or refrigeration " claim the makers , " the secret lies in the way we ferment the Wheat Milk and the magic in  the water of ,,,,,

......THAMIRABARANI !"

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