Rameswaram is a temple town, centered on the ancient temple of Ramanathaswamy, which is another name for Shiva. Every few centuries a layer of gopura (gates) was added to the core temple with the shiva lingas. No cameras are allowed inside. We walked through the famous corridors, gaping at the long painted outermost corridor lined with statues. Then we passed into the next circle; no plaster and colour here, only finely carved stone. The carvings were finest and most exuberant in the innermost layer.
Later in the day I was at the western gopuram while the setting sun shone on it. This was a wonderful sight, I thought, as I took the featured photo. In this wonderful light I could zoom in on the clay idols which decorate the gopuram. At the top is a gigantic representation of the mythical Makara. This recurs in the rest of the structure as well. But the different layers of the structure contain well-modeled human figures. I could see elements of the Ramayana depicted here. The uniform golden colour of the gates of this temple are unusual.
This style of decoration is followed in smaller temples. At the edge of Rameswaram town, on the way to Dhanushkodi, we saw a temple to Nayaki Amman. The gate was simple: two pillars with a beam laid across it. This is a modern temple, so the gate was made of concrete, with baked clay idols put over it as decoration. The bright colours are characteristic of south Indian temples. The female figures on the pillars are modelled pretty well, although I found it difficult to tell because of the foreshortening. The figures over the beam are less well done.
On the way to the Pamban bridge I saw this lonely but bright temple on the sea side. In the bright sulight it looked like it could have been the subject of a painting by an Indian De Chirico. Coming closer, I realized that it was a temple for Kali. I’d begun to recognize the red and white stripes as a sign denoting a temple. There was no one around, except a person who tried to sell us sliced fruit.
The clay figures decorating the spire above the temple were clearly the work of an amateur. Parvati, Ganesha and Murugan were done fairly well for an amateur. They stand in wooden poses, but are not misshapen. The lions, on the other hand, are clearly done by an artist who has never seen the animal. I would see such extremes in temples through the rest of the trip. As always, the quality of the work depends on whether you are able to pay for the services of a good artisan.