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.
The area around the Ramanathaswamy temple in Rameswaram is full of shops, and some of them are open fairly late at night. I liked roaming these streets trying to take photos of people going about their lives. It is amazing to think that in the 7th century CE the Skanda Purana listed the temple and the Agni Teertham ghat nearby as holy places which one should go to. The island would have been a couple of kilometers out to sea. Getting here would not be as simple as it is today.
Traditional brass work
Agni Teertham has been a draw since the 7th century
Flowers being sold inside the Ramanathaswamy temple
Roadside shelter for pilgrims
Waiting for the last customers
A small shrine outside Ramanathaswamy temple
He sells sea shells
The temple of Rameswaram has grown in the last 14 centuries. I counted three layers of corridors around the central shiva linga. The outermost was created about three centuries ago. By the looks of the sculptures on the next corridor in, it must have been made about a millennium ago. Life around the temple would have been recognizably similar through these centuries. Shops would have sold flowers for pujas, others would have keepsakes. Electricity came in the last century or slightly more, before that there would have been oil lamps. The shops would have huddled as close to the temple as possible. It was interesting to walk here at night trying to imagine how the place could have looked a thousand years ago.
We reached Rameswaram later than we’d expected. It was fairly dark, and the market around the Ramanathaswamy temple was clearly shutting down. On the other hand, it was the first day of the Ganapati festival, and there were pockets of crowds. We checked in to our hotel, and were out in no time for a circumambulation of the temple. The highest towers of south Indian temples are the entrance gates, gopuram. In the featured photo you see our first view of the temple: the north gate at night. We walked eastwards, towards the sea. Since the east gate is the most auspicious entrance, if there was any activity at this time, we expected it to be there.
We saw little. The bazaar was almost closed. I talked to the security at the gate about what I could take in (almost nothing) and turned to go when a well-decorated elephant slipped by. It was over before I could take a photo. But behind it was a long procession. A nadaswaram started up as the procession neared the gate, along with its accompanying drums. A crowd of umbrellas was advancing towards me down the street. I hadn’t expected anything as interesting as this!
The musicians and umbrella bearers took up position at the entrance, and I had a clear view of the center of the procession. The movement halted for a while, and I had a good view of the main attraction. This was an idol of Ganesha mounted on an enormous lion. The idol seemed to be made of copper, and the lion was probably made of brass. Although the mouse is most often shown as Ganesha’s vahana, a lion is also canonical. He is said to have inherited it from his mother, Parvati. But this is uncommon enough that this was the first time I’d seen this representation.
A crowd had gathered to watch the procession. I saw many other cameras out. The Family had taken up position across the road from me. This turned out to be a better place to take photos from, since she had the light at her back. The photos she took with her mobile phone were sharper than mine, for example that of the priest as he enters the temple (above). I was closer to the action, but shooting against the light.
Finally the attendants positioned the cart so that the wheels could turn in the right direction, and smoothly and without fuss the procession turned into the famous east-west corridor of the temple. Since photography is prohibited inside, this was one of the few opportunities I had to take photos of the corridor. We were happy that instead of flopping into bed we’d counted on Ganesh chaturthi being a special event and come out for a walk.