திருவண்ணாமலையும் நகரத்தார்களின் திருப்பணிகளும்

நினைக்க முக்தி தரும்பரமக்ஷேத்திரமாகிய திருவண்ணாமலை என்பது தன்னையே நினைத்தாலே முக்தி தருவதாகக் தலபுராணங்கள் கூறும் இறையருள் நிறைந்த செம்மையான தலம். பஞ்சபூத ஸ்தலங்களில் அக்னித் தத்துவத்தை வடிக்கின்ற அண்ணமலையார் கோயில், பக்தர்களின் பக்திச் சுவடுகளோடு, சமுகத்தாரின் அற்பணிப்பையும், குறிப்பாக நகரத்தாரின் திருப்பணி மரபையும் பெருமையோடு தாங்கி நிற்கிறது.

திருவண்ணாமலையில் நகரத்தாருக்கென நிர்வகிக்கப்பட்ட ஓயாமடம், சாதுக்கள் மடம், கோட்டையூர் மடம், காரைக்குடியார் மடம் உள்ளிட்ட ஐந்து மடங்கள் நீண்ட காலமாகச் சேவை செய்து வருகின்றன. ஆங்கிலேயர் ஆட்சி செறிவடைந்து, மன்னர் ஆட்சி ஓய்ந்து கொண்டிருந்த 18ம் நூற்றாண்டு பின் நகரத்தார்கள் பெருஞ்செல்வர்களாக உருவெடுத்து திருப்பணிகளில் முன்னணியில் செயல்படத் தொடங்கின

நகரத்தார்கள், உண்டியல் முதல் நகைகள் வரை அணா, பைசா கூட கணக்கோடு,

சிக்கனமாகவும் செம்மையாகவும்

இருந்து, தேவஸ்தானச் செலவுகளை மனவுறுதிகொண்டு மேற்கொண்டனர். வீண் விரயத்தைத் தவிர்க்கும் அவர்களின் நிர்வாகத் திறமை கோயில் வளர்ச்சிக்கு அடித்தளமாயிற்று.

1933ல் அச்சிடப்பட்ட ஒரு ஆவணத்தில் அந்தகால விலைகள் சுவாரஸ்யமாகக் குறிப்படப்பட்டுள்ளது:

ஒரு பவுன் – ரூ. 13

வெள்ளி 100 தோலா – ரூ. 5.40

வைரம் ஒரு காரட் – ரூ. 150

இந்த ஆவணங்கள் 1933ல் அச்சானாலும், திருப்பணிகள் செய்யப்பட்ட காலம் பெரும்பாலும் 1900ம் ஆண்டு சுற்றுப்பகுதி. அந்த நேரத்தில் விலைகள் மேலும் குறைவாக இருந்தன.

கோயில் கட்டிட திருப்பணிகள்

நகரத்தாரால் திருவண்ணாமலையில் மேற்கொள்ளப்பட்ட சில முக்கிய கட்டிடப் பணிகள்:

அண்ணமலையார் மற்றும் அம்பாள் சன்னதிகள்

சிவபெருமான் சன்னதி

அம்பாள் சன்னதி

விநாயகர் சன்னதி

கொடிமர மண்டபம்

துர்கையம்மன் கோயில்

கொலு மண்டபம்

அணியோட்டிகால் பிராகாரங்கள்

இவற்றை கோட்டையூர் அ. க. குடும்பத்தார் மற்றும் நகரத்தார்கள் இணைந்து ரூ. 12,35,00 செலவில் மேற்கொண்டனர்.

ராஜமண்டபம் – ரூ. 50,000

(கடியாபட்டி தீ. சொ. நா., தீ. அ. குடும்பத்தார்)

பிரம்ம தீர்த்தகுளம் – ரூ. 75,000

(கானாடுகாத்தான் ராஜ அண்ணாமலை செட்டியார்)

சிவகங்கை தீர்த்தம் – ரூ. 1,75,000

(கோட்டையூர் க. வீ. அழ. குடும்பத்தார்)

பிராகார தலவரிசைகள் – ரூ. 20,000

(கோட்டையூர் அ. க. அ. மெ. குடும்பத்தார்)

தாமிரத்தகடால் செய்யப்பட்ட கலியாண கொட்டகம் – ரூ. 35,000

(செட்டிநாட்டு பாணியில்; கோட்டையூர் ராம. பெ. நாராயணன் செட்டியார்)

திருவாபரணங்கள் மற்றும் நகைகள்

வைகாசி 30, 1903 அன்று நடைபெற்ற திருக்குடமுழுக்கு பெருவிழாவுக்காக நகரத்தார் பெரும் அளவில் நகைகள் மற்றும் உபகரணங்களை ஈந்தனர் இதில் சில:

கிரீடங்கள் & நகைகள் சிலவற்றின் தொகுப்பு

இரத்தின கிரீடம் – அரிமளம் செ. சித. சிதம்பரம் செட்டியார்

அம்மனுக்கான தனி இரத்தின கிரீடம் – கானாடுகாத்தான் வெ. வீர. வெ. அரு. நாகப்ப செட்டியார்

தங்க நாகாபரணம் – கோட்டையூர் அ. க. அ. மெ. வ. குடும்பத்தார்

வைர நெற்றிப்பட்டம் – கொத்தமங்கலம் ராம. அரு. வெ. பெத்தாச்சி செட்டியார்

சோமாஸ்கந்தருக்கு வைர அபயஹஸ்தம் – கோட்டையூர் பெ. க. அ. சித. வீரப்ப செட்டியார்

தங்கக் கவசங்கள் சிலவற்றின் தொகுப்பு

மூலஸ்தான அம்மனுக்கு – சா. அ. அண்ணாமலை செட்டியார் (கானாடுகாத்தான்)

உற்சவ விநாயகருக்கு – சி. அ. சி. ராம. இராமன் செட்டியார் (கொத்தமங்கலம்)

கம்பத்திளையனார் – தேவகோட்டை எ. பெரிய கரு. சித. சிதம்பரம் 

96 தலைகள் கொண்ட பிரம்ம சரக்கபால மாலை தங்கத்தில் உருவாக்கப்பட்டு, தில்லையைத் தவிர வேறு எங்கும் இல்லாத அபூர்வ வடிவில் திருவண்ணாமலையில் அமைக்கப்பட்டது.

பெரிய வெள்ளி வாகனங்கள் – நகரத்தாரின் பெருமை

நகரத்தார் செய்த வெள்ளிவாகனங்கள் திருவண்ணாமலை கோயில் வரலாற்றின் பொற்காலத்தை பிரதிபலிக்கின்றன இங்கு இதர செலவுகள் குறிப்பிடபடவில்லை சுருக்கமாகவே சிலவற்றை மட்டும் எடுத்து காட்டபட்டுள்ளது.கோட்டையூர் நகரத்தார் தொண்டு அலப்பறியது.

வெள்ளி இந்திர விமானம் – ரூ. 35,000

(பெ. க. அ. சித. வீரப்ப செட்டியார் M.B.E.)

அம்மனுக்கு வெள்ளி சின்ன இந்திர விமானம் – ரூ. 15,000

(அவரது தமக்கை ஸ்ரீமதி வெள்ளியம்மை ஆச்சி)

வாகன கட்டிடம் – ரூ. 7,000

கார்த்திகை உற்சவத்திற்கான வெள்ளி காமதேனு & கற்பகவிருட்ச வாகனங்கள் – ரூ. 60,000

(காரைக்குடி. ஸ்ரீ, முத்து, அரு. வகையறாக்கள்)

வாகன கட்டிடம் – ரூ. 10,000

எலக்ட்ரிக் இஞ்சின் – ரூ. 2,000

வெள்ளி ரிஷப வாகனம் – ரூ. 35,000

(அ. க. அ. மெ. வகையறா; கோட்டையூர்)

வெள்ளி ரதம் – ரூ. 1,25,000

(இராமச்சந்திரபுரம் நீ. சொ. ராமசாமி செட்டியார் முதலியோர்)

வாகன கட்டிடம் – ரூ. 10,000

குதிரை வாகனம் – ரூ. 15,000

(இராவ்பஹதூர் பெ. க. அ. சித. வீரப்ப செட்டியார் முயற்சி)

தங்க மேக்குபோட்ட கிரிவாகனம் – காரைக்குடி சா. நா. சாத்தப்ப செட்டியார்

செட்டிநாடு நகரத்தாரின் ஒற்றை நோக்கம் இந்த அனைத்து நற்பணிகளும் சிதம்பரம், மதுரை, ராமேஸ்வரம் போன்ற பிரமாண்ட ஸ்தலங்களில் செய்ததற்குச் சமமாக திருவண்ணாமலையிலும் நகரத்தார் தங்கள் பங்களிப்பை மகத்தான அளவில் வழங்கியதை காட்டுகின்றன. மொத்தம் தோராயமாக ரூ. 2,53,000 செலவில் பல நகரத்தார் குடும்பங்கள் இணைந்து வெள்ளி வாகனங்கள், மரத்தேர்களின் புதுப்பிப்புகள், நவரத்தின அபரணங்கள், வெள்ளிக் கவசங்கள், அண்டாக்கள், பூசைப் பொருட்கள், எல்லாம் அற்பணிப்பாக வழங்கினர். இங்கு இதில் மரவாகனங்கள், மஞ்சம், வெள்ளி பொருட்கள், பாடசாலை, அபிஷேகம் கட்டளை, பசுமடம், நந்தவனம் பற்றிய தகவல்கள் இணைக்கப்படவில்லை.

இந்த பதிவின் நோக்கம்

நகரத்தார் செய்த பெரும் திருப்பணிகள், இன்றைய இளைய தலைமுறைக்கு மறக்கமறக்க நினைவூட்டப்பட வேண்டும் என்பதே.அன்றைய நகரத்தார்களின் பக்தி, பொறுப்பு, தாராள மனம், மற்றும் ஆலய வளர்ச்சியில் செய்த பங்களிப்புகள் திருவண்ணாமலையின் ஒளியில் என்றென்றும் பிரகாசிக்கும்.

– Ramu.Rm.N

Adukku Pathakkm

The Adukku Pathakkam is a distinctive layered necklace in Tamil jewellery tradition, known for its stacked arrangement of pendants that gradually increase in size from top to bottom. Made mostly in gold and featuring a variety of motif patterns, floral designs, and temple-inspired elements, it reflects both artistic beauty and deep cultural meaning. The use of this ornament can be traced back to the Nayaka period, where many sculptures clearly depict its form and structure. In the collage mentioned here, the sculpture of Manikavasagar from Avudayar Kovil in Pudukottai district shows a detailed and well-defined example of the Adukku Pathakkam. The continuity of this ornament can still be seen today in Tamil Nadu folk arts, temple traditions, and ceremonial jewellery. Beyond Tamil Nadu, similar forms of this pattern are found among the Sinhalese communities of Sri Lanka, showing that the influence of the Kandy Nayaks remains strong and uninterrupted in their cultural practices. Traditionally worn by brides, dancers, and theatre artists, the Adukku Pathakkam represents prosperity, continuity, and the layered blessings of family heritage. Passed down as an heirloom across generations, it remains one of the most iconic ornamental styles in both South India and Sri Lanka, blending craftsmanship with timeless symbolism.

In the Therukoothu tradition of Tamil Nadu, the Adukku Padakam plays an important role as a symbolic and visually striking ornament that enhances the presence of characters on stage. Unlike the polished gold versions seen in classical jewellery, the Therukoothu Adukku Padakam was originally made from lightweight wood and later crafted using shiny fabric materials that reflect the glow of lanterns during night performances. Its tiered and layered structure adds grandeur and helps the audience identify royal, divine, or heroic characters such as kings and warriors. The multiple layers move rhythmically as the performer dances or gestures, adding to the dramatic energy of the performance. More than just decoration, the Adukku Padakam acts as a visual language within the folk theatre tradition, helping convey status, character traits, and narrative depth to the audience.

--Ramu. Rm N

From Haridasu Tradition to Venkatadri Mudi

The Haridasaru movement was ushered in by the Haridasas (literally “servants of Lord Hari”) and took shape during the 13th–14th century CE, prior to and during the early rule of the Vijayanagara Empire. The main objective of this movement was to propagate Dvaita philosophy. The Haridasas, also known as Maladasas and Maladasaras, are a group of devotional singers who perform Harinama Sankirtana and Vaishnava hymns during the month of Dhanurmasam (December–January) in Andhra Pradesh. They visit households chanting the holy names of deities such as Rama, Krishna, and Govinda, and bless the householders who offer alms by saying Ramarpanam, Krishnarpanam, and Bhagavatarpanam.

During Dhanurmasam, the Haridasas wake up early in the morning, take a holy bath, and apply sacred markings such as Nosata Tirumani, Thiru Churnam, and Pattenamas. They dress in traditional attire, including a white or kashaya panche (dhoti), a folded shirt, a waist cloth, anklets, garlands, and a kalash (Akshayapatra) on their head. Carrying a tambura on their right shoulder and chitikelu (small cymbals) in their left hand, they go from house to house singing Harinama Sankirtana. They return home by noon and partake of their meal only after bathing again and completing their daily puja.

The Haridasu (literally “the servant of Hari”), who wanders the streets of Andhra Pradesh and Telangana during Dhanurmasam, is known for dressing in bright saffron attire adorned with garlands and traditional accessories. Their appearance resembles that of Sage Narada, the supreme devotee of Lord Vishnu. According to legend, Lord Vishnu once took this form during Dhanurmasam, which culminates in Sankranti. To honour this belief, the Haridasu dresses in this manner every year and walks through the streets singing praises of the Lord. Playing traditional instruments and carrying a vessel atop his head, the Haridasu sings in pure Telugu and Sanskrit, narrating verses with clarity and melodious intonation.

Unfortunately, due to challenges in the rural economy, the livelihood of the Haridasas has been adversely affected. Their performing arts are not always valued or supported, making it difficult for them to sustain this ancient tradition. As a result, some have been compelled to abandon their ancestral profession. It is important to support and encourage the Haridasas and their devotional art so that this heritage continues and receives the recognition it truly deserves. From this Haridasu tradition, the Vairamudi/Venkadadhri Mudi model may have drawn inspiration, as the vessel they carry on their head symbolically resembles the Akshaya Patra, associated with abundance and fulfilment of desires.

During the Garuda Seva held on the full-moon day of the Vaisaka month in 1858, the distinguished crown was ceremoniously adorned on Sri Varadaraja. This crown, later known as the Sri Venkatadri Crown in honour of its donor, continues to embellish the deity and is revered as the “jewel among jewels.” According to tradition, on the night of this significant event, the divine consorts Sridevi and Bhudevi appeared in Sri Venkatadri Swami’s dream and expressed their desire for similar ornaments. With their divine grace, he accomplished this task effortlessly, and Kanchipuram soon witnessed a resplendent procession of the Lord and His consorts, each adorned with exquisitely crafted diamond and ruby crowns. Comparable crowns can also be found in other major Vaishnava centres such as Tirupati, Melkote, Triplicane, and Srirangam. Locally it is called as gundu kiridiam in northern Tamil nadu. In Trichy Srirangam ranganathar temple its called as Mutharasan korada or parangi kondai / parangi greedam. This is form might be insprised from yellow pumkins shape.

In Melkote, it is traditionally believed that the crown now known as Vairamudi was originally referred to as Vainamudi, a name symbolically linked to the sacred feet of Lord Vishnu (Vainam). Over time, this name evolved into its present form. A well-known legend adds further sanctity: Garuda, the divine mount of Vishnu, is said to have tested the crown on various forms of Perumal and found it perfectly suited only to Melkote Selvappillai, upon whom he finally placed it.

The Melkote Vairamudi Seva is celebrated annually in the month of Panguni under the auspicious Pushya star. This ritual commemorates the divine moment when Perumal, mounted on Garuda, is adorned with the Vairamudi brought by Garuda himself.

The Vairamudi Festival transcends its role as a ceremonial adorning of the crown; it stands as a profound testament to centuries-old devotion, ritual continuity, and collective faith. Renowned as one of Karnataka’s most spiritually significant festivals, its highlight is the nocturnal adornment of the sacred diamond crown upon the idol of Lord Cheluvanarayana Swamy. This is followed by a grand night-time procession, witnessed by thousands of devotees who gather to behold the Lord and receive His blessings.

Given its sanctity, the Vairamudi crown is not housed in the temple throughout the year. Instead, it is securely preserved in the government treasury at Mandya. Annually, it is transported to Melkote under stringent security protocols, and even the officiating priests are not permitted to view it during transit. The crown is ceremonially placed on the deity only once a year, during the Vairamudi Festival. Structurally, the Vairamudi closely resembles the Venkadadhri Kondai, sharing distinct aesthetic and iconographic features.

Similar types of crowns can also be observed in both Vishnu and Shiva temples, particularly across the northern regions of Tamil Nadu, indicating a broader iconographic and ritual tradition associated with regal headgear in South Indian temple worship. From the college tradition, we can see that the continuity of this practice still exists today.

--Ramu. Rm.N

ner kiridam

The artistic heritage of South India is richly adorned with distinctive ornamentation styles, among which the Ner Kridam occupies a significant place. Recognised by its tall and upright structure, this crown is one of the most graceful and authoritative headdresses seen in temple sculptures, bronzes, and paintings of Hindu deities. The term itself denotes a straight or vertically rising crown, symbolising divine supremacy, spiritual ascension, and the regal nature of the deity.

The most striking feature of the Ner Kridam is its elongated, elevated form, which rises from the head in a straight, unbroken line. Unlike rounded or hemispherical crowns, this one stands tall, forming a visual pathway that draws the devotee’s gaze upward. Thus, the very shape of the crown becomes symbolic of the soul’s journey toward higher realms.

Structurally, the Ner Kridam is composed of multiple ornamental tiers, usually three, five, or seven, each decorated with intricate designs such as lotus petals, beaded garlands, and miniature filigree patterns. These layers add richness, texture, and depth, reflecting the exceptional craftsmanship of South Indian artisans. The base of the crown is broad and fits gracefully around the head, tapering gradually towards the top, which ends in a refined sharp point called sigamani or a gently flattened tip. This tapering form enhances visual balance, creating both stability and elegance.

The decorative elements of the Ner Kridam  elevate its majesty. Gold bands, gem like motifs, beaded rows, and traditional symbols such as the chakra and shankha often embellish the crown, emphasising divine and royal authority. It is not merely an ornament but further a deliberate artistic expression of cosmic kingship. Deities adorned with the Ner Kridam are portrayed as supreme rulers of the universe, radiating sovereignty and spiritual brilliance.

Historically, the Ner Kridam can be traced through the sculptural traditions of the Vijayanagara period from the 14th century onward, with each artistic era contributing refinements to its form. Early Vijayanagara sculptures portray the crown with smooth, graceful tiers, while later Nayaka works introduce heavier ornamentation. The medieval Vijayanagara phase adds even more elaborate and richly detailed patterns, reflecting the opulence of the time. In paintings, especially Tanjore and Mysore art, the Ner Kireedam appears with shimmering gold layers, capturing the resplendence of divine royalty.

Araiyar Tradition the Ritual Headgear

The headgear depicted is known as the Araiyar Kulla or simply the cone crown. This crown forms the most distinctive part of the ritual attire worn by the Araiyars, a hereditary community of temple performers in the Sri Vaishnava tradition of Tamil Nadu.

Visual Decoding of the Crown: The crown is tall and conical, resembling a mitre. It is structured to sit firmly on the head during movement and is typically made of stiffened cloth covered with coloured velvet or silk. In the collage, we observe that the patterns are plain and without detailed ornamentation, similar to the simpler crowns depicted in Vijayanagara royal sculptures of the southern states. As crowns were associated with both royalty and divinity, this royal aesthetic naturally influenced temple ritual costumes.Thus, we see that this tradition has survived through the centuries in Araiyar Sevai performances in Vaishnava temples such as Srirangam, Srivilliputhur, and Madurai Azhagar Kovil. In Araiyar crowns, the most prominent front feature is the Tiruman, marking the wearer as a servant of Vishnu.

In Saiva temples such as Tiruvannamalai and Tiruvanaikaval, the zari motifs on the thoppi or kulla change according to sectarian traditions. At Tiruvannamalai, the crown is worn during special festival days like Brahmotsavam, while at Tiruvanaikaval the priests wear the crown daily during the noon rituals.

At the very top of the crown sits a metallic finial, often made of brass or copper, called sigamani, symbolising the sacred status of the wearer. The crown often includes distinct ear flaps, continuing the design seen in Vijayanagara crowns.

Examples from Temple Treasuries

In the collage, we see golden crowns from Kanchipuram Varadaraja Perumal Temple and Tiruvannamalai Unnamulai Amman.The Varadaraja Perumal Ner Kireedam, crafted from thick gold sheets, features a tapered cylindrical structure rising to a rounded tip with a lotus bud shaped sigamani. The surface is embellished with repousse work, showing stylised mango motifs and intricate floral vines. The blend of warm, hammered gold and the brilliance of gem set borders creates an aura of opulent spirituality and timeless power.

Similarly, Unnamulai Amman’s crown is entirely made of gold and studded with Burmese kemps and polki stones, a true masterpiece of temple jewellery craftsmanship.

Royal and Monastic Parallels

In the collage, a bronze idol of Krishnadevaraya shows a similar crown, though with simpler workmanship. By contrast, the crown worn by the Sringeri Shankaracharya Sri Bharati Tirtha during Vijayadashami Darbar displays extraordinary craftsmanship. This crown has a conical silhouette tapering toward the top, reminiscent of Vijayanagara royal headgear.

The apex bears a golden finial shaped like a budding lotus, symbolising spiritual peak and auspiciousness. Though the core is stiffened cloth covered with velvet, the surface is fully concealed by dazzling gold embellishments, ruby and emerald pendants, and heavy metallic embroidery. This headgear stands as a masterpiece of traditional artistry. Similar crown styles appear widely in Tanjore and Mysore paintings, showing the endurance of this crown pattern.

--Rañmu.Rmm.N

pandiyan kondai

Namperumal of Srirangam is revered as a majestic and glorious Emperor  the king of all kings according to Vaishnava tradition. Among the many rulers who served Him with devotion, King Jatavarman Sundara Pandiyan I (1250–1284 CE) stands out for his immeasurable love and dedication toward Lord Ranganatha.

The most resplendent of his many contributions is the gold plating of the Pranavakara Vimanam, which continues to shine like a divine crest-jewel. Because he rendered numerous services using gold, he earned the honorary title “Ponmeynda Perumal Sundara Pandiyan Devar” — the king who adorned the Lord with gold.

Another significant service offered by Sundara Pandiyan is the introduction of the Pandiyan Kondai, the special crown worn by Namperumal. During Vaikunta Ekadashi and on occasions when He gives Thiruchchi (procession) along with the Ubhaya Nachiyars, Namperumal adorns this distinguished headgear.

The Pandiyan Kondai currently in use was reconstructed in the 19th century by a devotee named Venkadadhri Swamigal, after the original one deteriorated. Today, the Ranganathar Temple preserves two variants of this sacred headgear:

1.Ratina Pandiyan Kondai – crafted in gold and studded with precious stones such as rubies, emerald and blue sapphire.

2. Muthu Pandiyan Kondai – made with Basra pearls and tiny stone worked pendent elements. This version is often used in processions and features intricate workmanship.

As the Pandiyan Kondai is regarded as a royal ornament, it later inspired several other Vaishnava temples, where similar headgear came to be used during temple processions and special occasions.

The representation of the Pandiyan Kondai has been understood through references from sculpture and bronze icons in the college. A notable example is the depiction of Jatavarman Sundara Pandiyan I in the Chidambaram Temple, where the king is shown with a right-side bun, interpreted as shown as artistic perspective to showcase the hair bun . Similarly, the celebrated bronze image of Nammalvar in Srirangam shows a distinct topknot that closely resembles the shape of the Pandiyan Kondai.

This sculptural hairstyle is typically a simple elegent coiled topknot, an ancient method of securing long hair. The bun is positioned at the top of the head with a slight forward tilt and appears compact and rounded, tapering gently at the top. A decorative band possibly pearls or beads encircles the base of the bun, signifying adornment associated with royalty or divinity.

Similar hairstyles can be observed in several Alvar bronzes, suggesting that this iconic headgear may originally have drawn inspiration from common traditional hairstyles, later refined into a royal and divine emblem.

-- Ramu Rm N

agasthiyar kondai

Throughout history and across cultures, has served as a powerful medium for personal expression, social status, and spiritual belief. In the rich tapestry of South Indian traditions, particularly in Tamil Nadu, hairstyles are not merely aesthetic choices but are deeply intertwined with cultural narratives, religious iconography, and regional identity. This exploration delves into two distinct yet equally significant hair bun styles

Agasthiyar Kondai

The Agasthiyar Kondai is not a simple circular coil; it has a distinct, almost symmetrical shape that flares out on the sides, resembling a stylized bow or a large, flattened fan. This requires considerable hair length or the use of hair extensions or padding to achieve such volume and form. The neatness and defined shape suggest a carefully constructed style, likely using pins, ties, or even internal support to maintain its form. These buns were predominantly depicted on sages in Nayaka period sculptures of worshiping rishis, and rishis around Dakshinamurthy. In Southern Tamil Nadu, especially in Courtallam (Kutralanathar Temple) and the Tirunelveli region, this hair bun style can be observed on sages. This bun is particularly associated with Agasthiyar. In this collage, I have attached pictures of bronze statues and sculptures featuring this similar "kondai." This style was mostly common among men.

Visirikondai

The "Visirikondai" is a classic, rather informal hair bun technique, particularly effective for hair with natural texture, resulting in a relaxed aesthetic. This style was quite common among women in the Southern Tamil Nadu region until the mid-20th century, though it is very rare to see it nowadays.

The process begins by gathering the hair into a high ponytail, designed to keep hair off the neck and create lifted volume at the crown. The gathered hair is then twisted in preparation for coiling. This twisted section is subsequently wrapped around its own base, forming the circular shape of the bun. The final step involves securing this coil firmly against the head with strategically placed bobby pins. The bun's appearance, with its visible texture and potentially a few wisps, suggests a technique that prioritizes ease and a natural look over absolute sleekness or precision, making it suitable for everyday wear. I've included a collage featuring the Kollangudi Karuppayi folk singer from Sivagangai district, showcasing this hair bun from different angles to illustrate its real-time appearance.

The Visirikondai is almost always adorned with fresh flowers, particularly jasmine or "kathambam" garlands, which are often draped around the bun itself, enhancing its beauty and fragrance. Occasionally, traditional gold hair ornaments (like "rakodi" or "chandraprabai") are placed on the bun, further accentuating its shape. "Kunjam" or "lolaku" ornaments were securely placed on the sides of the "kondai."

Agasthiyar kondai from vaitheeswaran kovil

This hairstyle is typically associated with women in Southern Tamil Nadu. As hairstyles often inspire deity crowns, we can observe similar patterns in the crowns used for processional deities in Shiva temples across the Tirunelveli, Tenkasi, and Thoothukudi regions. I've included a collage showcasing ruby-studded crowns – true masterpieces of traditional craftsmanship. These feature multiple tiers, each adorned with a rich array of gemstones, predominantly deep red rubies and emeralds, set in intricate gold filigree. The collage includes crowns of processional deities from Tirunelveli (Gandhimathi), Sankarankovil (Gomathi), Thiruvidaimaruthur ( Perunalamamulai ammai ), and Thiruchendur (Valli & Devasena). Each crown is unique in its workmanship and details. Due to its visual texture, this type of crown has also been referred to as "Agasthiyar kondai," but unfortunately, both are not the same. From these pictures, we can witness that the usage of headdress from deity to the common public is quite commonly done.

-- Ramu.Rm.N

Siamese twins in chettinad

Among the many eclectic decorative objects that once animated the opulent halls of Chettinad mansions, the porcelain figurine of Chang and Eng Bunker stands out as one of the most intriguing. These miniature representations of the famed 19th-century conjoined twins—whose lives gave rise to the term “Siamese twins”—were imported in large quantities during the peak of the Nagarathar trading era. As the Chettiars travelled widely across Southeast Asia for commerce, especially to Burma, Ceylon, Malaysia, and Singapore, they brought back not only wealth but also a remarkable array of foreign goods that found a place in their elaborately decorated homes. The figurines of Chang and Eng, often crafted in fine porcelain, became a symbol of elite cosmopolitan taste, embodying the community’s fascination with global stories, unusual personalities, and objects that signified their far-reaching commercial connections.

Chang and Eng Bunker (1811–1874), born in Siam (Thailand), were brought to the United States in 1829 and thrust into public view as exotic “Siamese Youths.” Presented in travelling shows across America and the British Isles, they were marketed as living wonders of nature, performing athletic feats and attracting crowds willing to pay to witness their extraordinary physical condition. Eventually, the twins liberated themselves from exploitative management and took control of their public image, presenting refined parlor exhibitions in English and earning substantial financial independence. Their later years were spent in North Carolina, where they married sisters, established a prosperous household, and fathered a total of 21 children—an unusual and much-discussed family structure that captivated public imagination.

The presence of their porcelain likenesses in Chettinad homes reveals more than an interest in curiosities; it illustrates a cultural moment when international trade, colonial-era spectacle, and domestic aesthetics intertwined. These figurines, displayed alongside Burmese lacquerware, European clocks, Japanese ceramics, and local Chettinad crafts, highlight how global encounters shaped the visual and material culture of the region. In this way, the Chettinad mansions stood not merely as architectural marvels but as living museums of a community whose identity was deeply rooted in both Tamil tradition and worldwide engagement.

--Ramu. Rm.N