Amid the farm lands lies the rock mountain that stretches approximately to 2km. It is located in a place named Sithanavasal at about 15 km from Pudukkottai. Known for its mural arts (paintings) that were drawn with the natural paints between the 6th and 7th century. The paints were made from the natural leaves that were locally present in the region at that time.
Image courtesy: Raghunathan Krishnarao
It is a kilometer walk from the main road to the rock carved cave temple. On the way towards the temple are located a boat house, children’s park, and a park that is meant to portray the greatness of the language ‘Tamil’. From the ground to the temple, it is approximately about 500 metre. As I climb on the mountain, I am able note the beautiful scenery that surrounds the mountain. It is surrounded by agricultural lands. As I approach the cave temple, I could see the temple being protected by a mat like covering. At the side of it is a board that conveys the brief history about the site. Having been the third person to visit that particular day, I am asked by the security/guide to wait for the other visitors who are on their climb towards the temple.
In a while, I am accompanied by the other visitors of the day, and we enter the temple. The first portion of the cave carved temple has been designed to act as the sunshade to shelter the Jain monks who used this place as a space for meditation. The sunshade is supported by 5 pillars that are a part of the carvings. At the right corner of this portion lies the inscription about the period in which, and the king under whom this monument had been renovated. Though not many details can be interpreted by an average person, with the help of the guide/security (Mr.Ramachandran.R), we could interpret the name "மதீரா" (Madheera), which indicates the place currently in existence by the name Madurai. In addition to that he says that the inscription conveys the name of the Pandya ruler Shree Arikesari Maravarman. As most part of the inscription got eroded, it makes it difficult to interpret the information conveyed, but it is believed to have carved and painted during the period of Pallava king Mahendravarman I, and later to have been renovated during the period of Pandya ruler Shree Arikesari Maravarman.
The first portion of the structure acts as a sunshade for the monument. Upon entering it, at the entrance, we are welcomed by the paintings of ancient dancers on either pillars at the steps which remain partially after erosion. At the junction of the sunshade with the next portion are two swans (அன்னம்) painted. One side is partially damaged, and the other mostly damaged. Up on climbing a few steps from the portion of the sunshade is the second portion of the cave which on either sides has two Jain monks' sculptures. One is found to be Shree Mahavir, another is found to be Shree Parshvanatha. On the ceiling of this portion is the famous mural painting of Sithannavasal (The portion to be painted had initially been coated with lime and the paintings had then been drawn on the lime coating). It is the portrayal of a reflection of a pond with a few living beings and it is believed to demonstrate the Samavasarana faith of Jainism. It has the portrayal of a saint taking a flower from the pond, and another saint collecting it in a basket. The minute difference between a lilly and a lotus has been shown in their respective stems, and in the flowers. It also has a bison drinking water, an elephant with a leg raised spraying water on its back, and a fish swimming between the stems of the lotus and lilly. Towards one end of the visible painting is a swan (அன்னப்பறவை), and other end is a pair of birds, Andril (அன்றில்). The pair seems to be happy when they are together, and at a point further from it is again the same birds but are split, and they seem to be sad when they are apart. The guide says a story behind it, and the story is that, these birds, Andril(அன்றில்), always live together with their respective partner. Incase of a situation where it loses its partner, it no longer wishes to live without the partner. Hence, unable to bear the agony, it goes to a hilltop with the pebble in its throat, and jumps off the hilltop and commits suicide.
In addition to it, he gives an explanation to an old Tamil saying. The saying is that if a swan is fed milk that has water in it, the swan always separates the water from the milk. Upon asking the meaning behind the saying, and getting unsatisfactory explanations, the guide then explains. Swan is a vertebrate, but not a mammal. Hence, it makes it clear that it doesn't drink milk, but it mostly lived in ponds where there were lilies or lotuses. When it swam across the pond, its sharp nails scratched the stems of the lotus plant, and that made the plants ooze milk like substance. As aforementioned, it lived in ponds, so water was its main source of survival. This beautiful being had the efficiency to split water from the milky substance, and to feed itself. His explanation is that hence, there came the saying in the language, Tamil. On the beam that connects the two pillars at the entrance of the second portion is a painting of a blooming cycle of a lotus flower. It depicts the blooming cycle of a lotus flower at 10 different stages, and is believed to symbolically represent the life cycle of a fetus inside the womb. It is stated that the art work here has the similarities with that of the art work at Ajanta caves, and that these two caves have the art work that is unique in comparison with all the other ancient art work that are available now.
The third and final portion of the monument is a room where Jain monks meditated. They used this place as a space for meditation and to keep themselves away from the people and worldly possessions also at times away from animals. It has the sculptures of 3 Jain monks who believed to have lived even before Shree Mahavir.
Paying a visit to this place makes a person marvel at the knowledge, and skills that the ancient people possessed.
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