FROM KERALA WITH LOVE

[padmanabha]

tscii]Wood sculpture in Nagaroor Temple:-
Nagaroor is a small hamlet, six miles away from Attingal which is 16 Km away from Thiruvananthapuram. The 15th century temple has precious wood carvings and it is a pity that no consecrated effort is taken to protect the valuable wood carvings.
Entrance:-
On the southern side of the entrance there is a wooden pillar the lower portion of which contains a remarkable bas relief carving of Bhagavathi. It is an ideal example in the evolution of indigenous pillar type before the influence of Chalukya and Chola architecture. (Its influence can be seen in the pillar with a magnificent capital at the Padmanabhapuram Palace). On either side of the entrance that leads inside there is a pair of stone sculptures.
MANDAPA: - ON THE sloping rafters in the ceiling are seen excellent wood carvings. These rafters are curved and the lower terminals are decorated with carvings of deities.
The carvings are more than one foot in length and are executed in full relief.

A striking feature is the presence of a triple headed serpent zigzagging along the rafters, and their heads rose above the head of the deities like a canopy.

DEVI ON KAALAevi here is the destroyer of evil forces. The expression is finely rendered. Her shield and the saber demonstrate how terrible she can be on the war path. The raised head of the triple headed naaga constitutes the upper spatial division and includes in its circular composition-the face of the devi. The lower compartment occupying nearly one fourth of the total vertical space is devoted to the body and her vahana.
The neck of the animal, the uplifted arms and saber and the ascending line of the hood supplement the fury and grandeur.
DEVI AND ASURA:-

It represents a dynamic fight between Devi and Asura called Vaana, the story of which is similar to the legend of Bana samhara. The carving depicts the last phase of the war. Devi is close behind the heels of Asura. The apprehensive glance of the Vaana, his stride, the determination of Devi, can be well appreciated. The Devi stands on a lower level. The “ground” seems ascending. The structure of vaana is large and on a “higher ground” he appears gigantic.
NARASIMHAMURTHI:-
The striking feature is the face and its resemblance to the theatrical forms of Kerala. Its widely dilated eyes, ear to ear mouth, gruesome grimace, sharp canines half human and half lion nature is highly impressive. He is ready to pounce on the enemy, to tear the entrails out. Crossed legs, the horizontal band below the knees, radiating line from the hood of the serpent and the pyramidal effect as suggested by the extended hands on either side bear an eloquent testimony to the skill of the unknown craftsman.

SHASTHA:-

It is a different and unusual carving of shastha. The free flowing curves of the body, narrow shoulders with plumb limbs and the childish look, indicates that it is Shastha. The left arm is held over the left knee. There is a knee band. Instead of the usual squatting posture he is seated comfortably on the peedam. Analogous work of Shastha can be seen in the temple of Sree Padmanabha in Thiruvananthapuram.
VIGNESWARA: -
This is the best work of all. A similar work kept detached can be seen at Devaeswaram near Kilimanoor. There is a usual canopy of floral and beads projecting over the head of Vigneswara. This canopy though does not have any peculiar function in the carving and might be the improvisation of the master hand. . The ornaments are minutely carved and over crowded as against the simple Shastha.
Nagroor is a remote village and hence the temple remains neglected for long and a systematic study of the precious wood carvings in this temple is the need of the hour.



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