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INSPECTION OF SRI THIRUAVINANKUDI SWAMY THIRUKKOIL PALANI

THE DEITY OF THE temple Sri Arulmighu Kulandai VELAYUDHA SWAMY faces west

and the entrance to the temple is from the west side. This is the 3rd of the

Arupadai Veedu series of the temples and is stated to be the Angaraka sthalam. It

is said that many marriages’ take place in this temple regularly.

The entrance is joined with a large hall with 7 pillars on either side and leading to

the main sanctum has steps with dwarapalakas on either side. There is a shani

sanctum on the left side of the temple and a vinayakar sannidhi and bhairava

sannidhi on the right side. The steps lead into the antharala and the sanctum of

the principal deity Thiru Avinankudi swamy, who faces west. The entire place is

opened on two sides with doors on the west and south side. The east side has an

outlet with an exhaust fan fixed on the wall. The entire hall was supposed to have

been air-conditioned and so the exhume pipes run through all sides of the main

sanctum. The exhaust and air conditioner are both in non working condition and

this adds to the increase of heat and smoke of the rituals and enormous flow of

pilgrim traffic inside.

It was reported that due to the impending Kumbabhshekam function in the

coming months, the paintings of water colors encased in wooden frames which

were exhibited on the walls, had been removed with intent of cleaning the walls

and then walls were observed to have some paintings. The HR and CE officials

contacted the ASAC ASI Chennai Zone through letter no… and hence it was

decided to inspect the site for documentation of the murals and to prepare an

estimate for the conservation and preservation.

The paintings were executed on the walls with long iron nails driven into them to

support the wooden frames. There are electrical switch boards an long cable

wires along with wires for lamps and bulbs running through them. Since an air-

conditioner and exhaust fan also has been installed though presently both seem

to be out of service, the nails, wires and switch boards need to be carefully

removed along with the clamps from the paintings before attempting any

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scientific conservation on the paintings. It is also a hazardous for the staff who

will work on the conservation of mural panels in the near future.

It was observed at the outset that there are mural paintings all along the four

walls of the antharala and the paintings are executed on the stone walls of the

temple. The thickness of the support and carrier of the painting is very thin and

hence it has fallen off at several places due to the high moisture content,

humidity and heat inside the antharala due to rituals and exhalation of the

visiting pilgrims.

There is also an aircondition ducting running iside the temple and this is not

functioning since along time and the heat emanating also will increase through

the empty pockets of these ducts. Either this has to be removed or the

airconditioning be restored for which two problems will arise. Firstly the pilgrims

must be orderly regualted into the sanctum since the doors have to be kept

closed for the restricted entry which is a near impossible situation. Secondly an air

curtain must be installed in order to keep the airconditioning operative inside the

temple. Th HR and CE authourities must deliberate and come to an agreeable

solution to this issue.

There is a continuous flow of pilgrims and rituals are conducted throughout the

day. Hence the temperature of the sanctum keeps increasing during the day along

with continuous burning of lamps and camphor which adds to the increase in heat

and soot which deposits on the walls and mural paintings. There seems to be

severe water ingress from the roof during the rains which can be observed in the

water streaks on the paint surfaces. The water ingress can be arrested with

apropriate consolidation with lime from the exteriors or on the terrace roof of the

temple.

Since the interiors are dark though high wattage bulbs and small bulbs are

installed it is dark and the paintings can only be seen when light is flashed on

them and the colours can be seen explicitly. The photography was done in this

way to document the murals.

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There are electrical cable wires running through all the paintings and some places

even switch boards are also kept for the lamps and small lights inside the

sanctum. Some of the wires are loosely hanging without attachment to any light

or fan and need to be removed. The nails driven into the stone to support the

wooden frames of the water colour paintings have to be removed carefully and

the gaps have to be filled with the stone powder of the same rock ie granite and a

100mm powder admixed with OH 100 Wacker has to be filled in small quantities

till the consolidation reaches the surface. Care should be taken to complete filling

of the holes immediately after the removal of nails so that the loose material

inside does not cave in. In this way the stone can be integrated. The parts where

the cable wires are running through the painting along with the clamps have to be

removed and the painting should be carefully observed to save the paint layer.

For this a trained and experienced Modeler needs to supervise the whole

execution till all the wires are removed. The plaster has to be immediately

prepared with lime and the layer needs to be filleted and edging done by the

modeler with lime and adherents like jaggery and gaulnut (kadakkai) juice and

allowed to dry for a period of two days. Once the main impediment Is removed

the surface becomes free to be conserved scientifically with the required

chemicals for the removal of soot and water streaks, bulges and cracks to be

attached to the carrier (granite rock) and the paint layer can be strengthened on

to the lime support. All the lights and fans need to be removed and lights of low

intensity lux can be placed on the floor of the temple like in the Ajanta Caves.

The temperature inside the antharala is very hot and humid and care has to be

taken to reduce the heat by restarting the exhaust fan. Heat light sound and all

energies are required to be monitored to be kept at the moderate levels for the

maintenance of the murals. It is observed that the Vibhuti is spread all over the

floor and pillars and the winds can cause this to settle on the paintings. In

addition the humidity can cause the vibhuti to stick to the surface of the paintings

causing the paintings to mask the pigments and in some cases the external layer

can fall of causing damage to the mural. It may be necessary for the HR and CE

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Department to advise the local temple authorities to desist from spilling of the

vibhuti inside the chamber in the interest of the conservation of ancient paintings.

The visiting pilgrims also seem to put lamps with oil purchased in the precincts of

the temple and in the process rub the oil on their hands onto the pillars or the

sculptures or whichever place is nearest to them. In the long run the oil cakes up

and becomes waxy, but in the drying process of few years, it gathers the dust and

some of the dust will surely creep into the interiors of the rock. As the dust

particle, when seen under microscope, seems to be very finely edged and sharp,

will surely cause the rock to crack and cause fissures to run from the interiors to

the exteriors. Keeping in mind this aspect, the application of oil must be stopped

at the very inception itself. An awareness campaign by the local residents must

yield good results in the beginning and also help from the visual and print media

is absolutely necessary as the Kumbabhishekam should mark a beginning for the

conservation of the murals.

The murals seem to be not more than 500-600 years as the tamil written below

appears modern. The thickess of the mural support seems to be less than ½ and

inch and the colours are dark and garish. The style of the paintings does not

conform to Nayaka style as the purple colour seems to be prominently seen. The

style of paiting also does not conform to the Kerala school though the place is

quite near to Kerala to have been influenced.

It is proposed to first have the pigments scientifically analysed in a heritage

laboratory and the carrier rock and support lime analysed to come to a logical

conclusion regarding the mural paintings. The cleaning of the murals can be done

by trained conservators but after that the temple authorities must strictly prohibit

the use of camphor burning inside the main sanctum in order to conserve these

precious paintings.. Awareness of these mesures can be done through print and

visual medai since the Kumbhabhishekam is on the Anvil in a months time.

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WEST SIDE PAINTINGS

1 st PANEL ; colours are black white brown, blue green grey

There are water streaks running down the paintings and the painting has

retouched marks on it. The painting is covered with soot and needs to be treated

for its removal. The panel also needs to be brightened and preserved after

treatment.

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2nd PANEL; colours seen are blue red brown yellow green white and brown

The painting is having water streaks and soot covering the panel. Whilst the upper

part is having streaks of water marks the lower part is covered with soot.

The soot needs to be removed and the painting needs to be brightened and

preserved after the treatment.

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3rd PANEL;

colours seen are brown black red white blue

The painting has water marks and soot on the lower part.

The deity Murugan comes as an old man and proposes to Valli in this Panel.

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4th PANEL;

colours seen are violet green black yellow

The left part of the painting has been smudged and upper part has soot. Streaks

are there on the right side of painting.

Here Valli is seen helping him out of the water pond.

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5th PANEL;

colours seen are black white violet green black yellow

The entire panel has water streaks and black marks. Soot is on top right side.

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6th PANEL;

colours seen are red brown black white green

The right side appears smudged and water streaks all over the painting.

The overlaying colours need to be removed and the right side needs to be

treated for the removal of the blank screen like coloration. Exteranl soot has to be

removed and the painting preserved.

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7th PANEL;

colours seen are orange yellow blue green purple

The right side of the painting has become obscure and this needs to be examined

closely and the remaining panel needs to be cleaned for removal of soot and

water streaks. This marriage scene is heavily clustered with streaks and after

removal the images and number of attendants can be seen in the panel. A cable is

running right below the panel and this has to be removed.

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8th PANEL;

colours seen are bottle green yellow orange lemon yellow Prussian blue purple

white

The removal of soot and water streaks and overlaying paints need to be done first

and then consolidation and preservation done.here Valli seesm to have

recognised Sri Murugan and she is bowing to him in respect.

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NORTH SIDE PAINTINGS

9th PANEL;

colours seen are red yellow green blue orange black white

At the outset the cable wires clamps nails and pipes are to be removed

the holes need to be filled edging and filetting done and then chemical

conservation needs to be done.

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10th PANEL;

colours seen are yellow Orange blue

The wires running through the panel and the nails need to be carefully removed

so that these remnants can be saved

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11th PANEL;

colours seen are green yellow red brown orange Prussian blue

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12th PANEL;

colours seen are pink yellow purple brown

The panel is breaking at the pointing between stones and at the upper layer the

apinting has peeled off leaving the lower images to be seen for the theme. The

soot and filetting edging needs to be done for this panel.

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13th PANEL:

colours seen are white red blue green brown

The left part of the panel has some images but not complete and the six faced

Murugan also is broken and the right part of the panel is destroyed beyond

recognition. Soot removal and edging has to be done.

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14th PANEL;

colours seen are yellow orange red green white

The right side of the panel is completely gone and the paint peeled off at the

pointing and this panel has to be treated for removal of soot white smudges and

water streaks.

The electric cable wires and clamps and nails need to be removed carefully.

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15th PANEL;

colours seen are yellow red off white brown

Water streaks and soot need to be removed using chemicals and the

nails removed from the panel.

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EAST SIDE PAINTINGS

16th PANEL;

colours seen are pink white black yellow

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17th PANEL:

17th PANEL; colours seen are GREEN PRUSSIAN BLUE RED YELLOW BROWN BLACK

WHITE

COLOURS ARE PINK WHITE YELLOW RED

water streaks and soot has to be removed . nails removed from the panel

and holes filled with lime and stone powder.

18TH PANEL; EXHAUST FAN not working

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19th PANEL ;

colours seen are no painting

Valli ratham only can be seen.

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20TH PANEL;

Colours seen arered orange green blue brown

Filetting andedging needs to be done along with removal of soot and water marks

on the painted panel.

The pointing needs to be conspolidated from the exterior sides of the temple.

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21st PANEL:

Colours are green yellow pink red orange blue

At that height how the scratch has come is puzzling. Since this picture shows

Murugan as the six faced diety the image can be reintgrated with colours to

complete the picture. Two images on the right can be seen which needs cleaning

and brightenening with chemicals and preserved.

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22nd panel;

Colours are absent and cannot be seen.

There is a painting inside the slot and it is named Thangaratham and this has to be

cleaned before the painting can be seen.

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SOUTH SIDE PAINTINGS

23nd PANEL; colours seen are green red yellow Prussian blue brown maroon

Right side of the painting badly damaged and broken at the pointing. The panel

needs to be cleaned for soot and filleting and edging needs to be done.

The electric cables clamps nails and bulbs above need to be removed. The light of

low intensity lux can be used and it can even be placed on the ground.

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24th PANEL;

Colours are red yellow green white blue and brown.

The panel is badly damaged and needs to be filetted and edging done before

scientific conservation is attempted. Pointing also needs to be done from outside

where the painintg is executed to save from further damage.

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25th PANEL:

Colours are yellow flourescent greeen yello red white prussian blue

The face of mother goddess is lost from the panel and at the joints the there is

loss of painting. Nails and clamps have to be removed from the panell

consolidated and after filetting and edging the conservation with chemicals can

be done.

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26th PANEL:

Colours are green yellow blue skyblue white blcak red

The lines formed is a precurser for the future loss of pigments from the painitng

this can be stopped by edging and filetting the broken parts and consolidation.

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27th PANEL:

Colours are green yellow red orange brown white blue and sky blue.

Soot has to be removed and painting conserved with edging filetting removal of

soot and clamps and nails from the panel. This panel shows that the race between

the brothers is over and the fruit is in the hands of Ganesha and Muruga has just

returned to see this happen.

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28th PANEL:

Colours are red green blue yellow purple

The painting is hazy and masked due to soot over the painting. The cable wires

along with clamps and nails have to be removed and consolidation done.

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29th PANEL:

Colours are green yellow red pink

The cable wire along with the clamps and nails have to be removed and

consolidation has to be doen. Edging and filetting comnsolidation of support has

to be undertaken and then soot can be removed from the panel.

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30th PANEL:

Colours are not seen

The wire and clamps have to be removed first.

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31st PANEL;

Colours are yellow red blue brown green

Wires clamps and nails have to be removed holes consolidated and then soot

removal can be attempted.

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32nd PANEL:

Colours are red brown green blue white

Nails and clamps need to be removed then the right side of the painitng must be

made free of the cable wire and painiting must be filetted and edged.

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33rd PANEL:

Colours are chrome yellow traces of red green are also seen.

The paints loss is clearly seen in the joints between two stone members and loss

of paints on all sides. Nails and clamps need to be removed consolidation needs

to be done and edging and filetting of paint panel needs to be done. Soot removal

can follow by the other chemicals to conserve the panel.

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34th panel;

Colours seen are red pink black yellow sky blue brown

Panel appears in fairly good conditionbut the cable wire is running through it and

it has to be removed along wit the nails and clamps and soot removal can be done

afterwards.

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35th PANEL;

Colours seen are blus red green brown orange

The panel needs to be cleaned for soot and water streaks and conserved.

Streaks need to be removed and soot from the exteriors of the painting. Valli is

driivng the birds in the field and Sage Narada is coming to convince her to marry

Murugan.

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36th PANEL:

Colours arepink purple yellow green prussian blue sky blue red orange

The panel needs to be cleaned for removal of soot and water marks, edging and

filetting needs to be done.

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37th PANEL;

Colours are red blue brown green pink

The panel needs to be made free of soot and streaks, the right side of the painitng

needs to be treateed before any recovery is made of the painting.

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23rd PANEL; colours seen are red brown purple green yellow

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24th PANEL; colours seen are white red dark green orange prussian blue

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25th PANEl; colours seen are white yellow green red Prussian blue brown

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26th PANEL; colours seen are green blue yellow red sky blue

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27th PANEL: colours seen are yellow red white green blue brown sky blue

28th PANEL; colours seen are yellow red green blue brown white

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29th PANEL; colours seen are yellow blue orange green red(saree) brown

30th PANEL; colours seen are blank

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31st PANEL; colours seen are off white maroon brown leaf green black white

32nd PANEL: brown green white

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33rd PANEL; colours seen are yellow navy blue brown

34th PANEL; colours seen are yellow green brown red black

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35th PANEL; colours seen are blue brown green baby pink

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36th PANEL: colours seen are blur green yellow maroon orange brown white

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37th PANEL; colours seen are brown green red white Prussian blue black yellow