The Royal patrons of architecture

In our new series, "Namma Madurai", beginning this week, we will try to focus on some famous and some lesser known places in Madurai . Since the Tirumalai Nayak Palace is all set for a restored look, we thought it to be most appropriate to launch our monthly column with this architectural delight in the heart of the Temple City, though oft written about.

IT WAS under the Nayaks of Madurai, that the Dravidian style of architecture assumed its final form. The distinct style lasts even in modern times as far as temple architecture goes.

Among the Nayaks of Madurai, Tirumalai Nayak (1623-1659) was the greatest contributor to art and architecture. Under his patronage many of the finest works were created. In the field of religious architecture -- the Madurai style -- as described by scholars like Percy Brown, was the revival and continuation of the building procedure of the imperial Pandyas (1100-1350).

Though the Tamil country is rich in buildings of a religious order, historical examples of the secular architecture of the Hindus are not common. Among the existing examples, two deserve special mention: the Tirumalai Nayak Palace in Madurai and the Maratha Palace in Thanjavur.

The precursor to the Tirumalai Nayak Palace, is the "Lotus Mahal" -- a garden palace built in Vijayanagar (Hampi) around 1575 A.D. In its design we see an early impact of the Islamic style of the North and the Hindu architecture of the South. The Islamic influence on the Lotus Mahal may be observed in the shape of the recessed and foliated arches in its pavilion, reminiscent of the Lodi type of arch in Delhi. Many other components of the Lotus Mahal show the effect of the increasing impact of Islamic style on the indigenous style.

What is said of the Lotus Mahal holds good in the case of Tirumalai Nayak Palace, which was built around 1645, nearly seventy years after the Lotus Mahal. The Tirumalai Nayak Palace is a work of considerable magnitude. Its vast pillared hall undoubtedly is one of several structural achievements of Thirumalai Nayak. A mere glance at it will do to understand the spread of a new influence in the Tamil country. It is a standing example of a synthesis of the two styles of the country - the Dravidian and the Islamic.

Scholars agree that the Southern artisans have displayed exceptional skill in amalgamating the two styles. But when these artisans wanted to integrate a third style from the West, brought by the Europeans, they failed.This unsuccessful attempt prompts Percy Brown to comment that "although a work of considerable magnitude, the Tirumalai Nayak palace denotes an architectural retrogression".

Externally, the palace measures 450 feet by 250 feet and consists of a spacious interior quadrangle measuring 252 feet by 150 feet with columned aisles on three of its sides and the great Durbar Hall and Throne Room on its remaining side. Added to this in the northern direction is another noble hall which is 140 feet long by 70 feet wide. Western scholars feel that the massive columns (forty feet high) surrounding the inner courtyard bring to their mind the Greek temples.

Similarly, the foliated arches with stucco foliages are reminiscent of the plaster arcades in the courts of the Alhambra in Spain. The domes and vaulting of the roof possess "all the structural propriety and character of a Gothic building", says Fergusson in his book " Indian Architecture" which is a scholarly and a matchless pioneering work on the subject.

By the time, the British invaded, much of this palace along with its pleasure gardens and the surrounding defensive walls had fallen into ruins. Lord Napier, the Governor of Madras, struck by the beauty and value of the monument, did his best to conserve it. He initiated the process of restoration and added a beautiful façade to it, which still stands. Today this entrance gate and the main hall alone remain intact, thanks to the interest taken by the State Archaeology Department.

S. SUNDARARAJAN

© Copyright 2000 - 2009 The Hindu