Few places can match the significance of Thiruvathigai, a small town near Panruti in Cuddalore district, in the Shaivite tradition. One of the Veeratta Sthalams (eight holy sites that witnessed the destructive power of Lord Shiva), Thiruvathigai is where Saint Thirunavukkarasar, once a Jain, was cured of a stomach ailment and embraced Shaivism subsequently. His sister, Thilagavathiar, one of the 63 Shaivite Nayanmars, resided here, served the temple, and was instrumental in his conversion. Thirunavukkarasar’s first hymn, Kootra Inavaru, was composed in praise of the presiding deity of Thiruvathigai after his recovery.
Thiruvathigai is also renowned for skilled artisans who craft temple vahanas (processional mounts) and cars (rathams). Along the main thoroughfare, workshops display colourful and intricate creations: lion, swan, goat, rishaba, Kamadhenu, horse, parrot, and many other symbolic vahanas.
A car for Tirupati
“We belong to the ninth generation of artisans. My father, Subramania Achari, along with his brothers Ponnusamy Achari and Kuppu Achari, made the car for the Tirupati temple,” says T.S. Purusothama Achari, one of the prominent craftsmen in the area. The Achari’s ancestors hailed from Mampattu, near Gingee, and settled in Thiruvathigai after they were invited to build the car for the local temple.
His cousin, Pon. Radhakrishna Achari, runs a workshop nearby. Today, the descendants of Subramania, Ponnusamy, and Kuppu Achari are carrying forward this tradition, executing orders placed by temples across the State. Gajendran, another artisan, was recently seen giving finishing touches to a statue of Kathavarayan, a beloved folk deity.
Their workshops are stocked with timber from Iluppai (Mahua) and fig trees. Iluppai, which retains its milky sap even after drying, is favoured for temple cars owing to its durability and spiritual potency. Fig wood, being lightweight and easy to carve, is preferred for vahanas. These are typically painted in five symbolic colours (pancha varnam), enhancing their appeal during processions.
Perumal in fig wood
Radhakrishna Achari, who crafted a 10-foot idol of Aiswarya Srinivasa Perumal in fig wood, says it is worshipped at a temple established by the Global Organisation for Divinity in Texas, U.S. “Fig wood is ideal for idols placed in sanctums. It is considered even more powerful than stone or metal,” he explains. His sons, Karthikeyan and Ganesan Babu, are also committed to continuing the family’s legacy.
Among Radhakrishna Achari’s most cherished works is the door of the Dhandayuthapani Swamy shrine at Kantha Kottam. It is adorned with 108 karanas of Bharatanatyam. “I received guidance from the great dance guru, Vazhuvoor Ramaiah Pillai. Since he was very old at that time, his son Samraj assisted us. I also carved Nataraja and Sivakami idols for the temple, though those were made of teak wood,” he recalls.
Raju Kalidos, in his seminal work Temple Cars of Medieval Tamilaham, writes that woods containing milky sap are traditionally preferred for making sacred images. “Such woods alone are expected to ensure the longevity of the images. The Silpa Shastras and the Agamas codify rules for the selection and procurement of wood for iconography,” notes Kalidos, former Head of the Department of Sculpture at Tamil University, Thanjavur. He says that while teak is expensive, Iluppai is affordable and readily available. “Images made of Iluppai retain their pristine beauty and vitality for generations because of the sap they contain,” he adds.
Purusothama Achari says that traders inform the artisans of the availability of fig wood; then, the artisans buy it up because it may not be readily available when needed urgently. “It is lightweight and perfect for intricate carvings. We also use Mavilingam, another suitable wood,” he says.
Perfected under Nayaks
According to Kalidos, temple cars had their origin in the pre-Pallava period; it was during the Chola period that these cars established their stronghold in temples. “They were much popularised by the Vijayanagara kings and the Nayaks of Madurai, Thanjavur, and Gingee. The temple cars, as appearing today, attained perfection during the Nayak period and spread rapidly to the nooks and corners of Tamilaham,” he says.
Purusothama Achari showcases a car being built in Iluppai and explains that the lower section will be adorned with Bootha images. “We must strictly follow the Shastras when crafting a car. Its size is determined by the height of the presiding deity and the ‘Utsavar’ [the festival deity]. Some clients request custom designs and size, but we cannot deviate from the Agamas.”
While the base of the car is typically made from Iluppai, the upper sections are crafted with Vengai or teak wood. “After completion, we spray a mixture of five oils and ‘kasturi manjal’ (aromatic turmeric) on the car. This treatment, which is done annually or every four years, strengthens the joints. We believe that this application endows the car with a sacred power akin to the sanctum of the temple itself,” he says.
Published – August 29, 2025 09:00 am IST
