Meenakshi Temple

Invasions and destruction

The Delhi Sultanate had conquered most of the Indian subcontinent in the north. By the late thirteenth century, Muslim troops had begun plundering central India. Between 1310 and 1311, Muslim commander Malik Kafur of the Ala ud Din Khilji and his Delhi Sultanate soldiers raided farther into the Indian peninsula in search of loot and to establish yearly tribute-paying Muslim rulers. Malik Kafur ravaged Madurai, Chidambaram, Srirangam, and other Tamil cities, destroying temples and bringing money and jewels treasure back to Delhi, according to the chronicles preserved by the Delhi Sultanate's court historians. The 14th-century Islamic invasion, according to historians. The support of Tamil Hindu temple towns came to an abrupt end thanks to George Michell, an Indian architectural scholar and art historian. These towns were resurrected by Tamil Hindus, however it took a long time in some areas, such as Madurai. Following the capture and devastation, the Delhi Sultan installed a Muslim governor in Madurai, who seceded from the Delhi Sultanate and established the Madurai Sultanate within a few years. Instead of assisting the temple towns, this Sultanate demanded tribute. The Muslim Madurai Sultanate lasted just a few years before being defeated by the Hindu Vijayanagar Empire in the late 14th century. According to one poetic legend attributed to Kumara Kampana's wife, Ganga Devi, who gave him a sword and urged him to liberate Madurai, right the vast wrongs, and reopen the Meenakshi temple from its ruins, she gave him a sword and urged him to liberate Madurai, right the vast wrongs, and reopen the Meenakshi temple from its ruins. The Vijayanagara kings were successful, and the temple was reopened for active worship once the ruins were cleared. Throughout the 16th century, they rebuilt, rebuilt, and extended the temple, as well as numerous other area temples.
Rebuilding

Meenakshi in the sanctum (1801 sketch).

Around 1895, sculptures in the 1000-pillar mandapa (choultry).
In the 16th and 17th centuries, the Hindu Nayaka dynasty monarch Vishwanatha Nayak restored the temple. According to Susan Lewandowski, the Nayaka emperors redesigned the temple city layout and the Meenakshi temple using Hindu architectural scriptures known as the Shilpa Shastras. According to Lewandowski, the city was planned up in the pattern of concentric squares with ring-roads around them and radiating avenues leading to the Meenakshi-Sundaresvara temple. Traditional Tamil Hindu month names like Adhi, Chitrai, Avani-moola, Masi, and others are used on these streets. Each of these months saw the Hindus begin their annual ritual of carrying the temple bronzes down the same-named street in a joyous procession. To meet the rising Surya, the temple and the city were turned eastward once more (sun god). According to Lewandowski, the temple city grew again around the new temple, with human settlements structured along caste lines, with royalty, Kshatriyas, and Vaishya merchants living on the southeast side of the temple, Brahmins in a special quarter close to the temple, and others in other areas and fringes. To link his power with the divine and sustain the social structure, the monarch developed a procession tradition related to the temple. The procession, on the other hand, according to Bayly, displays traditional matrilineal societal ideals, such as brother-sister-groom familial norms, which better explain its appeal. According to Bayly, the Tamil Hindu warrior goddess worship tradition is centuries old, and it grew rapidly following the 14th-century battles.
A Hindu ruler named Tirumala Nayaka was particularly interested in creating several structures within the temple. The Vasantha Mandapam for commemorating Vasanthotsavam (spring festival) and the Kilikoondu Mandapam are two of his main accomplishments (corridor of parrots). Rani Mangammal constructed the temple tank's passageways and the Meenatchi Nayakar Mandapam. Ariyanatha Mudaliar, the Nayaka Dynasty's prime minister, was in charge of the endeavour to make various structural modifications.
The community around the Meenakshi temple was a focus of Christian missionary activity during the colonial era, led by rival missions from Portugal and other areas of Europe. To acquire socio-political approval, the British authorities initially paid endowments to the temple and British troops participated in temple ceremonies. Lord Clive, for example, contributed diamonds taken by the East India Company from Sringapatam, but they stopped being temple patrons and stopped attending temple festivals around 1820. While representing themselves as "Roman Brahmins" and "Northern Sanniasis" [sic], the missionaries mocked the temple artwork and denounced the temple procedures. People continued to patronise the temple after being baptised, indicating that the missionary activities were generally fruitless. The missionaries responded that the Tamils were "baptising, but not converting," since they baptise if "someone wants a Christian wife" or for medical or financial help if they are impoverished.
The temple's state deteriorated with the end of the Nayakas, the beginning of the Madras presidency, and the colonial British's withdrawal of assistance. Tamil Hindus began collecting donations and beginning repair work in 1959, with the help of engineers, Hindu monasteries, historians, and other experts. A Kumbhabhishekam was performed to commemorate the completion of the renovation.
In 17th to early 20th-century writings, the temple is spelt Minaksi, while the city is written Madura.
The temple has its own narrative of history known as Shiva-lilas (Shiva's sports), and sixty-four of these incidents are shown as paintings on the temple's walls. These portray the several destructions of Madurai and the temple, as well as the temple's rebirth from the ashes and rubble after each demolition.
Walls
The complex of ancient temples was available to the public. Invasion and looting of the temple complex prompted the construction of the courtyard walls throughout time. According to the literature Thirupanimalai, Vijayanagara commander Kumara Kampana restored the pre-existing edifice and constructed defensive walls around the temple in the 14th century after completing his conquest of Madurai. Surrounding the middle of the 15th century, Lakana Nayakar built the defensive walls around the first prakara (courtyard), as well as expanding and renovating the Mahamandapa and Meenakshi shrine. The Madurai area gained independence when the Hindu Vijayanagara Empire was destroyed in the late 16th century by a coalition of Islamic Deccan sultanates north of Karnataka. Visvanatha Nayak then invested considerably in fortifying the temple complex and devising a new layout for it. The vimana of the principal temples was also plated with gold by the Nayaka ruler. The Dvarapala mandapam in front of the Sannadhi gopuram, as well as the north colonnade of the Golden Lotus Tank, the second defensive wall encircling Meenakshi Devi's temple, were restored by Chettiappa Nayakkar.
Meenakshi temple has 14 colorful gopura and these are gateways to various shrines and mandapas.

Gopurams

The shrines of Meenakshi temple are housed inside three walled enclosures, each with four portals, with the outer towers getting taller and rising higher than the inner ones. The temple features 14 gopurams, the highest of which is the southern tower, which stands at more than 170 feet (52 metres) and was renovated in the late 16th century. The eastern gopuram (plan I) was erected by Maravarman Sundara Pandyan between 1216 and 1238. Each gopuram is a multi-story building covered in brightly coloured sculpture. The outer gopurams are tall pyramidal towers that serve as a beacon for approaching pilgrims, but the inner gopurams are smaller and function as entrance portals to numerous sanctuaries.
4 nine-story gopurams (outer, raja), 1 seven-story gopuram (Chittirai), 5 five-story gopurams, 2 three-story, and 2 one-story gold-gilded sanctuary towers make up the temple complex. Five of them lead to the Sundareshvara shrine, while three lead to the Meenakshi temple. The towers are adorned with stucco representations of Hindu gods, saints, and academics, some of which are deities and others who are figures from Hindu mythology, saints, or scholars. Each storey's group or groups of panels depict an incident from a regional or pan-Hindu tale. On the outside walls alone, the four highest gopurams represent approximately 4,000 legendary legends.

The following are some of the important gopurams in the Meenakshi temple complex:

• The three-story gopura at Sundareswarar Shrine's entrance and the centre portion of the Goddess Meenakshi Shrine are among the temple's oldest surviving structures. Kulasekara Pandya, the king, built them (1190-1216 CE). Traditional traditions refer to him as a poet-saint king, and attribute to him a poem called Ambikai Malai, as well as shrines (koil) for Natarajar and Surya near the main temple, Ayyanar in the east, Vinayagar in the south, Kariamalperumal in the west, and Kali in the north. In addition, he constructed a Mahamandapam. Kulasekara Pandya was also a poet, and he wrote a poem called Ambikai Malai on Meenakshi.
• In 1231, Maravarman Sundara Pandyan I constructed a gopura known as Avanivendaraman, which was afterwards renovated, extended, and renamed Sundara Pandya Thirukkopuram.
• Maravarman Sundara Pandyan II erected Chitra gopuram (W), popularly known as Muttalakkum Vayil (1238-1251). This gopuram is called by the frescoes and reliefs depicting Hindu culture's secular and religious elements. The Sundara Pandyan Mandapam and a pillared hallway were also built to the Sundareswara shrine by Maravarman Sundara Pandyan II. It was reconstructed following 14th-century damage, and Kumara Krishnappar repaired the granite construction in 1595.
• In 1227, Vembaturara Ananda Nambi constructed the first three-tiered gopuram. It, like other gopurams, was demolished and rebuilt in the 14th century. Between Meenakshi temple and the Kilikuttu (parrot) mandapam stands this gopuram. It is known as Vembathurar gopuram in certain inscriptions.

The tallest and most curved gopuram is in the south (above: inner and outerviews). The vibrant sculptures depict themes from Hindu mythology. 

• The Sundareshwara sanctuary has a five-story gopuram to the east. Vasuvappan finished it about 1372 when the Vijayanagara monarchs rebuilt the temple complex after it had been in ruins and idle for about five decades. Mallapan constructed the five-story gopuram west of the Sundareshwara sanctuary in 1374. 
• According to inscriptions unearthed on the foundations of the gates, Visvappa Nayakkar erected the Nayaka gopuram around 1530 in the second prakara, while Mallappan erected the Palahai gopuram about the same period. Both gopurams have a similar style and construction, indicating that they were likely created by the same group of artisans.
• Tumpichi Nayakkar erected Kadaka Gopuram at Meenakshi's temple during the mid-16th century, though different manuscripts offer various dates. It is a five-story building that was walled up and shuttered in 1963 for unknown reasons. After renovations were finished in 1963, this gopura was reopened.
• The Siramalai Sevvanthimurti Chetti family erected the Nadukkattu gopuram, also known as the Idaikattu gopuram, near the Ganesha shrine (Mukkuruni Vinayakar). Because it is located between the shrines of Meenakshi and Sundareswarar, it is known as Nadukkattu. The Idabhakkuri gopuram, a five-story structure on the Adi street's northern end, was also reconstructed and refurbished.. 
• The tallest tower, the nine-story southern gopura, was likewise erected by the Siramalai Sevvanthimurti Chetti family, a rich Hindu family from Thiruchirapalli. In the second part of the 16th century, it was finished. 
• The Mottai gopuram (lit. "bald" gateway) was built by Krishnappa Nayakkar and is also known as the North Raya gopuram. It has approximately 1,500 mythical characters on panels that relate tales from Hindu literature, notably the Puranas (this is not on the plan, below the bottom edge). It was constructed in 1878 CE by the Amaravati Purur Vayinagaram Chettiyar dynasty. For over three centuries, the Mottai gopuram lacked a roof structure, is simpler, and has fewer stucco pictures than the other major gateways, giving it a bare aspect and the name Mottai. The stone and brick gopuram, which was completed in the 19th century, contained even fewer stucco figures.
Shrines.

The golden vimana over the sanctum

In the thousand-pillared hall, a sculpture depicts a lady playing an alapini or Kinnari vina.
Like other Shaiva temples, the Meenakshi temple includes two independent shrines for the goddess Meenakshi (Parvati, Devi, Amman) and the deity Sundaresvara (Shiva, Deva, Cuvami). Both have doors that open to the east. According to Fuller, the Devi shrine is on the south side (B), while the Deva temple is on the north side (A), positioning the goddess as the pradhana murti, or "more significant" right side, inside the complex. The green stone figure of Meenakshi standing in bent-leg stance may be found at the goddess temple. Her uplifted hand holds a lotus flower, on which a green parrot is perched. Her left hand is at her side, dangling. The picture is in the shape of a square garbha griya (central sanctum). This picture has been replicated in metal and is housed in the temple complex. For a joyful parade, the metal version is employed. The presence of a parrot in Meenakshi's right hand is a distinguishing characteristic of her iconography. The Vaishnava azhwar saint Andal is often connected with the parrot. The Sundareswarar shrine's square plan sanctuary has a stone linga, which is shrouded by a stone cobra hood. Another stone picture of his consort may be found in the northeast corner. During a joyful parade, none of these will be seen. Sundareswarar is instead shown as an anthropomorphic Somaskanda figure. The Cokkar, which is just a pair of embossed feet on a metal stool, is another metal symbolic depiction of Shiva. This emblem is maintained in Sundareswarar's sanctum all day, then taken to Meenakshi's room in a palaki every evening so that the two can spend the night together symbolically. The temple volunteers awaken the holy couple and the symphony in the morning.
Sundareswarar's shrine is the biggest in the compound, and its entry is parallel to the eastern gopuram. Meenakshi's shrine is smaller, yet it is more important theologically. The Vimanam in both the Meenakshi and Sundareswarar temples is gold plated (tower over sanctum). Through the openings of two consecutive towers in the west, the golden top may be seen from a great distance. The Mukuruny Vinayakar is a towering Ganesh sculpture made of a single stone that stands outside the Sundareswarar temple on the way to Meenashi temple. The Ganesh is known as Mukkurni Vinayagar (through) because a large measure of rice measuring three kurini (a measure) is formed into a giant ball of sacrifice.
According to the Thirupanimalai scripture, Kumara Kampana contributed gems and provided contributions to meet the expenditures of the two temples' daily activities in the 14th century. The Tamil Hindus who had concealed the temple idols in Nanjil Nadu returned them and re-consecrated them, bringing the temple's almost five-decade closure during the Madurai Sultanate's reign to an end. Through the 16th century, the Vijayanagara kings appear to have engaged in temple worship events and provided wealth, according to temple inscriptions. The Paliarai (bed chamber) was created by Lakana Nayakar in the mid-15th century for the icon goddess and god to spend their night together metaphorically. The shrine of Nataraja was also added. in the 15th century by Arulalan Sevahadevan Vanathirayan, who also renovated the Thiruvalavaudaiyar shrine. 
Other shrines may be found around the temple, including one for Murugan in the northwest part of the second courtyard. Krishnappa Nayakar II designed it. On the road between the Meenakshi shrine and the Sundareshwarar temple, a towering, monolithic Ganesha sculpture with a giant rice ball, locally known as the Mukuruny Vinayakar, is sculpted, echoing the mythology that gave him the elephant head.
Temple tank and surrounding portico
The temple complex was developed by the Nayakas, the Vijayanagara monarchs' local governors. Saluvanarasana Nayaka added the sacred pool, which he named Ezhukadal, in 1516 for pilgrims to bathe in (seven seas, Saptasaharam). The north colonnade of the Golden Lotus Tank, as well as the Dvarapala mandapam in front of the Sannadhi gopuram, were restored by Chettiappa Nayakkar.

Golden Lotus in the temple pool.

Porthamarai Kulam is the name of the sacred temple tank ("Pond with the golden lotus"). Adhi Theertham, Sivaganga, and Uthama Theertham are some of the other names for it. The pool is 165 feet (50 metres) by 120 feet (37 metres). Frescoes were painted on the pool walls. Only a tiny percentage of the Nayak period's paintings exist, and one of them may be located in the little portico on the tank's western side. It represents Sundareswarar and Meenkashi's wedding, which is attended by Vijayaranga Chokkanatha and Rani Mangammal. On a vibrant red backdrop, the artwork has fine black linework and huge patches of white, green, and ochre. With a blossoming tree in the backdrop, the heavenly couple is seated inside an architectural frame.
During this time, Cheventhi Murthi Chetti constructed the modest six-pillared swing mandapam (Unjal), which is still in use for a Friday ceremony and housing the 1985 model of the complete temple complex.

Halls

Many mandapas (pillared halls) have been created by monarchs and affluent benefactors through the years throughout the temple complex. They're either choultry or a rest stop for pilgrims. These are some of the mandapas:

Main mandapams

In 1526, Chinnappa Nayakkar built the Mandapa Nayaka Mandapam, a 100-pillared structure in the northeastern section of the second courtyard. The iconic Nataraja statue is housed in this mandapa, with his "right" leg elevated in dancing mudra, rather than the left leg present in most Nataraja bronzes.
• This is a Shaivism-style temple with Vaishnavism and Shaktism deities and narrative friezes. At the Meenakshi temple, there is a sculpture of Krishna (sketched in 1801).
• During this time, Cheventhi Murthi Chetti erected the little six-pillared swing mandapam (Unjal, oonjal), which is being used for a Friday ceremony today. Every Friday evening, the portraits of Meenakshi and Sundareswarar are put on the swing and swung. A three-story gopuram flanked by two Dvarapala (guardians) and supported by golden, rectangular columns with lotus marks stands in front of the shrine. Granite panels depicting the holy pair line the chamber's periphery. The hall is located on the temple tank's western bank. The model of the complete temple complex, completed in 1985, is also housed in this mandapam.
• Krishna Virappa Nayakkar constructed the Kambathadi mandapam (H) (1572- 1595). This choultry hall is known for intricately carved sculptures and eight Shiva forms: Ardanarishwara (half Parvati, half Shiva), Rudra (angry Shiva), Bhikshadanamurti (Shiva as a monk), Dakshinamurti (Shiva as a yoga teacher, guru), Lingobhava (Shiva emerging from a linga), Ekapathamurti, Rishaba, Somaskand
• Two queens constructed Ashta Shakthi Mandapam ("Hall of eight goddesses," O on plan). It's the hall between the main entry for guests and the smaller gopuram leading to the Meenakshi temple tower, near the East gopuram. Koumari, Roudri, Vaishnavi, Maha-lakshmi, Yagnarupini, Shyamala, Maheswari, and Manonmani are the eight manifestations of goddess Shakti etched on the passage's pillars. These represent the feminine and powerful qualities of Hinduism in all of its major traditions.
• The Tiruvilayadal is depicted in several sculptures and art (holy games of Shiva). The Pancha Pandava Mandapam has statues of Mahabharata heroes, the Pancha Pandavas (Hall of Pandavas). Four statues of Shiva scholars, as well as a figure of Mahatma Gandhi, were erected to the hall in 1923, during the Indians' battle for freedom from colonial British authority.
One of the pillared halls in Meenakshi temple.
• is close to the temple of Meenakshi. Kilikondu translates to "parrot cage," and the parrots housed here were previously trained to pronounce "Meenakshi." Muthu Veerappa Nayakar finished building this pillared hall in 1623. After a while, the cages were taken down. Girls nowadays execute the kolattam dance, a sort of stick dance including gymnastics and the formation of chains with long ropes suspended from the ceiling, thus the name sangili. The Hindu festival days are commemorated by these dances. Characters from the Mahabharata, a Hindu epic, are sculpted at the Kilikoondu Mandapam. A yali sculpture atop a pillar also features a stone ball that freely revolves inside its mouth.
• The Kambatadi Mandapam ("Hall of Temple Tree"), with its sitting Nandi (holy bull) and the famed "Marriage of Meenakshi" sculpture, has many forms of Shiva etched onto it. Other sculptures feature Shiva and Kali competing in a dance, a golden flagstaff, and Durga as Siddar.
• Muthu Veerappa Nayakar I constructed the Vira vasantha raya mandapam (R) to the south of the 1000-pillar mandapam in 1611. It has a Nandi in front of the Sundaresvara sanctuary. The kalyana mandapam, or wedding hall, is located to the south of this hall. Every year at the Chithirai festival, which comes somewhere in or around October, the marriage of Shiva and Parvati is commemorated here.
• Thirumalai Nayak finished Pudumandapam, also known as Vasantha mandapam (bottom of plan), in the 17th century. It's outside the existing walled compound, in front of the eastern tower. It leads to the Eastern gopuram, which is yet incomplete. There are 124 pillars in this mandapam, each with finely carved sculptures portraying Meenakshi's wedding to Shiva, Kali, Nataraja, Surya, Chandra, and ordinary life scenes like elephants munching sugarcane stalks. Because of its popularity, shops have taken up residence in the pillared hall, some of whom cover or obscure the artwork.
• During Krishnappa Nayakkar's reign, Thittiyappa Chetti, a commoner, erected Golu mandapam in 1565. Every year during the Navaratri celebration, goddess Meenakshi is dressed up as a golu doll and ornamented in nine distinct shapes for each of the nine days of the fall festival.
The thousand-pillared hall
Every pillar has a religious or secular sculpture etched within it.
• The Thousand-Pillared Hall (Q) has 985 carved pillars instead of 1000, with two shrines taking up the remaining 15. Ariyanatha Mudaliar designed the hall in 1569, combining mechanical prowess with aesthetic vision. Viswanatha Nayaka, the first Nayaka of Madurai (1559–1600), appointed Ariyanatha Mudaliar as his prime minister and commander. The statue of Ariyanatha Mudaliar, sat on a horseback, stands at the hall's entry, flanked one side of the temple's entryway.
• Sundareswarar's shrine is the biggest in the compound, and its entry is parallel to the eastern gopuram. Meenakshi's shrine is smaller, yet it is more important theologically. The Vimanam in both the Meenakshi and Sundareswarar temples is gold plated (tower over sanctum). Through the openings of two consecutive towers in the west, the golden top may be seen from a great distance. The Mukuruny Vinayakar is a towering Ganesh sculpture made of a single stone that stands outside the Sundareswarar temple on the way to Meenashi temple. The Ganesh is known as Mukkurni Vinayagar (through) because a large measure of rice measuring three kurini (a measure) is formed into a giant ball of sacrifice. 
Other mandapams
• In the late 15th century CE, Lakana Nayakar extended and refurbished the Mahamandapa, while Sundaratolydaiya Mavali Vanathirayar restored the Urchava Nayanar Mandapa and the little six-pillared mandapa in front of the Mahamandapa.
• In the late 16th century, Chettiappa Nayakkar erected the Dvarapala mandapam in front of the Sannadhi gopuram, as well as the Golden Lotus Tank's north colonnade.Vanniyadi Natarajar Mandapam and Annakkuli Mandapam were built by a woman named Chellappen Mannikkam in the late 16th century.
• • Krishnappa Nayakar constructed the Murthiyamman and Nandi mandapams (1564-1572). In 1877, the Nandi mandapam was rebuilt once again. 
• Muthu Pillai constructed the Mudali Pillai Mandapam, also known as the Iruttu Mandapam (dark hall), in 1613. Fine statues of Shiva relating the narrative of Bikshadanar adorn the pillars of the rooms. 
The temple is a famous South Indian and international pilgrimage destination. Above: Rajasthani pilgrims visit the shrine. The Mangayarkarasi mandapam is a freshly constructed hall that bears the name of queen Mangayarkarasi, who contributed to Saivism and the Tamil language. It is located directly across from the wedding halls. The Servaikarar Mandapam, erected by the Marudu brothers in 1795, is located to the south of Mangayarkarasi mandapam. Achaya Rayar, Rani Mangammal's minister, erected the Nagara mandapam (Hall of Beating Drums) near Sundareswarar temple in 1635. During the Navarathri celebration, which takes place in September–October, the Kolu Mandapam is a hall where dolls are displayed. This hall is located on the western side of the Meenakshi temple, in the second corridor.
There are also communal meeting halls in the mandapas. The Kanaka Sabha and Ratna Sabha are located in the first prahara, while the Rajata Sabha is located in Velliambalam, the Deva Sabha is located in the 100-pillared mandapam, and the Chitra Sabha is located in the 1000-pillared mandapam.

Deity

Meenakshi (Parvati)

Sundareswarar/Chokkanathar (Shiva)

	Religious Activities
	Daily Routine	All days of the week 5:00 AM - 12:30 PM 4:00 PM - 10:00 PM
	Aarti	Thrukalasandhi pooja    10:30 am to 11:15 am Uchikkala Pooja (Noon Pooja)   10:30 am to 11:15 am

Celebration/Festivals

ChithiraiThiruvizha, Navaratri, Cradle festival, Aavanimoolam, Meenakshi Tirukkalyaanam, Alagar's river plunge

Facilities

Services:

Arulmigu Meenakshi Sundereswarar Temple is inolved in many valuable community services like education, Annadhanam
Spiritual and moral education classes:
Spiritual and moral education sessions for children are held every Sunday from 4 p.m. to 5 p.m., as proclaimed by the Hon. Chief Minister of Tamil Nadu. These sessions have benefited more than 35 youngsters. On 2.3.3.2002, the Hon. C. Durairaj, Minister for Local Administration, officially opened these classrooms. On the guidance of the Hon. Chief Minister, this programme was also extended to the ArulmighuMariamman temple at Teppakulam as of 18.8.2002. There are around 35 youngsters enrolled in these sessions.

Clock Room

Safety Clock room facility is also available for the devotees at all Tower entrances
Parking Facilities
 Parking facility is also available in Ellis Nagar Parking area near Periyar Bus stand.

	Guideline
	Do’s &Don’t	Do’s and Dont’s Devotees are not permitted to enter the temple without first having a bath.   Shorts, Lunges, and hats are not permitted within the shrine.   It is forbidden to chew betal leaves, tobacco, or Gutka inside the shrine.   Devotees are not permitted to enter the temple wearing socks or shoes.   Inside the shrine, devotees with painful injuries are not permitted.   Female devotees should avoid visiting the temple during the first five days of their menstrual cycle.   Devotees must maintain discipline and adhere to the Vaidhika Dharma's principles.   It is necessary to keep the temple clean.   Inside the shrine, smoking and spitting are strictly banned. The temple's Executive Officer can provide additional or particular information to devotees. Umbrellas, sticks, and animal-skin materials should not be carried into the shrine.

Visitor Guide

From Airport:

If you travel to Madurai from Chennai, it will take you around three hours to go to the temple. You may simply hire a cab from the Madurai Airport that will take you to the temple in 90 minutes.
From Railway Station: A train ride to Madurai will undoubtedly be full of breathtaking scenery. Because Madurai is well connected to all towns, you may take a train to Madurai Junction Railway Station, which is only 10 minutes away from the temple. You may get to the attraction quickly by using an auto rickshaw or a cab, depending on your needs.

From Mattuthavani Bus Stand:

If you're taking a state or private bus to Madurai to see the temple, get out at the Mattuthavani Bus Stand, where it will take you only 20 minutes to reach the Minakshi-Sundareshwara Temple.

Nearby Temples

Nearby Tourist Places

Koodal Azhagar Temple

The Koodal Azhagar Temple is devoted to Lord Vishnu and is located approximately 2 kilometres west of the city. It has three altars with Lord Vishnu in three distinct poses - sitting, standing, and reclining. In line with the region's history, this old temple exhibits the actual cultural history of the area. This temple draws pilgrims, archaeologists, and history fans alike thanks to its Dravidian workmanship.
This temple, which is one of Madurai's most important religious landmarks, is said to be older than the Meenakshi Temple.The temple boasts beautiful architecture and artwork, as well as a tunnel around the main shrine with rustic colour paintings showing many gods and goddesses on the walls. Beautiful, intricately carved statues adorn the vimana over the sanctuary. The temple's ornate windows, which are magnificently sculpted and represent the stonemasons' excellent talents, are another striking feature.

Azhagar Kovil Temple

Azhagar Kovil, also known as Thirumaliruncholai Temple, is a 21-kilometer drive from Madurai's city centre and remains one of the city's most popular temples. The temple, like most other South Indian temples in the region, worships Lord Vishnu and has massive gopurams and pillared mandapams. The sacred shrine of Karupana Swami, which is continuously locked and only opens once a year, is housed in the main tower entryway. The Lord's statue is totally made of stone and is a magnificent work of art sculpted by Kallalgar.Aside from that, the temple complex contains numerous additional statues of the Lord in various positions, as well as stunning halls and other facilities for performing various rites with sacred mantras in a holy environment.

TirupparamKunramMurugan Temple

This massive temple was built in the sixth century and is described in various old epics. Lord Murugan, also known as Kartikeya, is the Hindu God of War and the son of Lord Shiva, and the temple is devoted to him. Murugan is said to have wedded Deivayani, the daughter of Indra, the King of Heaven, on this precise site. Murugan's idol, as well as those of Lord Shiva, Lord Vishnu, Lord Vinayaka, and Goddess Durga, can be seen at the main temple. This sacred site was carved out of rock during the Pandyan dynasty, while the life-size sculptures in the temple's mandapams were created during the Nayakar dynasty.The location is also known as the southern Himalayas of India and is wonderful for capturing the hues of colours of the steep landscape. The sanctum sanctorum is made up of nine minerals known as Navabashana, and it houses a figure of Lord Murugan in his standing stance. The main shrine of this temple has the Gods Shiva and Vishnu facing one other, which is an uncommon sight among ancient Hindu temples in India. Outside the temple, there is a lovely pond where worshippers offer the fish with salt and rice flakes, according to temple tradition.

VandiyurMariamman Temple

VandiyurMariamman Temple is an old temple devoted to Mariamman, the Hindu Goddess of Rain, with a 2000-year history. The temple is one of Madurai's most prominent religious landmarks, and it is situated on the banks of the Vaigai River, with its own large water pond. This magnificent temple, dedicated to Lord Vigneshwara, is located around 5 kilometres from the Meenakshi Temple. The temple's idol is said to have sprung from the bottom of the tank as it was being excavated in the past.Since then, the tank has grown in prominence, and a shrine has been built in its honour. A Maiya Mandapam in the centre of the pond houses the Vinayakar temple and garden, which is dedicated to Lord Ganesh. Several various kinds of festivals are held at the temple, and all ceremonies are performed with great pomp and joy, including the big float festival of Thaipusam, which lasts 10 days. The well-known Float Festival, known as Thaipusam, takes place in the Tamil month of Thai in January and is held on a full moon night. The temple is magnificently lighted up for this occasion, and its sparkling shadow makes the pond sparkle as well.The idols of Lord Sundareshwarar and Goddess Meenakshi, as well as the principal deities of Meenakshi Amman Temple, are summoned from their respective temples and made to float on the pond's tranquil waters.

Narasingam Yoga Narasimha Perumal Temple

Narasingam Yoga Narasimha Perumal Temple is devoted to Yoga Narasimha Perumal and is located 11 kilometres from Madurai. The presiding statue is cut out of the hill itself, and the cave temple is situated atop the Yanaimalai Hills. The temple is an excellent example of Pandya Dynasty cave sculpturing. Lord Siva was thought to be prone to Brahma Hathi Dosha after plucking one of Lord Brahma's five heads. To atone for his sins, he went to this temple, worshipped Lord Narasimha, and bathed in the sacred Chakra theertham or the Lotus pond nearby. Yoga Narasimhar has a lion's face and the Goddess Lakshmi in his heart, and worshipers satisfy him by presenting lemon and other fruits.

Sri MavoottruVelappar Temple

Velappar Temple is situated in the midst of deep forests and mountains, and it requires a 300-step trek to access there. Lord Murugan is the presiding deity here. On the side of the temple is a perennial stream that emerges as a natural spring from the roots of a grove of mango trees and falls down into a pond. It is thought that taking a bath in this spring and eating meals prepared with its water may heal even the most serious of illnesses.