Among the many narrative reliefs that adorn the mandapas of the Srirangam Ranganathaswamy Temple, one particularly striking panel shows Anjaneya engaged in combat with a curling crocodile-like creature. This modest pillar carving represents a rare episode from regional Hanuman traditions and reflects the rich iconographic culture of the Vijayanagara–Nayaka period.
The Visual Composition of the Sculpture
The creature carved here is a makara (Crocodile)—an aquatic being often depicted in Indian temple art. The sculptor has shown its elongated snout and arched, almost serpentine body curling around the central figure. Within this dramatic frame stands Anjaneya, one arm raised in a powerful gesture. His posture suggests emergence, strength, and victory.
This compact composition is typical of Nayaka craftsmanship: dynamic storytelling rendered with minimal space, relying on rhythmic curves and symbolic poses.
The Makara-Vadha Story in Regional Tradition
Although this incident does not appear in Valmiki’s Ramayana, it is well-preserved in regional sāmpradāya texts, Tamil sthala-purāṇas, and the Anjaneya traditions found in Tamil Nadu, Andhra Pradesh and Karnataka.
According to these sources, a gandharva was cursed to be born as a makara in a sacred lake. The curse would end only when he was defeated by a future devotee of Vishnu destined for greatness.
During his youthful wanderings, Anjaneya entered this lake to bathe. The makara attacked and dragged him underwater. Realising the creature’s supernatural nature, Anjaneya expanded his form, subdued it, and tore it apart. The liberated gandharva blessed him and foretold that his unmatched strength would one day be dedicated to the service of Sri Rama.
Symbolically, this episode represents the destruction of hidden or subconscious forces (tamas), and the awakening of Hanuman’s divine mission even before he meets Rama.
Significance of the Theme in Srirangam
The Srirangam temple has a long history of celebrating devotees of Vishnu, especially those connected with the Ramayana tradition. While many pillars illustrate events from the Ramayana, this scene stands out because it depicts an early, pre-Rama episode.
The inclusion of this panel indicates that the temple sculptors were well-versed not only in canonical texts but also in regional oral narratives and purāṇic variations. The Makara-Vadha theme communicates Anjaneya’s spiritual readiness and foreshadows his role as the ideal devotee of Rama.
Art-Historical Context
The pillar belongs to the Vijayanagara–Nayaka phase of Srirangam’s architectural development (16th–17th century). During this period, narrative carvings flourished, and sculptors often chose less-known stories to express theological ideas.
The curling makara encircling the hero, the stylised anatomy of the creature, and the compact arrangement are hallmarks of Nayaka iconography. The panel serves both as a narrative illustration and as a symbolic expression of the triumph of devotion over obstacles.
This modest pillar sculpture in Srirangam opens a window into a world where Punaric Texts, temple tradition, and artistic imagination meet. The story of Anjaneya’s victory over the makara—rare in mainstream texts yet alive in regional lore—captures a moment of spiritual awakening and heroic power. It highlights the depth of Vedic temple art and the richness of the traditions that shaped it.
Reference List
Primary Purāṇic and Regional Sources
• Skanda Purāṇa – sections describing cursed gandharvas reborn as makaras and released by devotees of Vishnu.
• Brahmāṇḍa Purāṇa (Uttarabhāga) – narrative motifs of cursed celestials taking animal forms.
• Anjaneya Charitam manuscripts (Tamil & Kannada traditions), preserved at:
– Oriental Research Institute (Mysore)
– Sarasvati Mahal Library (Thanjavur)
• Srirangam Sthala-Purāṇa and regional Vaishnava oral traditions.
Art-Historical & Iconographic Studies
• Sivaramamurti, C. South Indian Temple Architecture, Vol. II, ICHR, 1974.
• Soundara Rajan, K. V. Vijayanagara Sculptures in Tamil Nadu, ASI, 1982.
• Nagaswamy, R. Narrative Reliefs of Tamil Nadu Temples.
• Ramachandra Rao, S. K. Iconography of the Ramayana in Art and Literature.
• ASI Epigraphy Series: Inscriptions of Srirangam (confirming the Vijayanagara–Nayaka construction phase).