Our flight was scheduled for 9.30 am, but the airport shuttle seemed to be giving us an extended tour of the Chennai airport. After what felt like a mild existential journey on wheels, we realised why. Our aircraft was a petite one, parked at a polite distance from the rest of the fleet.
The journey to Trichy was so quick it barely registered. One moment we were buckling in, the next we were landing. From there, however, our destination lay over 70 kilometres away. We were in Karaikudi for a four-day immersive festival celebrating Chettinad’s art, architecture, culture, and cuisine, curated by The Lotus Palace Chettinad in collaboration with iconic heritage properties—The Bangala, Visalam, Chidambara Vilas, Chettinad Mansion, and Saratha Vilas—set across historic mansions, temples, and craft ateliers.
As we sped down the Kanadukathan road, the scene shifted into something almost cinematic—a stream of devotees moving with fierce, quiet intensity, their bodies marked by alagu, slender spears piercing mouths, tongues, and cheeks in striking acts of devotion. “They’re on their way to the Narthamalai Muthu Mariyamman temple,” our driver said, as the moment lingered somewhere between awe and reverence.
Arriving in Chettinad felt like stepping into a beautifully preserved time capsule. We had long been fascinated by the region, so finally being there felt like ticking off a rather stylish entry on our bucket list. Our stay at Bangala, one of the earliest heritage properties, run by Meenakshi Meyappan, now in her 90s, made the experience even more special. The legendary cuisine more than lived up to its reputation. We spotted many international travellers, trying the whole plantain leaf dining experience for the first time, a clear sign that Chettinad is firmly on the global map. Soon, we were ushered into an elaborate Chettinad feast, followed by a guilt-free siesta we happily surrendered to.
The inauguration of the festival at The Lotus Palace that evening unfolded in style, with guests arriving dressed to the nines in traditional finery. Thereafter, architect Sujatha Shankar walked us through two centuries of Chettinad architecture, including its evolution, design logic, and spatial planning. We were introduced to elements like mugappu, valavu, irandam kattu, and moondram kattu, and how the aesthetic gradually shifted from richly ornamental traditions to the sleek influence of Art Deco. She also explained how the mugappu was used by the men of the house, while the inner valavu, more private in nature, was reserved for the women and children. A particularly charming detail was that Italian artists were once brought in to paint family portraits, adding yet another global layer to Chettinad’s story. The day drew to a close with yet another generous Chettinad spread. After all, one doesn’t come to Chettinad to count calories.
Day two began with a visit to the AR House for a session on Vastu Shastra and its role in architecture. After learning about Chettinad architecture the previous day, this time we experienced it first-hand. Architect Sashikala Ananth guided us through the house, explaining its spatial logic and how traditional design still influences the way we live. Walking through the home, its layered layout echoed ideas from Sujatha Shankar’s talk, which now felt practical rather than theoretical.
At one point, Sashikala began measuring granite surfaces with a tape, turning the quiet heritage home into something like a live design lesson. She also spoke about Vamsha moola and how it helps with airflow and environmental balance, an early form of passive cooling long before sustainability became a buzzword. We then tried an experiential exercise, walking backwards through the courtyard to sense space differently. While the idea was interesting, the execution, at least in our own case, was a bit awkward. For a brief moment, the courtyard became a light-hearted coordination test.
Our next stop was an Athangudi tile-making centre, where we watched the intricate craft behind these distinctive tiles, renowned for their cooling properties and detailed patterns that define Chettinad homes. We saw how glass plates are layered with moulds, pigments carefully poured into precise designs, then sealed with a cement and sand mixture before being pressed and set. A young artisan demonstrated the process from start to finish, and a few of us even had a go, with mixed results but plenty of enthusiasm.
After a sumptuous lunch at our abode for the trip, The Bangala, we were whisked off to the Karaikudi antique market to walk it off. Wandering through its narrow lanes offered a vivid glimpse into the region’s heritage, with rows of shops filled with objects steeped in history and craftsmanship. Some pieces were so old that we felt tempted to rub a lamp and see if a genie might appear.
After an hour of getting pleasantly lost in the market maze, we took refuge at Nagu Vilas with a nannari sarbath—ice-cold, sweet, and exactly what we needed— while Karaikudi outside stayed busy juggling crowds, conversations, and a bit of election-season drama in the streets.
The day wrapped up with a Bharatanatyam performance by Debjani Chatterjee at The Lotus Palace, followed by a Pan-Asian dinner. We must say it felt like a gentle palate reset.
Day three began on a divine note with a visit to the Thirumayam Temple, where historian Pradeep Chakravarthy guided us through its rich past. It is rare to find both Shiva and Vishnu shrines within a single complex, yet here the rock-cut temples of Sathyagirisvarar and Sathyamurthi Perumal sit within a 17th-century fort. The site reflects a harmonious coexistence of Saivite and Vaishnavite traditions. We boarded our bus soon after, only for it to come to an abrupt halt within minutes. We were then introduced to the Kottai Bhairavar Temple, a modest roadside shrine outside the fort. We learnt that every passing vehicle makes a customary stop here, and that it is a favourite among local politicians.
We boarded our bus soon after, only for it to come to an abrupt halt within minutes. The general manager of The Lotus Chettinad then introduced us to the Kottai Bhairavar Temple, a modest roadside shrine outside the fort. We learned that almost every passing vehicle makes a customary stop here, and that it is a favourite among local politicians, too.
Next up was Athangudi Palace, and we were impressed right at the doorway. The teakwood door, with its intricate carvings, was striking on its own, but what really caught our attention were three inverted cone-shaped elements hanging like subtle art installations. We were told these represent banana flowers, traditionally considered auspicious at the threshold for generations to thrive. The symbolism feels especially fitting—the banana is a plant that, once planted, yields abundant offshoots, embodying prosperity, continuity, and growth.
We then moved on to VVR House in Kanadukathan, where the lady of the home welcomed us warmly and encouraged us to explore at our own pace, even pointing us toward the terrace. “You can go up there,” she said with an easy smile. Inside, massive pillars supported soaring ceilings, and a narrow spiral staircase, barely wide enough for one person at a time,led us upward. For a moment, it felt like stepping into a period film set. We were told that there was a time when 50 to 60 people lived in the house, with cooking as the central rhythm of daily life.
An old wall-mounted telephone caught our eye, and even lifting the receiver looked like an effort from another era. During the rains, we learned, light filtering through the glass would refract into soft rainbow hues, adding an almost dreamlike quality to the space.
Lunch was at Chettinad Mansion, followed by a quick walk through its exhibits, which offered a glimpse into Chettinad’s rich history. We then visited a sari weaving centre, where we watched two craftsmen, both well into their 70s and 80s, working steadily at the loom. One of them shared, “I have been working on the loom since the age of 13. We are the last generation of weavers,” adding that a single sari takes about two days to complete. We left with one carefully chosen piece.
Tea was served at Visalam, another restored heritage home. The mansion, gifted by a father to his daughter, stands as a rare symbol in a region where homes were traditionally built for sons.
At Chidambara Vilas, where we had our dinner, we were welcomed with a live nadaswaram and thavil kutcheri. We were taken through a masterclass in Chettiar life, from clan structures linked to the nine temples to the intricate rules governing marriage and commerce. One of the most striking details was how business was conducted from the thinnai. On either side, we noticed two small shelves, which turned out to be part of a simple yet precise accounting system. We were told that the principal amount was kept on the left shelf, while interest was placed on the right.
He also demonstrated how the community safeguarded their wealth through an elaborate locking system. “Even if someone managed to get past the heavy locks, the men of the house would be sleeping on the thinnai right next to the door.” He also revealed how Burma teak, Italian marble, and Belgian mirrors all made their way to Chettinad, a testament to the community’s extensive trade networks and global reach.
The final day took us to Muthiah Vilas, also known as the Golu Veedu. Who would have thought an entire house could be dedicated to golu dolls, yet we were genuinely impressed by the sheer scale and variety of the collection. As its name suggests, the house truly comes alive during Navaratri, when the carefully curated display of dolls takes center stage. There after, we paid a quick visit to a Tanjore painting centre, where the intricacies of the art form were laid bare.
Our Chettinad journey concluded at Saratha Vilas, run by French architects Michel Adment and Bernard Dragon. Unlike many of the grand, opulent homes in Chettinad, this space leans instead toward a thoughtful portrayal of rural life in the region. We noticed a striking display of Ayyanar kuthirai and Ayyanar figures, traditionally worshipped by rural communities.
“We even have a Muthumariyamman temple inside. Do you want to see?” asked Michel. We nodded, and were led into a small temple space within the property. “A local shaman performs the puja here,” he added, before taking us on a tour of the rest of the house, ending the experience with a fitting lunch.
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