Sree Padmanabhaswami Temple

Sree Anandha Padmanabha Swami Temple popularly known as Sree Padmanabhaswami Kshetram is one of the 108 sacred Vaishnava Temples or Divya Desams in India, situating in Kizhakkekotta (East fort), Trivandrum- the capital city of Kerala, India. The city name 'Thiruvananthapuram’ itself has originated from three words ‘Thiru’, ‘Anandhan’, and ‘Puram’ literally means ‘The land of Sree Anantha Padmanabha Swamy (or) the land of Lord Vishnu. 

The History of the Temple

The history of Sree padmanabhaswamy temple dates back to 8th Century. One of the twelve Alvars, (8^th Century) had created four Slokas and one Phalasruthi about the temple. The temple had referred in the Hindu epics and Puranas such as, Brahma Purana, Padma Purana, Varaha Purana, and Vaayu Purana. It is believed that Sree -Padmanabhaswamy Temple and its properties were maintained by Ettuveettil Pillamaar – the eight powerful Nair feudal lords of ancient Travancore. Later Sree Marthanda Varma Anizham Thirunal suppressed the Ettuveetil Pillai(s) and took over the control and constructed the current structure of Sree Padmanabhaswamy Temple.

In 3rd January 1750, Maharajah Marthanda Varma dedicated the kingdom of Travancore to Lord Padmanabha/ Vishnu and he vowed that the royal family will rule the state on behalf of Lord and he and his descendants would 'serve' the kingdom as Padmanabha Dasa (or) the Servant of Lord Vishnu. Since then the name of every Travancore King was preceded by the title Padmanabha- Dasa, while the female were called Padmanabha Sevinis. The donation of the kingdom of Travancore to Padmanabha- Swamy was known as “Thrippadidhaanam”. After dedicating the kingdom to the Lord, Marthanda Varma was known as Sri Padmanabha Vanchipala Marthandavarma Kulasekaraperumal.

After the death of Marthanda Varma in 1758, all the succeeded kings of Travancore took great care in continuing the daily Poojas (Daily sacrifices) and ceremonies of Sri Padmanabhaswamy Temple intact and also rule the kingdom as Padmanabha Dasa. The successors of Marthanda Varma were Dharma Raja, Balarama Varma, Gowri Lakshmi Bayi, Gowri Parvati Bayi, Swathi Thirunal, Uthram Thirunal, Ayilyam Thirunal, Visakham Thirunal, Moolam Thirunal, Sethu Lakshmi Bayi, Chithira Thirunal and Uthradom Thirunal Marthanda Varma also keeps the words of Marthanda Varma and is very loyal to Sree Padmanabhaswamy and maintains the temple rituals and ceremonies intact.

The Art and Architecture of the temple

Sree Padmanabhaswamy Temple is renowned for its Architecture and great arts including, sculptures, metal works, mural paintings, wood carvings etc. The Architecture of this temple is the magnificent blend of Kerala and Dravidian style architecture. In other words it is the majestic example of south Indian Architecture with seven storied tower known as Gopura(m).

Gopura(m):- The seven storied Gopuram of Sree Padmanabhaswami Temple has built in the eastern entrance about 35 meters height. The top of the Gopuram provided with seven golden domes representing seven worlds and the ten incarnation forms of Lord Vishnu had portrayed in the first storey of the Gopuram. The other three entrances are double storied Padippuras in typical Kerala style. Entry to the upper levels of the Gopuram is restricted.

Entrances:- The temple has nine entrances indicating the nine orifices of human  body.

Ottakkal Mandapam:- The Ottakkal Mandapam ( Single stone Platform) of the temple built with a single slab of granite which is two and half thick and twenty feet square. The divine sacraments (Abhishekam) to the Lord Vishnu are performed in this Mandapam. The granite pillars of this Mandapam are covered with gold.

Abhisravana Mandapam:- This structure is situating in front of the Ottakkal Mandapam representing the  sanctum sanctorum. This Mandapam is allocated for special Pooja(s), meditation and prayers of the Devotees.

Kulasekhara Mandapam:- Kulasekhara Madapam of the temple is the fine example of marvellous stone works also known as Aayiramkaal Mandapam/ Sapthaswaramandapam. The pillars which are in the four corners of this Mandapam can produce musical noted when tapped. The pillars are carved with adorable figures in half and full relief.

Dwaja Stambham:- An eight feet high teak pole near the eastern corridor was installed by Anizham Thirunal. The teak pole completely covered with golden foils and the apex of the flag pole representing the kneeling posture of figure of Garuda.

Sreebalippura:- Sreebalippura of this temple is a rectangular corridor built of stone. The historical evidences says that four thousand artisans, six thousand laborers, and hundred elephants worked for a period of six months to finish the construction of this corridor structure. The Sreebalippura is supported by carved marvelous pillars.

Padmatheertham:- It is the large water source located in the east side of the temple. It is one of the oldest water bodies in Trivandrum.

Importance of the Idol 

The idol of Sree Padmanabhaswamy(Lord Vishnu) is made up of 12008 Saalagramams that compose the reclining lord. They are special because they are from Nepal, from the banks of river Gandhaki and they were brought to the temple with all pomp and gaiety on elephant top. On top of them Katusarkara Yogam, Navaratnams, a special Ayurvedic mix, was used to give a plaster.

The Festivals of temple

Chathurdhi, Thiruvonam, Ashtami Rohini, Navaraathri Pooja, Valiya Ganapathi Homam, Alpasi Ilsavam, Mandalachirappu, Swargavathil Ekadasi, Bhadradeepam, Kalabham, Painkuni Ulsavam, Shivaraathri, Sreerama Navami, Vishu, Karkkidaka Sreebali, Sree Veda Vyasa Jayanthi, Niraputhar, Murajapam, Laksha deepam, Vinayakachathurdhi etc... are the various festivals of the temple.

The Hidden Wealth of the Temple

In 2011, the Supreme Court of India directed the authorities from the fire services and Archaeology Department to open the sanctum sanctorum (secret chambers) of the temple for inspection of its wealth kept inside. According to this order the inspections regarding the temple’s wealth began after the Supreme Court set aside a Kerala High Court order that the state government take over the temple, but asked for the inventory of its assets.

On 2 July 2011, approximately Rupees 500 billion (US$11.15 billion) worth of gold, jewels, and other treasures were unearthed in the vaults of the temple. As per the evaluation of the value of treasures found from the underground cellars of the Sree Padmanabhaswamy Temple there is around 1,00,000 crore rupees (1 Lakh Crore Rupees)There are 6 cellars in the Sree Padmanabhaswamy Temple that were marked from A to B. Among them the cellars A and B are not opened for past 150 years. Other cellars were containing precious items for festivals, daily Poojas etc.

The detailed list of treasures found in the temple includes, One Lakh Gold coins, Gems, precious diamonds like Indraneelam, Belgium Diamonds, Emeralds, Rubies, 1200 Sarappoli, Gold chains, Gold crowns like Kulasekhara-Perumal crown which was used by king of Travancore, Kashumaala(Necklaces), 400 Golden Necklaces with Marathakam stone, more than 2000 gold ornaments, Swarna Thalika(Gold plates), Gold chains up to 3 and 10.5 kg and of about 18 ft, golden Idol of Lord Vishnu, Gold Dhanus, Gold Pathakkams, 4 feet golden statue of Lord Vishnu, Golden utensils, Thankakkuda(Golden umbrellas), Golden pots, Gold Vaarppu (Bigger utensil), Gold and Silver Nilavilakku(Lamps),Gold Dharakidaram Kudumudi Narayam, Gold Shiva Idols, Gold rings, Gold Thaali etc.

This revelation has solidified the status of the Padmanabhaswamy temple as one of the wealthiest temples in India.

Bibliography

http://www.sreepadmanabhaswamytemple.org/

https://en.wikipedia.org/wiki/Padmanabhaswamy_Temple

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The Author

Pulikali

Pulikali also known as Kaduvakali is the popular recreational folk art of Trissure- the cultural capital of Kerala. The word Pulikalikali/ Kaduvakali(The play of Tigers) is derived from two Malayalam words such as ‘Puli’/ ‘Kaduva’(Leopard/Tiger) and ‘kali’ ( Dance).

The origin of Pulikali dates back to over 200 years, when the Maharaja Rama Varma Sakthan Thampuran(Maharaja of Cochin), is said to have introduced the folk art, who wanted to celebrate Onam with a dance that reflected the wild and macho spirit of the force. Later, Muslim soldiers of the British Army stationed in Thrissur in the army cantonment area (Pattalam Road) used to celebrate with great fervor; and popularized the folk genre with active steps and body language peculiar to a tiger being stalked by a hunter, enacting a play of the hunter and the beast. Along with the celebrations, they used to perform the art form decked as tigers with peculiar steps resembling the tiger, then known as 'Pulikkettikali'.

Pulikali is generally performed by trained artists to entertain people on the occasion of Onam(Forth day of the Onam celebration that is Naalaam Onam). A particular combination of tempera powder and varnish or enamel is used to make the paints in different colours such as yellow, red, white, black etc,. First of all, the dancers remove the hair from the body, and then, the base coat of paint is applied on them. It takes two to three hours for the coating to dry. After that, the second coat of paint is applied with enhanced design. Earlier period performers used to paint their body like tigers and hunters in and dance according to the beats of the traditional musical instruments known as Udukku and Thakil, but nowadays ready-made masks, cosmetic teeth, tongues, beards and mustaches are used by the participants along with the paint on their bodies. This entire procedure takes at least five to seven hours.
A large number of artists gather to apply paint on the tigers. It is a meticulous process and often starts from the wee hours in the morning. By afternoon the Pulikali groups 'Sangham'(s) in local parlance, from all four corners of Thrissur move in a procession, dancing, pouncing and shaking their bellies to the beat of the drums through the streets. Thousands of spectators line the streets enjoying the dance, cheering the dancers some of them even trying to join in.

Bibliography

https://en.wikipedia.org/wiki/Puli_Kali

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Aranmulakannadi- The Unique Metal Mirror of Aranmula, Kerala

Aranmula- Mirror popularly known as Aranmulakkannadi is the unique metal-alloy craft work of Aranmula, a village in the Pathanamthitta district of Kerala, India. Literally the word Aranmulakkannadi is the combination of two Malayalam words ‘Aranmula’ (Place) and ‘Kannadi’ (Mirror). Aranmulakkannadi is the front surface reflection mirror, which eliminates secondary reflections and aberrations typical of back surface mirrors unlike the ordinary glass mirrors.  

Ashtamagalayam Set

It is believed that Aranmulakkannadi bringing prosperity, luck and wealth to home; so it is considered among the eight auspicious items included in the Ashtamagalayam set, which commonly used for the auspicious function like marriage and other festive events like Onam, Vishu etc.

The manufacturing process of Aranmulakkannadi has been started in the early 17^th century; and the origin of the mirror has linked with the Aranmula Parthasaradhi Temple of Lord Krishna. One lively story regarding the origin of the Aranmula metal mirror is that the Raja of Aranmula had threatened to evict few bronze craftsmen who are said to have migrated from Tamilnadu to make artifacts for the Parthasaradhi Temple. In an interesting twist, it was a widow, Parvati Ammal, who came to their rescue as she dreamed that Lord Parthasaradhi (or) Krishna had revealed the secret of making an unusual reflecting metal. Not only was the Raja placated by a crown made of this material, but he also exhorted the artisans to make, from this alloy dreamt up by the widow, the Vaalkannadi (or) mirror for the auspicious Ashtamangalyam. A large old metal mirror is also installed in a subsidiary shrine in a Bhagavati temple complex in Eranakulam; where it is worshiped as a form of the goddess.

Vaalkannadi

Aranmulakkannadi is famous for its secretive construction method and uniqueness in the make which get patent protected with a Geographical Indication Tag. The exact metals used in the alloy are unknown to people and is maintained as the heriditorial secret of the Viswakarma community of the Aranmula village. However metallurgists believe that the alloy of this mirror would be the mixture of molten tin and copper in a particular ratio. 

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Uriyadi- A traditional sport of Kerala

Uriyadi or Uri- Adi is the traditional out door sport item of Kerala playing with high level of energy and enthusiasm during the festive seasons of Onam, Vishu, Janmashtami etc.

In Uriyadi, a player try to break a swinging earthen pot which is filled with plain water or any other similar materials like milk, coloured water, curd etc. The pot will be tied with a rope in such a manner and the people control the movements of the swinging pot towards and away from the player. The same time other people pours water on the player to collapse his/her focus and attention to make the task difficult. The player will succeed once he breaks the pot.

Photo Credit

Ananthu H

Civil Faculty

CAAD Centre, Punalur.

Kerala

Pookkalam - The Art of Flowers

Pookkalam also known as Athappookkalam, is an integral part of the Onam celebration in Kerala. The word Pookkalam is derived from two words; 'Poovu' (flower) and 'Kalam' (colour sketches on ground). According to legends Athapookalam used as a sign to welcome king Mahabali (or) Maveli. Traditionally Athappookkalam made of Dashapushpam; the ten sacred flowers namely Vishukranthi (Evolvulus Alsinoides), Karuka (Cynodon Dactylon), Muyal cheviyan (Emilia Sonchifolia), Thiruthaali (Ipomoea Sepiaria), Cheroola(Avera Lanata), Nilappana (Curculigo Orchiodies), Kayyonni (Eclipta Alba), Poovaamkurunnila (Cyanthillium Cinereum),Mukkutti (Biophytum Sensitivum), and Uzhinja (Cardiospermum Halicacabum), and other traditional common flowers such as Thumba (Lucas Aspera), Kakkappoovu, Thechippoovu, Arippoovu (Lantana), Chembarathippoovu (Shoe flower) etc. Thumba flowers are given more importance in Pookkalam because it is considered as the favorite flower of the king Mahabali.

The traditional ritual of laying Pookalam in the houses starts on this Atham day. The size of Pookkalam on Atham day is small in size and simple as well. Only one kind of flower called Thumbapoovu in local parlance will be used on this day. The second day (Chithira) is marked off when a second layer is added with the Thumbapoovu in the Pookalam design. The size of the Pookkakam is increased by adding more to it on every passing day hence a massive Pookkalam gets ready for the last day of Onam celebration that is Thiruvonam day. On the auspicious Thiruvonam day (tenth day), Pookkalam will be more intricate and colourful with ten different types of flowers.

Designing Pookkalam is itself as the product of keen interest, dedication, passion, creativity and efforts. Like in the case of everything; the tradition, design, dimension and patterns of the Pookkalam differ from region to region in Kerala. In South Kerala the image of Ganapathi has been placed in the center of the last tier. With passage of time this must have changed in these regions. In Central Kerala the earthen or wooden pyramidal forms about one and half to two feet high and 3 square inches of base and one and half square inches of top decorated with Arimaavu (Rice flour batter) water and flowers on top have been placed with the Pookkakam symbolizes the Thrikkakarappan, or Vamanan, one of the Avatars of Lord Vishnu.

Earlier, people used to make efforts and dedication to collect flowers for the Pookkalam; children used to get up early morning and collect flowers from the village areas in their Pookkooda (Small basket); elders and family members would be at hand to encourage the children for designing the most beautiful Pookkalam. Nowadays making Pookkalam has become an easy task. Imported ready made Pookkalam and flowers are easily available in the market. The traditional art of making Pookkalam in the Onam days has vanished from the people’s mind and it became the act of competition for the money and prizes.

Bibliography

https://en.wikipedia.org/wiki/Dasapushpam

http://www.onamfestival.org/pookalam.html

Photo Credit

Ananthu H

Civil Faculty

CAAD Centre, Punalur.

Kerala

Koodiyattam- The Classical Drama Art of Kerala

Koodiyattam- the classical drama art of Kerala is the only surviving specimen of the ancient Sanskrit theater.  Koodiyattam literally means 'Acting together'. It used to be a combined dance drama conducted by the Chaakkyars (A caste among Hindus), who provided the male cast and the Nangyars (Women of the Nambyar caste), playing the female roles. It has an attested history of a thousand years in Kerala society, but the origin and evolution of Koodiyattam shrouded in mystery. Some of the historical and cultural evidences saying that this dance form was in vogue in all major temples from ninth century, and it became a full-fledged dramatic presentation before the fifteenth century. 

Koodiyattam performance lasts for several days ranging from 6 to 20 days. Themes are based on Hindu tradition and mythology. It is enacted inside the temple theater, known as the Koothambalam, with two or more characters onstage at the same time. The role playing in this performing art includes stylized form of vocal recitation coupled with a complete hand-gesture language and highly evocative facial expressions. Vidushaka, a figure parallel to the Fool in Shakespearean plays, sometimes explains in simple Malayalam the background of the story and gives a live image of characters in the minds of the spectators. Often humorous, he enacts his role with the liberty to criticize anyone without fear.

The make-up and costume of this art form are not so elaborate. Heroic characters are distinguished by the green colour and the small curved paper frame on their face. Costumes have a blend of brilliant colours, predominantly red, black and white. The costume of the Vidushaka sets him apart from the rest. He has special make-up, small head-gears and costume that vividly display his clownish features.

Mizhavu (A big jar made of either clay or copper, with a narrow mouth covered by leather) is the major musical instrument used in Koodiyattam played only by the Nambiyars. The Nangiars beat the cymbals and recite verses in Sanskrit. Edakkya lends Bhava and Laya for a vivid portrayal of the soft sentiments of both male and female characters in Koodiyattam. The Koodal Manickyam temple at Irinjalakkuda and the Vadakkumnatha temple at Thrissur are the main centers where Koodiyattam is still performed annually.

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