Thiruvambady Krishna temple, Thrissur

Continuing the pilgrimage in Thrissur, your friendly bee is now headed to the temple of little Krishna known as Thiruvambady Kannan. The temple is located in Punkunnam near the Punkunnam railway station.

Thiruvambady temple is at the dead end of a straight road. The road splits to two different ways at the threshold of the temple. Take a right at this road to head to the Vadakunnathan Shiva temple, and left if you want to go to Shornur. If you are lucky, you can catch a glance of the little Lord from the road. There is a deepasthambam right in front, but if stand at the correct angle, you will be able to see the Lord. 

The temple is opened for the day at 4.30 a.m. Devotees can witness the vagacharthu or the oil bath at 5.00 a.m. The baby Lord is gently massaged with special oils and a traditional herbal cleansing lotion. He is then washed with water and milk before being fed butter and malar or puffed rice. The temple closes at 11.00 a.m. after the uccha pooja or the noon prayers. It opens again at 4.00 p.m. and remains open till 8.00 p.m. when the Lord is put to bed. We get there by eight in the morning. As we step in, the vazhipadu counter is to our left, where we can buy coupons for offerings. The temple offices are to the right of the entrance. 

Go straight in to the smiling murthy of baby Krishna, who stands in nothing more than a komanam, or a small cloth that covers his loins. The black stone murthy is decorated with a pair of flat and round gold earrings on either side, a flat gold circular pendant on his neck, and a flat gold round ornament on his forehead. His right hand holds a small gold flute, and his feet have little gold anklets. A gold aranyanam adorns his waist. (The purpose of an aranyanam is to protect the wearer from the evil gaze. Mostly tied around the waist of small children, it can range from black or red threads to gold chains made for this purpose.). Garlands of tulasi and lotus blooms are draped around him, with care taken not to burden his small shoulders (or block the murthy from the devotees’ sight). Small venchamarams (fans) made from peacock feathers are placed behind him. A few loose peacock feathers are also placed near him. 

I stand worshipping this beautiful sight, lit by the glow of the oil lamps both inside and outside the sanctum. Two metal frames are placed parallel to each other in the small area in front of the sanctum to organize the crowd and prevent crowding directly in front of the murthy. I circumambulate the small shrine, and move to pay my respects to Bhagavathy, who is worshipped in a shrine on the left of Kannan. The Goddess is an incarnation of Kodungallur Amma, and is also represented as a little girl. The Goddess is a stone murthy, covered in a gold sheath. We place our offerings in both hundis before the respective deities, and step out to worship the other deities in the temple. 

There is a small back gate that leads us to the set of temples behind Kannan’s and Bhagavathy’s shrines. Outside, a priest is handing out prasadam for the day. We gratefully accept the payasam, and step aside to swallow it. A tap stands a few feet away, where we wash our hands. 

There is a small open corridor of sorts where you can buy souvenirs like pictures of Thiruvambady Kannan, Paramekkavu Bhagavathy, Vadakunnathan, and Guruvayoorappan. I spot one of little Guruvayoorappan playing with Kurooramma, the famous lady to whom the Lord is said to have given darshan in the form of a little boy. 

We enter the area that houses other deities. To the left, just as you enter, is a small store where you can buy offerings like coconuts for Ganesha, and flowers, bananas, and incense sticks. We buy a few coconuts and break them at the small stone kept for this purpose. 

This stone is kept a few feet in front of the pot-bellied Ganesha, who happily accepts the offerings made to him. To our left, slightly beyond the space for breaking coconuts sits Lord Subramanya, facing the direction of Lord Ganesha. 

We do a pradakshinam to Subramanya and pay our respects to Vigneshwara, do a pradakshinam and move ahead. A lady sits at a side threading flowers into garlands for the Lord. Traditionally, in Kerala, a community of people called ‘ambalavasis’ or temple dwellers have the exclusive privilege to make garlands, grind sandal paste, wash the holy utensils, and similar tasks for the deity. Chakiyar, Warrier, Pisharody, Marar and Nangiar are some of the common surnames used by ambalavasis. Nangiars, Chakiyars and Marars are traditionally associated with temple arts like Chakiarkoothu and percussion.

We bow before Lord Anjaneya whose shrine is facing Ganesha; and step out. We re-enter the main temple precincts and greet Lord Dharmashastha. We walk on and reach the exit. I turn around to greet the Lord once more before we leave. The heart is truly filled with joy after meeting this sweet little Krishna, who is in the form of a toddler! I shall leave you here friends, and till I take you to the next devalayam, stay devout, and stay safe! 

Darbaranyeshwara Swamy temple, Thirunallar

Today I will take you to Thirunallar, the abode of Lord Shaneeshwara, or Saturn. Known as the feared Lord who brings with him seven and a half years of hardship, Shaneeshwara is not exactly a favourite of the masses. Said to be dark complexioned, his vehicle is the crow. He is believed to move slowly, due to a limp in his leg. 

Technically Thirunallar comes under the jurisdiction of Pondicherry in Karaikkal. We leave Bangalore at around 9.00 p.m. in bus, and arrive in Karaikkal at about 8.30 – 9.00 a.m. the next day. Karaikkal bus stand is well connected, with buses to places like Thirunallar, Nagapattanam, Kumbakonam, and so on. We catch a bus to Thirunallar, which takes us about fifteen-twenty minutes. This part of Tamil Nadu is very idyllic, and I catch myself gazing at the scenic lush paddy fields and wide open spaces on the way.

We arrive at the town, and head towards the temple guest house. After quick ablutions, we head for darshan. We are lucky to be here on a Saturday, which is considered to be auspicious for Shaneeshwara. 

Gopuram at the temple entrance

The presiding deity, Darbaranyeshwarar is a form of Shiva, and the temple is named after him. Lord Shaneeshwara has a shrine dedicated to him in the temple. We stop in front on the temple to buy offerings from one of the many shops that line the path leading to the gopuram. You can buy a set comprising of a small piece of black cloth, a coconut, and a string of flowers. There is a free queue and paid queues. The VIP queue costs Rs. 200, which cuts down the waiting time to a bare minimum. We take the more reasonable Rs. 50 ticket, and enter the line. The free queue is roundabout and takes more time. 

As we step in the queue, we see that the walls are decorated with the picture story of king Nala and his brush with Lord Shaneeshwara. Read the legend of Nala and Damayanti here. 

The story of Nala concludes, and the remaining panels tell us about the ‘Pacchai Padigam’ or the evergreen verses. This story is about the Pandiyan king Ninraseernedumaran who converted to Jainism. The famed Shaivite saint Thirugyana Sambandar is asked to intervene by the Pandiyan queen, who is a staunch Shaivaite. The legend tells us how Sambandar performs miracles (like surviving an arson attempt to his life), and brings the king back to Hindu fold. Sambandar uses the power of a verse that he composed at the sanctum of Darbaranyeshwarar to prove the supremacy of his faith. 

We have almost reached the end of the queue, and get the coconuts broken by the priests who stand by the enclosure with sickles (to break the coconuts) and huge containers (to collect the water). The temple is very vibrant, with many colourful statues that adorn the pillars. Unfortunately, they seem to have fallen to disuse, with cobwebs and dust attacking them. 

We enter the sannidhi with the rest of the people in the queue. The Lord Darbaranyeshwarar welcomes us to the main sanctum. The queue continues to the sanctum of Lord Shaneeshwarar, who is worshipped in a standing position, facing east. It is a small idol, in black stone with a gold kavacham or sheath covering his person. Lord Darbaranyeshwarar’s consort Bhogamartha Poonmulayal sits in a sanctum to his left, facing south. 

The Shaneeshwarar here is believed to be a peaceful and happy Lord, who grants boons. He is not depicted in his vengeful and punishing form. 

The hall outside the temple in front of the gopuram is painted with depictions of various deities. The ceiling has also been artistically painted with the navagrahas, or the Lords of the nine planets. The length of the hall is supported by pillars. Each pillar has a sculpture of Lord Nataraja (Lord Shiva as the lord of dance) in his many impossible dance poses. The entire temple is dotted with pillars, which is a typical feature of temples in Tamil Nadu. 

We leave the temple, filled with the legend of the power of Lord Shaneeshwara and happy to have worshipped him on a Saturday. Next week, I will take you to another holy place. Till then, stay safe, and stay devout!   

Nala Damayanti

Damayanti is a Vidharba princess who is in love with king Nala, a Nishada ruler, having heard of his exploits from a golden swan. Damayanti’s beauty is unparalleled, and many men desire her, including the Gods. When her father announces her swayamvara (a wedding where the bride chooses her groom from a host of invited kings), several suitors arrive. Many Gods arrive as guests with the mortals, eager to be the chosen one.

The Gods Indra, Varuna Agni and Yama meet Nala (who is also invited to the swayamvara) on the way. Knowing that they do not stand a chance against Nala, they assign him the task of conveying to Damayanti that she should choose her husband from one of the four Gods. A heart-broken Nala is obliged to carry out their orders. Damayanti is thrilled to meet her hero in the flesh, but is disappointed upon hearing his message. She consoles him and sends him away with a reply to the Gods, ‘I will only choose Nala; my heart is set on him.’ 

Hearing this, the Gods decide to trick Damayanti by disguising themselves as Nala. When the princess enters the hall with the flower garland in her hands, she is puzzled to see not one, but five Nalas! She prays to the Gods to direct her to the correct Nala. Her prayers are answered, and Damayanti is able to make out the differences between the human king and the Gods. Nala’s brow has a fine film of sweat upon it and his feet are firmly upon the ground. The Gods on the other hand have an ethereal perfection, and their feet do not touch the ground. She happily garlands Nala, and the wedding is solemnised. 

The four Gods are unhappy with this, but conceal their feelings and congratulate the new couple. As they are on their return journey, the Gods meet Kali Bhagavan, who was also invited to participate in the swayamvara, but has arrived late. The jealous Gods sow the seed of hatred and jealousy in Kali Bhagavan. An embittered Kali vows to take revenge on Nala. 

Kali lies in wait for years. In the meanwhile, Nala and Damayanti lead a happy life, and bear two children, a son and a daughter. Kali finds the perfect occasion when Nala enters the prayer room without washing his feet, and possesses the king. This possession is believed to be during the seven and a half years of Shani’s influence on the king. 

Nala’s fortunes rapidly decline. He loses his kingdom in a game of dice, and is forced on to the streets with his loyal wife. He is separated from his dear Damayanti when he decides to abandon her to protect her from his misfortunes. He loses his good looks when he is turned into a dark dwarf resulting from the bite of the snake king Karkotakan. The snake king assures him that this is a blessing in disguise, and will come in handy for Nala who is trying to remain incognito.

A broken Damayanti returns to her father’s kingdom with her children. Nala, now in the form of an ugly dwarf, serves in the stables of King Rituparna. By some lucky chance, Damayanti discovers this. In order to make Nala reveal himself, she announces a fake second swayamvaram after a discussion with her father. 

An invitation is sent only to Rituparna, who makes his way to Vidharba in a chariot driven by Nala, who is heart-broken on hearing of his wife’s decision to remarry when he is still alive. Fate and luck help reunite Nala and Damayanti. With the completion of the seven and a half years, Nala is rid of Kali. His original form is restored to him, and he reunites with his family. He is emboldened by his good fortune, and regains his kingdom by playing a second game of dice.

Legend says that Nala pays his respects to Lord Shaneeshwara at the Darbaranyeshwara Swamy temple in Thirunallar in dripping clothes after taking a dip in the tank, which is now called Nalatheertham. 

Paramekkavu Bhagavathy temple, Thrissur

The city of Thrissivaperur (locally known as Thrissur) in Kerala is lucky to have three powerful Gods protecting it; Goddess Paramekkavamma, Thiruvambady Krishnan, and Lord Shiva, known as Vadakunnathan. Today let me take you to the Paramekkavu temple. I had the good fortune of visiting the Devi temple during the auspicious Navarathri festivities. Paramekkavu Devi is in the form of Bhadrakali. There is an interesting legend on how the Goddess came to Thrissur. Read it here.

The temple is on the main road. The nirmalya darshanam is at 4.00 a.m., and the temple is open till 11.00 a.m. It is then closed till 4.00 p.m. when it opens for the evening darshan. The temple doors are closed for the day at 8.00 p.m. As you enter the temple compound, to your right is the car park, and the hall where cultural activities are conducted. A magnificent three-tiered roof marks the entrance of the temple. 

Temple entrance 

Image courtesy - Challiyan via Wikimedia Commons

As you enter, the Goddess’ nada is right in front of you, a few feet away, and a few steps below. To the left of the entrance are the counters where you can buy tokens for offerings. To the right are the offices and a short distance away are the counters where you can collect the offerings. There is a small stage to the right of the entrance, where prabhashanams (holy discourses) are conducted. The usual strict dress code is enforced, and entry is only for Hindu devotees. 

We walk down the steps to enter the sanctum sanctorum. The hundi for offerings is kept outside. Devi sits in all her glory in the sanctum. The oil lamps around the Goddess light up her beauty in a surreal way. Paramekkavu Amma is depicted with eight arms. Each hand holds a different weapon. On one hand, She holds the severed head of a slain rakshasa. Devi’s idol is covered with a huge gold sheath. Silk garments adorn her. 

My grandfather, Mr. P Krishna Iyer, is a noted academician on Hindu mythology. A long-time resident of Thrissur, Mr. Iyer has detailed knowledge on the scriptures and comes from a lineage of Sanskrit scholars and Pundits. He has told me that different deities are worshipped in the form young children and aged Gods. According to him, Paramekkavamma is an elderly lady, and is worshipped as such. Likewise, Lord Vadakunnathan is also an old gentleman. 

We do a pradakshinam, and exit the main sanctum. To the right of the Devi, facing her sits the Bramharakshas. A few steps above, to the right of the Devi are the shrines of Melkavu amma (the goddess on the higher ground) and the Nagas or serpent deities. There is a counter here as well to buy offerings. Melkavu amma is represented by a small gold circular sheath. A little distance away is the temple pond. We offer our respects to the deities, and step down again. 

Temple pond

We peep in Paramekkavu amma’s sanctum once again before we exit the temple. I hope you enjoyed today’s temple visit. I will take you to a different devalayam next Friday. Till then, stay safe, and stay devout!  

The legend of Paramekkavu Devi

There was a Nair household in Thrissur that protected the residents in the locality. The Nair community is considered to be aristocracy and take up arms when required. The patriarch of this family, Kuruppaal, was a devotee of Thirumandankunnil Devi, who is enshrined in modern day Malappuram, a little away from Thrissur. The Kuruppaal would regularly visit Thirumandankunnil Amma. However, over time and with age, the Kuruppaal started finding it difficult to make the journey. He decided to visit Devi one last time, and convey his thoughts to her. As he stood before Devi with folded palms, he told her about his limitations. He said that he was getting older and weaker by the day, and much against his wishes, would have to stop coming to see her.

The ever compassionate Devi heard the prayer of her devotee, and as the Kuruppaal picked up his ola kuda (ancient umbrella made of palm leaves) and turned homeward, she took her seat on the umbrella. Unknown to the Kuruppaal, the Goddess had decided to go with him. After a long journey, the exhausted Kuruppaal sat to rest under a tree near the Vadakunnathan temple compound. After cooling himself for a while, the old man rose to resume his journey. When he reached for his ola kuda, he found that he was unable to pick it up. Much as he tugged at it, the umbrella refused to budge.

The puzzled Kuruppaal consulted an astrologer to understand what was happening. The astrologer was amazed to find that Devi herself was present there. He told the Kuruppal that Devi had accompanied him from the Thirumandankunnu temple, and was now seated at the spot where the umbrella was placed. Kuruppaal was overjoyed with Devi’s love, and immediately set about building a temple to install Devi.

Subsequently, after several years, when the Vadakunnathan temple was being renovated, Devi was installed a little away, where the present temple stands. 

Pashupatheeshwara temple, Karur

Lord Shiva, the most benevolent, has called me to his abode at Karur, Tamil Nadu. The Lord presides over this small town located close to Trichy, as Pashupatheeshwara, the Lord of animals (can be interpreted as Lord of all living beings). It is the occasion of Aruthra Darshanam, (which marks the cosmic dance of Lord Shiva, symbolising the constant cycle of birth, sustenance and death), and the town is celebrating it with the Natyanjali dance festival.

We catch an overnight train to Karur. The train is delayed by an hour, and it is 1.30 a.m. by the time we settle in our berths. We alight at the Karur railway station at 7.00 in the morning. We make our way to the hotel, and take time to freshen up and have a simple yet delicious breakfast of idlis and pongal. 

Gopuram at the temple gates

Fortunately or unfortunately, I am kept occupied during the day, and am unable to make it to the temple. It is finally late evening by the time I wrap up my tasks, and make my way to the Pashupatheeshwarar temple. The temple precincts are huge, with a typical Chola-style gopuram rising towards the sky marking the main entrance. As I enter, to my right is a hall; a closed mantapam. Straight ahead is the shrine. To my left is the Nalvar Arangam, the open stage where the dancers perform for the Natyanjali. 

Nalvar Arangam adjacent to the temple

Just before we enter the temple, to the left is a small office where we can buy tokens for offerings. Realizing that I have only precious minutes left before the nadai closes, I rush inside. The inside of the temple is huge, and I am awestruck by the sheer size of the hall. Stone pillars support the hall. The walls inside the hall (around the circumambulatory path) hold statues of the 63 nayanmar, the Shaivite poet saints who have contributed significantly to Tamil literature. A stone Nandi sits outside; serenely guarding the entrance. I bow to Nandi, and take the short flight of steps to the sanctum. 

The temple entrance

The garbhagudi is a simple stone structure, with two separate queues for men and women on either side of the sannidhi marked with a metal frame. The Lord is in the form of a shivalinga, as he is commonly worshipped. The black linga is marked by three stripes of white vibhuti (holy ash), and a red dot in the centre. I offer my prayers to the Lord, and prostrate myself before the lingam grateful for the small mercies of the Lord. 

The soft fragrance of sambrani fills the small room, followed by thick smoke. A priest walks in, wielding the sambrani in a container, mounted on a staff. The head priest brings out the utsava murthy from the sanctum, and before I know it, another priest draws a curtain across the sannidhi, marking the closure of the temple. I realize that I am lucky enough to have made it in the nick of the time! I ask a lady next to me where the Lord is being taken. She tells me they are taking him to the palli arai, or the bed chamber. 

We follow the procession, led by a priest who is softly chanting a lullaby, keeping tune with the gentle chimes of a pair of cymbals. The Lord is placed on a palanquin, and is led in a pradakshinam to the palli arai. Some instinct guides me out, and towards the Devi shrine. Too late! Devi has already been put to bed.

I prostrate before the curtained sanctum, and step aside as I hear the chants coming closer. The procession steps in, preceded by the fragrance of the sambrani. The Lord steps inside and is led to the palli arai, where Devi is being put to sleep accompanied by prayers. The curtain parts and the Lord joins Devi on the aatu kattil, or the royal swing bed. I am struck by my unbelievable luck. I just got to see Shiva and Parvathi together in the same sannidhi! I am thrilled to bits, and prostrate myself before the wondrous sight.

I slowly make my way out, savouring the moment. This concludes my brief account on the Pashupatheeshwara temple. I will be back next week with my next post. Till then, stay safe, and stay devout! 

Venkateshwara temple, Tirupati

We get an opportunity to perform at Nada Neerajanam, the series of concerts held by the Sri Venkateshwara Bhakti Channel (SVBC), the official media channel of the Tirumala Tirupathi Devasthanam (TTD). Performers are hosted by the TTD, and get special darshan of the Lord. We are an excited bunch of dancers and families that make our way to Tirumala hills. Packed into two mini vans, we leave Bangalore in the morning.

Somewhere in the border we break journey to fix a flat tyre. Suresh uncle engages us in an interesting discussion on the concept of Geethopadesham. He compares each player in the Geethopadesham to different aspects of human existence. The human body is the chariot, our intellect or the mind is reins of the chariot. The five horses that pull the chariot are our five senses (sight, hearing, smell, taste and touch). The Lord as the charioteer is the human soul. If a person is able to exercise restrain over the reins, that is the mind, we can control our senses, and direct it to travel on the path that we direct it. Soon, we are off again.

A result of the unscheduled breaks and the long stops is that we reach the foot of the Tirumala hills later than expected. We get off at the security check point, and haul our luggage through the scanners. This done, we begin the journey up the hill. There is a path laid out for the devout to climb the hill on foot. Meant for the brave and deeply faithful, I suppose! It takes the vans less than an hour to make it to the top.

The entire hill has been well laid out with roads, lighting, drinking water at several strategic places, free bus services to and from the many quarters till the temple threshold (where the queues begin), boards in different languages that indicate landmarks, and instructions for devotees. Golf carts are also provided to ferry older and handicapped devotees. The handicapped are given special darshan. 

There are also amenities provided to the devotees as they wait in the queue for darshan, which can take several hours. The facilities that the TTD has laid out for the devotees of the Lord are impressive.

Image courtesy - Adityamadhav83 via Wikimedia Commons

The Venkateshwara temple has a Hindus-only rule, however, in a huge board; the temple authorities announce a concession. People from any faith, who believe in Lord Venkateshwara, and want to visit him, can do so if they submit an affidavit stating the supremacy of the Lord, and their faith in him. I find this to be a fair exchange, considering the strict rule enforced by many temples. Certainly there will be people born in different faiths and are devotees of Hindu deities. 

Devotees are to observe a strict dress code. Women can wear saris, salwars, or langa davani, but must wear dupattas. Men can wear dhotis or formal pants with formal shirts. 

At three forty-five the next morning, a vehicle arrives to pick us up for darshan. We are dropped off at the entrance, where the routine security checks are held. This done, we head to the waiting room after criss-crossing through a couple of lines. The waiting room is a longish covered area, with several chairs arranged systematically. Our company include VIPs and their families. When there is a break in the regular darshan, we are called. The entire lot in the room are heralded towards the sanctum sanctorum. We enter the huge main doors, cross the dwaja sthamba, and enter the temple. There are a few people ahead of us, and I realise that people are let inside in batches.

We step in, and wait for our turn. The Lord is screened with a curtain. So after each batch of devotees get darshan, the Lord is curtained off, and the group moves on. A gentleman announces to the devotees to ‘please see Swami,’ and to put purdah for Swami when the darshan time is up. It is our turn, and we come close to the entrance of the garbha gudi for our darshan. The Lord is only a few feet ahead of us. 

The Lord Venkateshwara stands larger than life before us. His tall stature is decked with ornaments. The most noteworthy feature on his face is the thick naamam, which is a Vaishnavite symbol. Two thick white vertical stripes on his forehead come down till the bridge of his nose. A huge crown covers his head. The yagnopaveedam hangs across his left shoulder. A spotless white dhoti is draped on him, forming the main garment. The Lord’s left arm is placed on his waist, and his right arm is close to his side. His right hand is extended in the varada (granter of boons) gesture, with his palm turned downwards, and facing his devotees. We stand awestruck before him, our palms folded.

Image courtesy - Karsolene via Wikimedia Commons

The gentleman announces purdah for Swami, and we are herded out. The enormous feeling of peace and the power of the Lord is still vibrating in my mind. We step out, and place our offerings in the hundi a little away from the sanctum and make our way back to our rooms. We have all day ahead of us to prepare for the recital in the evening. By God’s grace, we have a good run at our recital, in front of a huge crowd.

I hope you enjoyed this account of the Lord of the seven hills. I will see you next week when I take you to our next devalayam. Stay safe, and stay devout!