This thread is devoted to the glorious contributions of Kerala and her people to Indian History and Culture.
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This thread is devoted to the glorious contributions of Kerala and her people to Indian History and Culture.
Click here for a Table of Contents
Article by Padmanabha
[tscii]Kamsa sent his emissary Akrura to Vrindavan. Akrura a true devotee discloses Krishna and Balarama his mission of visit thus:
“Kamsa has bad intention in getting Krishna and Balarama, in Mathura. He has come to know that you are (Krishna) the eighth son of Devaki and hence his enemy. He has arranged a bow festival and has ordered a tusker KUVALAYAPEEDOM (to crush you to death) to be stationed at the entrance of the venue. ….You can reject the invitation of Kamsa” pleaded Akrura.
They are no cowards. They accepted the invitation. Accompanied by Akrura they reached Mathura. As arranged the venue was blocked by Kuvalayapeedom. The mahout signaled to the elephant. Krishna the incarnation of Lord Vishnu, showered blows on it and killed it. The boys pulled out the tusk and marched towards the Palace, and what follows is the slaying of KAMSA.
“Kamsa vadham”, as it is popularly known in histrionics was staged by Krishnendu at Fort Margi recently. Accompanying on the Mizhavu was her husband Dhanaraj.
In a brief interview the couple shared their passion for kootiyattom, the advantages of being in the same field, and how Margi became a turning point in their carrier.
“We do not represent a family of artistes. I was interested in mrudangam. I discontinued the class for my parents could not provide the fee. I joined Kalamandalam and I got admission not for mrudangam but for mizhavu” said Dhanaraj, a native of Ottappalam.
Krishnedu’s father insisted that she should learn Kathakali. “I was interested in bharatanatyam and mohiniyattom. I joined Kalamandalam but was admitted in Kutiyattom” said Krishnendu.
The duo however has no regret and now they feel that destiny have taken them to the right field and the apt centre-Margi.
“The exposure we get here is amazing. The opportunity to stage shows is frequent. The process of learning never stops at Margi. We can devote more time for Choliiyattom. Kalamandalam is time table oriented. We have to concentrate on academic lessons besides our subject of specialization. Kalamanadalam has a syllabus and you cannot overstep the frame work. Margi provides freedom for experimentation. The masters are highly encouraging” they say.
As we all know in Kutiyattom the position of the mizhavu artiste is behind the performer and hence he cannot view the gestures of the artiste, but has to accompany her. This requires tremendous understanding between the performers. It is acquired by practice. “In our case we are free to discuss, share and improvise our performances” they said.
“I would like to perform kaliya mardanam in Nangiarkoothu. We need only few lines from the epics upon which we can build the entire show. Great connoisseurs of kootiyattom some times provide the thread and we work and improvise on it. Our project is Jaydeva’s Ashtapadhi” disclosed Krishendu.
Article by Padmanabha
[tscii]When epigraphists took the estampage of the rock inscription at the Parthivapuram Vishnu temple in erstwhile Vilavancode taluk of Nachinadu, much surprise was in store for them.
This particular inscription was the first ever evidence which revealed that a famous University called Kanthallur Salai akin to Nalanda and the Taxila had existed in Thiruvananthapuram 1200 years ago. Further research led them to the conclusion that the University was functioning on the premises of Valiasalai Mahadevar temple. Surprised
Kanthalur Salai widely known as the Nalanda of the South was looked upon as a model by the people of that time. It was modeled on the educational institution of the Buddhists and the Jains.
So goes the reference in the Ananthapura Varnanam, “KANTHIYUM CHELVAMUM MIKKA KANTHALLUR SALAI KANALAAM, MOONRU KOILUMEN MUNNIL THONDRUM THANTRA MADANGALUM.”
Kanthalur and Parthivapura Salai were established by the Ay King Karunandadakkan in 850 AD and 857 AD respectively.
Each salai provided boarding to 95 chattar(students). The Huzur office inscriptions specify the rules and regulations of the Salai.
Vyakarana, Mimamsa and Paurohitya were the important subjects. The mode of reciting the Vedas was specified in copper plates. Fine and fasting were imposed on students who used abusive language and fought each other. Gambling was considered an offence. Students from 26 Aryan countries came to Kanthalur Salai for higher studies.
The phrase “KANTHALUR SALAI KALAM ARUTHARULI” found in various inscriptions were given different interpretations. The accepted version is that the King is pleased to make an endowment and fix the number of Kalams that is the dinner plates that is number of Brahmins to be fed in the institution.
A decorated elephant was let loose and its route back to the temple formed the terrootyr of Parthivapuram. “Along with Vizhinjam Kanthallur too functioned as an army camp. Srivallabha Perum Panaikal Aviyalandradakkan records say designed arms for Ko Karunandadakkan. Though the Ay kings were Saivites they constructed Vishnu temples a proof for their tolerance.
Kanthallur was destroyed followed by the attacks of Rajendra Chola(1019) Rajadirajan (1046) and Kulothungan (1070)
It was Kavi Mamani Desivinayakam Pillai who established the Kanthallur Salai and Valaiasali Mahadevar temple are one and the same.
The beautiful sculptures in the temple have been white washed. Decorative motifs on the pillar and outer walls of the sanctum sanctorum have been unfinished coat of color to the effect that the craftsmanship is beyond recognition.
The latter day administrators are unaware of even that fact that inscriptions of Rajendra Chola and Ravi Varma are present in a mutilated state in the temple which bear eloquent testimony to its antiquity.
Bhima assuming the form of Raudra, revels madly in Dushasana’s blood. He devours his entrails and smearing with the remains, dances victoriously. He fulfils his vow and binds up his wife Draupadi’s hair with his gory hands.
The drum beats in the back ground echoed the terrible wrath of Bhima. The spectators who witnessed the bloody combat felt a sigh of relief when Dushasana was inexorably killed.
Ettumanoor Kannan enacting the role of Bhima interpreted every Padam through mime and gestures overflowing with rasa and bhava to the effect that the audience felt contented at the victory of good over the evil.
“Initially my parents stood against my wish to learn Kathakali. They thought that it would affect my studies” says Kannan who is at present a doctorate holder researching on Kerala Theatre at the International Centre of Kerala Studies, University of Kerala.
Kannan was trained by Vasu Pisharadi and Mani Madhava Chakyar. Though initially he took up the Pachcha Veshams (hero), he has also donned the role of Ravanan, Narakasuran and Keechakan.
Kannan has staged Macbeth at Pittsburgh blending the western theatre techniques and Kathakali. “It was a fusion of iambic parameter and the mudras” explained Kannan.
The Kathakali actor conveys the dialogue through the mudras and the Shakespearean plays are known for the powerful dialogues and soliloquies delivered by the actor. But Kannan donned the role of Macbeth without dialogue. Behind the stage it was delivered by an actor.
And what about the costumes?
“Though I did not use colorful costumes of Kathakali, the show has tremendous visual impact” he said.
According to him there is no short cuts and comprmise regarding practice. Power and perfection can be achieved only through daily practice.
Kannan has enacted PROF. Madusoodanan Nair’s Agasthya hrudayam in the Kathakali format, for Asianet. He is concerned about the dwindling number of genuine audience for Kathakali. “This is mainly because the lay person is unfamiliar with the mudras. He does not know what is being conveyed. Naturally he chooses some other form of instant entertainment. To create sensible audience I am conducting mudra classes for those who are interested in Kathakali.” He said.
ICKS is regularly conducting appreciation course on performing arts of Kerala. Kannan is one among the Faculty.
He recently staged Govardanoddaranam, effectively employing Natyadarmi. All the characters were performed through Pakarnattam (one actor playing multiple roles).
Kannan has attempted a few post modern performances. “It never gives satisfaction. They all lack depth. That is why I have stopped performing Oedipus. That was a great revelation. In future I will always concentrate only on Kathakali” he said.
[tscii]Sree Padmanabhaswami Temple
Sree Padmanabhaswami Temple is the main architectural landmark of Thiruvananthapuram. The city is named after the presiding deity, Lord Padmanabha who reclines on the Anantha in a conscious slumber.
The name of this temple is mentioned in four Puranas, namely -Padma, Vayu, Brahmanda, and Varaha. The Brahmanda purana devotes a whole chapter to Ananthapura Mahathmyam. The Holy Bhagavatham says that Balarama has visited this temple, bathed in the holy pond and donated 10000 cows to the Brahmins. According to the Kanyakumari edict, Paranthaka Pandyan a contemporary of Kulothunga Chola had gifted 10 golden lamps to this temple.
This temple is of hoary antiquity and has many legends attached to it. Anantha sayana Mahathmya, says that a Tulu Brahmin Sage- Diwakara Muni set up the temple. One day Lord Vishnu appeared before him in the form of a loving child. The sage requested the child to stay with him. The sage gave him all love and cares and tolerated his pranks. One day the child made such nuisance of himself that the sage was greatly annoyed and chastised him. The child vanished at once saying that if the sage wanted to see him, he would have to come to Ananthankad. After a futile search, he reached a forest area near the seacoast and caught the glimpse of the child disappearing into a huge Illuppa tree. The tree fell on the ground and assumed the shape of Mahavishnu, with the head at Thiruvallam and feet at Thrippappur. Over awed the sage pleaded the Lord to condense, in size. The image shrunk to a size three times the length of the sage’s yoga dand. Another Legend is that Lord Vishnu appeared before the saint Vilwamangalam, as a small child. While performing pooja the child put the Saligrama in its mouth. The saint out of rage pushed the child which at once vanished. A divine voice said: “Search, I will be in the Anathankadu.”
The Saint tired after a futile search of this unknown place heard a pulaya woman threatening her child: “Stop crying or else I will throw you at the Ananthankad.” He found the Child and had the vision of the God in all serenity and splendor. The saint plucked a raw mango, and offered it to the Lord. Even today raw mango is the main offering at this temple.
Legends never tally with recorded evidence. The available records include nearly 30 millions palm leaf scrolls, inscriptions and the likes. This is one among the ten qualifications, which enhances the greatness of any temple. One of the palm leaf scrolls shows that the Abhisravana Mandapam was built by the king Kotha Marthanda, after the demise of King Pareekshith.[Admn-:3102- 3042 BC]
Pareekshith ruled his kingdom when the seven planets were in conjunction in Capricorn- a celestial event that takes place only once in 2700 years. The planetary position continues for a century. The next conjunction will take place in 2223 AD and therefore the earlier occurrences were in the years-477Bc and 3177BC. The time frame is correct and by this time, Sree Pamanabha temple has already become an old temple.
This Mahakshetra, is one of the 108 divya kshetrams in the country. The 18 feet idol of Sree Padmanabha is made of 12008 Saligrams (sacred stones) collected from the Gandaki River in Nepal. The Saligrams are bound together using Kadusarkara yogam. A Lotus emerges from HIS navel hence the name Padmanabha. The consecration was conducted by Tarananallur Padmanabharu Parameswararu in 1739 AD, during the reign of Anizham Thirunal Marthanda Varma. The sanctum has the images of 33crore celestials in conceptualized form, besides Brahma, Siva Lakshmi Devi, Bhoomi Devi, sages Markandeya and Bhrigu.
The seven acre temple complex has other shrines of Ganapathi, Hanuman, Garuda, Narasimha, Vysa, Rama-Lakshmana-Sita, Viswaksenan, Sastha, Kshetrapalaka, and Sree Krishna.
Nammalvar, a 9th century poet has composed many hymns in praise of the deity. The copper plate inscription of Mamapalli, (149 ME) refers to Kannan Karupozhan. On the wall of the Sree Krishna shrine is an inscription in Vattezhuthu which says that Kannan Karupozhan has donated land for setting the shrine.
The temple was destroyed in a fire 1686. In 1729 Marthanda Varma reconstructed it. In 1750, he shifted the capital from Padmanabhapuram to Thiruvananthapuram and built a palace near the temple. He dedicated himself and his possessions to the deity (Trupaddidanam) and assumed the title of Padmanabhadasa. Accordingly, the deity owns the kingdom, and the king was the mere executor of the trust.
The Temple overlooks the greenish pond –Padmatheertham. On the east entrance is seen a seven storey tower- the gopuram that pierces the skyline. The entrance beneath the tower leads to the Natakasala, built in the Vijayanagara style of architecture. Walk past this corridor supported by elaborately carved balustrade of pillars, would lead to oblong seevelipura through which, the idols on special conveyances are taken for circumambulations. Built in the Dravidian, Pallava and the Pandya styles, 365 equitably carved granite pillars support this corridor. The rows of granite and stone ceiling above are decorated with sculptures. Every pillar has the figure of a girl bearing a lamp in the palms of her hands joined together and raised above the waist.
The Kulasekhara Mandapam carries a wealth of intricate granite sculptures. It is here that, Sanskrit scholars and priests chant Vedas during Murajapam, held once in every six years. The ottakkal mandapam facing the main idol is a single slab of granite, which is 2.5 ft thick and 20 ft square. 4000stone artisans, 8000 laborers and 100 elephants worked for a period of 6 months to construct the seevelipura. Amazing!!
The April showers were severe. The festival had to be conducted. There was no corridor, to take the procession without getting wet. The then Maharaja, Anizham Tirunal Marthanda Varma, decided to construct a corridor before the next festival, which is hardly six months away. He had the plans drawn by the architect Thycaud Vishnu Tharathan Nampoothiri. Meanwhile, sculptors were brought from Tirunelveli, Thanjavur and other parts of Kerala and Tamil Nadu. Then king deployed 1000 sculptors 1500 helpers on each side. Imagine there was no machinery available during those days. Thousands were appointed to provide food and water. Before the next festival the corridor was erected.
But, the temple premises were littered with stones and debris. The Maharaja was informed that it was not pragmatic to remove the debris within two days. He observed the spot. He pulled his uthareeyam, spread it, the collected the debris, bundled it, and carried it on his shoulders and unloaded it at a spot outside the temple, setting an example. The laborers and the public, in a joint effort cleared the temple premises within two days.
The major festivals are in March-April and in October–November, each of which concludes with the procession, Aaraatu. Every six years the temple is adorned with one million lamps, in connection with the ceremony called Laksha Deepam.
His Highness’ daily visit to the temple, as Sree Padmanabhadasa, takes him through the salutations of his people, across the main extent of the main city.
[tscii]Article by Padmanabha
FAST and festivals are an intrinsic part of India’s cultural fabric. Over centuries women observed many fasts to propitiate destiny and gods. The Malayalam month Dhanu witnesses a significant that women follow for their marital bliss. This festival called Thiruvathira falls on January 3 next year. Very Happy
It always coincides with the full moon in Dhanu. The celebration is as old as Sangam AGE. Stanza eleven of Paripaadal by Nallanduvanar describes the wading damsels in Vaigai on the full moon day in Dhanu. The poet also describes how the women propitiate the gods for a loving husband.
The legend of Thiruvathira is related to Lord Siva and the consequences of Dakshayagam. Another legend is connected with Parvathi Parinayam. People generally believe that Dhanu is an inauspicious month may be of bleak weather but many women do observe penance for Thiruvathira.
The entire worship signifies the desire that the husband live a long and healthy life. The women abstain from food as an offering in exchange for their prayers being granted says Narayani Amma, an octogenarian. This festival is recreated in plenty of Malayalam films and is portrayed as an extremely romantic ritual that strengthens the bond between husband and wife.
“IN Dhanu, the climate is cool. Instead of resting in the arms of Morpheus, women devotees in groups take a dip in still water” said Santhamma.
On the eve of Thiruvathira a suitable place in the fore court is cleaned and smeared with cow dung. Paddy husk is heaped and lit. Chena, cheru kizhangu, and kaya (raw banana) are roasted till soft. They are mashed and mixed with jaggery and grated coconut, sliced sugar cane diced plantains, and kalkandum candies) This mixture called ettengadi is offered before serving to the women who have assembled to paint their hands and feet with mayilanji (mehandi) she said.
This assemblage provides an opportunity to escape from the chores that binds them down to everyday routine. It offers a forum to sing dance and to gossip.
In a tray traditional attire (need not be new) vaal kannadi, kum kum dasapushpangal and collyrium are displayed. Women decorate themselves and stage Thiruvathirakali.
Next day after the ritualistic bath at dawn, they get themselves dressed in the traditional attire, emphasize eyes and brows with collyrium, deck with jewels and visit the temple of Siva. Of course they fast. To celebrate without food, might not be conducive for enjoyment. Still they engage in singing and dancing.” Santhamma remembers.
Swati Tirunal. Irayimmen Thampi, and his daughter Kutti kunju thankachi have composed plenty of thiuvathira pattu.
In the journey from tablets to tabloids, cave dwellings to computer screens written words have traversed diverse mediums and has brought to life countless stories-factual and fictitious.
The Orient Research Institute and Manuscript Library in the Kerala University Campus, in Karaivattom is a treasure house of many such stories, chronicled on palm leaves on agartuk, on bhujapatra, and on copper plates.
The Maharajas of Travancore were great patrons of art and literature and they themselves were experts in some field or other-Kulasekhara Alwar, Kulasekhara Varma, Dharma Raja, Swati TIRUNAL AND Ayilyam Tirunal for instance.
It was Ayilyam Tirunal who ordered the collection of Palm leaves, and other manuscripts. The attempt brought to light Swapnavasavadatta, a play penned by Bhasa unearthed from Manalikkara Madom in Padmanabhapuram. The 13 plays of Bhasa were given up as lost. Sree Moolam Tirunal was responsible for the spread of Oriental Literature. Bhaktimanjari, by Swati Tirunal was published in 1903 and was popular in Germany by 1907! Thanks to T. Ganapathi Sastry.
A visit to the ORI & ML provides a visual feast of time honored manuscripts and illustrations. Here are a few highlights: :o
Devi Mahatmyam:
It is a garland of palm leaves- a rich tribute to the dexterity of our ancestors. It consists of a string of fifteen beads, each made of inseparable palm leaves pressed against two ingeniously worked out knots. It has a beautiful wooden case too.
Ragarthadeepika:
A bundle of 191 leaves is done on exceptionally long palm leaves (30”).
SKANDAPURANAM: (TAMIL)
It has 611 leaves, AND IT MEASURES 2X2 ft. The name of the author is unknown.
Devi mahatmyam 11th chapter: it is the smallest manuscript, known (2”x1”).
Arthasastra Bhasahvakya: a commentary on Arthasastra, in Malayalam and is 600 years old.
Makaraprakarna: a manuscript on black magic has 40 lines crammed in single folio. This could be a deliberate attempt to make it illegible, to the lay man.
Arya Manju sree moola kalpam: is a tantric work on Buddhism, unearthed from Manalikkara Madom. The script is in Devanagiri, written with special resinous ink. It consists of 307 palm leaves. Professor Sylvain Levi of Sorbonne was entrusted with the task of correcting grammatical errors. Levi had come across, only the Chinese version of it and requested Dr.Ganapathi Sastri, to publish the original version of it. Pandit K P Jayasval, the famous historian extols the publication. It helped to reconstruct a period of Indian Imperial history from 600 BC TO 700 AD.
Chitra Ramayana & Chitra Mahabharata: is a rare and prestigious possession. A former Indian Ambassador to Indonesia donated two valuable illustrated manuscripts to the library. They are more than 500 years old. The former is the representation of Ramayana in 359 condensed sequences. Each folio is 13.5” long and 3” wide. Battle scenes occupy 50 percent of the work. These illustrations effectively communicate the ideas of the artist. The artist has differentiated Rama from Lakshmana, by adorning his head gear with a peacock feather. The apparel and the ornaments resemble that of kutiyattam. Ravana smiles with an air of vengeance while chopping off the wings of Jatayu. The anger in the eyes of the bird is beyond description. The effect of the forest is brought out through a few bold strokes. Wild animals and bird are found in “the dense forest”.
The author is unknown. In the concluding stanza the author says that he is the disciple of a Brahmin, called Balakavi, and did this work as per the direction of the preceptor.
“Most of the manuscripts are in Grantha, Nandinagiri, Vattezhuthu, and Malayanma. Grantha is the oldest South Indian script” says DR. Visalakshi Director of ORI & ML. Most of the manuscripts are supported by/strengthened by wooden planks. Ramayana scrolls are supported by ivory planks, with exquisite carvings of Anathasayanam as seen in the temples of Sree Padmanabha(Trivandrum) and Adi kesava Perumal (Thiruvattar). “The institute has 65,000 manuscripts, out of which 56,000 works in 30,000 codices are catalogued. 35060 Sanskrit manuscripts are catalogued in seven volumes” informs the Director.
Balaramapuram is a small township 13 kms from Thiruvananthapuram, which is known for its kasavu work on off white sarees and dhotis.
This town was founded in the year 1810 AD by the Travancore Royalty with the idea of developing it into a commercial centre. MERCHANTS, weavers, and craftsmen were invited to settle in this place. At present a colony of traditional weavers numbering about 1000 flourishes here.
Entering the town, a steady rat-a-tat of the shuttle moving to and fro on the looms greets the ears. Inside the large asbestos roofed shed, weavers stand waist deep in pits dug in the ground which is the specialty of Balaramapuram. You will find different weaves ranging from thin shimmering gold borders to exquisite brocades, with mango, peacock, parrot and floral motifs.
The kasavu design saree ranges from 1000 to 25,000, depending on the quality and quantity of the zari that has gone into its making. Kasavu is brought from Jaipur. The cost of genuine one is rupees 800 for 500 yards. A pure kasavu is made from silk thread on which 24 carrot gold is plated. Thus these materials have resale value.
The design takes about ten days to be woven on the fabric by hand. A wooden seal with the required design is used to mark the warp of the saree, with a dye. Then it is woven around leaving the design blank. The design is then hand woven separately using kasavu.
Unfortunately for various reasons, this rich weaving tradition is on the decline. According to Satyan, who runs a loom, the co-operative movement is not strong enough to run the loom. Also non-availability of quality yarns exploitation of middlemen, competition from power looms and paltry wages force the weavers to dilute the quality of the produce.
The youngsters here have drifted away from the profession to unskilled and lucrative jobs. Supporting the trend, the elders say, “Whatever happens I won’t let my children take up weaving. It is a profession that has no future. Our generation was force to satisfy themselves with the available resources. There was no other option and we are too old to learn new skills now.”
Viswanathan bagged the Presidents award for the best weave. The award winning saree he says took 15 days to weave. “These works demands patience” he said.
As part of diversification they weave bed spreads, pillow covers, towels, besides the traditional saree and dhoti.
KOYIKKAL PALACE: Centuries old koyikkal palace in Nedumangad near Thiruvananthapuram houses Kerala’s first numismatic study centre and folk lore museum.
History: The palace is believed to be the HQ of the perakathaivazhi, one of the branches of the Thruppappur the rulers of Travancore. Udayamarthanda Varma the ruler of Venad was adopted from Perakathaivazhi.
It was in this palace that Umayammarani took refugee when her son Aditya Varma was poisoned and the confederates suffocated the other princes. (There are other versions to this incident as well.) As there was no male member, Umayammarani became the Regent.
Finding the palace unsafe she moved to Koyikkal Palace. She invited Kerala Varma from Kottayam, and related to the Travancore royal family.
When her only son attained 16, the new sovereign had no new difficulty in governing. The family adopted two male and two females from Kolathunad.
Numismatic museum:_
In 1979, the Archaeology department, took over the palace, and was in a dilapidated condition. It was converted into a numismatic museum in 1990.
The collections:- Due to inadequate safety measures the visitors finds only the photographs of very old coins. Few Roman coins displayed here reveal, the socio cultural history of our ancestors.
From the third century BC onwards, brisk trade was carried out between India and the West. As a result of heavy inflow of Roman coins, they found way to all parts of the country. Roman Denarius(SILVER) and Aureus (GOLD) were circulated in Kerala. As gold was rare and costly people hoarded them.
Numerous coins were unearthed from Kottaym in 1842, Iyyal near Vadakkancherry in 1945, kumbalam in 1974, and valluvally in 1983. The first Indian metal currency that came into circulation after the end of the barter system was part of the Iyyal hoard.
The Roman Gold coins cover the periods of Emperors, who Ruled Rome, from AD14 TO AD 180-NAMELY-Tibenius, Claudius, Nero, Vespanian, Titus, Dominitier, Nerva, Trojan, Hadrianus, Antonius Pius, and Marcus Aurilius.
Muziris :_it is one of the ancient sea ports of Malabar. Pliny described it as the Premium Emporium India. Exports from this port were pepper, pearls, and ivory, silk, spikenard, precious stones, pottery, and glass wares.
The first reference of a minted coin called Rasi was minted and circulated through out the kingdom that spanned from capecomorin to gokarnam.
According to Sarojini Amma, the numismatist, the half chukram which was circulated in Kerala is the smallest coin in the world. Here the numismatics does not get the significance it deserves and hence a lot of information regarding history remains unknown she added.
The earliest silver coinage of ancient India is named as punch marked coins. These coins have uneven edges. It is for adjusting the actual weight the edges was clipped. It is believed that these coins dates posterior to Indo-Scythic dynasties in Bactira.
The chamun huzuri hoard in Kabul clarified that these punch marked coins were actually in currency in the 5th century BC.Buddhist literatures and Jataka tales refer to these coins. All the imperial coins conform to one weight. The coins that appear in fresh in mint conditions and bear no wear and tear weighs 51 to 54 grains.
The Lekshmi Varaha Panam and Parvathi Rupah too are displayed here. These tow coins were issued by Rani PARVATHI Bayi aunt of Swati Tirunal (1815-1829). As per the agreement the Travancore rulers were could issue only half rupee. Parvathi rupah was of one rupee denomination and hence banned. Rama Varma coin issued by Ayilyam Tirunal the first machine mint coin too finds a place in this palace.
The palace has in its display the weights and measures, namely the tholas, and different types of balances. Utensils of different shapes sizes belonging to different periods offer interesting viewing. Hurricane lamps, tholppava, kummatti, jewel boxes, life size images of thullal forms. Musical instruments like chandravalayam used in Ramakatha pattu, nanthuni, potters wheel, carts, antiques from Vellanad temple the anklet of the oracle reveal the customs, beliefs, life styles, and entertainment aspects of our ancestors.
An Article by Padmanabha: KARNABHARAM
“My best generals Bhishma and Drona have been killed in the battle. Take their place, for I believe you are stronger than them” said Duryodana, to Karna.
Karna appeared in the centre of the battle field-Kurushetra. He blew the conch and his charioteer Shalya proceeded with confidence.
Karna, the mighty warrior was suddenly disturbed. Why?
Chandradasan the director of the play Karnabharam analyzes the reason for the crest fallen face of Karna, and has successfully related it to a man who has lost his identity. The futile inner search makes him more miserable.
“What business a charioteer’s son has in the court?” Kripacharya’s words of insult echoed in his mind. This humiliation literally shook Karna. Duryodana his bosom friend immediately crowned him as the King of Anga. On the 16th day of the battle, the question of being a non-Kshatriya and the once raised question of his social status creates raging waves.
He is the son of the Pandava’s mother Kunthi, born to the Sun. Kunthi employs a mantra and the Sun robbed Kunthi of her virgin. Ashamed she put the child in a box and floated in the stream of Aswa. It reached the hands of Radha of the charioteer clan.
Who am I-son of Kunthi and the Sun or Radha and Suta? This question squeezes his heart. His throat choked. Karna is worried of his birth, his caste and the sarcasm he experienced due to this. Shalyar notices Karna’s angst. With the charisma of a tragic hero, Karna shares his agony with Shalya.
The incident of Parasurama comes to his mind. “How can a non Ksathriya learn archery?” asked the Rama with the axe. He frankly discloses that he is a suta putra. When Parasurama came to know of his birth he curses him saying that the astra he gave would be useless in times of dire need.
When his real mother pleads him to join the Pandavas he refuses. This act of disobeying mother too haunts him. He becomes energetic for a moment. But the thought of his father warning him the plot of Indira, flashes in. When born he had his ears shine with ornaments besides an armor of gold. “Your ornaments are like elixir and you will have deathless years. Hence do not spare them” warned his father, the Sun.
Undeterred by the persistent pleadings, he donates his ornaments to Indira, the father of Arjuna, his adversary and stood on his principle of charity ignoring its consequence.
Then he refuses to accept a weapon which can destroy one of the Pandavas. That was his magnanimity.
“This story written long ago has its relevance even today. It was staged in 1990, when Mandal commission report and its consequences were national issues. Dalit consciousness was at its peak then. This play thus enjoys contemporary relevance” said Chandrasan the director.
“Lokadarmi our theatre based at Kochi had staged plenty of Malayalam plays and English plays like the Tempest and Macbeth. I wanted to do a Sanskrit play. I read many plays, and Karnaharam by Bhasa influenced me. It is the 302nd stage” he said.
Stanislavsky and his method of acting have influenced me a lot. Accordingly I have given the freedom to the actor to imagine certain incidents that had tormented him, while performing, to bring out his emotion.”
“The great quality of charity becomes his terminator. The Sun is the first God worshipped by man, hence tribal God. Karna is the brilliant son of the ruby rayed Sun. How can he discard the element of the Sun in him? It is this energy that keeps him pulsating. This image of burning sun is the life of this play. Karna holds the effigy representing the Sun, and towards the end he burns and performs the guruthi. He tears the kavacha & kundala, and his emotions ebb and rise. He had no other way but to accept the harsh reality.
A team of Brahmins are always positioned on the stage watching and plotting strategies, to defeat Karna.
The director has wisely incorporated classical and folk forms. While essaying Karna to give more emphasis, red light and tribal instruments were used. On the contrary for Indira, blue color and classical instruments were employed.
Karnabharam, an adaptation of Bhasa’s Sanskrit play was recently staged in connection with National Theatre festival -2006, organized by Sarang. (733 WORDS)
An article by Padmanabha: Draupadi
Draupadi is a play performed in connection with the theatre festival yesterday.
Draupadi, unlike sita is not silent. She is not docile like Damayanti, and not sacrificing like Savithri. When she was asked to ensconce on Duryodanan’s thigh in the Assembly, she asked, “What legal right Yudhishtira has in staking me? He has already lost himself. He had no right to claim any thing as his own.” When her humiliation, barred all limits, Draupadi lifts her both arms in prayer and lets go her dress. She appeals to Krishna to save her modesty. Krishna provides unending swirl of cloth. Miraculous!!
Now let us come to reality. Every other day we come across abuse against women. And no savior like Krishna comes to save her modesty. Kanhailal, a playwright from Manipur conceived Mahaswetha Devi’s “Drapudi” and has successfully related it to the contemporary plight of women. Here Draupadi represents the marginalized people of rural India constantly oppressed by the muscle power of the rulers. She voices against the atrocities against women. Dopadi (Draupadi) and her husband Dulna, set out to fight for their community, namely Santhals. The police search them for the killing of the master. The couple goes under cover. Finally Dulna was killed by the police and Dopadi, falls in the trap, of the police. Unlike Draupadi in the epic Dopadi is not infinitely clad. No savior like the Lord reaches in time. She claims her body as her own, and, more importantly, claims control over the symbolic potential of her body. She makes it mean what she wants it to mean, turning male lust on its head and making the obscure object of desire/violence into a potentially disruptive object of horror. But she demands her right over her own ‘body language’, in the face of the most grueling odds. She strips her clothes, screams her protest out to the men who are her rapists. She subverts the system of oppression with the very thing that is its primary object, turns her ostensible weakness into her source of power.
“You may remember a similar incident occurred in Manipur in 2004. A group of Manipuri women stripped naked in front of the Western Gate of Kangla, where the 9 Sector Assam Rifles and 17 Sector Assam Rifles are housed. The 17 Assam Rifles personnel had picked up old Thangjam Manorama from her house and shot her dead on July 11. The possibility of rape was acknowledged. The district administration of the two districts of Imphal acted swiftly and imposed an indefinite curfew. The women folk started gathering in front of the Western Gate of Kangla and stripped off their clothing and raised slogans to lodge their protest. They also challenged the security personnel to come out and outrage their modesty, if they wished. Policemen who rushed to the site found themselves in an awkward position. “Our sons and daughters are being trampled, tortured, raped and killed by the security personnel”-they shouted” Heisnam Kanhailal, the director recollected and added, “I do not know how many of them have heard of Mahaswetha Devi and her work Draupadi” and continued:
“I was in Delhi then. A friend of mine informed me, how the climax of the play became a reality” “After the performance many women came to the green room, and prostrated before us. Still others wept. The shock of this protest affected both the violators of Draupadi and the audience, alike” he said.
Draupadi’s nakedness on stage had the same impact as in the text. The audience remained spell bound, at this gesture of Dopadi.
Dopadi’s scream would definitely haunt us. If it could create an attitudinal change in men and inculcate respect for women, it is the success of Draupadi.
Hues on the floor at VETTAKKORUMAKAN TEMPLE - An article by Padmanabha
It is a picturesque sight, at the VETTAKKORUMAKAN TEMPLE, near the west fort. Eyes fixed on the floor; Gopakumar is colorfully decorating a medium kaLam, of Devi. Neat and quaint, with small earthen pots with natural color powder, Gopakumar usually starts his work at the temple around 7 am. He is here after finishing a KaLam at the Chenthitta devi temple. By 9 am he will move to Palkulangara temple.
Once he starts his work, Gopakumar’s attention focused on the details of Ornaments and divine weapons.
“Basically I am a thimila (a musical instrument) artiste. I was deeply impressed by AYYAPPA PANIKKER a kaLamezhuthu Asaan, who regularly prepared the KaLams at the Palkulangara temple, where I worked. I joined him as a helper” says Gopakumar, a native of VILAPPILSAALA.
Like murals the portrayals are based on Dyana slokams. “I learnt them from AYYAPPA PANIKKER. I underwent ONE YEAR TRAINING AT THE Vaikkom Kalapeedom.”
What are the colors used?
We use only white, black, yellow, green and red. THEY together called Panchavarnam represent panchabhootha.
Raw rice powder for white, charred paddy husk for black,
Turmeric powder for yellow, finely powdered leaves of NEN MAENI VAAKA for green, chunnambu mixed with wet turmeric powder for red, are used. For hues we add rice flour.
To begin with an out line is made with rice flour. Once it is started one has to continue till finish. Once finished it is time for “VECHORUKKUKA”. That is an oil lit lamps, for Ganapathi, and ASHTADIGPALAKAS, A HANDFUL OF PADDY, rice topped with betel and areca nut, and coconut halves.
Kalamezhuthu is prevalent in Bhadrakaali, Sastha, and Vettakorumakan temples. The largest Kalam is made at the Vaikkom siva temple. The Bhadrakali has 64 hands and is in the standing pose on the Vethala. It is estimated that 50 kg of each color and five paRa of paddy and rice are required.
After the pooja the KaLam is wiped using Kamukin pookkula (inflorescence of Areca nut palm). ‘Few people come to learn this art form. They with draw realizing the strain, involved. You cannot make out a living with this” said Gopakaumar, adding that making KaLams in the month of VrUchikam (November15-December 15) is considered auspicious. (THE INDIAN EXPRESS-18-12 2004)
Informative thread. Thank you.
DRISHYA VEDI IS ORGANIZING IRAYIMMEN KATHAKALI MELA FROM 24 TO 30 OF THIS MONTH
AT KARTHIKA TIRUNAL THEATRE AND THEERTHAPADAMANDAPAM.
ADOOR GOPALAKRISHANAN WILL INAUGURATE THE FESTIVAL.
KEECHAKAVADAM(TWO DAYS) UTHARA SWAYAMVARAM (THREE DAYS) AND dAKSHA YAGAM (OVERNIGHT) WILL BE STAGED.
Kalamandalam gopi and kalamandalam sankara warrier will be felicitated in connection with this occasion
How can one forget the immortal lullaby Omana thingal kidavo….? Nalla komala thamara poovo…? specially composed for the garbhasreeman Swati Tirunal by Irayimmen Thampi? Born to Parvathipilla Thankachi and Kerala Varma Thampan of Cherthala Naduvilae Kovilakam, in 958 M E Thampi was trained by his father. He never concealed his urge for writing and once he composed a verse and submitted to the Maharaja, Dharmaraja. He underwent advanced training in Sanskrit from Moothattu Sankaranilayathu. It is said that Thampi composed Keechakavadham and Uttaraswayamvaram before the demise of Dharmaraja. Thampi married Kalipila Thankachi, and the couple had seven children and among them Kuttikunju Thankachi followed his foot steps and she is the first lady to compose Attakatha. In 990 M E he became the court musician. He has composed many eulogies on Rani Gauri Pparvathi Bayi, Princess Rukmini Bayi, Swati Tirunal and Uthram Tirunal. Murajapam (1004 M E), investiture of Maharaja Swati Tirunal (1004 M E), and similar events connected with the royal family formed the subjects. He was the only Poet Laureate.
He has penned three attakathas, namely, Kkeechakavadham, Uttaraswayamvaram, and Dakshayagam; Subhadra haranam kaikottipattu, murajapappana, Vaasishtam kilipattu, Rasa kreeda, Rajasevakramam manipravalam, and slokams in Sanskrit and Malayalam. His works are rich in poetic beauty, and alliterations. In most of his works, there is a verse –mudra either in the beginning or towards the end. It is written in such a way that the first letter of the first line, second letter of the second line and similar constructions in the lines that follow would produce the word “Ravivarmanthampikavanam.” Thampi’s kummi “veera virada kumara vibho” for instance are equally popular. 29 Sanskrit Kirtanams, 27 maniparvalam, 5 varnam, are his other works. Some of his padams like prana nadhan enikku nalkiya …, oru naal nisi chaitha leelakal…., are highly erotic. He went to the other extreme and composed “Karunachaivan enthu thamasam Krishna…”He passed away in 1031 in the month of Karkitakom. This is his 150th death anniversary.
KEECHAKA VADAM the popular attakatha by Irayimmen Thampi will be staged on Sunday, at Karthika Tirunal Theatre.
The story:
Having spent 12 years in exile in the forest, the Pandavas had to live fro one year in disguise. If they were identified they had to spend another 12 years in forest.
After 12 years of hardships in the forest, they decide to live in Viratapuri, in the Matsya Kingdom. The king Virata was a virtuous man. The Pandavas in disguise reached Virata and sought employment. Dharmaputra in the garb of Sanyasi called Kanka, Bhima as VALALA the cook, Arjuna as eunch Bruhanala, Nakula as Damagrandi the stable man, Sahadeva as Tandripala to tend cows and Draupadi as Sairendri in the court of Virata’s Queen Sudheshma (as Malini) were living the palace of Virata.
The queens brother Kichaka the commander-in –chief of Virata’s forces was smitten with Malini’s beauty. His disgraceful behavior towards her enrages Bhima, that he crushed him to death. He also kills Kichaka’s brother Uapkichaka.
Cast:
Kottakkal ravikumar: viratan,
Margi harivalsan : sairendri
,, Sukumaran : sudekshana
Attingal Pitambaran : Kankan
Sadanam bhasi : valalan
Kalamandalam rajivan:bruhanala
,, prasanth:damagrandi
,, kesavan :mallan
natyasala suresh : tantripalan
Vishnu nelliyode: doothan
In Kathakali:
It is performed in tow days.
Scene one_Begins with a srungara padam King Virata and his wife sudhekshana
Scene two_the pandavas along with drupadi reaches the palace. The King welcomes them and exchanges pleasantries.
Scene three Sudhekshana appoints Sairendri in her Anthapuram as Malini.
Scene three_Virata and Kanka in conversation. A messenger informs the king that a wrestler has arrived and challenges to defeat him. Kankan advises the king to send Valalan to face him.
Scene five_ the wrestler boasts. Valalan accepts the challenge the wrestling begins. Bhima –valalan defeats the wrestler.
Day two:
Scene one: kichaka meets sairendri. Performs the srungara padam-“MALINI RUCHIRA GUNA SALINI” She explains to kichaka that his uncontrolled passion is not advisable and warns him that he would have the end of Ravana who kidnapped Sita.
Scene two:
Kichaka discloses to Sudhekshana his love for Sairendri. She too advises him, but in vain. Finally she agrees to send Sairendri to his chamber in the night.
Scene three: sudhekshana send malini to kichaka’s chamber. She refuses and finally concedes.
Scene four:_kichaka is excited to see sairendri. He invites sairendri to his bed side. HE tries to outrage her modesty. But the Lord surya helps her. HE SENDS madolkadan and weakens Kichakan.
Scene five:-Sairendri, informs Valalan what had happened. He advises Sairendri, to invite him to his chamber.
SCENE six: as per her invitation she invites him. He sees a feminine figure, in the room. Excited approaches her. Valalan kills kichaka.
Scene seven:- upakichaka approaches Sairendri to take revenge. Valalan kills him too.
Duryodana sent his spies to discover the hiding place of the Pandavas. One of the spies reported that during his wandering, he had heard that Keechaka had been killed. This aroused suspicion in Duryodana. He knew that only Bhima could kill Keechaka. Therefore Pandava must be hiding in the Matsya Kingdom he concluded. Duryodana instructed Trigarta to capture Virata’s cattle. In the battle that ensued, Virata was made the prisoner. Bhima ( as Valalan, the cook) rescued Virata while Duryodana made fresh attack on Virata’s Kingdom. Uttaran son of Virata boasted that he could recapture if some one like Arjuna would drive the Chariot. Malini(Draupadi) knew that he was a coward. She persuaded Bruhanala (Arjuna), to act as his charioteer. In the battle, Uttaran was totally demoralized, Bruhanala revealed the true identity. The secret of Pandava’s disguise was thus broken. Arjuna defeats Duryodana. Performing the role of Arjuna in Uttaraswayamvaram second day organized by Drisyavedi was Kottakkal Chandrasekharan. He was selected for the Kendra Sangeeth Nataka Academy Award. Chandrasekhara has been performing since four decades. In an interview the artiste shares experiences, new attakathas and choreography.
Chandrasekharan is a descendent of the Naranathu Brandan. His father Kumaraswami Bhattathirippad was a great connoisseur of Kathakali and wanted his son Chandrasekharan to become a Kathakali actor. He started learning Kathakali in 1957 under the tutelage of Kuttan Panicker. In 1959, he joined Kottakkal P S Natyasangham. Vaidyaratnam P S Warrier established Kottakkal Aryvaidyasala in 1902. Paramasivam dramatic troupe was the art wing of the Vaidyasala. In 1967, Chandrasekharan was appointed as the tutor here. “Karunakara Panicker, Pattikkamthodi Ravunni Menon, Guru Kunju Kurup, Vazhenkada Kunju NAIR, Manjeri Sankunni, and T P Rama Pisharody were the instructors. WE need more patronage. In those days we had Valiakottaram Kaliyogam. The rulers of Travancore were great composers and patrons of Kathakali.
“Government and other private institutions churn out a number of students annually. We are not in a position to place them” he remarked.
“New attakathas lack the solemn nature which is the salient feature of Kathakali. The more literary value it has the less impressive it will be on stage. That is why out of hundreds of attakathas only a handful became popular. Unnai warrier’s Nalacharitham faced a similar situation initially. It is one of the best literary productions” he explained.
Regarding Choreography he said, it demands wealth of imagination. Once, the institute decided to stage Ayyappa charitham. C V Warrier penned and choreographed simultaneously. On the ninth day it was staged- a sort of world record.
KALADHARAN: _ His entry into theatre was quite unexpected. His experiences with the doyen Kaavalam molded him. His association with the Footsbarn theatre, his relentless effort to produce something new, and his enthusiasm to acquire the immense possibilities of world theatre made him perennially evolving. Meet K Kaladharan, who was conferred with the Kendra Sangeetha Nataka Academy Award last week.
Like any other active student his mind too was bubbling with creativity. He wanted to become a musician, then a footballer and even a wrestler!
He often took part in plays in his school and college days. While residing at Sasthamangalam, he staged drama in connection with the annual temple festival. When the spirit of theatre bugged him, he formed Bhavana theatres.
“Meeting Kaavalam was the first turning point in my life” Kaladharan reminisced. “It was Krishnankutti Nair the cine actor who introduced me to Kaavalam. It was a different atmosphere. There I had the opportunity to interact with G Aravindan, Nedumudi Venu, Bharat Gopi, and Janardanan who later opted for the silver screen. There I was exposed to the performing art of Kerala like, Kathakali, Kootiyattom, Mudiyettu, Padeni and benefited a lot. I liked it. It incorporated the thouratriya prayagam (geetham, nruthyam and vadyam) and based on natyadharmi it explored the possibilities of acting. I got the junior and senior fellowships, which helped me to learn more on folk arts and their relevance in modern theatre.”
He participated in National and International Theatre festivals held in Russia, Japan and Greece. It was in 1986 that he established Rasika Arts and Cultural Society, his own theatre group. Kaalanetheeni and Kaikuttappadu were directed by him for Sangeeth Nataka Academy under the scheme “Assistance to young theatre workers”. He had penned many lays for radio and television.
It was in 1984, that he first enacted the role of Karna in Karnabharam (Sanskrit), presented by Sopanam. On in depth study I developed an affinity for Karnan’s character. It demands immense caliber to essay that role. My experiences with the Footsbarn theatre France provided the confidence to enact the role of Karna in Malayalam. It was done in Ekaharya (single actor). It was challenging indeed. I incorporated elements from Kathakali, Kootiyattom, Theyyam Padeni, Kalripayattu and Ottanthullal.
With Footsbarn traveling theatre we did Odyssee` by Homer. I essayed the character of Odysseus at International Theatre Festivals conducted all over France, England, Ireland, Costa Rica, Colombia, Spain and India. The specialty of Footsbarn is that it has no director. Every one should do all the roles. It was a great revelation-language has nothing to do if the body language is powerful.
Another noteworthy production is Durabhangam, which narrates the end of Duryodana. It is adapted from Bhasa’s OORUBHANGAM. In Durabhangam, Duryodana in his minds eye visualizes the chain of wicked deeds that leads to his downfall. The great greedy warrior who is ever ready for a fight finally says:”No more war.” It has great relevance in today’s context.
Mathilukal,Marattam, Rishivamsam, Aswaroodam, Sari, Johnny, and Theerthadanam, are the films in which he has acted.
It is tough to maintain a theatre. Initially Rasika had 22 actors. I gave them basic training in Kalaripayittu, and padeni. I feel it is a must for he actors to learn Kalaripayattu, as mei sadakam is essential. Now we are only eight. Many of them work purely to keep their enthusiasm kindle. Competition from other instant entertainment forums, unemployment of trained pupils, and lack of patronage are the main problems. I suggest that the government should build a permanent venue for the theatre groups to stage their plays. Interested people can come and watch the play.
Sankara Warrier: - Some lives are like that. He is brave struggling against poverty and neglect. His rhythmic notes on the maddalam are breathtaking, in their magnificent conception. The sweet notes that emerge from it are unsurpassed. He is Sankara Warrier the finest and the rarest figure that has graced Melapaddam and Panchavadyam. He was in the capital city, last week to receive the honors conferred by Drisyavedi.
“I chose to learn maddalam to earn a livelihood. I was doing menial jobs in hotels, temples, and in markets. I have even served as a cleaner of automobiles. I worked as a helper at the residence Kottayathu PKS Varma, a disciple of Chembai. He plays more or less all instruments, and was an excellent vocalist. I could not learn anything from him, but could familiarize with musical notes” he said.
While serving a temple in Karnataka, I received a packet of jaggery wrapped in a Malayalam news paper. Thrilled to see a Malayalam paper after a long time I read it. That was a notification from Kerala Kalamandalam inviting aspiring students. Our family was too poor to afford. Still I applied. I was informed when short listed. I never knew that. I was at that time employed in a different place. My illiterate mother had kept the communication safely. It reached my hand on the eve of the joining date. How to go? Who will bear the expense? I burrowed money from so many people to reach Kalamanadalam” recollected Sankara Warrier.
He managed to learn maddalam with devotion and today maddalam and Sankara Warrier has become synonyms. Many called him Maddala Warrier. Mild-mannered Sankara Warrier, becomes agitated when he talks about maddalam and the way the instrument and the artiste are sidelined.
Sanakra warrier was of the opinion that initially only maddalam was the accompanying instrument for kathakali. It was Kottayathu THAMPURAN who introduced Chenda in Kathakali.
“Now in Kathakali, the instruments used are Chenda, Maddalam, Chengila, and elathalam. Maddalam is permitted to accompany only sthree veshams. The attitude is “maddalam can join the back ground if desired.” Amidst the loudness of other instruments mainly chenda, the soft notes of maddalam remains unheard” he explained.
“It was Appukkuti Poduval Asan and Kalamanadalam Nambeesan Asan who trained me in maddalam. The latter punishes severely. But according to me the teacher should study the student first, while taking lessons. I am against punishments.”
“Arangettam of students were arranged. Parents reached the venue to witness their children’s’ performances. But no body came from my house. With five rupees I could manage so many things. But I was too poor. On the eve of arangetram, I had fever. Nambeesan provided the timely help” he reminisced.
Sankara Warrier is working at FACT since 1981. He was recently presented Veera srungala, by the Kochi Maharaja.
Sankara Warrier: - Some lives are like that. He is brave struggling against poverty and neglect. His rhythmic notes on the maddalam are breathtaking, in their magnificent conception. The sweet notes that emerge from it are unsurpassed. He is Sankara Warrier the finest and the rarest figure that has graced Melapaddam and Panchavadyam. He was in the capital city, last week to receive the honors conferred by Drisyavedi.
“I chose to learn maddalam to earn a livelihood. I was doing menial jobs in hotels, temples, and in markets. I have even served as a cleaner of automobiles. I worked as a helper at the residence Kottayathu PKS Varma, a disciple of Chembai. He plays more or less all instruments, and was an excellent vocalist. I could not learn anything from him, but could familiarize with musical notes” he said.
While serving a temple in Karnataka, I received a packet of jaggery wrapped in a Malayalam news paper. Thrilled to see a Malayalam paper after a long time I read it. That was a notification from Kerala Kalamandalam inviting aspiring students. Our family was too poor to afford. Still I applied. I was informed when short listed. I never knew that. I was at that time employed in a different place. My illiterate mother had kept the communication safely. It reached my hand on the eve of the joining date. How to go? Who will bear the expense? I burrowed money from so many people to reach Kalamanadalam” recollected Sankara Warrier.
He managed to learn maddalam with devotion and today maddalam and Sankara Warrier has become synonyms. Many called him Maddala Warrier. Mild-mannered Sankara Warrier, becomes agitated when he talks about maddalam and the way the instrument and the artiste are sidelined.
Sanakra warrier was of the opinion that initially only maddalam was the accompanying instrument for kathakali. It was Kottayathu THAMPURAN who introduced Chenda in Kathakali.
“Now in Kathakali, the instruments used are Chenda, Maddalam, Chengila, and elathalam. Maddalam is permitted to accompany only sthree veshams. The attitude is “maddalam can join the back ground if desired.” Amidst the loudness of other instruments mainly chenda, the soft notes of maddalam remains unheard” he explained.
“It was Appukkuti Poduval Asan and Kalamanadalam Nambeesan Asan who trained me in maddalam. The latter punishes severely. But according to me the teacher should study the student first, while taking lessons. I am against punishments.”
“Arangettam of students were arranged. Parents reached the venue to witness their children’s’ performances. But no body came from my house. With five rupees I could manage so many things. But I was too poor. On the eve of arangetram, I had fever. Nambeesan provided the timely help” he reminisced.
Sankara Warrier is working at FACT since 1981. He was recently presented Veera srungala, by the Kochi Maharaja.
Thaadaka vadham:
Was Rama in love with Thaadaka? Why it was not fulfilled then? That was a different approach to “Thaadaka Vadham” attakkatha penned by Prof. V Kkrishanan Thampi. It was staged today by Sandarsan Kathakali Vidyalayam Ambalapuzha, at Karthika Tirunal Theatre. The show was organized by Drisyavedi in connection Prof. Krishanan Thampi Day. Thampi had portrayed this story in the backdrop of Aryan-Dravidian conflict.
Thaadaka the Dravidian Queen was seated with pride when a messenger conveys what he had seen at Aryadesam. Thaadakam had already vowed to eradicate Aryans. This news delivered by the messenger makes her unrest. She at once engages her men to bring those Aryans who performs rituals by force.
In the next scene, Dasaradhan refuses to send Rama with Viswamitran for participating in a yagam and they argue over this issue. When irritated Viswamitran was about to curse Dasaradhan, Vasishtan reaches there and prevents the act of cursing. He advises Dasaradhan to sent Rama with Viswamitran. The sages say that an ogress is troubling them and seeks Rama’s help. However Rama had taken the vow that he would never slay woman. They reach Thaadakavaanam. Rama was desperate. He was awe struck with the silence of the forest. He realizes the power of Thaadaka. Out of fear all living creatures had under cover. Gradually he slips into deep sleep.
Wandering Thaadaka saw a handsome young man. She was attracted towards him. That was love at first sight. She suddenly realizes her vow when she tries to kiss him. “IT is against the dharma. He is my enemy. I should not develop any soft corner for him” she says and slowly walks back.
Rama wakens and sees a charming lady. But she had vanished in no time. Who can that be? How dare she is to wander in this forest dominated by the ogress and her men.
Rama again bumps with her. She introduces her as vanadevatha. Rama discloses his mission warns her about Thaadaka.
She suggests Rama to go for a compromise with Thaadaka to which Rama turns a deaf ear. They depart. Viswamitran conducts yaga and armed Rama protects the yagasala. But he curses his faith to slain a woman. He makes a final attempt and pleads Viswamitran that he wanted to decline fro the act of slaying a woman.
The Sage insists and directs him to kill her. Rama had no other way. He tells his arrows that he is unable to aim at a woman and but pleads them strike her. He hears the roaring of the ogress and aims his arrows in the direction of the sound.
The arrows pierce Thaadaka’s body. Rama reaches the spot to find that the Vanadevatha was injured badly. She reveals her true identity. HE consoles her. Thaadaka prophesies that their love would be fulfilled in their next births when Rama would be born as a cow herd (Krishna) and herself as Radha. Kalamandalam Shanmughan (Thaadaka) and Kalamandalam mukundan (RAMA) and Kalamandalam Hari S Nair (Thaadaka –kari vesham) were the main perfomers.
Kalamandalam Kshemavathi:
Mohiniyattam which was patronized by Maharaja Swati Tirunal almost 175 years ago regained its favor since its incorporation in the curriculum of Kerala Kalamandalam established by Mahakavi Vallathol. The poet managed to employ the services of Chinnammu, and Kalyanikutti Amma the exponents of Mohiniyattam.
The untiring efforts of the duo and their disciples like Kalamandalam Kshemavathi have brought out the perfect style of Lasya from the corridors of temples and palaces to auditoriums. Kshemavathi was in city recently. The dancer in an interview explains her contributions to Mohiniyattam and her new ventures.
“I joined Kalamandalam in 1958. It was Chinnammu who taught the cholkettu two padams, and a varnam in Yadukulakambodhi. The repertoire was limited. The artistes wore half white saree, and blouse. The hair style was that of Bharatanatyam. I and Satybhama decided to set a dress code for Mohiniyattam-and that is what we see today. This dance form originated in Kerala and should our culture” said Kshemavathi.
It was Kshemavathi who tried the present hair style on Kalamandalam Sugandi. It is a large chignon on top of the head but to one side is decorated with a circlet of Jasmine. This elegant knot matched with the archaic costumes and jewelry suitably.
Her attempts to deviate from tradition are always subjected to criticism. She has choreographed gazals like “Jab raat kee thanhwa..” I was concerned about the audience reactions. I think if you present gazals through Mohiniyattam in north India, it would have greater impact. Any verse embellished with visual details, can be used for Mohiniyattam she opined. She had set a precedence for the future generations to experiment boldly.
The unique technique of Mohiniyattam lies between the Dasiyattam and the Lasya aspect of Kathakali. Most of the songs deal with situations with love.
They are conveyed with the gesture of the eyes and the hands, expressions of the face and body poses.
The padams are soaked in Madhurabhakti. The heroine describes the torment and anguish she suffers as a result of her devotion to the Lord. Sometimes it deals with the confession of her love to her sakhi.
The Mohiniyattam padams are slow as it is exclusively abhinaya interpetting in detail, the words of a song through expressions and gestures. The phrases are repeated many times in order to interpret every shade of the meaning. The greater the understanding of the dancer, the richer the color she is able to give it any phrase.
Visual portrayal of Omana thingal kidavo and kuchelavrutham are her master pieces. She has choreographed Karuna, Meghadootham, and Ashtapadi.
She has formulated steps and adavus of Mohiniyattam and would like to produce a visual document of this art form for posterity.
Nala is inflamed with love and eager to see Damayanthi. They had never met each other, but nevertheless have fallen in love. Nala wonders how he can seek and win her. He asks the moon, the passing cloud, and the cool breeze to carry this message of love to his beloved. Kalamandalam Shanmughan was at his expressive best while enacting the Nalacharitham first day at Vyloppilli Samskriti Bhavan. :D
The connoisseurs were astounded to see Shanmughan as Nala since he is known for his sthree veshams. Earlier he had performed the role of Damayanthi many times, even with stalwarts like Kalamandalam Gopi. Shanmughan had already proved his dexterity in both male and female roles.
Says Shanmughan: “This is not my debut male role. I have portrayed the role of Krishna, which has definite Kalarichitta. The role of Nala, is different in that it has no kalarichitta and entirely on the manodarmam. I never say that my portrayal of Nala is perfect. Precision comes only with practice. It also remains a fact that only a few can do female roles with consummate ease.
The actor requires the twin attributes of a charming appearance and flexible physique. Actors twice blessed like shanmughan are few and far between.
For him taking up a female role is a matter of survival. Being relatively junior, he has to bide his time to get a good male role. He feels that doing both can do more harm than good. THE FEMALE CHARACTERS ARE LASYA ORIENTED. The male ones are the thandava type.
Enacting the role of Nala in Nalacharitham day one is no cake walk. The rasa/emotion is vipralamba sringara or separated love. There is less scope for angika abhinaya. The movements are lasya as the poetic and romantic text and are best conveyed through gentle lyrical movements. It demands satwika abhinaya. His experience in doing female roles has definitely come in handy. Forlorn love is immaculately captured in his female gestures.
He has devoted considerable time for mukha abhinayam. One could read a heart felt emotion even at the tip of his nose. That was an emotional experience for the audience.
Shnamughan is a native of Pullangiri in Chempakulam known for Kathakali tradition. The village has produced great masters like Kunjupilla panicker, chempakkulam pachchu pilla, and Guru Gopinath. A product of Kerala Kalamandalam he is still undergoing training under Vasu Pisharadi.
This interview was taken in 2004
His last visit to the city was to receive the prestigious Raja Ravi Varma Puraskaram and this time A Ramachandran and his wife Tan Chameli were in this city to spend their holidays.
A native of Attingal, Ramachandran after his post graduation in Malayalam worked for AIR, as a staff artiste for sometime. He later joined Jamia Islamia as a lecturer and retired as a Professor.
“Since my child hood I nurtured a fascination for art” says the artist. In the initial stages his works were large with powerful figuration.
He joined Santiniketan and took a Diploma in fine arts. Born to Tan Yun Shan and Chen Nai-wei his Tan Chameli is also a product of Santiniketan. Spiritually, a Buddhist her father was a close associate of Mao Tse Tung. ‘My father met Tagore, in Malayasia and was highly influenced by him. That was how he visited Santiniketan. My father took it as MISSION to spread the message of Tagore through inter civilization cooperation” she says. It was her father who established Cheena Bhavan at Viswa Bharati, Sino-Indian society at Nanking, and the world Buddhist Academy at Bodh Gaya. “It was Rabindranath Tagore who christened me” she says. Her association with Ramachandran culminated in their marriage.
Ramachandran’s work underwent a sea change in the 80 s. Influenced by the tribal community in Rajasthan, its vibrant ethos gripped his imagination. Tan but prefers to paint nature. Swaying coconut palms, in Chinese ink, leaves and branches of climbers, different hues, of lotus flowers, are a few of Tan Chameli’s impressive works.
Ramachandran’s sculptures are more intriguing in formal terms than his paintings. His command over lines, colors and forms, creates a visual play. They are vibrant teeming with burgeoning life. In one of his works, one can find the presence of the artist in the form of a butterfly, or a snail. “It is like me becoming the part of the work” he remarked and added
‘It is a fantasy like our myths. We as a civilization have evolved a highly imaginative culture unlike the European one” and for him Ramkinkar is his guru.
For him art is an extension of visual culture. Our temples, festivals, palaces, are examples of visual culture. With the onslaught of western style we have lost our traditional touch and hence the visual culture is getting fragmented.
Our Maharajas had a broad outlook. The king may not be an artist or a musician. But he patronized them. Raja Ravi VARMA HAD A LANGUAGE AND THAT PERIOS IS OVER. There was literally stagnation after him. K C S Panicker had a different style. Ramachnadran had his doctoral thesis on Mural paintings of Kerala.
Yellow space, moving bodies, peep hole, metamorphosis, last supper, grave diggers, end of Yadhavas, and Kalinga war were his popular works.
Ramachandran designs stamps. His children literatures were published in Japan England, and the USA, besides in India. HE HAS organized dozens of one man shows and two retrospectives.
A traveling exhibition of his works, in oil, line drawings and water colors were displayed at all major cities under the title “Reality in search of Myth”
The diversity of his art and his craftsmanship over a number of media is breath taking. “I have done a number of political works. I realized that its life span is short. I was an angry young man then. Now I am old and happy. The artist’s world is large. When I realize it I became old” he confessed. Two volumes of his works RAMACHANDRAN A RETROSPECTIVE by R. Shivakumar, will be released shortly. The work deals with the life and 40 years of his works.
Margi Vijayakumar:_ Maestro in drag
Poothana, the ogress was sent to poison infant Krishna. She assumes the form of a beautiful maiden plays with him, and gains his confidence. She then picks him up and suckles him at her poisoned breast. The child turns the tables on her. Once she realizes that she had been done for Poothana reveals her real hideous form and desperately tries to tear the baby away from her breast but in vain. She writhes in pain till her breath is sucked our.
It was impossible to enact Poothana Moksham sans the doll that represented Krishna. Or so it was thought until Margi Vijayakumar staged a performance at the Natyagramam at Thonnaikkal.
Connoisseurs were astounded. The effect he conjured without the doll was stunning, to say the least. The evocation of the rasa is the key to his success, for he effectively makes the audience feel the presence of Krishna.
Other artistes consider this abandonment a sacrilege. My performance has invited much criticism. BUT I LIKE TO PURSUE this style says Margi Vijayakumar who had always excelled in female roles.
He was initiated into the world of Kathakali through the Kathakali School set up in Thonnakkal by Thonnakkal Peethambaran, his father’s student. Later he chanced upon an ad by Margi, and in 1975, he joined there. Mankulam Vishnu Nampoothiri and Enchakad Ramachandran Pillai were his masters then. He cherishes the fact that he coluld learn under Kalamandalam Krishnan kutti Nair whi joined Margi in 1980. Now he has established a Natyagram in Thonnakkal to create awareness, among the people regarding the performing arts of Kerala.
Initially he was not keen on sthree veshams. It later dawned on me that only very few can enact female roles. The physical make of the artiste should fit in with the female costumes and make up” he says.
The basic color is a sort of pale beige. The eyes are outlined in black and eyebrows emphasized with graceful curves. The lips are given lovely shape in red. Cheeks are adorned with a wavy line of white dots. These are repeated on the forehead and chin. FINELY powdered mica dust imparts a soft glow to the skin. Once the artiste is accustomed to this type of roles, it is tough to portray male characters. If you concentrate on both none would reach perfection. The disadvantage of sticking on to female minukku is that after a certain period you cannot continue. Age is a major factor. However I am not all inclined to do male characters as of now.
Vijayakumar says that portraying Urvashi is the most challenging. It has a strict frame work and the artiste has to evoke controlled emotions. The foot work and the tempo of the music are very slow. Silmilarly Lalitha in Kirmeera Vadham is a split personality. According to him female characters have less significance. When a female appears on stage with male she stands as a mere onlooker. “While I perform I always express facial gestures to his dialogues” he said.
There is a school of thought that the female characters should be executed only by female artistes so that they can bring female emotions correctly. But this is precisely the challenge Vijayakumar has taken up. JUNE 25, 2005 INDIAN EXPRESS
He was only 14 while staging “Ganapathiprathal” at the Elamkunnu Subramaniaswami Temple for Makarasankranthi. Exponents of Kootiyattam recognized a spark in him that would grow into a floodlight of reform. He grew beyond that and became the beacon light of Kootiyattam. Moozhikkulam Kochukuttan Chakkiyar was in the city recently to receive the honor bestowed on him by Margi and Drisyavedi. In an interview this octogenarian talks about Adiyantharakoothu, his masters, the gurukaula system and his renowned disciples like Margi Sathi. It was he who introduced Nirvahanam by female characters.
His vachikabhinaya, was an exquisite allegory of Indian life, narrated in simple, forceful, direct, seasoned with racing humor.
Moozhikkulam Kochukuttan Chakkiyar (Parameswarn) was born in the traditional family of Kootiyattam performers. He had his initial lessons from the family members and had advanced lessons from Kidangoor Chakkiars. Kallangara Ksharathu Narayana Pisharodi taught him Sanskrit.
“In those days Adiyanthira Koothu was more. It really helped to revive the art form”
How?
We have Adiyanthira Koothu, Kazhcha Koothu, and Vazhipadu Koothu. The last two were meant for the public. But Adiyanthira Koothu provides absolute freedom to the artistes. Vadakkumnathan temple, Irinjalakkuda Koodal Manikkam temple, Annamanada Mahadeva temple, Kottiyur Mahadeva temple had regular Adiyanthira Koothu. I had performed in all these temples and gained experience. As the chakyar family of Irinjalakkuda belongs to the charcha I stayed there and performed in all temples where they have the right to do so” he said. If he had bothered to list out the number of stages, we would find him in the Guinness book of records!
His mission was different. In his childhood days Kootiyattam was on the verge of extinction. He wanted to revive it. That was a period when the then kootiyattam artistes thought twice to impart knowledge of Kootiyattam to their children. Kochukuttan Chakiar initiated his children Madhu and Narayanan into Kootiyattam. A bold step indeed!!
It was Painkulam Rama Chakkiar who staged Kootiyattam out side Koothambalam for the first time in 1948. Kootiyattam was never staged full. It is so elaborate that it would take days-Mantarnakam for instance-it would take 41 days! Nirvahanam is the prelude to Kootiyattam. Here one of the characters sums up the story presented. This would take many days. It is done by Vidhooshaka. He explains the inner multiple meanings to the audience which demands lengthy abhinaya. He expounds the famous purushartha the four ultimate attainments in human life peppered with satires on follies and foibles of human life. He talks in local parleys which increased viewership. Later Sanskrit poets composed exclusive prabhandama for the Vidhhoshaka known as Prabhandakoothu. The chakkiars executed the role of the media men. None can question their criticism. (That is why Ammannur family left Pattambikulam and settled in Thirumoozhikkulam.) He had staged Ramayanam Prabhnadam koothu for three mandalams that is 123 days. Kochukuttan chakkair was a Vidhooshaka exponent. He never hesitates to essay minor roles.
Kochukuttan Chakkiyar joined Margi in 1981. Ammannur Madhava Chakkiyar was the tutor. He composed attaprakarams for certain portions of Acharyachudamani. It was Kochukuttan Chakkiyar who trained his students and staged them. He staged chudamani till EZHAMANGAM Bharatavakyam. “I was paid Rs.250/. We were five. I never complained” he said. He trained Margi Sathi and Usha who have staged maximum number of female characters. He choreographed Parnasalangam, Mayaseethangam, and Agnipravesangam of the Achryachoodamani. What he had learned can be staged continuously for 180 days!
Nirvahanam of Chedi Kalpalathika (Subhadradhananjayam) is spread over 237 slokams. Kochu Kuttan Chakkiyar, made it into 30 chapters. It requires 30 days (3 hours per day) and trained Sathi.
That genius is akin to madness. His mission was to revive Kutiyattam, and he could redeem this art form, into the popular one as we see today through nishkamakarma. He was conferred with Kendra Snaggetha Nataka Academy Award and Kalaratnam title by Keralakalamandalam.
Kalamandalam Gangadharan:_
He is the first Kathakali musician to win the Kendra Sangeetha Nataka Akademy Award. His presence with chengila adds confidence to the actors on stage. Meet Kalamandalam Gangadharan, who was in the city recently.
Gangadharan a native of Oyyur near Kottarakkara, was initiated into music by uncle under Kadakkavur Velukkutti Nair.
“We had financial problems and so I joined Kerala Kalamandalam, where you need not pay any fee” said Gangadharan. Kalamandalam Neelakantan Nambeesan was his Guru. “If we have fairly good knowledge of classical music, it is an added advantage for learning Kathakali songs” he opined. “When I was doing my seventh year, Hyderali and Embranthiri joined Kalamandalam. I started taking classes when I was doing my final year. After completing the course I joined Kalamandalam as a tutor and served the institution for 30 years” he said.
Besides a good voice what qualities are expected from the Kathakali musician?
He has to be thorough with the stories, the various sambrathayams, the veshams, and you have to involve intimately with the kalari. You must be capable of bringing out the right bhava in the tone. Kottayam Kathakal has a strict kalarichitta. The tempo is slow. The music is highly technical. The term of the course for the veshakkaran and Kathakali musician are the same.
Has the singer freedom to change the tune of the padams?
Yes. Karnasapadam and Nalacharitham are examples. We never adhere to the ragas mentioned in the text. We propagated what Venkitakrishna Bhagavathar and Nambeesan Aasan had taught us. But I am sorry to say that one can identify a filmy touch in the Kathakali padams” he was concerned. He has served Margi as the visiting professor for years.
Abandoned by her beloved, Sita sends are two sons Lava and Kusha, to reunite with his father. She reminisce her eventful life_ her wedding, her years in the Dandakaranya, how she insulted Lakshmana, how she was kidnapped by Ravana, her hardships at Asokavanam, Rama’s coronation and how Rama abandoned her based on spy report, was asked to undergo a public test.
“I am willing to undergo the test. Yet you have never tried to understand the woman Sita for a moment who is till a stranger to you” she laments.
Here commences “Sitayanam” the journey of Sita, by Mohiniyattam danseuse Dr. Neena Prasad at the Senate Hall last week.
Rama’s martial prowess first appeared to advantage barely at 12 when he dared to attempt to wield and string up the bow of Shiva. It was made a condition by Janaka for the bestowal of his daughter Sita.
She followed Rama to forest. At the forest Maricha as an enchanting deer began to dance and prance in front of their hermitage. She was so struck with its beauty and demanded to possess the rare animal. . Lakshmana had suspicions about the reality of the animal. Rama entrusts Lakshmana to protect Sita till he arrives. For Rama the animal played wily tricks. When he shot an arrow the death pangs had the voice of Rama. Sita was shocked to hear that. But Lakshmana remained unmoved. He had full confidence in Rama’s prowess. This behavior of Lakshamana excited her so much that she used abusively vicious language. She attributed to him sinister motives. Lakshmana was stung to the quick by this insult and prepared to leave in search of Rama.
What provoked her insult to Lakshmana? Just as the moth is fatally attracted to the flame so is the mind of a woman. It jumps into conclusions as wrongly as this.
Rama’s victorious return to Ayodhya, with sita and after the grand coronation, Rama asked his spies to speak out to him the people’s talk. The spy told him in an outspoken manner that the people in open markets or in nooks and corners, spoke highly of Rama. But also talk ill of him for accepting Sita not minding her having been in the house of Ravana. It was like a bolt from blue for Rama. Rama immediately made up his mind to discard her. He very well knew that sita was absolutely pure and sinless. People condemn my acceptance of sita as a bad precedence. Sita was shocked to realize that she was being abandoned by Rama.
Valmiki sent Lava kusha to recite in their cadence voice a certain portion of his composition the Ramayana. He realizes that they were his sons, and expressed his willingness to accept Sita back on Sita’s giving a publicly satisfying demonstration before the large audience of her perfect innocence.
Sita with her head and eyes turned down to the ground. What is the purpose of life? Was this life limited to the slaying of Ravana and to bring forth Rama’s progenies? Why should I live? She says “I do not think any other male than Raghava. If this statement is true may the earth goddess offers me an opening.” The Goddess took her up and disappeared under the ground, leaving Rama to rue for his obstinacy.
“Sitayana is a collaborative work. Sampoorna Adyatmaramayana, Kamba Ramayana and Chintavishtayaya Sita were the primary sources. The lyrics were composed by Prof. Madhusudanan Nair, Dr. Maheswaran Nair, and Sreepadam Eswaran Nampoothiri. We have incorporated folk music, and ritual music heritage of Kerala, including Thiruvathira. Music was scored by Changanasseri Madhavan Nampoothiri. It was choreographed by me”
Why such a theme?
I have felt that there was much more to be explored. For me she is not the angry woman and the suffering icon of Indian womanhood. It is an attempt to essay her life’s journey in its complexity and intensity.” She said. (646 words)
Born to Bhaskara Prasad and Lalitha Prasad, Neena had her training in Bharatanatyam from Adayar K Lekshmanan, Kuchupidi from Vembatti Chinna Satyam, Mohiniyattam from Kalamandalam Sugandhi and Kathakali from Vembayam Appukkuttan Nair.
She realized that Mohiniyattam was her forte and for the past 12 years she has been focusing on it. Her nayikas are bold, and not romantic, sensuous timid and pining for nayakas.
Kaladi in Kerala is the birth place of the great Saivaite reformer and powerful advaitic exponent Sankarachraya.
Unlike many other places KALADI is not so popular. No big festivals attract pilgrims. Kaladi on account of remoteness and the absence of legendary associations is a place of pilgrimage only for the educated ones who knew the greatness of Sankaracharya and his contribution to Sanskrit literature and Hindu Philosophy.
Scholars and devotees gather at Kaladi on the day of Sankara Jayanthi.
The idyllic and solemn place can be reached from Angamaly. Coconut groves, areca nut fields, stretches of paddy fields, canals with innumerable meanders offer visual feast.
The conical tower of the temple is visible from afar. They –one for Sankara and the other for Saradadevi, are unique. The tower is over the shrine itself and there are no architectural features. The house of Sanakra and the school he attended have all disappeared. The spot where the mother of Sankara was cremated reminds us of how Sankara took to sanyasa at the age of 12, and reached her mother’s side in her last hours and how he fulfilled her desire to see him.
Sarada was a learned woman who defeated even SANKARA in an argument. He had great veneration for her that he dedicated a temple to her at Srungeri.
The Peritar River is mind-boggling. Coconut palms and bushes hang down to the water’s edge. What over power us is the silence that prevails there.
Buddha and Jaina relics in Kerala show that Kerala too came under the influence of Jainism and Buddhism. They remind us of the far off days when these faiths were practiced by men and women.
Here let us have a study of such relics confined to southern parts of present day Kerala and Tamilnadu which was known as Travancore. KARUMADI is a small village near Alappuzha. There is a mutilated image of three ft high set on an ordinary pedestal and the people call it Karumadikuttan on the banks of the backwater, and people go ashore to make offerings. Archeologists believe that Karumadikuttan is an image of Buddha seated in the yogasana posture. Traces of the upper cloth passing over the chest is a distinguishing feature of Buddhist iconography.
The department of Archeology had excavated four more images of BUDDHA. They are,
1. At Mavelikkara: It was found in the premises of a house. People lit lamps and offer coconuts.
2. At Bharanikkavu: located five miles north-west of Mavelikkara, the images excavated was elegantly carved.
3. At Pallikkal: seven miles from Adoor, this image was head less.
4. At Karunagapalli: in a temple tank, this image is the best ever found.
Last two images are exhibited in the Museum.
All these images were found in the central Travancore. When exactly Buddhism faded cannot be said. There are many temples which are of Jaina origin.
The famous Jaina temple is Chitharal. There is a cave temple atop a craggy hill.
Chitharal is a tiny unpretentious village located 4 miles north east of Kuzhithurai. This antique and historically significant rock shrine was in days of yore a place of pilgrimage sacred to the Jains. It was converted into Hindu temple in 1250AD, and an image of Bhagavathy was installed.
At the summit of Tirucharanathu Malai a craggy hill in Chitharal is a natural cave formed by an overhanging rock resting upon another. The imposing ruins of this temple perched atop the hill evoke sacred and austere memories.
On the northern side of the overhanging rock is sculpted many exquisite images which are avowedly Jainistic in origin, distinguished by hanging earlobes, a tier of three umbrellas over the tonsured head, in the sitting and standing postures. The images have broad shoulders and thin waists with contemplative expressions. Between these images of Jain Theerthankaras are inscriptions in Vattezhuthu. Most of them are seemed to be the replica of the Jain Theerthankaras, namely Parsvanatha and Mahavira, inside the central shrine. The Hindus however consider this as the image of Mahavishnu.
The central shrine is divided into three chambers-one for the Goddess another for Mahavira and the third one for Parsuanatha which is in the standing posture and nude as required by the manasara.
The term Thirucharanathu malai means the hill holy to the charanas. The chudamani nighantu says that charanas are the eight class of samanas who have attained the siddhi of concealing themselves in flowers, water or sky. It also means a place where Jains lived in large groups.
On the top of the overhanging rock just above the central shrine is a brick gopuram. The three storied pagoda had images of Mahaviras. It was destroyed in lightning in 1908.
Jainism declined in the 11th century during the Chola dynasty. It is said that when Chandra Gupta Maurya along with a Jain ascetic Badrabhahu reached Sravanabalgola in 298 BC their disciples reached here to spread Jainism and chose this hillock for meditation.
Inscription on a huge rock exposed to the elements hence badly damaged throw light on the religious and cultural history of the State. There is a pond in front of the shrine down a flight of steps.
On ascending the Chitharal rock one can enjoy the charming landscape around. At a distance the jagged outline of the Western Ghats enveloped by clouds can be seen .Below gleaming pale green lakes, fields, winding rivers, clusters of pretty villages nestling amidst coconut and Palmyra plantations, the tall spires of churches, the lofty gopurams enchant us.
This spot a confluence of history and religion is an ideal place for enjoying a quiet holiday. The most greatly prized amenity granted exclusively by nature here is peacefulness.
The Nagaraja temple at Nagercoil also is of Jaina origin. It continued to do so till 1522. Six Jaina images, three of which are -seated figure of Mahavira Tirthankara, one seated figure of Parswanatha, and another of the same in the standing posture. One of the Maharavira image is carved on a pillar in the Mandapa, in front of the central shrine and two others in the central shrine itself. The images of Parsvanatha and Padmavathidevi are seen on the pillars in the same mandapa.
Kallil Bhagavathi temple at Perumpavur, too is of Jaina origin. The shrine is a huge overhanging rock. Inside on the back wall of the cave is sculpted in half relief, the image of Mahavira, and to its left is the Padmavathidevi, now worshipped as Bhagavathi
That was a sarcastic smile. Experts say in Kutiyattam this is a challenging one for any artiste. Margi Sathi renowned Kutiyattam artiste performed with perfection at Fort Margi while staging “Agnipravesankam.”
“Why is she laughing like that”- wondered Sugrivan? Is it because she had spent such a long period in the custody of Ravana and had gained audacity? Or is it because she is a chaste woman?
Earlier the show began with the purappd of Sita who is in a dilemma. She was kidnapped by Ravana and airlifted to Lanka. She was concerned about the people’s opinion and Rama’s attitude towards her. In deep sorrow she approaches Rama. When she presents herself before Rama she looked elegant. That was the result of the boon by Ausuya, which Rama was unaware of. So he suspects her, and remarks of the people add his suspicion. Agni pravesam was suggested. She escapes unhurt.
People call her “pumchali.” She could not tolerate the insult. Suddenly she gains mental strength and laughs sarcastically, which has many connotations.
Margi Sathi-now working as a tutor at Kerala Kalamandalam was in the city recently, to perform Kutiyattam (“Agnipravesam” from Aschraya chudamani) at Fort Margi.
She was thrilled for she was invited by Kamala Surayya before the latter left for Pune.
“I love Kamala Surayya for she resembled my mother, who passed away nine years ago. I have not met Kamala Surayya before. When she expressed her desire to meet me, I was so thrilled. When she passionately held my hands together, I could feel the invisible presence of my mother. Though the writer intended to finish our meeting with in half an hour it went on for four hours. The past two years had been a bad time for me. In those days I desired the proximity of my loving mother. When I met Kamala I could feel it” said Sathi.
“She gifted this chain of beads (presented to her by Sandeep Chaitanya) and a kasavu set mundu. I have nothing to give her except for the book Sree Rama Charitham authored by me. She held that book close to her bosom and wept” reminisce Sathi.
How is the new role of teaching at Kalamandalam?
“I am a product of Kalamandalam. It was Margi that made me what I am today and I became Margi Sathi. The problem is we seldom get opportunities to perform-which is essential for any artiste to develop the talents and exploit the potentials. I have to abide the rules of Kalamandalam. It is the best place for doing research. Plenty of materials are available. I have to make use of those facilities” she said.
KOOTIYATTAM:-
It is a unique temple art of Kerala and is the only surviving form of Sanskrit drama. The performance is confined to temple theatres known as koothambalams. The performers belong to the communities of chakkyars and nambiars. The chakkiars are the actors and the female members of the nambiar community undertake the female roles. Mizhavu is the accompanying instrument besides edakka, and kuzhithalam.
The plays:-
They belong to the Sanskrit series of Thiruvananthapuram-namely, those of Bhasa, kulasekhara Varman, sree harshan, Mahendra Vikrama Pallavan, Bodhayanan, apart from Aschary choodamani by Sakthi Bhadran.
Presentation:-
The Kootiyattam presented today was choreographed ten centuries ago by King Kulasekhara Varman with the assistance of Tholan. The presentation was highly stylized in Aharya Abhinaya (make-up, costume, and scenic spectacle) Angika Abhinaya (gesture) and Vachika Abhinaya (oral rendering).
In angika abhinaya the haasthamudras are liberally used, which are not totally or faithfully adapted from Natysastra or other texts in Hindu dramaturgy. The mudras are adapted from Hasthalakshanadeepika which draws from the Tantric mudras prevalent in Kerala. The charis, gatis and the movements of the angas and the upangas also do not follow Natyasastra.
In aharya the make up and costume do not copy the external features of the characters. It is symbolic. There is no typifying of characters as in Kathakali.
In Vachika ABHINAYA, THE TEXT OF THE SANSKRIT drama is rendered by the actor in intonations reminding us of the Yajur vedic chantings of the Nampoothiri brahmins. There is no attempt at making the speeches naturalistic. Even the ragas (they are called swaras in kootiyattam) do not have the solfa symbols of music.
Kootiyattam are never presented in full. It is elaborate and time consuming. It is played in parts. Swapana vasava datha is played as six different performances-each one called an anka. In Prathinga Nataka there is one anka called Mantrankam which requires 41 days to perform. There will be an oral exposition of the vidhushaka. Anguliyankam of Ascharya chudamani lasts for 12 full days. It tells the story of Ramayana including Vanarolpathi, by Hanuman by hand gestures alone.
Since one anka is performed at one time there a prelude to the performance called Nirvahana. Here one of the characters sums up the story presented in earlier acts. This takes many days and if this nirvahana is rendered by vidhushaka, it is an oral exposition. Other characters use only hand gestures for this.
There are plays in which Vidhushaka palys a dominant role-first act of subhadradhananjayam and Tapatisanvaranam. Here the emphasis is on the Vachika Abhinaya.
The slokas are enacted in such a way that the hidden meanings of the slokas are explained. For example, in Abhishekanataka, in Thorana Yudha, there is a sloka in which Ravana speculates that the reason for the attack of monkeys is due to the disrespect shown to him to Nandikeswara. The actor describes in detail the war between Ravana and Devas. Then the preparations of the war, the triumphant journey, description of Lanka, the blocking of pushpaka vimana by mount kailas, the features of the mount, the fight between Parvathi and Siva. The angika abhinaya takes three to four hours.
This seems tedious to an indifferent audience. For entertainment the vidhushaka spices it with humor and vulgarity. He expounds the four purusharthas (the four ultimate attainments in human life)-Rajaseva, aSanam(greedy enjoyment of food)Vinodam (sexual enjoyment with prostitute) and Vanchanam (betrayal). It is interpreted in place of Dharma, Artha, Kama and Moksha.
(To be continued)
The Nangiars:-
The female members of the Nambiars are the nangiars, who have chosen the profession of dancing, acting and singing. Their spouses accompanied them on the mizhavu or edakka. The contribution of nangiars and nambiars to Kutiyattam is immense.
As said earlier, kootu and kootiyattam are practiced by chakkyars of Kerala. It was Kulasekhara Perumal who laid a strong foundation to this art form. He was a great connoisseur and one of the scholars of his court, a manual explaining the presentational aspects of his plays. Thus vyngya vakhya was composed.
Perumal introduced Nangiar into kootiyattam. They essayed the female roles along with the Nambiars and later solo performances of nangiars too developed which is called Nangiarkoothu. It is always the Nambiar who played the mizhavu. Thus the nangiars performed the female roles, with the chakkiyars (kootiyattam), performed nangiarkoothu and rendered songs and maintained tala with cymbals (kuzhithalam).
The chakkyars, wear upanayanam and they perform sandya while the nambiars don’t. If any nampoothiri woman is made an outcaste, her sons cane be made into chakkyars, and her daughters nangiars.
Duties of Nambiars:--. They play mizhavu. They help in the green room. He has to recite “arangu thaLi” just before the play. Certain plays are tough language wise. Nambiars translate them in the vernacular language (which was then Tamil) and it is called Nambiar Tamil.
Yet another role of Nambiars is the performance of Padhakam. They narrate stories on the basis of Chambu-s in Malayalam. He wears a special head gear called mudi. In olden days the nambiars is asked to perform Padhakam in the temple of ThaLi in calicut. If he passed the test he is entitled to wear the mudi.
Padhakam is different from Chakkyar koothu (Prabhanda koothu). Mizhavu is essential for the prabhanda koothu. The chakkyar has the liberty to make sarcastic remarks on anything under the sun. He passes comments at the audience. This liberty is not provided for the Nambiars while performing Padhakam.
One who recited Padhakam is a Padhakan. The Nambiars who play mizhavu are called Panivadan. Kunchan Nambiar the legendary poet who invented Thullal, was a panivadhan.
(To be continued)
Meet Surendra designer of a different kind-he has been designing “wardrobe” for the Pancha Pandavas (No less) for the several years. Come the Painkuni festival in the Padmanabha Swami temple, it is hectic time for Surendran who stitches the costume for the Pandavas. They are no ultra-modern costumes-but a simple paavada and chatta. It is the quantity of clothes required for making these costumes that makes one wonder struck!
Says Surendran, “I am an employee of Ananthasree Arts and Crafts near the flight of steps in the eastern entrance of the temple. Here I design nettipattam and thidambu for elephants carved in wood. But basically I am a tailor and our family runs a tailoring unit in Pravachambalam. That is how I happened to design costumes for the Pandavas.”
Could you tell us about the quantity of cloth used for these effigies?
“Though Bhima is very tall, the effigy of Dharmaputra in the sitting posture demands 60 mts of cloth. Bhima requires 45 mts, Arjuna 20 mts Nakula 18 mts and Sahadeva 15 mts. Red polyester cloth is used. Yellow satin bands are used on the waist, on the sleeves and in the seams of the paavada. 25 spools of red and 6 spools of yellow thread were employed. (The biggest spools available in the market). Cuttings were required for the neck and arm whole. First I made pieces of the dimension 45”x2.5 mts. These pieces were joined later. 12 such pieces were used for the Bhiman paavada. For Nakulan and Sahadevan there is no separate paavada and chatta. It is a single piece, costume from top to bottom with joints at the waist akin to petticoats. The sleeves of the chatta are fastened to the effigy with knots, and buttons, hooks, Velcro, or zips are not used” explained Surendran.
How are these giants erected?
“Before installation paalpayasam for Sree Padmanabha and vadamala for the Hanuman are offered. Once Chandran a worker had a fall while installing the effigy of Bhima and since then he is called Bhiman Chnadran. The workers then decided to make some offerings to the deities to prevent untoward incidents as this. We had the statue of Gaurda Jadayu and Sree Krishna and Gopikas beneath a fig” they are damaged and hence are not displayed” said Satheesh, the owner of Anathasree Crafts work.
Earlier effigies were made of wood and were too heavy to lift. But they had finely decorated faces with bulging eyes, and colorful head gear. Their long red robes are decked with chains of beads. They all have long tresses and nails. Yudhishtira alone is installed in the sitting posture with his right leg on his left thigh. The giant Bhima holds an ornamental mace and the others with a medium sized clubs. Time had its effect on them. So the trust decided to make effigies in fiber glass. They weigh less and are easy to install. Installation is executed at dawn and is continued till 10 am and is restarted in the evening” said Parameswaran Nair…..Installation begins from the youngest member. However the effigy of Bhima is erected only towards the end. In those days Bhiman Kanji was prepared and distributed as soon as the installation is complete. Another striking feature is that once the effigy is taken out and installed nature pays its respect and there will be a drizzle” recollects Satheesh.
In front these effigies the unique war dance of Kerala –velakali was performed twice daily after the seeveli. More than a hundred men symbolically enact the battle of kurushetra, and accept defeat and fly in disorder. Their colorful make up is akin to the battle uniform of ancient Kerala. They wear a loin up to the ankles which is held in position by a strip of white cloth. Their bare chest is adorned with colorful beads and shells and the performer cover their heads with laced red turbans with a protruding knot at the left. They hold a shield and a stick.
They march along with rhythmic movements. A band of drums and bugles lead the battalion. Spectators gather at the flight of steps at the eastern entrance of the temple, and watch the Kaurava pada attacking their enemies.
Though the ten days long impressive temple festival and the installation of the effigies of the Pandavas continue Velakali remains as a colorful memory in the minds of the old timers.
Box III The ulsavam which lasts for ten days begins with the kodiyettu-the hoisting of the God’s Flag and concludes with Aarat procession. During these days the Gods are escorted by His Highness Uthradom Tirunal Marthanda Varma with the entire paraphernalia of the temple and the State.
The ulsava vigrahams of Sree Padmanabha, Sree Krishna, and Sree Narasimha are elaborately decorated and seated in vahanams made of gold and silver. Their marvelous intricacy and design are an eloquent testimony to the art and craftsmanship, of an ancient era. The idols are lavishly decorated with colorful silk fresh flowers.
The procession is lead by an elegantly caparisoned elephant, followed by men carrying the God’s flags, umbrellas, and other emblems of divinity. Clad in traditional temple costume His Highness with drawn sword comes next followed by the heir apparent and other male members of the family. The idols are carried by the temple in the rear. Immediately ahead of the idols walk the temple musicians playing melodiously on the thimiri nagaswaram. A group of vocalist accompanied by violin and mridangam rendering ulsava prabandam follow the vahanams.
Dear Friends,
Most of coastal Kerala was below Sea till around 750CE.
Literature Former Professor of Chennai University Head of the Department of Archeaology Professor-Dr.K.V.Raman in Tamil says
கொடுங்கல்லூர் நகருக்குத் தெற்கில் பல இடங்களில், வடக்கில் பழமையானவை என்று கருத்ப்ப்ட்ட சில இடங்களிலும் அகழ்வாய்வுகள் மேற்கொள்ளப்பட்டது....
கேரளாவில் நடைபெற்ற இந்த அகழ்வாய்வுகளை நடுநிலை நின்று பார்த்தால் கீழ்கண்ட, தற்காலிகமான முடிவிற்கு வரலாம்.
கொடுங்கல்லூருக்கு உள்ளும் புறமுமாக, பல முக்கிய இடங்களிலும் நடத்தப்பட்ட அகழ்வாய்வுஅள் எல்லாவற்றிலும் கிடைத்த மிகப் பழைமையான படிவுகள் கி.பி.8 அல்லது 9-ஆம் நூற்றாண்டைச் செர்ந்த்ததாகத்தான் உள்ளன. ஆக, ஓரே சீரான பண்பாட்டுக் கூறுகள் எல்லா இடங்களிலும் வெளிப்பட்டுள்ளன என்பது தெளிவாகிறது.
கொடுங்கல்லூர் பகுதியில், மனித சமுதாயத்தில் முதல் குடியிருப்புகள் 8,9-ஆம் நூற்றாண்டுகளில் தான் ஏற்பட்டிருக்க வேண்டும். குலசேகர மரபினர், கண்ணனூர்ப் பகுதியில் குடியேறி, அதைத் தங்களுடைய தலைநகராக கொண்ட பொழுது இந்தப் பகுதி முழுவதும் முக்கியத்துவம் பெற்றிருக்க வேண்டும். குலசேகர மரபினர்களைப் பற்றிய நல்ல காலக் கணிப்புகள் நமக்குக் கிடைத்திருக்கின்றன. ஆனால் அதற்கு முற்பட்ட காலத்தைச் சேர்ந்த எந்த விதமான ஆதாரமும் கிடைக்கவில்லை.. ..
திருவஞ்சிக்களம் இங்கே ந்டந்த அகழ்வாய்வு கலவையான(M) பல ஆதாரங்களை வெளிப்படுத்தியது. அவை மிகவும் பழைமையானவை10 அல்லது 9ம் நுற்றாண்டுக்கு முற்பட்டதாக இல்லை.
திருவஞ்சிக்களம், கருப்பதானா அல்லது மதிலகம் போன்றவற்றின் பெயர்களை மட்டும் கொண்டு, அவைகள் பழைய வஞ்சியாகவோ கருராகவோ இருக்கலாம் என்று கருதப்பட்டது. ஆனால் இங்கு நடந்த அகழ்வாய்வுகள் கி.பி 8-ஆம் நூற்றாண்டைச் சேர்ந்த இரண்டாம் சேரப் பேரரசுக் காலத்து ஆதாரங்களைத் தான் வெளிப்படுத்தி உள்ளனவே அல்லாமல் பழங்காலச் சேரர்களை பற்றிய எந்தவிதமமன ஆதாரத்தையும் வில்லை. ஆகவே, இந்த இடங்களில் தான், பழைய வங்சியோ, கருரோ இருந்தது என்று சொல்ல முடிய வெளிப்படுத்தவில்லை.
பழைய முசிறித் துறைமுகம் இருந்த இடத்தைக் கண்டுபிடிக்க வேண்டிய அவசியம் ஏற்பட்டிருக்கின்றது. அது நிச்சயமாக கொடுங்கல்லூராக இருக்க முடியாது. பக்-68-70 கே.வி..ராமன், தொல்லியல் ஆய்வுகள் and this article was earlier published in Araichi, 170, under the Heading “Archaeological Investigations in Kerala”
I summarise it in English, Professor refers to the Archaeological research work done under Mr.Anu John Achhan and after analyzing all the findings says First Occupation of Humankind in Kodungallore Belt and surroundings happened in 8 or 9th Century AD, as Virgin Soil without Any Human Occupation came then, all researches in the surrounding areas took us to the Second Chera period of and certainly Kodungallore is not the Musiri the famous Port referred in Sangam Literature.
PLEASE REMEMBER THIS
Devapriya
The sky in the city is overcast. Monsoon would commence within a few days. Many centuries ago traders waited this season to set sail to this amazing land. They came along with advancing monsoon and returned with the retreating monsoon. Their journey took 40 days each way. They brought wine, fish and olive oil in huge amphora, with big handles on either side. There is very chance of these containers breaking in transit. Once emptied, they were disposed. Many years later they were discovered by archaeologists.
A team of Archeologists spent two months near Pattanam near Kodungallur. “We could not afford to spare even an inch. It was rich with remnants for the past” said Jenee Peter research assistant of the Pattanam excavation project. THE findings are displayed at the Vyloppilli Samskriti Bhawan organized by KCHR.
Most of the artifacts are discovered from three meters underground. Roman pottery west Asian ceramics, Chinese pottery, roulette ware, innumerable varieties of beads, bits and pieces of bones, chera coins-all indicating the rich maritime heritage and urban character of the site.
There is a broken piece of neck ornament made of pure gold. The design is so intricate that it created awe among the viewers. A number of semi precious stones glass beads were also recovered.
Five trenches covering an area of 120 sq.m were dug in the north eastern part of PATTANAM. “The site seems to have occupied by the indigenous megalithic (Iron Age) PEOPLE followed by Roman and west Asian contacts in the early historic phase till the early medieval period.” said K C Cherian the director of KCHR.
The excavations shows layers and layers of construction strengthen with local materials and Welsh bonding bricks. Though our ancestors lead a simple life they lead organized and planned life. The extensive brick work shows that this site could have been a township and a trading centre. This was the first ever multidisciplinary archaeological excavation in the state with technical support from various disciplines like geo archaeology, archaeo-zoology, paleobotany, archaeo-chemistry and metallurgy. Many materials recovered from the now land locked site at chittattukara village have been sent for carbon dating. In due course this site would become the State’s first site museum with all artifacts preserved right at the site.
Ilango Adikal and Silappathikaram came from Chera country/Kerala
It was intuition that guided them. On 8th April, they delved the cupboard and the wooden box at the Mannur Madam Palace Mavelikkara which housed heaps of cadjan leafs. The team was on the look-out for some valuable treasures on early Travancore history in the form of rich and valuable literature.
Towards evening, they could trace the "syanandura pura varnanaprabandham", one of the precious works of Maharaja Swati Tirunal.
Sasidharan Varma of Mannur Madam Palace is a descendant of historian and research scholar-M Raja Raja Varma. His father T Raja Raja Varma of Paliyekkara Palace had prepared the family chart of Paliyekkara. Inspired by this work, Sasi decided to draw up the family tree of Mavelikkara Kottaram. "It took six years. The period covered was from 1788 to 1999. Diaries and notes of M. Raja Raja Varma were extremely useful in collating the available information. When I was elected as the treasurer of Mannur Madam Palace Trust, I had the opportunity and access to go through the available cadjan leafs. But I had no idea about its contents, but always had a hunch that it would contain precious records. So I preserved all I could. Knowing this, Dr R.P. Raja, the author of "New Light on Swati Tirunal" approached us. That was a turning point."
What made Dr Raja search for Swati Tirunal compositions at Mavelikara? "Historian late Kizhakkemadam Govindan Nair had recorded that Swati Tirunal had sent a copy of all his works to Mavelikkara."
But, Why? "Swati Tirunal's mother's mother Bharani Tirunal Parvathi Bayi a member of Mavelikkara Kottaram was adopted to Travancore on 13th Thulam 964 ME. Her mother Chathayam Tirunal Mahaprabha Amma Tampuran and five children fled from Chirakkal as Tippu Sulthan invaded Malabar Coast. Karthika Tirunal Dharmaraja gave them asylum and accordingly they settled in Mavelikkara. She outlived her daughter and had the fortune to witness the coronation of Maharaja Swati Tirunal. Mavelikkara being the root family, Swati Tirunal made it a point to send a copy of all his works. Now that we could retrieve a few cadjan leaves of Swati compositions, we know the lead was apt," explains Dr. R P Raja.
What is the significance of the present discovery? It is the Syanadurapura varnana Prabandham, a Sanskrit Champu penned by Swati Tirunal. The work has 83 leafs. We could retrieve only 67 of them. The only copy of this magnificent work is available at the Padmanabhaswamy Temple. It is recited to this day when the Maharaja visits the temple. The present discovery is significant in the sense that it furnishes the date of completion of the work as 15th Midhunam, 1014 ME which corresponds to 27th June 1839.
"We were assisted by P L Shaji, Manuscript assistant of the Oriental Research Institute and Manuscript Library of the Kerala University. Our search began at 10 in the morning. Most of the cadjan leafs were on Ayurveda Puranas and Jyothisha. Around 5 pm, Shaji traced this leaf and we were elated and retrieval of 67 cadjan leaves added to our excitement. We are planning to pursue the work which might bring valuable works of Swati Tirunal and other documents” said Dr. Raja, hopefully.