Kerala tradition at its best: Dr. Nagaswamy

[Guest guest]

 

An article on the dying tradition of Vedic chanting in Kerala.

(Click on the link to see the photographs. ) M.

 

http://www.thehindu .com/fr/2010/ 02/19/stories/ 2010021951160600 .h

tm

 

Kerala tradition at its best

 

DR. R. NAGASWAMY

 

Architecture, worship and music combine gloriously at the

Kadavallur Sri Rama temple.

 

Photos: Dr. R. Nagaswamy

 

Special:(Clockwise from top left): Sri Rama Temple, Kadavallur;

procession led by caparisoned elephant; figure of Siva; scholars

engaged in Anyonyam; and sculpture of Ravana.

 

Kadavallur is a small village in Thrissur district of Kerala,

where an age old Sri Rama temple shines as a perfect example of

all traditions of Kerala. The existence of this temple the 10

{+t} {+h}-11 {+t} {+h} century is attested by a Vattezhuthu

record inscribed on a stone on the base of the enclosure. Like

all temples of Kerala the main tower is of the sloping roof

variety with two enclosures and an impressive entrance tower.

 

The base of the main shrine is made of granite while the wall of

the superstructure is latarite plastered and embellished with

designs. The super structure is covered with wooden frame work

while the roof itself is made of metal simulating the tiled

slopes. Beautiful wooden sculptures of different manifestations

of gods and associate images are introduced as bracket figures.

They stand out as good examples of early wooden sculptures in

the true Kerala style. An example is that of the ten-headed

Ravana on his chariot which is shown almost like a boat. The

poses and the flexions of the body portrayed show the remarkable

achievement of Kerala dancers in body poses as may be seen in a

sculpture said to be Parasurama aiming an arrow.

 

The main deity made of stone inside the sanctum is a four-armed

Vishnu who is worshipped as Sri Rama as in many other Kerala

temples, where various avatars are worshipped as main deity in

the form of Vishnu. Encircling the main shrine is a tiled

enclosure with an entrance having two wings, one on the South is

important as it is called Koothambalam, the one on the other

side is where spectators sit. At the rear-end of the

Koothambalam is placed a huge pot-drum (Kuda-mizha) on a wooden

pedestal. It resembles many such drums portrayed in all the

famous murals of the region, figured in the scenes of Dancing

Siva, the player being Nandikesvara, who learnt dance from Siva.

 

According to dance and agama treatises, the Kudamuzha Pot drum,

symbolises Nandikesvara.

 

Rare representation

 

There is another rare representation that of Hanuman placed on

it. Hanuman as Dwarapala is seen carved in some Siva cave

temples of Kerala as at Kottukkal in this region.

 

According to the Ramayana, Hanuman was the manifestation of

Nandikesvara, guardian of the entrance to Kailasa.

 

The Koothambalam of this temple is used in the month of

Sivaratri when the temple dancers, Chakkiyars, dance, sing and

expound the connected story.

 

The temple was also the repository of a rare tradition of Vedic

learning. Vedic experts belonging to two schools called Yogams

(Thirunavay yogam and Thrissur yogam) meet for ten days annually

in the temple, and examine each other by challenging them to

recite from any part of the entire Veda which they chose. It is

not mere reciting the hymns from memory but splitting the words

of the texts in order, without mistake for nearly one hour.

After one party finishes the other party challenges them by

giving another part. It is a remarkable test called "Anyonyam."

A challenge to the command over the whole Vedas and precision

with which they learnt them, it is nearly a 4,000-year old

tradition that has survived only here in the whole of India.

Unfortunately this unique system now faces extinction. It has

not attracted the attention of UNESCO which has taken measures

to preserve Buddhist oral chanting. Out of the two surviving

schools one has been closed down and the other at Thrissur is

managing to survive.

 

Rig Veda occupies eight days of examination in this festival

while Yajurveda is allotted one day with Sama Veda dealt with on

the last day. Now the festival has been enlarged by inviting

scholars to explain to the people what it all means and at the

same time discuss all aspects including "science and technology

in the Vedas." And at nights traditional drama works in Sanskrit

and other arts are arranged which attract a large gathering.

 

The Temple remains serene as the worship starts very early

morning at 4 a.m. where men, women, and children throng to the

temple after early bath in local temple tank to witness the

morning puja. In the morning ritual called "Sri Bali" the

decorated temple elephant leads the procession to the music of

the Panchavadya.

 

The Panchavadya also includes "melam" at times and is an

absolute treat. Kerala artists are masters of this music,

especially those of this region. Starting from slow rhythm, the

players gradually build up the tempo to reach the crescendo

after nearly an hour of playing; all the while the beautifully

decorated elephant stands majestically carrying the deity -"Bali

bhera" watching at the same time with its sharp eyes the

movements of all devotees. Kerala is the place to visit for

experiencing this atmosphere of temple worship combining in

itself, literature, arts, architecture, music and dance that

provides certainly an exhilarating living.

 

 

 

 

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