oothakadu Kalinga Narthana Perumal koil

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Oothakadu Kalinga Nardana Perumal Koil

 

The attire was lifted to show the right leg of that winsome child. It

was covered with livid bruises, as if a whip had lacerated it

repeatedly. A loud crash was heard, startling all. A mother shocked by

the sight had inadveretently dropped the mobile in her hand, and cried

out. Thereby hangs a tale...

 

The OED defines a hamlet as " a group of houses or a small village " .

Oothakadu fits the description to the t. It is a secluded " kugrammam "

which has to be reached via kaccha roads. If you venture from

Kumbakonam you reach Patteswaram then Avvur, Govindakudi and finally

Oothakadu. It is wise to ask for directions eveywhere. Three times we

were told that Oothakadu was just four kilometers away and by the time

we reached it our trip meter showed more than twelve kms! But the

vision that we were fortunate enough to see with these decidedly non

" divya chaksus " was surely the result of covert " punyas " from previous

births. On the way to Kumbakonam form Thanjavur one has to take a

right turn at the arch at Swamimalai and then Patteswaram, Avvur,

Govindakudi and again finally Oothakadu.

Oothakadu is famous because of Venkata Kavi aka Oothakadu

Venkatasubbier. On Googling Venkatakavi we come to know that he

predated the magnificient trinity of Carnatic music and walked this

earth between 1700 and 1765. He is regarded as one of the greatest

composers of Carnatic music. His songs, especially about that Divine

child Krishna, have a gleeful rhythm that is unmatched. It appeals to

the masses and to the cognoscenti.To quote a source mined from the

net: " Oothukkadu Venkata Kavi's compositions reveal that his knowledge

of music, dance, rhythm, languages (Tamil and Sanskrit and a bit of

Marathi), culture, tantric worship, great sages and poets was nothing

short of divine inheritance and his creativity was more than that of

an average genius. " One can't better that can one? Initially he was

unable to get a proper guru and it is said that he was educated by

none other than that greatest of acharyas, the first and foremost in

our lineage of preceptors, Shriyapathi, Krishna himself. In fact the

child Krishna used to sit in his lap as he sang and dance for him. In

the Kalinga Nardana Perumal Koil at Oothakadu there is a mandapam,

pavilion, with a statue of a standing Venkata Kavi, where he was

graced by the presence of Krishna himself.

The Oothakadu Kalinga Nardana Perumal Koil temple is approached by a

street wherein a car cannot make a U-turn. The gopuram at the

entrance has definitely seen better days and the ubiquitous shrubs are

seen growing wild on the tiers. You enter a ill lit corridor, and to

your right is a brief Tamil version of the local lore, " sthala purana

surukku "

" Sri Rukmini Sathyabama sametha Sri Kalinga Nardana Perumal temple has

a sacred pond behind it named Kalingan madu. Here the peerless

" panchaloha " icon of Kalinga Nardana Perumal was found and consecrated

so it is said. The wish giving cow Kamadhenu of the Devaloka had two

calves Nandini and Patti who were graced by the divine vision of Sri

Krishna Bhagavan as he danced once again on the hoods of Kalinga. This

sight was also seen by the great rishi Sri Narada who prayed to Him to

assume a iconic form in the same pose. Ever since Lord Krishna is

gracing devotes as Kalinga Nardana Perumal. Sri Venkata Kavi is

considered to be a reincarnation of Sri Narada. Sri Venkata Kavi has

sung innumerable songs on Krishna. He was blessed with a vision of

Krishna here, so say the local lores. "

As you go forwards, to your right is a sanctum with three cupolas on

the top. It is labelled " Aanjaneya Pancharatna Mandapam " . Inside we

are blessed withe vision of Hanuman as always in a humble posture.

To the right of this sanctum is a small pavilion in the shade of the

gopuram wherein we see the great Venkata Kavi standing, rapt in devotion.

Retracing our steps we first circumambulate the main sanctum. In the

western corner we see Andal. We then return to the main sanctum. Due

to our misfortune there is a power cut and it is through the yellow

light of the lamps with wicks, we see Kalinga Nardana Perumal.

 

He is in the form of a five year old child. His right hand is tiny and

can be considered to be in the " abhaya mudra " . Though it seems more

like a gesture that is asking us to wait and enjoy the vision. Some

times it seems as if He is enumerating five points, maybe the " artha

panchaka " . His left arm is raised and with the thumb He is touching a

loop of Kalinga's(Kaliya) tail. Mind you, He is not grasping the tail

in His left fist, the tail is in contact with the thumb and the side

of the index finger only. His left foot is on the five hoods of the

" naga " and His right foot is raised, with the toes pointing downwards.

Both the knees are bent and the torso,neck and head are in a straight

line. As always He is smiling cherubically. On His head is a crown

with a ball like projection to the right reminiscent of " Andal kondai " .

 

The naga (sarpas - snakes - with many heads are nagas) rests on a

lotus base. Just below the hoods, it takes a u-turn and the undulating

body climbs upward to touch the Divine Child's left hand. The body of

the naga thins as it climbs up and the tail ends in a downwardly open

loop with a final twirl at the tip.

 

The archaka leaves us flabbergasted with his next remark. There is a

space between the sole of Krishna's left plantigrade foot and the

curved dorsal aspect of the naga's hoods! Yes you read it right the

first time. A paper can be passed between Gokulanandana's left foot

and the hood of the serpent!

So perfect is the craftsmanship that the whole icon stands upright and

stable. This tends to prove the point that this icon was never made by

human hands and was discovered in the pond behind!

On a more mundane level it is to be noted that the the Department of

Posts released a stamp worth three rupees in 1982 with an image of

this icon on it. It is surprising that some mandarin in the dark and

dinky labyrinths of the government recognised the unique value of the

icon of this Divine Child found in a small hamlet in Tamil Nadu.

Wonders will never cease! But, just three rupees worth...

The point is that the value of this particular " divya mangala vigraha "

is inestimable. It appears to be " apaurusheya " not made by human

hands. It is a miracle that the statue stands unshakably erect without

any visible means of support for the dear Divine Child. His tender

lotus foot is NOT resting on the serpent. His left hand is touch with

the tail. The area of contact is minimal. One can only speculate.

Perhaps the snake is really heavy and the frame of the Dancing Child

light. These mental exercises are in vain. It is more productive to

enjoy the beauty of the whole. The " anubhava " experience and the

" bhava " feeling are more important than physics and cost!

The UPS is turned on and a single spot light focused on the Dancing

Child improves our vision. Sentiment reaches a fever pitch when the

archaka lifted the dress covering the right leg. The left leg from the

foot to the knee is disfigured with weals. These were the healed scars

of the lacerations Krishna suffered when the asura snake lashed Him

with his heavy tail. It is this sight that unsettled the lady with a

mobile in her hand. It was the thought of these that had made Patti

and Nandini cry ages ago.

Time for a flashback. In those days Oothakadu was a wild garden,

pardon the oxy-moron, and Patti and Nandini, the daughters of

Kamadhenu used to gather flowers there for the worship of Siva in the

nearby temple. Narada used to visit them regularly and being a master

storyteller he used to tell them fascinating stories from the

" puranas " . Once he told them the story of the mischievous Dark Child

who jumped into the black waters of Yamuna to fight with the poisonous

serpent Kaliya, Kalinga. He described the the battle in all its gory

details, emphasing the smallness of the child, just five years old,

and the great power and massive size of the naga. He described in

full the inevitable defeat of Kaliya and the beatific vision of the

dance of Krishna on the hoods of the serpent. His skill as a raconteur

had some unexpected side effects. The soft hearted calves of Kamadhenu

began to cry. They empathised with the small Lad and suffered His pain

during the unequal battle. They were inconsolable. Kamadhenu, who was

watching from her post high in the heavens prayed to Lord Krishna to

assuage their sorrow. He appeared before them at once, as He is always

partial to cows and especially calves. He danced the dance again and

showed them that for Him it was as easy and painless as gulping

" navaneetham " fresh sugared butter! Deservedly Narada muni was also

able to see this vision and he requested Krishna to grace devotees for

all time in the same pose at Oothakadu making it the southern Gokulam.

Krishna acquiesced and still blesses us as Kalinga Nardana Perumal

here. In fact this temple is unique.

We are so enamoured by the sight of Dancing Krishna that the archaka

has to direct our attention the main deity " moolavar " Sri Vedanarayana

Perumal at the back. He is amidst Sri and Bhoo devi. Kalinga Nardana

Perumal is with Rukmini and Satyabhama. The archaka informs us that

this is a " vendathal sthalam " wish giving temple for those born in the

asterism of Rohini and those interested in the performing arts.

 

Kaliyan Poigai Kalanga Painthittu

Avan Nilamudianthilum Ninru Natamseydhu

Mila Avanukku Arul Seydha Vithakan

Tholvali Veerame Padiparru

-Thoomani Vannanaipadiparru (Periazhwar Thirumozhi 3rd decad, 9th

Thirumozhi)

 

Though this is not a divya desa it seems as if Vishnuchitta had this

icon in mind when he sang about his favorite Child, Krishna.

 

On the other hand Venkata Kavi decidely saw Kalinga Nardana Perumal

and sang as follows:

 

Kathirum Mathiyum En

Nayan Vizhikkal Irunalinmaan

Salanthile Kalinga Sirathile

Kathithapathithile En

Manathai Iruthi Kanavu Ninavinodu

Piravi Piravi Thotrum Kanintharuka

Varantharuka

-Paalvadiyum Mukham- Oothakadu Venkatasubbier

 

Two more examples from Venkata Kavi's works:

 

1. Ashaindadum mayil onru kaanum – Simhendramadhyamam (madhyamakalam

of anupallavi and charanam):

…Oru padam vaittu maru padam tookki ninraada – mayilin irahaada –

makara kuzhaiaada

madivadanam aada – mayakku vizhi aada – malaranihal aada – malar

mahalum paada – idu kanavo nanavo ena mananirai munivarum mahizhndu

kondada

 

2.Alankaara paambumela

Aadiyaacchu paadiaacchu

 

This is the famous sloka from Bala Mukundashtakam:

 

Kalindajantha Sthitha Kaliyasya Phanagrarenge Nattanapriyantham

Thathpucchahastahm Sharadinduvakthram Balam Mukundam Manasa Smarami.

 

On the stage at the front of the hoods of Kaliya who infested Kalindi,

Yamuna, He is fond of dancing. With its tail in His hand and with a

face like the full autmnal moon, this vision of Child Mukunda I

contemplate mentally.

 

 

After such masterful descriptions it would be presumptuous to continue

to write. Adiyen requests all to make it a point to visit Oothakadu

Kalinga Nardana Perumal Koil and be blessed by the vision of the

Delightful Dancer.

 

 

Dr.S.Sundar Rajan MS ortho

Trichy 23 Jan 2009