Petta Thullal during Makaravilakku and Traditions in Erumeli-Sabarimala
It is a long held and important tradition of two Yogams or Sanghams (Teams) one from Ambalapuzha (representing Ayyappa’s Mother, Bhagwan Vishnu as Mohini and represents Vaishnava Traditions) and another from Alangadu representing Ayyappa’s Father, Bhagwan Shiva as and represents Shaiva Traditions), to perform the petta thullal prior (End of Dhanur Masa) and reach Sannidhanam by Makarvilakku Festival (on 1st of Makara month). Both the Sanghams are formally welcomed with complete honor by the Temple authorities since these two places are closely linked to Ayyappa Purana. They have been officially conferred this status and privileges by Pandalam Royal family through a decree by the Pandalam Raja. This piece is written to get better insights and the significance of Petta Thullal Ritual.
Ambalapuzha Petta Thullal Sangham in Erumeli
Alangadu
Alangadu Chembola Kalari (Chembola Weaponry School) is where Manikanta practiced His arms and weapons training. It is part of the lore that Swami Ayyappa, helped by a team of Warriors from this Kalari and the troops from Ambalapuzha, fought a battle against Maravas and defeated them. Around 400 people from Alangadu participate in the formal Petta Thullal ritual in Erumeli. They begin their journey after worshipping in Kaambilli Shri Dharmasastha temple, the yogam’s main temple and family temple of Kaambilli Panikkar who had taught Swami Ayappa in combat tactics to defeat the marauder Udayanan who tried to destroy Sabarimala and Pandalam temples.
As advised by The Raja of Pandalam, the formation for the battle march was led by Ambalapuzha warriors in the front & under the leadership of Kochukadutha Swami (earlier known as Raman of Inchippara Kalari). This troop was followed by Swami Ayyappa (Manikanta). Backing Him was Alangadu Chebola Kalari Warriors. Signifying this sequence, even to this day, Petta Thullal is performed first by Ambalapuzha Sangham and then by Alangadu Sangham
Alangadu Chembola Kalari – When Ayyappa received Combat and Weapon Training PC: Facebook Page of Alangadu Yogam
All the warriors had assembled for an address by Swami Ayyappa on the banks of the river Periyar in Aluva. It was here that Swami Ayyappa swamy emphasized on the importance of the 41 day vratam being observed by every member of the Alangad Yogam, before embarking on to fight the powerful Udayanan, of Karimala Fort.
It is also believed that Swami Ayyappa never took up arms (Like Bhagwan Krishna in Mahabharata) but only led the Alangadu Warriors led by Kaambilli Panikkar. The troop marched on towards Karimala and as they crossed Perur Thodu (then the last Human settlement before dense forest began) for the 1st time the Sacred Sharana Ghosham “Swamiye Sharanam Ayyappa” was raised by Kaambilli Panikkar. To say it was their inspirational warcry would not be wrong either (It also worked well during the recent protest by Women in Kerala, participating in the Read-to-wait movement against violation of Sabarimala Traditions. Their peaceful protest were only by way of Nama Japa Yatras with Sharana Ghoshams. Finally the court and the Government had to give in to this Satvik warcry.)
Kaambilli Shree Dharma Shasta Temple
Once the avatara lakshya of Swami Ayyappa was complete and before merging with Shashta, Kaambilli warriors assembled on the shores of Pampa and He gave a Krishnashila (blackstone) directly by Swami Ayyappan Himself for installation in Kaambilli, Alangadu. They assembled on the banks of Pampa and as advised by & under Divine guidance of Swami Ayyappa, Murti was consecrated and Kambilli ‘Karanavar (head of the family) was then consecrated as ‘Rakshuss (Protector as in Raksha) and Devi as Bharadevata in the Garbha Griha (Sanctum Sanctorum) of this temple. For their selfless and long service Pandalam royalty presented them with Golaka (Silver replica of Shri Dharma Shasta) and a Blue Emblem that has Divine face of Swami Ayyappa on His mount Tiger. These emblems are used even today in the Petta Thullal of Alangadu Yogam
Golaka (Silver) Presented by Pandalam Royalty to Alangadu Yogam (Kaambilli Family) Picture Courtesy: Facebook Page of Alangadu Yogam
Kodi (the blue flag) with Emblem of Ayyappa riding the Tiger Presented by Pandalam Royalty to Alangadu Yogam (Kaambilli Family) Picture Courtesy: Facebook Page of Alangadu Yogam
Deeparadhana to Golaka & Kodi in Alangadu before setting out for Petta Thullal
During the Pettakettu Alangad Yogam wear only white Dhoti and doesn’t smear themselves only with Vibhuti and Chandana and not with any color. They use Golaka and Kodi given by Pandalam Raja to Kambilli Chief. This flag and the Dharma Shasta Murti were maintained at Kambilli ancestral home for a long time until this shrine was completed and thereafter maintained in the temple under the watch of Kambilli Family. After completion of worship, this Yogam members proceed to Erumeli and on the way offer their worships at Temples in Aluva Manapuram, Perumbavoor, Kadapattur. The Petta-thullal by this group will be held the next day (27th Day of Dhanur Masa, usually January 12th or 13th) after a daylight star is sighted.
Ambalapuzha
Swami Ayyappa and Pandalam Kingdom was assisted in the battle against Udayavan of Karimala by Ambalapuzha Warriors along with Alangudi Warriors as mentioned earlier. Pandalama Raja in recognition of their services and also to honor the maternal lineage of Swami Ayyappa, confers on Ambalapuzha Yogam the Privilege to lead the Petta Thullal Sequence during Mandala Makaravillakku season.
Ambalapuzha Sangham Performing Puja before Leaving to Erumeli
Ambalapuzha Sangham Performing Puja before Leaving to Erumeli (More recent Photograph)
Ambalapuzha Shri Krishna Temple
Ambalapuzha Shri Krishna Temple
Ambalappuzha Sangham begin their journey from Ambalapuzha to Erumely on 22nd day of Dhanur Maasa. Enroute they visit Manimala Kavu Bhagavathi temple on 25th day of Dhanur Maasa and performs an Aazhi Puja (A special Puja performed before setting out on Pilgrimage to Sabarimala).
The Sangha arrives to Erumeli thereafter and it is believed that on the morning of 27th of Dhanurmasa Bhagavan Krishna, the Presiding Deity at Ambalapuzha Shree Krishna Temple, leaves Ambalapuzha temple, immediately after which the temple doors are closed and arrives in Erumeli on His Vahana Garuda in the skies to bless the Petta Thullal party from Ambalapuzha. This will be around 12.00 noon. Immediately thereafter the Ambalapuzha Sangham begin their Petta Thullal. The Amabalapuzha team uses green, black as well as kumkum color to paint their body.
Conclusion of Petta-Thullal
Ambalapuzha Yogam performs the Petta Thullal first, followed by Alangadu Yogam (towards evening once the Star is sighted). Thereafter, both the teams would then rest overnight in Erumeli Shree Dharma Shasta Temple (called Valiyambalam) and then proceed towards Pampa on the traditional trekking route. As per the customs, once Petta-thulla by Alangadu Yogam is completed, no one performs Petta-thullal in Erumeli for rest of the Mandala Makaravilakku season.
“Nambidinayan kai budaye. Nambandinayan nambave” I shall not leave the hands of those who believe in me and shall cause the non-believers to fold their hands before me” Tulu Saying about Bhootas
This Maxi-post (mainly due to pictures) piece by no means can be called final, since I have heard about 4-5 versions of the legend behind one of the most revered (and feared too) among more than 1000 kolas in the Coastal Region of Karnataka – The Twin Sibling Daivas Kalkuda-Kallurti. I am sure there would be critical feedback and this article will be subjected to repeated changes/edits in days to come.
Our Satsang team was recently (for the 4th time) in Nyanappanalli Shri Abhaya Anjaneya Temple in Bengaluru (Click on the link for Google Location). The Presiding Deity of the temple is Shri Abhaya Anjaneya and Upadevalayas are Shri Nagachowdeshwari, Shri Mahaganapati, Shri Bhuvarahaswamy, Navagrahas (Unique feature is that each of the Murtis are in Brass) and Shri Kallurti and Kalkuda again in Brass.
This temple is the primary trigger for this piece as the thoughts that were in my mind for past 2 years resurfaced when we devotees of Pujya Gurudev Sri Sri Ravi Shankar, founder of the Art of Living as a team visited this temple to conduct Vaikunta Ekadashi Satsang. The details about the Temple primarily pictorial and it is self explanatory.
Shri Abhaya Anjaneya Temple, Nyanappanahalli
Shri Abhaya Anjaneya Temple, Nyanappanahalli
Presiding Deity of the Devalaya Shri Abhaya Anjaneya
Shri Abhaya Anjaneya – Alankara on Vaikunta Ekadashi 2023
Shri Mahaganapati
Shri Mahaganapati
Shri Bhurvaraha Swami
Shri Bhurvaraha Swami
Varaha an avatar of the Hindu deity Vishnu, in the form of a wild boar with Human Body. Varaha is consiered as the 3rd in Evolutionary Avataras of Bhagwan Vishnu (Dashavatara). Varaha is most commonly associated with the legend of lifting the earth (personified as the goddess Bhudevi) out of the cosmic ocean. Varaha is depicted as a boar or in an anthropomorphic form, with a boar’s head and a human body. His consort, Bhudevi, the personified earth, is often depicted as a young woman, lifted by Varaha.
Shri Nagachowdeshwari
Shri Nagachowdeshwari Devi is a manifestation of Maa Shakti, Durga in one of Her forms undertaken to defeat a demon who had a boon that every drop of the demon’s blood which touched the ground would create a thousand warriors. Chowdeshwari spread her tongue on earth and covered it. She drank all the blood before it fell on the ground and the demon was thus defeated.
Navagrahas in Brass
Navagrahas (Another view)
Navagrahas (Another view)
Shri Kalkuda Daivasthana Upadevalaya
On each visit, this Kalkuda Daivasthana upadevalaya had profound impact on me personally and there was something happening within that was very unique and exhiliarting.
Shri Kallurti and Kalkuda Daivas, Nyanappanahalli Shri Anjaneya Temple, Bengaluru
Shri Kallurti and Kalkuda Daivasthana, Nyanappanahalli Shri Anjaneya Temple, Bengaluru
Through my friends and experts on the Tulunadu practices and rituals, I have been learning about Bhoota and Daiva Kolas on Karnataka Side and Theyyams on the Kerala Side. What triggered the interest even more in recent times was this Upadevalaya of the aforementioned Temple. I also was discussing the Chief Archaka, Shri Manjunatha Bhat and also the donor who built this temple, Shri Gopal ji and many others who are in the know about this Fierce but Divine Twin Sibling pair of Daivas – Kalkuda and Kallurti. I have also drawn heavily from the paddanas (Ballads or story telling) rendered during Kolas as inputs to this article.
The Background– Bhoota Aradhane
In the Coastal Karnataka/Kerala regions of Dakshina Kannada, Udupi, Kundapura, Kasargodu Districts – collectively referred to as Tulunadu, Bhoota Aradhane holds a prominent practice of worship among the Tuluvas. The beauty of the same is that it is truly Secular Santana Dharma Practice which is Caste agnostic.
Earliest recorded history of Bhootaradhane dates back to 700 BC. References to Bermeru (He is the Head of all Daivas, more than a 1000 of them) and Panjurli (the Boar, made famous by the Super-hit Kannada Movie, Kantara by Rishabh Shetty) Daivas are found in the relics and inscription of this era. Bhoota Aradhane is Spiritual Engagement with Human, Animal, Scriptural or Natural Spirits. A vital part of the Tuluva socio-culture life, devotees worship Daivas and Boothas or spirits for their own protection daivas as also the livestock from evil forces. The belief is so deep and sincere that they worship the Daivas as real avatars of Gods or spirits that they represent. While the worship processes are simple, the artiste invoking and possessing the spirits requires high levels of devotion, training and skills. There are instances of artists who were casual and untrained attempting to impersonate, resulting in their death. Hence the devotees and the performers conduct the ritual with high levels of care and reverence. There are proven instances of Daivas fulfilling the prayers or their prophecies turning out to be true. An angry Daiva, if they hurt in anyway, is a sure prescription for danger (as was evident in case of Shiroor Shri who passed away in unfortunate circumstances, a prophecy that came true). On the flipside, they are extremely benevolent in their blessings and protection of the devotees and fulfilling in their wishes when they are sincerely worshipped.
It is pertinent here to understand various types of Bhoota Aradhane and the clasification of Bhootas and Daivas. Primarily, as indicated earlier they can be of Human, Animal, Nature or Scriptural (Pouranika) Origins. Similarly they can be of various statuses like Royal Daiva (of a kingdom), Seeme Daivas (of a Town/City/Village), Guttu (of a particular Landholding), Kutumba (of a Family).
Of these classification Kallurti and Kalkuda is of Human Origin. They got elevated to status of Daiva due to their exemplary achievement of overcoming cruelty and injustice in their lifetime. They rank among the top revered Daivas/Bhootas along with Korajaga, Panjurli, Guligas etc
Legends of Kalkuda and Kallurti
In the days of yore, in the village called Maarnaadu (ಮಾರ್ನಾಡು) in Karkala Taluk, there lived a couple Shambhu Kalkuda and Eraavadi (ಇರಾವದಿ) who had 5 children. They belonged to Kallu Kuttika (Stone-mason) or Sculptor community and Shambhu was extremely skilful scultpor. While Eraavadi was pregnant with the twins, Shambhu was summoned by the Ruler of Shravana Belagola to sculpt gigantic monolithic statue of Gomateshwara (Bahubali) and a 1000 pillared temple (Savira Kambhada Basadi).
The non-identical twins (a boy and a girl) were born when Shambhu was away from family and were named Beera Kalkuda and Kalamma. Scultpor Shambhu was working furiously to complete the task assigned by the King. But little was he aware that the Selfish King would not let him go lest he creates another master piece elsewhere. However, destiny had other things in store.
The Kids Beera Kalkuda and Kalamma grew up in the absence of their father under the care of their mother. As was the practice, Beera Kalkuda also practiced the family trade of Sculpting and showed exceptional talent compared to other siblings. He had the best critic in his darling twin Kalamma, both of whom were inseparable and extremely close.
Time passed by and once while playing with other children, the twins were teased about absence of their father and they feel devastated. They go to their Mother Eraavadi and enquire about the whereabouts and details of their father. Mother then reveals to them that their father has gone to Belagola upon order of the King for Sculpting Gomateshwara. Despite fervent pleas of Mother Eraavadi and Twin sister Kalamma against it, Young boy Beera, curious that he was, insists that he goes to Belagola to meet his father.
Death of Shambhu Kalkuda
Father was elated to see his son for the first time and he had also heard about his son had achieved fairly good expertise of the family trade. Upon insistence of his son, Shambhu takes Beera to the Worship where sculpting was in progress. The painstaking work of this exquisite art of both Gomateshwara in Belagola and 1000 pillared Basadi was almost nearing completion.
Beera Kalkuda was admiring Shambhu Kalkuda’s work and while examining it in detail, discovers a flaw in the sculpture. Shambu refuses to accept and seeks Beeru to prove the flaws. Beeru Kalkuda applies sandalwood paste on an idol of Suryanarayana, sculpted by Shambhu. The paste dries up except in a particular spot, which continues to be wet. Beeru Kalkuda takes a hammer and gently taps exactly there and to Shambhu’s utter shock, the idol cracks open at that place and a small frog jumps out.
65′ Tall Gomateshwara in Shravana Belagola PC: Wikipedia
Proud Shambhu was completely devastated that there was a flaw in his work and more so that his son had pointed out his mistakes. He also feared the punishment from his King (during those day punishment was getting tied to a Horse and dragged around the Kingdom and finally be trampled by Elephants). Ashamed of his imperfection and fearful of punishment, he stabs himself with a dagger and kills himself. Before his death, he blesses his son saying, “I was blessed by Swami Vishwakarma to work in 3 Kingdoms. I pray and wish that you attain even more fame than me and work in 6 kingdoms”
Kalkuda Daiva with Fire in the Mouth during a Bhoota Aradhana (Bagwadi, Kundapura)
Beera Kalkuda then completes the final rites of his father, goes to the King Veera Pandya of Bhairavarasa family of Karkala to inform him of his father’s death. By then the King hears about the Perfection and talent of Beera Kalkuda and decides to retain him somehow. He orders Beera to create Gomateshwara in Karkala and other Basadis. Beera agrees to be retained under one condition. He tells the King, “My work is like a Tapas, yagna for me. I work with single minded focus and dedication and until the work is completed, no one should disturb me for any reasons” King agrees to the same. King also promises him rewards in the form of golden anklet and bracelet.
Note: Until this part, most of the legends almost are similar. But some variations were put forth by the locals and some Paddanas elucidated a different version(in Italicised text & Red below)
King Veera Pandya Bhairavarasa keeps his part of the bargain, doesn’t allow anyone to disturb Beera Kalkuda who steadfastly was chipping away the rock to perfection disregarding days or night, forgetting hunger or illness. Slowly Bahubali was taking form and was near life-life with every detail sculpted and carved to perfection. In the meanwhile, Bahubali being sculpted was talk of the town and everyone were eager to lay their sight on the completed Masterpiece that they were sure it would be.
Amidst this, Veera Pandya Bhairavarasa’s daughter Princess Yashomati along with her friends wanted to have a look at the Bahubali in the making and drops in at the worshop (karyagriha) where Beera Kalkuda was engrossed in his work, unaware of her presence. Like her father, the princess was very proud and arrogant. She expected that Beera Kalkuda would rush to receive him with utmost honor and reverence. Beera was so engrossed in his work up on the rock and even doesn’t hear her call or realise her presence.
Princess Yashomati felt insulted and seething in anger vows to take her revenge. Crying profusely she rushes to her father King Veera Pandya Bhairavarasa and accuses Beera Kalkuda of misbehaving with her. He was accused of making sexual advances and gestures. He winked at her and by gesture sought physical intimacy. With his left leg he signalled her further seeking her body. King was enraged and did not want the task embarked to be affected and promises her that he will be punished at appropriate time in a severe manner. Deep inside he was elated as he saw an opportunity to dismember him as a punishment (right hand and left leg which he misused to misbehave with the princess. It was like killing two birds with one stone. While justice was served to his daughter, he would ensure Beera cannot be commissioned by anyone to create another sculpture.
Beera Kalkuda works very hard and Statue of Bahubali for Karkala and Basadis with absolutely no flaws whatsoever was nearing completion. Perfection was visible and felt in every single carving. King was very pleased and feels very proud that his name would be etched in the History of Tulunadu and among Jain royalty as the one under whose regime this masterpiece was created. Beera Kalkuda also was extremely happy for the recognition and most importantly he saw that as a opportunity for him to lift his family of mother and sister out of poverty and provide a good life.
Finally, Bahubali, the Vairagya Murti was completed and day of Prastishthapana also was decided. Invitations were sent out to every worthy of Tulunadu and towncriers drummed the information on every street and towns and villages. Beera Kalkuda was surprised there was not a word from the King or any invitation for him. He was elevated to high status until the work was in progress and suddenly he was being insultingly ignored. The day to hand over charge of Bahubali statue also arrived and it was ceremonially handed over to Royal representatives.
42′ Tall Bahubali in Karkala PC: Wikipedia
King’s Betrayal
Next day, the King emissaries land up during the night at Beera Kalkuda doorsteps, saying King has summoned him to the palace to keep up his word to honor him and give the rewards promised. Beera was surprised why it was being done in a surreptitious manner in the middle of th night. He expected a sculptor of his repute who delivered a perfect masterpiece would be felicitated in public with due honors.
He was dragged to the palace and the haughty king begins speaking and says he would reward him as promised but imposes a condition. “My Kingdom has to Culturally superior to any other Kingdom. Hence you should promise that you would not replicate or create any such Artistic Sculpture even comparable to the ones you already did in Karkala. Better still, stop sculpting totally and retire from the profession” This condition was refused since sculpting is the way of life and in the blood of an artisan – not sculpting was like peacock shorn off its feathers or Koel not allowed to sing. King realises that efforts would be futile to convince Beera Kalkuda
On the pretext of honoring and giving the rewards promised the King invites Beera Kalkuda to this palace ante room. He asks him to stretch his hands on which the promised armlet has to be adorned. Beera proudly stretches his right hand expecting Golden armlet to be presented by the king. But one of the guards upon signal from the King, bring his sword down on Beera’s right hand severing it from his body. Immediately after that the guard strikes his sword to also sever his left leg. Cruel King then roars in laughter and proclaims that there cannot be another sculpture that can be created from this Master Craftsman since he is dismembered. Beera totally injured and crippled without Right hand and Left leg is devastated at this treachery. His mental hurt was much more than the physical hurt. King asks the guards to remove Beera from the palace and discard him outside Karkala. They dragged him out of the palace and threw him into the woods outside Karkala.
While departing Beera Kalkuda tells the King, “Loss of a Hand and Leg is not deterrent for a Sculptor to continue his work. His skill continues to prosper and honed in his head and heart. I hereby vow on the name of Amara Shilpi (Immortal Sculptor) Kalkuda family that I will sculpt an even better Bahubali and other Basadi which would be living symbol of cruelty, a story that would be told to everyone in Tulunadu”
King Veera Pandya Bhairavarasa and his courtiers and daughter laugh at this threat. After all, what could a crippled sculptor achieve. For all we know, he may not even suvive this ordeal. We need not be concerned about such a threat.
Meeting of Venoor Thimmanna Ajila
Bleeding and badly injured and emotionally devastated Beera Kalkuda dragged himself out of Karkala, resolute to live on, to destroy King Veera Pandya Bhairavarasa and his lineage, and his regime, a lesson and to even out the injustice meted to him. He wanted to create a Bahubali even better than the one in Karkala.
King Thimmanna Ajila was the first Jain King to have conceptualised a Monlith Bahubali and make a name of himself, even before Bhairavarasa family thought of it. When they hear that Ajila was planning to establish himself as superior culturally, Bhairavarasa rushes to complete the venture commissioning Kalkuda family because Venoor Kingdom was weaker compared to Karkala both financially and militarily. With deep regrets Ajila saw Karkala Kings creating his dream Bahubali which he was never able to do.
Beera Kalkuda was aware of this and thought this was his opportunity to take revenge against Karakala King. He arrives at the gates of King Ajjila’s Palace. He relates whatever happened to him and the betrayal of Bhairavarasa clan. Beera Kalkuda tells that Venoor is the only option since his mother would die of pain if she sees him in this condition. His twin sister, Kallamma, an accomplice at every step would be devastated too. Only way Beera could take his revenge was being in Venoor under tutelage of King Thimmanna Ajila. Beera tells the King, “Another and better Bahubali has to be raised in Tulunadu to teach a lesson to cruel and devious Bhairavarasa. Until it is done I will not have a single morsel of food or sleep”
King Ajila was sympathetic but he was not sure how a grieviously injured Sculptor without a hand and leg would be able to achieve it. He tell Beera to stay back in the Palace under his care and recover from his injuries first. Beera refuses and says, “I have to complete it before these injuries heal. I did not come here for your compassion or for your blessings. As a sculptor the imagination is in the head and will in the heart which I have in abundance. It is not that everyone with 2 hands and 2 legs become a Sculptor. I swear that I would not let you down in the least, please allow me to start my work right away”
King Ajila, who also was excited to have a Bahubali raised, had to bow down to this fervent plea and at an appropriate Muhurta (good time) issues order to begin the work and performs the puja. It did not take long for the word to get around that another Monolith Bahubali is taking share in Venoor and sure enough Veera Pandya of Karkala also hears it. He threatens Ajila that he would destroy his kingdom if the work is not stopped immediately and Beera Kalkuda is thrown out of Venoor. With support of other Kingdoms and led by a powerful Chieftain of the region, Kantanna Adhikari who was most feared warrior, Ajila repulses the army of Karkala’s Bhairavarasa.
Kalamma’s Dream
Meanwhile in Maarnadu village, Eraavadi and Kalamma were aware that Bahubali was consecrated in Karkala and worried why Beera has not returned yet. In the initial stage they were looking forward to enjoy the cartloads of rewards Beera was expected to bring from the Palace. After a long wait, they were so worried, they just prayed for his safe return. Kalamma who was inseparable was perpetually in tears ever since her brother left to the palace and even that had dried up. Intuitively she always had a fear that something bad has happened to her brother.
One early morning during the Brahmi Muhurta, she dreams that her brother mutiliated body was struggling in a pool of blood. He was crying out to his sister for help, saying the one who he trusted has betrayed him and crippled him. Kalamma woke up with a start, and rose up from her bed. It is believed that early morning dreams turn out to be true. Her worst fears makes her restless and at the daybreak takes her mother Eraavadi’s blessings, packs food for herself and her brother and sets out to Karkala.
As she was passing by the dense forest, some ruffian attempts to violate her and Nagaraja (Serpent God) comes to her rescue. She thanks the Serpent king and offers her worship and proceeds towards Karkala. Subjects of Karkala then tell her whatever happened to her brother and his current whereabouts, tells her that he is currently sculpting a Bahubali for Thimmanna Ajila of Venoor. She then proceeds to Venoor eager to meet her brother. She was aghast when she saw her brother with unhealed injuries. working furiously with utmost focus and precision to complete Venoor Bahubali. She was seething in anger at the injustice to her brother. Her eyes become red in fury and proclaims “King Veera Pandya of Karkala will not go unpunished” Her brother consoles her saying, our fault is being born as poor people, leave alone punishing the king for injustice, we are not capable of questioning what King did to him. That was when Kalamma reveals and reminds him that they are not ordinary sculptors. They are Divine Sculptors who were cursed by Deva Guru, Brihaspati to be born as humans, for insulting him in Indra’s court. Beera Kalkuda then remembers this and invokes his power of Maya to complete Bahubali and hands it over to King Thimmanna Ajila.
38′ Monolith Bahubali in Venoor PC: Wikipedia
Venoor Shir Mahalingeshwara Temple
Venoor Shir Mahalingeshwara
They both proceed to Tirupati and tells Thimmappa (Bhagwan Venkateshwara) whatever transpired. Venkateshwara blessed wthm with power to vanish physically (maya). They are blessed by the Venkateshwara with several divine weapons such as the Sanjeevini Kaddi, Nagabetta and Devi Dwandi and bestowed powers to fight against falsehood, protect truth and administer justice in Tulu Nadu by manifesting as spirits.
Manifestation as Twin Daivas – Appe Kallurti and Veera Kalkuda
They return to Venoor, take a bath in the river nearby and then go to offer their worship in Venoor Shri Mahalingeshwara. Thereafter they jump into the well and vanish from sight of humans. They appear as spirit in Ugra Roopa and using the Divine weaopns in their possesion, goes about destroying Karakala Palace and torments the Cruel and Unjust King. he consults royal astrologers who reveal that 2 spirits are taking revenge for all his past misdeeds. Not the one to concede defeat, haughty Veera Pandya seeks service of Top Tantriks (One from Uppinangady, One from Kerala, One from Udupi and One from Karkala). They use their tantrik powers in their effort to capture the spirits but fail miserably. All of these are also driven away by the ruthless Kallurti and Kalkuda. Appe Kallurti goes in front of the Uppinangady tantric Ubaravailaya in human form and says “Every banana plant bears fruit only once. What is mother’s only son going?”. Initially Ubaravailaaya does not understand and tells her that . He tells her that he is in Karkala to catch 2 evil spirits. Kallurti repeats the same message. This time, the Tantric realises that it is a warning that she wants him to avoid getting into trouble (to save his mother from being childless), He knows it is no ordinary human in front of him and asks her who she really was. Appe Kallurti shows him her ugra form and the tantric bows down in front of her and conveys to the king and advises him to seek forgiveness from Kalkuda and Kallurti. He does as advised and begins to serve Appe Kallurti and Veera Kalkuda. Over a period he gets tired of being subservient to the Daivas and true to his nature, thinks of plan to get rid of them but was unable to think of anything.
Incident of Missing Boatman Kunju Moolya
Twin Daivas accompany Ubaravailaya back to Uppinangady in the form of flowers and they reache riverside and approaches the boatman, Kunji Moolya to take him across to his home. The boatman refuses to do so, since it was already too late in the evening and night had set in. Appe Kallurti and Veera Kalkuda then assume human forms and requests Kunji Mollya to help cross which he arrogantly denies. Daivas get furious and overturn the boat and keeps him submerged below the boat. They use a plantain leaf to sail across to the other side of the river and reach his home. The villagers then find the boatman missing and come to know that it was the wrath of Daivas that caused his disappearance. They worship to propiate Appe Kallurti and Veera Kalkuda who brin the boatman back on the condition that Kunji Mollya conducts Bhoota Aradhane for a Mandala – 48 days.
Kalkuda Daiva– With White Spots on Black Face Paint
Kunja Moolya conducts Bhoota Aradhane for 5 days and wanted to get rid of this penance that involved offering Rice ball accompanied by Chicken curry. King Veera Pandya realises that Kunja Moolya is looking for a way out and saw a golden opportunity to get rid of Daivas which he was serving grudgingly. On the 6th day, he suggests Kunja Moolya to poison rice and chicken so that he can be freed of this task. Boatman does as advised but Daivas with their powers know what was happening. To the utter shock of boatman, Daivas tell him to feed 6th day offering to his children (4 of them), saying they had been enjoying the delicacies for the past 5 days all by themselves. He had no choice but to do as told by Daivas in public. Children consume the poisoned offering and drop unconscious. Spirits are fair in their delivery of justie. For no fault of Children they did not want them to die. Boatman and his wife seek forgiveness and pleads sincerely to restore children back to life. Children are then made to vomit the posion which comes as white marbles. He then continues his vow of 48 days after which he will be blessed to be an oracle.
Even to this day Bhoota Aradhane with Kallurti-Kalkuda Kolas has the practice of 4 Children eating the offerings first before given to Daivas. The white spots on black face represents the marks left by sculptor (Kallu Kuttika) on the black stone.
Appe Kallurti and Veera Kalkuda thus became one of the most revered Daivas of Tulunadu, blessing sincere worshippers with prosperity, conception for childless couple, protector from evil. Thus human form of Bhootas became Daivas to fight injustice and cruelty. While Gods are forgiving and large hearted to pardon wrong doings, Bhootas are unforgiving and ruthless in rendering justice. Unlike Gods, Bhootas in Tulunadu is considered part of the family, accessible to every sincere seeker.
MAY KALLURTI-KALKUDA’S BLESSINGS BE ON YOU ALWAYS, PROTECTING YOU FROM EVIL
Sharing my collection of Videos (not in any particular order, randomly uploaded) from Bhoota Aradhane held in Mudoor Haiguli Parivara Daiva’s Daivasthana, Bagwadi in Kundapura.
Kallu Kuttika Kola in Mudur Haiguli Parivara Daivasthana, Bagwadi, Kundapura, (Thanks to Smt Ganig, my ex-Colleague)
Some Photos related to Appe Kallurti and Veera Kalkuda received from friends
I offer my respects and reverence to Appe Kallurti and Veera Kalkuda and grateful to each and everyone who contributed to make this article a reality. It took more than a year in completion since I wanted it to be as close to what is the practice in Tulunadu.
Locally known as Garbharakshambigai, she is an incarnation of Maa Parvati. The temple located in Thirukkarugavur in Thanjavur District (Click on this link for location) is first of the Pancharanya (5 forest) temple of the circuit to be worshipped. It is located on the banks of River Vennaaru and is a Padal Petra Sthalams (out of 276) and 18th one in the South of River Kaveri. (You can find links to other 4 Pancharanya Sthalams towards the end of this article). Thirukkarugavur is located close to Papanasaam (around 3kms from Papanasam Railway Station) in Tanjavur District of Tamil Nadu
Shri Garbharakshambigai and Shri Mullaivanathar Temple
The Temple
The presiding deities of the temple are Shri Garbharakshambigai (Maa Parvati) and Shri Mullaivananathar (Bhagwan Shiva). The temple has 5 tiered Rajagopuram and an outer Prakaram. Cholas built this temple in the 7th Century and the architecture is typically Dravidian Style. It finds mentions in Thevarams composed by Saint Poets Nayanmars. The temple has 31 inscriptions dating from the Chola period from the reigns of Koperi Varman, Rajaraja I, Rajendra Chola I and Kulothunga Chola.
Shri Mullaivananathar Rajagopuram, Teertham and Sthalavruksham
In the days of yore, this place was a forest of jasmine – (thus part of the pancharanya sthalams). and Bhagwan Shiva self manifested (Swayambhu – one of the 64 Swayambhu Lingas) as a Lingam in this Mullaivanam (Mullai-Jasmine and Vanam-Forest) with a Jasmine Creeper around the Linga and hence came to be known as Shri Mullaivananathar.
Sthala Vruksha-Jasmine (Mullai)
Another unique feature is that the Shivalinga here is of Ant-hill mud and hence there is no Traditional Abhishekams performed as in other Shiva Kshetras. The only seva is Punugu (Civet) dharanam to the Deity. It is said that those with Skin Ailments or other Chronic illness would get relieved of the same when they worship Shri Mullaivananathar by offering Punugu Paste.
The Teertham where Kamadhenu Stepped and became a source of Milk and now Water for Pushakarini
Shri Mullaivananathar PC: www
The more famous and much sought after Deity here is Shri Mullaivananathar’s consort Maa Parvati as Shri Garbha Rakshambigai, which literally means protector of womb or foetus. In Tamizh, She is also referred to as Karukaathanayagiambal (Karu = Womb/Foetus; Kaattha = Protected). The name of the town, Thirukarukavur is also derived from the same. It is also known by the name Madhavipuram (Madhavi means flowering creeper) and also as Garbhapuri.
The Inner Precincts
Inner Prakaram (another click)
As we enter the inner precincts, in the South West Direction we find upadevalaya for Niruti Ganapati and in the South for Dakshinamurti
In the Inner Prakaram – Upadevalayas for Niruti Ganapati (Left) and Dakshinamurthi(Right)
Shri Niruti Ganapati
Shri Dakshinamurti
The main Deity Shri Garbharakshambigai is life-size and at 7 feet tall, She looks lively. She has assumed standing posture with her left hand supporting the hip (womb) and right hand in Abhaya Hasta Mudra. Her attractive and soothing smile provides a ray of hope to all those devotee who come to seek Her blessings.
Shri Garbharakshambigai or KarukaakumnayagiAmbal
The Legend
Long ago there lived Rishi Nidhruva along with his wife Vedika serving Maharshis Gautama and Garga, who were performing their penance in the Ashram in Mullaivanam. Everything was fine with the couple except that they were childless and Maharishis sensed this regret they had in the couples’ lives. They advised the couple to perform puja to Mahadeva Shiva for 48 days. Since it was a dense forest of Jasmine creepers, there were no Shiva Linga or any temple in the vicinity and they go looking for it. They find an Anthill with Jasmine creepers encircling it. They deemed it as a Shiva Linga and called it Mullaivananathar (Ruler of Jasmine Forest). Along with their service to the Maharshis they continued their sincere prayers to their beloved Shri Mullaivananathar for 48 days and Vedika attains Garbha (pregnancy). Their happiness knew no bounds and they eagerly awaited birth of their child.
In the meanwhile, upon invited by Varuna (God of Rains) for conduct of a Yagna, Nidhruva traveled through skies to Varuna Rajya for performing the Yagna leaving his wife, Vedika alone, notwithstanding that she was in an advance stage of pregnancy. Rishi Urdhvapada on his travel arrives at Vedika’s Kuteer (hut) in Mullaivanam, seeking alms. After the day’s chores, heavily pregnant Vedika was resting inside and did not hear Rishi Urdhavapada’s call. Assuming that she was deliberately ignoring him and considering it an insult, he curses Vedika to fall sick. This resulted in degeneration of the foetus and Vedika undergoes abortion. She was devastated and pleads with Maa Parvati (consort of Shri Mullaivananathar). She appears before Her devotee and collects incomplete foetus in a Kalasha (pot) protects it until it finally develops into a healthy and beautiful male boy, which was presented back to Vedika. The boy was named Naidhurva. Since Maa Parvati protected the foetus and saved it, she came to be known as Shri Garbharakshambigai (or Karukaathanayagiambal).
Since Vedika was unable to feed milk to the baby, Garbharakshambigai asks the Celestial cow Kamadhenu to provide milk to the baby for nourishment. Kamadhenu stomps on the ground and a milk pond gets created (another version is that Kamadhenu digs her horn deep into the ground to create a milk pond). This milk pond is what is currently the temple pond, or Pushkarni and called Ksheerakundam (Milk Pond).
Ksheerakundam – Pushkarini (Temple Pond)
Nidhruva returns from the yagna and hears the story of how Maa Parvati protected his child, he was overwhelmed and along with Vedika and Naidhurva, visit Mahadeva and Maa Parvati to express their gratitude. The Divine couple accept their prayers and offer them a boon. Selfless couple that they were Nidhruva and Vedika, they sought Shiva and Parvati to stay here in Mullaivanam as Shri Garbharakshambigai and Shri Mullaivanathar and continue to bless childless couples who worship here and bless them with a progeny, protect the womb of pregnant ladies, for all generations to come. Divine couple agree to this plea and they make Thirukarukavur their abode and continue to bless all devotees who visit them here.
This legend has been reproduced beautifully on the mural in the temple premises
A section of the murals – depicting the Sthala Purana
Puja Vidhana
For Childless Couple
Childless couples who seek to beget a child will have to smear ghee on a stone at the Threshold (Vasapadi) of the Shri Garbharakshambigai Sannidhi and draw rice flour Rangoli (kolam). This seva is called Vasapadi or Padi Mezhugutal.
Vasapadi Mezhugutal
Thereafter the Archaka will give ghee to the couple as prasadam that would be taken home. The same is mixed with 1/2 kg of pure cow ghee and both will consume the same at bed time for 48 days. It shall be skipped for 5 days during menstruation and continued to complete 48 days.
Prarthana Shloka for Early marriage and Pregnancy
Om Devendraani Namastubhyam Devendrapriya Bhaamini Vivaaham Bhaagyam Aarogyam Putra Laabham Cha Dehi Me
Kaathyaayini Mahaamaaye Maha Yoginyadheeshvari Nandagopa Sutam Dehi Patim Me Kurute Namah!
For Pregnant Ladies
For pregnant ladies seeking easy and safe delivery of Healthy child, the Archaka would give Castor oil as prasada. This shall be applied on the lower abdomen to give relief from labour pain, on-time and safe delivery (not extended labour) and subesquently healthy mother and child.
Prarthana Shloka for easy and safe Delivery
हे शङ्कर स्मरहर प्रमथाधिनाथ मन्नाथ शाम्ब शशिचूड शिव त्रिशूलिन्। शम्भो सुखप्रसवकृत् भव हे दयालो श्री मातृ भूत शिव पालय मां नमस्ते॥
Once the prayer is answered the couple generally come with the newborn and as a mark of gratitude perform seva – Thanga Thottil (Golden Cradle) Seva and/or Thulabharam – offering fruits or sugar crystals (Kalsakkare/kalkandam) or any other provisions, that was committed while taking the vows, an amount equal to the child’s weight .
Thulabharam
Thanga Thottil – The Baby is taken in a Pradakshina (circumbulation) around the Temple PC: WWWW – Faces of subject masked for privacy
Karuvalarcheri Akilandeshwari Devi Temple (PC: www) – Will replace this once we visit this temple
Akhilandeshwari Devi is known here as Karuvalarakkum Nayagi, meaning the one who blesses the devotee for good and healthy growth of the Foetus. While Shri Garbharakshambigai is for conception and protection of the foetus in their womb, Akhilandeshwari here sustains the foetus till its birth. This temple is Maharhi Agastya Paduka Sthalam
Other Pancharanya Sthalams
For those interested, the other 4 (in sequence) Pancharanya sthalams are (click on the links for location):
We were traveling towards Kumbakonam on our regular Temple Pligrimage last August when a friend suggested that we also visit this amazing temple and pray since our daughter was carrying (she delivered a healthy baby boy making us proud grandparents last October). She used the Castor oil prasadam during her labor.
Since we were going there we also informed our daughter, who asked us to take a vow on her friend’s behalf who had repeated instanced of miscarriages. Finally after taking a vow she conceived and delivered a healthy baby girl (last week). Apart from 2 other known examples, this makes it 3rd instance where a devotee delivered a baby after the best of doctors gave up. Sometime belief moves the mountain and nature finds its way to conspire and make humans happy.
Please share this information with those in need or for good karma. Even without any problem a darshan of Shri Garbharakshambigai and Shri Mullaivanathar is bliss and in any case this temple is a great architectural treasure and a masterpiece of art.
Garbharakashambigai Gayatri
Aum Garbaarakshambigaayai cha vidhmahe Mangala Devataaya cha dheemahee Tanno Devi prachodhayaath
