Kesan Kesi.

ONCE UPON A TIME Brahma wanted to have the darshan of Vishnu in Kanchana Sringam. He therefore performed a yaga at a place known as Mahendra giri close to Thiruvattar. Somehow he failed to associate his divine consort and inform Goddesses Saraswati of this yaga. the Goddesses was annoyed of this slight and to show her annoyance and the procedure to be followed she undertook a decission to vengence and as she is the goddesses of learning it is said that the rendering and reciting of the mantras and the procedure of performance were hampered with wrong actions. As the yaga was not performed with ordained rites and correct pronounciation, two evil spirits one male and one female emerged out of the homa kunda sacrificial fires. they were Kesan and Kesi. As they emerged out of the homa kunda they automatically became immortal, they out of arrogance and pride started troubling the rishis and the devas, destroying all things. Brahma with the devas approached Vishnu. Lord Vishnu promised to set right the situation.
The Lord took the form of Kesava and set out to destroy the asuras. a fierce fight was fought for seven days. Due to immortality Kesan could not be killed. he lifted Kesan and threw him down the Mahendragiri. The Lord in Senbaga vanam blew his Panchajanya conch and assumed his varata roopa Kesan was frightened he tripped and fell, immediately Adisesha jumped on Kesan and coiled himself tightly round him immobilising him the Lord put a lid on so to say by lying down on Adisesha. The Lord got the name Kesi madana nathan. Kesan was trying his best to free himself he started pushing his long arms trough the wound coils. Lord Kesava installed Sivalingas on the outstretched palms. this accounts for the 12 Siva temples in and around Tiruvattar. they are.
Tirumalai (Soolapani)
Thireeparappu (Jatadhara)
Thikkurichi (Mahadeva)
Thirunandikkara (Nandikesvara)
Ponmani (Thimbilesvara)
Pannippakkam (Kirata murthi)
Kalkulam (Nilakanta swami)
Melaankodu (Kaala Kaalar)
Thiruvidaicode (Jadai appar)
Thiruvithamcode (Parithipani)
Thiruppaniyode (Bakthavatchala)
Thirunattalam (Ardhanareesvara)
On Mahasivratri day the pilgrims after visiting the 12  Sivalayas also worship at Tiruvattar to complete the cycle of worship to receive the lords blessings.
Kesi joined with Kodhai and became a river the two rivers joined at a place Moovaatru mukham the Lord cursed them saying they will not have Punaragam (Meaning please if any one knows) they then sought Sapa vimochana. the Lord took a dip at the confluence of the two rivers and blessed them this is recreated even today with a utsavam at this same place during the months of March - April.

Enchanting Garuda Vigraha made of pure Gold.

In Tiruvattar two main festivals are celebrated which beg mention one in the month of Tula and the other in the month of Meena. While the Maharaja of Travancore accompanies Arattu festival of Sri Padmanabha temple carrying the insignia of royalty the sword, at Tiruvattar his representative Avantharath potti who accompanies the procession with the royal insignia the sword. this is followed even today. In Tiruvattar the main deity is covered with a silk cloth presented by the Maharaja of Travancore. There also is a peculiar practice that is followed on Thiruvonam day, the carpenter will present to the temple a bow and a Palli villu an arrow after observing the stipulated austerities for three days. the bow is made at a stipulated place, after making which he is to return without looking back. the next day one of the brahmin priests collects the bow and delivers it to the Maharaja of Travancore.
In the Sree kovil i.e. garbagriha has tree doorways. The Lord Adikesava perumal is seen reclining on the serpent king Adisesha. a full view can be had only through the three doors of the sree kovil. The left had of the Lord is hanging down, the right hand is in yoga mudra pose. the head is in the southern direction, the face is facing west. Adisesha has spread his hood like an umbrella. This darshan of the Lord brings the devotee incomparable peace one is reminded of the sloka Shanta karam bhujaga shayanam ........ majestic and magnificent figure in solemn pose. The Adisesha is represented as a three tiered coiled bed only one hood is visible out of the five hoods the other four hoods covering the head cannot be seen as the head of the deity with the crown kireeta goes into the hooded shade and hides the view of the hood. Through the first doorway one can see the thirumukha of the deity and the hood of adisesha. through the central doorway one can see the archa murthy and the vigrahas of Bhoomidevi and Lakshmidevi these vigrahas are life sized. the archa vigrahas are taken round the prakaras of the temple every day. they are seen on the peetam (stone) outside the sanctum sanctorum for abhisekha. through the third doorway one can see  the thiruvadi, Kasi linga and Thirparppumahadeva vigraha. close by to the abhisekha vigraha there is a Garuda vigraha made out of pure gold. Two precious maragatha stones serve as the eyes of the vigraha and on its chest is placed another precious stone manikya. the invaluable precious stones and the vigraha made of gold give the idol of Garuda an enchanting exuberance. the lord is placed on this golden garuda and taken round the streets during two festivals of the temple the view then is magnificent. these festivals fall during October November and April may.

Tiruvattar

Nammalwar called the place Valamikkavaatharu. over 12000 years old and  is a magnificient temple for the Lord Kesava. this place is also known as Adi Dhamasthalam, Dakshina Vaikuntam, Parasurama kshetram, Srirangam of Cheranadu. The lord was worshipped by Parasurama and the Moon god.
The head priest of the temple is even today appointed by the maharaja of Travancore. the daily rituals followed are as per Kerala Tantrams by Malayalee brahmins. The said priest resides in the temple itself for the period of his tenure of three years. he abstains from any contact with his family during this period. This was the temple where the Travancore Maharaja worshipped . this is older than the Padmanabha swamy temple at Trivandrum. 
The Perumal is Adi KesavaPerumal seen lying down in the bhujanga sayana pose facing west. the Thayar is Maragathavalli Nachiyar. the theerthams are Vattar and rama theertham. The vimana is Ashtanga vimana. there is great similarity between this temple and the Padmanabha temple at Trivandrum both inside and out.
In both the temples the Garbagriha has three open doors through which one can view the Moola vigraham. They however differ in some aspects in the inside. In the Padumanabha temple Trivandrum there are two flag masts one in golden for Padamanabha swamy and the one in front of Lord Krishna the dwajastambha is silver. In the Tiruvattar temple there is only one flag mast encased in copper plates. In the Sri Padmanabha swami temple the figures of dwarapalakas, the Garuda and sri Hanuman are sculpted very artistically. In Tiruvattar the figures of Lakshmana, Indrajith, Pathanjali, Parashakti, Kali, Bharatha and others are sculpted. Lord Siva in the Padmanabha swamy temple stands near the head of the Perumal, In Tiruvattar he is seen near the foot. Brahma emerges from the Nabhi kamalam at Padamanabha swamy temple in Trivandrum where as in Tiruvattar he is absent.
The Ottakal mandapa in Tiruvattar is bigger in size also the mukha mandapa in front of Sri koil is a monolith mandap it is an engineering marvel. It is 3 ft thick and measures 18 x 25 feet. 
The Adi Keshava perumal is believed to be the elder brother of Sri Padamanabha both are facing each other. Adi Kesava facing west and Padamanabha facing east. The rituals and festivals in both the temples are similar. The Padumanabha swamy is made of nearly 12000 salagramas where as the deity of Tiruvattar has nearly 16008 salagramas. The deity at Tiruvattar is covered with gold and has all over small sand sized diamonds and other precious stones all over.
In both the temples the abisheka is performed only to the archa murthy.
The Beautiful Adi Kesava Perumal of Tiruvattar.
How the idol has been cast is very interesting. The procedure is referred to as Kadu sarkarai yogam pratishtal

Katu-Sarkara-Yogam

     After selecting a good tree from an area where high quality trees like Karinjali  (Acacia Catechu), Devatharu (Cedrios Deodara),Chandanam, (Sandalwood or Santalam Album) etc. grow, it should be cut and brought o the location where the work is to be carried out. In conformity with the specifications of the idol to be fashioned, a Pasam or rope scale should be made. The waist measurement and chest measurement should be demarcated on it. Representing the bones as it  were, as the continuation of the waist in downward trend, at the extremities, the feet measurements are arrived at and in like manner the extremities from the chest area lead to the arms according to a measurement fixed for them, along with the measurements for the entire back. The areas of the palms, feet, ears, and nose should be constructed by tying copper plates of suitable dimensions on to the basic structure. This is known as the Soolam(skeleton) of the idol. Four palams7 (a local unit of weight) of Thiruvatta-pasa (Pinus Roxlrerghir), which is the gum from the comman gum tree, is taken along with three palams of  kundirikkam (Bozwelliz Serrata), five palams of Gulgulu (Commiphora Mukal), one palamof  jiggery, eight palams of  Chenchalyam (resin of Shorea Robusta) and three palams of Kavi earth(red lumber stone or red ochre) and all these six ingredients are powdered well. This powder is put into an earthen pot, mixed with equal portions of oil and ghee and rolled in this medium. The mixture is then cooked over fire till it reaches the consistency of honey. Thereafter it is removed from the fire and it cools, it is applied all over the skeleton idol. Thus after the coating turned Ashtabandhalepanam which bins the frame is carried out in the manner described above, coating of the nerves or Nadi Bandhanam commences. The fine fibre of the hardened coconut husk(husk of Cocos Nucifera) is removed, washed and cleaned well and is twisted from left to right in three spirals and tied on ti this skeletal frame constituting Ida, Pingala and Sushumnam, which are the three vital nerves of the spinal cord along with the four other nerve centres known as Pusha, Yasaswini, shankhini and Kuhu. Collectively they represent the Saptanadies or the seven nerve centres of the body.

Sand from Jangala Desam or barren land, Anoopa Desam or marshly land and from plain land are brought, washed and cleaned seperately. Three different types of concoctions consisting of  (1) a combination if Karinjali (Acacia Catechu) and Maruthu(Terminalia Paniculata), are prepared and boiled together to a thick consistency, (2) Nalpamaram, decotion made out of the bark of the four fig trees viz.Athi,Ithi, Arayalu and Peralu(Ficus Racemosa, Ficus Gibbosa, Ficus Religiosa and Ficus Bengalensis) and 93) decotion of Kolarakku (lac) are prepared. The sand is put in each of these solutions and dried thereafter, it is then put in Thriphala Kashayam for a duration of ten days are redried. Thriphala Kashayam is made of these ingredients, Katukka (Tirmernalia Chebrila), Nellikka (Gooseberry or Embilica Officinalis) and Thannikka (Tirminalia Ballerica). River sand is powederd well and a portion equal to ¼ th of the quantity of each of the three types of previously prepared sand added to it. This mixture of medicinal sands is ground into a  paste using the Thriphala Kashayam as the liquid base. Yavam (Barely-Hordeum Vulgare), wheat and the leaves of Kasavu (Memecylon Edule) are seperately powdered and mixed and 1/8 th of the prepared sand added to it. It is wetted with well the water of the matured coconut and ground daily for ten days to make it into  a composition. Equal powdered  quantities of Thiruvatta-pasa (gum of the common gum tree), Gulgulu, Kundirikkam and Chenchalyam (refer previous text for all above tree) are added in a proportion of 1/4^th of the same to the special sand and the mixture ground well adding honey to it. Wqual quantities of Chukku (dried ginger).

Pepper, Turmeric  and Thrippali (long pepper or Piper Longum) are powdered together and 1/24^th measure added to the same and unified by mixing honey, milk and ghee and  grinding  them. As the next stage, plavin-pasa (leaf latex-Artocarpus Integrifolia) and the inner substance of the koovala-kayu (Aegla Marmelos) are taken in equal quantities and ground. 1/15^th of this substance is added to the sand and re-ground adding a little bit of oil. Kumkumam (composite powder of red colour), chandanam (sandal),  Aritharam (Acacia Pernesiana), Kottam (Sassurea lappa), Karpoora (camphor), Akil  (Indian Cedar) and Gorochana (Benzar-extract from gall region of oxen) are powdered and 1/32^nd of the sand is added and ground in an oil got by pounding the leaf of kasavu (refer prior text) to powder. Kasthuri (musk) is added to a slightly powdered mixture of gold, silver, river sand, sand from the crab’s hole, sea sand, sand from the ant hill, sand from the elephant tusks. This mixture is again added to the prepared sand.  This composition is deposited in akashayam or decoction made from the resin of the Iluppa tree (Bassia Longifolia). The same is boiled and cooked for five days and thereafter ground. A quantity of coconut husk fibre equal to 1/4^th of the mixture is cut into small bits and mixed with this  sand to which the gum of Koovalam and gum of Plavu (refer previous text for both ingredients) have been added. The same is pounded for ten days to make it into a composite whole. This composition is applied separately on the different parts of the frame of the idol which acts as its skeleton and on which the Nadi Bandhanam (amalgamating the nerves of the skeleton through special processes) has already been accomplished. It is rubbed well into those parts. This particular method is not to apply this mixture in thick layers but to give a thin coating with the mud paste. Now it is time to introduce the required characterstics of the idol on to the body which covers the frame. Pure silk on which the gum of leaf latex has been smeared is wrapped completely round the different parts of the body over and abovethe silk, equal proportions  of powdered river sand, Kozhippara (a specific rock ground to powder) and black coloured stones found on the river bed, are ground and daily mashed into a paste for the duration of  one month in a decoction of Thriphala, gum ofPlavu and gum of Koovalam(refer previous text for all three). A thin coating of the same is applied all over the idol and dried. An application of Sankhu powder (powdered conch) is made on the idol giving  it a whitening effect. Required decorations and ornaments are worked on the surface enhancing  the grandeur of the idol.

      One can see from the ingredients used in the Katu-Sarkara-Yogam for the construction of the idols that they are all medicinal. Just as the human body is protected with a natural medicinal coverage, the same concept is extended to the idol to which a living form is being bestowed.

      This is the process of Katu-sarkara-Yogam in brief. Even this patially insufficient description is enough to project the greatly complicated procedure which goes into the formation of a Katu-Sarkara Idol. As such it is of no surprise that idols of this nature, though a speciality of Kerala, are so rare even in the land of their origin.

A very unusual phenonmenon of this temple is the presence of a single crocodile in the temple lake, named ‘Babia’. By tradition, the lake is inhabited by a single corcodile and in the memory of the very aged men the present crocodile happens to be the third one they have seen. When one crocodile dies another one inevisbly appears in the lake and this continues to be an unexplained phenomenon. There is no river or pond nearby where crocodiles exist. The Crocodile is friendly and harmless to human being. Its presence in the lake around the Mahavishnu temple reminds one of the well-known Gajendra Moksha Stories in the Bhagavatha Puranam.
Though the temple is facing west one has to enter only through the eastern gate. the engineering marvel of the temple built nearly 12 centuries ago is that in certain selected months the rays of the sun fall on the feet of the Lord. In the month of Phanguni March 3rd to 8th day and in the month of Puratasi october november 3rd and 4th day.

Nammalwar and mind.

Coming face to face with reality let us call this the point of realisation. When one understands this reality that God resides in us we have a part of him in us our minds are capable of holding this experience, why then do we go looking for God outside when he resides in you "Thora maan darapan kehalaye, bhale bure sare karamoko dekhe aur dikhaye." he is there with you watching you knowing you your thoughts your actions this cannot be explained it must be experienced. Nammalwar has sung eleven pasurams these are unique the best so to say.  Nammalwar is in conversation with his mind he tries to impress on his mind the great simplicity of the Lord the immensity and magnitude of gods love for his devotee. 3722 to 3732 (earlier post)

Story of Wasps and Moghul emperor.

The Adikesava,Perumal at Tiruvattar rushed to rescue his sincere devotee the Raja of Travancore. this story is of the seventeenth century. The Venadu kingdom was in turmoil and unrest. the venadu region the present part of Trivandarum district and a part of Kanyakumari district. the five sons of the queen of Venadu Umai Emmai Rani were murdered in a pond this  is referred to as the Kalippan Kulam incident. The queen was away from her kingdom trying to come to terms with her sorrow at Nedum Mangadu about 20 kms from her kingdom. seeing a ruler less kingdom an army chieftain under the moghul emperor wishing to annex the kingdom camped at Manakadu with his army. sensing a danger to her Kingdom the queen requested a relative of hers Raja Kerala verma to help her the Raja collected his army and approached the chieftan's army at Mangadu the  chieftain army retreated southwards and now camped near  Tiruvattar a place called Mukilankarai. the hill had shrubs and the chieftains army could easily hide and attack a fierce battle broke out when the Raja saw little hope of victory he was worried and went to the temple of Adikesava Perumal for help he sang a self composed song in 14 verses known as Pada Sankirthana of Adikesava (Perumal) sthava. as he finished praying there was a swarm of wasps from inside the temple which went straight to the chieftains army stinging and attacking the Moghuls and their chieftain and his horse the frightened horse threw down its rider on a stone rock and the chieftain died seeing a rudderless army the moghuls army was demoralised and ran helter skelter they were captured and their horses taken. the Raja thus formed a cavalry unit of his own. Faith and true devotion are the only qualities recognised. how difficult is it. why do we get so carried away by the world and its senseless ways. just a true call is all that is needed.

The ART.

The temple of Tiruvattar is noted for its exquisite workmanship in stone wood and painting.
 The Udaya Marthanda mantapa in front of the sanctum is elaborately carved depicting a true style of Kerala art and architecture. The wodden ceiling has the picture of Vinayaka and also a marriage procession and worshippers very exquisitely carved where great detail is seen in the intricate carvings. also the chain carved from a single piece of wood looks so real like an iron one with its links too. There are life size immages of Lakshamana, Indrajith, Venugopala, Parasakthi, Brahma, Vishnu, Kalabhairavan, Nandhi, Nammalvar, Vyagrapadha rishi, and Hanuman. The idol of  Rathi and Manmatha are very beautiful.There is a depiction of exquisite reality in the carving of Krishna playing the flute and the audience listening to him it is so mesmerising one can imagine what happens when Lord Krishna plays the flute or just to be in his presence. at the foot of Krishna who is lost in playing the flute the audience too is equally lost in listening to its music. what a divine moment it might have been can be seen by this exquisite carving. here we see at the foot of Krishna playing the flute there is a tiger cub sucking milk from the udder of a cow and a calf sucking milk from the udder of the tigress. two snakes are depicted who have their hoods raised and spread out and seems as if they are swaying to the music, a mouse is seen standing near the snake and enjoying the music. on the opposite side is seen Siva dancing with Vishnu playing the drum and Brahma playing another musical instrument. there is also a carving of Kalabairava with very intricate details.
another important feature is ao the four sides of the sree Balippura there are 224 granite pillars each projecting a marvellous deepa lakshmi the traditional lamp bearer each pillar having a different type of dress and hairstyle for the deepa lakshmi.
Lots of unique features of this temple of Tiruvattar.

Naimisaranyam the holy land.

Land of stories.
It is said that Balarama once came to Naimisaranyam. one rishi by name Romaharshana on seeing Balarama commented that Balarama was one who had not got completge control over the senses and that he very often adopted a non compromising a stand on most matters. angered by this Balarama is said to have hit the rishi with a blade of dharba grass. this was thought to be an unforgivable sin, to atone for this he undertook a decision to go for one whole year on a pilgrimage. After which he returned to Naimisaranyam. A demon by name Vilvalan was making life of the rishis there miserable by not allowing them to pray in peace nor perform yagas. they approached Balarama for help and Balarama is said to have killed Vilvalan.The rishis were overjoyed and crowned Balarama.
Sri Rama is also said to have performed 10 asvameda yagas here.

Story of Gaya.

There is another tale related to the place mentioned in the Virajadevi story. Once there was an asura named Gaya. He was an ardent devotee of Lord Vishnu. He prayed to the Lord that he should not be killed by anyone other than the Trimurthis.

He was also given the opportunity to rule the three worlds. Afraid of losing his place among the devas, Indra complained to the Trimurthis that people and the sages were finding it difficult to perform their yagnas peacefully under Gayasura’s rule and that the demon should be vanquished soon.

The Trimurthis assured Indra that they would tackle Gayasura. The met Gayasura in the disguise of three Brahmins. They told Gayasura “Oh Asura! There has been no rain in the earth for a long time and the lands are parched. So we plan to do a yagna for seven days on a pure part of the earth, which we believe is on your own body.” Gayasura gladly agreed to the idea of performing the yagna on his person.

However, the Brahmins told him that for those seven days he should lie supine on the ground without moving a bit. If he did move a little, they would be forced to kill him. Gayasura agreed.

While lying supine Gayasura is said to have increased in size, His head was in Gaya in Bihar, navel was in Jajpur in Orissa and legs extended up to Pitta puram in Andhra Pradesh.

Vishnu did his yagna on the head of Gayasura, Shiva performed his yagna on his legs and Brahma on his stomach. With the beginning of the rooster crowing at dawn on a Sunday the first day of the yagna began. It went on for six days without interruption. On the end of the sixth day Indra reminded the Trimurthis that if the yagna went smoothly they would not be able to kill Gayasura. So on the seventh day during the yagna, Shiva crowed like the rooster. Gayasura thought that the seventh day was over and stirred. The Brahmins immediately told him that their yagna was not complete and the day was not yet over and that they would now have to kill him. Gayasura knew now that the Brahmins were none other than the Trimurthis and he was happy that he would die in their hands.

He agreed to be killed and urged them to give him a boon. He requested them to declare the places where the yagna was done on his person, would be places of worship and that people could pray there for the well being of their ancestors.