Chapter Two: (written on 27th Dec. 2017)
Vatapatra
Sayee Temple, Srivilliputhur.
Steeped in colourful mythology, the gigantic Vatapatra
Sayee Vishnu leaves you in awe.
This is
to remind us of Vishnu floating on the Ala elai : The mythological flooding of the earth
(common in both Saivaite and Vaishnavaite stories , plus of course across
religions) .
The Vaishnavaite version has Vishnu saving the life forms. He balances himself on the banyan
leaf ,not to be confused with baby Krishna shown on arasa elai (peepul leaf ) by artists! Apparently after the floods- Vishnu lets out
Brahma who resides with him- to start the process of creation all over again
from yuga to yuga.
Noah packed in all
the animals two by two. Vishnu just took Brahma ! Shiva and Parvathi came in a
boat and rescued most living things (Sirgazhi temple has this story as part of
a three storey structure also very unique). Maybe flooding inspired height
everywhere?
This temple has a unique two storey design with the Raa pathu and
Pagal pathu mandapam on the first floor.
Why
the name Srivilliputhur?
This area was inhabited by a hunting tribe, eons ago. Two
brothers Villi and Puthur were out hunting one day, they saw a boar and gave
chase. It disappeared in a shrubbery- they investigated and found the spot
where Bhoomadevi and the Boar had conducted their discussion- “ Who is a
Vaishnavaite? And how the “ only God” was Mahavishnu. The brothers must have
found a humble shrine, which later became a huge temple, first floor has a huge
stucco image of reclining Vishnu. Andal has written 143 pasurams on this
Vatapatra Sayee.
Most of the wealth and additions to the temples in
Srivilliputhur- Vishnu or Shiva came during the Nayak period .Thirumalai Nayak
was very partial to Andal and showered her with jewellery, built mahals
(palaces) for himself to come and enjoy the festivals in this town and many
temples have his mahals adjoining them.
To continue with the Vatapatra Sayee temple details:
The mandapam is where
the Arayars perform their “Raa pathu” and “Pagal pathu” chanting and dance!
This is called Arayar Sevai. We were lucky to have arrived on the fourth day of
Pagal Pathu. (Ten days before Vaikunta Ekadasi is Pagal pathu, so day time
chanting and dancing- at around 2 p.m. daily. Post Vaikunta Ekadasi is Raa
pathu, when action starts at 8 p.m. By the way, Vaikunta Ekadasi this year is
on 29th Dec.Friday. The chanting was good, done by seated elderly
Vaishnavaite Brahmins and priests. The dancing was so different- obviously one needs to
cultivate an appreciation for it. Very unique to this group called “Arayars” and
handed down from the time of Nadamuni ,
who is said to have lived even before Ramanujar. So this very old practice is followed in many Vaishnavaite temples. The mandapam where this
happened was very beautiful. They have set up all the wood carved pieces from
the old temple car- as part of roof
decoration. Great idea to preserve crumbling temple cars!
We had taken a lunch
break- of a very traditional Iyengar "elai saapadu" in a mandapam outside the
Andal temple. Rushed back to this hall and saw bits of the pagal pathu chanting
and some part of the dancing. Tough to keep awake after such a spread...
The line of main idols and Alwars decorated to
hilt, was simply beautiful. These stayed hidden behind a curtain while the
chanting was going on. Then dancing happened by one person only, relatively
younger than the other priests, wearing a special head gear, after curtains
were opened and all could see the beautiful Utsava vigrahams of Andal, Perumal,
the main Alwars etc.
Andal
Temple unique details
The main Andal temple stands surrounded by rows of shops all
selling paal khova and Therutti paal. The entrance has a beautiful gateway.
Facing this- one sees another gateway to the right- which leads to the garden of
Peria Alwar. We were also treated to a special visit to the most popular maker of Paal khova- near the temple.We tasted and bought yummy stuff by the kilo for family and friends. Priya had already whetted our appetites in her complimentary goody bag in our hotel rooms.
The Andal temple had very colourful first story carvings of
Andal’s Pasurams- first 10 or so about waking up her friends to come and join
in bathing and doing the nombu during the month of Margazhi. She had to do this
“group puja” to attain her Govinda and is therefore very persuasive in cajoling her
friends to join. So Andal’s "thiruppavai" deals with her first attempts to reach
her Lord through penance and rituals with her friends. Then when this is not
successful, she becomes desperate and turns to Manmatha- the God of love- and
begs him to persuade her Lord. So “ Nachiar Thirumozhi” is a set of erotic
poems, expressing her total love for
Krishna, verses that show yearning, filled with Premika and Premi rasa.
Prof.Madhusudhanan sang both type of
verses , explaining the meaning. He has taken the pains to learn them, and
sings beautifully. We were blessed.
“Premika
and Premi” rasa - means the poet imagines himself or herself to be the lover
and God to be their love. My all time favourite Sant Kabir has written an
immortal doha (couplet) to show this-
“ Naino
ki kari kotari, puthli palank bichai, palkon ka chik dari ke, piya ko liya
rijhai!”
Translation:
In the
private room of your eyes, with the pupil being the soft bed, the screen of
your lashes- lower them; then entertain your lover!...... Merely means close
your eyes- shut out the world , be alone with your lover ( God). What a beautiful
expression!
The Gopuram has a very bright Golden sheet covered Vimanam,
which could be seen close up from the first floor terrace, which was specially
accessed by our group. All around the main shrine, on the walls are painted the
different Perumals from all major Vishnu Sthalams. The story goes: once
Perialwar realised Andal was special and would only marry her Srinivasa, he
agrees once she is of marriageable age. ( Still too young by today's standards).
Though the religious version is she went to Srirangam and disappeared
into the temple. The popular version says all the different perumals from every
major Vaishnavaite temple arrived for a Swayamvara in Srivilliputhur. Each of
them were introduced. (The panels show all of them painted with location and
names)
Example- Introduction would be “ This Perumal resides in a
remote North East region of India, he is surrounded by forests and wild
animals. It is very cold there” Andal says “ no no – he wont do!”
This is
Venkateswara from Tirupathi- Andal says "Oh no- he has Padmavathi already in
his heart. Where will he have place for me?” So finally some four
contenders are there- including Azhagar
from Azhagarkoil. Of course the winner is Rengamannar or Ranganatha of
Srirangam, who lives on an island
surrounded by Kaveri, lush fields and prosperity.
So the very beautiful idols
on the rear of the main shrine had Rengamannar with Andal, he holds the crook
of the cowherd in his hand, He stands with Andal and Garuda!
There is no Garuda outside the main shrine in this temple.
Because Rengamannar left in a hurry from Srirangam to make it in time- he just landed
with Garuda into this temple and Garuda also came right in! He then requested
the Lord-“ always I stand outside, please let me be with you and witness your
wedding with Andal.”
The other version
is Perialwar was an avataram of Garuda- so the father is there with them at
their wedding!
The difference in this heritage trip was it was full of such
charming stories- who cares about history! Prof Madhusudhanan said that during the annual
wedding festival , Andal has a separate temple chariot and so do the four final contestants, all racing to win
Andal. Her chariot would stand in facing
the mada veethis….last minute, Rengamannar rushes ahead, beating Kalazhagar and
others to come and stand beside Andal to thundering cheers from the
crowds. People enact this every
year as if they don’t know how it would
end! He urged us to come and see it sometime.
…. More coming in final chapter.Sorry . I do not have good photos of these temples as we were not allowed to click. Also stories and experiences were too good, busy taking notes!
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