Bali (बलि) refers to one of the topics dealt with in the
Mātṛsadbhāva, one of the earliest Śākta Tantras from Kerala.—Mātṛsadbhāva
is a Kerala Tantric ritual manual dealing with the worship of Goddess
Bhadrakālī (also known as Rurujit) along with sapta-mātṛs or Seven mothers.
The text is believed to be the first Śākta worship text from Kerala. The
text is a summary of Southern Brahmayāmala texts and it systematizes and
organizes the Yāmala cult of mothers in twenty-eight chapters. The text
includes the topics such as [e.g., bali, ...] The Mātṛsadbhāva was written
based on the South Indian version of Brahmayālatantra. The country of Bali
in ancient times used to a Tantrik kingdom, similair to the Kashmir valley,
from which originated many Sanskrit scriptures, such as the 11th century
Pratyabhijñāhṛdaya.—In the time of Kṣemarāja, Kashmir was a Tantrik
kingdom, which means the rulers were (usually) Tantrik initiates who
generously patronized the tradition—and therefore indirectly made possible
this book! At that time there were many Tantrik kingdoms in the Asian
world, such as those of Bali, Champa (coastal Vietnam), Angkor Wat (in
Cambodia), and Tibet, and many more in India, Nepal, and what is now
Pakistan. Until just a few years ago Nepal was a Tantrik kingdom, and
nearby Bhutan is the last of the Tantrik kingdoms existing today.
VAMANA AND VISNU canopy of a seven-hooded serpent. The gada
(club) and cakra (disc) are shown on full-blown lotus flowers. Dr. J.N.
Banerjee is of the opinion that this image has got Mahayana features, as
the mode of placing the ayudhas (attributes) on lotus is similar to that of
Manjusri and Simhanada". In some images of Trivikrama, we generally notice
a grinning face above the upraised foot of the deity. Long ago, T. G. Rao,
while quoting from the Varaha Purana had said, "that when the foot of
Trivikrama was lifted up to measure the Heaven world, the Brahmanda burst
and cosmic water began to pour down through the clefts of the broken
Brahmanda. This face is perhaps meant to represent the Brahmanda in that
condition"". But afterwards, S. Kramrisch, J.N. Banerjee and C.
Sivaramamurti expressed, the view that this face stands for Rahu, who is
often shown in mediaeval Indian art in this manner. A beautiful description
of this is given by Sriharsa in his Naisadhacarita, which is as follows:
mam Trivikrama punihi pade te kim lagannajani Rahur upanat*| kim
pradaksinana-krd bhrami pasam Jambavana dita te Balibandhe
H Naisadha Carita, 21, 96. Some early images of Trivikrama from South India
are found at Badami (latter half of the 6th century A.D.), Mahabalipuram
(7th century A. D.) and at Ellora (8th century A. D.). Among these, the
scene carved inside the Varaha-mandapa at Mahabalipuram undoubtedly shows a
wonderfully remarkable degree of mastery over the lithic medium. The
perpendicular figure of the deity dominates the whole scene like a 'pillar
of 21. Dr. R. C. Majumdar, History of Bengal, I, pp. 433-34, pl. I, fig.
4.- 22. Elements of Hindu Iconography, I, i, p. 167. 23. The Hindu Temple,
II, pp. 403-04. 24. The Development of Hindu Iconography, p. 419. 25. The
representation of Rahu above the upraised foot of Trivikrama, however, is
not only found in the mediaeval sculptures, but also in early sculptures,
belonging to the Gupta period. Cf: Dr. V. S. Agrawal, A Catalogue of the
Brahmanical Image in the Mathura Art, 1951, pp. 8, 12-13. * The black Rahu
consisting of a severed head is here likened to a shoe.
puranam - PURANA [Vol. VIII, No. 2 victory'. His out-thrashing left
leg appears like a roaring column of fire, driving the chaos to cosmos. But
in spite of all this great fury that surround Him, one one can mark His
eternal peace and happiness:
Brahmanda cchatra-dandah satadhrti-bhavan-ambhoruho naladandah ksauni-nau
kupa-dandah-ksarad-amara-sarit-pattika-ketu dandah | jyotis-cakraksa-dandas
tri-bhuvana vijaya-stambha-dando nghridandah sreyas trai-vikramas te
vitaratu vibudha-dvesinam kala-dandah ||
Dasakumaracarita, I, 1.26 One of the most remarkable and rare examples in
bronze of Pallava work of the 8th century A. D. represents Trivikrama as
measuring the sky with his left leg. The dignity of its bearing, deeply
spiritual expression and graceful modelling testify to the artist's great
skill. The image is under worship in a temple at Singnallur, Coimbotore."7
Trivikrama images are also found on the famous Hoyasale- svara temple at
Halebid in Mysore. Above the raised right leg of the deity is the figure of
Brahma, who is shown seated and washing the foot of Trivikrama with the
sacred water of the Ganges. The artist has beautifully carved the figures
of fishes and tortoises to give it the shape of a river-a technique which
has been followed in India through the ages. It recalls a beautiful panel
from Sanchi and a medallion from Barhut (C. 2nd century B. C.), where the
artist while illustrating the story of MahakapiJataka has given the same
affect, which we have in the present Hoyasala piece. Garuda, the celestial
mount of the deity, is depicted below his raised leg. The deity standing
below the 26. Quoted from Sri C. Sivaramamurti's Epigraphical Echoes of
Kalidasa, Madras, p. 14. 27. Cf. Sri C. Sivaramamurti, South Indian
Bronzes, p. 71, fig. 15 a. 28. This idea finds beautiful expression also in
the verse from Khajuraho inscription quoted below. 29. Cf: Marshall and
Foucher, Sanchi, II, pl. LXIV, fig. a; and Cunningham, Barhut, pl. 33, 4.
VAMANA AND VISNU creepers, may be the kalpavrksa. The beautiful
sculpture is almost perfect in every detail. In the Pala and Sena
sculptures of Eastern India, we occassionaly get the image of Trivikrama
with one of his legs raised 30 but in general the deity is shown in the
samabhanga pose. He has the proper attributes and is accompanied by his
consorts, Laksmi and Sarasvati, and other figures. These sculptures are
quite different from those found in other parts of India, in respect of
their poses, decoration and the attending figures. Besides, the literary
and sculptural evidences, there are several epigraphs which supply ample
data to prove that like Varaha and Nrsimha incarnations, Visnu-Trivikrama
form was also quite popular in ancient India. In the Khajuraho stone
inscription of Candella king Yasovarman dated V. S. 1011 (A. D. 954), the
three strides which Hari took while cheating Bali are invoked to protect
the three worlds:
payasur vva (bba)livanca (ca)na-vyatikare devasya vikrantayah sadyo
vismita-deva-danava-nutas tisra strilokim Hareh | ya su vra (bra)
hma-vitirnnamargha-satilam pad-aravinda-cyutam dhatte' dy api jagatra (t
tra) yaika-janakah punyam sa murddhna Harah ||
'Wonder-struck the Devas and Danavas bowed down their heads in
salutation. And to this day the holy Hara, the sole creator of three world,
holds on his head the waters that flowed off His steps as Brahma offered
them as argha.33 30. Dr. S. Kramrisch, Pala and Sena Sculptures, Rupam, No.
40, Oct. 1929, pl. 27 N. K. Bhattasali, Iconography of Buddhist and
Brahmanical Sculptures in the Dacca Muscum, p. 105, pl. XXXVIII; R. D.
Banerjea, Eastern Indian School of Mediaeval Sculptures, pl. XLVI. 31.
Sometimes, Trivikrama is also shown flanked by his ayudha-purusas
(personified weapons) in place of his consorts. Cf: Journal of Bihar
Research Society, 1954, XXXX, 14, pp. 413 f. 32. Epigraphia Indica, I, pp.
123- 33. The reference is to Ganga, which is believed to have originated
from the holy water which Brahma poured at the feet of Trivikrama.
puranam - PURANA The Calukya king Mularaja in his Anhilavada copper plate
grant dated V. S. 1043 (A. D. 968) is compared with Trivikrama in treading
over the whole earth by virtue of his prowess3:
Siddha Raj-avali-purvvam || raja-hamsa iva vimal obhaya-paksah |
kamalayonir.iva vitata-kamal asrayah | Visnur iva vikram-akranta-bhutalah ||
The Silimpur stone inscription of the time of Jayapaladeva (C. 11th
century A. D,) records that a Brahmana named Prahasa, besides performing
other meritorious deeds, installed (an image) of Trivikrama for the
spiritual benefit of his parents 35: bhagnam punar nutanam atra krtva grame
ca dev-ayatana-dvayam yah | pitus-tatha 'rthena cakara matus trivikramam
puskaranim iman ca || In th Fyzabad copper plate of the Gahadavala king
Jayachandra of V. S. 1243 (A. D. 1186) the king's fame has been compared to
three steps of Trivikrama, because both delighted in traversing or
overcoming the three worlds, the majesty of both was described by Kavi
(Sukra and other poets) and both caused fear to RajaBali and powerful
rulers.
3 loka tray-akramana keli-visrnkhalani
prakhyata-kirtti-kavi-varnita-vaibhavani | yasya
(tri)-vikaama-pada-krama-bhanji bhanti pro (ddyo) taya (nti)
Baliraja-bhayam yasamsi ||
34. Indian Antiquary, VI, p. 191. 35. Epigraphia Indica, XIII, pp. 222 ff.
36. Indian Antiquary, XV, p. 11. Kavi means There is double entendre in the
words Kavi and Bali. Sukra as well as poets. Bali-raja has the meaning of
king Bali as well as 'powerful rulers'. There is a reference also to
Trivikrama in the 9th verse of Gwalior inscription of Mihira Bhoja (C.
835-C. 888 A. D.), which is poetically appropriate, though not very
complimentary to Trivikrama.see Epigraphia Indica, XVIII, pp. 107-14. For
this reference, the writer is highly obliged to his respected teacher Dr.
Dasharatha Sharma.
PADMA PURANAM:
Chapter 122 - The Celebration of Dīpāvalī Section 6 - Uttara-Khaṇḍa
(Concluding Section)
Kārtikeya said:
1-2. O lord, now tell me in particular the fruit of Dīpāvalī. Why is it
celebrated? What would be its deity? O lord, tell me what should be and
should not be given during the festival. What (kind of) exultation is
indicated during it? What sport is mentioned?
Sūta said:
3. Hearing these words of Kārtikeya, the lord who had burnt up Cupid, said,
‘Well’ and laughed and said these words, O Brāhmaṇas.
Śrī Śiva said:
4-20. O Kārtikeya, on the thirteenth day of the dark half of Kārtika, a man
should offer a light to Yama outside (his house). Thereby untimely death is
avoided. “May the Sun’s son, with Death having a noose in his hand and with
his wife, be pleased due to this offering of the light” Those who are
scared of sins, should necessarily bathe at moon-rise on the fourteenth day
of the dark half of Kārtika. He, being careful, should bathe early in the
morning on the fourteenth day pierced (i.e. mixed) with the previous day of
the dark half of Kārtika. Lakṣmī (resides) in oil and Gaṅgā in water. He
who would bathe in the morning on Caturdaśī in Dīpāvalī does not see Yama’s
world. To destroy (i.e. to avoid) hell, he should whirl (round himself)
apāmārga, tumbī, prapunnāṭa, vāhvala (twigs) while bathing. “O Apāmārga,
being with a clod of furrowed land and with thorn and leaf, remove my sin,
when repeatedly whirled.” He should whirl over his head apāmārga and
prapunnāṭa. Then with (i.e. by reciting) Yama’s names, he should offer
libations of water. “Salutation to Yama, Dharmarāja, Mṛtyu, Antaka,
Vaivasvata, Kāla and Sarvabhūtakṣaya (Destroyer of all beings), Audumbara,
Dadhna, Nīla, Parameṣṭhin, Vṛkodara, Citra, Citragupta.” Having worshipped
the deities, he (i.e. the king) should offer a light to Naraka. Then at the
break of night he should offer pleasing lights at the temples of Brahmā,
Viṣṇu, Śiva etc., and especially at apartments on the tops of the houses,
sanctuaries, assembly halls, rivers. ramparts, gardens, wells, streets,
pleasure-groves near houses, stables and abodes of elephants also. O
Kārtikeya, having, like this, bathed in the morning on the new-moon day,
and having devoutly worshipped and saluted deities and dead ancestors, and
having offered the pārvaṇa śrāddha with curd, ghee, milk etc., he should
feed brāhmaṇas with various kinds of food, and apologise to them. Then, O
dear one, in the afternoon the king should gratify the citizens. Having
chitchatted with them, honoured them he should converse with them. O
Kārtikeya, for one year love is generated among those who talk. Before
Viṣṇu has got up, he should awaken Lakṣmī through the women.
21-32. When a man has awakened Lakṣmī at the time of her getting up through
a good woman, for one year Lakṣmī does not leave him. The haters of gods
(i.e. the demons) scared of Viṣṇu obtained fearlessness from the brāhmaṇas,
after knowing (that Viṣṇu) was asleep in the Milky Ocean, and Lakṣmī had
resorted to the lotus. “You are the lustre, Śrī Ravi (i.e. the Sun), the
Moon, the Lightning, the Golden Star; the lustre occurring in the lustre of
the lamp is the lustre of all the lustres. That Lakṣmī that lives on the
earth, in the cowpen on the auspicious day of Dīpāvalī in Kārtika, may
grant me a boon.” Śiva and Bhavānī took to playing with dice as a sport.
Lakṣmī, propitiated by Bhavānī remained in the form of a cow. Formerly
Pārvatī vanquished Śiva in the game of dice, and sent him away naked. So
this Śiva is unhappy. Gaurī always remains happy. He who gets victory first
(passes) the year happily. When the night passes like this, and people have
their eyes half-closed, Alakṣmī is driven out of the courtyard of the house
by the joyful city-women by means of sounding the musical instruments and
drums. In the case of a defeat (in the game of dice) opposite will be the
case. On the first day, when the sun has risen, Govardhana should be
worshipped in the morning and one should play the game of dice at night.
Then cows should be decorated; and they should not be used to carry (loads
etc.) or should not be milked. “O Govardhana, O support of the earth, O
protector of Gokula, O you who were lifted by the hand of Viṣṇu, give (us)
crores of cows. That Lakṣmī who remains in the form of the cow of the
regents of the quarter, and that carries ghee for the sacrifice, may remove
my sin. May cows stand before me. May cows be behind me. May cows be in my
heart. I live among cows.” Thus worship of Govardhana (should be done).
33-42. Having pleased with sincere devotion deities and good men, he should
please others by giving food and (should please) the learned men by
offering (i.e. speaking gentle) words. (He should please) the inmates of
the harem by (giving them) garments, tāmbūlas, lights, flowers, camphor,
saffron, food and eatables of superior and inferior quality. The king
should please the chief of the village with gifts and vassals with wealth,
and the hosts of foot soldiers good neck-ornaments and bracelets. The king
should also please his ministers and his own people separately. Then having
properly gratified wrestlers and actors, so also the bulls and large oxen
fighting with one another and other soldiers and foot soldiers who are
well-adorned being seated on a raised seat, he should see the actors,
dancers and bards, and should cause to fight and roar the cows and
buffaloes etc. which (he possesses). By means of sounding words (of calls)
and responses he makes the cows attract their calves. Then, O Kārtikeya, he
should put up a divine arch over the path in the eastern direction in the
afternoon, tied to a pillar of the fort or a tree; (it should be made) of
kuśa (grass) and should have many hanging strings of flowers. Observing
many horses and elephants, he should take them and bulls with cows, so also
he-buffaloes and she-buffaloes furious with bells to the base of the arch.
Through the best brāhmaṇas who have offered a sacrifice, he should put up
the arch. Then, he, of a good vow, should make obeisance by (reciting) this
hymn:
43-57. “O mārgapāli, salutation to you who give happiness to all the
world.” O Kārtikeya, at the base of the mārgapāli cows and great bulls go.
Kings, princes and especially brāhmaṇas on crossing the mārgapāli, become
free from disease and happy. Having done all this, at night he should
actually worship Bali, the lord of demons, in a circle made on the ground.
Having drawn, with five colours, (the picture of) Bali, the lord of demons,
complete with all ornaments, accompanied by Vindhyāvali, surrounded by the
demons Kūṣmāṇḍa, Maya, Jambhāru, Madhu, and with his entire face delighted,
and with a crown and bright earrings, and again (drawing the picture of)
the lord of demons with two arms in a small or big chamber in his own
house, he should then worship it. The lord of kings, who, being pleased and
with his ministers and priests, and with his mother, brothers, and kinsmen,
worships (the demon-lord) with lotuses, red lotuses, flowers, white lotuses
and blue lotuses, with sandal, flowers, offerings of eatables with milk,
jaggery and sweetened milk, with liquor, flesh, wine, things eaten by
licking or by sucking, (other) eatables and offerings, and by (reciting)
this hymn, gets happiness during that year: “O king Bali, O lord, O son of
Virocana, salutation to you. O future Indra, O enemy of gods, accept this
worship.” Having thus offered the worship and keeping awake at night, he
should make (others) keep awake at night with actors, dancers, singers, and
make people place (the image of) king Bali with white rice inside the house
on a couch, and should worship him with fruits and flowers. O Kārtikeya,
everything there should be done with reference to Bali. The sages, the
seers of truth say that all those (objects) that are inexhaustible (come to
him). Whatever small or big gift is made here, all that would be
inexhaustible, auspicious, and would please Viṣṇu. May all the untractable
practices of those men who do not worship you, Bali, at night, come to you.
58-69. O child, Viṣṇu himself, being pleased, has granted this great
festival to Bali who had obliged the demons. O Kārtikeya, since then (this
festival of) Kaumudī has commenced (for) ever. It melts all troubles and
destroys all difficulties. It removes the grief of people, it fulfils
desires, and brings about wealth, nourishment and happiness. The word ‘ku’
stands for the earth, the word ‘muda’ stands for joy. Due to the root
(meaning) of the two (words coming together) the festival is said to be
(i.e. called) Kaumudī, since the people mutually rejoice (during it) on the
earth. They are glad and pleased, are happy, so it is called Kaumudī. O
son, since during it red lotuses are offered to Bali by kings for
(removing) their sins, therefore it is called Kaumudī. To the king who
every year gives the earth, (clean) like a mirror, for a day and night to
the king of demons, how can there be fear from diseases? He has plenty of
corn, happiness, health, excellent wealth. All people are free from
diseases and free from all calamities. So, to spread devotion on the earth,
the Kaumudī (festival) is celebrated. O Kārtikeya, he who lives with a
(particular) feeling during it (i.e. the festival) passes the year with
that feeling of joy, sorrow etc. If he weaps, the year makes him weep; if
he is delighted, the year is delightful. If he enjoys (the festival) he
enjoys the year; if he is happy, the year will be happy. Therefore, good
men should joyfully celebrate Kaumudī. This day in Kārtika is said to be
sacred to Viṣṇu and demons.
0-73. Of the families of the intelligent ones, having happiness due to
(giving) gifts and enjoyments, who celebrate the light festival pleasing
all, and who worship Bali, the entire year giving the lord(?), passes
happily. O Skanda, these dates beginning with the second are well known.
For four months and then in the rainy season they cause well-being. The
first is in the month of Śrāvaṇa; the second is in the month of Bhādrapada;
the third is in Āśvina; the fourth would be (i.e. fall) in Kārtika. Kaluṣā
falls in the month of Śrāvaṇa, Amalā in Bhādrapada, Pretasaṃcārā in Āśvina,
and Yāmyakāmyatā in Kārtika.
Kārtikeya said:
74. Why is the one (in Śrāvaṇa) called Kaluṣā? Why is the one (in
Bhādrapada) said to be Nirmalā? Why is the one (in Āśvina called
Pretasaṃcārā? And why is the fourth called Yāmyā?
Sūta said:
75. Hearing these words of Kārtikeya, the Bull-bannered lord, the cause of
the beings, laughed, and spoke (these) gentle words.
Maheśa said:
76-88. Formerly when Vṛtra was killed and Indra obtained the kingdom, a
horse sacrifice was commenced to remove the sin of the brāhmaṇa’s murder.
Indra angrily killed the brāhmaṇa (Vṛtra) with his thunderbolt. The (sin of
the) killing was thrown down on the earth in six ways: in a tree, in water,
on the land, in a woman, in one who causes abortion, and in fire after
dividing it in due order. Due to hearing about that sin, with the day
previous to the second, a woman, a tree, a river, the land, fire, and one
who procures an abortion are polluted. For this reason it is called Kaluṣā.
Formerly the earth merged into the blood of Madhu and Kaiṭabha. Therefore
(to the measure of) eight fingers she is impure. The menstrual flow of
women is impure. All the rivers in the rainy season are impure. Fire
(going) up is impure due to soot. Trees are impure due to exudation. Those
that cause an abortion are impure due to contact. Filth moves on this day.
Therefore, she is said to be Kaluṣā. There are the wicked atheists who
censure the good practices of gods and sages. The second one is pure from
the filth of their words. Therefore, it is Nirmalā. The Sāṃkhyas, Tārkikas
(i.e. logicians) teach and study the sacred texts on days forbidden for
study. On the second (i.e. Amalā) day the Śruti-followers are purified from
the filth of their words and bad words. Therefore it (is called) Nirmalā. O
child, the three worlds would be purified due to the birth of Kṛṣṇa in
Śrāvaṇa. The wise ones have indicated it as Nirmalā. The Pretasaṃcārā is
(so called) because of movements of the dead ancestors, grandsires like the
Agniṣvāttas, the Barhiṣads, the Ājyapas, and the Somapas also. The dead
ancestors are called departed spirits. They move on that (day). They are
worshipped with Svadhā hymns by their sons, and the sons of their sons and
daughters. They, moving departed spirits, leave after being gratified by
means of śrāddhas, gifts and sacrifices. The spirits are seen to move on
the earth on the Mahālaya.
89-103. Therefore, O Kārtikeya, it is called Pretasaṃcārā, Since, O
Kārtikeya, on this day worship is offered to Yama by men, therefore, it is
called Yāmyakā. I have told the truth and the truth (only). Those best men
who listen to the importance of Kārtika, certainly get the religious merit
due to the (daily) bath in Kārtika. A man, having bathed on the Bhānujā on
the second day of Kārtika, should worship Yama in the morning. (Thereby) he
does not see Yama. O Śaunka, formerly, on the second day of the bright half
of Kārtika, Yama was fed and honoured by Yamunā in her house. On the second
day a great gift (is given). Denizens of hell are gratified. They,
separated (i.e. freed) from sins, are free from all bondage. They all,
being praised, remain pleased as they like. This great festival, giving
pleasure to Yama’s region, takes place for them. Therefore, this
Yamadvitīyā is well known in the three worlds, and so the wise should not
eat at home (on this day). They should affectionately take a nourishing
meal at their sister’s hand; gifts should duly be given to sisters. Then
along with the gift of golden ornaments and garments and honouring (their
sister) they should eat from the hand of their sister of whole blood. The
meal from the sister’s hand should be taken on all (these days). It is
nourishing. Yama is gratified on the second day of bright half of Kārtika.
Yama is mounted upon the seat (i.e. back) of a he-buffalo. The lord holds a
staff and a mallet. He is surrounded by his jubilant servants. Obeisance to
him of the nature of Yāmyā. For those who have pleased their sisters whose
husbands are alive, with gifts of garments etc. there is no quarrel (with
anyone), nor any fear from their enemy during the year. O sinless one, O my
son, I have told you the entire account along with its secret. It is
blessed, gives success, increases the (span of) life, and is the means of
righteous acts and enjoyments. Since on this day god Yamarāja was well-fed
by Yamunā with a sister’s affection (for her brother), therefore he who, on
this day, eats from the hand of his sister, gets wealth and excellent
riches.
kārtikeya uvāca |
dīpāvaliphalaṃ nātha viśeṣādbrūhi sāṃpratam |
kimarthaṃ kriyate sā tu tasyāḥ kā devatā bhavet || 1 ||
prathamā śrāvaṇe māsi tathā bhādrapade parā |
tṛtīyāśvayujemāsi caturthī kārtike bhavet || 72 ||
kaluṣā śrāvaṇe māsi tathā bhādrapademalā |
āśvine pretasaṃcārā kārtike yāmyakāmatā || 73 ||
guha uvāca |
kasmātsā kaluṣā proktā kasmātsā nirmalā matā |
kasmātsā pretasaṃcārā kasmādyāmyā prakīrtitā || 74 ||
sūta uvāca |
iti skaṃdavacaḥ śrutvā bhagavānbhūtabhāvanaḥ |
uvāca vacanaṃ ślakṣṇaṃ prahasanvṛṣabhadhvajaḥ || 75 ||
dhanyaṃ yaśasyamāyuṣyaṃ dharmakāmārthasādhanam |
vyākhyātaṃ sakalaṃ putra sarahasyaṃ mayānagha || 102 ||
yasyāṃ tithau yamunayā yamarājadevaḥ saṃbhojitaḥ pratitithau svasṛsauhṛdena
|
tasmātsvasuḥ karatalādiha yo bhunakti prāpnoti vittaśubhasaṃpadamuttamāṃ
saḥ || 103 ||
iti śrīpādmemahāpurāṇe paṃcapaṃcāśatsasahasrasaṃhitāyāmuttarakhaṃḍe
kārtikamāhātmye |
dvāviṃśatyadhikaśatatamo'dhyāyaḥ || 122 || K Rajaram IRS 191025
On Sun, 19 Oct 2025 at 09:53, 'gopala krishnan' via Thatha_Patty <
[email protected]> wrote:
> CHIRAKKARA MAHAVISHNU TEMPLE, KAIMANAM, PAPPANAMCODE,
> THIRUVANANTHAPURAM, KERALA.
>
> Introduction
>
> Chirakkara Mahavishnu Temple is a revered Hindu shrine located in
> Kaimanam, Pappanamcode, Thiruvananthapuram, Kerala*. Amirtanandayamayi
> Mutt* is on the way to the temple. The temple is on the banks of Karamana
> river. It is also a temple below road level and about twelve steps has to
> get down to reach the temple. The temple is very neat and tidy and not very
> large.
>
> Dedicated to Lord Mahavishnu and Lord Siva, the temple is renowned for its
> spiritual ambiance and traditional Kerala-style architecture. The temple is
> known for its serene ambiance and adherence to traditional rituals,
> attracting devotees seeking blessings and spiritual solace.
>
> Legend
>
> The temple belongs to the Pandavas, heroes of the Mahabharata. The
> Pandavas, led by Yudhishthira, are said to have visited this temple during
> their exile, adding to its historical, cultural and spiritual significance.
> This temple is a perfect place to attract many believers and explorers who
> come to seek blessings and participate in the temple’s vibrant culture.
>
> History
>
> Historical records say that it was built during the reign of the Chola
> kings. After the Chola kings, the temple was ruled by the Travancore kings
> and fell into disrepair with no pujas at the end of the dynasty. Later, a
> famous Namboothiri family took over the temple and conducted the puja
> affairs. When financial difficulties came, they were also unable to look
> after the temple affairs and the temple fell into disrepair.
>
> In 1972, when the locals took over the temple and resumed the puja
> rituals, the temple spirit returned to its former state.
>
> Architecture
>
> Not a typical temple structure. The temple construction method is very
> special. Cholaraja method of construction is adopted. Both the shrine and
> the Namaskaramandapam are made of stone.
>
> Main deities
>
> Inside the Vatta sanctum sanctorum is Sri Maha Vishnu and Lord Siva
> facing West, Garuda Deva facing Lord Vishnu and Nandi Deva facing East
> facing Sri Maha Deva in Namaskara Mandapam.
>
> Sub deities
>
> Along with sub-deities Subrahmanya, Ganapati, Brahmarakshas, Devi,
> Ayyappan, Hanuman and Naga Deities, Navagraha presence is present within
> Nalampalam itself.
>
> Poojas
>
> As in other Vishnu and Siva temples. Prasadam is theertham with flowers
> and sandalwood paste.
>
> Specialty
>
> *It is one of the rare temples where Sree Mahavishnu and Sree Mahadeva
> spirits reside together in the same garbhagriha within the same sanctum*.
>
> Offerings
>
> Neerajanam to Ayyappan every Saturday, special pujas to Vishnu and
> Hanuman on Sundays, Ayilya Puja every month and special pujas on Ekadashi.
>
> Festivals
>
> The Temple has a number of festivals. The important ones are :
>
> Thiru Ulsavam-Thiru Ulsavam at Chirakkara Mahavishnu Temple is celebrated
> in the Malayalam month of Medam with great devotion. The festival includes
> rituals like Thrikkodiyettu, Pallivetta, Aarattu, and various special
> poojas that draw large gatherings of devotees. Annual temple festival
> celebrating after kodiyettam in Choti Nakshatra in the month of
> Medamasam and Kodiyirakkam in Thiruvonam Nakshatra along with Aarattu.
>
> Karkkidaka Vavubali-At Chirakkara Mahavishnu Temple, Karkkidaka Vavubali
> is observed with deep reverence, offering homage to ancestors. On this day,
> devotees perform Pithrubali Tharppanam, and Thilahomam to seek blessings
> and peace for the departed souls, believing it brings spiritual merit and
> family well-being.
>
> Karkataka Vavubali is the most special day of this temple. Thousands come
> here for balitharppanam . The presence of Lord Vishnu, Lord Mahadev and
> holy Karamanayar is most suitable for Balitarpanam and devotees consider
> this temple and its surroundings as holy ground for attaining salvation.
> Every ritual in this temple is so great.
>
> The first day of every Malayalam month, Shashti and Pradosha of the month,
> are very special
>
> Vishu, Onam, Navaratri, Janmashtami ,Siva rathri, Mandlam etc are other
> festivals.
>
> Temple timings
>
> Chirakkara Sri Mahavishnu Temple is open Mon–Sun
>
> 5 AM– 10 AM and 5PM to 8 PM.
>
> Location:
>
> Kaimanam, about a KM before Pappanamcode while travelling from
> Thiruvananthapuram to Nager kovil.
>
> Contact Address:
>
> Chirakkara Sri Mahavishnu Temple, Kaimanam, Pappanamcode,
> Thiruvananthapuram, Kerala 695018
>
> Priest- 75580 98931 The phone number for Chirakkara Sri Mahavishnu
> Temple is 0471 249 2550.
>
> My note- I was a frequent visitor to the temple. The temple was close to
> the Telecom training centre and quarters I lived for 13 years while in
> Trivandrum.
>
> *Compiled and posted by Gopalakrishnan, on 19-10-2025*
>
>
>
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