Attukal Temple - Attukal Pongala
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Mythological Background
The story goes that the Goddess Bhagavathy revealed herself to a fervent devotee of a notable family viz. Mulluveettil family. It is said that one evening a young girl appeared before the head of the family while he was performing his oblations in the Killi river and requested him to help her cross the river. Impressed by her charismatic demeanor, the- old man bent before her with awe and reverence and not only helped her cross the river but took her to his house nearby. Strangely enough, while the household members were amidst preparations for intending a warm welcome to the young girl, she vanished. That very night the Goddess Bhagavathy appeared as an icon before the old man in his dream and demanded that he should establish an abode for her in the nearby sacred ground of shrubs and herbs (kavu), at a consecrated spot marked by three lines. The next morning the old man went to the spot revealed to him in the dream and to his great surprise he did find three marks indented on the ground. He lost no time in erecting a temple on this consecrated spot to house the Goddess. Many years later, the building was renovated by the local devotees. They also installed a beautiful and majestic icon of the Deity with four arms, bearing weapons of destruction in each, like spear, sword, skull, shield etc. The consecration ceremony of this Exalted Being was performed by no less a person than the high priest of the Badarinath Temple.
The Attukal Bhagavathy Temple, one of the ancient temples of South India, is popularly described as Sabarimala of the Women, as women form the major portion of devotees. The Goddess in the temple of Attukal is worshipped as the Supreme Mother, creator of all living beings and the mighty preserver as well as destroyer of them all. The pilgrims from all over the country, who visit Sree Padmanabha Swamy Temple and worship the Lord, do not consider their visits complete without the visit to the shrine of the supreme Mother Attukalamma. Vishnumaya took the incarnation of Bhagavathy to annihilate the evil and protect the good in the world in the present Era namely Kaliyuga.
According to mythology, Attukal Bhagavathy is supposed to be the divinised form of Kannaki, the famous heroine of Chilapathikaram, written by Elenkovadikal, the Tamil Poet. The story goes that after the destruction of ancient city of Madurai, Kannaki left the city and reached Kerala via Kanyakumari and on the way to Kodungalloor took a sojourn at Attukal. Kannaki is supposed to be the incarnation of Parvathy, the consort of Paramasiva. The all powerful and benign Attukal Bhagavathy reigns eternally supreme at Attukal and nurses devotees as a mother does her children. Thousands of devotees from far and near flock to the Temple to bend before the Goddess with awe and reverence to prostrate and redress their affliction and agony.
The Pongala Mahotsavam is the most important festival of Attukal Bhagavathy Temple. The offering of Pongala is a special temple practice prevalent in the southern part of Kerala and some parts of Tamilnadu. It is a ten-day programme commencing on the Karthika star of the Malayalam month of Makaram-Kumbham (February-March) and closing with the sacrificial offering known as Kuruthitharpanam at night. On the ninth day of the festival the world famous Attukal Pongala Mahotsavam takes place. The entire area of about 5 kilometre radius around temple with premises of houses of people of all caste, creed and religion, open fields, roads, commercial institutions, premises of Government offices etc. emerges as a consecrated ground for observing Pongala rituals for lakhs of women devotees assembling from different parts of Kerala and outside. The ceremony is exclusively confined to women folk and the enormous crowd, which gathers in Thiruvananthapuram on this auspicious day is reminiscent of the Kumbhamela Festival of North India.
Incarnation of Goddess
India has ever been the holy land of gods and goddesses. Since ages past, men and women kings and emperors, saints and sages here were worshipping the Lord not only as the omnipotent and absolute 'one' but also as the 'one' whose manifestations are varied and manifold and who possesses different names, forms and divine attributes. Thus Almighty the Eternal God was worshipped in different forms such as Brahma, Vishnu and Siva, and their consorts; representing specific divine attributes of the Lord. Ancient puranas have described that Siva and Sakthi were simultaneously worshipped from the period of Aryans and Dravidians. Vishnumaya took the incarnation of Bhagavathy to annihilate evil and protect the good in this world. She grants every wish of Her devotees and resides in their hearts in multifarious forms.
Story of Kannaki
Kannagi (Kannaki) a legendary Tamil woman is the central character of the South Indian epic Silapathikaram. Legend has it that Kannagi took revenge on the King of Madurai, for a mistaken death penalty imposed on her husband Kovalan, by cursing the city with disaster.
Kovalan,the son of a wealthy merchant in Kaveripattinam, married Kannagi, a young woman of legendary beauty. They lived together happily in the city of Kaveripattinam, until Kovalan met the dancer Madhavi and fell in love with her. In his infatuation he forgot Kannagi and gradually spent all his wealth on the dancer. At last, penniless, Kovalan realised his mistake, and returned back to Kannagi. Their only asset was a precious pair of anklets (Chilambu - hence the name of the epic), filled with gems, which she gave to him willingly. With these as their capital they went to the city of Madurai, where Kovalan hoped to recoup his fortunes by trade.
The city of Madurai was ruled by the Pandya King Nedunj Cheliyan - 1. Kovalan's objective was to sell the anklets in this kingdom so that he and his wife would be able to start their lives over. Unfortunately, around the time he set out to sell the anklets, one anklet (out of a pair) was stolen from the queen, by a greedy court member. This anklet looked very similar to Kannagi's. The only difference was that Kannagi's were filled with rubies and the queen's filled with pearls, but this was not a visible fact. When Kovalan went to the market, he was accused of having stolen the anklet. He was immediately beheaded by the King's guards, without trial. When Kannagi was informed of this, she became furious, and set out to prove her husband's innocence to the King.
Kannagi came to the King's court, broke open the anklet seized from Kovalan and showed that it contained rubies, as opposed to the queen's anklets which contained pearls. Realizing their fault, the King and the Queen died of shame. Unsatisfied, Kannagi tore out a breast and flung it on the city, uttering a curse that the entire city be burnt. Due to her utmost chastity, her curse became a reality.
The city was set ablaze resulting in huge human and economic losses. However, after the request from the goddess of the city, she withdrew her curse and later, attained salvation. The story was narrated by the poet Ilango Adigal. A fascinating, but ironic, fact about this epic is that it portrays Madhavi, Kovalan's amorous lover, as an equally chaste woman. Manimekalai, another ancient Tamil epic, is written in praise of her.
After setting fire to Madurai City, Kannagi on her way to Kodungalloor in Kerala, gave "Darsan" to the natives at Attukal in Thiruvananthapuram. They constructed a Temple at Attukal. It is also believed that Devi finally reached Kodungalloor and settled at Kodungalloor Devi Temple south of Guruvayoor. The events related to Kannagi have high influence in the traditions and culture of Tamil Nadu and Kerala.
Perceptions of Kannagi
Kannagi (Kannaki Amman) is eulogized as the epitome of chastity and is still worshipped as its goddess. She is praised for her extreme devotion to her husband in spite of his adulterous behaviour. She is worshiped as Goddess Pathini in Sri Lanka by the Sinhalese Buddhists, Kannaki Amman by the Sri lanka Tamils Hindus' and as Kodungallur Bhagavathy (Kodungallur Devi / Kodungallur Amma) and Attukal Bhagavathy (Attukal Devi / Attukal Amma) in South Indian state Kerala.
It must be noted that Kannagi is also viewed as a brave woman who could demand justice directly from the King and even dared to call him "Unenlightened King". The point here is that while she was behaving in a non-interfering manner with her domestic problems, she was no meek woman that would brook injustice in the rule of the law.
The city was set ablaze resulting in huge human and economic losses. However, after the request from the goddess of the city, she withdrew her curse and later, attained salvation. The story was narrated by the poet Ilango Adigal. A fascinating, but ironic, fact about this epic is that it portrays Madhavi, Kovalan's amorous lover, as an equally chaste woman. Manimekalai, another ancient Tamil epic, is written in praise of her.
After setting fire to Madurai City, Kannagi on her way to Kodungalloor in Kerala, gave "Darsan" to the natives at Attukal in Thiruvananthapuram. They constructed a Temple at Attukal. It is also believed that Devi finally reached Kodungalloor and settled at Kodungalloor Devi Temple south of Guruvayoor. The events related to Kannagi have high influence in the traditions and culture of Tamil Nadu and Kerala.
Perceptions of Kannagi
Kannagi (Kannaki Amman) is eulogized as the epitome of chastity and is still worshipped as its goddess. She is praised for her extreme devotion to her husband in spite of his adulterous behaviour. She is worshiped as Goddess Pathini in Sri Lanka by the Sinhalese Buddhists, Kannaki Amman by the Sri lanka Tamils Hindus' and as Kodungallur Bhagavathy (Kodungallur Devi / Kodungallur Amma) and Attukal Bhagavathy (Attukal Devi / Attukal Amma) in South Indian state Kerala.
It must be noted that Kannagi is also viewed as a brave woman who could demand justice directly from the King and even dared to call him "Unenlightened King". The point here is that while she was behaving in a non-interfering manner with her domestic problems, she was no meek woman that would brook injustice in the rule of the law.
Aesthetics of Architecture
Anyone visiting the Attukal temple is first struck by the beauty and charm of the temple architecture. The temple structure is a harmonious conglomeration of both Kerala and Tamil styles of architecture. The beautifully carved figures of Mahishasuramarddini, Goddess Kali, Rajarajeswari, Sree Parvathy with Lord Paramasiva and various other depictions of the Goddess in and around the temple are undoubtedly the work of a gifted artist. Equally well presented around the corridors surrounding the temple, are the depiction of various other Gods and the epic stories of the ten incarnations of Lord Vishnu viz., the "Desavathara". On either side of the elegant front gopura - are the icons based on the story of Goddess Kannaki. On the southern Gopura, the puranic story of "Dakshayaga" is depicted in sculptures. The decorated gate at the entrance of the temple is by itself an excellent example of architectural beauty.
There are two idols of the Goddess in the sanctum sanctorum. The original idol is preserved in all its pristine beauty covered in ornamental gold embedded with installed stones.
The second idol of the Goddess is installed besides the original one. Within the temple corridors are also installed carvings and sculptures of Lord Ganesan, the serpent God and Lord Shiva. At the centre of the Sanctum within the Sreekovil, at a consecrated spot is installed the idol of the Goddess Attukal Bhagavathy emanating light and lustre to all.
There are two idols of the Goddess in the sanctum sanctorum. The original idol is preserved in all its pristine beauty covered in ornamental gold embedded with installed stones.
The second idol of the Goddess is installed besides the original one. Within the temple corridors are also installed carvings and sculptures of Lord Ganesan, the serpent God and Lord Shiva. At the centre of the Sanctum within the Sreekovil, at a consecrated spot is installed the idol of the Goddess Attukal Bhagavathy emanating light and lustre to all.
Divine Gold Lockets
Divine Gold Lockets with the prathishta image of the Devi on one side and the imprint of Sudarsana Chakra on the other, are now issued to the devotees from the temple counter. This moderately priced pendant, which can be worn by men, women and children of all ages, at all times, is a talisman of safety and prosperity. Arrangement has also been made to send the lockets by post.
Attukal Pongala
Attukal Pongala (Attukal Ponkala) is the most reputed festival of this temple, which attracts devotees from all parts of India. Tens of hundreds of women devotees throng together on the day of Pongala with their offerings to the Goddess and to seek blessings. The festival commences on Karthika day of Malayalam month Makaram-Kumbham (February-March).
Pongala festival is a ten-day long festival and on the 9th day of the festival is the famous Pongala. On that day, tens of hundreds of women throng to the temple to offer pongala in earthen pots. Pongala is a rice porridge, which boils over. The rush of women is so intense that the Pongala ground spreads outside the temple premises and into the public roads, and the courtyards of houses, government offices, bus and train station, etc...
Pongala festival is a ten-day long festival and on the 9th day of the festival is the famous Pongala. On that day, tens of hundreds of women throng to the temple to offer pongala in earthen pots. Pongala is a rice porridge, which boils over. The rush of women is so intense that the Pongala ground spreads outside the temple premises and into the public roads, and the courtyards of houses, government offices, bus and train station, etc...
Women offer pongala in a radius of about 5 Km, essentially turning the whole of Thiruvananthapuram City into the holy grounds for the women to offer Pongala. All the transport buses plying from the city are reserved for women on Pongala day. No number of words can do justice to frenzy of the day's festivities, which wholly belongs to women devotees.
Other activities during the ten-day festival include various ceremonial rituals like Kappukettu, during which the story of Goddess Kannagi (Kannaki) is recited. It is a musical recitation and goes on for the first nine days of the festival. The musical recitation of Kannagi's story ends with the part of the Goddess annihilating the Pandya King. The story signifies victory of good over evil, light over darkness and justice over injustice. Immediately after the end of the recitation, it begins the rituals for Attukal Pongala, which begins with making fire in the temple hearth known as Pandara Aduppu. The fire will then be passed to the women ready to offer pongala and the same fire spreads to all the tens of thousands of women, who are offering pongala.
Other activities during the ten-day festival include various ceremonial rituals like Kappukettu, during which the story of Goddess Kannagi (Kannaki) is recited. It is a musical recitation and goes on for the first nine days of the festival. The musical recitation of Kannagi's story ends with the part of the Goddess annihilating the Pandya King. The story signifies victory of good over evil, light over darkness and justice over injustice. Immediately after the end of the recitation, it begins the rituals for Attukal Pongala, which begins with making fire in the temple hearth known as Pandara Aduppu. The fire will then be passed to the women ready to offer pongala and the same fire spreads to all the tens of thousands of women, who are offering pongala.
