----- Original Message -----
From:
"Dr.S.Sundar Rajan" <kuresadasan@yahoo.co.in>
To:
<Oppiliappan@yahoogroups.com>
Sent:
Saturday, January 24, 2009 8:27 PM
Subject:
[Oppiliappan] oothakadu Kalinga Narthana Perumal koil
Oothakadu Kalinga
Nardana Perumal Koil
The attire was lifted to show the right leg of
that winsome child. It
was covered with livid
bruises, as if a whip had lacerated it
repeatedly. A loud crash was heard, startling all.
A mother shocked by
the sight had
inadveretently dropped the mobile in her hand, and cried
out. Thereby hangs a tale...
The OED defines a
hamlet as "a group of houses or a small village".
Oothakadu fits the description to the t. It is a
secluded "kugrammam"
which has to be reached
via kaccha roads. If you venture from
Kumbakonam you reach Patteswaram then Avvur,
Govindakudi and finally
Oothakadu. It is wise
to ask for directions eveywhere. Three times we
were told that Oothakadu was just four kilometers
away and by the time
we reached it our trip
meter showed more than twelve kms! But the
vision that we were fortunate enough to see with
these decidedly non
"divya chaksus" was surely
the result of covert "punyas" from previous
births. On the way to Kumbakonam form Thanjavur
one has to take a
right turn at the arch at
Swamimalai and then Patteswaram, Avvur,
Govindakudi and again finally Oothakadu.
Oothakadu is famous because of Venkata Kavi aka
Oothakadu
Venkatasubbier. On Googling
Venkatakavi we come to know that he
predated
the magnificient trinity of Carnatic music and walked this
earth between 1700 and 1765. He is regarded as one
of the greatest
composers of Carnatic music.
His songs, especially about that Divine
child
Krishna, have a gleeful rhythm that is unmatched. It appeals to
the masses and to the cognoscenti.To quote a source mined from the
net: "Oothukkadu Venkata Kavi's compositions
reveal that his knowledge
of music, dance,
rhythm, languages (Tamil and Sanskrit and a bit of
Marathi), culture, tantric worship, great sages
and poets was nothing
short of divine
inheritance and his creativity was more than that of
an average genius." One can't better that can one?
Initially he was
unable to get a proper guru
and it is said that he was educated by
none
other than that greatest of acharyas, the first and foremost in
our lineage of preceptors, Shriyapathi, Krishna
himself. In fact the
child Krishna used to sit
in his lap as he sang and dance for him. In
the
Kalinga Nardana Perumal Koil at Oothakadu there is a mandapam,
pavilion, with a statue of a standing Venkata
Kavi, where he was
graced by the presence of
Krishna himself.
The Oothakadu Kalinga Nardana
Perumal Koil temple is approached by a
street
wherein a car cannot make a U-turn. The gopuram at the
entrance has definitely seen better days and the
ubiquitous shrubs are
seen growing wild on the
tiers. You enter a ill lit corridor, and to
your right is a brief Tamil version of the local
lore, "sthala purana
surukku"
"Sri Rukmini Sathyabama sametha Sri Kalinga
Nardana Perumal temple has
a sacred pond behind
it named Kalingan madu. Here the peerless
"panchaloha" icon of Kalinga Nardana Perumal was
found and consecrated
so it is said. The wish
giving cow Kamadhenu of the Devaloka had two
calves Nandini and Patti who were graced by the
divine vision of Sri
Krishna Bhagavan as he
danced once again on the hoods of Kalinga. This
sight was also seen by the great rishi Sri Narada
who prayed to Him to
assume a iconic form in
the same pose. Ever since Lord Krishna is
gracing devotes as Kalinga Nardana Perumal. Sri
Venkata Kavi is
considered to be a
reincarnation of Sri Narada. Sri Venkata Kavi has
sung innumerable songs on Krishna. He was blessed
with a vision of
Krishna here, so say the local
lores."
As you go forwards, to your right is a
sanctum with three cupolas on
the top. It is
labelled "Aanjaneya Pancharatna Mandapam". Inside we
are blessed withe vision of Hanuman as always in a
humble posture.
To the right of this sanctum is
a small pavilion in the shade of the
gopuram
wherein we see the great Venkata Kavi standing, rapt in devotion.
Retracing our steps we first circumambulate the
main sanctum. In the
western corner we see
Andal. We then return to the main sanctum. Due
to our misfortune there is a power cut and it is
through the yellow
light of the lamps with
wicks, we see Kalinga Nardana Perumal.
He is in the form of a five year old child. His
right hand is tiny and
can be considered to be
in the "abhaya mudra". Though it seems more
like a gesture that is asking us to wait and enjoy
the vision. Some
times it seems as if He is
enumerating five points, maybe the "artha
panchaka". His left arm is raised and with the
thumb He is touching a
loop of
Kalinga's(Kaliya) tail. Mind you, He is not grasping the tail
in His left fist, the tail is in contact with the
thumb and the side
of the index finger only.
His left foot is on the five hoods of the
"naga" and His right foot is raised, with the toes
pointing downwards.
Both the knees are bent and
the torso,neck and head are in a straight
line.
As always He is smiling cherubically. On His head is a crown
with a ball like projection to the right
reminiscent of "Andal kondai".
The naga (sarpas - snakes - with many heads are
nagas) rests on a
lotus base. Just below the
hoods, it takes a u-turn and the undulating
body climbs upward to touch the Divine Child's
left hand. The body of
the naga thins as it
climbs up and the tail ends in a downwardly open
loop with a final twirl at the tip.
The archaka leaves us flabbergasted with his next
remark. There is a
space between the sole of
Krishna's left plantigrade foot and the
curved
dorsal aspect of the naga's hoods! Yes you read it right the
first time. A paper can be passed between
Gokulanandana's left foot
and the hood of the serpent!
So
perfect is the craftsmanship that the whole icon stands upright and
stable. This tends to prove the point that this
icon was never made by
human hands and was
discovered in the pond behind!
On a more
mundane level it is to be noted that the the Department of
Posts released a stamp worth three rupees in 1982
with an image of
this icon on it. It is
surprising that some mandarin in the dark and
dinky labyrinths of the government recognised the
unique value of the
icon of this Divine Child
found in a small hamlet in Tamil Nadu.
Wonders
will never cease! But, just three rupees worth...
The point is that the value of this particular
"divya mangala vigraha"
is inestimable. It
appears to be "apaurusheya" not made by human
hands. It is a miracle that the statue stands
unshakably erect without
any visible means of
support for the dear Divine Child. His tender
lotus foot is NOT resting on the serpent. His left
hand is touch with
the tail. The area of
contact is minimal. One can only speculate.
Perhaps the snake is really heavy and the frame of
the Dancing Child
light. These mental exercises
are in vain. It is more productive to
enjoy the
beauty of the whole. The "anubhava" experience and the
"bhava" feeling are more important than physics
and cost!
The UPS is turned on and a single
spot light focused on the Dancing
Child
improves our vision. Sentiment reaches a fever pitch when the
archaka lifted the dress covering the right leg.
The left leg from the
foot to the knee is
disfigured with weals. These were the healed scars
of the lacerations Krishna suffered when the asura
snake lashed Him
with his heavy tail. It is
this sight that unsettled the lady with a
mobile in her hand. It was the thought of these
that had made Patti
and Nandini cry ages
ago.
Time for a flashback. In those days
Oothakadu was a wild garden,
pardon the
oxy-moron, and Patti and Nandini, the daughters of
Kamadhenu used to gather flowers there for the
worship of Siva in the
nearby temple. Narada
used to visit them regularly and being a master
storyteller he used to tell them fascinating
stories from the
"puranas". Once he told them
the story of the mischievous Dark Child
who
jumped into the black waters of Yamuna to fight with the poisonous
serpent Kaliya, Kalinga. He described the the
battle in all its gory
details, emphasing the
smallness of the child, just five years old,
and the great power and massive size of the naga.
He described in
full the inevitable defeat of
Kaliya and the beatific vision of the
dance of
Krishna on the hoods of the serpent. His skill as a raconteur
had some unexpected side effects. The soft hearted
calves of Kamadhenu
began to cry. They
empathised with the small Lad and suffered His pain
during the unequal battle. They were inconsolable.
Kamadhenu, who was
watching from her post high
in the heavens prayed to Lord Krishna to
assuage their sorrow. He appeared before them at
once, as He is always
partial to cows and
especially calves. He danced the dance again and
showed them that for Him it was as easy and
painless as gulping
"navaneetham" fresh sugared
butter! Deservedly Narada muni was also
able to
see this vision and he requested Krishna to grace devotees for
all time in the same pose at Oothakadu making it
the southern Gokulam.
Krishna acquiesced and
still blesses us as Kalinga Nardana Perumal
here. In fact this temple is unique.
We are so enamoured by the sight of Dancing
Krishna that the archaka
has to direct our
attention the main deity "moolavar" Sri Vedanarayana
Perumal at the back. He is amidst Sri and Bhoo
devi. Kalinga Nardana
Perumal is with Rukmini
and Satyabhama. The archaka informs us that
this is a "vendathal sthalam" wish giving temple
for those born in the
asterism of Rohini and
those interested in the performing arts.
Kaliyan Poigai Kalanga Painthittu
Avan Nilamudianthilum Ninru Natamseydhu
Mila Avanukku Arul Seydha Vithakan
Tholvali Veerame Padiparru
-Thoomani Vannanaipadiparru (Periazhwar Thirumozhi
3rd decad, 9th
Thirumozhi)
Though this is not a divya desa it seems as if
Vishnuchitta had this
icon in mind when he sang
about his favorite Child, Krishna.
On the other hand Venkata Kavi decidely saw
Kalinga Nardana Perumal
and sang as follows:
Kathirum Mathiyum
En
Nayan Vizhikkal Irunalinmaan
Salanthile Kalinga Sirathile
Kathithapathithile En
Manathai Iruthi Kanavu Ninavinodu
Piravi Piravi Thotrum Kanintharuka
Varantharuka
-Paalvadiyum Mukham- Oothakadu Venkatasubbier
Two more examples
from Venkata Kavi's works:
1. Ashaindadum mayil onru kaanum -
Simhendramadhyamam (madhyamakalam
of anupallavi
and charanam):
.Oru padam vaittu maru padam
tookki ninraada - mayilin irahaada -
makara
kuzhaiaada
madivadanam aada - mayakku vizhi aada -
malaranihal aada - malar
mahalum paada - idu
kanavo nanavo ena mananirai munivarum mahizhndu
kondada
2.Alankaara paambumela
Aadiyaacchu paadiaacchu
This is the famous
sloka from Bala Mukundashtakam:
Kalindajantha Sthitha Kaliyasya Phanagrarenge
Nattanapriyantham
Thathpucchahastahm
Sharadinduvakthram Balam Mukundam Manasa Smarami.
On the stage at
the front of the hoods of Kaliya who infested Kalindi,
Yamuna, He is fond of dancing. With its tail in
His hand and with a
face like the full autmnal
moon, this vision of Child Mukunda I
contemplate mentally.
After such
masterful descriptions it would be presumptuous to continue
to write. Adiyen requests all to make it a point
to visit Oothakadu
Kalinga Nardana Perumal Koil
and be blessed by the vision of the
Delightful
Dancer.
Dr.S.Sundar Rajan MS ortho
Trichy 23 Jan 2009
------------------------------------
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