| Madayikkavu | |
| Coordinates: | 12.0347°N 75.2614°W |
| Native Name: | Madayi Kavu മാടായിക്കാവ് |
| State: | Kerala |
| District: | Kannur |
| Location: | Pazhayangadi, Kannur |
| Deity: | Bhadrakali |
| Festivals: | Pooram, Perum Kalasham |
| Architecture: | Kerala architecture |
| Temple Quantity: | 5 sanctums |
| Creator: | Parashurama, Mushika dynasty, Chirakkal Kingdom |
| Temple Board: | Malabar Devaswom Board[1] |
Madayikavu (Māḍāyik्kavu), also known as Thiruvarkadu Bhagavathi Temple, is a significant ancient Kaula Shakti shrine in Kerala, located near Pazhayangadi,[2] [3] Kannur. With a distinguished history spanning over two millennia, the Kavu (sacred grove) was administered by various regional dynasties. The Bhagavathi was revered by these dynasties as their royal family deity, and they also carried out renovations of the Kavu at multiple junctures throughout history.
The deity enshrined within Madaayikkavu is the Fierce form of Bhadrakali, revered as the Mother temple of all Bhadrakali shrines in North Kerala. The temple complex houses deities Shiva, Saptha Mathrika, Ganapathy, Veerabhadra, Kshetrapala, and Shasthavu. The shrine is believed to be the last resort for removing Occult Sorcery (Black Magic and Witchcraft).
The Maadayikavu temple stands atop Maadayippara Hill, a recognized area of rich biodiversity. The hill thrives with a variety of plant and flower life, especially during the rainy and spring seasons. The abundant nature here attracts countless butterflies and birds, turning Maadayippara into a significant migration route.[4] Yet, during the summer months, a contrasting dry period prevails, occasionally leading to fires in the area. The dry season is thought to be the origin of the nearby village’s name, Eripuram, which translates to ‘Burned Village’.[5] Within Maadayippara Hill there is another shrine, Vadukundu Shiva Temple, and a temple pond—the central location for the temple’s ‘Aarattu’ festival. Notably, the hill features another pond named 'Juuda kkulam' (meaning "Jew Pond"), believed to be associated with past Jewish traders. Remarkably, this very pond remains a water source even during the dry summers. Furthermore, the hill bears the remnants of an ancient fort, adding to its historical significance.According to oral and written records, the site may have originally been a simple Kavu (sacred grove). Over time, it evolved into a temple complex, receiving patronage from the Mushika, Kolathunad, and Chirakkal dynasties, along with support from nearby provinces.
During British rule, an incident occurred while constructing a railway bridge across the river—specifically, one of the pillars kept collapsing. A sacred Shankhu (conch shell) was discovered near the site. Subsequently, the local villagers undertook a major renovation of the temple, which coincided with the successful completion of the bridge. The latest renovations at the temple are currently underway.
The Malabar Devaswom Board currently manages the temple. Previously, it was a revered shrine of the Chirakkal Royal Family and belonged to the Chirakkal Devaswom. Situated in Madayi near Pazhayangadi, the temple is more popularly known as Madayi Kavu.
The Thiruvarkkad temple, constructed by the Kolathunad dynasty, is situated within a Kavu (sacred grove). It’s plausible that the site initially housed a Maadam (മാടം, small loft) used for lighting lamps—a common feature in many Kavus. This Maadam could have acted as a precursor to the magnificent temple observed today. Additionally, the word ‘Maadam’ also signifies a ‘Watchtower’. Notably, the temple is perched atop a rocky hill, providing an unobstructed panoramic view that extends to the sea. Remnants of an ancient fort, constructed by the Mushika King Vallabha, along with four watchtowers, can still be found here.[6] Given the historical link between the royal families and the temple, the term ‘Maadayi ppara’ might also refer to the rock or hill where the watchtower stood. Interestingly, the Malayalam word ‘Maadam’ could have influenced the temple’s name, ‘Maadaayi Kavu.[7]
The following folklore explains the etymology of the name Thiruvarkadu.[8] According to a legend, the Bhagavathi originally resided in the Rajarajeshwara Temple (Taliparamba), near the western gate. However, over time, the Bhagavathi became too fierce, and the rituals needed to worship her conflicted with the pure rituals performed at Rajarajeshwaram.[9] Shiva, seeking a solution, called upon his disciple Parashurama. Parashurama invoked the Bhagavathi within the Rajarajeshwaram Temple and placed her in a sacred conch shell. He then threw the conch westwards. The conch flew through the air and landed on a large rock surrounded by a dense forest. The legend continues that upon the conch landing, the rock and the forest began to tremble. In Malayalam, "virra" means "trembling" and "kaadu" means "forest". This trembling is believed to be the reason for the name of the place. Over a while, it is believed to have changed from Thiruvirayal Kadu to Thiruvarkadu.
A Special Form of Address: Tantrics and Kalaripayattu martial artists call the Bhagavathi "Tiruvarkkad Achchi." In ancient Malayalam, "Achan" also meant "senior male teacher" and "Achchi" meant "senior female teacher" in Kalari martial arts schools. This title was also used for other leaders, like the head of the Mantravada (Sorcery) school ("Kalakattu Illathachan") and senior ministers.[10]
The legend is based on Markandeya Purana. Two Danavas (demons), Darika and Danavendra, received a powerful boon from Brahma, the Hindu God of creation. This boon made them invincible to any man or god. Filled with arrogance, they attacked the Devas (celestial beings) and wreaked havoc across the heavens. Faced with this threat, the Devas sought help from various gods and sages. However, due to Darika and Danavendra's boon, their attempts were futile. Finally, they approached Sage Narada, known for his wisdom and knowledge. Narada advised the Devas to seek help from Shiva, the Hindu god of dissolution. Upon hearing their pleas, Shiva opened his third eye, and from the flames emerged a fierce and beautiful goddess - Bhadrakali.[11] Bhadrakali, armed with weapons from various gods, was unstoppable. She fought a relentless battle against the demons. Legend says every drop of Darika's blood that fell on the ground would create another Darika. To prevent this, Bhadrakali, in her ferocious form, licked up the blood before it could touch the ground. Finally, Bhadrakali defeated and beheaded Darika, ending his reign of terror. However, even after victory, Bhadrakali's thirst for blood remained. The Devas pleaded with Shiva to calm her down. Engulfed in the rage of victory over Darika, Bhadrakali continued her rampage. Unbeknownst to her, Shiva, concerned about her uncontrollable fury, lay down in her path. Blinded by rage, Bhadrakali didn't notice him and accidentally kicked him. The contact with Shiva shattered the trance of her rage, and a wave of horror washed over her. She realized in a devastating moment that she had kicked her father. Shame and shock overwhelmed her. Her mouth gaped open, her tongue protruding.[12]
Seeing Bhadrakali's distress, Shiva transformed into a baby. Triggering her maternal instincts, Bhadrakali gently picked up the baby and cradled him, her anger dissolving into a sense of protectiveness. This act of nurturing calmed Bhadrakali, and she returned to her serene form.
Legacy: Bhadrakali is worshipped as a fierce protector against evil and a powerful symbol of feminine strength. The story of Darika and Bhadrakali highlights the battle between good and evil and the importance of seeking help when faced with seemingly insurmountable challenges.[13]
Tantra Shastra encompasses six main traditions: Shaivam, Vaishnavam, Shakteyam, Souram, Ganapathyam, and Kaumaram. All six traditions have flourished in Kerala and other parts of India for thousands of years. This practice spread widely since the first millennial CE. However, Kaumaram finds its most prominent presence in Tamil Nadu, with its practice diminishing elsewhere in recent centuries.
In Kerala, the practice of Shakteya Tantra is particularly widespread because the 'Grama Devatha' (Village Deity) of a majority of the villages are 'Mother Goddess,' whom they address as 'Bhagavathi'. This deep reverence for the Divine Feminine contributes to the prominence of Shakteya Tantra in the region.
In Kashmir, a collection of sacred texts known as "Panchasthavi"[14] was once prevalent. These texts included Laghustuthi, Ghatasthi, Charchasthuthi, Ambasthuthi, and Sakalajananeestuthi. These five texts belonged to the "Sreevidya Samprathaaya" tradition, which encompasses practices like Aanavopayam, Saakthopayam, Saambhavopayam, and Anupoyam. These practices were followed by the Bhattakaaras of Kashmir.Some Bhattakaras migrated from Kashmir to Kerala and established thirteen Shakta temples across Kerala.[15] These include:
The temple rites are followed in Koula sampradaya. A sub-tradition of Shaktism, the Shakta Kaula Sampradaya is a specific tradition within Shaktism, a Hindu denomination that reveres the goddess Shakti as the supreme reality or ultimate power.
Focuses on the worship of the goddess Shakti, the feminine aspect of the divine often seen as the dynamic energy and creative force behind the universe. Recognizes a multitude of goddesses, including Durga, Kali, Parvati, Saraswati, and Lakshmi. Emphasizes rituals and practices focused on attaining liberation or enlightenment through devotion to the divine feminine.
A sub-tradition within Shaktism known for its association with Tantra, a collection of esoteric texts and rituals focused on harnessing inner power through spiritual disciplines. Characterized by distinctive rituals and symbolism connected with the worship of Shakti and Shiva. These practices often have deeper meanings and interpretations within the tradition. Subdivided into four categories based on the goddesses worshipped: Kuleśvarī, Kubjikā, Kālī, and Tripurasundarī.[16]
Temple Rites and Spiritual Attainment:This temple is associated with the Shakta Kaula Sampradaya follows specific ritual practices. These practices may involve overcoming internal limitations represented by the Ashtapaashas (eight fetters):Ghrina (hatred), Lajjaa (shame), Bhaya (fear), Shanka (doubt), Jugupsa (reproach/insulting others), Kula (family/ professional pride), Jaati (caste/creed), Sheela (inability to unlearn poor conduct and relearn)Overcoming these internal limitations is considered crucial for meditation, particularly within the Kaula Sampradaya tradition. The theological belief suggests that by mastering the Ashtapaashas, a devotee's consciousness can be elevated through the grace of the goddess Bhagavathi. This elevation is often described as a transformation from primal emotions to a state of conscious wisdom.[17]
Thiruvarkkad Bhagavathi temple is believed to be the coronation site of the ancient Mushika kingdom. The location also has an ancient military fort built by Mushika Kingdom.[18] The 11th king of the Mushika dynasty, Shatasoman (Sutasoman), renovated the Perinchallur (Talipparamba) temple, where the family deity Bhadrakali was worshipped. Centuries later, in 344 AD, the Kola Swaroopam is credited with raising the Bhagavathi temple. Initially, the Kola Swaroopam, which was divided into four parts, was eventually reduced to two: Udayamangalam and Palli. Following the dissolution of Udayamangalam division Palli division only remained. The kingdom of Palli division hence was known as Chirakkal. Chirakkal Royal Family took over the administration of Madayi kavu and revered Bhagavathi as their family deity.
The temple had the influence of almost all Swaroopams (kingdoms) around the locality. Therefore the historical details of these kingdoms are described in Thottam Pattu (ballads) of the Theyyam.
Theyyam performances are held at the temple during festivals. During these festivals, Theyyams and Oracles known as "Komaram" sing ballad called "Thottam pattu." These songs offer a rich historical background of the region's kingdoms and folklore.
The Mushika Dynasty
Before the formation of the Swaroopams, the region was influenced by the ancient Mushika Dynasty(also referred to as Ezhimala dynasty) that once ruled over North Malabar. Historical accounts suggest the Mushika dynasty ruled North Malabar for centuries, possibly predating the rise of the Kolathiri in the Kannur and Kasaragod districts. The Mushika influence is believed to have extended from Vadakara in Kozhikode district to Mangalore in present-day Karnataka.[19] Though details are scarce, historical accounts suggest their rule predated the rise of the Kolathiri in Kannur and Kasaragod districts. Some sources claim the Kolathiri rulers are descendants of the Moshika dynasty.[20]
The Mushika dynasty reigned over a vast area in North Malabar, with its headquarters shifting between Ezhimala, Taliparamba, Madayi, Srikandapuram and Valapattanam. The period of their rule is estimated to be between the Sangam period (before 3rd century CE) and the 15th century CE.[21] The noted kings are:
The Mushika Vamsa Kavya, a Sanskrit epic poem by Athulan (court poet of King Shrikantan, 11th-12th century CE), chronicles the history of the Mushika kings up to the 12th century.[22]
Following the decline of the Chera Empire around the 12th century AD, a political vacuum emerged in Kerala. This paved the way for the rise of independent kingdoms known as Swaroopams. These Swaroopams were ruled by joint families following matrilineal lineages. In North Kerala, two prominent Swaroopams emerged:
The Kolathiri dynasty, rulers of Kolathunad, trace their lineage to the Mushika dynasty. The Mushika Vamsa Kavya, an 11th-century sanskrit epic by Athulan, chronicles the royal family's history until that time, identifying them as mythological Chandravanshi Kshatriyas of the Heheya clan.
Between the 9th and 12th centuries, the Mushika dynasty governed the Chirakkal region of northern Malabar, while the southern Thalassery-Wayanad area was part of the Second Chera Kingdom. Possibly descended from the ancient Nannan dynasty of Ezhi mala, the Mushikas were perhaps Chera vassals. However, some scholars dispute this, arguing that the absence of a Mushika ruler among the signatories on the Terisappalli and Jewish Copper Plates, which list the rulers of Eranadu and Valluvanadu, suggests their independence. Intermarriage was common between the Mushika dynasty and the Muvendhar rulers (the three kingdoms Cholas, Cheras, and Pandyas). The Mushika dynasty is mentioned in Hindu texts like the Vishnu Purana and the works of the Greek geographer Strabo (64 BC to 24 AD, best known for his work Geographica).[23] Until the 11th century, the Mushika kings followed a patrilineal system of succession. Subsequently, the inheritance pattern shifted to matrilineal succession.
Pandya invasions during the 6th and 7th centuries caused significant turmoil in South Malabar. As a result, the Cheraman Perumal of that era relocated northward to Gokarna, where he encountered and married three North Indian Kshatriya princesses on a Shiva pilgrimage. One of the princess's daughters, Ambalika, became the designated crown princess and subsequently married Ravivarman. Keralavarman, born to Ambalika in 724 AD, founded the Kolathiri dynasty. His lineage continued with his niece's son, Udayavarman, who succeeded him as the ruler of Kolathunadu. The Kolathiri dynasty forged matrimonial alliances with the Mushika Kingdom.
Rise of the Kolathiris
The Kolathiri royal flag featured a Naandakam Vaal (sword) and a Nenmeni-vaka flower. According to legend, possibly allegorical, Parashurama assisted their coronation and bestowed the sword as a symbol of authority. The Nenmeni-vaka flower symbolizes Ayurveda and medicine, reflecting the dual teachings of combat and healing in Kalaripayattu.
Centuries later, seeking to restore their lost Kshatriya rituals due to Nair intermarriage and matrilineal succession, the Kolathiri king Udhayavarman turned to the Namboothiri settlements in Taliparamba for support in the ritual(Yaga followed by Hiranyagarbham ritual) to become a Kshatriya king. However, he was denied, being told that he was a Shudra (a lower caste) and that they do not agree to any other king apart from the deity of Rajarajeshwaram Temple, 'Perum Thrikkovilappan' (Shiva)[24] . The Brahminic settlements in Payyannur are the earliest in Kerala and were very powerful[25] . They considered the deity 'Perum Thrikkovilappan' as the sole 'Empuraan' (Emperor-Ruler of Kings), establishing a hierarchy where the deity is at the apex of authority and power. This projection of the deity's supremacy served to protect and enhance the power of the Brahminic settlements, ensuring that no earthly ruler could govern the land of the deity or challenge their authority. Defying the local Brahmins, the ruler underwent the Hiranyagarbha rebirth ritual to reclaim Kshatriya status [26] [27] with the assistance of Sagara-Dwijas Brahmins from Gokarnam and Tulunadu. Following this, the Kolathiri Rajas adopted the title Perumal and were celebrated as "Vadakkan Perumal" (Northern Kings) in the Keralolpathi. These Brahmins (237 households settled in belts near the Perumba River called Anjudesam -Cheruthazham,Kulappuram, Arathil, Kunneru Vararuchimangalam. Another group of 257 Tulu Samudra Brahmins joined). These Brahmins adopted Namboothiri customs and they settled in North Kerala (Later 143 households moved to Tiruvalla. They were addressed as Embranthiri). As Udayavarmman breach the Sanketa Maryada, the TaliparambaYogam and Sabha jointly decided to demolish the Karippathu Kovilakam, theresidence of Udayavarmman. This eventually led to social clashes between Tulu Brahmins, Malayali Brahmins, the Royal family, the Kalaris they owned, and conflicts with classes of people they considered untouchables. The Tulu Brahmins showed more aversion towards untouchables as they did not have any previous societal bonding compared to the Malayali Brahmins.[28] The tensions between the Kolathiri and Malayali Brahmins, exacerbated by the oppression of the untouchable castes, fostered the development and expansion of the, then pre-existing religious art form Theyyam. Kolathiri eventually had to bow down to the Perinchellur Namboothiri yogam. The tensions between the Royal family and the Malayali Namboothiri community of Perinchellur (comprising Taliparamba Rajarajeshwaram temple and Payyanur Subrahmanya Swamy temple) might have led to a focus on developing Madayikavu, where Malayali Namboothiris lacked authority.[29]
Decline of Kolathunad
By the 17th century, the Kolaswarupam's political authority was shared with the Nileswaram (Allada swaroopam) and Arakkal kingdom. Internal power within the Kolaswaroopam was divided among several kovilakams. The Keralolpathi identifies four kovilakams sharing political authority: Talora Kovilakam, Arathil Kovilakam, Muttathil Kovilakam, and Karipathu Kovilakam, while the Karipathu Kovilakam claimed superiority. These kovilakams further branched out, creating a network of 'political houses' within the Kolaswaroopam. The Dutch records indicate that the Palli Kovilakam and the Udayamangalam Kovilakam held greater political influence in later periods.[30]
The military conquests of the Samoothiri of Kozhikode, the Canara invasion, and, most significantly, the Mysorean invasion contributed to Kolathunad's decline. The Arakkal Kingdom's alliance with Mysore forced many Kolathiri royals to seek refuge in South Malabar. Those who remained were killed or captured and deported to Srirangapatanam, and their palaces and mansions destroyed.[31]
The decline of the Udayamangalam division in Kolathunadu can be attributed to several factors. By the 17th century, the Kolaswarupam’s political authority was shared with two other lineages in North Kerala—the Nileswaram Swaroopam and the Arakkal kingdom, which claimed independent political identities. Additionally, the Udayamangalam branch was excluded from assuming the title of Rājā, leading to the abandonment of the ancient title of Kolathiri Rājā. Consequently, the ruling family (Palli division) monopolized the right of succession as Rājā, and the title of Kolathiri was no longer used.
The Kolathunad Swaroopam and Its Subordinate KingdomsThe Kolathunad Swaroopam was ruled by the king addressed as Kolathiri. The Kolathunad Swaroopam's control over its entire claimed territory was not absolute. Numerous smaller kingdoms, collectively known as the 'Kolathu Naalu Swaroopam' ("Four Swaroopams of the Kolathiri"), existed within its domain.[32] These kingdoms, considered subordinates to Kolathunad, were:
During the Kalasha Uthsavam of Maadayikavu the Theyyam of these Swaroopam's are performed.
Other Notable Kingdoms and Their Deities
Further north in Kannur district lay the following noteworthy kingdoms:
Smaller Swaroopams:The region also encompassed several smaller Swaroopams:
Theyyam Performances: Reverence for the Deities :Theyyam performances pay homage to the deities of these erstwhile kingdoms. The songs sung by the Theyyam artists narrate the legends of the region, keeping their memories of the royal families and kingdom alive. Invocations are made to the kingdom deities, seeking their blessings and protection. The Theyyam costumes, with their vibrant colors and elaborate headgear, often reflect the symbolism associated with these deities. For a Theyyam artist, understanding the region and the specific Swaroopam (dynasty) associated with the temple is essential. Even the Thottam Pattu (ballads) and other intricacies of the same Theyyam can vary based on different Swaroopams.This intricate relationship between Theyyam and the region's history helps preserve a unique cultural heritage. The art form serves as a living testament to the bygone era of Swaroopams, their rulers, and their deep-seated faith in the divine.
The region faced several external threats during the eighteenth century. The first came in the form of a Canara invasion (Nayakas of Bednur - The capital shifted from Keladi to Bednur during 17th centaury) in 1732, at the invitation of the Arakkal kingdom. Basavappa Nayaka II was the ruler in Bednur. Under the millatry commander Gop alaji, Canara forces swiftly overran Prince Kunhi Ambu’s forts in northern Kolathunad. They captured Kudali and Dharmapatanam by early 1734. However, with English East India Company support, the Canara were expelled by 1736. This victory came at a considerable cost, plunging the region into debt. The Nayakas attacked again during 1737. To prevent further incursions, a peace treaty was established in 1737, delineating the Madayi River as the northern boundary of Kolathunad. The English East India Company also secured its trading interests through a treaty with the Nayakas of Bednur.
Mysore Invasions and Subsequent RestorationThe relative peace following these early conflicts was short-lived. The latter half of the eighteenth century witnessed a series of devastating invasions by the Mysore kingdom. Hyder Ali's initial attack in 1766 marked the beginning of a tumultuous period for the region. His subsequent campaigns, culminating in the destructive raids by the army of Tipu Sultan (1789-1790), inflicted significant damage upon the Madayikavu temple and the surrounding area. Hyder Ali’s forces, aided by the Arakkal kingdom and a rebel prince, Kappu Thampan, orchestrated these attacks. The Kolathiri Raja was forced into exile to British fort in Thalassery after the Arakkal Raja seized and burned his palace.[39] Despite earlier agreements, the British East India Company failed to provide promised protection. To consolidate power, Hyder Ali reinstated the Chirakkal Raja in 1776, in an agreement to join the Mysore army in suppressing Pazhassi Raja of Kottayam.[40] The temple bore the brunt of these conflicts. Acts of desecration, including the slaughter of cattle within the sacred precincts, were perpetrated by the invaders. A local Nair warrior, Vengayil Chathukutty, avenged this sacrilege by beheading the culprit and earning the title of Nayanar.[41] Eventually, the Chirakkal king, locally known as Koonan Raja, initiated the task of restoring the temple.
Temple Layout and Deities: The Madayi Kavu Temple adheres to a Tantric architectural style known as Rurujith Vidhanam. In this style, Shiva's sanctum sanctorum (innermost shrine) faces east. Adjacent to it, the Bhagavathi's sanctum faces west and is positioned slightly southeast. Directly opposite the Bhagavathi's sanctum lies the Mathrusaala, a shrine dedicated to the seven mothers (Saptha mathrika): Brahmi, Vaishnavi, Kaumari, Shankari, Varahi, Indrani, and Chamundeshwari. The Mathrusaala itself faces north towards Shiva's sanctum. Within the Mathrusaala, Ganapathy faces east, while Veerabhadra faces west.[42] [43] There is another sanctum of Shastha facing east inside the temple. The idols of Paathala Bhairavi and Kaala Bhairava are also in this sanctum.
Worship Etiquette: The traditional worship practice at Madayi Kavu Temple involves entering through the eastern gate and following a circumambulatory path. Devotees first pay their respects to Shastha, followed by Kshetrapalakan, Shiva, Mathrusaala (the abode of the mothers), and finally, Bhagavathi.
Priesthood and Traditions: Kattumadom Esanan Namboothirippad serves as the temple's Tantri, the head priest. The Kattumadom family is one of the four prominent Mantravada Brahmin clans in Kerala.[44] Temple rituals are conducted by Pidarar Brahmins who adhere to the Koula Sampradaya tradition. The temple also shares a connection with the Bhadrakali Temple of Mannanpurathu Kavu (Nileshwaram) and Vadukunnu Shiva Temple.A Special Offering: A unique aspect of the temple is "Kozhi Kalasham," a ritual sacrifice of poultry for the goddess Bhagavathi, which holds significant importance within the temple's traditions.[45]
The main idol of Bhagavathi in a specific Kerala temple is crafted using a rare and closely guarded technique called "Kadu Sarkara Yogam." This method, a legacy passed down by artisans, is used to create sacred idols in select Kerala temples. However, for abhishekam, the ritual purification ceremony, an additional metal idol exists. This metal idol is taken outside the temple during the "Aarattu" festival procession. The Kadu Sarkara Yogam idol was crafted during 17th century under the guidance of Thukalassery Kuzhikkat Maheshwaran Bhattatirippad.
Inspiration for the Padmanabha Swamy Temple Idol:The new idol of the Padmanabha Swamy Temple in Thiruvananthapuram (formerly Trivandrum), completed in 1739, is believed to have drawn inspiration from the practices of the Attingal queens (Rani) of Travancore. These queens, originally from Kannur (four princesses and two princes were adopted from Chirakkal Kingdom of Kannur by Umayamma Rani), worshipped an idol of Madayi Kavil Amma within the Attingal palace. Notably, the Padmanabha Swamy idol is crafted from 12,008 sacred Shaligram stones brought from Nepal and employs the unique Kadu Sarkara Yogam technique.[46]
Kadu Sarkara Yogam is a rare and intricate method for creating temple idols in Kerala, India. Unlike many other idol-making techniques, Kadu Sarkara Yogam utilizes a unique combination of materials and a specific on-site construction process.[47] There is only limited use of the craft. It's important to note that only a handful of temples in Kerala house idols crafted using Kadu Sarkara Yogam. This scarcity highlights the complexity and potentially diminishing knowledge required for its creation. A defining characteristic of Kadu Sarkara Yogam is the location-based construction. The idol is meticulously built within the designated temple where it will be permanently housed. This practice might be attributed to the specific materials used or the need for specialized rituals during construction. Unlike many other idol types, Kadu Sarkara Yogam idols are not done abhisheka. Abhisheka means cleansing or applying water on idols.
Six-Stage Handcrafting Process: [48]
The creation of a Kadu Sarkara Yogam idol involves a well-defined sequence of six stages:
Originally, the Madayi Kavu temple celebrated four annual festivals.
Except for the Malayalam month of 'Dhanu', every other month has festivals in the temple:
Observances of the Villagers:
Perum Kalasham:
Held in the Malayalam month of Medam (April–May), this festival is a shorter event, lasting only a few hours. It is believed to mark the conclusion of annual festivals in North Kerala.
During the Kalasha Festival the following theyyams are performed in the temple Kalariyaal Bhagavathi, Kshetra palakan, Chuzhali Bhagavathi, Someshwari, Kaala rathri Bhagavathi, Maanjalamma, and Vettur Chekavan. The theyyams are the kingdom deities of the surrounding provinces of the temple.
North Kerala boasts a rich cultural heritage, exemplified by Theyyam, a ritualistic dance form with a documented history exceeding a millennium.[52] Theyyam performances function as multifaceted cultural expressions, deeply rooted in religious devotion, historical narratives, and regional identity.[53]
Performers utilize vibrant costumes, intricate makeup, and dynamic movements to embody a diverse pantheon of deities, heroes, and ancestral spirits. Pulsating percussion and melodically recited "Thottam Pattu" narratives accompany the performances.[54]
Theyyam transcends culture and worship. It serves as a living testament to the enduring belief systems and rich folklore traditions that have shaped North Kerala for centuries.
As a vibrant and vital component of religious festivals in North Kerala, Theyyam ensures the continued transmission of this ancient cultural heritage. The theyyam performers and communities ensure that this millennial tradition remains a cornerstone of regional identity and a captivating window into Kerala's rich past.[56]
Located in Thiruvananthapuram, the Bhagavathi temple is believed to house the deity Madayikavil amma. This temple holds significance due to Maharaja Swathi Thirunal's reverence for the goddess, as expressed in his keerthanams (compositions) where he addresses her as "pahi parvatha nandini." Notably, Swathi Thirunal's maternal lineage hails from Kannur.
Historical records suggest that Madayikavil amma's presence in Thiruvananthapuram is linked to an adoption from the Chirakkal Kingdom of Kannur into the Travancore Royal family. Rani Umayamma Aswathi Tirunal adopted two sons and four daughters from the Pally Kovilakam of the Kolathunad Royal house and the Royal family's branch in Beypore. These adopted members were then allocated a palace in Attingal.[57] As the Kolathunad Royal family of Kannur worshipped Madayikavil amma as their family deity, the adopted princesses brought a Bhagavathi idol from Kannur to Attingal and worshipped it as Madayi kavil amma. Initially housed within the palace, the royal family later built a dedicated temple for the Bhagavathi nearby. These princesses subsequently married princes, also from the Kolathunad royal family of Kannur. Kings Marthanda Varma and Dharma Raja were the next-generation descendants of these adopted males and females, ensuring the continuation of the worship and traditions.
The Travancore royal family built upon a tradition of adoption, echoing the precedence of the adoption by King Sangramadhira Ravivarman Kulaśēkhara[58] of the Chera dynasty centuries ago. In 1305 CE, he adopted two princesses from the Kolathiri dynasty, known as Attingal and Kunnumel Ranis. The line of kings following Ravi Varman adhered to the Marumakkathayam law of matrilineal succession. Thus, the royal family continued through the female lineage.[59] Whenever there were no females to take forth the line, princesses were adopted from the Kolathiri family, the latest adoption being in 1994.[60]
The following are the etiquette practiced in the temple.
Attire
General etiquette
Madayi Kavu Temple, situated in Pazhayangadi village of Kannur district, Kerala, enjoys good regional connectivity but might require planning for access from major Indian cities.