SERIES - 4

The train had let off its usual steam whistle – like sound while it started off, as Siva settled in with his 8-year-old son Skanda, all set for an overnight journey from Trichy to Trivandrum. Carefully packed Idlis from home were gobbled up by both before heading to sleep.

Skanda always looked forward to these trips with his Appā, a Heritage & History enthusiast - all set for a lecture-demonstration at Sree Swati Tirunal Govt. College of Music. For now, Appā had his eyes closed and expected him to do the same, as they had a long day ahead of them next.

A very pleasing morning at Trivandrum Central Station welcomed them, as they got out of the train. Skanda stifled a yawn, firmly seizing his tiny backpack with one hand & holding Appā’s hand with the other. No later than they got into a rickshaw, his mind started bubbling with questions.

“Appā, where are we going first?”

“Will there be breakfast?”

“Will you take me to see a Mōhiniyāṭṭam performance?”

Siva smiled lightly. “One question at a time, Skanda. Let’s freshen up first before we head out on a little tour of the places around. And, it’s a yes to Mōhiniyāṭṭam”.

Skanda’s eyes twinkled. As they were getting done with breakfast, a waiter came up, pleasantly smiling, “Sir, we have the Trivandrum special, Ambalappuẕā Pāl Pāyāsam on our menu today. A small bite?” He turned towards Skanda, winking at him.

Siva agreed and continued to smile. Skanda noted his face and asked, “Appā, the way you’re smiling tells me that this dish has some connection with Mahārājā Svāti Tirunāḷ. Am I right?”

“Yes. Ambalappuẕā Pāl Pāyāsam, was added by the Mahārājā in the year 1839, during his rule to the list of dishes offered as Neivēdyam to Śrī Padmanābhasvāmi. We will be seeing svāmi in a couple of minutes.

Skanda chipped in, “Appā, I know how much the Mahārājā loved Śrī Padmanābhasvāmi. Is that why he adopted the mudra of Padmanābha?”

Siva nodded. “Yes, and more on this once we get to the temple. Done?”

As they entered the temple sanctum sanctorum, the lines of Bhōgīndra Śāyinam flashed across Siva’s mind. In that beautiful composition, the Mahārājā had not only covered the Sthala Purāṇa of the temple, but acknowledged the name of his predecessor, Mahārājā Mārttāṇḍa Varma who had built the present form of the temple and dedicated the royal kingdom of Travancore to the Lord.

Śrī Padmanābhasvāmi was the ruler in the eyes of all kings since then. They were only Padmanābhadāsa-s, who yielded to his supremacy & divine will. As Siva was pondering so, Skanda exclaimed, “Appā, why can’t we see Svāmi entirely through one door? He is so big, isn’t he?”

There he was – the form encompassing peace (Śāntākāram) reclining on Ādi Śēṣa (Bhujagaśayanam), bearing a cloud-like complexion (Mēghavarṇam).  Śrī Padmanābhasvāmi, Lord of the dēva-s (Surēśam), the very basis of the universe (Viśvādhāram) with a form that was all-pervading like the sky (Gaganasadṛṣam).

When Śrī Padmanābhasvāmi initially appeared to his devotee, Divākara muni - his form and structure was massive. The Supreme being, reclining on Ādiśēṣa - contained within him the entire cosmos filled with all kinds of creation – plant, wildlife, celestial & demonic forces. From his nābhi (navel), sprung a lotus - the seat of the creator Braḥma. He was in control of Māya (illusion), reality & eternity exuding peace with eyes that represented the sun and moon. This exhaustive structure spanned across 18 miles with the head in Thiruvallom, body in Thiruvananthapuram and the feet extending up to Thirupappoor. Revelation of this enormity overwhelmed the Muni. He requested the Lord to condense himself to the size of three times his staff & cater to his limited vision. 

This condensed form of the idol is still viewed through not one, but three doorways. In one, the reclining Lord paying obeisance to Śivaliṅga (an aspect of destruction) in his hand is visible. The middle entrance grants the vision of Braḥma’s (creator) Nābhijanma and the other his feet, the refuge of devotees bowing down to his supremacy. The Lord not fitting inside a single frame is an indication of his omniscience & omnipotence, that will always be beyond human comprehension. And the Mahārājā takes a single sentence to beautifully explain this magnificent story of Divākara Muni in the charanam of Bhōgīndra Śāyinam:

Kalitanuta sanyāsi bhajanānu guṇavihita sulalitākāramahitam

Skanda let out a gasp by the end of this story to Siva’s amusement. “So, Thiruvananthapuram – this sthala originally bore the middle part of his form – Madhyama – which is also the śruti in which Bhōgīndra Śāyinam is sung?”

“Wow, that’s a smart connection you’re making. Speaking of Madhyama, phrases in Kuntalavarāḷi such as – 

MPNDPD M |MPDNDPD M, M| MPSNDPM, M| 

centered on the note, madhyama, make the rāga sound so breezy & pleasant, isn’t it,” saying so, Siva let out a small chuckle.