The visit
to this Padmanabhaswamy Temple at Thiruvananthapuram was a part of the Malai Nadu Divya
Desam visit from 10th to 14th June 2025, organized
by Mantra Yatra (website). Thanks to Mr. Balaji Davey and
his team of Mantra Yatra for the excellent arrangement and personal care.
This is one of the 108
Divya Desam of Maha Vishnu, and Managalasasanam was done by Nammalwar (3678-88).
கெடும் இடர்ஆயஎல்லாம் கேசவா என்ன நாளும்
கொடுவினை செய்யும் கூற்றின் தமர்களும் குறுககில்லார்
விடம்உடை அரவில்பள்ளி விரும்பினான் சுரும்பலற்றும்
தடம்உடை வயல் அனந்தபுரநகர்
புகுதும்இன்றே
…. நம்மாழ்வார்-இரண்டாம் திருவாய்மொழி
Moolavar : Sree Ananta Padmanabhaswamy
Thayar : Sree Harilakshmi Nachiyar
Some of the salient
features of this temple are….
The temple faces east
with a 7-tier Rajagopuram. The golden Dwajasthambam (80 feet high) and
balipeedam are at the entrance of Rajagopuram. Vinayagar temple, Thulabaram, and Navagrahas are on the ceiling panel.
Moolavar is in sayana
posture on Adhiseshan reclining in a south-north direction, with head on the
south side and feet on the north side. 3 windows are provided for the darshan
of the feet, body, and face of Sree Anantha Padmanabha Swamy.
The panchaloka murtis
Ramar, Sita, and Lakshmana, a Silver Vinayagar with his consort on his lap, a
Little Krishna (Vinayagar and Krishna may belong to some priests), Hanuman in
Anjali hastam, are in the ardha mandapam.
In the Thiruchuttambalam/outer
praharam Vinayagar, Narasimha Swamy, Visvaksena, Thiruvambadi Krishnar,
Kshetrapala, and Dharma Sastha.
Thiruvambadi Krishna
is in
a separate temple with Dwajasthambam and balipeedam. The temple consists of the sanctum
sanctorum, antarala, ardha mandapam, and open mandapam. The adhistanam is of prati
bandha adhistanam. The prastaram consists of valapi and kapotam, with nasi kudus
and vyyalavari. The drawings are on the
bhitti. The vimanam is of 2 tala Kerala style.
Kshetrapala is also
in a separate sannidhi with salakara vimanam. The nasi is extended up to the
mukha mandapam. A Vinayagar is in the antarala. Believed to be one of the 8
bairavas of Parameswara.
Dharmasastha is also
in a separate temple with a sanctum sanctorum and an open mukha mandapam. The
moolavar is of swayambhu in black stone. Sastha is in a sitting posture, holding an
amrutha kumbha in the right hand. The vimanam above the adhistanam is of eka
tala Gajabrushta style with one kalasam.
In addition to the
above, a Sree Agrashala Ganapathy is on the inner side of the eastern outer
wall. His role was supervisory, and he acted as a witness to the large-scale
cooking. The first cooking is offered to Vinayagar. Expenses for this
Vinayagar pooja and naivedyam are borne by the temple staff.
There are 12 sacred
theerthas in and around the temple.
Siveli Murti
ARCHITECTURE
The temple consists
of Sreebelipura, Gold Dwajasthamba, Ottakal Mandapam, Sreekovil Sri Padmanabha
Swamy, Sree Ramaswamy with Sita and Lakshmana, Sree Visvaksenan, Sree
Kshetrapalan, Sree Narasimha Swamy, Sri Krishna Swamy Temple, and Kulaseka
mandapam. The Kulasekara mandapa pillars have various sculptures.
The sanctum sanctorum
is rectangular in shape to accommodate Maha Vishnu’s sayana posture. The
adhistanam consists of jagathy, threepatta kumudam, and pattikai. Brahma kantha
pilasters with kalasam, kudam, lotus petals mandi, palakai, and pothyal. The
prastaram consists of valapi, kapotam, with nasi kudus and viyyalavari. The
Vimanam is of salakara style.
Kulasekara mandapam pillar images
Kulasekara mandapam pillar images
Kulasekara mandapam pillar images
Kulasekara mandapam pillar images
Kulasekara mandapam pillar images
A single (floor)
stone mandapa is in front of the sanctum sanctorum. This mandapa is called Ottakkal mandapa or Ekasila mandapam. Steps or sopanam are provided on both
sides to climb up and down. The floor single stone measures 18 feet long, 18.5 feet wide, and 2.5 feet thick. Inscriptions are found on the sides of
the flat stone. The ceiling has a panel of ashtadikpalakas. This platform was
completed in 1731 CE under the direct supervision of Sree Anizhom Thirunal
Marthanda Varma.
The three sets of
double doors are at a distance of six feet from one another. They are massive
in girth and are well secured and locked with the old traditional locks and
keys. Now plated with gold and decorated with the bas-reliefs of celestial deities
and designs. The first Nata has Varaha, Krishna, Hanuman, Kshetrapalakas, etc,
the second has Ganapathy, Siva, Vishnu, Mahalakshmi, Garuda, Hanuman,
Venugopala, and so on, while the third has a fine Anantasayee, sitting Ganapathy,
Kaliyamardanam, Siva, Parvathi, Vishnu, and the like. Designs, geometrical and
floral, increase their wonderful artistry. On each door are attached eight
vertical lines of silver bells with four bells in a horizontal row, having a
gold bell each for the two side door frames and three gold bells for the
central one.
The inner Sreekovil
or Garbha Gruham/ sanctum sanctorum of the Temple is reached through these
Natas. It is also a rectangular, two-divisioned structure (dwithalam) measuring
twenty-four feet in length, eighteen feet in breadth, and forty feet in height,
the first portion being a long, corridor type of area and the second, across the
high inner step, being the chamber where the main Deity is consecrated. The
sanctum is double-storied, ridged, and tiled with copper sheets with three
globular gold Stupikalasas (crest pots) over the three doorways. On either side
of these pots is affixed a gold trident-shaped emblem, which is one of the
signs of Vishnu. Another crest pot and a similar symbol stand by themselves on
the roof of the Ottakkal Mandapam.
This lofty Vimanam
(roof) is built in Dravidian style. The inner walls as well as the exterior
portions carry mural paintings, many of which depict the stories detailed in
the great Indian epics like the Maha Mahabharata and Ramayana. It is claimed that when
the ear is pressed to the outer wall of the sanctum, especially near the area
where the Lord's feet rest, the resonance of Pranavam or Omkaram (the
primordial sound vibration) can be heard. Others claim that it is the muted roar
of the Ocean of Milk. The Antarala (inner corridor) is present, and a lamp is
lit in it at the specified spot. The
vimanam is called Hemakuda Vimanam
The sacred recumbent murti
of Sree Padmanabha Swamy on the great three-coiled serpent chief Ananta- the
Anantasayana Vigraham - looks upwards, with head to the south and feet to the
north, and can be viewed only through the three doors. This Idol itself has been
acclaimed as a marvel in iconography. Made of a composition known as
Katu-Sarkara-Yogam, the inner spaces of this Idol are lined with the twelve
thousand eight sacred Salagramas (which represent Vishnu) brought from the Gandaki
river in Nepal. The Maha Vishnu is represented as being in Yoga Nidra or
conscious cosmic slumber, eyes partially shut, reclining straight on Ananta,
with a lotus rising from the stalk of the navel. Brahma, the Creator, also in
Katusarkara, is seated in it. The left hand of the Deity holds His favorite
bloom, the lotus bud, and displays a mystic symbol, and below the right hand is
Sree Parameswara, fashioned out of a Saiva Salagrama stone, which is also
somewhat unique. The five hoods of Ananta, whose body is thrice coiled to form
a couch for his supreme Master, act as an umbrella above His head. The tail of
the serpent, too, is clearly shown. The actual length is set at eighteen feet, which may be at variance with normal measurements adopted for Vishnu idols
based on the Dasathalam principle of iconography.
The images of the two
Sages, Markandeya and Bhrigu, as well as those of the two consorts of Maha
Vishnu, Devis Lakshmi, and Bhoomi, all in sitting position and of reasonably
big proportions, the previously mentioned images of Brahma and celestial hordes
including Narada, Garuda, Tumburu, and the Seven Sages, the Sun, the Moon, etc
are all made of Katu-Sarkara-Yogam. As such, no water oblation is performed on
any of them, the main Idol included, only worship with flowers. This Idol is
cleaned by gently passing peacock feathers over it to remove the previous day's
flowers, etc., by the priests, who have a special right of entry into the
Sreekovil and privileges therein.
For the purpose of
Abhishekam, in the central portion of the sanctum and in front of the main Idol, on
a platform, are the standing Idols of Maha Vishnu about two feet tall, in gold,
with images of the two Goddesses on either side. Maha Vishu is four-armed. The
right upper hand holds the Chakra, the left upper hand the Shankhu (conch), the
right lower a lotus held in the upturned palm displaying the Amrutha Mudra, and
the left lower holds the Gada (mace), though only in concept. The two Devis clasp
a lotus bloom in their hands, Lakshmi on Her left and Bhoomi on Her right. These
three Idols are brought onto the Ottakkal Mandapam for rituals with liquid
components and so on. On the left of the Lord, on this platform itself, is His
silver idol in a sitting posture and is also four-armed. The right and left hands
have the Chakra and Sankhu, respectively, while the lower right hand has a flower
and the lower left has the Gada. The left leg hangs downwards, and the right is
crossed over. This is the Siveli Murti or Utsava Murti used for the outer
processions. Normally, only Moola Vigraham and Utsavam or Siveli Vigrahas are
seen in temples. Here, the Abhisheka Idol is also present for the reasons explained
above. The two Garuda conveyances of Sree Padmanabha Swamy and Sree Narasimha
Swamy, containing special sanctity, are also kept within this sanctum. Also of
Katusarkara are the two standing figures of the demons Madhu and Kaitabhan.
The paintings are
done as per the principle of Pancha malas or five garlands. They are Mriga
Mala, Pakshi Mala, Vana Mala, Bhoota mala, and Chitra mala. These paintings are
drawn using natural pigment obtained from natural stones and the juices of
plants. Most of the Mural paintings were done during Sree Anizhom Thirunal
Marthanda Varma in the 1700s. The mural paintings' subjects were
usually stories, dramatic episodes from the Purana, or epics. Some of the
paintings are…
Sudarsana Moorthy,
Venugopala Krishna, Devi as Mahagayathri, Siva, Tandavam (cosmic dance of
Siva), Siva Parvati, Bhadra Kali, Sree Vettakkorumakan (a rare concept) and
fierce, Aghora form of Siva and Kiratarjuna, Nabhijanma form of Brahma, a Sage,
Sanakadi Sages, Bhoomi Devi, Vyaghrapada Muni, Patanjali, Garuda with folded
hands, Siva in Standing form, two Sanakadi sages, naked children with saints, Lakshmi Devi, an
Anantasayanam, Baby Krishna, Yasodha, Nandagopalan, Brahmi, Lakshmi,
Thripurasundari, Mohini, Siva Thandavam, Murugan, Annapoorani, Nandikeswaran,
Rishabaroodar, Saraswati, Mahalakshmi, Parthasarathi, Dwarapalaka, Vishnu in a sitting posture, Bala Saraswati, Vanabhojanam, Vamanan, Vishnu Chathurakesari
Gopala, Balabhadran, Balakrishna, Aswaroopa Parvati, Pancha Maha Durga,
Hayagreeva, and Balakrishna, Krishna and Vasudeva, Nandagopalan, with his
daughter, Sree Narsimha Avatar with Hiranyakashipu, Sree Rama, Ravana,
Kumbhakarna, etc.
SHRI DHARMASASTHA TEMPLE WITH GAJAPRISHTA VIMANAM
Dharmasastha is also in a separate temple with a sanctum sanctorum and an open mukha mandapam. The moolavar is of swayambhu in black stone. Sastha is in a sitting posture, holding an amrutha kumbha in the right hand. The vimanam above the adhistanam is of eka tala Gajabrushta style with one kalasam.
HISTORY AND
INSCRIPTIONS
Some milestones of
the Sree Ananta Padmanabha Swamy Temple.
The important
recorded events relating to the period between 1335 CE and 1384 CE, when Venad was
ruled by a powerful and wise king named Veera Marthanda Varma. He gradually
established his authority completely over the management and administration of
the Temple. There are records to indicate that in the year 1375 CE, the Aipasi
Utsavam (a ten-day festival held in October-November) was conducted in the
Temple.
Between 1459 CE and
1460 CE, the idol of Sree Padmanabhaswamy was removed to a ‘Balalaya’ for the
purpose of reconstruction of the roof of the sanctum sanctorum.
In 1461 CE, the idol
was reinstalled, and an Ottakkal Mandapam (a Single granite stone slab abutting
the sanctum sanctorum) was put up.
In 1566 CE, the
foundation was laid for the Gopuram (pagoda) over the main eastern entrance.
In 1686 CE, the
Temple was almost fully destroyed in a major fire. Work on the reconstruction of the Temple was started only in 1724 CE.
In 1728 CE,
propitiatory ceremonies, connected with the serious fire of 1686, were
conducted.
It was in the year
1729 CE that the great ruler Marthanda Varma became the king of Travancore. He
took the steps to renovate the Temple. In 1730 CE, the idol was again moved to
‘Balalaya’ before the renovation and reconstruction of the sanctum sanctorum.
It took two years to complete. The old wooden idol was replaced by the one
that we see today.
Some of the
Inscriptions are….
1.
Trivandrum Inscription of Kodai Marthanda
This subjoined
inscription is found on the south wall of the Goshala-Krishna shrine of the
Sree Padmanabha Swamy Temple. The first portion is in verse form, and the whole
text is in Sanskrit, while the script is in Malayalam. It states that the
illustrious Adithya Rama, "the prosperous and honored soul of the
earth", who was the Umbrella-Bearer of Kodai Marthanda Varma, made certain gifts to this shrine. The inscription in translation reads as follows:
2.
Trivandrum Inscription of Veera Rama Kerala Varma
This inscription, engraved on the base of the Mandapam in front of the central shrine during the
rule of Veera Rama Kerala Varma, mentions the year as 385 ME/1210 CE. It
registers a certain grant of land for feeding Brahmins, maintaining
flower gardens, and so on. It speaks of Tongappallavaraiyan, Thiruvananthapuram, and Mithranandapuram.
3. Edanazhi/Vathil
Madom Inscription
A fairly lengthy
inscription covering one complete granite slab on the side wall of the left
Vathilmadom, close to the Edanazhi, offers itself for inspection. It is located
immediately to the left side as one enters Sree Padmanabha Perumal's
Nalambalam. Couched in Vattezhuthu, it employs the Tamil language and is partially
damaged. Experts conclude that the names in this inscription, Sree Veera Raman, who was the Venattadigal or Venad ruler of that period, and Veera Rama Kerala
Varma were the same. Veera Rama Kerala Varma's reign exactly coincides with
this time frame. Inscription 2, included above, is proof in point. Certain
peculiarities in linguistic usage have been noted. The object of the
inscription is apparently to register a gift of land by a certain Pallavarayan,
probably an officer of the King.
4. The Belikkal
Inscription
This is on the
Belikkal of the Sree Krishna shrine in this Temple. It is damaged. The King,
Veera Iravi Iravi Varma (who must have been the Chiravayi Mooppan), and
Sarvanganathan, Thrippappoor Senior Thiruvati, are mentioned. The language is
Tamil Vattezhethu.
5. Namaskara
Mandapam Inscription of Sree Krishna shrine-1
Engraved on the front
Mandapam of the Sree Krishna shrine are words to the effect that Adithya Varma
alias 'Sarvanganathan' built this Temple, the platform facing it, and the
Goshala. It is written in Sanskrit in Grantha. The date is given as 549 ME/1374
CE.
6. Namaskara Mandapam
Inscription of Sree Krishna shrine- II
This is written on
the self-same Namskara Mandapam of the Sree Krishna shrine and is about the
same donor, and repeating his donations. The main difference is in the year
revealed by the chronogram Cholapriya 1296 Saka 550 ME or 1375 CE. It is in the Sanskrit Grantha
7.
(Thiruvananthapuram) Inscription of Veera Ravi Varma Kulasekhara Perumal
This inscription is
seen in the Thulabharakkal in the main shrine area, in two sections, carrying the year as 776 ME/1601 CE. The text is basically in Tamil, though Sanskrit
usage is also seen. It is as follows:-
"Be it well!
Prosperity! In the Year four thousand, seven hundred and two (current), when
Saturn was in the Tula (rasi), Jupiter in the Kanya (rasi) in the Kollam year
776, on a Saturday which was the 12th of the month Mithunam and (nakshatra)
Punarvasu, when there occurred an eclipse of the sun, the (King) Veera Ravi
Ravi Varman alias Kulasekhara Perumal of the Keezhaperoor Illom (house) and
belonging to the Thrippappoor Swaroopam (family) weighed himself against gold
(in commemoration of this event) the Mandapam in which the Thulapurusha Maha
Danam was given away (to Brahmins) was built by the wives (Kettinattavar)
Iraiyumakkuttiyammai and (Ilaya) Iraiyumakkuttiy-Ammai. They built this
Mandapam.
Historical records
also underline the greatly pious disposition of this King and his family, who
were lavish in spending finances on temples scattered far and near for their
renovation, repair, and additions. Veera Ravi Ravi Varma, who assumed the title
of 'Kulasekhara Perumal after the Thulapurusha Danam and Hiranyagarbha (as well
as the remaining fourteen great Danas), has been lauded as a true and great
devotee of the "God Padmanabhaswamin," and he seems to have made
Thiruvananthapuram his residential quarters.
8. Eastern Gopuram
Inscription
This is an
exceedingly significant inscription despite the fact that it is largely
incomplete, as many letters have been erased, probably due to exposure to the
elements, especially rain. Some constructional activity would have necessarily
taken place after the foundation stone was laid for this Gopuram in 741 ME/1565
CE during the kingship of Adithya Varma, but well before Sree Anizhom Thirunal
Marthanda Varma, who was mainly responsible for the same and who came nearly
two hundred years hence. This inscription corrects the popular belief that
totally credits Marthanda Varma with the erection of this edifice. Though
undoubtedly his part was maximum, this Gopuram had by 782 ME/1607 CE risen to
at least around fifteen feet from the ground to the level of this long
inscription in two parts, which stands inscribed on the inner wall facing the
courtyard. Both the language and the script are in old Tamil.
While the name of the
King in question cannot be arrived at from the information now available, it is
definite that he was Ravi Varma. This deduction is based on the time frame of
782 ME/1607 CE when a King by this name reigned, identified as from
Thrippappoor Swaroopam. There is a strong similarity in language and style
between this inscription and the Keralapuram Siva Temple inscription belonging
to this King. The Kumbhabhishekam was conducted here and, more enlightening,
his veneration of God Padmanabha is engraved there. All these acts as
confirmation that both this inscription and the Keralapuram inscription belong
to the same ruler. In the fifth line of this difficultly damaged inscription, the letters' (kum) and 'o' (Pa) are legible, while the three succeeding
letters cannot be made out, raising the doubt whether the five letters together
would have read as Kumbhabhishekam. From the available sentences, it is
concluded that it refers to items submitted to the Temple for Nityadana Chilavu
or for daily expenses like Teertha Kutam (pot for holy water) and Vattaka of
copper (a special type of vessel). Nothing else is clear
9. Thiruvampati
Perumal Shrine Dhwaja Sthambham Inscription
This is another
historically important inscription concerning the Sree Krishna Swamy Temple
within the walls of the Sree Padmanabha Swamy Temple. By the date, it is set in
the turbulent times of Umayamma Rani and her son Iravi Varma, though their names
do not find a place in it. The language resorted to is Sanskrit, while the
script appears in Malayalam Vattezhuthu with the year reading as 866 ME/1691 CE.
Information gathered is as follows:- "In this year, in the month of
Mithunam (June/July), when the asterism became Thiru Onam and the Rasi, Chingom
by the grace of Bhagavan Hari for the memory of Sree Govinda (Krishna), the
Dhwaja Sthambham was erected by the mother”. The term 'mother' points to Queen
Umayamma and the personage who had the inscription worded, her son Iravi Varma.
10. Inscription of
Bala Marthanda Varma - I
On the southern side
of the Abhisravana Mandapam is the inscription of this great King dated 904
ME/1729 CE, which announces the commencement of reconstruction of the Sree
Padmanabha Swamy Temple complex."
11. Inscription of
Bala Marthanda Varma - II
On another side of
the previously mentioned Mandapam (Abhisravana) is another inscription by the
same donor, which states that in 906 ME/1731 CE, on the said date, the single
stone for the Ottakkal Mandapam reached the site.
12. Inscription of
Bala Marthanda Varma - III
This is another
exceedingly significant inscription seen on the south side of the front
Mandapam, close to the Ottakkal Mandapam. It displays the record of Bala
Marthanda Varma on the construction of the Image of Sree Padmanabha Swamy with
the help of Balaranya Kshonideva and his disciples on the 3rd day of Painkuni
(March/April) of the Malayalam year 908 ME/1733 CE.
13. Namaskara
Mandapam Inscription
On a pillar of this
Mandapam, Marthanda Varma's name is inscribed along with details of a donation by
a private individual. The language is Tamil, and the year 908 ME corresponds
to 1733 CE.
14. Thiru Ampati
Inscription - South-I
An undated
inscription in Tamil Vattezhuthu on the south wall of the Sree 15 Krishna
shrine registers the gift of two lamps made to Sree Padmanabha Swamy.
15. Thiruvayambati
Inscription - South-II
Another inscription
in Tamil appears on this site regarding the gift of land for the expense of
burning a single lamp. "Hail! Prosperity! In the month of Vrischika of the
year when Jupiter was in Karkkataka, Kaman Kunrappolan of Perundottam in
Kuttamangalam provided one sacred lamp to (the Temple of) Thiruvayambati
Perumal at Thiruvananthapuram and assigned for it with libation (of water) the
lands Kunjurvayal in Peruvenkadu, together with the coconut garden and the
Karai attached to it; as well as the Perumadai vayal together with the coconut
garden and Karai attached to it. For all these lands his nephews should have
the Karanmai right (ie. the right of cultivation) and that they should, with
the owner's share obtained from them, maintain the lamp Kaman Kunrappolan gave
with libation (of water) these lands stipulating that if the default was made,
double the quantity should be paid and that even afterward these persons (ie.
the nephews) should retain the Karanmai right.
The repeated mention
of the nephews is noteworthy as it could be an indication of the existence and
acceptance of the matrilineal system even among some societies of Tamil stock.
16. Thiruvayambati
Inscription - East-1
On the eastern wall
above this shrine, a gift of land is inscribed. The proceeds of the same were
to be utilized to procure oil for bathing the Deity of Thiru Ampati. 17
17. Thiru Ampati
Inscription - East-II
This inscription of
antiquity is also engraved on the eastern wall of this shrine, but is completely
damaged.
18. Thiru Ampati
Inscription - North
A lengthy engraving, having no specified date, on the northern wall of this shrine records the gift
of a drum and money. It is not certain if it has a connection with Kodai Marthanda's
inscription about Adithya Rama. Proportionately, the inscriptions are
concentrated in and around the Thiru Ampati shrine.
Two more inscriptions
are to be seen, and they both belong to the current age and relate to Sree
Chithira Thirunal Rama Varma, on whom rested the great privilege of having
submitted the longest tenure of service to Sree Padmanabha Swamy
19. Inscription of
Sree Chithira Thirunal Rama Varma
On emerging from the
Nalambalam through the doorway positioned to the north, immediately on the
right-hand side of the wall is a plaque carrying the inscription dealing with
the renovation being started in the Temple.
*നാകികാര/ത്ര കോളമ്ബേ വൃശ്ചികേ പുഷ്യവാസരേ ജീർണ്ണോദ്ധാരണമാരബ്ധം
ശ്രീ ചിത്രക്ഷിതിപാജ്ഞയാ"
"As ordered by
Sree Chithira Thirunal Maharaja, the renovation was started on the Pooyam day
in the year 1110 ME in the month of "Vrischikom" (which corresponds
to November/ December). The language is Sanskrit, and the script is Malayalam. The
chronogram Nakikamye reveals the year as 1110 ME/1934 CE.
The renovation had to
be carried out following the outbreak of fire in the previous month.
20. The Ottakkal
Mandapam Inscription in Gold
This is the only
inscription engraved on a gold base and is seen at the front central point of the
gold border, which goes around the three sides of this single-stone Mandapam. The
small landing of the Sopanam is just before it. It relates to the submission of
the gold ornamentation of the Mandapam in question. The language is Sanskrit, and the script is Malayalam.
1166 തുലാം
ശ്രീ
ചിത്രാ നക്ഷത്ര ജാതേന ശ്രീ പത്മനാഭ ദാസ ബാല രാമ വർമ്മ മഹാരാജേന ശ്രീ പത്മനാഭ മുഖമണ്ഡപേ ഭക്ത്യാ സമർപ്പിതാ ഇയം സുവർണ്ണാലങ്കാരസപർയ്യാ
(ஸ்ரீ சித்ரா நக்ஷத்ர
ஜாதேந ஸ்ரீ பத்மநாப தாஸ பால ராம வர்ம மஹாராஜேந ஸ்ரீ பத்மநாப முகமண்டபே பக்த்ய
ஸமர்பித இயம் சுவர்ணலங்காரஸபரியா)
"This gold
decoration was submitted with utmost devotion to the front platform (Mandapam)
of Sree Padmanabha as a symbol of worship by Sree Padmanabha Dasa Bala Rama
Varma Maharaja, born under the asterism Chithira. (The date of inscription reads as
Thulam 1166 ME/November 1990 CE).
The language employed
is Malayalam, and the script is Areya Ezhuthu, ruler Sree Moolam Thirunal Rama
Varma. 20
21. Padmatheertham
Water Inscription
This inscription was
unearthed from the western side of the central portion in the bottom soil of
the Padmatheertham, the Temple tank, along the margin of the copper plate lid
of a cylindrical granite chest. In short, it states that the draining of water
from the tank started on 26th Meenom, 1071 ME (1896) and was completed in the
next month. The submerged well, the eastern Mandapam, etc, were renovated, and
eleven granite steps and their support beds and water outlet were built.
Lastly, along with Ganga water, a Salagrama, a fish, and a tortoise, both in
silver, were placed in this chest, and water was re-admitted.
Till now, the
inscriptions under survey have all been the ones within the four walls of the
Sree Padmanabha Swamy Temple or adjacent to it. Many are the inscriptions
relating to the ruling dynasties found scattered all over South India. Efforts
are still on to trace those that specifically relate to this great Temple. A
few such famous inscriptions are being included herewith.
22. The Kanyakumari
Stone Inscription
A contemporary vassal
of King Kulotunga Chola, who ruled between 245 and 295 ME or 1070 and 1120 CE
and was named Parandaka Pandyan, gifted ten ornamental gold lamps to the
Sree Padmanabha Swamy Temple at Anantapura. This inscription appears on the
wall of the Sreekovil of the Sree Kanyakumari Devi Temple in Kanyakumari.
“അനന്തപുരത്തെമ്മാർക്കു
നിലവിയ പൊൻമണിവിളക്കു നിൻ്റെരിയ പത്തമൈത്തു"
As is seen from
above, the language is old Tamil.
குலோதுங்க
சோழனின் பொயு 1120 ஆண்டு கல்வெட்டு பராந்தக பாண்டியன் என்பவரால்
பத்து அலங்கார விளக்கு அனந்தபுரத்தில் இருக்கும் ஸ்ரீ அனந்தபத்மநாப சுவாமி கோயிலுக்கு
தானமாக வழங்கப்படட்தைப் பதிவு செய்கின்றது.
23. Thiruvattar
Inscriptions
Two inscriptions from
the many available at the Sree Adi Kesava Perumal Temple, Thiruvattar, have
been included herein in extract form only. Both belong to the King stated in
inscriptions 8 and 23, Veera Ravi Ravi Varman of Thrippappoor in Thiruvananthapuram.
He is cited as a 'Votary of Padmanabha (God of Thiruvananthapuram)' and as
'adorer of the feet of God Padmanabha. The language and letters are Tamil, and
the period KO 779/1603 CE and KO 778/1603 CE.
24. Keralapuram
Inscription of Veera Ravi Ravi Varman
In the eighth inscription
numbered eight of this chapter, the inscription under survey has already been
introduced. Yet it invites expansion at least in compromise, which is over and
above historic interest. While admitting the ultimate oneness of Godhead
despite the multiplicity of names and forms Hinduism offers, the Thrippappoor
Dynasty's unwavering devotion to Sree Padmanabha Swamy has been its unbroken
inheritance from generation to generation. Repeatedly acknowledged and
accepted, it often surfaces in places far removed from the actual location of
the Temple (of Sree Padmanabha Swamy), maybe as a reaffirmation of faith. The
Keralapuram inscription is an example in point.
"Harih! Be it
well! Hail! Prosperity! Vira Ravivarman alias Kulasekharadeva who was born of
Umaiyammai in the Rohini Nakshatram (star) and residing at
Thiruvananthapuram who was himself born in the Tirukkettai Nakshatram, who was
incessantly worshipping the feet of the God Padmanabha, who had made the
sixteen great gifts beginning with Tulapurusha, who was learned in all the
sciences and arts, who was protecting all his subjects and who was a sun to the
hosts of his foes - built of stone the Nalu Ambalam, the kitchen and the
Rishabha Mandapam in the Temple of the God Mahadeva of Virakeralaesvaram in
Muttalakkurichchi in the Sengalunirvalanadu".
It also goes on to
state that the Kumbhabhishekam ceremony was performed after further structural
work and details the dates, time, asterism, and so on.23 The year reads as KO
782/1607 CE, and the language and alphabet are in Tamil.
Maha Kumbhabhishekam
was carried out on 08th June 2025, after 270 years.
Ref:
Most of the contents, especially the Architecture and inscriptions of this article, are taken from the book Sree Padmanabha Swamy Temple written by Princess Gouri Lakshmi Bayi, published by Bharatiya Vidhya Bhavan, Kulapatti Munshi Marg, Mumbai.
LEGENDS
The puranam literally
translates as “That which lives from ancient times”. Out of 18 Maha Puranas, at
least six carry references to Sree Padmanabha Swamy Temple. They are Varaha
Purana, Brahma Purana, Brahmanda Puranam, Padma Puranam, Skanda Puranam, Srimad
Bhagavatha Puranam, and Matsya Puranam.
Tamil literature
also praises Sree Padmanabha Swamy.
Pathittu Pathu.
“வண்டூது பொலிதார்
திரு ஞெமர் அகலத்து
கண்பொருதிரிகி
கமழ்குறற்றுழாயலங்கன் செல்வம்”
“Resplendent God who is adorned with flower garlands, surrounded
by buzzing bees, and who places Maha Lakshmion in the bosom
Who holds the weapon of victory, which is the Chakram?”
Neither Sree
Padmanabha Swamy nor this city is mentioned but its commentator whose name is
unknown states:
“இங்கு செல்வன்
என்ற பெயர் திருவனந்தபுரத்து திருமலைக் குறிக்கும்”.
As per Rao Sahib M Raghava Iyyangar, Thirumal is Maha Vishnu and Selvan
is Sree Padmanabha Swamy.
II. Chilapathikaram.
The Sangam literature Chilapathikaram, between the 4th and
7th century CE, was composed by Ilangovadikal, who was the brother of
Cheran Chenkuttuvan, the Chera king who features in this work. Later on went
to Kodungallur and the second Chera Empire, ancestors to the present Royal
family of Travancore, were connected to him.
Cheran Chenguttuvan readies for a war of conquest with the ruling
heads of North India. For this purpose, he has Prasaadam brought to him from the temples of the Chera territory.
குடக்கோ குட்டுவன் கொற்றம்
கொள்கென
ஆடக மாடத்து அரிதுயில் அமர்ந்தோன்
சேடம் கொண்டு,
சிலர் நின்று ஏத்த
தெண்ணீர் கர்ந்த செஞ்சடைக்
கடவுள்
வண்ணச்சேவடி மணிமுடி வைத்தலின்
ஆங்கு அது வாங்கி அணிமணிப்
புயத்துத்
தாங்கினான்..
……………
ஆடகமாடம்
– திருவனந்தபுரம்
இரவிபுரம் என்பாரும் உளர்.
The other literature that praises or mentions Thiruvanantha puram
and Anantha Padmanabha Swamy is Thiruananthai Thalavilasam, a Tamil poetic
work by Sankara Subramonia Kavirayar, as given below.
“மாபெரும்
ஆதிசேடன் மீது பள்ளிகொண்டுள்ள ஸ்ரீ பத்மநாபஸ்வாமியின் திருப்பாதங்களை ஒற்றைக்கல் மண்டபத்தில்
நின்றுகொண்டு பக்தியுடன் சேவிப்பவர்கள் பூமியில் மீண்டும் பிறவார்”
Those devotees will never have rebirth who, with great piety and
concentrated devotion, worship from the single stone mandapam, the feet of the
great God, Sree Padmanabha Swamy, who is lying on the mighty Adisesha.
The vintage literature in ther languages, which praises Sree
Padmanabha Swamy, is... Samkshepasaarrikam, Guru Parmpara Prabhavam,
Keralaachara Deepika Suka Sandesam, and Syanandoora Purana Samuchayam.
The three sets of
double doors are at a distance of six feet from one another at the sanctum
sanctorum. Sage Vilvamangalam is said to have beseeched the Lord to limit His
gigantic form to three times the length of his six-foot Dandu or staff to
enable him to go around the figure and perform worship satisfactorily. The three
doors stand as a reminder of this.
On the tenth of the
Malayalam month of Medom (April), when the sun is at its zenith, the rays of the
rising sun directly fall on the standing Idol inside the sanctum as though in
fiery homage to the Emperor of all creation.
POOJAS AND
CELEBRATIONS
Apart from regular
poojas, special poojas are conducted on Malayalam monthly, Vaikunta Ekadasi,
Vinayagar Chaturthi, Thiru Onam, Ashtami Rohini, Uthrom, Painguni Uthsavam,
Alpashi Uthsavam, Sree Rama Navami, Vishu, Chitra Pournami, Sree Veda Vyasa
Jayanthi, Lakshadeepam, Royal Festivals, Hiranyagarbha Dhanam, etc.
During the procession, six
different kinds of vahanas are employed. They are Simhasana vahana, Ananta
vahana, Kama Vahana, Pallakku Vahana, Garuda vahana, and Indra vahana.
Seiveli is conducted
two times, 16.30 hrs and 20.30 hrs.
PC - website
TEMPLE TIMINGS
The temple will be
kept open for darshan from 03.30 hrs to 12.00 hrs and from 16.30 hrs to 19.20
hrs.
CONTACT DETAILS
The temple website: https://spst.in/
The Executive office
landline number is +91 471 2450233
HOW TO REACH
Since this is a most
popular temple, and need no route information is required.
The nearest Railway
station is Thiruvananthapuram.
LOCATION OF THE
TEMPLE: CLICK HERE
Ref:
Most
of the contents, especially the Architecture and inscriptions of this article, are taken
from the book Sree Padmanabha Swamy Temple written by Princess Gouri Lakshmi
Bayi, published by Bharatiya Vidhya Bhavan, Kulapatti Munshi Marg, Mumbai.
Vindage Photo of a nada
An Anjaneyar temple on the banks of Temple tank
A Shiva temple on the banks of the temple tank
---
OM SHIVAYA NAMA ---
Nice post, sir. There is a lot of information about this temple; it's difficult to cover in one post, yet you have achieved the impossible, sir!
ReplyDeleteThanks a lot for visiting our blog and the encouraging comment...
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