|
Home > Temples of Kerala > Katu Sarkkara Images Katu Sarkkara ImagesThere are very few temples in the state which have main idols made in katu-sarkkara-bimba vidhaana..An important prerequisite for this procedure is that the katu-sarkkara bimba has to be made at the spot where the bimba has to be installed as the same cannot be taken to any other place. Katu-Sarkkara is a kind of tenacious paste made out of indigenous herbs and plants (katu) besides barks and also small crystallized sand/gravel (sarkkara). Its preparation is laborious as it is different from other types of images like stone, metal, wood, stucco etc. By adopting this process of katu-sarkkara-yogam the image is made with immaculate care as the idol has to last for years and should be safe from the attack of insects, termites etc, and at the same time it should have all the measurements laid down in Thanthra Saasthras. Different raw materials, all from nature have to be procured and the procedure adopted is very similar to ayurvedic preparations like kashaaya (decoction), Kalkka (viscous sediment of herbs etc.) It takes about sixty days to complete the process. The first step is to decide the size and characteristics of the idol ie, length or height in yavams, pose, physical features, weapons in hand, types of ornaments etc. The Thanthra Samucchaya (with particular reference to its commentary known as Vivarana), Kuzhikkatt Paccha etc are important works which give details of this procedure besides the account given in the book entitled Sree Padmanabhaswamy temple (written by Aswathi Thirunal Gouri Lakshmi Bayi). There are slight differences in the procddures laid down in these volumes though the general principles are the same. Based on the descriptions given in those works the entire method can be summarized into six different stages,viz. (i) making of the skeleton (known as Soolam) of the bimba (as per the measurements for deities specified in thaanihric texts. (ii) ashta-bandha-lepana for properly fixing the skeleton; (iii) naadi-bandhana (fixing of naadis or nerves at various parts of the skeleton from head to toe); (iv) mrtth-lepana (coating with specially prepared medicated mud for shaping different parts of the body as in the case of human flesh); (iv) fixing of silk-cloth (resembling inner layer of human skin) and (vi) application of kalkka (a thin coating of a viscous sediment of herbs, gravels etc similar to the natural medicinal covering adopted for the protection of human body including ornamentation of the bimba). Brief account on each of the above stages is as follows. (i) Making of skeleton or Soolam: High quality wood like Karingali (Accacia chundra), Devathara (Cedrois deodara) and Chandanam (Santalum album) are used for making of skeleton. The wood (anyone of the above) selected from an area is cut after performing Vrksha-pooja and brought to the spot where the work is to be carried out. Depending on measurements of the bimba, pieces of wood numbering thirteen, (ie, one main paasa-dand, one across kati-dand, one vaksha-dand., four paada-dands from kati to the legs, two paarsva-dands for sides of chest and four baahu-dands for hands) are joined together using copper wires and copper plates. Thus different bones of different parts of the bimba, like head, chest, arms, legs etc are made. By fixing copper plates of suitable dimensions depending on the size of the bimba in areas of palms, feet, ears, nose etc, the identification of these areas also is ensured. Now the soolam is subjected to purificatory and prathishta rites specified for a bimba in the next chapter. (ii) Ashta-bandha-lepana: For this purpose a preparation with the consistency of honey is made. The materials like Thiruvattapasa (a particular type of gum from the common gum tree), Kunthirikkam (Canarium Strictum), Guggulu (Comniphora mukul or Balsamodendron mukul), jaggery, Chenchelyam (Vateria indica, Shorea robusta) and kaavi (red ochre) taken in the proportion 4:3:5: 1:8:3 by weight and powdered well and mixed with 2 parts of oil and 2 parts of ghee (2:2) in an earthem pot. This mixture is heated till it attains the consistency of honey. This luke-warm mixture is applied allover the skeleton with great care. (iii) Naadi-bandhana: After ashta-bandha-lepana the next stage is naadi-bandhana (fixing of nerves on the bimbha). As naadi or nerve forms an integral part of the human system it is as well important to the idol of antropomorphic form. In conformity with the human system nerve fibres are represented in the idol by the fine fibres taken from well ripe and retted coconut husks after the routine procedures of soaking, ginning, thrashing etc. The fine fibres thus made are used for yarning the naadis. According to tradition seven naadis are considered important and they constitute sapthanaadisofwhich Sushumna, Ida and Pingala are the more important ones. Other naadis are Poosha, Yasaswint; Sankhini and Kuhu. All these originate from moolaadhaara (the root). Each of these naadis (mentioned as cords here) consists of three yarns made of fibres and has a thickness of half an angulam or roughly 1.5 cm. The main naadi, Sushumna, similar to spinal cord is then kept at the centre of the soolam extending from the moolaadhaara (basic plexus or root) to the sahasraara (top of head) and passing through bhroo-madhya (point in the forehead in between the eyes). The other two cords are placed on the two sides of the Sushumna, Ida at left and Pi1iga?a at the right. A separate ashta-dala-padma has to be woven with the fibres and it is attached to the Sushumna-naadi at the anaahatha-chakra (heart) position. As already indicated, at the sahasraara-chakra there will be three cords consisiting of nine yarns. The next step is to distribute the yarns in such a way that one of the three yarns of Ida-naadi goes to the left nostril, and one of the yarns of Pingala-naadi goes to the right nostril, one yarn from each goes to the two ears. The yarns connected to the ears are known as Poosha and Yasaswinee. The fifth one called Sankhini is exteneded to naabhi (navel) or manipooraka-chakra. The sixth one known as Alambusha is lengthened and is connected to guhya (genital) while the seventh called Kuhu is fixed to guda (anus). The remaining two naadis viz. Gaandhaari and Aasthijihwa (which are made longer) are used to tie around the upper portion of the soolam above the moolaadhaara. A triangle of fibres is then made and it is fixed to moolaadhaara. Two separate cords each consisting of six yarns are then tied to the triangle, each cord is then extended to the foot of one side dividing into six branches, five of which leading to the toes of that side and one touching the lower side of the foot. In the same way three cords (each formed of three yarns) are made to connect the moolaadhaara with the shoulder of eacp side. These are also made to divide so as to form nine separate branches on each side. Of these seven remain separate and the other two are united together. Five are taken to the tips of the fmgers, the remaining tied in the wrist and the tail kept at the centre of the palm. If there are more than two hands for an idol the distribution of naadis from the shoulder to palm has to be suitably modified. (iv) Mrtth-lepana: After naadi-bandhana well treated mrtth (mud) is coated around the bimba. The processing of mrtth is very elaborate and has different phases.In the first phase soil is taken from three different sources like dry-land, marshy place and desert or barren ground to represent vaatha, kapha and pittha. Mud samples taken from these sources are then washed and cleaned separately. All dirts, stones, roots of plants etc are also removed so that the three categories of mud are of good quality. In the second phase three different types of kashaayams are prepared consisiting of (i) a combination of Karingali (Acacia Chundra) and Maruth (Terminalia Arjuna) (ii) Naalpaamaram (barks of four plants of Atthi, (Ficus glomerata), Itthi, (Ficus gibbosa), Arayaal (Ficus reltgiosa) and Peraal (Ficus bengalensis) and (iii) Kolarakk (Laceifer lacca). The three types of mud are put in three separate kashaayams in three different earthern pots for a period often days, so that the mud in each imbibes the qualities of each solution. At the third phase the dried mud is put in Thriphala kashaayam (made of katukka (Terminalia chebula), Nellikka (Emblica officinalis) and Thannikka (Terminalia belle rica) again for ten days and redried. In the fourth phase river-sand is powdered well and a portion equal to quarter of the quantity of each of the three types of previously prepared sand added to it. This mixture of medicinal muds and sand is ground to a paste using Thriphala- kashaayam as the base. In the fifth phase yavam (barley), wheat and leaves of Kaasavu ( Memecylon edule) are powdered. Equal quantities of these three powders are mixed. A portion of this mixture equal to one-eighth of the mud is then added to it. This mud-mixture is then put in tender coconut water for ten days, grinding the mixture daily. In the sixth phase equal powdered quantities of Thiruvattapasa, Kuntharikka, Guggulu and Chenchalyam are mixed and a portion of this mixture equal to one-sixteenth of the mud is added to it. Then this medicinal mixture of mud is well ground with honey. In the seventh phase the mud mixture is put in cow's curd for seven days. In the eighth phase a mixture of equal quantities of powdered chukku (dried ginger), pepper and Thippali (long pepper) is made. A quantity of this mixture equal to one twentyfourth of the mud is then added to it along with honey, ghee and milk. This mixture is then well ground. In the ninth phase equal quantities of Plaavin pasa and the kernel of koovalamfruit are ground and a quantity equal to one-fifteenth of the mud is added to it and ground using a little of oil also. In the tenth phase equal quantities of powders of kunkumam (saffron powder), Chandanam (Sandal wood), Ponnarithaaram (Yellow arsenic), Karpooram (Camphor), Akil, Kottam and gorochana are mixed and a quantity equal to one thirty second of the mud is added to it and ground in Kaasavu oil. In the twelfth phase kasthoori (musk) is added to a slightly powdered mixture of gold, silver, pure sands of river and sea, mud from the crabs hole, sand from farmer's plough, sand from bull's hooves, sand from elephants tusk and above all ganga water. The mixture is then added to the mud mixture. This complex mixture is then put in a kashaayam of flippa tree (Bassia longifolia) for five days. This is well ground and dried. In the last phase a quanity of coconut husk, equal to quarter of the prepared mud mixture is cut into small pieces and mixed with the mud besides adding gums of Koovalam and Plaavu to it. This mixture is pounded for ten days to make a composite whole. This completes the preparation of mrtth for pasting on to the bimba. This mixture is then applied on the skeleton of the bimba. The required characteristics of the idol are now made with the mrtth. The bimba is thus made to have the shape as per specifications. (v) Fixing of silk: Pure silk on which gum of latex has been smeared is wrapped around all parts of the bimba completely to give safe protection to the mrtth. (vi) Application of kalkka: Equal proportions of river sand, black sand, black stones or gravel found in river beds and kozhipparal are powdered and ground daily for a duration of one month in a kashaayam of Thriphala, gum of plaavu and gum of koovalam. A thin coating of the same is made on the bimba and then dried. Ornamentation and decoration also can be made on the bimba using the kalkka. An application of sankh powder will give the bimbha a whitening effect. In case of any damage to the idol, generally the last two stages (mrtth-lepanana and application of kalkka) need be done. Katu-sarkkara images are not subjected to abhisheka. As such separate archana and bali bimbas are used (Kuzhikkatt Paccha pp. 356-357). The prathishta rites to be done for Katu-sarkkara bimbas are the same as those for other idols and .are described in detail in Chapter 5. Katu-sarkkara images are rare in Kerala though a speciality of Kerala.Of them the most conspicious one is that of the main deity of the Sree Padmanabhaswamy temple at Trivandrum, the capital of Kera!a. The deity, measuring about 18 feet, is reclining on the serpent-bed of Anantha, the Naaga-Raja. In the same temple there is yet another idol made of Vishwaksena, the Nirmaalyadhaari of Lord Vishnu. Similar Katu-sarkkara images are seen in some other temples in the State of which the Bhadrakaali idols at the Maatayi (in Kannur taluk) , Panayanaarkavu (in Thiruvalla taluk) and MalayaIapuzha (In Kozhencherry taluk) are famous.
|
| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
