Madaayikkavu (based on pronunciation), also known as Thiruvarkadu Bhagavathi Temple is the revered mother temple of all Bhadrakali shrines in North Kerala. The deity is the Fierce form of Bhadrakali. Shiva, Saptha mathrika, Ganapathy, Veerabhadra and Kshetrapalaka are the deities inside the temple. The shrine is believed as the last resort for the removal of Occult Sorcery (Black Magic and Witchcraft).

The temple administration is currently under the Malabar Devaswom Board. It is a revered shrine of the Chirakkal Royal Family and a previously part of the Chirakkal Devaswom. Situated in Madayi near Payangadi the temple is prominently known as Madayi Kavu.

Etymology

The deity worshipped at the Madayi Kavu Temple is addressed by two names: Thiruvarkkadu Bhagavathi or Madaayikkavil Amma.The following folklore explains the etymology of the name Thiruvarkadu.

According to legend, the Bhagavathi initially resided inside the Rajarajeshwaram Temple, near the western gopuram (gate). However, over time, the fierce nature of the Bhagavathi gradually intensified, making the required puja rituals incompatible with the pure sattvik pujas performed at Rajarajeshwaram. 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 "kadu" means "forest". This trembling is believed to be the reason for the name of the place. Over the period of time it is believed to have changed from Thiruvirayal kadu to Thiruvarkadu.

The temple is located in Madayi near Pazhayangadi hence the name Madaayikkavu.

A Special Form of Address: Tantrics and Kalaripayattu martial artists in the surrounding area address the Bhagavathi as "Tiruvarkkad Achchi." In ancient Malayalam, "Achan" (male) and "Achchi" (female) were colloquial terms for the head teacher (Gurukkal) of a Kalari martial arts school. This honorary title was also used to address leaders in other fields, such as the head of the Mantravada school ("Kalakattu Illathachan") and senior ministers of kings.

Legend

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. Upon hearing their pleas, Shiva opened his third eye, and from the flames emerged a fierce and beautiful goddess - Bhadrakali. 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 own father. Shame and shock overwhelmed her. Her mouth gaped open, her tongue protruding.

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.

Shakta Tantra in Kerala and Kashmir

Tantra Shastra encompasses six main traditions: Shaivam, Vaishnavam, Shakteyam, Souram, Ganapthyam, and Kaumaram. In Kerala, Shakteya Tantra holds a prominent position due to the widespread reverence for the Mother Goddess in many villages.

In Kashmir province, a collection of sacred texts known as "Panchasthavi" was once prevalent. These texts included Laghustuthi, Ghatasthi, Charchasthuthi, Ambasthuthi, and Sakalajananeestuthi. These five texts belonged to the "Sreevidyasambrathaaya" tradition, which encompasses practices like Aanavopayam, Saakthopayam, Saambhavopayam, and Anupoyam. These practices were followed by the Bhattakaaras of Kashmir.

A section of these Bhattakarars migrated from Kashmir to Kerala and established thirteen temples dedicated to Shakta worship. These temples, starting from the north Kerala, include:

1. Mannampurath Kavu of Neeleswaram
2. Thiruvarkkattu Kavu or Madaayi Kavu
3. Kalarivathulkkavu of Valapattanam
4. Mamanikkunnu Kavu near Mattannur
5. Thiruvancheri Kkavu near Koothuparambu
6. Kaliyam Kavu near Edacheri of Vadakara
7. Koyilandi Kollam Pisharikkavu
8. Thiruvalayanaadu Kavu of Kozhikode
9. Modikkunnathu Kavu near Pattambi
10. Thirumandamkunnu Kavu of Angadipurath
11. Kodungallurkkavu
12. Muthoot Kavu of Thiruvalla
13. Panayannar Kavu of Mannar near Thiruvalla

History

The temple is believed to be the coronation ceremony center of the erstwhile Mooshika kingdom. The 11th king of Mooshika dynasty Shatasoman(Sutasoman) renovated the building of Perinchallur(Talipparamba) temple, the family deity of the dynasty Bhadrakali was also worshipped there. Centuries later in 344 AD Kola swaroopam raised the Bhagavathi temple.

During the incursion of Hyder Ali into Malabar, Circa 1780, Madayi Kavu was desecrated with the entrails of slaughtered cattle, following which a local Nair warrior named Vengayil Chathukutty beheaded the miscreant responsible for the act, delivering the severed head to temple authorities. Thereby the Nair family of Vengayil received the title of Nayanar.

Worship

Temple Layout and Deities: Upon entering the Madayi Kavu Temple through the eastern gate, visitors encounter the sanctum sanctorum enshrining Shiva facing east. Adjacent to it, facing westward, is the sanctum of Bhagavathi. Directly facing Shiva's sanctum, in front of Bhagavathi's sanctum, lie the sanctum of Saptha mathrika (seven mothers), Ganapathy and Veerabhadra. This unique temple layout reflects a Tantric architectural style called Rurujith Vidhanam. 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. 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.

Historical and Current Festivals

Originally, the Madayi Kavu temple celebrated four annual festivals. Currently, the two main festivals are:

Pooram: Celebrated in the Malayalam month of Meenam (March–April), this festival is a significant event and typically lasts for seven days.

Kalasham: Held in the Malayalam month of Medam (April–May), this festival is a shorter event, lasting only a few hours. It's believed to mark the conclusion of annual festivals in North Kerala.

• Kalasha Uthsavam (Kalasam Festival): During the Kalasham festival, a specific ritual called "Kalasha Uthsavam" (also known as Perum Kaliyattam or Kalioyattam) takes place. This ritual occurs in the afternoon and involves eight theyyam: Kalariyil Bhagavathi, Chuzhali Bhagavathi, Someswari, Padi Kutthi, Veera Chamundi (the main form). These participants perform a ceremonial procession around the "Kalasha" (a sacred pot) and offer worship to it three times. This is followed by a ritualistic fight over the Kalasa, known as "Kalasa Thallu," performed with bare hands.
• Kavu Pidi Ritual: Another important practice associated with the temple is 'Kavu Pidi,' which translates to 'temple catch.' This involves fishing in a nearby river on specific dates. The first day of the Malayalam month of Edavam (May–June) and the day before the Kalasam festival. Fish caught during Kavu Pidi are considered sacred offerings (prasadam) from the goddess.

The Bhagavathi Idol and Kadu Sarkara Yogam

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.

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.

Kadu Sarkara Yogam

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. 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:

The creation of a Kadu Sarkara Yogam idol involves a well-defined sequence of six stages:

1. Skeleton Construction: The initial stage involves crafting the idol's framework using high-quality wood like sandalwood, Karingali, or Devatharu. These wooden components are meticulously joined using copper wires and plates to ensure a sturdy foundation.
2. Ashta-bandha-lepana: For secure binding, a unique paste called Ashta-bandha-lepana is applied to the wooden skeleton. This paste is meticulously prepared with specific proportions of ingredients like Thiruvattaapasa gum (a tree resin), Kunthirikkam, Guggulu (resinous exudate), jaggery, Chenchelyam (possibly a type of shell), and Kavi (lime). The mixture is powdered, combined with oil and ghee, and heated in an earthen pot until it reaches a paste-like consistency. This paste is then applied lukewarm to the entire framework.
3. Nadi-bandhana: This stage focuses on replicating the human nervous system within the idol. Finely processed fibers obtained from coconut husks are meticulously woven and integrated into the skeleton to represent the intricate network of nerves.
4. Mrtth-lepana: The idol's body begins to take shape through the application of a specially prepared medicated mud paste called Mrtth-lepana. This paste is crafted using a combination of soil collected from diverse locations (dry land, marshy land, desert) and blended with three distinct herbal kashayams (medicinal decoctions). The first kashayam is prepared with Karingali (possibly a tree bark) and Maruthu (possibly a type of creeper). The second combines Nalpamaram, a group of four specific trees (Athi, Ithi, Arayal, and Peral). The third utilizes Kolarakku (possibly charcoal). Each soil type is soaked in its corresponding kashayam for ten days before being combined. Further refinement involves adding powdered river sand and a mixture of barley, wheat, and kaashavu (possibly a type of pulse) in specific proportions. The final stages incorporate a complex combination of ingredients including coconut water, Thiruvattaapasa gum, Kunthirikkam, Guggulu, Chenchayam, honey, cow's curd, spices like ginger, pepper, and long pepper, ghee, milk, various plant gums and resins, powdered precious metals like gold and silver, and various types of sand – all meticulously added at different stages and proportions. The entire concoction is then soaked in a kashayam made from the Ilippa tree for five days before incorporating small pieces of coconut husk and specific plant gums. This final mud paste is then applied to the idol, shaping its features and form.
5. Silk Cloth Application: A layer of pure silk is carefully wrapped around the entire idol, likely secured using a natural adhesive like gum or latex. This layer serves to protect the underlying mud paste (Mrtth-lepana).
6. Kalkka Application: The final stage involves creating a protective coating called Kalkka. This coating is prepared by grinding a specific mixture of river sand, black sand, specific types of stones found in riverbeds, and Kozhipparal (possibly a type of shell) daily for a month in a kashayam made with a combination of herbal gums. This paste is then applied to the idol's surface and can be used for ornamentation and decoration. Notably, conch shell powder can be used to create a whitening effect.

Shakta Kaula Sampradaya

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.

Shaktism: 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.

Shakta Kaula Sampradaya: 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.

Temple Rites and Spiritual Attainment: This temple is associated with the Shakta Kaula Sampradaya follow 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.

Thiru Arattu Kavu Attingal, Thiruvanathapuram

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 suggests 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 in Kannur. These adopted members were then allocated a palace in Attingal. 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 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. Whenever there were no females to take forth the line, princesses were adopted from the Kolathiri family, the latest adoption being in 1994.

Temple Etiquettes

The following are the etiquette practiced in the temple.

Attire

• Men: Following the temple tradition, entering inside the temple with a bare upper body is acceptable. For this purpose, wearing a traditional Mundu or Dhoti is recommended. Shirts, vests, lungis, trousers, and pants are not allowed inside the temple.
• Women: Sarees, salwar kameez, set mundu, skirts with blouses, and other similar clothing that covers the shoulders and knees are appropriate attire. Jeans and revealing western wear are not permitted.

General etiquette

• Respectful Conduct: Refrain from entering the temple after consuming alcohol, smoking, or using paan or other intoxicants. Maintaining a clean and respectful environment is important. It is expected to refrain from spitting or littering within the temple complex.
• Dress modestly: Even if not explicitly mentioned, it's always a good idea to dress modestly when visiting any place of worship. This shows respect for the religious significance of the place.
• Remove footwear: It's customary to remove shoes and socks before entering the temple sanctum.
• Photography: Photography is prohibited within the temple.
• Silence and Respect: Maintaining a peaceful and respectful atmosphere is important. It It is expected to avoid loud talking or disruptive behavior.

Access

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.

• By Road: National Highway: National Highway NH 66 passes through Kannur town, approximately 16 kilometers away from Madayi Kavu. This highway connects Kannur to major destinations within Kerala and other South Indian states.
  • Nearest Bus Stand: The nearest public bus stand to Madayi Kavu Temple is Pazhayangadi Bus Stand, located about 1.5 kilometers away. Regular bus services connect Pazhayangadi to Kannur, Payyannur, and other nearby towns.
• By Train: Closest Railway Stations are Kannur and Payangadi.
  • Kannur (CAN): Located approximately 24 kilometers south of Madayi Kavu. This is a major railway station with better connectivity to various Indian cities compared to Payangadi.
  • Payangadi (PAY): Situated around 2.6 kilometers west of Madayi Kavu. This is a smaller station with potentially fewer train options.
• By Air: Kannur International Airport (Kannur): This is the closest international airport to Madayi Kavu, located about 68 kilometers away. Domestic flights are frequently available, but direct international flights may be limited, mainly connecting to the Middle East and Southeast Asia.
  • Other options include:
    • Mangalore International Airport (Mangalore): Located approximately 130 kilometers north of Madayi Kavu.
    • Calicut International Airport (Calicut): Situated roughly 160 kilometers south of Madayi Kavu.

See also

• Madayi
• Kalarivathukkal Bhagavathy Temple