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'ONAVILLU'-THE CEREMONIAL BOW of PROSPERITY Dr. P. Justin Paul

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'ONAVILLU'-THE CEREMONIAL BOW of PROSPERITY Dr. P. Justin Paul JNROnline Journal Journal of Natural Remedies ISSN: 2320-3358 (e) Vol. 21, No. 3(S2),(2020) ISSN: 0972-5547(p) THE LEGENDS BEHIND THE ‘ONAVILLU’-THE CEREMONIAL BOW OF PROSPERITY Dr. P. Justin Paul, Assistant Professor (AU) Department of History,Govt. Arts College (Autonomous), Kumbakonam. ABSTRACT The ancestors of Nedumkadu guild were once associated with the making of Onavillu, however, when the direct bloodline of this guild terminated, the right to make Onavillu was invested with the Thavalodu family of Muttathara. The members of Thavalodu family of along with the members of the Chirathalaykal guild of Vaniyanmoola were involved in the making of Onavillu for PadmanabhaSwamy for long. KesavanAchari (1880-1964), followed his father’s steps and later became the head craftsman of the Vaniyanmoola guild. During his later years, KesavanAchari, transferred the rights of making Onavillu to K. RamaswamyAchari, who was employed as carpenter in Teacher Training College, Thiruvananthapuram, Following the death of RamaswamyAchari, his descendants look upon this ancient customs as a divine duty. Key Words: Onavillu, guild, Vaniyanmoola, ceremonial bow. In a temple town, the temple plays the role of vital core that shapes the socio-economic structure of the place. The temple its traditions, festivals, rituals and ceremonies play a chief role in assigning a unique cultural identity to the craft settlement. Though Thiruvananthapuram emerged as the capital city with all its grandeur only in the last decades of eighteenth century, records tell us that, Ananthapuram, a city or rather a thriving temple town, had been already in existence right from the thirteenth century. There are many legends intertwined with the history of Travancore, making it difficult to separate myths and folklores from the authentic historial facts. However, it should be kept in mind that these myths and legends do have some historial truths embedded within. Travancore in the nineteenth century was fast transforming, the once idyll temple town had started its metamorphosis into a sprawling capital city. With the transfer of the capital from Padmanabhapuram to Thiruvananthapuram, the kingdom of Travancore was in a relatively peaceful disposition, except in the early decade of the nineteenth century. With the stable political situation, the rulers had more time to denote to temple by uplifting craftsmen settlements. Aranoor, a small village located between karamana and Valiyasala was once a fertile farmland irrigated by the killi River. These reigions sustained a heterogenous population since historical times. Karamana and Valiyasala were well known for its settlements of Tamil Brahmins, where asVaniyamoola in Aranoor, was once the abode of Vaniyas, the traders. In due course of time, the old settlements dispressed and became concentrated around the Chala bazaar. According to local lore and oral traditions, Aranoor, the land on the banks of the river, was the habitat of a guild of Southern Craftsmen who had migrated to Thiruvananthapuram from Kanchipuram in Tamil Nadu for the construction of PadmanabhaSwamy Temple. Going by the popular oral traditional, the craftsmen brought with them an idol of their tutelary deity Kanchipuram Amman. They established a small tekkath and installed the idol in Aranoor, where the craftsmen settled. Though there are no records to pinpoint the period when the craftsmen settled in Thiruvananthapuram, their association with PadmanabhaSwamy temple can be considered as a justification for their claims. It is said that the same guild was associated with the construction of Thrivikramangalam centuries. The antiquity of the guild is further ascertained by the fact that the craftsmen from the guild were entrusted with the divine duty of making the Onavillu, a ceremonial bows that is presented to PadmanabhaSwamy during the festival of Thiru Onam. 14 Journal of Natural Remedies Vol. 21, No.3(S2), (2020) The tradition of presenting Onavillu was in vogue from time immemorial and the family members claim that this custom has always remained within the guild. A mathilakam record of 677 M.E. (1502AD) mentions the name of MathevanKumaranayaAchari of Puthenangadi who made the Onavillu for PadmanabhaSwamy. The tradition of consecrating Onavillu in PadmanabhaSwamy temple has a colourful legend, linking to Mahabali, the legendary Asura King, and the Onam festival. According to a popular legend, when Vamana, the dwarft incarnation of Lord Vishnu was about to push Mahabali down into the depths of Patala, the Kind implored to Lord Vishnu that he wished to see all the divine incarnations. Lord Vishnu granted him the boon, but Mahabali would see the incarnations only in painted form, Lord Viswakarma, the Supreme of arts and crafts, and the legendary ancestor of all the craftsmen, was assigned the task of painting all the incarnations of Lord Vishnu on a ceremonial bow. This bow was put up every year during Onam when Mahabali returned from Patala to meet his subjects. The work on Onavillu commence with a special pooja by the craftsmen who observed strict Vrata for forty-one days. Wood from Kadambu, Mahagony, Plavu, anjili and maruthu trees abundantly available in the state are used to fashion out the bows. The bow shaped wooden panets are made in three sizes, 4.5ft, 3.5ft, and 3ft in length and the width of the bows are 6.5, 5 and 4 inches respectively. Every year, the first bow is made by the carpenters, following the dimensions of an old bow, still in the custody of the family members. The flat face of the wooden bow is made smooth and coated with natural dyes before the figures of Gods are drawn on it. Ananthasayanam, Dasavatharam and SreeKrishnaleela were the three bows that were consecrated for PadmanabhaSwamy, NarasimhaSwamy and Krishna Swamy at Thiruambadi Shrine. Ananthasayanamvillu is the largest bow made by the craftsmen. The idol housed in PadmanabhaSwamy temple shows the Lord reclining on the coils of Anantha, the serpent with his eyes half closed in Yoganidra on the Yogic trance. In contrast to this, the Onavillu craftsmen portrayed PadmanabhaSwamy in veerashayana with his facefully turned towards the onlooker. The faces of the bow are painted using red and yellow colours. The figures of the Gods are drawn in pencil against the red background. Red, green, yellow, blue and black colours are used to render the images. The preparation of the bows takes forty-one days, during which the family members, including the women observe strict vrata. The finished bows are plaud in the thekath of the family, where they are worshipped. The red kunchalam (tassals) tied on both sides of the bow are made by the convicts housed in the Poojapura central jail, who also undergo a vrata for forty-one days like the craftsmen. Thus, the prisoners also take part in offering their respects to the protecting deity of the state. On the day of Thiru Onam, the members of the guild assemble under the chief craftsman and proceed on their journey to PadmanabhaSwamy temple with the finished bows. The party when it reaches the Eastern gopura of PadmanabhaSwamytemple, would be greeted by the temple authorities and priests. The head craftsman and his family members would climb up the steps of the temple, carrying the bows in their hands. A representative of PeriyaNambi, the head priest of the temple, would accept the bows from the hands of the craftsman and display them in the Abhisravanamandapa, in a Pallipalaka. they are then decorated with the Kunchalam (tassals) the nyan (bowstring) and Kurutholla (tender coconut leaves). At an auspicious hour, the bows are collected from the mandapa and placed inside the shrine, on either side of the respective idols. The bows remain in this state for three days (Thiruonam, Avittam and Chatayam) until the night pooja in Chatayam. In olden days, the bows were given away by the king to selected members of noble families and high ranking officials as gifts. These bows were usually placed above the front door of their houses. The bows are also sought after by the devotees, as it is believed that worshipping Onavillu brings prosperity. 15 Journal of Natural Remedies Vol. 21, No.3(S2), (2020) References. 1. Coomaraswamy, A., The Indian Craftsmen, London, Probsthain& Co., p. 55. 2. Cousins, J.H., The Arts and Crafts of Kerala, Kerala Ivory Carving, p. 157. 3. Govindan Nair, K. and Pushpa, B., CharithrathintaeEadukal (988-1022), (1992) IrayimmanThampi Research Centre. 4. Gowri Lakshmi Bayi, Thulasigarland, Mumbai, BharatiyaVidyaBhavan (1998), p. 214. 5. Kramrisch,S. and Poduval,R., The Arts and Crafts of Keral, Cochin, Paico Pub. House (1970), p. 72. 6. KulathuIyer,R., ThiruvithamkoorCharitram (1926), Raja Sir, T, MadhavaRayar (1926), p. 57. 7. NagamAiya,V., The Travancore State Manual, Vol.II, (1906), p.67. 8. NarasimhanThampi,V., Travancore Royal Family and Valiakattaram, Thiruvananthapuram (1976), p.40. 9. PrameshwaraIyer, S., Important Mathilakam Records, Document No.61 (1941) p. 86. 10. Sankaran, P., Artisans in Wood carving Institutional Interventions in the Handicrafts promotion, Artisan Federation of India. 11. SreedharaMenon,A., Kerala District Gazetteers, Thiruvananthapuram (1962), p. 519. 16 .
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