WHY ESAKKI AMMAN
Yakṣi (யக்ஷி) *noun* < *yakṣī.* Female of the yakṣa class. See இயக்கி [
*iyakki*], tamil lexicon.
‘Amman’ means mother. Isakki is a generic rural goddess of South India.
She is also known as Pechi Amman or Ezki Amman. The name Isakki has its
origins as Yakshi. Yakshis are said to be bloodthirsty female tree spirits.
She is also connected to Goddess Nili that appears in the Silapathikaaram.
This is the earliest reference to yakshi in Tamil. It refers to a
‘Poongkann Iyakki’, that is, a Yakshi with eyes soft as flowers. Isakki
also corresponds to Jain Yakshi, Ambika. The worship of Isakki Amman is
popular to this day in the southern districts of Tamil Nadu especially in
Kanyakumari, Tirunelveli and Salem districts.
TEMPLES: Isakki is more of a nature Goddess. Her humble temples are
constructed within the vicinity of banyan or huge shady trees. Women taking
vows are indicated by pieces of women's sarees are tied to the branches and
aerial roots of the spreading tree. Those aspiring children hand small
wooden cribs. Unlike the temples of the Vedic and Puranic deities, Isakki
is beautifully intertwined with Nature worship in that she is likned to
Paalkallu, a certain cactus-type plant. When punctured it ooze a milk-like
sap evidencing a sign of goddess Isakki.
FESTIVALS: The worship of Isakki Amman is usually a community festival
where food for the goddess is cooked in the vicinity of the deity. The
deity of the goddess painted in garish colors. Ponggal and tamarind rice
are favourite offerings. Isakki shrines are sometimes smeared with a liquid
made from mixing lime water and tumeric and which ritually represents blood.
Apparently, this red liquid is indicative for certain blood sacrifices.
Sacrificial rituals are not uncommon in Isakki worship. Isakki worship is
not flagged with formalities. Isakki worship usually follows crowd
sentiments of the devotees in the village settings. This is sometimes tied
to the local tales and her equal treatment of one and all. Their shrines
are quite regional.
DEPICTION: Deity of Goddess Isakki is usually portrayed as a young
woman. Red dress is the common setting but this suffers in the hands of
sculpture painters. Her blouse is tiered and heavily embroidered. Her
jewellery is prominent and she wears a heavy necklace, shining nose ring
and anklets. In her standing position, she holds a child in one hand and or
trident in the other. Otherwise, it is in a blessing mudra. Her background
depicts beautiful flower garlands. In some sculptures she is depicted to
have Kali features.
She is sometimes represented as standing on a man that lies on the
ground. This represents her story and equally shows her ties with the
Shiva-Parvathi pantheon. She is attended to by two ‘dwarapaalakar’ or
protecting attendants. Isakki as Ambika in the Goddess Ambika Temple near
Vellore shows her seated in a suhasana pose and is shown wearing a
necklace, armbands and a large tiered ‘makudam’ or crown, above which is a
tirthankara.
GODDESS AMBIKA: In mythology, Ambika leads a peaceful family life with
her husband, Somasharman and their two male children. One day the family
performs the ancestral ‘dharpana’ rituals and Soma goes out to take a bath
in the river nearby. Food offerings had been prepared by Ambika but she
sympathises and gave part of the offering to a sage taking alms. Offerings
to the gods could only be served as prasada after prayers so Soma becomes
enraged. Subsequently a quarrel ensues and Ambika bolts off with the two
children. She wanders until she finds a calm place. Now, it is the usually
story. Soma gets into a depression as he misses her presence and what next,
he goes looking for her. Husbands or wives should have some sense of
aforethought, if there is a learning here. Fearing this, Ambika is said to
have given up her life and merged with nature and taking the form of
Yakshini in a cactus to take care of the children. Seeing this, Soma
returns. We guess he did not want to live with a cactus with thorns!
Apparently Yakshi regained her human form later for the benefit of her
children and manifests as Iyakki or Isakki. Legends have it that when she
died, she rises to the heavens to become the attendant of Neminatha. She is
unable to forget the past. So Indra granted her a boon that she could
return to earth and live with her family but provided always that she is a
Yakshi. Ambika therefore returned as Isakki with a dazzling golden
appearance to prove that she was a Yakshi. When she did so, her appearance
was so dazzling that Soma was almost blinded.
YAKSHI: Isakki is a Yakshi derivative. ‘Yak’ means mysterious,
marvelous or spiritual apparition. The word indicates semi-divine beings
not belonging to any major religion. Hindus or rather the Tamil population
worshipped them as guardian deities that resided in nature such as on
trees, in rivers, lakes and ponds, and on highways. Yakshis were worshipped
for boons and protection against evil. Ritualistic offerings were made to
trees, rivers or lakes. Later Jainism and Buddhism took yakshis into the
fold and converted them into secondary deities.
Archeological evidence of yakshi cult have been found in Mathura in
Uttar Pradesh; Didarganj and Basarh in Bihar; Bhopal, Sanchi and Khajuraho
in Madhya Pradesh; Ellora in Maharashtra; Udayagiri and Khandagiri in
Odisha; Tiruppanmalai, Vallimalai, Anaimalai, Tirumalai, Samanamalai,
Sithamur and Sitharal in Tamil Nadu; Aihole and Shravanabelagola in
Karnataka; and Nagarjunakonda, Kondapur, Peddapur and Amaravathi in Andhra
Pradesh.
Yakshi worship cuts across several major deities. It is said that the
features of Goddess Lakshmi is gleamed from the Yakshi attributes.
Manimekalai of Buddhist links, one that protects the seas and said to have
transported Bodhisattva to Mithila is of Isakki origin. Again, the Buddhist
Jataka tale mentions of Isakki residing in a tree. It is said that the
liberal Vajrayana Buddhism gave birth to various goddesses with special
features.
By the 5th century Buddhist female deities seem to be sitting on the
Hindu pantheon. Janguli, Sunda, Tara, Saraswati, Brihudi and Hariti were
prayed as Buddhist goddesses and it went both ways. Goddess Tara Devi
extends out to become Goddess Draupadi Amman. Jwamalini, a Yakshi and the
Tamil golden Goddess Ponniyamman are also linked.
In Tamil Nadu, there have been separate shrines for Yakshis since the
12th century. The worship of yakshis in Buddhism spread to Tamil Nadu from
neighbouring Andhra Pradesh, where it flourished during the rule of the 2nd
century Satavahanas rule and the Ishavakus later. Ancient Kancheepuram
coins evidence this.
So, Isakki returns where she began – to the villages as Isakki Amman or
Pechi Amman. Yakshi worship was prevalent in Tamil Nadu right from
pre-Aryan days. The most popular Yakshi from the pre-Aryan era to this day is
Isakki Amman. Isakki worship is widespread in Virudhunagar, Tuticorin,
Tirunelveli and Kanyakumari districts in southern Tamil Nadu. Many name
origins are found in Isakki.
LITERATURE: The Tamil Budddhist text, Manimekalai by Sathanaar mentions
Yakshi deities such as Sambapathy, Manimekalai, Deevathilakai, Chintadevi,
Chitradeivam and Kandirpavai. Tamil Sangam literature of the 2nd – 3rd
century B.C. such as Ettuthogai and Pathu Pattu mention the names of Isakki
Goddesses such as Suli, Surmagal, Varaiya Magalir, Kadalkezhuselvai, Kaan
Amar Selvi, Pavai and Anangu. Goddess Isakki is vibrant in Tamil Nadu.
Cilapatikaaram by Ilangkovadigal mentions Yashki and Isakki which been
prevailing in the Tamil country even before the 6th century A.D.
Tamil Sangam literature celebrates the yakshi as "aruganai mudi kavitha
bhagavathy ammai" meaning the one who bore the "arugan" or tirthankara
linked to Jain culture, in her crown. With the decline of Jainism and
Buddhism, Goddess Isakki is back to where She originally belonged – to
nature and as a simple village folk deity.
II The Concept of Devatas in Hinduism
Chapter - III DEPICTION OF GODS AND GODDESSES IN
Isanasivagurudeva-paddhati
The Concept of Devatas in Hinduism As stated elsewhere in this study,
Hinduism was not founded by a single individual and it has been the product
of a gradual evolutionary process Which still continues. At a very early
stage of their civilization, the ancestors of the Hindus were polytheistic.
They deified and worshipped Earth, Water, Fire, Wind, Sky, Sun, Dawn,
Night, Thunderstorm-virtually every power of nature. But, while eulogizing
through Vedic hymns, each of these Gods was addressed or referred to as the
Supreme God, the Lord of all Gods and the Creator of the Universe. It is
for this reason that Max Muller, the famous German indologist, concludes
that the earliest ancestors of the Hindus were monotheistic as well as
polytheistic.
1 On the authority of the 'Caturmahavakya', theists hold that it is the
Brahman, that 'Nirguna', having no beginning or end, beyond comprehension
of the senses, which is eternal, formless, unique, and the one and only
spirit that is meditated upon and worshipped in the form of Devatas.2 This
not only emphasizes the oneness of God but also constitutes the firm
foundation of universality and tolerance in Hinduism. Although the Vedas
and Upanisads acclaim, extol, venerate and celebrate the powers of Rudra,
Aditya, Visvadevatas, Vayu, Varuna, and other Gods, in principle they are
fundamentally monotheistic in nature considered in a relative perspective,
in most Upanisad texts, God is conceived as the concrete form of the
absolutely abstract Brahman and Devatas are the manifold aspects of God.
Nirgunabrahman Hinduism also uses such expressions as 'absolute truth',
'consciousness', and 'Infinite Bliss' to mean Nirgunabrahman (the
impersonal, attiributeless, supreme spirit. Irrespective of the epithets
used, Nirgunabrahman can never be described accurately or sufficiently by
the finite words and expressions of our world with intrinsic limitations.
Sagunabrahma (isvara) Personal God in Hinduism is called Sagunabrahman, God
with an attribute, Isvara. From the standpoint of man residing in the world
of time, space, and causation, isvara or Sagunabrahman is the Creator of
this world. He is omnipotent, omnipresent, and omniscient. By His mere will
He manifests Himself as the manifold universe. Although formless, by His
divine magical power Maya, He assumes various forms.
Depending upon the needs, tastes and wishes of His votaries or devotees,
He can appear to them in any form they like to worship Him in, and respond
through that form. He can also incarnate himself amongst human beings in
order to lead them to His own kingdom. And this act of incarnating is a
continuing process, taking place wherever and whenever He deems it
necessary. Murtis or Symbols in religion It is virtually impossible for any
religion to be free from symbolism if it is to preserve its forms of
worship. Idols, crucifix, crescent moon, rites and rituals, dogmas and
doctrines and similar symbols are integral adjuncts to any religion
enforcing and consolidating the faith of the adherents or devotees. As the
importance attached to symbols increased in intensity in course of time, it
led to idol worship. Vigraha, it's meaning Icon is the western equivalent
for 'Vigraha' (Idol). According to the Hindu tradition of worship, these
idols, as we have seen, represent different Gods and Goddesses. Idols-their
distinctive attributes In Indian concepts, idols are not the mere
imitations of the visible external world. These idols are subject to and
reflective of many principles, laws and varying modes of worship. (The word
has evolved from the Greek expression 'ICOL' which means an object worthy
of worship) The idol made as per prescribed measurements ('talas') by the
'Silpi' (sculptor) undergoes many elaborate Tantric rites and rituals
performed by Tantris before it is assumed to have the attributes of
divinity, and hence worthy of veneration and devotion. The Visnu
Dharmottara Purana (Visnudharmottara Purana), explains how the tradition of
arts was practised in ancient India, particularly in the Gupta age. When
king Vajra puts the question: 'What would obtain for him great happiness in
this and the other world? Without hesitation Markandeya answers the
question: 'Anyone desiring the best of the two worlds must worship Gods
(Devatapujanam) '
3. One can notice so many differences between the Devavigraha Talamanas
(proportions of the idols) in the southern and northern systems. The chief
difference noticeable is the strict and exacting uncompromising adherence
to the principles of 'Vigrahasastra'in the south. The northern school shows
a certain degree of laxity in this respect. The general features common to
the Indian Gods and Goddesses are the multiplicity of limbs, animal forms,
half-human & half-animal forms, hermaphrodite form (Ardhanarisvara),
reptile-human forms, accompaniment of vehicles (Vahana). The multiple
limbs, in fact, represent the many attributes of the respective Devatas.
Depending on the number of limbs, weapons and 'Bhavas' or 'Rasas'. They
can be classified as belonging to Sattva-Raja-Tamoguna categories. An
ordinary sculpture is meant to have only a limited purpose and meaning, but
a divine idol, by its very nature, has to convey more profound and finer
levels of meaning leading to a higher cultural and artistic sublimity which
is exactly what is sought to be done and is done through the mudras and
other intricate and detailed Tantric and Mantric representations. For
example, 'Abhayavaradamudra', 'Dhyanamudra', 'Cinmudra', and 'Anjalimudra'
convey a world of meanings. Tantrics believe that idols in concrete form
epitomize that abstract Brahman and naturally idols came to symbolise and
exemplify the Devatas or Murtis. But it cannot be denied that the
subtleties of the mudras integral in early Devata concept has suffered
considerable debasement owing to the corruptions over interpretations and
misinterpretations carried out by subsequent scholars, commentators,
practitioners and followers. The 'Ayudha-Bhusana-Vahana' accompaniments to
Devatas that we now see in the present day have been the attributes of the
Vedic deities too. For example, the Veidic deities like Agni, Rudra, Visnu,
Varuna, and Surya are still being worshipped with varying degrees of
importance in different parts of India. The inescapable inference is that
despite the transformation from Veidic to non-Vaidic modes of worship and
associated rites, the fundamental structure of idols still remains Veidic.
When temples came into being and Tantric system of worship became
well-entrenched, deities like Indra, Agni, Vayu, Yama, celebrated in the
Vedas, were relegated to the status of 'Dikpalakasnd deities meant to
fortify the power of the main deities of temples as 'Antarmandala' and
'Bahirmandala' Devatas or 'Balidevatas'. In the Tantric tradition, Durga,
Ganapati, Subrahmanya, Saptamatr, Sasta, and Daks. inamurti, are also
included in this class of Balidevatas. But Vaidiks maintain that the Veidic
Devatas installed as Dikpalakas are not Veidic Devatas proper, and that
they are different deities. However, it may be noted that in the Tantric
'Dhyanamantras', e.g., Indra is described with His weapons, colour,
vehicles, and ornaments, in exactly the same manner as is done in Vaidic
texts and hence the contention of the pro-Vaidics that they are different
deities does not hold much water. The word meaning of Deva The word 'Deva'
derived from the root 'div'means 'to shine'
4 Hinduism speaks of presiding deities- Devas or Devatas, in Sanskrit,
called 'Adhishthartridevas' and 'Adhishthardhidevis', who controlled
various animate and inanimate domains of this universe. These domains can
be either subtle or gross, very large or very small. The presiding deity
for the sum total of all material bodies in this universe is 'Virat' and
'Virat', considers the entire material universe as his own body. (e.g:
Purusasukta). Devata concept in Kerala the Devata concept in India, while
remaining uniform in nature in general, renders itself to considerable
variations in the northern and southern parts with respect to the Ksetra
concept and Aradhana concept. Even within the confines of the southern
tradition, Kerala carved out an identity and niche of its own, earning
encomiums from every quarter for its Devata, temple and Vastu concepts and
the way it has developed, embellished and sustained them. The development
and consolidation of Tantrasastra into an integral part of worship in
Kerala was facilitated on account of large-scale construction of temples
and consequent cultural enhancements. It also ensured the corresponding
spread of fame, pre-eminence and substance of the Aradhanamurtis too. The
advent of Agama texts into Kerala and their popularity gave an added
impetus to the further consolidation of Tantric science. The most antique
Devata concept in Kerala is linked to Ammadaivangal (Mother Goddesses).
Snake worship, Yaksipuja and Paretaradhana (worship of the dead) also
existed in Kerala from time immemorial. Of them, Nagaradhana was related to
Avaidic worship and hence snake worship in Kerala was basically Saivite in
nature. There are, likewise, several temples in Kerala where Yaksi is
worshipped as the chief deity or an important Upadevata. There are
references galore in ever so many Tantric texts to Yaksinis and their
Murtibhedas. Since the concept of Yaksis had originated as part of the
worship of trees, this too can claim an antiquity similar to Nagaradhana.
Some scholars maintain that since Yaksis are found mentioned in Jain texts,
the Yaksi concept had its roots in Jainism.
5 . There are several references to Yaksinis belonging to different
genres in Isanasivagurudeva-paddhati and Mantramaharnava. Worship of the
dead was also prevalent in Kerala from very ancient times. A close scrutiny
of the civilization of every society reveals the fact that worship of the
dead formed an integral part of it. In this context it is proper to
remember that Pitrkriya and Pitrtarpana are indispensable to the Indian
ethos. There is a long list of names like Raksas, Yogisvara, Munisvara,
Mantramurti, Madan, Maruta, Arukola, Muttappan, Muttan, Tampuran,
Ulakutayaperumal, Kanniccavu, and others that belong to the class of the
dead. They have either been the souls of the victims of 'apamrtyu' (tragic
death), or sage-like persons who met with natural deaths, or Siddhas. They
have been invested with a divine halo and worshipped under either Saivite
or Vaisnavite traditions. In addition to the above, many 'Maladaivas', and
'Durmurtis' (evil powers) were found worshipped through such temple art
forms like 'Kolamtullal' and 'Padayani' in Kerala. This kind of worship of
the dead and Durmurtis was not confined to Kerala. It was and is still
being practised in several parts of India, especially in South India.
Brahmins in Kerala had never wholeheartedly accepted the above mode of
worship, nor did they practise it. The belief in such evil powers was more
among practising 'Mantrics', non-Brahmins, and among classes considered
inferior by society. From very ancient times till half a century ago, there
was hard and fast, inviolable rules and taboos in society, in the worship
of Gods. For example, most of these Murtis were treated as Durdevatas and
were set apart for worship by the lowest castes in keeping with the
inferior status the society assigned to them in those times. The inmates of
Srimulavasa, a Buddhist centre, are said to have worshipped many
Bauddhadevatas. They were Manjusri, Vajrapani, Bodhisattva,
Kartikeyamanjusri, Aryavalokitesvaran, Tara, Prajnaparamita and the like.
The renowned Buddhist Tantric text 'Aryamanjusrimulakalpa'was very popular
in Kerala. By around 12th and 13th centuries, temple worship and Hinduism
gained in strength in a parallel stream and gradually got consolidated.
'Natuvazhisvaroopangal' and matriarchal system also began to flourish. Each
one of these socio-religious institutions adopted its own 'Paradevatas,
Upasanamurtis, Gramadevatas, and Desadevatas'. The interrelation between
these Devatas in brother-sister, husband wife, father - son aspects and the
bathing of the deities during festival in a common holy pond strengthened
not only the importance of the deities but also the bond between and the
unity of the places of which they were the presiding deities. The evolution
of the Devata concept in Kerala is, thus, a harmonious blending of the
inherently differing, and on occasion opposing streams of religious
thought, the Vaidic and Avaidic, the chief feature of which has been
compromise and conciliation and not confrontation. Devata Sankalpa in
Isanasivagurudeva-paddhati One can discern a lot of similarities while
weighing the Devata concepts in Isanasivagurudeva-paddhati with similar
concepts in Kerala. Isanasivagurudeva-paddhati., to a great extent,
reflects the integration between Saivite and Vaisnavite cults that took
place between the 9th and 12th centuries in Kerala. Although ISGPgives
prominence to Saivism, this several Patalas Isanasivagurudeva-paddhati are
devoted exclusively to highlight the importance of Vasnavite Devata
concepts and integrated Murti concepts.
6 SP, the later part of Isanasivagurudeva-paddhati, explains various
Nyasadevatas. They are presented as 'Vagroopas', in the form of Svara and
Vyanjana under Saiva and Vaisnava classification. Appropriate
Dhyanavarnanas are also supplied. Most of these Nyasas are no longer in use
in Kerala. In addition, general descriptions and in certain cases, detailed
ones are furnished on Lipidevatas, Kaladevatas, Brahmyadisaptamataras,
Dasadikpaladevatas and others. The author underlines the importance of the
Sadhaka learning the subtle nuances of the Nyasadikriyas and the related
Vidhis pertaining to Svaramurtis and Vyanjanamurtis, directly from the Guru
himself for effectively performing Sadhanas and for ensuring Siddhi and
allround prosperity, both spiritual and material. These Nyasakriyas,
suitable to the specific Upasanamurti of the Sadhaka, are chanted to the
accompaniment of recommended touch with fingers on specific parts of the
body of the Sadhaka and corresponding parts of the idol he invokes and
invests, with powers. What is mainly intended through these Nyasakriyas is
the enhancement of the power of the Upasanamurti. The SP describes in
detail numerous Devatas in the form of Nyasas, Dhyanas,7 and Mantras.
Spread over several Patalas in the Mantrapada of Purvardha and the
Kriyapada of Uttarardha, there is discription of the Devata concepts of
Prapancaganapati, Sakti, Visnu, Sankaranarayana, Sastha, Surya, as well as
inumerable subdeities or Upadevatas. Besides, the author states that there
are millions and millions of Balidevatas, Avaranadevatas and Nyasadevatas.
For example, the 54th Patala of Kriyapada provides a long list of
Parivaraganas and Avaranamurtis belonging to the Haranarayana concept.
Since we are concerned here with the important deitiesand their related
classifications, we need not digress into the concept of minor deities, use
confine ourselves to the major ones and their relevance to Kerala.
Traditionally, Kerala gives importance to the installation of Devatas in
temples built in strict line with temple architecture. There are in Kerala
not less than ten thousand major temples. They are devoted to the worship
of deities like Siva, Daksinamurti, Ardhanarisvara, Sankaranarayana,
Kiratamurti, Gangadhara, Aghora, Tripurantaka, Mrtyunjaya, Candrasekhara,
Vrsarudha, Sudaresvara, Somaskanda, Sastha, Visnu, Nrsimha, Varaha, Krsna,
Gopalamurtis, Ganapati, Subrmanya, under the Saivite' and Vaisnavite
classifications and their manifold aspects; and their corresponding Sakti
aspects like, Durga, Parvati, Bhadrakali, Laksminarayana, Tvarita,
Sarasvati, Laksmivaraha and others. Additional to these main Devatas are
their myriad aspects including Brahma, Surya, Vedavyasa, Ananta, Astanagas,
Virabhadra, Yaksinis, Vetala, Asuras, Raksasis, Pisacamurtis,
Avataramurtis, and the like. Virtually all Devatas and their manifold
aspects are represented in Isanasivagurudeva-paddhati. But there are
differences in the mode of worship. The most pronounced one is in the style
of the Dhyana. At the same time, there are similarities, too. The best
example that can be pointed out is in regard to the description of
embellishment of the Murtis with weapons (Ayudha) and ornaments (Bhusana).
There are dissimilarities too. One interesting feature, worthy of note, is
that there is hardly any similarity between the now prevalent style of
dressing of the people of Kerala and the way of dressing ordained for
Devatas as a whole. K RAJARAM IRS 14 9 24
---------- Forwarded message ---------
From: 'gopala krishnan' via iyer123 <iyer...@googlegroups.com>
Date: Sat, 14 Sept 2024 at 08:47
Subject: [iyer123] MUPPANTHAL ISAKKI AMMAN TEMPLE.NEAR NAGERKOVIL
To: Iyer <iyer...@googlegroups.com>
MUPPANTHAL ISAKKI AMMAN TEMPLE.NEAR NAGERKOVIL, TAMILNADU-Compiled
Dear friends,
While I was working at Nagerkovil during 1978’s Vadakkankulam telephone
exchange was under my control. I had to get down at Muppanthal junction and
take any available vehicle to reach the exchange.
On those days all buses stopped at Muppanthal junction for two minutes,
priests from the temple will get in, offer holy ashes and collect our
offerings.
There is a strong belief among drivers of the vehicles that stopping and
prayer assured safety drive and reach destination.
Gradually stopping reduced to slow moving before the temple and passengers
will keep ready the money and drop before the temple and priests collect
the offerings from road side. This I could observe in later periods while
going to Kuladeivam temple via Tirunelveli from Trivandrum, where I was
working.
The isakki amman is considered very powerful. It is a temple under HR and
CE , Government of Tamilnadu. It is a temple where priests are non Brahmins.
Now the place is more famous by the wind mills installed for KMs near the
temple, and Raja’s Engineering college at Muppanthal.
The decades old tiled temple is renovated now.
Hope a divine reading.
Gopalakrishnan 14-09-2024
1.INTRODUCTION
Muppandal Esakki Amman Temple, located near the southern tip of Tamil Nadu
– Kanniyakumari called as “the Virgin Princess”.
Where is Muppandal Esakki Amman Temple located?
This temple is located along the Kanniyakumari – Thirunelveli National
Highway,15 km from Nagarkoil between the towns of Aralvaymozhi and
Kavalkinaru and the place is called as Muppandal.
During the rule of Chera, Chozha and Pandya kings (the Muvendars), they
gathered at this place and made a pavilion to solve their problems under
the leadership of the respectable woman poet Avvaiyar. As the three kings
made a pavilion here to resolve their muddles, this place is named as
“Muppandal”.
2 MUPPANDAL ESAKKI AMMAN TEMPLE LEGEND
Palavoor is a place located near Muppandal and there lived a wealthy woman
known for her dance along with her daughter Esakki. A man who is after
their money and property lured Esakki to fall in love with him. He made
Esakki to believe him and summoned her to the nearby forest along with her
money and jewellery. While Esakki was making love, he threw a boulder at
her head and killed her.
The man took all of Esakki’s belongings and while he was walking along the
forest, he was bitten by a snake and died. As Esakki was a lady with
spiritual powers, he requested the almighty – the Lord Shiva that she
herself wanted to destroy the culprit who deceived and killed her in the
name of love. She prayed the Lord to resurrect her and her deceiver. Lord
Shiva blessed her and resurrected both of them – Esakki and her
deceiver. Accordingly,
the man who died of snake bite returned to his home.
Esakki wandered in the forest and one day she broke a cactus plant and
turned it into a beautiful baby. The, Essakki along with the baby went to
the town of the culprit who deceived her and called the people of the town
for Panchayat complaining that the culprit deceived her in the name of love
and he refused to accept her and her child.
The culprit was called for the hearing and he pleaded not guilty. He denied
the allegations of Esakki and pleaded that she is not his wife and the
child is not his. Esakki dropped the child down and it went straight to the
culprit and called him as father. On seeing this, the Panchayat locked
Esakki and the culprit in a house along with the child saying that a child
will never lie and asked the culprit to discuss with Esakki and come to a
conclusion.
Esakki who waited for her time alone with the culprit, took revenge and
avenged her anger by killing the deceiver with her own hands. Later, she
left Palavoor and started walking towards the west where she saw Avvaiyar
dealing the problems with the three kings in Muppandal. Avvaiyar asked
Esakki to come over and calmed her down. Avvaiyar asked Esakki to stay
there insisting that this is the place where she should be.
Witnessing this from Heaven, Lord Shiva turned towards the Goddess Parvati
and she gave her heroic power to Esakki. Right from that day, Esakki became
the Goddess who protects the town and as she is in Muppandal she was called
as Muppandal Esakki Amman.
3 AVVAIYAR SHRINE
The temple holds a separate shrine for the Poet Avvaiyar as she calmed down
Esakki and made her to stay in Muppaandal.
4.LORD VISHNU
There is also a separate shrine for Esakki’s brother, Neelan. It is
believed that the Lord Vishnu came as Esakki’s brother.
5 Other Deities of the Temple
Valampuri Ganesha, Balamurugan
There is another Esakki Amman Temple nearby this Muppandal Esakki Amman
Temple and Sudalai Maada Swami stands as the protector. The Main deity here
is called as “Aadhi Esakki Amman”.
6 MUPPANDAL ESAKKI AMMAN TEMPLE TIMINGS
Morning Worship Timing: 06.30 AM to 12.30 PM.
Evening Worship Timing: 04.00 PM to 08.00 PM.
7 POOJA AND OFFERING DETAILS
S.No. Pooja Name Pooja Timings
1 Maalai pooja 07:00 AM to 07:30 AM IST
2 Ushakala poojai 07:00 AM to 07:30 AM IST
3 Uchikkala Pooja 12:00 PM to 12:30 PM IST
Offering details
S.No. Fees Description Remarks Fees
1 Archanai 5.00
2 Sittadai sathuthal 5.00
3 Tharai Vadakai 25.00
4 Pattadai sattuthal 25.00
5 Pall Kudam 50.00
6 Manjal Neer viduthal 60.00
7 Uruvam viduthal 101.00
8 Thirumana pathivu kattanam 201.00
9 Pushpabishegam 201.00
8 DEITIES LOCATION
Mother Isakki Amman is sitting in the north corner, Mother Madapalli in the
south corner, Lord Muruga in the western prakara, Lord Ganapathi in the
kanni corner and Avvai Prati.
Lord Sudhalaimatan is in the northwest corner of the temple and Pattavaraya
in the north-east corner.
The temple is situated on the eastern side of the temple with a special
prakara for Avvaiyaramman.
9 FESTIVALS AND SPECIAL FEATURES
The Kodai Festival is celebrated on the last Tuesday of The month of Aadi
every year. Devotees visit the temple in large numbers on Sundays, Tuesdays
and Fridays and grace the devotees. The temple is worshipped by The
olawaiyaramman with the angels of the temple. Devotees perform milk pot
sacrificial pots, avivakavadi and beak singing from aralvaimozhi Arulmigu
Marimutharaman temple nearby during the Anikoda i.e. The Annikodai festival
of the temple. The hundreds of devotees descend to the pit during the night
puja festival. The prayers of the devotees visiting the temple, especially
the child boon, the remission of illness, are a testimony to the grace of
the mother. The temple is open at 5.00 a.m. and the temple is open till
9.00 p.m. 7.00 am. Morning Pooja 1.00 noon Uchikala Pooja 7.00 pm Night
Puja 9.00 pmless info...
S.No. Subshrines Name Subshrines Details Details
1 AVVAIYAR
2 BALAMURUGAN
3 VINAIYAGAR
4 SUDALAIMADAN
5 pattavarayar KAVAL THEIVAM
6 Agnimadan sannathi -
7 Avvayaramman sannathi -
10 SPECIALTIES
S.No. Temple Specialty Title Description Details
1 Parigaram
2 Prayer குழந்தை வரம்
11 FACILITIES FOR DEVOTEE
S.No. Facility Name Facility Location Details
1 Tonsure Facility Temple location
2 Drinking Water R.O.
3 Wheel Chair Temple location
4 Ear Boring Room Temple location
5 Toilet Facility Temple Location
6 Bath Room Facility THIRUKOVIL PLACE
7 Solar Power System Temple and Temple office
12 ANNADANAM
1100 people are given food on Tuesday, Friday and Sunday and 50 people on
other days.
12A MUPPANDAL ESAKKI AMMAN TEMPLE ADDRESS
Shri Esakki Amman Temple, Muppandal, Aralvaimozhi, Tamil Nadu 627105
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