Classes of Namboothiris

Functional Classification: Namboothiris are classified into ten sects. The classification was solely based on the jobs entrusted to (or opted by) the respective family. Later, two more classes have been added, one due to a new profession and another as a special group. All members of a family were supposed to do the jobs entrusted to (or opted by) that family, which was assigned corresponding rights too. Though this classification methodology later turned out to be a ranking system of the families depending on the vocation entrusted to them, all Namboothiris were urged by their supreme authority to respect each other's profession, and hence to respect every other Namboothiri. Also, there was a special clause that if three successive generations in any Namboothiri family could not perform the job entrusted to them, the whole family will be denied that job. Also the family will be reverted to the previous class. TABLE: Rights and Duties of the Ten Different Classes Rights / Specification area Aadu Edu Bhiksha Picha Othu Saanthi Adukkala Arangu Panthi Kadavu 1 Yaagam (Yaagadhikaaram) Yes No No No No No No No No No 2 Bhattavruthi (Higher studies) Yes Yes No No No No No No No No 3 Sainthood (Samnyaasam) Yes Yes Yes No No No No No No No 4 Othikkan (Practitioner of Vedams) Yes Yes Yes Yes No No No No No No 5 Study and Teach Vedam Yes Yes Yes Yes Yes No No No No No Yes Yes Yes Yes Yes Yes No No No No 6 Temple Priesthood 7 Large-scale Cooking and Catering Yes Yes Yes Yes Yes Yes Yes No No No 8 Military and Panemkali Yes Yes Yes Yes Yes Yes Yes Yes No No 9 Dining with other Namboothiris Yes Yes Yes Yes Yes Yes Yes Yes Yes No 10 Bathing with other Namboothiris Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes 1. Aadu (Literally meaning goat, essential in Yaagam): They are specialised in Yaagam, and have Yaagaadhikaaram or the right to perform Yaagam. 2. Edu (a page in a book, symbolising knowledge): They have the right to acquire knowledge and teach Sanskrit, Vedam, Linguistics, Astronomy, Astrology, Architecture and so on. 3. Bhiksha (alms, symbolising a saint or a samnyaasi): They have the right to become a saint (or samnyaasi). 4. Picha (also means alms, in crude form): They are Othikkans, helping other Namboothiris to perform rituals. There are several Othikkan families throughout Kerala. Each Namboothiri family (even if it belongs to Aadu class) has an Othikkan family associated with it. All major rituals in a family are performed only after consulting the family's Othikkan. 5. Othu (Spiritual hymns): This class of Namboothiris was basically teachers of Othu (Vedam). Even boys of families belonging to Aadu class are sent to such teachers to study Othu though their parents were experts in it. 6. Saanthi (temple priesthood): These Namboothiris are priests in temples. Even today many such Namboothiri families keep this tradition at least one member of the family regularly attend the temple rituals (pooja, etc). A temple priest is called a Saanthi or Saanthikkaaran. Families belonging to even Aadu class do not poke their nose into the affairs of a Saanthikkaaran's power inside the sanctum sanctorum. They are considered inefficient in Othu because, since temple rituals and Vedic classes are usually performed during the same time, they cannot attend Vedic classes. Also, due to hectic schedules in temples, they could not practice Samhita (Vedic text), Braahmanam, Aaranyakam and Upanishad. However, after Upanayanam, the Aachaaryan chants and advises Othu (Vedam) to boys of this class. They need not study Braahmanam, Aaranyakam and Upanishads. Whenever they need Othu (Vedam), Namboothiris of the above class chant it on their behalf. For the same reason, the

classes mentioned below (7 to 10) also lost the right to study, teach and practice Othu or Vedam. Moreover, while chanting Manthrams for offering oblations to the deity, priests take out the Braahmana energy from own soul and integrate it into the deity. Thus, it is believed that priests run short of Braahmana energy, which they should compensate for by chanting Gaayathri Manthram several thousand times, daily. Since priests do not always find time for this, they are again considered excluded from Othu (Vedam). 7. Adukkala (kitchen, symbolising cooking): These Namboothiri families were specialists in largescale cooking and catering. A family belonging to this group has to be consulted on all cateringrelated issues including for Yaagam. 8. Arangu (stage): This special group of Namboothiris, called Chaathira Namboothiris, was a military group. Their evening entertainment was Panemkali (Sanghakkali). (To know more about it, Click here ). 9. Panthi (dining structure): Namboothiris like Graamani, Thangal, Vaal-Nambi and Ashtavaidyans (all Mooss families except Vaidhyamadham) belong to this category. Vaidhyamadham, though an Ashtavaidyan, belongs to Aadu class, as they are the Vaidyans in the Yaagasaala (the hall where Yaagam is performed). Mooss families are not included in the eight classes as these physicians perform surgery. Graamani Namboothiris, Thangal Namboothiris and Vaal Nambis are Namboothiris performing village administration and hence excluded from the above eight classes. 10.Kadavu (bathing points in the pond): Elayathu and Adikal are Namboothiris belonging to this category. Elayathu and Adikal are not included in the above nine classes because Elayathu helps members of other castes to perform their rituals, while Adikal uses meat and blood to perform temple rituals. Later on, an eleventh class of Namboothiris was formed when there was a need to settle disputes on the methods and structure of Pooja (offering or oblation) in temples and to form temple policies. A family specialised in such activities became known as Thanthri. Now there is a Thanthri (family) associated with every temple in Kerala. Thanthris were drawn from almost all the classes of Namboothiris narrated above. General Classification: Yet another method of classification evolved later. Based on this, the above ten types of Namboothiris were generally classified into three, which are as follows. It has to be noted that historical manuscripts do not give any proper basis for Aadhyan-Aasyan classification. y Aadhyan Namboothiris: Aadhyan Namboothiris are generally considered as elite, though there is no known basis other than a belief in the form of a story. Aadhyan Namboothiri group is a special group of Aadu class. Aasyan Namboothiris: Non-Aadhyan Namboothiris of Aadu class and families belonging to Edu, Bhiksha, Picha and Othu classes are generally considered as Aasyan Namboothiris. Othillaatha Namboothiris (Namboothiris without Othu, or excluded from Vedam): Namboothiris belonging to the last five classes are generally called "Othillaatha" Namboothiris, as they did not have the right to study, teach and practice Othu.

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In the fifth century AD, as the story goes, members of eight Namboothiri families led by Mezhathol Agnihothri, took a pledge to perform 100 Yagams. When they completed 99 Yagams, Lord Indran feared that his power would be lost to the Yajamaanan (leader) of this Yaagam. Indran and other Devans personally arrived in the 99th Yaagasaala to accept the oblations meant for each of them. Indran then pleaded to Agnihothri to stop performing the 100th Yaagam. The leader declined the request of saying that he was performing it not for his own better position but for retaining the culture of Yaagam among Braahmanans. Indran then offered Agnihothri his equal status. Agnihothri demanded conceding of this status to the other seven participant families also. (Seventeen experts are needed to perform Yaagam. For the 99 Yaagams, Agnihothri had drawn the experts from seven families). Indran accepted the demand and blessed them. They became known as "Ashtagrihathil Aadhyanmaar" (eight elite families). He also went to the extent of blessing them that their successors need not perform Yaagam. Though it is just folklore, it could be believed that by conducting 99

Yaagams, members of these eight Namboothiri families have become experts in almost all the aspects of Vedam. Looking from that angle, the efforts of Mezhathol Agnihothri and seven other families to preserve the Vedic tradition of Namboothiris are to be appreciated. These eight families (given as a kind of synonym, Kala-me-ma-kulu-chem-pa-muri-vella) are the Grihams of Kala (Kalankandathur), Me (Mezhathol), Ma (Mathur), Kulu (Kulukkamillavoor or Kulukkalloor), Chem (Chemmangad), Pa (Pazhoor), Muri (Muringoth) and Vella (Vella). Their successor families are detailed later. All these Namboothiris became known as Namboothiripads or Bhattathiripads. (Click here to know more about Three Types of Bhattathiris). Female members of these eight families had shown off their elite status by changing their style of wearing costumes, ornaments and certain rituals, with no proper and authentic definition attached to these changes. It is a fact that by looking at a Namboothiri male, it is very difficult to identify whether he is an Aadhyan or Aasyan. But by looking at a married Namboothiri lady's Thaali (wedding gold locket), one can easily identify whether she (or rather her husband) is Aadhyan or Aasyan. Aadhyans have "Kamazhthithaali" (convex wedding gold locket) while Aasyans have "Malathithaali" (flat wedding gold locket).Old Aadhyan Namboothiri ladies were concerned about wearing costumes and specially designed typical ornaments in Aadhyan style. Other than these, there is no special meaning attached to Aadhyan-Aasyan differentiation. It is a fact that not all the Namboothiripad and Bhattathiripad families are members or successors of these eight families. Except the families mentioned below, all Namboothiripad and Bhattathiripad families originally had the surname Namboothiri and Bhattathiri respectively. Some of them just added the "pad" though they continued to use Aasyan costumes, ornaments and Malathithali. Some others went to the extent of changing those too to the Aadhyan style. Yet another group of today's Namboothiripad and Bhattathiripad families attained that status by affiliating themselves to one of these 8 families by adopting a member from it. Such was the craze for being an Aadhyan Namboothiri. To summarise, the Aadhyan-Aasyan differentiation is more of a show off than with any concrete base. The successor list of most of these "Ashtagrihathil Aadhya Grihams", obtained from different sources, is given below : y y Kalankandathur Griham: Ottoor, Olappamanna, Varikkumancheri and Kadampatta are successor Manas of Kalankandathur Griham. Mezhathol Griham: Its successors are Vemanchery (Kadambur), Kodanaat, Koodalloor and Koodalattupurathu. All these families have their roots running into the village Mezhathur near Pattambi in Palakkad district. It is to be noted that not all families having roots in Mezhathur are successors of this Griham. Mathur Griham: Mathur is situated in Paanjaal, in Thrissur district. Poommulli (at Peringod in Palakkad district), one of the wealthiest Namboothiri families till recently, in order to become an "Aadhyan Namboothiri", adopted a male child from Mathur Mana and thus affiliated itself to Mathur Mana. Thus there are two families claiming ancestry to Mathur Griham. Kulukkamillavoor or Kulukkalloor Griham: Thirteen Namboothiri Manas have Kulukkalloor Griham for ancestry. They are Polpaya, Polpaya Azhvanchery (family of Azhvanchery Thampraakkal), Polpakkara, Pandamparambathu, Orupulassery, Mappat, Kozhissery, Poolamanna, Edamana (in Palakkad dt.), Puliyannoor (after adopting a child from Orupulassery), Vadakkumkara, Pariyanampatta, and Purayannur. All these families are having their roots running into the Kulukkalloor village, near Cherpulassery in Palakkad district. (For more on Kulukkalloor Griham, refer the book with the same title, by Kodungalloor Kunjikkuttan Thampuran) Chemmangad Griham: Chemmangad Mana, situated in Adat near Thrissur. Pazhoor Griham: Killimangalam, Kuttamassery, Panayil, Pallippurath, Karuthedath, Melpazhoor, Thali, Vadakkillath, Ponnorkode (Swarnath) and Paduthol are successor Manas of Pazhoor Griham. All of them have roots in Pazhoor Village near Chottanikkara in Ernakulam district. It has to be noted that Ponnorkode (Swarnath) and Karuthedath became members of Pazhoor Griham after adopting a child each from Thali and Pallippurath respectively. Muringoth Griham: Ekaadasy Thekkedath, Memana Vadakkedath and Kizhakkumbhagath are successors of Muringoth Griham.

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Vella Griham: Vella Griham was originally in Panniyoor Graamam but, of late, its branch families settled in various other Graamams. The original Vella family was of Rigvedam of Aangirasa Gothram and Gouthama Pravaram. Apart from Vella Mana and its branch, Thirumassery Mana (both still existing in Panniyoor Graamam, near Pattambi in Palakkad district), the following are the families that branched off and migrated to other Graamams. Families who shifted to Sukapuram Graamam and continue to be Rigvedis are: Maravanchery Thekkedath, Maravanchery Vadakkedeth, Thekkedeth (a branch of it is now in Kudamaloor, near Kottayam but their base family is at Vellarkad, near Kunnamkulam in Thrissur district, and at a later stage, due to lack of male child, they adopted a son from Kakkad family; Maravanchery (Naduvilpad; this family later got absorbed in Thekkedath), Melpathur (of the famous poet, Melpathur Bhattathiripad, which later got absorbed in Maravanchery Thekkedath), Vadakkedath (this family also later got absorbed in Thekkedath), Vaaraanasy, Kakkad (Nambudiripad), Kakkad (Bhattathiripad; later they adopted a son from Kodanatt family of Mezhathol Griham, and continues to be in Vellarkad), Kizhakkedath, Kakkad Ozhukil and Kaattil. Those who moved to Paravoor and Irinjalakkuda Graamams were: Akkarakurissy, Elakurissi, Vazhapilly (these three families later performed "Charanam Maari Upanayanam" to become Yajurvedis), Mechery, Aryampilly, Kaipilly (they continue to be Rigvedis), Vilwamangalath (of the famous Vilwamangalath Swaamiyaar, which later became extinct) and Vellangalloor (Bhattathiripad; extinct, but their properties and rights were added to Ottoor of Kalankandathur Griham).

Vedic Classification: Of the four Vedams namely Rigvedam, Yajurvedam, Saamavedam and Atharvavedam, Namboothiris follow only the first three. Two different recensions among Rigvedi Namboothiris are Kousheetakan and Aaswalaayanan and among Yajurvedi Namboothiris, Boudhayanan and Baadhoolakan. All Saamavedi Namboothiris are of Jaimineeya recension. Click here to know more about the exclusive nature of Namboothiris.

Poonool
Poonool, technically known as "Yajnasoothram" or "Yajnopaveetham" is worn by the Braahmanan and certain other communities, around the trunk of their body over the left shoulder and under the right arm, and represents clothing. In early times, clothing was of two kinds, "Anthareeyam", a piece of covering cloth, and "Uthareeyam", a cloth or hide to cover the chest to keep the lungs warm and strong during Vedam recital. Poonool got the name Yajnopaveetham as it is to be specially worn during sacred rituals such as yajnam. Yajnam means Vishnu, while Upaveetham connotes a covering, and thus, together the word could mean a cover for the god that dwells in the heart. Since the soul is supposed to dwell in the heart, Upaveetham got the other name , Soothram. Poonool is made of cotton thread or cloth or of Kusa grass wound around three times with the ends formed into a knot. There are different versions as to what the three represent - Sat-Chit-Aanandam; Sathwa-Rajas-Thamo Gunams; Brahmaavu-Vishnu- Maheswaran; Jnaana-Itchha-Kriyas; BhoorBhuva-Swar Lokams, etc. Each of the three has nine strands representing nine Devans : 1. Pranavam (Omkaaram), 2. Agni, 3. Naagam, 4. Soman, 5. Pithrukkal, 6. Prajaapathi, 7. Vasu, 8. Yaman, and 9. the rest of the Devathas. Wearers of Yajnopaveetham shall have control over their mind, word and body. It is worn to make one eligible to perform sacred rituals, for improving Brahma-Thejas, to receive God's blessings through destruction of all troubles, and to enable one to perform all the daily rites and rituals prescribed in the Sruthi and Smrthi texts. It is to be worn while serving teachers, the elderly and guests, and while performing Homam, Japam, consumption of food, Aachamanam, Vedam-learning, etc. which have led to wearing it all the time.

In olden times, women also wore Yajnasoothram. The husband brings her to the Homasaala with Poonool worn around her. During later periods, wearing of Poonool by women was considered unnecessary perhaps because unmarried women were a rarity in ancient Hindu families, and the husband and wife were considered as one entity, and the Poonool worn by the husband was considered to represent that of the wife too. This might later have led to the present stricture that women shall not wear Poonool. Boys begin wearing Poonool with Upanayanam, which is the initiation into Brahmacharyam. It is made on an auspicious day and the maker is clean (Sudhham), and in the prescribed manner with "Pavithram" knot representing Brahmam, and symbolises the three "Gunams" that emerge from, and then merge with Brahmam. Though no Manthram is needed, first, a prayer is offered to Ganapathy and then Gaayathri may be chanted while making Poonool. However, the prescribed Manthram is to be chanted while wearing a new Poonool. It is worn over the left shoulder and under the right arm, reaching down almost to the right hip. Poonool is not to be touched with unclean hands. Namboothiris hang the lower part of it after removing through the right arm, over the right ear lobe while in the urinal or latrine. It prevents polluting the Poonool both literally and also due to the belief that Braahmanan's right ear is blessed with the spirit of the sacred "Ganga", thereby preventing pollution. Poonool is to be reversed to the right shoulder and under the left arm during some ceremonies like "Sraaddham", "Pindam", etc., and is called "Idathidal" (wearing towards left). A broken and mended or lost Poonool should be replaced at the earliest opportunity. It is to be worn while in an open space facing east and looking at the sun, accompanied by the chanting of prescribed Manthrams, after the morning bath and Sandhyaavandanam. The old Poonool is broken, removed, tied around a small stone and thrown into the tank. This may be followed by "Upastthaanam".

Renewal of the Sacred Thread

If the sacred thread one has on at the moment is about to perish or deteriorate in any way, it needs to be renewed at once, the process(es) of which are given below. Rigvedis - Aashwalaayana sub-sect (Pakazhiyan) As one gets ready for the mid-diurnal prayers (Upasththaanam) after doing the necessary ablutions, aachamanam and prokshanam, take the new thread in the left hand and sprinkle water ritualistically on oneself and on the thread. Then, face the east, hold the thread stretched and away from the body between the two thumbs, mentally chant the Pranavam ten times looking at the sun, and put the thread on with the right hand. Then do the arghyadaanam and continue with the mid-day prayers. Finish the Tharpanam, wash the feet and perform the Aachamanam. Take off the old thread, wind it round a small stone and throw it away into the body of water. Wash the feet and do the Aachamanam again. If changing the thread before or after the Upasththaanam, wear the thread as instructed above, recite Gaayathri, do an Arghyadaanam, and perform the Tharpanam turning clockwise. Then follow the instructions above. Rigvedis - Kausheethaka sub-sect Rituals are no different from Aashwalaayanans, but there is just one Manthram to be chanted before putting the thread on. Om. "Yajnasyopaveethena upavyayaami Deerghaayuthwaaya, suprajaasthwaaya, Suveeryaaya, sarveshaam vedaanaam Aadhipathyaaya, yasase brahmavarchasaaya thwaam" Yajurvedis Baudhaayana sub-sect

After the prayers reciting "Om. Ghrinisooryadithya:", put on the thread reciting the Manthram. Om. "Yajnopaveetham paramam pavithram Prajaapather yath sahajam purasthaal Aayushyamagryam prathimuncha subhram Yajnopaveetham balamasthu theja:" Take water in your hands and chanting "Om. Aapojyotheeraso mritham brahma bhoorbhuvassuva: Om" turn clockwise and perform Tharpanam. Wash the feet, perform Aachamanam, dispose off the old thread in the water, wash feet and perform Aachamanam again. If the changing of the thread is not along with Uupasththaanam, wash the feet, do Aachamanam and Prokshanam, make a proffering to the Sun, recite Gaayathri ten times not omitting Chchandas, complete the Chchandas, do a punararghyadaanam, and put on the thread reciting the Manthram. Everything else is the same as for Rigvedis above, except that there is no need for the Upasththaana Manthrams. Saamavedis Wash the feet and perform Prokshnam (for both self and the thread). Sit on the sitting board (Aavanappalaka) facing east, hold thread by the thumbs, chant Pranavam 108 times not omitting the Chchandas. Get up and put the thread on. Wash the feet, do Aachamanam and Prokshanam and finally Tharpanam turning clockwise. (Mind not to omit the Chchandas) If changing the thread along with Upasththaanam, go ahead with arghyadaanam and mid-day rituals after putting it on. Get rid of the old thread in the water by tying it around a stone after propitiating all three Sandhyaas Auspicious days for changing the thread The thread can be renewed on any weekday except Tuesdays and Saturdays. Because wearing the thread is indispensible, even these two days are not taboo if there is an emergency like when the thread is broken or has become unwearable. So in case of an emergency renewal, a proper follow-up renewal at the nearest auspicious time is recommended. In case of any problem with the ritualistic twist-threading of the sacred thread, one should at least wear a makeshift pro tem thread by roughly twisting three strands together.

Namboothiri Dialect
Namboothiris have a distinct dialect that is so much a part of their culture. As in any other speech form, culture has its overwhelming influence over the Namboothiri dialect too. They also have a peculiar intonation, diction and style of delivery in ordinary conversation. 1. Phonology Observing the phonological (sound) system of the Namboothiri dialect, the striking point that one notes is, the tendency for Sanskritization. Aspirated stops like ph in "phalam" (result) and dh in "dhanam" (wealth) are pronounced as such by the older generation, while among the nonNamboothiris, this distinction need not often be strictly maintained. 2. Lexicon The lexical items that are typically characteristic of Namboothiri speech, are large in number. Most of them are closely associated with the ever-so-many rituals that they used to observe. Examples: a) Sudhham : Purity; protection against pollution b) Mahal : (i) daughter of a person; (ii) daughter of a family who is now a member of another family through marriage c) Othu : chanting of the Vedic Manthrams

d) Veli : the marriage of a man e) Penkota : giving away in marriage of a girl (i) MAATTITHAM The word "maattitham" itself is somewhat Namboothiri parlance and is indicative of imminent disaster. There are some house (Illam) names which have "maattitham" and if pronounced, it is believed to lead to some disaster or accident that day. Uttering the same in the morning makes it even more severe. Therefore, in ordinary conversation, only an alternative name is used. Often, the actual names can be seen only in official records, and many may not even know what it is. Similarly, there are many animals and fruits, the names of which also have "maattitham". This belief is true among non-Namboothiris also. For instance, the word "maarjaaran" is used instead of the common word "poocha" for cat, and "swaanan" instead of "patti" or "naaya" for dog. Similarly, though the common name for jackfruit is "chakka" which has got "maattitham", it is called "panasam", and "choriyan" (one that gives itches) for elephant yam ("chena"). One has to be particularly careful in the mornings of auspicious days, not to utter such words. (ii) NAMES It is taboo for a Namboothiri woman ("antharjanam") to tell the name of her husband or his Illam (house) name. Visiting "antharjanams", if unfamiliar, do not introduce themselves to hosts, but do it only through either children or maids. Husband and wife do not call each other by their names. The names given during "naamakaranam" (naming ceremony - one of the 16 "shodasakriyaas") are usually Sanskrit names, but are normally modified to cruder forms for common use. There are some general norms followed in the naming of children. The first male child is named after the paternal grandfather, the second after the maternal grandfather, and the third after the father. The same order is followed for female children, ie., paternal grandmother, maternal grandmother and mother herself. Parents have a problem in calling the third child, those being the spouse's names. The mother thus calls the third son by nicknames like "Kuttan" or "Unni" and the father calls the third daughter as "Kutty" or some such name. Whatever be the names in common use, it is imperative that the original given name be used in all vedic rituals. Since there are many such rituals involving male children, their given names are usually known to most people, which is not always true with the female children. The real names are also essential for all the religious ceremonies to be performed after death. Male children are given any of the various names of gods like "Sivan" and "Vishnu", and female children, those of "Sreebhagavathy", "Sreeparvathy", etc. Although this is the case, the nicknames employed for day-to-day interaction are the Dravidianized versions of these typically Aryan names. A few examples of names, relations and usages in Namboothiri parlance are shown below: (a) Griham (Home): Illam, Mana, Mattham (or Madhom) (b) Person/ Relation Achhan Apphan Valiachhan Muthachh(ss)an Muthapphan Amma Sambodhana (Address) : father : father's younger brother : father's elder brother : grandfather or his elder brothers : grandfather's younger brother : mother

Achanpengal Perassiamma Perassi Chittassi Chittassiamma Oppol Edathi Aathemmaaru/ Akathullaalu Kunjaathalu/ Kunchaathalu Kunjaatharnu/ Kunjaatharnnu Maalaathalu Maalaatharnu/ Maalaatharnnu Kunchumboori

: father's sister (among Aasyans) : father's or mother's elder sister (among Aadhyans) : mother's elder sister (among Aasyans) : mother's younger sister (among Aasyans) : mother's or father's younger sister (among Aadhyans) : elder sister (addressed by males) : elder sister (addressed by females) : Namboothiri women (addressed by other Namboothiris) : Namboothiri women (Aasyans) (addressed by lower castes) : Namboothiri women (Aadhyans) (addressed by lower castes) : Namboothiri women given in marriage to other families (Aasyans) (addressed by lower castes) : Namboothiri women given in marriage to other families (Aadhyans) (addressed by lower castes) : Namboothiri (Males) (addressed by lower castes) (Aasyans)

(c) Male Names (Common Use) Itteeri, Ittyaasu, Kaavu, Kunjikkaavu (nasal alphabet of 'cha' group), Porothan, Pothayan, Thuppan, etc. (d) Female Names Ittithaathri, Nangatha, Nangayya, Nangeli, Nangema, Nnicha, Nnikali, Tangeli, Thaathri, Tichiri, Tingiyya, Unikkali, Unnyema etc. (e) Nick-names ("Omanapperukal") Aniyan, Appu, Kunchu, Kunchunni, Kunjan, Kunjaniyan, Kunjikkuttan, Kunjunni (the last four, with nasal of 'cha', sometimes spelt 'nh') , Kuttan, Unni, etc. (iii) AACHAARA BHAASHA (Used by Lower Castes) This refers to the special words, usages, addresses, prefixes and suffixes used by people of lower castes while conversing with people of higher castes, in the present case, the Namboothiris. In general, it may either belong to the class of "aachaarabhaasha" (connoting respect) when referring to Namboothiris, or to that of "vinayabhaasha" (connoting obedience or subservience) while referring to themselves. These reflect the taut dictates of behavior that were expected while a person of the lower castes spoke to those of higher castes. Examples of Aachaarabhaasha:

Thampuraan : (your) lordship Avitunnu : you - respectful

Ezhunnalluka Neeraatuka

: come/ go : to take bath

There are a large number of words prefixed with "thru", "thiru" or "palli". Examples:

Thrukkayyu Thruchlaatham Thirumuti Pallikkaalu Palliyara

: hand : Sraadham : hair : leg : bedroom

Thrukkanpaarkkuka Thiruvezhthu Thiruvayassu Pallithalayina Pallikkuruppu

: to look/ see : letter : age : pillow : sleep

"Vinayabhaasha" has mostly "pazha" as a prefix. Examples:

Pazhanthantha Pazhayathu (Pazhanthuni) Pazhankayyu Pazhankanji Pazhamuti

: father : clothes : hands : gruel : hair

Vitakolluka Nanayuka Atiyan Chekkan Kuppaattu

: : : : :

come/ go to take bath I boy home/house

Of course, outside the above two classes, there are also many general words in "aachaarabhaasha". Examples:

Ennamezhukku (Mezhukku) Thanneeru Karikkaati

: oil

Manalaaram

: salt

: water Chembukaasu : money/ coins : paddy/ rice

Instead of saying "sari" (OK), oh!, aa (nasal), etc., as response, the lower castes say "raan" or "eraan" or in some southern parts of the State, "atiyan". If it is a positive reply like no, yes, etc., they add "vitakondu" or "vitondu" to the response "illa" (no) or "uvvu" (yes). In addition, there were peculiarities when the higher castes address the lower castes, as opposed to equals. Thus, if one says to equals "parayoo" (do say) or "povoo" (do go), it will instead be "paraye" or "po". The same in permissive forms "paranjoloo", "pokkoloo" will be "paranjo" and "pokko". There are obviously regional variations in all such usages, and the samples given above are loosely valid in central Kerala, say, Ernakulam to Kozhikode. The speech form is a classic example of extreme Sanskritization on the one hand and extreme Dravidianization on the other. The present generation, of course does not follow these rigid dictates of language use. Most of the usages are fading into obsolescence.

Some Namboothiri Illams

This section contains the descriptions of a few homes of Namboothiris (called "Illams" in Malayalam). Namboothiri homes are variously called Illam, Mana, or Madhom, with unclear distinction between them. The word Illam may have its origin from Tamil, while Mana may be from Kannada / Tulu, and Madhom is still used by many who had emigrated long ago from Tulu Naadu. Illams are, in general, constructed according to the principles of "Vasthu Vidya" (Thachu Saasthram) or Vedic architecture. Most of the Illams were of the "Naalukettu" pattern of architecture, with four sets of room-complex, each set facing east, west, north or south. However, the homes of some aristocratic Namboothiris were larger and bigger, being "Ettu (eight) kettu", "Panthrandu (twelve) kettu" or "Pathinaaru (sixteen) kettu" in accordance with the status of affluence of the families. Perhaps because of the traditional importance attached to absolute cleanliness and routine habits of bathing in ponds, Illams invariably had more than one open well and a bathing pond. In brief, Illams were always located in places assured of perennial and plentiful supply of water. Adjacent to the main house, there were "Pathaayappura"s (granary plus other utility rooms for dependents) and bungalows ("Maalikas") to accommodate guests. In some Illams, the inmates outnumbered the family members. There were temples associated with the Illams. Therefore, accommodation had to be provided for Poojaris, Karmiks, and others who conducted the rituals in the temples. Besides them, there were other inmates who taught Sanskrit, Vedams, Manthrams, Thanthric rites and so on. The Illams, also engaged a large array of servants to look after the comforts and welfare, and clerical staff for the management of assets of the family. Traditionally, Namboothiris were not only proficient in their knowledge of ancient scriptures and literature, but they had also a deep understanding and aesthetic appreciation of various forms of indigenous arts and culture. In fact, they encouraged and nurtured them with their patronage.

The descriptions that follow give glimpses into the Illams of some families. Only a very few Illams remain intact at present. Many have disintegrated or have been demolished. The implementation of the Land Reforms Act and the disintegration of the joint family system into nuclear family units have resulted in the sale and demolition of many Illams under the pressure of severe financial stress. There has been so far, no effort on the part of the government or the Archeological Department to conserve some of these Illams as heritage sites. It is hoped that the descriptions appended here, will at least help to ruminate on the past heritage. We do not claim that these are the only big or important Illams; there are still many more and these are only some samples. Though we corresponded with more than hundred people seeking information, only one-fourth of them responded with descriptions of their Illams. It is sad that many who are alive today have very little knowledge about their own ancestral Illams. It is said that "Chaarvaakans" believe only what can be seen. But God has neither shape nor form, and by ordinary mortals, can be seen only through certain media, say by meditating in front of an idol. Though considered an inferior way, this is essential for most people. Thanthris The daily rituals in Kerala temples are traditionally performed by Namboothiris, and often by Embranthiri migrants from the neighbouring Karnataka, but not by Tamil Braahmanans. Even among Namboothiris, only certain designated families deserve to become "Thanthris". Thanthris have to perform the incredible task of transferring ("Aavaahanam") the aura ("Chaithanyam") of God and energizing the idol. The techniques employed are described in the "Aagamams". The first step of a "Yajamaanan" (a person who has prepared himself mentally and financially) to build a temple, is to seek and accept ("Varikkal") an "Aacharyan" (Guru, Thanthri). "Thanthra Samuchayam" (Granthham) identifies an ideal Aachaaryan as one who "is born into a high class Braahmanan family, has peformed all the "Shodasakriyas" (click: "Shodasakriyakal") from "Garbhaadhaanam" to "Agnyaadhaanam", has understood the concepts contained in the Vedams and Aagamams (Braahmacharyam, Gaarhasthhyam, Vaanaprasthham and Samnyaasam), has received blessings and Manthram advice from Gurus and elders, is an expert in performing rites and rituals (Karmams), is capable of receiving spiritual powers through meditation and penance ("Thapas"), and is a believer (in God, of course). Future Aachaaryans of the temple must be descendants of this Guru or Thanthri. During the evolution and development of Thaanthric philosophy, two kinds of Aachaaryans emerged the Theoreticians and the Practitioners. While the former developed concepts and prescribed procedures, the latter perfected their performance through strict discipline, leading to the attainment of the expected results. Ancient Thanthris were adept in both aspects. Granthhams on Thamthram (Treatises) There have been numerous Granthhams, many of which might have been lost, while most of the surviving ones may be lying unseen and unread in some archive or library. Even the most intelligent scholar cannot, during his entire lifetime learn fully nor even read all the Granthhams on the Thanthram. The treatises may be divided into three categories - Aagamams (Saivam), Samhithas (Vaishnavam) and Thanthrams (Saaktheyam). Aagamams include Nigamam versions too. The former are Sivan's advice to Parvathy, while Nigamams are spoken by Parvathy to Sivan. Other classifications are regional, like Vishnukraanthaa, Rathhakraanthaa and Aswaakraanthaa, and also like Yaamalams and Daamarams. Usually, all branches of knowledge are dealt with in Thanthra Granthhams.

Societal Transition in the 20th Century

Though most Namboothiris practised Vedic culture in the beginning of the twentieth century, the whole community had to face several setbacks. One of the reasons for the setbacks is the marriage

practice among Namboothiris, popularly called "Sambandham" or a casual marriage alliance with girls belonging to other castes. Only marriages within Namboothiri castes, performed through rituals in the traditional style were considered as marriages. Sambandham is not supported by blessings from individual gods,through Mantrams and advices to the bride, through "veli othu", a part of Rigveda. The Namboothiri believed that the girl, during infancy, childhood and youth, is under the wings of gods Soman, Gandharvan and Agni respectively. God Viswavasa protects her virginity. Hence the bridegroom has to thank Viswavasa for protecting her till marriage and then marry her in the presence of Agni. (To know more about marriage, Click here). This is why Sambandham is just a casual relationship for Namboothiris. Until 1933, only the eldest brother was entitled to marry within the Namboothiri caste. His younger brothers were supposed to practice pure "Brahmacharyam" by being unmarried and to dedicate themselves to preserve Vedams and rituals. The eldest brother was supposed to marry for building up future generations. The younger sons were meant for inheriting the Vedic traditions from their ancestors and passing it on to their future generations (the eldest brother also had a major role in preserving the Vedic tradition) Apart from this, those younger brothers, who opted to marry within the caste were excommunicated (Bhrastu) from the family. By putting such pressures, the elders in the community might have thought that, the younger brothers would concentrate on their traditional job of practising bachelorhood, preserving and transmitting Vedams. Except for a few intelligent and studious ones, most younger brothers turned to more lucrative and worldly affairs like Sambandham. Other communities, especially Nayars and Kshathriyas encouraged Namboothiris to have Sambandham with girls in their communities. The objective behind this encouragement was to "purify" their future generations with the Namboothiri blood and also to elevate their families to higher levels in the society due to a Namboothiri relationship. It was a fact that Namboothiris could not just resist such attractions in terms of money, sex and leisurely life-style. Namboothiris thus married Kshathriya (Kovilakams, royal families), Nayar, Warrier, and Pisharoti girls and the children from such marriage alliances belonged to the matrilineal (Marumakkathaayam) lineage of their mothers. This, interestingly, led to situations like a Nayar son of a Namboothiri could not eat or bathe with his father, or a Namboothiri could not eat food prepared by his Nayar wife. Namboothiri Spinsters remained abandoned in the community. Namboothiri Yogakshema Mahaasabha ( Click here ), a revolutionary group of Namboothiris and founded in 1908, took a decision in 1919 and agitated for marriage of all Namboothiris within the community. Sabha declared the marriages of younger brothers from within the community as official, irrespective of whether the elder brothers were married or not. This revolutionary meeting was held in "Bharatheebhooshanam" at Thrissur on 25th Medam 1094 (1919 A.D.). The aim was embodied in the Madras Namboothiri Act of 1933. In the same year, the Madras Marumakkathaayam Act was passed, by which Sambandham was considered as a regular marriage, conferring on the children the same rights of inheritance and property as held by children whose parents were both Namboothiris. The declaration and these Acts led to a sudden decline in the number of Sambandham marriages, and this unethical practice ended shortly (in about ten years). Following these acts, Namboothiri land was increasingly partitioned and property dispersed. The stoppage of Sambandham led to a liberation of Namboothiri wives and girls. They were the major sufferers due to unavailability of Namboothiri boys for marriage because of the practices of polygamy and parallel Sambandhams by elder sons. Due to the dispersal of properties, financially sound Namboothiri families became middle class while middle class families became poor. Financially poor families really struggled to cope up with the new environment. As a result, most Namboothiri youths had to leave their Vedic education and practice and switch over to modern (formal) education and profession. Intelligence and a simple life-style were the only tools the youths inherited, except a few from financially upper middle class families. The Thrissur Brahmaswam Madhom, which was originally founded in the seventh century to teach Rigvedam, offered free food and stay to these studious boys. Most of these boys later became executives and professionals and took their families financially back to middle or upper middle class, while a minority of them miserably failed in formal education also. Some barely managed with income from priesthood in temples. The 1963 Kerala Land Reforms Act

and the 1970 amendment of it added oil to flame. Under the original Act, cultivating tenants were made eligible to purchase the right, title and interest from the landlord. They could exercise this right by applying to a land tribunal. Except the properties of a few landlords who anticipated such an Act, the leased properties of Namboothiris were lost to tenants, and this further reduced the income of Namboothiris. The 1970 amendment of the Act clarified that this procedure was applicable if the owner of the land was a religious, charitable or educational institution. The net result was that most temples also lost their income and so did the poor and temple-dependent Namboothiris. Due to such uncertainties and sudden decline of income from priesthood, most Namboothiri youngsters lost interest in Vedic culture and ritual performances. But a very few members of equally small number of families stood firm against all such tides throughout the twentieth century, and finally ended up as the torch-bearers of Vedic Namboothiri culture. Prominent among them are the families of Cherumukku Vaidikan and Thekkat Vaidikan (both of Sukapuram Graamam). Some of the recently expired Vedic experts include Erkkara Raman Namboodiri and Naraas Somayaaji. A very few families still keep the tradition of "Agnihothram". Pioneer among them is the Maarath Kavapra Mana at Edapal in Malapuram district. The Saamavedi doyen family Nellikkattil Mammannu Mana has a rare achievement that its three successive generations, all christened Neelakandhan, have performed Athiraatram in the 20th century; in 1901, 1918 and in 1956. According to Erkkara Raman Namboodiri as quoted by Frits Staal, more than 120 Agnishtoma (somayaagam) and five Atiratra-agnicaya (Athiraathram) have been performed between 1911 and 1970. The last Athiraathram was performed in Paanjaal (near Thrissur) in 1975. Athiraathram was performed 18 times during the last 125 years and six times during the last 75 years.

Pooja (Worship)
Pooja is the core of worshiping God, in a Thaanthric sense. It's purpose, in essence, is to propitiate the eternal and boundless God in any of it's manifestations (Siva, Vishnu, Durga etc.) by bringing or invoking one of the desired forms to the Poojakan's (Poojaari's) presence, and giving a general royal reception through various oblations and offerings (clothes, decorations, feast etc.), accompanied by chanting of hymns and Manthrams. It is an aspect of Karma Yogam. Pooja is performed by any one of the eight symbols (Pratheekams) those made out of:

(1) Stone (Sila) (2) Wood (Maram) (3) Metal (Loham) (4) Earth (Soil, Mannu)

(5) Gem stone (Rathnam) (6) Flowers arranged on cleansed floor (7) Beautifully drawn picture (8) Any form through imagination of mind

In the case of the last mentioned, no earthly materials are used. Pooja is performed in mind and spirit. In all the above, it is of prime importance to have spirituality (Bhakthi) and cleanliness (Suddhi), without which Pooja or offering will have no effect. On the other hand, any offering, even if very small, when done with Bhakthi pleases God. Pooja is a process of worship involving very complex techniques. There are Granthams (sacred texts) on Thanthra Saasthrams which describe and discuss in detail all the philosophical and technical aspects. It is meant to propitiate the deity and release and establish communion with God. The evolution and perfection of Pooja, the social and philosophical background of this evolution, the historical and anthropological situations under which the evolution actually materialised etc. are yet to be subjected to serious study. There is no significant reference to Pooja in the Vedams. The Puraanams (Mahaabhaaratham, Raamaayanam and especially Bhaagavatham) refer to it. The Bhaagavatham gives elaborate accounts though without technical aspects, of how a devotee is to perform Pooja to Lord Vishnu. The Thaanthric cult was prevalent in South India during the Sangham period. The Pooja techniques evolved and were perfected through the centuries as part of the Thaanthric cult and based on Yoga philosophy. It had also been influenced by Vedic philosophy and the Upanishads. For example, the Pranavam (Omkaaram) profusely used in Pooja, is derived from Yogic and Vedic ways. The phoneme

"Omkaaram" is constituted by three units, A, U and MA, which in Vedic philosophy present concepts as follows: A - Aatman - Jaagratha (conscious state) U - Antharaatman - Swapnam (semi-conscious/ half sleep) MA - Paramaatman - Sushupthi (unconscious/ deep sleep) AUM (Om) - Brahman - The three states get merged and dissolved. In Yogic representation, the above three units are: A - Sooryamandalam - Anaahatham and Manipooram U - Somamandalam - Aajna and Visudhi Chakram MA - Vahnimandalam - Swaadhishtaanam and Moolaadhaaram Man, according to Vedaantha and Yoga philosophies, is charged with a spark of the universal soul, Brahman which is omniscient, omnipresent and omnipotent. He, the Pindaandam (microcosm), to put it Thaanthrically, is a miniature form of the universe, the Brahmaandam. As such, the ultimate purpose of human life is to realise the identity of his personal Aatman (micro-soul) with the universal soul (macro-soul) from where Aatman come and get absorbed into it. This unison is possible, says Yoga saasthram, through Yoga saadhana. The Thaanthric procedure of Saadhana is to rouse the Kundalini Sakthi by Praanaayaamam and bring it through the Sushumna Naadi to Sahasraara Paadam, a spot between the two eyebrows. Here the female power, the Kundalini unites with the Siva, the male power with the microcosm; and the Saadhakan realises the co-essentiality between his Aatman and the Paramaatman (Brahmaanda and Pindaanda- aikyam). During the upward trip, the Kundalini Sakthi crosses six Chakrams or three Mandalams, each establishing the identity with the corresponding Chakrams or Mandalams within the macrocosm. This procedure is marked with a series of representatives called Nyaasam. Now the Saadhakan is all Brahman. This is Dahavaakaasa Pooja, or Pooja inside one's own self. What we call Pooja in temples or in family shrines is Bahiraakasa Pooja, ie., Pooja performed on idols or Padmams. So much of explanation is intentional. A Pooja has two phases, a preparatory phase and an executive phase. In the preparatory phase, the Poojakan performs Praanaayaamam and Nyaasam. Here, the Brahman is invoked or called down to him (Dhyaanam) in the form of the deity which he worships, and he offers himself to the deity in a Maanasapooja. All the five elements in him, his body which holds the Aatman, are offered with Manthrams and Mudras. This results in the escape of the Aatman free from the body and Brahman invoked into him as the deity gets united with the Aatman. Aatman of the Poojakan is now the "consumed" (Annam) and the Brahman, the "consumer". Now the executive phase of the Pooja: There are the pedestal (Peettham) and the idol (Bimbam) before the Poojakan. Whatever be the Bimbam - of Devi or Devan - it represents Lingam or Purushan, the male manifestation of the cosmic soul, and the Peettham, Yoni, or the Prakrithi, the female manifestation. Purushan, the Sivan, a neutral power with no desire or feeling, is activated only when Prakrithi or Sakthi unites with him. Peettham or Yoni or Prakrithi is mother Earth. Despite the material existence of the Peettham in the shrine, this is being reconstructed by the Poojakan in imagination (Sankalpam). Moolaprakrithi at the bottom, then the divine tortoise (Aadikoormam), followed by the thousand-hooded serpent God (Ananthan), the earth (Prithwi), and the eternal lotus (Padmam) - this is the sequence of reconstruction. The Peettham is then decorated in detail with chanting of Manthrams representing aspects of the Brahman. And finally, it is worshiped. This is Peettha Pooja. All the Manthrams which are used for reconstruction and decoration of the Peettham are chanted during the Pooja. In the series, Jalam (sacred water in Sankhu or conch), Gandham (sandal paste representing earth), Pushpam (flowers representing Aakaasam, the sky) are offered first. Then, Dhoopam (fragrant fumes representing air) and Deepam (the lighted lamp Kodivilakku for light or Thejas) are also offered, accompanied by ringing of the hand-bell. The deity to be invoked to the Peettham is now imagined in detail (Dhyaanam) chanting a hymn describing the state of the deity (Prathishttha sankalpam). The divine power of the deity is invoked or called down from the Praanan through the nostrils of the Poojakan who has already become one with the Brahman (this is Aavaahanam), accompanied by Manthrams and Thanthrams (Mudras) and is placed on the Peettham. This is done in a handful of materials (Dravyams). They are Jalam,

Gandham, Pushpam and Akshatham. The Moorthy - deity - now dwells on the idol with all pomp, glory and kingly attendants. After the invocation, the attendants are separated from the Moorthy (Parivaara visarjanam). He is then washed and bathed. Here, the Moorthy Pooja with Jalam, Gandham, Pushpam, Dhoopam and Deepam as described earlier, chanting the Manthrams of the Moorthy and his Parivaarams (attendants), take place. He is then given a royal feast (Nivedyam). Although the materials, Annam (rice) and Paayasam (sweet rice) are offered, they represent the five elements which, it is said, the human body as well as the universe is made up of. Worshipping the deity with Jalam, Gandham, Pushpam, Dhoopam and Deepam amounts to offering the five elements ie., the body of the Poojakan. It is significant that these five elements, with mind as the sixth one, make the Thatwam (content) of the six Chakrams of the body of the Poojakan. The Thaanthric concept of Nivedyam is the symbolic offering of oneself to the Brahman, who now is represented by the deity of choice (Ishtamoorthy). Now the Poojakan comes out, closes the shrine, and feasts the attendants or Parivaarams. This is Sreebhoothabali. The feast over, the deity is given royal entertainments (Raajopachaaram). This is Prasanna Pooja, the third phase of the Pooja. He is offered Appam (sweets), Thamboolam (betal leaf and nut), dance, music, percussion and other kingly entertainments. This is symbolised by the fact that during the Prasanna Pooja, the shrine remains closed and a percussion performance by Maaraar or Poduvaal takes place outside. What takes place inside is the symbolic offering of Raajopachaaram by Manthrams and Thanthrams followed by Pushpaanjali - offering of flowers accompanied by chanting all the Manthrams that are hitherto used for Pooja. When the Pushpaanjali is over, he concentrates all he has, his thoughts, words and deeds to Brahman (Brahmaarpanam). The shrine is then opened, Paadatheertham is sprinkled and Prasaadam distributed to the devotees standing outside. And finally, the Poojakan takes a flower from the foot of the idol and smells it. This act symbolises inhaling and taking back the power of Brahman he has extracted from his own breath during the invocation of the deity. This is the broad outline of Pooja practised in Kerala temples. The Thaanthric philosophy behind this, as has been explained at the very outset, is to realise Brahman internally, as Daharaakaasa pooja and externally as Bahiraakaasa pooja. Brahman is capable of ruling over (Prabhavathi) the universe (Brahmaandam), the only Sakthi. Every deity, a particular manifestation (Avathaaram) of Brahman, has a Purusha state and a Sakthi state; the Pindaandam also, being enlightened by a spark of Brahman, has a Purusha power and a Sakthi power. Both man and Brahman have the six Chakrams in their structure. They have their Thatwams or content.

CHAKRAM 1. Moolaadhaaram 2. Swaadishtthaanam 3. Manipooram 4. Anaahatham 5. Visudhi 6. Aajna

THATWAM Prithwi Thejas (Agni) Ap Vaayu Aakaasam Manass

SYMBOL USED IN POOJA Chandanam (sandal paste) Deepam (lighted lamp) Jalam (water) Dhoopam (fumes) Pushpam (flower) Nivedyam (rice)

Each Thatwam of the Saadhakan is consecrated to the respective Thatwam of Brahman thus seeking complete absorption of himself into the Brahman. The Pooja, apart from its philosophical meaning, has anthropological and social significances too. Tracing back the history of the development of the Pooja techniques, we see a period, when the two powerful images in the whole poetic structure evolve. These images are different from what we see in the late BC and early AD period - the age of Mahaayaana Thanthra - the images of the Saadhakan and the Saadhya. Saadhya, the Brahman is represented as a royal guest and the Saadhakan as a respectful host. The deity is welcomed with kingly respect, while coming with pomp and glory and with royal decorations on him and with a train of attendants. He is entertained as a royal guest with feast, song and dance. This induces us to conclude that the technique was perfected at a stage of history when Gana Thanthra social set up gave way to the rise of kingdoms and kings. While treating the Brahman as king, the society was considering king as somewhat equal to Brahman, which was then a social necessity. The newly evolved set up of monarchy among the vestiges of Gana Thanthra still

clinging on, was shaky. To perpetuate it, a new concept had to develop, and image of God, Brahman, emerged as king and vice-versa. It could also be noted that the image of kingship was approachable. He was a guest, could be invited, and intimate relations with him could be built up. The king was lovable, he was one who would protect the subjects. The kingship was, in short, not cut away from the people. The basic symbols of Pooja go still farther back in the human history. Carefully looking at the whole system, one could find a series of fertility symbols in it. The concept of deity as the union of Peettham and Bimbam, Yoni and Lingam, which probably goes back to the Indus Valley Civilization, is a typical fertility symbol. Again, the pedestal is conceived as a lotus flower (the flower has surely to fertilize!). To further this concept, there is Abhishekam, pouring consecrated water on the idol in the beginning. This is nothing but bringing about the symbolic Amritha varsham, showers of nectar on to the pedestal, the earth or Prakrithi. The materials of Pooja - Jalam, Gandham, Pushpam, Dhoopam and Deepam - all represent fertility and abundance. By performing Pooja, just like by performing a Yaagam, despite the fact that the Poojakan does not ask for it, rains would be showered on to the fields, seeds would germinate, there would be plenty on earth. This concept of Siva and Sakthi is further made more clear in "Soundarya lahari" as a union of father and mother who foster the whole world. Materials for Pooja: 1. 2. 3. 4. 5. 6. Nivedyam rice on a plantain leaf; Bronze bell with a handle; Two Kindis (Jala Paathrams) with water; A small conch with a stand; A small dish for sandal paste (Chandana odam); A flower plate (Pooppaalika) and flowers; 7. A long-handled charcoal dish with embers and sweet-smelling incense (Dhoopakkutti); 8. A small lamp with a handle (Kodivilakku); 9. A wooden-plank seat (Aavanappalaka); 10. Bronze lamp (Nilavilakku); 11. Hanging lamp (Thookku vilakku).