International Journal for Multidisciplinary Research (IJFMR)
E-ISSN: 2582-2160 ● Website: www.ijfmr.com ● Email: editor@ijfmr.com
Revisiting Tantrasamuccaya: A Fundamental
Text for Kerala Tantra.
Arjun KV
Department of Sanskrit, University of Kerala
Abstract
Tantrasamuccaya of Chennas Narayanan Namboothiri is Kerala's most influential and widely practised
ritual manual. It primarily deals with temple-related rituals, from constructing a new temple to installing
and expiatory traditions. It is written in the Malayalam language. The author was considered to be an
authority in the fields of mathematics and tantra. Tantrasamuchaya is still considered the authentic
reference manual in temple architecture and rituals.
The temple in Śaiva theology is conceived as a powerful, sacred space where various divine energies are
invoked and worshipped for the benefit of all creation. Temple construction was a perfect collaboration
between the Ācārya and the Sthapati, using the canonical texts of the śaivāgama-s and śilpa
śāstra manuals. The rich temple-building culture of Hinduism seems to have been carried to foreign
shores, at least in part with traders, merchants and emperors.
Tantra is very close to actual practice. Things done come first, and interpretations come later. No Tantrika
would expect to be able to move straight from ordinary life to the most exalted stages of internal
symbolism by mere thought. Some people will say The Tantra represents a thoroughgoing, practical
system for manipulating and focusing human libido, enhancing it and then withdrawing it entirely from
the passing and valueness phenomena of the word and directing it instead to a transcendent object.
According to Tantra, creation is sexual self-realisation through the activity of the goddess. Tantra is
esoteric, and much of it is always kept secret. In all Indian ceremonies, pooja is the root activity. In Tantric
Pooja, the most crucial point is that the symbolism of the whole ceremony is taken over and applied by
the pujari to himself through an intense meditation on the significance of each act as he performs it.
Innumerable works of Tantra contain references to basic pooja. The vessels and implements by the Tantric
pujaris are often worshipped as devatha emblematic of the activities of the transmuted self.
Introduction
The temple in Śaiva theology is conceived as a powerful, sacred space where various divine energies are
invoked and worshipped for the benefit of all creation. Temple construction was a perfect collaboration
between the Ācārya and the Sthapati, using the canonical texts of the śaivāgama-s and śilpa
śāstra manuals. The rich temple-building culture of Hinduism seems to have been carried to foreign
shores, at least in part with traders, merchants and emperors.
IJFMR23056670 Volume 5, Issue 5, September-October 2023 1
International Journal for Multidisciplinary Research (IJFMR)
E-ISSN: 2582-2160 ● Website: www.ijfmr.com ● Email: editor@ijfmr.com
Tantra is very close to actual practice. Things done come first, and interpretations come later. No Tantrika
would expect to be able to move straight from ordinary life to the most exalted stages of internal
symbolism by mere thought. Some people will say The Tantra represents a thoroughgoing, practical
system for manipulating and focusing human libido, enhancing it and then withdrawing it entirely from
the passing and valueness phenomena of the word and directing it instead to a transcendent object.
A temple evokes in the visitor a sense of beauty in art and life as well. It lifts his spirit and elevates him
to a higher plane. At the same time, it awakens him to his significance in the Creator’s grand design. It is
a structure established on a site that was well chosen and considered most proper after examining and
verifying its suitability from various aspects. Elaborate rules are laid out in the āgamas about śilpa,
describing the quality requirements of the places where temples are to be built, the kind of images to be
installed, the materials from which they are to be made, their dimensions, proportions, air circulation;
lighting in the temple complex etc. The Mānasāra and Mayamatam are some of the works dealing with
these rules. They are the standard texts on śilpa śāstra and codify the theoretical aspects of all types of
constructions, specifically temple construction. Mānasāra is a comprehensive treaty on architecture and
iconography. The universality of the Vāstu tradition is represented here. It is also considered as the
sourcebook for consulting any doubts and queries.
According to Tantra, creation is sexual self-realisation through the activity of the goddess. Tantra is
esoteric, and much of it is always kept secret. In all Indian ceremonies, pooja is the root activity. In Tantric
Pooja, the most crucial point is that the symbolism of the whole ceremony is taken over and applied by
the pujari to himself through an intense meditation on the significance of each act as he performs it.
Innumerable works of Tantra contain references to basic pooja. The vessels and implements by the Tantric
pujaris are often worshipped as devatha emblematic of the activities of the transmuted self.
Mayamatam is a work on the dwelling, and as such, it deals with all the facets of gods’ and men’s
dwellings, from the choice of the site to the iconography of the temple walls. Numerous descriptions of
villages, towns, temples, houses, mansions and palaces are given precisely. It indicates the proper
orientation, the correct dimensions and the appropriate materials.
The six main styles of temple architecture are Nāgaram, Drāvidam, Vesaram, Sārvadeshikam,
Kālingam, and Varātham.
The Ernakulathappan Tantric system follows strict Tantric rules. Only after the Dehasudhi (body cleaning
based on Tantra) can the chief priest enter the Sanctum. He must do the body cleaning based on Tantra
before entering the sanctum. The Dehasudhi is one of the critical actions in the daily activities of a temple
priest. Without Dehasudhi, he can’t start his daily temple activities. The chief did Dehasudhi with the help
of a filled silver pot. Firstly, he wished lord Ganapati. After that, he starts Dehasudhi at the Mandapam.
Deva’s daily offering rights are reserved only for the chief priest.
Tantra Practice
Nirmalyam, or Yesterday’s offering, is one of the parts of the morning offering. It is known as Nirmalya
Darshana. At the time of the remains, the priest offers Dhoopa and Camphor. After the clearing of remains,
IJFMR23056670 Volume 5, Issue 5, September-October 2023 2
International Journal for Multidisciplinary Research (IJFMR)
E-ISSN: 2582-2160 ● Website: www.ijfmr.com ● Email: editor@ijfmr.com
Deva’s bath. It is known as Abhiseka. There are six types of Dravyas (items) used for Abhiseka. Oil, Ghee,
Honey, Pancamrutha, Milk and Tender coconut. This order is very crucial for Lord Ernakulathappa.
After the Oil bath, the bushel is applied to the linga. Oil clear with the help of bushel. After that, Ghee is
applied to the linga. Then, the ghee clears with the help of a bushel. It is very notable in Kerala. Only one
temple uses the bushel daily, Abhiseka, because the bushel is used only on special occasions. Once
Abhiseka did, then the priest gave Prasada to the devotees. This right is also reserved to the Chief Priest.
One of the peculiar features of this temple is the Dhara offered in every pooja. In the early morning, the
Dhara begins. Firstly, the Malar offering, with Kadali banana and honey, provides the Malar Nivedya.
After the Malar offering, remove all alamkaras, and after that, Dhara. Usually, there is no Dhara in the
Usha Pooja. But here, the matter is different. When Etrutu offers an extraordinary event, 1001 pot
Abhisheka will happen after Nivedya Seeveli happens. On regular days, only Deva’s decorated replica is
used. Deva’s decorated replica will be used with an elephant on special days. This is known as Seeveli.
The replica is situated on the left side of the Deva. Two replicas are there. One is silver, and the other one
is Panchaloha. With replicas there, Salagrama and Meru are also there. The moos are the positioner of
Seeveli; otherwise, he is the replica placer at the time of Seeveli. The Moos can enter the Garbagruha; he
can’t step over the Garbhagruha. At Garbhagruha, the chief priest gave Prasada to the Moos. After
Seeveli, the Pandeeradi offering begins.
Pandeeradi is one of the essential poojas in this temple. After the usual pooja, the Dhara begins. Then
Milk abhisheka and tender coconut abhisheka. After the Pandeeradi offering, he only left the Afternoon
offering, otherwise known as Ucha pooja. After the Ucha Dhara, the daytime Dhara will wind up. In the
evening, there is no Dhara. After that, the priest decorates the Deva very well. After the decoration,
Nivedya. At the end of Nivedya, the chief priest does a duty known as Vaisyam Thooval. Then Prasanna
Pooja. After the Prasanna pooja, the Seeveli will happen. This Seeveli is known as the Ucha Seeveli. After
this, Seeveli, the sanctum will be closed. Here is the end of the day time pooja.
In the evening, the prominent Pooja is known as Deeparadhana. It is also known as Arati. Deeparadhana,
lighting lamps, or diyas, is essential to any puja or Hindu ritual. The importance of deeparadhana is
mentioned in many ancient scriptures and has existed since the Stone Age. Deeparadhana will use special
silver plates. After that, the night offering. Before Nivedya, the Prasanna pooja will occur at the time of
Prasanna pooja, tender coconut with Unni Appam, Milk and Trimadhura. After that, Atazha Seeveli or
Night Seeveli will happen. Then Trippuka. With the help of a Dhoopa plate, Dhoopa offers to the lord. In
typical cases, after Trippuka, the sanctum will close. No Darshana will be allowed. But here, After the
Tripuka, the chief priest will give Tripuka prasada, and after the Darshana, the sanctum will close. After
the Pandeeradi pooja, the Rudrabhisheka. In Tantric texts, a very prominent space is given to the Rudra.
Shree-Kovil
The inner sanctum sanctorum is where the presiding deity’s idol is installed and worshipped. It shall be an
independent structure, detached from other buildings with no connections and having its roof shared with
none. The Shree-Kovil has no windows and only one large door opening mainly towards the east
(sometimes it happens towards the west, whereas a few temples have a north-facing door as its speciality,
while no temples will have a south-facing door). The Shree-kovil may be built in different plan shapes –
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International Journal for Multidisciplinary Research (IJFMR)
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square, rectangular, circular, or apsidal. Of these, the fair plan shows an even distribution throughout
Kerala. The square shape is the form of the Vedic fire altar and strongly suggests the Vedic mooring. It is
categorised as the Nagara style of the temple in the architectural texts. The circular plan and the apsidal
plan are rare in other parts of India and unknown even in the civil architecture of Kerala. Still, they
constitute a significant group of temples. The circular plan shows a greater preponderance in the southern
part of Kerala, in regions once under the influence of Buddhism.
Usually, the Shree-Kovil is on a raised platform and has a three or 5-step flight. The steps are called
Sopanapadi, and on the sides of the Sopanapadi, two giant statues known as Dwarapalakas (door guards)
are carved to guard the deity. As per Kerala rituals style, only the prominent priest (Thantri) and second
priest (Melshanti) are allowed to enter Sri Kovil.
Namaskara-Mandapam
Namaskara mandapas are square pavilions with a raised platform with pillars and a pyramid-like roof. The
mandapa size depends on how wide the shrine cell is. The simplest mandapas have four pillars at the
corners, but bigger ones have two sets - four inside and 12 outside. The texts mention pavilions of round,
elliptical or polygonal designs, but these aren't found in temples in Kerala. The mandapas are used for
Vedic and Tantric rituals.
Ascent
The ascent was done with the help of a Kodimaram. The Kodimaram or Dwajasthambam plays a very
crucial role in the rise. The annual festival of the temple began with the auspicious Kodieyttu ceremony.
Tantri had performed puja to the golden holy temple mast, keeping the ceremonial flag at its base. The
ceremonial flag hoisting (Kodiyettu) was held in the auspicious muhurta.
The shrine is traditionally decorated with plantain, coconut leaves, flowers, traditional lamps and lights.
There will be a flag-hoisting ceremony marking the beginning of the festival. Traditional performing arts,
music and dance are staged during the period. Caparisoned elephants, melam, fireworks and sheevali are
part of the festival. There will be A lot of cultural events and religious discourses. On the final day,
Arattu(holy bath) takes place; the utsava murti of the deity is taken out of the shrine for ritual bathing on
the last day. Caparisoned elephants and melam are part of the ritual. Fireworks may also be there on the
final day of the festival.
In all the temples, we have a pillar in front of the Garbhagraham or Moolasthanam, known as
Dwajasthambam or Kodimaram. In Sanskrit, the word Dwaja means 'Flag' that raises high. In the religious
sense, whatever presents a man with a higher understanding and activity is a Dwaja. A Dhvaja sthambham,
kodi maram, or kodi-k-kambam is a flagstaff, a common feature of South Indian Hindu temples. Two other
objects grouped with this flagstaff are the Bali Peetam and the vehicle of the deity to which the temple is
dedicated. The dhvajastambha (ध्वजस्तम्भ) refers to the flagstaff erected in front of the mukhamaṇḍapa (front
pavilion) of a Hindu temple. The dhvajastambha is usually built within the temple walls (prākāra). They
are traditionally made of wood, mainly teak and stone, whereas the wooden variety is often finished with
a metal covering (kavaca). The dhvajastambha is a common feature in South Indian temples.
IJFMR23056670 Volume 5, Issue 5, September-October 2023 4
International Journal for Multidisciplinary Research (IJFMR)
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Ritual Bath
The Eighth day of the festival is Arattu. It is the last day. Arattu is the previous function of the eight-day
festival. On the Arattu day morning, Nirmalya at the Mandapa. After Nirmalya, the replica was set up in
the sanctum. The daily poojas go on, and after the Ethruthu Sheeveli, the shrine will close. Here is the
wind-up of the morning session.
Arattu will happen in the evening session of the festival’s last day. In the morning session, only up to the
Ethruthu pooja is done. The ritual bath is done in the temple pond. In the Arattu pond, the Pandeeradi
pooja will happen. After all the ritual bath pooja, the replica returned to the sanctum. Then the Ucha pooja
will happen. After the Ucha pooja 25 Kalasa Abhisheka. Once Kalasa Abhisheka is done, then the Ucha
sheeveli happens. Ārāttu is an annual ritual performed during temple tantra festivals in Kerala, India, where
a priest bathes a deity’s idol by dipping it in a river or a temple tank. It is mainly carried out at the end of
a temple festival.
After all the festival pooja, the Athazha pooja and Athazha Sheeveli will happen. Then the last function of
the daily offering is Thruppuka. After that, a special occasion at the Mandapam, Pallikkuruppu.
Pallikkuruppu is a birthday celebration of the deity. It happens in the Thiruvathira Nakshatra.
Conclusion
Tantra is a broad term encompassing various spiritual doctrines and practices within Hinduism prevalent
in India, Nepal, and other South Asian countries. In recent times, Tantra has spread beyond these regions,
and its numerous traditions, collectively known as Tantric traditions, can be found in various parts of the
world.
Tantra is frequently linked to the worship of the Devi or Shakti, the divine feminine. Because of this, the
name "Tantra" is commonly used to refer to the Shaakta or Shaakteya tradition. In essence, Tantric
practices guide all the many forms of Shakti worship.
Another widely held viewpoint on Tantra is seen via the prism of the three keywords, Mantra, Yantra, and
Tantra, and the ideas they stand for. Tantra here refers to the actual performance of a process, including
outward gestures like hand and body movements, as well as gifts like flowers, oil lamps, and scents. The
recitation of enigmatic syllabic sequences known as Mantras and the use of two-dimensional mystical
designs called Yantras and their three-dimensional counterparts are all part of this discipline. They are
also linked with interior techniques like profound meditation.
It is important to note that Kashmir Shaivism is the name given to the theological foundation of the Shaakta
or Shaakteya tradition. The name Shaivism is taken from Shiva in this context. Kashmir Shaivism, which
has come to be associated with Tantra, is based on the fundamental ideas of Shiva and Shakti. As a result,
both Shaiva and Shaakteya are regarded as the most common traditions of Tantra.
Tantra can be classified into two styles of practice: Vaama (left) and Dakshina (right). Vaama, or the
left-hand method, typically involves ‘transgressive’ and ‘violent’ practices, while Dakshina, or the right-
IJFMR23056670 Volume 5, Issue 5, September-October 2023 5
International Journal for Multidisciplinary Research (IJFMR)
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hand procedure, typically involves ‘legitimate’ and ‘non-violent’ methods. The right-hand rule is Samaya
aachaara, the ‘practice of accepted convention’.
Tantra also demonstrates regional differences, such as the "Eastern" tradition that is more common in
Bengal and Odisha, the "Kerala Tantra" tradition that is more common in non-Kerala South Indian states,
and the "Sri Vidya" tradition. Tantra is greatly influenced by numerous traditions in Eastern India,
including the "Baul" and "Sahajiya Vaishnava" traditions.
Tantra is used throughout this work to refer to a number of interconnected but essentially dissimilar
religions, including Saiva, Vaishnava, Sakta, etc. Tantrism is a term Western philosophers use to describe
a unique tradition that is either parallel to or utterly unrelated to the Vedic tradition. Tantrism was not
previously thought of as a separate tradition. The early scholars highlighted a cult of exoteric and esoteric
rituals as particularly important. However, research indicates that tantra is not fundamentally anti-Vedic
because tantric rites have many similarities with Vedic rituals in terms of organisation.
To get oriented to the subject-centred discourse, it is necessary to provide a tentative working definition
of tantra at the outset. Of the modern writers on tantrism, Christopher Wallis’s meaning of tantra appears
to be much closer to reality. Moreover, it is all-inclusive. He defines tantra as ‘An Indian Interreligious
movement driven by a ritual practice presupposing initiation, oral instruction from a guru, and micro-
meso-macrocosmic correlations and utilising mantras, creative meditations, and sometimes sensual or
antinomian means to access and experientially assimilate the divine energy of the Godhead, to achieve
power, pleasure, and liberation.’
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