TALES FROM THE CAPITAL CITY - XXIV

Lost Memories

Pillavilakathu Veedu, my paternal grandmother’s ancestral home at Manacaud was not different from any other old houses. Built in the mid nineteenth century, the house was a typical ‘nalukettu’, with a poomukham projecting out from the main living block. The house, with its massive lime plastered brick columns, the old terracotta flooring and the dark room with the smell of old books is etched in my childhood memories.
I was not born in this house, nor did my father have any right over the house or its property. Long ago, a piece of land adjoining this house was given to my grandfather by his father-in-law, however, it was sold off and he moved away from his wife’s ancestral house. However, I was always connected to this house, with the unbreakable emotional bond of love and care. In my childhood, I saw the old house in the last days of its fading glory, when it was still occupied by the families of my three grand uncles. My father’s eldest uncle R. Krishnaswamy and his family occupied the central block, the old portion of the house with the courtyard. Two later additions, the new blocks added by Krishnaswamy’s younger brothers flanked the two sides of the old house.

The padippura - water colour painting by the author, 2008

The house brings in a thousand scattered images to my mind, the padippura, the poomukham,  the dusty attics, the dark rooms filled with memories from the past, trunks, which had not been open since the death of its owners, old Anchal cards that told the stories of many gone generations etc. One face that strikes me the most is that of my grand uncle R. Krishanswamy. Lovingly addressed as ‘Kishammavan’ by my parents; our ‘Kishammava Appuppan’ was a man who I would never forget in my life. How can I ever forget him, when his face is deep etched in my first memories? One could never forget the taste of the ‘tomato curry and bread’ Kishammavan and his wife served us; never can I forget the music sessions in the poomukham, where I experimented with his harmonium.

The poomukham - water colour painting by the author, 2008.

Last Deepavali night, after we had dinner at Buhari, my friend and me were about to return home. I asked him to take the long route- via Manacaud, so that I can get a glimpse of the old house from the road. As we approached the house, I lifted my head, waited for the expected view, of the old house sandwiched between my grand uncles’ houses. However, to my amazement I found out that the old house was not there! In its place was a new house. On my return home I asked my mother, “What happened to our old house at Manacaud?” Without looking at me, she replied casually, “Oh you don’t know? They demolished the old house and built a new house there, the new owners of the property”. That is when I realized that my favourite memories were lost- forever.


Sharat Sunder Rajeev,
2013.

Links: http://www.geni.com/people/R-Krishnaswamy-Pillavilakathu-Veedu/6000000007708507456

TALES FROM THE CAPITAL CITY - XXIII

IN THE BANKS OF PADMATHEERTHAM

February 6, 2000; it was a Sunday, the day for attending the drawing classes at Chitrakalamandalam. Chitrakalamandalam, the art school was then housed in an old ottupura on the northern side of Sree Padmanabha Swamy temple. As a history freak it was an experience studying there in the old building. I still remember the dark cellar by the side of the courtyard, where we kept our drawing paper and paint brushes, the huge kalthotti and the wooden bed with beautifully carved legs. Many of the rooms were closed and were accessible only to the temple and palace officials and we kids used to peep through the key hole, hoping to find some treasure chest inside the dark rooms.

Yes, it was February 6, 2000 and that day I was not in a mood to attend the drawing lessons. I went to my father’s studio and in the afternoon I coaxed him to take me inside the Fort, to the banks of Padmatheertham, where there was an old man who sold coins and other interesting stuff. As we entered the Fort premises we could sense some trouble, a crowd had gathered around Padmatheertham tank, some of them seemed sad, some of them were arguing with others. The police were trying hard to remove the crowd from the banks of the tank. On one corner stood a group of old men, silently staring at the tank, I could see deep sorrow and disbelief in their eyes.

By then someone told my father that a man was drowned to death in Padmatheertham!

The next day newspapers carried the shocking news in the front page, with pictures. We, the residents of Thiruvananthapuram had not relieved from the shock. For us Padmatheertham was the most sacred tank, an embodiment of spiritual purity, and now a man was cold bloodedly murdered in the same sacred tank.

The temple and the tank in 1900s - Photograph taken by Royal Photographer
J.B. D'cruz.

The old folk of Thiruvananthapuram who live in the precincts of the temple had an intimate association with the temple tank. For some, the tank and its banks were a favourite ‘hangout’, where they would gather with like age group to discuss about all things under the sky. Years back when the temple tank was free from the ugly railing surrounding it, the old folk used to spend hours sitting in the steps and the small mandapams around the tank. The serene waters of the tank, with the reflection of the pagoda and the smell of camphor and incense put on a divine ambience. Later the authorities installed iron railing all around and the pilgrims and visitors were charged to enter the mandapams and to take a dip in the tank. This physical barrier brought about a distance between the tank and the people. The newer generation did not have the ‘intimate’ relation the seniors had with the tank. Times were fast changing; the tank which was once known for its purity had began to stink!

 Seniors 'hangout' in the banks of Padmatheertham (1970s)- Photograph from the private collection of K. Hari.

How old is Padmatheertham?

No one seems to have a correct answer; however, no one is doubtful about the antiquity associated with the tank, for it finds mention in ancient works regarding the temple and the temple town. The tank must be as old as the temple itself.

Ananthapuravarnanam (12th-13th century work) gives us a long list of sacred ponds once associated with the Sree Padmanabha Swamy temple and other sacred shrines within its precincts. Indratheertham (Attakulam), Brihutheertham (Manacaud Sree Dharma Sastha temple pond), Agnitheertham (Agneeshwara temple pond), Varahatheertham (Sree Varaham temple pond), Dakshina Ganga (Thekkanamkara canal), Agasthyakundam (Mithranandapuram temple pond), Kanvatheertham (Chettikulam), Varunatheertham (Karippukoikkal pond), Rudratheertham (Chirakkulam), Somatheertham (Manjalikulam) Ramatheertham (Vaniyankulam), Ananthatheertham (Padmatheertham), Ēshanatheertham (old Nandavanam pond), unfortunately many of these water bodies have vanished from the topography of Thiruvananthapuram (Prof. A.G. Menon,  History of the Sree Padmanabhaswami Temple). Padmatheertham was a small tank in its early days, with may be a modest flight of steps leading to the water. Later it was during the reign of Anizham Thirunal Marthanda Varma(1729-1758) that the area of the tank was expanded and the ghats were added (Shasi Bhooshan M.G., Dr. Raja R.P., Charithramkuricha Sree Padmanabha Swamy Kshetram, D.C. Books (2011).

The tank had a companion, the Patrakulam, another tank which has disappeared from the geography of the Fort area. Marthanda Varma, who built check dams and tanks in Nanjinadu to irrigate the farmlands, had developed an excellent drainage system for Thiruvananthapuram also. The temple tank was constantly kept clean with the water from the Killi Ar, brought in by a small rivulet. The spillover from the Padmatheertham would flow to the nearby Patrakulam and then the water from the pond was in early days directed to the other ponds and to the gardens around the temple. Later the Thekkinakkara canal drained the water to the Parvathy Putten Canal, to the west of the Fort area. When Patrakulam vanished, the old drainage system also become partly defunct. 

The temple premises during early quarter of 20th century.

Padmatheertham, Patrakulam and the drainage system highlighted in dark blue - The map used here is a cropped portion of the 'Trivandrum Guide Map' (Survey of India 1968-69)

Padmatheertham and Patrakulam during the last quarter of 19th century - engraving from  ' Native Life in Travancore' by Rev. Samuel Matteer.

In the old days, in a society segregated by caste, Padmatheertham was always reserved for the use of the elite communities. Only royals, nobles and the Brahmins were allowed to use the tank. Every morning the residents from the nearby agraharams would gather there to perform the ambulation before entering the temple. This traditional system had a periodic way of keeping the tank clean. The tank was cleaned in every six years for the Lakshadeepam ceremony associated with the Sree Padmanabha Swamy temple. During murajapam the temple and its precincts would be crowded with Brahmins and certain rituals were also conducted in the tank.

The tank has a small vault in its center where the leftover sālagramams used to make the idol of Sree Padmanabha Swamy is stored. It was during the time of Sree Moolam Thirunal Rama Varma (1885-1924) that the Maharaja kept inside the vault the water from the sacred rivers from all over India, thus adding to its sanctity. The tank holds in its depth several interesting tit bits of history. When Travancoreans were shocked to hear about the murder in the temple tank many recalled a similar incident which took place in the days of Karthika Thirunal Rama Varma (1758-1798). Once Tippu Sultan send a spy disguised as a sanyasi to the Travancore court, the man with his exceptional talents soon gained entry inside the Fort. He is said to walked over the sacred tank with his yogic skill, however, the sanyasi was drowned in the same waters by Makayiram Thirunal, the younger brother of the King who found out that the sanyasi was a spy from Mysore. 

The famed vocalist Sreekanteswaram Ratnakaran Bagavathar shared with the author his feelings for Padmatheertham. Ratnakaran Bhagavathar who came to Thiruvananthapuram in 1940s started his career as an ivory carver. He worked in a private firm in Palayam. Ratnakaran hailed from a family of craftsmen from Kadakkavoor. Some of his ancestors and relatives were well known artists and musicians. Ratnakaran who had the affinity towards music devoted his free time listening music and attending concerts. One of his favourite hangouts in the city was the banks of Padmatheertham, there he would spend his evenings sitting in the granite steps, with his feet in the water and lend his ears to the music from the nearby small shops. The tank and its serene environment had helped in surviving the artist within (Left - Picture from Life Collections, 1950s).

The tank in its present state is a ghost of its glorious past; the old drainage system had once kept the water clean. Now the choked drain keeps the stagnant water in the tank itself, infested with dirt and algae. The temple authorities once tried to pump the water from the depths to aerate the murky water through surface agitation, thinking that it would help in improving the tanks condition. But looking back one wonders how effective the whole process was.

Sharat Sunder Rajeev

28-01-2012.

For further reading:

http://www.hindu.com/2007/06/09/stories/2007060921560300.htm

http://www.hindu.com/2006/08/01/stories/2006080121810300.htm

TALES FROM THE CAPITAL CITY - XXII

THE ‘GUSTHI’ TRADITION OF MANACAUD 

Sitting in front of the thekkath in my grandmother’s ancestral home in Manacaud is a stone idol of Lord Hanuman; a relief carving in white stone. Until recently my grandmother's younger brother Kumara Swamy had maintained the thekkath, which was originally setup by his grandfather’s younger brother, a famed occultist of his time, Valiya mandravathi Govindan Achari (1850s-1944). The thekkath houses a small idol of Lord Ganesh, a small ‘Vel’ representing Lord Subramanyan and a cane that belonged to the mandravathi himself. The Hanuman idol was carved by the local stone masons, who lived in Manacaud and Kuriyathy regions. These craftsmen were associated with the Sree Padmanabha Swamy temple and the Valiya Kottaram. The ‘chellam vaka’ associated with the temple and the palace was in old days headed by the Kallampally karnavar. This section employed skilled craftsmen from all fields. 

A pyalwan (?) - from the private collection of
K. Ramakrishnan Achari.

During last century the fame of Manacaud spread all over India with the name of a single man - ‘Pyalwan Narayana Pillai’. Better known as ‘Kerala Gamma’, Narayana Pillai was one of the best traditional wrestlers Travancore has ever seen. Travancore has a long tradition of maintaining wrestlers, locally known as mallanmar. In the old days many of them served as personal attendants and bodyguards to the Kings. Swathi Thirunal’s reign was the golden age of artists, musicians, and wrestlers. Many eminent wrestlers from far off lands came and performed before the King. ‘A number of native boxers from Travancore and other parts of Malabar skilled in the art of fencing, single combat, sword, stick, and other exercises, were entertained for the amusement of the court. To witness the mode of champion-fighting in other countries, the Maha Rajah got from the court of Mysore a few sets of trained athletes called Mullaga Chettis, who fight in single combat, till the combatants bodies are bathed in blood….A set of pyalwans (Mussulman champions) from Hyderabad who perform wonderful feats and exhibit extraordinary powers of muscle, were entertained at the court for some time. The performances exhibited by these men would be considered exaggerated, even if correctly related. One of them, a young man of about thirty years of age, with a strong-built body, used to lie on his back and allow a thick granite stone slab to be placed on his breast, and have the same split into pieces by pounding it with a thick iron pestle. He used to throw large iron cannon balls into the air and receive them on his head, back and breast’ (Shangunni Menon). C.V. Raman Pillai in his epic work 'Rama Raja Bahadur' gives a vivid description of a wrestling match between Azhakan Pillai and Kandiravarayar. V. Narasimhan Thampi, another historian of the royal family writes about the turbulent days of Dharmaraja’s reign when spies, disguised as wrestlers and magicians had gained entry inside the Fort. In old days Gatta gusthi, a form of wrestling was common in Thiruvananthapuram. Manacaud Narayana Pillai was one among the last famed wrestlers of Thiruvananthapuram. However, the wrestling community once patronized by the royals has now become almost extinct.

The Ganesh idol, Vel and the cane inside the thekkath and the Hanuman idol.

Once the name and fame of the Narayana Pillai spread all the way from Aarulvaimozhi to Kannur. He defeated several famous wrestlers such as Chotta Thimmayya, Gourimutthu, Ashique Hussain, Bhima Rao and Periya Pillai. During the 1940s many famous wrestlers camped in Narayana Pillai’s house in Manacaud. Children from the surroundings would crowd around the house to get a glimpse of the wrestlers. A senior resident of Manacaud says; “As children, we would assemble near the house of Narayanan Pillai to see the wrestlers who have gathered there. In the evenings they would all march to the nearby Shasta temple, with a group of children following them”. Matches would be conducted in the large grounds of Palayam. The Goda (arena) would be prepared and soft red soil from Thiruvallam was spread all over. The soft soil prevented injuries. The majority of the Pyalwanmar were worshippers of Lord Hanuman; some of them carried with them the idol of their favourite deity where ever they went. 

Kerala Gama Manacaud Narayana Pillai - in his younger years and during his last years - Picture courtesy - Kala Kaumudi Magazine, Issue 429, from an article written by Kallikadu Ramachandran.

Narayanan Pillai was a friend of artist K. Ramakrishnan Achari (my paternal grandmother’s father) and often visited the house. In front of Putten Veedu (another related house) in Manacaud was a large open space where the youngsters of the region assembled under the famous pyalwan Narayana Pillai to learn wrestling. Sundaram Achari and Lekshmanan Achari of Putten Veedu were his friends and disciples. Soon the ground was transformed into a goda where Narayana Pillai could formally train his students. The stone laying ceremony for the Goda was done by Elayaraja Uthradom Thirunal Marthanda Varma (the present King). Influenced by the wrestling tradition of Manacaud, my grandmother’s eldest brother Krishna Swamy of Pillavilakathu Veedu, his brothers and friends started a gymnasium in the 1940s. It was situated behind the studio building, situated opposite to the house. During those days a ‘pyalwan’ came there to train the youngsters. On special occasions the famed pyalwan of Travancore, Narayana Pillai himself came to the goda and gave instructions. The idol of Lord Hanuman carved out of white stone was worshipped there. Once as a small boy Kumara Swamy kicked the idol, only to find that his foot had swollen up and he could not walk for days!

The Hanuman idol - Sketch by the author (2007).

Note:

Thekkath - place of worship.
Karnavar- male head of a joint family.

References:

Narasimhan Thampi. V, Travancore Royal Family and Valiakottaram, 1976.

Shangunni Menon P, A history of Travancore from the Earliest Times, Volume I, Higginbotham, 1878.

TALES FROM THE CAPITAL CITY - XXI

KALLANA - THE GUARDIAN OF THE TEMPLE

Not everyone who visit East Fort would notice the granite elephant resting in the shade of a huge banyan tree on the banks of the Padmatheertham. The vendors who line the sides of the narrow street are the only friends of the elephant. Among the cluster of the hawkers who rest in the shade of the banyan tree, one finds it difficult to spot the elephant, though it hasn’t moved a bit in the last few centuries. A street hawker leans to the belly of the elephant for an afternoon nap, another man sits on top of it, and the elephant sits silent as ever; a silent witness to the many historic events of Travancore.

The 'kallana', in the shade of the banyan tree - Photograph taken by the author.

The figure of an elephant, carved in a single piece of granite and known to the locals as ‘kallana’ (meaning ‘stone elephant’ in Malayalam) has a mystery surrounding it. Like the great Sphinx who guards the Pyramids, this small elephant sits under the cover of the old tree, with his gaze fixed to the towering gopuram of Sree Padmanabha Swamy temple. Some are of the opinion that the elephant was installed there during the reign of Karthika Thirunal Rama Varma, the famed Dharma Raja (1724-1798) during whose reign the fame of the State spread far and wide. It was Dharma Raja who completed the renovation works of the temple which was initiated by his predecessor Anizham Thirunal Marthanda Varma (1729-1758). The Gopuram (temple tower), the Sheevelipura (circumambulatory path) and the famed Ottakkal and Kulashekara mandapas bear testimony to the craftsmen who have participated in the renovation works of the temple. According to popular belief, the elephant was also carved during the same time. However, the skill of the craftsmen exhibited in the intricate works of the temple fail to make its mark on the elephant. Was the work done by an unskilled apprentice, or is it the ravages of time that had rubbed away the details? No one seems to have an answer.

Sri. C.V. Raman Pillai, the author of historic novels like Marthanda Varma (1891), Dharma Raja (1913) and Rama Raja Bahadur (1918) was a person who knew every nook and corner of the capital city. The kallana finds a place in his novel Rama Raja Bahadur, where one of the characters in the novel named Azhakan Pillai hides behind the elephant. The mention of kallana in this famous novel might be the reason why most of the Travancoreans relate it with Dharma Raja, the main character.

Like any other historic object/structure inside the fort, kallana too have some intriguing stories associated with it. Uma Maheshwari, the author of the biography of the present Maharaja Uthradom Thirunal Marthanda Varma, an expert on the history of the fort and the royal family is of the opinion that the kallana has much longer history than we often attach to it. According to Uma, the elephant was made perhaps during the period when the foundation stone for the gopuram was laid, during the reign of Aditya Varma (741 ME-1566 AD.). But what was the association of the elephant with the construction works of the temple? Well, according to Uma there is a long standing tradition to offer prayers to Ganapathy (the elephant headed God) -before executing a major work, thus an elephant was installed before commencing the work for laying the foundation for the gopuram. If this version of the story is true, then the kallana is more than four centuries old.

However, there is one thing about the elephant that always perplexed me; a keen observer will surely notice that one half of the sculpture is more embellished than the other. What was the reason for it? Was it due to the wear and tear the sculpture faced in all these years? It might be possible, if one takes into account its age and condition, unlike an exhibit inside a museum, the elephant has been exposed to the elements of nature. But why one side of the elephant suffered much more than the other? Did the craftsmen who were engaged in the work left the work in half way?

Uma is of the opinion that the turbulent political scenario that followed the stone laying would have affected the fate of the kallana too. Records say that the construction works of the gopuram was stalled due to the conflict between the King and the madampimar, so the kallana was also rendered unfinished. Later Veera Ravi Varma Kulashekara (1592-1609 A.D.) gave orders to reconstruct the nalambalam and balikalpura using stone, however, the work that commenced in 781 M.E. (1606 A.D.)[1] ended abruptly with his death in 1609 A.D. The later rulers also carried on the construction works. Finally the temple was reconstructed to its present form during the reigns of Marthanda Varma and his successor Dharma Raja.

Two years back while doing a project on Thiruvananthapuram I came across many local people who narrated to me a wonderful story about the kallana, linking it with the ‘evergreen’ villains of the kingdom, the Ettuveettil Pillamar. According to the elders, long back in history when the madampimar wielded more power than the royals, one of the prominent members of the madampi clan named Ramanamadham Pillai had his house constructed on the banks of Padmatheertham. In those days the sacred pond was much smaller in spread. The powerful madampi also constructed a small shrine on the banks of the pond, dedicated to Lord Shiva, his family deity. According to the story, during the clash between the Ettuveettil Pillamar and the King, the madampimar were finally vanquished and all their property was confiscated to the royal treasury. The King, in order to fulfill his vengeance ordered his soldiers to demolish the houses of the Pillamar and excavated ponds in their place. In the case of Ramanamadhom Pillai’s property, the house situated on the banks of the pond was demolished and instead of making a new pond, the existing Padmatheertham was expanded, however, the small temple was left untouched. The final twist to the story came when a senior member mentioned about the kallana which was actually a part of the sopanam of the house. According to him the kallana had a similar counterpart and both of them adorned the two sides of the main steps leading to the palatial mansion. And to my amazement he went on saying; “Have you closely observed the elephant?” he asked. “Only one of its side is carved, the other side is left unfinished as that part would not be visible when the steps where there”. So, where is the other elephant? The old man is of the opinion that it might have been destroyed by Marthanda Varma’s soldiers.

Padmatheertham pond and the temples and mandapams around it - the small shiva temple can be seen in the left.

The above mentioned story may answer some of my doubts, but is it a true story? Dr. S. Hemachandran Nair, Superintending Archaeologist of the State Archaeology Department rules out the story as a mere local legend associated with Marthanda Varma and the Pillamar. “In Thiruvananthapuram everyone has a story connected to Marthanda Varma and the Pillamar”, says Hemachandran; “These stories seem to be true when we hear it for the first time, however, when we look for details there are discrepancies and lack of records to prove them”. According to Hemachandran there are no records to prove the above mentioned story and once again the kallana pulls over the veil of mystery.

Before coming to conclusions one should go through the ‘mathilakam records’ chronicling the history and day to day activities of the temple, there we may find the true story of the kallana, until then history/stories can be made and undone in the mind of the people. Even the street vendor who now curls beside the kallana will have his own version of ‘history’!

---

[1] Important Mathilakam Records, Published by Ulloor S. Parameshwara Iyer, 1941, Document no. 211, Curuna 1719, Ola 34.

For more information:

http://www.thehindu.com/todays-paper/tp-national/tp-kerala/article2321135.ece

http://www.thehinduimages.com/hindu/photoDetail.do?photoId=7813281

Sharat Sunder Rajeev

December 2011.

TALES FROM THE CAPITAL CITY - XX

SWARUPATHU VEEDU

Swarupathu Veedu*, now known as ‘Kaniyan Vilakam’ is an old aristocratic Nair tharavad situated in Thiruvananthapuram. The ancestral house of this family is located near the famed Mukkolakkal Devi temple in Sreevaraham, near Muttathara; to the south of Sree Padmanabha Swamy temple.

There are no authentic records on the origin of the family, and going by the local lore and family traditions one can come to the conclusion that the family and its members were associated with the ancient Sree Padmanabha Swamy temple from times immemorial. There are many references of the family and the services rendered by them in the temple records, the Mathilakam Churuna, chronicling the history of Sree Padmanabha Swamy temple. Princess Lekshmi Bai of Travancore royal family in her book ‘Sree Padmanabha Swamy Temple’ has expressed her gratitude to numerous old aristocratic families, located in the capital city that had rendered valuable service in managing the day to day activities of the temple; Swarupathu Veedu is one among them.

The poomukham of the house - Photograph taken by the author.

The family was in existence from very old days and the ancestors of the family may have been associated with the Ettarayogakar, the potty families who controlled the temple affairs. Travancore, before the period of Anizham Thirunal Marthanda Varma (b.1706-d.1758) was under the control of feudal lords, the Ettuveetil Pillamar, Nair chieftains who were the feudatories of the Potty families. However, later they gained prominence in the society and allied themselves with the Ettarayogam and thus became the uncrowned kings of Thiruvananthapuram. Some prominent Nair families assisted the Yogakkar in running the temple such as Mathilakam Pillamar. According to the present family members, their ancestors assumed the title ‘Mathilakam Pilla’ and supervised the day to day activities of the temple. They were also assigned the duty of taking care of the 'Pandara vaka' estates owned by the royals and the temple.

Mathilakam Pilla:

Thiruvananthapuram, the small temple town developed into a capital city during the reign of Veera Marthanda Varma and his illustrious successor Karthika Thirunal Rama Varma (Dharmaraja). Marthanda Varma shifted the capital from Kalkulam to Thiruvananthapuram and started with the renovation works of Sree Padmanabha Swamy temple followed by large scale development activities. Dharmaraja, his successor followed his uncles footsteps and thus during his reign Thiruvananthapuram emerged from its status as a 'temple town' to a powerful 'capital city'. The city comprising of the temple and a small population around it transformed into a city during the latter half of eighteenth century, a fort was created which sort of defined the boundary of the settlement of the elite class and people belonging to lesser castes and profession began settling around it, they were allotted land in accordance with their social positions.

The name Mathilakam Pilla is seen in many records preceding the time of Marthanda Varma, so the mathil or wall mentioned here must be the temple wall, the prakaram which surrounded the Sree Padmanabha Swamy temple. There are references of a mud wall surrounding the temple in the old records. Later during the reign of Marthanda Varma orders were given for complete renovation of the temple and a new granite wall occupied the position of the old mud wall. Therefore, as the name suggests, the members of the family supervised the works inside the mathilakam, i.e., the temple.

Social position:

The title Mathilakam Pilla was a significant post that demanded much respect and the family’s alliances with other aristocratic families including the famed Chittaloor Elankom strengthened their roots in the capital city. The connection with temple administration and their loyalty to the royal family made them prosperous. The family also received vast areas of farming lands free of tax from the rulers of Travancore.

In addition to this they received mada choru, cooked rice from the temple everyday and that too in large quantities. According to the present head of the family Mr. Sreekumaran Nair, in old days the karnavar of the family made arrangements to sell this rice and to distribute the rest to the poor.

Locality:

The family is located behind Mukkolakkal Devi temple, on the outskirts of the old capital city; the surrounding regions are marshy farming areas, with many canals and culverts for irrigation. In old days this area was known by the name Thottam, meaning garden. It was common for large temples like Sree Padmanabha Swamy temple to have farming lands in its vicinity, supplying flowers, fruits, grain and other raw materials for the day to day activities of the temple. Padmanabha Swamy temple had numerous paddy fields and gardens surrounding it. Ananthapuravarnanam, a 13th century composition by an unknown poet provides us with a beautiful description of the temple town. Syanandoorapuranam, another work mentions the temples, sacred groves and numerous ponds of this town. To the southwest of the temple was a temple sacred grove known as Padinjarae Nadakkavu. The author of Ananthapuravarnanam has compared this grove to the nandavanam. According to the elders of the locality, Mukkolakkal and the nearby Thottam regions were ‘gardens’ or rather farmlands which supplied flowers, banana and coconut to the temple and the settlements around it. The members of Swarupathu family were the feudal lords who were the caretakers of these fields and it may be the reason why they settled near Thottam. A large pond by the name ‘Pookulam’ was in existence till recently next to the house, however now it has been filled and is used as a play ground.

Sree Padmanabha Swamy temple and its precincts, with the old 'garden' marked in green**.

Thottam is well known all over Travancore for its Ezhava and Vishwakarma settlements. Many prominent Ezhava families like Vellutheri, Perunelli and Perumpadsherri of the region has produced many gifted poets and scholars, many illustrious members of these families were well known physicians, and were appointed as Kottaram Vaidyanmar to the Kings of Travancore. Many Tamil Vishwakarma guilds such as Thavalodu and Thuppini were engaged in the renovation works of Sree Padmanabha Swamy temple and later they also settled in Thottam.

The house:

The tharavad is made in pure traditional architectural style followed in southern parts of Travancore. Exact date of construction is not available; however, from the looks and the style of construction one can easily infer that it is not less than 250 to 200 years old. The house, in its commplete form was an ettukettu, with rooms arranged around two courtyards. However, one nalukettu constructed using laterite had fallen with time and only the portion made of timber exists today.The existing structure is a perfect example of the traditional architecture of Kerala and bears testimony to the high degree of craftsmanship attained by the traditional craftsmen. The construction of the building is in accordance with the traditional Vastu canons, facing East direction. The major building materials used are timber, for walls and furniture, doors, rafters and thatched coconut leaves for roofing. Exquisite carvings of Goddess Durga, the vyali and parrot motifs along with the lotus and other floral motifs display the expertise of local craftsmen. The walls are made of timbre planks which are interlocked. The corner rafters and pillar heads are decorated with carvings. The structure includes a poomukham used by the karnavar of the family; in old days it acted as a transition space in between the main living block and the thekkath, the place of worship. Male guests were entertained in this poomukham, which was detached from the ettukettu. The poomukham has a small sit out space with charupadi and there are rooms on both sides.

The existing nalukettu - Photograph taken by the author.

The intricate carvings - Photographs taken by the author.

The wall separating mens and womens blocks, the small kilivathil used by women can be seen on the left - Photograph taken by the author.

The existing nalukettu block also had an ara that housed the thekkath, where the deities of the family, kalaman kombu (deer antlers) and the ancestors were worshipped. The other rooms were used by the karnavar, in the front verandah there is a wooden cot used by the karnavar with storage space below it, the valuables of the family and important documents were stored there, under the strict vigil of the karnavar. The room near the thekkath served as a store room where the large vessels of the family were kept. The inner space around the courtyard was used by the occupants of the family. The adjacent nalukettu which was in ruins had been demolished years ago and according to Mr. Sreekumaran Nair, it was used by the women and children of the family. That portion housed the kitchen, dining space and bedrooms. A wall, painted red, with an opening in its centre separated the two blocks; earlier, women were not allowed to come near the block that housed the family deities. A small kilivathil can still be seen on the wall, once used by the women to communicate with the karnavar and the male members who occupied the first nalukettu.

Life in family:

The Nairs were matrilineal, with the mother’s eldest brother occupying the position of karnavar, the male head of the family who looked after the family, their land and assets. The power and property passed hands to the sons of the karnavar’s sister and never to his children. Though women had no significant role in the society, she was the fulcrum around which the family functioned, matrilineal system of inheritance ensured their safety and women were respected. The nephews were taken care of by the male head, the karnavar. During post-colonial years, the Land Reforms Ordinance of 1950s led to massive loss of land-ownership by Nair feudal lords and some Nair gentry were relegated to poverty overnight. However, Swarupathu family is financially sound and many of the members are top brass government officials who are sensitive towards their rich heritage.

Sharat Sunder Rajeev

November 2011.

Note: This article was written two years back when I was doing some research on Thiruvananthapuram and the old families there. I would like to thank Sri Sreekumaran Nair, the present head of Swarupathu Veedu, who was kind enough to spare some time with me. He took me around the old house and shared with me whatever history he knew about the house and the locality.

P. Venugopal and L. Madhavan and late. L. Jalaja (Krishnammal) were some of the elders I contacted to know more about the local history of the area.

The map used here is a cropped portion of the 'Trivandrum Guide Map' (Survey of India 1968-69).

* Alternate spelling for 'Swarupathu Veedu', is 'Swaroopathu Veedu'. In old days there were some families of 'Kaniyanmar' (traditional astrologers) who lived near the house, this was the reason why the house and its surrounding areas later came to be known as 'Kaniyan Vilakam'.

** Since I was not able to come across any proper records showing the extend of the old garden, I have conjecturally marked it in the map.

TALES FROM THE CAPITAL CITY -XIX

STONE MASONS OF CHITTATINKARA, THIRUVANANTHAPURAM

Killi Ār*, the chief tributary of Karamana River flows to the east of Sree Padmanabha Swamy temple. Built across this water body is the famous ‘Killipālam’. The King of Venad dynasty, Veera Marthanda Varma (1706-1758) who personally supervised the renovation works of Sree Padmanabha Swamy temple ordered his workmen to find a suitable monolith hill from where he could get a chunk of granite, so big to make a monolith ‘mandapam’ in front of the main shrine at Padmanabha Swamy temple. The workers located a small granite hillock not far from the temple. Thirumala, as the place is now famous, indicating its connection with the sacred hillock, was at that time a part of Chittatinkara in ‘Anjam mada’ village (‘mada’ means drain). Anjam mada or ‘Anchamada’ - were the five madas dug for draining water to Karamana and Killi River. Kaduvetty, Maruthankuzhi, Pangode, Kundamankadavu and Vallakadavu were the five madas and these areas are still known by the names of the respective madas.

Stone masons were employed to cut the large boulder into required size and the mathilakam records states that Nair and Ezhava labourers toiled for days to get the large boulder to the worksite near Sree Padmanabha Swamy temple. A large cart with huge wooden wheels was made for the purpose of transportation and the stone was hauled by elephants. A new road was made by the labourers, connecting the granite quarry to the temple. The road running through Poojappura, Karamana, Aranoor, Chalai and connecting to Sree Padmanabha Swamy temple is still in use. A small guild of stone masons was located near the quarry and they were assigned the task of hewing granite blocks into required size for making the pillars and roof slabs. The descendants of these masons still live there.

On top of the hillock is a small temple ‘Trichakrapuram’ Sree Krishna Swamy temple (also known as 'Parakovil') dedicated to Lord Sree Krishnan. It is said that the hillock got its name, ‘Thirumala’, meaning ‘sacred hill’, due to the presence of this ancient temple.

Trichakrapuram Sree Krishna Swamy temple, on top of the granite hill - Photograph taken by the author.

The spot from where the large boulder was cut for the 'ottakkal mandapam'

- Photograph taken by the author.

The huge granite boulder, in its journey to the worksite passed through Karamana before reaching the Killi River, in those days there were no means for transporting the huge stone to the other side. Marthanda Varma gave instructions to divert the river. The course of the river was changed and thus the boulder reached the other side of the river. There are many stories circulating amongst the local population about the King and the divine assistance he got from Sree Padmanabha Swamy to get the boulder to the other side of the river. One of the senior members of Chittatinkara guild narrated such a story that he has heard from the elders. The labourers on reaching Killi River found it impossible to transport the boulder and their leader went to the King and told him about the situation. The King after thinking for a while took a palm leaf and the stylus in his hands, wrote something in it and handed it over to one of his ministers. In the leaf was written the number ‘six’ (6) in the Malayalam numeral and there was a cut across it. The clever minister got the point and asked the labourers to build an embankment across the river. In Malayalam the numeral six (6) is pronounced as ‘Ār’/‘Āru’, the same word for river. The line drawn across meant that an embankment was to be constructed across the river.

The Malayalam numeral 'six' (left) - Ar and the sign given by the king to built an embankment across the river (Ar).

The granite boulder being hauled to Sree Padmanabha Swamy temple - Sketch by the author.

Vettamukku Vilakathu Veedu (Shiva Bhavanam) an old Tamil Vishwakarma family of stone workers (silpins) is settled in Chittatinkara. Padmanabhan Asari (b.1850s), an early ancestor of the family owned large areas of land near Trichakrapuram Sree Krishna Swamy temple, his son Shiva Thanu Asari (d.1940s) was a well known figure. Senior citizens say that in old days there were three Tamil silpin families in Vettamukku, associated with the renovation work of Sree Padmanabha Swamy temple. Thirumala and the surrounding areas like Edapazhinji and Vattiyoorkāvu had large rock boulders. The large rocky hills in Thirumala region provided enough granite for the construction of the temple and the fort walls. According to present family members, Uchudamakali Achari, son of Shiva Thanu Achari used to say that the granite panels, used as roofing for the ‘Sheevelipura’ of Padmanabha Swamy temple were made by his ancestors. Going by the popular family traditions and hearsay the ancestors of this family had settled in Thiruvananthapuram during the reign of Marthanda Varma (c.1730s). They were stone workers associated with the renovation works of Sree Padmanabha Swamy temple. The present descendants claim that their ancestral family was located in Dhanushkodi, near Rameshwaram. The ancestors of this family had initially settled in Karamana and Choorakattupalayam, where many of the Vishwakarma families were concentrated. In due time the region occupied by this guild came to be known as ‘kalppalayam’ - meaning abode of stone masons. The temple housing their principle deity - Goddess Amman is still there in Karamana.The renovation works of Sree Padmanabha Swamy temple started by Marthanda Varma was carried forward by his illustrious successor, Karthika Tirunal Rama Varma a.k.a. 'Dharmaraja'. In 1768 AD/ 943 M.E., Ezhava labourers were employed for bringing to the temple, twenty eight Mandira Moorthy pillars, which were made in Thirumala (Churuna 28, Olas 99 & 100, Sree Padmanabha Swamy Temple, Princess Gouri Lakshmi Bayi.)

P. Shiva Thanu asari and his wife Valli Ammal – From the private collection of Mr. Padmanabhan.

The old house, Shiva Bhavanam was made by Shiva Thanu Asari. Unlike other houses seen in the surroundings, we can see perfectly dressed granite blocks serving as steps and the plinth above which the house is built. Behind the house was a large pond (14. 5 cent) formed as a result of cutting out of large blocks of rock from the boulder. The pond was used by the family and the locals of the region.

Later, during the latter half of 18th century some families from Karamana settled in Chittatinkara. They were all involved in the cutting and dressing of granite for the construction works of Sree Padmanabha Swamy temple. The stone blocks for building the Fort walls were also supplied from Thirumala. Trichakrapuram Sree Krishna temple was a small structure during that time and it seems that the families of stone masons were involved in the construction of the temple and the associated structures in the present form. They were given land near the temple. The ancestors of this family along with the Asari families like Chatharathala and Eruparathala families formed a guild of village artisans.

*Ār - means river in Malayalam.

SHARAT SUNDER RAJEEV

TALES FROM THE CAPITAL CITY- XVIII

THE STORY OF A VELVET CAP.

‘Who wouldn't wish to dress up like a King?’

Of course everyone does. But in a period when our land was torn apart by the evils of caste system, not everyone could dream of going out dressed like a King.

On one of my visits to Krishna Singh’s house he dug out from his collections a priced pocession - a purple velvet cap. It was an old cap, but the embroidery lining running around the cap and small beads sewn on it were in perfect condition. Carefully packed inside a plastic cover he treasured the small cap all these years.

‘So what was so special about the cap?’

Krishna Singh narrated to me the story of the cap; it was connected to the history of Travancore and gives us a glimpse on the social hierarchy of the yesterdays.

The story of the cap begins many years back, in 1930s. Dharma Bai Padma Bai, Krishna Singh’s paternal grandmother was the matriarch of the family at that time. History and hearsay tells us that they were Rajputs who had migrated to Travancore from Ayodhya. (There are Rajput settlements in Kottar (Lala Street) too; they are believed to be the decedents of the settlers who had migrated to the precincts of Suchindram temple during the reign of Krishna Deva Rayar). According to family traditions Princess Sindhu of Oudh (Abhirami) had arrived in Suchindram during the reign of Rama Varma. The young princess was on a pilgrimage - seeking the blessings of Stanumalaya Moorthy. It is believed that the princess was a ‘mangalik’, with the evil shadow of Planet Mars in her horoscope; she had to undergo a pilgrimage, seeking blessings from gods for a happy married life. The princess’s recitation of bhajan in her sweet voice caught the attention of the King - Rama Varma and he was attracted towards her. The rest is history…..The bloody battle of succession fought between the sons of Sindhu (Abhirami) and Prince Marthanda Varma in is an important chapter in Travancore history. The Thampimar - Raman Thampi and Pappu Thampi fought against the ‘heir apparent to the throne of Travancore’, Prince Marthanda Varma. With the defeat of the Thampimar, the madampimar - Ettuveettil Pillamar who helped the brothers also met with a gruesome end.

Padma Bai’s husband Baburam Gopalram was an Anchal Inspector. Gopalram’s job took him places, after being posted in various places all over Travancore; finally he decided to settle in the capital city. Manacaud in old days was famous for its Rajput and Pathan settlements. Several Nair and Chetti families were also concentrated in Manacaud. Its proximity to Sree Padmanabha Swamy, the nucleus of the capital city and the Chalai bazaar were the reasons why this region was comparatively ‘over populated’ even from old days. C.V. Raman Pillai in his epic novel ‘Marthanda Varma’ gives us a vivid description on the geographic features of ‘Manakkad’ otherwise known as ‘Manal - Kad’. ‘Puttenkotta’, a small hillock near Manacaud - Kuriyathy regions was where Umayamma Ranis palace was situated. The famed ‘Shingarathoppu’, ‘Puttenkotta Smashanam’, ‘Kalippan Kulam’ and many famous temples like Manacaud Sree Dharma Sastha temple and Attukal temple, Samadhi temple are all in its vicinity. ‘Mukilan’ (Mugalan), the Mughal chieftain who came down to sack Thiruvananthapuram had stationed in Manacaud - it is said that the local Pathans were the one who deviated him from launching attack on the Sree Padmanabha Swamy temple.

Rajpoot Songster and musician- Yale University collection.

Krishna Singh’s grandfather settled down in Manacaud in the early 20th century. The local Rajput population was usually employed in the palace. Tales of valour and an imposing physique earned them jobs in the ‘Kuthira Pattalam’, the Kings Mounted Force. Several others served as trusted ‘Choapdars’ and as emissaries on special assignments.

Sree Chithira Thirunal, wearing a velvet cap; 1924.

Madhava Singh, the ‘embroidery worker’ to the Travancore royal family lived in Manacaud. This man was an expert in making intricate embroidery works that added to the beauty of the ‘royal robes’. He was employed by His Highness Sree Moolam Tirunal (1885-1924). Velvet upholstery works in the palace were undertaken by him. However, Madhava Singh was best known for his velvet caps - velvet caps with intricate embroidery works were worn by the royals and nobles. These caps were made using high quality velvet. First of all the frame for the cap would be made in cardboard. Velvet cloth - with intricate embroidery works - cut in appropriate dimensions would be sewn together and pasted around the cylindrical cardboard piece. For decorative embroidery works floral designs were often adopted. For royals the embroidery works were done using gold thread, sometimes pearls and semi precious stones were also used - depending upon the socio-economic status of the customer. Being a family friend, Madhava Singh frequently visited Krishna Singh’s house. Once Padma Bai asked Madhava Singh to make a velvet cap for her first grandson - like the one Madhava Singh made for ‘Chitira’ (Chitira Tirunal Bala Rama Varma).

Dharma Bai Padma Bai - From the private collection of Krishna Singh.

Krishna Singh who was four years old at that time still remembers his grandmother - a stern lady who ruled the household with an iron hand. The older generations say that she was a ‘stern, yet soft hearted lady’. Many poor people from surrounding area would run to her in times of need and she was always ready to help the needy. Madhava Singh was in a dilemma, he couldn’t make her unhappy, at the same time he would be in trouble if the cap was spotted by royals or the nobles.

The velvet cap - photograph taken by the author.

Finally he yielded to the old women’s command. One fine day he came in and placed the cap in Padma Bai’s hands. Krishna Singh’s joy knew no bounds! He was now the proud owner of a velvet cap. However, there were strict instructions from Madhava Singh - the cap was not to be worn in public. Hari Ram, Krishna Singh’s father took a photograph of his young son wearing his new cap.

Krishna Singh with his siblings, wearing his new cap - Clicked by Hariram (From the private collection of Krishna Singh).

Years passed, the Kings rule ended and velvet caps - once a symbol of nobility became out of fashion. However, for Krishna Singh the cap is a treasure - it brings back the memories of his childhood, his long dead grandmother and the cap maker.

Sharat Sunder Rajeev
May, 2010.

* Krishna Singh passed away on 23rd October, 2010, he was 73 years old. Krishna Singh was a good friend of mine, he always had some interesting story to tell that helped me in knowing more about the local communities of Thiruvananthapuram. A man deeply embedded to his roots, Mr. Singh was always proud of his 'Rajpoot' ancestry. May his soul rest in peace.

TALES FROM THE CAPITAL CITY- XVII

LIFE IN AGRAHARAMS - AS TOLD BY KRISHNA IYER

An old doorway inside the agraharam complex, East Fort - Photograph taken by the author.

20th September 2009,

Agraharams: The name literally means "a garland of houses". It originates from the fact that the agraharams have lines of houses on either side of the road and the temple to the village god at the centre, thus resembling a garland around the temple.

Smiling faces greeted us whenever we went to agraharams for conducting case studies. Old women wearing ‘chela’ and men who busy chatting with their friends occupied the ‘thinna’. Within the crumbling agraharams we could get a glimpse of large families, trying to fit themselves into long corridor like spaces; a life style and culture evolved through the ages. Life in agraharams starts early morning, when rest of the city sleeps peacefully, the women of agraharams rises and after bathing draw ‘arippodikolam’ in front of their houses.‘Arippodikolam’- a painted prayer. It is believed that drawing a kolam in front of the house brings prosperity. Moreover, they provide food for insects and birds.

Marthanda Varma was the first ruler who identified the potential of the temple town, Thiruvananthapuram. Though the capital was still Padmanabhapuram, he started the overall development of Thiruvananthapuram which finally made it a capital city. After renovation of the temple, he invited Tamil and Tulu Brahmins to the capital city and made agraharams for them, the small market which functioned in the eastern side of the temple gradually flourished as more and more people started to migrate to this region. Another interesting story on migration of Brahmins to this area was narrated by Mani Iyer of Sreenikaethan (west nada); according to his story Ramayyan Dalawa was the brain behind Marthanda Varma’s successes. It is said that the king once offered half of his kingdom to this trusted minister, making him a king. However, Ramayyan respectfully refused this offer saying that he was a Brahmin and it’s the duty of Kshtriyas to rule. He asked the king to give shelter to poor Brahmins; the king accepted his minister’s advice and invited Brahmins to Thiruvananthapuram. The temple provided them with means of livelihood.

Ramayyan Dalawa - Picture courtesy - R. Narayana Panikker, The History of Travancore.

Mr. Krishna lyer, a ninety year old gentleman whom we met in Tippu Street turned out to be a treasure trove of information, for he had in store much new information that helped us to understand the life and culture of agraharams, in a better manner. He gave us a clear idea about the history and social conditions that existed inside the fort area, which was off limits to the lower castes till recent age. Krishna lyer was an exceptional man, with a sharp memory spaning over eight decades, he was the ‘one’ whom we were looking for. He accompanied us to ‘Azhikotta’ and on the way explained to us the history of agraharams, its evolution through the ages, current issues and about the old settlements around the fort area.

Krishna Iyer - Still young at 90 - screenshot from a documentary on agraharams (Agraharangal Kathaparayumbol, 2011).

According to him the old ‘pramanam’ or documents stated that land was given for ‘Paradesi Brahmins’ and ‘Malayala Brahmins’ by the king. These Brahmins built agraharams and settled there, forming one of the oldest social caste settlements inside the capital city.

Tamilsmarthabrahmin and his wife - From Yale University Collection.

Their houses were special too, all houses shared a common wall and were made of ‘Cheekkal katta’, a strong locally available building material, these blocks were cemented with lime plaster and the plinth in which the house stood was made of large granite blocks, which were laid in a special manner, which according to the him is very efficient that the centuries old houses had not been affected by the earthquakes. In old days the roofs were thatched and the supporting pillars and mezzanine floors were made of timbre. Later thatch roofs were replaced by Mangalore tiles when they were made available in Travancore. This group housing influenced their life style also, privacy was not their concern. Usually large joint families were cramped inside the long corridor like spaces, but their lifestyle evolved around the temple and their houses that even now the younger generation finds no fault living in these houses. However, they have made many additions for their comfortable living. The open ‘thinna’ were old Brahmins assembled for the ‘vedivattam’ and occasional card playing were closed with iron bars. The open courts inside the houses were also leveled making room for a bed or a study table for the younger generation.

Agraharam - a study on spatial planning - Urban Design project done by the author at C.E.T.

According to Krishna lyer, water supply, electric connection and drainage came inside fort during M.E. 1103-04, during the reign of the Regent Maharani Sethu Lekshmi Bai, before that assigned people came at 6O’clock in morning everyday to collect night soil from every houses. They had special paths known as scavengers lane made behind every stretch of streets. The wastes were collected outside the fort (southwest corner) and later taken to far off places to be disposed.

An old agraharam with open thinna - Photograph taken by the author.

Krishna lyer says that in those days the senior members of the family slept in the open thinnas, there were no mosquito problems as the drains running through the front were cleaned daily. The roads were also cleaned and sprinkled with water daily. Before corporation water supply was made available, there were common wells, two wells for each street that provided them with water, every morning the women folk crowded around the well for collecting water for their daily use. However, with the coming of corporation water connection the wells were neglected and they turned into breeding grounds of mosquitoes and were later sealed off.

In old days majority of the Brahmins were employed in the temple as staffs and in the temple kitchen, mukkanaiya a sub caste of Iyers were money lenders and were appointed as accountants. Later they got admitted in government offices, the ‘Huzur kacherry’ and the court that functioned in an old building that has been now occupied by Sree Moola Vilasam (S.M.V) School. With new positions their life standard increased and now most of them have high educational qualifications and are employed as high government officials.

Brahmins being a priestly class were less familiar with farming techniques, the lack of open spaces and the life style that revolved around the temple made then depend on vegetable sellers and other street vendors who came daily to sell their wares. However, few coconut trees can be spotted in the backyard spaces. People belonging to different castes ranging from bangle makers, the ‘Vala Chettis’, to basket makers came there to sell off their products. However, no one from outside was admitted inside the fort after 10pm. There were guards at each opening checking on those who enter and leave the place. The Attakulangara post office building was the soldier’s outpost, there was a well near it, where now there’s a milma booth.

Azhikotta and the old post office building that once served as soldiers outpost - Photograph taken by the author.

Krishna lyer still has a vivid memory of his childhood days when he used to walk to Sangumugham beach that was three miles away for a bath in the sea. The streetlamp lighters arrived every day evening at six with their kerosene cans and ladders. All street lamps would go out at about nine at night, but still the road would be lighted up by the stone lamps; stone lamps were there attached to the walls of every agraharams. Theses stone lamps hold oil for a longer time illuminating the street, thus the street came to be known as ‘deepatheruvu’, the street of lamps, but now its name have changed to Tippu Street. Every street had a story to tell, ‘Thamman Street’ was the place where a saint by the name ‘Subramanya Dharman’ lived, the word ‘Dharman’ when used by the locals changed to ‘Thamman’, like wise ‘Dikshidar street’ is named after a Dikshidar who was a high official at the palace. Thekkae theruvu, the main road that runs straight from Vettimuricha kotta to Kallampally junction was renamed as ‘Chidambara Krishna Iyer Street’, in memory of Chidambara Krishna lyer who was the mayor of the town. ‘Kottalam’ road was where the ‘kottanmar’ or construction workers lived, there were about ten families there.

However, the peaceful life in agraharams was disturbed in 1939, when ‘Hitler’s war’, the World War II started, many young men from the area migrated to North India for better jobs. Krishna lyer was one among them. He went to Karachi and many other places in search of jobs. This period marked the beginning of a new phase also, more and more youngsters began to explore the world outside and with India gaining independence and will the disposal of the king’s rule, the privileges enjoyed by these families were cut short.

Over the years agraharams have changed, adapting to the needs of the younger generation, they sometimes lost its character. New additions and façade treatments often make them seem out of place, however, they stand as the ghosts of the past, reminding us the glorious heritage of Thiruvananthapuram, the temple town.

Sharat Sunder Rajeev
2009.