Porlathiri

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Polarthiri was a royal house of Nair origin which ruled part of Calicut before Zamorin around 1200s and later Kadathanadu in South India. Ruled by the Polarthiries, Kadathanadu garnered renown, particularly for its association with the martial art form of Kalaripayattu, a discipline known for producing formidable warriors.

Kadathanadu emerged as a paramount center for Kalaripayattu, solidifying its reputation as a hub for this ancient martial art. The legacy of Kadathanadu in the realm of Kalaripayattu found vivid expression in the traditional folk songs known as Vadakkan Pattu. These songs, steeped in the cultural and martial heritage of the region, celebrated the valor and martial traditions of Kadathanadu, weaving a narrative that echoed through the ages.

The Polarthiries, as rulers of Kadathanadu, played a pivotal role in shaping the cultural and martial identity of the land. Their patronage of Kalaripayattu not only elevated the region's status but also left an indelible mark on the broader cultural canvas of South India. The echoes of Kadathanad's martial legacy, captured in the verses of Vadakkan Pattu, continue to resonate, preserving the tales of redoubtable warriors and the grandeur of a bygone era.^[1][2][3][4]

Geographical context[edit]

Kadathanadu was strategically situated, nestled between the Korapuzha in the south and Mahe in the north. The natural boundaries of this historic land were defined by the Kuttiyadi mountains on the eastern side and the vast expanse of the Arabian Sea to the west. This geographical positioning not only endowed Kadathanad with natural defenses but also contributed to its cultural and economic significance in the region.

The territorial expanse known as Kadathanad is currently encompassed within the Vadakara taluk of the Kozhikode district. The capital of Kadathanad was the illustrious Kuttipuram Kovilakam, a seat of power and cultural patronage. Presently, this historical capital forms the Kunnummel block within the Nadapuram panchayat.

Kadathanad's strategic location, flanked by the Korapuzha, Mahe, Kuttidi mountains, and the Arabian Sea, played a crucial role in shaping its history and cultural identity.

History[edit]

The Polathiri Fort, a robust stronghold belonging to the royal family, stood in close proximity to the revered Polur Subramania Temple. The ruler of Kozhikode, known as the Zamorin, faced geographical limitations in extending his influence to this region, as his seat, Nediyiruppu, was situated to the south of the Kakkayi Puzha. Undeterred, the Zamorin launched an ambitious campaign to conquer the Polur Fort, aiming to expand his kingdom. The ensuing battle unfolded over a protracted period of forty-eight years, ultimately resulting in victory for the Zamorin around 1230 -1240.

Despite the defeat, the resilient Polathiris, the royal family of Kadathanad, managed to escape capture. Seeking refuge, they arrived in Muttungal, where Kolatiri, displaying benevolence and generosity, granted them permission to settle. This marked a pivotal moment in the history of Kadathanad, as the erstwhile Kovilamam relocated to Muttungal, assuming the new title of Muttungal Kovilakam.

Following this significant chapter, a bifurcation occurred, leading to the emergence of two distinct branches: the Onchiyam Kovilakam and the Purameri Kovilakam. A union between a prince of the Kadathanad Kovilakam and a lady from the Polathiri family resulted in the birth of a new lineage known as the Kings of Kadathanadu. These successors, known as Vazhunnava, assumed the role of chieftains of Kolathiri, effectively governing the kingdom.

In 1750, a notable transition occurred as they adopted the title "Rajah" in place of the traditional "Vazhunnava." The fame of Kadathanad spread far and wide, with Hamilton, a visitor to Vadagara in 1703, describing it as a land abundant in pepper and inhabited by superb warriors. The kingdom boasted a formidable naval force, and the king held the prestigious title of the Lord of the Sea. Merchant ships paid tribute to the king, and Vadagara emerged as a crucial port in the region.

Naval conflicts and political turmoil[edit]

Portuguese and French Rivalry[edit]

The arrival of the Portuguese in Kerala marked the beginning of frequent naval encounters with Kadathanad. In 1725, the French, led by 'De La Bu,' seized Mahe, sparking a series of battles with Kadathanad. Despite Kadathanad's victory on the Peringattue battlefield in 1740, the tides turned in favor of the French the following year. English intervention from their stronghold in Tellicherry reportedly brokered a peace pact between the warring parties.

Hyder Ali's Invasions[edit]

The year 1766 witnessed an invasion by Hyder Ali. Unable to withstand the onslaught, the Kadathanad army retreated, leading to widespread plunder and a substantial payment to Hyder Ali. Although the king managed to defeat a division of Hyder Ali's army, a subsequent invasion resulted in his dethronement. Hyder Ali installed Ilamura as the new king, returning to Mysore upon promises of significant tribute from the new ruler.

Tipu Sultan's Ascendancy and British Collaboration[edit]

In 1788, Tipu Sultan invaded Kadathanad, prompting the king and his family to seek refuge in Travancore with English collaboration. Tipu assumed control of Kadathanad, appointing Sardar Khan and later Arshad Beghal as Governors. The king returned in 1790, bolstered by British assurances of safety, forming a pact to collectively oppose Tipu. The defeat of Tipu Sultan resulted in the British acquiring control over Malabar. Kadathanad was returned to its legal owners, with an annual payment of Rs. 30,000 accepted by the British, who later received a portion of the income from the king.

Polathiri's Shifting Allegiance[edit]

While initially supporting the British against Tipu during 1791–92, the Polathiri eventually turned against them.

Royal traditions and architecture[edit]

Marriage and naming customs[edit]

The royal house of Kadathanad adhered to distinctive customs in marriage and nomenclature. Princesses were exclusively married to Namboothiris, maintaining a vegetarian lifestyle within the Kovilakam. Male members followed the tradition of assuming names like 'Sankara Varma Rajah', 'Manavarma Rajah', 'Ravi Varma Rajah', 'Udaya Varma Rajah', 'Krishna Varma Rajah', and 'Rama Varma Rajah'. The ladies could assume any of the following six names: 'Lakshmi Thampuratty', 'Madhavi Thampuratty', 'Parvathi Thampuratty', 'Sreedevi Thampuratty', and 'Omana Thampuratty'.

Regal travel and attire[edit]

The mode of travel was a dolly or palanquin, and specially appointed people who bore it were called Pallichinmar. When the senior-most king went out, a group of people carrying swords and shields would walk in front of the palanquin. Behind it would the Harikkaran holding a dandu, i.e., a long rod that looked like a spear and had silver strips. Their official uniform was designed to reach up to their knees. They draped it around their body in such a fashion that it made the impression of a red overcoat. Around the waist, they wore a broad band of cloth. Tamil Brahmins were appointed Harikars. Behind the Harikar would be the king, and behind him, his managers and retinue.

Architecture[edit]

The Kadathanad Kovilakam complex included Kuttipuram, Purameri, Ayencheri, and Exavilath Kovilakams. The sprawling one-acre plot housed the senior King's residence. While the fort and Kotta Bhagavathi temple are no longer present, remnants of the animal sacrifice altar remain.

Ruins[edit]

The big fort on the west and the temple of Kotta Bhagavathi are conspicuous by their absence today. The altar used for animal sacrifice is still there. The palatial building, the enormously large kitchen, and the three-storied bathroom on the bank of the large pond proclaim the erstwhile affluence and aristocracy of this illustrious royal house. They are the mute witnesses that saw the magnificent celebrations, elaborate rites, ceremonies, and the fabulous feasts and festivities of a bygone era.

The large well near the old dining hall and the large pond are still there but in ruins. The partition suit filed in 1964 is still pending in court. It is believed that the Kovilakam lost its glory and prosperity along with the loss of the 'Panchaloha Srichakram,' which was once worshiped with intense devotion.

Royal seats and contributions[edit]

The senior king ruled from Kuttipuram Kovilakam, with immediate juniors at Purameri. The senior-most princess held the official title of Ammarajah (Mother King). The kings of Kadathanad made significant cultural contributions, supporting poets, artists, and intellectuals in their court. Their involvement extended to the national movement, further solidifying their legacy in the cultural and intellectual fabric of the country.

Royal art[edit]

Adorning the bedroom of the Thampuran of Kuttipuram Kovilakan is an impressive mural depicting Ananthasayanam. This iconic representation of Lord Vishnu reclining on the serpent Ananta Shesha serves as a symbol of cosmic harmony. The mural reflects the artistic taste of the era and the spiritual inclination of the royalty, encapsulating a sense of divine tranquility within the living quarters.

The palanquin, a testament to architectural prowess, featured intricate ivory carvings from artists in Tanjore, Tamil Nadu.

Among the many captivating pictures, one stands out — Hanuman seated with sages under a fully grown Kadali Plantain, bearing a massive bunch of fruit. The imagery, intricately detailed, captures a moment of profound significance from Hindu mythology. Such depictions not only showcase artistic prowess but also emphasize the cultural and religious richness embedded in the visual narrative.

Srichakram worship and foreign interactions[edit]

The portrayal of a Brahmin worshipping the Srichakram signifies a connection to spiritual practices woven into the fabric of daily life.

Pictures depicting foreigners standing with bowed heads before local chieftains highlight the diplomatic interactions of the era.

Aayanchery Kovilakam's Kathakali troupe[edit]

Aayanchery Kovilakam's commitment to the arts was evident through its well-equipped Kathakali troupe. Allocated funds for its maintenance ensured a consistently high standard of artistic excellence. The troupe's performances, characterized by their quality, contributed significantly to the cultural landscape of the region.

Two roles performed by the troupe's artists garnered particular acclaim - Hanuman and Narakasuran. Madasseri Sankara Nair's portrayal of Hanuman at Thiruvangad Sri Rama temple, where he authentically climbed the ceremonial mast like a real monkey, remains a captivating topic of discussion among the locals, attesting to the troupe's exceptional talent.

Ramunny Nair was a luminary in the artistic troupe, whose portrayal of characters and adherence to distinctive elements in dress and ceremonies marked a unique identity for the troupe.

Kalamandalam Krishan Nair, the renowned Kathakali maestro, spent his formative years in the vibrant artistic environment of Kadathanad. The influence of this period resonated throughout his career, shaping his artistic sensibilities and contributing to the evolution of Kathakali as an art form.

The artists of Kadathanadu Rajah's court, including Ramunny Nair and Kalamandalam Krishan Nair, introduced distinct elements in their performances. Variances in dress, rites, and traditional ceremonies set them apart, creating a regional Kathakali tradition that stood out from counterparts in other parts of the country.

Hanuman crown[edit]

The Kadathanadu Rajah, known for his artistic inclinations, played a pivotal role in the design of the special crown worn by Hanuman in performances. Inspired by a French commander's hat, which caught his attention during a visit, the king, expressing interest, received the hat as a gift. This encounter sparked creativity, leading to the distinctive round crown for Hanuman, a design that endures in performances to this day.

The king's receptivity to artistic influences from diverse sources, such as the French commander's hat, exemplifies a cultural fusion that characterized the artistic atmosphere at Kadathanadu Rajah's court. This openness to inspiration from varied origins contributed to the unique and enduring elements of the artistic legacy.

Chembai Vaidya Natha Bhagavathar[edit]

Chembai Vaidya Natha Bhagavathar, a maestro in Carnatic music, had a significant connection with Aayanchery Kovilakam during his formative years. His father, a music teacher at the Kovilakam, instilled a deep love for music in young Bhagavathar, creating a lasting bond between the family and the musical prodigy.

Demonstrating his respect for the Kovilakam, Chembai Vaidya Natha Bhagavathar conducted a musical concert as part of the marriage celebrations of A.K. Ravi Varma Rajah (Present Elaya Rajah). Notably, he declined any monetary reward, emphasizing the familial and cultural ties that transcended material considerations.

Scholarly legacy and literary contributions[edit]

Sanskrit heritage as "Ghatolkacha Kshithi"[edit]

In Sanskrit, Kadathanad earned the epithet "Ghatolkacha Kshithi." 'Sankara Rajah,' fondly known as 'Appa Thampuran,' was a remarkable scholar and a gifted individual, leaving an enduring mark on subjects like astrology, astronomy, magic, mathematics, and architecture. His contributions extended to the authoritative astrological book, "Sadratnamala," which became a significant reference. He demonstrated his scientific acumen by calculating the calendar up to the Malayalam year 2000 and the decimal value of 'pi' up to its 10th decimal point.

Astrology[edit]

Sankara Rajah, with his extraordinary astrological abilities, predicted events with startling accuracy. Notably, he foretold the exact date of the demise of Swathi Thirunal, the king of Travancore, a prediction documented in The Biography of Swathi Thirunal. Additionally, he foresaw his own demise, which preceded that of the king. Swathi Thirunal, recognizing his prowess, sanctioned the expenses for Sankara Rajah's cremation and honored him with two 'Veerasrinkhalas.'

Literary luminaries of the royal lineage[edit]

The royal family boasted another literary luminary in the form of the eminent poetess, Lakshmi Thampuratty, born in 1845 at Edavalath Kovilakam. Proficient in Sanskrit and grammar, she authored two books, "Santhanagopalam" and a summary of "Bhagavatham," with only the former being printed. Her poetic contributions graced the pages of 'Vignana Chintamani,' a literary publication edited by the distinguished Punnassery Nambi. Their close friendship emphasized the rich cultural and intellectual environment fostered by the royal family of Kadathanad.As it was the fashion among the poets of the time, she indulged in all kinds of poetical pyrotechnics like single poems, aphorisms, answering a riddle, and filling riders etc. No attempt was made to collect and publish them. She passed away in 1909 at the age of 64..

Udayavarma Rajah of Aayanchery Kovilakam[edit]

Udayavarma Rajah, born in 1867, was an exceptional talent within the Kadathanad royal family. His proficiency extended across various languages, including Malayalam, Sanskrit, and English. Initiating his literary career at the age of 22, Udayavarma penned 40 books over 18 years. Noteworthy among them was "Rasika Bhushanam Bhanam," and Mahakavi Ullor acknowledged nine of his works. Beyond his individual contributions, Udayavarma played a pivotal role in literary initiatives. He established the 'Janaranjini' printing press, published ancient Sanskrit agricultural texts, and founded the Rajah's High School in 1896. Additionally, he organized literary gatherings at Brennan College in 1904 and was a patron of the 'Kavanodayam' magazine.

The literary legacy of the Kadathanad royal family extended beyond Udayavarma. Kadathanatu Ravi Varma Rajah wrote "Anyapaddesa Sathakam," Kunhi Krishna Varma Rajah, known as Vaidyan Thampuran, was a skilled physician and poet. A.K. Sankara Varma, along with his wife Thottakkat Gowri Kettilamma, communicated through Sanskrit poetry, showcasing the family's deep scholarly roots.

A.K. Krishna Varma Rajah, the Valiathampuran of Kadathanad, was not only a competent ruler but also a sincere and loving promoter of family prosperity. His contributions enriched the cultural and intellectual legacy of Kadathanad.

Social change[edit]

E.K. Sankara Varma Rajah, a visionary leader of Kadathanadu, initiated progressive reforms that left an indelible mark on the region's social fabric. He played a pivotal role in opening the doors of the Lokanarkavu Temple to all Hindus, transcending caste divisions. His commitment extended to abolishing the regressive practice of animal sacrifice, ushering in a new era of compassion and inclusivity.Leadership in the National Struggle: E.K. Sankara Varma Rajah, actively participated in the national movements that marked India's journey towards independence. Gandhian Ideals and Social Boycott Stoic Resistance to Social Boycott: E.K. Sankara Varma Rajah, a member of the Madras Legislative Assembly, stood as a proud symbol of resistance against social injustice. His unorthodox act of sitting with "outcasts" and sharing meals led to his social boycott, a testament to his commitment to Gandhian ideals. Even the sacred duty of performing his mother's obsequies was denied to him. Undeterred, he bore these trials with stoic resilience, embodying the principles of Mahatma Gandhi. E.K. Krishna Varma Rajah, another scion of Kadathanadu, exemplified the spirit of nationalism and political fervor. His active involvement in the political struggle resulted in a six-year imprisonment. The sacrifices made by leaders like E.K. Sankara Varma Rajah and E.K. Krishna Varma Rajah underscore the deep-rooted commitment of the Kadathanadu dynasty to the cause of a free and independent India.

In a poignant gesture reflecting the family's dedication to the national cause, Koumadi Teacher, daughter of A.K. Rama Varma Rajah, offered her ornaments to Mahatma Gandhi. This symbolic act epitomizes the intertwining of personal sacrifice and the larger struggle for India's freedom.

Onam celebrations[edit]

Onam, the revered festival of Kerala, unfolded in Kadathanadu with grandeur. The celebration centered around the symbolic presence of the god of Onam, embodying the spirit of the great emperor Mahabali.

During the Onam days, the Oneswaras, a group of bell-ringing figures, adorned themselves in vibrant attire. With umbrellas crafted from tender areca nut leaves, red shirts, plantain stem thread beards, and crowns featuring peacock figures ingrained in Zinc, they paraded from house to house.

Each day of Onam was marked by feasts, a reflection of the prosperity and generosity of the Kadathanadu Rajahs. Tenants expressed their love and respect for the king by offering bunches of plantain fruits. The feast not only symbolized abundance but also served as a communal expression of gratitude and unity.

Post-feast, the palace court transformed into a stage for Oppana, a popular song-dance form among Muslims. The palace court, usually reserved for legal deliberations, became a space for artistic expression during Onam.

With a total of temples under the king's patronage, including the Lokanarkavu Temple, daily rituals unfolded, offering Brahmins sustenance. The commitment to religious practices and the support of Brahminical traditions showcased the intricate interplay of spirituality and governance in Kadathanadu.

Economic impact and land reforms[edit]

Scottish writer William Logan's comprehensive work, the Malabar Manual, provides insights into the extensive land holdings of the Kadathanadu royal house. The lands, spanning twenty-six villages in Perambra and Vadagara, were integral to the economic and cultural landscape of the region.

The onset of a financial crisis, linked to the broader land reforms, had a profound impact on the economic stability of the Kadathanadu royal house. This crisis reverberated across the functioning of temples and other philanthropic endeavors traditionally supported by the royal family.

As Kadathanadu navigated the complexities of economic transition and evolving landownership patterns, the traditional functions of temples and charitable initiatives faced adversity. The landscape of philanthropy and cultural patronage, once buoyed by the economic prosperity of the royal house, underwent significant changes.

While facing economic challenges, the Kadathanadu royal house's enduring legacy continued to influence the socio-economic fabric of the region. The changes wrought by land reforms marked a pivotal moment in the history of Kadathanadu, shaping its trajectory in the realms of culture, economy, and philanthropy.

As Kadathanadu grappled with the economic repercussions of land reforms, the cultural and historical significance of the royal house persisted, illustrating the intricate interplay between economic shifts and the preservation of cultural heritage

Current state and educational Legacy: Kadathanadu Kovilakams[edit]

The present state of the Kovilakams in Kadathanadu reflects the inevitable effects of time and societal transformations. Once vibrant centers of culture and power, these royal households are now in a state of degeneration, mirroring broader shifts in cultural paradigms.

In the midst of this transformation, one institution stands out for its resilience—the school. The foresight and vision of E.K. Krishna Varma Rajah, also known as Radhakrishnan Thampuram, played a pivotal role in shaping the educational landscape of Kadathanadu.

While the Kovilakams undergo a natural process of change and degeneration, the educational legacy established by Radhakrishnan Thampuram exemplifies the resilience of certain institutions in adapting to and navigating the shifts brought about by time and societal evolution.

Bibliography[edit]

• Logan, William (1887). Malabar Manual. India: William Logan, British East India Company. ISBN 81-206-0446-6.
• Menon, P. Shungoonny. "History of Travancore from the Earliest Times."
• Panikkar, K. M. "Malabar and the Portuguese."^[5]
• Wilks, Mark. "Historical Sketches of the South of India."^[6]
• "Kadathanad Kovilakam Charithram" (Unpublished Manuscript).
• "Vadakkan Pattukal" (Folk Songs of North Malabar).
• "Keralacharithram" by K. P. Padmanabha Menon.

References[edit]