Crafting the Onavillu is a process steeped in tradition and ritual. The tree from which the wood will be sourced is carefully chosen.
Published Sep 13, 2024 | 11:07 AM ⚊ Updated Sep 13, 2024 | 11:23 AM
Artisans making Pallivillu, which is known as Onavillu. (Supplied)
As Onam, Kerala’s harvest festival, draws near, lovers of the arts can feast on the tradition of the Onavillu, the ritualistic bow offering at the sacred Sree Padmanabhaswamy Temple in Thiruvananthapuram.
Onavillu, also known as Pallivillu, is a ceremonial bow, adorned with exquisite miniature paintings. Each bow is intricately designed, embodying centuries of heritage and craftsmanship passed down across generations.
Legend has it that when King Mahabali was pushed to earth by Vamana, Lord Vishnu appeared before him. Mahabali requested Lord Vishnu to allow him to visit his native land once every year to see Lord Vishnu – that boon was granted, though Lord Vishnu said the King would only be able to view him and his avatars as painted images. To this day, it is believed, those images are painted on the ceremonial bows for King Mahabali to view Lord Vishnu.
On Thiruvonam day, which falls on September 15 this year, these stunning ceremonial bows will once again be laid at the feet of Lord Vishnu. The Onavillu, beyond being an offering, symbolises the divine connection, and fuses art and faith.
The crafting of the Onavillu has been the domain of expertise of one family of artisans – Vilayilveedu – settled in Karamana in Thiruvananthapuram.
Aswathi Thirunal Gouri Lakshmi Bayi’s book Glimpses of Kerala Culture, offers insights into this exclusivity.
“Like the Travancore royal family and certain dignitaries of the temple who are all hereditary, the Onavillu clan also shares the distinction of direct participation in the temple rituals through the annual Onavillu submission,” the erstwhile royal noted in her book.
Aswathi Thirunal Gouri Lakshmi Bayi is the niece of the last Maharaja of Travancore, Sree Chithira Thirunal Balaram Varma.
RBK Achari aka R Binkumar, the current chief architect of Onavillu, says the earliest known reference to the Onavillu is in the records of the Sree Padmanabha Swamy Temple, commonly referred to as the “Mathilakom Records.”
R Binu Kumar. (Supplied)
Binkumar explained to South First, “It appears in a palm-leaf record. It dates back to 1502 AD corresponding to the local year (Kollavarsham) 677. There are records that our ancestor Ananthapadmanabhan Moothachari, who played a major role in the construction of the Sree Padmanabhaswamy Temple, was recognized by the Travancore royal family. In addition to giving a title, the then king also allowed him to sculpt his images, as well as images of members of his family on a pillar of the temple. It’s still there.”
Binkumar mentioned the mythological link to Viswakarma, the divine architect of the heavens and the universe, also represented as the Vamana Avatar.
From the Ananthasayana Villu. (Supplied)
“King Mahabali of Asura lineage was prepared to depart for his new kingdom of Suthala, where he was destined to reign as per Sree Mahavishnu’s divine decree. Before leaving he humbly requested two boons from the Lord, in addition to the annual blessing of visiting his beloved land,” said Binkumar.
His first request was to witness the complete and awe-inspiring Vishwaroopa (universal form) of the Lord. His second wish was to behold all of Mahavishnu’s incarnations — past, present, and future. He wished to see all the avatars with his own eyes.
Moved by Mahabali’s devotion, the myth is that Mahavishnu commanded Viswakarma to fulfill the King’s wishes. Viswakarma was tasked with illustrating the Lord’s Vishwaroopa and the ten incarnations — Dasaavathara — including the five yet to come.
Six Pallivillus or Onavillus that is presented to the temple. (Supplied)
Viswakarma assured the Lord that his successors would faithfully reproduce these divine images over the ages, to be offered in Vishnu temples where the Lord’s presence was most strongly felt, particularly in regions once ruled by King Mahabali.
“It is said that it was on a length of flat wood, Viswakarma depicted Vishnu as Ananthasayee, resting on the eternal serpent, and on another, he painted the ten incarnations of the Supreme Lord. These representations ensured that, during Mahabali’s yearly visit, he could gaze upon these sacred visuals and receive their divine blessings,” Binkumar explained.
It is in keeping with this tradition that the bows are readied and painted by Viswakarma’s successors, and submitted to the temple.
“Other than undertaking this task entrusted to him, each sculptor in this tradition also makes an artistic contribution to the structure. In the case of Sree Padmanabha Swamy Temple, my ancestors’ contribution was Palllivillu or Onavillu. I am now part of the sixth generation upholding this tradition,” Binkumar said.
Boat-shaped planks. (Supplied)
Crafting the Onavillu is a process steeped in tradition and ritual. The tree from which the wood will be sourced is carefully chosen.
“Onavillu are made with wood from kadambu or mahogany trees. These trees are believed to possess special qualities that make them suitable for this sacred purpose. These trees are also included under Devagana/divine classification,” said Binkumar.
Once a suitable tree is identified, it is carefully harvested with respect for the natural environment. “Rituals accompany the felling, including seeking permission from the flowers and creatures inhabiting the tree. After it is felled, the wood must rest for 21 days. Only after that is it cut into planks,” Binkumar said.
With the escalation of demand for the wood, the family now conducts remedial ceremonies and special poojas before getting planks ready for painting.
The planks are cut in a boat-shaped manner and there are specific measurements that are followed in this process.
Binkumar with the model plank. (Supplied)
Binkumar explained that tradition is upheld in the crafting of the bow. “From the time of recorded history, we follow these measurements. We had a model bow, which is 500 years old, for cutting the wood for planks with precision. In another model, the faces of the deities are still there,” Binkumar said.
The family has traditionally handed over 12 Onavillu to the Sree Padmanabha Swamy Temple.
The main one is the Ananthasayana Villu, which depicts the Ananthasayanam of Sree Padmanabha Swami. This bow is of 4.5 feet long and six inches wide.
Then comes, Dasavatharam Villu, featuring the 10 incarnations of Lord Mahavishnu; Sree Rama Villu represents the coronation of Sree Rama and Sree Dharma Sastha Villu are each four feet long and five inches wide.
The smallest among the bows are Vinayakan depicting Ganapathi and Sree Krishna Leela, representing the frolic of Little Krishna. These are 3.5 feet long and 4 inches wide.
Two sets of these six bows are submitted.
Planks readied for Onavillu. (Supplied)
Once the boat shaped planks are cut as per the specified measurements, the first step is to paint yellow colour as a whole and then paint red colour in those places where the intricate and visually stunning designs are supposed to be placed.
Binkumar said his ancestors used white sand, red sand, charcoal, turmeric powder and leaf juices for colours. “We use the primary colours (white, red, black, yellow and green) in the Onavillu. Though leaf juices are not used now, we use natural dyes used in the ancient art form ‘Kalamezhuthu’. We never use chemical paints,” said Binkumar.
During the preparation of the Onavillu, craftsmen observe a 41-day penance; the bows are readied in a sacred space, and always treated with reverence.
Red tassels. (Supplied)
It is noteworthy that this sacred tradition has a special place for residents of the Central Prison and Correctional Home, Poojapura.
Binkumar said that for some time now, inmates of the jail have been readying the red bowstrings and red tassels (kunjalam) for the Onavillu.
“Inmates who are experts in weaving, irrespective of their caste and religion, take part in this. They observe certain codes of conduct for 21 days. The bowstrings and tassels prepared by them are attached to the Onavillu just before the bows are presented to the main deity,” Binkumar said.
On Thiruvonam day, the main day of the celebrations, (falling on Sunday, 15 September this year) the bows are offered to the deity. On the day prior to that, Uthraadam, these bows are worshipped in the family shrine. Then, on the auspicious day, after special prayers and customs, these bows are carefully wrapped and transported to the Sree Padmanabha Swamy Temple.
“The temple usually tells us when the time will be for presenting the bows. It’s usually between 4 am to 6 am. This year, we were asked to present them before 5 am. We enter the temple via the eastern entrance and there we make a presentation before the Ananthapadmanabha Moothaashaari. Then some other rituals are followed and the bows are then placed leaning on the idols. The right to have the first darshan of this is with the Vilayilveedu family,” said Binkumar.
To adapt to changing times and conserve wood, the family that has traditionally crafted the ceremonial bow introduced the one-foot bow called the Ananthachaithanya Villu, modeled after the revered Ananthasayana Villu.
Younger men in the family are being trained to carry on this tradition and receive instruction in the customs followed in the process, so that the legacy is kept alive.
Other than Binkumar, his brothers Sudarshan, Umesh Kumar and Sulabhan are engaged in the making of the Onavillu. The children of the family are also being trained to follow this tradition.
(Edited by Rosamma Thomas)
