Introduction
The temple arts of Kerala represent a unique confluence of aesthetics, ritual, mythology, and spirituality. Among the most visually and symbolically rich traditions is Kalamezhuthu Pattu—a ritualistic floor drawing accompanied by devotional music and performance. This paper offers a structured academic overview of Kalamezhuthu Pattu, examining its historical origins, mythological foundations, ritual practices, caste and community roles, and associated art forms.
Historical and Cultural Context
The origins of Kalamezhuthu Pattu lie in the primal human urge to visualize and worship the divine through symbolic representation. As early societies developed spiritual ideas, they began to manifest divine images using naturally available colored powders. This practice, known as Dhooli Chithra Rachana (powder drawing), has parallels across India: Kolam in Tamil Nadu, Rangoli in Maharashtra, Alpana in Bengal, and Mandana in Rajasthan.
In Kerala, these symbolic renderings evolved into a distinct ritual art called Kalamezhuthu, primarily used for the worship of the goddess Bhadrakali, a fierce yet benevolent deity. The visual representation of the deity is drawn on the ground using five natural colors (panchavarnappodi), followed by accompanying chants, songs (pattu), and ritual dances. Together, these elements constitute Kalamezhuthu Pattu.
Mythological Background: Bhadrakali and Devi Worship
The theological foundation of Kalamezhuthu Pattu is rooted in the Devi Mahatmya and Devi Bhagavatam. According to these texts, Bhadrakali is one of the 32 manifestations of the primordial energy (Shakti). Born from the third eye of Lord Shiva, she was created to annihilate the demon Daruka, who could only be defeated by a woman. This myth underpins the centrality of Bhadrakali in Kerala’s spiritual imagination.
Kerala’s unique devotion to Bhadrakali contrasts with other Indian regions that primarily worship Durga. The numerous Devi temples across the state are testament to this devotional fervor. Kali’s fierce form, embodying tamo guna (destructive energy), paradoxically carries the name “Bhadrakali” — meaning the benevolent one.
Historically, tantric rituals involving human and animal sacrifice were part of Bhadrakali worship. Over time, these evolved into symbolic offerings, devotional music, and ritual art like Kalamezhuthu Pattu.
Structure and Ritual Components of Kalamezhuthu Pattu
Kalamezhuthu Pattu comprises multiple stages:
- Kettivithanam – Preparation of the ritual space.
- Uchchappooja – Noon offering.
- Kalamezhuthu – Drawing the deity using colored powders.
- Vechorukk – Placement of offerings.
- Sandhyakkottu – Evening percussion ritual.
- Ethirelppu – Welcoming the deity.
- Kalam Pooja – Worship of the drawn image.
- Kalam Pattu – Singing invocatory hymns.
- Thiri Uzhichil – Ritual wiping of the Kalam.
- Kalam Maykkal – Erasure of the drawing.
The Kalam itself is an intricate floor drawing, typically featuring Bhadrakali in various iconographic forms, such as 2-handed, 4-handed, 8-handed, 16-handed, 32-handed, or 64-handed aspects. These forms are described through Dhyana Shlokas (meditative verses), which offer iconographic detail and spiritual context.
Dhyana Shlokas in Kalamezhuthu Pattu
These verses serve as invocations to the deity and form an essential part of the ritual:
1. Dhyana Shloka of Randu Kai Bhadrakali:
Prathya grambhoda varna Sasadhara sakaloliasidamstrojwalaasya
Vajrakaram krupanam Chashakamapi Mdhoovrathapoorna dadhana
Mundasruk mandithangeem Phani phanavilasal Ratnajala prdeeptha
Bhadram vo Bhadrakali Vitharathu Sumanasssanga Samsthooyamana
2. Dhyana Shloka of Naalu Kai Bhadrakali:
Kalim mekha samaprabhaam thrinayanam Vethala kanta sthitham
Khatgam soola kapala Daruka sira Dhruthwa karaagreshwa cha
Bhoothapretha pisacha mathru sahitha Mundasra jalam krutha
Vande dushta vasoorikadi sahalam Samharikam Easwarim
3. 8-Handed Bhadrakali Dhyana:
Khalgam sheersliam cha shoolam musalamapi kapaalam cha
Khandaam cha khetam Sarppam dorbhiddanaanaa thribhirapi
vilasal lochanairanyathaasyaani Bhadra rudraakshijaathaa
bahukaratha shiromaalayaa mandithaangi Paayaadva
kaalavarnaa bhayatharavipadaam shanthaye shaaiithadamshtraa
4. 16-Handed Bhadrakali Dhyana:
Naanaabhaa hemavasthraa nararudhiravasaa maamsanirbhinna vakthraa
Shoolani kuntham ra Thaamgam phani musala gadaa thomaram pattasam
Chat Paasham shaktheem cha sheersha Dwaja hala dahanaan
vajra kheto karaagre Vibhraana bheemavesha
vijayathu bhuvane vidruthani bliadrakaali
5. 32-Handed Bhadrakali Dhyana:
Shoolavum kunthavum chakram kaduthila Thomaram pattasam vaalum musalavum
Paasavum velum kalappayum thottiyum Naagavum vajravum chaatta sudarsanam
Paathram shirasagni thaamara veenayum Maanum mani japaniaalayuni grandavum
Villumampum kuzhithaalam kodimaram Shankum karimpum udukkum parichayum
6. 64-Handed Bhadrakali Dhyana (excerpted):
Shoolavum kunthavum chakram kaduthila Thomaram pattasam vaalum musalavum
Paasavum velum kalappayum thottiyum Naagavum vajravum chaatta sudarsanam
… (continues with over sixty symbolic weapons and items held by the goddess)
Role of Castes and Communities
Specific communities have traditionally preserved and performed Kalamezhuthu Pattu:
- Marars – Experts in temple percussion and song.
- Kurups and Panickers – Hereditary artists specializing in Kalam drawing.
- Theeyattu Unnis and Sharmas – Ritual specialists.
These roles are transmitted through oral tradition and apprenticeship. Each community is assigned distinct responsibilities in the ritual structure, from drawing the Kalam to singing hymns and conducting the final erasure.
Variations and Associated Ritual Forms
a) Bhadrakali Kalamezhuthu Pattu
Performed by the Vela caste, this variant involves Kalamkurikkal, devotional songs (Kannaki Thottam), and trance rituals (Velichapad Thullal).
b) Nagakalamezhuthu Pattu
This serpent-worship ritual draws from Indian mythology, particularly stories from the Mahabharata and Puranas. The central deities are Nagaraja, Naga Yakshi, and the Ashta Nagas. Kalams are drawn to invoke serpent blessings and prevent Sarpadosham (serpent curse). The Pulluva community leads these rituals, using instruments like the Pulluvan Veena and Pulluvakkudam.
The songs—Navoorpattu, Nagorpattu, and Sarpasthuthi—are deeply rooted in Kerala’s oral folk traditions.
c) Sarpam Thullal
A young maiden, often from the household hosting the ritual, enters a trance-like state while seated near the Kalam. This enactment represents the deity’s descent and is similar to Komaram Thullal seen in Bhadrakali rituals.
d) Other Kalamezhuthu Pattu Variants
- Pakshi Kalam – To ward off harm from birds like the Pullu.
- Akanalneekku – Performed to remove the negative energy from deaths on inauspicious days.
- Kurunthani Pattu – A Vannan caste ritual involving Gulikan worship.
- Malayan Kettu – A pregnancy-related ritual among Malayans invoking spirits like Pillatheeni and Eridahamohini.
Musical and Poetic Elements
The Dhyana Shlokas recited during the rituals include invocations to various forms of Bhadrakali (2, 4, 8, 16, 32, and 64 arms), describing the weapons, ornaments, and divine attributes she carries. These verses are lyrical and often accompanied by percussive instruments.
A prominent hymn, the Kesadipada Sthuthi, praises the goddess from head to toe, highlighting each divine feature with poetic reverence:
Kesadipada Sthuthi (excerpt):
Karrirul niramotha thirumudi thozhunnen
Kanakkannum thirunetti thilakam kai thozhunnen
Vilasunna mizhiyo nasika kavil thozhunnen
Then chorinjadaram paliodu navu thozhunnen
…
Azhakerum Bhagavathiye divasam kai thozhunnen
This literary aspect of Kalamezhuthu Pattu adds a layer of devotional richness and enhances the ritual’s emotional impact.
Conclusion
Kalamezhuthu Pattu stands as a testament to Kerala’s profound integration of visual art, mythology, music, and ritual into a cohesive spiritual practice. Rooted in ancient traditions and upheld by hereditary communities, it reflects the collective consciousness of Kerala’s temple culture. Despite modern shifts and urbanization, this sacred art continues to thrive, inviting participation and reverence from devotees and cultural scholars alike.
Its study not only illuminates Kerala’s ritual heritage but also offers insight into the universal human need to express the divine through art, sound, and community.
