Ontavantha Pidariyum Oor Pidariyum: The story behind the proverb

There is a popular Tamil saying, “Ontavantha Pidarai, Oor Pidariai Virattiyatham,” which loosely refers to a new force displacing an older one—much like a new entrant driving out an established presence.Pidari is a fearsome folk deity widely worshipped across Tamil Nadu. In many villages, shrines dedicated to Pidari Amman stand as symbols of protection and deeply rooted local belief systems.The proverb, however, has an intriguing historical backstory. Its origins are traced to Udayalur in Thanjavur district, according to noted epigraphist T. N. Subramanian. Known for uncovering the historical roots behind Tamil sayings and place-based legends, Subramanian documented this account as part of his extensive research. His writings have been compiled and published as T. N. Subramanian Katturaikal by the YSSR Foundation.In Udayalur, there are two Pidari temples: one located on the northern side along the banks of the Mudikondan river, and the other on the eastern side near a local tank. The deity on the riverbank is known as Chellama Kaliamman, locally referred to as Chelli or Chellaiyi. She is the family deity of many households in the region, reflected in common names such as Chellappan and Chellammal. The deity near the tank is known as Palkulathu Amman, also called Palkulathi.The annual festival of both temples is held in the Tamil month of Panguni, beginning with the ceremonial tying of the protective amulet (kappu). The celebrations extend over eight days. While the stone idols remain permanently in their respective temples, the bronze processional idols are housed in a nearby Shiva temple and brought to the Pidari shrines during the festival. For about two weeks, the deities are taken out in elaborate processions during both day and night.A key ritual takes place on the third Wednesday of the festival, when the idol of Palkulathu Amman is taken in procession to the shrine of Chellama Kaliamman. It is here, behind the Shiva temple, that the symbolic enactment of “Ontavantha Pidari, Oor Pidariai Virattiya Sambavam” unfolds.As the procession approaches, villagers await the deity with drums and traditional musical instruments. The music abruptly stops upon her arrival. An elderly man, wearing the ritual kappu, steps forward and begins to sing, with the crowd responding in chorus, “Ayya.” After four stanzas, the thappu melam (percussion) resumes:Varutha payarum chempayarum — AyyaVarutha payarum chempayarumVaarikattina mulaipayarum — AyyaThodutha malai thonga thongaThurathivittalam ChellayiSubramanian notes that the villagers never allow the singer to complete the final line. The moment he utters “thurathivittalam” (to chase away), the bearers of the idol suddenly break into a run. They do not follow a straight path; instead, they weave through canals, paddy fields, and open terrain, enacting the dramatic “chase.”After this ritual, both deities are taken back to the village in procession. Palkulathu Amman leads the procession, regarded as the senior deity, while Chellama Kaliamman follows.The tank in front of the Palkulathu Amman temple is known as Sheerapushkarani, locally called Palkulam or Vellaikulam. There is an oral narration about the entry of Chellama Kaliamman into the village. According to it, when a tantric practitioner from Kerala came to Tamil Nadu, he would direct village deities to carry his palanquin. Each deity would carry it up to the boundary of the next village and hand it over to the next deity. Chellama Kaliamman, however, refused to carry the palanquin and is said to have hidden across many villages, as she had a thousand heads.Subramanian observes that, at first glance, the ritual and the story of Chellama Kaliamman suggest that Palkulathu Amman is being driven away by Chellama Kaliamman. “But this is not accurate,” he notes, “since the Palkulathu Amman temple continues to exist and has not disappeared.”However, he points to a curious piece of evidence that may support the deeper meaning of the proverb. Alongside the main idols, there exists a third, tiny deity—barely an inch in height—placed at the feet of Palkulathu Amman. This miniature idol is visible only during abhishekam.Drawing on local oral traditions, Subramanian identifies this figure as Katchi Amman, once believed to be a powerful and fearsome deity. According to legend, Adi Shankaracharya subdued her intensity, buried her in a well, and installed a chakra in her place. “Could she be the Pidari who was driven away?” Subramanian asks. The widespread belief that Adi Shankara tempered the fierce power of Kamakshi lends weight to this interpretation. “It is plausible that he later installed Chellama Kaliamman,” he writes.