The ‘abhanga’ posture of this bronze ‘panchaloha’ sculptural image truly encapsulates the divine thought that Andal, as one of the most prominent Alvar (and the only female Alvar), is engaged in. Andal was part of the twelve Vaishnavite Alvars active during the seventh and ninth centuries – when an unconditional surrender to the devotion of the lord defined the fervour of Bhakti. Andal’s legend is exceedingly popular, and her becoming ‘immersed’ with Ranganatha is still celebrated with devout respect.
Andal’s life had innocent beginnings, foreshadowing her humility and reverence to her lord. Adopted by Vishnuchitha, Godai, as she was called initially, grew up in an atmosphere of loving devotion as she saw her father make the garlands that adorned the divine idol of Ranganatha. One day, however, Vishnuchitha discovered that Godai had begun to wear the garlands herself, and thus sullying the purity that was meant for the lord. Ranganatha, however, is said to have intervened in a manner befitting his benevolent grace. When Vishnuchitha serenaded the idol, the garland could not be held, and kept coming off. It was only when Godai garlanded the idol with the same flowers she had worn before that Ranganatha revealed his pleasure – a pleasure that was ultimately fated in the marriage of the two (as seen here in this Tanjore painting.
Thus, as we note in this figure, the garland stands out as an important element of the iconography of the saint. In fact, even today, for the event of Tirupati Brahmotsavam, the garlands of tulasi, sevanthi, and sampangi flowers are exchanged between the idols of Andal and Ranganatha. While Andal’s right hand hangs pendent, the left hand holds onto a parrot, that is said to bring divine luck. Her hair is styled in a distinct manner that was prevalent in Tamil Nadu. Andal’s devotion persists with much fanfare even today – for example, the verses from her famous work Thiruppavai are still sung during the month of margazhi.
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