The sacred mirrors of Kerala

In Kerala, mirrors are more than just reflective surfaces, serving as an integral part of the ritual and ceremonial practices of Hinduism in the region.

In shrines and temples across the region, mirrors are worshipped as a manifestation of the mother goddess Bhagavati or Bhadrakali — a wrathful form of Kali portrayed in the local legend Darika Vadham, which chronicles how the demon Darika, granted omnipotence and immortality by Brahma, goes on a killing spree and is slayed by Bhadrakali, created from Shiva’s third eye.

In her mirror form, the deity is known as Kannadi Bimbam (mirror-idol). The Kannadi Bimbam serves to contain the strength of Bhadrakali’s fury and dilute her terrifying form, which is otherwise considered too powerful to directly gaze upon. The icon has an almost humanoid form, with a leg-like handle and disc-shaped head placed on a pedestal and surrounded by a prabhavali (halo), with a kirtimukha (a terrifying guardian deity) on top. During the nine-day festival of Pooram, the Kannadi Bimbam is taken out of the temple in a processional ceremony and given a ritual bath called the pooram kuli. Cast by the Musaris, the traditional metal craftspeople of the region, the mirror acts as a channel for the divine, symbolising the presence of the goddess in everything, including the worshippers themselves.

Mirrors also hold ceremonial value and are linked to performance traditions such as Theyyam and martial arts such as Kalaripayattu. Kalari practitioners set up a mirror, along with a sword and shield, in the corner of the arena and offer prayers to it before a fight. As part of a Theyyam performance, the dancers dress up as gods, wearing elaborate costumes and jewellery. Once their external form is transformed, they gaze into a mirror, known as the nookodi, which is believed to help them invoke their internal transformation into the deity.

The val kannadi or aranmula kannadi is a hand-held mirror that is one of the ashtamangalas (eight auspicious objects) used in Hindu rituals in Kerala. The mirror is crafted in Aranmula, a temple town, by Musari artisans using a secret bronze alloy. The vishukkani — the ritual viewing of the ashtamangalas, which include the mirror — is a central part of the spring festival of Vishu and is believed to bring good luck and prosperity. The val kannadi is also an integral part of a bride’s trousseau, gifted by her mother as an auspicious gift on her wedding day. Traditionally, these mirrors were part of every major ritual for a Hindu woman, including her naming ceremony, choroonu (the rice-feeding ceremony, symbolising a child’s first morsel of solid food), ear-piercing ceremony, wedding and pregnancy.

Mirrors also serve as a medium for self-reflection, holding deep spiritual meaning that evokes the Upanishadic aphorism tat tvam asi (“thou art that”) — a signifier for oneness between the self and the universe. Understanding how materials (like mirrors) are used in religious and cultural practices helps us trace their iconographic significance and their place in the art history of that region.

Discover Indian Art is a monthly column that delves into fascinating stories on art from across the sub-continent, curated by the editors of the MAP Academy. Find them on Instagram as @map_academy