The Ancient Martial Art of Kaḷaripayaṭṭu
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| Title | The Ancient Martial Art of Kaḷaripayaṭṭu |
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| Author(s) | Raj Bijalwan |
| Platform | Bharatiya Jnana Sarita |
| Categories | Society & Culture/Laukikaśāstra & Śaikṣaṇika |
| Year | 2026 |
| Type of Article | Repurposed Advanced |
| Difficulty Level | Advanced |
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Kalaripayāṭṭu emerges as Bhārata's rich tradition of martial arts. Interestingly, Kalaripayāṭṭu encompasses an art form, a discipline of science, and… Kalaripayāṭṭu emerges as Bhārata's rich tradition of martial arts. Interestingly, Kalaripayāṭṭu encompasses an art form, a discipline of science, and a legacy that dates back to Bhagavān Viṣṇu's avatāra of Paraśurāma. Kalaripayāṭṭu presents an amalgamation of spiritual, physical, and mental benefits that emphasise the element of kṣatriyatā existing in Bhārata since time immemorial. Despite being banned by the British, this cultural and spiritual heritage of Bhārata has survived and is now being recognised as a prominent domain for Indic revivalism.
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Introduction
Kaḷaripayaṭṭu is an ancient Bhāratīya martial artform that requires physical and mental training along with self-discipline. Its art encompasses body massaging and traditional Āyurveda medicine along with fighting stances or forms. Kaḷaripayaṭṭu emerges as an ancient martial art form from the realm of the rich culture of Bhāratīya civilization. Through the amalgamation of training (physical and mental), self-discipline, body massages, and practices of Āyurveda, Kaḷaripayaṭṭu presents itself as a complete repository of jñāna and itihāsa.
The word kaḷari appears to have come from either the Saṃskṛta word khalūrikā, which means ‘a training ground for the military’, or from the Tamil word kaḷam, meaning ‘an arena’. Additionally, the Malayāḷam word payaṭṭu has its root in the Tamil word payil, meaning ‘to train’, forming the meaning of Kaḷaripayaṭṭu as ‘an arena or military ground used for training’. Acts, weapons, and techniques used in Kaḷaripayaṭṭu find a mention in Agni Purāṇa and Nāṭya Śāstra.
Purpose and Scope
The article relates to the ancient martial artform of Kaḷaripayaṭṭu. The article brings forth a detailed historical background of this martial artform. Several domains of Kaḷaripayaṭṭu find a reference in the purāṇas and śāstras as well. The article examines the styles entailed by Kaḷaripayaṭṭu while also engaging with the role of Nairs in the propagation and practice of this ancient artform. By explaining the elements of Kaḷaripayaṭṭu, the article tends to emphasise of the artform in the Bhāratīya civilisation, particularly in Keralam.
The origin of Kaḷaripayaṭṭu is traditionally associated with the Paraśurāma avatāra of Bhagavān Viṣṇu. Once, Paraśurāma reclaimed land from the sea and, as an act of atonement, granted it to the Brāhmaṇas. As legend states, when Paraśurāma threw his axe from Gokarna to Kanyakumari, the axe landed on the coast of Mangaluru. As the axe sank, land emerged from deep waters. Today, this land recovered from the sea by the might of Paraśurāma’s axe is known as Keralam. Since the emergence of Keralam is connected with Paraśurāma, this land is also known as Paraśurāmakṣetra or Bhārgavakṣetram. After the land emerged, Paraśurāma taught martial arts to 12 disciples for maintaining peace. Palm leaf manuscripts preserved with the families point at the tradition of Kaḷaripayaṭṭu having started from Paraśurāma as the first guru of the tradition.
The initiation of kaḷari training takes place in Gurukula where Gurukkaḷ, the master of kaḷari, conducts a ritual initiation ceremony for those above eight years of age. A Gurukkaḷ provides guidance verbally and practically to the students [1]. Gurukkaḷ is believed to be the representative of devī-devatās. Besides the diversity found in the number of devī-devatās, a kaḷari is protected by the guardian deity like Bhagavatī, Bhadrakālī, or Paradevatā, the blend of Śiva and Śakti.
Styles of Kaḷaripayaṭṭu
The styles involved in Kaḷaripayaṭṭu vary vastly; the northern style and the southern style are different in origin, techniques, etc. The northern style is prominent in the Northern Keralam and traces its origin from Paraśurāma. The southern style, practised in the Southern Keralam trace its origin to Ṛṣi Agastya. The northern style employs swords, shields, and spears while using large body movements. The southern style stresses on flexibility and cultivation of internal energy, breath control, and meditation [2]. The southern style uses vital spot techniques; these 108 vital spots were identified by Ṛṣi Agastya himself in his text ‘Varma Oti Murivu Cara Cuttiram’.
The Nairs
This martial art form of Kaḷaripayaṭṭu was only permitted, especially at the advanced level, to certain sections of the society. From the 11-12th century onward, the Nairs were the principle martial groups associated with Kaḷaripayaṭṭu. Along with them, a few sub-Brāhmaṇa groups and the Tiyyās, a subgroup of the Īḻavas, also participated in training and fought duels.
The Nairs as the indigenous warrior class from Keralam have, through their military accomplishments, brought fame to their society. Training of young boys and girls from the Nair community begins from an early age in order to inculcate a deep sense of honor and discipline towards their culture. In the smaller kingdoms that made medieval Keralam, thousands of Nair warriors were present in each kingdom to defend them. Kaḷari took a central place in the society existing at that time. Duarte Barbosa, a 16th century Portuguese writer praised the Nair community’s dedication and passion towards this artform. He states, “for more or less long periods…the Nair warriors had no other duties but to train for combat.” [3]
Principles of Kaḷaripayaṭṭu
The tradition of Kaḷaripayaṭṭu provides an insight into the moral conduct and valor that was considered essential. The belief that a sword, drawn once, would only return bloodstained carried a sense of honor and glory. Kaḷaripayaṭṭu has maintained sacredness of thought and philosophy in its tradition. It was a belief that once the sword was drawn to fight, it couldn't be returned without being stained by the rival’s blood. As a living testimony of discipline and conduct, kaḷari revolves around ten principles guided by the motto of ‘Nitya Thozhil Abhyāsam’ which means practice leads to perfection.
The ten principles have been cultivated by the masters of Kaḷaripayaṭṭu over time: Accaḍakkam or discipline, Gurutvam or respect for the guru, Kṛtyaniṣṭhā or regularity in one's practice, Śaktiyulla Śarīram Manasu or strength of body and mind, Kṣamā or patience, Vinayam or humility, Mānuṣatvam or humanity, Pāramparya Bahumānam or respect for tradition, Ātmābhimānam or self-esteem, Dhīratā or courage, and Śānti or peace.
These principles establish Kaḷaripayaṭṭu as a spiritual discipline. The dark walls of the kaḷari, the scent of burning myrrh, and the mantra chanting add to the spiritual atmosphere necessary in cultivating the character required for this martial art.
Kaḷaripayaṭṭu relates to philosophical and religious realms closely. Meditation, yoga, and prāṇāyāma are inherent to this tradition. Cultivation of ekāgratā or the ideal state of respiratory and physical state stands at the core of this tradition. Through ekāgratā, the whole body turns into an eye, ‘Meyya Kaṇṇākuka,’ leading to the development of intuition that helps the practitioner to get a sense of his surroundings at all times. It is not just an advanced state about knowing the surrounding, but also about knowing one's true self. And this level is attained after rigorous disciplined practice of yoga, meditation, and prāṇāyāma.
Mudrās and mantras remain closely associated with kaḷari practices. While using mudrās and chanting mantras, the kaḷari practitioners concentrate on a nerve centre and produce mystic effects. This ability is attained after years of sustained practice in meditation.
Āyurveda treatment is another unique aspect of Kaḷaripayaṭṭu. The Gurukkaḷs are trained in Kaḷaricikitsā that has been perfected through practice and passed through generations. Besides specialising in orthopaedic treatments and nervous disorders, the Gurukkaḷ also specialised in the preparation of herbs and medicines. Āyurveda inculcates invocation of devī-devatās and astrological observations along with medications; this practice in Kaḷaripayaṭṭu established it as the discipline with metaphysical, cosmological, and philosophical roots. The body and spirit are treated as one; all medicinal practices, from purification of body to control of breath and the prāṇāyāma or yogāsanas, have been drawn from Āyurveda, Yogasūtras, and Haṭha Yoga texts.
Kaḷaripayaṭṭu presents a unique art of massaging. This unique form in which feet are used for massaging is called Uḻicil. The masseurs hold the ropes hung from the ceiling to control the pressure of their feet on the patient's body lying on the floor. This method is common for active athletes but for women, children, and the old, massages are done by hands. The strength of the massage varies with the needs of the fighter. The one practicing this method needs to follow a strict lifestyle that includes rest, a bland diet, sexual abstinence etc. This method finds its traces in the Āyurveda knowledge of pressure points emerging from Suśruta’s Marma Sūtras.
Kaḷaripayaṭṭu as a Complex System
Kaḷaripayaṭṭu as a complex system includes several domains of operations that work as one institution. This tiered, complex system is interlinked. Zarrilli, in his book ‘When The Body Becomes All Eyes', lists various arenas like the literal arena dealing with the kaḷari itself; the social arena including the governing body, the style of practice, and their associations; the arena of cultural production encompassing representation of the martial arts in media, traditional performances, and in contributing to art; and the arena of expression and self transformation where an individual's experience shapes oneself and creates styles and interpretation [4].
[COLLPASE] Modern Relevance
Kaḷaripayaṭṭu’s decline is specifically associated with the banning of the tradition by the Britishers in 1804. Folklore states that a duel of a kaḷari with the British captain led to an embarrassing defeat. As a result, this tradition was declared illegal. However, despite the suspicions and the subsequent British ban, the tradition survived those dark days by transmitting jñāna and itihāsa through purposeful and hidden means. The tradition remained alive in secret as masters covertly imparted its knowledge through practice. Kaḷaripayaṭṭu remains an integral part of Keralam's culture.
Conclusion
Kaḷaripayaṭṭu holds a distinct place in the Keralam's rich culture. In fact, it adds to the spiritual, educational, and cultural heritage of Bhārata. As the oldest of the marital arts, Kaḷaripayaṭṭu has prominently influenced the martial art traditions of Japan and China. In line with the recognition accorded to Karate, Kung-fu, and Judo, Kaḷaripayaṭṭu deserves to be revived and recognized as the elder brother of all the Asian martial arts.
With its intrinsic benefits related to spiritual, physical, and mental domains, Kaḷaripayaṭṭu must be globally endorsed. Indic revivalism must address the significance of Kaḷaripayaṭṭu as an art and science while making efforts to ensure that this marker of kṣatriyatā is revived to its former glory and is cherished by each generation. As intrinsic to the culture of Keralam, Kaḷaripayaṭṭu is considered to be the oldest of the martial arts. Kaḷaripayaṭṭu is an art, a discipline of science and a martial art form that needs to be revived and efforts endorsed for keeping this tradition alive.
References:
Admin. (2025, March 18). The Evolution of Kalaripayattu: History and significance. Kalarikendramdelhi. https://kalarikendramdelhi.com/origin-and-evolution-of-kalaripayattu/?srsltid=AfmBOorhrecLRJvtxectzQNrcPHMZ3_D_JeI53DJ-YmlhE8ClfL3Dz7z
Kalari, A. (2024, May 14). Types of kalaripayattu. Athma Kalari. https://athmakalari.com/blogs/kalaripayattu/types-of-kalaripayattu?srsltid=AfmBOooOePcasevqP5Ux8ID2Zj5iSQVy4ccddIXpF_GZgMpiBgHjrMra&v=320f6443c56b
Denaud, P. (2009). Kalaripayat: The martial arts tradition of India (J. Cain, Trans.). Destiny Books. (Original work published 1996) https://www.scribd.com/document/798923157/kalaripayat-the-martial-arts-tradition-of-india-illustrated-1594773157-9781594773150-compress
Zarrilli, P. B. (1998). When the body becomes all eyes: paradigms, discourses, and practices of power in Kalarippayattu, a South Indian martial art. India: Oxford University Press.
Original Article Information
- Original Article Link: https://www.brhat.in/dhiti/kalaripayattu
- Original Article Details: Kalaripayaṭṭu must be elevated as a traditional psychophysiological discipline, as a ‘scientific’ system of physical culture, and as an arena of experience and self-transformation: the crucible of the individual’s experience where embodied practice helps shape a self.