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A cursory scrutiny of Isanasivagurudeva-paddhati reveals the versatility and multifaceted genius of Isanasivaguru and the deep impact this work has had and still has on the Tantric firmament of Kerala in particular and other branches of knowledge in general. That the work includes reference to as many as 15 erudite scholars and their volumious works numbering 60 bears ample testimony to the encyclopaedic range and depth of knowledge of the author. The works quoted belong not only to the field of Tantra but to diverse fields as Puranas, Vedanta, Samkhya, Mimamsa, Yoga, Vaisesika, Bouddhadarsana, Saivagama, etc. It is really remarkable to 69

note that the author quotes extensively from treatises on Saivagamas. The author devotes more attention to the ritualistic aspect of Tantra, which is the basic domain of the book. Yet one can discern his contributions in the field of architecture as well. At times we marvel at his mastery over architecture when he gives even minute details of how temples, houses and palaces are to be built. The Nagara, Dravida and Vesara schools of architecture are just few of them. Mention is also made in the text of different kinds of medicines and medicinal herbs. Even sorcery is mentioned. From the construction of ordinary houses for the commoners, barber shops, crematoriums, forts, harbours, market places, residences of people belonging to the castes and sub castes, the author's architectural knowledge progresses to the construction of entertainment halls, large palaces and the like, and finds its fullness in the construction of grandiose kingly palaces and temples with complex and intricate designs. The diversity and versatility of his knowledge encompasses all sections and classes of society as well as each and every aspect of life. This is truly remarkable and wonderfully unique. The author employs a good number of meters not seen elsewhere in standard works of prosody. The range and depth of his knowledge is so great that it is not easy to comprehend how a single human brain could have accumulated such knowledge in a life-time. Although it is not easy to trace the source of his knowledge, it can be 70

concluded that there might have been books and traditions on the multifarious subjects dealt with by him during the course of his intellectual pursuits. The author is not just a compiler. His poetic ingenuity and imaginative power are breath-takingly wonderful. In each one of its stanzas, many kinds and types of Hindu Gods and Goddesses are described with aesthetic sensibility. That he might have been tremendously influenced by great poets like Vyasa, Kalidasa and Bhasa is quite evident. A very clear evidence of this is the invocation of 'Vagisvaram' in the first stanza of the first Patala of Isanasivagurudeva-paddhati. Compare this with the first Sloka of Raghuvamsa beginning with 'Vagarthaviva' where the lord of the word, Siva, is appropriately invoked. In another sense too 'Vagisvaram' assumes significance. 'Vam' is the sound that stands for the Bijamantra of 'Jala' or water. According to the southern school of temple worship and its Vidhis, especially that of Pancopacara aradhana, it is 'Jalabijasabda' that has to be performed first. This may also be taken as the first act in creation and water preceded creation of life.