The first church founded by St. Thomas near Thiruvalla has some extraordinary wood carvings on its old panels – perhaps the hand-work of the Apostle himself. Here as well, are the remains of Bishop Gregorius of Syria who arrived here around 112 C.E . His rooms exude a rare presence and house some of the oldest Kerala manuscripts etched on coconut palms.

This is perhaps one of the most unique places in southern Kerala of interest to spiritual travelers. The church was established by Father Kuriakose Chavara, a Christian monk, in the late nineteenth century. Set on the crest of a hill in the Western Ghats, it offers a breathtaking view of the surrounding valley with the Meenachil river that flows out to the open seas. Chavara was an exceptional man in every way and founded the order of the ‘Carmelites of Mary Immaculate’ which is perhaps the most popular priestly orders in India with centers all across the subcontinent. The commitment of the CMI order to the cause of education is considered exemplary in every way. This commitment is perhaps directly related to the pioneering vision of Father Chavara who almost single handedly built some of the earliest colleges and schools in southern Kerala. Chavara was the first Indian to be canonized by the Catholic Church in 1986 when the Pope came here to announce his decision.

A lovely church from another era where Alphonsa, popularly known as the ‘Little Passion Flower’, is enshrined. Alphonsa was a nun from the early twentieth century who came from Mannanam and lived out her extraordinary, if brief, life in these parts. Her visions and works are legendary as is her reputation as a healer par excellence. She was also cannonized by the Pope – a remarkable sign of the spiritual vitality of this region of Kerala. Sitting up in the marble chapel, by Alphonsa’s quiet tomb, one can feel the flow of a rare essence and relax fully into it for Alphonsa was known for her ease of heart.There is a museum beside the chapel which offers a glimpse into Alphonsa’s world. There are pictures and artifacts as well as reproductions of the early monasteries of this region.

An architectural marvel, this cathedral draws its influence from Kerala design and wood-craft. The visitor climbs up through panels of air, as it were, and into a cool dark interior where the Blessed Mary is carved in pure stone relief. Her image is remarkable not only for its beauty but also for the display of nature all around. She seems to rise up out of the earth and towards the skies in a harmony of elements. Indian artists who designed the churches of this region were inspired by an ideal of confluence and of union between opposites. Rather than imitate colonial styles, they sought to manifest their own personal visions of the sacred. The visitor at St. Mary’s Cathedral feels the power of these indigenous artists who almost always chose to remain anonymous and unknown.

The Cathedral is adjacent to the famous ‘Bishop’s Palace’ in Changancherry – a royal treat in every way! Visitors are welcome here and can wander through its lovely gardens or partake of a tour. There is a little library of treasured manuscripts and books where one can browse for hours.

There are many other churches in the area surrounding Nalukody – each interesting in its own way and always accessible to visitors. Among these are the following:

St. Thomas Church at Nalukody, St. Georges Church at Edathua (17 kms), Believers’ Church at Thiruvalla (8kms), Church of St. John of the Cross at Chanagancherry (4kms), Mary Matha Church at Perunna (5kms), Orthodox Church at Puthupally (18kms), Manarcad Church of the Nativity of the Blessed Virgin (20kms).

In addition to the many churches, abbeys, and seminaries around Nalukody, there are several ancient Hindu temples here that draw visitors and pilgrims from around the world. Some of these temples are several thousand years old and architectural marvels. Each temple has its own particular deity of worship and is designed in accordance with that. Temple craftsmanship in Kerala is unique in its usage of space and form; the natural elements play a pivotal role as each temple utilizes the surrounding eco-system creatively. Temples here are open to the winds while remaining protected, a central courtyard or ‘Nallakutt’ provides natural air-conditioning and brings the outside ‘inside’, so to speak. The use of natural light and illumination is especially interesting as every inch and corner of the sacred space receives light at all times. Each temple or ‘Kshetram’ is set within the framework of an open space or ‘field’, as it were. One steps in over a threshold to find a pastoral landscape with ancient banyan trees and pools of cool water. The main temple is richly carved in wood and stone with brilliant steeples cast in bronze or gold. Wooden rafters or slanted beams function as walls and set on these are millions of little lamps that are lit by devotees at twilight. The effect is quite magical and otherworldly – a rare treat. Visitors are received graciously and one might be surprised to find the priest himself taking on the duties of a guide!

This is a ‘Bhagavathy’ or Goddess temple where the main deity is richly feminine in form and presides over the cultural arts. She is housed in a cave recess with portals that tell the stories and myths of Her arrival in these parts. There is a little ‘forest’ of trees and ponds in the open courtyard with a brilliant column that rises up hundreds of feet high and is ornately carved with symbols. Evening prayers are celebrated with songs and ‘bhajans’ – music being an important part of worship here. Visitors are welcome to these informal ‘concerts’ as to other aspects of worship.

A Siva temple where the ‘masculine’ aspect of the divine is celebrated in the form of ‘Ayyappa’. The divine is perceived in Hinduism as dynamic and encompassing both the feminine and masculine forms of gender – it is inclusive rather than excluding. Furthermore, each aspect is experienced as capable of autonomy and of wholeness rather than remaining fragmentary in any way. This is because of an achievement of balance which creates an inner state of completeness and ‘androgyny’. In Kerala, Ayyappa Swamy is a masculine deity who was conceived miraculously from a spiritual union between Siva and Vishnu. There is a rich mythic lore surrounding Ayyappa in these parts for he is claimed to have been a prince and to have ruled here. As a young man, he is claimed to have retired to the forests of ‘Sabarimala’ nearby and to have achieved spiritual powers over nature. This temple celebrates his form in every detail. There are murals on the walls that tell of his conquests over animals and birds. A quiet temple, this is a place perfect for contemplation and rest after an Ayurveda massage at the hospital. It is within walking distance and is open from dawn to sunset.

A female ‘Sabarimala’, this is a Goddess temple devoted to the form of ‘Durga’. Here we find a companion deity to Ayyappa Swamy - the One who finds Her own inner balance and harmony. A lovely open field surrounds the main temple with ancient trees and groves. A place of popular pilgrimage, the temple is rich with images and paintings that date back a few thousand years. Of special interest here is the woodwork on the high beams and rafters and walls – delicate roses interweave vines and plants to form a natural ‘trellis’ around the sanctum. The architecture here seems to uphold a richly feminine mystery – each beam and rafter ‘disappears’, as it were, into the larger framework so that there is a seamless flow to the entire structure.

A Vishnu temple, here the Preserver is celebrated as a young boy with a peacock for companion. It is a lovely temple filled with all the colors and panoply of the rainbow. Peacocks festoon the wooden walls and spire and a delicate play of natural light illuminates the central sanctum where Vishnu is enshrined. A giant column, cast in pure bronze, rises up to the skies from a plinth that seems to swell up from the ground. Distinctively Kerala in many ways, this temple is a must for any visitor to these parts.

A magnificent temple dedicated to the ‘Great Lord’ or ‘Mahadeva’ and Siva. The front façade has a giant image of the ‘Dancing Lord’ or ‘Nataraja’ and one enters in to find a structure of classic simplicity and design. Bronze lamps line the viewers’ gaze along a passageway to the deep recess in which the ‘invisible’ is enshrined. Murals fill the temple on all sides telling of the victorious deeds and powers of Siva. Each painting is rich in colors and forms that still survive after eons of time because of the unique use of natural pigments and dyes.

Devoted to Vishnu as ‘Lion Man’, this temple is famous all over India. The artwork and architectural design is different from many of the other temples around here mainly because it is syncretic rather than typical. Layers upon layers of stone and wood rise up to the skies with panels that are studded with images of Vishnu. One could spend hours before each panel contemplating its wealth of symbols.