Tribute to Great Woman from Ancient India

Tribute to Great Woman from Ancient India

Prabhavati Gupta

1.Prabhavati gupta was the chief queen of Vakataka King Rudrasena II (356-378 CE). She was daughter of Gupta King Chandragupta II born of the union with a Naga princess Mahādevī Kuberanaga. Prabhavati gupta has recorded herself born in a Naga family of Dharana Gotra in her Poona and Riddhapur copper plate inscriptions.

2.Due to sudden and premature death of Rudrasena II,at the very young age of 25,with two sons,Prabhavathi Gupta has taken the responsibility of administration as regent for the minor king Divakara sena.

3.She carried on administration very effectively for a period of about 20 years.It is during her regency,Gupta conquest of Gujarat and Kathiawar was accomplished.We may well presume that queen afforded all possible assistance to her father.There is,however no direct evidence to support this statement.

4.Prabhavathi Gupta is destined to face one more tragedy,her elder son,minor king(Divakara sena) died soon after her 13th year of regency.Damodara sena her younger son was made minor king and queen has to continue her regency for another 5 - years.

5.Eventually the regency terminated in 410 AD,When Damodara sena took up the administration,assuming the coronation name of Pravara sena II.Prabhavathi Gupta lived for a long time after her regency,there are many evidences of making grants along with her son Pravara sena II.

6.Maybe we don't have much information about her,But she stands as great example for "Stature of woman in ancient Indian society"

Hemavathi - A very ancient and historic village from Andhra Pradesh

Hemavathi - A very ancient and historic village from Andhra Pradesh

1.Hemavathi is very ancient and historic village that is found in the southern states of Andhra Pradesh. It is located at the distance of 10 kilometer from Amarapuram and about 25 kilometer from Madakasira. This region was quite popular in between the eight and the tenth century AD that lies under the rule of Nolamba Pallavas. The ancient temple that is found here has a deity of Lord Shiva in the appearance of Lord Doddeswara.

2.Nolamba dynasty was a minor Southern Indian dynasty. They were Generals of Pallavas and stated they are related to Pallava families.Thier Capital was Chitrdurga,Later they shifted thier capital to Hajneri (present day Hemavathy)

3.This town was named as ‘Henjeri’dring the region of Pallava Rule. However, it was later named as Hemavathi in the British period. The Hemavathi has the most magnificent temple with the beautifully carved structure and huge architecture. The amazing carvings that are present here denoted the sincere work that had been done by the workmanship while carving the sculptures. They are made up of the hard and natural rocks. These are very transparent and develop the pleasant sound after it has been tapped.

4.It is said that a Chola ruler named Rajendra Chola was very much attracted by the massive pillars here in the temple of Hemavathi. The intricate carvings influenced him so much and he had removed as many as 44 of them and adorned the temple at Thiruvedi with them. This fact is evident from the inscriptions. Captivating carvings can be found on the low roof made out of a large stone. A huge idol of 'Nandi' can be seen in this temple. This idol is of 8 ft in length and 4 ft in height. Various beautifully carved human figures can be seen on the temple walls. The scenes from the two great epics 'The Ramayana' and 'The Mahabharata' can be seen on the pillars of the temple. The Shiva Linga here is 6ft in height.

5.The Hemavathi has the glory and was later increased due to the Kakatiya rulers. This ruler, Ganpathi Deva had constructed here a Warangal Fort. This is amongst the best illustration of artistic construction. The temple consist of two walls, the exterior wall is constructed by mud whereas the wall constructed inside is made up of huge stones. Hemavathi is most popular as the temples of ‘thousand pillars’. Each pillar is ornamented with intricate carving and they are the best example of the ancient carving and excellent architecture. The Bradrakali temple situated here represents the beautiful view located atop hill which reflects the constructed that used to be made up Chalukya architecture.

6.The Ramappa temple, the other temple of Hemavatiwas actually built up by a great architecture as the carving here are simple amazing and breathe taking. A Jain temple which is around 2000 years old is found here. The State Department of Museums and Archaeology had decided to collect and preserve these historic treasures. They have specially planned for the museum where they can place the artifacts and sculptures in chronological orders. The visitors coming here are allowed to enter inside the museum and can have a look through the items present inside it.

The Gandaberunda and Sharabha - Most fiercest mythical creatures from the past

The Gandaberunda and Sharabha - Most fiercest mythical creatures from the past

1. The Gandaberunda (also known as the Berunda) is a two-headed mythological birdoutside of main Hindu mythology thought to possess magical strength. It is capable of dealing with ultimate forces of destruction,and it is seen as an intricately sculptured motif in a Hindu temple.

2. Sharabha is a creature in Hindu mythology that is part lion and part bird. According to Sanskrit literature, Sharabha is an eight-legged beast, mightier than a lion and elephant and which can kill the lion. Sharabha, can clear a valley in one jump. In later literature, Sharabha is described as an eight-legged deer.

3.As per Vedic scriptures , After Narasimha had slain demon Hiranyakashipu, through the taste of blood, Narasimha did not let go of his dreadful form. Shiva assumed the Avatar (incarnation) of Sharabha to pacify Narasimha - the fierce man-lion avatar of Vishnu worshipped by Vaishnava sect. This form is popularly known as Sarabeshwara ("Lord Sarabha") or Sharabeshwaramurti. Another tale narrates that Vishnu assumed the form of the ferocious Gandaberunda bird-animal to combat Sharabha.Eventually combat stopped realising the true self of each other,there are plenty of alternate endings both from shaivites and vaishnavites.In Buddhism, Sharabha appears in Jataka Tales as a previous birth of the Buddha.

4. The Government of Karnataka, the University of Mysore and the Karnataka Soaps and Detergents Limited (KSDL-an industrial unit owned by the Government of Karnataka) have adopted Sharabha, with modifications and also appropriate justifications, as their emblem or logo.In Karnataka Soaps and Detergents Limited logo, Sharabha is depicted in the form of a body of a lion with the head of an elephant to represent the virtues of wisdom, courage and strength.[34] The Royal Emblem of Mysore has also been adopted by the University of Mysore as their logo too. This logo displays Gandabherunda flanked on either side by the lion-elephant Sharabha - stronger than the lion and the elephant and defender of uprightness, surmounted by a lion.

The Five Great Epics of Tamil Literature

The Five Great Epics of Tamil Literature :

1.The Five Great Epics of Tamil Literature are large narrative Tamil epics according to later Tamil literary tradition, namely Cilappatikāram, Manimekalai, Cīvaka Cintāmaṇi, Valayapathi and Kuṇṭalakēci.The first mention of the "Aimperumkappiyam" (lit. Five large epics) occurs in Mayilainathar's commentary of Nannūl. However, Mayilainathar does not mention the names of the five epics. The names of the epics are first mentioned in the late 18th century - early 19th century work Thiruthanikaiula. Earlier works like the 17th century poem Tamil vidu thoothu mention the great epics as Panchkavyams.Among these, the last two, namely Valayapathi and Kuṇṭalakēci are not extant.

2.These five epics were written over a period of 1st century CE to 10th century CE and act as the historical evidence of social, religious, cultural and academic life of people during the era they ere created. Cīvaka Cintāmaṇi introduced long verses called virutha pa in Tamil literature.,while Cilappatikāram used akaval meter (monologue), a style adopted from Sangam literature.

3.The epic trio of Cilappatikāram, Manimēkalai and Cīvaka Cintāmani gives a full account of Tamil concept of womanhood by powerfully and poignantly delineating the character of a chaste wife Kannagi, a brave and dutiful daughter Manimekalai and an affectionate mother in Vijayai, mother of Jivakan in the three epics respectively

4.Plot of epics in brief :

Cilappatikāram (“The Tale of an Anklet”) depicts the life of Kannagi, a chaste woman who lead a peaceful life with Kovalan in Puhar (Poompuhar), the then-capital of the Chola dynasty. Her life later went astray by the association of Kovalan with an unchaste woman Madhavi. The duo started resurrecting their life in Madurai, the capital of Pandyas. Kovalan went on to sell the anklet of Kannagi to start a business, but was held guilty and beheaded of stealing it from the queen. Kannagi went on to prove the innocence of her husband and believed to have burnt the entire city of Madurai by her chastity.

Manimekalai is a 5th-century Buddhist epic created by Sithalai Sathanar during the 5th century. It is believed to be a followup of Cilappatikāram with the primary character, Maṇimēkalai being the daughter of Kovalan and Madhavi. It contains thirty cantos describing the circumstances in which Maṇimēkalai renounced the world and took the vows of Theravada sect of Buddhism, which is followed in Burma and Sri Lanka.Apart from the story of Maṇimēkalai and her Buddhist inclination, the epic deals with a great deal with Buddha's life, work and philosophy.

Cīvaka Cintāmaṇi, an epic of the 10th century CE was written by Thiruthakka Thevar, a Jain monk. It narrates the romantic exploits of Jeevaka and throws light on arts of music and dance of the era. It is reputed to have been the model for Kamba Ramayanam.The epic is based on Sanskrit original and contains the exposition of Jain doctrines and beliefs. It is a mudi-porul-thodar-nilai-seyyul, a treatise of the fourfold object of life and aim of literary work of virtue, wealth, pleasure and bliss.It is in 13 books or illambagams and contains 3147 stanzas. It is noted for its chaste diction and sublime poetry rich in religious sentiments and replete with information of arts and customs of social life. There are many commentaries on the book, the best on the work is believed to be by Naccinarkiniyar.

Kuṇṭalakēci is now lost, but quotations from it and found from references used by authors who had access to the classic.The poem demonstrated the advantage of Buddhism over Shrauta and Jainism. The Jain in reply wrote Nilakesi which has opposing views to the ideologies in Kuṇṭalakēci. Kuṇṭalakēci was a Jain nun who moved around India, expounding Jainism and challenged anyone who had alternate views. Sāriputta, a disciple of Gautama Buddha, took up the challenge one day and defeated Kuṇṭalakēci in debates. She renounced Jainism and became a Buddhist.The author is believed to be Nagaguttanar.The record of culture and Buddhist views during the era were lost with the book.

Vaḷaiyāpati is another lost work, although it is unclear whether it is a Buddhist or Jain.Some scholars believe it is a Buddhist work and base their claims on the quotations of Vaḷaiyāpati found in other literary works. The author of Vaḷaiyāpati quotes from Tirukkuṟaḷ and it is possible that he took inspiration from it.

6. Cilappatikāram and Maṇimēkalai are accepted to be composed after the Sangam period (300 BCE to 200 CE). Maṇimēkalai has been accepted as a sequel of Cilappatikāram and both these works are placed before the 5th century CE. It is generally accepted that these works might have been composed between 200 BCE to 500 CE. There is a controversy to the age of the author of Cīvaka Cintāmaṇi, Tirutakkatevar. There is one version that he lived before Kamban (9th century CE) as the viruttam metre, language and imagery was commonly used by Kamban. The other view is later than Kamban.

7.Apart from the story and literature, these texts are a vast treasure of information of music and dance, both classical and folk,administration and grandeur of Tamil kings.

BURRA KATHALU - A forgotten art form from Telugu land

BURRA KATHALU - A forgotten art form from Telugu land

1. Burrakatha is a Telugu art and it’s known by different names in various regions. It is called jangam katha in the coastal areas of Andhra Pradesh and tamboorakatha or saradakatha in Telengana. It is called tandana katha or suddulu in Rayalaseema.

2.The word 'burra' means 'tambura', which is a stringed instrument that looks like a veena, while 'katha' is the actual story that the artist narrates. Burra is shaped like a skull and made out of baked clay, dried pumpkin, or copper. This art of story-telling began in the form of songs of tribal people. Burra Katha is a 20th century name for the theatre show Jangam Katha, jangams being wandering minstrels who worshipped Lord Shiva.

3.Two performers participated in these plays: the main protagonist and his consort. In time, the performance has moved away from traditional and has become more secular, with three performers as of now; gender being no restriction. With societal and cultural changes, the secular aspect was incorporated into this form.

4.Burrakatha has been a past time and recreation tool for villagers since a long time now. It is also performed during various festivals like the Dussehra or Sankranti, where stories from the great epics Ramayan and Mahabharat are narrated. As part of Burrakatha, some of the best traditional stories related to kings, including Kambojaraju Katha, Chinnamma Katha, Muggurumoratila Katha, are also rendered and gather a lot of keen audience.

5.Notably, the art form was also used during the Indian Independence Movement to generate a lot of awakening and spread relevant messages amid the people. It was once even banned by the British government due to its inflammatory nature.

6. Origin of Burrakatha
According to Jangam folklore (kulapuraanam), one day the forefathers of the Jangam tribe made a trip to the forest to hunt for rats. In their pursuit of digging, God Parameswara (Lord Shiva) and his wife goddess Parvati saw them. The latter felt bad for their low living standards. She requested the lord to provide them with a better life. When the lord argued that they did not deserve a better life, goddess Parvati insisted. The Lord suggested that he would decide their fate post a test. He became an old man and goddess Parvati, a young and beautiful woman. When they accosted the tribesmen in the forest and suggested a better way of living, the latter made fun of the lord and disrespectful to the young woman. In anger, Goddess Parvati cursed them to a life of begging and nomadic living. Since then, these people are known as jangam (nomadic) tribes.

7. The main performer (‘KATHAKUDU’) plays the ‘tambura’ as he dances rhythmically moving forwards and backwards on the stage while reciting a story. He also weras a metal ring and carries a ring in his palm to add to the tempo while he sings. The co-performers play two-headed earthen drums(‘DAKKI’)to accentuate the songs. All the three performers will be wearing anklets with tiny bells called ‘ANDELU’ or ‘GAJJELU’ which add to the music when they dance and perform. One of the drummer is referred to as the ‘RAJKIYA’ and he comments on contemporary political and social issues even if the main story concerns historical or mythological events. The other drummer is known as ‘HASYAM’ and he cracks jokes and provides comic relief and constantly keeps the audience well entertained and keeps up their interest in the performance. The performers regularly address each other and the co-performers often interrupt the main performer to ask doubts and they add emphasis to the main events in the story with short words and phrases.

8.Generally, the performance would begin with a prayer song. Then the main performer introduces the story by establishing the place, time and historical context of the action. The co-performers repeat the refrain of the narrative. The story begins with the statement, “VINARA BHARATA VEERA KUMARA, VEERA GADHA VINARA” which means,HEAR, THE YOUNG BRAVE SON OF BHARAT(INDIA), HEAR THE STORY OF THE BRAVE and the co-performers affirm the proceedings with the words ” TANDHANA TANE TANDHANA NA “. After these introductions, the main plot begins in which all three performers take an active role assuming various characters in the incidents, as well as providing narrative bridges between incidents.

9.The saddest part ,this wonderful art,which entertained people for a very long time finds no place in this modern world,internet and movies has taken over. That's why the burrakathas are not being seen and no one is there to develop this and improve the art. So these burrakatha tellers left their traditional art and moved on to other works.

Legend of Tulukku Nachiar or Bibi Nanchari - Muslim consort of Hindu God

Legend of Tulukku Nachiar or Bibi Nanchari - Muslim consort of Hindu God

1.At the Ranganathaswamy temple in Srirangam, a small sannidhi stands in the corridor bordering the sanctum sanctorum.it houses the sannidhi of Thulukka Nachiyar. She was the Muslim princess who became the divine consort of Lord Ranganatha. In Srirangam temple, the presiding deity, Ranganatha, a form of Vishnu, receives a daily offering of rotis, sweet with a heady scent of ghee – made with wheat (in contrast to the orthodox rice meal) and even wears colored lungis (not the white cloth worn by Hindus) to please a Muslim princess. This shows how beloved the Thulukka Nachiyar or Bibi Nachiyar is to Ranga A small painting of the princess hangs in the temple complex.

2.At Tirumala,Bibi nancharamma,Muslim devotee, has given status of Lord's wife,even Bronze statue is present inside the temple of Tirumala.

3.Legend of Tulukku Nachiar:

When Malik Kafur invaded South India,(during 1310-1311), news reached the temple authorities in Srirangam that Kafur was planning to plunder the temple. Srirangam was captured and the riches were looted.
The invaders did not want to accept the rituals of Hinduism. They took off the statue of Alagiyamanavalar Perumal and plundered the treasures, jewels and ornaments which belonged to Srirangam temple. The statue of Alagiyamanavalar Perumal was sent to Delhi.Most of the plundered and looted golden idols were melted and added to the treasury of the Sultan.
The princess of Delhi, the daughter of Sultan, was much attracted by the beauty of Azhagiya Manavalan that she begged her father, the Sultan, not to melt Him and give it to her for playing with as a toy. He gifted the golden idol of Azhagiya Manavalan, to her, to play with. She became quite attached to it!. She was so much magnetized by the beauty of Azhagiya Manavalan, that she became inseparable from Him and fell in love with Perumal. She never left Perumal even a moment. The Sultan didn't expect this.

When Ramanujar, the Vaishnavite saint, went to retrieve the idol and the princess wouldn't part with it. The Sultan however, happily, surrendered the statue of Alagiyamanavalar Perumal back to Guru Ramanujar. The Daughter of Sultan could not bear this. Ultimately she followed it back to Srirangam. At Srirangam the princess became Ranaganatha's consort. She is worshipped as Thulukka Nachiyar. Now there is a separate temple for Her near Ranganathar temple next to Arjuna Mantapam,near the sanctum sanctorum.Every year Kalyana uthsavam with Arangan is celebrated in a grand manner, when Butter Rotis and Sugar, cooked Mughalai style are first offered to the Naachiyaar and then only offered to Rangan.

4.Legend of Bibi Nancharamma:

The legend has it that Lord Balaji married a Muslim woman Bibi Nancharamma, who was the daughter of a Muslim general, in 1311 AD, after he was immensely pleased by her devotion. Her idol has a pride of place in Tirumala temple precincts," the priest said. It is not unusual in Tirumala to allow backward castes and Dalits to certain rituals. In fact, every morning rituals such as opening the door, offering food to God (modati darsanam, naivedyam) are performed by them. In addition, even classical poets like Annamayya or any other Vaishnava respect Bibi Nancharamma, a Muslim woman as the consort of the deity.
Some people believe that though she was not his actual wife, she was a great devotee to the lord and reached him through her worship. (Similar to Meerabai and Sri Krishna).Every year many Muslims from the Rayalaseema region offer respects to her and visit Lord Venkateshwara's temple after visiting the Dargah in Kadapa.

5.There are no proper historical evidence or proper records are present for these incidents.But Both these ladies get same respect and devotion as Lord himself.There are many arguments like both these ladies are same,both are different...But Irrespective of it being just a myth or truth, the essence is known.

Legendary King Vikramadithya

Legendary King Vikramadithya

1.I am not sure wether we can call him legendary or not(according to me if we don't have required facts that doesn't mean it's legendary)

2.I know everyone are well aware of vikram-betal stories and many would be aware of throne of vikramadithya and stories regarding it.

3.Today i just want to know your opinion on this topic(wether legendary or real) after i put my points.

4,As per sources it is told that Vikramadithya ruled Ujjain during 1st century BC.Qualities and greatness of vikramadithya was highly praised two of the greatest sanskrit works(Pratisarga Parvan of Bhavisya Purana,katha-sarit sagara)

5.As we all know, there's an Era named after him, Vikramarka Era or vikramarka saka(56BC-78AD) and it's not a legend it's a historical fact.

6.If we go through story of Vikramadithya, we find vikramadithya's elder brother is Brathruhari, and younger brother is Bhatti.Where Brathruhari is famous for his influencial works in sanskrit and Bhatti for his intelligence.

7.Let's think for a while King Vikramadithya is legendary,then what about Brathruhari and his works, ok, for a while we consider there's same name but two different people, in that case do we have solid timeline(birth and death) about poet Brathruhari? frankly we know nothing, we just made assumptions based on chinese piligrim's record.So why can't we accept Brathruhari is single person and he is elder brother of King Vikramadithya? hmmmm....

8.I am not sure wether i can connect these two points are not, "Bhatti Kavya" written by Bhatti a very famous sanskrit literary work,here is the same story,We don't know correct timeline about poet Bhatti( as per my little research).So.... Hope u got my point.Along with all these unanswered questions i can't accept King Vikramadithya as legendary king.What about you??

KUCHIPUDI - CLASSICAL DANCE FORM FROM INDIA

KUCHIPUDI - CLASSICAL DANCE FORM FROM INDIA

1.Kuchipudi is the classical dance form from the South-East Indian state of Andhra Pradesh. It derives its name from the village of Kuchelapuram, a small village about 65 kms from Vijaywada. It is known for its graceful movements and its strong narrative / dramatic character.

2.The performance usually begins with some stage rites, after which each of the characters comes on to the stage and introduces herself with a dharavu (a small composition of both song and dance) to introduce the identity, set the mood, of the character in the drama. The drama then begins. The dance is accompanied by song which is typically Carnatic music. The singer is accompanied by mridangam (a classical South Indian percussion instrument), violin, flute and the tambura (a drone instrument with strings which are plucked). Ornaments worn by the artists are generally made of a lightweight wood called Boorugu.

3.Carrying a fine combination of Natya, Nritta and Nritya, Kuchipudi was never a solo affair and required a number of performers. Kuchipudi was performed in the open air by performers who were given a vigorous training in abhinaya, music, dancing and singing. In its early form, the female roles were played by boys and young men of beautiful looks. The director (called Sutradhar) played the most important role.

4.Kuchipudi has many features that are common to other classical dances of India. Kuchipudi carries the sensuousness and fluidity of Odissi with the geometric line of today's Bharata Natyam. As in all other classical dance forms of India, the Kuchipudi dance is both interpretive and lyrical, making use of abstract dance sequences as well. Kuchipudi dance retains its devotional character with stress on dramatic outlook. It is because of these qualities and features Kuchipudi dance enjoys great popularity and is recognized as one of the leading classical dance styles of India.

5.Kuchipudi is as ancient as Natya sastra (1st century BC)in which mention is made of a dance drama form besides solo. An invocatory verse also indicates that four forms of dance were prevalent then, of which ‘Dakshintya’ or South Indian form is apparently the earliest version of Kuchipudi. There is also historical evidence that the art flourished during the reign of the Satavahanas (2nd century BC). Over the centuries as the performances were dedicated to the worship of Vishnu, the form came to be known as Bhagavata Mela Natakam. It was during Siddhendra Yogi’s time (14th – 15th century) that it came to be known as Kuchipudi, named after the village established by Siddhendra Yogi where his follower, the Brahmin performers settled down.

6.Two parallel schools of dance have existed since time immemorial, viz. Nattuva Mela and Natya Mela. The former evolved into Bharat Natyam and the latter into Kuchipudi. There is difference in the presentation itself. The main difference lies in the abhinaya. The graceful, lasya oriented Kuchipudi gives importance to Vakyartha abhinaya go together. Bharatanatyam on the other hand is Mudra oriented and gives importance to Padartha abhinaya, each word interpreted through mudras.

7.It is said that Siddhendra Yogi had a dream in which Lord Krishna asked him to compose a dancedrama based on the sequence of the bringing of paarijaata flower for Sathyabhaama, the most beloved queen of Krishna. In compliance with this command Siddhendra Yogi composed the Bhaamaakalaapam which is till now considered the piece-deresistance of the Kuchipudi repertoire. Siddhendra Yogi initiated young Brahmin boys of Kuchipudi village to practice and perform his compositions particularly Bhaamaakalaapam. The presentation of Bhaamaakalaapam was a stupendous success.

Madan Kamdev Temples - Khajuraho of Assam

Madan Kamdev Temples - Khajuraho of Assam

1. Madan Kamdev is an archaeological site in Baihata Chariali, Kamrup, Assam. This place dates back to the 9th and 10th century AD. Excavation and ruins here shows the prosperity and might of Pala dynasty of Kamarupa(earlier name of Assam)

2. Madan Kamdev, the mini Khajuraho, is a scenic place for tourists and a true heaven for archeologists. Discovered as early as 70s, situated in a green eden on the Dewangiri hill of Kamrup district, Madan Kamdev is a mavel speaking the glory of Assam's medieval era.It requires a beautiful drive of just 40 from Guwahati, over the Saraighat bridge on the mighty Brahmaputra, to the hillock of Dewangiri and Madan Kamdev. A place not known to the modern world till just four decades back. It was only 1977 when a excavation project by Indian Archeological Department revealed a hidden medieval world of rich culture under this hill. This new discovery is known as Madan Kamdev and is a thrill to the tourists.

3. Spreaded over a length of half a kilometer, a vast area, ruin of 13 temples including the main temple, Madan Kamdev, speaks the glorious years of a lost kingdom. The art in the sculptures in the temples portray expressions of erotic acts which can be or else seen only in the famous Khajuraho temples of Madhya Pradesh. Such beautiful sculptures fill the walls of the temple which is an architectural marvel. Apart from such Khajuraho like art, the temples also contains beautiful statues of six-headed Bhairav, four-headed Shiva, six-headed Vishnu, Kalpavriksha, various Apsaras, etc.

4.Madan kamdev is not only an archeological wonder, it's also an eden inside the green forests of Dewangiri hill. The scenic beauty and chirping birds around the ruins of temples make it heavenly. The rive Madankuri flows below the hill and also a vast swampy land extends to the Gopeswar hill on the west.

5. In 1977, the Archaeological Directorate of Assam took over the responsibility for this area. They started the excavations of the statues under the supervision of Dr. Pradeep Sharma. In addition to the main temple, his team found ruins of 12 more temples. Analysis of the temples and the idols engraved on the walls, led them to conclude these were constructed during from the 10th through 12th centuries. According to Dr. Sharma, Kamarupa kings of Pala dynasty, namely Ratna Pala, Indra Pala and Go pala ordered it's constructions.

6.As per legend, here are accounts of the Madan-Kamdev. It says that Lord Shiva burnt the God of Love Kamdev to ashes for disrupting his tapas(meditation). Kamdev later is reborn in this place.

7.Near Madan Kamdev, an old temple of lord Shiva, known here as Gopeshwar, is located in the village of Deuduar. Nearby is a large cave known as Parvati Guha (Parvati Cave), after his consort. Madan-Kamdev is incomparable in its arts and beauty, its the true wonder of Brahmaputra Valley. There is still scope of excavation in the area and the hope for more discoveries still lies in Madan-Kamdev.

FALL OF KAKATIYA DYNASTY

FALL OF KAKATIYA DYNASTY - STORY OF A WARRIOR KING WHO REFUSED TO GIVE UP HIS SELF RESPECT TILL HIS VERY LAST BREATH

1. The Kakatiya dynasty(1175 - 1324) was a South Indian dynasty whose capital was Orugallu, now known as Warangal. The Kakatiya reign is said to be the brightest period of the Telugu land with the Kakatiya rulers extending the empire beyond Warangal all th way upto Raichur, Karnataka. The stalwarts of the Kakatiyan Dynasty united all the Telugu kings under one administration and are the most brilliant monarchs ever to rule the Andhra region right up there with the Satavahanas.

2. Prataparudra(the last emperor of Kakatiya dynasty), the son of Rudramadevi's(great warrior queen) daughter Mummadamba, ascended the throne following his grandmother's death.During his reign,Kakatiya dynasty reached its zenith. The Kakatiyas were thus able to emerge victorious over their neighbors in the 1290s, and assert themselves as one of the major powers of peninsular India. However, the Kakatiyas would seen encounter a new enemy unlike anything they had faced previously.

3.In 1295, a Turkish army under Alauddin Khalji crossed the Vindhya mountains in a daring expedition, and seized the Yadava capital of Devagiri. This marked the first time in history that a Muslim army was able to penetrate deep into the Deccan, and it was a sign of more things to come. The Kakatiya kingdom attracted the attention of Alauddin because of it's richness and prosperity.

4. The first Turkish invasion of the Kakatiya kingdom took place in 1303. The Turkish army was commanded by Malik Fekhruddin Juna and Jhaju of Kara. The Turks chose to attack the Kakatiyas via Kalinga, advancing southwest from Bengal. However, quite unlike what happened in Maharashtra in 1295, the Turks were met and defeated by a Kakatiya army at the Battle of Upparapalli. The Kakatiya army during this engagement was commanded by the Velama generals Recherla Venna and Potuganti Maili. The Telugu chronicle Velugotivarivamsavali credits the two generals with "destroying the pride of the Turks." This Kakatiya victory is also corroborated by Ziauddin Barani, who describes the return of the defeated Turkish army to Delhi.

5. The next recorded Turkish invasion took place in 1309, when Alauddin Khalji sent a large army commanded by Malik Kafur and Khwaja Haji to Telangana. This new Turkish army attacked the Kakatiyas via Maharashtra, using Devagiri as a base of operations, and utilized Maratha soldiers provided by the Yadava king Ramachandra. The Turks reached Warangal on 19 January 1310, and promptly laid siege to the outer fort. After 25 days, Prataparudra sued for peace, sensing that he lacked the means to successfully defend the fort. He handed over his wealth to the Turks and agreed to send additional tribute in the future.

6. Meanwhile, the political disturbance caused by the Turkish invasion resulted in a fresh wave of revolts against the Kakatiyas in southern Andhra. It seems that Prataparudra, during the course of these wars in the south, practically ignored the Delhi Sultanat and his promise to send regular tribute.

7. In 1318, the new Sultan of Delhi, Qutbuddin Mubarak Shah, marched to Maharashtra to crush the rebellion of Harapaladeva, who was a vassal of the Turks. After securing Devagiri, the Sultan sent an army under Khusrau Khan to Warangal with a force that bristled with technology previously unknown in the area, including trebuchet-like machines. Prataparudra had to submit once more, with his obeisance on this occasion being arranged by the sultanate to include a very public display whereby he bowed towards Delhi from the ramparts of Orugallu. The amount of his annual tribute was changed, becoming 100 elephants and 1200 horses.

8. The next appearance of the Turks in Telangana was in 1323. Sultan Ghiyasuddin Tughlaq sent an army to Telangana under his son Ulugh Khan, the future Mohammed b. Tughlaq. According to Ferishta, writing in the 17th century, the reason for this invasion was once again Prataparudra's refusal to pay tribute. Ulugh Khan besieged Warangal for six long months, but he was unable to capture the city. The Turkish forces withdrew in defeat, with the Kakatiyas pursuing them until they had left Telangana.

9. Following their failed attempt to capture Warangal, the Turks withdrew into Maharashtra and took refuge at Devagiri. Sultan Ghiyasuddin, determined to defeat the Kakatiyas, immediately dispatched fresh troops into the Deccan. Wasting no time, Ulugh Khan( later called as Muhammad bin Tuglaq) set out for Warangal,all once again as soon as he received the reinforcements. Ten days later, Ulugh Khan was once again at the gates of Warangal.

10.The speed with which the Turks returned took the Kakatiyas completely by surprise. King Prataparudra, assuming that the Turks would not return in the near future, had committed a fatal strategic blunder; in celebration of the Kakatiya victory, he had opened the fort's food stores to the public, sold all the grain in the granaries, and dismissed his assembled troops. Thus, when the Turks returned later that year, the fortress at Warangal lacked adequate provisions and an adequate garrison. Nonetheless, the Kakatiyas still managed to hold out for an astounding five months before hunger and lack of basic supplies began wearing them down. Recognizing the futility of the situation, Prataparudra surrendered himself to Ulugh Khan, and the Turks occupied Warangal and looted. Probably at this time the world famous KOHINOOR was took away. Prataparudra was sent north to the Sultan's court in Delhi, but he committed suicideon the banks of the Narmada river. The Kakatiya dynasty thus came to an end.

Curious case of precious diamond - Black Orlov Diamond

Curious case of precious diamond - Black Orlov Diamond

1.The Black Orlov is a black diamond, also known as the Eye of Brahma Diamond. It weighs 67.50 carats (13.500 g).The diamond—originally 195 carats (39.0 g)—is said to have been discovered in the early 19th century in India. It supposedly featured as one of the eyes in a statue of the Hindu god Brahma in Pondicherry.The Black Orlov Diamond is the 7th largest black diamond and perhaps the largest cushion-cut black diamond in the world

2.This magnificent piece of gem was originally the eye of a Hindu idol, most probably Shiva and not Brahma as many articles on black Orlov have mentioned. Many reports mention that the temple is located near Pondicherry (once a French territory), southern India and the details of temple are sketchy. The Hindu God Shiva, the cosmic dancer is believed to have three eyes, one being the sun representing light and the other being the moon representing dark, located on opposite sides of the head. The third eye is located deep in the center of the forehead and perceives knowledge/wisdom that is not physically discernible. This black diamond probably represents the moon or dark eye of the idol.

3.According to legend,It was stolen by a monk, this theft caused the diamond to be cursed.In 1932, diamond dealer J. W. Paris is said to have taken the diamond to the United States and soon after committed suicide by jumping from a skyscraper in New York City.Later owners included two Russian princesses called Leonila Galitsine-Bariatinsky and Nadia Vygin-Orlov (after whom the diamond is named).Both women allegedly jumped to their deaths in the 1940s.

4. Both women allegedly jumped to their deaths in the 1940s. The diamond was later bought by Charles F. Winson and cut into three pieces in an attempt to break the curse; the 67.5-carat Black Orlov was set into a brooch of 108 diamonds, suspended from a necklace of 124 diamonds.The diamond was purchased by diamond dealer Dennis Petimezas in 2004; Petimezas said he was "pretty confident that the curse is broken".The Black Orlov has been displayed at the American Museum of Natural History in New York City and the Natural History Museum in London.

5.Many mysteries are shrouded around this precious diamond.But the universally accepted and undeniable fact is Ancient India is home for many precious diamonds in the world.How and when this Diamond moved out of our country is still a mystery

UDIPI AND UDIPI'S BALA KRISHNA

UDIPI AND UDIPI'S BALA KRISHNA

THERE'S MUCH MORE IN UDIPI OTHER THAN UDIPI CUISINE

1. Udupi (alternatively spelled as Udipi), also known as Odipu in Tulu, is a city in the Indian state of Karnataka. It is the administrative headquarters of Udupi District. Udupi is notable for the Krishna Temple and lends its name to the popular Udupi cuisine. It is also known as Lord Parasurama Kshetra, and is famous for Kanakana Kindi.

2.The term Udupi (also Udipi) is synonymous with vegetarian food now found all over world.The origin of this cuisine is linked to Krishna Matha (Mutt). Lord Krishna is offered food of different varieties every day, and there are certain restrictions on ingredients during Chaturmasa (a four-month period during the monsoon season). These restrictions coupled with the requirement of variety led to innovation, especially in dishes incorporating seasonal and locally available materials. This cuisine was developed by Shivalli Madhwa Brahmins who cooked food for Lord Krishna, and at Krishna Matha in Udupi, the food is provided free of cost. Restaurants specialized in Udupi cuisine can be seen widely in most metropolitan and large cities around the length and breadth of India.

3.Main attraction of Udipi is Bala Krishna of Udipi

The town is famous as a place of pilgrimage because of the temple Sri Krishna Matha. This temple was founded by Srila Madhvacharya (A.D. 1238-1317), one of the greatest saints, philosophers, and religious reformers of India. Udupi is said to have attained the status of Vaikuntha, the kingdom of God, because the Supreme Personality of Godhead came and stayed there in response to the desire of His pure devotee Srila Madhvacharya.

AMAZING STORY OF KRISHNA CAME TO UDIPI

Dvaraka, one of the main places of Krishna, a Deity lay concealed within a large mass of gopi-candana clay (the yellowish clay Vaishnavas use daily in marking their freshly bathed bodies as temples of Lord Vishnu). No one knew the Deity was there, but because the lump of clay was exceedingly heavy, some sailors loaded it onto their merchant ship as ballast. On the ship’s southward journey, just off the coast of Udupi, a tempest blew the ship aground on a sandbank.

On that very day, Srila Madhvacharya absorbed in composing Dvadasha-stotra, his famous twelve-part poem praising Lord Krishna, had gone to the beach to bathe or, as some say, to receive the Lord. Upon seeing the ship caught fast on the sandbank and hearing the cries of the sailors in distress, Srila Madhvacharya waved his cloth in their direction. This calmed the stormy seas, and the ship floated free. Madhva then guided the vessel to safety. Eager to show his appreciation, the captain offered Madhva whatever he wanted from the ship’s cargo. Madhva chose the heavy lump of gopi- candana clay.

Disciple attendants of Madhvacharya had just started back to Udupi with the large lump of clay when, but a short distance from the beach, the lump broke in two, revealing the handsome Deity of Lord Bala Krishna. But now the combined effort of thirty of Madhva’s disciples could not budge the Deity. Only when Madhvacharya himself embraced and lifted the Deity as if He were a child did the Deity consent to be moved. In great transcendental ecstasy Madhva carried the Lord the four miles back to Udupi. On the way he completed the remaining seven parts of Dvadasha-stotra, reciting the verses out loud. Back in Udupi, Madhva bathed the Lord in the lake known as Madhva-sarovara and enshrined Him in the Sri Krishna Matha. Srila Madhvacharya instituted rigorous standards for worshipping Sri Krishna, and whenever he was in Udupi he would personally perform the thirteen daily worship ceremonies for the Lord.

4.Another interesting story of the temple relates to Kanakadasa, in the 16th century. Kanakadasa was an ardent devotee of the Lord, but he was denied entry into the temple owing to his caste. Kanakadasa did not mind. For him, the thought of his beloved deity was far higher than the idol. He was content with a glimpse of the deity through a window at the back of the sanctum, even though all he could see was the back of the Lord. As Kanakadasa sang His praises, the Lord couldn't resist taking a look at his devotee, and turned. Thus He stands till today, with his back to the door, facing a window. And that is how we see him, through the window, which is called, appropriately enough, the Kanakanakindi – after the devotee whom the Lord himself wanted to see!

5.Udipi is a very famous shaivite shrine and home for many ancient temples like Anatheswar temple,chandramouleswar temple,Anegudde vinayaka etc.,

6.Seeing the enthusiastic devotion of the residents of Udupi engladdens the heart of any devotee. Even a hardened nondevotional heart would be touched. Udupi is one of the few places left in India where devotional, spiritual traditions, for which India is famous, are still practiced intact. Such a pure devotional atmosphere is the principal symptom of the spiritual world. Thus a fitting epithet for Udupi is “the Kingdom of God on Earth.”

Hanuman Tok ,Sikkim

Hanuman Tok - Temple of Bhajarang Bali and Mother nature

1.Hanuman Tok is a highly revered and holy temple dedicated to Lord Hanuman in Sikkim. Tok means a temple, so it's a temple of Lord Hanuman. But it's actually far more than that and known for its wonderful serene ambience and a viewing area that offers spectacular view of Kanchenjunga range. The point in the whole of Gangtok area offers the best views of Kanchenjunga, It's Hanuman Tok. It's located at an altitude of 7,200 ft and on a road that branches off from the Gantok-Nathula Highway. It's located at a distance of 11kms from Gangtok town.

2. As per local tales that Lord Hanuman took rest for a moment at this place when he was on his way to Lanka from the Himalayas. He was carrying sanjeevani herbs to cure Lakshman. The temple is popularly known as wish fulfilling temple. As the legend says, locals used to worship a stone here for centuries. In 1950s a political officer named Appaji Pant had a divine dream at this place and after that the idol of Lord Hanuman had been erected here. Since then the temple is locally known as the Hanuma Tok.

3.The temple is located within boundaries of defence land. Since 1968 when the land was formally handed over the army the temple is maintained, developed and preserved by units of the 17 mountain division.Nearby and just before the entrance to the stairway is the cremation ground of erstwhile Namgyal Royal family of Sikkiim. You can see several stupas and chortens there.

Virat Nagar - The Ancient Land of many Wonders

Virat Nagar - The Ancient Land of many Wonders

1.Virat Nagar is a budding tourist destination, located at a distance of 53 km from the 'Pink City' of Jaipur in Rajasthan. This place is also popularly known as ‘Bairat’ and is located in the vicinity of popular tourist destinations like Sariska, Siliserh, Ajabgarh-Bhangarh and Alwar.

2.The name ‘Virat Nagar’ can be traced back to the age of the great epic the Mahabharata. According to mythology, this place was founded by the King, Virat, in whose kingdom, the Pandavas spent their banishment period of one year ('Agyatwas').

3.Viratnagar was the capital of the ancient Mahajanapada (kingdom) of Machcha or Matsya. The kingdom came under the control of the neighboring Chedi Kingdom in the 5th century and was later part of the Mauryan Empire. The ruins of the Bijak-ki-pahadi, a Buddhist Chaitya (chapel) from the 3rd century BCE located in Bairat, are the oldest free-standing Buddhist structures in India.The town is also home to ruins of a Buddhist monastery,a wood and timber shrine, and rock-cut edict from Emperor Ashoka; these date from the Mauryan period.

4.The town has a number of Mughal structures, including a Chhatri (cenotaph) with some of the earliest surviving murals in Rajasthan, and a lodge where the Mughal emperor Akbar hunted and stayed overnight on his yearly pilgrimage to Ajmer.The town's Viratnagar Museum houses artifacts from Bairat's long history, including sculptures, coins, pottery, seals and metal objects.

5.Strange Stone formations

Bairat has some very strange and naturally formed rocks and boulders which resemble animals or human skulls. More research may be needed to determine if there is no human intervention in creating the same.