Pushpagiri - Hampi of Andhra Pradesh

Pushpagiri is a very famous place for both its religious and architectural importance. Pushpagiri is the famous pilgrimage situated on banks of river Penna, Vallur Mandal, Kadapa district of Andhra Pradesh. There are various Shrines on the Hill together called as Pushpagiri temples.

2. Pushpagiri is famous because of several Shrines. Among those some temples are very much old which also have some creative sculptures. This hill has very bottomless banks. Pushpagiri is also known as Sumagiri. About 28 shrines are situated in this area.

3. There is a Pushpagiri Matham also called as Pushpagiri Peetam which is said to have been established by Aadhi Sankaracharya to promote his philosophy of Advaita. This Peetam is said to be the richest and only Advaita math in Andhra Pradesh.

4. Chennakesava Temple: Chennakesava Temple is the largest temple among them is located on hill’s lower slopes. This temple’s entrance area has been decorated by 5 tiered Gopuram. The walls of this pilgrimage have sculptures constructed by limestone. These beautiful sculptures contains the images of the Lord Shiva in the dancing pose with 8 & 4 hands, fight of Arjuna & Lord Shiva, Arjuna taking Pasupatastra from Lord Shiva, dancers, Seshasayana, warriors rows and sight from the Mahabharata & Ramayana and also the other images of the carvings accompanying animals, pillars are adorned by the attractive designs.

5. Trikuteswara Temple: There are three shrines; Kamaleshwara Shrine, Hachaleshwara Shrine and Pallaveshwara Shrine which are founded in 1255 AD. Hence they are called as Trikuteswara. This triple shrine has a common Mukha Mandapa with each temple on the south, west and north. A four pillared Nandi Mandapa, houses an image of Nandi in the Sabha Mandapa.

6.Many other famous temples,which are believed to built during Chola period, like
Bhimeshwara Temple, Vaidyanatha Swami Temple, Santana Malleshwara and Uma Maheshwara Temples, Sakshi Malleshwara Temple.

7.There is a wonderful legend associated with this place

When the Mount Garuda was carrying nectar from Indraloka; a drop fell down and turned into a sacred pool. The eminence of the pool came to be known when a distressed farmer jumped into it to commit suicide and found himself turned as a young man. He then made his wife and oxen to dip into the pool and they too regained their youth. When the news of the pool reached Satya Loka, worried Lord Brahma sought the help of Lord Vishnu and Lord Shiva. Lord Hanuman was ordered to fill the pool with a mountain. Lord Hanuma dropped a mountain into it. Astonishingly, the mountain started floating instead of sinking. Then Lord Vishnu and Lord Shiva clamped their feet at its side and the imprints of their foot can still be seen. The foot print of Siva became famous as ‘Rudrapada’ and that of Vishnu as ‘Vishnupada’.

8.On stylistic grounds this temple belongs to Late Chalukya or early Yadava period  i.e 12 - 13th century A.D.Temple is highly revered by Kakatiyas,Cholas,Vijayanagaras.

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.