SRI PATTABIRAMAN TEMPLE

The lifeline of Tamil Nadu, the Cauvery, is renowned for the many temples which adorn its banks. One such temple is Pattabiraman Temple on the southern banks of the Cauvery, near Tiruvaiyaru, called Pudhu Agraharam.

Nestled in the verdant fields sorrounded by thick vegetation, this temple was built by Mohanambal, queen of a Marathi king who ruled Thanjavur.

It is belevied that to the north of Ayyarappan Temple in Thiruvaiyaru there was a separate shrine for Lord Pattabiraman and His consort. The queen, enchanted by the icon of the Lord at Thiruvaiyaru, consecrated it in the newly built temple at Pudhu Agraharam.

At present, there is a separate temple dedicated to Lord Anjaneya opposite Dharmasamvardhini in Bhavaswami Agraharam. It confirms that Lord Rama with his consort was housed in the northern side of the temple earlier.

Lord Rama is called Pattabiraman in this temple. The divine congregation consists of Rama and Sita who is flanked by Shatrughna on the left, who fans them with a chamaram, and to her right is Lakshmana, posing with folded hands with Dhanush (bow and arrow), and Bharatha with umbrella.

Since this is the coronation scene (Pattabisheka Kolam) Lord Rama is called Pattabiraman. It is rather unique to see Anjenaya sitting obediently, playing the Rama nama gana on the veena. All the idols are moolavar murthis. The procession deities (utsava murthis) resemble the coronation scene but Anjaneya is found kneeling with a Ramayana book in one hand and tulasi beads in the other.

One of the trinities of Carnatic music, Muthuswami Dikshitar, accepted the request of his contemporary Saint Tyagaraja to visit this temple on the auspicious Rama Navami day. Dikshitar, after visiting Tiruvaiyaru, came along with Tyagaraja and paid obeisance to Rama. His musical outburst ‘Mamava Pattabirama’ in Manirangu raga is an offshoot of his deep involvement with the Lord.

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GINGEE FORT

To know about the Fort from Pre-historic time clear evidence were not available. With some of the collected details, historians framed the history of Gingee Fort.

Living Place of Jains :- B.C. to 6 A.D.

In comparison with evidences available from other sources like the evidence of rock-cut inscription of Jain monk Chandranandhi, from the figures of twenty four Jaina Thirthankaras in Sinukadambur, from the figures of Jains ascetics in Thirunathar hill and from the evidences of rock-cut beds of Jains in the upper part of Krishnagiri hill and foot print on the hill top, Chakkildurgam (or) Sangilidurgam, historians strongly believe that Jains lived in Gingee from 200 B.C. in 500 A.D.

Gingee Under the Pallavas :- (600 A.D. to 900 A.D.)

During the reign of the Pallavas a cave temple was excavated in the natural hill in Singapuram. They built a temple in Panamalai which is to the south of Gingee. In Mandagapattu, which is 17 kms, away from Gingee, a cave temple was excavated in a rock. A rock inscription portrays Pallava Mahendravarman (580 A.D. to 630 A.D.) as Vichitrachitha. We can conclude from these evidences that Gingee was once under the rule of Pallava kings and also the cave temples and rock inscriptions at Singavaram and Melacheri situated near Gingee tell about the Pallava regime in Gingee.

Gingee under the rule of Cholas :- (900 A.D. - 1103 A.D.)

From the rock-cut inscriptions in Aanangur, East of Gingee, it is known that after the decline of the Pallava kings, Gingee was under the contrl of Adita Chola (871 A.D. - 907 A.D.) Then during the reign of Adita Cola II and his broter Rajaraja Cola I (985 A.D- 1014 A.D.) it was called "Singapuranadu". From these evidences we come to know that Gingee was under the rule of the Cholas.

Gingee under the rule of Later Pandya, Pallava and Hoysalas :- (1014 A.D. - 1190 A.D.)

From the Book ""Karnataka Rajakkal Savistara Charitham" British Historian Mecans says that after the rule of the Cholas, Gingee came under the supermacy of Pandya, Pallava and Hoysalas.

Gingee under Konar Heritage : -(1190 A.D. - 1330 A.D.)

Gingee was under the sway of chieftains, Anandha Koan, Krishna Koan and Pullia Koan even though there was no epigraphical evidences from Koan rule but it is specified in some books. By foreign sources we come to know that Anandha Koan built "Anandha Giri" and afterwards it became "Raja Giri" His son Krishna Koan built "Krishna Giri"

Gingee under the rule of Vijayanagar Kings :- (1400 A.D.)

From the survey of books that were present during Vijayanagar period, we come to know that Gingee was under the authority of Kopnnarayer during the 14th Century A.D.

Historians hold the opinion that Kopannarayr, one of the Generals of Vijayanagar empire helped Kampannarayan, with a large army. In return, Kampannarayan handed Gingee over to Kopannarayer.

Gingee under the Nayakka rulers : - (From the end of 14th century A.D. for 150 years)

During the peak of Krishna Deva Raya's power (1509 A.D. - 1529 A.D.) he ordered, Krisnappa Nayyaka to rule a region with Gingee as its capital. He and his successors ruled for about 150 years having capital at Gingee.

The Nayyaka rulers, build tall and strong fort walls with granite, tall towers with sculptural workmanship granite temples on the plains and brick shrines on the peak. This architecture is similar to that architecture in "Hampi"

Under the rule of Muhammaadans:-(1649 A.D. - 1677 A.D.)

There was no unity among the Nayakas of Gingee, Tanjore and Madurai. There where frequent skirmishes among them.

Taking advantage of this situation, the Bijapur Sultans, who belong to the Muhammadans dynasty, invaded Gingee at the beginning of the 16th Century A.D. and captured it. After this the army general of "Golgonda" , "Mirjeeva" defeated Krishnappa Nayyaka and handed Gingee over the king of Bijapur.

Gingee under the Marathas:- (1677 A.D. - 1697 A.D.)

After the fall of the Muhammadans rule at the end of the 17th century, Chattrapathi Shivaji, a scion in the annuls of History wrested Gingee from the Muhammadans. Then he asked his brother " Sambaji" to rule Gingee in 1690 A.D. afterwards it was handed over to Rajaram in 1697 A.D.

Gingee, under the rule of the Mughals:- (1700 A.D-1750 A.D.)

The Mughal General Zulfigar Khan (1697 A.D. - 1698 A.D.) captured Gingee fort after a tough fight against the Marathas.

Zulfigar Khan, then handed over the rule to Swaroop singh who was the army head at Bundalakand in 1700 A.D. on conditions that he had to collect tax under the supervision of Sad-ad-ullah khan of Carnatic.

After the death of Swaroop, his son Desingh Raja came to the throne. He hated to be a slave to the Mugal rulers and refused to pay the tax to the Nawab. So a war took place between Sad-ad-ullah khan and Desingh Raja. At the end of the war, Desingh Raja by killing himself made a supreme sacrifice to avoid being a prisioner in the hands of Mogul rulers. Historians say that though Desingh Raja ruled for short period, he deeply engraved his marks in the history of Gingee. His wife also throwing herself into fire committed suicide to safeguard her chastity which is considered as highly holy.

After the death of Desingh Raja, Sad-ad-Ullah khan conquered Gingee in 1714 A.D. and ruled till 1750 A.D. for about 36 years.

Gingee under the rule of the Foreigners :- (1750 A.D.)

French people who came to India, for the purpose of trade and commerce, attacked Gingee under the command of "Puli" and his troops, captured Gingee and kept Gingee under their control for about ten years. During this period French People annexed Vandavasi in 1760 A.D. and Pondicherry in 1761 A.D. Then the Britishers under the command of General "Coot" attacked the French Army on April, 1761 A.D. by winning the war, they brought Gingee under the control of the British Captain 'Stephen Smith'.

After this time. the General of Mysore, Hyder Ali became the king in 1761 A.D. A.D. As Hyder Ali did not like the British rule in India, he waged war against the British many times. So the Britishers made peace treaty with Hyder Ali. After few years, when Warren Hastings became the Governor General of India, Hyder Ali blamed Britishers for going against the treaty and waged war in 1780, by moving his troops via Polur and Vandavasi to caputure Gingee. But he was defeated by the Britsh army.

After 1780 A.D., the southern parts gradually fell into the hands of the British without any opposition. Due to the political changes in Carnatic area, the Britishers made Chennai fort for the transport facilities and the French made Pondicherry as their capital and started to rule Indian territory.

In the beginning, Gingee was the place of the Jains but later due to rule of Pallava, Chola kings, Pandya, Hoysalas, Vijayanagara kings. Muhammadans, Mughals and the indifferent attitude of foreigners, the Gingee fort, which was surrounded by the granite walls, the mandapas, the temples inside the fort, was gradually destroyed. The Britishers did not take any steps to renovate the fort. Today Gingee fort is placed as a memorial in the pages of history and also for the sake of its admirers.

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The origin of the three dynastic names, Pandiya, Chola and Chera

All the western philologists, including Dr. Caldwell, had an indelible wrong notion in their minds, that the Tamilians were immigrants from the Mediterranean region and that they were indebted to the Aryans for all the higher arts of life. This strong prejudice effectively stood in their way of understanding the true meaning and origin of all the important words connected with the civilization and culture of the ancient Tamilians.


It is true that Arjuna, one of the five Pandava brothers, married a daughter of the contemporary Pandiyan king in the course of his many wanderings. But this alliance does not warrant the derivation of the name Pandiyan from Pƒ-du, the name of the father of the Pandavas, as all the three Tamilian dynasties with their typical names had existed for a very long time before the Maha Bharata war, in which all the three Tamil kings took part in some way or other. The Pandiyan and Chola kings fought in the side of the Pandavas as their allies, while the Chera king, Peruj† Š Šu Udiyan Ch„ralƒdan took up a neutral position, and fed both the belligerent armies sumptuously throughout the period of the war. In recognition of this unparalleled hospitality, the Chera king was honoured with the epithet Peruj† Š Šu, of the gargantuan feed, and highly praised in a poem (PuŠam 2) by Murajiy‡r Mudinƒgarƒyar. That part of the eulogium relating to the feed is translated by K.G. Sesha Aiyar as follows:


"Majestic monarch! when the ten times ten Kauravas, crowned with golden tumbai wreaths Wrathful in battle ‘gainst the heroes five Lords of the fiery steeds with tossing mane Their patrimony lusting after fought Thou didst unstinted savoury food supply To either host, till all the Kurus fell."


The Chera king's free supply of food to the rival hosts at Kuruk™tra is celebrated in Silappadikaram (29:24) also, in unequivocal terms.


The name Pƒ-diyan is derived from pƒ-di ‘a bull’. As the wild or uncastrated male bovine animal was taken by the ancient Tamilians as an ideal of valour and obstinacy, a hero was metonymically called kƒ˜ai, the most common word for bull. This usage is now restricted to the literary dialect. Tauromachy which is still practised in Tamil Nadu, Spain, and Mexico attests to the ancient popular opinion. St. Valluvar has compared an industrious and indefatigable ruler to a bullock. He says in the 624th Kura˜, that troubles will vanish before the man, who struggles against difficulties as a bullock drawing a cart succesfully through deep mire. So, it is easy and reasonable to derive the word Pan-diyan from Pƒ-di, by the simple addition of the masculine singular suffix ‘an’.


It was customary in olden days for kings to claim descent from a heavenly body or a deity. Accordingly, the three dynasts of ancient Tamil Nadu claimed descent from the three luminaries, which were worshipped as deities in the primitive times. The Pandiyan king claimed descent from the Moon, the Chola from the Sun, and the Chera from Fire.


The Pandiyan king fixed his choice upon the Moon, because he enjoyed the coolness of the lunar rays best, his territory having been traversed by the equator and scorched by the tropical sun, though the other two Tamilian kings also had their royal umbrella made of white silk, and thus gave it a moon-like appearance.


The Chola king adopted the Sun as the progenitor of his line, because the Moon was already appropriated by the Pan-diyan king and the northern part of his territory which seems to have extended upto the Vindhyas or Himalayas in the early days, needed warmth during the chilly part of the year so much as to appreciate the Sun, which has also the dignity of being the principal heavenly body, without whose light and energy no life is possible on earth.


The Chera king regarded Fire as the original ancestor of his line, because that as the only luminary left to him, and the wild fire which broke out and spread very often during summer in his mountain forests, and evoked awe and reverence.


The solar and lunar lines of kings of North India were but off-shoots of the Chola and Pandiyan lines of the South respectively, and this accounts for the remote ancestors having been common to the main and branch lines.


The first Pandiyan capital was called Madurai after the imaginary progenitor of that royal line. Madurai, lit. ‘the lunar city’, is derived from madi, ‘the moon’. Cf. kudirai, ‘horse’ from kudi, ‘to jump’. ‘Madirai’ later changed into ‘Madura’. Cf. edirkai-edukai, ‘rhyme’.


The whole of pre-Aryan India was originally divided into three kingdoms, viz., Pandiya, Chola and Chera, and peopled mainly by the Tamilicans, the Tamils inhabiting the South and the Dravidians the North.


The descendants of those Tamilians who escaped the first inroad of the sea, and migrated to the north, seem to have built up the North Indian Madurai and named it after the 1st capital of the Pandiyas in remembrance of their ancestral abode. This can be compared to the similar acts of the Americans and the Australians. The name Madurai has subsequently changed into ‘Muttra’ in accordance with the phonetic habits of the North Indians. The Lemurian Madurai and the North Indian Madurai were called, Then Madurai and Vada Madurai respectively, in relation to each other. Dr. Caldwell is wrong in identifying Then Madurai with the modern Madurai of Tamil Nadu, as he had no idea of the submerged land.


The existence of corrupt Dravidian dialects or languages in the mountain fastnesses of Bengal and Baluchistan, the Dravidian substratum of the North Indian languages like Hindi and Bengali which are characterized as Modern Aryan Vernaculars of North India. Kƒ˜i worship in Calcutta, place names like Patalipura and Nagapur, and caste names like Bania and š„—, are vestiges of Dravidian occupation of North India in pre-historic times.


The name Chola properly š†˜a, seems to have been derived from šol, ‘paddy’. The Ch†˜a country has been famous for paddy cultivation from the very beginning. Even now Tanjore District which formed the nuclear of the Ch†˜a country during the post-Christian period is called ‘the granary of Tamil Nadu’ for the same reason. The poetess Auvai II in a quartrain specifying the special products of the four regions into which Tamil Nadu was divided in her time says “Ch†˜a Va˜anƒdu š†Šudaittu.” which means ‘the fertile Ch†˜a country abounds in rice food’. The words š†Šu and šo‹Ši, both of which denote cooked rice, are derived from šol, ‘paddy’. It is even surmised that the ancient Tamilians might have discovered by chance, the paddy plant in its natural state in the area of the Tanjore District, as it is known for certain that every plant cultivated or every animal domesticated, excepting the newstrains developed or evolved by man, was originally growing or living wild.


The change of l into ˜ or ‰ is very common in derivation. e. g. kal (black) - ka˜ (black) - kƒ˜-kƒ˜am (blackness)- kƒ˜agam (blackness). mal - mƒl (blackness, black cloud) - ma˜ai (black cloud, raiŒ: kil (to dig) -k…‰ (to dig, to tear)-ki˜ (to dig, to undermine). pol (to bore) - po‰ (to bore) - p†‰ (to bore, to cleave).


The name Chera properly šra, is derviced from the word šƒral, ‘mountain-slope’. The lord of a hilly country is often called šƒral nƒdan in classical poetry. The whole of the original Ch„ra territory, whose area still remains undiminished for the most part, though broken up politically into several parts, lying north and south and traversed by the Western Ghats almost throughout the whole length is a long slope on either side of the mountain range.


Hence, the Chera King seems to have been originally called šaralan, ‘the lord of the sloping country’, which name subsequently changed by a single vowel change into šralƒn, and then by syncope became šran and ultimately by a further mutation šral. All these alterations are quite in accordance with the recognized laws of phonetic or verbal change.

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Curative qualities of kuttralam river

Kuttralam in Tamilnadu is famous for its waterfalls numbering 9. The waters are said to be rich in minerals and containing curative qualities. It is a popular health resort for families for the invigorating experience of standing and bathing under the waterfalls. This picnic spot is only 135km north-west of KanyakumaKuttralam - a famous waterfall in South Tamilnadu. The river Tamaraparini rises in the Podhigai hills and flows across the rocks, becoming the Kuttralam, before flowing through the plains and emptying at the Bay Of Bengal.

This panorama was made from 4 images I shot of a section of the falls called "Ayindhu Aruvi(ஐந்து அறுவி) meaning 5 Streams/Falls.

In all, there are 4 major sections of the Kuttralam waterfall area. The waterfall is certified to have curative qualities by thousands of people who have been visiting Kuttralam regularly. The water that comes down from the 167 meter high waterfall is mineral rich and those who have enjoyed a shower under it will tell you that one is always reluctant to come out.

Kuttralam is located in the Trunelveli District. The resort is 135 kilometres north-west of Kanyakumari and 650 kilometres from Chennai.

There are nine natural showers of waterfalls at Kuttralam, and each shower can accommodate many, many families. Kuttralam is both a health resort and a picnic spot for families.

Southern India has had good rains and the waterfalls have plenty of water. The weather is pleasant. If you can manage a holiday, book your seats at the Kuttralam resorts, and recharge yourself.

Annad, a tourist from Kanyakumari, said: "I have been coming to Kuttralam since four or five years. The season has started. We take bath here because the water has medicinal qualities. I come here with my family."

Kumar, another tourist, said: "Kuttralam season has started. I have been coming here for the past nine years to enjoy bath under the natural shower, which has medicinal property. Secondly, oil massage is also available here. So every year we come to Kuttralam."

It is believed that the waters of the fall touch many medicinal plants along the way, which makes it curative. Tourists can enjoy bathing under the waterfalls, take oil massage and enjoy boat rides.

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Thanjavur paintings

Thanjavur paintings basically signify paintings created using a style and technique, which originated in Thanjavur during the maratha period in the 16th century.

A typical Thanjavur painting would consist of one main figure, a deity, with a well-rounded body & almond shaped eyes. This figure would be housed in an enclosure created by means of an arch, curtains etc. The painting would be made by the gilded and gem-set technique - a technique where gold leaves & sparkling stones are used to highlight certain aspects of the painting like ornaments, dresses etc.

The painting would be bright & colourful and breathtakingly beautiful. The impact in a darkened room is that of a glowing presence. While most of the paintings would depict the Child Krishna and his various pranks, paintings of other deities were also created.

Over a period of time changes have occurred in the stylization - for example, the figures are no longer round. Presiding deities of various famous temples are also being depicted in the paintings. The technique is now more in use than the style.

Traditional Thanjavur paintings are possessed as heirlooms. THANJAVUR PAINTING is a peculiar, ancient, miniature type of painting named after the place Thanjavur [called Tanjore in English] in Tamil Nadu, a southern state of INDIA. Thanjavur district is famous for various arts and crafts in which paintings are ranked high among the other arts like Thanjavur Toys, Thanjavur Plates, etc. Its origin dates back to the Nayak & the Maratha period in the 16th century.


The Maratha rule of Thanjavur lasted for about 2 centuries from the late 16th century. The Thanjavur school of painting evolved in a period full of political chaos in South India. Thanjavur Paintings flourished under the patronage of the Nayak & Maratha princes in the 16th to the 18th centuries.

The art was practiced by two main communities namely - the RAJUS in THANJAVUR and TRICHY[a city near THANJAVUR] and NAIDUS in MADURAI[a city ruled by PANDIYAS]. The artists [Rajus & Naidus] who are originally Telugu speaking people from "Rayalseema" region, moved to Tamil Nadu in the wake of the Nayaks rule of Madurai & Tanjore. The paintings were rooted in tradition and innovation was limited. The art was sacred to those master craftsmen who chose to be anonymous and humble.

Paintings were done on materials like wood, glass, mica, exotic media such as ivory, murals and manuscripts. Most of the paintings were of Hindu deities & saints. Other courtly & secular portraits were also created.

The early paintings were embedded with real Diamonds, Rubies and other precious stones. Later, use of semi-precious & artificial stones gained popularity. There are some examples of this art in the "Saraswathi Mahal Library", in Tanjore set up & developed by KING SARFOJI. This monarch, who reigned from 1798 to 1832, to whom we owe the "Ganesha shrine" in the "Tanjore Big Temple", played an important part in the history of the art of his times.

Thanjavur paintings are found in the following great literatures.

1. Sanskrit work Prabotha Chandrodayam has a few pages of Thanjavur Paintings.

2. Marathi translations of Mahabharath & Bhagavatham which are works of the painter Madhava swami dated 1824 A.D.

3. Paintings of Gods & Goddesses occur in the wooden covers of every part of an edition of the "Rig Veda" made in King Sarfoji's time.




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How Thanjavur Paintings are made ?

Thanjavur Paintings are made on canvasses. The CANVAS for a Thanjavur painting is usually a plank of wood (originally wood of the Jackfruit tree was used, now it's plywood) over which a layer of cloth is pasted with arabic gum. The cloth is then evenly coated with a paste of limestone and a binding medium and let to dry.

The canvas is now ready for painting. The artist then draws a detailed sketch of the painting on the canvas.

A paste, made of limestone and a binding medium, is used to create 3D effect in embellishing and ornamenting the theme using a brush.

Gold leaves and gems of varied hues are used in selected areas like pillars, arches, thrones, dresses, etc. The shine and glean of the gold leaves used by the Thanjavur style paintings last forever. Finally, colours are applied on the sketch. In the past, artists used natural colours like vegetable dyes, whereas the present day artists use chemical paints which enhance the sharpness and provide better shade contrasts.

The old Tanjore artists restricted their scope to divine figures and used to mix their natural colours. The modern ones have, of course, no need to do so. What has survived in this convention is the choice of colours for painted personalities or objects.

For outlines dark brown is usually used. Red is favoured for the background. Scholars say that a red background is the distinctive mark of Tanjore paintings, but green is also sometimes used. Lord Vishnu, appropriately enough, is coloured blue, and Lord Nataraja chalk white. Yellow is used for the Goddesses. The sky, of course, is blue, but black is employed on occasions. There are conventions in regard to the use of embossing and bejewelling. But these do not appear to be followed very strictly these days. Often individual preference settles the matter.

The portrayals of the figures in the paintings are breathtakingly brilliant. Almost all the figures have rounded bodies and almond-shaped eyes, which is unique to THANJAVUR PAINTING. The traditional thanjavur artists have a flair for ornamenting the figures with jewellery and ornate dresses. Thanjavur paintings are notable for their adornment in the form of glass pieces embedded in parts of them.

Frames
The frames(teak wood) used for Thanjavur paintings are of two types.
1. The wooden type wherein plain type of wood is used. 2. The Chettinad type which are more ornamental with designs. Instead of breakable glass, "transparent acrylic sheets" are used to avoid breakage during transit

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karthikeyan

Karthikeyan was born in Coimbatore, Tamilnadu. Karthikeyan did his schooling at Stanes Anglo Indian Higher Secondary School, Coimbatore. Karthikeyan's interest in motorsport began at an early age, as his father was a former Indian national rally champion winning South India Rally no less than seven times. He is also related to the late S. Karivardhan, India's most famous race car driver until Karthikeyan came along. With the ambition of becoming India's first Formula One driver, Karthikeyan finished on the podium in his first ever race, at Sriperumpudur in a Formula Maruti (a.k.a.FISSME). He then went onto the Elf Winfield Racing School in France, showing his talent by becoming a semi-finalist in the Pilote Elf Competition for Formula Renault cars in 1992. He returned to India to race in Formula Maruti for the 1993 season, and in the same year, he also competed in the Formula Vauxhall Junior championship in Great Britain. This gave him valuable experience in European racing, and he was keen to return for the following year.


In 1994, he returned to the UK, racing in the Formula Ford Zetec series as the number two works Vector driver for the Foundation Racing team. The highlight of the season was a podium finish in a support race for the Portuguese Grand Prix held at Estoril. Karthikeyan also took part in the British Formula Ford Winter Series, and became the first Indian to win any championship in Europe.

1995 saw Karthikeyan graduate to the Formula Asia Championship for just four races. However, he showed pace immediately and was able to finish second in the race at Shah Alam, Malaysia. In 1996, he had a full season in the series and became the first Indian and the first Asian to win the Formula Asia International series. He moved back to Britain in 1997 to compete in the British Formula Opel Championship, taking a pole position and win at Donington Park and finishing sixth in the overall points standings.

In 1998, Karthikeyan made his debut in the British Formula Three Championship with the Carlin Motorsport team. Competing in only 10 rounds, he managed two 3rd place finishes in the final two races of the season, at Spa-Francorchamps and Silverstone, to finish 12th overall. He continued in the championship for 1999, finishing on the podium 5 times, including two wins at Brands Hatch. His season also included two pole positions, three fastest laps and two lap records, helping him to 6th in the championship out of 30 drivers. He also competed in the Macau Grand Prix, qualifying in 6th position and finishing 6th in the second race. Continuing his drive in the British F3 Championship in 2000, he finished 4th overall in the standings, and also took pole position and fastest laps in the Macau Grand Prix. He also won both the International F3 race at Spa-Francorchamps and the Korean Super Prix.

Karthikeyan started 2001 in the Formula Nippon F3000 Championship, finishing the year amongst the top ten. In the same year, he became the first Indian to ever drive an F1 car, testing for the Jaguar Racing team at Silverstone on June 14. Impressed with his performance, he was then offered a test drive in the Jordan-Honda EJ11 at Silverstone in September. Karthikeyan again tested for Jordan, at Mugello in Italy on October 5, finishing just half a second off the pace off Jordan's lead driver Jean Alesi.

In 2002, he moved into the Telefonica World Series with Team Tata RC Motorsport, taking a pole position and setting the fastest non-F1 lap time at the Interlagos Circuit in Brazil. Continued to, now renamed Superfund Word Series in 2003, Karthikeyan won two races and took three other podium positions on his way to 4th overall in the championship. These results earned him another Formula One test drive, this time with the Minardi team. He was offered a race drive for the 2004 season, but was unable to raise the necessary sponsorship funds to seal the deal. During the year, he married Pavarna.

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Kavi Kamban

Kavi Kamban was born in the 9th Century in Therazhundur, a village in the culturally rich Tanjavur district in the modern state of Tamil Nadu in South India. The poet belongs to a family who had Lord Narasimha (another avatar of Lord Mahavishnu, Who emerged from Kamba (pillar) to save the child devotee Prahlada) as their family deity. His devoted parents named his as Kamban.

Kamban was a great scholar of India's two ancient and rich languages, Sanskrit (Indo-European) and Tamil (Dravidian). The "Ramavataram" of Kamban is an epic of 10,000 odd verses, of 4-lines each. Kamba Ramayana is not a translation of the Sanskrit epic by Adikavi Valmiki, but an original retelling of the story of Sri Rama, as the incarnation of Lord Tirumal (Mahavishnu). The lyrical beauty, brilliant use of rhyme, simile and the astonishing variety of his poetry yet still conforming to the strict classification of verses in classical poems in Tamil language earned him the title, Kavicakravarti (Emperor among poets). He is also known as "Kamba Nattalvar", as he revived the greatness of Tamil language through his work during the medieval period.
The arangetram (Inagural public rendering) of Kamban's 'Ramavataram' was done at the Great Temple of Srirangam, to an assembly of eminent poets, under the auspices of the philanthropist, Sadayappan of Tiruvennainallur of the Chola Kingdom in the Tamil Country on the day of the Uttara star, in the month of Panguni, in the eight hundred and seventh year of Salivahana saka.

Background to Kampa rAmAyaNam

During the days of the n^AyanmArkaL and AzhvArkaL it is no exaggeration that a devotional wave was spreading through the Thamizh country side. Extreme devotion to anything, however sacred it may be, is not conducive for the stimulation of open discussion or for a critical or unbiased analysis of alternate ideologies. This is particularly true of religious dogmas.

After the exit of the Buddhists and Jains from the scene, the devotees of the VishNu and Saiva groups indulged in attempts to establish their respective sectarian superiority. With the momentum of the Bhakthi movement slowing down, rivalry between the two groups grew worse. Though the spell of the devotional music still lingered, the underlying principles of the prayers and idol worships were forgotten in the medley of sectarian views. Creeds were valued more than principles. TholkAppiar's definition of clandestine love (களவியல்) with reference to the role of unchaste women (பரத்தையர்) was probably misconstrued for legitimacy of the evil practice. The advice of the Buddhist and Jain monks on the control of the five senses (ஐம்புலனடக்கம்) for a spiritual life was not heeded. ThiruvaLLuvar's teachings on virtues also fell on deaf ears.

The chastity of KaNNaki, the fidelity of MAdhavi and the renunciation of MaNimEkalai remained only as fictional entities. To add to these perversions of individuals, the four Thamizh Kings, who spoke the same language, indulged in constant wars to expand their territory. The killing of Thamizh by Thamizh became the order of the day. Bravery, heroism and valour lost their sanctity. In general, there appeared to be an overall deterioration in the virtuous conduct of the people. Though the temples offered an ideal location for spiritual uplift and promotion of music and dance, the discipline of the mind by the people, at large, did not materialize. It is at this juncture Kampan appeared on the scene with a different strategy to inculcate virtuosity in the conduct of people

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Bamban bridge

The Pamban Bridge also called Indira Gandhi Bridge lies on the Indian end of the Palk Strait that connects Pamban island to mainland India. It actually refers to both the road bridge and the cantilever railway bridge, though primarily it means the latter. It is the longest sea bridge in India at a length of nearly 2.3 km (2345 meters) and stands as a fine example of Indian architecture. The bridge was constructed with sufficient elevation and a beautiful scenery of the sea, adjoining Islands and parallel rail bridge below can be viewed from the bridge
The openable part of the railway bridge (called movable bridge in Civil Engineering terms) is in existence since 1911 and still it is functioning quiet well. It carries meter gauge trains on it, however, recently the Indian Railways are in the process of upgrade it to carry broad gauge trains. Structural Engineering Research Centre, Chennai - a premier national research laboratory in India, is handling this task.



A walk on the bridge is an exhilarating experience. At times the breeze could be strong. The view of the distant sea and the string of islands on the left of Pamban island is simply breathtaking. Though the bridge is a stunning structure, the entrance to the bridge from both the Mandapam and Pamban sides do not do justice to this impressive landmark.

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Kaveri River

Background:
The Kaveri river is the smallest of the five major rivers of the Indian peninsula, the others being the Mahanadi, Godavari, Narmada, and Krishna. However, it forms perhaps the most important watershed of the South.Known as "Dakshin Ganga" (the Ganges of the South), it serves as a lifeline to the people of Southern Karnataka, and the Cauvery basin of Tamil Nadu.

Legendry Saga:
According to mythology, There was a childless king named Kaverna and Brahma gifted him a beautiful girl Kaveri. She was married to Agastya muni on the condition that he would never leave her alone. One day, Agastya muni began teaching his disciples a difficult lesson in philosophy. Assuming that something unfortunate had happened to him and not wanting to live alone she jumped into a tank. But she did not die. She became a river, flowed up the Brahmagiri Mountain and reappeared as a spring
The Journey:
The River Kaveri flows through the states of Karnataka and Tamil Nadu. Its source is a spring in the Brahmagiri Mountains in Mysore at a height of 1320 metres above sea level. The Kaveri is not the same throughput its length of 765 kilometres. As the Kaveri flows down the Brahmagiri mountain and enters the plain, two small rivers, the Kanaka and the Gajoti, join it.They meey at the town of Bahamandalam till here it is a small river. two more rivers, Hemavati and Lakshman Theertham join it, that it becomes a large river, broad and deep. It is here that the water of the three rivers is collected in the Krishnaraj Sagar reservoir, on the banks of which is laid one of the most beautiful gardens of Mysore - Brindavan.


In Spotlight- 'Flood of the Eighteenth'
This river runs through some of the richest south Indian lands, watering the fields and blessing the people on its course.The people of Tamil Nadu celebrate the flood in the in a special way with a festival. This festival is called the 'Flood of the Eighteenth'. On the eighteenth day of the month of Aadi (July-August), people come to worship the river. They light special lamps and express their gratitude by throwing offerings of fruits, sweetmeats and flowers. It is a day of rejoicing for the people as they thank the river goddess for her blessings and prosperity.


Battle of Water:
The Kaveri river is the locus of a water dispute between Karnataka and Tamil Nadu. That dispute is complicated by political issues of resentment and one-up-manship between the people of the two states. The past two decades have seen increasing friction between the two states.

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Tamil nadu-HISTORY

The history of Tamil Nadu is very old and it is believed that human endeavour s to inhabit this area began as early as 300, 000 years ago. It is also suggested that the first Dravidians of Tamil country were part of the early Indus Valley settlers and moved south during the advent of Aryans around 1500 BC. However, the recorded history goes back only to the 4th century BC. There are references in the early Sangham literature to the social, economic and cultural life of people. The proximity to the sea established the Tamil Country on the maritime map of the world even before the dawn of Christian era. The Tamils were bonded through trade links with ancient Egypt, Greece and Rome.

History rewinds

Prior to the Christian era, the Cheras, Cholas and Pandias ruled Tamil Country. This was the golden period of Tamil literature, the Sangham Age that shadowed three centuries after Christ. The domains of these three dynasties changed many times over the centuries. At times other dynasties like Pallavas and Chalukyas came into power. All these dynasties engaged in continual skirmishes; but their steady patronage of arts served the expansion of Dravidian culture.

It is speculated that the early Dravidians were part of the Indus Valley Civilisation. However, with the coming of the Aryans, the Dravidians were pushed back into the deep south where they ultimately settled around 1500 BC. Excavations have revealed that the features of the people of the Indus Valley Civilisation bore a marked resemblance to that of this region.

Bastion of legacy

Tamil Nadu is famed for its rich tradition of literature , music and dance which are continuing to flourish today. It is one of the most industrialized states in India. Tamil is the official language of Tamil Nadu (as well as one of the official languages of India).

Tamil Nadu was carved from the old Madras State in the 1950s, when India re-drew some state lines according to language. State politics continue to have a lot to do with protecting and celebrating the Tamil (and Dravidian in general) language and culture

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Thanjavur-palace

The rice bowl of Tamil Nadu, Tanjavur is a bustling country town situated 55 kms east of Trichy. Tanjore, also known as Thanjavur, was the ancient capital of the Chola kings and later of the Tanjavur Nayaka and Maratha rulers. Tanjavur rose to glory, during the later Chola reign, between the 10th and 14th centuries, and became a centre of learning and culture. The Cholas, who were great patrons of art, built most of the 93 temples. It was the practice of the kings to donate part of their wealth to the temples, for spiritual gain, and the Chola kings lavished their wealth to build these as well as other temples nearby. Tanjore's crowning glory is the Brihadishwara temple built by Raja Raja. This is listed as a World Heritage site and is worth a visit.


Near the temple are huge masonry structure which were partly built by the Nayaks in 1550 and partly by the Marathas. The Tanjavur Palace, as it is Known, has huge halls, spacious corridors, observation & arsenal towers and a shady courtyard. Though many sections of the palace are in ruins restoration work has been taken up. The palace houses a library, a museum and an art gallery. The Royal museum displays many items from the kings who ruled the place in past. The eclectic collection of royal memorabilia can fascinate any visitor. The Royal cloths, hunting weapons, the head gears and many more such items are enough to catch the attention of any one. There are two Durbar halls where the rulers held public meetings. Though they have not been renovated, they are in good shape. The Nayak hall of the palace is occupied by the Art Gallery. This gallery has an excellent collection of artifacts from the Chola dynasty during the 8th and 9th century. The bronze and granite statues reflect the height of craftsmanship obtained during those days. The bell tower which was put under restoration work, has emerged very different from the rest of the structure after renovation. But it is worth going up the tower to have a good view of the surrounding area. Next to the art gallery is the Saraswathi Mahal Library with an amazing collection of manuscripts on palm leaves and paper. The library is not open for the public. But one can always go in the museum to have a look at the full Ramayana written on Palm leaf or a set of explicit prints of prisoners under Chinese torture.

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Valluvar Kottam

The memorial to the poet-saint Tiruvalluvar is shaped like a temple chariot and is, in fact, the replica of the temple chariot in Thiruvarur. A life-size statue of the saint has been installed in the chariot which is 33m. tall.

The 133 chapters of his famous work Thirukkural have been depicted in bas-relief in the front hall corridors of the chariot. The auditorium at Valluvar Kottam is said to be the largest in Asia and can accommodate about 4000 people. It stands as a modern memorial to the great poet who represents the glorious culture of the Tamils.

Thirukkural, are inscribed on the granite pillars that surround the auditorium and it has got no pillars for support. There is a 101-feet high temple chariot structure with a life-size image of the poet in it. This chariot is a replica of the temple car of Thiruvarur in Tamil Nadu. The base of the chariot shows in bas-relief the 133 chapters of the Thirukkural. Over 3,000 blocks of stone were used to create this memorial to Tamil culture.

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falls in kodai

Silver cascade
This water fall is located on the main ghat road, 8 kms away as one approaches Kodai from Kodai Road. Overflow of Kodai lake takes 180 ft leap over a steepcliff, to crash into a pool beside the ghat Road.
Bear Shola Falls
An ideal picnic spot 1.6 km from bus stand and within 2 Kms off the lake, where once bears came to drink water. Hence the name of the falls became Bear Shola falls. Cross the lake bund, pass the Telephone exchange on your right, and at the junction take the lower road there comes Clifton Hotel. The approach is rugged hill path. The falls are at the best in rainy season.
Pambar FallsPambar Falls
"Grand cascade" is another name for this magnificent falls. It can be reached by a steep, precipitous path behind Pambar house. Racing down Pambar Raivine is Zig-zagging leving stream that cascades over a series of rock formations. It is 4kms away from Kodaikana
Thalaiyar Falls
This is also called as Rat tail falls.The widest falls, ranging from 13th kilometer on the ghat road to kodai.It is one of the highest falls in India, with their 975ft sheer drop.

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Brihadeshwara temple

TThanjavur a city of temples, thrived as the ancient capital of the Chola kings.
Later it was part of the Marathas and Nayaks kingdoms. It was at the height of its glory during the Chola period between the 10th and the 14th century and became a great centre of learning and culture. It is also known as the rice bowl of Tamil Nadu.

Of the many temples Brihadeshwara temple is world famous temple. This temple was built during the period of Raja Raja I, around the 10th century. . Most of the Chola emperors were great patrons of art and architecture. During the period of Cholas, the Dravidian culture reached the height of its glory. The Brihadeshwara temple is built in Dravidian style. Brihadeshwara is a gigantic lingam cut in a monolithic rock is about 8.7mtrs height. There is a huge Nandi within the vincity of the temple. It is the second largest monolithic Nandi in the country. Apart from these, there are excellent sculptures of Lord Siva in different forms, Gods and Goddesses, several Paintings of Chola. The dome of the temple rests on a single granite rock which resembles Egyptian pyramids The stone carvings on the walls of the temple depict the influence of Shivaism, Buddhism and Vaishnavism
An art Gallery contains some magnificent granite, stone and b
ronze statues from the 9th-12th centuries and the Saraswati Mahal library established around the 17th century contains a collection of over 30,000 palm leaf and paper manuscripts in Indian and European languages

Other places of visit near Tanjore famous for their huge and impressive temples are Kumbakonam, Thiruvaiyaru, Thirukandiyur, Thiruvarur and Gangaikondacholapuram

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PONGALO... PONGAL!

Day 1
Like any other Indian festival, the rituals of the Pongal festival are quite elaborate. The day begins with the purification process of the soul and the mind by people taking an oil bath in sesame ('til') seed oil. This is followed by huge bonfires where all the unwanted rubbish of the house, like old mats, clothes etc., is thrown into the fire. (The day before, the women have already cleaned their houses, and preparations were made for the big puja, the religious offering ceremony, which is performed on first day of Pongal itself.) Very early in the morning kolams (patterns in rice flour) are drawn to decorate the front of the houses, doors are sprayed with vermilion and sandalwood paste, and garlands of leaves and flowers adorn each and every home.
On this first day, Bhogi Pongal, the rain god is worshipped. Apart from a collective ceremony in the temple of the village, there is lots of merrymaking and feasting on freshly harvested crops; old earthenware pots and other utensils are broken and potters are asked to supply new stock. It's the time of the year when the new replaces the old..

Day 2
The second day, Surya Pongal, is dedicated to the sun god. On this day, sweet rice known as 'Pongal', is cooked in a new earthenware pot which is placed where the puja is to be performed. Fresh turmeric and ginger are tied around this pot. Then a delicious concoction of rice, moong dal, jaggery and milk is boiled in the pot on an open fire. According to the ritual, this Pongal rice is allowed to boil and spill over. Once the rice is cooked, it is tempered with cashew nuts and raisins fried in ghee. When the Pongal dish is ready, it is offered to the sun god on a new banana leaf along with other traditional delicacies, like vadas, payasam, etc. Some people go to their plots of land to spray some of the Pongal water on their fields.

Day 3
The third day of Pongal is known as 'Mattu Pongal' or the 'Pongal of the cattle'. On this day the bullocks from all the houses are gaily caparisoned with beads, bells and flowers. Their horns are painted and capped with gleaming metals and colourful plastic balloons. Throughout the day the cattle is paraded on the streets and in some areas the famous southern bull fights take place: a vicious bull is chosen and a handsome amount is tied around their horns and anyone who can tame the bull gets to keep the prize.
In the villages around Auroville bullock cart races are held, with families or groups of youth stacked onto the carts that go racing throughout the area, shouting: Pongal, Pongaloo..! There is happiness and excitement in the air..

Day 4
On the fourth day of Pongal sisters visit their brothers. On this day the youngsters of Chennai, for instance, take a holy dip in the sea. Those who don't want to get into the rituals of a festival also hang around the beach, just for fun with their family or friends. In the villages around Auroville, shopkeepers give gifts or a bonus to their employees to show their gratitude for the hard work they have done through out the year.

Another well known legend is associated with the third day of Pongal (Mattu Pongal, or Cow Pongal) says that lord Shiva once asked his faithful bull 'Nandi' to go to earth and tell the people that they should have an oil bath every day and eat food only once in a month. But I guess Nandi turned out to be a confused fellow as he told the people that they should eat food daily and take oil bath once a month! This definitely displeased Shiva and he decreed that, since the people would now need to grow more grains, Nandi would have to remain on earth and help them plough the fields. And so the poor bull has roamed the earth forever

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Powerful female ruler in madurai-Rani Mangammal

The history of Madurai will not be complete without mentioning the name of Rani Mangammal, the woman of great skill and sagacity. History does not provide many instances of ruling queens in Tamillnadu. Though it was considered that women were not suited to succeed the throne of a kingdom, Rani Mangammal, however,shines in almost solitary eminence as an able and powerful ruler in Tamilnadu. It was sheer circumstances that forced Mangammal to take up the reins of administering the Madurai Nayaka kingdom about the close of the 17th century. She ruled it for about eighteen years during an exceptionally troublesome period with great skill and boldness.

The general of Mughal emperor Aurangazeb was at the gate of the Gingee fort and he was bent upon attacking Thanjavur and Madurai at any cost. Mysore in the west, had embarked on a campaign of territorial expansion by including Madurai even during the time when her husband was alive. In the south, the Raja of Travancore, who was an overlord of Madurai, had stopped paying the tribute. In the east, the powerful ruler of Ramanad, Raghunatha Thevar also known as Kilavan Sethupathi had risen in revolt in a bid for independence.


It was in this state that Rani Mangammal had to face almost without any help from outside. With her political wisdom, diplomatic skill, administrative ability and cool courage in facing danger, she was able to maintain the prestige of Madurai and regain for it much of the position it had held during the days of Tirumala Nayaka. Mangammal was the daughter of Lingama Nayaka, a general of Chokkanatha Nayaka, who ruled Madurai from 1659 to 1682 A.D. Though Chokkanatha married Mangammal early, she became the principal queen only later on when all his efforts to wed the daughter of the Thanjavur ruler Vijayaraghava Nayaka had failed. Chokkanatha died in 1682 A.D., but his queen Mangammal did not commit sati as she was a politically minded woman to whom affairs of the state was more important.


Rengakrishna Muthu Veerappa, who succeeded Chokkanatha was a spirited youth. He tried to retrieve to some extent the diminished fortunes of the kingdom. He made a name for himself by ignoring Aurangazeb with courage. When Rengakrishna died in 1689 A.D., his queen was pregnant. After she gave birth to a son, Vijayaranga Chokkanatha, she ended herself by saying that she could not live after the death of her husband. Under such
circumstances, Mangammal was forced to become regent on behalf of her infant grandson, who was crowned when he was three months old.


The first problem which Mangammal had to face was the threat from the Mughals. Zulfikhar Ali Khan, the general of Aurangazeb, who was engaged in the siege of Gingee, where Rajaram, son of Shivaji had entrenched himself, sent an army to the south to demand submission from Thanjavur which had gone into the hands of the Marathas, even during the time of her husband.


After careful deliberation, Mangammal sent her tribute and later with the help of Zulfikhar Ali, she was able to recover some portions of the kingdom lost to Thanjavur in the past. In this policy, Mangammal showed great prudence and wisdom, by skillfully bowing before the enemy. Mangammal had to face an invasion of Tiruchi by Chikkadevaraya of Mysore who sent his famous Dalavoy Kumariyya, but an attack by the Marathas on Mysore led to his recall.

In 1697 A.D., Mangammal sent an expedition to Travancore to punish its ruler, Ravi Varma, who had attacked and destroyed an army sent from Madurai to Travancore, as in the previous years, to collect the annual tribute which the king had not been paying. Mangammal's next war was against Shaji, the Maratha ruler of Thanjavur. In 1700 A.D., Dalavoy Narasappiah defeated the Thanjavur forces. For some time afterwards, friendly relations existed between the two kingdoms. They even united and proceeded against Chikkadeval.aya of Mysore who had built an anicut across the river Cauvery and prevented adequate supply of water for the irrigation of land in Thanjavur district. But by that time, heavy rains had washed off this anicut at the site of which the present Kannambadi dam stands.

Mangammal's greatest trial and serious failure was her expedition against Raghunatha Sethupathi. This ended in a defeat for the Madurai and the death of Dalavoy Narasappiah in the battle. This was a serious blow to Madurai from which it never recovered again. Mangammal died in about 1706 A.D. and was succeeded by her grandson Vijayaranga Chokkanatha Nayaka.


Mangammal did not neglect civil administration, trade and industry. She paid special attention to irrigation and communications. Many irrigation channels were repaired, new roads were constructed and avenue trees planted. The highway from Cape Comorin was originally formed during the time of Mangammal and it was known as 'Mangammal Salai'. She built many works of public utility of which the Chatram in Madurai near the railway station is a standing monument. Her own original palace in Madurai now houses the Mahatma Gandhi Museum although modified several times.

Though Mangammal was devout Hindu, she showed tolerance in religious matters. She endowed temples and mosques alike with property and was friendly to the Christian missionaries and their converts. Mangammal was an efficient and popular ruler and her memory is cherished even today in the rural areas of the district.

Rani Mangammal instituted the famous Unjal (swing) festival in the temple of Meenakshi to be performed in the month of Ani. It will be interesting that her contemporary portrait is found in the Unjal Mandapam. It may also be mentioned that Hindu kings ruled their kingdoms as the servants of God. The land was ruled in the name of the presiding God of the country. Tirumala Nayaka was ruling Madurai in a similar manner. On all celebrations, the royal sceptre (sengol) used to be placed before the Meenakshi deity and then placed on the thTone for the whole day. This symbolised that the rule of land was by the Goddess. This old practice continued even during the period of Rani Mangammal, as evidenced by a painting in the Meenakshi temple. It shows the priest of Meenakshi temple handing over the royal sceptre to the Queen

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Vedanthangal Water Birds Sanctuary

Vedanthangal, the oldest bird sanctuary in India is one place, which can't easily fade off from one's memories. The sanctuary is an amazing place to be in, especially during the Sunset, as you can spot thousands of birds returning to their nests and dotting trees. You can spot several species of birds of which most are migratory. The trees are dotted with numerous nests, which contain little chicks and eggs. For over two hundred years the villagers around have zealously protected the birds in this sanctuary. It is interesting to note that the villagers protect the birds with the same zeal, which their forefathers had shown. They avoid any noisy activity near the bird sanctuary.

At the time of Sun set the whole sanctuary is abuzz with activities and noise of birds. Birds can be seen bringing in foods for their chicks, which in turn insert their tiny beaks into the mouths of their parents to find food. If the bird watcher in you becomes over excited then there are forest officials and boards to satiate your bird related knowledge. Some of the birds that visit the bird sanctuary every year are Grey Heron, Cormorant, Egrets, Darter, Open-billed Stork, Spoonbill, White Ibis, Grebes, Night Herons and Grey Pelican. In all, around 115 species of birds have been recorded at the Vedanthangal bird sanctuary.

One of the most spectacular breeding grounds in India. Cormorants, herons, storks, pelicans, grebes and many others.The Vedanthangal Bird Sanctuary has been protected by the local people for well over 250 years. The sanctuary gets its name from a nearby village and is only 75 Km from Chennai. The bird life (resident & visitors) includes Cormorants, Darters, Herons, Egrets, Open billed Stork, Spoonbill and White Ibis, Little Grebe, Indian Moorhen, Black Winged Stilts, a few migratory ducks and occasionally Grey Pelicans. November to February is the ideal season to visit the sanctuary.

Vedanthangal is a home not only to migratory birds but also to many ornithologists who camp here for weeks observing the birds at close quarters. With a powerful pair of binoculars, you can spot a Cormorant or a Snake Bird dive under the water to gobble up a nervous fish which is its staple diet. Soon after the hunt, the Cormorant must come up to the shore to dry its feathers as nature has not endowed it with oil-glands to water-proof the feathers.


The Spot-Billed Grey Pelican, on the contrary, moves in groups lashing the water with powerful wing strokes driving the fish to a shallow corner for the ultimate assault. The Spoon Bill, however, prefers to devour frogs and insects in the muddy water with its bills half open.

The winged visitors regulated by biological clocks land at Vedanthangal after the monsoon with amazing clock-work precision and get into the breeding act quietly. The population of the migratory birds swells to around 40,000 by the middle of January.

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WE FEEDING ALL

The sun came piercing through the clouds for a moment before hiding itself again. With another lens and more shots at differant exposures I could also reduce by HDR-technique the high contrasts in the sky. The farmer was still in the middle of the field looking after his cow, it became time for milking her. Enjoy the vast view you have on the countryside

So now you got the whole family here working on the rice-fields in this triptych but most part of the workers are women, the whole day bended like this, indeed a very intensive hard work.


SOMEONE noticed already that a lot of farmers have left their land for the city due to the increasing drought of the weather here. The only way to get more water besides all the boreholes or wells depends on the investments of dams by the government. Only the extended reserves dams retrieving water from the hills can make farmers to survive on their land. The provision of water around Chennai is out rising compared to the South of Tamil Nadu, half way Chennai-Madurai you see the increasing dry lands.

With her sickle she was standing like in a sea of gold,
cutting the gold of Tamil Nadu.

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Salt pans

ThoothukudiThoothukudi, Tuticorin called by the Dutch, is known for its shipbuilding and the hinterland is used for salt winning.
More info about this town in between Rameswaram and Kanyakumarin you will find at Wikipedia

Indeed I was out of station, Madurai, for two days, going all the way by bike, got sunburned in my neck and my face.
The road from Rameswarem to Thoothukudi along the coast, was terrible, jumping through all the pits I could even pass easily the cars that tried to avoid dammage. Finally in the evening, at sundown, 18:27, I arrived here to the vast salt winning plains near to this big town, exhausted from all the jumping.
If you think you can go quickly to have a look at the ships yard, forget it, you need a ticket and it is open only on Sundays. The town itself is not that worthwhile to visit, so a nightstop on a Saturday would be perfect if you are interested to see the shipsbuilding and then to go through to Kanyakumari.

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