APSARA IN TANJORE

Our unique offering in the form of 'Apsara' in dancing position is indicative of love and pleasure. This stone carving is meticulously designed and created with great zest. The fabulous sculpture portrays sensuality infusing liveliness and preserving a piece of history and mythology

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Ramanathaswamy Temple

The temple is fine example of late Dravidian temple architecture. Four magnificent long corridors lined with elaborately sculptured pillars are the most renowned features of the temple. Shiva is the presiding deity. It is believed that Sri Rama built this temple. Sri Ramanathaswamy temple is one of the most revered temples in South India.

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NEW GOLDEN TEMPLE IN TAMIL NADU

One of the biggest Hindu shrines in
southern India, the Sri Puram Golden Temple, was consecrated here Friday in the
presence of over 30,000 devotees.
Being dubbed as 'golden temple', it is located in the backdrop a small range of
hillocks, about 180 km from Chennai. A spiritual leader who calls himself
Narayani Amma has built it at the cost of Rs.3 millionThe Taj Mahal was built as an expression of love for a single person but the
Sri Puram Golden Temple stands for unconditional love for the entire humanity,"
says Amma, 31, who also goes by the name of Shakti Siddha.
The temple spans 100 acres and has a built-up area of 55,000 sq ft. The sanctum
sanctorum is covered with thin gold plates created out of 1.5 metric tonnes of
pure gold - giving the shrine its name.
The temple itself is shaped like a star, reminding many of the foreign devotees
present in sizeable numbers of the Jewish symbolWe know it is also the sign of the universal goddess - Lakshmi," says William,
who gives only one name and says he is of Canadian origin.
The steps that lead to the innermost section are laid with polished black and
grey granite from the neighbouring South Arcot and Dharmapuri districts. A cubic
metre of black granite is priced at 0. So is the grey stone called "Paradiso"
because of its wavy patterns of violet with the colour of iron. And this too has
been used in large quantities.

"If we had built a hospital, factory, educational institution or a business, it
would have ended up serving a small community. But now, Amma's temple will sow
the seeds of goodness in the hearts of everyone who visits here," Amma, clad in
ochre robes, says in Tamil.
"For every mother, nursing a slightly ill child is a challenge because the
medicine is usually bitter and hence needs a sugar coating. Once the medicine
goes in, all is well with the young one again. Similarly, we have created your
golden temple - a materialistic sign to attract people."
There are more than 300 signboards of simple messages, which are meant to lead
devotees to wisdom. And this wisdom is aimed at helping each visitor become a
better human beingAmma has spent millions on charity - including hospitals and helping the
physically challenged. He also claims to have renovated over 600 temples in the
area at a cost of Rs.30 million.

The temple has been built over the last six years with over 400 masons working
on it. Well-known craftsmen Subbiah Sthapathi of Kanchipuram and Srinivasa
Sthapathy were responsible for the civil works and the ornate gold leaf inlay
works respectively.
LET THERE BE DIVINITY
IN EVERY HEART!
THEN IT BECOMES PURE GOLD!!

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SRI RANGAM TEMPLE-TRICHY

Sri Rangam, the largest Vaishnavite temple in Tamilnadu, is dedicated to Sri Ranganatha Perumal. This temple is as holy and venerable to Vaishnavites as Chidambaram temple is to SaivitesLocation : Sri Rangam town itself has a railway station on the Madras-Thiruchchi line. It is about 5 km from Trichi and about 300 km from Chennai. Thiruchi being a large city is well served by road, rail and air. Pilgrims throng to this temple throughout the year, but the main festival falls in December/January during 'Vaikuntha ehathasi' and is conducted over a period of 20 daysLegends : There are so many legends associated with this temple. One of them relates how the 'Ranga Vimanam' believed to be the chariot of Lord Vishnu came to be installed here. Ikshavahu the descendent of Surya, the Sun god and forebear of Rama, performed a penance in order to obtain the Ranga Vimanam to install it in a temple in Ayodya. Garuda, the mount of Lord Vishnu, delivered the Ranga Vimanam to Ikshavahu. The people of Ayodya thus venerated and worshipped this Ranga Vimanam for centuries until Lord Vishnu himself was born as Rama in Ayodya as heir to the Surya dynasty.
Rama is the hero of Ramayana, the epic story in which he was banished from his kingdom for 14 years. During this time his wife Sitha was abducted by Ravana, the King of Lanka. Vibishana, the brother of Ravana, helped Rama to defeat and kill Ravana and rescue Rama’s wife Sitha. At the end of his 14 years of banishment Rama returned to Ayodya to reclaim his rightful crown. Many kings and others were invited to the coronation and Vibishana was an important guest. At the end of the ceremony as custom dictated gifts were exchanged. Vibishana to whom Rama owed a debt of gratitude presented him with the Ranga Vimanam to be taken to his kingdom, Lanka. On his way Vibishana arrived near Kaveri River in the South and wanted to perform his daily pooja. He gave the Ranga Vimanam to a boy standing nearby with instructions not to put it on the ground. He got into the river for his ablution and when he came out he found that the boy had put the Ranga Vimanam on the ground. He tried to lift it but failed to move it. He became distraught and prayed to Lord Vishnu who appeared and told him that He wished that the Ranga Vimanam stayed at that spot. The King and others on learning this requested Vibishana to install the RangaVimanam on that spot and perform the 'Adhi Brahmotsava' thereby consecrating that place. The King who was a great devotee of Lord Vishnu was delighted with this and built a large temple to house the Ranga Vimanam and called the deity Lord Sri Ranganathar.

Years passed. The local King was childless. He prayed to Lord Sri Ranganathar for an heir. One day he spotted a baby girl lying on a lotus flower. He took her under his care, named her Kamalavalli and brought her up with all the love and affection. The child grew into adolescence and one day saw Lord Ranganathar taken in procession and fell in love with the Lord. When the king came to know this he was delighted that his adopted daughter was in love with the Lord himself. He adorned her as a bride and took her to the temple. In the temple the bride on seeing the Lord walked into the innermost sanctum and merged with the deity. In commemoration of this merger the king built and expanded the temple further. He also built two shrines, one for Kamalavalli and the other for 'Azhahiya manavalar' (Handsome bridegroom) During later years the Chola kingdom lost its power and was invaded by the Moguls who plundered the temple and took away the figure of Alahiya manavalar or Manavalapperumal as he was also called. A woman very much devoted to Alahiya manavalar followed the marauding soldiers and managed to enter the harem of the Mogul king. She found that the beautiful idol had been presented to the princess who had kept it in her bedroom. She then came back to Sri Rangam and conveyed this news to the chief priest of the temple. This woman was then called 'Pinsentra Valli' (the one who followed)

A deputation of musicians and dancers were sent to the Mogul court under the leadership of Pinsentra Valli who managed to persuade the King to return the Idol to them. On learning this, the Mogul princess became so distressed the King had to send a posse of soldiers along with the princess to retrieve the idol. When the delegation returning with the idol heard of this pursuit of the Mogul princess they hid the idol in Thiruppathi and dispersed. The princess arrived at Sri Rangam and when she could not find the idol she collapsed and died there. The soldiers who accompanied her returned to their kingdom empty handed.

There was a blind man in the service of the temple who had been there during the period when the original idol was there. One day he was offered the ablution water from the idol that had been kept in the outer enclosure. When he put this water in his mouth as devotees do, he shouted with joy, 'Num Perumal, Num Perumal' - meaning 'Our Perumal'. When questioned he said that he could distinctly remember the taste of the ablution water of the original Perumal and this water tasted the same. The authorities were then convinced that this was the original idol and installed it in the sanctum. Thus the deity is also called 'Num Perumal'.

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MADRAS-CHENNAI

The founding day of Madras is considered to be August 22, 1639.
It was on that day, in that year, that a sliver of land, where Fort. St. George stands today, was transacted by the East India Company.The deal was struck by Francis Day, his ‘dubash’ Beri Thimmappa, and their superior, Andrew Cogan, with the local Nayak rulers.It is believed that this deal was made on August 22, 1639.

Madras now called Chennai is 368 Years old city in India.

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Thiruannamalai

Thiruannamalai (Thanks to Geocities.com) Significance of its Name : In ancient times, the term "Annamalai" meant an inaccessible mountain. The word "Thiru" was prefixed to signify its greatness, and coupled with the two terms, it is called Thiruvannamalai. Maha-Visnu and Brahma puffed up with arrogance sought to perceive the end and beginning of Siva. Visnu took the form of a boar and started searching Siva's terminal, while Brahma assumed the form of a Swan and commenced seeking the head of Siva. Siva, stood in the form of light - Fire just to snub their vanity. Thiruvannamalai, is the stalam Where the Lord Siva took the form of Fire, This anecdote has been praised by Thiru gnanasambandar by a psalm. Because Lord Siva assumed the Form of fire to be out of reach for Vishnu and Brahma here , the place took the name Annamalai. "Annal', is a Special name for Siva. That is the reason Gnanasambndar Speaks of the greatness as the "shadow of Annal ". The Fire-light form assumed by Annal became the mountain of this Stalam. Hence this mountain came to be known as Annal Malai, slowly corrupted to Annamalai. That which cannot be approached, the inaccessible mountain, is Annamalai. Because the Lord Siva took the inaccessible form of Fire, neither the crest nor the root could be approached, it got the sacred name Annamalai. This term Annamalai, was called Arunachala, Arunagiri in sanskrit. Aruna means crimson colour. Arunachalam means the red mountain (achala means immovable). As Siva Stood in the form of Fire it became a Fire Mountain. A mountain of Fire is red in Colour. This Thiruvannamalai stalam is also known by the names Arunagiri, Annamalai, Arunachalam, Arunai, Sonagiri and Sonachalam. Arunai is only the corrupt form of the name Arunagiri , Arunamalai and Arunachalam. All these names signify only one thing - the Fire Mountain. True to the convention of calling this stalam by various names stressing the prime name Fire Mountain, to this day the Mountain of this stalam is clothed in a crimson light like Fire at dawn, when the sun rises in the East.
Grandeur of This Stalam: This Tiruvannamalai is one of the greatest Saivite shrines in India, on a sprawling 24 acre temple campus, drawing hundreds of thousands of pilgrims every full moon. The hill here is considered to be a manifestation of Siva. The Earth is composed of five elements. Earth, Water, Fire, Air, Ether is these five elements. They are also known as prithivi, Appu, Thejo, Vayu and Akasa. Tholkappiar in his composition (1589) has categorically stated some thousand years ago that this world is composed of these five elements. The physical body of the throbbing life is also intermingled by these five elements. Our ancestors, having understood the essence of the five elements, have caused temples to be erected for each element. They are known as the Sacred spots of the five Elements. They are: Earth (land) - prithivi - Thiruvarur, Kancheepuram Water - Appu Thiruvannakikka Fire - Theju Thiruvannamalai Air - Vayu Thirukkalath Ether - Akasa - Chidambaram Thillai Kalambakam beautifully Expresses about this five stalams of elements. Of the stalams of five elements, Thiruvannamalai is the Teju Stalam: and stands foremost in bestowing grace. To be born in Thiruvarur, to die in Kasi, to see Thillai, to think about Thiruvannamalai bestows liberation; hence this stalam naturally stands supreme. One should reach a place to see, and to die, but to think one need not move an inch. One can think from the place and think of Annamalai. Because this place bestows liberation, this has secured the names Muktipuri and Sivologam. The Mukti stalam - Thiruvannamalai is supreme through three aspects, Deity, Stalam, and Tirtha (holy water). Located 42 miles (67 kms) from Villipuram, this Mukthi stalam spreads through an expense of 24 acres containing the temple of Annamalaiyar with towers piercing the sky. This shrine is famous not only in South India but throughout India. Its fame is immeasurable. It is the utterance of Saint Thirunavukarasar that one's sins will be washed off by worship here. It was in this stalam of "Fire" that the shapeless Supreme assumed a cognisable Shape. Saint Manickavachagar has put forth this idea in one of his psalm as "I bow to the Formless and the Form. The mountain in this place is like a medical cure and hence is called "Malai Marunthu" (medicine mountain), as It got the name Arunachalam. Legends declare that those who pronounce the name of this stalam once, secure the bliss of repeating three crores of time the pancakshara (the Mantra of Five Words) and that not only those who visited and worshipped in this stalam, but also their descendents up to 21 generations will get liberation. Brahma and Visnu filled with joy on seeing the Lord in the form of a Mountain addressed him supplicating how they can worship if he were to remain as a huge mountain and requested him to take the form of a sivalingam at the foot of the hill. Lord Siva conceded to their request to become a sivalinga and vanished within the hill. Immediately a Sivalinga appeared there. Overwhelmed with joy, Brahma and vishnu caused a temple to be erected through the divine sculptor Mayan. A prosperous city and three hundred holy pools sprang there. Besides the celestial Ganga and Kalpaka became Wells and trees. The Epics declare that Devas and Sages were born as men. Legend also reveals that while Nandikeswara was extolling the greatness of this stalam to sage Markandeya, he explained that while all others stalams can be deemed to be Body, this Arunachala is the Face with Lord Siva as its eyes. He also told that the fame of this stalam is unfathomable. Those who bathe in the Holy tanks like Indra Tirtham circumambulate the hill, perform "Dhanam" (donate gifts). Worship Arunachala, witness the Deepa Darishanam and meditate sincerely will be blessed with vast wealth and attain liberation. Uniqueness of the place: As the Vedas have declared "though formless, being without beginning or end", the Lord of effulgence will present himself in a form," Thiruvannamalai is the unique holy spot where He has shown himself in a Form of Lingam. The primary Lord from his shapeless mass of Mountain has assumed the shape of a Lingam in the Temple for all to view. This sacred temple is a light beacon for all to steer through the sea of birth and reach the Shores of Mukti (Liberation). As one enters the town Annamalai, the Rajagopura, standing Majestically, soaring 217 feet (65m) comes to view first. This tower is a standing testimony to the artistic genius of the vijayanagara Dynasty. Inside the Temple in the south west corner of the thousand pillared hall pathala (underground) Lingam, worshipped by the inimitable Ramana Maharishi. This is the place where Ramana Maharishi did penance and absorbed in the Bliss of Meditation secured liberation. The Kamabath IIayanar Sannadhi in the temple is a famous one. Adorned with the temple is a famous one. Adorned with 16 pillars, this spot was the hallowed place where Arunagiri Swami, the Author of Thiruppugazh, was granted Mukti by the Lord. God Muruga bestowed grace on this devotee under the sixteen pillars after accepting the devotion by the token Tamil Tiruppugazh. The IIayanar sannadhi near the Gopura is the place where Arunagirinadha disgusted with life, fell from the Vallala Maharajah tower; Lord Muruga saved him by receiving him in his hands. Muruga further blessed him in this sannadhi by appearing with his spouses Valli and devasena. The Kiligopura in this Temple has an interesting background. Proud Deva Raya wanted a Parijata flower from paradise, and Arunagirinadha after shaking of this physical body, assumed the form of a parrot for that purpose. Sambandan, his foe, viciously circulated that Arunagirinadha has expired on which all cremated his physical body. After the lapse of some time, Arunagirinadhar returned only to find that his body has been burnt and he had to live as a parrot in the kili Gopura, while he sang the charming Kandar Anubhudi. That is why that tower was kili Gopuram. In a niche in that tower can be seen a mortar image of a parrot. It is not an empty boast to tell that the shrine of Annamalaiyar is a forest of Gopurams. Nine tall Gopuras and nine vimanas adorn the temple. Of these the Thirumanjana gopuram is 157 ft high; Ammani ammal tower soars 171 ft and the Periya Gopuram extends 144 ft. comprising 6 enclosures, we cross each through miniature towers of 70 ft high. The Temple is rich in Mandapams too. Of these the Jnanapal mandapam, Tirthavari Mandapam Thirvarul Vilasa mandapam, Madhapirappu mandapam, Rudraksha mandapam, Nandhi mandapam, Amavasai mandapam, Panner mandapam and Katchi mandapam are noteworthy. Thiru kalyana mandapam is a poem in stone, its wooden canopy being roofed with copper tiles, embellished with exquisite murals and artistic pillars. It was built in 1903 by Nattukotai Nagararthars, and stands as a salient witness to the grandeur of Nagarthar's handwork. In short it is a Museum of Art. Opposite the Kiligopura stands the Sixteen pillared pavilion. In the Month of Karthigai When the Great Fire is Lighted atop the hill, the panchamurtis (Five deities) assemble here. At the time when the Lamp in front of the Bali peer is lighted, the huge beacon fire of light burning at the crest of the hill, with thousands of Devotees chanting in unison "Annamalaiku Arohara", what an entrancing sight it offers. Another important ritual that is celebrated in the temple is he Bharani deepa at 5 am on the 10th day of the Karthigai Festival and the Mountain Deepa Darshana at 6 pm. In the third Enclosure, one can see the sub shrines of sokalathiswarar, Ekambaresvarar, Chidambaresvarar, and Jambukeswarar. The unique feature here is that those who cannot visit the panchabudha stalams located can have darshana of them here itself. Near the sanctum, one can see rings hanging from the mouth of an Yali (a lion like mythical animal) like entiwined chain. This object draws our Mind to the various mental attributes of man: affection possession, passion, Illusion and desire. Proceeding along the outer enclosure, worshipping the 63 Nayanmars, We reach the sanctum of Vishnu, Who was responsible for the Annamalaiyar temple. Vishnu is enshrined here with the Name of Venugopala. The shrine of Chitragupta, the scribe of Dharma who registers all our acts, is located next to the Navagrahas in the Amman temple (Shrine of The goddess). The stone pillars that support the Mahamantapa of the Devi Shrine are of extraordinary beauty. The 16 pillars of this Mandapa are a treasure house of Art, revealing the intricacies of Silpa canons. Within the Sanctum, the goddess reveals Herself in a Young maiden form. This illustrates a Mystery. In her right hand is the lotus flower; the left hand hangs limpy expressive of the humility of a charming girl. The pose expresses that one can live in this world happily bereft of sorrow if only they live like a fragile flower clothed in humility. In the enclosure of the Devi Shrine, the psalms poured forth by Jnanasambanda, Navukarsar, Arunagirinadhar and Manickavachakar about this stalam are written on the walls. The inscriptions of the walls in the third enclosure display the Meykirtis of the Cholas, Pandiyas, Pallavas, Hoysalar, and vijayanagara rulers. We learn from the epigraphs that kopperunjinga donated Thiruvasi, the Holy feet of Nataraja, a gold throne and gold ornaments. From another inscription we learn that during the vijayanagara rule and especially during Krishna Deva Raya's period, the thousand pillared hall, the holy tank of Vasanthosthsava the gopura of 11 tiers, a car for vinayaka, Indra vimana and such 20 great gifts were made. From the time of the historic Cholas through Vallala Maharaja, Krishna Deva Raya, Tanjore Nayaks, and of late from patrons like Nattukotai Nagarattar, this Annamalaiyar temple grew gradually in artistic splendour. Ani Annamalai also called Adi Annamalai is the ancient temple and is in on the route of circumambulating the hill. Nearby stands a separate shrine for Manickavachakar. Encircling the hills are 360 sacred pools, and in the eight cardinal directions are the Asthalingas and Asthanandis. Annamalai stalam has a special place in the history of our Tamil culture and Religious life. Manikavachakar has praised this stalam in no words, and Thiruvembavai, the divine composition, owes its blossoming to this place. And it was in this Stalam that saints Thirunavakarasar and Gnanasambandar sang their Thevarams hymns. This is the Stalam where Muruga blessed saint Arunagiri with the grace. It was Muruga who initiated Arunagiri to compose and even provided him with the first line. It was at Thiruvannamalai that Arunagiri lived and on 15th August, every year a festival is conducted here for him. The Thiruppugazh is a devotional composition paving the way for salvation by including the devotees to become spiritual .The song commencing with the words "Muthai Tharu", in Thiruppugazh was provided by Lord Muruga and in this stalam. Kanda Puranam, Thiruvikaiadal Puranam etc. give us glimpses of the shrines of Muruga and the pilgrim route of Agastiyar, mentioning Thiruvannamalai as an important place. Thiru Arul Vallalar Ramalinga Swamigal has sung about this effulgent Thiruvannamalai. The Thiruvannamalai athinam at Kunnuakudi was established by a great singer, Deivasigamani Desigar about 500 years ago. Sivapragasar a man of versatile imagination, Vanna Sarabham Thandapani Swamigal and such Great men lived here. Though this town is known by the name "Thiruvannamalai" strictly speaking it is not correct, as it is only the name of the hill. This stalam has already attained fame by the presence of Seshadri swamigal who came here some time before Ramana Maharishi. The samadhi of Seshadri swamigal, the ashramam of Ramana, and Isanya mutt are all located here. The cave of Pathala Linga, where Ramana Maharishi secured bliss is within the temple. Thiruvannamalai, is a stalam without beginning or end, shines with its own effulgence, that burns the ego afflicting human beings. The temple is big, the towers big, the tank big, the deities big, the walls big, the corridors big; in short, everything about this temple is Big. History of Thiruvannamalai: The history of this town dates from the early Chola period i.e. the period of Aditya I and Parantaka I (A.D. 871-955) when the Chola empire had expanded northwards to include practically the wholes of Tondaimandalam. After Parantaka I till the reign of Rajendra I, Chola rule over this region is not attested by the Thiruvannamalai inscriptions, possibly on account of the Rashtrakuta invasions and occupation of this area by Krishna III. This is perhaps indicated by a single inscription of Kannaradeva (Krishna III) found in this temple. the recovery of this region by the Cholas Was a slow process and reached its successful conclusion only towards the close of Rajaraja I's region i.e. AD 1014, for even Rajaraja is conspicuously absent in the inscriptions of Thiruvannamalai. While the rule of Rajendra I and Rajadhi Raja I over this area is attested by their inscriptions, once again a fairly long gap of over a hundred years is indicated by the absence of any Chola inscriptions till the beginning of Kulottunga III's region (AD 1183) Large scales activities in the period of Kulottunga III and Rajaraja III are indicated by a number of records in the temple. Further, the frequent references to a number of Chola feudatories of this period would also show a gradual ascendancy in their power and importance till the final establishment of independence by the Kadavaraya chieftains in the second quarter of the 13th century A.D. In this connection mention may be made of an interesting inscription at Thiruvannamalai, which records the agreement entered into by a number of feudatory chieftains to support one another and swearing allegiance to the ruling Chola king (Kulottunga III-A.D. 1210), pointing to a period of great political tension under the late Cholas. The inscriptions of Kopperunjinga clearly show that by the second quarter of the 13th century, the Kadavarayas had established complete mastery over this region leading to the final decline of Chola power. A brief period of Pandya supremacy over this region is indicated by the inscriptions of the Pandyas of the second empire such as Jatavaraman Srivallabha and Tribhuvanachakravartin Kulasekhara in the 13th century AD The Hoysalas under Vira Vallaladeva (Ballala III) also exercised sway over this area dated AD 1340 indicates that the Hoysala power continued to influence Tamil politics even after the Muslim invasions of Malik kafur. After the Hoysalas, Thiruvannamalai passed into the hands of the Vijayanagar rulers, whose southern invasions under kampana are well known and led to the establishment of Vijayanagar authority over practically the whole of Tamil Nadu. Vijayanagar inscriptions in this temple are fairly large in number and range from the period of Harihara II to the late Vijayanagar ruler Venkatapatideva Maharaya i.e. late 14th to the 17 th centuries AD Following them, their Kayak feudatories of Tanner, established their independent sway over this region and under the famous Sevvappa Nayaka, carried out large scale renovation and building activities in the temple. After Nayak rule, this region seems to have gradually passed into British hands except for a brief period of subordination to the Mysore Odeyars (AD 1816). Town and Temple: Thiruvannamalai is one of the major sacred places of Tamil Nadu

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The big Waterfalls at Hogenakal

You get the feel of the river running nearby when you enter the sanctuary enclosing Hogenakal waterfall. Suddenly, there is plenty of vegetation and little habitation, the road keeps going down and down into the valley indicating the probability of finding a river. A 15 minute of quite drive into the forest leads you to a busy and noisy village(or call it a marketplace) or Hogenakkal.Hogenakal is around 150km from Bangalore. You need to take Hosur road and drive through Hosur and Krishnagiri, turn left after Krishnagiri and reach Dharmapuri. Drive into Dharmapuri and ask for directions to the fall. Another 30km drive takes you to Hogenakal. Roads are pretty good till Dharmapuri and then will slow you down a bit. Expect a two and a half hour journey. No food or accommodation available at the location and it is good to pack your lunch before you start. Starting early from Bangalore helps, as it can get really sunny as the day goes.

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Beauty at its peak

Kodaikanal (also known as Kodai) is a city and a Taluk division of Dindigul district in the Indian state of Tamil Nadu, South India.

Kodaikanal is sometimes referred to as the "Princess of Hill stations" and is a popular tourist destination. Much of the local economy is Hospitality industry based on national and international tourism. Kodaikanal was established by American missionaries around 1845, as a refuge from the high temperatures and tropical diseases of the plains.


Due to its high altitude, Kodaikanal has a temperate subtropical climate. Surface temperature varies from moderate to quite cool. During the summer average temperature is 11 - 20°C (52 - 68°F) and during the winter it is 8 - 17°C(46 - 63°F). In January, night temperatures sometimes drop to freezing, and thin ice is seen on the lake edges.Kodaikanal stands in a 2,195 m (7,202 ft) high basin at the southern edge of the central part of the Palani Hills in the Western Ghats. Kodaikanal is at the top of a steep 2,000 m escarpment which is dramatically visible from Pillar Rocks. It is located between latitude 10°7' N - 10°20' N and longitude 77°16' E - 77°45' E. It has a beautiful lake and numerous scenic mountain views of the plains below. There are several waterfalls in the area, which are popular attractions. To the north east is Perumal Malai (Mount Perumal), a hill which resembles an extinct volcano.

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Bharata Natyam

Melody and Rhythm
Tamditham tei ta thei… A hush falls over the audience as the silk-clad dancer, bedecked with fresh flowers and jewellery steps onto the stage. In perfect harmony with the recitation the danseuse unfolds the powerful yet gracefully feminine movements.




As the audience is being transported into the world of rhythm and joy, few of them realize that years of rigorous training as well as enormous mental and emotional discipline has gone into the blossoming of the Bharat Natyam dancer.




Many people wonder what the name Bharata Natyam really mans. Most of us know that it is the name of one of India’s ancient classical dance styles, but few realize that the term Bha-ra-ta implies the triple components of bhava (expressional dance), raga (melody) and tala (rhythm) all of which are judiciously combined in this beautiful dance style. Originally Bharat Natyam was ritual dance wherein a young women occupied the hallowed position of a temple dancer and performed to the accompaniment of a number of devotional songs while giving vivid facial expressions which conveyed the meaning of the accompanying lyrics. The name Bharata Natyam was given to this dance much later, when it was formally introduced on the stage for the enjoyment of connoisseurs and the general public. It was earlier known as Sadir.





Bharata Natyam originated from Tamil Nadu. Earlier, rigid provincial broders did not exist and each great dynasty that ruled in any area, spread their powerful empires far and wide. During the time of Vijayanagar dynasty Bharata Natyam absorbed a number of influences of its neighbourings late, the culture of Andhra Pradesh.




Thus, the Telgu language of Andhra Pradesh forms a substantial part of the background music for Bharata Natyam, besides the original sons in Tamil language. Later, during the early 18th century the Maratha rulers of Tanjore also patronized this dance by employing female dancers to entertain their royal assemblies. There were many great composers who were employed in the court of Sarabhoji, a noteworthy Maratha ruler, and most prominent among them were four brothers called Ponnaiah, Chinnaiah, Sadasivam and Vadivelu.




These learned men gave a proper shape to Sadir. Today’s Bharata Natyam owes much of its stylised structure to these four brothers who came to be known as the ‘Tanjore Quartet’. From then onwards Bharata Natyam has largely remained in the format that the Quartet had given it, though individual variations can be found in the presentations of some contemporary Bharata Natyam dancers.




A recital of Bharata Natyam dance begins with an invocation. This song offers prayers to a certain god or goddess, associated with knowledge, wisdom and auspicious omens. Then the dancer presents the very first item, usually drawn from the ancient temple repertoire, such as a formal offering of flower petals at the altar, followed by an introductory dance sequence showing the basic stances of Bharata Natyam. This sequence is called pushpanjali (floral offering) and alarippu (introductory sequence).




The second sequence is a melody and rhytam combination (jathi swaram) wherein complicated techniques (footwork, body movements, hand gestures all combined) are performed with a serene expression, to a series of musical notes. There is, notably, no story telling or facial expression in this sequence.




The third piece presented is usually a sabdam. This is a form of singing in which a popular legend or myth is told in a simple metre. Accordingly, the dancer conveys through facial expressions, the contents of the lyrics.




The fourth item is one which occupies the central position of the concert, in which the dancer’s concentration, stamina and artistic competence are all put to test. This is a dance called Varnam. Varnam is a complicated edifice which starts with an impressive rhythmic passage, leading on to mimetic sequences and concluding in a faster tempo.





The dancer is expected to alternate technique and facial expressions effectively while maintaining the emotional intensity of the song. Varnam is danced for a duration of 40 minutes or even one hour by accomplished dancers.




After a brief rest of a few minutes, the Bharata Natyam performance is resumed with leisurely and slow paced love songs and devotional songs to which the dancer gives appropriate expressional interpretation. This part of the dance is called abhinaya and the songs – known as padams and javalis. One must not be misled into thinking that these are by any means, easy to perform. To the connoisseurs of dance, abhinaya represents the real essence of Bharata Natyam and a dancer is acknowledged only after she has mastered this aspect. More mature dancers are expected to freely improvise their expressions and give unusual and varied interpretations even to common songs. Thus abhinaya tests authority of an artist. Having satisfied the highest aesthetic demands of the connoisseurs, the dancer ends the performance with a fast and sparkling thillana in which once again rapid footwork, pleasing body postures and other techniques of Bharata Natyam are presented.




In this manner, the contemporary performer of this ancient classical dance preserves and portrays all aspects of the dance style.




The question always arises as to how individual contributions of various teachers and dancers can figure in a rigidly stylized form. A sensitive audience usually welcomes any innovation that falls within the norms of a classical style but rejects those forms which spoil the familiar beauty of such as a style. So, innovative dancers have a great challenge to meet and always try to work within the precincts of their chosen style of dance.




A Bharata Natyam dancer wears a specially made costume of brightly coloured silk, bordered by gold thread work. In olden days, a silk sari of 8 or 9 yards would be wound elaborately around the dancer’s body, and tucked in several places. Now, this same costume, is stitched by special tailors, is easier to wear and drapes better. The dancer also takes less time to change into different costumes. Every limb of the dancer is adorned with traditional jewellery made of semi precious stones set in gold leaf. Her hair is made into a single long braid and decorated with flowers. The ankle bells worn by the dancer (numbering from 30 to 50 on each ankle) make musical sounds which emphasise her foot beats, (but a good dancer must never be caught on the wrong foot!).




The accompanying singer may be female or male and one or more drummers may be engaged for the performance. They play the mridangam (a cylindrical drum placed in the horizontal position); ghatam (the earthen pot placed in an inverted position and tapped rapidly; the kanjira (a leather bound tambourine) and other drums. A flautist ad violinist also feature in the orchestra. One of India’s most ancient string instruments is the Veena. Two dried gourds are connected with a long hollow wooden stem at opposite ends. Four strings are stretched over frets and affixed on the wooden stem. By pressing the strings with one hand and strumming them with the other, every note that the singer sings is reproduced sonorously by the Veena player. Veena forms a part of the orchestra of Bharata Natyam. But the pride of place is occupied by the conductor of the orchestra. He or she is usually the guru (teacher) who has coached the dancer, though professional orchestra conductors are also engaged from time to time by senior dancers who have graduated to work independently. The conductor wields a pair of brass cymbals which he claps together and at the same time utters rhythmic sound-syllables matching with the foot beats of the dancer.




This continuous stream of strong and often rapidly pronounced syllables have no linguistic translation other than in dance terms. This technique is known an nattuvangam and the conductor is called the nattuvanar.




Modern day dancers may keep up their practice with taped music though a live orchestra is always preferred. But professional level concerts give results only when a live orchestra is playing, as is the usual practice in India.




A Bharata Natyam dancer also learns various methods of applying facial make up, selecting and adjusting jewellery and costumes etc., as well as a wardrobe manager or makeup man can. The dancer learns methods of selecting appropriate items for a particular concert, the tempo suitable for each item, with her knowledge and experience.




Bharata Natyam in India has travelled a long way since the time of its days in the temples. Today it is a complex performing art learnt over a period of at least six years, which also serves the social purpose of knitting together the cultural identity of the young and old generations. It is famous both at home and abroad. A number of academies have come up though individual tuition is also given. Many young women and men from various parts of India and the world flock of Tamil Nadu to acquire training in Bharata Natyam.





Tamil Nadu is famous for their school of the Bharata Natyan in Chennai. A classical Indian dance performed by the indicative rules of the Veeda's telling its story as a worship to Deity.

Every year at Poongal (the harvest-celebration of the rice on 15 January ) there is a dance-festival at Mahabalipuram. This shot was taken at Ideal Beach Resort, a hotel a 3 km from Mamalla next to Devaneri, a fisherman-village

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