Pillayarpatti

This image of Ganesha is bound to be familiar to anyone of Tamil origin; however, little is known to many about the fact that this is an image of the rock cut Karpaka Vinayakar Shrine at Pillayarpatti near Karaikkudi at one of the oldest Cave Temples (Rock Cut) temples of Tamilnadu. Pillayarpatti is situated between Pudukkottai and Karaikkudi. The nearest airport is at Tiruchirappalli. Chennai Rameswaram Express and Kamban Express travel to these two railheads.

The town of Pillaiyarpatti is named after 'Pillayar' - the tamil name for Ganesha, and this ancient temple houses rock cut images of Shiva, Lingodbhavar and others as well as several other shrines. Steeped in the tradition of Agamic textsthe temple bears testimony to the vibrant temple culture of the Tamil people, passed down through centuries.

Deities: Karpaka Vinayakar or Desi Vinayaka Pillaiyar is the presiding deity here, and he is portrayed with two arms and a trunk curled towards his right in the valampuri mode. This 6 feet tall mammoth image of Ganesha is a bas relief in an excavated cave, off of a hill in the precincts of the temple. Tiruveesar is a Shiva Lingam carved in a similar manner. Other deities in the temple include Marudankudi Eesar and his consort Vaadaamalar Mangai.

Antiquity: Over 15 inscriptions are found within the temple, that help establish the age of the temple. The Stalapuranam published by the temple classifies the growth of this temple into three distinct stages.
The first stage goes back in time by about 1600 years. During this period, the innermost rock cut shrines housing Karpaka Vinayakar and Tiruveesar came into being. The uniqueness of the image of Ganesha is one factor testifying this date; the characters used in the temple inscriptions also help establish this date. The pillars within the shrine are of pre-Pallava origin.

The Pallavas were prolific builders of rock cut temples (Mahabalipuram, Mahendravadi, Mamandur, Mandakapattu, Seeyamangalam, Namakkal, Tiruchi, Nartamalai, Kudumiyanmalai, Tirukkokarnam, Tirumeyyam, Peraiyur, Malayadipatti, Tirukolakkudi, Kunrakkudi etc.). A number of these can be traced to Mahendravarman I (615 - 630 AD) and Narasimhavarman I (630 - 668 AD). However, the inscriptions at Pillayarpatti date further back to the 4th century AD. Also, given the location of the temple in the Pandya kingdom it would only be logical to associate Pandya patronage to this temple, especially in the light of Pandya patronage at the Kazhugumalai temple not too far from here.

There are several inscriptions within this temple that date back to the period between 1091 AD and 1238 AD, making it apparent that the Pillayarpatti Nagarattar became the custodians of the temple during the 13th century AD during the second growth phase of this temple, when Vimanams and Rajagopurams were built.

The third phase of growth is much more recent and it involved the repair, rebuilding and refurbishment of the entire temple complex, including the renovation of the temple tank. The tank and the two Raja Gopurams provide an attractive approach to the temple, in this rather remote town of Pillayarpatti.

It is with great pride that the Pillayarpatti Nagarathar community which has been traditionally involved with the temple - patronizes maintenance of this temple and the scrupulous conduct of worship services.

Worship Protocol: Each day, five worship services are offered to the presiding deity, commencing at 6 AM , and closing down at 9 PM. During the fourth phase of each lunar half month, Pillayar is taken in procession around the temple. Hundreds of pilgrims patronize the temple on these days.

Festivals: The grandest of festivals is Ganesh Chaturti in the month of Aug - September, where a ten day celebration brings much gaiety to this temple town. Each day's celebration is marked by much splendor as Pillayar is taken in procession around town on several of his mounts, as are the other Pancha Murthys. The ninth day of the festival is marked by a chariot procession. In addition, the ten day festival in the month of Vaikasi (May - June) is held in honor of Kongu Nachiyamman, a village deity whose processional image is also housed here. The Margazhi Tiruvadirai festival is celebrated in honor of Nataraja and Sivakami (Dec - Jan).

Nearby Attractions: Pudukkottai houses the Gokarneswarar Temple, and Kunnakkudi houses the hill temple of Shanmukhanathar.

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Chennai Port trust

Chennai Port (Tamil: சென்னைத் துறைமுகம்), formerly known as Madras Port, is the second largest port of India, behind the Mumbai Port. It is over 125 years old. This was a major travel port before becoming a major container port. It is a substantial reason for the economic growth of Tamil Nadu, especially for the manufacturing boom in South India. Its container traffic crossed 1 million TEUs for the first time in 2008. It is currently ranked the 91st largest container port and is expanding in the coming years.
Situated in the coromandel coast in South-East India, the port of Chennai has more than 100 years of tradition. Strategically located and well connected with major parts of the world, it is today the hub port on the Indian subcontinent. Committed to efficiency through innovation the Four corner stones of the port will see much growth in the years to come. Continuous modernization, efficient services at minimum cost, simple and integrated procedures, and user-friendly approach.



TUTICORIN PORT

INTRODUCTION

Tuticorin was a small town with a rich maritime history. It was the center for maritime trade and pearl fishery. It was ruled by various dynasties like the Pandyas and Cholas, then fell into the hands of the Portuguese and Dutuch before finally coming under the administration of the British. The natural harbour and rich hinterland of Tuticorin Port prompted the East Indian Company to plan the development of the harbour. The lighthouse built in 1842 marked the beginning of the history of Tuticorin Harbour Development Wooden piers and iron screwpile pier were constructed and trolleyrails laid to connect the Port to the railway.

INDEPENDENCE AND AFTER

Tuticorin became the citadel of the freedom in the early 20th centuary. In 1906, the great freedom fighter of India, V.O. Chidambaram Pillai launched the first Swadeshi ship in British India. The minor Port of Tuticorin had a flourishing trade handling a variety of cargoes meant for the neighbouring countries of Sri Lanka, Maldives etc. and the coastal regions of India.

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Cultural Festival to Mark Big Temple's Millennium Celebrations

The Tanjavur “Big Temple” (Peria Kovil) is one thousand years old this year - 2010. Raja Raja Chola I, commissioned this greatest edifice of Tamil history, and performed the sacred dedication of the temple in the year 1010, the twenty-fifth year of his reign. It was the jewel-in-the-crown of Raja Raja, an extraordinarily powerful king,
a grand monarch with a style of his own, a conqueror who also understood art and architecture, and a true devotee of Shiva. It is a matter of pride that a Tamil king built the finest example of Tamil architecture, stupendous in proportion, yet simple in design. Shiva, in this temple is known as Brihadeeswara – the lord of the Universe. A gigantic stone “lingam” fills the sanctum sanctorum, sheltered by a “vimanam” (towering roof) which pierces the sky at two hundred and sixteen feet. One can gaze with awe at this majestic structure from a distance as one drives towards Tanjavur.
However many times one has seen it, one cannot help but hold one’s breath in amazement. And as you enter its precincts, this temple never fails to humble you, for such is its magical magnificence. It is the perfect tribute to the Almighty, ordered by a great king and executed by his subjects who contributed to its building in more ways than one. To this day, it stands tall as a reminder of who we are in the history books of culture, art, architecture, religion, language, governance and trade.

The temple occupies an area measuring about seven-hundred and fifty feet by four hundred feet, in a fort, surrounded by a moat. It is a marvel of engineering, considering the technology of those ancient times. The towering Vimanam is built up with stones with bonding and notching, without the use of mortar. The topmost stone weighing about eighty tons is still a matter of discussion for engineers who are baffled as to how the builders lifted it to that height without the help of modern contrivances. A charming tale is told about a ramp being built from a village – Sarapallam- four miles away, from where the giant stone was pulled up by elephants! The details of the stone work of this imposing “vimanam” are representative of the masterly craftsmanship of South Indian artisans. The ‘shilpi’- sculptor, and the ‘ sthapathi’ – architect came together to create their fanciful abode for Shiva. Naturally, the shape had to echo mount Kailash itself. In its perfect geometry and distinct clarity of lines, this tower is unbeatable.

Every feature of the temple is larger than life - the monolithic Nandi, the gigantic (twelve feet high) Dwarapalakas (guardian deities), and the elegant sculptures in the niches around the central shrine. They are distinguished by an elegant simplicity in lines and ornamentation. The faces of the figures like Dakshinamurthi, and Yogalakshmi are beatitude in essence. Inside the Vimanam, there is a hidden corridor surrounding the sanctum. Rarely open to visitors, this is a treasure trove of Chola painting and sculpture. The walls of this cave-like corridor were plastered with lime and used as a large canvas for the paintings. Perhaps the subjects chosen were dear to the great king’s heart, for he was a staunch Shaivite, a great warrior who took pride in his victories, and was responsible for the renaissance of the “bhakti” movement through the spread of the songs of the saints (Thevaram). The paintings which have survived time and a seventeenth century coat of paint, are exquisite in detail and colour, and proportion. The colours in the paintings are subdued, the lines are delicate and the expressions vivid and true to life. Figures of Dakshinamurthi, Nataraja in Thillai, surrounded by celestials, dancers and saints in a celebration, and Tripuranthaka, the gigantic warrior are master-pieces of Chola painting. The story of Sundaramurthi Nayanar reaching Kailash on a white elephant is depicted on another wall. The most telling of all is the portraiture of Raja Raja with his Guru Karuvur Devar. It was Karuvur Devar the wily administrator who master-minded the building of the temple, and fittingly he has a special shrine dedicated to him in the outer courtyard of the temple. While the sculptures of Shiva in this corridor are imposing and colossal, the fine series of eighty one “karanas” (dance poses) are superb illustrations of the Natya Sastra. These figures are much bigger than the dance figures in Chidambaram and other temples. The renowned historian C.Sivaramamurthi averred that this group is unique as it depicts Shiva himself dancing.


Perhaps the most exciting aspect of this temple is the vast number of inscriptions on its walls which record details of Raja Raja’s reign as well as that of his successors. They reveal that Raja Raja endowed a large number of villages, money and cattle to the temple for its maintenance, daily worship, festivals, singing of devotional songs and dancing. He and his queens presented fantastic gold and gem set jewels to the temple. The king’s donations, as well as those of his favourite queen Lokamahadevi, and his sister Kundavai are recorded on a slab close to the sanctum. Among the most note-worthy inscriptions is the one about the two streets given over to the occupation of the four hundred Devadasis who were pressed into the service of the temple from many surrounding temples of the region. Their names, places of origin, the door numbers of the houses they occupied are also part of the details inscribed. From the inscriptions we gather that the king, his queens, and their relatives set the example followed by the nobility, the merchants and even soldiers, to return to the people what was collected by taxes etc., by erecting irrigation canals, hospitals, schools, granaries and so on.

One of the best bronze images of the period is that of Nataraja, referred to as “Adavallan” in this temple. Raja Raja named the currency of his reign, a coin, Adavallan.

Over time many additions and improvements took place in this temple. Sevappa Nayak, the first of his dynasty who ruled Tanjavur built the shrine for Murugan (Subrahamanya) as an integral part of the temple. It is a beautiful elaborately carved stone structure, a designer’s delight. To copy the un-repeated designs on each of the short pillars of this shrine would take an artist weeks if not months. One can just imagine how long the stone chiseller would have taken to complete each piece. Facing this shrine one can also see a “mandapam” which houses a Maratha period portrait gallery. Done as mural paintings but in the style now known as “Tanjore painting” with gold leaf embossing, the portraits of Serfoji, his queen and other royals are a feast of colour.

One can spend a whole day in the Big Temple, and still want to come back to marvel at every detail of its beauty. Many kings had built temples to Shiva on the banks of the Kaveri. Many saints have sung in praise of these deities. But there is only one temple to Brihadeeswara, and it stands tall a thousand years after a devotee-king climbed a ladder with a copper pot (kalasam) anointed with holy water from all the sacred rivers, to dedicate it to history. Our history!

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THE NAVAGRAHA

Believers in astrology and the influence of planets over individual destiny will find Tamil Nadu is a great destination. Indian astrology believes that the planetary positions of the nine planets in a geocentric orbit determine the way a person will live, progress and exemplify one’s life to others before death. Nava means nine and graha means planet. There are nine temples located in Tamil Nadu representing each planet in the Navagraha. All nine of them are located within a sixty-kilometre radius around Kumbakonam in Thanjavur district.

Tamil Nadu is the only state where the temples dedicated to the nine celestial bodies are located in such close proximity.

Planet Temple
Surya (Sun) Suryanar Koil
Chandra (Moon) Tingaloor Koil
Chevaai (Mars) Vaitheswaran Koil
Budhan (Mercury) Tiruvenkadu
Guru (Jupiter) Alangudi
Shukran (Venus) Kanchanoor
Shani (Saturn) Tirunallar
Rahu Tirunageswharan
Ketu Keezhperumpallam

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Mamallapuram Dance festival - Mamallapuram, Tamil Nadu

Once the ancient port of the Pallavas, Mamallapuram plays host to a vibrant festival of Dance. Exponents of Bharat Natyam, Kuchipudi, Kathak and Kathakali performed against the magnificent backdrop of the Pallava Rock Sculpture.

Mamallapuram Dance Festival is organized during the months of January and February in the city of Mahabalipuram in Tamil Nadu.

This event witnesses performances on the Indian classical dances such as the Bharat Natyam, Kuchipudi, Kathak, Mohiniattam, Odissi and Kathakali.The prominent people from their respected fields gather for this cultural event that is also promoted by the Tamil Nadu Tourism Department as one of the major cultural attraction to these parts of India.

This four week Mamallapuram Dance Festival is held at the venue of Arjuna's penance, a bass-relief sculpted on the face of two enormous adjacent rocks, in Mamallapuram. The magnificent backdrop that is provided by the Pallava Rock Sculptures provide an aesthetic touch to this cultural dance festival.

The open-air stage and the dancers from far and wide come to watch the best folk dancers in India perform in front of them under the open skies in an open-air theatre style ambience. This open-air stage was created about thirteen centuries ago, the incredible monolithic rock sculptures of the Pallavas, next to the sea in this ancient city of Mamallapuram.

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Kannadasan

Kannadasan (Tamil: கண்ணதாசன்) (24 June 1927–17 October 1981) was a Tamil poet and lyricist, heralded as one of the greatest and most important writer in the Tamil language. Frequently called Kaviarasu (English: King of Poets), Kannadasan was most familiar for his song lyrics in Tamil films and contributed around 5000 lyrics besides 6000 poems and 232 books, including novels, epics, plays, essays, his most popular being the 10-part religious essay on Hinduism, captioned Arthamulla Indhumatham (English: Meaningful Hinduism). He won the Sahitya Akademi Award for his novel Cheraman Kadali in the year 1980 and was the first ever to receive the National Film Award for Best Lyrics, given in 1969 for the film Kuzhanthaikkaga.
Kannadasan was born in Sirukudalpatti, near Karaikudi, Tamil Nadu, India and was given the birth name Muthiah. But when he died at the age of 54, on 16 October 1981, millions of Tamils remembered him only by the name Kannadasan. For Tamils all over the world, he epitomised their poetry style. Even those who couldn't read the poetry of Kamban or the maxims of Valluvan, could hum the compositions of poet Kannadasan.


Kaviyarasu Kannadasan's with Chief Minister Dr.MG Ramachandran


Kaviyarasu Kannadasan's Mortal remains ....Late Dr.MGR consoling the family members
There is no doubt that he had a penetrating eye and keen observational powers. He also did not live a cocoon-type of life. He dipped into everything that Tamil Nadu could offer - wine, women, drugs, politics, polemics, atheism and religious sanctuary. After enjoying everything, what he did was remarkable - he composed verses about all his experiences, with reflective self-deprecating humour, irony, and biting sarcasm. These verses touched the sympathetic chords of Tamils from all walks of life - school boys, undergrads, housewives, farmers, manual labourers, plantation workers, middle class representatives and even upper class elites.
Atheism to Hinduism

Muthiah was a staunch atheist and a follower of the Dravidian atheistic movement. He had great love for the Tamil language and culture, and excelled in Tamil literature, prose and poetry. He once read the Thiruppavai of Andal, and was amazed at its mystic poetry, that was to have a deep and everlasting impact on him. After a lot of introspection, he decided to reconvert back into Hinduism, christened himself Kannadasan, dug deep into understanding Hinduism, and wrote his series of books on Hinduism titled "Arthamulla Indu Matham"
[edit]Poets laureate

Kannadasan was the poet Laureate of the Tamilnadu Government when he died.His autobiography is called "Vanavasam" that was published by Vanathi Publishers.
[edit]Death

Kannadasan died on 17 October 1981 in Chicago, United States, where he had gone from India to attend a Tamil conference organised by the Tamil Association of Chicago. A house in Sirukootalpatti is now a memorial for the Tamil film music's evergreen favourites. The Kannadasan memorial museum was inaugurated on June 25.

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P. C. Sreeram

P. C. Sreeram (born 26 January in Chennai, India) is a cinematographer and film director, educated at the Madras Film Institute. P.C. Sreeram is fondly called as PC sir. P.C. Sreeram won appreciations for his various cinematographic works and his directorial venture Kurruthipunal(1995) was selected as India's official entry to the Oscars. P.C. Sreeram is Admired by fellow Technicians, Industry professionals and the general Public and is considered as one of the stars of the Indian film industry. P.C. Sreeram is India's best cinematographer.
P.C. Sreeram has been a mentor of some of the top cinematographer's in the Indian film industry, some of whom include Jeeva, K. V. Anand, Tirru, M.S.Prabhu, Ramji, Arjun Jena, Fowzia, and Andrew. Sreeram stepped into direction in 1992, directing his first feature film Meera with actor Vikram in lead role.
He is considered to be one of greatest Indian cinematographers.


Often referred to as India's greatest Cinematographer, P C Sreeram is also a Director.

Some of his films as a Cinematographer:
His first film was the Mohanlal starrer Malayalam movie Koodum Thedi (1985).

Mouna Ragam (1986), was the first amongst many more of his films with Mani Ratnam.

Nayakan (1987), another Mani Ratnam film in Tamil, starring Kamal Hassan is about a little boy who grows up to be a "good" Don. The film did well.

Gitanjali (1989), Mani Ratnam's poignant love story, is still remembered for its beautifully shot sequences.

Thevar Magan (1992), starring Kamal Hassan and Shivaji Ganesan, was a big hit.

Alai Payuthey (2000), which was later remade in Hindi as Saathiya, was a sensational hit. The film (Mani Ratnam's) is about the problems a young couple faces in their married life, soon after they tie the knot.

His Bollywood film Dil Hi Dil Mein (2000), did not do well at the box office.

But his next Bollywood venture, Cheeni Kum (2007), a light comedy did good business.

Dhaam Dhoom (2008), is a Tamil film, shot extensively in Russia.

The Bollywood horror flick, 13B (2009), was not as scary as promised. It got average reviews.

Paa, which released in December 2009, has already become quite a hit with audiences of all age groups.

3 films as Director:
In 1992, P C Sreeram Directed Meera, a Tamil film. It was average.

His next film Kuruthipunal (1996), was a huge hit.

Dhaam Dhoom (2008) did not do great.

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Manimekalai

Manimekalai (Tamil: மணிமேகலை), written by Seethalai Saathanar, is one of the masterpieces of Tamil literature and is considered to be one of the five great epics of Tamil literature. Manimekalai is a sequel to Silapathikaram and tells the story of the daughter of Kovalan and Madhavi. Manimekalai has also been translated into Japanese by Shuzo Matsunaga on January 1991.

Story of Manimekalai

As a continuation of Silappatikaram (Tamil: சிலப்பதிகாரம்), this epic describes how Manimekalai, the daughter of Kovalan and Madhavi, followers of Jainism, makes social service the primary aim of her life, and how she sacrifices her entire life for that cause. Maṇimekalai studied the six systems of philosophy in Hinduism and other prevalent religions of the time. She compared them to the teachings of the Buddha and became impressed with the latter. Later, upon hearing doctrinal expositions from the Buddhist teacher Bhikkhu Aravaṇa Aḍigal, she became a Buddhist nun and devoted her time to the propagation of Buddhism in South India.
Manimekalai is set in both Tamil Nadu and in Nainatheevu, Jaffna Peninsula in modern Sri Lanka. The story runs as follows. Manimekalai is on the verge of marrying a prince when she is abducted and taken to the island "Manipallava Theevu" by her fairy godmother, who is known as "Manimegala Theivam". There she comes across "Arughar" (also known as Rishabha or Adinath) and she acquires the enchanted "aaputhiran kai amutha surabhi" - a cornucopia bowl. She uses this bowl to feed "Kayasandigai" (first in line), a cursed Yaksha (fairy) who is suffering from "Yaanai (Elephant) - Thee (Fire)" disease - an eating disorder caused due to excessive desire to eat. After this, Manimekalai is brought back to Tamil Nadu, where she uses her bowl to feed the needy.

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World Tamil Conference

The World Tamil Conference (Tamil: உலகத் தமிழ் மாநாடு) is a series of occassional conferences to discuss the social growth of the Tamil language. Each conference is attended by thousands of Tamil enthusiasts around the world. Conferences are hosted in various cities in India, as well as world cities with a significant Tamil population. The conference aims in promoting the rich heritage of Tamil language, though many see it also as a political rallying point for electoral fortunes by the ruling dispensation in TN.
A similar conference called World Classical Tamil Conference 2010 unapproved by the International Association for Tamil Research was held in Tamilnadu conducted by the Dravida_Munnetra_Kazhagam under the leadership of M. Karunanidhi. Not all agreed with the academic and intellectual rigor of the latter event. Mr.Karunanidhi inaugurated a separate website for this conference.



# Official title Host City Host Country Year Arranged by
1 1st World Tamil Conference Kuala Lumpur Malaysia 1966
2 2nd World Tamil Conference Chennai India 1968 M._Bhaktavatsalam and C. N. Annadurai
3 3rd World Tamil Conference Paris France 1970
4 4th World Tamil Conference Jaffna Sri Lanka 1974
5 5th World Tamil Conference Madurai India 1981 M. G. Ramachandran
6 6th World Tamil Conference Kuala Lumpur Malaysia 1987
7 7th World Tamil Conference Port Louis Mauritius 1989
8 8th World Tamil Conference Thanjavur India 1995 J. Jayalalitha
9 9th World Tamil Conference Coimbatore India 2010 M. Karunanidhi.

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Sripuram Golden Mahalaxmi Temple, Thirumalaikodi, Near Vellore, Tamilnadu

Golden Temple - when uttered this word, immediately people thinks of Amritsar and the Highest Body of the Sikh's pride Golden Temple. But now it has got a good competition! Yes, an estimated over 600 Crores of Indian Rupees spent, to construct a true Golden Temple for Goddess Mahalakshmi, the presiding deity, (installed and maintained by Sri Narayani Peedam) in this Temple at Sripuram, which is situated 6 km away from the District Headquarters - Vellore, North Arcot District in Tamilnadu. Now, the temple is complete, open to the general public; this town Sripuram has all the facilities one can visit to enjoy his/her spiritual experience.
A Mahalakshmi temple called 'Sripuram' and made of more than a ton of pure gold will glitter and gleam under the sun on August 24 when it is unveiled for consecration by the Sri Narayani Peetam headed by a 31-year-old god man who calls himself Narayani Amma. Devotees hail the temple as 'one of the wonders of the world' and say that it is the only temple covered fully with gold.

More than 400 gold and coppersmiths from the Tirupathi Thirumala Devasthanam are said to have worked for six years to craft the Rs. 600-crore golden temple located on 55,000 sq ft of land on a 100-acre salubrious stretch in Malaikodi, about 6 km from Vellore in north Tamil Nadu. According to official sources, the gold bars were purchased through RBI in "a transparent manner "

First the coppersmiths set to work creating a copper base on the temple structure with engravings and etchings before the gold, beaten into nine layers of foils, was draped around it. The sanctum sanctorum will hold the deity of Mahalakshmi made of stone granite, but covered with gold protection layers. (Kavacham - adornments).

" The Sripuram or Spiritual Park is Amma's dedication to the world and mankind," said P Murali, a trustee of the Peetam, adding that the temple has more gold than the Golden Temple of Amritsar.

Messages by 'Amma' have been laid out along the path to the temple with messages from the Gita, Bible and Quran. "When one enters the Sripuram, their focus is just on the magnificent temple. But when they leave, they cannot do so without taking some messages and gaining some wisdom," according to a booklet detailing the 'services' rendered by the Peetam. "In this quagmire of materialism, Sripuram rises as an inspiration to man to find the divinity within him," adds a Narayani Peedam brochure.

The arrangements were being made to hire personnel to throw a security cover around the temple. "But the gold sheets have been laid out in such a manner that it would cost more to rip it off than purchase the gold," said a top Vellore district official.

How to reach Sripuram Golden Mahalakshmi Temple? Location, Distance, Route & contact details: ( Katpadi Longitude 79 Deg. 8' East, Latitude 12 Deg. North 59' )

Whatsoever may the cause, the Temple location, its surroundings and the peaceful atmosphere are the added attractions for the visitors and it is sure worth to visit this place once. The Maha Laksmi Temple is now an attraction even for the tourists and pilgrimage. This temple is located at Thirumalaikodi; Katpadi is the nearest Railway station in the Chennai-Bangalore route of Southern Railway. How to reach Sripuram? It takes about 3 and half hours drive from Chennai, in the Chennai - Bangalore road. It is in the National Highways NH46 that connects Chennai - Bangalore (Bangaluru) and in NH4 from Ranipet to Bangalore. From Katpadi, one can reach by state owned bus to Sripuram which takes about 15 minutes drive or less. Or, one can reach Thirumalaikodi by bus from Vellore to Anicut / Odugathur route. The State run buses ply via Thirumalaikodi in this route. From Tirupati (Tirupathi) to Katpadi, there are shuttle train services available upto Katpadi or Jolarpettai (Jolarpet Passenger) or one can travel by train from Tirupathi (Tirupati) by Kanyakumari Express from Tirupati to Katpadi which takes less than 3 hours journey. Direct bus services available from all major points to Vellore from Chennai, Chittoor, Bangalore, Kanchipuram, Kanyakumari, Tirupathi & Thiruvannamalai - all being major Temple towns and picnic spots. Vellore is well connected by road with all the southern states viz. Andhra Pradesh, Karnataka, Kerala & Pondicherry. The approximate distance from each major station to Vellore is listed below for the convenience of the visitors:

Chennai - Vellore about 150 kms (Via Sriperumpudur, Sunkuwar Chathram, Kaveripakkam, Wallajahpet, Ranipet, Arcot, Ratnagari - or Arcot by-pass from Ranipet) - 3 and half hours drive from Chennai.
Bangalore - Vellore (via Hosur) - 220 kms (On national highway routes - NH7 > via - Hosur Road - Electronic City - Attibele(NH7) - Hosur - Kamandoddi - Shoolagiri- Melumalai - Kurubarapalli - Krishnagiri > NH46> - Bargur - Vaniyambadi - Ambur - Pallikondaj - Vellore. - around 4 hours drive)
Kanchipuram - Vellore - 58 kms
Tirupathi - Katpadi - 95 kms
Ranipet - Vellore - 26 kms (via Arcot bypass - highways 22 kms)
Hyderabad - Vellore - 510 kms
Mysore - Vellore - 270 kms
Thiruvannamalai - Vellore - 85 kms
Vellore - Sripuram Sri Mahalakshmi Golden Temple - 8 KM.

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Mani Ratnam

Mani Ratnam (Tamil: மணி ரத்னம்) (born 2 June 1956 in Madurai, Tamil Nadu, India) is an Indian filmmaker, screenwriter and producer. His directorial debut was the Kannada film Pallavi Anu Pallavi starring Anil Kapoor in 1983. Directing landmark films such as Mouna Raagam (1986), Nayagan (1987), Anjali (1990), Thalapathi (1991), Iruvar (1997), Kannathil Muthamittal (2002), Yuva (2004), Guru (2007), and his "terrorism trilogy" consisting of Roja (1992), Bombay (1995) and Dil Se (1998), Ratnam is widely credited with having revolutionised the Tamil film industry and altering the profile of Indian cinema. Ratnam has won five Filmfare Awards (South), four Filmfare Awards (Hindi), and twelve international film festival awards. His Tamil movie Nayagan, Satyajit Ray's Apu trilogy and Guru Dutt's Pyaasa are the only Indian films that have appeared in TIME Magazine's All-Time 100 Greatest Movies. His film Roja was the only Indian film to feature in TIME Magazine's "10 Best Soundtracks" of all time.

Personal life and education

Mani Ratnam was born in Madurai, Tamil Nadu, India to Tamil brahmin parents. His actual name is Gopala Ratnam Subramaniam. He did his schooling at Vidya Mandir Senior Secondary School. After graduating with a degree in Commerce from Vivekananda College, University of Madras and an MBA from Jamnalal Bajaj Institute of Management Studies, he embarked on a career as a management consultant before becoming a filmmaker. He got into film direction with the help of his late brother, film producer G. Venkateswaran. Ratnam married actress Suhasini in 1988. They have a son named Nandhan Mani Ratnam.
Ratnam lives in Alwarpet, Chennai, where he runs his production company Madras Talkies.

Career

Ratnam is particularly known for his eye for technical detail in the art of film making, having worked with and also introduced some of the best music directors, cinematographers, art directors, dialogue writers and editors in India. Several international papers and books have been published on his critically acclaimed movies. He has worked with many of India's superstars, including Kamal Haasan, Rajnikanth, Shah Rukh Khan, Anil Kapoor,Akkineni Nagarjuna, Mammootty, Mohanlal as well as up-coming superstars Surya and Vikram.

1980s

Mani Ratnam's directorial debut was in 1983, through the Kannada film Pallavi Anu Pallavi, starring Anil Kapoor. Mani Ratnam managed to persuade acclaimed director and cinematographer Balu Mahendra to serve as his cinematographer. The film boldly explored the nature of a relationship between a young man and an older woman. The film did not perform well at the box office. His following efforts were the Malayalam film Unaru (1984), which starred Mohanlal, and then two Tamil films, Pagal Nilavu and Idaya Kovil.
In 1986, Mani finally attained commercial success in Tamil Nadu through the Tamil language romantic drama Mouna Ragam with Revathi and Mohan. The film told the story of the friction between a newly-wed couple, and remains famous to date as a relevant and realistic portrayal of romance among urban Tamils. Its score by Ilaiyaraaja became a huge success upon release.It was subsequently dubbed into Telugu under the same title and went to become a hit in Andhra Pradesh as well. Mani's status was elevated further a year later writing Nayagan, directing the versatile Tamil actor Kamal Hassan for the film, which went on to become a legendary success in the industry.Many Indian critics dubbed it as India's answer to the cult The Godfather. The film, which tells the story of an orphaned slum dweller and his rise to top of the Mumbai underworld hierarchy, was included in TIME Magazine's All-Time 100 Greatest Movies. The story was inspired by the real life story of underworld king Varadarajan Mudaliar.

Late 1980s and early 1990s

With commercial success coming back to back, Ratnam wrote and directed Agni Natchathiram. The film was notable for use of new techniques in terms of camera framework, especially during the shoot of songs in the film. The film had a successful run in the box office. Mani later returned to familiar territory of winning critical acclaim through his next film made in Telugu, named Geethanjali. The film which starred Nagarjuna in the lead role told the story of an ill-fated couple who are both suffering from terminal diseases. Ratnam maintained a momentum of making emotional stories of undeserved people through the Raghuvaran starring Chennai release Anjali in 1990. The film told the story of an autistic child and how she changed the lives of people in colony. Mani later made another underworld-themed Tamil film with Thalapathi in 1991 starring Rajnikanth and Mammooty. With a theme of friendship between a local don and a slum king, Thalapathi earned both critical acclaim and commercial success upon release. Thalapathi , based on the legend of Mahabharata, ran into trouble when news leaked that the character of Karna, portrayed by Rajinikanth, would die in the end. The climax was altered to appease the fan base of the superstar.
With Thalapathi, Mani ended his association with music director Ilaiyaraaja, bringing in debutant music director A. R. Rahman to score his Tamil epic Roja. It turned out to be Mani's greatest find, as Rahman would go on to become a musical legend on his own right in the annals of Indian cinema. Roja, a romantic film, tackled themes of terrorism in the regions of Kashmir. The film – starring Arvind Swamy and Madhoo – was released in 1992 and nominated for the Golden St. George Award at the Moscow International Film Festival; it became so popular that it was dubbed into other languages and met similar success in other regions. Mani then took a more light-hearted approach with his next film – Thiruda Thiruda. Scripted by Ram Gopal Varma, the film saw the exploration of comedy action, a departure from the norm for Ratnam, and fared less well at the box office. In 1994, a retrospective of his Tamil films was shown at the Toronto International Film Festival. In 1995, Ratnam returned to Tamil language drama. Bombay starring Arvind Swamy and Manisha Koirala told the story of a Hindu-Muslim couple in the midst of the 1993 religious Bombay riots and bombings. The film was met with controversy and censorship upon release. However Bombay was financially very successful and well appreciated by the critics. It won the Special Award from the Political Film Society, the Wim Van Leer In Spirit of Freedom Award at the Jerusalem International Film Festival and the Gala Award at the Edinburgh International Film Festival.

Late 1990s

Again in 1995, Ratnam co-wrote and co-produced his wife Suhasini Mani Ratnam's directorial debut, Indira. The film is a woman-centered story, with Suhasini's cousin Anu Haasan playing the lead role. It performed poorly at the box office. Ratnam returned to direction the following year with Iruvar, starring Mohanlal and Prakash Raj, a film that Ratnam himself considers to be his finest effort to date. Inspired by the true story of iconic Tamil film star and politician MG Ramachandran and current Tamil Nadu Chief Minister M. Karunanidhi, it was hailed critically as a fine effort in film-making, winning Best Film at the Festival of the Auteur Films in Belgrade.
Ratnam decided to charter new territories in with his next film, making his debut in Hindi language films with Dil Se. The film had Hindi superstar Shahrukh Khan and Manisha Koirala in the lead. Preity Zinta made her debut in the movie. Ratnam used the conflict in the north-eastern states as a backdrop to tell a love story between an Indian journalist and a north-eastern woman. The film was particularly famous for the song "Chaiyya Chaiyya", which was shot atop a moving train. Ratnam returned to Tamil films after that and directed the romance drama Alaipayuthey (which has been remade in Hindi as Saathiya) in 2000, starring R. Madhavan and Shalini. Alaipayuthey was a huge success both commercially and critically; it explored post-marital problems between a young Chennai couple who married beyond their parents' consent, and also returned Ratnam's position as a box office factor.

2000–present

Ratnam's following effort, Kannathil Muthamittal saw him tackling adoption through the eyes of a Tamil refugee from Sri Lanka searching for her biological mother. The film was a critically lauded commercial success, winning six National Film Awards, Ratnam's second Filmfare Award South for directing, his second In Spirit for Freedom Award at the Jerusalem Film Festival and an award at the Indian Film Festival of Los Angeles. In 2004, Mani made his second Hindi language effort with Yuva. The film, which tells the story of three different youths and how one incident sends their three lives on a collision course, received positive reviews and was a hit in the box office. Ratnam also made the film simultaneously in Tamil as Aayutha Ezhuthu, starring Surya Sivakumar, R. Madhavan and Siddharth replacing Ajay Devgan, Abhishek Bachchan and Vivek Oberoi respectively. The film was an average at the Tamil box office, but critics favored the Tamil version over the Hindi version. Ratnam also had his first heart attack during shooting for Yuva.
2007 saw Ratnam direct the Madras Talkies production Guru starring Abhishek Bachchan. It became one of 2007's biggest hits. In 2010 Ratnam worked on a big-budget bilingual being made in Tamil and Hindi. The films are titled Raavanan in Tamil and Raavan in Hindi. The Tamil version was dubbed into Telugu as Villain. The film released worldwide on June 18, 2010.
The film is loosely based on the Hindu epic "Ramayana" and happened over a period of 14 days where the character Veeriah kidnaps the wife of a cop to avenge his sister's death. The Tamil version received better reviews than the Hindi version, based mainly on the lead's performance. The former was a box office hit whilst the latter was average at the box office. Despite the box office performance, some reviewers (National Award Winning Baradwaj Rangan) found this to be Mani's best work thus far.

Filmography

The following is the list of films directed by Mani Ratnam. Many of his films have been dubbed or remade in several languages. For many of his films, Mani Ratnam is also credited for the story, screenplay and producing:

Mani's father Gopal Ratnam Iyer was a film producer.
Mani's brother, the late G. Venkateswaran, popularly known as G.V., was a noted film producer.
Mani is married to actress Suhasini, niece of Kamal Haasan and daughter of Charuhasan; they have a 17-year-old son.
Mani co-founded and co-runs the independent production company Madras Talkies along with his other brother G. Srinivasan. Srinivasan passed away in Manali on 27 May 2007 when he slipped into a gorge.

Themes

Mani Ratnam oftens makes movies inspired by real-life events & famous epics: Nayagan is loosely based on Varadarajan Mudaliar, an underworld Don in Mumbai at that time; Bombay is based on the ethnic war between Hindus and Muslims in Mumbai; Iruvar is based on Tamil Nadu political and cinematic icons M.G. Ramachandran and Karunanidhi; Kannathil Muthamittal is based on the Sri Lankan Civil War and Aayutha Ezhuthu on student politics. Guru is loosely based on the life of Dhirubhai Ambani. Thalapathi is based on the Hindu-epic Mahabaratha and Raavanan is said to be inspired by another Hindu epic, Ramayana and Forest brigand Veerappan.
His movies often portray strong friendship. Examples are seen from Rajni-Mammooty in Thalapathi, Surya-Siddarth in Aayutha Ezhuthu, Prasanth-Anand in Thiruda Thiruda, Mohanlal-Prakash Raj in Iruvar and Kamal-Janakaraj in Nayagan.
He also revels in creating onscreen relationship tangles like Rajni-Shobhana-Arvind Swamy in Thalapathi, Karthik-Revathi-Mohan in Mouna Ragam and Prabhu-Karthik in Agni Natchathiram and Simran-Keerthana in Kannathil Muthamittalwith the latest being that of Aishwarya Rai Bachchan- Abhishek Bachchan- Vikram in Raavan.

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Kavadi

Kavadi Attam is a dance performed by the devotees during the ceremonial worship of Murugan, the Tamil God of War. It is often performed during the festival of Thaipusam and emphasizes debt bondage. The Kavadi itself is a physical burden through which the devotees implore for help from the God Murugan.
Origin
Ethnic Chinese partaking in the celebration (Vel Kavadi).
The kavadi itself is steeped in mythology. At Mount Kailas, Lord Shiva entrusted the dwarf saint sage Agastya with two hillocks, with instructions to carry and install them in South India. But the sage left them in a forest and later asked his disciple, Idumban to get them. Idumban found the two hillocks, but could not initially lift them, until he obtained divine help. Near Palani in South India – where to this day there is a famous shrine of Murugan — Idumban put the hillocks down to rest awhile. When he attempted to continue with his journey, he found that the hillocks were immovable.
Idumban sought the help of a scantily dressed youth, but the youth claimed the hillocks belonged to him. In the ensuing scuffle, Idumban was defeated. Idumban then realised that the youth was Lord Murugan. Idumban pleaded to be pardoned and asked that anyone who comes to the hills to worship Murugan with an object similar to the two hillocks suspended by a rod, may be granted his heart’s desire. Idumban’s wish was granted. And so the kavadi came to play its role in Hindu festivals.

Description of Kavadi

The Kavadi consists of two semicircular pieces of wood or steel which are bent and attached to a cross structure that can be balanced on the shoulders of the devotee. It is often decorated with flowers, peacock fathers (the vehicle of God Murugan) among other things. Some of the Kavadis can weigh up to 30 kg.

Preparation
The preparations start 48 days prior to the two day Thaipusam festival. The devotees purge themselves of all mental and physical impurities. They take only one vegetarian meal per day and 24 hours prior to Thaipusam, they must maintain a complete fast. The devotees prepare themselves by following strict purification austerities that include:
Transcendence of desire
Shaving of the head
Following a vegetarian diet and refraining from alcohol
Sexual abstinence
Bathing in cold water
Sleeping on the floor
Regular prayers

Types

Vel Kavadi
The most spectacular practice is the vel kavadi, essentially a portable altar up to two meters tall, decorated with peacock feathers and attached to the devotee through 108 vels pierced into the skin on the chest and back. Fire walking and flagellation may also be practiced. It is claimed that devotees are able to enter a trance, feel no pain, do not bleed from their wounds and have no scars left behind.
However, some of the more extreme masochistic practices have been criticized as dangerous and contrary to the spirit and intention of Hinduism.[citation needed]
Other types of Kavadi
Not all Kavadi involve extreme physical endurance. Some devotees also carry a brass jug of milk on their heads while others carry small pots with offerings for their deity

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mudumalai wildlife sanctuary

Mudumalai Wildlife Sanctuary
Mudumalai wildlife reserve is a continuation of the Bandipur National Park. The river Moyar that flows along the border or Tamil Nadu and Karnataka separates the two. The Mysore - Ooty highway runs through the park. The 321 sq. km. reserve is situated in Tamil Nadu.
Mudumalai wildlife reserve was the first sanctuary in south India. The terrain is extremely varied with hills, valleys, ravines, watercourses and swamps. The vegetation comprises of tropical moist deciduous forests, dry deciduous forests and scrub forests. Compared to the nearby reserves, the climate is warmer in Mudumalai.



Animals found in Mudumalai....

Langur, bonnet macaque, tiger, leopard, wild dog, hyena, jackal, sloth bear, elephants, gaur, sambar, spotted deer, Indian muntjac, mouse deer, wild boar, rodent and flying squirrel are part of the wildlife in Mudumalai. It has a rich bird life that includes Malabar trogan, Grey hornbill, crested hawk eagle, crested serpent eagle, etc.

The best time to visit the reserve is from February to June. The sanctuary can be reached by road. The nearest railway station is Udakamandalam. The nearest airport is Coimbatore. Accommodation can be arranged at forest rest house, guesthouses at Masinagudi, Kargudi, Abhayaranyam and Theppakkadu.

Flora(Mudumalai Wildlife Sanctuary)
The vegetation is quite varied in this region. The hilly terrain of the Western Ghats, clothed in dense mixed and moist deciduous forests, make Mudumalai (the ancient hills) a most attractive wildlife reserve. Bamboos (Bambusa Arundinacea) Natural teak (Tectona Grandis), Anogeissus latifolia, Terminalia, Crenulata/Terminalia Tomontosa, Grewia, and blooming trees like Indian Labumusum, Aredesia, Solanancea are some of the flora.

Fauna(Mudumalai Wildlife Sanctuary)
The fauna include Elephants, Gaur, Banner, Macaque, Common Langur, Tigers, Leopards, Chital, Panther, Sloth Bear, Python, Barking Deer, Four Horned Antelope, Otter, Crocodiles (Mugger), Giant Flying Squirrel, Sambar, Hyena, Wild Dog, Wild Boar, Mouse Deer, Spotted Deer, Jackal, Hare, Porcupine and Mongoose.

The birds listed in this sanctuary are Peacock-our National bird, Grey Jungle Fowl, Red Spur Fowl, Grey Partridge Quails, Goggle Eyed Plower, Malabar Whistling Thrush, Large Racket-Tailed Dronge, The Magpie-robin, Spotted Babbler, Small Green Barbet, Green Pigeons, Brown Dove, Malabar Grey Hornbill, Bulbuls, Mynahs, etc. Among birds of prey, Eagles, Hawks, Buzzards, Harriers, Falcons and King Vulture are predominant, besides some migratory water birds.

Tourist Information Centre(Mudumalai Wildlife Sanctuary)
Facilities: Vehicles on hire and Elephant safari

The drive from Bangalore to Mudumalai runs over wellmaintained State highways. The first stretch between Bangalore and Mysore is a reasonably smooth run. Once you cross the towns of Ramanagaram and Chennapatna, the drive gose through avenues of bougainvillaea which form natural archways. If you are thirsty, you can stop at any of the coconut vendors lininig the road.

Passing through Mysore is a honk - and - crawl affair till the city limits. Beyond Nanjangud, for about 20 km, the road is a narrow concrete strip with shoulders of tar. You need to be very careful on this road as the tar has eroded, leaving huge potholes. There may be times when you will be forced to go onto the tar shoulders to avoid oncoming traffic. Remember, utmost care should be taken then to avoid damage to the underbody.

Once the road enters the Bandipur Wildlife Sanctuary limit, it is almost straight with dense forest on both sides. Seven - and - a half kilometers after the Bandipur reception centre, the road crosses over into Tamil Nadu and the Mudumalai Wildlife Sanctuary.

The scenery along the road is varied with a clutter of small towns on the outskrits of Bangalore. These give way to light forest and fields till Mysore. If you have time with you, a stop at the fantastic Mysore Palace is worth the extra hour to get to Mudumalai.

The accomodation and hotels for Mudumalai are on the road that runs from the reception centre to Masinagudi. Though there is a sign warning that the road is very steep and that you have to strain your car much with the kind of cars that we have today, it is redundant.

There is actually more to do at the places to stay than in the park itself. Consider yourself lucky if you see bison and deer. Should you happen to see a tiger, take a quick look around for the saint who performed the miracle to make it appear.

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SIM’s Park, Coonoor, India

SIM’s Park, Coonoor. This park is famous for Old Trees from different parts part of our world. I felt difficul to see the top of most of the trees. I never seen such a single stem tree grew more than 100 feet.

Paper tree SIM's Park, Coonoor, India
Both the sides of the pavement (Walk consisting of a paved area for pedestrians; usually beside a street or roadway) there was a veriety of flowers planted in different shaps and rows.
We saw a 100 years old paper tree. Most of the visitors touched the paper tree. some of them scratched it to check weather in bears paper directely.
SIM’s park is a natural garden. The terrace was completely covered with colorful flower beds, lawns and rockeries (A garden featuring rocks; usually alpine plants). It was an initiative by Government of Tamilnadu, Department of Horticulture.

FLowers in SIM's park, Coonoor - India
Eestablished : 1874
Average rain fall : 150 cm
Area : 12 Ha
Maximum temperature : 30 degree C
Minumum temperature : 5 degree C
Species : more than 1000
Generas : 255
Some of the tree names as mestioned
Camphora Lauraceae, 1890, China and Jappan
Cupressus Lindleyna Confiferae, 1929, Taxas U.S.A.
Supressus Obtusa Coniferae, 1926, Jappan
Pinus Cribaea Coniferae, Ganary Island, 1923

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Chidambaram Natarajar Temple

Significance: Chidambaram is one of the most ancient and most celebrated of shrines in India. It is of great religious as well as historic and cultural significance. Chidambaram is associated with Nataraja, or Shiva in his Ananda Tandava pose (the Cosmic Dance of bliss) in the cosmic golden hall and the hall of consciousness (Chit Sabha). Shiva is also worshipped in the "formless form" of the Chidambara Rahasyam, while the temple is known for its Akasa Lingam, an embodiment of Shiva as the formless Space. The word "Koyil" or temple in the Tamil Saivite tradition refers to none other than the Chidambaram Nataraja temple.

Antiquity: The origins of this vast temple are buried in antiquity. Literature talks of a tradition of Shiva (Nataraja) worship in existence even as early as the Sangam period (very early on in the Christian era), and the Tamil Saints have sung its fame when an established worship tradition was in place. The later Chola Kings (Aditya I and Parantaka I) adorned the roof of the shrine with gold, and the other Chola Kings treated Nataraja as their guardian deity and made several endowments to the temple as temple inscriptions testify. The Pandya Kings who followed them, and the later Vijayanagar rulers made several endowments to the temple. There is a stone image of Krishnadevaraya in the North Gopura which he is said to have erected. In the wars of the 18th century, this temple was used as a fort, especially when the British General Sir Eyre Coote unsuccesfully tried to capture it from the Mysore Kings. During this period, the images of Nataraja and Sivakamasundari were housed in the Tiruvarur Tyagaraja temple for safety.

Muthuswamy Deekshitar, one of the foremost composers in the Karnatic Music tradition sings the glory of this temple in his kriti 'Ananda Natana Prakasam'. The Alwar Poems of the Naalayira Divya Prabandam sing the glory of Vishnu, whose image is also housed in this temple, and his shrine is referred to as 'Tiruchitrakootam'. Adi Sankara is said to have presented a Spatika Lingam which is still under worship in this temple. Sekkizhaar's Periya Puranam, describing poetically the life of the Saivite Saints (63 in number) was composed in the 1000 pillared hall, and was expounded by the author himself in the presence of the Chola emperor Kulottunga II, who had comissioned the work, amidts great festivity and fanfare.

Each of the four most revered Saivite Saints (Appar, Sundarar, Sambandar and Manikkavacakar) has worshipped at Chidambaram, and the bulk of Manikkavacakar's work is in praise of Shiva at Chidambaram. Accordingly, their images are placed in the temple entrances corresponding to their points of entry into the temple. (Sambandar - South, Appar - West, Sundarar - North and Manikkavacakar - East).

Legends associated with this temple: Aadi Sesha, the serpent (couch) of Vishnu, heard from Vishnu the grandeur of Shiva's cosmic dance. Filled with irrepressable desire to witness this dance in person at Chidambaram, Seshan descended to the earth as Patanjali (the one who descended). Vyagrapaadar, another devotee of Shiva prayed to obtain the tiger's claws so that he could obtain with ease the sacred Vilva leaves meant for Shiva's worship at Chidambaram. At the appointed hour, Shiva (with Sivakami) granted to Patanjali and Vyagrapaadar, a visual treat in the form of his Cosmic Dance of Bliss, to the accompaniments of music played by several divine personalities in the Hindu pantheon. This Dance of Bliss is said to have been witnessed by Vishnu, and there is a Govindaraja shrine in the Natarajar temple commemorating this. The dance of bliss of Shiva, is also said to have been enacted upon Shiva's (Bhikshatana) victory over the married ascetics of Daruka Vanam.

Yet another legend, commemorating the dance duel between the doyens of dance Shiva and Kali is associated with Chidambaram. Shiva is said to have lifted his left foot towards the sky in the Urdhuva Tandava posture, a definite male gesture, which out of adherence to protocol, Kaali could not reciprocate, thereby causing Shiva to emerge victorious, delegating Kaali to the status of a primary deity in another temple in the outskirts of Chidambaram. This legend is portrayed in the Nritta Sabha, one of the halls within the Chidambaram temple.

There is another recent legend associated with this temple. The sacred Tamil works of the Nayanmaars had been missing for several years, and it was during the period of Raja Raja Chola (the builder of the Grand temple at Tanjavur) that formal research was initiated to trace these fine works of devotional literature. These works of the Saivite Saints - rich in musical content were recovered in a dilapidated state in one of the chambers in this vast temple, after the monarch brought images of the Saint trinity in procession to the temple.

Nataraja: The dance of bliss, or the Ananda Tandavam of Shiva is said to symbolize the five divine acts (pancha krityas) of creation, sustenance, dissolution, concealment and bestowment of grace. The dance of Shiva has been frozen in metal and held in worships in Nataraja Sabhas, in virtually all of the Saivite temples in Tamilnadu. Five of the foremost Sabhas (Pancha Sabhai) are at Chidmbaram (Kanaka Sabhai the hall of gold), Madurai (Rajata Sabhai the hall of Silver), Tiruvalangadu near Chennai (Ratnasabhai the hall of rubies), Tirunelveli (Tamrasabhai the hall of copper) and Kutralam near Tirunelveli (Chitrasabhai the hall of pictures). Other dance halls of significance are Adri Sabhai (the Himalayas), Aadi Chitsabhai (Tiruvenkaadu near Chidambaram) and Perur Kanakasabhai (Patteeswarar temple at Perur near Coimbatore).

Architecture: The Chidambaram Natarajar temple is a specimen of the assimilation of several architectural styles. The innermost sanctum of the temple, houses the grand images of Shiva (Nataraja) and Parvati (Sivakami) in the ChitSabha or the hall of consciousness, adjoining which is the KanakaSabha or the Golden Hall, both these structures resting on a raised platform. The innermost prakaram surrounds this holiest of shrines, and to the South West of Nataraja, is the shrine of Govindaraja Perumaal facing the East.

The Chitsabha, the holiest shrine in the temple, is a wooden structure supported with wooden pillars, with a hut shaped roof. It is in this hall, that the images of Nataraja and Sivakami are housed, in front of a set of two curtains, the inner (invisible) one being red in color, the outer one being black in color. To the right of Shiva, is the revered Chidambara rahasyam - or a representation of emptiness garlanded with golden vilva leaves. The curtain in front of the Chidambara Rahasyam, representing Shiva (and Parvati) in the formless form (Aroopam) is lifted ceremoniously during worship services, with offerings of lamps. Also in the Chitsabha are images of Ratnasabhapati (Nataraja of Ruby), the Spatika Lingam of Chandramauleeswara, Swarnakarshana Bhairavar, Mukhalingam etc.

The Golden Hall, or KanakaSabha is immediately in front of the ChitSabha, both being on an elevated platform as mentioned before, with silver panelled doors in front. The ChitSabha itself is a meter or so higher than the Kanakasabha and is reached by a flight of 5 silver plated steps, marking the five aksharas (or syllables) of the Panchakshara Mantram (the five syllabled Namasivaya).

Across from the Nataraja shrine in he second prakaram is the Nritta Sabha or the hall of dance with some fine pillars, housing an image of Shiva in the Urdhva tandava posture, winning over Kaali in a dance duel, and an image of Sarabheswara, another form of Shiva. The Nritta Sabha with fine pillars is in the form of a chariot drawn by horses. The Deva Sabha or the house of Gods is also in the second prakaram, housing festival images of the Pancha Murtis (Somaskandar, Parvati, Vinayaka, Subramanya and Chandikeswara) and other deities. Mulanathar, or the representation of Shiva as a Lingam is housed in the second prakaram.

The outermost prakaram is home to the grand Sivakami Amman temple, the Sivaganga tank and the 1000 pillared hall or the Raja Sabha, where Nataraja is brought during two annual festivals. The vast Sivakami Amman shrine is a temple in its own right. Ceilings on the mukhamandapam of this temple have paintings from the Nayaka period. There are friezes of dancers, drummers and musicians all along the enclosing walls of this temple. The thousand pillared hall has witnessed several grand events in history. This hall is also designed in the form of a chariot. Its entrance features two elephants, and on the basement there is a frieze of dancing figures. The 100 pillared hall, also in the outermost prakaram is also of artistic value, as is the shrine of Subramanya, which dates back to the Pandya period. The Subramanya shrine is also in the form of a chariot, and is referred to as the 'Pandya Nayakam'.

Perhaps the most magnificient structures in the temple are the four lofty gopurams or towers in the four cardinal directions, piercing the walls of the outermost prakaram. Each is a gigantic masterpiece in itself - about 250 feet in height, with seven tiers. The Western tower is the oldest one. In the towers, on either side of the gateways there are representations of the 108 poses of the classical Bharata Natyam Tradition as enunciated in the Classic Natya Sastra. The towers are embellished with images from Hindu mythology. From the second tier onward, on each of the Gopuram, are seen images of various manifestations of Shiva such as Bhikshatana, Kankala (both being ascetic forms), Kalyanasundarar, Somaskandar etc. (bestowers of prosperity). There are no representations of Nataraja on the temple towers, as this image is reserved for the innermost shrine alone.

Worship protocol: Six worship services are offered in this temple each day at the shrine of Nataraja - the last of which is the ArdhaJaama Puja (the most special one), where the padukas (footwear) of Nataraja are ceremoniously taken to the Palliarai (night chamber) of Shiva and Parvati after elaborate rituals. It is believed that the entire pantheon of divine figures in the Hindu system of beliefs is present during this occasion. The first puja in the morning involves the waking up of Shiva, and a transport of the padukas back to the main shrine, followed by fire rituals and ablutions to the crystal Shivalingam. The worship services that follow at about 9:30, and then at noon, and at 5 in the evening and at 7 pm involve a combination of rituals involving ablutions to the Crystal Lingam and the ceremonial show of lamps to Nataraja and Sivakami amidst the chanting of Vedic and Tamil hymns. The Shiva Agama system of temple rituals followed in almost all of the Saivite temples in Tamilnadu, is not followed at Chidambaram. It is a unique worship protocol said to have been prescribed by Patanjali that is followed at this temple.

Festivals: Two annual Bhrammotsavams at Chidambaram are of great significance, as they involve colorful processions of festival deities in the car streets. The grandest of these occurs in the month of Margazhi (Dec 15 - Jan 15), concluding on the full moon day corresponding to the Arudra Darisanam festival (Arudra Darisanam is celebrated in Saivite temples all over Tamilnadu). This ten day festival at Chidambaram involves a grand scheme of traditional observances commencing with the hoisting of the temple flag on the first day, followed by colorful procesions of the five deities (Pancha Murthys) on the first eight days on various mounts. The fifth day features Mount Kailasam, while the sixth day features the elephant mount. It is only on the ninth day that Nataraja leaves his sanctum, and is taken in a procession through the car streets, in the grand temple car. This is a special occasion and crowds throng to see it. Local fishermen communities traditionally offer gifts to Nataraja during this procession. Nataraja then returns to the Raja Sabha of the temple, where in the pre-dawn hours of the next day, while the moon is full, special abhishekams are performed to Nataraja, in the presence of thousands of devotees, and this ritual is followed by the royal audience of Nataraja in the Raja Sabha. In the afternoon, Nataraja returns to the shrine ceremoniously from the Raja Sabha, amidst an enactment of the Ananda Tandavam or the Dance of Bliss.

The second of the Bhrammotsavams happens in the month of Aani, and it concludes with Aani Tirumanjanam on the tenth day, in a manner similar to Arudra Darisanam in Margazhi. It is interesting that these annual Bhrammotsavams or festivals happen in the months immediately preceding the summer and winter solstices (ie. Gemini and Sagittarius).

Live dance performances have been introduced to the temple recently, in the form of annual dance festivals.

Access and Accomodation: The temple town of Chidambaram is home to the Annamalai University, and it has several modern lodging facilities. The Tamilnadu Tourist Development Corporation operates one of its hotels at Chidambaram. Chidambaram is on the Chennai Tiruchirappalli Main line, between Villuppuram and Thanjavur. It is well connected with Chennai by a host of train and bus services. By road it is only 235 kilometers South of Chennai. Thanjavur is only about 100 kilometers away from Chidambaram. Chidambaram is literally the Northern gateway to the temple trough of Tamilnadu - the Thanjavur - Tiruvarur - Nagapattinam districts featuring hundreds and hundreds of ancient temples, which can be easily accessed from the towns of Mayiladuturai, Kumbhakonam, Thanjavur, Tiruvarur and Nagapattinam.

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Chettiar Mansion

Chettiar Mansion at Kanadukathan in Chettinad region is a historic home and architectural extravaganza, presently converted into a heritage hotel. This mansion is the living example of the elegance and beauty of the architectural brilliance of the Chettinad populaces in the forgone years.

There are breathtaking intricate carvings on the door of this attractive mansion. The design of the mansion is in traditional south Indian architectural style with an open courtyard in the middle allowing natural light to fill the whole house. The courtyard is imposing with beautifully stone-carved pillars. The various parts of the mansion were demarcated by the colorful handmade floor tiles called Athungudi. On top of it, antique furniture, wooden vessels from neighboring countries and enamel add the beauty of this heritage home.The Chettinad houses are built on a rectangular, traversal plot that stretches across two streets,with the front door opening into the first street and the back into the second. Looking in from the main threshold, your eye travels in a straight line across a series of inner counrtyards,each a diminishing rectangle of light, leading out to the back door.
Most of the Chettiyar’s house in Chettinad consists of thousands of windows, hundreds of wooden pillars, door frames with Gajalakshmi who symbolize Goddess of wealth and a Kumbam(brass pot) with sprouting leaves engraved on them to symbolize wealth. Some buildings has a scene-by-scene narration of Mahabharatha and Ramayana in its wooden panels and walls. Some mansions are filled up with pillars of different materials such as wood, stone, plaster and metal. These pillars are coated with egg white stand tall in marvelously big dinner hall called Kalyana Kottahai. These houses may also contain raised platform known as ‘Thinnai’ used to protect from sun and rain.

First comes an outer thinai - Large raised platforms on either side of the central corridor, where the host would entertain male guests. The platforms lead off on one side into store rooms and massive granaries and on the other, into the ( Kanakupillai ) or Accountant's room.This area also usually leads off to the men's well. From here, the huge elaborately carved teak front door, with image of Lakshmi carved over the head and navaratna or nine precious gems buried under the ( Vasapadi) threshold.

The door leads into the first open air courtyard, with pillared corridors running on each side that lead into individual rooms, each meant for a married son, each with a triangular slot cut into the wall for the evening lamp. Then comes the second counrtyard with large dining spaces on either side. The third courtyard was for the women folk to rest and gossip, while the fourth, or nalankattai comprised the kitchens, leading out to the backyard with its women's well and grinding stones. The wealthier the merchants the larger the house, often spreading out to a second floor.
The walls are of baked bricks, plastered over by a secret recipe of roots, yolk and lime that leaves them silken smooth and washable; the tiles are Spanish; the floors of Italian marble or locally - crafted Athangudi tiles; and the pillars of Burmese teak, many houses have small turrets and elaborate guard houses on the terrace. The carvings and friezes are not just Hindu pantheon but include British soldiers, Victorian women, and scenes from the Raj.

The chettiar's main intent was to make his house a statement of his social success and he put everything into it, but the pastiche of styles - Kerala Woodwork, neo-classical, Victorian, Anglo-Indian - is Strangely not Vulgar. The airy courtyards seem somehow to absorb and mute everything down inside. The outside are not always so lucky - colours, curves, domes and arches often clash painfully but the message of splendour is not lost.

The display of wealth extended to other areas. At the chettinad railway station, exactly opposite where the Raja of chettinad's first - class coach would halt, a paved path leads through an arched gate to his private waiting room, where he went directly without having to mix with the rabble at the station. The waiting room and attached toilets are still furnished, with superb divans, recliners bidets and washbasins, all in various stages of disrepair. There are three smaller such buildings around, for lesser personages and family guests.

The practical detail inside the houses are rich: the courtyards supply ample light and air ( pickles and papads were dried there ) but leaving the rest of the house in deep and cool shadow. The courtyards have tiles placed exactly under the strom-water drain run right through the house, with stone stoppers carved exactly for their mouths. Large stone vats for water and wooden bins for firewood line the inner courtyards.
Walking through ghostly corridors looming with huge portraits and Belgian mirrors, feet crunching on years of bat droppings that cover exquisite floor tiles.... it's easy to imagine these houses asleep in some sort of time capsule. But it's unlikely they will stay that way. Already an immense portion of the chettiar families belongings - pewter, brass porcelain, glass Burmese bamboo - is in the local antique shops and being shipped across the world. Houses are being dismantled and sold piece-meal, with carved doors, pillars and friezes in high demand in India and abroad.

Some Chettiars have stepped in to start the process of conservation. The Meyyappans have converted the family clubhouse into The bangala, preserving its past graciously while the S.A.R. Muthiah family has opened up some rooms in its vast family mansion to tourists for a home-living experience. Muthiah Chettiar, the Raja of Chettinad, has opened his house in Kanadukathan for public viewing, while his brother's house next door has a floor converted to a museum that displays everything associated with the Chettiars - masala dabbas and Rukmini ( choppers), coconut scrapers and travelling spice boxes. The Tamil Nadu government is making noises about converting this into a tourist zone, revitalising the lost art of Chettinad plastering, converting the bungalows into bed-and breakfast outlets. We can only wait with trepidation to see the outcome of these plans.

Walking though the mansions, we find many rooms tightly locked with the individual owner's names carved on door sills. The caretakers tell that the rooms are still full of vessels, artefacts, Kitchen tools and furniture waiting for their owners to claim them. Some families do return occasionally, for weddings and big days, but the occasions become fewer with time.

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