Siddhar

Siddhars (Tamil: சித்தர்) are saints in India, mostly of the Saivaite denomination in Tamil Nadu, who professed and practised an unorthodox type of Sadhana, or spiritual practice, to attain liberation. Yogic powers called Siddhis are acquired by constant practice of certain yogic disciplines. Those who acquire these Siddhis are called Siddhas. These sidhars can be compared to Mystics of the western civilization. Siddhars are people who are believed to control and transcend the barriers of time and space by meditation (Yoga), after the use of substances called Rasayanas that transform the body to make it potentially deathless, and a particular breathing-practice, a type of Pranayama. Through their practices they are believed to have reached stages of insight which enabled them to tune into the powers hidden in various material substances and practices, useful for suffering and ignorant mankind. Typically Siddhars were saints, doctors, alchemists and mysticists all at once. They wrote their findings, in the form of poems in Tamil language, on palmleaf which are collected and stored in what are known today as Palm leaf manuscript, today still owned by private families in Tamil Nadu and handed down through the generations, as well as public institutions such as Universities the world over (India, Germany, Great Britain, U.S.A.).

In this way Siddhars developed, among other branches of a vast knowledge-system, what is now known as Siddha medicine, practised mainly in Tamil Nadu as Traditional native medicine. A rustic form of healing that is similar to Siddha medicine has since been practised by experienced elderly in the villages of Tamil Nadu. (This has been misunderstood as Paatti Vaitthiyam, Naattu marunthu and Mooligai marutthuvam. While paati vaitthiyam or naatu marunthu is traditional Tamil medicine and mooligai marutthuvam is ayurvedic medicine.) They are also founders of Varmam - a martial art for self-defence and medical treatment at the same time. Varmam are specific points located in the human body which when pressed in different ways can give various results, such as disabling an attacker in self-defence, or balancing a physical condition as an easy first-aid medical treatment.

Tamil Siddhars were the first to develop pulse-reading ("naadi paarththal" in Tamil)to identify the origin of diseases. This method was later copied and used in ayurvedha.

Siddhars have also written many religious poems. It is believed that most of them have lived for ages, in a mystic mountain called Sathuragiri, near Thanipparai village in Tamil Nadu

One of the best-known Siddhars was Agasthyar or Agasthya, who is believed to be the founding father of Siddha culture.

Abithana Chintamani states Siddhars are either of the 9 or 18 persons enlisted, but sage Agastyar states that there are many who precede these and follow 9 or 18 persons. Many of the great Siddhars are regarded to have powers magical and spiritual.
Powers of siddhars



The siddhars are believed to have had powers both major and other ‘minor’ powers. They are explained in detail in various yogic as well as religious texts;Thirumandiram 668:

Anima (shrinking) -- Power of becoming the size of an atom and entering the smallest beings.
Mahima (illimitability) -- Power of becoming mighty and co-extensive with the universe. The power of increasing one's size without limit.
Lagima (lightness) -- Capacity to be quite light though big in size.
Garima (weight) -- Capacity to weigh heavy, though seemingly small size.
Prapthi (fulfillment of desires) -- Capacity to enter all the worlds from Brahma Loga to the neither world. It is the power of attaining everything desired.
Prakasysm (irresistible will) -- Power of disembodying and entering into other bodies (metempsychosis) and going to heaven and enjoying what everyone aspires for, simply from where he stays.
Isithavam (supremacy) -- Have the creative power of God and control over the Sun, the moon and the elements
Vasithavam (dominion over the elements) -- Power of control over King and Gods. The power of changing the course of nature and assuming any form.

All Siddhars in order

All Sitthars were among the highest disciples of God Shiva, and are considered equal in their powers and devotion to the supreme God.

Kattikulam Mayandi Swamigal (world powerful siddhar to watch www.soottukkole.org
Eswarapattar
Lord Nandi, principal disciple of God Siva
Agastyar Maha Munivar disciple of Lord Muruga from Anantasayana, head of the monasteries at Pothigai and Kumbakonam
Bogar of Pazhani, disciple of Agathiyar and Kalangi Nathar, 12th c. BCE
Thaeraiyar Muni of Ten Pothigai, disciple of Agastya, 10th c. BCE
Kalaingai Nathar of Kalahastri monastery,10th c.BCE
Korakkar of Paerur, from Thirukonamalai monastery, ?4th c. BCE
Pulippaani of Pazhani
Thadangann Siddhar
BramhaMuni, ?3rd c. BCE
Machamuni of Thirupparankundram, ?3rd c. BCE
Poonaikkannanaar of Egypt, ?3rd c.BCE
Romamunivar of Rome, ?2nd c. BCE
Kaaraichchiththar, ?2nd c.BCE
Kudhambai Siddhar of Mayilaaduthurai and Kumbakonam, ?2nd c. BCE
Kabilar I of Mithila, 2nd c. BCE.
Kaagaivanna Siddhar[i] of Kediya(South Sri Lanka), from Pothigai monastery, 2nd c. BCE
Dhanvantri from Kasi, of Vaitheeswaran Koil, ?1st c. BCE
Valmiki, aka Vaanmeegar of Ettukkudi, ?1st c. BCE
Maarkkandeyanaar
Koonkannar
Kaalaichchittar II
Konganar of Tirupati, 1st c. BCE
Punnaakkeesar from Naangunaeri, head of Saanganachaeri monastery, 1st c. BCE
Karuvurar from Karuvur monastery
Kaaduvelichchiththar
Aenaathichchittar, 2nd c. CE
Idaikkaadar of Oosimuri(in Thondai Nadu), from ThiruAnnaamalai monastery, ?2nd-3rd c. BCE
Pulasthiyarfrom Maanthai, head of Aavudaiyaar Koil and Yaazhppaanam monasteries, 3rd c. CE
KamalaMuni of Thiruvaarur, ?4th c. BCE
Patanjali of Rameswaram, 4th c. BCE
Azhaganiyaar of Nagapattinam, ?4th c. CE
Kailasanathar, 5th c. CE
Kuranguchchittar of Pazhani, 5th c. CE
Sattaimuni of ThiruArangam, ?5th c. CE
Vaamathevar of Azhagarmalai, ?5th c. CE
Agappaei Siddhar of Azhagarmalai, ?3rd c. CE
Sivavaakkiyar from Kollimalai, of Thirumazhisai monastery, ?4-5th c. CE
Sundarandandar of Madurai, ?5th c. CE
Ramadevar of Azhagarmalai
Thirumoolar from ThiruAaAduthurai, of ThiruAathavoor monastery, head of Thillai Citrambalam[i] monastery, 8th c. BCE
Sri Jnyaaneswar of Gujarat
Kaagapujundar, Leader for all nathats, 8 BCE
VaasaMuni
KoormaMuni
Visvamitrar
Kumbhamuni
Kaduveli of Irumbai
Nandeeswarar of Kasi, from Thillai monastery, 6th c. CE
Pattinattaar of Pugaar, 7th c. CE
Karuvoorar from Karuvoor, of Thanjai monastery, master of Rajaraja Chola, 10th c. CE
Pambatti Siddhar from Jnaneswaram(Sarankovil), of Vilaimalai( Vriddhachalam ) monastery, 15th c.
Vaalai Siddhar of Valangaimaan
Edaikadar II, ?15th c. CE
Ganapathi Siddhar
Subrahmanya Siddhar
Sooriyaananthar
Lokaayuthar
Bathragiriyaar of Badrachalam, from Thillai monastery
Kalunni Siddhar
Naga Siddhar (mahavatar babaji) disciple of Agathiyar and Bogar, 203th,from Himalaya.
ArunaGiri Nathar 1500th,from Thiruvanamalai.
Ramalingam Swamigal Vallalar from Chidambaram.

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Dilwara temple of Chennai - Jain Temple

Chennai, the gateway to South India, is a city where you can find the amalgamation of all cultures. Sowcarpet is th e locality in Chennai where the majority of North Indians and Jains live. There is a beautiful white marble Jain temple located in Mint Street of Sowcarpet. The architectural inspiration of this temple dedicated to Chandraprabhu Swamy was derived from the Dilwara temples near Mt. Abu in Rajasthan. This temple is new. However, in the same site  there was one of the oldest Jain temples of Chennai city named Swetambar Jain temple was located.

The Chandraprabhu Swamy Jain temple aka Naya Jain Mandir in Mint street has the shrine elevated from the ground level. The main shrine has the marble idols of Chandraprabhu Swamy, the eight Jain Tirthankar along with two disciples on his either sides.

The left side of the main shrine has the shrine of Parshvanath, the 23rd Tirthankar. The right side of the main shrine has the shrine ofAdinath, the first Tirthankar. The idols of other small Jain deities such as Vijaya Yaksha, Vasupoojya Swamu,Muniswartha Swamu, Mallinath, Seemandhar Swamy, Jwala Devi, Padmavathy and Main Bhadra are also present in the temple. There is a dhyan mandap in the basement. The corridor (prakara) of temple has idols of various deities similar to that of Hindu temples.

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Birla Planetarium, Chennai

B.M. Birla Planetarium is a large planetarium in Chennai providing a virtual tour of the night sky and holding cosmic shows on a specially perforated hemispherical aluminium inner dome. It is located at Kotturpuram in the Periyar Science and Technology Centre campus which houses eight galleries, namely, Physical Science, Electronics and Communication, Energy, Life Science, Innovation, Transport, International Dolls and Children and Materials Science, with over 500 exhibits. Built in 1988 in the memory of the great industrialist and visionary of India B.M. Birla, it is the most modern planetarium in India. There are two other Birla Planetariums in India, viz., the one in Kolkata known as M.P. Birla Planetarium and the other in Hyderabad.

Features

The planetarium was inaugurated on 11 May 1988 by the then President of India Mr. R. Venkataraman. The planetarium demonstrates the advances in science and technology using a versatile GOTO GM II projector, an accompanying special-effects projector and the X-Y table system, recreating some of the most awe-inspiring celestial phenomena. The pierced inner dome of the planetarium is made of aluminium. The fully air-conditioned theatre has a seating capacity of 236. The planetarium also offers courses in astronomy and night-sky observations. There is a seminar hall and a classroom studio at the planetarium, where discussions and workshops are conducted by eminent personalities in the field of astronomy. These, along with the presence of the highly sophisticated and versatile GM II projector, which has the provision to execute the diurnal, annual, latitudinal, and professional motions, make it the most modern planetarium in the country.

Shows

The planetarium conducts sky shows everyday at different timings in different languages. The shows include the Solar System, sky and seasons, eclipses, Man on Moon, comets, shooting meteoroids, stellar cycle and the deep sky. Audio-visual programs on various aspects of astronomy and different cosmic phenomena are also shown. Shows are conducted in English and Tamil. The planetarium and the Science and Technology Centre is open on all days except on national holidays from 10:00 am to 5:45 pm.

Location

The planetarium is located on the Gandhi Mandapam Road in Kotturpuram abutting the Central Leather Research Institute campus. It lies in the predominantly wooded Adyar-Guindy region known as the 'Green Lungs of Chennai', close to the Guindy National Park. Other nearby landmarks include the IIT Madras, Adyar Cancer Institute, Anna University and the Anna Centenary Library. The nearest railway stations are Kotturpuram MRTS and Kasturba Nagar MRTS, both located at a distance of 1 km from the planetarium.

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Cholamandal Artists' Village

Cholamandal Artists' Village, established in 1966, is the largest artists' commune in India, whose artists are credited for the Madras Movement of Art (1950s–1980s), which brought modernism to art in the South India. Their work is widely recognized as some of the best art produced in postwar India, and is shown regularly in galleries across the country; in fact several Cholamandal artists have also shown in Europe, the United States and South America. Situated at village Injambakkam, 9 km from Chennai, India, it has over twenty resident painters and sculptors, who live as a community and pool their skills; they also run the Artists Handicrafts Association, a cooperative which manages the village and sale of works through the permanent exhibition at the complex, which includes paintings, sketches, terra-cotta/stone/metal sculptures, batiks and handicrafts etc., made by the artists living the village, making the village a self-supporting entity .
The community was founded by K. C. S. Paniker, the principal of the Madras School of Arts, along with his students and a few artists associated with the college. It used the `art-meets-craft' approach where artists made handicrafts for a living even as they pursued their art. By 1970s, the village became self-sufficient, and grew into one of the most important meeting places for international artists in India, and today, it remains one of the few artist-driven movements that India. Four decades on, it is one of the few artists' colonies in the world to survive successfully and its foundation remains one of the "10 biggest art moments" in India.

History

Most of the original founding creative artists, painters and sculptors were students and artists associated with the Government School of Arts and Crafts, Chennai (Madras School of Arts), where K.C.S. Paniker, noted metaphysical and abstract painter, was principal 1957 to 1967. These artists desired to form a congenial space for practising their art; thirty eight of them got together and formed the 'Artists Handicrafts Association' (AHA) in 1963 initially to sell the works of artists.
Gradually the artists started working together, producing handicrafts in their spare time, they were among the first in the country to produce batik fabric, proceeds of their first batik exhibition went into buying the 8.5 acres (34,000 m²) of land in 1966, which was to make up the village.. By now K.C.S. Paniker had retired and founded the artists commune in April 1966. It was named after the Chola dynasty, which is known to have encouraged arts and ruled the region, 9-13th century CE; called Cholamandalam in Tamil, which literally translated as The realm of the Cholas,. Chola also lends its name to the Coromandel Coast of Bay of Bengal, which is few minutes of walk away from the village . Another reason was the Paniker was "worried that his students might deviate from art due to financial compulsions" .
In the same year six artists moved into live and work on their own land. In the 60s, while they could hardly sell their paintings, avant garde wood and leather work, batik, ceramics and metal craft made by them, found a good market, this sustained them for the duration, while the local buyers were familiarized to modernism, which their art represented.
Electricity was provided only in 1968 and till 1972 the mud road ended at Muttukadu. Then situated on a lonely, bumpy road, now known as the East Coast Road highway to Mahabalipuram, from Adyar, and Chennai was still further away, though today due to rapid expansion, it is right at its door steps, and the road is busy with traffic and shops and commercial establishments. Over the years, built their houses, studios, exhibition gallery, theatre, workshop and kitchen, which they jointly owned along with all the infrastructure of the village. Apart from that it nurtured artists such as P.S. Nandan, Haridasan, S. Nanda Gopal, Vasudev, Gopinath, Senathipathy, M.V. Devan and Richard Jesudas. Soon they formed a cooperative to look after the viilage, also built a gallery, which displayed and sold their works; 20% of their sales went to their association ‘Cholamandal Artists Handicrafts Association’, which used the funds for the upkeep of the Village. In time the cooperative became self-sufficient and held exhibition of their work in major cities of India..
K.C.S. Paniker died in 1977, but by this time the village had become a self sufficient, without any government funding and the module had proven sustainable . Over the years, work done by the artists at the village, initiated a period in south Indian art called the 'Madras Movement', which brought modernism to south Indian art. Progressive Painters’ Association (P.P.A), one of the oldest art associations in India founded by Paniker in Chennai in 1944, after remaining inactive for many year after Paniker's death, the association was revived in 2006, and a new committee formed, it is now being carried forward by artists at the village , and an annually elected general council of members administers Cholamandal. The village still continues to produce artists of great talent such as S. Ravi Shankar, A. Selveraj and Shailesh B.O. amongst many others.

Cholamandal Centre for Contemporary Art

During is last days Paniket had offered his oeuvre to the Madras government on the condition that a separate gallery be created for his work, when no response came from the government, eventually the Trivandrum Art Gallery took up the offer, an now houses an important collection of Paniker's work, but the artists at the village wanted a place for displaying all the works of Madras Movement at the place, thus idea of the art museum took place .
The artists raised money from the private sector to found a museum within the village, which would house a permanent collection of artworks representative of the Madras Movement . While the initial design was made by a visiting Dutch couple, the design for the art centre was made by architects Sheila Sri Prakash of Shilpa Architects and M. V. Devan, as project gathered momentum help came in from various artists and corporates alike. Finally after three and half years of construction the building was, and thus started a long search for works that exemplified the Madras Movement, which flourished between the early 50s and the 80s. Eventually about 60 per cent of the works were donated by senior artists and the rest were given on extended loan by art collectors around the country .
The 'Cholamandal Centre for Contemporary Art' was opened at the village on Feb 1, 2009; it has a 'Museum of the Madras Movement', which display works of all prominent artist of the 'Madras Movement' apart from that of Paniker, including M. Senathipathi, Late A.P. Santhanaraj, P.S. Nandhan, S.G. Vasudev, K.V. Haridasan, Thotta Tharani, Sculptor S. Nandagopal. Apart from the museum and a gallery for Cholamadal artists, the centre has two commercial galleries, 'Labernum' and 'Indigo', that can be rented free of commission charge, an art book store, and a craft shop. Outside it is surrounded by tree-shaded sands which sport an international sculpture garden, displaying sculptures made by visiting artists from across India and the world through the decades .

Facilities

Today, the village houses a number of art galleries, museums, and an open-air theatre on the site also houses dance and theatre performances. The original Artists Handicrafts Association is still in charge of the colony, and Paniker's son, sculptor S. Nandagopal, is the Secretary of the Village. Out of the original forty artists, many are no more, and some have moved out, only twenty one remain today, and Cholamandal does not accept new members, though it has at least a dozen artists living or working there at any time in the year, plus many artists-in-residence are also at work here .
The village is open daily from 10 am to 5pm. It is 10 minute walking distance from the Golden Beach. Local transport is now easily available and the Chennai International Airport the nearest airport, is 15 km away.

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Sathyam Cinemas

Sathyam Cinemas is Chennai’s hottest entertainment destination for people from all walks of life, across a wide age group and user profile. Sathyam Cinemas strives to be at the forefront of media technology and endeavours to bring new entertainment technology to customers first. It was the first exhibitor in India to introduce 2K digital projection technology with its brand RDX and the first to convert 100% of its screens to digital. It went one step further and introduced digital 3D in RDX and continues to push the boundaries of entertainment technology.

The company has a strong ethos of quality and service and all of the businesses that it operates ensure world class quality and experience. It operates the largest multi format gaming facility in India Blur and the concept restaurants, ID and Ecstasy. Sathyam Cinemas has forayed into the music business with Think Music and distributes Tamil, Telugu and Malayalam film sound tracks via digital media. Film distribution is a fast growing vertical of the company. Sathyam Cinemas has also widened its horizon to producing good quality cinema content.

Centrally located off Chennai’s arterial Mount Road, Sathyam cinemas is a major draw to students, residents and professionals of all age groups throughout the week. With adequate parking in its main parking lot and an additional parking at the Parking Annexe besides a large capacity of two wheelers parking, advertisers are guaranteed a phenomenal touch point with potential customers when they choose Sathyam as their advertising destination. Sathyam Cinemas is on a growth path that will see it focus on the core business of film exhibition and expand its network throughout South India with a focus on the strong film markets. As the network expands the related entertainment verticals are also set to grow as more screens are added. The Company is set to experience significant growth in the immediate future and cement itself as a mainstay of entertainment in South India.

Sathyam Cinemas also houses its own bakery with a specialist chef who churns out the most delectable snacks and desserts around town and has a lot more lined up to give Chennai its finest entertainment experience.
Sathyam Cinemas is one of the India’s biggest Cineplexes and located in Anna Salai in Chennai. Sathyam Cinemas is a group which continues the Sathyam Theatre and it is Chennai’s hottest and largest entertainment place. The cinemas seating averages is about 70% occupancy and it has 2380 seat capacity and 6 cinema screens. Sathyam Cinemas is among the first in Chennai to introduce Digital Projection in its all screens.

If you want to purchase movie tickets online at Sathyam Cinemas then please first login at the Sathyam Cinemas official site. First go to the login page www.thecinema.in, where you can find Login/Sign up option at the top of the page, please click on it and open a Login page, just enter your Email ID and Password then press “Login/Book Ticket” button.

Sathyam Cinemas Sign Up:

You can find Sign Up option at the login page, please click on “Sign Up” button, then open a Sign up details page, first enter your Name, Date of Birth (ddmmyy), Gender, Mobile Number, Address, City and Pin code, and then click on “Create Account” button.
Sathyam Cinemas Online Ticket Booking:

Sathyam Cinemas offers online ticket booking service at the official website. Now you can access your tickets and tickets information very easily by online. You can do Payment online for your tickets by credit card, citibank debit card or FUEL, the exclusive Sathyam Cinemas prepaid movie card. Sathyam Cinemas offers three simple ways to purchasing your movie tickets as following:

1. By Online: Log on to www.thecinema.in

2. On the Phone: Dial 4224 4224 to speak to a Customer Care representative

3. In Person: Stop by the theatre premises 7 days a week, from 8.30 a.m. to 10.30 p.m., to buy tickets to the movie of your choice

You can get your online movie tickets by following this simple and easy step:

First you select the number of tickets and seats, date, movie, show time and class & screen.
Then first Login and Sign Up at the website www.thecinema.in
Next select your seats or let the system assign your seats.
You can order food and beverages to be served at your seat.
In the last pay your money by using Credit card or debit card or FUEL card.

Source: www.thecinema.in

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National Art Gallery, Chennai

Location
National Arts Gallery, an integral part of Government Museum is located in the Egmore region of the capital city of Tamil Nadu, Chennai. The gallery is situated on the right hand side of the Pantheon Road while travelling from the Chennai central. The Egmore Railway Station, which is located north of the gallery is less than two kilometres away and provides easy accessibility.

Overview
The building of National Arts Gallery was built in the year 1907. This magnificient red sandstone building was designed by Henry Irwin and built by T. Namberumal Chetty. The building represents a typical Indo-Saracenic structure and was initially famous as Victoria Memorial Hall. Built with sandstone and adorned with motifs, the building bears impressions of Mughal architecture. The structure as well as the gallery collections are key factors responsible for the much credited tourist place. The gallery exhibits medieval handicrafts, sculptures, metal ware and paintings belonging to various schools of art, all from the past.

Features
The gallery displays paintings belonging to different schools and eras. The gallery's collections are displayed in four different sections that are: Tanjore Painting Gallery, Decorative Art Gallery, Indian Traditional Art Gallery and Ravi Varma Painting Gallery. The Tanjore paintings on glass are wonderful. The miniature paintings from Rajput and Mughal eras are fascinating too.

The handicrafts that are displayed in National Arts Gallery belong to the 11th and 12th century, Indian handicrafts, period.

Visiting Hours
The museum is open on all days except Fridays and National Holidays. For visiting hours please contact on the numbers given in contacts list.

Contacts
Further information can be had from the officials on the given contact numbers- 8269638, 8261578

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Costumes of Tamil

Costumes of Tamil Nadu for the most part comprise the traditional wears. Indian costumes have earned global admiration for their beauty and grace. Especially the costumes of Tamil Nadu have been much acclaimed for following the Indian tradition. Poetic references indicate that during the Sangam period in ancient Tamil Nadu, a single piece of clothing served as both lower garment and head covering, leaving the bosom and midriff completely uncovered

The women of this state are decked with these traditional sarees that mark them from rest of the communities. Ancient Tamil poetry, Silappadhikaram describes women in sarees. The ageless charm of these sarees is the identity of the people of Tamil Nadu. Being the abode of South Indian silk sarees with rich zari work, the costumes reflect the traditions of India and Tamil Nadu itself. India has always been looked at as a land of enigmatic resources and many have staked their lives just to acquire it and call those their own. The distinctness amongst the four corners within the country makes this very factor even more interesting when admired. The South Indian costumes possess a certain aura within their dress materials, with zari work predominating amongst women and white dhoti amongst men. Costumes of Tamil Nadu absolutely falls within this genre, with women dressing up intricately for any festive occasion and men also are looking towards the similar direction.

Costumes of Tamil Nadu dominate with traditionalism speaking out every time for both the sexes. In Tamil Nadu women don the ubiquitous Indian saree and blouse, whereas, men wear `lungi` together with a shirt and `Angavastra.` Saree, the sheer six yards of pure excellence is one such costume that ladies of all ages prefer to don for each special festivity. The traditional Tamil woman chooses to drape her heavy Kanchipuram saree around herself, the lower part of the calf exposed, the extra piece of pallu established thereby wrapped around her waist. What is remarkable about this draping fashion is that a woman wears the most dazzling of Kanchipuram saree in the most informal manner.

Sarees have a special place in the costumes of Tamil Nadu, and are an indispensable part of the state`s heritage. Saree is the traditional dress of Indian women and Tamil Nadu women as well. In Tamil Nadu, sarees are available in a variety of materials like cotton, chiffon, crepe silk, organza, silk, georgette, Pattola silk, micro silk, etc. Till a few years ago, the half-saree or Pavada besides serving as the traditional dress was also the most admired costume of young girls in Tamil Nadu. Full-length skirt, short blouses and a davani (shawl) successfully completed this dressing style. This traditional pleated dress however has been replaced by salwar kurtas, jeans and trousers. The style, colour and texture of a saree cloth vary and it might be manufactured from cotton, silk or one of the various man-made materials. A Saree from Tamil Nadu possesses an everlasting charm due to it not being cut or tailored for a particular size. Sarees are available in the state in a wide variety of fabrics, ranging from silks, cottons, chiffons to georgettes and crepes.

Costumes of Tamil Nadu are although not just restricted to the fairer sex only; men also occupy a considerable position. Men are generally encountered dressed in lungi, together with a shirt and Angavastra. The traditional and tremendously popular lungi originated in the South and it is purely a short length of material worn around the thighs, resembling a sarong. A dhoti is a rather longer lungi, but with an additional length of material hauled up within the legs. The lungi is a rectangular cloth, normally manufactured from cotton, draped around the waist and pleated in front at the groin. The Angavastra is an elongated piece of cloth wrapped around the shoulders. In earlier times it was donned instead of an upper garment, but nowadays men wear an Angavastra over a shirt.

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Handicrafts of Tamil Nadu

Tamil Nadu has a rich heritage in handicrafts, which has evolved over centuries. They have been exuding grace and beauty since ages, and decorating millions of homes across the globe. Tanjore paintings, the craft of making musical instruments, metal ware, pottery, woodcraft and stone carving are some of the exquisite handicrafts of Tamil Nadu.
The most important of the handicrafts of Tamil Nadu is the very famous Tanjore paintings. This form of art flourished in Thanjavur, which is the new name of Tanjore, and thus it got its name. They creation of this art requires dedication, patience and hours of meticulous details. These paintings are done on wood, glass, mica, ivory and even on the walls, and are made more elegant by using thin sheets of gold, along with the primary colours. The modeling effect is made stylized by shading the inside, along the outline of the painting.
Jewels, drapery, and elements of architecture like pillars, rich canopies, chandeliers are being raised as a result of using of a special plaster. This plaster is covered with pure gold leaf and semi-precious stones of different colours are embedded in it.
Tamil Nadu is also famous for its musical instruments. Yaazh is an ancient instrument famous in ancient Tamil Nadu, which resembles a harp. This instrument has been replaced by veena, which is made of jackwood. In Thanjavur, there are families that are into this craft for generations. Other musical instruments made here are thambura, flute or vangiyam, which is made of bamboo, sandalwood, bronze and sengaali and karungaali woods. It is a wonderful specimen of the handicrafts of Tamil Nadu.
Jewelery making is also another important handicraft here. Stone jewelery are most popular and the ornaments such as oddiyanam, vanki and jimiki are very famous and worn even now, despite their traditional appeal. They display great finish and dexterity. Metal wares have got its own importance in the handicrafts of Tamil Nadu. Brass and copper metal wares are used for many purposes. It is used mostly for making plates with carvings of god and goddess in it. Plates used for arathi, bells used while performing arathi, etc. are some of the examples of the state's creativity in the metal wares.
Pottery making is a well known art in Tamil Nadu. We can see even now famous 'Ayyanar horses' in rural Tamil Nadu, which are supposed to protect the villages from evil. Terracotta horses, made in Pudukottai and Salem are also very famous. Stone carving was very famous in Tamil Nadu in the ancient days, and it is still practiced in the twenty-first century. Stone carving is a wonderful craft. Those days stone carving was done in temples, for gods. One can find beautiful stone carvings in famous temples like Madurai Meenakshi temple, thousand pillared mandapas, Ekambareshwarar temple in Kanchipuram, etc.
 Different types of stones are used for carving like marble stones, sandstones, soap stones, etc. Granite carving is very famous in Chingleput and Mamallapuram. Now stones are also used for making pen stands, paper weights, granite tiles for houses, etc.

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Karagattam

Tamil Nadu had developed the art of entertainment to its pristine heights at early age. The three modes of entertainment to its pristine heights at a very early age. The three modes of entertainment classified as Iyal (Literature), Isai (Music) and Nadagam (Drama) had their roots in the rural folk theatre like Theru Koothu (Street play). Many forms of group and individual dances with the classical forms for popularity and sheer entertainment value. Majority of these dances are still thriving in Tamil Nadu today.

Bagavatha           Nadanam	Bommalattam	Bharathanatyam	Chakkai Attam
Devaraattam	Kamandi	Kai Silambu Attam	Kolattam
Karagattam	Kavadi Aattam	Kazhai Kothu	Kummi
Mayil Attam	Ottan Koothu	Oyilattam	Oyil Kummi
Paampu Atam	Poikkal Kudirai Aattam	Puli Attam	Sevai Attam
Thappaattam	Theru Koothu	Urummi Attam	Villu Pattu

Bagavatha Nadanam

This dance is performed inside a temple, around a lamp. The purpose is to worship Lord Krishna, and celebrate his frolics with the gopikas. This is performed during Ramanavami and Gokulashtami.

Bommalattam or Puppet Show

Puppet shows are held in every village during festivals and fairs. Many different kinds of puppets are used for this show - cloth, wood, leather, etc. They are manipulated through strings or wires. The persons stand behind a screen and the puppets are held in front. The stories enacted in the puppet shows are from puranas, epics and folklore. These shows are very entertaining and hold both adults and children enthralled for many hours. 

Devaraattam

Devarattam is a pure folk dance still preserved by the descendents of Veerapandiya Kattabomman dynasty at Kodangipatti of Madurai District. It was actually performed once a year near the temple and that too restricted to that community alone. Folklore research scholars have found that Devarattam is a nd his marshalls would dance on the chariot deck. The soldiers and female dancers would form in lines and dance behind the chariot.

Chakkai Attam

Teak woodenpieces size of 7 X 3/4 inch are held between the fingers which make the noise. Eight to ten dancers stand in a circle or parallel lines. The accompanying songs are generally about gods and goddesses.

Today, this dance does not have any songs but only danced to the beat of Urumi Melam, Thappu Melam and sometimes, a long flute. The dancers hold a kerchief in each hand and swing them as they dance. The person leading the dance wears falset when Manmada the God of Love was burnt to ashes by Siva in anger. The villagers separate themselves into two parties as Erintha katchi and Eriyatha katchi and a heated debate ensues. Kaman and Rathi, his consorts, are main characters.

Kai Silambu Attam

This dance is performed in temples during Amman festivals or Navaratri festival. The dancers wear ankle-bells and hold anklets or silambu in their hands, which make noise when shaken. They perform various stepping styles jumps. The dance is in praise of all female deities, the most preferred being the powerful angry goddess - Kali or Durga.
[edit] Kali Attam or Kolattam This is also known as Koladi, Kolkali, Kambadi Kali and Kolaattam. Sticks one foot length are held in each hand and beaten to make a sharp, rasping sound as the dance proceeds with unique steps, twisting and turning. It is danced by both men and women, during festivals, auspicious days anhurt the other dancers by the swinging 'kol'. Earlier, the 'kols' were brightly painted and decorated with brass rings, bells etc. The dancers used to wear ankle-bells. However, no special dress or make up was used for this dance.

Kolattam

Kolattam is an ancient village art. This is mentioned in Kanchipuram as 'Cheivaikiyar Kolattam', which proves its antiquity. This is performed by women only, with two sticks held in each hand, beaten to make a rhythmic sound. Pinnal Kolattam is danced with ropes which the women hold in their hands, the other of which are tied to a tall pole. With planned steps, the women skip over each other, which forms intricate lace-like patterns in the ropes. As coloured ropes are used, this lace looks extremely attractive. Again, they unravel this lace reversing the dance steps. This is performed for ten days, starting with the Amavasi or Newmoon night after Deepavali.

Karagattam

Karagattam is a Tamil folk dance involving the balancing of clay or metal pots or other objects on the dancers head. This dance is usually associated with the worship of Amman.

Kavadi Aattam

The ancient Tamils when they went on pilgrimage, carried the offerings to the gods tied on the either end of the long stick, which was balanced on the shoulders. In order to lessen the boredom of the long travel they used to sing and dance about the gods. Kavadi Aattam has its origin in this practice. Special soed only by men. It is done by balancing a pole with pots fixed on either end, filled with milk or cocunut water. The poles are made from Purasai ogymnastic specialised by Aryans. This is very similar to modern dthus earning a living.

Kummi

Kummi is one of the ancient forms of village dances of Tamilnadu. It originated when there were no musical instruments, with thrieties of Kummi, such as, Poonthatti Kummi, Deepa Kummi, Kulavai Kummi, Kadir Kummi, Mulaipari Kummi etc are known. The women stand in a cly performed during temple festivals, Pongal, the harvest festival, family functions like the one to celebrate the coming of age (onset of pubertys repeat.

Thappaattam

Thappu is the name of a rhythmic beat instrument and Thappattam is practiced among the suppressed Dalits classes of the people of the Tamil Nadu. The subtle form of dance accompanied by captivating music, is an ancient rural folk art which is even now popular in urban slum areas in villages.

Theru Koothu

Theru koothu is possibly the most popular entertainment forms in rural Tamil Nadu. It literally means "street party". These are shows that resemble musical plays and are normally conducted during village festivals, during the Tamil months of Pang and Aadi. The show is put up at the junction of three or four strn open air theaters/make-shift stages, and the place is lit by gas lights. A wooden bench is set up seat the singers and the music troupe. Make-up and costumes are considered ofhe performance consists of stoy-telling, dialogue-rendering, songing and dancing, all performed by ts (ancient texts), epics such asmayana and Mahabharata, and also local folklore. The play starts late in the evening and goes on until late in the night.
Theru Koothu is mthu, including Vali Koothu, Kuravai Koothu etc. Samaya Koothu dealing with relus topics, Pei Koothu including Thunangai Koothu and Porkala Koothu dealing with martial events

Urummi Attam

The whirring sound of 'urumi' providing the melody and the beat of the Thappu providing the rhythm, accompany the dance sequence in this kind of temple art form. This is performed especially in Amman temples during the month of Adi. Nowadays, this art form is found only in selected villages in a few districts.

Villu Pattu
Tamil folk artists presenting Villupattu

The main singer here is accompanied by a chorus, musical instruments and a main instrument, the Villu or Bow, fixed with bells . The villu is struck rhythmically when the bells jingle in tune. The main singer relates a tale, interspersed with lively songs.

Ottan Koothu

Ottas, a small group of tribals, perform this form of ritual dance on festive occasions to depict episodes from epics and other ancient stories. The women folk also participate in the dance.History and Performance Context The urumi is a folk instrument typically played by Dalits This drum is widely believed to possess supernatural and sacred powers. When played in religious ceremonies and processions, the performance of specific beats on the urumi may induce spirit possessions or Trance. The urumi is most often performed in two types of ensembles: - Urumi Melam - Naiyandi Melam

Urumi melam ensembles usually consist of a melodic instrument, the double-reed Nadaswaram, a pair of double headed drums called pampai, and one to three urumi drums. This type of ensemble is associated exclusively with funerals and other inauspicious occasions. The naiyanti melam is the most common type of folk ensemble associated with ritual and dance. A typical naiyandi melam is composed of two double-reed nadaswaram, one or two thavil , a tamukku , a pambai, and an urumi. It performs for a number of festive occasions including dance-dramas, menstruation ceremonies, weddings, harvest festivals, and staged folk dances such as :-

Poikkal Kudirai

dummy horse dance - Mayil Attam (peacock dance) - Puli Attam (tiger dance) - Kavadi Attam a devotional dance to Lord Murugan and many others. The urumi may also be heard on commercial recordings of film soundtracks and popular folk music.

Oyilattam

Oyil means beauty. This dance is hence the dance of beauty. Traditionally, it is danced only by men. Ten years ago women also began to participate. This dance is prevalent in the south districts and Kongu Nadu in particular. First a few people will stand in a row and start dancing with rhythmic steps with musicas they like. The dancers wear ankle-bells. Normally, the dance is performed with the accomplishment of musical instruments and songs. It is performed near the temples or public places in the morning and evening hours, at times even till midnight. Styles of Oyilattam differ from place to place.

Oyil Kummi

Yet another typical speciality of the southern region is the snake-dance which arises from the popularity of the snake as a protective divinity, safeguarding the health and happiness of the rurng girls dressewith head and hands. The raised hands held together look liker hips. This is made of light-weighted materials and the cloth at the sides swings to ad fro cves of the horse. The dancer brandishes either a sword or a whip. This folk dance needs much training and skill. This dance is accompanied by Naiyandi melam or Band music. This is connected to the worship of Ayyanar, prevails mainly around Thanjavur.

Puli Attam

Puli Attam is performed by young men with painted bodies in colours yellow and black, complete with fangs, head gear with ears, paws with claws aWildly beating drums add frenzy the performance. Sometimes, a gos tied and brought along with the dancers, pretend to pounce on it and kill it. This dance is regularly performed during temple festivals, drawingarge crowds.

Sevai Attam

This form of art is devoted to 'Thirumal) and is performed by village folk belonging especially to Natakommunity. In this dance the performers forming a group, with of them acting the buffoon, dance to the music of percussion instrument lie 'urumi'. The classical songs and the measured steps wraceful movements aree special features of Sevai Attam Sangam works this had been known as 'Pinther Kuruvai'. In those days this was performed at the rear ofhariot procession either of a king or a deity.

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Yoga

Yoga (Sanskrit, Pāli: योग yóga) refers to traditional physical and mental disciplines originating in India. The word is associated with meditative practices in Hinduism, Buddhism and Jainism. In Hinduism, it also refers to one of the six orthodox schools of Hindu philosophy, and to the goal toward which that school directs its practices. In Jainism it refers to the sum total of all activities—mental, verbal and physical.

Major branches of yoga in Hindu philosophy include Raja Yoga, Karma Yoga, Jnana Yoga, Bhakti Yoga, and Hatha Yoga.Raja Yoga, compiled in the Yoga Sutras of Patanjali, and known simply as yoga in the context of Hindu philosophy, is part of the Samkhya tradition. Many other Hindu texts discuss aspects of yoga, including Upanishads, the Bhagavad Gita, the Hatha Yoga Pradipika, the Shiva Samhita and various Tantras.
The Sanskrit word yoga has many meanings and is derived from the Sanskrit root "yuj," meaning "to control,to yoke or "to unite.Translations include "joining," "uniting, union, conjunction,and "means. Outside India, the term yoga is typically associated with Hatha Yoga and its asanas or as a form of exercise. Someone who practices yoga or follows the yoga philosophy is called a Yogi.

History of yoga

The Vedic Samhitas contain references to ascetics, while ascetic practices are referenced in the Brāhmaṇas (900 to 500 BCE), early commentaries on the Vedas. Several seals discovered at Indus Valley Civilization (c. 3300–1700 B.C.E.) sites depict figures in positions resembling a common yoga or meditation pose, showing "a form of ritual discipline, suggesting a precursor of yoga", according to archaeologist Gregory Possehl.Some type of connection between the Indus Valley seals and later yoga and meditation practices is speculated upon by many scholars, though there is no conclusive evidence.
Techniques for experiencing higher states of consciousness in meditation were developed by the shramanic traditions and in the Upanishadic tradition.
While there is no clear evidence for meditation in pre-Buddhist early Brahminic texts, Wynne argues that formless meditation originated in the Brahminic tradition, based on strong parallels between Upanishadic cosmological statements and the meditative goals of the two teachers of the Buddha as recorded in the early Buddhist texts.[21] He mentions less likely possibilities as well. Having argued that the cosmological statements in the Upanishads also reflect a contemplative tradition, he argues that the Nasadiya Sukta contains evidence for a contemplative tradition, even as early as the late Rg Vedic period.

The Buddhist texts are probably the earliest texts describing meditation techniques.They describe meditative practices and states which had existed before the Buddha as well as those which were first developed within Buddhism. In Hindu literature, the term "yoga" first occurs in the Katha Upanishad, where it refers to control of the senses and the cessation of mental activity leading to a supreme state. Important textual sources for the evolving concept of Yoga are the middle Upanishads, (ca. 400 BCE), the Mahabharata including the Bhagavad Gita (ca. 200 BCE), and the Yoga Sutras of Patanjali (150 BCE).

Yogasanam

This terse definition hinges on the meaning of three Sanskrit terms. I. K. Taimni translates it as "Yoga is the inhibition (nirodhaḥ) of the modifications (vṛtti) of the mind ".The use of the word nirodhaḥ in the opening definition of yoga is an example of the important role that Buddhist technical terminology and concepts play in the Yoga Sutra; this role suggests that Patanjali was aware of Buddhist ideas and wove them into his system. Swami Vivekananda translates the sutra as "Yoga is restraining the mind-stuff from taking various forms Vrittis.
A sculpture of a Hindu yogi in the Birla Mandir, Delhi
Patanjali's writing also became the basis for a system referred to as "Ashtanga Yoga" Eight-Limbed Yoga. This eight-limbed concept derived from the 29th Sutra of the 2nd book, and is a core characteristic of practically every Raja yoga variation taught today. The Eight Limbs are:
1. Yama The five "abstentions"): non-violence, non-lying, non-covetousness, non-sensuality, and non-possessiveness.
2. Niyama The five "observances"): purity, contentment, austerity, study, and surrender to god.
3. Asana: Literally means "seat", and in Patanjali's Sutras refers to the seated position used for meditation.
4. Pranayama ("Suspending Breath Prāna, breath, "āyāma", to restrain or stop. Also interpreted as control of the life force.
5. Pratyahara ("Abstraction"): Withdrawal of the sense organs from external objects.
6. Dharana "Concentration"): Fixing the attention on a single object.
7. Dhyana Meditation"): Intense contemplation of the nature of the object of meditation.
8. Samādhi Liberation"): merging consciousness with the object of meditation.
In the view of this school, the highest attainment does not reveal the experienced diversity of the world to be illusion. The everyday world is real. Furthermore, the highest attainment is the event of one of many individual selves discovering itself; there is no single universal self shared by all persons.

Benefits of Yoga

* Brings down stress and enhances powers of relaxation
* Boosts physical strength, stamina and flexibility
* Bestows greater powers of concentration and self control
* Inculcates impulse Control
* Helps in rehabilitation of old and new injuries
* Intensifies tolerance to pain and enhancing mental clarity
* Boosts functioning of the immune system
* Enhances posture and muscle tone
* Improves blood circulation
* Results in healthy, glowing skin
* Cleanses and improves overall organ functioning
* Bestows peace of mind and a more positive outlook to life
* Infuses a sense of balance and internal harmony
Best of all, Yoga is highly therapeutic. Some of the ailments proven to be relieved, reversed and even healed through the practice of Yoga are acidity , allergies, alzheimer disease, anemia, anger, anxiety, arthritis, asthma, back pain, bronchitis, cancer, carpal tunnel syndrome, chronic fatigue, colitis, common cold, constipation, depression, diabetes, epilepsy, eye problems, facial wrinkles, gastro-intestinal disorders, headaches, heartburn, hemorrhoids, hepatitis, high blood pressure, hypertension, immune-deficiency, impotence, menopause, menstrual cramps, migraines, multiple sclerosis, muscular dystrophy, nervous tension, obesity, osteoporosis, prostate, enlargement, sciatica, skin problems, sleep apnea, slipped disk, sterility, stiffness, stress, insomnia, intoxication, thyroid problems, kidney stones, stuttering and stammering, urinary tract disorders for women, vaginal infections and many more...

So, if Yoga has varied and immense physical benefits, what exactly is Yoga?

Yoga is a 5000 year old science whose teachings were first imparted not in a classroom or Gurukul, but on the battle field. In the epic Mahabharata, the sage, Lord Krishna is first said to have imparted the teachings of Yoga to his despondent student Arjuna. Around 1500 years later, another sage, Patanjali, went on to enunciate, for the benefit of humankind and eternity, the way to reach the summom bonum of life through a series of 195 aphorisms (sutras) in his epic treatise The Yoga Sutras of Patanjali.
Derived from the Sanskrit root “Yujir Yogey” meaning to unite, to yoke, to join, to put together, Yoga is not about mind over body. On the other hand, Yoga is about developing harmony between them. In Yoga, you use your mind to perceive and guide your body. Never control, let alone force it!
Yoga is a way of life, a conscious act, not a set or series of learning principles. The dexterity, grace, and poise you cultivate, as a matter of course, is the natural outcome of regular practice. You require no major effort. In fact trying hard will turn your practices into a humdrum, painful, even injurious routine and will eventually slow down your progress. Subsequently, and interestingly, the therapeutic effect of Yoga is the direct result of involving the mind totally in inspiring (breathing) the body to awaken.
Contrary to popular – or unpopular – perception, Yoga positions are not about how far you can reach to touch your toes or how many repetitions you can perform. It is all about paying attention to how your body feels; how it moves without that excruciating pain or agony! Yoga is all about breathing correctly about integrating that breath into your being. Conscious Yoga doesn’t call for you to force or strain your never or sinew. Meaning to say, right Yoga is learning how to do things right, do less that gets you more!
Ironically, by doing less – correctly – Yoga enhances your strength, energy, vitality, flexibility and levels of endurance. Accordingly, your body and mind start to become more balanced until, eventually, you find it takes so much less energy to move through the day. Yes, any and everyone can do less…and get a lot, lot more!

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Thirupparankundram Temple

Thirupparankundram is one of the six abodes of Lord Muruga, 10km south from Madurai. It serves as the best among the Arupadai Veedu of Lord Muruga, attracting rolling crowds all the year. Thirupparankundram, the place where Lord Muruga was married with Devayanai, is considered as a sacred place for marriages. It is possible that the worship history of this hill goes far into the past, may be even well before there appeared Hinduism. There are many legends associated with this mountain.

Thus, the hill is considered to be the "Southern Himalaya"where the gods assemble. There is also legend that this is the place where Sun and Moon take a rest.

Murugan Marriage in Temple

Thiruparankundram is one of the six main pilgrimage sites for the devotion of the son of Shiva - Muruga (also Subramanya), Tamil Hindu god of war and patron of Tamil Nadu. Story goes that Muruga with his troops rested here after one of his famous six battles against demons. Finally he saved Heaven by defeating the evil Rakshasa Soorapadman and returned to Thiruparankundram Hill followed by all the liberated deities. At this beautiful hill, where opens wide view on the lively landscape of Tamil Nadu, in the temple he married Devasena (Deivayanai), daughter of Indra given to him as a gift for victory. Marriage took place in the presence of all deities. Since there have happened such important events, Murugan Temple in Thiruparankundram became one of the most revered shrines in Tamil Nadu. Up to this day Tamil people readily marry here. Especially many pairs get married in festival of marriage - Pankuni Uttiram - in late March. Temple leads very active religious life with numerous festivities and Thiruparankundram for most part of the year is teeming with life.

History of the temple

According to another tale King Harichandra worshipped Shiva from this hillock and gained eternal wisdom. Thus he built a temple here - temple was complete with Praharams (ambulatories), walls, Gopurams (gate towers) and steps.

The "Real history" (who can differentiate myths and reality in Indian past?) of the temple may start with 8th century AD when Pandya rulers built rock-cut temple. Later, during the reign of Nayaks of Madurai (1559 - 1736 AD) the temple was supplemented with beautiful gopurams and beautified. There was built extensive and beautiful front part (mugha mandapam) with 48 ornate pillars carved during the rule of Pandya and Nayaks.

Description of the temple

This rock cut temple has separate shrines for Lord Ganapathy, Shiva, Durgai, Vishnu and other deities. The entrance of the temple is built with 48 Nayaka period pillars with artistic carvings engraved on them. The speciality of Thirupparankundram temple is that the innermost shrine is carved from a single rock. Entrance in the ancient cave temple leads through a row of massive square pillars ornamented with lotus-shaped medallions.

Inside the cave temple there has been preserved ancient painting of Nataraja - dancing Shiva. Cave temple contains also the sculpture of presiding deity Sri Subramaniyaswamy (Muruga). Rock-cut temple contains also 41 inscriptions revealing the early history of the temple. Before the ancient rock-cut temple there is built front part - mugha mandapam. Separate entrance leads into Sani Bhagawan - another shrine in this temple. In the western side there is rock-cut chamber which houses the lingam but in the eastern side there is one more shrine with Vishnu and Durga opposite to him. Temple contains many more carvings of deities.

In the south-eastern part of Kambaththadi mandapam there has been found a 30 m long tunnel. Temple contains also two historical wooden carts which are used for ceremonial purposes in certain proccessions. Another interesting fact about the Thirupparankundram temple is the presence of subsidiary cave shrines excavated in the rock, with idols arranged so orderly like a military session. These small cave shrines can be approached through narrow dark passages. It is quite difficult to find similar group of cave shrines elsewhere.

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