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Sunrise at Mamalla beach

The Mahabalipuram beach is a marvelous destination to visit. It is probably one of the finest un-touched beaches in India. Situated on the coastline of Tamil Nadu, it is nearby the shores of the breathtakingly beautiful Bay of Bengal. Truly a mesmerizing beach !

The port town of Mahabalipuram along with its beaches is absolutely awesome. At the beach you can have a lot of fun which may include sun bathing, relaxing and unwinding


Mahabalipurm has magnificent monuments along with beautiful beaches. The rock cut art of Mahabalipuram is particularly attractive. Here one can also find some worth visiting places like the Shore temple, Rathas, Arjuna's penance, etc. Then there 's the fascinating crocodile farm, the snake venom-extracting center along with the schools of art and sculpture, which forms the prime attractions for tourists. Another major attraction here is the Dance Festival, hosted by the Department of Tourism of the Government of Tamil Nadu.

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Queen of the Hill Stations in South India

Ooty (Ootacamund) the Queen of the Hill Stations, also known as Blue Mountains is one of the most beautiful hill stations in India. This hill station has splendid green downs and lofty hills of extraordinary scenic beauty and is endowed with a salubrious climate similar to the English summer.

Located in the Western Ghats at a height of 7,500ft, Oooty / Udhagamandalam is the headquarters of the Nilgiri district. Ooty was the former summer retreat of the British. John Sullivan, the collector of Coimbatore who founded the first European settlement here, stumbled across Ooty's idyllic scenery in 19th century during one of his nomadic searches for rare flowers. The name Ooty or Ootacamund derives its name from the local Toda word Udhamandalam meaning village of huts. The Tamil 'Whotai' a species of dwarf bamboo that grows in the forests, 'kai' meaning a fruit or green stuff in the middle and the Toda 'mund' meaning a village clapped at the end. Ooty, however, got its name during the British rule, by calling 'WOTYKAMUND' in the Madras gazette.

Ooty nestles in an amphitheater created by four majestic hills-Doddabetta, Snowdon, Elk Hill and Club Hill. These hills are part of the Nilgiri ranges that are really the meeting point for the Western and the Eastern Ghats.

Ooty has become more of a 'honeymooner’s paradise' and a de-facto filming location. Apart from coffee and tea plantations, trees like conifers, pine and wattle dot the hillside of Oooty and its environs. While visiting you will also come across many eucalyptus trenches . The fresh smell of eucalyptus trees in a trendy and clement breeze will make you psychedelic for sure. The funnel-shaped blossoms covering the hills in floral profusion and the lavender-blue flowers spread over the mountains will pack you with memories for a lifetime.

Ooty has many places to see. The idyllic valley views, tranquil forest ranges, beautiful flora and fauna with bustling music of the wildlife.

Botanical Garden
Built in 1847, by an English gardener Marquis of Tweeddale , this quite, beautiful, well

maintained garden covers an area of 22 acres. It has 2000 different species of trees, fashioned beds laid beds laid out in an Italian style, beautiful flowers including orchids, a fossil tree trunk of 20 million years, a small artificial pond, alpines and medicinal plants among beautiful lawns and glass houses. The bushes are cut into the shapes of animals and birds.
Annual flower show is held here in third week May every year. This show is one of the main attraction of Ooty. The rose garden 750m from Charing Cross contains over 1,500 varieties of roses. It is open from 0800 to 1800. The best time is September to October and from April to May of the year . Timing - 8 A.M -6 A.M. Entrance fee: Rs. 5 per head for adults, Children- Rs.2

Doddabeta Peak
About 10km East of the Railway Station, off the Kotagiri Rd 2623 meters the highest peak This is a great place to enjoy the spectacular view of the mountainous valleys and peaks. The place is very serene. This place has a nice view tower wherein you can use high-power TTDC telescope to view surrounding places. On a bright day, one can have a bird's eye view of the plains of Coimbatore and Mysore, the plateau towns Ooty and Coonoor and the barracks at Wellington can also be seen at a distance.


Pykara
Situated at a distance of 19 kms. from Ooty, the river has a dam and a power plant. The great charm of the place is its perfect serenity, sparkling atmosphere and enchanting surroundings. The falls, about 6km from the bridge on the main road, are best in July. There is a forest Rest House and a boat House with Restaurant is at Pykara. .Boats are available for hire in Pykara dam.

Ooty Lake
An artificial lake constructed between 1823 and 1825 by Mr.John Sullivan, as an irrigation tank. The 2.5km long lake covers an area of more that 25hectre with the famous narrow-gauge toy railway line running along one bank; rowing boats are available for hire. You can also go for horse-back riding around the lake. This is one of the most popular tourist spot. Pony rides for children is a major attraction. The mini-train for children is still another attraction.

Stone House
This house was built by John Sullivan. It was occupied by the Principal of the Govt. Art College. The tribals called it as Kal Bangla (stone bungalow).

St. Stephens Church
It is the first church built in Ooty,1820. It is said that the wood for this church was brought from Tipu Sultan's Lal Bagh Palace in Srirangapatnam after his final defeat. These wood had to be hauled up by the elephants from the plains. It has a clock tower, nine tubular bells and a gallery.

Black Thunder
Asia's No. 1 Water Theme Park - Black Thunder, is set at the foothills of the gigantic Nilgris and 50 kms from Ooty. It is a thrilling and adventures water theme park at Mettupalayam. The water theme park is spread over 65 acres of land with green hills as backdrop and full of coconut and arecanut trees is a pleasant atmosphere. This park has adventurous water games and land games.

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Marina Beach

Marina beach lies to the east of Chennai (Madras) at Kamarajar Road, 3 Km from the city centre. The fine sandy beach said to be the longest beach in India and one of the longest in Asia, extends to a length of 13 Km, from Fort St. George all the way to Mahabalipuram. There is a drive along the beach fringed with palms and casuarinas running the whole length of Chennai.

In early 1880's, the natural beauty of the beach was enhanced by a facelift given by the then Governor Mountstuart Elphinstone Grant Duff. Some of the most beautiful buildings in Chennai such as the Fort St. George complex established by the East India company in 1641, University of Madras, Senate-House, Chepauk Palace (now P.W.D office), 19th century Presidency College building etc are located on the beach drive. On the beach itself there is the Anna Park, named after C.N. Anna Durai, the founder of D.M.K (Dravida Munnetta Kazhakam) and a former chief minister of Tamil Nadu. The park is adorned with statues of famous Tamil writers and sages, flanked at either end by memorials of Annadurai and M. G. Ramachandran, a former matinee idol turned the charismatic Chief Minister of Tamil Nadu. Further south there is a swimming pool, an aquarium located opposite to the Presidency college and two splendid bits of sculpture- that of the Victory of Labour and Mahatma Gandhi. At the other end of the beach is the new lighthouse.

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APSARA IN TANJORE

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

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Ramanathaswamy Temple

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

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NEW GOLDEN TEMPLE IN TAMIL NADU

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

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

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

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SRI RANGAM TEMPLE-TRICHY

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

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

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

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

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MADRAS-CHENNAI

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

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

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Thiruannamalai

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

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The big Waterfalls at Hogenakal

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

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Beauty at its peak

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

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


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

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Bharata Natyam

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




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




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





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




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




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




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




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




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




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





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




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




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




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




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




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




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




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




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




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





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

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

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Maestro Ilayaraja

Ilaiyaraaja was born into a poor rural family in Pannaipuram, Theni district, Tamil Nadu, India. He was the third son of Ramaswamy and Chinnathayammal. Growing up in a farming area, Ilaiyaraaja was exposed to Tamil folk music, such as the songs sung by farmers working in the fields. His formative contact with music-making and performance came at the age of 14, when he joined a travelling musical troupe headed by his elder step-brother, Pavalar Varadarajan, who was a propaganda musician for the Communist Party of India. He journeyed through numerous villages, towns and cities in South India with his brothers for about ten years as one of the musical Pavalar Brothers. He first tried his hand at composing music during this period: he set to music an elegy written by the Tamil poet laureate Kannadasan for Jawaharlal Nehru, India's first prime minister.

Arriving in Madras (now Chennai) in 1968, Ilaiyaraaja enrolled under the tutelage of Dhanraj, a music teacher, as it became apparent that formal knowledge in music such as musical notation was vital for a professional music career. He was introduced to Western classical music during his training, and the music and compositional styles of Bach, Beethoven, Mozart, and Schubert, among others, were influences that would later become a motif in much of Ilaiyaraaja's compositions (such as the use of counterpoint). Ilaiyaraaja's classical music training culminated in him completing a course with a gold medal in classical guitar (higher local) with the Trinity College of Music, London.Career and music
In Chennai, Ilaiyaraaja worked in a band for hire involved in performing music for various stage shows and formal occasions. Ilaiyaraaja also worked as a session guitarist and keyboardist/organist for film music composers and directors such as Salil Chowdhury from West Bengal, who often recorded music in Madras.Later, he was hired as an assistant to the Kannada film composer G K Venkatesh, an event that marked his entry into film music composition and direction. He assisted this music director in 200 film projects, mostly in Kannada. During this stint, he learned the practical methods of orchestration, and would hone his compositional ability through frequent experiment accomplished by persuading session musicians to play, during their break times, the scores that he wrote.

Ilaiyaraaja's break as a full-fledged composer came in 1976, when film producer Panchu Arunachalam decided to commission him to compose the songs and film score for a Tamil-language film called Annakkili ('The Parrot'). The resulting soundtrack, together with others that quickly followed, earned Ilaiyaraaja recognition for his adaptation of Tamil folk poetry and music to popular film music orchestration. Ilaiyaraaja helped reinvigorate Tamil film music which, by the mid-1970s, was experiencing a stagnation of ideas. As demand mounted for his 'new' sound, Ilaiyaraaja emerged by the mid-1980s as the leading film composer and music director in the South Indian film industry. Besides Tamil, Telugu, Malayalam and Kannada films, he has scored music for Hindi (or Bollywood) film productions such as Sadma (1983), Lajja (2001) and Cheeni Kum (2007). He has worked with noted Indian poets and lyricists such as Gulzar, Kannadasan, Vairamuthu and T.S. Rangarajan (Vaali),and film directors such as K. Balachander, K. Vishwanath, Singeetham Srinivasa Rao and Mani Ratnam.
Impact

Ilaiyaraaja and musicians during a recording sessionIlaiyaraaja's arrival onto the scene of film music composition in South India broke some new grounds in the industry. It saw increased efficiency in the film scoring process and a greater centralisation of expressive control in the hands of a musical director. The Indian filmmaker Mani Ratnam illustrates:Ilaiyaraaja was the first film composer to extensively employ within the Indian film music framework the harmonies and string arrangements intrinsic to Western classical music. This allowed him to craft a rich tapestry of sounds for films, and his themes and background score gained notice and appreciation amongst Indian film audiences. The range of expressive possibilities in Indian film music was broadened by Ilaiyaraaja's methodical approach to arranging, recording technique, and his drawing of ideas from a diversity of musical styles. According to musicologist P. Greene, Ilaiyaraaja's "deep understanding of so many different styles of music allowed him to create syncretic pieces of music combining very different musical idioms in unified, coherent musical statements". Ilaiyaraaja has composed Indian film songs that amalgamated elements of genres such as pop, acoustic guitar-driven Western folk, jazz, rock and roll, disco, funk, doo-wop, march, bossa nova, flamenco, pathos, native folk, Afro-tribal, and Indian classical. By virtue of this variety and his interfusion of Western, Indian folk and Carnatic elements, Ilaiyaraaja's compositions appeal to the Indian rural dweller for its rhythmic folk qualities, the Indian classical music enthusiast for the employment of Carnatic ragas, and the urbanite for its modern, Western-music sound

Accolades and notable worksIlaiyaraaja's composition Rakkama Kaiya Thattu from the movie Thalapathi (1991) was amongst the songs listed in a BBC World Top Ten music poll. He composed the music for Nayakan (1987), an Indian film ranked by TIME Magazine as one of the all-time 100 best movies, a number of India's official entries for the Oscars, such as Anjali (1990) and Hey Ram (2000), and for Indian art films such as Adoor Gopalakrishnan's FIPRESCI Prize-winning Nizhalkkuthu ('Shadow Kill') (2002). Ilaiyaraaja has composed music for events such as the 1996 Miss World beauty pageant that was held in Bangalore, India, and for a documentary called India 24 Hours (1996).Awards and honoursIlaiyaraaja has won the National Film Award for Best Music Direction for the films Saagara Sangamam (1984), Sindhu Bhairavi (1986) and Rudraveena (1989). He won the Gold Remi Award for Best Music Score jointly with film composer M. S. Viswanathan at the WorldFest-Houston Film Festival for the film Vishwa Thulasi (2005).
He was conferred the title Isaignani ('savant of music') in 1988 by Tamil Nadu Chief Minister M. Karunanidhi and received the Kalaimamani Award, an annual award for excellence in the field of arts from the Government of the State of Tamil Nadu, India. He also received State Government Awards from the governments of Kerala (1995), Andhra Pradesh and Madhya Pradesh (The Lata Mangeshkar Award) (1998) for excellence in music.

He was conferred honorary doctorates by Annamalai University, Tamil Nadu, India (Degree of Doctor of Letter (Honoris causa)) (March, 1994), the World University Round Table, Arizona, U.S.A. (Cultural Doctorate in Philosophy of Music) (April, 1994), and Madurai Kamarajar University, Tamil Nadu (Degree of Doctor of Letters) (1996). He received an Award of Appreciation from the Foundation and Federation of Tamil Sangams of North America (1994), and later that year was presented with an honorary citizenship and key to the Teaneck township by Mr. John Abraham, Mayor of Teaneck, New Jersey, U.S.A

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A.R.Rahman, (Allah Rakha Rahman) the musical maestro of Indian Cinema

A.R.Rahman, (Allah Rakha Rahman) the musical maestro of Indian Cinema was born on 6th January,1966 in Madras, to a musically affluent family. This genius with his exceptional talent, has reached heights of success that people his age can only dream of. Even then this small man remains humble and credits all his inspiration and success to Allah.

Born as Dileep Kumar to parents R.K.Sekhar, a music composer and mother Kasturi (alias Kareema Begum), he came to be known as A.R Rahman later when the family converted to Islam. Dileep started learning piano at the tender age of four. As his father passed away early, the pressure of supporting the family fell on young Dileep Kumar.

Dileep joined Illaiyaraja's troupe as a keyboard player at the age of 11 and had to drop out of school. He also played on the orchestra of M.S.Vishwanathan and Ramesh Naidu and accompanied Zakir Hussain and Kunnakudi Vaidyanathan on world tours. All this experience enabled him to earn a scholarship to the famed Trinity College of Music at Oxford University from where he obtained a degree in Western Classical Music. After he returned he continued to be a part of various music troupes. He was also a part of local rock bands like Roots, Magic and Nemesis Avenue where he performed with his future colleagues like Ranjit Barot and Sivamani. In 1987, he got a chance to compose a jingle to promote Allwyn's new Trendy range of watches. His work was appreciated and he got many more offers. He has done jingles for popular ads like Parry's, Leo Coffee, Boost, Titan, Premier Pressure Cooker, Asian Paints etc. Rahman went on to compose more than 300 jingles and received awards and recognition for his work, in the five years he continued in advertising.

In 1989, he started a small studio of his own, called Panchathan Record Inn, attached to his house. It was here that he began experimenting in sound engineering, design and production. The turning point in his life was when he met the famous director Mani Ratnam and was signed on to compose music for his super hit film 'Roja'. Rahman got the national award for the best music director that year. From then on there was no looking back for him. He got offers from a lot of directors from the south and the Hindi film 'Rangeela' and later 'Bombay' established his popularity in the north too. Rahman music wave arrived with a big bang in the tinsel world with sales of more than 40 million albums over a period of 3 years. He has also dabbled in playback singing with songs like 'Hamma Hamma' in Bombay, 'Dil Se Re' in Dil Se etc.

Apart from making music for films, Rahman has also done compositions for patriotic albums like ' Vande Mataram' a tribute to the motherland released simultaneously in 28 countries across the world and 'Jana Gana Mana' which brought together many of the countries classical and contemporary musical maestros, both released under the prestigious Label of Sony Music. He has also worked and performed with internationally reputed artists such as Apache Indian, David Byrne, Michael Jackson and with Andrew Webber Lloyd for his album 'Bombay Dreams'. He has received numerous awards in recognition of his talent. Padmasree from the government of India in 2000 being one of them.

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Chettinad Palace: Central courtyard-Kanadikathan

One of the most remarkable examples of Tamil house architecture you won't find in your travel-guide. Reading the newspapers daily there I stumbled on an article in 'The Hindu' about this palace never mentioning in wich place it could be found ... I found it in Kanadikathan a small place near to Karaikudi and I didn't regret to have taken the bus up there.(about 100km from Madurai)

Here you see the private entrance of the house where still the authentic family of the Chettiars live. Only by accident I took this photo as I didn't know I was on private ground
The Central courtyard is used for weddings and religious ceremonies.The pillars around the courtyard are in Burma teak, and there is picturesque combination of scarlet tiles and sloping woodwork.
The basic style of architecture is based on the Chettinad tradition. The construction material, decor items and furnishings were mostly imported, from east Asian countries and also from Europe where the Raja Chettiyar had spread his sprawling business . The woodwork and stone work were inspired by French and other European architecture.
The Chettinad Palace, home of the Chettiar familie, was built in 1912.

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Thousand Pillar Hall-madurai

The Thousand Pillar Hall should count 999 pillars as the last is the leg of Shiva. In fact there are 985 beautifully decorated columns. Each pillar is sculptured in the Dravidan style (jumping Lion: Pallava III). Nowadays the hall is used as a museum where you can see icons, photographs, drawings, etc., exhibiting the 1200 years old history.
In the corner you find the music-pillars: each has his own sound as you knock on it.
At the end of the Hall you see Nataraja or the famous dancing Shiva.

South to this Hall you will find the Mandapam or hall where the marriage of Shiva and Parvati is celebrated every year during the Chitirai Festival in mid- April.

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Relaxation MP3 songs

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Thiruparamkundram

As the first time you see all these colors on the temples, you get a feeling of kitch, but when you start to understand Tamil culture then you know this is the outmost expression of Tamil life.
As you can eat spicy in the North, it would still taste sweet to a Tamil. Everything in his life is really an exponent compared with other states. The joy, the fights, the laughs, the respect the colors,the heat, the struggle everything is so intens here in Tamil Nadu. Other states sometimes charactarize Tamil Nadu as the land of children as in all their reactions they are so spontanuous, simple and at the same time so intens.

Here you see the top of a Gopuram newly paint at the rock-temple in Tiraparunkundram just outside Madurai. Gopuram means an entrance tower and every temple got four of them orientated to the North-South-West-East.
The smaller the Gopurams the elder the temple is.

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Five Rathas

Five monolithic chariot temples dedicated to Hindu gods. Also known as Pancha Pandava Rathas. Although there are eight temples, people recognize only five. It is said that the five Rathas represent the five chariots used by the Pandavas. Four of these temples have been scooped out of one single rock. The imposing Gopurams and sculptured pillars & walls give us a glimpse of the style which was adopted in constructing temples all over Tamil Nadu.

The road up to this archeologic place is full of stone-carvers and it is pleasant to hear the hamering from morning till sunset. Pity, this will be soon gone. The government is planning to enlarge this road and most of the carvers will vanish. Instead they are building a big concrete shopping complex near the Five Rathas and they can rent a place over there.

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Thirukalikundram

View from the Eagle Rock Temple over Thirukalikundram. At the foot of the hill there is also a larger Shiva Temple. At the South-East end of the town is a spacious tank whose waters are said to have curative powers. Once every 12 years, a conch is discovered in this tank and thousands of devotees flock to bathe in the tank at this auspicious time. A collection of the conches is displayed in the larger Shiva Temple

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Thirmalai naiker mahal-MADURAI

The palace is situated 2kms south east of Meenakshi Temple. The palace was built in 1636 by Thirumalai Nayakar. A classic example of the Indo-Saracenic style, the piece de resistance of this mahal is its carved dome outsoars without the support of girders or rafters.



The stucco work on its domes and arches is remarkable. The gigantic pillars and structures represents the amazing architectural mastery of Nayak Kings. The courtyard and the dancing hall are being the center of attractions. There are around 248 pillars of each 58 feet toll and 5 feet diameter.

Furniture and utensils used by the kings have been exhibited inside the palace. The palace is equipped to perform Light & Sound shows depicting the story of Silappathikaram in both Tamil and English languages

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Viswanathan Anand

Viswanathan Anand, the world's newly-crowned chess champion, combines a calm, modest manner with lightning brilliance on the chess board and relentless preparation.

Anand learned the game at age six from his mother because his brothers did not have the patience to play chess with him. He proved to be a good pupil.

By the time he was 13, Anand was India's junior champion and at the age of 16, he won the senior title. He was the world's junior champion in 1987 and in 1991 he won the prestigious Reggio Emilia tournament ahead of the Russian masters Garry Kasparov and Anatoly Karpov.

In 2000, he became the first Asian to take the world title, but his victory was overshadowed by the chess world's two competing chess titles -- one by the International Federation of Chess and the Professional Association of Chess led by Kasporov.

Anand burnished his reputation with a triumph at the rapid chess Cap d'Agde tournament in France in 2003 and with his mastery of the "Advanced Chess" game created by Kasporov which allows competitors to play with the aid of a computer.

After being crowned the world's undisputed champion Saturday, Anand had an emotional chat with his original chess instructor, his mother, to tell her news of his victory.

"Vishy informed me of his second world title at 1:20 am this morning," Susheela Viswanathan told the Press Trust of India news agency in the south Indian city of Chennai in Tamil Nadu state.

"With a choking voice, Anand said 'amma (mom), I have won. I am the world champion for the second time,'" she said.

His wife, Aruna Anand, likens his mind to a computer and that "his brain goes faster than others." But in addition to his talent, she said Anand puts in long hours every day refining his game.

Apart from Vishy, the diminutive of his first name, Anand has collected a number of nicknames over the years. When he beat Anatoly Karpov in 2000 he was dubbed the "Indian meteor" for the speed of his rise in the chess world.

His wife is amused by another nickname for her spouse, the "Tiger of Madras."

"In Madras, there are no tigers. There are perhaps two in the zoo," said Aruna, who accompanies her husband at all his tournaments.

But she said the moniker captures how Anand appears tranquil until he "seizes the advantage and is transformed into a tiger."

For his rapid pace of play, he's also been called the "Lucky Luke of chess," a reference to the French-Belgian comic book cowboy character who can shoot faster than his shadow.
Anand, however, used to play a more deliberate pace.

"Anand tried for some years to force himself to reflect a long time before each move, with the idea of finding an even better move. But he grasped that despite the extra time, he could not find other better moves," said Gerard Demuydt with the website europe-chess.com.

So he eventually "developed a natural way of playing," Demuydt said.

The stocky, bespectacled Anand, with a round, smiling face, divides his time between Madras, the United States and Madrid -- his base for tournaments in Europe.

He keeps himself physically fit with daily two-hour workouts, because while mental endurance is important, physical strength "can make the difference," according to Spanish grand master Leontxo Gracia.

When he leaves on vacation, he won't play chess, but he does turn on his computer to check on the latest matches played by his rivals.

During the world championship in Mexico, a marathon of 14 matches, Anand was at the peak of his craft. He never got into serious trouble and always maintained a serene, relaxed attitude, in contrast to other grand masters who appear more tense and withdrawn

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