(no subject)
  • Angkor Wat in Cambodia.
    The temples there are older than Thanjavur ...
    They are so big that it takes one a whole day of
    bicycling in the hot sun to cover the 26-km
    circumference of the main temple complex. Intricate
    kalvettu there too.

    How about visiting this place in our overseas trip?
  • Vanakkam,

    Balaji went from us of A.

    I am with ICICI Group. I will talk to ICICI travel
    jini people and also another guy who does all the
    foreign travels for the contest winners on behalf of
    ICICI about this trip. He has very good contacts at
    Thailand. I will get the cost say for a group of 20,
    30, 40, 50 etc. from chennai, mumbai to whatever
    places we all decide.

    Once I get it, we can relax, as he would take care of
    travel, visa, stay etc. including shopping at

    I will get back by wednesday.
  • Dear All
    mailed it before I had a chance Dear Chandra and Diwa ,Easwar and freinds...
    I think enough is said..we all mean the same thats having fun having a great group and holding our chest high and say We ve accomplished this....

    We have a few feats We have a few big names who have left us for various reasons but My request is to have a moderate balance

    Just a humble request
    I see you guys are infront of your compuers Chandra nad Diwa can you check out the templates we have in the files section and give your valued and esteemed comments

    Diwa are you the resaon for alll these Mazhai in Tamilnadu
  • Dear all

    now that sri mentioned the rain..........
    did you notice all the names we read about in ps are making headlines
    daily( for wrong reasons)
    they are talking about viranam, arasalar, vadavar, kudamurutti in every
    as of now the danger to srirangam seems to have been controlled. but
    with excessive rain in karnataka it might take off again.
    viranam is not accepting new flows as it is already full.
    I have been trying to reach the gurukkal at malapadi for the temple is
    on the bank of kollidam but calls are not going thro.
  • sridhar sir....

    ungaloda nakkalukku alave illaiyaa????? chandra sir oda comments wud
    no doubt be valuabe and esteemed..... ennoda comment ai poi valuable
    and esteemed nnu solreengaley.... idhellaam adukkumaaa????

    regarding mazhai.. enakkum adhukkum enna sir sambandham?? may be
    usiroda africa laerndhu thirumbi vandhirukennu mazhaiyaaa???

    may be

    "nellukiraitha neer vaaikkaal vazhiyodi pullukkum aange posiyumaam
    nallaar oruvar ularel avar poruttu ellaarkkum peiyyum mazhai"....

    sir.. iam like pull (grass) sir.... edho oru nallavar atleast
    irukkaar.... avarukkaaga peiyyara mazhai ennaiyum

    Note: sir, unicode or english romba kashtam sir....
  • Dear Diwa

    Nallavanga vanthu Mazhai peiyumam...

    no seriously If ypou are free have alook and comment on what you think
  • i think this mazhai is yaaro vutta saabam..

    "deivam thozhaal kozhunan thozhudhezhuvaal
    peiyyenap peiyyum mazhai" (kozhunan means husband.. for god's sake
    dont read it as kozhundhan)

    endha paththini devam "pei" nnu solliththo.... andha paththini deivam
    marukka "podhum" nnu sonnaa dhaan vidum...
  • Dear Sir,

    Enaala idhukku mela thaanga mudiyaadhu..

    anyway i had a look at the PPT and it looks great. may be some photos
    can be added further. anyways my comments would be like

    "gaana mayilaada kandirundha vaankozhi..."
  • Dear all
    can one of the chennaites please buy these two books



    http://www.hinduonnet.com/thehindu/thscrip/print.pl?file=2004061300370200.htm&date=2004/06/13/&prd=mag&; available at kalasekthra press

    IT is not easy to see paintings in Tamil Nadu prior to those of the Vijayanagara period. Why? This is because they are either situated in remote places far from the tourist beat, (like Sittannavasal), or are in a terrible state of disrepair that very little is visible (like Pannamalai) or are locked up and visitors kept out (as in Thanjavur). Thus the two books photographed, designed and produced by C. Nachiappan (now Sri-la-Sri Nachiappa Swami of Koviloor Mutt) with assistance from the Rukmini Devi Foundation and published by Kalakshetra Publications, Chennai, are a valuable documentation of the great Tamil heritage of painting.
    The first book records the paintings at Sittannavasal, Panamalai and Thanjavur, covering the early Pandya, the early Pallava and the early Chola periods respectively. These sites, which are not easy to visit, were photographed 50 years ago by the Koviloor Swamy. He used an ancient 5"x4" Linhof camera for the Archaelogical Survey of India (ASI) and sent the transparencies to Saraswathy Press in Calcutta for exposing. But they got burnt under powerful lights and were never printed. The Swami retained a set of transparencies that were enhanced by computer technology, recreating the colours that would have brightened up the temples once upon a time. The text is written by the eminent scholar Professor P.R. Srinivasan, although he has quoted extensively from earlier works.
    Sittannavasal is an "elongated mass of granite", a remote village 15 km beyond Pudukottai town, not far from the early Chola temples of Narthamalai, consisting of the Eladipattam, a natural cave on top of the hill with beds and pillows cut into the stone floor for use by the monks, and Arivarkovil or the Temple of the (Jaina) Arihants. There is a First Century Tamil Brahmi inscription on a cave bed, and a Ninth Century inscription on a rock nearby informing us of the renovation of the temple. The cave temple has simple pillars and sculptures of Jaina Tirthankaras. The paintings currently visible probably belong to the Seventh Century, since they have Pallava features and are reminiscent of later Ajanta paintings.
    The paintings include a dharmachakra on the ceiling, a lotus tank with frolicking animals, creepers and lotuses, young men collecting flowers, dancing apsaras and a barely-visible king and queen, bringing to life the Jaina philosophy of ahimsa and harmony in nature. One apsara, with her right hand in the pataka mudra and the left in the danda hasta, is reminiscent of the bronze figures of the dancing Balakrishna and Balasubrahmanya, while the other is performing the bhujangatrasita karana, associated with the dance of Shiva at Chidambaram. The base of the Sittannavasal paintings is well consolidated, firm yet thin lime plaster, also used for the binding. The painted stucco is made up of three layers: rough plaster, fine plaster and a covering layer of paint.
    Little remains of these paintings today, making their appearance in the book a valuable contribution to South Indian art history. As a frequent visitor to Sittanavasal, I have seen the paintings gradually disappear, thanks to the pollution from the stone quarries, which is also probably weakening the hill. The lone watchman belies the archaeological importance of the site, surrounded by ancient dolmens and sacred groves with enormous and elaborately decorated terracotta horses.
    The Talagirishvara Temple at Panamalai is rarely visited, but is notable for the single remnant painting of an exquisite female figure, her leg gently bent and resting against a wall, standing beneath a royal umbrella, wearing a tall bejewelled kirita and jewellery typical of the Pallava period. The figure has been shaded to make it appear three-dimensional. This single figure is one of the most beautiful paintings in India, reminiscent of the women of Ajanta, and the photograph brings out all her glory. She resembles Parvati of the Kailasanatha temple, Kanchipuram, and the Ajanta frescoes. There are traces of painting elsewhere in the temple, but nothing identifiable. The fresco secco method was used here as at Sittannavasal.
    The best paintings are, of course, those found inside the vimana in the Brihadishvara temple at Thanjavur. The delicate nature of the paintings and the gradual erosion due to pollution have resulted in the ASI locking them up. Today they can only be seen by special permission. The paintings depict scenes from the Shiva Purana. But the elaborate tableaux of domestic, public and palace scenes are an excellent source of information about the Chola period and the court of Rajaraja, who commissioned them. The paintings are huge and animated, bringing alive the greatness of the Lord who destroys evil and ensures peace.
    There is a barely-visible Dakshinamurti beneath a banyan tree on which monkeys are playing, while rishis and animals live together in the forest. There is a stillness of body and reverence on the face of the sages worshipping Dakshinamurti, in contrast to the vivacious animals. Flying apsaras and gandharvas complete the scene of palatial proportions.
    The Sundaramurty Nayanar story depicts a magnificent Cheraman Perumal on a bejewelled white horse, while an angry Sundaramurti Nayanar wears a white coat! Shiva, in this scene, is an old man. A beautiful tableau is that of Rajaraja listening to his preceptor Karur Devar, the two faces a study of intense concentration.
    In another panel, dancing apsaras �� their faces a study of abhinaya �� and Rajaraja and his wives watch in awe the magnificent ananda tandava, the dance of Nataraja performed in the golden mandapam of Chidambaram. Exquisite jewellery, jasmine-bedecked hairstyles, and beautifully featured people with eyebrows like a bow and compassionate eyes bring alive the massive compositions in bright colours.

    The best painting is that of Tripurantaka, Shiva as the destroyer of the demon Tripura. With wide-open eyes and raised arms, Shiva prepares to slay the demon. An animated Durga seated on her roaring lion prepares to attack the demon's hordes with her raised sword. Brahma is a charioteer, while Shukracharya leads the asuras (demons).
    What is significant about the Chola paintings of Thanjavur is that there is great emotion in all the faces, whether it is the compassion of the guru counselling Rajaraja, or a contemplative rishi, a devout queen, an animated dance
  • Dear SPS
    I have written to both the authors copies of the mails Ill forward
    So we can do it formally
  • thanks sps
    it wasnt for me it was for one of you to read and review for the site
  • Dear All
    Its great to read about our side in a leading daily on the same note it also pains to see that members have chosen to ignore the fact that the site was still in evolving phases and we did not want the public to see it till it was a bit more organised

    We were planning on tamil version and translations are going on but the daily has said it would be nice to have it in tamil as well

    Can who ever did this with good intentions please refrain or atleast ask the group please before publicising...

    Thanks seenu for highlighting this

  • Can we have a message 'site under construction' or something like that till we officially launch it.
  • This is fantastic news. I guess this is the beginning of our site reaching out to everybody. We should also attempt at finding out newsgroups that are into cultural and ancient monuments and post news about our website there. Iam sure it will reach out to the world very soon.
  • Under construction will gave a very immature opinion of us...nnu
    nenaikarane. :-(

    Pazhayaaraiyaar avargaley, whoever gave the information...paravaa
    illai. adhuvum nalladhukkudhaan. Lets not worry about what was
    written, afterall they have said it in good spirits. Shall we send
    them a Thank You letter for publicising the site and their suggestion?
    We can even explain that the translation work is already going on.

    pathirikkaigaludan nalla rapport vechukkaradhu eppavumey nalladhu.
    adhuvum nammai pathi article vandhaa Thank you letter ezhudhina oru
    reporter padum sandhosham alaadhinaanadhu. Thamizh version launch
    panninapparam innoru article Dinamalar varardhukkum vasadhiyaa
    irukkum. ;-)

  • Thatz a Gud idea Krupa. We can send them a Thank You letter. Also, we shall explain them our current work in translation.
  • I have a suggestion. If Dinamalar has a "Letters to the Editor" type of
    forum, we can send them a letter that can both accomplish the task of
    thanking them as well as publicise the fact that the translations are on
    their way.
  • I tried for the link and cannot found.
  • Thanking them through a webform would be okay, but snailmail letter
    weighs more.... be it from within Tamil Nadu or outside India.

    There is a small exe file in their site. It can be used to send mail
    to the editor/anthumani directly.

  • Dear Magan Pinagapani

    I totally agree we can write to them and we can speed up things with Tamil

    seenu and Chandra can translate the pages on frescos, meikeerthi, RRC
    Books and website links

    Please leave architecture as Ram is updating it
  • Hi Sri,
    I am ready to resume the translation work. If you say to start again,
    me and Seenu will coordinate with each other and finish all the
    translations within a week's time if you want. any updated English
    pages can be sent to us, so that we will update it time to time. What
    say, Mr.Seenu?
  • Yes Chandra. We can finish those...No Probs...
  • Dear All
    I think with the tamil side of things ready for launching we should do things slightly differently..
    We should have a staging site where people can upload contents using the CMS and once we have approval from the editorial team then each page goes live

    So to begin with We can have the

    Welcome page
    Books and Editorials
    Chola frescos

    Can Seenu Chandra and Vijay coordinate that
    Krupa are you free to lend us a hand

    If we move in the right speed we ll have the Tamil version ready for Tamilar thirunaal

    Now heres a thought
    nobody can be more tamil chuavinistic than me...We tell the world with English...Do we proudly tell india with HINDI???Thats food for thought
  • Ok, Vijay, Seenu pls inform me on the translation plan. We will split
    the work and finish by this month end.
  • Chandra, Vijay,
    Sorry for delayed reply.
    We shall split the work. I think I shall start translate for the pages RRC and Chola Frescos. Suggest me please.
  • congrats everybody.....u have done an amazing job.......i visited the website sterday and the work was splendid.....will i be of any help to you increating the tamil version or in any other work?
  • Dear Chandrasekaran

    Apologies for the delayed reply.

    Past few days I was away from my home due to work. I
    couldn't browse emails at work place.

    Regarding Tamil version we have a sub domain
    tamil.thebigtemple.com ready.

    We can upload the files directly to the site.

    I am working on CMS and it will be ready during xmas

    So the whole CMS easily handled by ourselves by simple

    If CMS is ready, we can work out teams.
  • Hi Vijay,
    Between PS members, I think asking apologies are like hitting each
    other!! Most of us are busy in our profession and that's not a crime!!
    Once your CMS for Tamil web site is ready, just inform us, we'll start
    uploading. This should not take much of time.Seenu had already
    contacted me. We'll coordinate and finish. Cheers!
  • Hi Seenu,
    We discussed last we split work. You do RRC and Iwill do the fresco
    page latest by this week end.
  • Excellent,i would have missed these articles.Thanks


    > On big temple renovation
    > http://www.hindu.com/2006/03/28/stories/2006032804790500.htm
    > On some rare artefacts in Mamallapuram
    > http://www.hindu.com/2006/03/28/stories/2006032806202000.htm
  • Hi All,

    Have you ever looked at your daily drudgery in humourous light?
    Have you ever found a sterotype of the workplace you go to everyday?

    Theres a lot of humour to observe for the willing-eye. To quote
    Madonna (of all people to quote), "You only see what your eyes wan to

    Am sure all of you have gone through that sometime or the other.
    In my endeavour to capture the unique character of the Indian IT
    professional, I plan to write out a series of short-stories. Most of
    them might look funny, but am sure you would find somebody like you
    deep under those characters.

    Well, these stories will appear, one per week, at...


    Am sure most of you would enjoy most of it. But some of you may
    find some fault. Pl. dont spare me. Feel free to criticize my writing.
  • Dear All,

    I got this mail from a friend. Something to feel good
    and also to think!
  • Dear All,

    Aadi thiruNaaL vazhthukkaL.
  • Hi i am poomagal
    dear friends,
    i am interested in knowing more about raja raja chozhan . if anybody knows about the great can mail me who ever it is i offer you a very great and warm welcome.
    thank you
    with love
  • Dear Mugilan

    I am GSK from Bangalore, I am one of the admirer of that Song sung by The Great saivate sant Thirunavukarasu swamigal when he was waranted by the ruling Pallava Monarch ca 615 AD. i enjoy typing and conveying the Message to you and our group.

    "Namarkum kudiyallom Namanai Anjom
    Narakaththil Idarpadom Nadalaiyillom
    Yemappom Piniariyom - Panivamallom
    Yennaloom Thunbamillai Enbame "...........
    a very beautiful Tamil Narration of his Mental Emotions.

    21st Century Tamil

    I am not a subject of any ruling King, I am not afraid of Yemadharman
    I have nothing to do with Naragaloga, I won,t oblige the conspiracy of Jains
    always Happy .No worry at all when iam with Lord Shiva.

    Govindhan Pillai Santhana Krishnan.
  • A very interesting article in young world about the link Combodia and

  • Dear PSVP relatives

    orissa played role on kamboja kingdom through palur port

    palur was the major port for indian kingdom.

    kongoda mandala which banpur was the capital is 60 km from palura on
    sailabodeva period, may be associate with pallava origins.

    Orissa sea traders are called saduvans/vyabaris even from 3 rd
    century BC

    having enough document in text from

    sending some sample here with ;

    The Matharas

    Soon after the invasion of Samudragupta a new ruling power named
    Mathara raised its head in Kalinga. The earliest known Mathara king
    was Vishakavarman who started his politial career as an humble ruler
    of a small territory round about modern Parlakhemundi. He was
    succeeded by Umavarman who declared himself as Lord of Kalinga by
    his 30 th regnal year and made Singhapura his capital. He ruled for
    about 35 years and was succeeded by Sankaravarman in about 395 A.D.
    Maharaja Sankaravarman died after a short rule and was succeeded by
    his son Maharaja Saktivarman in about 400 A.D. Saktivarman was a
    powerful ruler who had extended his kingdom from Mahanadi in the
    north to the river Krishna in the south. He transferred his capital
    from Singhapura to Pishtapura in South Kalinga. He died in about 420
    A.D. and was succeeded by his son Anantasaktivarman who ruled up to
    450 A.D. Anantasaktivarman could not maintain the integrity of the
    empire inherited from his father. The Vishnukundin king
    Madhavavarman occupied South Kalinga as a result of which
    Anantasaktivarman shifted his headquarters from Pishtapura to

    It appears that after the death of Saktivarman there was internal
    quarrel between his two sons Anantasaktivarman and Prabhanjanavarman
    which contributed to the weakness of the Mathara dynasty.
    Anantasaktivarman was succeeded by Chandravarman who was probably
    his son. He had a premature death after which Prabhanjanavarman, the
    brother of Anantasaktivarman came to the throne. He attempted to
    recover South Kalinga but could not succeed in bringing back the
    lost territory. He was succeeded by Nandaprabhanjanaverman. During
    his rule the Mathara power declined steadily. By that time the
    Eastern Gangas appeared in the Trikalinga territory and extended
    their power over the Kalinga Regions. The Mathara rule in Kalinga
    ended in 498 A.D. which was the initial year of the Ganga era.

    The Eastern Gangas

    The earliest known Ganga king of Kalinga was Indravarman I whose
    capital was located at Dantapura. He is said to have defeated the
    Vishnukandin king Indrabhattaraka. He was the first great ruler of
    the Ganga dynasty and started the Ganga era. His Jirajingi copper
    plate grant was issued in Ganga year 39, i.e. 537 A.D. The next king
    was Samantavarman whose grant is dated in the year 64 (562 A. D.).
    Like his predecessor Samantavarman assumed the title of
    Trikalingadhipati. He was succeeded by king Hastivarman who claims
    to have defeated his enemies in many battles and declared himself
    the Lord of all Kalingas (Sakala Kalinga). Hastivarman transferred
    his capital from Dantapura to Kalinganagar. He was succeeded by his
    son Indravarman II and the latter was succeeded by Indravarmanan III
    who is known to be a powerful ruler. He claims to have acquired
    proficiency in various sciences and arts. The next king was
    Devendravarman who had mantradikshya from Patangashivacharya who was
    learned in Veda, Vedanga, Itihasa and Puranas. He greatly patronized
    Brahminical religion and culture. He was succeeded by his son
    Hemantavarman I after whom his two sons Nandavarman and
    Devendravarman II ruled over Kalinga one after the other. The next
    important ruler of the family was Anantavarman II who did many works
    of public benefit. He was succeeded by his brother Devendravarman
    III who patronized a Brahmin poet (the name is not known) who was
    the son of the door-keeper of his palace. He was succeeded by his
    son Anantavarman III and after his two of his sons Rajendravarman II
    and Devendravarman IV became kings one after the other. The next
    ruler was Satyavarman, son of Devendravarman, who was a war like
    ruler. After his short rule his brother Anantavarman IV came to the
    throne. He was popularly called Vajri or Vajrahasta I. The next
    Ganga king was Maharaja Bhupendravarman. After his two sons
    Anantavarman V and Devendravarman V ruled one after the other.
    Anantavarman assumed the epithet Maharajadhiraja and was known as
    Vajrahasta II.

    The Nalas

    Before the rise of the Eastern Gangs the Nala dynasty had
    established a kingdom in Trikalinga region comprising parts of the
    modern districts of Bastar, Koraput and Kalahandi. The capital of
    the kingdom of the Nalas was at Pushkari. The Podagarh rock
    inscription indicates that pushkari was situated close to the site
    of Podagarh in Koraput district. The earliest known ruler of the
    Nala dynasty was Vrishadhvaja who is known from a seal discovered at
    Bhita. It is suggested that the seal was carried to Bhita when
    Bhavadattavarman, the grandson of Vrishadhvaja, went on piligrimage
    to Prayaga where he donated grants to Brahmins. The date of
    Vishadhvaja may be fixed from circa 400 A.D. to 420 A.D. The next
    king Varaharaja was probably the son of Vishadhvaja. He was a
    powerful and independent ruler and had a prosperous reign. Out of 32
    gold coins of the Nala kings discovered at Edenga in Bastar
    district, seven large size and twenty-two smaller size coins
    belonged to Varaharaja. He had been assigned to the period from
    circa 420 to 440 A.D.

    Bhavadattavarman also called Bhavadattaraja was probably the son and
    successor of Varaharaja. During his rule there was conflict between
    the Nalas and the Bhakatakas and Bhavadattavarman defeated the
    Bhakataka king who has been identified with Narendrasena. The
    Bhakatakas capital Nandivardhana was occupied by the Nalas.
    Bhavadattavarman issued grants in favour of a Bhrahmin named
    Matradhyarya and his eight sons when he was at Prayaga with his
    queen. He was a powerful and a generous king. He was succeeded by
    his son Arthapatiraja. The Bhakataka king Prithvisena II, son of
    Narendrasena, defeated Arthapatiraja and ousted the Nalas from the
    capital Nandivardhana. He invaded Pushkari, the Nala capital, and
    destroyed it to a great extent. King Arthapati was probably killed
    in the battle. About 480 A.D. Skandavarman, the brother of
    Arthapatiraja, succeeded to the throne and
  • please go through this important links



    as i am half of the way and going to prove that

    orissa going to play a major role for rewriting our (orissa -
    Tamilnadu )history.

    before 1950 orissa was very very backward state withought and facility
    for scholors. even today

    like S.N rajguru,kedarnath mahapatra,HK.mahatab,kc
    mahapatra,sterling,v.ball,jaiswal,vasu,r.subramaniam and very few
    people worked on that, othere maximu did treasure hunt and sitting on
    researchers shoulders.

    even today it is very difficult to enter in to mountain and forests.

    how in 1920 to 1950 our krishnaswami ayingar and nilakanta sasatri and
    jaiswal are entered oriss for research.

    really its amazing for me.

    but any how i am respectable to our historians.what i want to say is
    now present world is Gps & remote sensing world we can add some more
    on the above works

    now for the last 10 years maximum infrastructure is going on in orissa.
    one way copperplates are taken away by the scrap traders and other
    hills are dominated by the heavy earht moving machineries and
    blastings on minerals and stone crushers people.

    unfortunately i was in the maintainace of hearthmoving industry as a
    maintainanace engineer , seeing this fatel without any knowledge from
    1989 to 2002 at orissa.

    now last 5 years realising the educated fools mistakes towards
    enenvironment and our cultural heritage

    s.balasubramani B+
  • Dear Bala

    If any of those copper plates are found ( recently
    they found a copper plate in Madurai as reported by
    Prof Rasu )I'm willing to pay a huge price for it and
    donate it to a museum...rather than sending it to a
    scrap dealer.

    Please contact me immediately, if anything authentic
    is reported.
  • I remember seeing such instruments in many temples and specifically
    remember the trip I made along with varalaaru team and Dr.KKvn during
    2005. If I remember right, the boodha gana in Kailasanather temple
    Kanchipuram and Sundara varadha perumal temple in Uthiramerur had such
    instruments and Ram was discussing with Dr.Kkvn as what that
    instrument is? Though not concluded, Ram and Dr.Kkvn were convinced to
    some extent that it must be depiction of veena.

    Now the mystery is cleared, I suppose. Request Ram to throw more light
    on this.
  • With due regards to Dr. Jaybee, posting from Agathiyar Group:
    SPS ::

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