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Tirukkandiyur Brahmasirakandeesar is located 11 Kms from Thanjavur and 3 Kms from Tiruvaiyaru on the Thanjavur - Tiruvaiyaru road. Town bus facilities are available from Tiruvaiyaru. Other paadal petra sthalams in and around Tirukandiyur are Tirupoonturuthi, Tiruchotruturai and Tiruvedhikudi. One of the 108 Divya Desam shrines of Lord Vishnu is also situated at Tirukkandiyur near the Shiva temple.
The main deity here is the Brahma Shira Kandeeswarar. There is no bronze idol depicting the story of this temple. The goddess is Mangalambigai. There is a statue of Brahma and Saraswati to the left of the lingam, facing it, in a separate sanctum.
Kandiyur has the distinction of being one among two sets of temples - one of the Saptha Sthaanam temples
[1.Aiyarappar templeThiruvaiyaru,
2.Apathsahayar TempleTirupazhanam,
3.Odhanavaneswarar TempleTiruchotruthurai
4.Vedapuriswarar Temple Thiruvedhikudi,
5.Kandeeswarar TempleThirukkandiyur,
6.Puvananathar TempleThirupanturuthi,
7..Neyyadiappar TempleTiruneithaanam]
and as well as one of the Ashta Veeratta Sthalams - temples where Shiva has shown his power by overcoming someone.
1. ThirukandiyurBrahma-Near Thiruvaiyaru
2.TirukoilurAndhakasura-Tirukoilur
3.ThiruvadhigaiTripuranthaka-Panrutti
4.ThirupariyalDaksha-Mayavaram
5.ThiruvirkudiJalandaran-Tiruvarur
6.ThiruvazhuvoorGajasura-Mayavaram
7.ThirukurrukaiManmatha -Korukkai near Mayavaram
8.ThirukadayurYama-Sirkali
Here, at Kandiyur, he crushed the ego of Brahma by plucking off his fifth head. He is therefore known as Brahma Shira Kandeeswarar. Hence the name - Kandiyur. The Devi here is Mangalambigai.
The earliest inscription on this temple is from the 21st year of Pallava Nrpatunga probably re-engraved when the temple was rebuilt in stone. There are no inscriptions of the period of Aditya I. Those of Parantaka are three , the earliest of which dates from his 11th year , A.D. 918, which may perhaps be taken as a date near which the temple was rebuilt.
The temple , rather unusual in South india, faces west. The dvitala vimana is about 18ft, at the base. The adhisthana now largely buried, is of the Padmabandha type, closely resembling that found at Tiruvaiyaru. A vedi supports the pada pilasters. The galapadas in the vedikantha have , as usual, delicate miniatures depicting epical and puranic scenes. The karnapadas are of brahmakanta class, while those flanking the devakoshthas are Isakanta. There is the usual decorative carving on the pada pilasters, and a good bhutamala above. Typical Chola devalankaras adorn the karnakutas and salas. The circular griva and sikhara seem original. A seated ardhanari which once occupied the eastern grivakostha is now placed inside the thirusutru.
The ardhamandapa padas are all brahmakantha. The ekasakha doorframe has a fine carving of patrasakha mingled with bhutas. On the top there are scenes of daily life and a toranabandha. All these are relatively rare features in early chola buildings.
Inside the ardhamandapa are four finely - formed Visnukantha pillars. Their lasuna , mandi, hiraka and other elements are tastefully decorated. Curiously on the tantraka of the uttara, all around inside the mandapa, a hamsamala is carved.
BACK VIEW FROM WEST GOPURAM
History - Architecture:
Thiruvarur (Tiruvalur) is in the district of Tanjore, connected by the Southern Railway with Madras, a junction at which the Mayavaram Karaikudi and the Tanjore Nagapattinam branch lines cut each other.
History
The temple of Thiyagaraja became all the more famous by the visit of a galaxy of Gods and Angels from heaven, like Brahma, Dasharatha, Rama, Arjuna, Dharmaputra, Kings Nala and Haris- chandra, and Maharshis like Vasishtha and Vishwamitra. Each installed a Siva linga. In the temple for worship.
The legend goes that once Lord Siva took his abode with Devi Parvati in a garden at the foot of Mount Kailas. Then a monkey dropped some Bilva leaves on the Lord. Siva was very much pleased by this act of the monkey and blessed it. The monkey in the next birth was born as a king in the Manu dynasty, named Muchukunda. Muchukunda was a good and kind ruler. He built many temples and encouraged pandits and scholars. Everybody lived a life of happiness in his time. He was also a great warrior and ruled the country with his capital at Karuvur.
After many years, an Asuranamed Vala again attacked the Devas. The Devas was defeated in the battle. Thereupon Indra. Sent for his friend Muchukunda, for help and King Muchukunda readily agreed to save the Devas from, the attack of the Asura.
A fierce battle took place between the King and the Asura in which the latter was defeated and finally killed by Indra. After the battle, King Muchukunda. Offered prayer and pujas to Lord Siva. The Lord appeared before him and asked him to build a temple for Him at Thiruvarur. When the King was about to return to his capital, he requested Indra to give him the Somaskandamurti that he was keeping with him and worshipping daily. Indra, not willing to part with this idol, decided to present to the King six other idols similar to the Somaskandamurti and placed them before the King with the real Murti amongst them, for selection. Then Lord Siva, without the knowledge of anybody, helped the King to select the real Murti. Indra gave the other six idols also. Muchukunda then returned to his capital with the idols.
A big temple was, constructed at Thiruvarur by Viswakarma. Then the King installed a Siva Lingam (now known as Achaleeswar) in a portion of the temple and worshipped it for many years. The peculiar feature about this Lingam is that its shadow can be seen only in the eastern direction and it is also said that this shadow will not be visible to a man who is going to die within a period of six months.
Once there was a king named Amsa. He was childless. He conducted many yagas to be blessed with a child. At last he came to Thiruvarur, installed a Siva Lingam in the temple and conducted penance for many years. Then Siva gave darsan to the King and blessed him. So the Lingam came to be known as Siddheesar (Siddhi means success and Eesar means God). By worshipping this Lingam one can- get what all one desires in this world.
One day King Kulisa while feeding Durvasa Maharshi mixed meat in the meal by mistake. The Maharshi, enraged by this act of the King, cursed him to turn into a tiger. But soon the Rishi cooled down and told the King: "After some years you will see the divine cow Kamadhenu when you will get moksham."
The tiger roamed in the forests and at last came to a place near Thiruvarur where it happened to meet Kamadhenu with her calf. The cow used to go to the temple of Lord Thiyagaraja daily and worship, Vanesa Lingam bathing it with its own milk. On seeing the cow Kamadhenu, the tiger rushed towards her. Thereupon the cow replied: "I don't worry about being killed by you, but the thing is I have not the Siva Lingam today. So kindly permit me to finish my duties first. I shall certainly come back here when you can kill me." The tiger was not willing to miss the, chance; yet, believing the words of the cow, he permitted her to do so.
Kamadhenu returned promptly after finishing her ' duties. The tiger was touched by the exemplary behavior of the cow and had no mind to kill her. Then the tiger came to know about its past life. It went to Thiyagaraja's temple, worshipped the Lingam and attained Moksham.In this temple there is the Marakata Lingam obtained by King Muchukunda. From Indra along with the idol of Thiyagaraja. 'The palanquin of Thiyagaraja is made of gold. The Prabha is decorated with diamonds. The Goddess is known as Padampiriyal (who would not leave the feet of God). Another name of the Goddess is Neelotpalavalli. In the shrine of Neelotpalavalli, there are painted pictures narrating some incidents, which happened in the past. One of them is that a king known as Somaji Nayanar was performing a sacrifice to propitiate Lord Thiyagaraja. Somaji Nayanar expressed his desire to Sundaramurti Nayanar that Lord Thiyagaraja should appear himself and receive the havis (oblation of raw rice cooked in orthodox manner).
Sundaramurti Nayanar conveyed the request to Lord Thiyagaraja. Lord Thiyagaraja consented to the same saying, "If I could be recognized I don't mind receiving it." This test the depth of devotion, Siva came as an outcaste (Paraya), with Parvati carrying a pitcher of fermented palm juice and holding two sons, and himself having a drum and four dogs representing the four Vedas. Only Somaji was able to recognise him. Others shouted, "Don't come near, don't come near." As Somaji was able to recognise God even in the form of an outcaste, Siva received the havis and gave darsan. Another legend current in this part and represented in the fresco painted in the temple wall of Neelotpalavalli Sannidhi is as follows:
Once upon a time a harlot by name Manicka Nachiyar, according to her established tradition, used to receive only a person who was wearing Rudraksham. One day Siva, disguised as an old man with Rudraksham, entered her house. She received him also with equal respect as he was having a Rudraksham. During the course of the night he gave her a lot of worries and at last died at her house. According to tradition, she played the part of the wife in true Hindu custom. When the old man passed away in her house, she had to perform Sati by following him in the funeral pyre.
The old man was taken in a bier followed by the harlot and a funeral pyre was set up. When it was about to be lit, the old man transformed himself into his original form of Lord Siva and gave liberation to the harlot who had dutifully followed him even to the funeral pyre. She was true to her tradition and devotion. As such she deserved liberation.
Thiruvarur became very famous in the last century for the birth of three great Carnatic musicians, viz., Muthuswami Dikshitar, Syama Sastri and Thiyagaraja. Thiyagaraja composed his songs in Telugu, and they are considered to be gems of Carnatic music,highly honoured even now.
Architecture
Thiruvarur is very famous for the shrine of Thiyagaraja. The temple is gigantic in structure. From a distance of miles the gopurams are visible. It is a great pilgrim centre, through out the year, particularly in the month of Chittirai when the most important festival, the annual festival of Sri Thiyagaraja is performed. There are four gopurams on four sides. The tower on the west is particularly noteworthy for the fine sculpture in brick and mortar. The colossal structure of the temple could be well imagined from its length of 846 feet with breadth of 666 feet.There are several tanks attached as an adjunct to the temple wherein devout pilgrims take their bath before entering into the precincts of the temple.
On the western side of the temple there is a famous tank known as Kamalalayam where Goddess Kamala (Lakshmi) took her birth. It is considered to be the biggest tank in the whole of South India, having an island temple in the middle dedicated to the Goddess. She was born with the nectar during the course of churning of the Milky Ocean by the Devas and the Asuras. Varuna, the God of Water brought up Kamala, and after devoted penance she was married to Vishnu at Thiruvarur. Hence the name Kamalalayam.
Besides the tank, a peculiar musical instrument called Panchamukha Vadya and Sivalingam made of sapphire and called Marakatalingam are worth seeing. The musical instrument has got five faces and is ornamented with the snake, the swastika and the lotus on three. The fourth face is plain without decorations. The central face shows the face of a deer. It is said that Nandi played on this when Siva danced. The circumference of the instrument is fifty-six inches. Thiruvarur is one of the seven sacred places of Lord Thiyagaraja. The others are Tirumaraikkadu (Vedaranyam), Tirunagai (Nagapattinam.), Tirukkolili, Tirukkaramayil, Tiruvanmiyoor and Tirunallar. In this temple where Thiyagaraja's idol is worshipped, the Navagrahas are placed in a line looking at the shrine. It is a peculiar feature.
Rama with Sita, Lakshmana and Hanuman
Tiruvalangadu, Mayavaram Taluk, Thanjavur District.
Rama Height 3'.5"; Sita Height 3'; Lakshmana Height 3'1"; Hanuman Height 2'4". About 12th Century AD.
Rama stands on a Padmasana in tribhanga posture wearing Kirita makuta, siraschakra and all other ornaments. The hands are held in the posture of holding a bow in the left hand and an arrow in the right hand. Lakshmana in all respects is similar to Rama but he wears jatamakuta. Sita is seen standing on a padmasana in the tribhanga posture. Her right hand is in lola posture and her left hand is in kataka pose. She also wears jatamakuta, haras, valayas, channavira, waistband etc. Siraschakra is present. Hanuman stands on a padmasana wearing jatamakuta. He has udarabandha. His hands are held in the usual supplicating manner.
shot @ Needur, Mayavaram, Tamilnadu
yes its rampwalk, without leather shoes (no shoes at all), no AC hall (its a bright sunny day too), no podium (its a rail track)......
Kalki (Tamil: கல்கி) was the pen name of R. Krishnamurthy (9 September 1899 – 5 December 1954), a noted Tamil freedom fighter, social crusader, novelist, short story writer, journalist, humorist, satirist, travel writer, script-writer, poet, film & music critic, Indian independence activist and connoisseur of the arts writer from Tamil Nadu, India. He derived his pen name from the suffixes of his wife name Kalyani and his name Krishnamurthy in Tamil form கல்யாணி and கிருஷ்ணமூர்த்தி as Kalki(கல்கி) "Kalki avatar", the tenth and last avatar of the Hindu God Vishnu.[1] His writings includes over 120 short stories, 10 novelettes, five novels, three historical romances, editorial and political writings and hundreds of film and music reviews.
Early life[edit]
Krishnamurthy's father was Ramaswamy Aiyar, a poor accountant in Puttamangalam village in the old Tanjore district of erstwhile Madras Presidency. Krishnamurthy began his primary education in his village school and later attended Municipal High School in Mayavaram but quit in 1921, just short of completion of his Senior School Leaving Certificate, in response to Mahatma Gandhi's 1921 call for non-co-operation joining the Indian National Congress instead.[2][3]
Career[edit]
In 1923 he joined as a sub-editor in Navasakthi, a Tamil periodical edited by Tamil scholar and freedom fighter Thiru. V. Kalyanasundaram, popularly known as "Thiru Vi. Ka". Krishnamurthy's first book was published in 1927. Leaving Navasakthi in 1928, Krishnamurthy stayed with C. Rajagopalachari at the Gandhi Ashram in Tiruchengode in Salem district and helped him edit Vimochanam, a Tamil journal devoted to propagating prohibition. In 1931, he was again imprisoned for six months. Next year Krishnamurthy joined Ananda Vikatan, a humour weekly edited and published by S. S. Vasan. Krishnamurthy's witty, incisive comments on politics, literature, music and other forms of art were looked forward to with unceasing interest by readers. He wrote under the pen names of "Kalki", "Ra. Ki", "Tamil Theni", "Karnatakam" and so on. Vikatan published many of his short stories and novels (as serials). In 1941 he left Ananda Vikatan and rejoined the freedom struggle and courted arrest. On his release after three months he and Sadasivam started Kalki (magazine). He was its editor until his death on 5 December 1954. The success that Krishnamurthy attained in the realm of historical fiction is phenomenal. Sixty years ago, at a time when the literacy level was low and when the English-educated Tamils looked down on writings in Tamil, Kalki's circulation touched 71,000 copies – the largest for any weekly in the county then – when it serialised his historical novels.
Although Kalki's historical romances captured the hearts of thousands of readers, recreating for them the glorious Tamil life during the periods of Pallavas and Imperial Cholas, critics were divided on their literary merits. One criticism was that Kalki' s novels dwelt rather overmuch on royalty and not enough on common people. The sudden twists and turns, which characterised serialised stories, made the stories unrealistic. There has, however, been a re-appraisal of Kalki, particularly among Marxist critics, in recent years. Semmalar, the monthly organ of the Tamil Nadu Progressive Writers Association, brought out a special number to commemorate Kalki's birth centenary. Kalki wrote the script and some lyrics for Meera, an M.S. Subbulakshmi starrer.
Kalki's contribution to the cause of Tamil music is also noteworthy. He spearheaded a movement that wanted Carnatic musicians to include more Tamil songs in their concerts and composed a number of songs. His Tamil translation of Gandhi's autobiography, "My Experiments with Truth", was published as Satya Sothanai.
Novels[edit]
Kalki considered Alai Osai, which was serialised in Kalki in 1948–49 and published as a book in 1963, as his best. The novel won for him the Sahitya Akademi Award posthumously in 1956, it has for its backdrop the freedom struggle and deals with social reforms and politics.
His other social novels include Thyaga Bhoomi (The land of sacrifice) and Kalvanin Kadali (Bandit's sweetheart), both of which have been filmed. Thyaga Bhoomi, which has the salt satyagraha as its backdrop, dealt with women's rights and untouchability. It was serialised in Ananda Vikatan, which was being filmed at the same time, were used as illustration. After a successful run for six weeks, the film, directed by veteran K. Subramanyam, was banned by the colonial Government on the grounds that it indirectly aroused the people to fight for freedom. Almost all of Kalki's novels appeared first in the serial form and only then in the book form.
Parthiban Kanavu and Sivagamiyin Sapatham give a picture of the great Pallava Age of the seventh century A.D., while Ponniyin Selvan paints the age of the glorious Cholas. Both the periods are a mixture of many aspects of the history of Tamil Nadu such as that of religions, literature, art and architecture and also of administration. Kalki had been a keen student of these aspects which he learnt through epigraphic, inscriptional and numismatic sources and he enriched his novels with all these facts of history. Kalki got inspiration to write Parthiban Kanavu and Sivagamiyin Sapatham on the seashore of Mahabalipuram, when he was accompanied by Rasikamani T. K. C. and where he saw thousands and thousands of ships and boats carrying warriors on one side, and other people, architects, Ayanar, Sivakami, Mahendravarmar and Mamallar on the other side in his mental vision. They left a deep and lasting impression upon his heart and only after finishing Sivakamiyin Sabadam, twelve years later.
Kalki had also the genius to classify the historical and non-historical events, historical and non-historical characters and how much the novel owes to history. In his introduction to Sivakamiyin Sabadam and conclusion to Ponniyin Selvan, he explains the percentage of fact and fiction. Kalki's interest in history, the features of his historical novels and the popularity they gained, made others enter this vast and new field and contribute works of merit.
shot @ Needur, Mayavaram, Tamilnadu
yes its rampwalk, without leather shoes (no shoes at all), no AC hall (its a bright sunny day too), no podium (its a rail track)......
the other version
Kalki (Tamil: கல்கி) was the pen name of R. Krishnamurthy (9 September 1899 – 5 December 1954), a noted Tamil freedom fighter, social crusader, novelist, short story writer, journalist, humorist, satirist, travel writer, script-writer, poet, film & music critic, Indian independence activist and connoisseur of the arts writer from Tamil Nadu, India. He derived his pen name from the suffixes of his wife name Kalyani and his name Krishnamurthy in Tamil form கல்யாணி and கிருஷ்ணமூர்த்தி as Kalki(கல்கி) "Kalki avatar", the tenth and last avatar of the Hindu God Vishnu.[1] His writings includes over 120 short stories, 10 novelettes, five novels, three historical romances, editorial and political writings and hundreds of film and music reviews.
Early life[edit]
Krishnamurthy's father was Ramaswamy Aiyar, a poor accountant in Puttamangalam village in the old Tanjore district of erstwhile Madras Presidency. Krishnamurthy began his primary education in his village school and later attended Municipal High School in Mayavaram but quit in 1921, just short of completion of his Senior School Leaving Certificate, in response to Mahatma Gandhi's 1921 call for non-co-operation joining the Indian National Congress instead.[2][3]
Career[edit]
In 1923 he joined as a sub-editor in Navasakthi, a Tamil periodical edited by Tamil scholar and freedom fighter Thiru. V. Kalyanasundaram, popularly known as "Thiru Vi. Ka". Krishnamurthy's first book was published in 1927. Leaving Navasakthi in 1928, Krishnamurthy stayed with C. Rajagopalachari at the Gandhi Ashram in Tiruchengode in Salem district and helped him edit Vimochanam, a Tamil journal devoted to propagating prohibition. In 1931, he was again imprisoned for six months. Next year Krishnamurthy joined Ananda Vikatan, a humour weekly edited and published by S. S. Vasan. Krishnamurthy's witty, incisive comments on politics, literature, music and other forms of art were looked forward to with unceasing interest by readers. He wrote under the pen names of "Kalki", "Ra. Ki", "Tamil Theni", "Karnatakam" and so on. Vikatan published many of his short stories and novels (as serials). In 1941 he left Ananda Vikatan and rejoined the freedom struggle and courted arrest. On his release after three months he and Sadasivam started Kalki (magazine). He was its editor until his death on 5 December 1954. The success that Krishnamurthy attained in the realm of historical fiction is phenomenal. Sixty years ago, at a time when the literacy level was low and when the English-educated Tamils looked down on writings in Tamil, Kalki's circulation touched 71,000 copies – the largest for any weekly in the county then – when it serialised his historical novels.
Although Kalki's historical romances captured the hearts of thousands of readers, recreating for them the glorious Tamil life during the periods of Pallavas and Imperial Cholas, critics were divided on their literary merits. One criticism was that Kalki' s novels dwelt rather overmuch on royalty and not enough on common people. The sudden twists and turns, which characterised serialised stories, made the stories unrealistic. There has, however, been a re-appraisal of Kalki, particularly among Marxist critics, in recent years. Semmalar, the monthly organ of the Tamil Nadu Progressive Writers Association, brought out a special number to commemorate Kalki's birth centenary. Kalki wrote the script and some lyrics for Meera, an M.S. Subbulakshmi starrer.
Kalki's contribution to the cause of Tamil music is also noteworthy. He spearheaded a movement that wanted Carnatic musicians to include more Tamil songs in their concerts and composed a number of songs. His Tamil translation of Gandhi's autobiography, "My Experiments with Truth", was published as Satya Sothanai.
Novels[edit]
Kalki considered Alai Osai, which was serialised in Kalki in 1948–49 and published as a book in 1963, as his best. The novel won for him the Sahitya Akademi Award posthumously in 1956, it has for its backdrop the freedom struggle and deals with social reforms and politics.
His other social novels include Thyaga Bhoomi (The land of sacrifice) and Kalvanin Kadali (Bandit's sweetheart), both of which have been filmed. Thyaga Bhoomi, which has the salt satyagraha as its backdrop, dealt with women's rights and untouchability. It was serialised in Ananda Vikatan, which was being filmed at the same time, were used as illustration. After a successful run for six weeks, the film, directed by veteran K. Subramanyam, was banned by the colonial Government on the grounds that it indirectly aroused the people to fight for freedom. Almost all of Kalki's novels appeared first in the serial form and only then in the book form.
Parthiban Kanavu and Sivagamiyin Sapatham give a picture of the great Pallava Age of the seventh century A.D., while Ponniyin Selvan paints the age of the glorious Cholas. Both the periods are a mixture of many aspects of the history of Tamil Nadu such as that of religions, literature, art and architecture and also of administration. Kalki had been a keen student of these aspects which he learnt through epigraphic, inscriptional and numismatic sources and he enriched his novels with all these facts of history. Kalki got inspiration to write Parthiban Kanavu and Sivagamiyin Sapatham on the seashore of Mahabalipuram, when he was accompanied by Rasikamani T. K. C. and where he saw thousands and thousands of ships and boats carrying warriors on one side, and other people, architects, Ayanar, Sivakami, Mahendravarmar and Mamallar on the other side in his mental vision. They left a deep and lasting impression upon his heart and only after finishing Sivakamiyin Sabadam, twelve years later.
Kalki had also the genius to classify the historical and non-historical events, historical and non-historical characters and how much the novel owes to history. In his introduction to Sivakamiyin Sabadam and conclusion to Ponniyin Selvan, he explains the percentage of fact and fiction. Kalki's interest in history, the features of his historical novels and the popularity they gained, made others enter this vast and new field and contribute works of merit.
Kalki (Tamil: கல்கி) was the pen name of R. Krishnamurthy (9 September 1899 – 5 December 1954), a noted Tamil freedom fighter, social crusader, novelist, short story writer, journalist, humorist, satirist, travel writer, script-writer, poet, film & music critic, Indian independence activist and connoisseur of the arts writer from Tamil Nadu, India. He derived his pen name from the suffixes of his wife name Kalyani and his name Krishnamurthy in Tamil form கல்யாணி and கிருஷ்ணமூர்த்தி as Kalki(கல்கி) "Kalki avatar", the tenth and last avatar of the Hindu God Vishnu.[1] His writings includes over 120 short stories, 10 novelettes, five novels, three historical romances, editorial and political writings and hundreds of film and music reviews.
Krishnamurthy's father was Ramaswamy Aiyar, a poor accountant in Puttamangalam village in the old Tanjore district of erstwhile Madras Presidency. Krishnamurthy began his primary education in his village school and later attended Municipal High School in Mayavaram but quit in 1921, just short of completion of his Senior School Leaving Certificate, in response to Mahatma Gandhi's 1921 call for non-co-operation joining the Indian National Congress instead
In 1923 he joined as a sub-editor in Navasakthi, a Tamil periodical edited by Tamil scholar and freedom fighter Thiru. V. Kalyanasundaram, popularly known as "Thiru Vi. Ka". Krishnamurthy's first book was published in 1927. Leaving Navasakthi in 1928, Krishnamurthy stayed with C. Rajagopalachari at the Gandhi Ashram in Tiruchengode in Salem district and helped him edit Vimochanam, a Tamil journal devoted to propagating prohibition. In 1931, he was again imprisoned for six months. Next year Krishnamurthy joined Ananda Vikatan, a humour weekly edited and published by S. S. Vasan. Krishnamurthy's witty, incisive comments on politics, literature, music and other forms of art were looked forward to with unceasing interest by readers. He wrote under the pen names of "Kalki", "Ra. Ki", "Tamil Theni", "Karnatakam" and so on. Vikatan published many of his short stories and novels (as serials). In 1941 he left Ananda Vikatan and rejoined the freedom struggle and courted arrest. On his release after three months he and Sadasivam started Kalki (magazine). He was its editor until his death on 5 December 1954. The success that Krishnamurthy attained in the realm of historical fiction is phenomenal. Sixty years ago, at a time when the literacy level was low and when the English-educated Tamils looked down on writings in Tamil, Kalki's circulation touched 71,000 copies – the largest for any weekly in the county then – when it serialised his historical novels.
Although Kalki's historical romances captured the hearts of thousands of readers, recreating for them the glorious Tamil life during the periods of Pallavas and Imperial Cholas, critics were divided on their literary merits. One criticism was that Kalki' s novels dwelt rather overmuch on royalty and not enough on common people. The sudden twists and turns, which characterised serialised stories, made the stories unrealistic. There has, however, been a re-appraisal of Kalki, particularly among Marxist critics, in recent years. Semmalar, the monthly organ of the Tamil Nadu Progressive Writers Association, brought out a special number to commemorate Kalki's birth centenary. Kalki wrote the script and some lyrics for Meera, an M.S. Subbulakshmi starrer.
Kalki's contribution to the cause of Tamil music is also noteworthy. He spearheaded a movement that wanted Carnatic musicians to include more Tamil songs in their concerts and composed a number of songs. His Tamil translation of Gandhi's autobiography, "My Experiments with Truth", was published as Satya Sothanai.
Kalki considered Alai Osai, which was serialised in Kalki in 1948–49 and published as a book in 1963, as his best. The novel won for him the Sahitya Akademi Award posthumously in 1956, it has for its backdrop the freedom struggle and deals with social reforms and politics.
His other social novels include Thyaga Bhoomi (The land of sacrifice) and Kalvanin Kadali (Bandit's sweetheart), both of which have been filmed. Thyaga Bhoomi, which has the salt satyagraha as its backdrop, dealt with women's rights and untouchability. It was serialised in Ananda Vikatan, which was being filmed at the same time, were used as illustration. After a successful run for six weeks, the film, directed by veteran K. Subramanyam, was banned by the colonial Government on the grounds that it indirectly aroused the people to fight for freedom. Almost all of Kalki's novels appeared first in the serial form and only then in the book form.
Parthiban Kanavu and Sivagamiyin Sapatham give a picture of the great Pallava Age of the seventh century A.D., while Ponniyin Selvan paints the age of the glorious Cholas. Both the periods are a mixture of many aspects of the history of Tamil Nadu such as that of religions, literature, art and architecture and also of administration. Kalki had been a keen student of these aspects which he learnt through epigraphic, inscriptional and numismatic sources and he enriched his novels with all these facts of history. Kalki got inspiration to write Parthiban Kanavu and Sivagamiyin Sapatham on the seashore of Mahabalipuram, when he was accompanied by Rasikamani T. K. C. and where he saw thousands and thousands of ships and boats carrying warriors on one side, and other people, architects, Ayanar, Sivakami, Mahendravarmar and Mamallar on the other side in his mental vision. They left a deep and lasting impression upon his heart and only after finishing Sivakamiyin Sabadam, twelve years later.
Kalki had also the genius to classify the historical and non-historical events, historical and non-historical characters and how much the novel owes to history. In his introduction to Sivakamiyin Sabadam and conclusion to Ponniyin Selvan, he explains the percentage of fact and fiction. Kalki's interest in history, the features of his historical novels and the popularity they gained, made others enter this vast and new field and contribute works of merit.
I found these carvings in the Temple Car, near mayavaram. Incidentally,the Temple car belongs to siva temple!
Fine Details about various forms of god at The Temple Car near Mayavaram also called as Mailaduthurai.
Near Mayavaram, i saw a temple car weathering in rain and sun, unattended and neglected. While go around that, i could see finest carvings. This is lord vishnu's image.
Join us for a Chola Nadu Divya Desams Tour & visit 40 Divya Desams like never before. This yatra covers 40 Divyadesams situated in and around Trichy, Kumbakonam, thanjavur, Mayavaram, Nagapattinam, Chidambaram, Seerkazhi. Yatra Start from Chennai. Start Date May and June Duration 4 Nights 5 Days. Price Rs. 16,900/- Only. Call us to book now +91 81484 10555, +91 81484 10222. or Send Inquiries to info@yatrikatours.com.
A beautiful, colourful sunset in the countryside near my hometown Mayavaram in Tamilnadu. I am not quite sure if the inclusion of the haystack on the right is adding to teh composition or disturbing it. I personally like it there as I feel that it makes the shot more atmospheric. Hope you like it too
Shreyansh & Sonal
No.26, 3rd cross East Brindavan,
Pondicherry_605013
.
For bookings, contact : +91 9790675494
Shot on Canon Eos R6
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#mahalipuram#covalam #thiruvanmayur ś
Shreyansh & Sonal
No.26, 3rd cross East Brindavan,
Pondicherry_605013
.
For bookings, contact : +91 9790675494
Shot on Canon Eos R6
#vsgfotos #candidpic#Royalwedding #preweddingshoot #beach #sea #yellow #haldi #couplegoals #weddingshoot #bride #wedding #weddingphotography #bride #Brideandgroom #bridesofindia #weddingphotographers #mua #weddingwire
#sangamitraconventioncenter # sukanya convention centre pondicherry #KBS Sree Convention Centre #Jayaram mahal #Sri Ganesh Mahal #Ananda mahal weddingdecor #receptiondecor
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#gradal function#corporate #entertainmentevent
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#mahalipuram#covalam #thiruvanmayur ś
No.26, 3rd cross East Brindavan,
Pondicherry_605013
.
For bookings, contact : +91 9790675494
Shot on Canon Eos R6
#vsgfotos #candidpic#Royalwedding #preweddingshoot #beach #sea #yellow #haldi #couplegoals #weddingshoot #bride #wedding #weddingphotography #bride #Brideandgroom #bridesofindia #weddingphotographers #mua #weddingwire
#sangamitraconventioncenter # sukanya convention centre pondicherry #KBS Sree Convention Centre #Jayaram mahal #Sri Ganesh Mahal #Ananda mahal weddingdecor #receptiondecor
#Engagementdecor #birthday#babyshower #pubertyceremony #namingceremony
#gradal function#corporate #entertainmentevent
#pondicherry # chennai #Thiruvanmiyur # cuddalore #villupuram #mayiladuthurai #chengalpattu #viruthachallam #panrutti #tirukovilur #chenji#sirkazhi #thiruvanamalai#tindivanam #mayavaram #kumbakonam#thanjavour #jayamkondam
#mahalipuram#covalam #thiruvanmayur ś
No.26, 3rd cross East Brindavan,
Pondicherry_605013
.
For bookings, contact : +91 9790675494
Shot on Canon Eos R6
#vsgfotos #candidpic#Royalwedding #preweddingshoot #beach #sea #yellow #haldi #couplegoals #weddingshoot #bride #wedding #weddingphotography #bride #Brideandgroom #bridesofindia #weddingphotographers #mua #weddingwire
#sangamitraconventioncenter # sukanya convention centre pondicherry #KBS Sree Convention Centre #Jayaram mahal #Sri Ganesh Mahal #Ananda mahal weddingdecor #receptiondecor
#Engagementdecor #birthday#babyshower #pubertyceremony #namingceremony
#gradal function#corporate #entertainmentevent
#pondicherry # chennai #Thiruvanmiyur # cuddalore #villupuram #mayiladuthurai #chengalpattu #viruthachallam #panrutti #tirukovilur #chenji#sirkazhi #thiruvanamalai#tindivanam #mayavaram #kumbakonam#thanjavour #jayamkondam
#mahalipuram#covalam #thiruvanmayur ś
Contact us:
No.26, 3rd cross East Brindavan,
Pondicherry_605013
Email : veventss@gmail.com
Mobile : +91 94880 85050
Office : +91 97906 75494
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#gradal function#corporate #entertainmentevent
#pondicherry #cuddalore #villupuram #mayiladuthurai #chengalpattu #viruthachallam #panrutti #tirukovilur #chenji#sirkazhi #thiruvanamalai#tindivanam #mayavaram #kumbakonam#thanjavour #jayamkondam
#mahalipuram#covalam #thiruvanmayur
Shreyansh & Sonal
No.26, 3rd cross East Brindavan,
Pondicherry_605013
.
For bookings, contact : +91 9790675494
Shot on Canon Eos R6
#vsgfotos #candidpic#Royalwedding #preweddingshoot #beach #sea #yellow #haldi #couplegoals #weddingshoot #bride #wedding #weddingphotography #bride #Brideandgroom #bridesofindia #weddingphotographers #mua #weddingwire
#sangamitraconventioncenter # sukanya convention centre pondicherry #KBS Sree Convention Centre #Jayaram mahal #Sri Ganesh Mahal #Ananda mahal weddingdecor #receptiondecor
#Engagementdecor #birthday#babyshower #pubertyceremony #namingceremony
#gradal function#corporate #entertainmentevent
#pondicherry # chennai #Thiruvanmiyur # cuddalore #villupuram #mayiladuthurai #chengalpattu #viruthachallam #panrutti #tirukovilur #chenji#sirkazhi #thiruvanamalai#tindivanam #mayavaram #kumbakonam#thanjavour #jayamkondam
#mahalipuram#covalam #thiruvanmayur ś
No.26, 3rd cross East Brindavan,
Pondicherry_605013
.
For bookings, contact : +91 9790675494
Shot on Canon Eos R6
#vsgfotos #candidpic#Royalwedding #preweddingshoot #beach #sea #yellow #haldi #couplegoals #weddingshoot #bride #wedding #weddingphotography #bride #Brideandgroom #bridesofindia #weddingphotographers #mua #weddingwire
#sangamitraconventioncenter # sukanya convention centre pondicherry #KBS Sree Convention Centre #Jayaram mahal #Sri Ganesh Mahal #Ananda mahal weddingdecor #receptiondecor
#Engagementdecor #birthday#babyshower #pubertyceremony #namingceremony
#gradal function#corporate #entertainmentevent
#pondicherry # chennai #Thiruvanmiyur # cuddalore #villupuram #mayiladuthurai #chengalpattu #viruthachallam #panrutti #tirukovilur #chenji#sirkazhi #thiruvanamalai#tindivanam #mayavaram #kumbakonam#thanjavour #jayamkondam
#mahalipuram#covalam #thiruvanmayur ś
Shreyansh & Sonal
No.26, 3rd cross East Brindavan,
Pondicherry_605013
.
For bookings, contact : +91 9790675494
Shot on Canon Eos R6
#vsgfotos #candidpic#Royalwedding #preweddingshoot #beach #sea #yellow #haldi #couplegoals #weddingshoot #bride #wedding #weddingphotography #bride #Brideandgroom #bridesofindia #weddingphotographers #mua #weddingwire
#sangamitraconventioncenter # sukanya convention centre pondicherry #KBS Sree Convention Centre #Jayaram mahal #Sri Ganesh Mahal #Ananda mahal weddingdecor #receptiondecor
#Engagementdecor #birthday#babyshower #pubertyceremony #namingceremony
#gradal function#corporate #entertainmentevent
#pondicherry # chennai #Thiruvanmiyur # cuddalore #villupuram #mayiladuthurai #chengalpattu #viruthachallam #panrutti #tirukovilur #chenji#sirkazhi #thiruvanamalai#tindivanam #mayavaram #kumbakonam#thanjavour #jayamkondam
#mahalipuram#covalam #thiruvanmayur ś
Shreyansh & Sonal
No.26, 3rd cross East Brindavan,
Pondicherry_605013
.
For bookings, contact : +91 9790675494
Shot on Canon Eos R6
#vsgfotos #candidpic#Royalwedding #preweddingshoot #beach #sea #yellow #haldi #couplegoals #weddingshoot #bride #wedding #weddingphotography #bride #Brideandgroom #bridesofindia #weddingphotographers #mua #weddingwire
#sangamitraconventioncenter # sukanya convention centre pondicherry #KBS Sree Convention Centre #Jayaram mahal #Sri Ganesh Mahal #Ananda mahal weddingdecor #receptiondecor
#Engagementdecor #birthday#babyshower #pubertyceremony #namingceremony
#gradal function#corporate #entertainmentevent
#pondicherry # chennai #Thiruvanmiyur # cuddalore #villupuram #mayiladuthurai #chengalpattu #viruthachallam #panrutti #tirukovilur #chenji#sirkazhi #thiruvanamalai#tindivanam #mayavaram #kumbakonam#thanjavour #jayamkondam
#mahalipuram#covalam #thiruvanmayur ś
No.26, 3rd cross East Brindavan,
Pondicherry_605013
.
For bookings, contact : +91 9790675494
Shot on Canon Eos R6
#vsgfotos #candidpic#Royalwedding #preweddingshoot #beach #sea #yellow #haldi #couplegoals #weddingshoot #bride #wedding #weddingphotography #bride #Brideandgroom #bridesofindia #weddingphotographers #mua #weddingwire
#sangamitraconventioncenter # sukanya convention centre pondicherry #KBS Sree Convention Centre #Jayaram mahal #Sri Ganesh Mahal #Ananda mahal weddingdecor #receptiondecor
#Engagementdecor #birthday#babyshower #pubertyceremony #namingceremony
#gradal function#corporate #entertainmentevent
#pondicherry # chennai #Thiruvanmiyur # cuddalore #villupuram #mayiladuthurai #chengalpattu #viruthachallam #panrutti #tirukovilur #chenji#sirkazhi #thiruvanamalai#tindivanam #mayavaram #kumbakonam#thanjavour #jayamkondam
#mahalipuram#covalam #thiruvanmayur ś
No.26, 3rd cross East Brindavan,
Pondicherry_605013
.
For bookings, contact : +91 9790675494
Shot on Canon Eos R6
#vsgfotos #candidpic#Royalwedding #preweddingshoot #beach #sea #yellow #haldi #couplegoals #weddingshoot #bride #wedding #weddingphotography #bride #Brideandgroom #bridesofindia #weddingphotographers #mua #weddingwire
#sangamitraconventioncenter # sukanya convention centre pondicherry #KBS Sree Convention Centre #Jayaram mahal #Sri Ganesh Mahal #Ananda mahal weddingdecor #receptiondecor
#Engagementdecor #birthday#babyshower #pubertyceremony #namingceremony
#gradal function#corporate #entertainmentevent
#pondicherry # chennai #Thiruvanmiyur # cuddalore #villupuram #mayiladuthurai #chengalpattu #viruthachallam #panrutti #tirukovilur #chenji#sirkazhi #thiruvanamalai#tindivanam #mayavaram #kumbakonam#thanjavour #jayamkondam
#mahalipuram#covalam #thiruvanmayur ś
No.26, 3rd cross East Brindavan,
Pondicherry_605013
.
For bookings, contact : +91 9790675494
Shot on Canon Eos R6
#vsgfotos #candidpic#Royalwedding #preweddingshoot #beach #sea #yellow #haldi #couplegoals #weddingshoot #bride #wedding #weddingphotography #bride #Brideandgroom #bridesofindia #weddingphotographers #mua #weddingwire
#sangamitraconventioncenter # sukanya convention centre pondicherry #KBS Sree Convention Centre #Jayaram mahal #Sri Ganesh Mahal #Ananda mahal weddingdecor #receptiondecor
#Engagementdecor #birthday#babyshower #pubertyceremony #namingceremony
#gradal function#corporate #entertainmentevent
#pondicherry # chennai #Thiruvanmiyur # cuddalore #villupuram #mayiladuthurai #chengalpattu #viruthachallam #panrutti #tirukovilur #chenji#sirkazhi #thiruvanamalai#tindivanam #mayavaram #kumbakonam#thanjavour #jayamkondam
#mahalipuram#covalam #thiruvanmayur ś