Kartikeya, also known as Skanda, Murugan and Subramaniyan, is the Hindu god of war. He is the commander-in-chief of the army of the devas (gods) and the son of Shiva and Parvati.

Murugan is often referred to as "Tamil Kadavul" (meaning "God of Tamils") and is worshiped primarily in areas with Tamil influences, especially South India, Sri Lanka, Mauritius, Malaysia, Singapore and Reunion Island. His six most important shrines in India are the Arupadaiveedu temples, located in Tamil Nadu. In Sri Lanka, Hindus as well as Buddhists revere the sacred historical Nallur Kandaswamy temple in Jaffna and Katirkāmam Temple situated deep south.[1] Hindus in Malaysia also pray to Lord Murugan at the Batu Caves and various temples where Thaipusam is celebrated with grandeur.

In Karnataka and Andhra Pradesh, Kartikeya is known as Subrahmanya with a temple at Kukke Subramanya known for Sarpa shanti rites dedicated to Him and another famous temple at Ghati Subramanya also in Karnataka. In Bengal and Odisha, he is popularly known as Kartikeya (meaning 'son of Krittika').[2]

Other names[edit]

Like most Hindu deities, Subrahmanya is known by many other names, including Senthil, Vēlaṇ, Kumāran (meaning 'prince or child or young one'), Swaminatha (meaning 'smart' or 'clever'), Saravaṇa, Arumugam or Shanmuga (meaning 'one with six faces'), Dhandapani (meaning God with a Club), Guhan or Guruguha (meaning 'cave-dweller'), Subrahmanya, Kartikeya and Skanda (meaning 'that which is spilled or oozed).[3][4] He was also known as Mahasena and the Kadamba Dynasty kings worshiped him by this name.[5]

Vedas[edit]

The Atharva Veda describes Kumaran as 'Agnibhuh' because he is form of 'Agni' (Fire God) & Agni hold in his hand when kumaran born. The Satapatha Brahmana refers to him as the son of Rudra and the six faces of Rudra. The Taittiriya Aranyaka contains the Gayatri mantra for Shanmukha. The Chandogya Upanishad refers to Skanda as the "way that leads to wisdom". The Baudhayana Dharmasutra mentions Skanda as 'Mahasena' and 'Subrahmanya.' The Aranya Parva canto of the Mahabharata relates the legend of Kartikeya Skanda in considerable detail. The Skanda Purana is devoted to the narrative of Kartikeya.[6] The Upanishads also constantly make a reference to a Supreme Being called Guha, the indweller.

The first elaborate account of Kartikeya's origin occurs in the Mahabharata. In a complicated story, he is said to have been born from Agni and Svaha, after the latter impersonated the six of the seven wives of the Saptarishi (Seven Sages). The actual wives then become the Pleiades. Kartikeya is said to have been born to destroy the Asura Mahisha.[7] (In later mythology, Mahisha became the adversary of Durga.) Indra attacks Kartikeya as he sees the latter as a threat, until Shiva intervenes and makes Kartikeya the commander-in-chief of the army of the Devas. He is also married to Devasena, Indra's daughter. The origin of this marriage lies probably in the punning of 'Deva-sena-pati'. It can mean either lord of Devasena or Lord of the army (sena) of Devas. But according to Shrii Shrii Anandamurti, in his master work on Shiva[8] and other works, Kartikeya was married to Devasenā and that is on the ground of his name as Devasena's husband, Devasenāpati, misinterpreted as Deva-senāpati (Deva's general) that he was granted the title general and made the Deva's army general.[9]

The Ramayana version is closer to the stories told in the Puranas discussed below.

Tolkappiyam, possibly the most ancient of the extant Sangam works, dated between the 3rd century BCE and 5th century CE glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent," as "the favoured god of the Tamils."[10] The Sangam poetry divided space and Tamil land into five allegorical areas (tinai) and according to the Tirumurugarruppatai ( c. 400–450 AD) attributed to the great Sangam poet Nakkiirar, Murugan was the presiding deity the Kurinci region (hilly area). (Tirumurugaruppatai is a deeply devotional poem included in the ten idylls (Pattupattu) of the age of the third Sangam). The other Sangam era works in Tamil that refer to Murugan in detail include the Paripaatal, the Akananuru and the Purananuru. One poem in the Paripaatal describes the veneration of Murugan thus:

"We implore thee not for boons of enjoyment or wealth,

But for thy grace beatific, love and virtuous deeds."

According to the Tamil devotional work, Thiruppugazh, "Murugan never hesitates to come to the aid of a devotee when called upon in piety or distress". In another work, Thirumurukkarrupatai, he is described as a god of eternal youth;

His face shines a myriad rays light and removes the darkness from this world.[11]

The references to Murugan can be traced back to the first millennium BCE. There are references to Murugan in Kautilya's Arthashastra, in the works of Patanjali, in Kalidasa's epic poem the Kumarasambhavam. The Kushanas, who governed from what is today Peshawar, and the Yaudheyas, a republican clan in the Punjab, struck coins bearing the image of Skanda. The deity was venerated also by the Ikshvakus, an Andhra dynasty, and the Guptas.[6] The worship of Kumāra was one of the six principal sects of Hinduism at the time of Adi Shankara. The Shanmata system propagated by him included this sect. In many Shiva and Devi temples of Tamil Nadu, Murugan is installed on the left of the main deity. The story of His birth goes as follows:

Sati immolated herself in a pyre as her father King Daksha had insulted Shiva, her Lord. She was reborn as Parvathi or Uma, daughter of the King of Himalayas, Himavan. She then married her Lord Shiva. The Devas were under onslaught from the Asuras whose leader was Soorapadman. He had been granted boons that only Lord Shiva or his seed could kill him. Fearless he vanquished the Devas and made them his slaves. The Devas ran to Vishnu for help who told them that it was merely their fault for attending Daksha's yagna, without the presence of Lord Shiva. After this, they ran to Shiva for help. Shiva decided to take action against Soorapadman's increasing conceit. He frowned and his third eye- the eye of knowledge- started releasing sparks. These were six sparks in total. Agni had the responsibility to take them to Saravana Lake. As he was carrying them, the sparks were growing hotter and hotter that even the Lord of Fire could not withstand the heat. Soon after Murugan was born on a lotus in the Saravana Lake with six faces, giving him the name Arumukhan. Lord Shiva and Parvati visited and tears of joy started flowing as they witnessed the most handsome child. Shiva and Parvathi gave the responsibility of taking care of Muruga to the six Krittika sisters. Muruga grew up to be a handsome, intelligent, powerful, clever youth. All the Devas applauded at their saviour, who had finally come to release them from their woes. Murugan became the supreme general of the demi-gods, then escorted the devas and led the army of the devas to victory against the asuras.

Legends[edit]

Given that legends related to Murugan are recounted separately in several Hindu epics, some differences between the various versions are observed. Some Sanskrit epics and puranas indicate that he was the elder son of Shiva. This is suggested by the legend connected to his birth; the wedding of Shiva and Parvati being necessary for the birth of a child who would vanquish the asura named Taraka. Also, Kartikeya is seen helping Shiva fight the newborn Ganesha, Shiva's other son, in the Shiva Purana. In the Ganapati Khandam of the Brahma Vaivarta Purana, he is seen as the elder son of Shiva and Ganesha as the younger. In South India, it is believed that he is the younger of the two. A Puranic story has Ganesha obtain a divine fruit of knowledge from Narada winning a contest with Murugan. While Murugan speeds around the world thrice to win the contest for the fruit, Ganesha circumambulates Shiva and Parvati thrice as an equivalent and is given the fruit. After winning it, he offers to give the fruit to his upset brother. After this event, Ganesha was considered the elder brother owing as a tribute to his wisdom. Many of the major events in Murugan's life take place during his youth, and legends surrounding his birth are popular. This has encouraged the worship of Murugan as a child-God, very similar to the worship of the child Krishna in north India. He is married to two wives, Valli and Devasena. This lead to a very interesting name : Devasenapati viz. Pati (husband) of Devsena and/or Senapati (commander in chief) of Dev (gods)

Kartikeya symbols are based on the weapons – Vel, the Divine Spear or Lance that he carries and his mount the peacock. He is sometimes depicted with many weapons including: a sword, a javelin, a mace, a discus and a bow although more usually he is depicted wielding a sakti or spear. This symbolizes his purification of human ills. His javelin is used to symbolize his far reaching protection, his discus symbolizes his knowledge of the truth, his mace represents his strength and his bow shows his ability to defeat all ills. His peacock mount symbolizes his destruction of the ego.

His six heads represent the six siddhis bestowed upon yogis over the course of their spiritual development. This corresponds to his role as the bestower of siddhis.

In Tamil Nadu, Murugan has continued to be popular with all classes of society right since the Sangam age. This has led to more elaborate accounts of his mythology in the Tamil language, culminating in the Tamil version of Skanda Purana, called Kandha Purānam, written by Kacchiappa Sivachariyar (1350–1420 AD.) of Kumara Kottam in the city of Kanchipuram. (He was a scholar in Tamil literature, and a votary of the Shaiva Siddhanta philosophy.)

He is married to two deities, Valli, a daughter of a tribal chief and Deivayanai (also called Devasena), the daughter of Indhra. During His bachelorhood, Lord Murugan is also regarded as Kumaraswami (or Bachelor God), Kumara meaning a bachelor and Swami meaning God. Muruga rides a peacock and wields a bow in battle. The lance called Vel in Tamil is a weapon closely associated with him. The Vel was given to him by his mother, Parvati, and embodies her energy and power. His army's standard depicts a rooster. In the war, Surapadman was split into two, and each half was granted a boon by Murugan. The halves, thus turned into the peacock (his mount) and the rooster his flag, which also "refers to the sun".[12]

As Muruga is worshipped predominantly in Tamil Nadu, many of his names are of Tamil origin. These include Senthil, the red or formidable one; Arumugam, the six-faced one; Guhan and Maal-Marugan, the son-in-law of Vishnu. Murugan is venerated throughout the Tamil year. There is a six-day period of fast and prayer in the Tamil month of Aippasi known as the Skanda Shasti. He is worshipped at Thaipusam, celebrated by Tamil communities worldwide near the full moon of the Tamil month Thai. This commemorates the day he was given a Vel or lance by his mother in order to vanquish the asuras. Thirukarthigai or the full moon of the Tamil month of Karthigai signifies his birth. Each Tuesday of the Tamil month of Adi is also dedicated to the worship of Murugan. Tuesday in the Hindu tradition connotes Mangala, the god of planet Mars and war.

Other parts of India[edit]

Historically, God Kartikeya was immensely popular in the Indian subcontinent. One of the major Puranas, the Skanda Purana is dedicated to him. In the Bhagavad-Gita (Ch.10, Verse 24), Krishna, while explaining his omnipresence, names the most perfect being, mortal or divine, in each of several categories. While doing so, he says: "Among generals, I am Skanda, the lord of war."

Kartikeya's presence in the religious and cultural sphere can be seen at least from the Gupta age. Two of the Gupta kings, Kumaragupta and Skandagupta, were named after him. He is seen in the Gupta sculptures and in the temples of Ellora and Elephanta. As the commander of the divine armies, he became the patron of the ruling classes. His youth, beauty and bravery was much celebrated in Sanskrit works like the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic, the Kumaarasambhavam. In ancient India, Kartikeya was also regarded as the patron deity of thieves, as may be inferred from the Mrichchakatikam, a Sanskrit play by Shudraka, and in the Vetala-panchvimshati, a medieval collection of tales. This association is linked to the fact that Kartikeya had dug through the Krauncha mountain to kill Taraka and his brothers (in the Mrichchakatikam, Sarivilaka prays to him before tunnelling into the hero's house).

However, Kartikeya's popularity in North India receded from the Middle Ages onwards, and his worship is today virtually unknown except in parts of Haryana. There is a very famous temple dedicated to Him in the town of Pehowa in Haryana and this temple is very well known in the adjoining areas, especially because women are not allowed anywhere close to it. Women stay away from this temple in Pehowa town of Haryana because this shrine celebrates the Brahmachari form of Kartikeya. Reminders of former devotions to him include a temple at Achaleshwar, near Batala in Punjab, and another temple of Skanda atop the Parvati hill in Pune, Maharashtra. Another vestige of his former popularity can be seen in Bengal and Odisha, where he is worshipped during the Durga Puja festivities alongside Durga. Lord Subramanya is the major deity among the Hindus of northern Kerala. Lord Subramanya is worshipped with utmost devotion in districts of Dakshina Kannada and Udupi in the state of Karnataka. Rituals like nagaradhane are unique to this region.

Kartikeya also known as Kartik or Kartika is also worshipped in West Bengal, and Bangladesh on the last day of the Hindu month of 'Kartik'. However, the popularity of Kartik Puja (worshipping Kartik) is decreasing now, and Lord Kartik is primarily worshipped among those who intend to have a son. In Bengal, traditionally, many people drop images of Kartik inside the boundaries of different households, who all are either newly married, or else, intend to get a son to carry on with their ancestry. Lord Kartik is also associated to the Babu Culture prevailed in historic Kolkata, and hence, many traditional old Bengali paintings still show Kartik dressed in traditional Bengali style. Also, in some parts of West Bengal, Kartik is traditionally worshipped by the ancestors of the past royal families too, as in the district of Malda. Kartik Puja is also popular among the prostitutes. This can probably be linked to the fact that, the prostitutes mostly got clients from the upper class babu-s in old Kolkata, who all, in turn, had been associated to the image of Kartik (as discussed above). In Bansberia (Hooghly district) Kartik Puja festival is celebrated like Durga puja of Kolkata, Jagadhatri puja in Chandannagar for consecutive four days. The festival starts on 17 November every year and on 16 November in case of Leap year.[13] Some of the must see Puja committees are Bansberia Kundugoli Nataraj, Khamarapara Milan Samity RadhaKrishna, Kishor Bahini, Mitali Sangha, Yuva Sangha, Bansberia Pratap Sangha and many more.

In Durga Puja in Bengal, Kartikeya is considered to be a son of Parvati or Durga and Shiva along with his brother Ganesha and sisters Lakshmi and Saraswati.[14]

Kartikeya is worshiped during Durga Puja in Odisha as well as in various Shiva temples throughout the year. Kartik puja is celebrated in Cuttack along with various other parts of the state during the last phases of Hindu month of Kartik. Kartik purnima is celebrated with much joy and in a grand fashion in Cuttack and other parts in the state.

Murugan is adored by both Tamil Hindus and Sinhalese Buddhists in Sri Lanka. Numerous temples exist throughout the island. He is a favorite deity of the common folk everywhere and it is said he never hesitates to come to the aid of a devotee when called upon. In the deeply Sinhalese south of Sri Lanka, Murugan is worshipped at the temple in Katirkāmam, where he is known as Kathiravel or Katragama Deviyo (Lord of Katragama) . This temple is next to an old Buddhist place of worship. Local legend holds that Lord Murugan alighted in Kataragama and was smitten by Valli, one of the local aboriginal lasses. After a courtship, they were married. This event is taken to signify that Lord Murugan is accessible to all who worship and love him, regardless of their birth or heritage. The Nallur Kandaswamy temple, the Maviddapuram Kandaswamy Temple and the Sella Channithy Temple near Valvettiturai are the three foremost Murugan temples in Jaffna. The Chitravelayutha temple in Verukal on the border between Trincomalee and Batticaloa is also noteworthy as is the Mandur Kandaswamy temple in Batticaloa. The late medieval-era temple of the tooth in Kandy, dedicated to the tooth relic of the Buddha, has a Kataragama deiyo shrine adjacent to it dedicated to the veneration of Skanda in the Sinhalese tradition. Almost all buddhist temples house a shrine room for Kataragama deviyo(Murugan)reflecting the significance of Murugan in Sinhala Buddhism,

Based on archeological evidence found, it is believed that the Kiri Vehera was either renovated to build during the 1st century BCE. There are number of others inscriptions and ruins.[15]

By the 16th century the Kathiravel shrine at Katirkāmam had become synonymous with Skanda-Kumara who was a guardian deity of Sinhala Buddhism.[16] The town was popular as a place of pilgrimage for Hindus from India and Sri Lanka by the 15 the century. The popularity of the deity at the Kataragama temple was also recorded by the Pali chronicles of Thailand such as Jinkalmali in the 16th century. There are number of legends both Buddhist and Hindu that attribute supernatural events to the very locality.[16] Scholars such as Paul Younger and Heinz Bechert speculate that rituals practiced by the native priests of Kataragama temple betray Vedda ideals of propitiation. Hence they believe the area was of Vedda veneration that was taken over by the Buddhist and Hindus in the medieval period.[17]

Lord Murugan is one of the most important deities worshipped by Tamil people in Malaysia and other South-East Asian countries such as Singapore and Indonesia. Thai Poosam is one of the important festivals celebrated. Sri Subramanyar Temple at Batu Caves temple complex in Malaysia is dedicated to Lord Murugan.

The main temples of Murugan are located in Tamil Nadu and other parts of south India. They include the Aru Padaiveedu (six abodes) — Thiruchendur, Swamimalai, Pazhamudircholai, Thirupparangunram, Palani (Pazhani), Thiruthani and other important shrines like Mayilam, Sikkal, Marudamalai, Kundrathur, Vadapalani, Kandakottam, Thiruporur, Vallakottai, Vayalur, Thirumalaikoil, Pachaimalai and Pavalamalai near Gobichettipalayam. Malai Mandir, a prominent and popular temple complex in Delhi, is one of the few dedicated to Murugan in all of North India apart from the Pehowa temple in Haryana.

There are many temples dedicated to Lord Subramanya in Kerala. Amongst them are Atiyambur Sri Subramanya Temple in Kanhangad Kasaragod, Payyannur Subramanya Swamy temple in Payyanur, Panmana Subramanya Swamy temple in Panmana and the Subramanya temple in Haripad. There is a temple in Skandagiri, Secunderabad and one in Bikkavolu, East Godavari district in the state of Andhra Pradesh. In Karnataka there is the Kukke Subramanya Temple where Lord Murugan is worshiped as the Lord of the serpents. Aaslesha Bali, Sarpa Samskara with nagapathista samarpa are major prayers here. There is a temple called Malai Mandir in South Delhi. Malai means hill in Tamil. Mandir means temple in Hindi.

The key temples in Sri Lanka include the sylvan shrine in Kataragama / (Kadirgamam) or Kathirkamam in the deep south, the temple in Tirukovil in the east, the shrine in Embekke in the Kandyan region and the famed Nallur Kandaswamy temple in Jaffna. There are several temples dedicated to Lord Murugan in Malaysia, the most famous being the Batu Caves near Kuala Lumpur. There is a 42.7-m-high statue of Lord Murugan at the entrance to the Batu Caves, which is the largest Lord Murugan statue in the world. Sri Thandayuthapani Temple in Tank Road, Singapore is a major Hindu temple where each year the Thaipusam festival takes place with devotees of Lord Muruga carrying Kavadis seeking penance and blessings of the Lord.

In the United Kingdom, Highgate Hill Murugan temple is one of the oldest and most famous. In London, Sri Murugan Temple in Manor park is a well-known temple. In Midlands, Leicester Shri Siva Murugan Temple is gaining popularity recently. Skanda Vale in West Wales was founded by Guruji, a Tamil devotee of Subramaniam, and its primary deity is Lord Murugan. In Australia, Sydney Murugan temple in Parramatta (Mays Hill), Perth Bala Muruguan temple in Mandogalup and Kundrathu Kumaran temple in Rockbank, Melbourne are major Hindu temples for all Australian Hindus and Murugan devotees. In New Zealand, there is a Thirumurugan Temple in Auckland and a Kurinji Kumaran Temple in Wellington, both dedicated to Lord Murugan. In the USA, Shiva Murugan Temple in Concord, Northern California and Murugan Temple of North America[18] in Maryland, Washington DC region are popular. In Toronto, Canada, Canada Kanthasamy Temple is known amongst many Hindus in Canada. In Dollard-des-Ormeaux, a suburb of the city of Montreal in Canada, there is a monumental temple of Murugan. The Sri Sivasubramaniar Temple, located in the Sihl Valley in Adliswil, is the most famous and largest Hindu temple in Switzerland.[19]

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Kartikeya, also known as Skanda, Murugan and Subramaniyan, is the Hindu god of war. He is the commander-in-chief of the army of the devas (gods) and the son of Shiva and Parvati.

Murugan is often referred to as "Tamil Kadavul" (meaning "God of Tamils") and is worshiped primarily in areas with Tamil influences, especially South India, Sri Lanka, Mauritius, Malaysia, Singapore and Reunion Island. His six most important shrines in India are the Arupadaiveedu temples, located in Tamil Nadu. In Sri Lanka, Hindus as well as Buddhists revere the sacred historical Nallur Kandaswamy temple in Jaffna and Katirkāmam Temple situated deep south.[1] Hindus in Malaysia also pray to Lord Murugan at the Batu Caves and various temples where Thaipusam is celebrated with grandeur.

In Karnataka and Andhra Pradesh, Kartikeya is known as Subrahmanya with a temple at Kukke Subramanya known for Sarpa shanti rites dedicated to Him and another famous temple at Ghati Subramanya also in Karnataka. In Bengal and Odisha, he is popularly known as Kartikeya (meaning 'son of Krittika').[2]

Other names[edit]

Like most Hindu deities, Subrahmanya is known by many other names, including Senthil, Vēlaṇ, Kumāran (meaning 'prince or child or young one'), Swaminatha (meaning 'smart' or 'clever'), Saravaṇa, Arumugam or Shanmuga (meaning 'one with six faces'), Dhandapani (meaning God with a Club), Guhan or Guruguha (meaning 'cave-dweller'), Subrahmanya, Kartikeya and Skanda (meaning 'that which is spilled or oozed).[3][4] He was also known as Mahasena and the Kadamba Dynasty kings worshiped him by this name.[5]

Vedas[edit]

The Atharva Veda describes Kumaran as 'Agnibhuh' because he is form of 'Agni' (Fire God) & Agni hold in his hand when kumaran born. The Satapatha Brahmana refers to him as the son of Rudra and the six faces of Rudra. The Taittiriya Aranyaka contains the Gayatri mantra for Shanmukha. The Chandogya Upanishad refers to Skanda as the "way that leads to wisdom". The Baudhayana Dharmasutra mentions Skanda as 'Mahasena' and 'Subrahmanya.' The Aranya Parva canto of the Mahabharata relates the legend of Kartikeya Skanda in considerable detail. The Skanda Purana is devoted to the narrative of Kartikeya.[6] The Upanishads also constantly make a reference to a Supreme Being called Guha, the indweller.

The first elaborate account of Kartikeya's origin occurs in the Mahabharata. In a complicated story, he is said to have been born from Agni and Svaha, after the latter impersonated the six of the seven wives of the Saptarishi (Seven Sages). The actual wives then become the Pleiades. Kartikeya is said to have been born to destroy the Asura Mahisha.[7] (In later mythology, Mahisha became the adversary of Durga.) Indra attacks Kartikeya as he sees the latter as a threat, until Shiva intervenes and makes Kartikeya the commander-in-chief of the army of the Devas. He is also married to Devasena, Indra's daughter. The origin of this marriage lies probably in the punning of 'Deva-sena-pati'. It can mean either lord of Devasena or Lord of the army (sena) of Devas. But according to Shrii Shrii Anandamurti, in his master work on Shiva[8] and other works, Kartikeya was married to Devasenā and that is on the ground of his name as Devasena's husband, Devasenāpati, misinterpreted as Deva-senāpati (Deva's general) that he was granted the title general and made the Deva's army general.[9]

The Ramayana version is closer to the stories told in the Puranas discussed below.

Tolkappiyam, possibly the most ancient of the extant Sangam works, dated between the 3rd century BCE and 5th century CE glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent," as "the favoured god of the Tamils."[10] The Sangam poetry divided space and Tamil land into five allegorical areas (tinai) and according to the Tirumurugarruppatai ( c. 400–450 AD) attributed to the great Sangam poet Nakkiirar, Murugan was the presiding deity the Kurinci region (hilly area). (Tirumurugaruppatai is a deeply devotional poem included in the ten idylls (Pattupattu) of the age of the third Sangam). The other Sangam era works in Tamil that refer to Murugan in detail include the Paripaatal, the Akananuru and the Purananuru. One poem in the Paripaatal describes the veneration of Murugan thus:

"We implore thee not for boons of enjoyment or wealth,

But for thy grace beatific, love and virtuous deeds."

According to the Tamil devotional work, Thiruppugazh, "Murugan never hesitates to come to the aid of a devotee when called upon in piety or distress". In another work, Thirumurukkarrupatai, he is described as a god of eternal youth;

His face shines a myriad rays light and removes the darkness from this world.[11]

The references to Murugan can be traced back to the first millennium BCE. There are references to Murugan in Kautilya's Arthashastra, in the works of Patanjali, in Kalidasa's epic poem the Kumarasambhavam. The Kushanas, who governed from what is today Peshawar, and the Yaudheyas, a republican clan in the Punjab, struck coins bearing the image of Skanda. The deity was venerated also by the Ikshvakus, an Andhra dynasty, and the Guptas.[6] The worship of Kumāra was one of the six principal sects of Hinduism at the time of Adi Shankara. The Shanmata system propagated by him included this sect. In many Shiva and Devi temples of Tamil Nadu, Murugan is installed on the left of the main deity. The story of His birth goes as follows:

Sati immolated herself in a pyre as her father King Daksha had insulted Shiva, her Lord. She was reborn as Parvathi or Uma, daughter of the King of Himalayas, Himavan. She then married her Lord Shiva. The Devas were under onslaught from the Asuras whose leader was Soorapadman. He had been granted boons that only Lord Shiva or his seed could kill him. Fearless he vanquished the Devas and made them his slaves. The Devas ran to Vishnu for help who told them that it was merely their fault for attending Daksha's yagna, without the presence of Lord Shiva. After this, they ran to Shiva for help. Shiva decided to take action against Soorapadman's increasing conceit. He frowned and his third eye- the eye of knowledge- started releasing sparks. These were six sparks in total. Agni had the responsibility to take them to Saravana Lake. As he was carrying them, the sparks were growing hotter and hotter that even the Lord of Fire could not withstand the heat. Soon after Murugan was born on a lotus in the Saravana Lake with six faces, giving him the name Arumukhan. Lord Shiva and Parvati visited and tears of joy started flowing as they witnessed the most handsome child. Shiva and Parvathi gave the responsibility of taking care of Muruga to the six Krittika sisters. Muruga grew up to be a handsome, intelligent, powerful, clever youth. All the Devas applauded at their saviour, who had finally come to release them from their woes. Murugan became the supreme general of the demi-gods, then escorted the devas and led the army of the devas to victory against the asuras.

Legends[edit]

Given that legends related to Murugan are recounted separately in several Hindu epics, some differences between the various versions are observed. Some Sanskrit epics and puranas indicate that he was the elder son of Shiva. This is suggested by the legend connected to his birth; the wedding of Shiva and Parvati being necessary for the birth of a child who would vanquish the asura named Taraka. Also, Kartikeya is seen helping Shiva fight the newborn Ganesha, Shiva's other son, in the Shiva Purana. In the Ganapati Khandam of the Brahma Vaivarta Purana, he is seen as the elder son of Shiva and Ganesha as the younger. In South India, it is believed that he is the younger of the two. A Puranic story has Ganesha obtain a divine fruit of knowledge from Narada winning a contest with Murugan. While Murugan speeds around the world thrice to win the contest for the fruit, Ganesha circumambulates Shiva and Parvati thrice as an equivalent and is given the fruit. After winning it, he offers to give the fruit to his upset brother. After this event, Ganesha was considered the elder brother owing as a tribute to his wisdom. Many of the major events in Murugan's life take place during his youth, and legends surrounding his birth are popular. This has encouraged the worship of Murugan as a child-God, very similar to the worship of the child Krishna in north India. He is married to two wives, Valli and Devasena. This lead to a very interesting name : Devasenapati viz. Pati (husband) of Devsena and/or Senapati (commander in chief) of Dev (gods)

Kartikeya symbols are based on the weapons – Vel, the Divine Spear or Lance that he carries and his mount the peacock. He is sometimes depicted with many weapons including: a sword, a javelin, a mace, a discus and a bow although more usually he is depicted wielding a sakti or spear. This symbolizes his purification of human ills. His javelin is used to symbolize his far reaching protection, his discus symbolizes his knowledge of the truth, his mace represents his strength and his bow shows his ability to defeat all ills. His peacock mount symbolizes his destruction of the ego.

His six heads represent the six siddhis bestowed upon yogis over the course of their spiritual development. This corresponds to his role as the bestower of siddhis.

In Tamil Nadu, Murugan has continued to be popular with all classes of society right since the Sangam age. This has led to more elaborate accounts of his mythology in the Tamil language, culminating in the Tamil version of Skanda Purana, called Kandha Purānam, written by Kacchiappa Sivachariyar (1350–1420 AD.) of Kumara Kottam in the city of Kanchipuram. (He was a scholar in Tamil literature, and a votary of the Shaiva Siddhanta philosophy.)

He is married to two deities, Valli, a daughter of a tribal chief and Deivayanai (also called Devasena), the daughter of Indhra. During His bachelorhood, Lord Murugan is also regarded as Kumaraswami (or Bachelor God), Kumara meaning a bachelor and Swami meaning God. Muruga rides a peacock and wields a bow in battle. The lance called Vel in Tamil is a weapon closely associated with him. The Vel was given to him by his mother, Parvati, and embodies her energy and power. His army's standard depicts a rooster. In the war, Surapadman was split into two, and each half was granted a boon by Murugan. The halves, thus turned into the peacock (his mount) and the rooster his flag, which also "refers to the sun".[12]

As Muruga is worshipped predominantly in Tamil Nadu, many of his names are of Tamil origin. These include Senthil, the red or formidable one; Arumugam, the six-faced one; Guhan and Maal-Marugan, the son-in-law of Vishnu. Murugan is venerated throughout the Tamil year. There is a six-day period of fast and prayer in the Tamil month of Aippasi known as the Skanda Shasti. He is worshipped at Thaipusam, celebrated by Tamil communities worldwide near the full moon of the Tamil month Thai. This commemorates the day he was given a Vel or lance by his mother in order to vanquish the asuras. Thirukarthigai or the full moon of the Tamil month of Karthigai signifies his birth. Each Tuesday of the Tamil month of Adi is also dedicated to the worship of Murugan. Tuesday in the Hindu tradition connotes Mangala, the god of planet Mars and war.

Other parts of India[edit]

Historically, God Kartikeya was immensely popular in the Indian subcontinent. One of the major Puranas, the Skanda Purana is dedicated to him. In the Bhagavad-Gita (Ch.10, Verse 24), Krishna, while explaining his omnipresence, names the most perfect being, mortal or divine, in each of several categories. While doing so, he says: "Among generals, I am Skanda, the lord of war."

Kartikeya's presence in the religious and cultural sphere can be seen at least from the Gupta age. Two of the Gupta kings, Kumaragupta and Skandagupta, were named after him. He is seen in the Gupta sculptures and in the temples of Ellora and Elephanta. As the commander of the divine armies, he became the patron of the ruling classes. His youth, beauty and bravery was much celebrated in Sanskrit works like the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic, the Kumaarasambhavam. In ancient India, Kartikeya was also regarded as the patron deity of thieves, as may be inferred from the Mrichchakatikam, a Sanskrit play by Shudraka, and in the Vetala-panchvimshati, a medieval collection of tales. This association is linked to the fact that Kartikeya had dug through the Krauncha mountain to kill Taraka and his brothers (in the Mrichchakatikam, Sarivilaka prays to him before tunnelling into the hero's house).

However, Kartikeya's popularity in North India receded from the Middle Ages onwards, and his worship is today virtually unknown except in parts of Haryana. There is a very famous temple dedicated to Him in the town of Pehowa in Haryana and this temple is very well known in the adjoining areas, especially because women are not allowed anywhere close to it. Women stay away from this temple in Pehowa town of Haryana because this shrine celebrates the Brahmachari form of Kartikeya. Reminders of former devotions to him include a temple at Achaleshwar, near Batala in Punjab, and another temple of Skanda atop the Parvati hill in Pune, Maharashtra. Another vestige of his former popularity can be seen in Bengal and Odisha, where he is worshipped during the Durga Puja festivities alongside Durga. Lord Subramanya is the major deity among the Hindus of northern Kerala. Lord Subramanya is worshipped with utmost devotion in districts of Dakshina Kannada and Udupi in the state of Karnataka. Rituals like nagaradhane are unique to this region.

Kartikeya also known as Kartik or Kartika is also worshipped in West Bengal, and Bangladesh on the last day of the Hindu month of 'Kartik'. However, the popularity of Kartik Puja (worshipping Kartik) is decreasing now, and Lord Kartik is primarily worshipped among those who intend to have a son. In Bengal, traditionally, many people drop images of Kartik inside the boundaries of different households, who all are either newly married, or else, intend to get a son to carry on with their ancestry. Lord Kartik is also associated to the Babu Culture prevailed in historic Kolkata, and hence, many traditional old Bengali paintings still show Kartik dressed in traditional Bengali style. Also, in some parts of West Bengal, Kartik is traditionally worshipped by the ancestors of the past royal families too, as in the district of Malda. Kartik Puja is also popular among the prostitutes. This can probably be linked to the fact that, the prostitutes mostly got clients from the upper class babu-s in old Kolkata, who all, in turn, had been associated to the image of Kartik (as discussed above). In Bansberia (Hooghly district) Kartik Puja festival is celebrated like Durga puja of Kolkata, Jagadhatri puja in Chandannagar for consecutive four days. The festival starts on 17 November every year and on 16 November in case of Leap year.[13] Some of the must see Puja committees are Bansberia Kundugoli Nataraj, Khamarapara Milan Samity RadhaKrishna, Kishor Bahini, Mitali Sangha, Yuva Sangha, Bansberia Pratap Sangha and many more.

In Durga Puja in Bengal, Kartikeya is considered to be a son of Parvati or Durga and Shiva along with his brother Ganesha and sisters Lakshmi and Saraswati.[14]

Kartikeya is worshiped during Durga Puja in Odisha as well as in various Shiva temples throughout the year. Kartik puja is celebrated in Cuttack along with various other parts of the state during the last phases of Hindu month of Kartik. Kartik purnima is celebrated with much joy and in a grand fashion in Cuttack and other parts in the state.

Murugan is adored by both Tamil Hindus and Sinhalese Buddhists in Sri Lanka. Numerous temples exist throughout the island. He is a favorite deity of the common folk everywhere and it is said he never hesitates to come to the aid of a devotee when called upon. In the deeply Sinhalese south of Sri Lanka, Murugan is worshipped at the temple in Katirkāmam, where he is known as Kathiravel or Katragama Deviyo (Lord of Katragama) . This temple is next to an old Buddhist place of worship. Local legend holds that Lord Murugan alighted in Kataragama and was smitten by Valli, one of the local aboriginal lasses. After a courtship, they were married. This event is taken to signify that Lord Murugan is accessible to all who worship and love him, regardless of their birth or heritage. The Nallur Kandaswamy temple, the Maviddapuram Kandaswamy Temple and the Sella Channithy Temple near Valvettiturai are the three foremost Murugan temples in Jaffna. The Chitravelayutha temple in Verukal on the border between Trincomalee and Batticaloa is also noteworthy as is the Mandur Kandaswamy temple in Batticaloa. The late medieval-era temple of the tooth in Kandy, dedicated to the tooth relic of the Buddha, has a Kataragama deiyo shrine adjacent to it dedicated to the veneration of Skanda in the Sinhalese tradition. Almost all buddhist temples house a shrine room for Kataragama deviyo(Murugan)reflecting the significance of Murugan in Sinhala Buddhism,

Based on archeological evidence found, it is believed that the Kiri Vehera was either renovated to build during the 1st century BCE. There are number of others inscriptions and ruins.[15]

By the 16th century the Kathiravel shrine at Katirkāmam had become synonymous with Skanda-Kumara who was a guardian deity of Sinhala Buddhism.[16] The town was popular as a place of pilgrimage for Hindus from India and Sri Lanka by the 15 the century. The popularity of the deity at the Kataragama temple was also recorded by the Pali chronicles of Thailand such as Jinkalmali in the 16th century. There are number of legends both Buddhist and Hindu that attribute supernatural events to the very locality.[16] Scholars such as Paul Younger and Heinz Bechert speculate that rituals practiced by the native priests of Kataragama temple betray Vedda ideals of propitiation. Hence they believe the area was of Vedda veneration that was taken over by the Buddhist and Hindus in the medieval period.[17]

Lord Murugan is one of the most important deities worshipped by Tamil people in Malaysia and other South-East Asian countries such as Singapore and Indonesia. Thai Poosam is one of the important festivals celebrated. Sri Subramanyar Temple at Batu Caves temple complex in Malaysia is dedicated to Lord Murugan.

The main temples of Murugan are located in Tamil Nadu and other parts of south India. They include the Aru Padaiveedu (six abodes) — Thiruchendur, Swamimalai, Pazhamudircholai, Thirupparangunram, Palani (Pazhani), Thiruthani and other important shrines like Mayilam, Sikkal, Marudamalai, Kundrathur, Vadapalani, Kandakottam, Thiruporur, Vallakottai, Vayalur, Thirumalaikoil, Pachaimalai and Pavalamalai near Gobichettipalayam. Malai Mandir, a prominent and popular temple complex in Delhi, is one of the few dedicated to Murugan in all of North India apart from the Pehowa temple in Haryana.

There are many temples dedicated to Lord Subramanya in Kerala. Amongst them are Atiyambur Sri Subramanya Temple in Kanhangad Kasaragod, Payyannur Subramanya Swamy temple in Payyanur, Panmana Subramanya Swamy temple in Panmana and the Subramanya temple in Haripad. There is a temple in Skandagiri, Secunderabad and one in Bikkavolu, East Godavari district in the state of Andhra Pradesh. In Karnataka there is the Kukke Subramanya Temple where Lord Murugan is worshiped as the Lord of the serpents. Aaslesha Bali, Sarpa Samskara with nagapathista samarpa are major prayers here. There is a temple called Malai Mandir in South Delhi. Malai means hill in Tamil. Mandir means temple in Hindi.

The key temples in Sri Lanka include the sylvan shrine in Kataragama / (Kadirgamam) or Kathirkamam in the deep south, the temple in Tirukovil in the east, the shrine in Embekke in the Kandyan region and the famed Nallur Kandaswamy temple in Jaffna. There are several temples dedicated to Lord Murugan in Malaysia, the most famous being the Batu Caves near Kuala Lumpur. There is a 42.7-m-high statue of Lord Murugan at the entrance to the Batu Caves, which is the largest Lord Murugan statue in the world. Sri Thandayuthapani Temple in Tank Road, Singapore is a major Hindu temple where each year the Thaipusam festival takes place with devotees of Lord Muruga carrying Kavadis seeking penance and blessings of the Lord.

In the United Kingdom, Highgate Hill Murugan temple is one of the oldest and most famous. In London, Sri Murugan Temple in Manor park is a well-known temple. In Midlands, Leicester Shri Siva Murugan Temple is gaining popularity recently. Skanda Vale in West Wales was founded by Guruji, a Tamil devotee of Subramaniam, and its primary deity is Lord Murugan. In Australia, Sydney Murugan temple in Parramatta (Mays Hill), Perth Bala Muruguan temple in Mandogalup and Kundrathu Kumaran temple in Rockbank, Melbourne are major Hindu temples for all Australian Hindus and Murugan devotees. In New Zealand, there is a Thirumurugan Temple in Auckland and a Kurinji Kumaran Temple in Wellington, both dedicated to Lord Murugan. In the USA, Shiva Murugan Temple in Concord, Northern California and Murugan Temple of North America[18] in Maryland, Washington DC region are popular. In Toronto, Canada, Canada Kanthasamy Temple is known amongst many Hindus in Canada. In Dollard-des-Ormeaux, a suburb of the city of Montreal in Canada, there is a monumental temple of Murugan. The Sri Sivasubramaniar Temple, located in the Sihl Valley in Adliswil, is the most famous and largest Hindu temple in Switzerland.[19]

Rajnikanth

KAMAL HASSAN - Caricature

Kartikeya, also known as Skanda, Murugan and Subramaniyan, is the Hindu god of war. He is the commander-in-chief of the army of the devas (gods) and the son of Shiva and Parvati.

Murugan is often referred to as "Tamil Kadavul" (meaning "God of Tamils") and is worshiped primarily in areas with Tamil influences, especially South India, Sri Lanka, Mauritius, Malaysia, Singapore and Reunion Island. His six most important shrines in India are the Arupadaiveedu temples, located in Tamil Nadu. In Sri Lanka, Hindus as well as Buddhists revere the sacred historical Nallur Kandaswamy temple in Jaffna and Katirkāmam Temple situated deep south.[1] Hindus in Malaysia also pray to Lord Murugan at the Batu Caves and various temples where Thaipusam is celebrated with grandeur.

In Karnataka and Andhra Pradesh, Kartikeya is known as Subrahmanya with a temple at Kukke Subramanya known for Sarpa shanti rites dedicated to Him and another famous temple at Ghati Subramanya also in Karnataka. In Bengal and Odisha, he is popularly known as Kartikeya (meaning 'son of Krittika').[2]

Other names[edit]

Like most Hindu deities, Subrahmanya is known by many other names, including Senthil, Vēlaṇ, Kumāran (meaning 'prince or child or young one'), Swaminatha (meaning 'smart' or 'clever'), Saravaṇa, Arumugam or Shanmuga (meaning 'one with six faces'), Dhandapani (meaning God with a Club), Guhan or Guruguha (meaning 'cave-dweller'), Subrahmanya, Kartikeya and Skanda (meaning 'that which is spilled or oozed).[3][4] He was also known as Mahasena and the Kadamba Dynasty kings worshiped him by this name.[5]

Vedas[edit]

The Atharva Veda describes Kumaran as 'Agnibhuh' because he is form of 'Agni' (Fire God) & Agni hold in his hand when kumaran born. The Satapatha Brahmana refers to him as the son of Rudra and the six faces of Rudra. The Taittiriya Aranyaka contains the Gayatri mantra for Shanmukha. The Chandogya Upanishad refers to Skanda as the "way that leads to wisdom". The Baudhayana Dharmasutra mentions Skanda as 'Mahasena' and 'Subrahmanya.' The Aranya Parva canto of the Mahabharata relates the legend of Kartikeya Skanda in considerable detail. The Skanda Purana is devoted to the narrative of Kartikeya.[6] The Upanishads also constantly make a reference to a Supreme Being called Guha, the indweller.

The first elaborate account of Kartikeya's origin occurs in the Mahabharata. In a complicated story, he is said to have been born from Agni and Svaha, after the latter impersonated the six of the seven wives of the Saptarishi (Seven Sages). The actual wives then become the Pleiades. Kartikeya is said to have been born to destroy the Asura Mahisha.[7] (In later mythology, Mahisha became the adversary of Durga.) Indra attacks Kartikeya as he sees the latter as a threat, until Shiva intervenes and makes Kartikeya the commander-in-chief of the army of the Devas. He is also married to Devasena, Indra's daughter. The origin of this marriage lies probably in the punning of 'Deva-sena-pati'. It can mean either lord of Devasena or Lord of the army (sena) of Devas. But according to Shrii Shrii Anandamurti, in his master work on Shiva[8] and other works, Kartikeya was married to Devasenā and that is on the ground of his name as Devasena's husband, Devasenāpati, misinterpreted as Deva-senāpati (Deva's general) that he was granted the title general and made the Deva's army general.[9]

The Ramayana version is closer to the stories told in the Puranas discussed below.

Tolkappiyam, possibly the most ancient of the extant Sangam works, dated between the 3rd century BCE and 5th century CE glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent," as "the favoured god of the Tamils."[10] The Sangam poetry divided space and Tamil land into five allegorical areas (tinai) and according to the Tirumurugarruppatai ( c. 400–450 AD) attributed to the great Sangam poet Nakkiirar, Murugan was the presiding deity the Kurinci region (hilly area). (Tirumurugaruppatai is a deeply devotional poem included in the ten idylls (Pattupattu) of the age of the third Sangam). The other Sangam era works in Tamil that refer to Murugan in detail include the Paripaatal, the Akananuru and the Purananuru. One poem in the Paripaatal describes the veneration of Murugan thus:

"We implore thee not for boons of enjoyment or wealth,

But for thy grace beatific, love and virtuous deeds."

According to the Tamil devotional work, Thiruppugazh, "Murugan never hesitates to come to the aid of a devotee when called upon in piety or distress". In another work, Thirumurukkarrupatai, he is described as a god of eternal youth;

His face shines a myriad rays light and removes the darkness from this world.[11]

The references to Murugan can be traced back to the first millennium BCE. There are references to Murugan in Kautilya's Arthashastra, in the works of Patanjali, in Kalidasa's epic poem the Kumarasambhavam. The Kushanas, who governed from what is today Peshawar, and the Yaudheyas, a republican clan in the Punjab, struck coins bearing the image of Skanda. The deity was venerated also by the Ikshvakus, an Andhra dynasty, and the Guptas.[6] The worship of Kumāra was one of the six principal sects of Hinduism at the time of Adi Shankara. The Shanmata system propagated by him included this sect. In many Shiva and Devi temples of Tamil Nadu, Murugan is installed on the left of the main deity. The story of His birth goes as follows:

Sati immolated herself in a pyre as her father King Daksha had insulted Shiva, her Lord. She was reborn as Parvathi or Uma, daughter of the King of Himalayas, Himavan. She then married her Lord Shiva. The Devas were under onslaught from the Asuras whose leader was Soorapadman. He had been granted boons that only Lord Shiva or his seed could kill him. Fearless he vanquished the Devas and made them his slaves. The Devas ran to Vishnu for help who told them that it was merely their fault for attending Daksha's yagna, without the presence of Lord Shiva. After this, they ran to Shiva for help. Shiva decided to take action against Soorapadman's increasing conceit. He frowned and his third eye- the eye of knowledge- started releasing sparks. These were six sparks in total. Agni had the responsibility to take them to Saravana Lake. As he was carrying them, the sparks were growing hotter and hotter that even the Lord of Fire could not withstand the heat. Soon after Murugan was born on a lotus in the Saravana Lake with six faces, giving him the name Arumukhan. Lord Shiva and Parvati visited and tears of joy started flowing as they witnessed the most handsome child. Shiva and Parvathi gave the responsibility of taking care of Muruga to the six Krittika sisters. Muruga grew up to be a handsome, intelligent, powerful, clever youth. All the Devas applauded at their saviour, who had finally come to release them from their woes. Murugan became the supreme general of the demi-gods, then escorted the devas and led the army of the devas to victory against the asuras.

Legends[edit]

Given that legends related to Murugan are recounted separately in several Hindu epics, some differences between the various versions are observed. Some Sanskrit epics and puranas indicate that he was the elder son of Shiva. This is suggested by the legend connected to his birth; the wedding of Shiva and Parvati being necessary for the birth of a child who would vanquish the asura named Taraka. Also, Kartikeya is seen helping Shiva fight the newborn Ganesha, Shiva's other son, in the Shiva Purana. In the Ganapati Khandam of the Brahma Vaivarta Purana, he is seen as the elder son of Shiva and Ganesha as the younger. In South India, it is believed that he is the younger of the two. A Puranic story has Ganesha obtain a divine fruit of knowledge from Narada winning a contest with Murugan. While Murugan speeds around the world thrice to win the contest for the fruit, Ganesha circumambulates Shiva and Parvati thrice as an equivalent and is given the fruit. After winning it, he offers to give the fruit to his upset brother. After this event, Ganesha was considered the elder brother owing as a tribute to his wisdom. Many of the major events in Murugan's life take place during his youth, and legends surrounding his birth are popular. This has encouraged the worship of Murugan as a child-God, very similar to the worship of the child Krishna in north India. He is married to two wives, Valli and Devasena. This lead to a very interesting name : Devasenapati viz. Pati (husband) of Devsena and/or Senapati (commander in chief) of Dev (gods)

Kartikeya symbols are based on the weapons – Vel, the Divine Spear or Lance that he carries and his mount the peacock. He is sometimes depicted with many weapons including: a sword, a javelin, a mace, a discus and a bow although more usually he is depicted wielding a sakti or spear. This symbolizes his purification of human ills. His javelin is used to symbolize his far reaching protection, his discus symbolizes his knowledge of the truth, his mace represents his strength and his bow shows his ability to defeat all ills. His peacock mount symbolizes his destruction of the ego.

His six heads represent the six siddhis bestowed upon yogis over the course of their spiritual development. This corresponds to his role as the bestower of siddhis.

In Tamil Nadu, Murugan has continued to be popular with all classes of society right since the Sangam age. This has led to more elaborate accounts of his mythology in the Tamil language, culminating in the Tamil version of Skanda Purana, called Kandha Purānam, written by Kacchiappa Sivachariyar (1350–1420 AD.) of Kumara Kottam in the city of Kanchipuram. (He was a scholar in Tamil literature, and a votary of the Shaiva Siddhanta philosophy.)

He is married to two deities, Valli, a daughter of a tribal chief and Deivayanai (also called Devasena), the daughter of Indhra. During His bachelorhood, Lord Murugan is also regarded as Kumaraswami (or Bachelor God), Kumara meaning a bachelor and Swami meaning God. Muruga rides a peacock and wields a bow in battle. The lance called Vel in Tamil is a weapon closely associated with him. The Vel was given to him by his mother, Parvati, and embodies her energy and power. His army's standard depicts a rooster. In the war, Surapadman was split into two, and each half was granted a boon by Murugan. The halves, thus turned into the peacock (his mount) and the rooster his flag, which also "refers to the sun".[12]

As Muruga is worshipped predominantly in Tamil Nadu, many of his names are of Tamil origin. These include Senthil, the red or formidable one; Arumugam, the six-faced one; Guhan and Maal-Marugan, the son-in-law of Vishnu. Murugan is venerated throughout the Tamil year. There is a six-day period of fast and prayer in the Tamil month of Aippasi known as the Skanda Shasti. He is worshipped at Thaipusam, celebrated by Tamil communities worldwide near the full moon of the Tamil month Thai. This commemorates the day he was given a Vel or lance by his mother in order to vanquish the asuras. Thirukarthigai or the full moon of the Tamil month of Karthigai signifies his birth. Each Tuesday of the Tamil month of Adi is also dedicated to the worship of Murugan. Tuesday in the Hindu tradition connotes Mangala, the god of planet Mars and war.

Other parts of India[edit]

Historically, God Kartikeya was immensely popular in the Indian subcontinent. One of the major Puranas, the Skanda Purana is dedicated to him. In the Bhagavad-Gita (Ch.10, Verse 24), Krishna, while explaining his omnipresence, names the most perfect being, mortal or divine, in each of several categories. While doing so, he says: "Among generals, I am Skanda, the lord of war."

Kartikeya's presence in the religious and cultural sphere can be seen at least from the Gupta age. Two of the Gupta kings, Kumaragupta and Skandagupta, were named after him. He is seen in the Gupta sculptures and in the temples of Ellora and Elephanta. As the commander of the divine armies, he became the patron of the ruling classes. His youth, beauty and bravery was much celebrated in Sanskrit works like the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic, the Kumaarasambhavam. In ancient India, Kartikeya was also regarded as the patron deity of thieves, as may be inferred from the Mrichchakatikam, a Sanskrit play by Shudraka, and in the Vetala-panchvimshati, a medieval collection of tales. This association is linked to the fact that Kartikeya had dug through the Krauncha mountain to kill Taraka and his brothers (in the Mrichchakatikam, Sarivilaka prays to him before tunnelling into the hero's house).

However, Kartikeya's popularity in North India receded from the Middle Ages onwards, and his worship is today virtually unknown except in parts of Haryana. There is a very famous temple dedicated to Him in the town of Pehowa in Haryana and this temple is very well known in the adjoining areas, especially because women are not allowed anywhere close to it. Women stay away from this temple in Pehowa town of Haryana because this shrine celebrates the Brahmachari form of Kartikeya. Reminders of former devotions to him include a temple at Achaleshwar, near Batala in Punjab, and another temple of Skanda atop the Parvati hill in Pune, Maharashtra. Another vestige of his former popularity can be seen in Bengal and Odisha, where he is worshipped during the Durga Puja festivities alongside Durga. Lord Subramanya is the major deity among the Hindus of northern Kerala. Lord Subramanya is worshipped with utmost devotion in districts of Dakshina Kannada and Udupi in the state of Karnataka. Rituals like nagaradhane are unique to this region.

Kartikeya also known as Kartik or Kartika is also worshipped in West Bengal, and Bangladesh on the last day of the Hindu month of 'Kartik'. However, the popularity of Kartik Puja (worshipping Kartik) is decreasing now, and Lord Kartik is primarily worshipped among those who intend to have a son. In Bengal, traditionally, many people drop images of Kartik inside the boundaries of different households, who all are either newly married, or else, intend to get a son to carry on with their ancestry. Lord Kartik is also associated to the Babu Culture prevailed in historic Kolkata, and hence, many traditional old Bengali paintings still show Kartik dressed in traditional Bengali style. Also, in some parts of West Bengal, Kartik is traditionally worshipped by the ancestors of the past royal families too, as in the district of Malda. Kartik Puja is also popular among the prostitutes. This can probably be linked to the fact that, the prostitutes mostly got clients from the upper class babu-s in old Kolkata, who all, in turn, had been associated to the image of Kartik (as discussed above). In Bansberia (Hooghly district) Kartik Puja festival is celebrated like Durga puja of Kolkata, Jagadhatri puja in Chandannagar for consecutive four days. The festival starts on 17 November every year and on 16 November in case of Leap year.[13] Some of the must see Puja committees are Bansberia Kundugoli Nataraj, Khamarapara Milan Samity RadhaKrishna, Kishor Bahini, Mitali Sangha, Yuva Sangha, Bansberia Pratap Sangha and many more.

In Durga Puja in Bengal, Kartikeya is considered to be a son of Parvati or Durga and Shiva along with his brother Ganesha and sisters Lakshmi and Saraswati.[14]

Kartikeya is worshiped during Durga Puja in Odisha as well as in various Shiva temples throughout the year. Kartik puja is celebrated in Cuttack along with various other parts of the state during the last phases of Hindu month of Kartik. Kartik purnima is celebrated with much joy and in a grand fashion in Cuttack and other parts in the state.

Murugan is adored by both Tamil Hindus and Sinhalese Buddhists in Sri Lanka. Numerous temples exist throughout the island. He is a favorite deity of the common folk everywhere and it is said he never hesitates to come to the aid of a devotee when called upon. In the deeply Sinhalese south of Sri Lanka, Murugan is worshipped at the temple in Katirkāmam, where he is known as Kathiravel or Katragama Deviyo (Lord of Katragama) . This temple is next to an old Buddhist place of worship. Local legend holds that Lord Murugan alighted in Kataragama and was smitten by Valli, one of the local aboriginal lasses. After a courtship, they were married. This event is taken to signify that Lord Murugan is accessible to all who worship and love him, regardless of their birth or heritage. The Nallur Kandaswamy temple, the Maviddapuram Kandaswamy Temple and the Sella Channithy Temple near Valvettiturai are the three foremost Murugan temples in Jaffna. The Chitravelayutha temple in Verukal on the border between Trincomalee and Batticaloa is also noteworthy as is the Mandur Kandaswamy temple in Batticaloa. The late medieval-era temple of the tooth in Kandy, dedicated to the tooth relic of the Buddha, has a Kataragama deiyo shrine adjacent to it dedicated to the veneration of Skanda in the Sinhalese tradition. Almost all buddhist temples house a shrine room for Kataragama deviyo(Murugan)reflecting the significance of Murugan in Sinhala Buddhism,

Based on archeological evidence found, it is believed that the Kiri Vehera was either renovated to build during the 1st century BCE. There are number of others inscriptions and ruins.[15]

By the 16th century the Kathiravel shrine at Katirkāmam had become synonymous with Skanda-Kumara who was a guardian deity of Sinhala Buddhism.[16] The town was popular as a place of pilgrimage for Hindus from India and Sri Lanka by the 15 the century. The popularity of the deity at the Kataragama temple was also recorded by the Pali chronicles of Thailand such as Jinkalmali in the 16th century. There are number of legends both Buddhist and Hindu that attribute supernatural events to the very locality.[16] Scholars such as Paul Younger and Heinz Bechert speculate that rituals practiced by the native priests of Kataragama temple betray Vedda ideals of propitiation. Hence they believe the area was of Vedda veneration that was taken over by the Buddhist and Hindus in the medieval period.[17]

Lord Murugan is one of the most important deities worshipped by Tamil people in Malaysia and other South-East Asian countries such as Singapore and Indonesia. Thai Poosam is one of the important festivals celebrated. Sri Subramanyar Temple at Batu Caves temple complex in Malaysia is dedicated to Lord Murugan.

The main temples of Murugan are located in Tamil Nadu and other parts of south India. They include the Aru Padaiveedu (six abodes) — Thiruchendur, Swamimalai, Pazhamudircholai, Thirupparangunram, Palani (Pazhani), Thiruthani and other important shrines like Mayilam, Sikkal, Marudamalai, Kundrathur, Vadapalani, Kandakottam, Thiruporur, Vallakottai, Vayalur, Thirumalaikoil, Pachaimalai and Pavalamalai near Gobichettipalayam. Malai Mandir, a prominent and popular temple complex in Delhi, is one of the few dedicated to Murugan in all of North India apart from the Pehowa temple in Haryana.

There are many temples dedicated to Lord Subramanya in Kerala. Amongst them are Atiyambur Sri Subramanya Temple in Kanhangad Kasaragod, Payyannur Subramanya Swamy temple in Payyanur, Panmana Subramanya Swamy temple in Panmana and the Subramanya temple in Haripad. There is a temple in Skandagiri, Secunderabad and one in Bikkavolu, East Godavari district in the state of Andhra Pradesh. In Karnataka there is the Kukke Subramanya Temple where Lord Murugan is worshiped as the Lord of the serpents. Aaslesha Bali, Sarpa Samskara with nagapathista samarpa are major prayers here. There is a temple called Malai Mandir in South Delhi. Malai means hill in Tamil. Mandir means temple in Hindi.

The key temples in Sri Lanka include the sylvan shrine in Kataragama / (Kadirgamam) or Kathirkamam in the deep south, the temple in Tirukovil in the east, the shrine in Embekke in the Kandyan region and the famed Nallur Kandaswamy temple in Jaffna. There are several temples dedicated to Lord Murugan in Malaysia, the most famous being the Batu Caves near Kuala Lumpur. There is a 42.7-m-high statue of Lord Murugan at the entrance to the Batu Caves, which is the largest Lord Murugan statue in the world. Sri Thandayuthapani Temple in Tank Road, Singapore is a major Hindu temple where each year the Thaipusam festival takes place with devotees of Lord Muruga carrying Kavadis seeking penance and blessings of the Lord.

In the United Kingdom, Highgate Hill Murugan temple is one of the oldest and most famous. In London, Sri Murugan Temple in Manor park is a well-known temple. In Midlands, Leicester Shri Siva Murugan Temple is gaining popularity recently. Skanda Vale in West Wales was founded by Guruji, a Tamil devotee of Subramaniam, and its primary deity is Lord Murugan. In Australia, Sydney Murugan temple in Parramatta (Mays Hill), Perth Bala Muruguan temple in Mandogalup and Kundrathu Kumaran temple in Rockbank, Melbourne are major Hindu temples for all Australian Hindus and Murugan devotees. In New Zealand, there is a Thirumurugan Temple in Auckland and a Kurinji Kumaran Temple in Wellington, both dedicated to Lord Murugan. In the USA, Shiva Murugan Temple in Concord, Northern California and Murugan Temple of North America[18] in Maryland, Washington DC region are popular. In Toronto, Canada, Canada Kanthasamy Temple is known amongst many Hindus in Canada. In Dollard-des-Ormeaux, a suburb of the city of Montreal in Canada, there is a monumental temple of Murugan. The Sri Sivasubramaniar Temple, located in the Sihl Valley in Adliswil, is the most famous and largest Hindu temple in Switzerland.[19]

Kartikeya, also known as Skanda, Murugan and Subramaniyan, is the Hindu god of war. He is the commander-in-chief of the army of the devas (gods) and the son of Shiva and Parvati.

Murugan is often referred to as "Tamil Kadavul" (meaning "God of Tamils") and is worshiped primarily in areas with Tamil influences, especially South India, Sri Lanka, Mauritius, Malaysia, Singapore and Reunion Island. His six most important shrines in India are the Arupadaiveedu temples, located in Tamil Nadu. In Sri Lanka, Hindus as well as Buddhists revere the sacred historical Nallur Kandaswamy temple in Jaffna and Katirkāmam Temple situated deep south.[1] Hindus in Malaysia also pray to Lord Murugan at the Batu Caves and various temples where Thaipusam is celebrated with grandeur.

In Karnataka and Andhra Pradesh, Kartikeya is known as Subrahmanya with a temple at Kukke Subramanya known for Sarpa shanti rites dedicated to Him and another famous temple at Ghati Subramanya also in Karnataka. In Bengal and Odisha, he is popularly known as Kartikeya (meaning 'son of Krittika').[2]

Other names[edit]

Like most Hindu deities, Subrahmanya is known by many other names, including Senthil, Vēlaṇ, Kumāran (meaning 'prince or child or young one'), Swaminatha (meaning 'smart' or 'clever'), Saravaṇa, Arumugam or Shanmuga (meaning 'one with six faces'), Dhandapani (meaning God with a Club), Guhan or Guruguha (meaning 'cave-dweller'), Subrahmanya, Kartikeya and Skanda (meaning 'that which is spilled or oozed).[3][4] He was also known as Mahasena and the Kadamba Dynasty kings worshiped him by this name.[5]

Vedas[edit]

The Atharva Veda describes Kumaran as 'Agnibhuh' because he is form of 'Agni' (Fire God) & Agni hold in his hand when kumaran born. The Satapatha Brahmana refers to him as the son of Rudra and the six faces of Rudra. The Taittiriya Aranyaka contains the Gayatri mantra for Shanmukha. The Chandogya Upanishad refers to Skanda as the "way that leads to wisdom". The Baudhayana Dharmasutra mentions Skanda as 'Mahasena' and 'Subrahmanya.' The Aranya Parva canto of the Mahabharata relates the legend of Kartikeya Skanda in considerable detail. The Skanda Purana is devoted to the narrative of Kartikeya.[6] The Upanishads also constantly make a reference to a Supreme Being called Guha, the indweller.

The first elaborate account of Kartikeya's origin occurs in the Mahabharata. In a complicated story, he is said to have been born from Agni and Svaha, after the latter impersonated the six of the seven wives of the Saptarishi (Seven Sages). The actual wives then become the Pleiades. Kartikeya is said to have been born to destroy the Asura Mahisha.[7] (In later mythology, Mahisha became the adversary of Durga.) Indra attacks Kartikeya as he sees the latter as a threat, until Shiva intervenes and makes Kartikeya the commander-in-chief of the army of the Devas. He is also married to Devasena, Indra's daughter. The origin of this marriage lies probably in the punning of 'Deva-sena-pati'. It can mean either lord of Devasena or Lord of the army (sena) of Devas. But according to Shrii Shrii Anandamurti, in his master work on Shiva[8] and other works, Kartikeya was married to Devasenā and that is on the ground of his name as Devasena's husband, Devasenāpati, misinterpreted as Deva-senāpati (Deva's general) that he was granted the title general and made the Deva's army general.[9]

The Ramayana version is closer to the stories told in the Puranas discussed below.

Tolkappiyam, possibly the most ancient of the extant Sangam works, dated between the 3rd century BCE and 5th century CE glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent," as "the favoured god of the Tamils."[10] The Sangam poetry divided space and Tamil land into five allegorical areas (tinai) and according to the Tirumurugarruppatai ( c. 400–450 AD) attributed to the great Sangam poet Nakkiirar, Murugan was the presiding deity the Kurinci region (hilly area). (Tirumurugaruppatai is a deeply devotional poem included in the ten idylls (Pattupattu) of the age of the third Sangam). The other Sangam era works in Tamil that refer to Murugan in detail include the Paripaatal, the Akananuru and the Purananuru. One poem in the Paripaatal describes the veneration of Murugan thus:

"We implore thee not for boons of enjoyment or wealth,

But for thy grace beatific, love and virtuous deeds."

According to the Tamil devotional work, Thiruppugazh, "Murugan never hesitates to come to the aid of a devotee when called upon in piety or distress". In another work, Thirumurukkarrupatai, he is described as a god of eternal youth;

His face shines a myriad rays light and removes the darkness from this world.[11]

The references to Murugan can be traced back to the first millennium BCE. There are references to Murugan in Kautilya's Arthashastra, in the works of Patanjali, in Kalidasa's epic poem the Kumarasambhavam. The Kushanas, who governed from what is today Peshawar, and the Yaudheyas, a republican clan in the Punjab, struck coins bearing the image of Skanda. The deity was venerated also by the Ikshvakus, an Andhra dynasty, and the Guptas.[6] The worship of Kumāra was one of the six principal sects of Hinduism at the time of Adi Shankara. The Shanmata system propagated by him included this sect. In many Shiva and Devi temples of Tamil Nadu, Murugan is installed on the left of the main deity. The story of His birth goes as follows:

Sati immolated herself in a pyre as her father King Daksha had insulted Shiva, her Lord. She was reborn as Parvathi or Uma, daughter of the King of Himalayas, Himavan. She then married her Lord Shiva. The Devas were under onslaught from the Asuras whose leader was Soorapadman. He had been granted boons that only Lord Shiva or his seed could kill him. Fearless he vanquished the Devas and made them his slaves. The Devas ran to Vishnu for help who told them that it was merely their fault for attending Daksha's yagna, without the presence of Lord Shiva. After this, they ran to Shiva for help. Shiva decided to take action against Soorapadman's increasing conceit. He frowned and his third eye- the eye of knowledge- started releasing sparks. These were six sparks in total. Agni had the responsibility to take them to Saravana Lake. As he was carrying them, the sparks were growing hotter and hotter that even the Lord of Fire could not withstand the heat. Soon after Murugan was born on a lotus in the Saravana Lake with six faces, giving him the name Arumukhan. Lord Shiva and Parvati visited and tears of joy started flowing as they witnessed the most handsome child. Shiva and Parvathi gave the responsibility of taking care of Muruga to the six Krittika sisters. Muruga grew up to be a handsome, intelligent, powerful, clever youth. All the Devas applauded at their saviour, who had finally come to release them from their woes. Murugan became the supreme general of the demi-gods, then escorted the devas and led the army of the devas to victory against the asuras.

Legends[edit]

Given that legends related to Murugan are recounted separately in several Hindu epics, some differences between the various versions are observed. Some Sanskrit epics and puranas indicate that he was the elder son of Shiva. This is suggested by the legend connected to his birth; the wedding of Shiva and Parvati being necessary for the birth of a child who would vanquish the asura named Taraka. Also, Kartikeya is seen helping Shiva fight the newborn Ganesha, Shiva's other son, in the Shiva Purana. In the Ganapati Khandam of the Brahma Vaivarta Purana, he is seen as the elder son of Shiva and Ganesha as the younger. In South India, it is believed that he is the younger of the two. A Puranic story has Ganesha obtain a divine fruit of knowledge from Narada winning a contest with Murugan. While Murugan speeds around the world thrice to win the contest for the fruit, Ganesha circumambulates Shiva and Parvati thrice as an equivalent and is given the fruit. After winning it, he offers to give the fruit to his upset brother. After this event, Ganesha was considered the elder brother owing as a tribute to his wisdom. Many of the major events in Murugan's life take place during his youth, and legends surrounding his birth are popular. This has encouraged the worship of Murugan as a child-God, very similar to the worship of the child Krishna in north India. He is married to two wives, Valli and Devasena. This lead to a very interesting name : Devasenapati viz. Pati (husband) of Devsena and/or Senapati (commander in chief) of Dev (gods)

Kartikeya symbols are based on the weapons – Vel, the Divine Spear or Lance that he carries and his mount the peacock. He is sometimes depicted with many weapons including: a sword, a javelin, a mace, a discus and a bow although more usually he is depicted wielding a sakti or spear. This symbolizes his purification of human ills. His javelin is used to symbolize his far reaching protection, his discus symbolizes his knowledge of the truth, his mace represents his strength and his bow shows his ability to defeat all ills. His peacock mount symbolizes his destruction of the ego.

His six heads represent the six siddhis bestowed upon yogis over the course of their spiritual development. This corresponds to his role as the bestower of siddhis.

In Tamil Nadu, Murugan has continued to be popular with all classes of society right since the Sangam age. This has led to more elaborate accounts of his mythology in the Tamil language, culminating in the Tamil version of Skanda Purana, called Kandha Purānam, written by Kacchiappa Sivachariyar (1350–1420 AD.) of Kumara Kottam in the city of Kanchipuram. (He was a scholar in Tamil literature, and a votary of the Shaiva Siddhanta philosophy.)

He is married to two deities, Valli, a daughter of a tribal chief and Deivayanai (also called Devasena), the daughter of Indhra. During His bachelorhood, Lord Murugan is also regarded as Kumaraswami (or Bachelor God), Kumara meaning a bachelor and Swami meaning God. Muruga rides a peacock and wields a bow in battle. The lance called Vel in Tamil is a weapon closely associated with him. The Vel was given to him by his mother, Parvati, and embodies her energy and power. His army's standard depicts a rooster. In the war, Surapadman was split into two, and each half was granted a boon by Murugan. The halves, thus turned into the peacock (his mount) and the rooster his flag, which also "refers to the sun".[12]

As Muruga is worshipped predominantly in Tamil Nadu, many of his names are of Tamil origin. These include Senthil, the red or formidable one; Arumugam, the six-faced one; Guhan and Maal-Marugan, the son-in-law of Vishnu. Murugan is venerated throughout the Tamil year. There is a six-day period of fast and prayer in the Tamil month of Aippasi known as the Skanda Shasti. He is worshipped at Thaipusam, celebrated by Tamil communities worldwide near the full moon of the Tamil month Thai. This commemorates the day he was given a Vel or lance by his mother in order to vanquish the asuras. Thirukarthigai or the full moon of the Tamil month of Karthigai signifies his birth. Each Tuesday of the Tamil month of Adi is also dedicated to the worship of Murugan. Tuesday in the Hindu tradition connotes Mangala, the god of planet Mars and war.

Other parts of India[edit]

Historically, God Kartikeya was immensely popular in the Indian subcontinent. One of the major Puranas, the Skanda Purana is dedicated to him. In the Bhagavad-Gita (Ch.10, Verse 24), Krishna, while explaining his omnipresence, names the most perfect being, mortal or divine, in each of several categories. While doing so, he says: "Among generals, I am Skanda, the lord of war."

Kartikeya's presence in the religious and cultural sphere can be seen at least from the Gupta age. Two of the Gupta kings, Kumaragupta and Skandagupta, were named after him. He is seen in the Gupta sculptures and in the temples of Ellora and Elephanta. As the commander of the divine armies, he became the patron of the ruling classes. His youth, beauty and bravery was much celebrated in Sanskrit works like the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic, the Kumaarasambhavam. In ancient India, Kartikeya was also regarded as the patron deity of thieves, as may be inferred from the Mrichchakatikam, a Sanskrit play by Shudraka, and in the Vetala-panchvimshati, a medieval collection of tales. This association is linked to the fact that Kartikeya had dug through the Krauncha mountain to kill Taraka and his brothers (in the Mrichchakatikam, Sarivilaka prays to him before tunnelling into the hero's house).

However, Kartikeya's popularity in North India receded from the Middle Ages onwards, and his worship is today virtually unknown except in parts of Haryana. There is a very famous temple dedicated to Him in the town of Pehowa in Haryana and this temple is very well known in the adjoining areas, especially because women are not allowed anywhere close to it. Women stay away from this temple in Pehowa town of Haryana because this shrine celebrates the Brahmachari form of Kartikeya. Reminders of former devotions to him include a temple at Achaleshwar, near Batala in Punjab, and another temple of Skanda atop the Parvati hill in Pune, Maharashtra. Another vestige of his former popularity can be seen in Bengal and Odisha, where he is worshipped during the Durga Puja festivities alongside Durga. Lord Subramanya is the major deity among the Hindus of northern Kerala. Lord Subramanya is worshipped with utmost devotion in districts of Dakshina Kannada and Udupi in the state of Karnataka. Rituals like nagaradhane are unique to this region.

Kartikeya also known as Kartik or Kartika is also worshipped in West Bengal, and Bangladesh on the last day of the Hindu month of 'Kartik'. However, the popularity of Kartik Puja (worshipping Kartik) is decreasing now, and Lord Kartik is primarily worshipped among those who intend to have a son. In Bengal, traditionally, many people drop images of Kartik inside the boundaries of different households, who all are either newly married, or else, intend to get a son to carry on with their ancestry. Lord Kartik is also associated to the Babu Culture prevailed in historic Kolkata, and hence, many traditional old Bengali paintings still show Kartik dressed in traditional Bengali style. Also, in some parts of West Bengal, Kartik is traditionally worshipped by the ancestors of the past royal families too, as in the district of Malda. Kartik Puja is also popular among the prostitutes. This can probably be linked to the fact that, the prostitutes mostly got clients from the upper class babu-s in old Kolkata, who all, in turn, had been associated to the image of Kartik (as discussed above). In Bansberia (Hooghly district) Kartik Puja festival is celebrated like Durga puja of Kolkata, Jagadhatri puja in Chandannagar for consecutive four days. The festival starts on 17 November every year and on 16 November in case of Leap year.[13] Some of the must see Puja committees are Bansberia Kundugoli Nataraj, Khamarapara Milan Samity RadhaKrishna, Kishor Bahini, Mitali Sangha, Yuva Sangha, Bansberia Pratap Sangha and many more.

In Durga Puja in Bengal, Kartikeya is considered to be a son of Parvati or Durga and Shiva along with his brother Ganesha and sisters Lakshmi and Saraswati.[14]

Kartikeya is worshiped during Durga Puja in Odisha as well as in various Shiva temples throughout the year. Kartik puja is celebrated in Cuttack along with various other parts of the state during the last phases of Hindu month of Kartik. Kartik purnima is celebrated with much joy and in a grand fashion in Cuttack and other parts in the state.

Murugan is adored by both Tamil Hindus and Sinhalese Buddhists in Sri Lanka. Numerous temples exist throughout the island. He is a favorite deity of the common folk everywhere and it is said he never hesitates to come to the aid of a devotee when called upon. In the deeply Sinhalese south of Sri Lanka, Murugan is worshipped at the temple in Katirkāmam, where he is known as Kathiravel or Katragama Deviyo (Lord of Katragama) . This temple is next to an old Buddhist place of worship. Local legend holds that Lord Murugan alighted in Kataragama and was smitten by Valli, one of the local aboriginal lasses. After a courtship, they were married. This event is taken to signify that Lord Murugan is accessible to all who worship and love him, regardless of their birth or heritage. The Nallur Kandaswamy temple, the Maviddapuram Kandaswamy Temple and the Sella Channithy Temple near Valvettiturai are the three foremost Murugan temples in Jaffna. The Chitravelayutha temple in Verukal on the border between Trincomalee and Batticaloa is also noteworthy as is the Mandur Kandaswamy temple in Batticaloa. The late medieval-era temple of the tooth in Kandy, dedicated to the tooth relic of the Buddha, has a Kataragama deiyo shrine adjacent to it dedicated to the veneration of Skanda in the Sinhalese tradition. Almost all buddhist temples house a shrine room for Kataragama deviyo(Murugan)reflecting the significance of Murugan in Sinhala Buddhism,

Based on archeological evidence found, it is believed that the Kiri Vehera was either renovated to build during the 1st century BCE. There are number of others inscriptions and ruins.[15]

By the 16th century the Kathiravel shrine at Katirkāmam had become synonymous with Skanda-Kumara who was a guardian deity of Sinhala Buddhism.[16] The town was popular as a place of pilgrimage for Hindus from India and Sri Lanka by the 15 the century. The popularity of the deity at the Kataragama temple was also recorded by the Pali chronicles of Thailand such as Jinkalmali in the 16th century. There are number of legends both Buddhist and Hindu that attribute supernatural events to the very locality.[16] Scholars such as Paul Younger and Heinz Bechert speculate that rituals practiced by the native priests of Kataragama temple betray Vedda ideals of propitiation. Hence they believe the area was of Vedda veneration that was taken over by the Buddhist and Hindus in the medieval period.[17]

Lord Murugan is one of the most important deities worshipped by Tamil people in Malaysia and other South-East Asian countries such as Singapore and Indonesia. Thai Poosam is one of the important festivals celebrated. Sri Subramanyar Temple at Batu Caves temple complex in Malaysia is dedicated to Lord Murugan.

The main temples of Murugan are located in Tamil Nadu and other parts of south India. They include the Aru Padaiveedu (six abodes) — Thiruchendur, Swamimalai, Pazhamudircholai, Thirupparangunram, Palani (Pazhani), Thiruthani and other important shrines like Mayilam, Sikkal, Marudamalai, Kundrathur, Vadapalani, Kandakottam, Thiruporur, Vallakottai, Vayalur, Thirumalaikoil, Pachaimalai and Pavalamalai near Gobichettipalayam. Malai Mandir, a prominent and popular temple complex in Delhi, is one of the few dedicated to Murugan in all of North India apart from the Pehowa temple in Haryana.

There are many temples dedicated to Lord Subramanya in Kerala. Amongst them are Atiyambur Sri Subramanya Temple in Kanhangad Kasaragod, Payyannur Subramanya Swamy temple in Payyanur, Panmana Subramanya Swamy temple in Panmana and the Subramanya temple in Haripad. There is a temple in Skandagiri, Secunderabad and one in Bikkavolu, East Godavari district in the state of Andhra Pradesh. In Karnataka there is the Kukke Subramanya Temple where Lord Murugan is worshiped as the Lord of the serpents. Aaslesha Bali, Sarpa Samskara with nagapathista samarpa are major prayers here. There is a temple called Malai Mandir in South Delhi. Malai means hill in Tamil. Mandir means temple in Hindi.

The key temples in Sri Lanka include the sylvan shrine in Kataragama / (Kadirgamam) or Kathirkamam in the deep south, the temple in Tirukovil in the east, the shrine in Embekke in the Kandyan region and the famed Nallur Kandaswamy temple in Jaffna. There are several temples dedicated to Lord Murugan in Malaysia, the most famous being the Batu Caves near Kuala Lumpur. There is a 42.7-m-high statue of Lord Murugan at the entrance to the Batu Caves, which is the largest Lord Murugan statue in the world. Sri Thandayuthapani Temple in Tank Road, Singapore is a major Hindu temple where each year the Thaipusam festival takes place with devotees of Lord Muruga carrying Kavadis seeking penance and blessings of the Lord.

In the United Kingdom, Highgate Hill Murugan temple is one of the oldest and most famous. In London, Sri Murugan Temple in Manor park is a well-known temple. In Midlands, Leicester Shri Siva Murugan Temple is gaining popularity recently. Skanda Vale in West Wales was founded by Guruji, a Tamil devotee of Subramaniam, and its primary deity is Lord Murugan. In Australia, Sydney Murugan temple in Parramatta (Mays Hill), Perth Bala Muruguan temple in Mandogalup and Kundrathu Kumaran temple in Rockbank, Melbourne are major Hindu temples for all Australian Hindus and Murugan devotees. In New Zealand, there is a Thirumurugan Temple in Auckland and a Kurinji Kumaran Temple in Wellington, both dedicated to Lord Murugan. In the USA, Shiva Murugan Temple in Concord, Northern California and Murugan Temple of North America[18] in Maryland, Washington DC region are popular. In Toronto, Canada, Canada Kanthasamy Temple is known amongst many Hindus in Canada. In Dollard-des-Ormeaux, a suburb of the city of Montreal in Canada, there is a monumental temple of Murugan. The Sri Sivasubramaniar Temple, located in the Sihl Valley in Adliswil, is the most famous and largest Hindu temple in Switzerland.[19]

Indian art indian drawing indian character indian sketch

Indian art indian drawing indian character indian sketch

Howrah Bridge is a cantilever bridge with a suspended span over the Hooghly River in West Bengal, India. Commissioned in 1943, the bridge was originally named the New Howrah Bridge, because it replaced a pontoon bridge at the same location linking the two cities of Howrah and Kolkata (Calcutta). On 14 June 1965 it was renamed Rabindra Setu after the great Bengali poet Rabindranath Tagore, who was the first Indian and Asian Nobel laureate. It is still popularly known as the Howrah Bridge.

The bridge is one of two on the Hooghly River and is a famous symbol of Kolkata and West Bengal. The other bridges are the Vidyasagar Setu (popularly called the Second Hooghly Bridge), the Vivekananda Setu, and the newly built Nivedita Setu. It weathers the storms of the Bay of Bengal region, carrying a daily traffic of approximately 100,000 vehicles and possibly more than 150,000 pedestrians, easily making it the busiest cantilever bridge in the world. The third-longest cantilever bridge at the time of its construction, the Howrah Bridge is the sixth-longest bridge of its type in the world.

HISTORY

1862 PROPOSAL BY TURNBULL

In 1862, the Government of Bengal asked George Turnbull, Chief Engineer of the East India Railway Company to study the feasibility of bridging the Hooghly River — he had recently established the company's rail terminus in Howrah. He reported on 29 March with large-scale drawings and estimates that:

- The foundations for a bridge at Calcutta would be at a considerable depth and cost because of the depth of the mud there.

- The impediment to shipping would be considerable.

- A good place for the bridge was at Pulta Ghat "about a dozen miles north of Calcutta" where a "bed of stiff clay - A suspended-girder bridge of five spans of 400 feet and two spans of 200 feet would be ideal.

The bridge was not built.

PONTOON BRIDGE

In view of the increasing traffic across the Hooghly river, a committee was appointed in 1855-56 to review alternatives for constructing a bridge across it. The plan was shelved in 1859-60, to be revived in 1868, when it was decided that a bridge should be constructed and a newly appointed trust vested to manage it. The Calcutta Port Trust was founded in 1870, and the Legislative department of the then Government of Bengal passed the Howrah Bridge Act in the year 1871 under the Bengal Act IX of 1871, empowering the Lieutenant-Governor to have the bridge constructed with Government capital under the aegis of the Port Commissioners. Eventually a contract was signed with Sir Bradford Leslie to construct a pontoon bridge. Different parts were constructed in England and shipped to Calcutta, where they were assembled. The assembling period was fraught with problems. The bridge was considerably damaged by the great cyclone on 20 March 1874. A steamer named Egeria broke from her moorings and collided head-on with the bridge, sinking three pontoons and damaging nearly 200 feet of the bridge. The bridge was completed in 1874, at a total cost of ₹2.2 million, and opened to traffic on 17 October of that year. The bridge was then 1528 ft. long and 62 ft. wide, with 7-foot wide pavements on either side. Initially the bridge was periodically unfastened to allow steamers and other marine vehicles to pass through. Before 1906, the bridge used to be undone for the passage of vessels during daytime only. Since June of that year it started opening at night for all vessels except ocean steamers, which were required to pass through during daytime. From 19 August 1879, the bridge was illuminated by electric lamp-posts, powered by the dynamo at the Mullick Ghat Pumping Station. As the bridge could not handle the rapidly increasing load, the Port Commissioners started planning in 1905 for a new improved bridge.

PLANS FOR A NEW BRIDGE

In 1906 the Port Commission appointed a committee headed by R.S. Highet, Chief Engineer, East Indian Railway and W.B. MacCabe, Chief Engineer, Calcutta Corporation. They submitted a report stating that Bullock carts formed the eight-thirteenths of the vehicular traffic (as observed on 27 August 1906, the heaviest day's traffic observed in the port of Commissioners 16 days' Census of the vehicular traffic across the existing bridge). The roadway on the existing bridge is 48 feet wide except at the shore spans where it is only 43 feet in roadways, each 21 feet 6 inches wide. The roadway on the new bridge would be wide enough to take at least two lines of vehicular traffic and one line of trams in each direction and two roadways each 30 feet wide, giving a total width of 60 feet of road way which are quite sufficient for this purpose . . . . . The traffic across the existing floating bridge Calcutta & Howrah is very heavy and it is obvious if the new bridge is to be on the same site as the existing bridge, then unless a temporary bridge is provided, there will be serious interruptions to the traffic while existing bridge is being moved to one side to allow the new bridge to be erected on the same site as the present bridge.

The committee considered six options:

- Large ferry steamers capable of carrying vehicular load (set up cost ₹900,000, annual cost ₹437,000)

- A transporters bridge (set up cost ₹2 million)

- A tunnel (set up cost ₹338.2 million, annual maintenance cost ₹1779,000)

- A bridge on piers (set up cost ₹22.5 million)

- A floating bridge (set up cost ₹2140,000, annual maintenance cost ₹200,000)

- An arched bridge

The committee eventually decided on a floating bridge. It extended tenders to 23 firms for its design and construction. Prize money of £ 3,000 (₹45,000, at the then exchange rate) was declared for the firm whose design would be accepted.

PLANNING AND ESTIMATION

The initial construction process of the bridge was stalled due to the World War I, although the bridge was partially renewed in 1917 and 1927. In 1921 a committee of engineers named the 'Mukherjee Committee' was formed, headed by Sir R.N. Mukherjee, Sir Clement Hindley, Chairman of Calcutta Port Trust and J. McGlashan, Chief Engineer. They referred the matter to Sir Basil Mott, who proposed a single span arch bridge.

In 1922 the New Howrah Bridge Commission was set up, to which the Mukherjee Committee submitted its report. In 1926 the New Howrah Bridge Act passed. In 1930 the Goode Committee was formed, comprising S.W. Goode as President, S.N. Mallick, and W.H. Thompson, to investigate and report on the advisability of constructing a pier bridge between Calcutta and Howrah. Based on their recommendation, M/s. Rendel, Palmer and Tritton were asked to consider the construction of a suspension bridge of a particular design prepared by their chief draftsman Mr. Walton. On basis of the report, a global tender was floated. The lowest bid came from a German company, but due to increasing political tensions between Germany and Great Britain in 1935, it was not given the contract. The Braithwaite Burn and Jessop Construction Company Limited was awarded the construction contract that year. The New Howrah Bridge Act was amended in 1935 to reflect this, and construction of the bridge started the next year.

CONSTRUCTION

The bridge does not have nuts and bolts, but was formed by riveting the whole structure. It consumed 26,500 tons of steel, out of which 23,000 tons of high-tensile alloy steel, known as Tiscrom, were supplied by Tata Steel. The main tower was constructed with single monolith caissons of dimensions 55.31 x 24.8 m with 21 shafts, each 6.25 metre square. The Chief Engineer of the Port Trust, Mr. J. McGlashan, wanted to replace the pontoon bridge, with a permanent structure, as the present bridge interfered with North/South river traffic. Work could not be started as World War I (1914-1918) broke out. Then in 1926 a commission under the Chairmanship of Sir R. N. Mukherjee recommended a suspension bridge of a particular type to be built across the River Hoogly. The bridge was designed by one Mr. Walton of M/s Rendel, Palmer & Triton. The order for construction and erection was placed on M/s.Cleveland Bridge & Engineering Company in 1939. Again World War II (1939-1945 ) intervened. All the steel that was to come from England were diverted for war effort in Europe. Out of 26,000 tons of steel, that was required for the bridge, only 3000 tons were supplied from England. In spite of the Japanese threat the then (British) Government of India pressed on with the construction. Tata Steel were asked to supply the remaining 23,000 tons of high tension steel. The Tatas developed the quality of steel required for the bridge and called it Tiscom. The entire 23,000 tons was supplied in time. The fabrication and erection work was awarded to a local engineering firm of Howrah - The Braithwaite Burn & Jessop Construction Company. The two anchorage caissons were each 16.4 m by 8.2 m, with two wells 4.9 m square. The caissons were so designed that the working chambers within the shafts could be temporarily enclosed by steel diaphragms to allow work under compressed air if required. The caisson at Kolkata side was set at 31.41 m and that at Howrah side at 26.53 m below ground level.

One night, during the process of grabbing out the muck to enable the caisson to move, the ground below it yielded, and the entire mass plunged two feet, shaking the ground. The impact of this was so intense that the seismograph at Kidderpore registered it as an earthquake and a Hindu temple on the shore was destroyed, although it was subsequently rebuilt. While muck was being cleared, numerous varieties of objects were brought up, including anchors, grappling irons, cannons, cannonballs, brass vessels, and coins dating back to the East India Company. The job of sinking the caissons was carried out round-the-clock at a rate of a foot or more per day. The caissons were sunk through soft river deposits to a stiff yellow clay 26.5 m below ground level. The accuracy of sinking the huge caissons was exceptionally precise, within 50–75 mm of the true position. After penetrating 2.1 m into clay, all shafts were plugged with concrete after individual dewatering, with some 5 m of backfilling in adjacent shafts. The main piers on the Howrah side were sunk by open wheel dredging, while those on the Kolkata side required compressed air to counter running sand. The air pressure maintained was about 40 lbs per square inch (2.8 bar), which required about 500 workers to be employed. Whenever excessively soft soil was encountered, the shafts symmetrical to the caisson axes were left unexcavated to allow strict control. In very stiff clays, a large number of the internal wells were completely undercut, allowing the whole weight of the caisson to be carried by the outside skin friction and the bearing under the external wall. Skin friction on the outside of the monolith walls was estimated at 29 kN/m2 while loads on the cutting edge in clay overlying the founding stratum reached 100 tonnes/m. The work on the foundation was completed on November 1938.

By the end of 1940, the erection of the cantilevered arms was commenced and was completed in mid-summer of 1941. The two halves of the suspended span, each 86 m long and weighing 2,000 tons, were built in December 1941. The bridge was erected by commencing at the two anchor spans and advancing towards the center, with the use of creeper cranes moving along the upper chord. 16 hydraulic jacks, each of which had an 800-ton capacity, were pressed into service to join the two halves of the suspended span.

The entire project cost ₹25 million (£2,463,887). The project was a pioneer in bridge construction, particularly in India, but the government did not have a formal opening of the bridge due to fears of attacks by Japanese planes fighting the Allied Powers. Japan had attacked the United States at Pearl Harbor on December 7, 1941. The first vehicle to use the bridge was a solitary tram.

DESCRIPTION

SPECIFICATIONS

When commissioned in 1943, Howrah was the 3rd-longest cantilever bridge in the world, behind Pont de Québec (549 metres) in Canada and Forth Bridge (521 metres) in Scotland. It has since been surpassed by three bridges, making it the sixth-longest cantilever bridge in the world in 2013. It is a Suspension type Balanced Cantilever bridge, with a central span of 460 m between centers of main towers and a suspended span of 172 m. The main towers are 85 m high above the monoliths and 23 m apart at the top. The anchor arms are 99 m each, while the cantilever arms are 143 m each. The bridge deck hangs from panel points in the lower chord of the main trusses with 39 pairs of hangers. The roadways beyond the towers are supported from ground, leaving the anchor arms free from deck load. The deck system includes cross girders suspended between the pairs of hangers by a pinned connection. Six rows of longitudinal stringer girders are arranged between cross girders. Floor beams are supported transversally on top of the stringers, while themselves supporting a continuous pressed steel troughing system surfaced with concrete.

The longitudinal expansion and lateral sway movement of the deck are taken care of by expansion and articulation joints. There are two main expansion joints, one at each interface between the suspended span and the cantilever arms, and there are others at the towers and at the interface of the steel and concrete structures at both approach. There are total 8 articulation joints, 3 at each of the cantilever arms and 1 each in the suspended portion. These joints divide the bridge into segments with vertical pin connection between them to facilitate rotational movements of the deck. The bridge deck has longitudinal ruling gradient of 1 in 40 from either end, joined by a vertical curve of radius 1,200 m. The cross gradient of deck is 1 in 48 between kerbs.

TRAFFIC

The bridge serves as the gateway to Kolkata, connecting it to the Howrah Station, which is one of the four intercity train stations serving Howrah and Kolkata. As such, it carries the near entirety of the traffic to and from the station, taking its average daily traffic close to nearly 150,000 pedestrians and 100,000 vehicles. In 1946 a census was taken to take a count of the daily traffic, it amounted to 27,400 vehicles, 121,100 pedestrians and 2,997 cattle. The bulk of the vehicular traffic comes from buses and cars. Prior to 1993 the bridge used to carry trams also. Trams departed from the terminus at Howrah station towards Rajabazar, Sealdah, High Court, Dalhousie Square, Park Circus and Shyambazar. From 1993 the tram services on the bridge were discontinued due to increasing load on the bridge. However the bridge still continues to carry much more than the expected load. A 2007 report revealed that nearly 90,000 vehicles were plying on the bridge daily (15,000 of which were goods-carrying), though its load-bearing capacity is only 60,000. One of the main reasons of overloading was that although vehicles carrying up to 15 tonnes are allowed on the structure, vehicles with 12-18 wheels and carrying load up to 25 tonnes often plied on it. 31 May 2007 onwards, overloaded trucks were banned from plying on the bridge, and were redirected to the Vidyasagar Setu instead. The road is flanked by footpaths of width 15 feet, and they swarm with pedestrians.

MAINTENANCE

The Kolkata Port Trust (KoPT) is vested with the maintenance of the bridge. The bridge has been subject to damage from vehicles due to rash driving, and corrosion due to atmospheric conditions and biological wastes. On October 2008, 6 high-tech surveillance cameras were placed to monitor the entire 705 metres long and 30 metres wide structure from the control room. Two of the cameras were placed under the floor of the bridge to track the movement of barges, steamers and boats on the river, while the other four were fixed to the first layer of beams — one at each end and two in the middle — to monitor vehicle movements. This was in response to substantial damage caused to the bridge from collisions with vehicles, so that compensation could be claimed from the miscreants.

Corrosion has been caused by bird droppings and human spitting. An investigation in 2003 revealed that as a result of prolonged chemical reaction caused by continuous collection of bird excreta, several joints and parts of the bridge were damaged. As an immediate measure, the Kolkata Port Trust engaged contractors to regularly clean the bird droppings, at an annual expense of ₹500000 (US$7,900). In 2004, KoPT spent ₹6.5 million (US$100,000) to paint the entirety of 2.2 million square metres (24 million square feet) of the bridge. Two coats of aluminium paint, with a primer of zinc chromate before that, was applied on the bridge, requiring a total of 26,500 litres of paint.

The bridge is also considerably damaged by human spitting. A technical inspection by Port Trust officials in 2011 revealed that spitting had reduced the thickness of the steel hoods protecting the pillars from six to less than three millimeters since 2007. The hangers need those hoods at the base to prevent water seeping into the junction of the cross-girders and hangers, and damage to the hoods can jeopardize the safety of the bridge. KoPT announced that it will spend ₹2 million (US$32,000) on covering the base of the steel pillars with fibreglass casing to prevent spit from corroding them.

On 24 June 2005, a private cargo vessel M V Mani, belonging to the Ganges Water Transport Pvt. Ltd, while trying to pass under the bridge during high tide, had its funnel stuck underneath for three hours, causing substantial damage worth about ₹15 million to the stringer and longitudinal girder of the bridge. Some of the 40 cross-girders were also broken. Two of four trolley guides, bolted and welded with the girders, were extensively damaged. Nearly 350 metres of 700 metres of the track were twisted beyond repair. The damage was so severe that KoPT requested help from Rendall-Palmer & Tritton Limited, the original consultant on the bridge from UK. KoPT also contacted SAIL to provide 'matching steel' used during its construction in 1943, for the repairs. For the repair costing around ₹5 million (US$79,000), about 8 tonnes of steel was used. The repairs were completed in early 2006.

CULTURAL SIGNIFICANCE

The bridge has been shown in numerous films, such as Bimal Roy's 1953 film Do Bigha Zamin, Ritwik Ghatak's Bari Theke Paliye in 1958, Satyajit Ray's Parash Pathar in the same year, Mrinal Sen's Neel Akasher Neechey in 1959, Shakti Samanta's Howrah Bridge (1958), that featured the famous song Mera Naam Chin Chin Chu and China Town (1962) and Amar Prem (1971), Amar Jeet's 1965 Teen Devian in 1965, Mrinal Sen's 1972 National Award winning Bengali film Calcutta 71 and Sen's Calcutta Trilogy its sequel in 1973, Padatik, Richard Attenborough's 1982 Academy Award winning film Gandhi, Goutam Ghose's 1984 Hindi film Paar, Raj Kapoor's Ram Teri Ganga Maili in 1985, Nicolas Klotz's The Bengali Night in 1988, Roland Joffé's English language film City of Joy in 1992, Florian Gallenberger's Bengali film Shadows of Time in 2004, Mani Ratnam's Bollywood film Yuva in 2004, Pradeep Sarkar's 2005 Bollywood film Parineeta, Subhrajit Mitra's 2008 Bengali film Mon Amour: Shesher Kobita Revisited, Mira Nair's 2006 film The Namesake, Blessy's 2008 Malayalam Film Calcutta News, Surya Sivakumar's 2009 Tamil film Aadhavan, Imtiaz Ali's 2009 Hindi film Love Aaj Kal, Abhik Mukhopadhyay's 2010 Bengali film Ekti Tarar Khonje, Sujoy Ghosh's 2012 Bollywood film Kahaani, Anurag Basu's 2012 Hindi film Barfi!, Riingo Banerjee's 2012 Bengali film Na Hannyate, Rana Basu's 2013 Bengali film Namte Namte, and Ali Abbas Zafar's 2014 Hindi film Gunday and the 2015 YRF release from director Dibakar Banerjee's Detective Byomkesh Bakshy!also features some scenes on this iconic bridge.

WIKIPEDIA

Oviyar R.NATARAJAN Paintings - Artist R.NATARAJAN Paintings - One of the famous Artists and Illustrator in India,South India and Tamil Nadu

SURYA CARRICATURE - Artist ANIKARTICK

AMITAB BACHAN ( Big B )

Oviyar R.NATARAJAN Paintings - Artist R.NATARAJAN Paintings - One of the famous Artists and Illustrator in India,South India and Tamil Nadu

Howrah Bridge is a cantilever bridge with a suspended span over the Hooghly River in West Bengal, India. Commissioned in 1943, the bridge was originally named the New Howrah Bridge, because it replaced a pontoon bridge at the same location linking the two cities of Howrah and Kolkata (Calcutta). On 14 June 1965 it was renamed Rabindra Setu after the great Bengali poet Rabindranath Tagore, who was the first Indian and Asian Nobel laureate. It is still popularly known as the Howrah Bridge.

The bridge is one of two on the Hooghly River and is a famous symbol of Kolkata and West Bengal. The other bridges are the Vidyasagar Setu (popularly called the Second Hooghly Bridge), the Vivekananda Setu, and the newly built Nivedita Setu. It weathers the storms of the Bay of Bengal region, carrying a daily traffic of approximately 100,000 vehicles and possibly more than 150,000 pedestrians, easily making it the busiest cantilever bridge in the world. The third-longest cantilever bridge at the time of its construction, the Howrah Bridge is the sixth-longest bridge of its type in the world.

HISTORY

1862 PROPOSAL BY TURNBULL

In 1862, the Government of Bengal asked George Turnbull, Chief Engineer of the East India Railway Company to study the feasibility of bridging the Hooghly River — he had recently established the company's rail terminus in Howrah. He reported on 29 March with large-scale drawings and estimates that:

- The foundations for a bridge at Calcutta would be at a considerable depth and cost because of the depth of the mud there.

- The impediment to shipping would be considerable.

- A good place for the bridge was at Pulta Ghat "about a dozen miles north of Calcutta" where a "bed of stiff clay - A suspended-girder bridge of five spans of 400 feet and two spans of 200 feet would be ideal.

The bridge was not built.

PONTOON BRIDGE

In view of the increasing traffic across the Hooghly river, a committee was appointed in 1855-56 to review alternatives for constructing a bridge across it. The plan was shelved in 1859-60, to be revived in 1868, when it was decided that a bridge should be constructed and a newly appointed trust vested to manage it. The Calcutta Port Trust was founded in 1870, and the Legislative department of the then Government of Bengal passed the Howrah Bridge Act in the year 1871 under the Bengal Act IX of 1871, empowering the Lieutenant-Governor to have the bridge constructed with Government capital under the aegis of the Port Commissioners. Eventually a contract was signed with Sir Bradford Leslie to construct a pontoon bridge. Different parts were constructed in England and shipped to Calcutta, where they were assembled. The assembling period was fraught with problems. The bridge was considerably damaged by the great cyclone on 20 March 1874. A steamer named Egeria broke from her moorings and collided head-on with the bridge, sinking three pontoons and damaging nearly 200 feet of the bridge. The bridge was completed in 1874, at a total cost of ₹2.2 million, and opened to traffic on 17 October of that year. The bridge was then 1528 ft. long and 62 ft. wide, with 7-foot wide pavements on either side. Initially the bridge was periodically unfastened to allow steamers and other marine vehicles to pass through. Before 1906, the bridge used to be undone for the passage of vessels during daytime only. Since June of that year it started opening at night for all vessels except ocean steamers, which were required to pass through during daytime. From 19 August 1879, the bridge was illuminated by electric lamp-posts, powered by the dynamo at the Mullick Ghat Pumping Station. As the bridge could not handle the rapidly increasing load, the Port Commissioners started planning in 1905 for a new improved bridge.

PLANS FOR A NEW BRIDGE

In 1906 the Port Commission appointed a committee headed by R.S. Highet, Chief Engineer, East Indian Railway and W.B. MacCabe, Chief Engineer, Calcutta Corporation. They submitted a report stating that Bullock carts formed the eight-thirteenths of the vehicular traffic (as observed on 27 August 1906, the heaviest day's traffic observed in the port of Commissioners 16 days' Census of the vehicular traffic across the existing bridge). The roadway on the existing bridge is 48 feet wide except at the shore spans where it is only 43 feet in roadways, each 21 feet 6 inches wide. The roadway on the new bridge would be wide enough to take at least two lines of vehicular traffic and one line of trams in each direction and two roadways each 30 feet wide, giving a total width of 60 feet of road way which are quite sufficient for this purpose . . . . . The traffic across the existing floating bridge Calcutta & Howrah is very heavy and it is obvious if the new bridge is to be on the same site as the existing bridge, then unless a temporary bridge is provided, there will be serious interruptions to the traffic while existing bridge is being moved to one side to allow the new bridge to be erected on the same site as the present bridge.

The committee considered six options:

- Large ferry steamers capable of carrying vehicular load (set up cost ₹900,000, annual cost ₹437,000)

- A transporters bridge (set up cost ₹2 million)

- A tunnel (set up cost ₹338.2 million, annual maintenance cost ₹1779,000)

- A bridge on piers (set up cost ₹22.5 million)

- A floating bridge (set up cost ₹2140,000, annual maintenance cost ₹200,000)

- An arched bridge

The committee eventually decided on a floating bridge. It extended tenders to 23 firms for its design and construction. Prize money of £ 3,000 (₹45,000, at the then exchange rate) was declared for the firm whose design would be accepted.

PLANNING AND ESTIMATION

The initial construction process of the bridge was stalled due to the World War I, although the bridge was partially renewed in 1917 and 1927. In 1921 a committee of engineers named the 'Mukherjee Committee' was formed, headed by Sir R.N. Mukherjee, Sir Clement Hindley, Chairman of Calcutta Port Trust and J. McGlashan, Chief Engineer. They referred the matter to Sir Basil Mott, who proposed a single span arch bridge.

In 1922 the New Howrah Bridge Commission was set up, to which the Mukherjee Committee submitted its report. In 1926 the New Howrah Bridge Act passed. In 1930 the Goode Committee was formed, comprising S.W. Goode as President, S.N. Mallick, and W.H. Thompson, to investigate and report on the advisability of constructing a pier bridge between Calcutta and Howrah. Based on their recommendation, M/s. Rendel, Palmer and Tritton were asked to consider the construction of a suspension bridge of a particular design prepared by their chief draftsman Mr. Walton. On basis of the report, a global tender was floated. The lowest bid came from a German company, but due to increasing political tensions between Germany and Great Britain in 1935, it was not given the contract. The Braithwaite Burn and Jessop Construction Company Limited was awarded the construction contract that year. The New Howrah Bridge Act was amended in 1935 to reflect this, and construction of the bridge started the next year.

CONSTRUCTION

The bridge does not have nuts and bolts, but was formed by riveting the whole structure. It consumed 26,500 tons of steel, out of which 23,000 tons of high-tensile alloy steel, known as Tiscrom, were supplied by Tata Steel. The main tower was constructed with single monolith caissons of dimensions 55.31 x 24.8 m with 21 shafts, each 6.25 metre square. The Chief Engineer of the Port Trust, Mr. J. McGlashan, wanted to replace the pontoon bridge, with a permanent structure, as the present bridge interfered with North/South river traffic. Work could not be started as World War I (1914-1918) broke out. Then in 1926 a commission under the Chairmanship of Sir R. N. Mukherjee recommended a suspension bridge of a particular type to be built across the River Hoogly. The bridge was designed by one Mr. Walton of M/s Rendel, Palmer & Triton. The order for construction and erection was placed on M/s.Cleveland Bridge & Engineering Company in 1939. Again World War II (1939-1945 ) intervened. All the steel that was to come from England were diverted for war effort in Europe. Out of 26,000 tons of steel, that was required for the bridge, only 3000 tons were supplied from England. In spite of the Japanese threat the then (British) Government of India pressed on with the construction. Tata Steel were asked to supply the remaining 23,000 tons of high tension steel. The Tatas developed the quality of steel required for the bridge and called it Tiscom. The entire 23,000 tons was supplied in time. The fabrication and erection work was awarded to a local engineering firm of Howrah - The Braithwaite Burn & Jessop Construction Company. The two anchorage caissons were each 16.4 m by 8.2 m, with two wells 4.9 m square. The caissons were so designed that the working chambers within the shafts could be temporarily enclosed by steel diaphragms to allow work under compressed air if required. The caisson at Kolkata side was set at 31.41 m and that at Howrah side at 26.53 m below ground level.

One night, during the process of grabbing out the muck to enable the caisson to move, the ground below it yielded, and the entire mass plunged two feet, shaking the ground. The impact of this was so intense that the seismograph at Kidderpore registered it as an earthquake and a Hindu temple on the shore was destroyed, although it was subsequently rebuilt. While muck was being cleared, numerous varieties of objects were brought up, including anchors, grappling irons, cannons, cannonballs, brass vessels, and coins dating back to the East India Company. The job of sinking the caissons was carried out round-the-clock at a rate of a foot or more per day. The caissons were sunk through soft river deposits to a stiff yellow clay 26.5 m below ground level. The accuracy of sinking the huge caissons was exceptionally precise, within 50–75 mm of the true position. After penetrating 2.1 m into clay, all shafts were plugged with concrete after individual dewatering, with some 5 m of backfilling in adjacent shafts. The main piers on the Howrah side were sunk by open wheel dredging, while those on the Kolkata side required compressed air to counter running sand. The air pressure maintained was about 40 lbs per square inch (2.8 bar), which required about 500 workers to be employed. Whenever excessively soft soil was encountered, the shafts symmetrical to the caisson axes were left unexcavated to allow strict control. In very stiff clays, a large number of the internal wells were completely undercut, allowing the whole weight of the caisson to be carried by the outside skin friction and the bearing under the external wall. Skin friction on the outside of the monolith walls was estimated at 29 kN/m2 while loads on the cutting edge in clay overlying the founding stratum reached 100 tonnes/m. The work on the foundation was completed on November 1938.

By the end of 1940, the erection of the cantilevered arms was commenced and was completed in mid-summer of 1941. The two halves of the suspended span, each 86 m long and weighing 2,000 tons, were built in December 1941. The bridge was erected by commencing at the two anchor spans and advancing towards the center, with the use of creeper cranes moving along the upper chord. 16 hydraulic jacks, each of which had an 800-ton capacity, were pressed into service to join the two halves of the suspended span.

The entire project cost ₹25 million (£2,463,887). The project was a pioneer in bridge construction, particularly in India, but the government did not have a formal opening of the bridge due to fears of attacks by Japanese planes fighting the Allied Powers. Japan had attacked the United States at Pearl Harbor on December 7, 1941. The first vehicle to use the bridge was a solitary tram.

DESCRIPTION

SPECIFICATIONS

When commissioned in 1943, Howrah was the 3rd-longest cantilever bridge in the world, behind Pont de Québec (549 metres) in Canada and Forth Bridge (521 metres) in Scotland. It has since been surpassed by three bridges, making it the sixth-longest cantilever bridge in the world in 2013. It is a Suspension type Balanced Cantilever bridge, with a central span of 460 m between centers of main towers and a suspended span of 172 m. The main towers are 85 m high above the monoliths and 23 m apart at the top. The anchor arms are 99 m each, while the cantilever arms are 143 m each. The bridge deck hangs from panel points in the lower chord of the main trusses with 39 pairs of hangers. The roadways beyond the towers are supported from ground, leaving the anchor arms free from deck load. The deck system includes cross girders suspended between the pairs of hangers by a pinned connection. Six rows of longitudinal stringer girders are arranged between cross girders. Floor beams are supported transversally on top of the stringers, while themselves supporting a continuous pressed steel troughing system surfaced with concrete.

The longitudinal expansion and lateral sway movement of the deck are taken care of by expansion and articulation joints. There are two main expansion joints, one at each interface between the suspended span and the cantilever arms, and there are others at the towers and at the interface of the steel and concrete structures at both approach. There are total 8 articulation joints, 3 at each of the cantilever arms and 1 each in the suspended portion. These joints divide the bridge into segments with vertical pin connection between them to facilitate rotational movements of the deck. The bridge deck has longitudinal ruling gradient of 1 in 40 from either end, joined by a vertical curve of radius 1,200 m. The cross gradient of deck is 1 in 48 between kerbs.

TRAFFIC

The bridge serves as the gateway to Kolkata, connecting it to the Howrah Station, which is one of the four intercity train stations serving Howrah and Kolkata. As such, it carries the near entirety of the traffic to and from the station, taking its average daily traffic close to nearly 150,000 pedestrians and 100,000 vehicles. In 1946 a census was taken to take a count of the daily traffic, it amounted to 27,400 vehicles, 121,100 pedestrians and 2,997 cattle. The bulk of the vehicular traffic comes from buses and cars. Prior to 1993 the bridge used to carry trams also. Trams departed from the terminus at Howrah station towards Rajabazar, Sealdah, High Court, Dalhousie Square, Park Circus and Shyambazar. From 1993 the tram services on the bridge were discontinued due to increasing load on the bridge. However the bridge still continues to carry much more than the expected load. A 2007 report revealed that nearly 90,000 vehicles were plying on the bridge daily (15,000 of which were goods-carrying), though its load-bearing capacity is only 60,000. One of the main reasons of overloading was that although vehicles carrying up to 15 tonnes are allowed on the structure, vehicles with 12-18 wheels and carrying load up to 25 tonnes often plied on it. 31 May 2007 onwards, overloaded trucks were banned from plying on the bridge, and were redirected to the Vidyasagar Setu instead. The road is flanked by footpaths of width 15 feet, and they swarm with pedestrians.

MAINTENANCE

The Kolkata Port Trust (KoPT) is vested with the maintenance of the bridge. The bridge has been subject to damage from vehicles due to rash driving, and corrosion due to atmospheric conditions and biological wastes. On October 2008, 6 high-tech surveillance cameras were placed to monitor the entire 705 metres long and 30 metres wide structure from the control room. Two of the cameras were placed under the floor of the bridge to track the movement of barges, steamers and boats on the river, while the other four were fixed to the first layer of beams — one at each end and two in the middle — to monitor vehicle movements. This was in response to substantial damage caused to the bridge from collisions with vehicles, so that compensation could be claimed from the miscreants.

Corrosion has been caused by bird droppings and human spitting. An investigation in 2003 revealed that as a result of prolonged chemical reaction caused by continuous collection of bird excreta, several joints and parts of the bridge were damaged. As an immediate measure, the Kolkata Port Trust engaged contractors to regularly clean the bird droppings, at an annual expense of ₹500000 (US$7,900). In 2004, KoPT spent ₹6.5 million (US$100,000) to paint the entirety of 2.2 million square metres (24 million square feet) of the bridge. Two coats of aluminium paint, with a primer of zinc chromate before that, was applied on the bridge, requiring a total of 26,500 litres of paint.

The bridge is also considerably damaged by human spitting. A technical inspection by Port Trust officials in 2011 revealed that spitting had reduced the thickness of the steel hoods protecting the pillars from six to less than three millimeters since 2007. The hangers need those hoods at the base to prevent water seeping into the junction of the cross-girders and hangers, and damage to the hoods can jeopardize the safety of the bridge. KoPT announced that it will spend ₹2 million (US$32,000) on covering the base of the steel pillars with fibreglass casing to prevent spit from corroding them.

On 24 June 2005, a private cargo vessel M V Mani, belonging to the Ganges Water Transport Pvt. Ltd, while trying to pass under the bridge during high tide, had its funnel stuck underneath for three hours, causing substantial damage worth about ₹15 million to the stringer and longitudinal girder of the bridge. Some of the 40 cross-girders were also broken. Two of four trolley guides, bolted and welded with the girders, were extensively damaged. Nearly 350 metres of 700 metres of the track were twisted beyond repair. The damage was so severe that KoPT requested help from Rendall-Palmer & Tritton Limited, the original consultant on the bridge from UK. KoPT also contacted SAIL to provide 'matching steel' used during its construction in 1943, for the repairs. For the repair costing around ₹5 million (US$79,000), about 8 tonnes of steel was used. The repairs were completed in early 2006.

CULTURAL SIGNIFICANCE

The bridge has been shown in numerous films, such as Bimal Roy's 1953 film Do Bigha Zamin, Ritwik Ghatak's Bari Theke Paliye in 1958, Satyajit Ray's Parash Pathar in the same year, Mrinal Sen's Neel Akasher Neechey in 1959, Shakti Samanta's Howrah Bridge (1958), that featured the famous song Mera Naam Chin Chin Chu and China Town (1962) and Amar Prem (1971), Amar Jeet's 1965 Teen Devian in 1965, Mrinal Sen's 1972 National Award winning Bengali film Calcutta 71 and Sen's Calcutta Trilogy its sequel in 1973, Padatik, Richard Attenborough's 1982 Academy Award winning film Gandhi, Goutam Ghose's 1984 Hindi film Paar, Raj Kapoor's Ram Teri Ganga Maili in 1985, Nicolas Klotz's The Bengali Night in 1988, Roland Joffé's English language film City of Joy in 1992, Florian Gallenberger's Bengali film Shadows of Time in 2004, Mani Ratnam's Bollywood film Yuva in 2004, Pradeep Sarkar's 2005 Bollywood film Parineeta, Subhrajit Mitra's 2008 Bengali film Mon Amour: Shesher Kobita Revisited, Mira Nair's 2006 film The Namesake, Blessy's 2008 Malayalam Film Calcutta News, Surya Sivakumar's 2009 Tamil film Aadhavan, Imtiaz Ali's 2009 Hindi film Love Aaj Kal, Abhik Mukhopadhyay's 2010 Bengali film Ekti Tarar Khonje, Sujoy Ghosh's 2012 Bollywood film Kahaani, Anurag Basu's 2012 Hindi film Barfi!, Riingo Banerjee's 2012 Bengali film Na Hannyate, Rana Basu's 2013 Bengali film Namte Namte, and Ali Abbas Zafar's 2014 Hindi film Gunday and the 2015 YRF release from director Dibakar Banerjee's Detective Byomkesh Bakshy!also features some scenes on this iconic bridge.

WIKIPEDIA

Oviyar R.NATARAJAN Paintings - Artist R.NATARAJAN Paintings - One of the famous Artists and Illustrator in India,South India and Tamil Nadu

RAJNIKANTH - SUPERSTAR - ENTHIRAN - SULTAN the WARRIOR,SIVAJI,MUTHU, BATSHA,PADAIYAPPA,ANNAMALAI,MUTHU,etc..SUPER HERO

Indian art indian drawing indian character indian sketch

KAMAL HASSAN - Caricature

Oviyar R.NATARAJAN Paintings - Artist R.NATARAJAN Paintings - One of the famous Artists and Illustrator in India,South India and Tamil Nadu

HAPPY FRIENDSHIP DAY WISHES TO YOU MY DEAR FRIENDS - Artist ANIKARTICK

Howrah Bridge is a cantilever bridge with a suspended span over the Hooghly River in West Bengal, India. Commissioned in 1943, the bridge was originally named the New Howrah Bridge, because it replaced a pontoon bridge at the same location linking the two cities of Howrah and Kolkata (Calcutta). On 14 June 1965 it was renamed Rabindra Setu after the great Bengali poet Rabindranath Tagore, who was the first Indian and Asian Nobel laureate. It is still popularly known as the Howrah Bridge.

The bridge is one of two on the Hooghly River and is a famous symbol of Kolkata and West Bengal. The other bridges are the Vidyasagar Setu (popularly called the Second Hooghly Bridge), the Vivekananda Setu, and the newly built Nivedita Setu. It weathers the storms of the Bay of Bengal region, carrying a daily traffic of approximately 100,000 vehicles and possibly more than 150,000 pedestrians, easily making it the busiest cantilever bridge in the world. The third-longest cantilever bridge at the time of its construction, the Howrah Bridge is the sixth-longest bridge of its type in the world.

HISTORY

1862 PROPOSAL BY TURNBULL

In 1862, the Government of Bengal asked George Turnbull, Chief Engineer of the East India Railway Company to study the feasibility of bridging the Hooghly River — he had recently established the company's rail terminus in Howrah. He reported on 29 March with large-scale drawings and estimates that:

- The foundations for a bridge at Calcutta would be at a considerable depth and cost because of the depth of the mud there.

- The impediment to shipping would be considerable.

- A good place for the bridge was at Pulta Ghat "about a dozen miles north of Calcutta" where a "bed of stiff clay - A suspended-girder bridge of five spans of 400 feet and two spans of 200 feet would be ideal.

The bridge was not built.

PONTOON BRIDGE

In view of the increasing traffic across the Hooghly river, a committee was appointed in 1855-56 to review alternatives for constructing a bridge across it. The plan was shelved in 1859-60, to be revived in 1868, when it was decided that a bridge should be constructed and a newly appointed trust vested to manage it. The Calcutta Port Trust was founded in 1870, and the Legislative department of the then Government of Bengal passed the Howrah Bridge Act in the year 1871 under the Bengal Act IX of 1871, empowering the Lieutenant-Governor to have the bridge constructed with Government capital under the aegis of the Port Commissioners. Eventually a contract was signed with Sir Bradford Leslie to construct a pontoon bridge. Different parts were constructed in England and shipped to Calcutta, where they were assembled. The assembling period was fraught with problems. The bridge was considerably damaged by the great cyclone on 20 March 1874. A steamer named Egeria broke from her moorings and collided head-on with the bridge, sinking three pontoons and damaging nearly 200 feet of the bridge. The bridge was completed in 1874, at a total cost of ₹2.2 million, and opened to traffic on 17 October of that year. The bridge was then 1528 ft. long and 62 ft. wide, with 7-foot wide pavements on either side. Initially the bridge was periodically unfastened to allow steamers and other marine vehicles to pass through. Before 1906, the bridge used to be undone for the passage of vessels during daytime only. Since June of that year it started opening at night for all vessels except ocean steamers, which were required to pass through during daytime. From 19 August 1879, the bridge was illuminated by electric lamp-posts, powered by the dynamo at the Mullick Ghat Pumping Station. As the bridge could not handle the rapidly increasing load, the Port Commissioners started planning in 1905 for a new improved bridge.

PLANS FOR A NEW BRIDGE

In 1906 the Port Commission appointed a committee headed by R.S. Highet, Chief Engineer, East Indian Railway and W.B. MacCabe, Chief Engineer, Calcutta Corporation. They submitted a report stating that Bullock carts formed the eight-thirteenths of the vehicular traffic (as observed on 27 August 1906, the heaviest day's traffic observed in the port of Commissioners 16 days' Census of the vehicular traffic across the existing bridge). The roadway on the existing bridge is 48 feet wide except at the shore spans where it is only 43 feet in roadways, each 21 feet 6 inches wide. The roadway on the new bridge would be wide enough to take at least two lines of vehicular traffic and one line of trams in each direction and two roadways each 30 feet wide, giving a total width of 60 feet of road way which are quite sufficient for this purpose . . . . . The traffic across the existing floating bridge Calcutta & Howrah is very heavy and it is obvious if the new bridge is to be on the same site as the existing bridge, then unless a temporary bridge is provided, there will be serious interruptions to the traffic while existing bridge is being moved to one side to allow the new bridge to be erected on the same site as the present bridge.

The committee considered six options:

- Large ferry steamers capable of carrying vehicular load (set up cost ₹900,000, annual cost ₹437,000)

- A transporters bridge (set up cost ₹2 million)

- A tunnel (set up cost ₹338.2 million, annual maintenance cost ₹1779,000)

- A bridge on piers (set up cost ₹22.5 million)

- A floating bridge (set up cost ₹2140,000, annual maintenance cost ₹200,000)

- An arched bridge

The committee eventually decided on a floating bridge. It extended tenders to 23 firms for its design and construction. Prize money of £ 3,000 (₹45,000, at the then exchange rate) was declared for the firm whose design would be accepted.

PLANNING AND ESTIMATION

The initial construction process of the bridge was stalled due to the World War I, although the bridge was partially renewed in 1917 and 1927. In 1921 a committee of engineers named the 'Mukherjee Committee' was formed, headed by Sir R.N. Mukherjee, Sir Clement Hindley, Chairman of Calcutta Port Trust and J. McGlashan, Chief Engineer. They referred the matter to Sir Basil Mott, who proposed a single span arch bridge.

In 1922 the New Howrah Bridge Commission was set up, to which the Mukherjee Committee submitted its report. In 1926 the New Howrah Bridge Act passed. In 1930 the Goode Committee was formed, comprising S.W. Goode as President, S.N. Mallick, and W.H. Thompson, to investigate and report on the advisability of constructing a pier bridge between Calcutta and Howrah. Based on their recommendation, M/s. Rendel, Palmer and Tritton were asked to consider the construction of a suspension bridge of a particular design prepared by their chief draftsman Mr. Walton. On basis of the report, a global tender was floated. The lowest bid came from a German company, but due to increasing political tensions between Germany and Great Britain in 1935, it was not given the contract. The Braithwaite Burn and Jessop Construction Company Limited was awarded the construction contract that year. The New Howrah Bridge Act was amended in 1935 to reflect this, and construction of the bridge started the next year.

CONSTRUCTION

The bridge does not have nuts and bolts, but was formed by riveting the whole structure. It consumed 26,500 tons of steel, out of which 23,000 tons of high-tensile alloy steel, known as Tiscrom, were supplied by Tata Steel. The main tower was constructed with single monolith caissons of dimensions 55.31 x 24.8 m with 21 shafts, each 6.25 metre square. The Chief Engineer of the Port Trust, Mr. J. McGlashan, wanted to replace the pontoon bridge, with a permanent structure, as the present bridge interfered with North/South river traffic. Work could not be started as World War I (1914-1918) broke out. Then in 1926 a commission under the Chairmanship of Sir R. N. Mukherjee recommended a suspension bridge of a particular type to be built across the River Hoogly. The bridge was designed by one Mr. Walton of M/s Rendel, Palmer & Triton. The order for construction and erection was placed on M/s.Cleveland Bridge & Engineering Company in 1939. Again World War II (1939-1945 ) intervened. All the steel that was to come from England were diverted for war effort in Europe. Out of 26,000 tons of steel, that was required for the bridge, only 3000 tons were supplied from England. In spite of the Japanese threat the then (British) Government of India pressed on with the construction. Tata Steel were asked to supply the remaining 23,000 tons of high tension steel. The Tatas developed the quality of steel required for the bridge and called it Tiscom. The entire 23,000 tons was supplied in time. The fabrication and erection work was awarded to a local engineering firm of Howrah - The Braithwaite Burn & Jessop Construction Company. The two anchorage caissons were each 16.4 m by 8.2 m, with two wells 4.9 m square. The caissons were so designed that the working chambers within the shafts could be temporarily enclosed by steel diaphragms to allow work under compressed air if required. The caisson at Kolkata side was set at 31.41 m and that at Howrah side at 26.53 m below ground level.

One night, during the process of grabbing out the muck to enable the caisson to move, the ground below it yielded, and the entire mass plunged two feet, shaking the ground. The impact of this was so intense that the seismograph at Kidderpore registered it as an earthquake and a Hindu temple on the shore was destroyed, although it was subsequently rebuilt. While muck was being cleared, numerous varieties of objects were brought up, including anchors, grappling irons, cannons, cannonballs, brass vessels, and coins dating back to the East India Company. The job of sinking the caissons was carried out round-the-clock at a rate of a foot or more per day. The caissons were sunk through soft river deposits to a stiff yellow clay 26.5 m below ground level. The accuracy of sinking the huge caissons was exceptionally precise, within 50–75 mm of the true position. After penetrating 2.1 m into clay, all shafts were plugged with concrete after individual dewatering, with some 5 m of backfilling in adjacent shafts. The main piers on the Howrah side were sunk by open wheel dredging, while those on the Kolkata side required compressed air to counter running sand. The air pressure maintained was about 40 lbs per square inch (2.8 bar), which required about 500 workers to be employed. Whenever excessively soft soil was encountered, the shafts symmetrical to the caisson axes were left unexcavated to allow strict control. In very stiff clays, a large number of the internal wells were completely undercut, allowing the whole weight of the caisson to be carried by the outside skin friction and the bearing under the external wall. Skin friction on the outside of the monolith walls was estimated at 29 kN/m2 while loads on the cutting edge in clay overlying the founding stratum reached 100 tonnes/m. The work on the foundation was completed on November 1938.

By the end of 1940, the erection of the cantilevered arms was commenced and was completed in mid-summer of 1941. The two halves of the suspended span, each 86 m long and weighing 2,000 tons, were built in December 1941. The bridge was erected by commencing at the two anchor spans and advancing towards the center, with the use of creeper cranes moving along the upper chord. 16 hydraulic jacks, each of which had an 800-ton capacity, were pressed into service to join the two halves of the suspended span.

The entire project cost ₹25 million (£2,463,887). The project was a pioneer in bridge construction, particularly in India, but the government did not have a formal opening of the bridge due to fears of attacks by Japanese planes fighting the Allied Powers. Japan had attacked the United States at Pearl Harbor on December 7, 1941. The first vehicle to use the bridge was a solitary tram.

DESCRIPTION

SPECIFICATIONS

When commissioned in 1943, Howrah was the 3rd-longest cantilever bridge in the world, behind Pont de Québec (549 metres) in Canada and Forth Bridge (521 metres) in Scotland. It has since been surpassed by three bridges, making it the sixth-longest cantilever bridge in the world in 2013. It is a Suspension type Balanced Cantilever bridge, with a central span of 460 m between centers of main towers and a suspended span of 172 m. The main towers are 85 m high above the monoliths and 23 m apart at the top. The anchor arms are 99 m each, while the cantilever arms are 143 m each. The bridge deck hangs from panel points in the lower chord of the main trusses with 39 pairs of hangers. The roadways beyond the towers are supported from ground, leaving the anchor arms free from deck load. The deck system includes cross girders suspended between the pairs of hangers by a pinned connection. Six rows of longitudinal stringer girders are arranged between cross girders. Floor beams are supported transversally on top of the stringers, while themselves supporting a continuous pressed steel troughing system surfaced with concrete.

The longitudinal expansion and lateral sway movement of the deck are taken care of by expansion and articulation joints. There are two main expansion joints, one at each interface between the suspended span and the cantilever arms, and there are others at the towers and at the interface of the steel and concrete structures at both approach. There are total 8 articulation joints, 3 at each of the cantilever arms and 1 each in the suspended portion. These joints divide the bridge into segments with vertical pin connection between them to facilitate rotational movements of the deck. The bridge deck has longitudinal ruling gradient of 1 in 40 from either end, joined by a vertical curve of radius 1,200 m. The cross gradient of deck is 1 in 48 between kerbs.

TRAFFIC

The bridge serves as the gateway to Kolkata, connecting it to the Howrah Station, which is one of the four intercity train stations serving Howrah and Kolkata. As such, it carries the near entirety of the traffic to and from the station, taking its average daily traffic close to nearly 150,000 pedestrians and 100,000 vehicles. In 1946 a census was taken to take a count of the daily traffic, it amounted to 27,400 vehicles, 121,100 pedestrians and 2,997 cattle. The bulk of the vehicular traffic comes from buses and cars. Prior to 1993 the bridge used to carry trams also. Trams departed from the terminus at Howrah station towards Rajabazar, Sealdah, High Court, Dalhousie Square, Park Circus and Shyambazar. From 1993 the tram services on the bridge were discontinued due to increasing load on the bridge. However the bridge still continues to carry much more than the expected load. A 2007 report revealed that nearly 90,000 vehicles were plying on the bridge daily (15,000 of which were goods-carrying), though its load-bearing capacity is only 60,000. One of the main reasons of overloading was that although vehicles carrying up to 15 tonnes are allowed on the structure, vehicles with 12-18 wheels and carrying load up to 25 tonnes often plied on it. 31 May 2007 onwards, overloaded trucks were banned from plying on the bridge, and were redirected to the Vidyasagar Setu instead. The road is flanked by footpaths of width 15 feet, and they swarm with pedestrians.

MAINTENANCE

The Kolkata Port Trust (KoPT) is vested with the maintenance of the bridge. The bridge has been subject to damage from vehicles due to rash driving, and corrosion due to atmospheric conditions and biological wastes. On October 2008, 6 high-tech surveillance cameras were placed to monitor the entire 705 metres long and 30 metres wide structure from the control room. Two of the cameras were placed under the floor of the bridge to track the movement of barges, steamers and boats on the river, while the other four were fixed to the first layer of beams — one at each end and two in the middle — to monitor vehicle movements. This was in response to substantial damage caused to the bridge from collisions with vehicles, so that compensation could be claimed from the miscreants.

Corrosion has been caused by bird droppings and human spitting. An investigation in 2003 revealed that as a result of prolonged chemical reaction caused by continuous collection of bird excreta, several joints and parts of the bridge were damaged. As an immediate measure, the Kolkata Port Trust engaged contractors to regularly clean the bird droppings, at an annual expense of ₹500000 (US$7,900). In 2004, KoPT spent ₹6.5 million (US$100,000) to paint the entirety of 2.2 million square metres (24 million square feet) of the bridge. Two coats of aluminium paint, with a primer of zinc chromate before that, was applied on the bridge, requiring a total of 26,500 litres of paint.

The bridge is also considerably damaged by human spitting. A technical inspection by Port Trust officials in 2011 revealed that spitting had reduced the thickness of the steel hoods protecting the pillars from six to less than three millimeters since 2007. The hangers need those hoods at the base to prevent water seeping into the junction of the cross-girders and hangers, and damage to the hoods can jeopardize the safety of the bridge. KoPT announced that it will spend ₹2 million (US$32,000) on covering the base of the steel pillars with fibreglass casing to prevent spit from corroding them.

On 24 June 2005, a private cargo vessel M V Mani, belonging to the Ganges Water Transport Pvt. Ltd, while trying to pass under the bridge during high tide, had its funnel stuck underneath for three hours, causing substantial damage worth about ₹15 million to the stringer and longitudinal girder of the bridge. Some of the 40 cross-girders were also broken. Two of four trolley guides, bolted and welded with the girders, were extensively damaged. Nearly 350 metres of 700 metres of the track were twisted beyond repair. The damage was so severe that KoPT requested help from Rendall-Palmer & Tritton Limited, the original consultant on the bridge from UK. KoPT also contacted SAIL to provide 'matching steel' used during its construction in 1943, for the repairs. For the repair costing around ₹5 million (US$79,000), about 8 tonnes of steel was used. The repairs were completed in early 2006.

CULTURAL SIGNIFICANCE

The bridge has been shown in numerous films, such as Bimal Roy's 1953 film Do Bigha Zamin, Ritwik Ghatak's Bari Theke Paliye in 1958, Satyajit Ray's Parash Pathar in the same year, Mrinal Sen's Neel Akasher Neechey in 1959, Shakti Samanta's Howrah Bridge (1958), that featured the famous song Mera Naam Chin Chin Chu and China Town (1962) and Amar Prem (1971), Amar Jeet's 1965 Teen Devian in 1965, Mrinal Sen's 1972 National Award winning Bengali film Calcutta 71 and Sen's Calcutta Trilogy its sequel in 1973, Padatik, Richard Attenborough's 1982 Academy Award winning film Gandhi, Goutam Ghose's 1984 Hindi film Paar, Raj Kapoor's Ram Teri Ganga Maili in 1985, Nicolas Klotz's The Bengali Night in 1988, Roland Joffé's English language film City of Joy in 1992, Florian Gallenberger's Bengali film Shadows of Time in 2004, Mani Ratnam's Bollywood film Yuva in 2004, Pradeep Sarkar's 2005 Bollywood film Parineeta, Subhrajit Mitra's 2008 Bengali film Mon Amour: Shesher Kobita Revisited, Mira Nair's 2006 film The Namesake, Blessy's 2008 Malayalam Film Calcutta News, Surya Sivakumar's 2009 Tamil film Aadhavan, Imtiaz Ali's 2009 Hindi film Love Aaj Kal, Abhik Mukhopadhyay's 2010 Bengali film Ekti Tarar Khonje, Sujoy Ghosh's 2012 Bollywood film Kahaani, Anurag Basu's 2012 Hindi film Barfi!, Riingo Banerjee's 2012 Bengali film Na Hannyate, Rana Basu's 2013 Bengali film Namte Namte, and Ali Abbas Zafar's 2014 Hindi film Gunday and the 2015 YRF release from director Dibakar Banerjee's Detective Byomkesh Bakshy!also features some scenes on this iconic bridge.

WIKIPEDIA

Leonardo dicaprio - Caricature

Anna nagar Tower,Chennai

A.P.J.ABDULKALAM - HERO of GREEN INDIA - A Golden Chance to meet him in 35th CHENNAI BOOK FAIR - 2012 - Golden moments in my life Journey - Thanks a lot to our honorable Great Scientist and ex-President KALAMJI and Thanks a lot to PAPASI to arrange this great event - Artist Anikartick,Chennai,Tamilnadu,India

Here I want to say something about me and my carreer...,

I studied my school time 7th Std to 10th Std in my Native place govt high school,then I finished my Higher secondary at Aundipatti Govt.Hr.Sec.School and I Finished my school studies I worked in Madurai as a Sign board Artist then I came to Chennai and I joined as a 2d Animation Trainee at Nest Communication,Valluvarkottam through my well wisher Mr.Nangaiappan and Preethi Paul ( Head of Nest Animation Studio ) and I developed my Anatomy Drawing skills through our Animation Head of Nest Animation Studios Mr.Siju Thomas Phoenix and One of my Best Friend MuthuKumarasamy.Later I developed my Animation skill through Millitoon Animations Studio - A Branch of Millimages,France,TIL Animation Studios in Chennai and DataQuest Animation Studio,Gameshastra in Hyderabad,Bluemoon studio,Aura Animation Studio,Shemanoor Animation Studio,I Power Animation Studio,Design works,Minveli Media works and Pyramid Animation Studio in Chennai.

In Animation Field I started my career as a In-between Artist,then Clean-up Artist,Asst.Animator,Animator, Animation Supervisor and Director from step by step.So now I am a Freelancing Animation Artist and Painter,Illustrator,Designer etc,

And Argentina Famous Animation Director and One of the Creator of Nickelodeon Animation Series Director and Supervisor Mr.Jaime Diaz appreciated my art and animation skill and he gave his one greeting card and he wrote on that 'A GREAT TALENT from TIL STUDIOS' and ALL THE BEST to KARTICK to me.And one more memorable is Skaramoose AAnimation Studios Creative People also appreciate my Animation level and Our Millitoon Team and Millimages team got BAFTA AWARDS for TV Serials and also Dataquest Animation Studio in Hyderabad,And our Team got National Award for SFX Visual Effects and Animations for ABHAY (ALAVANDAN Tamil and Hindi Version Movie}

So in my career Many of my friends and my teachers,parents and family members helped and helping till now to achieve my goals...Thanks a lot and I know this is not enough to them.So I dedicate my all works to them and also my Inspiration Artists of Famous Tamil Illustrators and Mr.Maruthi,Mr.Jayaraj,Mr.K.Madhavan,Mr.R.Natarajan,Mr.Gopulu,Mr.Ramu,M r.Maniam and his son Mr.Ma.Se.Mr.Silpi,Mr.Sivakumar (Popular Actor and Artist)Mr.Adhimoolam,Mr.Chandru,Mr.Trotsky Marudu,Mr.Chellam,Mr.Shyam,Mr.Shankar,Mr.Vinu,Mr.Latha,Mr.Umapathy,Mr. Madhan(cartoonist) Mr.Pathy,Mr.Maali,Mr.Karo,Mr.RaviVarma,Mr.Raju,Mr.KondalRaj,Mr.Murugak ani and my School drawing Master P.K.Kamatchi and my Father N.Alagarsamy and my elder Sisters R.Leelavathy,A.Dhanalaxmi,R.Rani,G.Dhavamani and my elder brother A.Jayachandran,A.Soundararajan and my friends Mr.S.Thangavel (T.Subbulapuram),V.Rajasekar and G.Paulpandi (Aundipatti) Mr.N.Tamilselvan,Mr.A.Sachithanandan,Mr.Naveen,Mr.SriKanta,Mr.G.Senthi lkumar,Mr.Suresh,Mr.Jay Kay,Mr.R.Anand,Mr.Saravanan and Mr.Muthu,Mr.Janakiraman,( Villivakkam,Chennai) Mr.Gudu,Mr.Sridhar and Mr.Paramasivam,Mr.Chandru and Mr.Balaji,Mr.Senthil,Mr.Munivel and Mr. Nithyanandan etc....etc and Also Art G of Madurai Mr.Venkatachalam my elder brother and his sons Mr.Ganesh,Mr.Senthil,Mr.Kumar and mr.Mani everyone is there in my way of Art life and I couldn't mention all here at this time and till now I learn a lot from lot of Inspiration Artists and great Artists through internet and books collections of our libraries..,

"Thanks a lot to all....!!!" - Artist Anikartick.BSc.Viscom ( Vasu engira Karthikeyan )

Amitabh bachan - big b

Mallu Mega star MAMMOOTTY,Tollywood Super Heroes MAHESH BABU & PRABHAS And Tamil Kollywood Hero Cheeyaan VIKRAM

Marudhu,Trotsky Marudu,Indian great Artist,Chennai,Tamil Nadu,India,He is an Artist,Animator,Animation Trainer,Animation Instructor etc...

Yuvraj singh ( Yuvi )

Naan Mahaan Alla Karthi Sivakumar Super Tamil film ‘Siva Telugu Naa Peru “,” could “have been achieved. Kajal Agarwal plays the lead.

Audio of the film was released in Hyderabad recently. Music scored by Yuvan Shankar Raja.

Karthikeyan said:. “In the film, a young middle-class, discussions Siva family problems, makes a strange face that situation is what it is like it is an important part of creating ‘s also a good social message contains Yuvan Shankar Raja will impress all … has good songs. ”

“Great things”, a drama written and directed and produced by K. Gnanavel Suseenthiran Raja – a thriller. R. Madhi and Kasi Viswanathan has also edited in the camera.