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The Thamirabarani contains traces of copper, hence its name (Thamiram means copper in Tamil). The river has also been historically known as Podhigai.
Padmapani is a name for Lokeshvara.
Avalokiteśvara (Sanskrit, "Lord who looks down", Tibetan: སྤྱན་རས་གཟིགས་, Wylie: spyan ras gzigs, THL: Chenrézik) is a bodhisattva who embodies the compassion of all Buddhas. This bodhisattva is variably depicted and described and is portrayed in different cultures as either female or male. In Chinese Buddhism, Avalokiteśvara has become the somewhat different female figure Guanyin. In Cambodia, he appears as Lokeśvara.
Avalokiteśvara is one of the more widely revered bodhisattvas in mainstream Mahayana Buddhism as well as unofficially in Theravada Buddhism.
ETYMOLOGY
The name Avalokiteśvara combines the verbal prefix ava "down", lokita, a past participle of the verb lok "to notice, behold, observe", here used in an active sense; and finally īśvara, "lord", "ruler", "sovereign" or "master". In accordance with sandhi (Sanskrit rules of sound combination), a+iśvara becomes eśvara. Combined, the parts mean "lord who gazes down (at the world)". The word loka ("world") is absent from the name, but the phrase is implied. It does appear in the Cambodian form of the name, Lokeśvara.
The earliest translation of the name into Chinese by authors such as Xuanzang was Guānzìzài (Chinese: 觀自在), not the form used in East Asian Buddhism today, Guanyin (Chinese: 觀音). It was initially thought that this was due to a lack of fluency, as Guanzizai indicates the original Sanskrit form was actually Avalokitasvara, "who looks down upon sound" (i.e., the cries of sentient beings who need help). It is now understood that was the original form, and is also the origin of Guanyin "Perceiving sound, cries", a translation furthered by the tendency of some Chinese translators, notably Kumārajīva, to use the variant 觀世音 Guānshìyīn "who perceives the world's lamentations"—wherein lok was read as simultaneously meaning both "to look" and "world" (Sanskrit loka; Chinese: 世; pinyin: shì). The original form Avalokitasvara appears in Sanskrit fragments of the fifth century.
This earlier Sanskrit name was supplanted by the form containing the ending -īśvara "lord"; Avalokiteśvara does not occur in Sanskrit before the seventh century.
The original meaning of the name fits the Buddhist understanding of the role of a bodhisattva. The reinterpretation presenting him as an īśvara shows a strong influence of Hinduism, as the term īśvara was usually connected to the Hindu notion of Krishna (in Vaishnavism) or Śiva (in Shaivism) as the Supreme Lord, Creator and Ruler of the world. Some attributes of such a god were transmitted to the bodhisattva, but the mainstream of those who venerated Avalokiteśvara upheld the Buddhist rejection of the doctrine of any creator god.
In Sanskrit, Avalokiteśvara is also referred to as Padmapāni ("Holder of the Lotus") or Lokeśvara ("Lord of the World"). In Tibetan, Avalokiteśvara is Chenrézik, (Tibetan: སྤྱན་རས་གཟིགས་) and is said to emanate as the Dalai Lama the Karmapa and other high lamas. An etymology of the Tibetan name Chenrézik is spyan "eye", ras "continuity" and gzig "to look". This gives the meaning of one who always looks upon all beings (with the eye of compassion).
ORIGIN
MAHAYANA ACCOUNT
According to Mahāyāna doctrine, Avalokiteśvara is the bodhisattva who has made a great vow to assist sentient beings in times of difficulty and to postpone his own buddhahood until he has assisted every sentient being in achieving nirvana. Mahayana sutras associated with Avalokiteśvara include the following:
Lotus Sutra
Kāraṇḍavyūhasūtra
Heart Sutra (Heart Sūtra)
Nīlakaṇṭha Dhāraṇī Sutra
Eleven-Faced Avalokitesvara Heart Dharani Sutra
Cundī Dhāraṇī Sūtra
The Lotus Sutra is generally accepted to be the earliest literature teaching about the doctrines of Avalokiteśvara. These are found in the Lotus Sutra chapter 25 (Chinese: 觀世音菩薩普門品). This chapter is devoted to Avalokiteśvara, describing him as a compassionate bodhisattva who hears the cries of sentient beings, and who works tirelessly to help those who call upon his name. A total of 33 different manifestations of Avalokiteśvara are described, including female manifestations, all to suit the minds of various beings. The chapter consists of both a prose and a verse section. This earliest source often circulates separately as its own sutra, called the Avalokiteśvara Sūtra (Chinese: 觀世音經; pinyin: Guānshìyīn jīng), and is commonly recited or chanted at Buddhist temples in East Asia.
When the Chinese monk Faxian traveled to Mathura in India around 400 CE, he wrote about monks presenting offerings to Avalokiteśvara. When Xuanzang traveled to India in the 7th century, he provided eyewitness accounts of Avalokiteśvara statues being venerated by devotees of all walks of life, from kings, to monks, to laypeople. Avalokiteśvara remained popular in India until the 12th century when Muslim invaders conquered the land and destroyed Buddhist monasteries.
In Chinese Buddhism and East Asia, Tangmi practices for the 18-armed form of Avalokiteśvara called Cundī are very popular. These practices have their basis in early Indian Vajrayana: her origins lie with a yakshini cult in Bengal and Orissa and her name in Sanskrit "connotes a prostitute or other woman of low caste but specifically denotes a prominent local ogress ... whose divinised form becomes the subject of an important Buddhist cult starting in the eighth century". The popularity of Cundī is attested by the three extant translations of the Cundī Dhāraṇī Sūtra from Sanskrit to Chinese, made from the end of the seventh century to the beginning of the eighth century. In late imperial China, these early esoteric traditions still thrived in Buddhist communities. Robert Gimello has also observed that in these communities, the esoteric practices of Cundī were extremely popular among both the populace and the elite.
In the Tiantai school, six forms of Avalokiteśvara are defined. Each of the bodhisattva's six qualities are said to break the hindrances respectively of the six realms of existence: hell-beings, pretas, animals, humans, asuras, and devas.
THERAVADA ACCOUNT
Veneration of Avalokiteśvara Bodhisattva has continued to the present day in Sri Lanka, where he is called Nātha. In more recent times, some western-educated Theravādins have attempted to identify Nātha with Maitreya Bodhisattva. However, traditions and basic iconography, including an image of Amitābha Buddha on the front of the crown, identify Nātha as Avalokiteśvara. Andrew Skilton writes:
... It is clear from sculptural evidence alone that the Mahāyāna was fairly widespread throughout [Sri Lanka], although the modern account of the history of Buddhism on the island presents an unbroken and pure lineage of Theravāda. (One can only assume that similar trends were transmitted to other parts of Southeast Asia with Sri Lankan ordination lineages.) Relics of an extensive cult of Avalokiteśvara can be seen in the present-day figure of Nātha.
Avalokiteśvara is popularly worshiped in Myanmar, where he is called Lokanat, and Thailand, where he is called Lokesvara.
MODERN SCHOLARSHIP
Western scholars have not reached a consensus on the origin of the reverence for Avalokiteśvara.
Some have suggested that Avalokiteśvara, along with many other supernatural beings in Buddhism, was a borrowing or absorption by Mahayana Buddhism of one or more deities from Hinduism, in particular Shiva or Vishnu, although the reason for this suggestion is because of the current name of the bodhisattva: Avalokiteśvara.
The Japanese scholar Shu Hikosaka on the basis of his study of Buddhist scriptures, ancient Tamil literary sources, as well as field survey, proposes the hypothesis that, the ancient mount Potalaka, the residence of Avalokiteśvara described in the Gaṇḍavyūha Sūtra and Xuanzang’s Great Tang Records on the Western Regions, is the real mountain Pothigai in Ambasamudram, Tirunelveli, Tamil Nadu. Shu also says that mount Potalaka has been a sacred place for the people of South India from time immemorial. With the spread of Buddhism in the region beginning at the time of the great king Aśoka in the third century BCE, it became a holy place also for Buddhists who gradually became dominant as a number of their hermits settled there. The local people, though, mainly remained followers of the Hindu religion. The mixed Hindu-Buddhist cult culminated in the formation of the figure of Avalokiteśvara.
The name Lokeśvara should not be confused with that of Lokeśvararāja, the Buddha under whom Dharmakara became a monk and made forty-eight vows before becoming Amitābha.
MANTRAS AND DHARANIS
Mahāyāna Buddhism relates Avalokiteśvara to the six-syllable mantra oṃ maṇi padme hūṃ. In Tibetan Buddhism, due to his association with this mantra, one form of Avalokiteśvara is called Ṣaḍākṣarī "Lord of the Six Syllables" in Sanskrit. Recitation of this mantra along with prayer beads is the most popular religious practice in Tibetan Buddhism. The connection between this famous mantra and Avalokiteśvara occurs for the first time in the Kāraṇḍavyūhasūtra. This text is first dated to around the late 4th century CE to the early 5th century CE. In this sūtra, a bodhisattva is told by the Buddha that recitation of this mantra while focusing on the sound can lead to the attainment of eight hundred samādhis. The Kāraṇḍavyūha Sūtra also features the first appearance of the dhāraṇī of Cundī, which occurs at the end of the sūtra text. After the bodhisattva finally attains samādhi with the mantra "oṃ maṇipadme hūṃ", he is then able to observe 77 koṭīs of fully enlightened buddhas replying to him in one voice with the Cundī Dhāraṇī: namaḥ saptānāṃ samyaksaṃbuddha koṭīnāṃ tadyathā, oṃ cale cule cunde svāhā.
In Shingon Buddhism, the mantra for Avalokiteśvara is On aruri kya sowa ka (Japanese: おん あるりきゃ そわか?)
The Nīlakaṇṭha Dhāraṇī is an 82-syllable dhāraṇī for Avalokiteśvara.
THOUSAND-ARMED AVALOKITESVARA
One prominent Buddhist story tells of Avalokiteśvara vowing never to rest until he had freed all sentient beings from saṃsāra. Despite strenuous effort, he realizes that still many unhappy beings were yet to be saved. After struggling to comprehend the needs of so many, his head splits into eleven pieces. Amitābha, seeing his plight, gives him eleven heads with which to hear the cries of the suffering. Upon hearing these cries and comprehending them, Avalokiteśvara attempts to reach out to all those who needed aid, but found that his two arms shattered into pieces. Once more, Amitābha comes to his aid and invests him with a thousand arms with which to aid the suffering multitudes.
The Bao'en Temple located in northwestern Sichuan has an outstanding wooden image of the Thousand-Armed Avalokiteśvara, an example of Ming dynasty decorative sculpture.
TIBETAN BUDDHIST BELIEFS CONCERNING CHENREZIG
Avalokiteśvara is an important deity in Tibetan Buddhism, and is regarded in the Vajrayana teachings as a Buddha.
In Tibetan Buddhism, Tara came into existence from a single tear shed by Avalokiteśvara. When the tear fell to the ground it created a lake, and a lotus opening in the lake revealed Tara. In another version of this story, Tara emerges from the heart of Avalokiteśvara. In either version, it is Avalokiteśvara's outpouring of compassion which manifests Tara as a being.
MANIFESTATIONS
Avalokiteśvara has an extraordinarily large number of manifestations in different forms (including wisdom goddesses (vidyaas) directly associated with him in images and texts).
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A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
Explore Rank #185 on 12-June-2007 as of Aug-05,2008
Shot at: River Tamiraparani, Ambasamudram, Tirunelveli Dist, TN, India
Padmapani is a name for Lokeshvara.
Avalokiteśvara (Sanskrit, "Lord who looks down", Tibetan: སྤྱན་རས་གཟིགས་, Wylie: spyan ras gzigs, THL: Chenrézik) is a bodhisattva who embodies the compassion of all Buddhas. This bodhisattva is variably depicted and described and is portrayed in different cultures as either female or male. In Chinese Buddhism, Avalokiteśvara has become the somewhat different female figure Guanyin. In Cambodia, he appears as Lokeśvara.
Avalokiteśvara is one of the more widely revered bodhisattvas in mainstream Mahayana Buddhism as well as unofficially in Theravada Buddhism.
ETYMOLOGY
The name Avalokiteśvara combines the verbal prefix ava "down", lokita, a past participle of the verb lok "to notice, behold, observe", here used in an active sense; and finally īśvara, "lord", "ruler", "sovereign" or "master". In accordance with sandhi (Sanskrit rules of sound combination), a+iśvara becomes eśvara. Combined, the parts mean "lord who gazes down (at the world)". The word loka ("world") is absent from the name, but the phrase is implied. It does appear in the Cambodian form of the name, Lokeśvara.
The earliest translation of the name into Chinese by authors such as Xuanzang was Guānzìzài (Chinese: 觀自在), not the form used in East Asian Buddhism today, Guanyin (Chinese: 觀音). It was initially thought that this was due to a lack of fluency, as Guanzizai indicates the original Sanskrit form was actually Avalokitasvara, "who looks down upon sound" (i.e., the cries of sentient beings who need help). It is now understood that was the original form, and is also the origin of Guanyin "Perceiving sound, cries", a translation furthered by the tendency of some Chinese translators, notably Kumārajīva, to use the variant 觀世音 Guānshìyīn "who perceives the world's lamentations"—wherein lok was read as simultaneously meaning both "to look" and "world" (Sanskrit loka; Chinese: 世; pinyin: shì). The original form Avalokitasvara appears in Sanskrit fragments of the fifth century.
This earlier Sanskrit name was supplanted by the form containing the ending -īśvara "lord"; Avalokiteśvara does not occur in Sanskrit before the seventh century.
The original meaning of the name fits the Buddhist understanding of the role of a bodhisattva. The reinterpretation presenting him as an īśvara shows a strong influence of Hinduism, as the term īśvara was usually connected to the Hindu notion of Krishna (in Vaishnavism) or Śiva (in Shaivism) as the Supreme Lord, Creator and Ruler of the world. Some attributes of such a god were transmitted to the bodhisattva, but the mainstream of those who venerated Avalokiteśvara upheld the Buddhist rejection of the doctrine of any creator god.
In Sanskrit, Avalokiteśvara is also referred to as Padmapāni ("Holder of the Lotus") or Lokeśvara ("Lord of the World"). In Tibetan, Avalokiteśvara is Chenrézik, (Tibetan: སྤྱན་རས་གཟིགས་) and is said to emanate as the Dalai Lama the Karmapa and other high lamas. An etymology of the Tibetan name Chenrézik is spyan "eye", ras "continuity" and gzig "to look". This gives the meaning of one who always looks upon all beings (with the eye of compassion).
ORIGIN
MAHAYANA ACCOUNT
According to Mahāyāna doctrine, Avalokiteśvara is the bodhisattva who has made a great vow to assist sentient beings in times of difficulty and to postpone his own buddhahood until he has assisted every sentient being in achieving nirvana. Mahayana sutras associated with Avalokiteśvara include the following:
Lotus Sutra
Kāraṇḍavyūhasūtra
Heart Sutra (Heart Sūtra)
Nīlakaṇṭha Dhāraṇī Sutra
Eleven-Faced Avalokitesvara Heart Dharani Sutra
Cundī Dhāraṇī Sūtra
The Lotus Sutra is generally accepted to be the earliest literature teaching about the doctrines of Avalokiteśvara. These are found in the Lotus Sutra chapter 25 (Chinese: 觀世音菩薩普門品). This chapter is devoted to Avalokiteśvara, describing him as a compassionate bodhisattva who hears the cries of sentient beings, and who works tirelessly to help those who call upon his name. A total of 33 different manifestations of Avalokiteśvara are described, including female manifestations, all to suit the minds of various beings. The chapter consists of both a prose and a verse section. This earliest source often circulates separately as its own sutra, called the Avalokiteśvara Sūtra (Chinese: 觀世音經; pinyin: Guānshìyīn jīng), and is commonly recited or chanted at Buddhist temples in East Asia.
When the Chinese monk Faxian traveled to Mathura in India around 400 CE, he wrote about monks presenting offerings to Avalokiteśvara. When Xuanzang traveled to India in the 7th century, he provided eyewitness accounts of Avalokiteśvara statues being venerated by devotees of all walks of life, from kings, to monks, to laypeople. Avalokiteśvara remained popular in India until the 12th century when Muslim invaders conquered the land and destroyed Buddhist monasteries.
In Chinese Buddhism and East Asia, Tangmi practices for the 18-armed form of Avalokiteśvara called Cundī are very popular. These practices have their basis in early Indian Vajrayana: her origins lie with a yakshini cult in Bengal and Orissa and her name in Sanskrit "connotes a prostitute or other woman of low caste but specifically denotes a prominent local ogress ... whose divinised form becomes the subject of an important Buddhist cult starting in the eighth century". The popularity of Cundī is attested by the three extant translations of the Cundī Dhāraṇī Sūtra from Sanskrit to Chinese, made from the end of the seventh century to the beginning of the eighth century. In late imperial China, these early esoteric traditions still thrived in Buddhist communities. Robert Gimello has also observed that in these communities, the esoteric practices of Cundī were extremely popular among both the populace and the elite.
In the Tiantai school, six forms of Avalokiteśvara are defined. Each of the bodhisattva's six qualities are said to break the hindrances respectively of the six realms of existence: hell-beings, pretas, animals, humans, asuras, and devas.
THERAVADA ACCOUNT
Veneration of Avalokiteśvara Bodhisattva has continued to the present day in Sri Lanka, where he is called Nātha. In more recent times, some western-educated Theravādins have attempted to identify Nātha with Maitreya Bodhisattva. However, traditions and basic iconography, including an image of Amitābha Buddha on the front of the crown, identify Nātha as Avalokiteśvara. Andrew Skilton writes:
... It is clear from sculptural evidence alone that the Mahāyāna was fairly widespread throughout [Sri Lanka], although the modern account of the history of Buddhism on the island presents an unbroken and pure lineage of Theravāda. (One can only assume that similar trends were transmitted to other parts of Southeast Asia with Sri Lankan ordination lineages.) Relics of an extensive cult of Avalokiteśvara can be seen in the present-day figure of Nātha.
Avalokiteśvara is popularly worshiped in Myanmar, where he is called Lokanat, and Thailand, where he is called Lokesvara.
MODERN SCHOLARSHIP
Western scholars have not reached a consensus on the origin of the reverence for Avalokiteśvara.
Some have suggested that Avalokiteśvara, along with many other supernatural beings in Buddhism, was a borrowing or absorption by Mahayana Buddhism of one or more deities from Hinduism, in particular Shiva or Vishnu, although the reason for this suggestion is because of the current name of the bodhisattva: Avalokiteśvara.
The Japanese scholar Shu Hikosaka on the basis of his study of Buddhist scriptures, ancient Tamil literary sources, as well as field survey, proposes the hypothesis that, the ancient mount Potalaka, the residence of Avalokiteśvara described in the Gaṇḍavyūha Sūtra and Xuanzang’s Great Tang Records on the Western Regions, is the real mountain Pothigai in Ambasamudram, Tirunelveli, Tamil Nadu. Shu also says that mount Potalaka has been a sacred place for the people of South India from time immemorial. With the spread of Buddhism in the region beginning at the time of the great king Aśoka in the third century BCE, it became a holy place also for Buddhists who gradually became dominant as a number of their hermits settled there. The local people, though, mainly remained followers of the Hindu religion. The mixed Hindu-Buddhist cult culminated in the formation of the figure of Avalokiteśvara.
The name Lokeśvara should not be confused with that of Lokeśvararāja, the Buddha under whom Dharmakara became a monk and made forty-eight vows before becoming Amitābha.
MANTRAS AND DHARANIS
Mahāyāna Buddhism relates Avalokiteśvara to the six-syllable mantra oṃ maṇi padme hūṃ. In Tibetan Buddhism, due to his association with this mantra, one form of Avalokiteśvara is called Ṣaḍākṣarī "Lord of the Six Syllables" in Sanskrit. Recitation of this mantra along with prayer beads is the most popular religious practice in Tibetan Buddhism. The connection between this famous mantra and Avalokiteśvara occurs for the first time in the Kāraṇḍavyūhasūtra. This text is first dated to around the late 4th century CE to the early 5th century CE. In this sūtra, a bodhisattva is told by the Buddha that recitation of this mantra while focusing on the sound can lead to the attainment of eight hundred samādhis. The Kāraṇḍavyūha Sūtra also features the first appearance of the dhāraṇī of Cundī, which occurs at the end of the sūtra text. After the bodhisattva finally attains samādhi with the mantra "oṃ maṇipadme hūṃ", he is then able to observe 77 koṭīs of fully enlightened buddhas replying to him in one voice with the Cundī Dhāraṇī: namaḥ saptānāṃ samyaksaṃbuddha koṭīnāṃ tadyathā, oṃ cale cule cunde svāhā.
In Shingon Buddhism, the mantra for Avalokiteśvara is On aruri kya sowa ka (Japanese: おん あるりきゃ そわか?)
The Nīlakaṇṭha Dhāraṇī is an 82-syllable dhāraṇī for Avalokiteśvara.
THOUSAND-ARMED AVALOKITESVARA
One prominent Buddhist story tells of Avalokiteśvara vowing never to rest until he had freed all sentient beings from saṃsāra. Despite strenuous effort, he realizes that still many unhappy beings were yet to be saved. After struggling to comprehend the needs of so many, his head splits into eleven pieces. Amitābha, seeing his plight, gives him eleven heads with which to hear the cries of the suffering. Upon hearing these cries and comprehending them, Avalokiteśvara attempts to reach out to all those who needed aid, but found that his two arms shattered into pieces. Once more, Amitābha comes to his aid and invests him with a thousand arms with which to aid the suffering multitudes.
The Bao'en Temple located in northwestern Sichuan has an outstanding wooden image of the Thousand-Armed Avalokiteśvara, an example of Ming dynasty decorative sculpture.
TIBETAN BUDDHIST BELIEFS CONCERNING CHENREZIG
Avalokiteśvara is an important deity in Tibetan Buddhism, and is regarded in the Vajrayana teachings as a Buddha.
In Tibetan Buddhism, Tara came into existence from a single tear shed by Avalokiteśvara. When the tear fell to the ground it created a lake, and a lotus opening in the lake revealed Tara. In another version of this story, Tara emerges from the heart of Avalokiteśvara. In either version, it is Avalokiteśvara's outpouring of compassion which manifests Tara as a being.
MANIFESTATIONS
Avalokiteśvara has an extraordinarily large number of manifestations in different forms (including wisdom goddesses (vidyaas) directly associated with him in images and texts).
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A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
Thiruvidai Marudur (திருவிடைமருதூர்) Temple is near Kumbakonam and dedicated to Lord Siva.
This shrine is known as Mahalinga shrine and the nine shrines surrounding it are known as shrines in accompaniment. 1. Vinayagar – Thiruvalanchuzhi, 2. Murugan – Swamimalai, 3. Nataraja – Chidambaram, 4. Navagrahas – Sooriyanar, 5. Dakshinamoorthy – Alangudi, 6. Bairavar – Sirkazhi, 7. Nandhi – Thiruvavaduthurai, 8. Somal Kandar – Thiruvarur, 9. Chandeswarar – Thirucheignalur
The temple is maintained and administered by Thiruvaduthurai Adheenam.This place is named as Idaimarudur as it is in between Srisailam and Ambasamudram.
Thiruvidaimarudur is the birthplace of the Hindu Saint Pattinathar - in the medieval period - whose lyrics are renowned for realizing self in Hindu mythology.
The temple is revered in the verses of Thevaram, the 7th century saivite work by the three saint poets namely, Appar,Gnanasambandhar Sundarar and Manickavasakar.Appar says :
"பாச மொன்றில ராய்ப்பல பக்தர்கள்
வாச நாண்மலர் கொண்டடி வைகலும்
ஈச நென்பெறு மான்இடை மருதினிற்
பூச நாம்புகு தும்புன லாடவே
Padmapani is a name for Lokeshvara.
Avalokiteśvara (Sanskrit, "Lord who looks down", Tibetan: སྤྱན་རས་གཟིགས་, Wylie: spyan ras gzigs, THL: Chenrézik) is a bodhisattva who embodies the compassion of all Buddhas. This bodhisattva is variably depicted and described and is portrayed in different cultures as either female or male. In Chinese Buddhism, Avalokiteśvara has become the somewhat different female figure Guanyin. In Cambodia, he appears as Lokeśvara.
Avalokiteśvara is one of the more widely revered bodhisattvas in mainstream Mahayana Buddhism as well as unofficially in Theravada Buddhism.
ETYMOLOGY
The name Avalokiteśvara combines the verbal prefix ava "down", lokita, a past participle of the verb lok "to notice, behold, observe", here used in an active sense; and finally īśvara, "lord", "ruler", "sovereign" or "master". In accordance with sandhi (Sanskrit rules of sound combination), a+iśvara becomes eśvara. Combined, the parts mean "lord who gazes down (at the world)". The word loka ("world") is absent from the name, but the phrase is implied. It does appear in the Cambodian form of the name, Lokeśvara.
The earliest translation of the name into Chinese by authors such as Xuanzang was Guānzìzài (Chinese: 觀自在), not the form used in East Asian Buddhism today, Guanyin (Chinese: 觀音). It was initially thought that this was due to a lack of fluency, as Guanzizai indicates the original Sanskrit form was actually Avalokitasvara, "who looks down upon sound" (i.e., the cries of sentient beings who need help). It is now understood that was the original form, and is also the origin of Guanyin "Perceiving sound, cries", a translation furthered by the tendency of some Chinese translators, notably Kumārajīva, to use the variant 觀世音 Guānshìyīn "who perceives the world's lamentations"—wherein lok was read as simultaneously meaning both "to look" and "world" (Sanskrit loka; Chinese: 世; pinyin: shì). The original form Avalokitasvara appears in Sanskrit fragments of the fifth century.
This earlier Sanskrit name was supplanted by the form containing the ending -īśvara "lord"; Avalokiteśvara does not occur in Sanskrit before the seventh century.
The original meaning of the name fits the Buddhist understanding of the role of a bodhisattva. The reinterpretation presenting him as an īśvara shows a strong influence of Hinduism, as the term īśvara was usually connected to the Hindu notion of Krishna (in Vaishnavism) or Śiva (in Shaivism) as the Supreme Lord, Creator and Ruler of the world. Some attributes of such a god were transmitted to the bodhisattva, but the mainstream of those who venerated Avalokiteśvara upheld the Buddhist rejection of the doctrine of any creator god.
In Sanskrit, Avalokiteśvara is also referred to as Padmapāni ("Holder of the Lotus") or Lokeśvara ("Lord of the World"). In Tibetan, Avalokiteśvara is Chenrézik, (Tibetan: སྤྱན་རས་གཟིགས་) and is said to emanate as the Dalai Lama the Karmapa and other high lamas. An etymology of the Tibetan name Chenrézik is spyan "eye", ras "continuity" and gzig "to look". This gives the meaning of one who always looks upon all beings (with the eye of compassion).
ORIGIN
MAHAYANA ACCOUNT
According to Mahāyāna doctrine, Avalokiteśvara is the bodhisattva who has made a great vow to assist sentient beings in times of difficulty and to postpone his own buddhahood until he has assisted every sentient being in achieving nirvana. Mahayana sutras associated with Avalokiteśvara include the following:
Lotus Sutra
Kāraṇḍavyūhasūtra
Heart Sutra (Heart Sūtra)
Nīlakaṇṭha Dhāraṇī Sutra
Eleven-Faced Avalokitesvara Heart Dharani Sutra
Cundī Dhāraṇī Sūtra
The Lotus Sutra is generally accepted to be the earliest literature teaching about the doctrines of Avalokiteśvara. These are found in the Lotus Sutra chapter 25 (Chinese: 觀世音菩薩普門品). This chapter is devoted to Avalokiteśvara, describing him as a compassionate bodhisattva who hears the cries of sentient beings, and who works tirelessly to help those who call upon his name. A total of 33 different manifestations of Avalokiteśvara are described, including female manifestations, all to suit the minds of various beings. The chapter consists of both a prose and a verse section. This earliest source often circulates separately as its own sutra, called the Avalokiteśvara Sūtra (Chinese: 觀世音經; pinyin: Guānshìyīn jīng), and is commonly recited or chanted at Buddhist temples in East Asia.
When the Chinese monk Faxian traveled to Mathura in India around 400 CE, he wrote about monks presenting offerings to Avalokiteśvara. When Xuanzang traveled to India in the 7th century, he provided eyewitness accounts of Avalokiteśvara statues being venerated by devotees of all walks of life, from kings, to monks, to laypeople. Avalokiteśvara remained popular in India until the 12th century when Muslim invaders conquered the land and destroyed Buddhist monasteries.
In Chinese Buddhism and East Asia, Tangmi practices for the 18-armed form of Avalokiteśvara called Cundī are very popular. These practices have their basis in early Indian Vajrayana: her origins lie with a yakshini cult in Bengal and Orissa and her name in Sanskrit "connotes a prostitute or other woman of low caste but specifically denotes a prominent local ogress ... whose divinised form becomes the subject of an important Buddhist cult starting in the eighth century". The popularity of Cundī is attested by the three extant translations of the Cundī Dhāraṇī Sūtra from Sanskrit to Chinese, made from the end of the seventh century to the beginning of the eighth century. In late imperial China, these early esoteric traditions still thrived in Buddhist communities. Robert Gimello has also observed that in these communities, the esoteric practices of Cundī were extremely popular among both the populace and the elite.
In the Tiantai school, six forms of Avalokiteśvara are defined. Each of the bodhisattva's six qualities are said to break the hindrances respectively of the six realms of existence: hell-beings, pretas, animals, humans, asuras, and devas.
THERAVADA ACCOUNT
Veneration of Avalokiteśvara Bodhisattva has continued to the present day in Sri Lanka, where he is called Nātha. In more recent times, some western-educated Theravādins have attempted to identify Nātha with Maitreya Bodhisattva. However, traditions and basic iconography, including an image of Amitābha Buddha on the front of the crown, identify Nātha as Avalokiteśvara. Andrew Skilton writes:
... It is clear from sculptural evidence alone that the Mahāyāna was fairly widespread throughout [Sri Lanka], although the modern account of the history of Buddhism on the island presents an unbroken and pure lineage of Theravāda. (One can only assume that similar trends were transmitted to other parts of Southeast Asia with Sri Lankan ordination lineages.) Relics of an extensive cult of Avalokiteśvara can be seen in the present-day figure of Nātha.
Avalokiteśvara is popularly worshiped in Myanmar, where he is called Lokanat, and Thailand, where he is called Lokesvara.
MODERN SCHOLARSHIP
Western scholars have not reached a consensus on the origin of the reverence for Avalokiteśvara.
Some have suggested that Avalokiteśvara, along with many other supernatural beings in Buddhism, was a borrowing or absorption by Mahayana Buddhism of one or more deities from Hinduism, in particular Shiva or Vishnu, although the reason for this suggestion is because of the current name of the bodhisattva: Avalokiteśvara.
The Japanese scholar Shu Hikosaka on the basis of his study of Buddhist scriptures, ancient Tamil literary sources, as well as field survey, proposes the hypothesis that, the ancient mount Potalaka, the residence of Avalokiteśvara described in the Gaṇḍavyūha Sūtra and Xuanzang’s Great Tang Records on the Western Regions, is the real mountain Pothigai in Ambasamudram, Tirunelveli, Tamil Nadu. Shu also says that mount Potalaka has been a sacred place for the people of South India from time immemorial. With the spread of Buddhism in the region beginning at the time of the great king Aśoka in the third century BCE, it became a holy place also for Buddhists who gradually became dominant as a number of their hermits settled there. The local people, though, mainly remained followers of the Hindu religion. The mixed Hindu-Buddhist cult culminated in the formation of the figure of Avalokiteśvara.
The name Lokeśvara should not be confused with that of Lokeśvararāja, the Buddha under whom Dharmakara became a monk and made forty-eight vows before becoming Amitābha.
MANTRAS AND DHARANIS
Mahāyāna Buddhism relates Avalokiteśvara to the six-syllable mantra oṃ maṇi padme hūṃ. In Tibetan Buddhism, due to his association with this mantra, one form of Avalokiteśvara is called Ṣaḍākṣarī "Lord of the Six Syllables" in Sanskrit. Recitation of this mantra along with prayer beads is the most popular religious practice in Tibetan Buddhism. The connection between this famous mantra and Avalokiteśvara occurs for the first time in the Kāraṇḍavyūhasūtra. This text is first dated to around the late 4th century CE to the early 5th century CE. In this sūtra, a bodhisattva is told by the Buddha that recitation of this mantra while focusing on the sound can lead to the attainment of eight hundred samādhis. The Kāraṇḍavyūha Sūtra also features the first appearance of the dhāraṇī of Cundī, which occurs at the end of the sūtra text. After the bodhisattva finally attains samādhi with the mantra "oṃ maṇipadme hūṃ", he is then able to observe 77 koṭīs of fully enlightened buddhas replying to him in one voice with the Cundī Dhāraṇī: namaḥ saptānāṃ samyaksaṃbuddha koṭīnāṃ tadyathā, oṃ cale cule cunde svāhā.
In Shingon Buddhism, the mantra for Avalokiteśvara is On aruri kya sowa ka (Japanese: おん あるりきゃ そわか?)
The Nīlakaṇṭha Dhāraṇī is an 82-syllable dhāraṇī for Avalokiteśvara.
THOUSAND-ARMED AVALOKITESVARA
One prominent Buddhist story tells of Avalokiteśvara vowing never to rest until he had freed all sentient beings from saṃsāra. Despite strenuous effort, he realizes that still many unhappy beings were yet to be saved. After struggling to comprehend the needs of so many, his head splits into eleven pieces. Amitābha, seeing his plight, gives him eleven heads with which to hear the cries of the suffering. Upon hearing these cries and comprehending them, Avalokiteśvara attempts to reach out to all those who needed aid, but found that his two arms shattered into pieces. Once more, Amitābha comes to his aid and invests him with a thousand arms with which to aid the suffering multitudes.
The Bao'en Temple located in northwestern Sichuan has an outstanding wooden image of the Thousand-Armed Avalokiteśvara, an example of Ming dynasty decorative sculpture.
TIBETAN BUDDHIST BELIEFS CONCERNING CHENREZIG
Avalokiteśvara is an important deity in Tibetan Buddhism, and is regarded in the Vajrayana teachings as a Buddha.
In Tibetan Buddhism, Tara came into existence from a single tear shed by Avalokiteśvara. When the tear fell to the ground it created a lake, and a lotus opening in the lake revealed Tara. In another version of this story, Tara emerges from the heart of Avalokiteśvara. In either version, it is Avalokiteśvara's outpouring of compassion which manifests Tara as a being.
MANIFESTATIONS
Avalokiteśvara has an extraordinarily large number of manifestations in different forms (including wisdom goddesses (vidyaas) directly associated with him in images and texts).
______________________________________________
A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
Thiruvidai Marudur (திருவிடைமருதூர்) Temple is near Kumbakonam and dedicated to Lord Siva.
This shrine is known as Mahalinga shrine and the nine shrines surrounding it are known as shrines in accompaniment. 1. Vinayagar – Thiruvalanchuzhi, 2. Murugan – Swamimalai, 3. Nataraja – Chidambaram, 4. Navagrahas – Sooriyanar, 5. Dakshinamoorthy – Alangudi, 6. Bairavar – Sirkazhi, 7. Nandhi – Thiruvavaduthurai, 8. Somal Kandar – Thiruvarur, 9. Chandeswarar – Thirucheignalur
The temple is maintained and administered by Thiruvaduthurai Adheenam.This place is named as Idaimarudur as it is in between Srisailam and Ambasamudram.
Thiruvidaimarudur is the birthplace of the Hindu Saint Pattinathar - in the medieval period - whose lyrics are renowned for realizing self in Hindu mythology.
The temple is revered in the verses of Thevaram, the 7th century saivite work by the three saint poets namely, Appar,Gnanasambandhar Sundarar and Manickavasakar.Appar says :
"பாச மொன்றில ராய்ப்பல பக்தர்கள்
வாச நாண்மலர் கொண்டடி வைகலும்
ஈச நென்பெறு மான்இடை மருதினிற்
பூச நாம்புகு தும்புன லாடவே
Location: Ambasamudram, Tirunelveli Dist, TN, India
My native as seen from the banks of River Tamirabarani.
Padmapani is a name for Lokeshvara.
Avalokiteśvara (Sanskrit, "Lord who looks down", Tibetan: སྤྱན་རས་གཟིགས་, Wylie: spyan ras gzigs, THL: Chenrézik) is a bodhisattva who embodies the compassion of all Buddhas. This bodhisattva is variably depicted and described and is portrayed in different cultures as either female or male. In Chinese Buddhism, Avalokiteśvara has become the somewhat different female figure Guanyin. In Cambodia, he appears as Lokeśvara.
Avalokiteśvara is one of the more widely revered bodhisattvas in mainstream Mahayana Buddhism as well as unofficially in Theravada Buddhism.
ETYMOLOGY
The name Avalokiteśvara combines the verbal prefix ava "down", lokita, a past participle of the verb lok "to notice, behold, observe", here used in an active sense; and finally īśvara, "lord", "ruler", "sovereign" or "master". In accordance with sandhi (Sanskrit rules of sound combination), a+iśvara becomes eśvara. Combined, the parts mean "lord who gazes down (at the world)". The word loka ("world") is absent from the name, but the phrase is implied. It does appear in the Cambodian form of the name, Lokeśvara.
The earliest translation of the name into Chinese by authors such as Xuanzang was Guānzìzài (Chinese: 觀自在), not the form used in East Asian Buddhism today, Guanyin (Chinese: 觀音). It was initially thought that this was due to a lack of fluency, as Guanzizai indicates the original Sanskrit form was actually Avalokitasvara, "who looks down upon sound" (i.e., the cries of sentient beings who need help). It is now understood that was the original form, and is also the origin of Guanyin "Perceiving sound, cries", a translation furthered by the tendency of some Chinese translators, notably Kumārajīva, to use the variant 觀世音 Guānshìyīn "who perceives the world's lamentations"—wherein lok was read as simultaneously meaning both "to look" and "world" (Sanskrit loka; Chinese: 世; pinyin: shì). The original form Avalokitasvara appears in Sanskrit fragments of the fifth century.
This earlier Sanskrit name was supplanted by the form containing the ending -īśvara "lord"; Avalokiteśvara does not occur in Sanskrit before the seventh century.
The original meaning of the name fits the Buddhist understanding of the role of a bodhisattva. The reinterpretation presenting him as an īśvara shows a strong influence of Hinduism, as the term īśvara was usually connected to the Hindu notion of Krishna (in Vaishnavism) or Śiva (in Shaivism) as the Supreme Lord, Creator and Ruler of the world. Some attributes of such a god were transmitted to the bodhisattva, but the mainstream of those who venerated Avalokiteśvara upheld the Buddhist rejection of the doctrine of any creator god.
In Sanskrit, Avalokiteśvara is also referred to as Padmapāni ("Holder of the Lotus") or Lokeśvara ("Lord of the World"). In Tibetan, Avalokiteśvara is Chenrézik, (Tibetan: སྤྱན་རས་གཟིགས་) and is said to emanate as the Dalai Lama the Karmapa and other high lamas. An etymology of the Tibetan name Chenrézik is spyan "eye", ras "continuity" and gzig "to look". This gives the meaning of one who always looks upon all beings (with the eye of compassion).
ORIGIN
MAHAYANA ACCOUNT
According to Mahāyāna doctrine, Avalokiteśvara is the bodhisattva who has made a great vow to assist sentient beings in times of difficulty and to postpone his own buddhahood until he has assisted every sentient being in achieving nirvana. Mahayana sutras associated with Avalokiteśvara include the following:
Lotus Sutra
Kāraṇḍavyūhasūtra
Heart Sutra (Heart Sūtra)
Nīlakaṇṭha Dhāraṇī Sutra
Eleven-Faced Avalokitesvara Heart Dharani Sutra
Cundī Dhāraṇī Sūtra
The Lotus Sutra is generally accepted to be the earliest literature teaching about the doctrines of Avalokiteśvara. These are found in the Lotus Sutra chapter 25 (Chinese: 觀世音菩薩普門品). This chapter is devoted to Avalokiteśvara, describing him as a compassionate bodhisattva who hears the cries of sentient beings, and who works tirelessly to help those who call upon his name. A total of 33 different manifestations of Avalokiteśvara are described, including female manifestations, all to suit the minds of various beings. The chapter consists of both a prose and a verse section. This earliest source often circulates separately as its own sutra, called the Avalokiteśvara Sūtra (Chinese: 觀世音經; pinyin: Guānshìyīn jīng), and is commonly recited or chanted at Buddhist temples in East Asia.
When the Chinese monk Faxian traveled to Mathura in India around 400 CE, he wrote about monks presenting offerings to Avalokiteśvara. When Xuanzang traveled to India in the 7th century, he provided eyewitness accounts of Avalokiteśvara statues being venerated by devotees of all walks of life, from kings, to monks, to laypeople. Avalokiteśvara remained popular in India until the 12th century when Muslim invaders conquered the land and destroyed Buddhist monasteries.
In Chinese Buddhism and East Asia, Tangmi practices for the 18-armed form of Avalokiteśvara called Cundī are very popular. These practices have their basis in early Indian Vajrayana: her origins lie with a yakshini cult in Bengal and Orissa and her name in Sanskrit "connotes a prostitute or other woman of low caste but specifically denotes a prominent local ogress ... whose divinised form becomes the subject of an important Buddhist cult starting in the eighth century". The popularity of Cundī is attested by the three extant translations of the Cundī Dhāraṇī Sūtra from Sanskrit to Chinese, made from the end of the seventh century to the beginning of the eighth century. In late imperial China, these early esoteric traditions still thrived in Buddhist communities. Robert Gimello has also observed that in these communities, the esoteric practices of Cundī were extremely popular among both the populace and the elite.
In the Tiantai school, six forms of Avalokiteśvara are defined. Each of the bodhisattva's six qualities are said to break the hindrances respectively of the six realms of existence: hell-beings, pretas, animals, humans, asuras, and devas.
THERAVADA ACCOUNT
Veneration of Avalokiteśvara Bodhisattva has continued to the present day in Sri Lanka, where he is called Nātha. In more recent times, some western-educated Theravādins have attempted to identify Nātha with Maitreya Bodhisattva. However, traditions and basic iconography, including an image of Amitābha Buddha on the front of the crown, identify Nātha as Avalokiteśvara. Andrew Skilton writes:
... It is clear from sculptural evidence alone that the Mahāyāna was fairly widespread throughout [Sri Lanka], although the modern account of the history of Buddhism on the island presents an unbroken and pure lineage of Theravāda. (One can only assume that similar trends were transmitted to other parts of Southeast Asia with Sri Lankan ordination lineages.) Relics of an extensive cult of Avalokiteśvara can be seen in the present-day figure of Nātha.
Avalokiteśvara is popularly worshiped in Myanmar, where he is called Lokanat, and Thailand, where he is called Lokesvara.
MODERN SCHOLARSHIP
Western scholars have not reached a consensus on the origin of the reverence for Avalokiteśvara.
Some have suggested that Avalokiteśvara, along with many other supernatural beings in Buddhism, was a borrowing or absorption by Mahayana Buddhism of one or more deities from Hinduism, in particular Shiva or Vishnu, although the reason for this suggestion is because of the current name of the bodhisattva: Avalokiteśvara.
The Japanese scholar Shu Hikosaka on the basis of his study of Buddhist scriptures, ancient Tamil literary sources, as well as field survey, proposes the hypothesis that, the ancient mount Potalaka, the residence of Avalokiteśvara described in the Gaṇḍavyūha Sūtra and Xuanzang’s Great Tang Records on the Western Regions, is the real mountain Pothigai in Ambasamudram, Tirunelveli, Tamil Nadu. Shu also says that mount Potalaka has been a sacred place for the people of South India from time immemorial. With the spread of Buddhism in the region beginning at the time of the great king Aśoka in the third century BCE, it became a holy place also for Buddhists who gradually became dominant as a number of their hermits settled there. The local people, though, mainly remained followers of the Hindu religion. The mixed Hindu-Buddhist cult culminated in the formation of the figure of Avalokiteśvara.
The name Lokeśvara should not be confused with that of Lokeśvararāja, the Buddha under whom Dharmakara became a monk and made forty-eight vows before becoming Amitābha.
MANTRAS AND DHARANIS
Mahāyāna Buddhism relates Avalokiteśvara to the six-syllable mantra oṃ maṇi padme hūṃ. In Tibetan Buddhism, due to his association with this mantra, one form of Avalokiteśvara is called Ṣaḍākṣarī "Lord of the Six Syllables" in Sanskrit. Recitation of this mantra along with prayer beads is the most popular religious practice in Tibetan Buddhism. The connection between this famous mantra and Avalokiteśvara occurs for the first time in the Kāraṇḍavyūhasūtra. This text is first dated to around the late 4th century CE to the early 5th century CE. In this sūtra, a bodhisattva is told by the Buddha that recitation of this mantra while focusing on the sound can lead to the attainment of eight hundred samādhis. The Kāraṇḍavyūha Sūtra also features the first appearance of the dhāraṇī of Cundī, which occurs at the end of the sūtra text. After the bodhisattva finally attains samādhi with the mantra "oṃ maṇipadme hūṃ", he is then able to observe 77 koṭīs of fully enlightened buddhas replying to him in one voice with the Cundī Dhāraṇī: namaḥ saptānāṃ samyaksaṃbuddha koṭīnāṃ tadyathā, oṃ cale cule cunde svāhā.
In Shingon Buddhism, the mantra for Avalokiteśvara is On aruri kya sowa ka (Japanese: おん あるりきゃ そわか?)
The Nīlakaṇṭha Dhāraṇī is an 82-syllable dhāraṇī for Avalokiteśvara.
THOUSAND-ARMED AVALOKITESVARA
One prominent Buddhist story tells of Avalokiteśvara vowing never to rest until he had freed all sentient beings from saṃsāra. Despite strenuous effort, he realizes that still many unhappy beings were yet to be saved. After struggling to comprehend the needs of so many, his head splits into eleven pieces. Amitābha, seeing his plight, gives him eleven heads with which to hear the cries of the suffering. Upon hearing these cries and comprehending them, Avalokiteśvara attempts to reach out to all those who needed aid, but found that his two arms shattered into pieces. Once more, Amitābha comes to his aid and invests him with a thousand arms with which to aid the suffering multitudes.
The Bao'en Temple located in northwestern Sichuan has an outstanding wooden image of the Thousand-Armed Avalokiteśvara, an example of Ming dynasty decorative sculpture.
TIBETAN BUDDHIST BELIEFS CONCERNING CHENREZIG
Avalokiteśvara is an important deity in Tibetan Buddhism, and is regarded in the Vajrayana teachings as a Buddha.
In Tibetan Buddhism, Tara came into existence from a single tear shed by Avalokiteśvara. When the tear fell to the ground it created a lake, and a lotus opening in the lake revealed Tara. In another version of this story, Tara emerges from the heart of Avalokiteśvara. In either version, it is Avalokiteśvara's outpouring of compassion which manifests Tara as a being.
MANIFESTATIONS
Avalokiteśvara has an extraordinarily large number of manifestations in different forms (including wisdom goddesses (vidyaas) directly associated with him in images and texts).
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A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
Avalokiteśvara (Sanskrit, "Lord who looks down", Tibetan: སྤྱན་རས་གཟིགས་, Wylie: spyan ras gzigs, THL: Chenrézik) is a bodhisattva who embodies the compassion of all Buddhas. This bodhisattva is variably depicted and described and is portrayed in different cultures as either female or male. In Chinese Buddhism, Avalokiteśvara has become the somewhat different female figure Guanyin. In Cambodia, he appears as Lokeśvara.
Avalokiteśvara is one of the more widely revered bodhisattvas in mainstream Mahayana Buddhism as well as unofficially in Theravada Buddhism.
ETYMOLOGY
The name Avalokiteśvara combines the verbal prefix ava "down", lokita, a past participle of the verb lok "to notice, behold, observe", here used in an active sense; and finally īśvara, "lord", "ruler", "sovereign" or "master". In accordance with sandhi (Sanskrit rules of sound combination), a+iśvara becomes eśvara. Combined, the parts mean "lord who gazes down (at the world)". The word loka ("world") is absent from the name, but the phrase is implied. It does appear in the Cambodian form of the name, Lokeśvara.
The earliest translation of the name into Chinese by authors such as Xuanzang was Guānzìzài (Chinese: 觀自在), not the form used in East Asian Buddhism today, Guanyin (Chinese: 觀音). It was initially thought that this was due to a lack of fluency, as Guanzizai indicates the original Sanskrit form was actually Avalokitasvara, "who looks down upon sound" (i.e., the cries of sentient beings who need help). It is now understood that was the original form, and is also the origin of Guanyin "Perceiving sound, cries", a translation furthered by the tendency of some Chinese translators, notably Kumārajīva, to use the variant 觀世音 Guānshìyīn "who perceives the world's lamentations" - wherein lok was read as simultaneously meaning both "to look" and "world" (Sanskrit loka; Chinese: 世; pinyin: shì). The original form Avalokitasvara appears in Sanskrit fragments of the fifth century.
This earlier Sanskrit name was supplanted by the form containing the ending -īśvara "lord"; Avalokiteśvara does not occur in Sanskrit before the seventh century.
The original meaning of the name fits the Buddhist understanding of the role of a bodhisattva. The reinterpretation presenting him as an īśvara shows a strong influence of Hinduism, as the term īśvara was usually connected to the Hindu notion of Krishna (in Vaishnavism) or Śiva (in Shaivism) as the Supreme Lord, Creator and Ruler of the world. Some attributes of such a god were transmitted to the bodhisattva, but the mainstream of those who venerated Avalokiteśvara upheld the Buddhist rejection of the doctrine of any creator god.
In Sanskrit, Avalokiteśvara is also referred to as Padmapāni ("Holder of the Lotus") or Lokeśvara ("Lord of the World"). In Tibetan, Avalokiteśvara is Chenrézik, (Tibetan: སྤྱན་རས་གཟིགས་) and is said to emanate as the Dalai Lama the Karmapa and other high lamas. An etymology of the Tibetan name Chenrézik is spyan "eye", ras "continuity" and gzig "to look". This gives the meaning of one who always looks upon all beings (with the eye of compassion).
ORIGIN
MAHAYANA ACCOUNT
According to Mahāyāna doctrine, Avalokiteśvara is the bodhisattva who has made a great vow to assist sentient beings in times of difficulty and to postpone his own buddhahood until he has assisted every sentient being in achieving nirvana. Mahayana sutras associated with Avalokiteśvara include the following:
Lotus Sutra
Kāraṇḍavyūhasūtra
Heart Sutra (Heart Sūtra)
Nīlakaṇṭha Dhāraṇī Sutra
Eleven-Faced Avalokitesvara Heart Dharani Sutra
Cundī Dhāraṇī Sūtra
The Lotus Sutra is generally accepted to be the earliest literature teaching about the doctrines of Avalokiteśvara. These are found in the Lotus Sutra chapter 25 (Chinese: 觀世音菩薩普門品). This chapter is devoted to Avalokiteśvara, describing him as a compassionate bodhisattva who hears the cries of sentient beings, and who works tirelessly to help those who call upon his name. A total of 33 different manifestations of Avalokiteśvara are described, including female manifestations, all to suit the minds of various beings. The chapter consists of both a prose and a verse section. This earliest source often circulates separately as its own sutra, called the Avalokiteśvara Sūtra (Chinese: 觀世音經; pinyin: Guānshìyīn jīng), and is commonly recited or chanted at Buddhist temples in East Asia.
When the Chinese monk Faxian traveled to Mathura in India around 400 CE, he wrote about monks presenting offerings to Avalokiteśvara. When Xuanzang traveled to India in the 7th century, he provided eyewitness accounts of Avalokiteśvara statues being venerated by devotees of all walks of life, from kings, to monks, to laypeople. Avalokiteśvara remained popular in India until the 12th century when Muslim invaders conquered the land and destroyed Buddhist monasteries.
In Chinese Buddhism and East Asia, Tangmi practices for the 18-armed form of Avalokiteśvara called Cundī are very popular. These practices have their basis in early Indian Vajrayana: her origins lie with a yakshini cult in Bengal and Orissa and her name in Sanskrit "connotes a prostitute or other woman of low caste but specifically denotes a prominent local ogress ... whose divinised form becomes the subject of an important Buddhist cult starting in the eighth century". The popularity of Cundī is attested by the three extant translations of the Cundī Dhāraṇī Sūtra from Sanskrit to Chinese, made from the end of the seventh century to the beginning of the eighth century. In late imperial China, these early esoteric traditions still thrived in Buddhist communities. Robert Gimello has also observed that in these communities, the esoteric practices of Cundī were extremely popular among both the populace and the elite.
In the Tiantai school, six forms of Avalokiteśvara are defined. Each of the bodhisattva's six qualities are said to break the hindrances respectively of the six realms of existence: hell-beings, pretas, animals, humans, asuras, and devas.
THERAVADA ACCOUNT
Veneration of Avalokiteśvara Bodhisattva has continued to the present day in Sri Lanka, where he is called Nātha. In more recent times, some western-educated Theravādins have attempted to identify Nātha with Maitreya Bodhisattva. However, traditions and basic iconography, including an image of Amitābha Buddha on the front of the crown, identify Nātha as Avalokiteśvara. Andrew Skilton writes:
... It is clear from sculptural evidence alone that the Mahāyāna was fairly widespread throughout [Sri Lanka], although the modern account of the history of Buddhism on the island presents an unbroken and pure lineage of Theravāda. (One can only assume that similar trends were transmitted to other parts of Southeast Asia with Sri Lankan ordination lineages.) Relics of an extensive cult of Avalokiteśvara can be seen in the present-day figure of Nātha.
Avalokiteśvara is popularly worshiped in Myanmar, where he is called Lokanat, and Thailand, where he is called Lokesvara.
Modern scholarship
Western scholars have not reached a consensus on the origin of the reverence for Avalokiteśvara.
Some have suggested that Avalokiteśvara, along with many other supernatural beings in Buddhism, was a borrowing or absorption by Mahayana Buddhism of one or more deities from Hinduism, in particular Shiva or Vishnu, although the reason for this suggestion is because of the current name of the bodhisattva: Avalokiteśvara.
The Japanese scholar Shu Hikosaka on the basis of his study of Buddhist scriptures, ancient Tamil literary sources, as well as field survey, proposes the hypothesis that, the ancient mount Potalaka, the residence of Avalokiteśvara described in the Gaṇḍavyūha Sūtra and Xuanzang’s Great Tang Records on the Western Regions, is the real mountain Pothigai in Ambasamudram, Tirunelveli, Tamil Nadu. Shu also says that mount Potalaka has been a sacred place for the people of South India from time immemorial. With the spread of Buddhism in the region beginning at the time of the great king Aśoka in the third century BCE, it became a holy place also for Buddhists who gradually became dominant as a number of their hermits settled there. The local people, though, mainly remained followers of the Hindu religion. The mixed Hindu-Buddhist cult culminated in the formation of the figure of Avalokiteśvara.
The name Lokeśvara should not be confused with that of Lokeśvararāja, the Buddha under whom Dharmakara became a monk and made forty-eight vows before becoming Amitābha.
MANTRAS AND DHARANIS
Mahāyāna Buddhism relates Avalokiteśvara to the six-syllable mantra oṃ maṇi padme hūṃ. In Tibetan Buddhism, due to his association with this mantra, one form of Avalokiteśvara is called Ṣaḍākṣarī "Lord of the Six Syllables" in Sanskrit. Recitation of this mantra along with prayer beads is the most popular religious practice in Tibetan Buddhism. The connection between this famous mantra and Avalokiteśvara occurs for the first time in the Kāraṇḍavyūhasūtra. This text is first dated to around the late 4th century CE to the early 5th century CE. In this sūtra, a bodhisattva is told by the Buddha that recitation of this mantra while focusing on the sound can lead to the attainment of eight hundred samādhis. The Kāraṇḍavyūha Sūtra also features the first appearance of the dhāraṇī of Cundī, which occurs at the end of the sūtra text. After the bodhisattva finally attains samādhi with the mantra "oṃ maṇipadme hūṃ", he is then able to observe 77 koṭīs of fully enlightened buddhas replying to him in one voice with the Cundī Dhāraṇī: namaḥ saptānāṃ samyaksaṃbuddha koṭīnāṃ tadyathā, oṃ cale cule cunde svāhā.
In Shingon Buddhism, the mantra for Avalokiteśvara is On aruri kya sowa ka (Japanese: おん あるりきゃ そわか?)
The Nīlakaṇṭha Dhāraṇī is an 82-syllable dhāraṇī for Avalokiteśvara.
THOUSAND-ARMED AVALOKITESVARA
One prominent Buddhist story tells of Avalokiteśvara vowing never to rest until he had freed all sentient beings from saṃsāra. Despite strenuous effort, he realizes that still many unhappy beings were yet to be saved. After struggling to comprehend the needs of so many, his head splits into eleven pieces. Amitābha, seeing his plight, gives him eleven heads with which to hear the cries of the suffering. Upon hearing these cries and comprehending them, Avalokiteśvara attempts to reach out to all those who needed aid, but found that his two arms shattered into pieces. Once more, Amitābha comes to his aid and invests him with a thousand arms with which to aid the suffering multitudes.
The Bao'en Temple located in northwestern Sichuan has an outstanding wooden image of the Thousand-Armed Avalokiteśvara, an example of Ming dynasty decorative sculpture.
TIBETAN BUDDHIST BELIEFS CONCERNING CHENREZIG
Avalokiteśvara is an important deity in Tibetan Buddhism, and is regarded in the Vajrayana teachings as a Buddha.
In Tibetan Buddhism, Tara came into existence from a single tear shed by Avalokiteśvara. When the tear fell to the ground it created a lake, and a lotus opening in the lake revealed Tara. In another version of this story, Tara emerges from the heart of Avalokiteśvara. In either version, it is Avalokiteśvara's outpouring of compassion which manifests Tara as a being.
MANIFESTATIONS
Avalokiteśvara has an extraordinarily large number of manifestations in different forms (including wisdom goddesses (vidyaas) directly associated with him in images and texts).
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BAYON
The Bayon (Khmer: ប្រាសាទបាយ័ន, Prasat Bayon) is a well-known and richly decorated Khmer temple at Angkor in Cambodia. Built in the late 12th or early 13th century as the official state temple of the Mahayana Buddhist King Jayavarman VII, the Bayon stands at the centre of Jayavarman's capital, Angkor Thom. Following Jayavarman's death, it was modified and augmented by later Hindu and Theravada Buddhist kings in accordance with their own religious preferences.
The Bayon's most distinctive feature is the multitude of serene and massive stone faces on the many towers which jut out from the upper terrace and cluster around its central peak. The temple is known also for two impressive sets of bas-reliefs, which present an unusual combination of mythological, historical, and mundane scenes. The current main conservatory body, the Japanese Government Team for the Safeguarding of Angkor (the JSA) has described the temple as "the most striking expression of the baroque style" of Khmer architecture, as contrasted with the classical style of Angkor Wat.
BUDDHIST SYMBOLISM
The Bayon was the last state temple to be built at Angkor, and the only Angkorian state temple to be built primarily as a Mahayana Buddhist shrine dedicated to the Buddha, though a great number of minor and local deities were also encompassed as representatives of the various districts and cities of the realm. It was the centrepiece of Jayavarman VII's massive program of monumental construction and public works, which was also responsible for the walls and nāga-bridges of Angkor Thom and the temples of Preah Khan, Ta Prohm and Banteay Kdei.
The similarity of the 216 gigantic faces on the temple's towers to other statues of the king has led many scholars to the conclusion that the faces are representations of Jayavarman VII himself. Others have said that the faces belong to the bodhisattva of compassion called Avalokitesvara or Lokesvara. The two hypotheses need not be regarded as mutually exclusive. Angkor scholar George Coedès has theorized that Jayavarman stood squarely in the tradition of the Khmer monarchs in thinking of himself as a "devaraja" (god-king), the salient difference being that while his predecessors were Hindus and regarded themselves as consubstantial with Shiva and his symbol the lingam, Jayavarman as a Buddhist identified himself with the Buddha and the bodhisattva.
ALTERATIONS FOLLOWING THE DEATH OF JAYAVARMAN VII
Since the time of Jayavarman VII, the Bayon has suffered numerous additions and alterations at the hands of subsequent monarchs. During the reign of Jayavarman VIII in the mid-13th century, the Khmer empire reverted to Hinduism and its state temple was altered accordingly. In later centuries, Theravada Buddhism became the dominant religion, leading to still further changes, before the temple was eventually abandoned to the jungle. Current features which were not part of the original plan include the terrace to the east of the temple, the libraries, the square corners of the inner gallery, and parts of the upper terrace.
MODERN RESTAURATION
In the first part of the 20th century, the École Française d'Extrême Orient took the lead in the conservation of the temple, restoring it in accordance with the technique of anastylosis. Since 1995 the Japanese Government team for the Safeguarding of Angkor (the JSA) has been the main conservatory body, and has held annual symposia.
THE SITE
The temple is oriented towards the east, and so its buildings are set back to the west inside enclosures elongated along the east-west axis. Because the temple sits at the exact centre of Angkor Thom, roads lead to it directly from the gates at each of the city's cardinal points. The temple itself has no wall or moats, these being replaced by those of the city itself: the city-temple arrangement, with an area of 9 square kilometres, is much larger than that of Angkor Wat to the south (2 km²). Within the temple itself, there are two galleried enclosures (the third and second enclosures) and an upper terrace (the first enclosure). All of these elements are crowded against each other with little space between. Unlike Angkor Wat, which impresses with the grand scale of its architecture and open spaces, the Bayon gives the impression of being compressed within a frame which is too tight for it.
THE OUTER GALLERY, HISTORICAL EVENTS & EVERYDAY LIFE
The outer wall of the outer gallery features a series of bas-reliefs depicting historical events and scenes from the everyday life of the Angkorian Khmer. Though highly detailed and informative in themselves, the bas-reliefs are not accompanied by any sort of epigraphic text, and for that reason considerable uncertainty remains as to which historical events are portrayed and how, if at all, the different reliefs are related. From the east gopura clockwise, the subjects are:
- in the southern part of the eastern gallery a marching Khmer army (including some Chinese soldiers), with musicians, horsemen, and officers mounted on elephants, followed by wagons of provisions;
- still in the eastern gallery, on the other side of the doorway leading into the courtyard, another procession followed by domestic scenes depicting Angkorian houses, some of the occupants of which appear to be Chinese merchants;
- in the southeast corner pavilion, an unfinished temple scene with towers, apsaras, and a lingam;
- in the eastern part of the southern gallery, a naval battle on the Tonle Sap between Khmer and Cham forces, underneath which are more scenes from civilian life depicting a market, open-air cooking, hunters, and women tending to children and an invalid;
- still in the southern gallery, past the doorway leading to the courtyard, a scene with boats and fisherman, including a Chinese junk, below which is a depiction of a cockfight; then some palace scenes with princesses, servants, people engaged in conversations and games, wrestlers, and a wild boar fight; then a battle scene with Cham warriors disembarking from boats and engaging Khmer warriors whose bodies are protected by coiled ropes, followed by a scene in which the Khmer dominate the combat, followed by a scene in which the Khmer king celebrates a victory feast with his subjects;
- in the western part of the southern gallery, a military procession including both Khmers and Chams, elephants, war machines such as a large crossbow and a catapult;
- in the southern part of the western gallery, unfinished reliefs show an army marching through the forest, then arguments and fighting between groups of Khmers;
- in the western gallery, past the doorway to the courtyard, a scene depicting a melee between Khmer warriors, then a scene in which warriors pursue others past a pool in which an enormous fish swallows a small deer; then a royal procession, with the king standing on an elephant, preceded by the ark of the sacred flame;
- in the western part of the northern gallery, again unfinished, a scene of royal entertainment including athletes, jugglers and acrobats, a procession of animals, ascetics sitting in a forest, and more battles between Khmer and Cham forces;
- in the northern gallery, past the doorway to the courtyard, a scene in which the Khmer flee from Cham soldiers advancing in tight ranks;
- in the northeast corner pavilion, another marching Khmer army;
- in the eastern gallery, a land battle between Khmer and Cham forces, both of which are supported by elephants: the Khmer appear to be winning.
The outer gallery encloses a courtyard in which there are two libraries (one on either side of the east entrance). Originally the courtyard contained 16 chapels, but these were subsequently demolished by the Hindu restorationist Jayavarman VIII.
THE INNER GALLERY
The inner gallery is raised above ground level and has doubled corners, with the original redented cross-shape later filled out to a square. Its bas-reliefs, later additions of Jayavarman VIII, are in stark contrast to those of the outer: rather than set-piece battles and processions, the smaller canvases offered by the inner gallery are decorated for the most part with scenes from Hindu mythology. Some of the figures depicted are Siva, Vishnu, and Brahma, the members of the trimurti or threefold godhead of Hinduism, Apsaras or celestial dancers, Ravana and Garuda. There is however no certainty as to what some of the panels depict, or as to their relationship with one another. One gallery just north of the eastern gopura, for example, shows two linked scenes which have been explained as the freeing of a goddess from inside a mountain, or as an act of iconoclasm by Cham invaders. Another series of panels shows a king fighting a gigantic serpent with his bare hands, then having his hands examined by women, and finally lying ill in bed; these images have been connected with the legend of the Leper King, who contracted leprosy from the venom of a serpent with whom he had done battle. Less obscure are depictions of the construction of a Vishnuite temple (south of the western gopura) and the Churning of the Sea of Milk (north of the western gopura).
THE UPPER TERRACE & THE 200 FACES OF LOKESVARA
The inner gallery is nearly filled by the upper terrace, raised one level higher again. The lack of space between the inner gallery and the upper terrace has led scholars to conclude that the upper terrace did not figure in the original plan for the temple, but that it was added shortly thereafter following a change in design. Originally, it is believed, the Bayon had been designed as a single-level structure, similar in that respect to the roughly contemporaneous foundations at Ta Prohm and Banteay Kdei.
The upper terrace is home to the famous "face towers" of the Bayon, each of which supports two, three or (most commonly) four gigantic smiling faces. In addition to the mass of the central tower, smaller towers are located along the inner gallery (at the corners and entrances), and on chapels on the upper terrace. "Wherever one wanders," writes Maurice Glaize, the faces of Lokesvara follow and dominate with their multiple presence."
Efforts to read some significance into the numbers of towers and faces have run up against the circumstance that these numbers have not remained constant over time, as towers have been added through construction and lost to attrition. At one point, the temple was host to 49 such towers; now only 37 remain. The number of faces is approximately 200, but since some are only partially preserved there can be no definitive count.
THE CENTRAL TOWER & SANCTUARY
Like the inner gallery, the central tower was originally cruciform but was later filled out and made circular. It rises 43 metres above the ground. At the time of the temple's foundation, the principal religious image was a statue of the Buddha, 3.6 m tall, located in the sanctuary at the heart of the central tower. The statue depicted the Buddha seated in meditation, shielded from the elements by the flared hood of the serpent king Mucalinda. During the reign of Hindu restorationist monarch Jayavarman VIII, the figure was removed from the sanctuary and smashed to pieces. After being recovered in 1933 from the bottom of a well, it was pieced back together, and is now on display in a small pavilion at Angkor.
WIKIPEDIA
Padmapani is a name for Lokeshvara.
Avalokiteśvara (Sanskrit, "Lord who looks down", Tibetan: སྤྱན་རས་གཟིགས་, Wylie: spyan ras gzigs, THL: Chenrézik) is a bodhisattva who embodies the compassion of all Buddhas. This bodhisattva is variably depicted and described and is portrayed in different cultures as either female or male. In Chinese Buddhism, Avalokiteśvara has become the somewhat different female figure Guanyin. In Cambodia, he appears as Lokeśvara.
Avalokiteśvara is one of the more widely revered bodhisattvas in mainstream Mahayana Buddhism as well as unofficially in Theravada Buddhism.
ETYMOLOGY
The name Avalokiteśvara combines the verbal prefix ava "down", lokita, a past participle of the verb lok "to notice, behold, observe", here used in an active sense; and finally īśvara, "lord", "ruler", "sovereign" or "master". In accordance with sandhi (Sanskrit rules of sound combination), a+iśvara becomes eśvara. Combined, the parts mean "lord who gazes down (at the world)". The word loka ("world") is absent from the name, but the phrase is implied. It does appear in the Cambodian form of the name, Lokeśvara.
The earliest translation of the name into Chinese by authors such as Xuanzang was Guānzìzài (Chinese: 觀自在), not the form used in East Asian Buddhism today, Guanyin (Chinese: 觀音). It was initially thought that this was due to a lack of fluency, as Guanzizai indicates the original Sanskrit form was actually Avalokitasvara, "who looks down upon sound" (i.e., the cries of sentient beings who need help). It is now understood that was the original form, and is also the origin of Guanyin "Perceiving sound, cries", a translation furthered by the tendency of some Chinese translators, notably Kumārajīva, to use the variant 觀世音 Guānshìyīn "who perceives the world's lamentations"—wherein lok was read as simultaneously meaning both "to look" and "world" (Sanskrit loka; Chinese: 世; pinyin: shì). The original form Avalokitasvara appears in Sanskrit fragments of the fifth century.
This earlier Sanskrit name was supplanted by the form containing the ending -īśvara "lord"; Avalokiteśvara does not occur in Sanskrit before the seventh century.
The original meaning of the name fits the Buddhist understanding of the role of a bodhisattva. The reinterpretation presenting him as an īśvara shows a strong influence of Hinduism, as the term īśvara was usually connected to the Hindu notion of Krishna (in Vaishnavism) or Śiva (in Shaivism) as the Supreme Lord, Creator and Ruler of the world. Some attributes of such a god were transmitted to the bodhisattva, but the mainstream of those who venerated Avalokiteśvara upheld the Buddhist rejection of the doctrine of any creator god.
In Sanskrit, Avalokiteśvara is also referred to as Padmapāni ("Holder of the Lotus") or Lokeśvara ("Lord of the World"). In Tibetan, Avalokiteśvara is Chenrézik, (Tibetan: སྤྱན་རས་གཟིགས་) and is said to emanate as the Dalai Lama the Karmapa and other high lamas. An etymology of the Tibetan name Chenrézik is spyan "eye", ras "continuity" and gzig "to look". This gives the meaning of one who always looks upon all beings (with the eye of compassion).
ORIGIN
MAHAYANA ACCOUNT
According to Mahāyāna doctrine, Avalokiteśvara is the bodhisattva who has made a great vow to assist sentient beings in times of difficulty and to postpone his own buddhahood until he has assisted every sentient being in achieving nirvana. Mahayana sutras associated with Avalokiteśvara include the following:
Lotus Sutra
Kāraṇḍavyūhasūtra
Heart Sutra (Heart Sūtra)
Nīlakaṇṭha Dhāraṇī Sutra
Eleven-Faced Avalokitesvara Heart Dharani Sutra
Cundī Dhāraṇī Sūtra
The Lotus Sutra is generally accepted to be the earliest literature teaching about the doctrines of Avalokiteśvara. These are found in the Lotus Sutra chapter 25 (Chinese: 觀世音菩薩普門品). This chapter is devoted to Avalokiteśvara, describing him as a compassionate bodhisattva who hears the cries of sentient beings, and who works tirelessly to help those who call upon his name. A total of 33 different manifestations of Avalokiteśvara are described, including female manifestations, all to suit the minds of various beings. The chapter consists of both a prose and a verse section. This earliest source often circulates separately as its own sutra, called the Avalokiteśvara Sūtra (Chinese: 觀世音經; pinyin: Guānshìyīn jīng), and is commonly recited or chanted at Buddhist temples in East Asia.
When the Chinese monk Faxian traveled to Mathura in India around 400 CE, he wrote about monks presenting offerings to Avalokiteśvara. When Xuanzang traveled to India in the 7th century, he provided eyewitness accounts of Avalokiteśvara statues being venerated by devotees of all walks of life, from kings, to monks, to laypeople. Avalokiteśvara remained popular in India until the 12th century when Muslim invaders conquered the land and destroyed Buddhist monasteries.
In Chinese Buddhism and East Asia, Tangmi practices for the 18-armed form of Avalokiteśvara called Cundī are very popular. These practices have their basis in early Indian Vajrayana: her origins lie with a yakshini cult in Bengal and Orissa and her name in Sanskrit "connotes a prostitute or other woman of low caste but specifically denotes a prominent local ogress ... whose divinised form becomes the subject of an important Buddhist cult starting in the eighth century". The popularity of Cundī is attested by the three extant translations of the Cundī Dhāraṇī Sūtra from Sanskrit to Chinese, made from the end of the seventh century to the beginning of the eighth century. In late imperial China, these early esoteric traditions still thrived in Buddhist communities. Robert Gimello has also observed that in these communities, the esoteric practices of Cundī were extremely popular among both the populace and the elite.
In the Tiantai school, six forms of Avalokiteśvara are defined. Each of the bodhisattva's six qualities are said to break the hindrances respectively of the six realms of existence: hell-beings, pretas, animals, humans, asuras, and devas.
THERAVADA ACCOUNT
Veneration of Avalokiteśvara Bodhisattva has continued to the present day in Sri Lanka, where he is called Nātha. In more recent times, some western-educated Theravādins have attempted to identify Nātha with Maitreya Bodhisattva. However, traditions and basic iconography, including an image of Amitābha Buddha on the front of the crown, identify Nātha as Avalokiteśvara. Andrew Skilton writes:
... It is clear from sculptural evidence alone that the Mahāyāna was fairly widespread throughout [Sri Lanka], although the modern account of the history of Buddhism on the island presents an unbroken and pure lineage of Theravāda. (One can only assume that similar trends were transmitted to other parts of Southeast Asia with Sri Lankan ordination lineages.) Relics of an extensive cult of Avalokiteśvara can be seen in the present-day figure of Nātha.
Avalokiteśvara is popularly worshiped in Myanmar, where he is called Lokanat, and Thailand, where he is called Lokesvara.
MODERN SCHOLARSHIP
Western scholars have not reached a consensus on the origin of the reverence for Avalokiteśvara.
Some have suggested that Avalokiteśvara, along with many other supernatural beings in Buddhism, was a borrowing or absorption by Mahayana Buddhism of one or more deities from Hinduism, in particular Shiva or Vishnu, although the reason for this suggestion is because of the current name of the bodhisattva: Avalokiteśvara.
The Japanese scholar Shu Hikosaka on the basis of his study of Buddhist scriptures, ancient Tamil literary sources, as well as field survey, proposes the hypothesis that, the ancient mount Potalaka, the residence of Avalokiteśvara described in the Gaṇḍavyūha Sūtra and Xuanzang’s Great Tang Records on the Western Regions, is the real mountain Pothigai in Ambasamudram, Tirunelveli, Tamil Nadu. Shu also says that mount Potalaka has been a sacred place for the people of South India from time immemorial. With the spread of Buddhism in the region beginning at the time of the great king Aśoka in the third century BCE, it became a holy place also for Buddhists who gradually became dominant as a number of their hermits settled there. The local people, though, mainly remained followers of the Hindu religion. The mixed Hindu-Buddhist cult culminated in the formation of the figure of Avalokiteśvara.
The name Lokeśvara should not be confused with that of Lokeśvararāja, the Buddha under whom Dharmakara became a monk and made forty-eight vows before becoming Amitābha.
MANTRAS AND DHARANIS
Mahāyāna Buddhism relates Avalokiteśvara to the six-syllable mantra oṃ maṇi padme hūṃ. In Tibetan Buddhism, due to his association with this mantra, one form of Avalokiteśvara is called Ṣaḍākṣarī "Lord of the Six Syllables" in Sanskrit. Recitation of this mantra along with prayer beads is the most popular religious practice in Tibetan Buddhism. The connection between this famous mantra and Avalokiteśvara occurs for the first time in the Kāraṇḍavyūhasūtra. This text is first dated to around the late 4th century CE to the early 5th century CE. In this sūtra, a bodhisattva is told by the Buddha that recitation of this mantra while focusing on the sound can lead to the attainment of eight hundred samādhis. The Kāraṇḍavyūha Sūtra also features the first appearance of the dhāraṇī of Cundī, which occurs at the end of the sūtra text. After the bodhisattva finally attains samādhi with the mantra "oṃ maṇipadme hūṃ", he is then able to observe 77 koṭīs of fully enlightened buddhas replying to him in one voice with the Cundī Dhāraṇī: namaḥ saptānāṃ samyaksaṃbuddha koṭīnāṃ tadyathā, oṃ cale cule cunde svāhā.
In Shingon Buddhism, the mantra for Avalokiteśvara is On aruri kya sowa ka (Japanese: おん あるりきゃ そわか?)
The Nīlakaṇṭha Dhāraṇī is an 82-syllable dhāraṇī for Avalokiteśvara.
THOUSAND-ARMED AVALOKITESVARA
One prominent Buddhist story tells of Avalokiteśvara vowing never to rest until he had freed all sentient beings from saṃsāra. Despite strenuous effort, he realizes that still many unhappy beings were yet to be saved. After struggling to comprehend the needs of so many, his head splits into eleven pieces. Amitābha, seeing his plight, gives him eleven heads with which to hear the cries of the suffering. Upon hearing these cries and comprehending them, Avalokiteśvara attempts to reach out to all those who needed aid, but found that his two arms shattered into pieces. Once more, Amitābha comes to his aid and invests him with a thousand arms with which to aid the suffering multitudes.
The Bao'en Temple located in northwestern Sichuan has an outstanding wooden image of the Thousand-Armed Avalokiteśvara, an example of Ming dynasty decorative sculpture.
TIBETAN BUDDHIST BELIEFS CONCERNING CHENREZIG
Avalokiteśvara is an important deity in Tibetan Buddhism, and is regarded in the Vajrayana teachings as a Buddha.
In Tibetan Buddhism, Tara came into existence from a single tear shed by Avalokiteśvara. When the tear fell to the ground it created a lake, and a lotus opening in the lake revealed Tara. In another version of this story, Tara emerges from the heart of Avalokiteśvara. In either version, it is Avalokiteśvara's outpouring of compassion which manifests Tara as a being.
MANIFESTATIONS
Avalokiteśvara has an extraordinarily large number of manifestations in different forms (including wisdom goddesses (vidyaas) directly associated with him in images and texts).
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A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
Thiruvidai Marudur (திருவிடைமருதூர்) Temple is near Kumbakonam and dedicated to Lord Siva.
This shrine is known as Mahalinga shrine and the nine shrines surrounding it are known as shrines in accompaniment. 1. Vinayagar – Thiruvalanchuzhi, 2. Murugan – Swamimalai, 3. Nataraja – Chidambaram, 4. Navagrahas – Sooriyanar, 5. Dakshinamoorthy – Alangudi, 6. Bairavar – Sirkazhi, 7. Nandhi – Thiruvavaduthurai, 8. Somal Kandar – Thiruvarur, 9. Chandeswarar – Thirucheignalur
The temple is maintained and administered by Thiruvaduthurai Adheenam.This place is named as Idaimarudur as it is in between Srisailam and Ambasamudram.
Thiruvidaimarudur is the birthplace of the Hindu Saint Pattinathar - in the medieval period - whose lyrics are renowned for realizing self in Hindu mythology.
The temple is revered in the verses of Thevaram, the 7th century saivite work by the three saint poets namely, Appar,Gnanasambandhar Sundarar and Manickavasakar.Appar says :
மங்கை காணக் கொடார்மண மாலையைக்
கங்கை காணக் கொடார்முடிக் கண்ணியை
நங்கை மீர் இடைக் மருதரிந் நங்கைக்கே
எங்கு வாங்கிக் கொடுத்தார் இதழியே
I am quite fascinated by the variation in shapes of same pots within a geographic region! Here is part of my haandi collection from India. Haandis are generally used for cooking rice in India. Insoem parts they also use it for cooking meat or biryani. Of late Haandi cooking has been quite popular outside India.
They are from different parts of India. The biggest one came from Northern Karnataka (precisely from Badami in Bijapur). That one is over 100 year old. The smallest one I found in a pots and pans store in Ambasamudram in Tamil Nadu. the owners were surprised that I was going through their old pots and pans stock and asking them if they would sell them. Brass Uruli came from a frien's mother as a gift which is also at least 50 years old. The brass handi is from a shop in Tirunelveli town next to the big Nellaiappa temple. The terracotta and wooden ones are from Calcutta. The ceramic one id from Khurja in Uttar Pradesh.
@ Papanasam, Tirunelveli
This series is about monkeys in their natural environment - In the forest, around waterfalls, etc., Photos were shot around Papanasam and Ambasamudram
Tirunelveli Dist Tamilnadu India
I love clicking in mist, and it was one such day in the Manimutharu hills in Ambasamudram. Just when I was thinking that I need a balancing subject for the tree in the backdrop of heavy mist, the cow showed up out of nowhere and disappeared in a jiffy :)
Connect with me : Sankar Salvady Photography
Astrologer-Thantri Deeksha-Guru All Problem Solution Specialist Dr Rupnathji Ariyalur Chennai Coimbatore Cuddalore Dharmapuri Dindigul Erode Kancheepuram Kanchipuram Kanniyakumari Nagercoil Karur Krishnagiri Madurai Nagapattinam Namakkal Perambalur Pudukottai Pudukkottai Ramanathapuram Salem Sivagangai Thanjavur Theni The Nilgiris Udagamandalam Ootacamund Tirunelveli Thiruvallur Tiruvannamalai Thiruvarur Thoothukudi Tiruchirapalli Tiruchirappalli Tiruppur Vellore Villupuram Vilupuram Virudhunagar A.Vellalapatti Abiramam Achampudur Acharapakkam Acharipallam Achipatti Adikaratti Adiramapattinam Aduthurai alias Maruthuvakudi Agaram Alagappapuram Alanganallur Alangayam Alangudi Alangulam Alangulam Alanthurai Alapakkam Alur Alwarkurichi Alwarthirunagiri Ambasamudram Ambur Ammainaickanur Ammapettai Ammapettai Ammoor Anaimalai Anaiyur Ananthapuram Andipatti Jakkampatti Anjugramam Annavasal Annur Anthiyur Appakudal Arachalur Arakandanallur Arakonam Aralvaimozhi Arani Aranthangi Arasiramani Aravakurichi Arcot Arimalam Ariyalur Ariyappampalayam Ariyur Arumanai Arumbavur Aruppukkottai Athani Athanur Athimarapatti Athipattu Athur Attur Avadattur Avalpoondurai Ayakudi Aygudi Ayothiapattinam Ayyalur Dusi Ayyampalayam Ayyampettai Ayyampettai Dindigul Azhagiapandiapuram Agastheeswaram Ammavarikuppam B. Meenakshipuram B.Mallapuram Balakrishnampatti Balakrishnapuram Balapallam Balasamudram Bargur Batlagundu Bhavani Bhavanisagar Bikketti Bhuvanagiri Bodinayakanur Boothapandi Belur Boothipuram Chengalpattu Chengam Chennai Chennasamudram Chennimalai Cheranmadevi Chetpet Chettiarpatti Chettipalayam Chettithangal Chidambaram Chinnakkampalayam Chinnalapatti Chinnamanur Chinnasalem Chithode Cholapuram Coimbatore Coonoor Courtalam Cuddalore Denkanikottai Desur Devadanapatti Devakottai Devanangurichi Devarshola Dhalavoipuram Dhali Dhaliyur Dharapuram Dharmapuri Edaganasalai Edaikodu Edakalinadu Edappadi Elathur Elayirampannai Elumalai Eral Eraniel Eriodu Erode Erumaipatti Eruvadi Ethapur Ettayapuram Ezhudesam Ganapathipuram Gangavalli Ganguvarpatti Gingee Gobichettipalayam Gopalasamudram Gudalur Gudalur Gudiyatham Gummidipoondi Hanumanthampatti Harur Highways Hosur Huligal Ilampillai Ilanji Ilayangudi Iluppaiyurani Iluppur Jalakandapuram Jambai Jayankondam Jolarpet Kadambur Kadathur Kadayal Kadayampatti Kadayanallur Kalakkad Kalambur Kalappanaickenpatti Kalavai Kaliyakkavilai Kallakkurichi Kallakudi Kallukuttam Kalugumalai Kamayagoundanpatti Kambainallur Kambam Kamuthi Kanakkampalayam Kanam Kancheepuram Kangayampalayam Kangeyam Kaniyur Kanjikoil Kannamangalam Kannivadi Kannivadi Kanniyakumari Kappiyarai Karaikkudi Karamadai Karambakkudi Kariamangalam Kariapatti Karugampattur Karumandi Chellipalayam Karumathampatti Karungal Karunguzhi Karuppur Karur Kasipalayam Kathujuganapalli Kattumannarkoil Kattuputhur Kaveripakkam Kaveripattinam Kayatharu Keelakarai Keeramangalam Keeranur Keeranur Keeripatti Keezhapavur Kelamangalam Kembainaickenpalayam Kethi Kilampadi Kilkulam Kilkunda Killai Killiyur Kilpennathur Kilvelur Kinathukadavu Kodaikanal Kodavasal Kodumudi Kolachal Kolappalur Kolathupalayam Kolathur Kollankodu Kollankoil Komaralingam Kombai Konganapuram Kooraikundu Koradacheri Kotagiri Kothinallur Kottakuppam Kottaram Kottur Kovilpatti Krishnagiri Krishnarayapuram Kuchanur Kuhalur Kulasekarapuram Kulithalai Kumarapuram Kumbakonam Kunnathur Kurinjipadi Kurumbalur Kuthalam Kuthanallur Kuzhithurai Labbaikudikadu Lakkampatti Lalgudi Lalpet Madathukulam Madukkur Madurai Maduranthakam Mallankinaru Mallasamudram Mallur Mamallapuram Mamsapuram Manachanallur Manalmedu Manalurpet Manamadurai Manapparai Manavalakurichi Mandaikadu Mandapam Mangalampet Manimutharu Mannargudi Maraimalainagar Marakkanam Maramangalathupatti Marandahalli Markayankottai Marudur Marungur Mathigiri Mayiladuthurai Mecheri Melacheval Melachokkanathapuram Melagaram Melamaiyur Melathiruppanthuruthi Melattur Melpattampakkam Melur Melvisharam Mettupalayam Mettupalayam Mettur Minjur Modakurichi Mohanur Moolakaraipatti Mopperipalayam Mudukulathur Mukasipidariyur Mukkudal Mulagumudu Mulanur Muruganpalayam Musiri Muthupe Muthur Muttayyapuram Myladi Naduvattam Nagapattinam Nagavakulam Nagercoil Nagojanahalli Nallampatti Nallur Namagiripettai Namakkal Nambiyur Nandivaram Guduvancheri Nangavalli Nangavaram Nanguneri Nanjikottai Nannilam Naranapuram Narasingapuram Narasingapuram Nasiyanur Natham Nathampannai Natrampalli Nattarasankottai Nazerath Needamangalam Neelagiri Neikkarapatti Neiyyur Nellikuppam Nemili Neripperichal Nerkuppai Nerunjipettai Neyveli Nilakkottai O' Valley Odaipatti Odaiyakulam Oddanchatram Odugathur Olagadam Omalur Orathanadu Mukthambalpuram Othakadai Othakalmandapam Ottapparai P.J. Cholapuram P.Mettupalayam P.N.Patti Pacode Padaiveedu Padirikuppam Padmanabhapuram Palaganangudy Palakkodu Palamedu Palani Palani Chettipatti Palayam Palladam Pallapalayam Pallapatti Pallikonda Pallipattu Panagudi Panaimarathupatti Panapakkam Panboli Pandamangalam Pannaikadu Pannaipuram Panruti Papanasam Papparapatti Pappireddipatti Paramakudi Paramathi Parangipettai Pasur Pathamadai Pattinam Pattiveeranpatti Pattukkottai Pazhugal Pennadam Pennagaram Pennathur Peraiyur Peralam Perambalur Peranamallur Peravurani Periya Negamam Periyakodiveri Periyakulam Periyapatti Periyasemur Pernampattu Perumagalur Perumandi Perumuchi Perundurai Perungulam Pethampalayam Pethanaickenpalayam Pillanallur Pollachi Polur Ponmani Ponnamaravathi Ponnampatti Ponneri Poolambadi Poolampatti Pooluvapatti Pothanur Pothatturpettai Pudukadai Pudukkottai Pudukkottai Pudupalayam Pudupalayam Agraharam Pudupatti Pudupattinam Pudur Puliyankudi Puliyur Pullampadi Punjai Thottakurichi Punjaipugalur Puthalam Punjaipuliampatti Puvalur R.Pudupatti R.S.Mangalam Rajapalayam Ramanathapuram Rameswaram Rasipuram Rayagiri Reethapuram Rosalpatti Rudravathi S. Kannanur S.Kodikulam Salangapalayam Salem Samalapuram Samathur Sambavar Vadagarai Sankaramanallur Sankarankoil Sankarapuram Sankari Sarcarsamakulam Sathankulam Sathiyavijayanagaram Sathyamangalam Sattur Sayalgudi Sayapuram Seerapalli Seithur Semmipalayam Senthamangalam Sentharapatti Senur Sethiathoppu Sevugampatti Shenkottai Sholavandan Sholingur Sholur Singampuneri Singaperumalkoil Sirkali Sirugamani Sirumugai Sithayankottai Sithurajapuram Sivaganga Sivagiri Sivakasi Sivanthipuram Srimushnam Sriperumbudur Sriramapuram Srivaikuntam Srivilliputhur Suchindram Sundarapandiam Sundarapandiapuram Surandai Suriyampalayam Swamimalai T.Kallupatti Tayilupatti Tenkasi Thadikombu Thakkolam Thalainayar Thalakudi Thamaraikulam Thammampatti Thanjavur Tharamangalam Tharangambadi Thathaiyangarpet Thedavur Thengampudur Theni Allinagaram Thenkarai Thenkarai Thenthamaraikulam Thenthiruperai Thesur Thevaram Thevur Thiagadurgam Thingalnagar Thirukarungudi Thirukkattupalli Thirumalayampalayam Thirumangalam Thirunageswaram Thirunindravur Thiruparappu Thiruporur Thiruppanandal Thirupuvanam Thirupuvanam Thiruthuraipoondi Thiruvaiyaru Thiruvalam Thiruvallur Thiruvarur Thiruvattaru Thiruvenkatam Thiruvennainallur hiruvidaimarudur Thiruvithankodu Thisayanvilai Thittacheri Thondamuthur Thondi Thoothukkudi Thorapadi Thottiyam Thuraiyur Thuthipattu Timiri Tindivanam Tiruchendur Tiruchengode Uthukuli Tiruchirappalli Tirukalukundram Tirukkoyilur Tirunelveli Tirupathur Tirupathur Tiruppur Tiruttani Tiruvannamalai Tiruvethipuram Tittakudi TNPL Pugalur Udangudi Udayarpalayam Udhagamandalam Udumalaipettai Ulundurpettai Unjalur Unnamalaikadai Uppidamangalam Uppiliapuram Urapakkam Usilampatti Uthamapalayam Uthangarai Uthiramerur Uthukkottai V. Pudur V.Pudupatti Vadakarai Keezhpadugai Vadakkanandal Vadakkuvalliyur Vadalur Vadamadurai Vadipatti Vadugapatti Vadugapatti Vaitheeswarankoil Valangaiman Valavanur Vallam Valparai Viswanatham Valvaithankoshtam Vanavasi Vandavasi Vaniputhur Vaniyambadi Varadarajanpettai Vasudevanallur Vathirairuppu Vazhapadi Vedaranyam Vedasandur Veeraganur Veerakkalpudur Veerapandi Veeravanallur Velankanni Vellakoil Vellimalai Vellore Vengampudur Vellottamparappu Velur Vengathur Venkarai Vennanthur Veppathur Verkilambi Vettaikaranpudur Vettavalam Vijayapuri Vikramasingapuram Vikravandi Vilapakkam Vilathikulam Vilavur Villukuri Viluppuram Virudhachalam Virudhunagar Virupakshipuram Walajabad Kanchipuram Walajabad Uthiramerur Sriperumbudur Kundrathur Thiruporur Kattankolathur Madurantakam Thirukalukundram Thomas Malai Acharapakkam Lathur Chithamur Tiruvallur Villivakkam Puzhal Minjur Sholavaram Gummidipoondi Tiruvalangadu Tiruttani Pallipet R.K.Pet Tiruvallur Poondi Kadambathur Ellapuram Poonamallee Cuddalore Cuddalore Annagramam Panruti Kurinjipadi Kattumannar Koil Kumaratchi Keerapalayam Melbhuvanagiri Vridhachalam Kammapuram Nallur Mangalur T.V. Nallur Villupuram Tirukoilur Mugaiyur Tirunavalur Ulundurpet Kanai Koliyanur Kandamangalam Olakkur Mailam Merkanam Vanur Gingee Vallam Melmalayanur Kallakurichi Chinnasalem Rishivandiyam Sankarapuram Thiyagadurgam Kalrayan Hills Vellore Kaniyambadi Anaicut Madhanur Katpadi K.V. Kuppam Gudiyatham Pernambet Walajah Sholinghur Arakonam Nemili Vikkiravandi Kaveripakkam Arcot Thimiri Thirupathur Jolarpet Kandhili Natrampalli Alangayam Tiruvannamalai Kilpennathur Thurinjapuram Polur Kalasapakkam Chetpet Chengam Pudupalayam Thandrampet Jawadumalai Cheyyar Anakkavoor Vembakkam Vandavasi Thellar Peranamallur Arni West Arni Salem Veerapandy Panamarathupatti Ayothiyapattinam Valapady Yercaud P.N.Palayam Attur Gangavalli Thalaivasal Kolathur Nangavalli Mecheri Omalur Tharamangalam Kadayampatti Sankari Idappady Konganapuram Mac. Choultry Mohanur Namakkal Elacipalayam Erumapatty Kabilarmalai Kollihills Mallasamudram Namakkal Namagiripet Puduchatram Paramathy Pallipalayam Rasipuram Sendamangalam Tiruchengode Vennandur Dharmapuri Nallampalli Pennagaram Harur Morappur Parangipettai Pappireddipatti Karimangalam Palacode Erode Modakkuruchi Kodumudi Perundurai Chennimalai Ammapet Anthiyur Bhavani Gobi Nambiyur T.N. Palayam Sathy Bhavanisagar Talavadi Coimbatore Karamadai Madukkarai P.N.Palayam S.S.Kulam Thondamuthur Anaimalai Kinathukadavu Pollachi Pollachi Annur Sulur Sultanpet The Nilgiris Udhagai Coonoor Kotagiri Gudalur Thanjavur Budalur Thiruvaiyaru Orathanadu Thiruvonam Kumbakonam Thiruvidaimarudur Tiruppanandal Papanasam Ammapet Pattukkottai Madukkur Peravurani Sethubavachatram Nagapattinam Keelaiyur Kilvelur Thirumarugal Thalainayar Vedaranyam Mayiladuthurai Kuthalam Sembanarkoil Sirkali Kollidam Tiruvarur Valangaiman Nannilam Kodavasal Thiruvarur Koradacheri Mannargudi Needamangalam Kottur Thiruthuraipoondi Muthupettai Tiruchirappalli Andanallur Manikandam Thiruverambur Manapparai Marungapuri Vaiyampatty Lalgudi Cumbum Manachanallur Pullampady Musiri Thottiam T.Pet Thuraiyur Uppiliyapuram Karur Thanthoni Aravakurichi K.Paramathi Kulithalai Krishnarayapuram Kadavur Thogamalai Perambalur Veppanthattai Alathur Veppur Pudukkottai Annavasal Arimalam Kunnandarkoil Ponnamaravathi Pudukkottai Thirumayam Viralimalai Arantangi Avudayarkoil Gandarvakottai Karambakkudi Manamelkudi Thiruvarankulam Madurai Melur Tenkasi Thirupparankundram Kottampatti Vadipatti Alanganallur Usilampatti Chellampatti Sedapatti Thirumangalam T.Kallupatty Kallikudi Andipatti K Myladumparai Periyakulam Bodinaickanur Chinnamanur Dindigul Uthamapalayam Athoor Reddiarchatram Nilakottai Shanarpatti Natham Batlagundu Palani Oddanchatram Thoppampatti Vedasandur Vadamadurai Guziliamparai Kodaikanal Ramanathapuram Mandapam Ramanathapuram R.S. Mangalam Thiruppullani Thiruvadanai Bogalur Kadaladi Kamuthi Mudukulathur Nainarkoil Paramakudi Virudhunagar Arupukottai Virudhunagar Kariapatti Tiruchuli Narikudi Rajapalayam Srivilliputhur Watrap Sivakasi Vembakottai Sattur Sivagangai Sivaganga Kalaiyarkoil Manamadurai Thiruppuvanam Ilayangudi Thiruppathur Singampunari Sakkottai Kallal Devakottai Kannangudi S.Pudur Tirunelveli Palayamkottai Manur Melaneelithanallur Kuruvikulam Sankarankoil Kangayam Ambasamudram Cheranmahadevi Pappakudi Kadayam Theni Nanguneri Kalakadu Valliyoor Radhapuram Alankulam Keelapavoor Kadayanallur Shencottai Dharapuram Vasudevanallur Thoothukkudi Thoothukudi Karungulam Srivaikundam Alwarthirunagari Tiruchendur Udangudi Sattankulam Kovilpatti Kayathar Ottapidaram Pudur Vilathikulam Kanniyakumari Agastheeswaram Thovalai Rajakkamangalam Thuckalay Kurunthancode Thiruvattar Killiyoor Munchirai Melpuram Veppanapalli Bargur Krishnagiri Kaveripattanam Mathur Uthangarai Hosur Shoolagiri Kelamangalam Thally Ariyalur Thirumanur Jayamkondam Andimadam T.Palur Sendurai Gudimangalam Tiruppur Uthukuli Vellakoil Madathukulam Kundadam Mulanur Udumalpet Avinashi Palladam Pongalur Tiruppur Astrologer-Thantri Deeksha-Guru Paramahamsa Rupnathji Vashikaran & Black-Magic Apply or Removal Specialist Vastu Doshas Removal & Griha Shanti Specialist Bhoot Pret Badha Evil Eye Symptoms Specialist Navagraha Shanti (Havan or Yagna) Specialist Get Your Love Back By Vashikaran Specialist Love-Marriage Problem Solution Specialist Tantric Abhichar Kalajadu Specialist Sarva Manokamna Purti Specialist All Problem Solution Specialist Enemy-Destroy Tantri Specialist Puja Havan or Yajna Specialist Dr.Rupnathji World Famous Number One Best Jyotish Acharya Yogi Tantri Guruji
Astrologer-Thantri Deeksha-Guru All Problem Solution Specialist Dr Rupnathji Ariyalur Chennai Coimbatore Cuddalore Dharmapuri Dindigul Erode Kancheepuram Kanchipuram Kanniyakumari Nagercoil Karur Krishnagiri Madurai Nagapattinam Namakkal Perambalur Pudukottai Pudukkottai Ramanathapuram Salem Sivagangai Thanjavur Theni The Nilgiris Udagamandalam Ootacamund Tirunelveli Thiruvallur Tiruvannamalai Thiruvarur Thoothukudi Tiruchirapalli Tiruchirappalli Tiruppur Vellore Villupuram Vilupuram Virudhunagar A.Vellalapatti Abiramam Achampudur Acharapakkam Acharipallam Achipatti Adikaratti Adiramapattinam Aduthurai alias Maruthuvakudi Agaram Alagappapuram Alanganallur Alangayam Alangudi Alangulam Alangulam Alanthurai Alapakkam Alur Alwarkurichi Alwarthirunagiri Ambasamudram Ambur Ammainaickanur Ammapettai Ammapettai Ammoor Anaimalai Anaiyur Ananthapuram Andipatti Jakkampatti Anjugramam Annavasal Annur Anthiyur Appakudal Arachalur Arakandanallur Arakonam Aralvaimozhi Arani Aranthangi Arasiramani Aravakurichi Arcot Arimalam Ariyalur Ariyappampalayam Ariyur Arumanai Arumbavur Aruppukkottai Athani Athanur Athimarapatti Athipattu Athur Attur Avadattur Avalpoondurai Ayakudi Aygudi Ayothiapattinam Ayyalur Dusi Ayyampalayam Ayyampettai Ayyampettai Dindigul Azhagiapandiapuram Agastheeswaram Ammavarikuppam B. Meenakshipuram B.Mallapuram Balakrishnampatti Balakrishnapuram Balapallam Balasamudram Bargur Batlagundu Bhavani Bhavanisagar Bikketti Bhuvanagiri Bodinayakanur Boothapandi Belur Boothipuram Chengalpattu Chengam Chennai Chennasamudram Chennimalai Cheranmadevi Chetpet Chettiarpatti Chettipalayam Chettithangal Chidambaram Chinnakkampalayam Chinnalapatti Chinnamanur Chinnasalem Chithode Cholapuram Coimbatore Coonoor Courtalam Cuddalore Denkanikottai Desur Devadanapatti Devakottai Devanangurichi Devarshola Dhalavoipuram Dhali Dhaliyur Dharapuram Dharmapuri Edaganasalai Edaikodu Edakalinadu Edappadi Elathur Elayirampannai Elumalai Eral Eraniel Eriodu Erode Erumaipatti Eruvadi Ethapur Ettayapuram Ezhudesam Ganapathipuram Gangavalli Ganguvarpatti Gingee Gobichettipalayam Gopalasamudram Gudalur Gudalur Gudiyatham Gummidipoondi Hanumanthampatti Harur Highways Hosur Huligal Ilampillai Ilanji Ilayangudi Iluppaiyurani Iluppur Jalakandapuram Jambai Jayankondam Jolarpet Kadambur Kadathur Kadayal Kadayampatti Kadayanallur Kalakkad Kalambur Kalappanaickenpatti Kalavai Kaliyakkavilai Kallakkurichi Kallakudi Kallukuttam Kalugumalai Kamayagoundanpatti Kambainallur Kambam Kamuthi Kanakkampalayam Kanam Kancheepuram Kangayampalayam Kangeyam Kaniyur Kanjikoil Kannamangalam Kannivadi Kannivadi Kanniyakumari Kappiyarai Karaikkudi Karamadai Karambakkudi Kariamangalam Kariapatti Karugampattur Karumandi Chellipalayam Karumathampatti Karungal Karunguzhi Karuppur Karur Kasipalayam Kathujuganapalli Kattumannarkoil Kattuputhur Kaveripakkam Kaveripattinam Kayatharu Keelakarai Keeramangalam Keeranur Keeranur Keeripatti Keezhapavur Kelamangalam Kembainaickenpalayam Kethi Kilampadi Kilkulam Kilkunda Killai Killiyur Kilpennathur Kilvelur Kinathukadavu Kodaikanal Kodavasal Kodumudi Kolachal Kolappalur Kolathupalayam Kolathur Kollankodu Kollankoil Komaralingam Kombai Konganapuram Kooraikundu Koradacheri Kotagiri Kothinallur Kottakuppam Kottaram Kottur Kovilpatti Krishnagiri Krishnarayapuram Kuchanur Kuhalur Kulasekarapuram Kulithalai Kumarapuram Kumbakonam Kunnathur Kurinjipadi Kurumbalur Kuthalam Kuthanallur Kuzhithurai Labbaikudikadu Lakkampatti Lalgudi Lalpet Madathukulam Madukkur Madurai Maduranthakam Mallankinaru Mallasamudram Mallur Mamallapuram Mamsapuram Manachanallur Manalmedu Manalurpet Manamadurai Manapparai Manavalakurichi Mandaikadu Mandapam Mangalampet Manimutharu Mannargudi Maraimalainagar Marakkanam Maramangalathupatti Marandahalli Markayankottai Marudur Marungur Mathigiri Mayiladuthurai Mecheri Melacheval Melachokkanathapuram Melagaram Melamaiyur Melathiruppanthuruthi Melattur Melpattampakkam Melur Melvisharam Mettupalayam Mettupalayam Mettur Minjur Modakurichi Mohanur Moolakaraipatti Mopperipalayam Mudukulathur Mukasipidariyur Mukkudal Mulagumudu Mulanur Muruganpalayam Musiri Muthupe Muthur Muttayyapuram Myladi Naduvattam Nagapattinam Nagavakulam Nagercoil Nagojanahalli Nallampatti Nallur Namagiripettai Namakkal Nambiyur Nandivaram Guduvancheri Nangavalli Nangavaram Nanguneri Nanjikottai Nannilam Naranapuram Narasingapuram Narasingapuram Nasiyanur Natham Nathampannai Natrampalli Nattarasankottai Nazerath Needamangalam Neelagiri Neikkarapatti Neiyyur Nellikuppam Nemili Neripperichal Nerkuppai Nerunjipettai Neyveli Nilakkottai O' Valley Odaipatti Odaiyakulam Oddanchatram Odugathur Olagadam Omalur Orathanadu Mukthambalpuram Othakadai Othakalmandapam Ottapparai P.J. Cholapuram P.Mettupalayam P.N.Patti Pacode Padaiveedu Padirikuppam Padmanabhapuram Palaganangudy Palakkodu Palamedu Palani Palani Chettipatti Palayam Palladam Pallapalayam Pallapatti Pallikonda Pallipattu Panagudi Panaimarathupatti Panapakkam Panboli Pandamangalam Pannaikadu Pannaipuram Panruti Papanasam Papparapatti Pappireddipatti Paramakudi Paramathi Parangipettai Pasur Pathamadai Pattinam Pattiveeranpatti Pattukkottai Pazhugal Pennadam Pennagaram Pennathur Peraiyur Peralam Perambalur Peranamallur Peravurani Periya Negamam Periyakodiveri Periyakulam Periyapatti Periyasemur Pernampattu Perumagalur Perumandi Perumuchi Perundurai Perungulam Pethampalayam Pethanaickenpalayam Pillanallur Pollachi Polur Ponmani Ponnamaravathi Ponnampatti Ponneri Poolambadi Poolampatti Pooluvapatti Pothanur Pothatturpettai Pudukadai Pudukkottai Pudukkottai Pudupalayam Pudupalayam Agraharam Pudupatti Pudupattinam Pudur Puliyankudi Puliyur Pullampadi Punjai Thottakurichi Punjaipugalur Puthalam Punjaipuliampatti Puvalur R.Pudupatti R.S.Mangalam Rajapalayam Ramanathapuram Rameswaram Rasipuram Rayagiri Reethapuram Rosalpatti Rudravathi S. Kannanur S.Kodikulam Salangapalayam Salem Samalapuram Samathur Sambavar Vadagarai Sankaramanallur Sankarankoil Sankarapuram Sankari Sarcarsamakulam Sathankulam Sathiyavijayanagaram Sathyamangalam Sattur Sayalgudi Sayapuram Seerapalli Seithur Semmipalayam Senthamangalam Sentharapatti Senur Sethiathoppu Sevugampatti Shenkottai Sholavandan Sholingur Sholur Singampuneri Singaperumalkoil Sirkali Sirugamani Sirumugai Sithayankottai Sithurajapuram Sivaganga Sivagiri Sivakasi Sivanthipuram Srimushnam Sriperumbudur Sriramapuram Srivaikuntam Srivilliputhur Suchindram Sundarapandiam Sundarapandiapuram Surandai Suriyampalayam Swamimalai T.Kallupatti Tayilupatti Tenkasi Thadikombu Thakkolam Thalainayar Thalakudi Thamaraikulam Thammampatti Thanjavur Tharamangalam Tharangambadi Thathaiyangarpet Thedavur Thengampudur Theni Allinagaram Thenkarai Thenkarai Thenthamaraikulam Thenthiruperai Thesur Thevaram Thevur Thiagadurgam Thingalnagar Thirukarungudi Thirukkattupalli Thirumalayampalayam Thirumangalam Thirunageswaram Thirunindravur Thiruparappu Thiruporur Thiruppanandal Thirupuvanam Thirupuvanam Thiruthuraipoondi Thiruvaiyaru Thiruvalam Thiruvallur Thiruvarur Thiruvattaru Thiruvenkatam Thiruvennainallur hiruvidaimarudur Thiruvithankodu Thisayanvilai Thittacheri Thondamuthur Thondi Thoothukkudi Thorapadi Thottiyam Thuraiyur Thuthipattu Timiri Tindivanam Tiruchendur Tiruchengode Uthukuli Tiruchirappalli Tirukalukundram Tirukkoyilur Tirunelveli Tirupathur Tirupathur Tiruppur Tiruttani Tiruvannamalai Tiruvethipuram Tittakudi TNPL Pugalur Udangudi Udayarpalayam Udhagamandalam Udumalaipettai Ulundurpettai Unjalur Unnamalaikadai Uppidamangalam Uppiliapuram Urapakkam Usilampatti Uthamapalayam Uthangarai Uthiramerur Uthukkottai V. Pudur V.Pudupatti Vadakarai Keezhpadugai Vadakkanandal Vadakkuvalliyur Vadalur Vadamadurai Vadipatti Vadugapatti Vadugapatti Vaitheeswarankoil Valangaiman Valavanur Vallam Valparai Viswanatham Valvaithankoshtam Vanavasi Vandavasi Vaniputhur Vaniyambadi Varadarajanpettai Vasudevanallur Vathirairuppu Vazhapadi Vedaranyam Vedasandur Veeraganur Veerakkalpudur Veerapandi Veeravanallur Velankanni Vellakoil Vellimalai Vellore Vengampudur Vellottamparappu Velur Vengathur Venkarai Vennanthur Veppathur Verkilambi Vettaikaranpudur Vettavalam Vijayapuri Vikramasingapuram Vikravandi Vilapakkam Vilathikulam Vilavur Villukuri Viluppuram Virudhachalam Virudhunagar Virupakshipuram Walajabad Kanchipuram Walajabad Uthiramerur Sriperumbudur Kundrathur Thiruporur Kattankolathur Madurantakam Thirukalukundram Thomas Malai Acharapakkam Lathur Chithamur Tiruvallur Villivakkam Puzhal Minjur Sholavaram Gummidipoondi Tiruvalangadu Tiruttani Pallipet R.K.Pet Tiruvallur Poondi Kadambathur Ellapuram Poonamallee Cuddalore Cuddalore Annagramam Panruti Kurinjipadi Kattumannar Koil Kumaratchi Keerapalayam Melbhuvanagiri Vridhachalam Kammapuram Nallur Mangalur T.V. Nallur Villupuram Tirukoilur Mugaiyur Tirunavalur Ulundurpet Kanai Koliyanur Kandamangalam Olakkur Mailam Merkanam Vanur Gingee Vallam Melmalayanur Kallakurichi Chinnasalem Rishivandiyam Sankarapuram Thiyagadurgam Kalrayan Hills Vellore Kaniyambadi Anaicut Madhanur Katpadi K.V. Kuppam Gudiyatham Pernambet Walajah Sholinghur Arakonam Nemili Vikkiravandi Kaveripakkam Arcot Thimiri Thirupathur Jolarpet Kandhili Natrampalli Alangayam Tiruvannamalai Kilpennathur Thurinjapuram Polur Kalasapakkam Chetpet Chengam Pudupalayam Thandrampet Jawadumalai Cheyyar Anakkavoor Vembakkam Vandavasi Thellar Peranamallur Arni West Arni Salem Veerapandy Panamarathupatti Ayothiyapattinam Valapady Yercaud P.N.Palayam Attur Gangavalli Thalaivasal Kolathur Nangavalli Mecheri Omalur Tharamangalam Kadayampatti Sankari Idappady Konganapuram Mac. Choultry Mohanur Namakkal Elacipalayam Erumapatty Kabilarmalai Kollihills Mallasamudram Namakkal Namagiripet Puduchatram Paramathy Pallipalayam Rasipuram Sendamangalam Tiruchengode Vennandur Dharmapuri Nallampalli Pennagaram Harur Morappur Parangipettai Pappireddipatti Karimangalam Palacode Erode Modakkuruchi Kodumudi Perundurai Chennimalai Ammapet Anthiyur Bhavani Gobi Nambiyur T.N. Palayam Sathy Bhavanisagar Talavadi Coimbatore Karamadai Madukkarai P.N.Palayam S.S.Kulam Thondamuthur Anaimalai Kinathukadavu Pollachi Pollachi Annur Sulur Sultanpet The Nilgiris Udhagai Coonoor Kotagiri Gudalur Thanjavur Budalur Thiruvaiyaru Orathanadu Thiruvonam Kumbakonam Thiruvidaimarudur Tiruppanandal Papanasam Ammapet Pattukkottai Madukkur Peravurani Sethubavachatram Nagapattinam Keelaiyur Kilvelur Thirumarugal Thalainayar Vedaranyam Mayiladuthurai Kuthalam Sembanarkoil Sirkali Kollidam Tiruvarur Valangaiman Nannilam Kodavasal Thiruvarur Koradacheri Mannargudi Needamangalam Kottur Thiruthuraipoondi Muthupettai Tiruchirappalli Andanallur Manikandam Thiruverambur Manapparai Marungapuri Vaiyampatty Lalgudi Cumbum Manachanallur Pullampady Musiri Thottiam T.Pet Thuraiyur Uppiliyapuram Karur Thanthoni Aravakurichi K.Paramathi Kulithalai Krishnarayapuram Kadavur Thogamalai Perambalur Veppanthattai Alathur Veppur Pudukkottai Annavasal Arimalam Kunnandarkoil Ponnamaravathi Pudukkottai Thirumayam Viralimalai Arantangi Avudayarkoil Gandarvakottai Karambakkudi Manamelkudi Thiruvarankulam Madurai Melur Tenkasi Thirupparankundram Kottampatti Vadipatti Alanganallur Usilampatti Chellampatti Sedapatti Thirumangalam T.Kallupatty Kallikudi Andipatti K Myladumparai Periyakulam Bodinaickanur Chinnamanur Dindigul Uthamapalayam Athoor Reddiarchatram Nilakottai Shanarpatti Natham Batlagundu Palani Oddanchatram Thoppampatti Vedasandur Vadamadurai Guziliamparai Kodaikanal Ramanathapuram Mandapam Ramanathapuram R.S. Mangalam Thiruppullani Thiruvadanai Bogalur Kadaladi Kamuthi Mudukulathur Nainarkoil Paramakudi Virudhunagar Arupukottai Virudhunagar Kariapatti Tiruchuli Narikudi Rajapalayam Srivilliputhur Watrap Sivakasi Vembakottai Sattur Sivagangai Sivaganga Kalaiyarkoil Manamadurai Thiruppuvanam Ilayangudi Thiruppathur Singampunari Sakkottai Kallal Devakottai Kannangudi S.Pudur Tirunelveli Palayamkottai Manur Melaneelithanallur Kuruvikulam Sankarankoil Kangayam Ambasamudram Cheranmahadevi Pappakudi Kadayam Theni Nanguneri Kalakadu Valliyoor Radhapuram Alankulam Keelapavoor Kadayanallur Shencottai Dharapuram Vasudevanallur Thoothukkudi Thoothukudi Karungulam Srivaikundam Alwarthirunagari Tiruchendur Udangudi Sattankulam Kovilpatti Kayathar Ottapidaram Pudur Vilathikulam Kanniyakumari Agastheeswaram Thovalai Rajakkamangalam Thuckalay Kurunthancode Thiruvattar Killiyoor Munchirai Melpuram Veppanapalli Bargur Krishnagiri Kaveripattanam Mathur Uthangarai Hosur Shoolagiri Kelamangalam Thally Ariyalur Thirumanur Jayamkondam Andimadam T.Palur Sendurai Gudimangalam Tiruppur Uthukuli Vellakoil Madathukulam Kundadam Mulanur Udumalpet Avinashi Palladam Pongalur Tiruppur Astrologer-Thantri Deeksha-Guru Paramahamsa Rupnathji Vashikaran & Black-Magic Apply or Removal Specialist Vastu Doshas Removal & Griha Shanti Specialist Bhoot Pret Badha Evil Eye Symptoms Specialist Navagraha Shanti (Havan or Yagna) Specialist Get Your Love Back By Vashikaran Specialist Love-Marriage Problem Solution Specialist Tantric Abhichar Kalajadu Specialist Sarva Manokamna Purti Specialist All Problem Solution Specialist Enemy-Destroy Tantri Specialist Puja Havan or Yajna Specialist Dr.Rupnathji World Famous Number One Best Jyotish Acharya Yogi Tantri Guruji
Astrologer-Thantri Deeksha-Guru All Problem Solution Specialist Dr Rupnathji Ariyalur Chennai Coimbatore Cuddalore Dharmapuri Dindigul Erode Kancheepuram Kanchipuram Kanniyakumari Nagercoil Karur Krishnagiri Madurai Nagapattinam Namakkal Perambalur Pudukottai Pudukkottai Ramanathapuram Salem Sivagangai Thanjavur Theni The Nilgiris Udagamandalam Ootacamund Tirunelveli Thiruvallur Tiruvannamalai Thiruvarur Thoothukudi Tiruchirapalli Tiruchirappalli Tiruppur Vellore Villupuram Vilupuram Virudhunagar A.Vellalapatti Abiramam Achampudur Acharapakkam Acharipallam Achipatti Adikaratti Adiramapattinam Aduthurai alias Maruthuvakudi Agaram Alagappapuram Alanganallur Alangayam Alangudi Alangulam Alangulam Alanthurai Alapakkam Alur Alwarkurichi Alwarthirunagiri Ambasamudram Ambur Ammainaickanur Ammapettai Ammapettai Ammoor Anaimalai Anaiyur Ananthapuram Andipatti Jakkampatti Anjugramam Annavasal Annur Anthiyur Appakudal Arachalur Arakandanallur Arakonam Aralvaimozhi Arani Aranthangi Arasiramani Aravakurichi Arcot Arimalam Ariyalur Ariyappampalayam Ariyur Arumanai Arumbavur Aruppukkottai Athani Athanur Athimarapatti Athipattu Athur Attur Avadattur Avalpoondurai Ayakudi Aygudi Ayothiapattinam Ayyalur Dusi Ayyampalayam Ayyampettai Ayyampettai Dindigul Azhagiapandiapuram Agastheeswaram Ammavarikuppam B. Meenakshipuram B.Mallapuram Balakrishnampatti Balakrishnapuram Balapallam Balasamudram Bargur Batlagundu Bhavani Bhavanisagar Bikketti Bhuvanagiri Bodinayakanur Boothapandi Belur Boothipuram Chengalpattu Chengam Chennai Chennasamudram Chennimalai Cheranmadevi Chetpet Chettiarpatti Chettipalayam Chettithangal Chidambaram Chinnakkampalayam Chinnalapatti Chinnamanur Chinnasalem Chithode Cholapuram Coimbatore Coonoor Courtalam Cuddalore Denkanikottai Desur Devadanapatti Devakottai Devanangurichi Devarshola Dhalavoipuram Dhali Dhaliyur Dharapuram Dharmapuri Edaganasalai Edaikodu Edakalinadu Edappadi Elathur Elayirampannai Elumalai Eral Eraniel Eriodu Erode Erumaipatti Eruvadi Ethapur Ettayapuram Ezhudesam Ganapathipuram Gangavalli Ganguvarpatti Gingee Gobichettipalayam Gopalasamudram Gudalur Gudalur Gudiyatham Gummidipoondi Hanumanthampatti Harur Highways Hosur Huligal Ilampillai Ilanji Ilayangudi Iluppaiyurani Iluppur Jalakandapuram Jambai Jayankondam Jolarpet Kadambur Kadathur Kadayal Kadayampatti Kadayanallur Kalakkad Kalambur Kalappanaickenpatti Kalavai Kaliyakkavilai Kallakkurichi Kallakudi Kallukuttam Kalugumalai Kamayagoundanpatti Kambainallur Kambam Kamuthi Kanakkampalayam Kanam Kancheepuram Kangayampalayam Kangeyam Kaniyur Kanjikoil Kannamangalam Kannivadi Kannivadi Kanniyakumari Kappiyarai Karaikkudi Karamadai Karambakkudi Kariamangalam Kariapatti Karugampattur Karumandi Chellipalayam Karumathampatti Karungal Karunguzhi Karuppur Karur Kasipalayam Kathujuganapalli Kattumannarkoil Kattuputhur Kaveripakkam Kaveripattinam Kayatharu Keelakarai Keeramangalam Keeranur Keeranur Keeripatti Keezhapavur Kelamangalam Kembainaickenpalayam Kethi Kilampadi Kilkulam Kilkunda Killai Killiyur Kilpennathur Kilvelur Kinathukadavu Kodaikanal Kodavasal Kodumudi Kolachal Kolappalur Kolathupalayam Kolathur Kollankodu Kollankoil Komaralingam Kombai Konganapuram Kooraikundu Koradacheri Kotagiri Kothinallur Kottakuppam Kottaram Kottur Kovilpatti Krishnagiri Krishnarayapuram Kuchanur Kuhalur Kulasekarapuram Kulithalai Kumarapuram Kumbakonam Kunnathur Kurinjipadi Kurumbalur Kuthalam Kuthanallur Kuzhithurai Labbaikudikadu Lakkampatti Lalgudi Lalpet Madathukulam Madukkur Madurai Maduranthakam Mallankinaru Mallasamudram Mallur Mamallapuram Mamsapuram Manachanallur Manalmedu Manalurpet Manamadurai Manapparai Manavalakurichi Mandaikadu Mandapam Mangalampet Manimutharu Mannargudi Maraimalainagar Marakkanam Maramangalathupatti Marandahalli Markayankottai Marudur Marungur Mathigiri Mayiladuthurai Mecheri Melacheval Melachokkanathapuram Melagaram Melamaiyur Melathiruppanthuruthi Melattur Melpattampakkam Melur Melvisharam Mettupalayam Mettupalayam Mettur Minjur Modakurichi Mohanur Moolakaraipatti Mopperipalayam Mudukulathur Mukasipidariyur Mukkudal Mulagumudu Mulanur Muruganpalayam Musiri Muthupe Muthur Muttayyapuram Myladi Naduvattam Nagapattinam Nagavakulam Nagercoil Nagojanahalli Nallampatti Nallur Namagiripettai Namakkal Nambiyur Nandivaram Guduvancheri Nangavalli Nangavaram Nanguneri Nanjikottai Nannilam Naranapuram Narasingapuram Narasingapuram Nasiyanur Natham Nathampannai Natrampalli Nattarasankottai Nazerath Needamangalam Neelagiri Neikkarapatti Neiyyur Nellikuppam Nemili Neripperichal Nerkuppai Nerunjipettai Neyveli Nilakkottai O' Valley Odaipatti Odaiyakulam Oddanchatram Odugathur Olagadam Omalur Orathanadu Mukthambalpuram Othakadai Othakalmandapam Ottapparai P.J. Cholapuram P.Mettupalayam P.N.Patti Pacode Padaiveedu Padirikuppam Padmanabhapuram Palaganangudy Palakkodu Palamedu Palani Palani Chettipatti Palayam Palladam Pallapalayam Pallapatti Pallikonda Pallipattu Panagudi Panaimarathupatti Panapakkam Panboli Pandamangalam Pannaikadu Pannaipuram Panruti Papanasam Papparapatti Pappireddipatti Paramakudi Paramathi Parangipettai Pasur Pathamadai Pattinam Pattiveeranpatti Pattukkottai Pazhugal Pennadam Pennagaram Pennathur Peraiyur Peralam Perambalur Peranamallur Peravurani Periya Negamam Periyakodiveri Periyakulam Periyapatti Periyasemur Pernampattu Perumagalur Perumandi Perumuchi Perundurai Perungulam Pethampalayam Pethanaickenpalayam Pillanallur Pollachi Polur Ponmani Ponnamaravathi Ponnampatti Ponneri Poolambadi Poolampatti Pooluvapatti Pothanur Pothatturpettai Pudukadai Pudukkottai Pudukkottai Pudupalayam Pudupalayam Agraharam Pudupatti Pudupattinam Pudur Puliyankudi Puliyur Pullampadi Punjai Thottakurichi Punjaipugalur Puthalam Punjaipuliampatti Puvalur R.Pudupatti R.S.Mangalam Rajapalayam Ramanathapuram Rameswaram Rasipuram Rayagiri Reethapuram Rosalpatti Rudravathi S. 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Padmapani is a name for Lokeshvara.
Avalokiteśvara (Sanskrit, "Lord who looks down", Tibetan: སྤྱན་རས་གཟིགས་, Wylie: spyan ras gzigs, THL: Chenrézik) is a bodhisattva who embodies the compassion of all Buddhas. This bodhisattva is variably depicted and described and is portrayed in different cultures as either female or male. In Chinese Buddhism, Avalokiteśvara has become the somewhat different female figure Guanyin. In Cambodia, he appears as Lokeśvara.
Avalokiteśvara is one of the more widely revered bodhisattvas in mainstream Mahayana Buddhism as well as unofficially in Theravada Buddhism.
ETYMOLOGY
The name Avalokiteśvara combines the verbal prefix ava "down", lokita, a past participle of the verb lok "to notice, behold, observe", here used in an active sense; and finally īśvara, "lord", "ruler", "sovereign" or "master". In accordance with sandhi (Sanskrit rules of sound combination), a+iśvara becomes eśvara. Combined, the parts mean "lord who gazes down (at the world)". The word loka ("world") is absent from the name, but the phrase is implied. It does appear in the Cambodian form of the name, Lokeśvara.
The earliest translation of the name into Chinese by authors such as Xuanzang was Guānzìzài (Chinese: 觀自在), not the form used in East Asian Buddhism today, Guanyin (Chinese: 觀音). It was initially thought that this was due to a lack of fluency, as Guanzizai indicates the original Sanskrit form was actually Avalokitasvara, "who looks down upon sound" (i.e., the cries of sentient beings who need help). It is now understood that was the original form, and is also the origin of Guanyin "Perceiving sound, cries", a translation furthered by the tendency of some Chinese translators, notably Kumārajīva, to use the variant 觀世音 Guānshìyīn "who perceives the world's lamentations"—wherein lok was read as simultaneously meaning both "to look" and "world" (Sanskrit loka; Chinese: 世; pinyin: shì). The original form Avalokitasvara appears in Sanskrit fragments of the fifth century.
This earlier Sanskrit name was supplanted by the form containing the ending -īśvara "lord"; Avalokiteśvara does not occur in Sanskrit before the seventh century.
The original meaning of the name fits the Buddhist understanding of the role of a bodhisattva. The reinterpretation presenting him as an īśvara shows a strong influence of Hinduism, as the term īśvara was usually connected to the Hindu notion of Krishna (in Vaishnavism) or Śiva (in Shaivism) as the Supreme Lord, Creator and Ruler of the world. Some attributes of such a god were transmitted to the bodhisattva, but the mainstream of those who venerated Avalokiteśvara upheld the Buddhist rejection of the doctrine of any creator god.
In Sanskrit, Avalokiteśvara is also referred to as Padmapāni ("Holder of the Lotus") or Lokeśvara ("Lord of the World"). In Tibetan, Avalokiteśvara is Chenrézik, (Tibetan: སྤྱན་རས་གཟིགས་) and is said to emanate as the Dalai Lama the Karmapa and other high lamas. An etymology of the Tibetan name Chenrézik is spyan "eye", ras "continuity" and gzig "to look". This gives the meaning of one who always looks upon all beings (with the eye of compassion).
ORIGIN
MAHAYANA ACCOUNT
According to Mahāyāna doctrine, Avalokiteśvara is the bodhisattva who has made a great vow to assist sentient beings in times of difficulty and to postpone his own buddhahood until he has assisted every sentient being in achieving nirvana. Mahayana sutras associated with Avalokiteśvara include the following:
Lotus Sutra
Kāraṇḍavyūhasūtra
Heart Sutra (Heart Sūtra)
Nīlakaṇṭha Dhāraṇī Sutra
Eleven-Faced Avalokitesvara Heart Dharani Sutra
Cundī Dhāraṇī Sūtra
The Lotus Sutra is generally accepted to be the earliest literature teaching about the doctrines of Avalokiteśvara. These are found in the Lotus Sutra chapter 25 (Chinese: 觀世音菩薩普門品). This chapter is devoted to Avalokiteśvara, describing him as a compassionate bodhisattva who hears the cries of sentient beings, and who works tirelessly to help those who call upon his name. A total of 33 different manifestations of Avalokiteśvara are described, including female manifestations, all to suit the minds of various beings. The chapter consists of both a prose and a verse section. This earliest source often circulates separately as its own sutra, called the Avalokiteśvara Sūtra (Chinese: 觀世音經; pinyin: Guānshìyīn jīng), and is commonly recited or chanted at Buddhist temples in East Asia.
When the Chinese monk Faxian traveled to Mathura in India around 400 CE, he wrote about monks presenting offerings to Avalokiteśvara. When Xuanzang traveled to India in the 7th century, he provided eyewitness accounts of Avalokiteśvara statues being venerated by devotees of all walks of life, from kings, to monks, to laypeople. Avalokiteśvara remained popular in India until the 12th century when Muslim invaders conquered the land and destroyed Buddhist monasteries.
In Chinese Buddhism and East Asia, Tangmi practices for the 18-armed form of Avalokiteśvara called Cundī are very popular. These practices have their basis in early Indian Vajrayana: her origins lie with a yakshini cult in Bengal and Orissa and her name in Sanskrit "connotes a prostitute or other woman of low caste but specifically denotes a prominent local ogress ... whose divinised form becomes the subject of an important Buddhist cult starting in the eighth century". The popularity of Cundī is attested by the three extant translations of the Cundī Dhāraṇī Sūtra from Sanskrit to Chinese, made from the end of the seventh century to the beginning of the eighth century. In late imperial China, these early esoteric traditions still thrived in Buddhist communities. Robert Gimello has also observed that in these communities, the esoteric practices of Cundī were extremely popular among both the populace and the elite.
In the Tiantai school, six forms of Avalokiteśvara are defined. Each of the bodhisattva's six qualities are said to break the hindrances respectively of the six realms of existence: hell-beings, pretas, animals, humans, asuras, and devas.
THERAVADA ACCOUNT
Veneration of Avalokiteśvara Bodhisattva has continued to the present day in Sri Lanka, where he is called Nātha. In more recent times, some western-educated Theravādins have attempted to identify Nātha with Maitreya Bodhisattva. However, traditions and basic iconography, including an image of Amitābha Buddha on the front of the crown, identify Nātha as Avalokiteśvara. Andrew Skilton writes:
... It is clear from sculptural evidence alone that the Mahāyāna was fairly widespread throughout [Sri Lanka], although the modern account of the history of Buddhism on the island presents an unbroken and pure lineage of Theravāda. (One can only assume that similar trends were transmitted to other parts of Southeast Asia with Sri Lankan ordination lineages.) Relics of an extensive cult of Avalokiteśvara can be seen in the present-day figure of Nātha.
Avalokiteśvara is popularly worshiped in Myanmar, where he is called Lokanat, and Thailand, where he is called Lokesvara.
MODERN SCHOLARSHIP
Western scholars have not reached a consensus on the origin of the reverence for Avalokiteśvara.
Some have suggested that Avalokiteśvara, along with many other supernatural beings in Buddhism, was a borrowing or absorption by Mahayana Buddhism of one or more deities from Hinduism, in particular Shiva or Vishnu, although the reason for this suggestion is because of the current name of the bodhisattva: Avalokiteśvara.
The Japanese scholar Shu Hikosaka on the basis of his study of Buddhist scriptures, ancient Tamil literary sources, as well as field survey, proposes the hypothesis that, the ancient mount Potalaka, the residence of Avalokiteśvara described in the Gaṇḍavyūha Sūtra and Xuanzang’s Great Tang Records on the Western Regions, is the real mountain Pothigai in Ambasamudram, Tirunelveli, Tamil Nadu. Shu also says that mount Potalaka has been a sacred place for the people of South India from time immemorial. With the spread of Buddhism in the region beginning at the time of the great king Aśoka in the third century BCE, it became a holy place also for Buddhists who gradually became dominant as a number of their hermits settled there. The local people, though, mainly remained followers of the Hindu religion. The mixed Hindu-Buddhist cult culminated in the formation of the figure of Avalokiteśvara.
The name Lokeśvara should not be confused with that of Lokeśvararāja, the Buddha under whom Dharmakara became a monk and made forty-eight vows before becoming Amitābha.
MANTRAS AND DHARANIS
Mahāyāna Buddhism relates Avalokiteśvara to the six-syllable mantra oṃ maṇi padme hūṃ. In Tibetan Buddhism, due to his association with this mantra, one form of Avalokiteśvara is called Ṣaḍākṣarī "Lord of the Six Syllables" in Sanskrit. Recitation of this mantra along with prayer beads is the most popular religious practice in Tibetan Buddhism. The connection between this famous mantra and Avalokiteśvara occurs for the first time in the Kāraṇḍavyūhasūtra. This text is first dated to around the late 4th century CE to the early 5th century CE. In this sūtra, a bodhisattva is told by the Buddha that recitation of this mantra while focusing on the sound can lead to the attainment of eight hundred samādhis. The Kāraṇḍavyūha Sūtra also features the first appearance of the dhāraṇī of Cundī, which occurs at the end of the sūtra text. After the bodhisattva finally attains samādhi with the mantra "oṃ maṇipadme hūṃ", he is then able to observe 77 koṭīs of fully enlightened buddhas replying to him in one voice with the Cundī Dhāraṇī: namaḥ saptānāṃ samyaksaṃbuddha koṭīnāṃ tadyathā, oṃ cale cule cunde svāhā.
In Shingon Buddhism, the mantra for Avalokiteśvara is On aruri kya sowa ka (Japanese: おん あるりきゃ そわか?)
The Nīlakaṇṭha Dhāraṇī is an 82-syllable dhāraṇī for Avalokiteśvara.
THOUSAND-ARMED AVALOKITESVARA
One prominent Buddhist story tells of Avalokiteśvara vowing never to rest until he had freed all sentient beings from saṃsāra. Despite strenuous effort, he realizes that still many unhappy beings were yet to be saved. After struggling to comprehend the needs of so many, his head splits into eleven pieces. Amitābha, seeing his plight, gives him eleven heads with which to hear the cries of the suffering. Upon hearing these cries and comprehending them, Avalokiteśvara attempts to reach out to all those who needed aid, but found that his two arms shattered into pieces. Once more, Amitābha comes to his aid and invests him with a thousand arms with which to aid the suffering multitudes.
The Bao'en Temple located in northwestern Sichuan has an outstanding wooden image of the Thousand-Armed Avalokiteśvara, an example of Ming dynasty decorative sculpture.
TIBETAN BUDDHIST BELIEFS CONCERNING CHENREZIG
Avalokiteśvara is an important deity in Tibetan Buddhism, and is regarded in the Vajrayana teachings as a Buddha.
In Tibetan Buddhism, Tara came into existence from a single tear shed by Avalokiteśvara. When the tear fell to the ground it created a lake, and a lotus opening in the lake revealed Tara. In another version of this story, Tara emerges from the heart of Avalokiteśvara. In either version, it is Avalokiteśvara's outpouring of compassion which manifests Tara as a being.
MANIFESTATIONS
Avalokiteśvara has an extraordinarily large number of manifestations in different forms (including wisdom goddesses (vidyaas) directly associated with him in images and texts).
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A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
Astrologer-Thantri Deeksha-Guru All Problem Solution Specialist Dr Rupnathji Ariyalur Chennai Coimbatore Cuddalore Dharmapuri Dindigul Erode Kancheepuram Kanchipuram Kanniyakumari Nagercoil Karur Krishnagiri Madurai Nagapattinam Namakkal Perambalur Pudukottai Pudukkottai Ramanathapuram Salem Sivagangai Thanjavur Theni The Nilgiris Udagamandalam Ootacamund Tirunelveli Thiruvallur Tiruvannamalai Thiruvarur Thoothukudi Tiruchirapalli Tiruchirappalli Tiruppur Vellore Villupuram Vilupuram Virudhunagar A.Vellalapatti Abiramam Achampudur Acharapakkam Acharipallam Achipatti Adikaratti Adiramapattinam Aduthurai alias Maruthuvakudi Agaram Alagappapuram Alanganallur Alangayam Alangudi Alangulam Alangulam Alanthurai Alapakkam Alur Alwarkurichi Alwarthirunagiri Ambasamudram Ambur Ammainaickanur Ammapettai Ammapettai Ammoor Anaimalai Anaiyur Ananthapuram Andipatti Jakkampatti Anjugramam Annavasal Annur Anthiyur Appakudal Arachalur Arakandanallur Arakonam Aralvaimozhi Arani Aranthangi Arasiramani Aravakurichi Arcot Arimalam Ariyalur Ariyappampalayam Ariyur Arumanai Arumbavur Aruppukkottai Athani Athanur Athimarapatti Athipattu Athur Attur Avadattur Avalpoondurai Ayakudi Aygudi Ayothiapattinam Ayyalur Dusi Ayyampalayam Ayyampettai Ayyampettai Dindigul Azhagiapandiapuram Agastheeswaram Ammavarikuppam B. Meenakshipuram B.Mallapuram Balakrishnampatti Balakrishnapuram Balapallam Balasamudram Bargur Batlagundu Bhavani Bhavanisagar Bikketti Bhuvanagiri Bodinayakanur Boothapandi Belur Boothipuram Chengalpattu Chengam Chennai Chennasamudram Chennimalai Cheranmadevi Chetpet Chettiarpatti Chettipalayam Chettithangal Chidambaram Chinnakkampalayam Chinnalapatti Chinnamanur Chinnasalem Chithode Cholapuram Coimbatore Coonoor Courtalam Cuddalore Denkanikottai Desur Devadanapatti Devakottai Devanangurichi Devarshola Dhalavoipuram Dhali Dhaliyur Dharapuram Dharmapuri Edaganasalai Edaikodu Edakalinadu Edappadi Elathur Elayirampannai Elumalai Eral Eraniel Eriodu Erode Erumaipatti Eruvadi Ethapur Ettayapuram Ezhudesam Ganapathipuram Gangavalli Ganguvarpatti Gingee Gobichettipalayam Gopalasamudram Gudalur Gudalur Gudiyatham Gummidipoondi Hanumanthampatti Harur Highways Hosur Huligal Ilampillai Ilanji Ilayangudi Iluppaiyurani Iluppur Jalakandapuram Jambai Jayankondam Jolarpet Kadambur Kadathur Kadayal Kadayampatti Kadayanallur Kalakkad Kalambur Kalappanaickenpatti Kalavai Kaliyakkavilai Kallakkurichi Kallakudi Kallukuttam Kalugumalai Kamayagoundanpatti Kambainallur Kambam Kamuthi Kanakkampalayam Kanam Kancheepuram Kangayampalayam Kangeyam Kaniyur Kanjikoil Kannamangalam Kannivadi Kannivadi Kanniyakumari Kappiyarai Karaikkudi Karamadai Karambakkudi Kariamangalam Kariapatti Karugampattur Karumandi Chellipalayam Karumathampatti Karungal Karunguzhi Karuppur Karur Kasipalayam Kathujuganapalli Kattumannarkoil Kattuputhur Kaveripakkam Kaveripattinam Kayatharu Keelakarai Keeramangalam Keeranur Keeranur Keeripatti Keezhapavur Kelamangalam Kembainaickenpalayam Kethi Kilampadi Kilkulam Kilkunda Killai Killiyur Kilpennathur Kilvelur Kinathukadavu Kodaikanal Kodavasal Kodumudi Kolachal Kolappalur Kolathupalayam Kolathur Kollankodu Kollankoil Komaralingam Kombai Konganapuram Kooraikundu Koradacheri Kotagiri Kothinallur Kottakuppam Kottaram Kottur Kovilpatti Krishnagiri Krishnarayapuram Kuchanur Kuhalur Kulasekarapuram Kulithalai Kumarapuram Kumbakonam Kunnathur Kurinjipadi Kurumbalur Kuthalam Kuthanallur Kuzhithurai Labbaikudikadu Lakkampatti Lalgudi Lalpet Madathukulam Madukkur Madurai Maduranthakam Mallankinaru Mallasamudram Mallur Mamallapuram Mamsapuram Manachanallur Manalmedu Manalurpet Manamadurai Manapparai Manavalakurichi Mandaikadu Mandapam Mangalampet Manimutharu Mannargudi Maraimalainagar Marakkanam Maramangalathupatti Marandahalli Markayankottai Marudur Marungur Mathigiri Mayiladuthurai Mecheri Melacheval Melachokkanathapuram Melagaram Melamaiyur Melathiruppanthuruthi Melattur Melpattampakkam Melur Melvisharam Mettupalayam Mettupalayam Mettur Minjur Modakurichi Mohanur Moolakaraipatti Mopperipalayam Mudukulathur Mukasipidariyur Mukkudal Mulagumudu Mulanur Muruganpalayam Musiri Muthupe Muthur Muttayyapuram Myladi Naduvattam Nagapattinam Nagavakulam Nagercoil Nagojanahalli Nallampatti Nallur Namagiripettai Namakkal Nambiyur Nandivaram Guduvancheri Nangavalli Nangavaram Nanguneri Nanjikottai Nannilam Naranapuram Narasingapuram Narasingapuram Nasiyanur Natham Nathampannai Natrampalli Nattarasankottai Nazerath Needamangalam Neelagiri Neikkarapatti Neiyyur Nellikuppam Nemili Neripperichal Nerkuppai Nerunjipettai Neyveli Nilakkottai O' Valley Odaipatti Odaiyakulam Oddanchatram Odugathur Olagadam Omalur Orathanadu Mukthambalpuram Othakadai Othakalmandapam Ottapparai P.J. Cholapuram P.Mettupalayam P.N.Patti Pacode Padaiveedu Padirikuppam Padmanabhapuram Palaganangudy Palakkodu Palamedu Palani Palani Chettipatti Palayam Palladam Pallapalayam Pallapatti Pallikonda Pallipattu Panagudi Panaimarathupatti Panapakkam Panboli Pandamangalam Pannaikadu Pannaipuram Panruti Papanasam Papparapatti Pappireddipatti Paramakudi Paramathi Parangipettai Pasur Pathamadai Pattinam Pattiveeranpatti Pattukkottai Pazhugal Pennadam Pennagaram Pennathur Peraiyur Peralam Perambalur Peranamallur Peravurani Periya Negamam Periyakodiveri Periyakulam Periyapatti Periyasemur Pernampattu Perumagalur Perumandi Perumuchi Perundurai Perungulam Pethampalayam Pethanaickenpalayam Pillanallur Pollachi Polur Ponmani Ponnamaravathi Ponnampatti Ponneri Poolambadi Poolampatti Pooluvapatti Pothanur Pothatturpettai Pudukadai Pudukkottai Pudukkottai Pudupalayam Pudupalayam Agraharam Pudupatti Pudupattinam Pudur Puliyankudi Puliyur Pullampadi Punjai Thottakurichi Punjaipugalur Puthalam Punjaipuliampatti Puvalur R.Pudupatti R.S.Mangalam Rajapalayam Ramanathapuram Rameswaram Rasipuram Rayagiri Reethapuram Rosalpatti Rudravathi S. Kannanur S.Kodikulam Salangapalayam Salem Samalapuram Samathur Sambavar Vadagarai Sankaramanallur Sankarankoil Sankarapuram Sankari Sarcarsamakulam Sathankulam Sathiyavijayanagaram Sathyamangalam Sattur Sayalgudi Sayapuram Seerapalli Seithur Semmipalayam Senthamangalam Sentharapatti Senur Sethiathoppu Sevugampatti Shenkottai Sholavandan Sholingur Sholur Singampuneri Singaperumalkoil Sirkali Sirugamani Sirumugai Sithayankottai Sithurajapuram Sivaganga Sivagiri Sivakasi Sivanthipuram Srimushnam Sriperumbudur Sriramapuram Srivaikuntam Srivilliputhur Suchindram Sundarapandiam Sundarapandiapuram Surandai Suriyampalayam Swamimalai T.Kallupatti Tayilupatti Tenkasi Thadikombu Thakkolam Thalainayar Thalakudi Thamaraikulam Thammampatti Thanjavur Tharamangalam Tharangambadi Thathaiyangarpet Thedavur Thengampudur Theni Allinagaram Thenkarai Thenkarai Thenthamaraikulam Thenthiruperai Thesur Thevaram Thevur Thiagadurgam Thingalnagar Thirukarungudi Thirukkattupalli Thirumalayampalayam Thirumangalam Thirunageswaram Thirunindravur Thiruparappu Thiruporur Thiruppanandal Thirupuvanam Thirupuvanam Thiruthuraipoondi Thiruvaiyaru Thiruvalam Thiruvallur Thiruvarur Thiruvattaru Thiruvenkatam Thiruvennainallur hiruvidaimarudur Thiruvithankodu Thisayanvilai Thittacheri Thondamuthur Thondi Thoothukkudi Thorapadi Thottiyam Thuraiyur Thuthipattu Timiri Tindivanam Tiruchendur Tiruchengode Uthukuli Tiruchirappalli Tirukalukundram Tirukkoyilur Tirunelveli Tirupathur Tirupathur Tiruppur Tiruttani Tiruvannamalai Tiruvethipuram Tittakudi TNPL Pugalur Udangudi Udayarpalayam Udhagamandalam Udumalaipettai Ulundurpettai Unjalur Unnamalaikadai Uppidamangalam Uppiliapuram Urapakkam Usilampatti Uthamapalayam Uthangarai Uthiramerur Uthukkottai V. Pudur V.Pudupatti Vadakarai Keezhpadugai Vadakkanandal Vadakkuvalliyur Vadalur Vadamadurai Vadipatti Vadugapatti Vadugapatti Vaitheeswarankoil Valangaiman Valavanur Vallam Valparai Viswanatham Valvaithankoshtam Vanavasi Vandavasi Vaniputhur Vaniyambadi Varadarajanpettai Vasudevanallur Vathirairuppu Vazhapadi Vedaranyam Vedasandur Veeraganur Veerakkalpudur Veerapandi Veeravanallur Velankanni Vellakoil Vellimalai Vellore Vengampudur Vellottamparappu Velur Vengathur Venkarai Vennanthur Veppathur Verkilambi Vettaikaranpudur Vettavalam Vijayapuri Vikramasingapuram Vikravandi Vilapakkam Vilathikulam Vilavur Villukuri Viluppuram Virudhachalam Virudhunagar Virupakshipuram Walajabad Kanchipuram Walajabad Uthiramerur Sriperumbudur Kundrathur Thiruporur Kattankolathur Madurantakam Thirukalukundram Thomas Malai Acharapakkam Lathur Chithamur Tiruvallur Villivakkam Puzhal Minjur Sholavaram Gummidipoondi Tiruvalangadu Tiruttani Pallipet R.K.Pet Tiruvallur Poondi Kadambathur Ellapuram Poonamallee Cuddalore Cuddalore Annagramam Panruti Kurinjipadi Kattumannar Koil Kumaratchi Keerapalayam Melbhuvanagiri Vridhachalam Kammapuram Nallur Mangalur T.V. 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Choultry Mohanur Namakkal Elacipalayam Erumapatty Kabilarmalai Kollihills Mallasamudram Namakkal Namagiripet Puduchatram Paramathy Pallipalayam Rasipuram Sendamangalam Tiruchengode Vennandur Dharmapuri Nallampalli Pennagaram Harur Morappur Parangipettai Pappireddipatti Karimangalam Palacode Erode Modakkuruchi Kodumudi Perundurai Chennimalai Ammapet Anthiyur Bhavani Gobi Nambiyur T.N. Palayam Sathy Bhavanisagar Talavadi Coimbatore Karamadai Madukkarai P.N.Palayam S.S.Kulam Thondamuthur Anaimalai Kinathukadavu Pollachi Pollachi Annur Sulur Sultanpet The Nilgiris Udhagai Coonoor Kotagiri Gudalur Thanjavur Budalur Thiruvaiyaru Orathanadu Thiruvonam Kumbakonam Thiruvidaimarudur Tiruppanandal Papanasam Ammapet Pattukkottai Madukkur Peravurani Sethubavachatram Nagapattinam Keelaiyur Kilvelur Thirumarugal Thalainayar Vedaranyam Mayiladuthurai Kuthalam Sembanarkoil Sirkali Kollidam Tiruvarur Valangaiman Nannilam Kodavasal Thiruvarur Koradacheri Mannargudi Needamangalam Kottur Thiruthuraipoondi Muthupettai Tiruchirappalli Andanallur Manikandam Thiruverambur Manapparai Marungapuri Vaiyampatty Lalgudi Cumbum Manachanallur Pullampady Musiri Thottiam T.Pet Thuraiyur Uppiliyapuram Karur Thanthoni Aravakurichi K.Paramathi Kulithalai Krishnarayapuram Kadavur Thogamalai Perambalur Veppanthattai Alathur Veppur Pudukkottai Annavasal Arimalam Kunnandarkoil Ponnamaravathi Pudukkottai Thirumayam Viralimalai Arantangi Avudayarkoil Gandarvakottai Karambakkudi Manamelkudi Thiruvarankulam Madurai Melur Tenkasi Thirupparankundram Kottampatti Vadipatti Alanganallur Usilampatti Chellampatti Sedapatti Thirumangalam T.Kallupatty Kallikudi Andipatti K Myladumparai Periyakulam Bodinaickanur Chinnamanur Dindigul Uthamapalayam Athoor Reddiarchatram Nilakottai Shanarpatti Natham Batlagundu Palani Oddanchatram Thoppampatti Vedasandur Vadamadurai Guziliamparai Kodaikanal Ramanathapuram Mandapam Ramanathapuram R.S. Mangalam Thiruppullani Thiruvadanai Bogalur Kadaladi Kamuthi Mudukulathur Nainarkoil Paramakudi Virudhunagar Arupukottai Virudhunagar Kariapatti Tiruchuli Narikudi Rajapalayam Srivilliputhur Watrap Sivakasi Vembakottai Sattur Sivagangai Sivaganga Kalaiyarkoil Manamadurai Thiruppuvanam Ilayangudi Thiruppathur Singampunari Sakkottai Kallal Devakottai Kannangudi S.Pudur Tirunelveli Palayamkottai Manur Melaneelithanallur Kuruvikulam Sankarankoil Kangayam Ambasamudram Cheranmahadevi Pappakudi Kadayam Theni Nanguneri Kalakadu Valliyoor Radhapuram Alankulam Keelapavoor Kadayanallur Shencottai Dharapuram Vasudevanallur Thoothukkudi Thoothukudi Karungulam Srivaikundam Alwarthirunagari Tiruchendur Udangudi Sattankulam Kovilpatti Kayathar Ottapidaram Pudur Vilathikulam Kanniyakumari Agastheeswaram Thovalai Rajakkamangalam Thuckalay Kurunthancode Thiruvattar Killiyoor Munchirai Melpuram Veppanapalli Bargur Krishnagiri Kaveripattanam Mathur Uthangarai Hosur Shoolagiri Kelamangalam Thally Ariyalur Thirumanur Jayamkondam Andimadam T.Palur Sendurai Gudimangalam Tiruppur Uthukuli Vellakoil Madathukulam Kundadam Mulanur Udumalpet Avinashi Palladam Pongalur Tiruppur Astrologer-Thantri Deeksha-Guru Paramahamsa Rupnathji Vashikaran & Black-Magic Apply or Removal Specialist Vastu Doshas Removal & Griha Shanti Specialist Bhoot Pret Badha Evil Eye Symptoms Specialist Navagraha Shanti (Havan or Yagna) Specialist Get Your Love Back By Vashikaran Specialist Love-Marriage Problem Solution Specialist Tantric Abhichar Kalajadu Specialist Sarva Manokamna Purti Specialist All Problem Solution Specialist Enemy-Destroy Tantri Specialist Puja Havan or Yajna Specialist Dr.Rupnathji World Famous Number One Best Jyotish Acharya Yogi Tantri Guruji
Astrologer-Thantri Deeksha-Guru All Problem Solution Specialist Dr Rupnathji Ariyalur Chennai Coimbatore Cuddalore Dharmapuri Dindigul Erode Kancheepuram Kanchipuram Kanniyakumari Nagercoil Karur Krishnagiri Madurai Nagapattinam Namakkal Perambalur Pudukottai Pudukkottai Ramanathapuram Salem Sivagangai Thanjavur Theni The Nilgiris Udagamandalam Ootacamund Tirunelveli Thiruvallur Tiruvannamalai Thiruvarur Thoothukudi Tiruchirapalli Tiruchirappalli Tiruppur Vellore Villupuram Vilupuram Virudhunagar A.Vellalapatti Abiramam Achampudur Acharapakkam Acharipallam Achipatti Adikaratti Adiramapattinam Aduthurai alias Maruthuvakudi Agaram Alagappapuram Alanganallur Alangayam Alangudi Alangulam Alangulam Alanthurai Alapakkam Alur Alwarkurichi Alwarthirunagiri Ambasamudram Ambur Ammainaickanur Ammapettai Ammapettai Ammoor Anaimalai Anaiyur Ananthapuram Andipatti Jakkampatti Anjugramam Annavasal Annur Anthiyur Appakudal Arachalur Arakandanallur Arakonam Aralvaimozhi Arani Aranthangi Arasiramani Aravakurichi Arcot Arimalam Ariyalur Ariyappampalayam Ariyur Arumanai Arumbavur Aruppukkottai Athani Athanur Athimarapatti Athipattu Athur Attur Avadattur Avalpoondurai Ayakudi Aygudi Ayothiapattinam Ayyalur Dusi Ayyampalayam Ayyampettai Ayyampettai Dindigul Azhagiapandiapuram Agastheeswaram Ammavarikuppam B. Meenakshipuram B.Mallapuram Balakrishnampatti Balakrishnapuram Balapallam Balasamudram Bargur Batlagundu Bhavani Bhavanisagar Bikketti Bhuvanagiri Bodinayakanur Boothapandi Belur Boothipuram Chengalpattu Chengam Chennai Chennasamudram Chennimalai Cheranmadevi Chetpet Chettiarpatti Chettipalayam Chettithangal Chidambaram Chinnakkampalayam Chinnalapatti Chinnamanur Chinnasalem Chithode Cholapuram Coimbatore Coonoor Courtalam Cuddalore Denkanikottai Desur Devadanapatti Devakottai Devanangurichi Devarshola Dhalavoipuram Dhali Dhaliyur Dharapuram Dharmapuri Edaganasalai Edaikodu Edakalinadu Edappadi Elathur Elayirampannai Elumalai Eral Eraniel Eriodu Erode Erumaipatti Eruvadi Ethapur Ettayapuram Ezhudesam Ganapathipuram Gangavalli Ganguvarpatti Gingee Gobichettipalayam Gopalasamudram Gudalur Gudalur Gudiyatham Gummidipoondi Hanumanthampatti Harur Highways Hosur Huligal Ilampillai Ilanji Ilayangudi Iluppaiyurani Iluppur Jalakandapuram Jambai Jayankondam Jolarpet Kadambur Kadathur Kadayal Kadayampatti Kadayanallur Kalakkad Kalambur Kalappanaickenpatti Kalavai Kaliyakkavilai Kallakkurichi Kallakudi Kallukuttam Kalugumalai Kamayagoundanpatti Kambainallur Kambam Kamuthi Kanakkampalayam Kanam Kancheepuram Kangayampalayam Kangeyam Kaniyur Kanjikoil Kannamangalam Kannivadi Kannivadi Kanniyakumari Kappiyarai Karaikkudi Karamadai Karambakkudi Kariamangalam Kariapatti Karugampattur Karumandi Chellipalayam Karumathampatti Karungal Karunguzhi Karuppur Karur Kasipalayam Kathujuganapalli Kattumannarkoil Kattuputhur Kaveripakkam Kaveripattinam Kayatharu Keelakarai Keeramangalam Keeranur Keeranur Keeripatti Keezhapavur Kelamangalam Kembainaickenpalayam Kethi Kilampadi Kilkulam Kilkunda Killai Killiyur Kilpennathur Kilvelur Kinathukadavu Kodaikanal Kodavasal Kodumudi Kolachal Kolappalur Kolathupalayam Kolathur Kollankodu Kollankoil Komaralingam Kombai Konganapuram Kooraikundu Koradacheri Kotagiri Kothinallur Kottakuppam Kottaram Kottur Kovilpatti Krishnagiri Krishnarayapuram Kuchanur Kuhalur Kulasekarapuram Kulithalai Kumarapuram Kumbakonam Kunnathur Kurinjipadi Kurumbalur Kuthalam Kuthanallur Kuzhithurai Labbaikudikadu Lakkampatti Lalgudi Lalpet Madathukulam Madukkur Madurai Maduranthakam Mallankinaru Mallasamudram Mallur Mamallapuram Mamsapuram Manachanallur Manalmedu Manalurpet Manamadurai Manapparai Manavalakurichi Mandaikadu Mandapam Mangalampet Manimutharu Mannargudi Maraimalainagar Marakkanam Maramangalathupatti Marandahalli Markayankottai Marudur Marungur Mathigiri Mayiladuthurai Mecheri Melacheval Melachokkanathapuram Melagaram Melamaiyur Melathiruppanthuruthi Melattur Melpattampakkam Melur Melvisharam Mettupalayam Mettupalayam Mettur Minjur Modakurichi Mohanur Moolakaraipatti Mopperipalayam Mudukulathur Mukasipidariyur Mukkudal Mulagumudu Mulanur Muruganpalayam Musiri Muthupe Muthur Muttayyapuram Myladi Naduvattam Nagapattinam Nagavakulam Nagercoil Nagojanahalli Nallampatti Nallur Namagiripettai Namakkal Nambiyur Nandivaram Guduvancheri Nangavalli Nangavaram Nanguneri Nanjikottai Nannilam Naranapuram Narasingapuram Narasingapuram Nasiyanur Natham Nathampannai Natrampalli Nattarasankottai Nazerath Needamangalam Neelagiri Neikkarapatti Neiyyur Nellikuppam Nemili Neripperichal Nerkuppai Nerunjipettai Neyveli Nilakkottai O' Valley Odaipatti Odaiyakulam Oddanchatram Odugathur Olagadam Omalur Orathanadu Mukthambalpuram Othakadai Othakalmandapam Ottapparai P.J. Cholapuram P.Mettupalayam P.N.Patti Pacode Padaiveedu Padirikuppam Padmanabhapuram Palaganangudy Palakkodu Palamedu Palani Palani Chettipatti Palayam Palladam Pallapalayam Pallapatti Pallikonda Pallipattu Panagudi Panaimarathupatti Panapakkam Panboli Pandamangalam Pannaikadu Pannaipuram Panruti Papanasam Papparapatti Pappireddipatti Paramakudi Paramathi Parangipettai Pasur Pathamadai Pattinam Pattiveeranpatti Pattukkottai Pazhugal Pennadam Pennagaram Pennathur Peraiyur Peralam Perambalur Peranamallur Peravurani Periya Negamam Periyakodiveri Periyakulam Periyapatti Periyasemur Pernampattu Perumagalur Perumandi Perumuchi Perundurai Perungulam Pethampalayam Pethanaickenpalayam Pillanallur Pollachi Polur Ponmani Ponnamaravathi Ponnampatti Ponneri Poolambadi Poolampatti Pooluvapatti Pothanur Pothatturpettai Pudukadai Pudukkottai Pudukkottai Pudupalayam Pudupalayam Agraharam Pudupatti Pudupattinam Pudur Puliyankudi Puliyur Pullampadi Punjai Thottakurichi Punjaipugalur Puthalam Punjaipuliampatti Puvalur R.Pudupatti R.S.Mangalam Rajapalayam Ramanathapuram Rameswaram Rasipuram Rayagiri Reethapuram Rosalpatti Rudravathi S. Kannanur S.Kodikulam Salangapalayam Salem Samalapuram Samathur Sambavar Vadagarai Sankaramanallur Sankarankoil Sankarapuram Sankari Sarcarsamakulam Sathankulam Sathiyavijayanagaram Sathyamangalam Sattur Sayalgudi Sayapuram Seerapalli Seithur Semmipalayam Senthamangalam Sentharapatti Senur Sethiathoppu Sevugampatti Shenkottai Sholavandan Sholingur Sholur Singampuneri Singaperumalkoil Sirkali Sirugamani Sirumugai Sithayankottai Sithurajapuram Sivaganga Sivagiri Sivakasi Sivanthipuram Srimushnam Sriperumbudur Sriramapuram Srivaikuntam Srivilliputhur Suchindram Sundarapandiam Sundarapandiapuram Surandai Suriyampalayam Swamimalai T.Kallupatti Tayilupatti Tenkasi Thadikombu Thakkolam Thalainayar Thalakudi Thamaraikulam Thammampatti Thanjavur Tharamangalam Tharangambadi Thathaiyangarpet Thedavur Thengampudur Theni Allinagaram Thenkarai Thenkarai Thenthamaraikulam Thenthiruperai Thesur Thevaram Thevur Thiagadurgam Thingalnagar Thirukarungudi Thirukkattupalli Thirumalayampalayam Thirumangalam Thirunageswaram Thirunindravur Thiruparappu Thiruporur Thiruppanandal Thirupuvanam Thirupuvanam Thiruthuraipoondi Thiruvaiyaru Thiruvalam Thiruvallur Thiruvarur Thiruvattaru Thiruvenkatam Thiruvennainallur hiruvidaimarudur Thiruvithankodu Thisayanvilai Thittacheri Thondamuthur Thondi Thoothukkudi Thorapadi Thottiyam Thuraiyur Thuthipattu Timiri Tindivanam Tiruchendur Tiruchengode Uthukuli Tiruchirappalli Tirukalukundram Tirukkoyilur Tirunelveli Tirupathur Tirupathur Tiruppur Tiruttani Tiruvannamalai Tiruvethipuram Tittakudi TNPL Pugalur Udangudi Udayarpalayam Udhagamandalam Udumalaipettai Ulundurpettai Unjalur Unnamalaikadai Uppidamangalam Uppiliapuram Urapakkam Usilampatti Uthamapalayam Uthangarai Uthiramerur Uthukkottai V. Pudur V.Pudupatti Vadakarai Keezhpadugai Vadakkanandal Vadakkuvalliyur Vadalur Vadamadurai Vadipatti Vadugapatti Vadugapatti Vaitheeswarankoil Valangaiman Valavanur Vallam Valparai Viswanatham Valvaithankoshtam Vanavasi Vandavasi Vaniputhur Vaniyambadi Varadarajanpettai Vasudevanallur Vathirairuppu Vazhapadi Vedaranyam Vedasandur Veeraganur Veerakkalpudur Veerapandi Veeravanallur Velankanni Vellakoil Vellimalai Vellore Vengampudur Vellottamparappu Velur Vengathur Venkarai Vennanthur Veppathur Verkilambi Vettaikaranpudur Vettavalam Vijayapuri Vikramasingapuram Vikravandi Vilapakkam Vilathikulam Vilavur Villukuri Viluppuram Virudhachalam Virudhunagar Virupakshipuram Walajabad Kanchipuram Walajabad Uthiramerur Sriperumbudur Kundrathur Thiruporur Kattankolathur Madurantakam Thirukalukundram Thomas Malai Acharapakkam Lathur Chithamur Tiruvallur Villivakkam Puzhal Minjur Sholavaram Gummidipoondi Tiruvalangadu Tiruttani Pallipet R.K.Pet Tiruvallur Poondi Kadambathur Ellapuram Poonamallee Cuddalore Cuddalore Annagramam Panruti Kurinjipadi Kattumannar Koil Kumaratchi Keerapalayam Melbhuvanagiri Vridhachalam Kammapuram Nallur Mangalur T.V. Nallur Villupuram Tirukoilur Mugaiyur Tirunavalur Ulundurpet Kanai Koliyanur Kandamangalam Olakkur Mailam Merkanam Vanur Gingee Vallam Melmalayanur Kallakurichi Chinnasalem Rishivandiyam Sankarapuram Thiyagadurgam Kalrayan Hills Vellore Kaniyambadi Anaicut Madhanur Katpadi K.V. Kuppam Gudiyatham Pernambet Walajah Sholinghur Arakonam Nemili Vikkiravandi Kaveripakkam Arcot Thimiri Thirupathur Jolarpet Kandhili Natrampalli Alangayam Tiruvannamalai Kilpennathur Thurinjapuram Polur Kalasapakkam Chetpet Chengam Pudupalayam Thandrampet Jawadumalai Cheyyar Anakkavoor Vembakkam Vandavasi Thellar Peranamallur Arni West Arni Salem Veerapandy Panamarathupatti Ayothiyapattinam Valapady Yercaud P.N.Palayam Attur Gangavalli Thalaivasal Kolathur Nangavalli Mecheri Omalur Tharamangalam Kadayampatti Sankari Idappady Konganapuram Mac. Choultry Mohanur Namakkal Elacipalayam Erumapatty Kabilarmalai Kollihills Mallasamudram Namakkal Namagiripet Puduchatram Paramathy Pallipalayam Rasipuram Sendamangalam Tiruchengode Vennandur Dharmapuri Nallampalli Pennagaram Harur Morappur Parangipettai Pappireddipatti Karimangalam Palacode Erode Modakkuruchi Kodumudi Perundurai Chennimalai Ammapet Anthiyur Bhavani Gobi Nambiyur T.N. Palayam Sathy Bhavanisagar Talavadi Coimbatore Karamadai Madukkarai P.N.Palayam S.S.Kulam Thondamuthur Anaimalai Kinathukadavu Pollachi Pollachi Annur Sulur Sultanpet The Nilgiris Udhagai Coonoor Kotagiri Gudalur Thanjavur Budalur Thiruvaiyaru Orathanadu Thiruvonam Kumbakonam Thiruvidaimarudur Tiruppanandal Papanasam Ammapet Pattukkottai Madukkur Peravurani Sethubavachatram Nagapattinam Keelaiyur Kilvelur Thirumarugal Thalainayar Vedaranyam Mayiladuthurai Kuthalam Sembanarkoil Sirkali Kollidam Tiruvarur Valangaiman Nannilam Kodavasal Thiruvarur Koradacheri Mannargudi Needamangalam Kottur Thiruthuraipoondi Muthupettai Tiruchirappalli Andanallur Manikandam Thiruverambur Manapparai Marungapuri Vaiyampatty Lalgudi Cumbum Manachanallur Pullampady Musiri Thottiam T.Pet Thuraiyur Uppiliyapuram Karur Thanthoni Aravakurichi K.Paramathi Kulithalai Krishnarayapuram Kadavur Thogamalai Perambalur Veppanthattai Alathur Veppur Pudukkottai Annavasal Arimalam Kunnandarkoil Ponnamaravathi Pudukkottai Thirumayam Viralimalai Arantangi Avudayarkoil Gandarvakottai Karambakkudi Manamelkudi Thiruvarankulam Madurai Melur Tenkasi Thirupparankundram Kottampatti Vadipatti Alanganallur Usilampatti Chellampatti Sedapatti Thirumangalam T.Kallupatty Kallikudi Andipatti K Myladumparai Periyakulam Bodinaickanur Chinnamanur Dindigul Uthamapalayam Athoor Reddiarchatram Nilakottai Shanarpatti Natham Batlagundu Palani Oddanchatram Thoppampatti Vedasandur Vadamadurai Guziliamparai Kodaikanal Ramanathapuram Mandapam Ramanathapuram R.S. Mangalam Thiruppullani Thiruvadanai Bogalur Kadaladi Kamuthi Mudukulathur Nainarkoil Paramakudi Virudhunagar Arupukottai Virudhunagar Kariapatti Tiruchuli Narikudi Rajapalayam Srivilliputhur Watrap Sivakasi Vembakottai Sattur Sivagangai Sivaganga Kalaiyarkoil Manamadurai Thiruppuvanam Ilayangudi Thiruppathur Singampunari Sakkottai Kallal Devakottai Kannangudi S.Pudur Tirunelveli Palayamkottai Manur Melaneelithanallur Kuruvikulam Sankarankoil Kangayam Ambasamudram Cheranmahadevi Pappakudi Kadayam Theni Nanguneri Kalakadu Valliyoor Radhapuram Alankulam Keelapavoor Kadayanallur Shencottai Dharapuram Vasudevanallur Thoothukkudi Thoothukudi Karungulam Srivaikundam Alwarthirunagari Tiruchendur Udangudi Sattankulam Kovilpatti Kayathar Ottapidaram Pudur Vilathikulam Kanniyakumari Agastheeswaram Thovalai Rajakkamangalam Thuckalay Kurunthancode Thiruvattar Killiyoor Munchirai Melpuram Veppanapalli Bargur Krishnagiri Kaveripattanam Mathur Uthangarai Hosur Shoolagiri Kelamangalam Thally Ariyalur Thirumanur Jayamkondam Andimadam T.Palur Sendurai Gudimangalam Tiruppur Uthukuli Vellakoil Madathukulam Kundadam Mulanur Udumalpet Avinashi Palladam Pongalur Tiruppur Astrologer-Thantri Deeksha-Guru Paramahamsa Rupnathji Vashikaran & Black-Magic Apply or Removal Specialist Vastu Doshas Removal & Griha Shanti Specialist Bhoot Pret Badha Evil Eye Symptoms Specialist Navagraha Shanti (Havan or Yagna) Specialist Get Your Love Back By Vashikaran Specialist Love-Marriage Problem Solution Specialist Tantric Abhichar Kalajadu Specialist Sarva Manokamna Purti Specialist All Problem Solution Specialist Enemy-Destroy Tantri Specialist Puja Havan or Yajna Specialist Dr.Rupnathji World Famous Number One Best Jyotish Acharya Yogi Tantri Guruji
Astrologer-Thantri Deeksha-Guru All Problem Solution Specialist Dr Rupnathji Ariyalur Chennai Coimbatore Cuddalore Dharmapuri Dindigul Erode Kancheepuram Kanchipuram Kanniyakumari Nagercoil Karur Krishnagiri Madurai Nagapattinam Namakkal Perambalur Pudukottai Pudukkottai Ramanathapuram Salem Sivagangai Thanjavur Theni The Nilgiris Udagamandalam Ootacamund Tirunelveli Thiruvallur Tiruvannamalai Thiruvarur Thoothukudi Tiruchirapalli Tiruchirappalli Tiruppur Vellore Villupuram Vilupuram Virudhunagar A.Vellalapatti Abiramam Achampudur Acharapakkam Acharipallam Achipatti Adikaratti Adiramapattinam Aduthurai alias Maruthuvakudi Agaram Alagappapuram Alanganallur Alangayam Alangudi Alangulam Alangulam Alanthurai Alapakkam Alur Alwarkurichi Alwarthirunagiri Ambasamudram Ambur Ammainaickanur Ammapettai Ammapettai Ammoor Anaimalai Anaiyur Ananthapuram Andipatti Jakkampatti Anjugramam Annavasal Annur Anthiyur Appakudal Arachalur Arakandanallur Arakonam Aralvaimozhi Arani Aranthangi Arasiramani Aravakurichi Arcot Arimalam Ariyalur Ariyappampalayam Ariyur Arumanai Arumbavur Aruppukkottai Athani Athanur Athimarapatti Athipattu Athur Attur Avadattur Avalpoondurai Ayakudi Aygudi Ayothiapattinam Ayyalur Dusi Ayyampalayam Ayyampettai Ayyampettai Dindigul Azhagiapandiapuram Agastheeswaram Ammavarikuppam B. Meenakshipuram B.Mallapuram Balakrishnampatti Balakrishnapuram Balapallam Balasamudram Bargur Batlagundu Bhavani Bhavanisagar Bikketti Bhuvanagiri Bodinayakanur Boothapandi Belur Boothipuram Chengalpattu Chengam Chennai Chennasamudram Chennimalai Cheranmadevi Chetpet Chettiarpatti Chettipalayam Chettithangal Chidambaram Chinnakkampalayam Chinnalapatti Chinnamanur Chinnasalem Chithode Cholapuram Coimbatore Coonoor Courtalam Cuddalore Denkanikottai Desur Devadanapatti Devakottai Devanangurichi Devarshola Dhalavoipuram Dhali Dhaliyur Dharapuram Dharmapuri Edaganasalai Edaikodu Edakalinadu Edappadi Elathur Elayirampannai Elumalai Eral Eraniel Eriodu Erode Erumaipatti Eruvadi Ethapur Ettayapuram Ezhudesam Ganapathipuram Gangavalli Ganguvarpatti Gingee Gobichettipalayam Gopalasamudram Gudalur Gudalur Gudiyatham Gummidipoondi Hanumanthampatti Harur Highways Hosur Huligal Ilampillai Ilanji Ilayangudi Iluppaiyurani Iluppur Jalakandapuram Jambai Jayankondam Jolarpet Kadambur Kadathur Kadayal Kadayampatti Kadayanallur Kalakkad Kalambur Kalappanaickenpatti Kalavai Kaliyakkavilai Kallakkurichi Kallakudi Kallukuttam Kalugumalai Kamayagoundanpatti Kambainallur Kambam Kamuthi Kanakkampalayam Kanam Kancheepuram Kangayampalayam Kangeyam Kaniyur Kanjikoil Kannamangalam Kannivadi Kannivadi Kanniyakumari Kappiyarai Karaikkudi Karamadai Karambakkudi Kariamangalam Kariapatti Karugampattur Karumandi Chellipalayam Karumathampatti Karungal Karunguzhi Karuppur Karur Kasipalayam Kathujuganapalli Kattumannarkoil Kattuputhur Kaveripakkam Kaveripattinam Kayatharu Keelakarai Keeramangalam Keeranur Keeranur Keeripatti Keezhapavur Kelamangalam Kembainaickenpalayam Kethi Kilampadi Kilkulam Kilkunda Killai Killiyur Kilpennathur Kilvelur Kinathukadavu Kodaikanal Kodavasal Kodumudi Kolachal Kolappalur Kolathupalayam Kolathur Kollankodu Kollankoil Komaralingam Kombai Konganapuram Kooraikundu Koradacheri Kotagiri Kothinallur Kottakuppam Kottaram Kottur Kovilpatti Krishnagiri Krishnarayapuram Kuchanur Kuhalur Kulasekarapuram Kulithalai Kumarapuram Kumbakonam Kunnathur Kurinjipadi Kurumbalur Kuthalam Kuthanallur Kuzhithurai Labbaikudikadu Lakkampatti Lalgudi Lalpet Madathukulam Madukkur Madurai Maduranthakam Mallankinaru Mallasamudram Mallur Mamallapuram Mamsapuram Manachanallur Manalmedu Manalurpet Manamadurai Manapparai Manavalakurichi Mandaikadu Mandapam Mangalampet Manimutharu Mannargudi Maraimalainagar Marakkanam Maramangalathupatti Marandahalli Markayankottai Marudur Marungur Mathigiri Mayiladuthurai Mecheri Melacheval Melachokkanathapuram Melagaram Melamaiyur Melathiruppanthuruthi Melattur Melpattampakkam Melur Melvisharam Mettupalayam Mettupalayam Mettur Minjur Modakurichi Mohanur Moolakaraipatti Mopperipalayam Mudukulathur Mukasipidariyur Mukkudal Mulagumudu Mulanur Muruganpalayam Musiri Muthupe Muthur Muttayyapuram Myladi Naduvattam Nagapattinam Nagavakulam Nagercoil Nagojanahalli Nallampatti Nallur Namagiripettai Namakkal Nambiyur Nandivaram Guduvancheri Nangavalli Nangavaram Nanguneri Nanjikottai Nannilam Naranapuram Narasingapuram Narasingapuram Nasiyanur Natham Nathampannai Natrampalli Nattarasankottai Nazerath Needamangalam Neelagiri Neikkarapatti Neiyyur Nellikuppam Nemili Neripperichal Nerkuppai Nerunjipettai Neyveli Nilakkottai O' Valley Odaipatti Odaiyakulam Oddanchatram Odugathur Olagadam Omalur Orathanadu Mukthambalpuram Othakadai Othakalmandapam Ottapparai P.J. Cholapuram P.Mettupalayam P.N.Patti Pacode Padaiveedu Padirikuppam Padmanabhapuram Palaganangudy Palakkodu Palamedu Palani Palani Chettipatti Palayam Palladam Pallapalayam Pallapatti Pallikonda Pallipattu Panagudi Panaimarathupatti Panapakkam Panboli Pandamangalam Pannaikadu Pannaipuram Panruti Papanasam Papparapatti Pappireddipatti Paramakudi Paramathi Parangipettai Pasur Pathamadai Pattinam Pattiveeranpatti Pattukkottai Pazhugal Pennadam Pennagaram Pennathur Peraiyur Peralam Perambalur Peranamallur Peravurani Periya Negamam Periyakodiveri Periyakulam Periyapatti Periyasemur Pernampattu Perumagalur Perumandi Perumuchi Perundurai Perungulam Pethampalayam Pethanaickenpalayam Pillanallur Pollachi Polur Ponmani Ponnamaravathi Ponnampatti Ponneri Poolambadi Poolampatti Pooluvapatti Pothanur Pothatturpettai Pudukadai Pudukkottai Pudukkottai Pudupalayam Pudupalayam Agraharam Pudupatti Pudupattinam Pudur Puliyankudi Puliyur Pullampadi Punjai Thottakurichi Punjaipugalur Puthalam Punjaipuliampatti Puvalur R.Pudupatti R.S.Mangalam Rajapalayam Ramanathapuram Rameswaram Rasipuram Rayagiri Reethapuram Rosalpatti Rudravathi S. Kannanur S.Kodikulam Salangapalayam Salem Samalapuram Samathur Sambavar Vadagarai Sankaramanallur Sankarankoil Sankarapuram Sankari Sarcarsamakulam Sathankulam Sathiyavijayanagaram Sathyamangalam Sattur Sayalgudi Sayapuram Seerapalli Seithur Semmipalayam Senthamangalam Sentharapatti Senur Sethiathoppu Sevugampatti Shenkottai Sholavandan Sholingur Sholur Singampuneri Singaperumalkoil Sirkali Sirugamani Sirumugai Sithayankottai Sithurajapuram Sivaganga Sivagiri Sivakasi Sivanthipuram Srimushnam Sriperumbudur Sriramapuram Srivaikuntam Srivilliputhur Suchindram Sundarapandiam Sundarapandiapuram Surandai Suriyampalayam Swamimalai T.Kallupatti Tayilupatti Tenkasi Thadikombu Thakkolam Thalainayar Thalakudi Thamaraikulam Thammampatti Thanjavur Tharamangalam Tharangambadi Thathaiyangarpet Thedavur Thengampudur Theni Allinagaram Thenkarai Thenkarai Thenthamaraikulam Thenthiruperai Thesur Thevaram Thevur Thiagadurgam Thingalnagar Thirukarungudi Thirukkattupalli Thirumalayampalayam Thirumangalam Thirunageswaram Thirunindravur Thiruparappu Thiruporur Thiruppanandal Thirupuvanam Thirupuvanam Thiruthuraipoondi Thiruvaiyaru Thiruvalam Thiruvallur Thiruvarur Thiruvattaru Thiruvenkatam Thiruvennainallur hiruvidaimarudur Thiruvithankodu Thisayanvilai Thittacheri Thondamuthur Thondi Thoothukkudi Thorapadi Thottiyam Thuraiyur Thuthipattu Timiri Tindivanam Tiruchendur Tiruchengode Uthukuli Tiruchirappalli Tirukalukundram Tirukkoyilur Tirunelveli Tirupathur Tirupathur Tiruppur Tiruttani Tiruvannamalai Tiruvethipuram Tittakudi TNPL Pugalur Udangudi Udayarpalayam Udhagamandalam Udumalaipettai Ulundurpettai Unjalur Unnamalaikadai Uppidamangalam Uppiliapuram Urapakkam Usilampatti Uthamapalayam Uthangarai Uthiramerur Uthukkottai V. Pudur V.Pudupatti Vadakarai Keezhpadugai Vadakkanandal Vadakkuvalliyur Vadalur Vadamadurai Vadipatti Vadugapatti Vadugapatti Vaitheeswarankoil Valangaiman Valavanur Vallam Valparai Viswanatham Valvaithankoshtam Vanavasi Vandavasi Vaniputhur Vaniyambadi Varadarajanpettai Vasudevanallur Vathirairuppu Vazhapadi Vedaranyam Vedasandur Veeraganur Veerakkalpudur Veerapandi Veeravanallur Velankanni Vellakoil Vellimalai Vellore Vengampudur Vellottamparappu Velur Vengathur Venkarai Vennanthur Veppathur Verkilambi Vettaikaranpudur Vettavalam Vijayapuri Vikramasingapuram Vikravandi Vilapakkam Vilathikulam Vilavur Villukuri Viluppuram Virudhachalam Virudhunagar Virupakshipuram Walajabad Kanchipuram Walajabad Uthiramerur Sriperumbudur Kundrathur Thiruporur Kattankolathur Madurantakam Thirukalukundram Thomas Malai Acharapakkam Lathur Chithamur Tiruvallur Villivakkam Puzhal Minjur Sholavaram Gummidipoondi Tiruvalangadu Tiruttani Pallipet R.K.Pet Tiruvallur Poondi Kadambathur Ellapuram Poonamallee Cuddalore Cuddalore Annagramam Panruti Kurinjipadi Kattumannar Koil Kumaratchi Keerapalayam Melbhuvanagiri Vridhachalam Kammapuram Nallur Mangalur T.V. Nallur Villupuram Tirukoilur Mugaiyur Tirunavalur Ulundurpet Kanai Koliyanur Kandamangalam Olakkur Mailam Merkanam Vanur Gingee Vallam Melmalayanur Kallakurichi Chinnasalem Rishivandiyam Sankarapuram Thiyagadurgam Kalrayan Hills Vellore Kaniyambadi Anaicut Madhanur Katpadi K.V. Kuppam Gudiyatham Pernambet Walajah Sholinghur Arakonam Nemili Vikkiravandi Kaveripakkam Arcot Thimiri Thirupathur Jolarpet Kandhili Natrampalli Alangayam Tiruvannamalai Kilpennathur Thurinjapuram Polur Kalasapakkam Chetpet Chengam Pudupalayam Thandrampet Jawadumalai Cheyyar Anakkavoor Vembakkam Vandavasi Thellar Peranamallur Arni West Arni Salem Veerapandy Panamarathupatti Ayothiyapattinam Valapady Yercaud P.N.Palayam Attur Gangavalli Thalaivasal Kolathur Nangavalli Mecheri Omalur Tharamangalam Kadayampatti Sankari Idappady Konganapuram Mac. Choultry Mohanur Namakkal Elacipalayam Erumapatty Kabilarmalai Kollihills Mallasamudram Namakkal Namagiripet Puduchatram Paramathy Pallipalayam Rasipuram Sendamangalam Tiruchengode Vennandur Dharmapuri Nallampalli Pennagaram Harur Morappur Parangipettai Pappireddipatti Karimangalam Palacode Erode Modakkuruchi Kodumudi Perundurai Chennimalai Ammapet Anthiyur Bhavani Gobi Nambiyur T.N. Palayam Sathy Bhavanisagar Talavadi Coimbatore Karamadai Madukkarai P.N.Palayam S.S.Kulam Thondamuthur Anaimalai Kinathukadavu Pollachi Pollachi Annur Sulur Sultanpet The Nilgiris Udhagai Coonoor Kotagiri Gudalur Thanjavur Budalur Thiruvaiyaru Orathanadu Thiruvonam Kumbakonam Thiruvidaimarudur Tiruppanandal Papanasam Ammapet Pattukkottai Madukkur Peravurani Sethubavachatram Nagapattinam Keelaiyur Kilvelur Thirumarugal Thalainayar Vedaranyam Mayiladuthurai Kuthalam Sembanarkoil Sirkali Kollidam Tiruvarur Valangaiman Nannilam Kodavasal Thiruvarur Koradacheri Mannargudi Needamangalam Kottur Thiruthuraipoondi Muthupettai Tiruchirappalli Andanallur Manikandam Thiruverambur Manapparai Marungapuri Vaiyampatty Lalgudi Cumbum Manachanallur Pullampady Musiri Thottiam T.Pet Thuraiyur Uppiliyapuram Karur Thanthoni Aravakurichi K.Paramathi Kulithalai Krishnarayapuram Kadavur Thogamalai Perambalur Veppanthattai Alathur Veppur Pudukkottai Annavasal Arimalam Kunnandarkoil Ponnamaravathi Pudukkottai Thirumayam Viralimalai Arantangi Avudayarkoil Gandarvakottai Karambakkudi Manamelkudi Thiruvarankulam Madurai Melur Tenkasi Thirupparankundram Kottampatti Vadipatti Alanganallur Usilampatti Chellampatti Sedapatti Thirumangalam T.Kallupatty Kallikudi Andipatti K Myladumparai Periyakulam Bodinaickanur Chinnamanur Dindigul Uthamapalayam Athoor Reddiarchatram Nilakottai Shanarpatti Natham Batlagundu Palani Oddanchatram Thoppampatti Vedasandur Vadamadurai Guziliamparai Kodaikanal Ramanathapuram Mandapam Ramanathapuram R.S. Mangalam Thiruppullani Thiruvadanai Bogalur Kadaladi Kamuthi Mudukulathur Nainarkoil Paramakudi Virudhunagar Arupukottai Virudhunagar Kariapatti Tiruchuli Narikudi Rajapalayam Srivilliputhur Watrap Sivakasi Vembakottai Sattur Sivagangai Sivaganga Kalaiyarkoil Manamadurai Thiruppuvanam Ilayangudi Thiruppathur Singampunari Sakkottai Kallal Devakottai Kannangudi S.Pudur Tirunelveli Palayamkottai Manur Melaneelithanallur Kuruvikulam Sankarankoil Kangayam Ambasamudram Cheranmahadevi Pappakudi Kadayam Theni Nanguneri Kalakadu Valliyoor Radhapuram Alankulam Keelapavoor Kadayanallur Shencottai Dharapuram Vasudevanallur Thoothukkudi Thoothukudi Karungulam Srivaikundam Alwarthirunagari Tiruchendur Udangudi Sattankulam Kovilpatti Kayathar Ottapidaram Pudur Vilathikulam Kanniyakumari Agastheeswaram Thovalai Rajakkamangalam Thuckalay Kurunthancode Thiruvattar Killiyoor Munchirai Melpuram Veppanapalli Bargur Krishnagiri Kaveripattanam Mathur Uthangarai Hosur Shoolagiri Kelamangalam Thally Ariyalur Thirumanur Jayamkondam Andimadam T.Palur Sendurai Gudimangalam Tiruppur Uthukuli Vellakoil Madathukulam Kundadam Mulanur Udumalpet Avinashi Palladam Pongalur Tiruppur Astrologer-Thantri Deeksha-Guru Paramahamsa Rupnathji Vashikaran & Black-Magic Apply or Removal Specialist Vastu Doshas Removal & Griha Shanti Specialist Bhoot Pret Badha Evil Eye Symptoms Specialist Navagraha Shanti (Havan or Yagna) Specialist Get Your Love Back By Vashikaran Specialist Love-Marriage Problem Solution Specialist Tantric Abhichar Kalajadu Specialist Sarva Manokamna Purti Specialist All Problem Solution Specialist Enemy-Destroy Tantri Specialist Puja Havan or Yajna Specialist Dr.Rupnathji World Famous Number One Best Jyotish Acharya Yogi Tantri Guruji
Astrologer-Thantri Deeksha-Guru All Problem Solution Specialist Dr Rupnathji Ariyalur Chennai Coimbatore Cuddalore Dharmapuri Dindigul Erode Kancheepuram Kanchipuram Kanniyakumari Nagercoil Karur Krishnagiri Madurai Nagapattinam Namakkal Perambalur Pudukottai Pudukkottai Ramanathapuram Salem Sivagangai Thanjavur Theni The Nilgiris Udagamandalam Ootacamund Tirunelveli Thiruvallur Tiruvannamalai Thiruvarur Thoothukudi Tiruchirapalli Tiruchirappalli Tiruppur Vellore Villupuram Vilupuram Virudhunagar A.Vellalapatti Abiramam Achampudur Acharapakkam Acharipallam Achipatti Adikaratti Adiramapattinam Aduthurai alias Maruthuvakudi Agaram Alagappapuram Alanganallur Alangayam Alangudi Alangulam Alangulam Alanthurai Alapakkam Alur Alwarkurichi Alwarthirunagiri Ambasamudram Ambur Ammainaickanur Ammapettai Ammapettai Ammoor Anaimalai Anaiyur Ananthapuram Andipatti Jakkampatti Anjugramam Annavasal Annur Anthiyur Appakudal Arachalur Arakandanallur Arakonam Aralvaimozhi Arani Aranthangi Arasiramani Aravakurichi Arcot Arimalam Ariyalur Ariyappampalayam Ariyur Arumanai Arumbavur Aruppukkottai Athani Athanur Athimarapatti Athipattu Athur Attur Avadattur Avalpoondurai Ayakudi Aygudi Ayothiapattinam Ayyalur Dusi Ayyampalayam Ayyampettai Ayyampettai Dindigul Azhagiapandiapuram Agastheeswaram Ammavarikuppam B. Meenakshipuram B.Mallapuram Balakrishnampatti Balakrishnapuram Balapallam Balasamudram Bargur Batlagundu Bhavani Bhavanisagar Bikketti Bhuvanagiri Bodinayakanur Boothapandi Belur Boothipuram Chengalpattu Chengam Chennai Chennasamudram Chennimalai Cheranmadevi Chetpet Chettiarpatti Chettipalayam Chettithangal Chidambaram Chinnakkampalayam Chinnalapatti Chinnamanur Chinnasalem Chithode Cholapuram Coimbatore Coonoor Courtalam Cuddalore Denkanikottai Desur Devadanapatti Devakottai Devanangurichi Devarshola Dhalavoipuram Dhali Dhaliyur Dharapuram Dharmapuri Edaganasalai Edaikodu Edakalinadu Edappadi Elathur Elayirampannai Elumalai Eral Eraniel Eriodu Erode Erumaipatti Eruvadi Ethapur Ettayapuram Ezhudesam Ganapathipuram Gangavalli Ganguvarpatti Gingee Gobichettipalayam Gopalasamudram Gudalur Gudalur Gudiyatham Gummidipoondi Hanumanthampatti Harur Highways Hosur Huligal Ilampillai Ilanji Ilayangudi Iluppaiyurani Iluppur Jalakandapuram Jambai Jayankondam Jolarpet Kadambur Kadathur Kadayal Kadayampatti Kadayanallur Kalakkad Kalambur Kalappanaickenpatti Kalavai Kaliyakkavilai Kallakkurichi Kallakudi Kallukuttam Kalugumalai Kamayagoundanpatti Kambainallur Kambam Kamuthi Kanakkampalayam Kanam Kancheepuram Kangayampalayam Kangeyam Kaniyur Kanjikoil Kannamangalam Kannivadi Kannivadi Kanniyakumari Kappiyarai Karaikkudi Karamadai Karambakkudi Kariamangalam Kariapatti Karugampattur Karumandi Chellipalayam Karumathampatti Karungal Karunguzhi Karuppur Karur Kasipalayam Kathujuganapalli Kattumannarkoil Kattuputhur Kaveripakkam Kaveripattinam Kayatharu Keelakarai Keeramangalam Keeranur Keeranur Keeripatti Keezhapavur Kelamangalam Kembainaickenpalayam Kethi Kilampadi Kilkulam Kilkunda Killai Killiyur Kilpennathur Kilvelur Kinathukadavu Kodaikanal Kodavasal Kodumudi Kolachal Kolappalur Kolathupalayam Kolathur Kollankodu Kollankoil Komaralingam Kombai Konganapuram Kooraikundu Koradacheri Kotagiri Kothinallur Kottakuppam Kottaram Kottur Kovilpatti Krishnagiri Krishnarayapuram Kuchanur Kuhalur Kulasekarapuram Kulithalai Kumarapuram Kumbakonam Kunnathur Kurinjipadi Kurumbalur Kuthalam Kuthanallur Kuzhithurai Labbaikudikadu Lakkampatti Lalgudi Lalpet Madathukulam Madukkur Madurai Maduranthakam Mallankinaru Mallasamudram Mallur Mamallapuram Mamsapuram Manachanallur Manalmedu Manalurpet Manamadurai Manapparai Manavalakurichi Mandaikadu Mandapam Mangalampet Manimutharu Mannargudi Maraimalainagar Marakkanam Maramangalathupatti Marandahalli Markayankottai Marudur Marungur Mathigiri Mayiladuthurai Mecheri Melacheval Melachokkanathapuram Melagaram Melamaiyur Melathiruppanthuruthi Melattur Melpattampakkam Melur Melvisharam Mettupalayam Mettupalayam Mettur Minjur Modakurichi Mohanur Moolakaraipatti Mopperipalayam Mudukulathur Mukasipidariyur Mukkudal Mulagumudu Mulanur Muruganpalayam Musiri Muthupe Muthur Muttayyapuram Myladi Naduvattam Nagapattinam Nagavakulam Nagercoil Nagojanahalli Nallampatti Nallur Namagiripettai Namakkal Nambiyur Nandivaram Guduvancheri Nangavalli Nangavaram Nanguneri Nanjikottai Nannilam Naranapuram Narasingapuram Narasingapuram Nasiyanur Natham Nathampannai Natrampalli Nattarasankottai Nazerath Needamangalam Neelagiri Neikkarapatti Neiyyur Nellikuppam Nemili Neripperichal Nerkuppai Nerunjipettai Neyveli Nilakkottai O' Valley Odaipatti Odaiyakulam Oddanchatram Odugathur Olagadam Omalur Orathanadu Mukthambalpuram Othakadai Othakalmandapam Ottapparai P.J. Cholapuram P.Mettupalayam P.N.Patti Pacode Padaiveedu Padirikuppam Padmanabhapuram Palaganangudy Palakkodu Palamedu Palani Palani Chettipatti Palayam Palladam Pallapalayam Pallapatti Pallikonda Pallipattu Panagudi Panaimarathupatti Panapakkam Panboli Pandamangalam Pannaikadu Pannaipuram Panruti Papanasam Papparapatti Pappireddipatti Paramakudi Paramathi Parangipettai Pasur Pathamadai Pattinam Pattiveeranpatti Pattukkottai Pazhugal Pennadam Pennagaram Pennathur Peraiyur Peralam Perambalur Peranamallur Peravurani Periya Negamam Periyakodiveri Periyakulam Periyapatti Periyasemur Pernampattu Perumagalur Perumandi Perumuchi Perundurai Perungulam Pethampalayam Pethanaickenpalayam Pillanallur Pollachi Polur Ponmani Ponnamaravathi Ponnampatti Ponneri Poolambadi Poolampatti Pooluvapatti Pothanur Pothatturpettai Pudukadai Pudukkottai Pudukkottai Pudupalayam Pudupalayam Agraharam Pudupatti Pudupattinam Pudur Puliyankudi Puliyur Pullampadi Punjai Thottakurichi Punjaipugalur Puthalam Punjaipuliampatti Puvalur R.Pudupatti R.S.Mangalam Rajapalayam Ramanathapuram Rameswaram Rasipuram Rayagiri Reethapuram Rosalpatti Rudravathi S. Kannanur S.Kodikulam Salangapalayam Salem Samalapuram Samathur Sambavar Vadagarai Sankaramanallur Sankarankoil Sankarapuram Sankari Sarcarsamakulam Sathankulam Sathiyavijayanagaram Sathyamangalam Sattur Sayalgudi Sayapuram Seerapalli Seithur Semmipalayam Senthamangalam Sentharapatti Senur Sethiathoppu Sevugampatti Shenkottai Sholavandan Sholingur Sholur Singampuneri Singaperumalkoil Sirkali Sirugamani Sirumugai Sithayankottai Sithurajapuram Sivaganga Sivagiri Sivakasi Sivanthipuram Srimushnam Sriperumbudur Sriramapuram Srivaikuntam Srivilliputhur Suchindram Sundarapandiam Sundarapandiapuram Surandai Suriyampalayam Swamimalai T.Kallupatti Tayilupatti Tenkasi Thadikombu Thakkolam Thalainayar Thalakudi Thamaraikulam Thammampatti Thanjavur Tharamangalam Tharangambadi Thathaiyangarpet Thedavur Thengampudur Theni Allinagaram Thenkarai Thenkarai Thenthamaraikulam Thenthiruperai Thesur Thevaram Thevur Thiagadurgam Thingalnagar Thirukarungudi Thirukkattupalli Thirumalayampalayam Thirumangalam Thirunageswaram Thirunindravur Thiruparappu Thiruporur Thiruppanandal Thirupuvanam Thirupuvanam Thiruthuraipoondi Thiruvaiyaru Thiruvalam Thiruvallur Thiruvarur Thiruvattaru Thiruvenkatam Thiruvennainallur hiruvidaimarudur Thiruvithankodu Thisayanvilai Thittacheri Thondamuthur Thondi Thoothukkudi Thorapadi Thottiyam Thuraiyur Thuthipattu Timiri Tindivanam Tiruchendur Tiruchengode Uthukuli Tiruchirappalli Tirukalukundram Tirukkoyilur Tirunelveli Tirupathur Tirupathur Tiruppur Tiruttani Tiruvannamalai Tiruvethipuram Tittakudi TNPL Pugalur Udangudi Udayarpalayam Udhagamandalam Udumalaipettai Ulundurpettai Unjalur Unnamalaikadai Uppidamangalam Uppiliapuram Urapakkam Usilampatti Uthamapalayam Uthangarai Uthiramerur Uthukkottai V. Pudur V.Pudupatti Vadakarai Keezhpadugai Vadakkanandal Vadakkuvalliyur Vadalur Vadamadurai Vadipatti Vadugapatti Vadugapatti Vaitheeswarankoil Valangaiman Valavanur Vallam Valparai Viswanatham Valvaithankoshtam Vanavasi Vandavasi Vaniputhur Vaniyambadi Varadarajanpettai Vasudevanallur Vathirairuppu Vazhapadi Vedaranyam Vedasandur Veeraganur Veerakkalpudur Veerapandi Veeravanallur Velankanni Vellakoil Vellimalai Vellore Vengampudur Vellottamparappu Velur Vengathur Venkarai Vennanthur Veppathur Verkilambi Vettaikaranpudur Vettavalam Vijayapuri Vikramasingapuram Vikravandi Vilapakkam Vilathikulam Vilavur Villukuri Viluppuram Virudhachalam Virudhunagar Virupakshipuram Walajabad Kanchipuram Walajabad Uthiramerur Sriperumbudur Kundrathur Thiruporur Kattankolathur Madurantakam Thirukalukundram Thomas Malai Acharapakkam Lathur Chithamur Tiruvallur Villivakkam Puzhal Minjur Sholavaram Gummidipoondi Tiruvalangadu Tiruttani Pallipet R.K.Pet Tiruvallur Poondi Kadambathur Ellapuram Poonamallee Cuddalore Cuddalore Annagramam Panruti Kurinjipadi Kattumannar Koil Kumaratchi Keerapalayam Melbhuvanagiri Vridhachalam Kammapuram Nallur Mangalur T.V. Nallur Villupuram Tirukoilur Mugaiyur Tirunavalur Ulundurpet Kanai Koliyanur Kandamangalam Olakkur Mailam Merkanam Vanur Gingee Vallam Melmalayanur Kallakurichi Chinnasalem Rishivandiyam Sankarapuram Thiyagadurgam Kalrayan Hills Vellore Kaniyambadi Anaicut Madhanur Katpadi K.V. Kuppam Gudiyatham Pernambet Walajah Sholinghur Arakonam Nemili Vikkiravandi Kaveripakkam Arcot Thimiri Thirupathur Jolarpet Kandhili Natrampalli Alangayam Tiruvannamalai Kilpennathur Thurinjapuram Polur Kalasapakkam Chetpet Chengam Pudupalayam Thandrampet Jawadumalai Cheyyar Anakkavoor Vembakkam Vandavasi Thellar Peranamallur Arni West Arni Salem Veerapandy Panamarathupatti Ayothiyapattinam Valapady Yercaud P.N.Palayam Attur Gangavalli Thalaivasal Kolathur Nangavalli Mecheri Omalur Tharamangalam Kadayampatti Sankari Idappady Konganapuram Mac. Choultry Mohanur Namakkal Elacipalayam Erumapatty Kabilarmalai Kollihills Mallasamudram Namakkal Namagiripet Puduchatram Paramathy Pallipalayam Rasipuram Sendamangalam Tiruchengode Vennandur Dharmapuri Nallampalli Pennagaram Harur Morappur Parangipettai Pappireddipatti Karimangalam Palacode Erode Modakkuruchi Kodumudi Perundurai Chennimalai Ammapet Anthiyur Bhavani Gobi Nambiyur T.N. Palayam Sathy Bhavanisagar Talavadi Coimbatore Karamadai Madukkarai P.N.Palayam S.S.Kulam Thondamuthur Anaimalai Kinathukadavu Pollachi Pollachi Annur Sulur Sultanpet The Nilgiris Udhagai Coonoor Kotagiri Gudalur Thanjavur Budalur Thiruvaiyaru Orathanadu Thiruvonam Kumbakonam Thiruvidaimarudur Tiruppanandal Papanasam Ammapet Pattukkottai Madukkur Peravurani Sethubavachatram Nagapattinam Keelaiyur Kilvelur Thirumarugal Thalainayar Vedaranyam Mayiladuthurai Kuthalam Sembanarkoil Sirkali Kollidam Tiruvarur Valangaiman Nannilam Kodavasal Thiruvarur Koradacheri Mannargudi Needamangalam Kottur Thiruthuraipoondi Muthupettai Tiruchirappalli Andanallur Manikandam Thiruverambur Manapparai Marungapuri Vaiyampatty Lalgudi Cumbum Manachanallur Pullampady Musiri Thottiam T.Pet Thuraiyur Uppiliyapuram Karur Thanthoni Aravakurichi K.Paramathi Kulithalai Krishnarayapuram Kadavur Thogamalai Perambalur Veppanthattai Alathur Veppur Pudukkottai Annavasal Arimalam Kunnandarkoil Ponnamaravathi Pudukkottai Thirumayam Viralimalai Arantangi Avudayarkoil Gandarvakottai Karambakkudi Manamelkudi Thiruvarankulam Madurai Melur Tenkasi Thirupparankundram Kottampatti Vadipatti Alanganallur Usilampatti Chellampatti Sedapatti Thirumangalam T.Kallupatty Kallikudi Andipatti K Myladumparai Periyakulam Bodinaickanur Chinnamanur Dindigul Uthamapalayam Athoor Reddiarchatram Nilakottai Shanarpatti Natham Batlagundu Palani Oddanchatram Thoppampatti Vedasandur Vadamadurai Guziliamparai Kodaikanal Ramanathapuram Mandapam Ramanathapuram R.S. Mangalam Thiruppullani Thiruvadanai Bogalur Kadaladi Kamuthi Mudukulathur Nainarkoil Paramakudi Virudhunagar Arupukottai Virudhunagar Kariapatti Tiruchuli Narikudi Rajapalayam Srivilliputhur Watrap Sivakasi Vembakottai Sattur Sivagangai Sivaganga Kalaiyarkoil Manamadurai Thiruppuvanam Ilayangudi Thiruppathur Singampunari Sakkottai Kallal Devakottai Kannangudi S.Pudur Tirunelveli Palayamkottai Manur Melaneelithanallur Kuruvikulam Sankarankoil Kangayam Ambasamudram Cheranmahadevi Pappakudi Kadayam Theni Nanguneri Kalakadu Valliyoor Radhapuram Alankulam Keelapavoor Kadayanallur Shencottai Dharapuram Vasudevanallur Thoothukkudi Thoothukudi Karungulam Srivaikundam Alwarthirunagari Tiruchendur Udangudi Sattankulam Kovilpatti Kayathar Ottapidaram Pudur Vilathikulam Kanniyakumari Agastheeswaram Thovalai Rajakkamangalam Thuckalay Kurunthancode Thiruvattar Killiyoor Munchirai Melpuram Veppanapalli Bargur Krishnagiri Kaveripattanam Mathur Uthangarai Hosur Shoolagiri Kelamangalam Thally Ariyalur Thirumanur Jayamkondam Andimadam T.Palur Sendurai Gudimangalam Tiruppur Uthukuli Vellakoil Madathukulam Kundadam Mulanur Udumalpet Avinashi Palladam Pongalur Tiruppur Astrologer-Thantri Deeksha-Guru Paramahamsa Rupnathji Vashikaran & Black-Magic Apply or Removal Specialist Vastu Doshas Removal & Griha Shanti Specialist Bhoot Pret Badha Evil Eye Symptoms Specialist Navagraha Shanti (Havan or Yagna) Specialist Get Your Love Back By Vashikaran Specialist Love-Marriage Problem Solution Specialist Tantric Abhichar Kalajadu Specialist Sarva Manokamna Purti Specialist All Problem Solution Specialist Enemy-Destroy Tantri Specialist Puja Havan or Yajna Specialist Dr.Rupnathji World Famous Number One Best Jyotish Acharya Yogi Tantri Guruji
Astrologer-Thantri Deeksha-Guru All Problem Solution Specialist Dr Rupnathji Ariyalur Chennai Coimbatore Cuddalore Dharmapuri Dindigul Erode Kancheepuram Kanchipuram Kanniyakumari Nagercoil Karur Krishnagiri Madurai Nagapattinam Namakkal Perambalur Pudukottai Pudukkottai Ramanathapuram Salem Sivagangai Thanjavur Theni The Nilgiris Udagamandalam Ootacamund Tirunelveli Thiruvallur Tiruvannamalai Thiruvarur Thoothukudi Tiruchirapalli Tiruchirappalli Tiruppur Vellore Villupuram Vilupuram Virudhunagar A.Vellalapatti Abiramam Achampudur Acharapakkam Acharipallam Achipatti Adikaratti Adiramapattinam Aduthurai alias Maruthuvakudi Agaram Alagappapuram Alanganallur Alangayam Alangudi Alangulam Alangulam Alanthurai Alapakkam Alur Alwarkurichi Alwarthirunagiri Ambasamudram Ambur Ammainaickanur Ammapettai Ammapettai Ammoor Anaimalai Anaiyur Ananthapuram Andipatti Jakkampatti Anjugramam Annavasal Annur Anthiyur Appakudal Arachalur Arakandanallur Arakonam Aralvaimozhi Arani Aranthangi Arasiramani Aravakurichi Arcot Arimalam Ariyalur Ariyappampalayam Ariyur Arumanai Arumbavur Aruppukkottai Athani Athanur Athimarapatti Athipattu Athur Attur Avadattur Avalpoondurai Ayakudi Aygudi Ayothiapattinam Ayyalur Dusi Ayyampalayam Ayyampettai Ayyampettai Dindigul Azhagiapandiapuram Agastheeswaram Ammavarikuppam B. Meenakshipuram B.Mallapuram Balakrishnampatti Balakrishnapuram Balapallam Balasamudram Bargur Batlagundu Bhavani Bhavanisagar Bikketti Bhuvanagiri Bodinayakanur Boothapandi Belur Boothipuram Chengalpattu Chengam Chennai Chennasamudram Chennimalai Cheranmadevi Chetpet Chettiarpatti Chettipalayam Chettithangal Chidambaram Chinnakkampalayam Chinnalapatti Chinnamanur Chinnasalem Chithode Cholapuram Coimbatore Coonoor Courtalam Cuddalore Denkanikottai Desur Devadanapatti Devakottai Devanangurichi Devarshola Dhalavoipuram Dhali Dhaliyur Dharapuram Dharmapuri Edaganasalai Edaikodu Edakalinadu Edappadi Elathur Elayirampannai Elumalai Eral Eraniel Eriodu Erode Erumaipatti Eruvadi Ethapur Ettayapuram Ezhudesam Ganapathipuram Gangavalli Ganguvarpatti Gingee Gobichettipalayam Gopalasamudram Gudalur Gudalur Gudiyatham Gummidipoondi Hanumanthampatti Harur Highways Hosur Huligal Ilampillai Ilanji Ilayangudi Iluppaiyurani Iluppur Jalakandapuram Jambai Jayankondam Jolarpet Kadambur Kadathur Kadayal Kadayampatti Kadayanallur Kalakkad Kalambur Kalappanaickenpatti Kalavai Kaliyakkavilai Kallakkurichi Kallakudi Kallukuttam Kalugumalai Kamayagoundanpatti Kambainallur Kambam Kamuthi Kanakkampalayam Kanam Kancheepuram Kangayampalayam Kangeyam Kaniyur Kanjikoil Kannamangalam Kannivadi Kannivadi Kanniyakumari Kappiyarai Karaikkudi Karamadai Karambakkudi Kariamangalam Kariapatti Karugampattur Karumandi Chellipalayam Karumathampatti Karungal Karunguzhi Karuppur Karur Kasipalayam Kathujuganapalli Kattumannarkoil Kattuputhur Kaveripakkam Kaveripattinam Kayatharu Keelakarai Keeramangalam Keeranur Keeranur Keeripatti Keezhapavur Kelamangalam Kembainaickenpalayam Kethi Kilampadi Kilkulam Kilkunda Killai Killiyur Kilpennathur Kilvelur Kinathukadavu Kodaikanal Kodavasal Kodumudi Kolachal Kolappalur Kolathupalayam Kolathur Kollankodu Kollankoil Komaralingam Kombai Konganapuram Kooraikundu Koradacheri Kotagiri Kothinallur Kottakuppam Kottaram Kottur Kovilpatti Krishnagiri Krishnarayapuram Kuchanur Kuhalur Kulasekarapuram Kulithalai Kumarapuram Kumbakonam Kunnathur Kurinjipadi Kurumbalur Kuthalam Kuthanallur Kuzhithurai Labbaikudikadu Lakkampatti Lalgudi Lalpet Madathukulam Madukkur Madurai Maduranthakam Mallankinaru Mallasamudram Mallur Mamallapuram Mamsapuram Manachanallur Manalmedu Manalurpet Manamadurai Manapparai Manavalakurichi Mandaikadu Mandapam Mangalampet Manimutharu Mannargudi Maraimalainagar Marakkanam Maramangalathupatti Marandahalli Markayankottai Marudur Marungur Mathigiri Mayiladuthurai Mecheri Melacheval Melachokkanathapuram Melagaram Melamaiyur Melathiruppanthuruthi Melattur Melpattampakkam Melur Melvisharam Mettupalayam Mettupalayam Mettur Minjur Modakurichi Mohanur Moolakaraipatti Mopperipalayam Mudukulathur Mukasipidariyur Mukkudal Mulagumudu Mulanur Muruganpalayam Musiri Muthupe Muthur Muttayyapuram Myladi Naduvattam Nagapattinam Nagavakulam Nagercoil Nagojanahalli Nallampatti Nallur Namagiripettai Namakkal Nambiyur Nandivaram Guduvancheri Nangavalli Nangavaram Nanguneri Nanjikottai Nannilam Naranapuram Narasingapuram Narasingapuram Nasiyanur Natham Nathampannai Natrampalli Nattarasankottai Nazerath Needamangalam Neelagiri Neikkarapatti Neiyyur Nellikuppam Nemili Neripperichal Nerkuppai Nerunjipettai Neyveli Nilakkottai O' Valley Odaipatti Odaiyakulam Oddanchatram Odugathur Olagadam Omalur Orathanadu Mukthambalpuram Othakadai Othakalmandapam Ottapparai P.J. Cholapuram P.Mettupalayam P.N.Patti Pacode Padaiveedu Padirikuppam Padmanabhapuram Palaganangudy Palakkodu Palamedu Palani Palani Chettipatti Palayam Palladam Pallapalayam Pallapatti Pallikonda Pallipattu Panagudi Panaimarathupatti Panapakkam Panboli Pandamangalam Pannaikadu Pannaipuram Panruti Papanasam Papparapatti Pappireddipatti Paramakudi Paramathi Parangipettai Pasur Pathamadai Pattinam Pattiveeranpatti Pattukkottai Pazhugal Pennadam Pennagaram Pennathur Peraiyur Peralam Perambalur Peranamallur Peravurani Periya Negamam Periyakodiveri Periyakulam Periyapatti Periyasemur Pernampattu Perumagalur Perumandi Perumuchi Perundurai Perungulam Pethampalayam Pethanaickenpalayam Pillanallur Pollachi Polur Ponmani Ponnamaravathi Ponnampatti Ponneri Poolambadi Poolampatti Pooluvapatti Pothanur Pothatturpettai Pudukadai Pudukkottai Pudukkottai Pudupalayam Pudupalayam Agraharam Pudupatti Pudupattinam Pudur Puliyankudi Puliyur Pullampadi Punjai Thottakurichi Punjaipugalur Puthalam Punjaipuliampatti Puvalur R.Pudupatti R.S.Mangalam Rajapalayam Ramanathapuram Rameswaram Rasipuram Rayagiri Reethapuram Rosalpatti Rudravathi S. Kannanur S.Kodikulam Salangapalayam Salem Samalapuram Samathur Sambavar Vadagarai Sankaramanallur Sankarankoil Sankarapuram Sankari Sarcarsamakulam Sathankulam Sathiyavijayanagaram Sathyamangalam Sattur Sayalgudi Sayapuram Seerapalli Seithur Semmipalayam Senthamangalam Sentharapatti Senur Sethiathoppu Sevugampatti Shenkottai Sholavandan Sholingur Sholur Singampuneri Singaperumalkoil Sirkali Sirugamani Sirumugai Sithayankottai Sithurajapuram Sivaganga Sivagiri Sivakasi Sivanthipuram Srimushnam Sriperumbudur Sriramapuram Srivaikuntam Srivilliputhur Suchindram Sundarapandiam Sundarapandiapuram Surandai Suriyampalayam Swamimalai T.Kallupatti Tayilupatti Tenkasi Thadikombu Thakkolam Thalainayar Thalakudi Thamaraikulam Thammampatti Thanjavur Tharamangalam Tharangambadi Thathaiyangarpet Thedavur Thengampudur Theni Allinagaram Thenkarai Thenkarai Thenthamaraikulam Thenthiruperai Thesur Thevaram Thevur Thiagadurgam Thingalnagar Thirukarungudi Thirukkattupalli Thirumalayampalayam Thirumangalam Thirunageswaram Thirunindravur Thiruparappu Thiruporur Thiruppanandal Thirupuvanam Thirupuvanam Thiruthuraipoondi Thiruvaiyaru Thiruvalam Thiruvallur Thiruvarur Thiruvattaru Thiruvenkatam Thiruvennainallur hiruvidaimarudur Thiruvithankodu Thisayanvilai Thittacheri Thondamuthur Thondi Thoothukkudi Thorapadi Thottiyam Thuraiyur Thuthipattu Timiri Tindivanam Tiruchendur Tiruchengode Uthukuli Tiruchirappalli Tirukalukundram Tirukkoyilur Tirunelveli Tirupathur Tirupathur Tiruppur Tiruttani Tiruvannamalai Tiruvethipuram Tittakudi TNPL Pugalur Udangudi Udayarpalayam Udhagamandalam Udumalaipettai Ulundurpettai Unjalur Unnamalaikadai Uppidamangalam Uppiliapuram Urapakkam Usilampatti Uthamapalayam Uthangarai Uthiramerur Uthukkottai V. Pudur V.Pudupatti Vadakarai Keezhpadugai Vadakkanandal Vadakkuvalliyur Vadalur Vadamadurai Vadipatti Vadugapatti Vadugapatti Vaitheeswarankoil Valangaiman Valavanur Vallam Valparai Viswanatham Valvaithankoshtam Vanavasi Vandavasi Vaniputhur Vaniyambadi Varadarajanpettai Vasudevanallur Vathirairuppu Vazhapadi Vedaranyam Vedasandur Veeraganur Veerakkalpudur Veerapandi Veeravanallur Velankanni Vellakoil Vellimalai Vellore Vengampudur Vellottamparappu Velur Vengathur Venkarai Vennanthur Veppathur Verkilambi Vettaikaranpudur Vettavalam Vijayapuri Vikramasingapuram Vikravandi Vilapakkam Vilathikulam Vilavur Villukuri Viluppuram Virudhachalam Virudhunagar Virupakshipuram Walajabad Kanchipuram Walajabad Uthiramerur Sriperumbudur Kundrathur Thiruporur Kattankolathur Madurantakam Thirukalukundram Thomas Malai Acharapakkam Lathur Chithamur Tiruvallur Villivakkam Puzhal Minjur Sholavaram Gummidipoondi Tiruvalangadu Tiruttani Pallipet R.K.Pet Tiruvallur Poondi Kadambathur Ellapuram Poonamallee Cuddalore Cuddalore Annagramam Panruti Kurinjipadi Kattumannar Koil Kumaratchi Keerapalayam Melbhuvanagiri Vridhachalam Kammapuram Nallur Mangalur T.V. Nallur Villupuram Tirukoilur Mugaiyur Tirunavalur Ulundurpet Kanai Koliyanur Kandamangalam Olakkur Mailam Merkanam Vanur Gingee Vallam Melmalayanur Kallakurichi Chinnasalem Rishivandiyam Sankarapuram Thiyagadurgam Kalrayan Hills Vellore Kaniyambadi Anaicut Madhanur Katpadi K.V. Kuppam Gudiyatham Pernambet Walajah Sholinghur Arakonam Nemili Vikkiravandi Kaveripakkam Arcot Thimiri Thirupathur Jolarpet Kandhili Natrampalli Alangayam Tiruvannamalai Kilpennathur Thurinjapuram Polur Kalasapakkam Chetpet Chengam Pudupalayam Thandrampet Jawadumalai Cheyyar Anakkavoor Vembakkam Vandavasi Thellar Peranamallur Arni West Arni Salem Veerapandy Panamarathupatti Ayothiyapattinam Valapady Yercaud P.N.Palayam Attur Gangavalli Thalaivasal Kolathur Nangavalli Mecheri Omalur Tharamangalam Kadayampatti Sankari Idappady Konganapuram Mac. Choultry Mohanur Namakkal Elacipalayam Erumapatty Kabilarmalai Kollihills Mallasamudram Namakkal Namagiripet Puduchatram Paramathy Pallipalayam Rasipuram Sendamangalam Tiruchengode Vennandur Dharmapuri Nallampalli Pennagaram Harur Morappur Parangipettai Pappireddipatti Karimangalam Palacode Erode Modakkuruchi Kodumudi Perundurai Chennimalai Ammapet Anthiyur Bhavani Gobi Nambiyur T.N. Palayam Sathy Bhavanisagar Talavadi Coimbatore Karamadai Madukkarai P.N.Palayam S.S.Kulam Thondamuthur Anaimalai Kinathukadavu Pollachi Pollachi Annur Sulur Sultanpet The Nilgiris Udhagai Coonoor Kotagiri Gudalur Thanjavur Budalur Thiruvaiyaru Orathanadu Thiruvonam Kumbakonam Thiruvidaimarudur Tiruppanandal Papanasam Ammapet Pattukkottai Madukkur Peravurani Sethubavachatram Nagapattinam Keelaiyur Kilvelur Thirumarugal Thalainayar Vedaranyam Mayiladuthurai Kuthalam Sembanarkoil Sirkali Kollidam Tiruvarur Valangaiman Nannilam Kodavasal Thiruvarur Koradacheri Mannargudi Needamangalam Kottur Thiruthuraipoondi Muthupettai Tiruchirappalli Andanallur Manikandam Thiruverambur Manapparai Marungapuri Vaiyampatty Lalgudi Cumbum Manachanallur Pullampady Musiri Thottiam T.Pet Thuraiyur Uppiliyapuram Karur Thanthoni Aravakurichi K.Paramathi Kulithalai Krishnarayapuram Kadavur Thogamalai Perambalur Veppanthattai Alathur Veppur Pudukkottai Annavasal Arimalam Kunnandarkoil Ponnamaravathi Pudukkottai Thirumayam Viralimalai Arantangi Avudayarkoil Gandarvakottai Karambakkudi Manamelkudi Thiruvarankulam Madurai Melur Tenkasi Thirupparankundram Kottampatti Vadipatti Alanganallur Usilampatti Chellampatti Sedapatti Thirumangalam T.Kallupatty Kallikudi Andipatti K Myladumparai Periyakulam Bodinaickanur Chinnamanur Dindigul Uthamapalayam Athoor Reddiarchatram Nilakottai Shanarpatti Natham Batlagundu Palani Oddanchatram Thoppampatti Vedasandur Vadamadurai Guziliamparai Kodaikanal Ramanathapuram Mandapam Ramanathapuram R.S. Mangalam Thiruppullani Thiruvadanai Bogalur Kadaladi Kamuthi Mudukulathur Nainarkoil Paramakudi Virudhunagar Arupukottai Virudhunagar Kariapatti Tiruchuli Narikudi Rajapalayam Srivilliputhur Watrap Sivakasi Vembakottai Sattur Sivagangai Sivaganga Kalaiyarkoil Manamadurai Thiruppuvanam Ilayangudi Thiruppathur Singampunari Sakkottai Kallal Devakottai Kannangudi S.Pudur Tirunelveli Palayamkottai Manur Melaneelithanallur Kuruvikulam Sankarankoil Kangayam Ambasamudram Cheranmahadevi Pappakudi Kadayam Theni Nanguneri Kalakadu Valliyoor Radhapuram Alankulam Keelapavoor Kadayanallur Shencottai Dharapuram Vasudevanallur Thoothukkudi Thoothukudi Karungulam Srivaikundam Alwarthirunagari Tiruchendur Udangudi Sattankulam Kovilpatti Kayathar Ottapidaram Pudur Vilathikulam Kanniyakumari Agastheeswaram Thovalai Rajakkamangalam Thuckalay Kurunthancode Thiruvattar Killiyoor Munchirai Melpuram Veppanapalli Bargur Krishnagiri Kaveripattanam Mathur Uthangarai Hosur Shoolagiri Kelamangalam Thally Ariyalur Thirumanur Jayamkondam Andimadam T.Palur Sendurai Gudimangalam Tiruppur Uthukuli Vellakoil Madathukulam Kundadam Mulanur Udumalpet Avinashi Palladam Pongalur Tiruppur Astrologer-Thantri Deeksha-Guru Paramahamsa Rupnathji Vashikaran & Black-Magic Apply or Removal Specialist Vastu Doshas Removal & Griha Shanti Specialist Bhoot Pret Badha Evil Eye Symptoms Specialist Navagraha Shanti (Havan or Yagna) Specialist Get Your Love Back By Vashikaran Specialist Love-Marriage Problem Solution Specialist Tantric Abhichar Kalajadu Specialist Sarva Manokamna Purti Specialist All Problem Solution Specialist Enemy-Destroy Tantri Specialist Puja Havan or Yajna Specialist Dr.Rupnathji World Famous Number One Best Jyotish Acharya Yogi Tantri Guruji