On the busy East Cost Road in Chennai in Tamil Nadu, most people give a cursory glance to a signboard that says ‘Dr Arun’s Camera Museum’ in the hamlet of Kovalam and make a mental note to check it out later. “I’ve heard so many people say they have passed the museum but never visited it,” laughs Dr A V Arun, a dentist and the founder of India’s first camera museum. He admits that since its launch in January, 40 people walk in each day, but he is sure that footfall will increase with time. “Across India, there are many private camera collectors, but I’m perhaps the first one to open up the collection for public viewing,” says the 46-year-old who displays over 1,500 cameras in the museum and several books on photography dating back to 1930. “I have more at home,” he says.
In 1998, a casual weekend stroll in Moore Market, a popular flea market in the city, ignited Arun’s pursuit to read, learn and collect cameras. “I saw two twin lens cameras in a broken-down condition. I bought them for `100 each and got home to read about them and tried to repair them,” he says. He doesn’t spend big on cameras. Even during work-oriented trips, he visits local flea markets to find rare cameras. “The stories on how I collected all these cameras would provide a more interesting read,” laughs the doctor. “I got them from an auto driver, a homemaker, senior photographers and others. A common sentiment was that they all wanted to pass it down to someone who would value it as much as they did.”
At the far end of the museum sits a six feet long large format studio camera, which he found in an attic of a third generation photographer’s home in Mysuru. “This young lad’s father and grandfathers were photographers, and he wanted to sell it to buy a bike,” Arun says with a smile. He believes that the camera would have been used in palaces to take photographs of maharajas. “You can’t move the camera, it’s meant to be in one place,” and he brings to attention that 75 per cent of his collection is in working condition. “The very old cameras, especially from the 30s, cannot be repaired simply because we do not have their parts.”
The oldest one is a 1870 British wooden field camera. Another rare piece is a mahogany camera from 1890. A World War II Air Force in the collection was found by a friend in Thailand. “It was specifically made for the US to take aerial shots,” says Arun.
“The idea of a museum came simply because I was running out of space in my house. Photography enthusiasts would want to visit and discuss, and it was taking up a lot of my family space and time,” explains the collector, who displayed his collection at the World Camera Fair in Chennai in 2012. “I hold workshops and lectures at the museum today. Most of the visual communication students have read about these cameras. Imagine their delight when they see one. It helps them understand the functioning of the equipment better,” says Arun, and adds that his first love will always remain wildlife photography.
Arun is asking people to donate used digital cameras for his community support initiative called Camera For All. “Many groups support the poor and hungry, I’m keen on supporting children who have a passion. Through Camera For All, we will identify children from the Kovalam fishing village who want to give photography a shot. We will give each child a digital camera, train them and help them discover photography. It could be a new lease of life for them,” he says.
Arun explains that “every country has a unique type of camera. There are approximately 1,000 kinds of twin lens cameras in the world. I only have 300 of them”. He will continue his search for rare, almost forgotten camera boxes.
source: http://www.newindianexpress.com / The New Indian Express / Home> Magazine / by Jayanthi Somasundaram / May 21st, 2016
GEETA PADMANABHAN takes a walk through the International Institute of Tamil Studies, Taramani, and returns with stories of valour and artistry
Did you know the ancient Tamils could weave cloth so fine that yards could be packed in a matchbox? That they compared pinpoint surgery to a bird picking fish from deep waters? Painted planets on the ceilings of bedrooms?
These and other facts come alive in a comprehensive display at the International Institute of Tamil Studies, Taramani. One visit there, and you’re sure to feel great pride.
More so, when you realise that they were so perfect, we still follow their designs.
Genesis
The Institute was started in 1970 for Tamil research. Students and academicians stepped in for study and discussion. In 2014, directors Vijayaraghavan and Manavazhagan (present officer-in-charge) submitted a proposal to the Government for a cultural centre, where a permanent exhibition would recreate the 5,000-year-old history of Tamils. The exhibits would retell legends culled from decades of research.
The approval was announced in September 2014. A new building came up, and several teams set to work. They gathered material, shaped models and ordered paintings. In March this year, the centre opened to the public.
The attractions
At the centre, you’ll first be led to a spiffy, modern theatre with excellent acoustics for a treat of short films (eight to nine minutes each) put together with photographs, dramatic recreations, videos, film clippings and pictures of sculptures/murals from temples.
One is on the evolution of Tamils as a settled group, their inventions to make life comfortable, their superior talent in weaving, growing crops and trade, and the formation of family units.
The others are about ancient Tamil medicine, water management, war craft and administration. Clear narration threads the stories seamlessly.
Rich sources
“Sangam literary works spanned 5,000 years. For my doctorate, I researched on the life of Tamils during that period. In many ways, that became the basis for what we have created here,” says Dr. Manavazhagan. The information found in literature has been corroborated for authenticity by archaeological findings, living structures, palm-leaf manuscripts and copper plates that have survived the centuries. If Kallanai teaches us water management, the Tanjore temple is a fine example of architectural ability, and the lighthouse stands for ancient Tamils’ prowess in ocean navigation.
Celebrates literature
“This museum is based entirely on literature,” says Dr. Manavazhagan. The idea was to gather in one place tangible evidence of the achievements of Tamils in various fields.
It would reveal to the world the culture that nurtured ideas, patronised art, war craft and scientific temper, and promoted progressive norms as a way of life.
“We want our youth and foreigners to be introduced to that advanced civilisation,” he says.
What’s on display
The undeniably rich life of the Tamils is narrated through paintings based on Sangam literature, wood and cement reproductions of artefacts found in various parts of the State, photographs of collections in other museums, replicas of weapons and implements, dioramic representations and models of old cities and temples — many of them accompanied by literary evidence.
The galleries
The exhibits have been arranged in five well-lit, well-arranged galleries — Tholkappiar Arangam displays art forms (the door is the highlight); Thiruvalluvar is about metalcraft/agriculture, education, medicine and weapons; Kapilar has a collection of home tools/grinders, exhibits on temples and gods; Avvaiyar Arangam has life-like depictions of famous events in the life of kings; and the Ilango Adigal gallery touches on ship-building and sail-weaving — for which Tamils were well-known. The highlight in this gallery is a beautiful mini lighthouse.
Dioramas tell us how kings stuck to the rules of war, treated subjects with justice, and ensured fair-play and compassion to all creatures. The scale-models of Madurai and Srirangam reveal the meticulous city-planning and extraordinary temple-building artistry.
Call 2254 2992 for a trip back in time.
source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus / Geeta Padmanabhan / Chennai – May 31st, 2016
With structure after structure surfacing from under the soil, the massive scale of an ancient urban centre that lies buried at Pallisanthai Thidal in Sivaganga district of Tamil Nadu is emerging.
The second phase of the work undertaken by excavation branch VI, Bangalore, of the Archaeological Survey of India suggests that the settlement at Keeladi village could be as large as the ones in Harappa and Mohenjo Daro. The excavations reveal a well-built urban centre with many amenities.
After exploration works on the Vaigai riverbed in 2013-14, the office of the superintending archaeologist, excavation branch VI in Bangalore, shortlisted Keeladi village for excavation. The first phase of the study carried out in 2015 unearthed various antiquities, iron implements and earthenware, both foreign and locally made. The pot shreds of Arretine dating back to 3 BC proved foreign trade existed in the region during the period.
As t he phase I study concluded that this was an ancient urban habitation site, the ASI went for the next phase of excavation at Keeladi. According to archaeologists working at the site, the results of phase II in 53 excavation trenches are overwhelming. “, The mound where we are excavating is of 3.5 km circumference in 80 acres of private agricultural land. We are finding structure after structure of the habitation site, the first of its kind in Tamil Nadu. It could be a huge urban settlement of independent civilisation on the banks of the Vaigai,” said K Amarnath Ramakrishna, superintending archaeologist.
The current excavation works will go on till September this year. The excavation is lending much credence to the narrative in Sangam literature that throws light on the ancient Tamil way of life. The literature speaks volumes about the public and personal lives of rulers and the people of Tamil Nadu some 2000 or more years ago. However, there had been no solid evidence in archaeology to support the Sangam way of life.
Madurai Kanchi, Nedunalvadai and Paripadal in the literature speak about the Madurai and Pandya kingdoms in the region. “These books talk about the personal lives of kings and queens, their palaces and their way of life. But we could not know exactly where the city mentioned in these texts existed,” says Vedachalam.
source: http://www.timesofindia.indiatimes.com / The Times of India / News Home> City> Madurai / by Arockiaraj Johnson / TNN / May 29th, 2016
Paintings on the 28 km Ghat Road from Karavalli in the foothills to Semmedu in Kolli Hills depicts notable incidents from the history.
Tourists have to pass through the 70-hairpin bends to reach atop the hills to enjoy the scenic beauty. Hence, in order not to make their journey tedious, the Highways Department of Senthamangalam Wing, decided to paint the walls along the Ghat Road at many places illustrating famous incidents in Tamil literature.On the 34th hairpin bend is a painting that depicts the archery skills of King Valvil Ori who ruled Kolli Hills in the second century. It shows how the king killed an elephant, a tiger, a deer, a boar and a monitor lizard with a single arrow.
“It helps us to know the history,” said P. Rithu Sri, a tourist from Hosur. The hectic journey along the Ghat Road turns joyous and informative as the paintings capture the interest of the tourists.
Other paintings include, one of the ‘Kadai Ezhu Vallalgal’ began offering shawl to a drenched peacock, Nalli giving a string of pearl chain to a poet and a scene from Silapathikaram where Kannagi demanding justice for the death of her husband Kovalan in the king’s court. These paintings were drawn at places where space is available for parking vehicles so that traffic is not disrupted.
Tourists also take photographs of the paintings and wanted more details to be displayed along with each paintings. S. Lakshmanan from Karnataka said that the details can be given in English also so that tourists from other States will understand them.
“Now, we have to seek the help of others to know what is written in Tamil,” he added.
Other tourists said that children learned to worship the nature and also learn history.
“No other Ghat Road carries messages like these,” said L.P. Jeyachandran from Chennai.
source: http://www.thehindu.com / The Hindu / Home> National> Tamil Nadu / by Staff Reporter / Dharmapuri – May 28th, 2016
Tight security arrangements made to avert any untoward incident
Amid heightened security arrangements across the city, several people paid their respects to ‘Perasarar’ Perumpidugu’ Mutherayar on the occasion of his 1,341 birth anniversary on Monday.
Collector K.S. Palanisamy led the district administration officials in paying respects to ‘Perumpidugu’ Mutharayar by garlanding the statue at Othakadai Junction in the morning.
Representatives of political parties and various outfits garlanded the statue of Mutherayar with a posse of police personnel guarding the spot and its vicinity regulating crowd and vehicular movements.
The sudden outbreak of violent acts indulged by members of a particular outfit during the birth anniversary celebrations of ‘Perumpidugu’ Mutherayar in 2012 prompted the police to put in place detailed security arrangements this year too as a precautionary measure.
A meeting was organised recently by the district administration with members of various outfits for the smooth conduct of the birth anniversary celebrations of ‘Perumpidugu’ Mutherayar, police sources said.
As part of the security plan drafted for the event, barricades were installed around the statue with a team of police personnel guarding the spot and regulating those coming to garland the statue and vehicular movements.
Buses which were initially diverted without touching Othakadai were subsequently allowed to proceed via Bharathidasan road. Carrying their organisation flags, members of the Tamil Nadu Mutharayar Sangam, Mutharayar Munnetra Sangam and Veera Mutherayar Munnetra Sangam garlanded the statue.
In addition to city police, personnel from the Armed Reserve, Tamil Nadu Special Police, Quick Reaction Teams and Striking Forces were deployed at different spots. Pickets were posted at vantage spots in the city as a precautionary measure to ensure order on the day of the celebrations.
Representatives of the All India Anna Dravida Munnetra Kazhagam, Dravida Munnetra Kazhagam, Tamil Maanila Congress and Desiya Murpokku Dravida Kazhagam garlanded the statue.
Police said the celebrations went off peacefully amid heightened security measures to ensure its smooth conduct.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Tiruchirapalli / by Special Correspondent / Tiruchi – May 24th, 2016
The moving dinosaur has been a huge attraction for visitors
The Government Museum here has been attracting a large number of visitors, children, history-lovers, and research scholars thanks to the facelift given to it by the State government.
New galleries, including a metal ware gallery and auditorium, are important facilities provided at this century-old museum, which is the second largest in the State, after the Chennai museum.
The ancient flooring has been replaced with tiled flooring all around the museum.
Exhibits of invertebrates, water birds, different types of fishes, butterflies, arthropods, and reptiles have been carefully displayed.
The main building has been renovated and converted into a modern gallery with diorama display cases, say museum authorities.
The metal ware gallery has a collection of south Indian toys, ancient bronze idols, ornamental plates, and trays and copper embossed plates . About 500 metallic exhibits of the ancient era brought from the Chennai museum are display at the metal ware gallery.
Meetings and training programmes can be organised at the auditorium.
With 200-seat capacity, the auditorium, on the rear side, will host various events, including inscription-related training for archaeology students.
The State government had sanctioned Rs. 80 lakh for the work. Paintings of Raja Ravi Varma, huge portraits of the Thondaiman rulers, and musical instruments used in the bygone era are the other prized items in the museum.
Post-renovation, the museum has been attracting a large number of visitors.
The moving dinosaur is yet another attraction for the visitors cutting across age-groups. With its tail wagging and a wide grin, the dinosaur has been a big hit with the visitors.
source: http://www.thehindu.com / The Hindu / Home> National> Tamil Nadu / by Special Correspondent / Pudukottai – May 23rd, 2016
For the common man, Arni, a small town in neighbouring Tiruvannamalai district, is best known for its world-renowned silk sarees — Arni pattu, as the saris are called. But there is more to the town.
A talk by noted architect Mohan Hariharan on the history and architecture of Arni, organised by Indian National Trust for Art and Cultural Heritage (INTACH), Chennai Chapter, at Amethyst in Royapettah on Friday, threw more light on its rich past.
“The origin of the word Arni can be traced to Tamil literature where ‘Aaru’ means river and ‘Ani’ refers to ornament,” said Mr. Hariharan, who is from the town. He said that initially, the Pallavas ruled the Arni town followed by Rashtrakutas in 968 A.D. The Chola period including the reigns of Kulathunga Chola-II (1070 A.D – 1122 A.D) and Rajathi Raja Chola-II (1166 A.D – 1178 A.D) witnessed more developments in administration including formation of feudatories. Inscriptions also reveal several grants and donations made by Cholas to temples in the form of villages.
In 1640 A.D., the jagaridari system, a form of land tenancy established during Mughals, was introduced in Arni by the Maratha king, Shahaji Raje Bhosale (father of famous Maratha King Chhatrapathi Shivaji). “The first jagir was introduced during that time and existed till 1948 when the erstwhile jagir became part of the country after Independence,” he said.
The highlights of the town include two palaces built in early 19th century. The first palace, a two-storey building known as Diwan Khane, was originally meant as a guest house for women and children of the royal family.
Spread over 35 acres, the palace had circular brick pillars, Indian motifs, arches, gothic columns and Madras terrace built with the lime and mortar method.
Peacock pattern glass panels on the doors, door handles and engravings with flora and fauna — characteristic of the Mughal style of architecture — were also introduced.
The palace had fish-typed door stoppers and floors that were made of lime but resembled tiled flooring. The last two features were unique to the architecture followed by Arni rulers of those times. At present, the palace is in ruins.
The second palace, known as Poosi Malai Kuppam, was built as a guest house for the rulers.
The single-storey structure had several interesting features including a separate loft for pigeons, four chimneys (despite the town experiencing generally hot climate) of the main palace in typical British style.
Most of the structure now remains intact but needs immediate conservation. In fact, Mr. Hariharan said, the forest palace was the earliest structure in the region to use steel rafters instead of traditional wooden rafters for its roof. Such steel rafters added strength to the structure.
Two palaces built in the 19th century are the highlight of the town and need conservation.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Chennai / by D. Madhavan / Chennai – May 23rd, 2016
I was recently asked by a reader who the first Indian Principal of Law College was. I’m afraid I have no answers, so I pass on the question to the readers of this column. The question, however, set me wondering on who was the first Professor of Law in Madras. The answer to that is a little easier. When the oldest college in the South, Presidency, Madras, started, one of its first faculties was the Law Faculty and its sole lecturer was John Dawson Mayne, who had been invited from the UK to head it. At Presidency, he took his classes in the evening, so that he could appear in court in the mornings.
While practising in London in the 1850s, Mayne wrote a book titled Damages and ‘Mayne on Damages’ is still, I’m told, considered an authoritative work. However, certain remarks he had made in it led to solicitors in London boycotting him and his, as a consequence, accepting the Professorship of Law at Presidency. In India, he became fascinated with Hindu Law and made himself an authority. From 1863 to 1878 he worked with translators and eventually brought out a voluminous treatise on Hindu Law, still considered authoritative. Also considered “indispensable” to every lawyer practising in an Indian criminal court was Mayne’s commentary on the Indian Penal Code.
Mayne’s work on Hindu Law was, however, not a pioneering work, I discovered recently when reading a book of brief biographies of the Chief Justices of Madras during the British period, by V N Srinivasa Rao, an Oxford-educated Barrister who wrote articles and commentaries regularly to various law magazines, mainly in the 1950s and 60s. The pioneer was Sir Thomas Andrew Lumsden Strange who came out in 1798 to head the newly established Recorder’s Court which succeeded the Mayor’s Court. When the former institution was succeeded by the Supreme Court, forerunner of today’s High Court, Sir Thomas in 1801 became its first Chief Justice, a position he held for 15 years. Returning to England in 1817 he began reflecting on Hindu Law and decided to write a book on it. His Elements (of Hindu Law) was published in 1825. But when he sat down to work on a second edition and wrote to several legal luminaries in Madras asking for additional inputs, none replied. In his preface to the 1830 edition, Sir Thomas wrote in sorrow, “In preparing the present edition… the author has no acknowledgements to make in any quarters, for assistance, or suggestion, though invitation, and even solicitation, on his part, has not been wanting.”
The significance of Sir Thomas’ contribution was recognised by Mayne in 1859 when he wrote, “In fact, Sir Thomas Strange’s treatise has done more than merely collecting the authorities upon the Hindu Law. It has settled the Law. Few will search for themselves through Manu and Mithakshara when they find the substance brought out in the masterly English of the Chief Justice of Madras.” I wonder how many in the legal profession in the city recognise today Sir Thomas Strange’s contribution.
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The cave in the kuppam
I had in Miscellany April 25 wondered why no prominence has been given to Saluvankuppam as a destination to also be visited by those going to see that open air museum of rock sculpture that is Mahabalipuram. I wouldn’t have if I had not been confused by Sir Walter Elliot’s description of the place. Saluvankuppam is Tiger’s, or Yalis’, Cave where most visitors stop for a while before proceeding south, three miles further, to the main sculptures. There is also a small signboard at the site saying Saluvankuppam, writes Dr. R.K. Natarajan in setting me straight.
Natarajan adds that the kuppam in ancient times was known as Tiruveluchiyur and the sculptures there, including the Athirachanda Mandapam a few yards north of Tiger’s Cave, were created during the reign of Rajasimha, the son of Mahindra Varma Pallava, according to that modern authority on Mahabalipuram, R Nagaswamy. Natarajan adds that there are “two inscriptions here, one in Pallava-Grantha on the southern flank and the other in Nagari on the northern flank.” Both are in praise of Rajasimha.
This information had me searching for a beautiful thin landscaped-sized guidebook on Mahabalipuram that TT.MAPS had produced many decades ago, with photographs by M. Purushothama Rao and script by veteran journalist M C Subrahmanyam. In it, ‘MC’ wrote, “Another attractive monument called the Tiger’s Cave is in Saluvankuppam, a sea-coast village three miles to the north of Mahabalipuram. We see here an enchanting mandapam behind the facade of gigantic, prancing yali-s. To the south of Tiger’s Cave is Athirachanda Mandapam with the bas relief of Somaskanda. Very near the mandapa is a very beautiful sculpture depicting Durga’s fight with Mahishasura. The theme is the same but the artist has exhibited his skill by introducing a number of interesting changes.” Sad, I’d forgotten all this, for I had been the publisher of this guide book!
Trying to learn more about Tiger’s Cave, I searched and found my 40-year-old copy of Michael Lockwood, Gift Siromoney and P Dayanandan’s Mahabalipuram Studies. It did not take me much further than a questioning of Rajasimha’s ownership of the work in much of the Mahapalipuram area. But it did throw up a surprise. They write, “Although these monuments and their figures are all carved out of stone, yet every inch would have been covered by the artisans with a thin layer of fine, white plaster and then painted… All of the human and animal figures would have been painted so as to impart a startling realism to them. The paint, of course has disappeared except for traces.”
They refer in a footnote to a letter they had written to The Hindu in January 1970, “…we three adults (were) craning our necks and peering intently at the upper reaches of the ‘Rathas’… On the basis of a little detective work, we were imagining in our mind’s eye… the ‘Rathas’ completely covered outside and in with bright colours of paint… Imagine the many graceful figures which people the niches of these temples rendered in life-like colour… Imagine the great panel of ‘Arjuna’s Penance’ alive with colour… Everywhere… the unmistakable traces of plaster and paint which have survived more than perhaps a thousand years of weathering… are quite evident.”
Every day a new surprise comes into my life as I work on this column. I had always thought that painting stone sculptures was a new phenomenon.
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When the postman knocked…
M S Sethuraman’s reference to ‘excommunication’ of Mahatma Gandhi and Dr. Swaminadhan had D R Santhanam recalling another such incident. He recounts how his paternal grandfather, Anni Seitlur Venkatachari, Village Munsiff of Dusi Mamundur near Kancheepuram and head of 24 families belonging to the Ahobila Mutt, ‘excommunicated’ the family of his younger brother, a District Judge, because he sent his daughter to the UK for higher studies in 1928-29. There, after post graduation, she became private secretary to Lord Louis Mountbatten and came out to India with him when he was appointed Viceroy. After World War II he sent her with the team that went to Japan to facilitate the release of Indian prisoners-of-war. When she eventually returned to Madras as a spinster she wished to adopt one of my correspondent’s brothers but their father said ‘no’, adhering to the ostracism of the past. She then adopted a boy called Narasimhan, who fared well in life and when Dr. D S Rajalakshmi died, he respected her wishes and founded a women’s college in her name in Tiruvallur. The college flourishes, but how many know the background of the person after whom it is named?
Another reader, Arun Prakash, recounts another incident he recalled after seeing my mention of Governor Sir Archibald Nye in this column on April 9. Bharanidharan (T S Sridhar), a well-known writer and artist with Ananda Vikatan, had sought a sitting with the Governor to do a drawing of him. Lady Nye watched the proceedings carefully. But as Bharanidharan handed his finished drawing to Sir Archibald for his autograph, Lady Nye interrupted: “That nose is not quite right,” she said and taking Bharanidharan’s drawing pen, she made a minor correction to Nye’s nose. “I too do a bit of sketching,” she had said. The accompanying sketch was published together with this anecdote in theSwadesamitran of September 5, 1948 — as my illustration shows.
Harvard Prof. David R Armitage’s request for information about University of Madras’s Law Professor Alexandrowicz brought me a press cutting from the Alliance Francaise. The cutting from The Hindu of August 14, 1953, states that Charles Henri (the French connection?) Alexandrowicz was elected the first President of the Alliance Francaise. It goes on to list the first office-bearers as follows: Vice-President: Rev. Fr. Charles Racine S.J., Professor of Mathematics, Loyola College; Secretary General: Mrs. Marcella Hardy; Joint Secretary: Dr. V. S. Krishnan, Professor of Mathematics, Madras University; Treasurer: Mr. S S T. Chari, Director of Best and Co.; Members: Mr. M V Subramaniam, I.C.S.; Mr. D. Padmanabhan, I.C.S.; and Mr. W Wolff. Surely there is some kin of theirs who could help out Prof. Armitage. And in passing, I might mention that Chari was the mentor at Best & Crompton of K R N (Ravi) Menon, who is the present President of the Alliance Francaise.
source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus / by S. Muthiah / Chennai – May 14th, 2016
Terrain and climate have endowed Tamil land with a unique culinary culture. Geetha Venkataramanan captures the essence.
‘Unavae marundhu, marundhae unavu’ – this sums up Tamil food, rather food consumed south of Asia from the ancient days. Traditional food and recipes are catching the attention of the health conscious even as the so called convenient and fast food have made inroads into lifestyle.
The presentation that C.P. Ramaswamy Iyer Foundation had organised recently in Chennai came as a timely reminder not only of the wealth that Tamil Nadu has in terms of food but the history and culture behind the treasure. The speakers – Kausalya Santhanam, Bhaktavatsala Bharati and Viji Varadarajan – took the audience through the Tamil land’s rich (vegetarian) food heritage spanning thousands of years.
The humble idli, eminently suitable for all ages (thanks to steam preparation), did not after all originate here, said Kausalya, who acknowledged Dr. K.T. Achaya as her source. It has its roots in Indonesia, where it was called ‘kedli,’ the chefs accompanying the kings of that country bringing with them the methods of fermentation. The staple food of the South Indians finds mention in Manasollasa, the 12 century encyclopaedia. Dosai and aappam find mention in Sangam literature.
The five divisions of land as Marudham, Kurinji, Paalai, Mullai and Neidhal have high value in Tamil literature with the people and the chieftains leading lives as dictated by the nature of the terrain in which they lived.
Sangam literature attributes distinctive characteristics to the denizens of each region. Geography decided the occupation of the people, which in turn reflected in the food they ate.
Rice figured in ancient Tamil literature, that which was stored for three years considered premium. Guess what Brahmins ate? Curd rice and mango pickle! Rice roasted on hot sand was a favourite snack.Pathupattu sings of salt exchanged for rice. All, including women consumed alcoholic beverages, toddy being the most common.
Sesame oil (nallennai) and coconut oil find mention in Naaladiyar and Divya Prabhandam. While references to turmeric and pepper are plenty, conspicuous by its absence is mustard. How was food seasoned then, one wonders.
In recent history, the Maratha rulers had several kitchens, so elaborate was the cooking drawn from various cuisines.
It was the Kurinji (hills) people, who discovered fire to cook meat, informed Bhaktavatsala Bharati. Mullai (pastoral) people, basically farmers, took to boiling and frying was a technique adopted by the people of Marudham and Neidhal (seashore). He went on to say that ancient Tamil has 13 terms to refer to food, Una, undi, agaaram, for example.
There were 209 sub-cultures and as many food practices. Eating, he said, was a social act. Food was meant to be shared. Quite understandable, hospitality being the hallmark of the Tamils. The concept of sharing is behind the act of Koozh vaarthal, an activity so common in Amman temples (annadanamcould be an echo of this custom) and which transcends the rural-urban divide. The haves and have-nots found a common ground here. Grains were collected and the porridge made to be distributed among the villagers. Mayanakollai also is based on the same concept, he said. The temple figured as a place of refuge and solace, where the local community gathered. The temple kitchen is therefore as sacred as the sanctum, he observed.
Water was brought from the Cauvery delta to quench the thirst of pilgrims, who trekked to Palani (Kurinji), to participate in the famous Panguni Uthiram festival happening in March, when the weather is hot. The generosity was reciprocated by the Nattukottai Chettiar community that carried jaggery during Thai Poosam, January being a cooler month and the sweet would give warmth in the hilly region!
Yet another point to underline how food and eating were community-based. Bharati made the interesting observation that the woman was the first farmer, her tool being the trident (soolam). It has always fallen upon the women to feed the family, a trait that can be traced back a thousand years and more. What better way than to dig the soil and sow seeds for long-term benefit?
Food united communities and flavours differed although the same ingredients were used.
Viji Varadarajan explained how food was classified according to three qualities – tamas, sattva and rajas, the middle one preferred by Brahmins, especially the priestly class. This accounted for the absence of garlic and onion in their preparations. The components that go into a typical sambar have medicinal properties that cannot be ignored, she said.
Author of several cook books, Viji literally led the audience through the hills and plains of the South, where the Kongu, Vellala, Chettinad, Kannada, Andhra and Kerala communities tossed and tweaked ingredients to offer recipes unique to their belts.
To the modern refrain of eat millets, Viji’s answer was: “Yes, millets are healthy and nutritious. But it is best to continue with what one grew up with. Only mind the portions.”
Globalisation opened all the doors, food being no exception. Fast recipes and takeaways have reduced the time spent in the kitchen. Teach children the importance of traditional food, which alone can keep modern day’s diseases at bay, Bhaktavatsala pleaded. Can across the counter delicacies offer ‘Ammavin kaimanam’ that comes with so much love and concern? Kausalya’s question was of course rhetoric.
When Masterchef shows are popular, it is most appropriate that C.P. Ramaswamy Foundation chose to whet the appetite for traditional cuisine, which never considered food and health as two different things.
The taste buds were taken into account too, as the delicious sweet thinaipongal offered at the start indicated.
To revive polo in Chennai, M Buchi Prakash is scouting for land where the Buchi Babu family plans to open a riding school and train youngsters in the sport. “I have a licence for importing horses from New Zealand, which I did earlier, and had 12 stables,” says Buchi Prakash, a polo player, who first took a team to Bombay in 1971 and won the Silver Stick in the All India Polo Tournament at the age of 21. He intends to open the academy by September.
Buchi Prakash is also a six-time winner of the Kolanka C up, which was donated by the raja of Kolanka. The six-foot-tall cup is made of pure silver and is listed in the Guinness Book of Records as “the world’s largest trophy”. He also won polo matches in 18 countries, including playing against the Sultan of Brunei. The equestrian says he learnt the scientific techniques of the game from Prem Singh, the erstwhile maharaja of Jodhpur, but is a self-taught polo player.
Buchi Prakash’s daughter, Florida-born Malavika Prakash Rao, followed in his footsteps. “My exposure to horses and riding began at the age of two,” says the 40-year-old with a laugh. “I later trained under Savanth saheb, the riding instructor in the Madras Polo and Riders Club from the age of six.” Frequent trips to Chennai enabled her to pursue her sports activities. Later, in 1993, realising her passion for horses and riding prompted her to enroll in the Water Stock house Training centre in Oxfordshire in England to train in dressage and stable management.
After her graduation from the Academy of Arts in San Francisco, she moved to Bengaluru in 2010 and joined the Embassy International Riding School. She participated in dressage competitions and won many. In 2015, Malavika won the 11th place, competing with international riders. “The club hosts competitions for six months a year for horse jumping and dressage,” she explains.
Malavika comes from a long line of sportspersons. “Polo is more a masculine game, which has come down to us from the Persians and was taken seriously by the royal families in India. I always stood in when a player could not make it to the polo match,” she says. She also plays tennis.
Malavika’s great great grandfather Modavarapu Venkatamahipati Nayudu, or Buchi Babu, was a great Madras sportsman in the 1880s and 1890s. He founded the Madras United Club and owned the sprawling Luz House. He had 21 stables.
Malavika’s great granduncles Baliah and Ramaswami were cricketers in the 1930s, and were famous for breaking the clock of the Presidency College clock tower with their sixes. They played in the Ranji Trophy. Ramaswami’s tennis feats in Cambridge earned him the Cambridge Tennis Blues and a place in the Davis Cup team. He played international doubles with M J Gopalan.
Buchi Prakash’s father M V Prakash, who began his sports career with cricket, tennis and golf, ended up playing polo and won the South India Gold Vaz Award in 1955 and the Kolanka Cup in 1960. He also won many tennis tournaments in Madras Gymkhana Club in 1945.
Malavika’s brother Abhimanyu carries the family tradition by playing polo and won the Kolanka cup in 1997.
Youngest of Buchi Prakash’s brood is 32-year-old Kadambari, a swimmer. “My grandfather used to swim three kilometres every day. Even though we were encouraged to play different of sports, I was fascinated by swimming,” she says. “We learnt to ride as children. Our day began at 5.30 am with my father drilling us “toes up, heels down, but my heart was in swimming”. She won the state Masters Swimming Champion Meet in Chennai in 2012, and in 2013, she won three golds and a silver at the Indore National Aquatic Meet.
SPORT IN THEIR GENES
■ Malavika comes from an ancestry of a long line of polo players
■ Her great grand uncles Baliah and Ramaswami were cricketers in the 1930s
■ Her great, great grandfather, Modavarapu Venkatamahipati Nayadu, founded the Madras United club, owned the sprawling Luz House and had 21 stables
source: http://www.newindianexpress.com / The New Indian Express / Home> Magazine / by Uma B alasubramaniam / May 07th, 2016