Panagal Road – the arterial road connecting Goripalayam with Sivaganga Road is named after Panagal Raja, eminent politician of the state from erstwhile Justice Party who was chief minister of Madras Presidency from 1921 to 1926. The road got its name during British rule.
Sir Panaganti Ramarayaningar (1866 – 1928) known as Panagal Raja was a noted politician in British India instrumental in starting Justice Party and raising the issue of caste based reservations. He was also the man behind educational reforms and municipal development of then Madras. As tribute to his reforms, there is a park in T Nagar, Chennai and the road in Madurai was also apparently named after him, says residents.
Colonial rulers who were living inside old Madurai city till Sepoy Mutiny in 1857 started shifting their establishments and residences in Northern Bank. Though Rajaji Hospital was established by theBritish way back in 1842, it was taken over by Madurai municipality in 1872 and the hospital came under state administration by 1918. Sir Arthur Hope, Governor of Madras inaugurated the full-fledged facility as seen today, in 1940 as per the stone tablet found in GRH.
Former Madurai East MLA, N Nanmaran said that Panagal Road could have been named after popular Justice Party leader since the Dravidian movement and parties evolved from it had its roots from that party. Government Rajaji Hospital earlier known as Erskine Hospital was very significant landmark since it was one of the biggest government hospitals for entire southern districts even today, he said. However N Pandurangan (74) an elderly Congress party man residing in the area says that the road was christened after Panagal Raja even during British days. Madurai city ended with South Bank and entire northern part was villages. The present day Panagal Road and Shenoy Nagar were Mathichiyam village, he recalled.
“In those days entire area was mostly wilderness and few houses situated here and there. But Panagal Road was still an important road with Rajaji Hospital and Collector office established in colonial rule”, he said.
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> City> Madurai / by J. Arockiaraj, TNN / June 29th, 2014
Heritage lovers have reason to cheer as the world-famous and renovated Amaravati gallery and four other galleries of the Chennai Government Museum have been thrown open to the public. Renovation work went on for about 10 years at a cost of Rs.62.5 lakh at the Amaravati gallery, which has a number of precious sculptures, belonging to the period between the 2 Century B.C. and the 2 Century A.D.
Several sculptures, embedded on the walls of the gallery, were removed and have now been kept for display on the lines of the British Museum, a senior official said.
In the last few years, the renovation of the Ayaka pillar, an important symbol of the Buddhist stupa of the Andhra region, was taken up and was completed only recently. The gallery remained closed during renovation.
On Friday, Chief Minister Jayalalithaa inaugurated, via video-conferencing, the gallery along with the galleries for the Hindu pantheon of gods; Jain sculptures; anthropology and copper plates. Apart from declaring open a gallery on textiles and dyes, she commissioned a 3-D auditorium at the Children’s Museum. A facility for the virtual tour of the museum and a museum bus for the benefit of school students was also commissioned. These facilities have been set up at a cost of about Rs. 3 crore.
Another important landmark of the city – Gandhi Mandapam in Guindy – got a makeover, for which the government had set apart Rs. 12 crore.
Spread over 18.42 acres, the Mandapam complex has, among others, memorials for leaders of yesteryear — Rajaji K. Kamaraj, M. Bakthavatsalam and Rettaimalai Srinivasan.
The renovation work included the laying of footpaths and roads besides gardening, all of which cost Rs. 7.2 crore. Old copies of photographs kept at several memorials on the Mandapam complex were also replaced with the fresh ones.
The Chief Minister also laid the foundation stone for the sports fishing-cum-eco park in and around the Chetpet lake as part of the eco-restoration of the lake. Estimated to cost Rs. 42 crore, the project is expected to be completed by March, said an official in the Fisheries Department.
Facilities for boating will be offered. A multi-level car parking facility will also be provided.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Chennai / by T. Ramkrishnan / Chennai – June 29th, 2014
Memorial tablets and gravestones, which mark the end of a life actually go way back to its early days. Except, back then only the valiant and deserving were immortalized in stone – usually with a spot of art to mark them apart. These prototype memorials were called hero stones and they were typically reserved for heroes or those who served their community. A 2-day national seminar held last week in Hosur, titled The Days of Heroes, uncovered new facts about these stones and pointed to their prevalence in the south.
Sugavana Murugan, a hero stone expert and convener of the seminar pointed out that Dharmapuri and Krishnagiri districts are known as the land of hero stones. “Multi-lingual people lived here in harmony and
their hero stones bear inscriptions in Tamil, Telugu and Kannada. These stones range from the 5th to 18th century AD. “Inscriptions on hero stones usually describe the political, social and cultural history of the region. These stones commemorate people for their valour in a cattle raid, for the retrieval of captured cattle, fighting and killing wild animals, death in battle, sati or heroic death for a public cause,” he says, adding that fertility and ritual stones have also been identified there.
This was the first time since 1974 that a national seminar on hero stones was conducted in south India. Organised by the Krishnagiri District Historical Research Centre, the conference drew together scholars from 15 universities across the country, who presented papers on various aspects of hero stones. One of these was also from Pakistan, describing hero stones in the Sindh region.
Professor V Selvakumar of Tamil University, Thanjavur presented his paper titled ‘Hero stone worship and its significance in Tamil Nadu’. Although hero stones have been discovered in many parts of Tamil Nadu, particularly near its borders with Karnataka and Andhra Pradesh, no detailed study has been conducted on the subject so far. According to Selvakumar these stones are referred to in Tamil as planted stones or natukal and in Kannada as virakkal (stone of valour).
“The concept of hero stone or hero worship evolved from the megalithic burial tradition,” he said, “The worship of heroes could have begun in the Iron Age when megalithic monuments were erected for the dead.
While we do find different types of burial sites in the Iron Age, some of them, especially menhirs (standing stone), appear to have been erected for heroes. They used different surface markers to convey the status of the dead and they were probably erected only for certain individuals, as we do not find them in large numbers, like burial urns.”
From Pakistan came a paper by Zulfiqar Ali Kalhoro on ‘Memorial Stones of Sindh, Pakistan’. “This practice was widespread in the early medieval period in Sindh,” he said. Like Krishnagiri and Dharmapuri, many of the hero stones in Sindh were erected in memory of heroes who died at the hands of cattle-lifters, Kalhoro said. “In other districts of Sindh are memorial towers erected in the memory of cattle retrievers. They are found in the hilly regions of Karachi, Thatta, Jamshoro and Dadu districts, which relied heavily on cattle.”
V Ramabrahmam, assistant professor at Yogi Vemana University, Kadapa, said the practice of erecting hero stones in India was recorded in Vedic texts. “The erection of a monument in memory of the dead and the practice of forming a mound with an attached post is described in the Satapatha Brahmana (9th- 8th century BC),” he said, “During the days of King Asoka (3rd century BC) hero stones were erected on wooden, and subsequently, stone posts. The origin of memorial stones of the later periods originates from here.”
What’s the difference between a memorial stone and hero stone? “Memorial stones contain funeral remains, whereas hero stones are only plaques commemorating a death, without any funeral remains. Incidentally, sculptures on hero stones not only convey the art of the times, but also a social and cultural commentary on the region in that time,” he explained.
More than 2,500 hero stones have so far been excavated from the state. Devarakonda Reddy, president of the Karnataka Itihasa Academy, said this may have something to do with the frequent fights between local kings and chieftains. It’s where the area’s history is set indelibly in stone. An imminent book titled ‘The Days of Heroes’ will incorporate the research papers presented at the seminar.
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> City> Coimbatore / by M. T. Saju, TNN / June 30th, 2014
It was T Govindan, a professor and avid lover of ancient history, who established the Krishnagiri District Historical Research Centre (KDHRC) in Hosur in 2009. Even though it almost immediately began conducting one-day seminars and talks, KDHRC became defunct in 2010 due to lack of public support, but it was revived by a few committed individuals, following Govindan’s death in 2012. The centre aimed to preserve the culture of the region, mainly Krishnagiri and Dharmapuri, where a number of hero stones and inscriptions lay unattended, some even ruined. With more than 40 members, the KDHRC is today a strong promoter of ancient history in the region. It has published five books and conducted a number of seminars and talks, including the two-day seminar on hero stones held on July 21 and 22.
It has now also started publishing ‘Nalli’, a quarterly. “Nalli will cover new excavations and discoveries in the region. It will also create awareness among people about our rich culture and heritage,” says Sugavana Murugan, editor of Nalli and member of KDHRC. “KDHRC is planning to also document all the hero stones and inscriptions in the region, many of which were destroyed by vandals.
Lack of funds, however, poses problems. “We function with the help of donations made by people,” says Murugan. He hopes they continue to receive the resources needed to conduct seminars and talks, and organize events like the recently concluded seminar.
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> City> Coimbatore / TNN / June 30th, 2014
All the bells in the Armenian Church bear the stamp of Thomas Mears, which indicates that they were all cast between 1787 and 1844. / Special Arrangement / The Hindu
The Armenian Church standing on the eponymous street is one of my favourite locations in the city. Its solidly-built walls, quiet nooks and stately interiors fill me with a sense of peace that cannot be matched. Lovingly tended by the Armenian community in Calcutta and by the local caretaker Mr Alexander, it ought to be on every resident and tourist’s visit itinerary.
Leaving that aside, it was while walking around it with a group of Americans last week that I recalled that the heritage structure has its (albeit tenuous) links with the US of A. This concerns the bells of the church, which are housed in an independent three-storied tower, on the southern side of the yard. They are accessed via a three-century-old staircase by the more physically fit and brave. The church authorities restrict entry to the tower – a sensible precaution given the age of the staircase. The ground floor of the tower has three tombs all with the same carvings on the headstone. The inscriptions are in Armenian but they probably were members of the family that funded the tower. The belief is strengthened by the fact that the same motif as the headstones – winged angels, is repeated on all floors of the belfry.
The bells are rung every Sunday at 9.30 am. Said to be the largest in the city, there are six of them, donated at different times to the church, each weighing around 25 kgs. All of them were cast at the Whitechapel Bell Foundry of London. The company, founded in 1570, moved into its present premises in 1739 and continues in the same business. Talk about focus!
Given that all the bells in the Armenian Church bear the stamp of Thomas Mears, it indicates that they were all cast between 1787 and 1844, when two men of that name, probably father and son, were master founders with the company. It is of interest to note that the same company cast the bells for St Pauls Cathedral and Westminster Abbey in London, besides several other churches in England and the Big Ben in the Houses of Parliament in London.
Now for the American connect. The Liberty bell of Pennsylvania is one of the treasured heritage possessions of the USA. Commissioned in 1751, it was cast at the same Whitechapel Foundry and shipped to Philadelphia where it hung in the steeple of the Pennsylvania State House. It cracked even during its first ring and had to be recast twice locally before it could be used properly. A second and more lasting crack in 1835 ended its career as a ringing bell but it has remained a tourist attraction. Scaled down models of it, crack and all, remain popular souvenirs across the country. Our own ‘Belfry Six’ as the set of bells in the Armenian Church are referred to, have thankfully remained crack-free.
I wonder if any other church in our city has bells cast by the same company.
source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus> Society / by Sriram V / Chennai – June 27th, 2014
Chennai, well-known for its rich Kanjeevaram saris, can undoubtedly be called India’s Mecca of silk./ Photo: K.V. Srinivasan / The Hindu
In the age of social media, the traditional garment is unfurling itself in more ways than you can imagine. Pragya Priyadarshini traverses the lanes of T. Nagar to tell you why
If you think tradition and technology make for an incongruous marriage, think again. ‘Sari’, an app, can teach you how to drape your six unstitched yards like a professional, while your mother’s trusted silk-store is now creating Style Boards on Pinterest. The age-old sari has unfurled itself in more dimensions than our minds ever imagined.
Whether it is granting the wishes of its young connoisseurs or wooing the larger audience through the Internet, Sari like a mythological goddess with a hundred hands, is managing the incredible feat of pleasing women of all age-groups and how!
“Everything is quick now, the customers send us the designs of their choice through WhatsApp and we get them manufactured at our factory,” says A.B. Sidiq of Madeena Kalanther, a store in T. Nagar. “The designs are mostly from films, and television, especially Bollywood,” he says, as he turns the pages of the latest sari design catalogue, frequently pausing to point out the “filmi-saris” to me.
At a time when older generations are concerned about the increasing loss of tradition, the World Wide Web has made sure that the sari retains its magical charm in an ever-changing scenario. “With close to six lakh followers on Facebook, Twitter and Pinterest accounts, we are ahead of our competitors on social media,” beams Priyadarshini Ramesh of Pothy Silks. At 23, Priyadarshini, just out of college, is all set to bring in a fresh perspective to the business that her great-grandfather set up almost a century ago.
Chennai, well-known for its rich Kanjeevaram saris, can undoubtedly be called India’s Mecca of silk. The city exports saris to Germany, Russia and France where they have graced numerous red carpets. As I walk through the bustling streets of T. Nagar, making my way through the evening crowds with the aroma of lip-smacking street food hanging heavily in the air, each sari shop appears to be more lavish than the other. Some shops are spread across multiple floors, dressed in carved wood and glass-chandeliers, while others have an army of salesmen in matching uniforms to assist you, their lips curved in welcoming smiles, their hands joined in a vanakkam. Some of these shops have been here for more than half a century while the others, relatively new, are quickly catching up in terms of variety.
There was a time when saris from Chennai meant being exuberant Kanjeevarams with gold borders and temple prints, gracefully ending in pallavs with tassels. Snap out of that dream! Far from the Ramakathas and Dasavatara tales from olden times spun on them in conventional reds, blues and greens, saris today are inspired by every colour and theme under the sun. Saris are not confined anymore to Kanjeevarams and Pochampallis. From Kollywood designs to prints of auto-rickshaws, you’ll find symbols of namma Chennai ooru in a variety of saris.
“I have never seen my mother in anything else than a sari, she loves her silks,” says Amrutheshwari V., 23. When asked if she would wear one herself, she giggles, saying, “Yes, I would, but something more stylish you know, something modern.”
As I wander on my sari-quest through the city, at several places I am greeted with the new-age kitschy palm prints and Madhubani-inspired saris in bright colours. “You can’t wear heavy silks for occasions such as ethnic day in college or the valedictory function. Silks are okay for weddings, but for other occasions I would love to go for some funky kitsch designs on chiffons or crepes,” says 21-year-old Karthika Suresh, who speaks for girls of her generation. With street style trickling in, these new age saris also jostle for space alongside silks in many of the stores. “Saris in kitschy colours and prints are fashionable and fun, and they have been in demand, especially with youngsters, for three years now. Earlier, for all the wedding events, we wore just silks, but girls now want to wear something other than silk at receptions. That is where kitsch comes in, there’s nothing wrong with it,” says Priyadarshini. “Personally I would like to wear the designs and the silk that my grandmother wore 50 years ago. Fashion always gets back to its roots.”
Another store stocks a collection of beautiful half-saris called ‘Kochadaiiyaan’, named after the latest Rajinikanth flick. “There are always some customers who come looking for film names, every shop has them these days. Anything worn by Deepika (Padukone) or Sonam (Kapoor) becomes a hit, we have to meet the demand,” the manager says.
When some 150 years ago, Raja Ravi Verma, through his paintings, popularised the nivi drape as the Indian way of wearing a sari (with the pleats in front and the loose end draped across the shoulder), would he have ever imagined that this elaborate process of placing, pleating and pinning would turn into a quick-fix “tuck-and-go” affair. Gone are the days when grandmothers and mothers would spend their evenings carefully sewing gold borders onto their daughter’s trousseau, and chiffons and georgettes were ordered from abroad.
A lady’s silks were a symbol of prestige. While some lament the loss of hand-woven saris that lasted decades and were passed on as heirlooms, light and convenient machine-made saris have come as a whiff of fresh air to others. Either way, each strand of this six-yard- long canvas still has a story to tell. It is the story of a tradition, which has gracefully made its way from the treasure chests of our grandmothers to the aisles of modern-day boutiques. One that has synchronised its rhythm with our fast-paced times. Like a perpetually flowing river it can never go out of fashion. A celebration of our culture, our history and who we are, the sari is here to stay.
source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus / by Pragya Priyadarshini / Chennai – June 27th, 2014
Singeetam Srinivasa Rao remembers Dikkatra Parvathi, his first film in Tamil, based on Rajaji’s story
Singeetam Srinivasa Rao’s first film was in Telugu, a 1972 comedy named Neeti Nijayiti. It flopped. For his second film, he wanted to do something different. “At that time, there was this big art-cinema movement,” he told me last week. “We were very inspired by the neorealistic films, and by Satyajit Ray. That’s how Dikkatra Parvathi happened.”
A still from Dikkatra Parvathi / by Special Arrangement / The Hindu
Ray’s Pather Panchali had become the touchstone for young filmmakers, and Rao followed its lessons scrupulously. Because Ray’s film was scored by a classical musician (Ravi Shankar), Rao brought in the veena maestro Chitti Babu to compose the soundtrack for his film, which turned 40 this month. And because Ray’s film was based on a classic work of literature (by Bibhutibhushan Bandopadhyay), Rao too decided that his film would be based on a literary story that had fascinated him: Fatal Cart.
That was the English translation of C Rajagopalachari’s Dikkatra Parvathi. “Those days,” Rao told me, “it was easier to get funds from the Film Finance Corporation [the earlier avatar of the National Film Development Corporation] if your film was based on a classic.” He put in fifty thousand of his money, and the rest of the two-lakh budget came from FFC – Dikkatra Parvathi was the first Tamil film financed by the organisation.
Filmmaker Singeetam Srinivasa Rao / by Special Arrangement / The Hindu
Seeking further financial assistance, Rao decided to shoot the film someplace a little beyond the Tamil Nadu-Karnataka border, because the Karnataka government was offering subsidies (up to fifty thousand rupees) for films shot in the state. But when they discovered that Rajaji’s birthplace, Thorapalli, was just seven kilometres from Hosur, where the unit was camped, Rao’s wife convinced him that the film had to be shot there. “The village looked exactly like the one described in the story,” Rao said. “Plus, we got the satisfaction of shooting Rajaji’s story in Rajaji’s birthplace.”
Rao was hesitant, at first, to approach the 94-year-old Rajaji and take permission to film his story. “He hated films,” Rao said. “I wanted to make a film from a story of a man who hated films.” Later, Rajaji assured him that he only hated bad films. Rao remembers the day he met Rajaji: 7 December, 1972. “December 10 was his birthday and there would be a constant stream of visitors. So I went earlier.” Rajaji died soon after, on Christmas day, and the permission letter he gave Rao contained his last signature in an official capacity. More than a year later, his children attended the preview of Dikkatra Parvathi, which was “dedicated to the memory of Rajaji.”
The story is about newlyweds Parvathi (Lakshmi) and Karuppan (Srikanth), whose happy – if impoverished – life is ruined when he becomes an alcoholic and is unable to repay his loans. Two stretches stand out. The first occurs when Karuppan, goaded by a cohort, begins to drink. This is his first time. He asks, almost innocently, if drinking isn’t wrong and if you begin to smell if you drink. He takes his first sip and spits out the cheap liquor. The people around him laugh – we don’t see them (the camera stays focused on Karuppan), but we hear their mockery. And as if to prove a point to them, Karuppan drains the bottle.
This self-destructive male behaviour is balanced, towards the end, by self-destructive female behaviour. Parvathi is constantly hounded by a moneylender’s son (YG Mahendra) who is panting after her, and at one point, he enters her home when Karuppan is away. What happens next? We are kept in suspense, as the film cuts away to the aftermath: a court case. (Rao shot these scenes in a courthouse in Hosur, corralling local lawyers into the cast.) Over the song Enna kuttram seidheno, we get incremental flashbacks that lead us to the climax, where we learn what really occurred that night. It’s one of the rare times a Tamil-film heroine has been allowed to remain human.
Lakshmi was cast because Rao was impressed by the mobility in her face. “She was acting in a lot of ‘glamour roles’ then,” Rao said. “I saw her without makeup one day, and knew she was right for the role.” As for Srikanth, he was cast because he was not “the regular hero.” Dikkatra Parvathi was shot in 22 days by the cinematographer Ravi Varma, who had just finished work on a Malayalam film namedSwayamvaram, made by a first-time filmmaker named Adoor Gopalakrishnan. Rao said, “Adoor used to come by for the rerecording sessions of Dikkatra Parvathi.” The score, though, hasn’t aged well. Over the opening credits alone, we hear the veena, mridangam, morsing, tabla, shehnai, sarangi, flute – the resulting symphony, today, sounds too ostentatious for such a small, intimate film.
Dikkatra Parvathi was censored on December 31, 1973, but the film couldn’t be released due to an impasse. The FFC demanded repayment of their loan before they would issue the release letter, and the distributors insisted on the release letter before they coughed up the funds that would allow Rao to repay his loan to the FFC. When the director ran into MG Ramachandran, the Chief Minister, and spoke about his predicament, the latter instructed his secretary to buy the film.
This was the first time in the Indian film industry that a film was procured by a state – though MGR wasn’t exactly looking at it as a work of art. He had in mind other, more practical uses – as a propaganda film to further the cause of prohibition. Still, Dikkatra Parvathi was back in Rao’s hands. It was released in one theatre in Chennai, Little Anand. It would be almost a decade before he made his next Tamil feature, Rajapaarvai.
source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus / by Baradwaj Rangan / June 28th, 2014
A wide range of ancient terracotta vessels, pieces of smoke pipes, roof tiles and tools that belong to pre-historic period are spread on the table. C Veeraragavan’s love for ancient pieces began 25 years ago when he first found a three-legged terracotta jar near his home in Villupuram. Today, with more than 40 rare pieces, this 66-year-old conducts exhibition in various parts of Tamil Nadu to create awareness among youngsters about our history and arts.
The retired school teacher, who travels across the state showcasing his rare collection, says: “It’s not for money, it’s my passion. I spend from my pocket most of the time, as transporting these ancient pieces is not easy. They require proper care. But, I love doing it. I want children to know about our history.” Veeraragavan had exhibited his pieces as part of a two-day national seminar on ‘Hero Stones’ held in Hosur recently.
Veeraragavan also maintains a collection of 60 estampages of hero stones and inscriptions from various parts of Tamil Nadu. Hero stones are a type of memorial stones erected for the dead, who did exemplary work for the benefit of a society or community. “Taking the estampages of hero stones is not easy. I would go to the spot early in the morning, and start my work. It would take many days to get a perfect copy. Many hero stones faced vandalism in the later years, but I am happy that I have at least the copies of those rare pieces,” he says.
Veeraragavan’s collection has stone tools dating back to paleolithic and neolithic periods. He will even tell you about the minute differences in the tools from the two different pre-historic era. The terracotta vessels dated back to 2nd century BC to 2nd century AD. Although he is happy to conduct exhibitions, he is a bit worried about the pieces that were stolen from his collection during exhibitions. “Someone stole a beautiful chariot from my collection two years ago. Recently, someone stole a precious bronze jar,” he says.
But, these problems apart, Veeraragavan says he will continue his exhibition across TN. “I know the importance of this job. I have collected all these ancient pieces from the surface of the earth. Nobody is allowed to do excavation without permission. I am preserving it for the future generation,” he says.
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> City> Chennai / by M. T. Saju , TNN / June 25th, 2014
Sandwiched between the stark walls of two-storied concrete buildings is a small tiled-roof structure with wooden beams and trellis work painted green. The 100-year-old building in which the Madras Sanskrit College began stands dwarfed by newer structures that have come up around it to accommodate the 80 students that the college teaches today.
“Though other structures have come up around it, we have kept the original building intact as we are proud of being a 100-year-old institution. We wanted to keep it while expanding the college to meet modern needs. Classes are still conducted here,” said college manager H Subramanian, showing the staircase to the first floor, which has railings made of Burma teak.
Constructed in 1910 by jurist and philanthropist V Krishnaswami Iyer, who contributed a fair share to the growth of Mylapore, it was the only building on campus when the college — established in 1906 with about 500 students — moved from nearby Pellathope. It was constructed on 5,000sqft with a single floor. The building looks more like a house with a small verandah and plants curling across the windows and red roof tiles. The building cannot be classified into a particular style or type but follows the style of construction adopted in the early 1900s for office buildings. “You’ll find many collector’s offices and other government buildings in this style in the districts. There were many of them in Mylapore too. This was the style of office buildings in the early 20th century with high ceilings and large windows that practically touched the ground,” said Intach convener S Suresh.
The college was set up by Krishnaswami with two others, who formed a committee to prevent the loss of Sanskrit. Back then, as now, students studied the basics of the language and its grammar and get a ‘Visarada’ in Veda and Vedanta certificate at the end of five years.
The building is supported by iron and wooden beams with high ceiling which makes it well ventilated. Similar structures surrounded it for many years, and the campus had a lot of trees. “Classes used to be conducted under the trees for many years,” said Subramanian.
Over the years with the expansion of the college, trees gave way to buildings and the house-like structures on either side of the heritage building had to accommodate a hostel and a research institute, said Subramanian. A few trees are still left on the front and rear side of the main heritage structure.
“The main building was whitewashed in January. The old tiles and wooden beams were carefully removed, painted and replaced during the renovation. As the tiles were in good condition we did not change them,” said Subramanian. The building houses the college office and lecture hall on the ground floor and examination hall and mini hostel for students on the first floor. “Despite having new buildings, the principal conducts lectures and holds discussions on the first floor. It is so well ventilated that we don’t have an airconditioner though a proposal is pending,” said Subramanian. On the first floor are wooden cupboards from the old days.
Over the years, the building has had many famous visitors. On April 28, 1915, Mahatma Gandhi visited the college. A few years later on October 9, 1922, Rabindranath Tagore visited the college and said he was pleased with the teaching of Advaita philosophy.
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> City> Chennai / by B. Sivakumar, TNN / June 27th, 2014
This cave painting depicts men, women and children dancing during a festival | Express
Paintings that are over 3,000 years old, belonging to the Sangam period, showcasing the love and valour of Tamils, were discovered in the Andipatti hills near here on Sunday.
V Narayanamorthy, Secretary of the Tamil Nadu Archaeological Research Institute, and his team came upon the paintings when they were inspecting some caves, west of Andipatti hills.
He said, “The faded paintings have been found in over 10 places in the cave and were painted in white colour using a mixture of limestone, natural gums and herbal extracts.”
One of the paintings shows a group of women carrying pots of water on their heads, while another shows men, women and children dancing together at a festival, holding hands. What’s interesting is that this kind of dance can still be seen in the Paliyar and Puliyar tribal communities, the archaeologists said.
Another picture shows people getting ready to sacrifice a goat for a festival.
The paintings also tell stories—one of an elephant captured and trained, on which the king goes for a ride surrounded by guards. Several scattered paintings depict men, women and tigers and hunts undertaken.
The caves were in frequent use about 2,000 to 3,000 years ago.
source: http://www.newindianexpress.com / The New Indian Express / Home> Sates> TamilNadu / by Express News Service – Palani / March 04th, 2014
