Latest news with #Vijayanagara
The Hindu
a day ago
- Science
- The Hindu
First Indian epigraphical reference to Halley's comet found in 15th century copper plate inscription
The first Indian epigraphical reference to Halley's comet has been discovered in a copper plate inscription dated 1456 CE belonging to the Vijayanagara period and preserved at the Srisailam Mallikarjunaswamy temple in Andhra Pradesh. Dr. K. Munirathnam Reddy, Director, Epigraphy Branch of the Archaeological Survey of India (ASI), who announced the discovery, told The Hindu that the inscription is written in Sanskrit, using Nagari script, and refers to the appearance of a comet and a subsequent meteor shower — events that historically coincide with the 1456 appearance of Halley's comet. The inscription records a grant made by the Vijayanagara ruler Mallikarjuna to a Vedic scholar on Śaka 1378, Dhātru Āshāḍha ba. 11, corresponding to Monday, June 28, 1456 CE. The grant was issued 'in order to mitigate the great calamity believed to arise due to the appearance of a comet (dhūmakētu mahōtpāta śāntyartham), and the associated meteor shower (Prakāśyāya mahōtpāta śāntyartham)', said Mr. Munirathnam. The king donated a village named Simgapura, located in Kelajhasima of Hastinavati Vemṭhe, as an agrahāra to a Brahmana named Limgaṇarya, a Vedic scholar from Kaḍiyalapura. Dr. Reddy said this place is probably present-day Kaḍiyapulanka in Galividu mandalam, Cuddapah district of Andhra Pradesh, and noted that the scholar was probably well-versed in astronomy. Dr. Munirathnam noted that while references to dhumaketus (comets) are found in ancient and medieval Indian texts, this is the first inscriptional record that has been discovered. 'What makes this particularly significant,' he said, 'is that the year mentioned in the inscription and the reference to the comet's appearance matches the year in which Halley's comet was later established to have appeared,' said He explained that in traditional belief systems and from the available historical records, the appearance of a comet and meteor shower was considered inauspicious, and associated with misfortune and calamities in many parts of the world. Mr. Reddy said the appearance of the comet and the beliefs surrounding it are vividly expressed in the inscription in the phrase: Prakāśyāya mahōtpāta śāntyartham dattavān vibhuḥ — meaning: this grant was made in order to pacify the calamities that may arise due to the illuminating comets and meteor shower upon the king and his kingdom. The discovery of reference to comets in the inscription was made during the critical 'line by line' editing of a set of 21 unpublished copper plate charters held by the Srisailam temple authorities. The collection, comprising 78 copper leaves, will soon be published in book form, he added.
The Hindu
4 days ago
- Entertainment
- The Hindu
Tracing the history of Kanchipuram through texts and tunes
Madhusudhanan Kalaichelvan wears many hats — epigraphist, historian, researcher, and passionate advocate of heritage and literature. In a scholarly lec-dem on Kanchipuram, he seamlessly wove together music, literature, religion, tradition, architecture and dynasties. His delivery, marked by classic, free-flowing Tamil, held the audience in rapt attention. Vocal support was provided by Bhavya Hari, whose thoughtful choice of ragas and singing complemented the narrative. Organised by Sruti Sampada and titled 'Kanchipuram in Raga and Rhythm', the lec-dem traced 2,000 years of the Temple City's storied history, at Arkay Convention Center recently. At its heart, the lecture was also a clarion call to Carnatic musicians — urging them to expand their repertoire by embracing and popularising Tamil devotional compositions, many of which remain underrepresented on the concert stage. The earliest literary reference to the city of Kanchi appears in the Sangam-era text 'Perumpaan aatru padai' authored by Kadiyalur Uruthirankannanar, observed Madhusudhanan. He added that the name 'Kanchipuram' came into usage a few centuries ago. During the Vijayanagara period, the city was administratively and culturally bifurcated into Shiva and Vishnu Kanchi, reflecting the twin religious traditions that flourished therein. Two rivers — Palar and Vegavati — flow through the city, nurturing its landscape and heritage. The musical evening began with the Dikshitar kriti 'Chintaya maa', a composition on Ekamranatha in Bhairavi, preceded by the virutham 'Kallaa pizhaiyum' by Pattinathar. Madhusudhanan mentioned that the concert would also conclude in Bhairavi, drawing on the Puranic reference to Kanchipuram as 'Bhairavi Vanam'. Ilanthiraiyan was the first known ruler of Kanchi. Then, the Pallava dynasty ruled for over six centuries, marking a golden era for Kanchipuram, beginning around the 3rd or 4th century CE, as evidenced by copper-plate inscriptions, noted Madhusudhanan. Subsequently, the city came under the rule of the Cholas and later the Telugu Cholas, with the Pandyas holding sway briefly. This was followed by the reign of the Vijayanagara kings, leading up to the British rule. Hymns by saints and poets Devotional treatises and compositions in Tamil, Sanskrit, Telugu, Kannada, and Pali have enriched the literary and spiritual heritage of Kanchi. Saints and poets such as the Nayanmars, including the Thevaram Moovar and Manickavachakar, along with Bhootathazhwar, Peyazhwar and Thirumangai Azhwar, and the Carnatic music trinity have sung the glory of its temples and deities. Kanchi is renowned for its three famed vimanas or koti-s: Rudrakoti (Ekamresa), Kamakoti (Kamakshi), and Punyakoti (Varadaraja). The city is home to as many as 14 Divyadesams and five Paadal Petra Sthalams. A particularly striking literary aspect, said Madhusudhanan, is Thirugnanasambandar's masterful use of prosody (yaappu), where he employs paired lines with identical phrasing but divergent meanings. As an illustration, Bhavya rendered the verses 'Paayu maalvidai' and 'Sadai anindhadhum' in Sankarabharanam, bringing out their nuanced meanings. Madhusudhanan next delved into the context of the hymn 'Alam thaan ugandhu', in which Sundarar, having lost his vision completely, records the miraculous restoration of sight in one eye as he worshipped 'Ekamba'. Bhavya chose Kamboji for the verse, perhaps inspired by Papanasam Sivan's 'Kaana kankodi vendum'. Over the centuries, several poets have sung the praises of Ekamresa, including Kachiyappa Sivachariar, the Irattai Pulavargal, Kalamega Kavi, Madhava Sivagnana Swamigal and Kachiyappa Munivar. The narrative then transitioned into Srivaishnava traditions and the Divyadesams of Kanchi — beginning with Thiru Athiyur, the sacred shrine of Varadaraja, and the four other temples situated in Vishnu Kanchi: Thiru Vehka, Thiru Velukkai, Thiru Attabuyakaram and Thiru Thanka (Thooppul). According to the 'Satyavrata Kshetra Mahatmyam', Lord Varadaraja manifested in the Punyakoti Vimanam from Brahma's sacrificial altar (yajna kunda) — a divine event that forms the axis connecting the five Vishnu Kanchi Divyadesams. Thirumangai Azhwar's pasuram 'Solluvan sorporul' is the first of 10 dedicated to Paramechura Vinnagaram (Vaikuntanatha Perumal Kovil), famed for its architectural splendour, noted Madhusudhanan. The verses celebrate not only the deity but also the military conquests of the Pallava king, traditionally credited with the construction of the temple. Bhavya rendered it in lilting Maand. Another temple, Ulagalandha Perumal Kovil, encompasses four Divyadesams within its precincts — Thiru Neeragam, Thiru Kaarakam, Thiru Kaarvaanam and Thiru Ooragam. The same Azhwar, in Thirunedunthaandakam, masterfully weaves together multiple Divyadesams — mentioning nine in a single verse, beginning with 'Neeragatthaay'. The layered composition was sung in Hamsanandi and Desh. While many acharyas have sung the praises of Varadaraja Perumal, Desika stands apart for his prolific output and philosophical depth. Revered with honorifics such as 'Sarva-tantra Svatantra' and 'Kavithaarkika Simham', he displayed remarkable command over both Tamil and Sanskrit, as reflected in his works numbering over a 100. Among these are six Tamil Prabandhams and three Sanskrit hymns dedicated to Varadaraja. In addition, he has authored stotras on other Divyadesams in Kanchi. In a verse from 'Meivirada Maanmiyam', Desika extols the glory of Varadaraja flanked by His consorts, Sridevi and Bhudevi. Bhavya sang the verse 'Pedai irandu oranam adaindhu' in a delectable blend of Saranga and Brindavana Saranga. Varadaraja is one of only four deities to have been praised in compositions by all three members of the Tiruvarur Trinity — the others being Kamakshi (Kanchi), Neelayatakshi (Nagapattinam), and Dharmasamvardhini (Tiruvaiyaru). Among the Trinity's offerings to Varadaraja are Tyagaraja's 'Varadaraja ninne kori' in Swarabhushani, Dikshitar's 'Varadaraja avava' in Gangatarangini, and 'Samini rammanave' in Anandabhairavi. Others who have sung on Varadaraja include Purandaradasar, Margadarsi Seshayya, and Walajapet Venkataramana Bhagavatar, said Madhusudhanan. The rendition of the Swarabhushani kriti captured the grandeur of Garuda Seva. The next focal point was Kumara Kottam and Muruga. The segment began with 'Mooviru mugangal potri' from Kachiyappa Sivachariar's Kandha Puranam rendered in Shanmukhapriya. This was followed by 'Muttuppattu' from Thiruppugazh in Kathanakuthuhalam, and 'Ponkulavum andam' from Chidambara Munivar's 'Kshethirakovai Pillaithamizh', set in Valaji. Arunagirinathar's contribution to the repertoire of talam and sandham is immense — his compositions stand out for their astonishing rhythmic intricacy and cryptic poesy. Bringing the evening to a poignant close was the focus on Kamakshi, through two evocative renditions. The first was the shloka 'Raaka chandra' from Mooka Panchasati, composed by Mooka Kavi, tuned in Hamirkalyani and Sindhubhairavi. Born mute, the poet is believed to have miraculously gained the power of speech by the divine grace of Kamakshi, and composed 500 Sanskrit verses. While Dikshitar has several kritis to his credit on Kamakshi, it was Syama Sastri who held her as his ishta devatha. An excerpt from his Bhairavi swarajathi provided a perfect finale.
India.com
6 days ago
- General
- India.com
Discover The Myths That Shape Bengaluru's Cultural Landscape
The urban hub of Bengaluru continues to merge its progressive technological development with a solid foundation of cultural history as the 'Silicon Valley of India.' The ancestral collection of local legends and myths has molded the city identity of Bengaluru since ancient times despite its thriving IT zones and city lifestyle. Through their narratives and historical significance, Bengalsuru shows its depth in addition to creating a distinctive personality that defines its identity. Founding Legend: Kempe Gowda and the Bull Statue A persistent legend focuses on Kempe Gowda I who ruled in the Vijayanagara period because he established Bengaluru as we know it today. Kempe Gowda decided to construct his city at the spot where he witnessed a hare defeating a dog because he saw this unusual event as a symbol of endurance. The witnessing of this incident led Kempe Gowda to found Bengaluru during 1537 CE. As part of his city establishment Kempe Gowda constructed four watchtowers that modern people call the KempeGowda Towers. Local legend attributes a Nandi statue to Bull Temple in Basavanagudi which serves as one of the traditional symbols of this tale. The local people believe Kempe Gowda constructed the temple after witnessing divine events during his construction of his planned city. These landmarks demonstrate Bengaluru's ancient past and people from both local and tourist groups come to visit them now. Curse of Hallemane and Ulsoor Lake A myth regarding Bengaluru's oldest man-made reservoir known as Ulsoor Lake exists. Local tradition reports the curse of Hallemane on the waterbody after she lived near the lake. The lake resources caused domestic trouble to her family because of alleged mismanagement or exploitation. Frustration led Hallemane to curse the waterbody that she believed would cease being at peace. Through multiple years Ulsoor Lake has confronted various problems that include pollution levels and both encroachment attempts and natural flood risks. Local people persist in following the curse story even though experts attribute downtown growth and environmental carelessness to the lake problems thus adding mystery to its historical narrative. History of Lalbagh Botanical Garden The historical landmark known as Lalbagh Botanical Garden in Bengaluru receives accolades from both historical events and local tales throughout history. The garden received its name 'Lalbagh' from the period when it was covered in red roses during the time of Hyder Ali who was Tipu Sultan's father. Beyond its floral attraction, Lalbagh holds multiple other attractions for visitors. The garden has an obscure historical connection to Tipu Sultan. According to historical accounts Tipu Sultan designed Lalbagh as his earthly paradise which he fashioned after Persian garden designs. He carefully designed Lalbagh for people to access as a place of mental and reflective retreat. The most interesting claims about Lalbagh involve the possibility that military operatives used hidden subterranean tunnels in their strategies to fight against the British East India Company. While historians question whether actual tunnels existed beneath Lalbagh the mythological story helps make the fortress more interesting to explore. Gangadhareshwara Temple and the Sun's Alignment The Gavi Gangadhareshwara Temple at Gavipuram contains both scientific importance alongside sacred religious traditions. During the 9th century Cholas constructed this temple cave which worships Lord Shiva as its main deity. Sun rays which pass through Nandi's horns create a special light effect to illuminate the worshipped lingam within the temple's inner sanctum during select annual periods. Makar Sankranti serves as the annual festival during which the Sun undergoes its movement from Sagittarius to Capricorn. Many religious followers visit the temple each year to observe the holy occurrence that they believe demonstrates divine architectural skill. The temple showcases exceptional architectural precision because ancient Indian astronomers shared sophisticated knowledge that creates a masterpiece that transcends mere spiritual needs. Ghost Stories of Bangalore Fort The historical Bangalore Fort which Kempe Gowda first built later underwent expansion through the efforts of Hyder Ali and Tipu Sultan maintains a dark atmosphere. Local people share strange reports of spirit sightings together with unexplained activities taking place at the decaying fort walls. Several ghost narratives share the tale of soldiers that served Tipu Sultan who watched over Bangalore Fort after their deaths. People who doubt the supernatural stories nonetheless feel drawn to the strong ghostly energy which permeates the fort. These ghost stories, whether real or not, give historical sites of Bengaluru an inexplicable aura that attracts people who want to experience both excitement and dread. Creatures and Folktales Numerous folktales about mythical creatures together with supernatural beings reside throughout Bengaluru's rural outskirts. Local residents in the village share experiences about Pishachas (ghosts) and Yakshis (female spirits) reported to haunt empty forests. The tales from Bengaluru serve to warn people about risks of nighttime exploration of uncharted locations. Folktales illustrate how traditional cultures maintain dual feelings between nature worship and its frightening elements. Modern culture benefits from these traditional storytelling means because they mainline both inter-tribal connections and cultural wisdom during transmission to newer age groups. Final Thoughts Bengaluru's essence integrates historical significance with spiritual charm demonstrated through the manuscripts and folk stories surrounding Kempe Gowda's establishment and temple treasures. The narratives reveal important secrets about the city's deepest nature as they showcase its people's beliefs and its growth across time. Bengaluru functions as an exceptional city because it embraces its dynamic historical heritage which ties the part with present innovations.
The Hindu
13-06-2025
- General
- The Hindu
Alipiri Padala Mandapam to be taken up for conservation
The Alipiri Padala Mandapam, a heritage structure at the foot of Tirumala hills and the first spot to be visited by trekkers, will be taken up for conservation and restoration. The structure, managed by the Tirumala Tirupati Devasthanams (TTD), pertains to the Vijayanagara period and had suffered damage with passage of time. In tune with the request by Archaeological Survey of India (ASI) Director (Epigraphs) K. Muniratnam Reddy, a team of engineers specialising in the field of conservation and preservation of ancient temples inspected the structure in Tirupati. Pune-based Lord Venkateswara Charitable and Religious Trust, which has agreed to meet the cost of restoration, also deputed its representatives along with the engineers. 'Our team studied the methods to be adopted to strengthen the existing Mandapam in order to keep it stable for the next 300 years, without the need for any further intervention,' Mr. Muniratnam Reddy said.
Time of India
12-06-2025
- Time of India
‘Alipiri Padala Mandapam' a 300-yr-old heritage structure to get a makeover
Tirupati : The Alipiri Padala Mandapam, a heritage structure at the foot of Tirumala hills and the first spot to be visited by the trekkers, is all set for conservation and restoration. The structure, managed by the Tirumala Tirupati Devasthanams (TTD), pertains to the Vijayanagara period and as such has suffered damage over passage of time. In tune with the request by Archaeological Survey of India (ASI) Director (Epigraphs) K Muniratnam Reddy, a team of engineers specialising in the field of conservation and preservation of ancient temples inspected the structure in Tirupati. Pune-based Lord Venkateswara Charitable and Religious Trust, which has agreed to meet the cost of restoration, also deputed its representatives along with the engineers. "Our team studied the methods to be adopted to strengthen the existing Mandapam in order to keep it stable for the next 300 years, without the need for any further intervention", Mr. Muniratnam Reddy said. Follow more information on Air India plane crash in Ahmedabad here . Get real-time live updates on rescue operations and check full list of passengers onboard AI 171 .
