Showing posts with label Saurashtra. Show all posts
Showing posts with label Saurashtra. Show all posts

Friday, August 17, 2018

சௌராஷ்ட்ரா கிராமிய நடுகற்கள்





மேலே காண்பவை  சௌராஷ்ட்ரா கிராமிய நடுகற்கள்.  வீரர்கள் மற்றும் சதி என்ற உடன்கட்டை ஏறிய பெண்கள் மற்றும் போர் சாகசம் நிகழ்த்தியவர்கள், மற்றும் சில சிறப்பு நிகழ்வுகளில் நிறுவப்பட்ட நினைவு தூண் சிலைகள் "நடுகற்கள்" எனப்படுகின்றன. இந்த நடுகற்களின்  வேறு பெயர்கள் "பாலியா" அல்லது "கம்பி" (Khambi ) எனப்படுகின்றன.  குஜராத்தில்; குறிப்பாக  சௌராஷ்ட்ரா பகுதியில் இந்த நடுகற்கள் அதிகம் காணப்படுகின்றன.

சௌராஷ்ட்ரா பகுதி தவிர, கட்ச், பாகிஸ்தானின் சிந்து மாகாணத்தில் நகர்பார்கர் போன்ற இடங்களிலும் இது போன்ற நடுகற்கள் காணப்படுகின்றன.

பாலியா - எனில் "பால" என்ற சொல்லில் இருந்து பிறந்த ஒரு வார்த்தை.  "கம்பி" (Khambi) என்றால் "தூண்" என்று பொருள்படும் வார்த்தை.  இவ் இரண்டு பெயர்களில் நடுகற்கள் சௌராஷ்ட்ராவில் அழைக்கப்படுகின்றன.
லோதால், தார், ஜூனாகாத், தாரங்கதாரா, போன்ற பகுதிகளில் அதிகமாகவும் சூரத் , அஹமதாபாத் (கர்ணாவதி) ஆகிய இடங்களில் சிலவும் காணப்படுகின்றன.
இந்நடுகற்களில், தேவநாகரி எழுத்துக்களில்; "நடுகற்கள்" யாருக்காக நிறுவப்பட்டது, எந்த வீர தீர செயலுக்காக நிறுவப்பட்டது போன்ற விவரங்கள் எழுதப்பட்டுள்ளன.  இந்த நடுகற்கள் காலம் கி பி பதிநோறாம் நூற்றாண்டில் ஆரம்பித்து பதினேழாம் நூற்றாண்டு வரை நீடிக்கிறது.  சௌராஷ்ட்ரர்கள் கர்நாடக மற்றும் தமிழகத்திற்கு புலம் பெயர்ந்த காலம் பதினான்காம் நூற்றாண்டு என்று அனுமானிக்கப்படுகிறது.   எனவே கர்நாடக மற்றும் தமிழகத்திற்கு புலம் பெயர்ந்த சௌராஷ்ட்ரர்கள் தேவநாகரி எழுத்தை பயன்படுத்தி வந்திருப்பார் என்பது கண்கூடு.  சிலர் வேறு எழுத்தை சௌராஷ்ட்ரா மொழியை எழுத பயன்டுத்தினாலும் அவைகள் எல்லாம் வரலாற்று ரீதியாக சௌராஷ்ட்ரர்கள் கலாச்சாரத்தை பிரதிபலிப்பது அல்ல .  இதனால் சௌராஷ்ட்ரர்களின் வரலாறு மறக்கடிக்கப்படுவதும், மறைக்கப்படுவதும் நிச்சயம் .
தாம் வாழும் பிரதேசத்திற்கு ஏற்ப சௌராஷ்ட்ரா மொழியை தெலுகு, தமிழ் போன்ற எழுத்துக்களில் எழுதி வருவதையும் நாம் பார்க்க இயல்கிறது.  இது முற்றிலும் நாம் சௌராஷ்டிரத்துடன் தொடர்பு இழந்து விட்டதை காட்டுகிறது.

ஆயினும் சௌராஷ்ட்ரா மொழி வளர்ச்சி என்பது வரலாற்று ரீதியாக ஆராய்ச்சி செய்து, அவ்வெழுத்தின் வளர்ச்சியுடன் கூடிய அடிச்சுவற்றில் மொழி வளர்ச்சி அமையுமாயின் நமது காலாச்சார வரலாறு பாதுகாக்கப்படும் ... வேறு வழிகளில் தேவநாகரி எழுத்து தவிர்த்த எழுத்துக்களில் மொழி வளர்ச்சி என்று முயற்சிகள் எடுப்பது நமது கலாசார வரலாறு, அழிக்கப்பட்டு நம்மை  வரலாற்றில் அனாதையான இனமாக சித்தரிக்கவே பயன்படும். 

Sunday, January 29, 2012

Saurashtra in Dasarathas boundary


IN THE BEGINNING was the word. The first recorded word was the Veda. And the Veda is just ecstatic about the Sindhu, the cradle of Indian civilization.


``Sindhu in might surpasses all the streams that flow.... His roar is lifted up to heaven above the earth; he puts forth endless vigour with a flash of light .... Even as cows with milk rush to their calves, so other rivers roar into the Sindhu. As a warrior- king leads other warriors, so does Sindhu lead other rivers.... Rich in good steeds is Sindhu, rich in gold, nobly fashioned, rich in ample wealth.''

Sindhu is too alive and too divine to be ``it''; and so Sindhu is ``he''!

When the Vedic seer invokes heaven and earth, he also invokes the Sindhu. The Veda refers to the Ganga only twice; but it makes as many as thirty references to the Sindhu.

This is the Great Sindhu that gave Sindh --- and Hind! --- its name. It is the oldest name in Indian history --- and in Indian geography. When Shiva carried the immolated body of his divine consort Sati over all the land, her skull-top with its Hingula (Sindhur) fell at what has been Hinglaj ever since. It is near Karachi on the Sindh-Baluchistan border. To this holy spot --- sanctified by the visit of Rama, Sita, and Lakshmana --- went the great Sindhi Sufi poet-saint Shah Abdul Latif in the company of yogis. As long as East and West Pakistan were one state, a major attraction to the Bangladesh Hindus visiting the west wing was, Hinglaj.

Sindh was part of Dasaratha's empire. When Kekayi goes into a sulk, Dasaratha tells her: ``The sun does not set on my empire. Sindh, Sauvira, Saurashtra, Anga, Vanga, Magadha, Kashi, Koshal --- they are all mine. They produce an infinite variety of valuable articles. You can ask whatever you like.''

Of course Kekayi wants nothing short of the throne for her son, Bharata. The rest is epic history. When Sita was kidnapped by Ravana, Rama sent the vanaras(monkeys) to look for her, among other places, in Sindh with its ``remarkable swimming horses.'' Later, when all ended well, Rama gave Sindhu-Sauvira (the Sindh and Multan areas) to Bharata, who duly extended his rule farther north to Gandhara --- the home town of Gandhari of Mahabharata fame --- now Kandhar. His sons founded the cities of Peshawar (Pushkalavati) and Taxila (Takshasila).

Sindh emerges in a shady light in the Mahabharata. It is called ``paap-purna pradesh'' (a sinful province). And thereby hangs a tale. King Jayadratha of Sindh was married to Kaurava prince Duryodhan's sister, Dushhala. He was, therefore, all along on the side of the Kauravas --- an-l against the Pandavas. However, be it said to the credit of Jayadratha that he, like Dhritarashtra and Bhishma, opposed the disastrous game of dice between the Pandavas and the Kauravas.

However, Jayadratha's hostility towards the Pandavas had deeper roots. At the time of Draupadi's aswayamvara (free choice of husband in an assemblage of princes) he was one of the disappointed aspirants. Later, when the Pandavas were spending their time in exile, Jayadratha accosted her while she was alone. Draupadi innocently enquired of him about the people of Sindhu- Sauvira. However, when she found him full of mischief, she asked him to get lost. Thereupon he forcibly carried her away. When Arjuna and Bhima caught up with him and liberated Draupadi, Bhima cut off his hair in five places --- to make him look ridiculous. And he would have killed him, but for his eldest brother Yudhisthara telling him that it would make their cousin- sister Dushhala a widow --- and grieve uncle Dhritarashtra and aunt Gandhari.

In the titanic battle of Mahabharata, when Abhimanyu, Draupadi's son, got killed, Jayadratha ``pushed'' his body with his foot. Arjuna was furious. He vowed to kill ``Sindhu-Pati'' Jayadratha that very day, before the sun set. Jayadratha wanted to flee the field, but it was too late- He died an inglorious death.

In India, right up to the time of Shivaji, Pratap, and Guru Govind Singh, the traditional royal flag was some shade of bhagwa (ochre) or kesari. This was the case in the days of the Mahabharata also. The only difference was in the symbol on the flag. lnterestingly enough, Jayadratha's symbol was a silvery boar --- the wild pig, that the Rajputs love to hunt to this day.

Jayadratha's other love was milk and condensed hot milk (the Sindhi khirni). When announcing his determination to kill Jayadratha. Arjuna said: ``Jayadratha is a relation, but he is evil; he has been brought up on kshir and kshirni, but now I'll cut him to pieces with my arrows.''

One can only hope that the Mahabharata referred to Sindh as ``sinful'' because of its king and not because of its .people. (For the same reason, Karna refers to Shalya's Madraraj in similar terms.) In the ``Bhishma Parva'' of the Mahabharata, the Sindhu is referred to as the great protector which must be remembered day and night. Obviously the mighty river was a mighty defence line of the country. The ``Anushasan Parva'' of the Mahabharata prescribes Sindhu-bath for going to heaven after death.

Interestingly enough, the Bhagvad Gita is based on an earlier sermon involving Sindh! Once upon a time, the king of Sindh had defeated young prince Sanjay of Sauvira. Sanjay had lost heart and wanted to forget all about his kingdom. But his brave mother Vidula had shamed him into action. She had told him to remember his ancestry, remember his responsibilities to his people, uphold dharma, and live nobly or die nobly. At a time when the Pandavas were dispirited and did not want to fight, their mother Kunti reminded Krishna of the story of Vidula and asked him to repeat it to her sons --- to move them to action. The result was the immortal sermon of the Gita.

Dushhala also did a great good turn to Sindh. Since the movement of the centre of Indian civilization from the Sindhu to the Ganga, the former had obviously become a rough frontier tract subject to frequent invasions. Dushhala was pained to find the tribes of Jats and Medes in Sindh quarrelling endlessly. She therefore requested Duryodhana to send some Brahmins to tone up the socio-cultural life of Sindh. Duryodhana was good enough to send 30,000 Brahmins to Sindh. It was these Brahmins who later formed the backbone of resistance to Alexander. But of that, later.

Kalidas says in the Raghuvamsha that on the advice of his maternal uncle Yudhajat, Rama conferred Sindh on Bharata. Rama's ancestor Raghu's triumphant horses had relaxed on the banks of the Sindhu.

Another great Sanskrit poet, Bhasa, had done a whole play, ``Avimark'' on the romance of prince Avimark with princess Kurangadi of Sindhu-Sauvira.

The Bhavishya Purana says that Shalivahana, the grandson of Maharaja Vikramaditya of Ujjain, established law and order in ``Sindhusthan'' and fixed his frontier on the Sindhu.

Anshnath, the eleventh Jain Tirthankar, was a Sindhi. He died in Bengal.

The Jaina Dakshinyachihna (eighth century) speaks of the Sindhis as ``elegant, with a lovely, soft and slow gait. They are fond of songs, music and dance and feel affection for their country.''

There is a legend that the great Buddha had graced Sindh with his visit. Finding the climate extreme, and the area dry and dusty, he had permitted the bhikshus to wear shoes here. He had also permitted the use of padded clothing, forbidden elsewhere. Here Sthavirtis, the prince of Rorik or Roruka (Aror or Alor near modern Rohri) became his disciple.

When the Buddha went round his native Kapilavatsu in a chariot, it was mentioned that the ``four auspicious horses, of lotus colour, had come from Sindhudesh.'' To this day, historic Buddhist stupas are found in Sindh. No wonder when Zulfikar Ali Bhutto had become President of Pakistan, even he adorned his office with a statue of the Buddha.

The Divyavadana (Tibetan version) reports: ``The Buddha is in Rajgriha. At this time there were two great cities in Jampudvip (north India): Pataliputra and Roruka. When Roruka rises, Pataliputra declines; when Pataliputra rises, Roruka declines.'' Here was Roruka of Sindh competing with the capital of the Magadha empire. When Bimbisara was king of Magadha, he sent Rudrayan, king of Sindhu-Sauvira, a rare portrait of the Buddha. The two powerful ministers of Sindh at the time were Hiroo and Bheru, their names still common among the Sindhis!

Chandragupta Maurya first won Sindh and the Punjab. It was from this base that he displaced the Nandas, occupied Pataliputra and established the great Mauryan empire

Kashmir's ancient royal history Rajatarangini has many references to Sindh and the Sindhis- Kuya's son Sindhu rose to lead the elephant brigade of Kashmir- He was adviser to the good Queen Dida. A top honour in Kashmir was ``Sindhu Gaja'', Elephant of Sindh.

Obviously, Sindh was quite at the centre of things

Thursday, December 1, 2011

HISTORY ON A BANNER - Written by Nana Chudasama

Narendrasinhji Mansinghji Chudasama, more popularly known as Nana Chudasama is an eminent activist representing the common man, and a former Sheriff of Mumbai. Born in a prominent Rajput family from Saurashtra, he was the second of four sons.




Nana became the founder of the NGO Giants International which has over 500 branches spread all across India and in 10 countries abroad. Giants undertakes projects that have an immense impact on society, such as family welfare, disaster management, education and environment.



HISTORY ON A BANNER is a compilation of Nana Chudasama’s thought-provoking Marine Drive banners – embedded in satire, puns and humour. The book echoes the voice of the common man and is a fascinating journey into the archives of history. It is an interesting chronicle of recent events which have been instrumental in shaping our collective destinies. To those who have not had the fortune of savouring the rib-tickling humour and sarcasm of Nana Chudasama until now, this book is an invitation to do so. Enjoy the dreams and angst of the common man reflected effectively in Nana Chudasama’s banners!

Saurashtra King Faced Alexander

The article from Journal Cimmerian :


When Donn Othna and his Saxon captors sail storm-driven and battered into the harbour of Nagdragore on the Gulf of Cambay, after a voyage for which epic is an understatement, the Briton’s sword hums faintly. Donn Othna explains that it sings because it’s coming home. “It was here that my sword was born from furnace and forge and wizard’s hammer, dim ages ago. It was once a great saber belonging to a mighty Eastern emperor … ”




Donn Othna might well believe the sword, if Indian, was a work of wizardry. The original Damascus steel was developed in India, and it was long centuries before such superb blades were able to be made in the Middle East. Persians and then Syrians did eventually learn the art, but they couldn’t equal the results without importing the raw steel from India to work with. It’s likely that the iron ore from certain mines in southern India contained a particular combination of trace elements — vanadium, nickel and others — that made the blades unique once they were forged with painstaking art to produce high-carbon steel.


We can assume the “great saber” was a typical Indian tulwar. Who the “mighty Eastern emperor” could have been is a matter for guesswork, but the blade’s history makes it clear that he lived before Alexander the Great. Maybe he was Darius I of Persia. Darius conquered the Indus valley shortly before 500 B.C. The various kingdoms of northern India at the time — the sixteen mahajanapadas or “great countries” — would have become worried by that. Despite their name, none was so great or powerful next to the Persian Empire. One of them, Avanti, lay squarely where the much later “Nagdragore” was situated, east of the Gulf of Cambay. Another kingdom, Saurashtra, though not one of the sixteen, lay on the Gulf itself. Nagdragore probably combined the former territories of both

More details at : http://www.thecimmerian.com/a-double-edged-blade-of-a-sinister-blue/

Sunday, October 23, 2011

Dayananda Saraswathi - Founder of Arya Samaj


The founder of the Arya Samaj. The great sage who sought to restore to Hinduism its natural radiance and wisdom. A fearless reformer. He saved the man who poisoned him - so boundless was his goodness.


This happened about 150 years ago. Saurashtra of the present Gujarat State consisted of several small states. Among them was Morvi. Tankara was a town in this state. There lived a wealthy Brahmin, Karshanji Lalji Tiwari by name; he was also the tahsildar of Tankara. The ruler of Morvi had granted him a small troop of horses (cavalry) both for protection and as a mark of honour.


Karshanji was a good and just man. He was generous in his dealings. He had faith in religious practices that had come down from times immemorial. His wife,Amrithbai, was a beautiful and Virtuous woman. She was like a mother his go to all the villagers. In 1824, a son was born to the couple. They named' him Moolashankar.According to the custom of the place, he was also called Dayaram. This child was to become famous as Maharshi Dayananda.

When he attained the age of five, Moolashankar's education started. At the age of eight, his Upanayana Samskara (being invested with the holy thread) was performed. The boy used to perform religious rites like 'Sandhyavandana’ with devotion. He had a very good memory. By the time he was fourteen he had learnt by heart the Yajurveda, the scriptures and the upanishads.

Karshanji wished that his son should follow in his footsteps by becoming a devotee of Shiva. He, therefore, used to describe the greatness of Shiva every now and then. He would advise the boy to worship Lord Shiva and only then eat something on days of festivals.

Moolashankar had an uncle whom he loved very much. His uncle himself was a simple man of great learning with a religious bent of mind. He influenced the boy deeply. Moolashankar had a sharp intellect and an extraordinary memory and so his uncle thought some day his nephew would become a great man.

After many spiricual experience and many incidents of his life happened.  He wrote " Sattyartha Prakash" book of his experiece essence.

Shri Krishna Pranami Dharma


Dev chandraji - 1581-1655 AD
Saurashtra is a territory of India where saints, warriors and women of distiction, during middle ages gave special importance to Shri Krishna Pranami Dharma. This branch with Pranami emphasis originating from Jamnagar spread all over Gujarat and entire India, and to Nepal and other countries, still preserving its initial essence, inspite of intermingling with several other religious streams.


Pranami Dharma has over 5 million adherents who are known to respect each other as friends with Pranam - salutations irrespective of difference of age or youth.

The most important leader of Pranami Dharma who carried the word and practice to places far and near is Shri Prannath, whose monumental efforts and dedication historically have made a distinct mark on the Indian religion and civilization. The main scriptures are: Tartam Sagar and Vitak.

The founder Shri Devchandra Maharaj was born in 1581 A. D., in Marwad province in Umarkot village in a Kayasth family. From early childhood he showed saintly tendencies. At 16 years of age he renounced the world and left in search of Brahma Gyana (divine knowledge) from Kutch to Jamnagar.

Jamnagar was a very important center of Indian civilization. With the contributions of outstanding leaders of thought and religion, it was considered a miniature Kashi, the holy of the holiest of religious centers for pilgrimage and learning. It is here that Shri Devchandraji learned from the famous savant Kanji Bhatt Bhagwat Katha for 14 years with single pointedness and realized the meaning of Bhagwat and attained Bhrahma Vidya (divine knowledge and realization).

After this experience from Tartam Mantra, Shri Devchandraji undertook the work of giving concrete shape and form and called this stream Nijanand Sampradaya, when he made Jamnagar his major center of operation where he explained Vedas, Vedantic knowledge and Bhagwatam in simple language intelligible to lay persons irrespective of social class and religious differences, and taught them Tartam Mantra. This group of persons/followers are now known as Sunder Sath/Pranami.

Thursday, October 20, 2011

Lakulisa - Founder of Pasupata Siddanta of Saurashtra



Lakulisa With Vishnu and Brahma
 At the foothills of the great Kalikadevi temple at Pavagadh Gujarat, situated in Saurashtra; there is a sprawling peaceful lake dotted with temples displaying the splendor of Saurashtra.

The Name Lakulisa probably derived from Sourashtra language word :
Lakuda + Esha
ie.  Lord Esha (Siva) Having a stick in hand.

Driving down during the monsoon time can indeed change the mood of the land such that it almost feels like divinity descended on earth in a chariot of mist. And here among rocky hillsides strewn with huge boulders lie one of India's most ancient temples now in ruins - Lakulisa temple. This temple dates back to the 10th century though the cult of Lakulisa existed well into the 1 cen.A.D and has been mentioned the Mahabharata.

This delapidated temple holds the iconography of Lord Shiva thought it houses Lakulisa within its walls. Among its very rare and fine sculptures one can see Dakshinamurthy Shiva, Ganesha and Gajantaka Shiva. Most of the upper half of the temple has fallen off and merged with the surrounding boulders leaving standing walls with intricate sculptures to show the original spendor of this great cult icon.

Lakulisa was the founder of Pashupata Shaivism which was one of the oldest and prominent Shaivite schools that existed in the early 1 cen A.D, though dating it is still uncertain. Lakulisa's school of Pashupata Shaivism originated at Kayavarohan in Saurashtra and extended to Payar in Kashmir and Orissa in the east. It later spread far and wide and penetrated into Tamil Nadu in the 7th to 14th cen A.D.


Lakulisa was born in Gujarat, and when a little boy, was struck by illness and given up as dead. He was taken to the ghats to be cremated, when he is supposed to have "come back to life". He asked the people to leave him, and grew up in the ghats, with special mystical and spiritual powers.

Lakulisa's images are found all over India indicating that his cult was very well established. The Pashupatas were ascetics and were followers of the Bhakti movement. Lakulisa was almost considered an incarnate of Lord Shiva during his time.  His teachings are codified in the Lakulisa Siddhanta, while in his images he is represented in Dharmachakrapravartana mudra with a Lakuta / Laguda (விறகு) (stick) in one arm. His main desciples were Kausika, Gargya, Mitraka and Rusta.

What was this cult all about? Kaundinya in one of his commentaries on the Pashupata Sutras says that Lord Shiva taking the form of a Brahman as an incarnate at Kayavatarana, went on foot to ujjain and taught his doctrine to Bhagavat Kushika. The Pashupata doctrine was revealed by Lakulisa, the last of the 28 incarnations of Shiva. The worship of Shiva included strange practices which involved bathing in sand and holy ash thrice a day and living in isolation.   What ever their practices and whether it conformed to the society at large, this once popular cult lost its dynamic presence and ceased to exist till today in its original known form.

Tuesday, May 24, 2011

Atharva Veda speaks about Sourashtra Land

Aatharva Veda

     A book released by Sri Buvaneswari temple, Pudukottai on the occassion of Sri Bhakala Mukhi Gayathri samputita Brahmastra Swarupini Sri Bhakala mukhi Yagna.  This book narrates the Avatar of Godess Bhakala mukhi.

" अत वक्ष्यामि देवेशि भकलोत्पत्ति कारणं
पुरा किरुथयुगेदेवि वातक्षोब उपस्तिते
चराचर विनाशाय विष्णु चिन्तापर
तपस्यायसा संथुष्ट महातिरिपुर सुन्दरी
हर्थ्राग्यं सरो दृष्ट्वा जलक्रीदपरायणा
महाबीथः रतास्यान्ते सौराष्ट्रे भकलांबिके
स्रिविद्य संबवं तेजः विज्रुम्बति इतस्थ :
चतुर्तासि भोउमयुता.........
तस्यामे वार्थ राथ्रोउतु भीतःअरतनिवासिनि
ब्रह्मास्त्र विद्या संज्ञात थ्रिअलोग्य स्तंबिनि परा "

These above details found in Sankayana rishi tantra, and Bhakala mukhi Kavacham.  In these slokas, " On the PraLaya time, when earth covered with full of sea water, Infant Lord Hari sleeps on a floting leaf on sea water.  Thus the infant affraid with big waves of sea, the mother came as avatar on thursday night, at a pond of yellow water situated at Sourashtra.  She sung a lullaby for Lord Infant Hari and she make the sea stable.
She is called as mother with Stable Power (Stambanam).

From the above book's passage, it is evidenced that Atharva Veda describes Sourashtra desam.  After her avatar, the violant waves of sea and violant air became calm and Infant Lord Hari got relief from fear and starts to play and laugh.  She was called as "Brammastra rupiNi "

Monday, May 23, 2011

Indian Politics of Ancient Sourashtra Nation

ஐம்பத்தாறு தேசங்களின் அக்கால அரசியல் நிலவரங்களை கூறும் "புராதன இந்தியாவில் அரசியல்" என்ற புஸ்தகம் பொன்கொடி பதிப்பகம் சென்னை முதல் பதிப்பு 2000  இல் சௌராஷ்டிரா தேச அரசியல் நிலைமைகளை கூறி உள்ளது.  புராதன காலம் எனில் முஸ்லிம்கள் படையெடுத்து வந்து நிலை பெற்றதற்கு முந்தி இருந்த இந்தியாவை குறிப்பதாகும்.  இதனை புராதன இந்தியாவின் முற்பகுதி, பிற்பகுதி என்றும் இரண்டாகப் பிரிக்கலாம்.  அலக்ஸாண்டர் படைஎடுப்போடு முற்பகுதி நிறைவு பெறுகிறது.  அந்த முற்றுப் பெற்ற நிலையில் இருந்து தொடக்கி முஸ்லிம்கள் ஆதிக்கங்    கொள்ள  ஆரம்பித்தது வரை, கி. பி. பன்னிரண்டாம் நுற்றாண்டு வரை பிற்பகுதி என்று பிரித்து உள்ளார் நூலசிரியர்    சுவாமிநாத சர்மா.  இதில் சௌராஷ்டிரா தேச அரசியல் நிலவரம் பற்றி கூறுவதாவது :
" காம்போஜர், சுராஷ்டிரர் ராஜ்யங்கள் :  இந்த இரண்டு ராஜ்யங்களிலும், பிரஜைகளனைவரும் ராணுவப் பயிற்சி பெறவேண்டும் என்ற கட்டாயம் இருந்தாதகத் தெரிகிறது.  அதாவது பிரஜைகளெல்லோரும் போர்வீரர்களாயிருந்தார்கள் .  இதனால் இவர்கள் விவசாயத்தையோ    மற்ற தொழில்களையோ  புறக்கணித்து விடவில்லை.  அவற்றிலும் வல்லவர்களாகயிருந்தார்கள்.  இவர்களுடைய ராஜ்யத்தில் செல்வம் கொழித்து இருந்தது என்பதை நாம் சொல்லத் தேவை இல்லை.  "
உலகின் முதல் செயற்கை ஏரி - சௌராஷ்ட்ரத்தின்    சுதர்சனம் பற்றிய விவரங்களும், ஐம்பத்தாறு தேசங்களுள் ஒன்பதாவதாகவும்; சௌராஷ்டிரா தேசம் இப் புத்தகத்தில் குறிப்பிடப்பட்டுள்ளது.

Sunday, May 22, 2011

Shakti Peeta of Saurashtra desi

51 Shakti Peethas

In Satya Yuga, Daksha performed a yagna with a desire of taking revenge on Lord Shiva. was angry because his daughter Sati had married Shiva against his wishes. Daksha invited all the deities to the yagna except for Shiva and Sati. The fact that she was not invited did not deter Sati from attending the yagna. But Sati, being an uninvited guest, was not given any respect. Furthermore, Daksha insulted Shiva. Sati was unable to bear her father’s insults toward her husband, so she committed suicide by jumping into the pyre. When Lord Shiva heard about her death he became furious. He went to the place where Daksha was performing his yagna and destroyed the area. Daksha was killed by Shiva’s ganas. Daksha


Lord Shiva then carried Sati’s body all over the world in a state of wild grief. At the request of all other gods, Lord Vishnu severed Sati’s body into 51 pieces with his Sudarshan Chakra, so that Lord Shiva could return to his sanity and once again take up his duties. Various parts of Sati’s body fell at different places which became known as Shakti Peethas. At all Shakti Peethas, the Goddess Shakti is accompanied by Lord Bhairava (a manifestation of Lord Shiva).


These Shakti Peetas are belongs to very old age and many shakti peetas forgotten or many shakti peetas in same name in various places.  On of the shakti peeta of Sati devi's thoracic body part fall at Somnath, Veraval, Saurashtra.  This is considered as the Eigth consonant letter / akshar of Sanskrit / sourashta language.  By order of Kanchi Kamakoti Sankaracharya Sri Chandrasekara saraswathi swami, a research made on 51 shakti peetas.  Finally, Vikatan prasuram (Ananda Vikatan weekly) the author Nagaraja wrote briefly of 51 akshar shakti peetas. 
 
     He wrote that " the Jaya @ Bhogada Devi peetam of Somnath, Sourashtra region is unforgettable by history ".  In the Somnath mandir premises, the Jaya Devi's Shakti peetam found.   The sanskrit book " Chitta Sabara tantram" narrats her idol as :
 
जो बोगता हिरक्तास्यात त्रिनेत्रा सिंहवाहना .
चाथुर्भुजा कडक केड वराभय करान्विता
 
     She is as red as blood, with three eyes, four hands.  She called in Saiva sect.  as ' Chaturana '  In Vaishnava sect. ' Sheeli '  In Saktha sect. ' Stirakala ' and in our body she placed Left Wrist and she born from victory, and called as Jayantha and Japa.  The book "Mathruka Nikandu" describes the above.

      This peetam called as ' Mathureswarm' by Meru tantram book and other books called this peetams place as Prabhas Patan. 
 
    From this temple, if we move southwards, we can reach southpole.  No other land in south side from this temple.   This shakti called ' Chandrabhaha devi '. 
 
     In this sacred place Lord Krishna came with citizens of Dwaraka kingdom, to observe last days of their life.  Lord Krishna from here throw away his body and went His abode Vaikundam.  This place was called as ' Dehotsarg'. 

Saturday, January 15, 2011

BANDHANI-SILK-SAREES - Tradition Weaving of Saurashtra & Rajastan

BANDHANI

BANDHANI = A TECHNIQUE = TIE -DIE = TIE+DIE -> DIE IS A cast ..

BANDHANI – CALLED AS INDIAN-SHIBORI – BY THE JAP s has origins in ajanata and rajasthan -

bandhani =cool and famous – and popular and beautiful attire, especially for white-females and that too ISARELI.
 

NOW, SINCE ->Bandhani is a technique of tie and dye -> involves two stages:

[A] tye sections of a length of cloth (silk or cotton)
[B] Dump/pour the cloth in gobs of color
The rainbow-tinged turbans of the Rajputs and the odhnis of their women are shaded by this method of resist dyeing.

ETYMOLOGY OF BANDHANI :

“bandhani” = A NAME => hindi word Bandhan => means -> TIE THEM UP .

Bandhani is an ancient art practised by people mainly of Rajasthan and Saurashtra Gujarat.
Jaipur, Udaipur, Bikaner and Ajmer and Jamnagar are among the important centres producing odhnis, saris and turbans in bandhani.

With the use of blocks dipped in geru, a red mud color. The cloth is than pinched with the left hand, one knot follows another, using the same thread.

After the section which are to be retained in the background color had been tied, the dying is repeated and the process of tying is cried out.

The fabric is gradually dyed to the final dark color, which is either a brilliant red, purple, dark green a deep ultramarine blue or black. It is contrasting color border is to be created than the body of the saree is tied with the thick threads and then covered with a plastic sheet, which is tied firmly with thick threads.

The border is then dipped in another shade. This is the traditional technique for tying and dyeing, which is followed, in all the important centers of Saurashtra and Kutch of Gujarat and also in Rajasthan.

Rajasthan, which has developed a different range of colors, has mastered another technique in which the background is in light color while the patterns are in dark colors.



The red chundari, which is used as a veil by young married women in rural areas, is never dyed in fast colors bandhanis.

Kutch produces the finest bandhanis in India. Mandvi and Bhuj are important bandhani producing centers. The Khatri community of dyers are known for their fine quality of work. They control the trade and the craft, purchasing and processing the material themselves. The dress of the Khatri women, the aba, a long chemise, carries the finest bandhani.

It is tied and dyed at the neck, the side openings, the lover border and the sleeves. The end of the salwar and matching ordhnis are also worked with tie and die designs. The finest work is done on the wedding dress, which is enriched, with silver and gold thread embroidery.

Bandhani technique is worked in north Bihar to create bold patterns in single color. The same technique is also used at Madurai in Tamil Nadu for the production of Sungadhi sarees. These are made by a group of people who originally came from Saurashtra, but later shelted in the area. It was considered essential to wear a tie and dye saree at the time of marriage.
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Patan Patola :


Gujarat in western India is home to one of the famous "Ikat" tradition called "Patan Patola".



India has a rich and ancient heritage in fine textiles.Patola from the area of patan in North Gujarat Region of western india glorifies this heritage. With its unique gem like qualities, colors and designs.The peculiar quality has its origins in a very intricate and difficult technique of Tie dying known as "Bandhani Process" on the wrap and weft separately before weaving. Before world war-II Indonesia was major buyer of Patolas. Historically the art of Double Ikat patola weaving dates back to centuries.Paintings in ajanta caves resemble the tie-dye technique of patola. Legend indicates that sometimes in the 12th century AD, King Kumarpal of solanki dynasty invited 700 families of patola weavers from Jalna (South Maharashtra) to settle down in Patan.

Materials Used :

Traditionally pure silk and natural dyes were used. Since about last 100 years, tradition had given way to the use of fast to bleach and easy to dye chemical colours (dyes). Therefore the use of natural dyes in Patola is discontinued. But since last twenty years again the importance to use of vegetable dyes became the consideration of its eco-friendliness and to maintain the tradition of old natural dyes in Patola.

We have made many experiments and researches in redeveloping the old indigenous process of using vegetable ingredients to obtain different shades which are fast to bleach and sober and pleasing to eyes. The re-introduced, vegetable materials are: Turmeric, Marigold Flower, Onion Skin, Pomegranate rinds, Madder, Lac, Catechu, Cochineal, Indigo along with different mordant like alum, tinchloride, ferrous sulphate, copper sulphate, Tennic Acid, Oxalic Acid, Potassium Dichromate etc.

Dewelling on the fast colour of the patola, a Gujarat poet wrote; "Padi patole bhat faatey pan phite nahin" meaning the design laid down in the patola may be torn, but it shall never fade.

Salvi family is one of them who has continued this traditional art and has preserved it even today. This is our heritage art from four generations.

Master Weavers of Salvi Family :
Mr. Chhotalal M. Salvi
Mrs. Niranjana C. Salvi
Mr. Vinayak K. Salvi
Mrs. Vinita V. Salvi
Mr. Nipul V. Salvi
Mr. Rahul V. Salvi
Mr. Rohit K. Salvi
Mr. Bharat K. Salvi
Mrs. Kalpana B. Salvi
Mr. Kantilal L. Salvi
Mrs Sharada K. Salvi
For more information visit to : http://www.patanpatola.com/

NOTE : Please note that the Surname Salvi.  The word Salvi pronounced by Salem Tamil Nadu's dialect Sourashtra people exact as in Gujrat.  Whereas in Madurai, Tamil Nadu's dialect the word pronounced as Savli. Both Salem and Madurai Sourashtra people migrated from thousands year before to South India.

Thursday, March 4, 2010

Folk Dance of Sourashtra ‘ koNangi ‘

Dance of Sourashtra ‘ koNangi ‘ ( கொணங்கி3 )   





Performance at Thirumalai Thirupathi Devasthanam by Sourashtra koNangi group



Each year when Ramanavami falls, a eleven day long celebration held to remember Lord. Rama and praising him with bhajan songs.

In Salem the a folk-dance celebrations performed at Panduranga Bhajana mhatam, Yekadasi bhajana mhatam, Saliar Street School, Sourashtra Krishnan koil and Panduranga temple of shevapet. The dance performed by our bhavtuls and koNangi ( கொணங்கி3 ) dancers. In olden days many groups of bhavtul and dancers available.


Today at 2010 only one group remaining. The celebration usually starts at night 8.00 p.m. Starts from one hour bhajan and then koNangi dance. Circling a light called ‘ Thandili divo ‘ the dancers used to dance dance according to song theme. The bhavtuls sings many songs on Lord Ramas life adventure and morals. Also one or two Dandi natan (Kolattam) the perform with songs.


The ship riding of Guha on River Ganga, is a very special song. The dancers, hanged a miniature of ship on a rope and moves to and fro. Dancers move with ship as it moves with homorous movings. The ship song describes not only sailing and how a human life goes towards God.



Each theme dance having a song and a humorous movements. Thus it attracts all category of people. All the songs describes one by one incidents of entire Ramayana ie. the Whole story of Lord Rama.


But a interesting thing is there ! It is about the Dance ” When and how it developed ? ” A narrative dance with humorous movement.?

Well… It was at the time of Lord Krishna.. Kamsa the demon King sent a demon called ‘ Danta vakra ‘ to kill Krishna. Lord Krishna, attacked him with his Sudarshan chakra. The demon catched the Chakra-weapon by his big teeths. Chakra eapon is now on demon’s mouth but neither he is able to release that nor krishna can pluck from his mouth. Because, if demon opens his mouth the Chakra-weapon cuts his mouth. So the demon had a strong byte on the chakra and not able to release. Lord krishna knows that, only Chakra-weapon able kill the demon. So he started to play a tricky way humorous dance in front of the demon. Some time after the dance started, the humorous movement of Lord Krishna’s makes him laughter. He started laugh. The the Chakra-weapon released from his mough and killed the demon.


In remember of this incident, dancing with humorous movement is performed for long time by our people. All koNangi dance peace is in a unique way of humorous movement describes the life of Rama ! A programme of nine day dance and on tenth day called ‘ Vasanth ‘. On ‘ Vasanth ‘ day all bhavtul, (Singers) and koNangi dancers, childrens rally on every streets, areas to collect bath-oil and bath-powder (Sikaai, ushlam bhurgo, tel )and reach the mhatam and take holy bath. Then a day longer bhajan songs (Praising of God) continues till the eleventh day morning ! On eleventh day the end of koNangi – Ramanavami folk dance .


At the end of this dance, all are dreams about on coming one day celebration of Lord Krishna’s birthday (Janmashtami, Gokulashtami ) and Vittul – the adventure game performed after krishna’s birthday and engaging themself in livelyhood duties.



koNangi - Sourashtra folk dance

Sunday, February 21, 2010

Vittingi - Rotating game of girls

விட்டிங்கி3


விட்டிங்கி3 - என்று சௌராஷ்டிர சிறுமிகள் முதல் பெண்கள் வரை விளையாடும் ஒரு நடனம் போன்ற விளையாட்டு உண்டு. இவ் விளையாட்டிற்கு விட்டிங்கி3 என்று சௌராஷ்டிர மொழியில் கூறுவர்.
 
எதிர் எதிரே நிற்கும் இருவர் தங்களின் கைகளை வலது கையை எதிரே நிற்பவரின் இடது கைக்கும், இடது கையை எதிரே நிற்பவரின் வலது கைக்குமாக கை குலுக்குவது போல் பிடித்துக் கொள்வர். பின் வேகமாக கையை ஒருவருக் கொருவர் எழுதபடி சுழலுவர். சுழலும் பொது அப்படியே பின் நோக்கி குனிவர். இந்த நடனம் போன்ற விளையாட்டின் பொது பல சௌராஷ்டிர பாடல்கள் பாடுவர்.



என் சிறு வயதில் பார்த்த ஞாபகம் இன்னும் இருக்கிறது. அப்போதே எந்த சௌராஷ்டிர பாடல்களும் முழுமையாக எவருக்கும் நினைவில் இல்லை. எனவே ' தி கோனே?, தி கோனே? ' என்று நினைவு படுத்தி சில வரிகள் நாணி கோணிக் கொண்டு பாடுவர். தற்போது எனக்கு அந்த பாடல்கள் எதுவும் நினைவு இல்லை. எனினும் அந்த விட்டிங்கி என்ற விளையாட்டு நம்மிடம் இருந்தது என்பதை நினைவு கூற எழுதுகிறேன்.




Vittingi is generally popular with the younger girls. They form pairs and then the two girls of each pair stand opposite each other holding each other's hands crosswise. Then they lift their heels and swing round and round on their toes. The movements gets faster and faster, the upper part of the body bends backward and the arms remain fully stretched. As the spinning gathers momentum, it creates an ecstasy and the girls go on and on till they reach the point of exhaustion. Even though they move very fast, they are very careful to maintain rhythm and keep singing various kinds of songs about the mother, the father, the brother, the mother-in-law and about various incidents connected with daily life.