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Kulasekhara Perumal's lullaby to Ram Lalla  I was away enjoying Carnatic music in Chennai when the whole country was getting engaged with the details of the upcoming Ayodhya Ram Janmabhumi temple consecration. There was little time to look at news then, but once I returned, I could see lots of debates, especially in the Tamil country over our connections with Sri Rama. Luckily, with social media many scholars have started sharing diverse details, ranging from temples, literature, epigraphy etc., to show how deep our connections are. The last time, when the foundation stone laying ceremony happened, I blogged on one particular connection, the elaborate Ramayana dance drama of Sirgazhi Arunachala Kavi. I hope and pray some day like the Banaras Ram Lila, the Arunachala Kavi’s Rama Nataka will also be performed in Ayodhya. This time around, coming fresh from that immersive music season where we definitely hear, debate Rama kirtanais, kritis, my mind has been thinking of the temple cere...

  bahunam janmanam ante jnanavan mam prapadyate vasudevah sarvam iti sa mahatma su-durlabhah March 2020. Even as the first case of Covid-19 was finding its way to the front pages in India, we were travelling very close to where the first major outbreak was reported – Agra was not very far from Gwalior where we were. Our major focus of that photography tour was the Bateshwar group of temples. Since it had gained popularity with archaeologist Muhammad’s interviews and write-ups on its restoration, reconstruction efforts, and the striking, beautiful temple complex unlike any other in the country, photographers throng the site. As long as we were walking around the ruins my fellow travellers were fine. But our young driver was over enthusiastic about taking us to a very famous temple in the neighbourhood, where local pilgrims go in large numbers, the Shanichar temple near Morena. It is like many of the new temples in the North, no big plan, no architecture, no fineness. Our friends wer...

  Kanchipuram, Temples and Textile Motifs   Kanchipuram, as the name conjures up images of the towering temples and rustling silk, it is inevitable the connection between the two is made. Etched in stone and inscribed on slabs the stories of the temples, their makers, the donors makes it possible to discuss the evolution of the temple art and architecture, the festivals, rituals and the continuity of that over millennia. The underlying connection between the temples and the Kanchipuram silks in some ways is one – the divinity and the royalty. The vishwakarmas who built the large and small temples in the town, once a towering capital of the Pallavas, as well as the weavers who predominantly come from the Padma Saliyar, Pattu Saliyar, Devanga communities trace their evolution to divine command. Communities followed the principles that had a common basis. That the art is divine and they are ordained by the Gods to create, weave. The temples were made for the Gods and the robe...

“This joyful practitioner of yoga, Spends all his lawful earnings In providing food for the devotees of Vishnu Who travel between the Himalaya and the Malaya Mountains!”           (Amuktamalyada – translation Srinivas Sistla) That was how the mighty emperor Krishnadeva Raya described our Vishnuchitta. He was hailed as Periyalvar, for the mighty deed of going to the Pandya Sri Vallaba’s court to establishe the Paratva and having had a divine vision of Garudaruda Vishnu and singing ‘Pallandu’ (hail! live long) to Him. This great feat earned not only the title of Periyalvar (Periya = big), but his Prabandham as described by many became the gateway for the divine 4000 verse compilation, ‘Nalayira Diva Prabandham’. In the order of contents in the 4000, 'Tirupallandu' and 'Periyalvar Tirumozhi' are the first prabandhams, followed by 'Tiruppavai' and 'Nachiyar Tirumozhi' of his foster daughter Andal. But, to know him first as V...