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NDTV
5 days ago
- Politics
- NDTV
PM Modi To Visit Gangaikonda Cholapuram Temple In Tamil Nadu: All About It
Prime Minister Narendra Modi is set to visit Gangaikonda Cholapuram temple in Tamil Nadu's Ariyalur district today, as part of the concluding ceremony of the Aadi Thiruvathirai festival. During the visit, the Prime Minister will take part in a series of events, including the release of a commemorative coin and the offering of Ganga water at the ancient Brihadisvara Temple. The once-imperial Chola capital has been transformed into a festive hub for the occasion, with garlands, flags, and heightened security arrangements in place. Over 2,000 police personnel have been deployed ahead of the high-profile visit. PM Modi is on a two-day visit to Tamil Nadu, having arrived on July 26. All About The Gangaikonda Cholapuram Temple The Gangaikonda Cholapuram Temple is located in the Ariyalur district of Tamil Nadu, in the town of the same name. The temple was built by the Chola emperor Rajendra I and completed in 1035 CE to commemorate his victorious northern expedition. It is an example of Dravidian architecture, featuring intricate carvings and sculptures from the Chola period. The principal deity of the temple is Lord Shiva, worshipped in the form of a 13-foot-tall Shiva Lingam. The temple tower, or vimana, rises to a height of 55 metres, making it one of the tallest in India. The temple stands on an elevated plinth and features a courtyard that measures 170 metres in length and 98 metres in width. The main structure of the temple is 341 feet long and 100 feet wide. The temple is part of the "Great Living Chola Temples", a group of UNESCO World Heritage Sites that also includes the Brihadeeswara Temple in Thanjavur and the Airavatesvara Temple in Darasuram. The name "Gangaikonda Cholapuram" means "the city of the Chola who conquered the Ganga", referring to Rajendra I's military expedition to northern India, during which pots of Ganga water were brought back to the south. Rajendra I shifted the Chola capital from Thanjavur to Gangaikonda Cholapuram, which remained the imperial capital for over 250 years. The city was fortified with both inner and outer defensive walls, as revealed by archaeological excavations. The outer fortification was made of burnt bricks, measuring six to eight feet in width and filled with sand between two layers of brick walls. While the capital once housed many temples, most were destroyed in later centuries, and only the main Shiva temple survives today. The temple was re-consecrated in 2017, with the installation of a new dwajasthambam (flagstaff) and the performance of maha kumbhabhishekam rituals.
Hans India
16-07-2025
- Entertainment
- Hans India
Trayi Varnam: A triad of love, devotion, and dance
Rangbhoomi, Gachibowli has become the venue of choice for talented young classical dance artistes who are interested in presenting new concepts in a compact yet aesthetic setting. In 'Trayi Varnam' last Sunday evening, Chetaniya Sravanthi, Sahitya Ramkumar, and Anju Aravind each presented a Bharatanatyam 'varnam' lasting around thirty minutes, with the respective choreographies being their own original creations. The choice of varnams aligned perfectly, as the glory that is Shiva was experienced through poetry, music, and movement. The divine Lord was addressed in his various manifest forms at 'Chidambaram,' 'Thanjavur,' and 'Thiruvarur.' The spectators journeyed with three lovelorn 'nayikas' who were deeply smitten by him, thus experiencing the full spectrum of love–shringara rasa. One nayika craves the beloved's appearance, another wishes for a happy union with him, and the third suffers the pangs of separation. Chetaniya Sravanthi was attired in a costume of cream tinge with a dark border. 'Swami Nan Undan Adimai' is set to 'Nattakurinji ragam'. The composition was centered on Shiva as the cosmic dancer of Chidambaram. 'Nataraja' dances in a blazing circle of flaming fire, his matted locks swaying, feet placed on 'Apasmara', a snake dangling from his limbs, attire stretching out, and the drum keeping tune in his hands. The crescent moon adorns him, and 'Ganga' is present on his blessed head. His anklets ring as the universe pulses in rhyme to his steps. He is silence, creation, and dissolution awesomely combined. In complete submission, the nayika, as his servant, requests but one 'darshan' of him to content her forever. Chetaniya, in her 'abhinaya,' etched with finesse the yearning, waiting, searching, and pleading expressions with utmost fidelity. The ache of separation was transparently conveyed in every movement. A single glance for a soul burning with love, longing, and surrender was emoted. This journey of the nayika, punctuated by the vigorous 'jathis,' was much appreciated. 'Oh, the Lord who came to save a tiny bee — why does he not turn to me?' was one of the lyrically beautiful descriptive phrases in which the nayika pours out her heart in this piece. Sahitya Ramkumar presented 'Manavi Cheykonarada' by the 'Tanjavur Quartet' in 'Sankarabharanam ragam.' She was a vision, floating ethereally in her dazzling costume of turquoise blue, exquisite in its shade and design. Thanjavur is a popular temple town in Tamil Nadu, home to the magnificent 'Brihadeeswara Temple' with its colossal 'Nandi' and friezes of the 108 'karana' carvings. Appropriately enough, the recital was embroidered with lissome karana poses revived by Dr. Padma Subramaniam from her research. The town is also known for its 'thalaiyatti' or 'butta bommai'—head-bobbing papier-mâché dolls. Sahitya intriguingly employed the conceit of the 'varnam' being the love story of one such doll come alive to tell her tale to 'Brihadeeswara' himself. She began with characteristically bobbing head movements, exceedingly true to what the actual doll makes when gently moved! Liquid 'karanas' created an almost limb-dissolving effect, quite stunning in grace. Sahitya's eyes spoke volumes as the nayika-doll sends messages through 'Nandi,' the bull who sits at every Shaivite temple opposite the sanctum. She deftly wove a spectacle of her imagining a grand wedding night with the Lord. She beckoned and then, in shyness, turned her head—all in abhinaya of surpassing elegance, testifying to her internalisation and mastery of the classical grammar of her art form. The one true Lord with no equal but himself is reached by passing through the myriad sculptures of the temple corridors to the utmost bliss of the sanctum sanctorum. Thus, the appeal offering love and desire was fulfilled, eloquently and stirringly conveyed in 'sanchari bhavas' of refined finish, polished to perfection. The 'nritta' aspect was also imaginatively striking, as the gestures were completely dissimilar in every sequence—ranging from extensively athletic to daintily infinitesimal. 'Bhairavi ragam,' holding emotional gravity, intoned the timeless 'Mohamana Varnam' of Ponniah Pillai. Anju Aravind lit a fire on the stage as she brought to life the nayika emotionally enveloped in Lord 'Thyagesha of Tiruvarur'. Despite time and experience revealing the improbability of his return, her heart remains bound to a past of memories embellished with cherished moments of intimacy, tenderness, and divine connection. Caught in the throes of longing, she is the helpless target of 'Manmada,' the God of Love, as his relentless arrows ignite her infatuated desire. In a violet and green dress, Anju was a meteor crossing the stage with sparks as her complex jathis unfolded with immense energy. 'Nritta' was taken to a whole new level, and abhinaya was in synchrony. The audience gave a well-deserved standing ovation as the high-powered program concluded with the three dancers coming together to offer a short 'shloka' on Shiva, in impeccable symmetry.
Time of India
20-05-2025
- Sport
- Time of India
Pole stars in the making
It's 5am, and training starts at 5:30am, but two boys have already arrived at the open-air Mallakhamb arena, at the new open air ground at SDAT complex in Trichy. The postgraduate students show up ahead of their coach every morning, and squeeze in two hours of practice before and after college. But it's not just about winning a competition for them; they are part of something bigger — bringing the once-forgotten Mallakhamb back to life. They are not alone. Across Trichy, 38 youngsters between the ages of 13 and 21 have started practising at this ground. An ancient Indian sport that combines elements of yoga, gymnastics, and martial arts, Mallar Kambam or Mallakhamb is believed to have gained prominence under the Maratha empire, where it was part of the physical training regimen of soldiers and wrestlers. However, historians and experts argue that its roots go deeper, and further south. "There are stone carvings that suggest the sport dates back centuries, in Tamil Nadu," says A Manikandan, research scholar, dept of ancient science, Thanjavur Tamil University. Depictions of Mallakhamb can be found in sculptures at the Brihadeeswara Temple built by Rajendra Chola I (1012–1044 AD), in Gangaikonda Cholapuram, among others. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Free P2,000 GCash eGift UnionBank Credit Card Apply Now Undo It is believed the martial art remained dormant for nearly seven centuries, until it was revived in the first half of the 19th century by Balambhat Deodhar, a renowned teacher of Peshwa Bajirao, the seventh Peshwa of the Maratha empire. Balambhat Deodhar is widely regarded as the founder of the current version of the sport, though it has evolved over the years. Mallakhamb has three variants, says Trichy-based coach T Vishu. The classic pole Mallakhamb involves performing on a vertical wooden pole anchored to the ground. The hanging pole version has a shorter pole suspended from a chain, which swings freely. In the third — rope Mallakhamb — athletes execute routines on a thick rope. Each round lasts up to a minute and a half, during which participants are evaluated on the complexity of their moves, and the precision with which they execute them. Coach G Adithan from Villupuram says the performances from Tamil Nadu are a testament to how deeply rooted the sport is in the state. "It's natural for us to excel," he says. Over the past few years, Mallakhamb has steadily gained ground in India, especially after 2019, when the first World Championship was held. Since then, Mallakhamb has increasingly been featured in national events such as Khelo India and several other competitions. M Hemachandran, who won gold at the 2023 National Games and at the second World Championship in Assam 2022, believes that while the sport is gradually gaining recognition, there's a long way to go still. "I want to achieve much more. It would be a dream to see Mallakhamb included in the Olympics one day. It will open up many opportunities for athletes like me," he says. And he's not alone in aspiring for this dream. Recently, K V Rohit from Tamil Nadu clinched gold in Mallakhamb at the Khelo India Youth Games held in Bihar. "It was a proud moment for us. Now that he has completed Class 12, the sports quota is proving to be really helpful as we search for a good college," says G Koteeswari, his mother. But those striving to get there are equally relevant, say coaches. This week, a few more athletes from Tamil Nadu are competing in the Khelo India beach tournament in Daman and Diu. "I want to win gold and make Trichy proud. Now that we have a full-fledged academy here, it feels only right to bring laurels to the city," says 14-year-old Iniya K M from Palakkarai, as she gears up for the competition alongside others. The govt run academy is the second in the state, the first being in Villupuram. Some of the newly opened private facilities also offer training free of cost, like that of Guru Sathyamoorthy, who trains around 30 students at Rajarathinam Stadium in Chennai. "Though it's an ancient martial art form, Mallakhamb is still relevant," says Sathyamoorthy.
