The list starts from 2015, a religious celebration of the festival of love and lights- Deepawali. Well, I’m not a religious person who would indulge in ritualistic prayers and pooja on any festival. But what started as travelling during this season to utilise my unused leaves combined with maintenance shutdown period at my workplace, has somehow religiously stuck on as a ritual of travelling to a new place, every year.
Circa 2015- Tamil Nadu: My brother and I ventured out on our backpacking roadtrip to Tamil Nadu, Kumbakonam to Pondicherry. Well, this was an adventurous start I guess, we had to cut short our trip due to a cyclone that had battered the east coast. Result: Crazy floods and crazy drive through the flooded areas. On the main festival day, we had reached Chidambaram- a must read post about our experience. A bad one then, a memorable one now.
Circa 2017- Karnataka: After a crazy long year of travelling across India, my friends and I decided to have a simple deepawali roadtrip, closer home in the western ghats. We drove to the famous Agumbe ghats and the places around.
Circa 2018- Himachal Pradesh: One of THE best solo trips of my life, where I couldn’t find a single traveller to tag along through the entire trip. This thus, became a thorough personal and local experience in the Spiti valley. On the day of Deepawali, I was on my way back with a brief stopover at Shimla. A trip that made an impact on me, perhaps forever.
Circa 2020- Karnataka: Fears of travelling afar due to Covid-19, personal commitments and taking advantage of working from home, this was the longest duration I spent in my hometown in the last 15 years. Quite unlikely to mention the highlights, but the Deepawali of 2020 indeed tops all the above from the list.
Art is an integral part of human life. Paintings are yet another form of expressing imaginations. The history of paintings in India dates to pre-historic times where there are several rock and cave paintings scattered across the sub-continent. Painted pottery on terracotta and ceramic too have been excavated at several sites. Eventually, it became an attempt to bring the storytelling of the Indian epics to a visual form, each one using the material available locally for colour and canvas. Some forms were patronized by the kingdoms that ruled India and yet a few, used by the local tribes to decorate their dwellings. The use of natural colours on naturally available surfaces has evolved with the generations, picking up influences from various events, people along the way.
This is the land of great artists like Nainsukh, Raja Ravi Varma. Bright and rich colours are now an inseparable part of vibrant culture and lifestyle of being Indian. Here is my attempt to enlist the traditional and folk paintings from all the states of India that can help you as a ready reckoner while you are out travelling in this beautiful land. A few, I would like to crowdsource the details wherever I failed.
These paintings can be strategically used in our daily life that will help revive, sustain and promote these ancient art and rural economy.
a). Deccani paintings- are miniatures which predominantly feature palm trees, men & women. The art has a significant influence by the Deccan sultanates who ruled around this area.
b). Nirmal art- is where the artisans have developed their own canvas using cardboard and luppam. The striking designs in the form of creepers, flowers etc. have evolved on furniture today.
c). Savara paintings- This wall art is practiced by the Savaras tribe around Vishakhapatnam. The wall is readied with a mixture of red soil and paper. The painting is done with brush prepared by chewing tender bamboo into various thickness. White colour is derived from rice powder and black colour is derived with a mixture of coconut ash & castor oil.
d). Kalamkari- This is a fabric painting form popular in the rural parts around Machilipatnam. Primarily human faces are block printed using vegetable colours.
e). Tholu Bommalaata- This is an art of making leather puppets that are hand painted using vegetable colours, mainly found in the region around Adilabad.
Kuthang strolls- These are intricate religious paintings of the Buddhists. These are derived from the Tangkha paintings that are auspicious symbols hung in every monastery and houses.
a). Khanikar art- These are religious paintings that adorn the monasteries & Satras around the state.
b). Assamese silk scrolls- Traditional colours of Hangool & Haital are used to draw representations from Ramayana and Mahabharata on silk strolls. This is practiced in the upper Assam region.
a). Mithila or Madhubani- These are originally intricate wall paintings that depict Ramayana & Mahabharata adorning walls across the rural parts of Mithila region and have now become synonymous with the state.
b). Patna Kalam- this is also another art form largely patronised during the Gupta era. Several paintings have been found in the Nalanda excavations.
Godna- This is a primitive art form that has been largely in practice as body tattoos by the women folk in the Jamgula and Bastar region. It has found acceptance in the form of motifs on textile with natural colours mixed with acrylic paints.
Kaavi mural paintings- is largely popular in the Konkan region. As the colour says, Kaavi is a single colour- red pigment derived from laterite soil. Several structures, churches and temples are coloured with red paint on a white background.
Gujarat: This state is sort of a mélange with vibrant colours used across a range of art forms.
a). Pithora- These are wall paintings practiced by the Rathwa & Bhilala tribes
b). Miniature paintings- This art has been used to depict epics and large stories under the Jain patronage in 11th century.
c). Glass painting- It is believed that the earliest form of painting on glass (Belgium glass) originated in Gujarat.
d). Kalampari art- This is a fabric painting technique practiced by the Chitara community.
With many tribal communities living around the Kutch area, each tribe have their own unique art, patterns and colourations used in their daily life like walls, huts, attire, jewellery, pottery etc. It is an endless list but here are some of them from the Rann of Kutch.
e). Rogan painting
f). Terracotta paintings like Kavda pottery is believed to have techniques dating back to the Indus Valley civilization.
This is probably the only Indian state that doesn’t have a native art form. With several dynasties and rulers who came and went in this region, there has never been any specific art style that found patrons among who were always busy in fighting battles.
Kangra & Chamba miniature painting- Although largely spread across all the Himalayan states and largely coming under the Pahari paintings umbrella, the region of Kangra gave its name to the paintings that was largely promoted and patronised by the Rajputs. However, each ruler gave the art form its own twist and called it a different name.
Jammu & Kashmir:
Basohli miniatures- Again a part of the Pahari painting, the famous artist Nainsukh is believed to have moved from Chamba and have settled in this region during his last days. Thus, giving its name to the bold and intense form of painting the Ramayana and Mahabharata. Hence, Basohli is the first school of Pahari paintings.
a). Paitkar scrolls- Ramayana & Mahabharata stories are depicted on paper with colour made from vermillion. Fine brush is made using goat hair.
b). Jadopatia scrolls- This form of paintings is used for story telling which are believed to have healing effects on people.
c). Sohrai, Kohver, Ganju, Rana, Teli, Prajapati, Kurmi, Mundas, Turi, Birhor & Bhuiya, Ghatwal- these are mural paintings used to decorate the walls of the tribal houses. Each, representing a tribe and have their own style. The common factor between all these styles are that the designs comprise of animals & plants depictions thus indicating the connection of nature and the tribe.
Mysore Royal painting- influenced by the Vijayanagar school of painting, this art flourished under the Mysore Wodeyars. Bright natural colours obtained from vegetables, organic, minerals were painted using natural brushes. Squirrel hair was used for finer strokes and brushes made with a specific grass was used for various thickness and strokes.
a). Kalam- This is a short name for Kalamezhuthu, a rural art of painting.
b). Face painting- with various traditional dance forms and ritualistic prayers, face painting is an essential part of art in Kerala. Largely seen in its vibrant designs and patterns during Theyyams, Kathakali etc.
c). Oil paintings- These murals are very elaborate piece of portraits largely practiced in the Northern part of Kerala.
a). Gond art- A painting style that is used by the Gond tribes. This largely comprises of finely drawn lines in a picture that encompasses animals and plants.
b). Pithora wall paintings- this form of art is inspired by various myths and is used by the Bhilala tribe to keep away evils. You can often see walls and both sides of the doors painted with patterns that are believed to protect them.
c). Malwa painting- This folk art can be found on floors and walls and practiced by the Chitera community. Chalk powder blended with turmeric & saffron for suitable shades of the colour is used in doing these paintings.
Mandana paintings- This art is used to depict special occasions and festivals and used only during specific events.
a). Warli- Used to adorn walls by the tribe, this painting uses patterns like triangles and circles to represent community living, human being, trees, animals and everything in general.
b). Chitrakathi paper paintings- as the name suggests, Chitra (picture) + Katha (story)- These are single sheet paintings used by a specific migrating community of Thakkar tribe for storytelling. Local version of Ramayana & Mahabharata and other myths are painted using colours made from stones. These are also called as Paithani paintings.
Naga cloth painting- Several Naga tribes reside in Nagaland and each have their own designs in their houses, dresses and morungs. However, the Lotha, Ao and Rengma tribes have their traditional designs painted on fabric. Fine bamboo brushes are used to transfer colours that are made by mixing tree sap, leaf ash and local beer.
Patachitra- These are traditional cloth-based scroll painting from rural parts of eastern Odisha. It is inspired by Mythic elements like Lord Jagannath and is derived from ancient Bengali art which is used for narration in the visual form when a song is performed.
Sikh miniature painting- This an influence of the Kangra paintings and is used as a narrative of various stories from the life of Guru Nanak. Hence, has a vital role in Sikhism.
Rajasthan: The list of painting related art forms from this state is endless. Here is a small compilation of the same.
a). Phad cloth scrolls- These paintings are based on stories from Ramayana & Mahabharata. They have influences of both religious and folk performances by the local priests.
b). Rajasthani miniature paintings- When the Mughal artisans dispersed from the Northern India, they were sheltered and patronised by various Rajput kings. Individual ruler had his influence on the style, and it evolved into individual styles, largely coming under a common umbrella called as Rajasthani school of paintings.
c). Wall & ground paintings- Various styles like Devra, Pathwari, Sanjhi, Mandav etc. can be seen based on the individual communities.
d). Cloth paintings- like Pat, Picchwai, Phad scrolls etc.
e).Paane paper paintings.
f). Kavad wooden paintings.
g). Body paintings- various designs are drawn on human skin using natural colours like Mehndi & Godana
h). Thape paintings- This is a wall & door painting style that is used to invoke deities. Natural colours like turmeric, henna, vermillion is used.
i). Badaley paintings- These are either cloth or leather paintings that are used to cover metal utensils. It is prominent around Jodhpur.
j). Thewa art- This is a form of painting small pieces of glass with gold. It is a famous art around Pratapgarh in Bhilwara region.
Thangka painting- These are religious strolls that depict important lessons from Buddhism. This uses organic colours and even gold dust and adorns walls, roof and mural in Buddhist houses and monasteries.
Tanjavur paintings- This is a classical art form that has a 3-D effect with embellished with precious stones, glass pieces & pearls. It has been largely patronized by the Cholas and then have influences from the Marathas and others who ruled the region.
Cherial scroll painting- This is a folk art on very long cloths used for story telling that can sometimes run into several meters. It is painted specifically by the Kako Padagollu community.
Mughal/ Persian painting style- The Mughals got artisans from Persia and used their designs and patterns in all their structures across. Art flourished especially during the reign of Jehangir.
Garhwal painting- Again, something that has been a part of the Pahari school, this form largely uses characters that depict romance.
a). Patua art- This is a traditional narrative cloth scroll painting style done by a community called the Patuas. An entire story is depicted on a single scroll with several panels for each chapter. The speciality of the art is its people who are mainly Muslim and paint Hindu religious figures in their artwork. These are same as Odisha Pata paintings in theme selection but entirely different in their style and composition.
b). Kalighat painting- This started as paintings in items that were taken as offerings to Kali temple at Kalighat and has now become a specific form of painting. This is also a form of scroll painting but main difference is that this is done on paper. Continue reading A colourful heritage of Indian paintings- a list from all Indian states→
Binge-watching on Netflix, Hotstar or other OTT platforms, reading books, Cooking, meditation are so cliched. Doing these things daily too can get monotonous. Doing something for 21 days can lead to a habit. So, by the end of this lockdown period, we all don’t want to become couch potatoes..
Yes, every Sunday evening of our lockdown period has been made interesting by our Honorable Prime Minister. His tasks have made sure that we all came out to our balconies to get some fresh air and break the monotony. The clapping, clanging of plates, bells and blowing the conches from the confines of our balconies with an aim to Thank the frontline warriors of the Covid-19 Pandemic on 22-Mar-20 was a nice exercise to come out of our couches. Similarly, I’m sure the nation showed its unity and solidarity in hard times by switching off lights and lighting up lamps, candles, torches and flashlights on the evening of 05-Apr-20.
But, what about the other days of being locked down at home? Do your itchy feet rare to travel? And oh, those with little kids must be having the hardest time to keep them indoors. So, if you are looking for an offbeat travel experience to break your routine, while being locked up inside your house, here are five handpicked DIY ideas for you 😊
Have your own bedroom rave party: An endless playlist is available either in your collection or on the OTT platform. Use the apps that also provide disco flashlights. Place your mobile screen between two mirrors that are placed at a distance away, facing each other. Switch off all the lights at home and let your playlist take the center table. Voila, you have your own dance floor! Make some drink or look online for some cocktail ideas with whatever ingredients are available in your kitchen and your party is good to go!
Pitch your own tent or pillow fortress: For those of you who are frequent hikers, chances are that you have your own tent. You can pitch it in your own balcony or terrace and experience the outdoors in your own little campsite. For the others who don’t have a tent, fret not. Remember the ‘Pillow fortresses’ we made as kids? Why not let that kid out of yourselves now? Fold up your beds and stack up you pillows. You can even tie a string across your room and hang down a bedsheet from it. You have your very own DIY tent.
Set-up your travel corner: Re-living old memories by digging up the old photo albums itself can be a great way to time-travel. You can pick up some of your favorite photos and hang-it up with lights in a DIY corner of your house. All you need is some strings and clips to hold your photos in place. You can also draw a huge map and mark the places you have been to and have it in your travel corner. Arranging your collection of souvenirs from your travels around this place too is a great idea.
Star gazing from your balcony or terrace: Now that the skies have cleared, it’s a good activity to hone up your skills of star gazing. There are several apps and websites that can help you in identifying the stars and constellations. It’s a great idea to go out to your balcony and admire the vast expanse of the night’s sky. Who knows, you might even get a glimpse of the ISS (International Space Station) which is believed to be going around the earth- 16 times a day! There is usually one major meteor shower every month. Look up on the dates and catch the shooting stars 🙂
Celebrate a festival: Light up your house as if you would do it for Diwali or for Christmas. Make up a mock festival at home. Festivals have always been a great way to bring in fresh energy and pep up the mood. I’m a sucker for diyas and candle lights and totally in love with the positive vibes it brings with it. No mood for festival décor? Why not cook up a nice meal and have a candle lit dinner?
Sounds fair? Let me know how you are dealing with the lockdown…. What ideas do you have to experience travel without leaving your doorstep?
Come the night of Mahashivaratri, there will be festivities across the country. People stay up all night and participate in bhajans, pooja offerings, chariot pulling etc. all to keep themselves awake for the night, so that their beloved Lord, Shiva gets good rest after taking care of them all year. But it is the day that follows the revered night, that is the essence to this story of mine. The day that follows Mahashivaratri is when Shakthi, the consort of Shiva and thus, the female power is celebrated across the Northern part of Tamil Nadu. The companionship of Mother Angalamman to Shiva, the graveyard dweller is celebrated with a festival called the ‘Mayana Kollai’. As a friend explains, Mayana Kollai translates to the ‘Raid of the graveyard’ in Tamil. I had planned to witness this festival at one such temple dedicated to Angalamman, closer home, at Kaveripattinam.
The festivities had started as early as the sunrise at the Angalamman temple, with the Goddess being taken on a temple car/ chariot. She is supposed to travel along the streets of the town, to the graveyard by evening from where she returns to the temple by night. All other rituals that are part of this journey of her’s are what make this festival more interesting. It is a festival where the entire town / village participates with no barrier of caste or societal status. The chariot leaves the temple with the idol of Angalamman.
She is greeted by devotees who throw a mixture of salt crystals and black pepper or beans all along her way. She is hailed as a symbol of fertility who is calm throughout the year and takes on her powerful form on this day, once in a year. The villagers get their body pierced with various things near the temple premises and walk across the village to the graveyard, where the piercings are removed. This body paining is what they believe, is a gratitude to the almighty for the wishes that have come true or as a part of a prayer that needs to be fulfilled. The size and things pierced can vary depending on individual’s prayers. While those with tridents pierced around their mouth are a very common sight, the more pious go further to get their torso pierced with hundreds of lemons. Yet, a few pull cars, buses, trucks or large stones with ropes that are hooked through their bare skin.
If u peek into one of the many shops (I don’t know if that is the correct noun for such places) around the town, apart from those getting the body piercings, you will find another set of people. Men and children will be getting their faces painted and dressed up in sarees, a representation of Angalamman. With metal arms attached to the backs, elaborate costumes, jewelry and crown worn, Angalamman is impersonated by these people. They hold tridents and dance to the beats of drums across the streets. Several times on their way, they get possessed or get into a state of trance, until they all finally congregate at the graveyard. Animal sacrifice too is a common sight on the streets on this day.
It is evening by the time the temple car and everyone else reaches the graveyard. That is when the most interesting part of the rituals takes place. The folk impersonating the goddess gather around a random grave and dig it up. The bones from the grave are pulled out and chewed by them. This is called the ‘bone chewing’ ritual or what gives the festival its name: Mayana Kollai or the ‘Raid of the graveyard’.
There are several legends and references that explain the significance of this ritual, depending on the region. Here are some of the references I found on the internet.
Post this ritual, the goddess calms down and returns to the temple on the temple car. The festival culminates when the it reaches its home.
While witnessing all this self-violence, I started to deeply think, why this is necessary to please the gods. Although I couldn’t find a convincing conclusion, what I realized is that this form of ritual is not unique to Hinduism alone. It has been largely practiced worldwide, across all major religions. Some of the closest references are:
Stone pulling Ceremony is an annual traditional event held across the Angami villages to commemorate a certain important day. It takes place in one village per year on a rotational basis. So that way, it takes about 5 to 10 years by the time this ceremony reoccurs in a particular village. This event is usually timed around the Hornbill festival as there will be people from across Nagaland and outside visiting Kohima (The region where the Angami tribe is a majority).
Watch the Stone pulling ceremony video here:
The stone referred here is a large monolith that weighs several tons and the size and shape is not fixed. It is at the villagers’ liberty to pick the monolith they want to use for the occasion and can be either quarried from the village itself or bought from somewhere else depending on the resources. The large stone slab is then placed on a sled that is made of tree trunks and pulled using thick entwined vines from the forest. Thousands of Angami Naga men pull the large monolith over a few kilometers to finally errect it upright, engrave the details of the event and mark the day. This year, the stone pulling ceremony was held at Mima village. It was organised to commemorate the 75th anniversary of christianity in the village. The monolith was symbolized for forgiveness, friendship and peace to the enmities that the village had with various villages before the coming of the gospel to Mima village.
The typical stone pulling ceremony (Click here to watch the complete video) is solemnised by the pastor from the village’s church with recitals from the Angami bible before the start. It is then followed by firing a round of shots from the muzzle loaded guns in the air. The captain stands on the slab and shouts Angami cheers through a loudspeaker to motivate the pullers. While all the strong and younger men folk of the village join hands to pull the stone, The eldest two men of the clan walk, leading the tribe. The women get dressed in their traditional attire and walk with a khophi (an utility basket woven with bamboo or cane) hung on their back and they stay around as a mark of support to the pullers. A few of these women carry cotton in containers made of dried bottle guard and walk ahead of the pullers as a part of the tradition. And yet, the remaining women go around distributing gruel made of ‘Job’s tears or Chinese pearl barley’ to all the passersby and the participants from their traditional Aluminium pots. It is served in bamboo cups that are carried in the baskets hung around their foreheads. The gruel provides an instant boost of carbohydrates for the toiling men in the hot sun.
In a Christian majority state, the tribal traditions are still thriving. It was a different experience watching the entire village dressed in their ethnic best and gathering to pull the stone uphill from the starting point to its destination. I somehow drew parallels with the chariot pulling tradition of the Puri Jagannath and several other temples of South India.
Isn’t it true that we all somehow follow the same way of life, only with different names for our faith and the process we follow to achieve it?
Holi is Big in Northern India and the most beautiful in the Braj Bhoomi- the Land of Lord Krishna. Festivities start a week in advance with Lath-mar Holi in Barsana and Nandgaon, phoolonwali Holi (Holi played with flowers) and Widow’s Holi in Vrindavan, Huranga at Baldeo and Holika dahan and Rangowali Holi at Mathura and Vrindavan are some of the major parts of the festival. Articles, blogs and photos are all over the internet about how beautiful this celebration is and the fun of participating in the festival of colours. Deeply inspired, a two week trip was planned through the state of Uttar Pradesh whole-ly, to soak in the festive fervor of Holi.
As per plan, we reached Vrindavan to spend the last two days of Holi- the main days and get coloured in different hues of Gulal. The plan was to reach the hotel, change to clothes that we had kept aside specifically for Holi and then go out to the areas where the colours were being thrown at. However, the entire town was already painted with colours by the time we arrived in our delayed train. A samaritan helped us get an e-rickshaw so that we could reach our hotel. The rickshaw had to squeeze its way through the crowd that had already gathered out on all roads. By the time we reached the hotel, we started to feel miserable about having wasted our leaves and having travelled all the way to Mathura from Bangalore was a big mistake. It was very unfortunate that our experience of the famous Vrindavan Holi was no-where close to fun. Although we were inside the rickshaw, we felt more vulnerable to getting coloured than the rickshaw itself. Goon like mobs would specially target people who were new to this kind of celebration. I had atleast 4-5 men together hold me by my head inside the rickshaw and colour my face. Few others even pulled my scarf and shawl to ensure that every inch of skin was coloured. No! It was not a pleasant way to welcome guests to a new place!
Banke Bihari temple in Vrindavan is where Holi is best celebrated with the priests throwing colours at everyone. On the day of Choti Holi, although we managed to go to the temple, we were drenched in wet colours. Leave that, our faces, hands and every bit of skin was chapped because we were smeared either with coloured cement or sand. This mixture is a norm and hurts like hell when it is being thrown at. We somehow managed to catch glimpses of Holika that were being burnt in some interior corners of the town. Women folk had gathered around effigies placed in the middle of firewood, food grains, vegetables and all other important things required for burning the pyre. We were colour soaked till the bone by the time we braved the task of reaching the safe confines of our hotel doorstep amid all the cemented colours and sand. Taking pity at our plight, our hotel incharge asked us to stay indoors the following day, as the last day could get wilder.
Finally, the main day of our fortnight long trip had arrived. But, we could barely think of venturing out on the streets on the day of Rangowali holi. Since our hotel was located in the main city area, we set our chairs out in the balcony of our room on the 3rd floor and watched the frenzy on the streets. It was disappointing to watch the Rangowali Holi turn into an event of Kheechadwali Holi (Holi played with water from the drainage). This kind of celebration can give the worst memories especially for girls and foreigners while goons attempt with ruthless amount of coloured glass powder. It can affect your eyes, skin, blood vessels anything! On top of it all, people are sloshed in Bhang and one cannot be sure of what’s gonna happen next!
Really, I’m not exaggerating the displeasure; the festival of colours is exaggerated through good photography by the photo enthusiasts who are all mostly male. I’d bet you not to plan your Holi trip to Braj with a bunch of girlfriends or with anyone who is new to this area. I strongly recommend you either plan on the day of Phoolon wali Holi or be a part of a private Holi celebration at a friend’s place amidst known crowd. This trip to Mathura has left scars of ir-repairable displeasure and sadness!
This was a family backpacking trip; exclusively to explore Madurai, the city of the Pandyas. For anyone who hears the name of this famed city, they know of the Meenakshi Amman Kovil. A typical traveler / tourist / pilgrim would visit just that temple and takes pride in marking it in their travel map of places visited. But what one doesn’t realise is, that Madurai is beyond just this. The contribution of the Pandya kingdom is not limited to just the Madurai Meenakshi temple and can be seen and felt in several structures just around the same city. Also, a portion of the Madurai city has a history beyond the Pandyas too. Hence, our family wanted to reserve this long weekend, exclusively for Madurai. We boarded an overnight bus from Bangalore and reached Madurai at 6.00.a.m. on the following morning. Like some of our family trips, we wanted this also to be an impromptu vacation. Apart from to and fro travel, nothing else was fixed.
As per me, you would need a good 2-3 days to have a quick run around doing this same itinerary as ours, exploring ONLY Madurai. If you are an art and history buff, carry additional days!
After alighting the bus, we walked around the Meenakshi amman Kovil to find a good hotel. Since this is the heart of the city, it wasn’t hard to find a decent lodge around there. We checked into a hotel that was located just infront of the temple’s west gate. We freshened up quickly and left for the main part of the trip for anyone visiting Madurai. A visit to the Meenakshi temple: An abode of the Pandyan architecture. The entire temple complex is fortified and has 4 entrance towers, one on each of the 4 directions. The sculptures on each of these towers are out of the world. Once inside the complex- you start to wonder which world of wonder you have stepped into. It took us more than 4hrs to finish only a quick round inside the temple and also get the darshan of Meenakshi Amman and Lord Sundareshwaran.
There are a lot of stalls inside the complex selling various handcrafted articles. The temple art museum within the same premises is a must visit. The central sculpture of Natarajan, or the dancing form of Shiva is believed to be one of the Pancha Sabhas of the lord. This place represents the Silver hall and Shiva is believed to have performed the ‘Sandhya Thandavam’ dance form here(More on the Pancha Sabha Kshetras in another post). Also, there are 1000 pillars- all decorated with intricate pieces of sculpture. The dim light used for each pillar adds up to the beauty of the place. The Madurai paintings adorning the walls of the temple requires another post to talk about. I go speechless when I get to explain about the South Indian temples. They are beyond words. Internet has plenty to feed and I don’t want to get into the details.
After a tour of this massive temple complex, we decided to head out to explore the city beyond the Meenakshi Kovil. A small walk through the narrow lanes took us to the Thirumalai Nayyakar Mahal built in the 16th century. Fine architecture with elegant paintings on the roofs and vaults is neatly presented in a simple combination of off-white and velvet red colour combination. There is sound and lights show every evening conducted here. However, we could not make it.
From there, we took a local bus to Vandiyur. This is where the annual event of the famed Teppotsavam / Float festival takes place to celebrate the birthday of King Thirumalai Nayak in January. This tank is supposedly the biggest of its kind in the state. With the float festival just 2 months away and monsoon season just passing by- this tank still remained dry, during our visit. When enquired how the event is going to take place in a dry tank, we were told that the water will be fed in January from the Vaigai river through artificially laid underground channels. This is truly amazing how such a concept was laid way back in the 16th century. But for a new-commer like me, the dried lake was an eye sore as it was used as a watering hole by many vandals.
Taking another bus from there to Periyar and a small walk from there through the stinking / dirty by-lanes, we reached the Koodal Alagar temple. A quick pooja and a walk around the temple was a nice boost up. The architecture here too, is similar to that of Meenakshi temple. We had to rush to The Gandhi museum as it would close by 6.00.p.m. However, we could not make it on time. This was once called the Tamakkum palace of Rani Mangammal. Today, the museum supposedly houses 14 articles that were used by Gandhiji, along with his sacred ashes and blood stained dhotis. Gandhiji is said to have visited the city five times while he was alive.
So, we then headed back towards our lodge. But, on the way- we checked into Pudumandapam. This is a 1000yrs old shopping mall, supported by huge sculpture rich stone pillars. The stalls are occupied with tailors, handicrafts vendors, wholesale dealers of pooja related and general accessories. A good place for shopping traditional artifacts at Madurai, and that too in a market that is so old!
We took a local bus from Periyar bus stand to travel 21kms to reach Alagar Kovil. The temple is dedicated to Lord Vishnu, Meenakshi amman’s brother. The village is surrounded by an old fort wall, it gives a good view of the green hills around the temple. The architecture is similar to Koodal Alagar temple in the city. A trek of 3kms uphill, though green forests and monkey infested walkways lead us to the Murugan temple. It is one among the six abodes of Lord Murugan and hence important among the pilgrims. A walk of half a kilometer further uphill took us to Pazhamudhir Solai temple. A temple dedicated to Goddess Rakkaya exists close to a natural spring called Nuburagangai here, where devotees take a holy bath. But what seemed strange to me was that the place was probably the only temple I had ever been to, which charges an entry fee into the temple itself. This is where the famed Chittrai festival is observed during the month of April.
From there, we took the next bus back to Periyar, from where we had to take a another bus to Tiruppanakundram. This was a cave temple at the foothills of a rock hill. It is believed that Lord Murugan was wedded to Devyani, daughter of Indra at this place. Hence, this is also counted one among the 6 abodes of Lord Murugan. Up the hills, is the Dargah of Hazrat Sultan Sikandhar Badushah shaheed Radiyallah Ta’al anhu. Owing to time constraint and exhaustion, we thought of skipping the climb.
Other lesser known places we skipped due to time constraints were the Kazimar mosque and Goripalyam Dargah. At the centre of the city is the Kattabomman junction. This is where a part of the old Madurai fort exists. Today this is not more than a public library.
I don’t do this usually, but would make a special mention about the streets of Madurai. Every street in the city has a history behind it: This link to an article from “The Hindu” explains it all- ‘Where moats made way for motorways‘
After a lot of last minute hiccups, the planning of more than 3 months had finally materialised.. And there we were… At Allapuzha.
At 10.a.m we were on the stands looking out for a nice place which would give us a good view of the river. The 60th Annual Nehru Boat Race was scheduled to start at 2.30.p.m. ‘The crowd had started to pour in from as early as 6.a.m., to get a good seat’, we were told.
Pam and I were sitting in the last row (We considered ourselves fortunate enough for getting chairs to sit).. Sam had ventured out of our stands to get some good photographs and to find a better corner seat for all of us.
Just then, this gang of 6 huge Malayali men dressed in their white Lungis came in and stood behind us.. They pushed our chairs forward so that they could accommodate a few more chairs on the already crammed podium. We barely had space to keep our legs and we were wondering what they were upto. Without knowing the language, we only ended up giving them some wild stares. Pam belted out a few words in Kannada.
Next thing we saw was: Each of these men placing biiig hand bags in between their legs, covered by their lungis and each- pulling out a bottle of local brew (the tags on the bottle indicated that it was pure-strong-local). They pulled out a glass from their bag and poured the drink and gulped it all down RAW in the blink of an eye (It was faster than that of one drinking water). And then… One of them started to utter something to us- From the fact that he had just finished a bottoms up and the tone of his speech, we knew for sure that we were being verbally abused. Although with my little knowledge of the language, I managed to understand a few swears, I instructed Pam not to react. We would surely be outnumbered by men there, in God’s own country. Like a call from God himself- Sam called us to inform us that he had found a better place for all of us to sit. We vacated the spot in the very same minute.
On the way, Pam walked upto a cop and said, “Those men in the last row there, are boozing; Each man is carrying at least a bottle which they are not supposed to possess in a public gathering”. The cop replied an apologetic “OK, OK Sir, We will look into it” and walked off as if Pam had just spoken to deaf ears.
We met Sam and just as we were narrating the scene to him- We saw 2 more men carrying handbags and settling down right beside us. And soon they pulled out a bottle each, bottoms up, gobbled up some minced beef and then started cheering at the water in front of them, where the race was yet to begin. Even before we reacted, Sam pointed at the platform onto our left. More than 10 men were repeating the same procedure- handbags covered by lungis- bottoms up- cheer out loud. And then we looked behind at the gallery- and we were like “What the F***…??”. Every lungi fellow had a glass in his hand..!!! And then we knew, the exact reason for getting such a vague response from that cop. The Policemen were clearly outnumbered by those drunkards and that seemed like quite a normal phenomenon to the cops to take any action. And we too quickly learnt to live with it..!! Soon, the crowd of drunkards increased and also the excitement.
And.. The boat race had a roaring start with a lot of frenzy and madness.. We too were at the peak of our excitement.. And suddenly this scuffle started between 2 groups. The next thing we saw was random people being thrown into the river by random people… Typical to any Indian movie, the cops gave a late entry. They arrived in speed boats and pulled out a couple of them from the water and sped away..
The below picture shows:
A hard core fan who watched the match sitting on a coconut tree from 10.a.m to 7.00.p.m.
A drunk fan standing on a pole and cheering for his team whose limbs finally gave way into the water after 5hrs.
Another bunch of fans seated in the gallery who are supporting themselves by holding onto the electric lines.
This was definitely one hell of a maddening-superbly-awesomeness-crazy-experience that I am going to cherish for life.
Kerala: “The Land Of Lungis” is truly God’s own Country… L.O.L. 😀
Have you ever experienced any such psychotic crowds? Share it with me.. 🙂