tag:blogger.com,1999:blog-59822076908766661182024-03-13T20:49:03.583-07:00 Tales from TravancoreSharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.comBlogger142125tag:blogger.com,1999:blog-5982207690876666118.post-25678557959204111712023-08-16T01:07:00.008-07:002023-08-16T01:10:07.964-07:00TALES FROM THE CAPITAL CITY – 142<p style="text-align: center;"><b> THE <i>JHAROKHAS</i> OF TRAVANCORE - </b></p><p style="text-align: center;"><b><span style="font-size: x-small;">THE CASE OF PADMANABHAPURAM PALACE COMPLEX</span></b></p><p style="text-align: center;"><b><span style="font-size: x-small;"><br /></span></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijvUjyGjOW6F2lrXpnJtpuQCcLrOcqZTFxTDvNbWyvWtZ7ySiHwqdfG4c6gPcXsE-7NbC1HfTeyJEINeUNY8UScpYNiMLxepzAw8oA8qOlsOqgNBZqiU6h1HT6mTIhpob5xXGIb7vy1_ePeJmVBpkWXtxGLKYv3eX9Fx3ZZQ8iaSpLtfd9QGpMhLmg4JHh/s850/383484-1367573021.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="850" data-original-width="727" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijvUjyGjOW6F2lrXpnJtpuQCcLrOcqZTFxTDvNbWyvWtZ7ySiHwqdfG4c6gPcXsE-7NbC1HfTeyJEINeUNY8UScpYNiMLxepzAw8oA8qOlsOqgNBZqiU6h1HT6mTIhpob5xXGIb7vy1_ePeJmVBpkWXtxGLKYv3eX9Fx3ZZQ8iaSpLtfd9QGpMhLmg4JHh/w343-h400/383484-1367573021.jpg" width="343" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Garamond, "serif"; line-height: 115%;"><span style="font-size: x-small;"><i>Window of the palace at Pulpanabhaporum from
which the Ranees view the processions</i>, albumin print, 1868, Royal Collection
Trust</span></span></div><p></p><p class="MsoNormal" style="margin-left: 7.1pt; text-align: justify;"><span style="font-family: "Garamond","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;">The ‘<i style="mso-bidi-font-style: normal;">jharokha</i>,’
the Indian equivalent of the ‘oriel window,' has been identified as a
significant medieval architectural element ever since Islamic architectural
trends amalgamated with the indigenous. Jharokhas were often placed on the
façade of palatial structures, overlooking a street or an important open space.
While the women in the cloistered harems of the palaces and havelis framed
their gaze to the other side of the world through jharokhas, the same was
associated with the kingly ritual—the <i>jharokha darshan</i>—when the architectural
setup served as the point from which the ruler addressed the public audience.
The Mughal courtly custom of the emperor appearing before the subjects at the
jharokha made it popular amongst their feudatories. It is perhaps due to the
infiltration of Mughal courtly customs into south Indian provincial courts that
the jharokha also got assimilated into the regional architectural vocabulary.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 7.1pt; text-align: justify;"><span style="font-family: "Garamond","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;">In Travancore, the oldest specimen of a jharokha can
be found in the sprawling Padmanabhapuram complex in Kanyakumari District,
Tamil Nadu. The <i style="mso-bidi-font-style: normal;">ambari mukhappu</i>
overlooking the processional street on the northern side of the palace complex
is an exquisitely carved bay window, fashioned like an <i style="mso-bidi-font-style: normal;">ambari</i> or <i style="mso-bidi-font-style: normal;">howdah</i>, with
five openings supported by rampant <i style="mso-bidi-font-style: normal;">vyali</i>
(mythical beast) figures on the outside and crowned with a conical roof. The
window inspired the European architect R.F. Chisholm, who incorporated four
replicas of the same in the Napier Museum in Thiruvananthapuram, designed by
him. A champion of the Indo-Saracenic architectural style, Chisholm would have
found the <i>ambari mukhappu</i> a ready ingredient for his masterpiece work in
Travancore.<o:p></o:p></span></p><p class="MsoNormal" style="margin-left: 7.1pt; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiInpAck0unyZLgLcJNlTt_16YrzcIoa1_yfoCAHx5waTFplJYfySZ7g2k_osqA7TJriKDih8fJlRSctkP9hNuIOq_te-uRI70aRVxF0idOv5POSXGoy4CIZXNjCbIocMnjfzX5gayHn_S9pntMdKArkkNkms3RxH_NtBnfd5g42BN1B1HWEyBSE5Cm8ZW/s1831/13415603_872131079581255_7564961103869491847_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1192" data-original-width="1831" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiInpAck0unyZLgLcJNlTt_16YrzcIoa1_yfoCAHx5waTFplJYfySZ7g2k_osqA7TJriKDih8fJlRSctkP9hNuIOq_te-uRI70aRVxF0idOv5POSXGoy4CIZXNjCbIocMnjfzX5gayHn_S9pntMdKArkkNkms3RxH_NtBnfd5g42BN1B1HWEyBSE5Cm8ZW/w400-h260/13415603_872131079581255_7564961103869491847_o.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: Garamond, "serif"; line-height: 115%;"><div style="text-align: center;"><span style="font-size: small;"><i>Watercolour sketch showing the northern street
and the ambari mukhappu</i>, by R.F. Chisholm, RIBA Library Drawings and Archives
Collection</span></div><div style="text-align: center;"><span style="font-size: small;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQFP_3zwnuDqdzjZp5j-v5qPYzp4s9GqmnayGzpxDSh3FxR4M0Xf-v7n7IWavapg5BCOMsYN5GgOLhhtCozhOGVra4Jc_ExmWoZqdO1PS6LhYyhn1dsHZcYpCXVKSCsReOfiJ7ST44Z5BYWfb4MwfBzGf0bJewsI4S-gsAs50rygNP3IMyb1T8KzHPv2AH/s4000/IMG20230815113236%20(1).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="4000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQFP_3zwnuDqdzjZp5j-v5qPYzp4s9GqmnayGzpxDSh3FxR4M0Xf-v7n7IWavapg5BCOMsYN5GgOLhhtCozhOGVra4Jc_ExmWoZqdO1PS6LhYyhn1dsHZcYpCXVKSCsReOfiJ7ST44Z5BYWfb4MwfBzGf0bJewsI4S-gsAs50rygNP3IMyb1T8KzHPv2AH/w400-h300/IMG20230815113236%20(1).jpg" width="400" /></a></div><br /><span style="line-height: 115%;"><span style="font-size: x-small;"><i>The jharokha window at Napier Museum,
Thiruvananthapuram</i></span></span></div><div style="text-align: center;"><span style="font-size: small;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Ei4BOYjBi6-CrY7ErIS8Z7KroUUB7j4S9mL2qIUck4tuMBhCOrrzL_qRIrxGuVAkJIUxvukXXMJwhoTdKTvHWnYjAWen84OUDwfSsvR-00FGTxw8AFJ5F9cRBQN3vjxQqgDH9_2fts0YcSvUZSKbSTsH6lbaht_GQzN4BtorS1QeWq4MxM_-EVr7Kr-F/s4928/DSC_0951.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3264" data-original-width="4928" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Ei4BOYjBi6-CrY7ErIS8Z7KroUUB7j4S9mL2qIUck4tuMBhCOrrzL_qRIrxGuVAkJIUxvukXXMJwhoTdKTvHWnYjAWen84OUDwfSsvR-00FGTxw8AFJ5F9cRBQN3vjxQqgDH9_2fts0YcSvUZSKbSTsH6lbaht_GQzN4BtorS1QeWq4MxM_-EVr7Kr-F/w400-h265/DSC_0951.JPG" width="400" /></a></div><br /><span style="line-height: 115%;"><span style="font-size: x-small;"><i>A view of the forecourt at Padmanabhapuram, the jharokha atop the entrance gateway is seen on the right</i></span></span></div></span><p></p>
<p class="MsoNormal" style="margin-left: 7.1pt; text-align: justify;"><span style="font-family: "Garamond","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;">That said, let us now look at a less discussed
jharokha at the Padmanabhapuram palace complex. This window is strategically
placed atop the grand doorway, overlooking the large forecourt in front of the
palace, and connected to the other wings through secured corridors. During the
eighteenth century, the forecourt would have been a happening place when the
capital of Travancore was still based in Padmanabhapuram. The view from this
elevated space makes one appreciate the ingenuity of the architects of yore who
designed such a space from which the sentries could keep an eye on the
activities both in the large quadrangle and also in the smaller yard in front
of the <i style="mso-bidi-font-style: normal;">poomukhamalika</i> (entrance
hall). On special occasions like <i style="mso-bidi-font-style: normal;">navaratri</i>,
the <i style="mso-bidi-font-style: normal;">kilivāthil</i> (small windows)
opening to the front quadrangle enabled the royal ladies to witness the
celebrations and activities, seated comfortably, away from the teeming crowds
below. Various recreational activities, like animal combats and wrestling, staged
in the front quadrangle were witnessed by the king and his officials from the
same bay window.</span></p><p class="MsoNormal" style="margin-left: 7.1pt; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivLaSLEpemFXdmPjcjNPGmqYgzV7SaoLjNSuXoS7d6miTlBn01WCfT5g7d2o9LJ-3cDv_OFFoetNj9PYv-YyyDe5DVG0tnoI_-NoNgXI6KesiV6kwqRYOnCBP5SM-_RnEtOipAos3BM-pcBoFCm83iDuO_jR7vxrtWynZOIUhOozi6H7Xvi8vgZjaNS-C6/s4928/DSC_0945.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3264" data-original-width="4928" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivLaSLEpemFXdmPjcjNPGmqYgzV7SaoLjNSuXoS7d6miTlBn01WCfT5g7d2o9LJ-3cDv_OFFoetNj9PYv-YyyDe5DVG0tnoI_-NoNgXI6KesiV6kwqRYOnCBP5SM-_RnEtOipAos3BM-pcBoFCm83iDuO_jR7vxrtWynZOIUhOozi6H7Xvi8vgZjaNS-C6/w400-h265/DSC_0945.JPG" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Garamond, "serif"; line-height: 115%;"><span style="font-size: x-small;"><i>The jharokha window, Padmanabhapuram, a closer
view.</i></span></span></div><p></p>
<p class="MsoNormal" style="margin-left: 7.1pt; text-align: justify;"><span style="font-family: "Garamond","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;">(More on the other <i>jharokhas</i> in Thiruvananthapuram
later).<o:p></o:p></span></p><p class="MsoNormal" style="margin-left: 7.1pt; text-align: justify;"><span style="font-family: "Garamond","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;">Sharat Sunder Rajeev</span></p><p class="MsoNormal" style="margin-left: 7.1pt; text-align: justify;"><span style="font-family: "Garamond","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: minor-fareast;">15.08.2023</span></p>Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com0tag:blogger.com,1999:blog-5982207690876666118.post-62070970079376025962023-08-03T00:14:00.004-07:002023-08-03T00:15:44.703-07:00TALES FROM THE CAPITAL CITY – 141<p style="text-align: center;"><b>THE <i>RAJAGOPURAM</i> OF PADMANABHASWAMI TEMPLE</b></p><p style="text-align: justify;">The eastern gopuram of Padmanabhaswami temple, also known as the ‘Rajagopuram’, is undoubtedly one of the majestic edifices erected by the rulers of the erstwhile Travancore kingdom. Though the credit for constructing the gopuram is claimed by Anizham Tirunal Martanda Varma, the founder of the Travancore kingdom, the annals at Padmanabhaswami temple take us back to the sixteenth century, to the reign of Aditya Varma, when Thottathil Achari, a master craftsman, is recorded to have laid the foundation stone of the eastern gopuram in 741 M.E. (c.1566 C.E.). Subsequent chronicles shed light on the internal strife among the Venad rulers and the powerful madampis, disrupting the smooth conduct of the construction activities. </p><p style="text-align: justify;">The royal commission was destined to remain dormant until the eighteenth century when Marthanda Varma took matters into his own hands. Martanda Varma appointed Kesavan Vishnu Thrathan of Thycattu Illam as the Stapathi and went about a thorough renovation of the Padmanabhaswami temple. When Marthanda Varma passed away in 1758 C.E., only five out of the seven storeys of the gopuram had been finished; however, the work progressed through the reign of Karthika Tirunal Rama Varma. The gopuram, when finished, stood at a soaring height of about a hundred feet and had every inch of its exterior decorated with fine stucco figurines depicting episodes from the Hindu epics.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMmTfQCW-t_zefo3kJ43-Ds4SpVC5LmY0pENS_tepjvYyJ0fByssYuhkJeZqo-WdDNnHI9uV9AufjIf-_CTAPXboHwQxlSuIxN5zhtBvHC60qC3Fgv4APwkK8Ikm2G2K76jguHblItSsvyy5yhNscOlkQ3ja2ccoo9xIRAsT0qzRuhg3CeVrVEKpDJ8Mn0/s1080/IMG_20230730_110050_640.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMmTfQCW-t_zefo3kJ43-Ds4SpVC5LmY0pENS_tepjvYyJ0fByssYuhkJeZqo-WdDNnHI9uV9AufjIf-_CTAPXboHwQxlSuIxN5zhtBvHC60qC3Fgv4APwkK8Ikm2G2K76jguHblItSsvyy5yhNscOlkQ3ja2ccoo9xIRAsT0qzRuhg3CeVrVEKpDJ8Mn0/w400-h400/IMG_20230730_110050_640.jpg" width="400" /></a></div><p class="MsoNormal" style="text-align: center;"><i><span style="font-family: "Times New Roman","serif";"><span style="font-size: x-small;">Sannidhi-Vaasal</span></span></i><span style="font-family: "Times New Roman","serif";"><span style="font-size: x-small;">, the eastern entrance to
Padmanabhaswami temple, c.1868, The Royal Collection Trust. Note the absence of
the finials in this photograph.</span></span></p><p style="text-align: justify;">The gopuram, though it maintained an irrefutable presence in the skyline of the capital city, was to remain incomplete for the next hundred years. The earliest photograph of the gopuram from 1868 shows it without the seven golden finials—the <i>kalashas</i>—atop the ridge. The task of completing the project was taken up (c.1872) by Dewan Sir. Sashiah Sastri K.C.S.I. during the reign of Maharajah Ayilyam Tirunal Rama Varma (r.1860-1880). </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh1HfEgVaBAazpgdFaIhkGl1YzMzmlMc_ysn4XWjIZGDN2fCokD6EfD-NLWOu2W6pnYnlLoSwrFD7tnx785u70VKtD_c0IsAiapYln9Dq-9CzH-rw1nrFt2Aoc9BLX20xVHMmOUZ-2HScbKdCWxdsRY-vM_TCb23hl6fXcSVJRD7_se3l7tRjAT460csim/s1080/IMG_20230730_110050_734.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh1HfEgVaBAazpgdFaIhkGl1YzMzmlMc_ysn4XWjIZGDN2fCokD6EfD-NLWOu2W6pnYnlLoSwrFD7tnx785u70VKtD_c0IsAiapYln9Dq-9CzH-rw1nrFt2Aoc9BLX20xVHMmOUZ-2HScbKdCWxdsRY-vM_TCb23hl6fXcSVJRD7_se3l7tRjAT460csim/s320/IMG_20230730_110050_734.jpg" width="320" /></a></div><p style="text-align: center;"><span style="font-family: "Times New Roman", "serif"; line-height: 115%;"><span style="font-size: x-small;">Sir A. Sashiah Sastri, Dewan of Travancore.</span></span></p><p style="text-align: justify;">The following details regarding the completion of the eastern tower can be gleaned from the biography of the Dewan:</p><p style="text-align: justify;">“<i>The tower of Sri Padmanabha Swami temple at Trevandrum, which had been long left incomplete, was completed. Finials plated with gold were set up over the topmost storey of the tower and the gilt spires of Sri Padmanabha became a landmark amid the green fields and verdant groves for forty miles around</i>.”</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrt5WRslOGKJhkjylBjX2cNkmN_cB14-nXgGQtNUxIKKSQKYy5cgqITQrwi6gprCZmbi1OseFlPLWic6V6gzAhIbVfh-FuasuiTKjjl-XNNjUBiqoPSv_29p-aQgs87NPJziXgtkoEVn2BaSF2nuvbmISzXXttPTjQsaZ9mLDkE9ybmjuzalbU6hXVENZ/s1080/IMG_20230730_110050_802.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmrt5WRslOGKJhkjylBjX2cNkmN_cB14-nXgGQtNUxIKKSQKYy5cgqITQrwi6gprCZmbi1OseFlPLWic6V6gzAhIbVfh-FuasuiTKjjl-XNNjUBiqoPSv_29p-aQgs87NPJziXgtkoEVn2BaSF2nuvbmISzXXttPTjQsaZ9mLDkE9ybmjuzalbU6hXVENZ/w400-h400/IMG_20230730_110050_802.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><p class="MsoNormal"><span style="font-family: "Times New Roman","serif";"><span style="font-size: x-small;">The
eastern gopuram with the finials, c.1900 (attributed to D’Cruz, the Govt.
Photographer), </span></span><span style="font-family: "Times New Roman", "serif"; font-size: small;">The British Library collection.</span></p></div><div style="text-align: justify;">Sharat Sunder R</div><div style="text-align: justify;">July 2023.</div>Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com1tag:blogger.com,1999:blog-5982207690876666118.post-68958305378210316492022-10-17T01:17:00.004-07:002022-10-17T09:24:46.620-07:00TALES FROM THE CAPITAL CITY – 140<p style="text-align: center;"><b>A Nair Wedding </b></p><p style="text-align: center;"></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify; text-indent: 36pt;"><span style="background: white; color: #222222; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">Recently, when I called on Suseela Bayi, granddaughter of the famed author C.V.
Raman Pillai, she narrated several interesting anecdotes about her ancestors.
Sitting in the hall of the famed <i style="mso-bidi-font-style: normal;">'Rosscote
Bungalow</i>', adorned with portraits of her ancestors she recalled the details
of her parent's wedding. "My mother Gowrikutty being the eldest of C. V.
Raman Pillai's daughters, the wedding was planned on a grand scale," she
said. "My father wore a fine suit and gave a ring to the bride, which was
unheard of in those days." Suseela’s father, Aiyappan Raman Pillai, alias,
A.R. Pillai (b.1879-d.1938) was an Indian expatriate who, while stranded in
Germany during WWI, worked for India's freedom. Before venturing to Germany, a
young A.R. Pillai had made a name as a merchant in Trivandrum. He worked as a journalist, writer and book publisher in Germany. Pillai was a grand-nephew
of Punnakkal Easwara Pillai <i style="mso-bidi-font-style: normal;">Vicharippukar</i>,
a famed Kathakali artiste and a prominent courtier of Uthram Tirunal Marthanda
Varma, the Rajah of Travancore.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify; text-indent: 36pt;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoZ2j9EBCPv89mNfkJ8MsGy_k7BOitIBniMYESUliCx_qH287goanEetjNe8crgs9RQZw6Tlg6SpVi9UyHci20-l8hdQiefJ4_VueZu8apPz4DDnhX0_mDZX_Agn1q3UV8t2tKtCo1hR0khiCSsS1dLjk6C8TPw7EwqQri8fkrighNsYaIuiion7kQiA/s3508/Untitled-1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2480" data-original-width="3508" height="339" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoZ2j9EBCPv89mNfkJ8MsGy_k7BOitIBniMYESUliCx_qH287goanEetjNe8crgs9RQZw6Tlg6SpVi9UyHci20-l8hdQiefJ4_VueZu8apPz4DDnhX0_mDZX_Agn1q3UV8t2tKtCo1hR0khiCSsS1dLjk6C8TPw7EwqQri8fkrighNsYaIuiion7kQiA/w480-h339/Untitled-1.jpg" width="480" /></a><br /><br /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">B. Gowrikutty, alias Gowri Amma (b.1892), on her wedding day, 1904 (aged 12, according to Suseela Bayi) & Punnakkal A.R. Pillai, c.1904, photographed soon after the wedding. <b>Image courtesy</b>: Late Sri Rosscote Krishna Pillai.</span></td></tr></tbody></table><br /><p></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span style="background: white; color: #222222; font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;"><b>A detailed report of
the wedding ceremony at the Rosscote Bungalow came in ‘</b></span><span style="font-family: "Garamond","serif"; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><b><i>The Madras Weekly Mail</i>,’ 1904.</b><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-size: medium;"><b style="mso-bidi-font-weight: normal;"><span style="background: white; color: #222222; font-family: Garamond, "serif";">A Nair Marriage</span></b></span></p><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><b><span style="color: #222222; font-family: Garamond, "serif";"><span style="font-size: medium;">The Cloth Giving Ceremony</span></span></b></p>
<p align="center" class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="color: #222222; font-family: Garamond, "serif";"><span>From a
Correspondent, </span></span><span style="color: #222222; font-family: Garamond, "serif"; font-size: small;">Trevandrum,
24th August</span></p>
<p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm; text-align: justify; text-indent: 36pt;"><span style="color: #222222; font-family: Garamond, "serif";"><span style="font-size: large;">"</span></span><span style="color: #222222; font-family: Garamond, "serif";"><span style="font-size: large;">T</span><span style="font-size: medium;">he public of Trevandrum were invited by Mr C.V. Raman Pillay, Superintendent of the Travancore Government Press, to witness the cloth giving
ceremony - a Malayalam <i>Sambadham</i>
marriage - by which Mr A.R. Pillay, one of the most enterprising merchants of
the town, married Mr. Raman Pillay’s daughter Miss. Gavari Cooty (<i>Gowrikutty</i>).
The ceremony took place at 8:15 o'clock last night, and among those present
were the Diwan, Mr. Nanaswamy Rao, Mr. Raja Ram Rao, Mr. A.J. Vieyra, Dr.
Poonen, Mr. Justice and Mrs. Hunt, Mr. Keshava Pillay, Mr justice Govinda
Pillay, and very many others well known in Trevandrum.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm; text-align: justify; text-indent: 36pt;"><span style="color: #222222; font-family: Garamond, "serif";"><span style="font-size: medium;">Two spacious and artistically decorated pavilions formed an annexe to the
main building, where the actual ceremony took place, and were used for the
accommodation of European and Indian visitors. Such marriage ceremonies must
take place in the house proper, and in a typical Nair house of the old fashion,
there would ordinarily be plenty of room. Many Indian gentlemen have given up
their style of house architecture and adopted the European bungalow style of
residence. In the main room of Mr Raman Pillay’s house, at its southern end
were seated many of the Indian and European visitors. At the northern end of
the room facing the east a red cloth was spread on the ground on which was
placed a white cloth, and on top of that a coloured (purple) cloth on which,
just a few moments before the auspicious time, 8:15, the bridegroom sat down cross-legged.
Before the bridegroom came in a young man read portions of the <i>Ramayanam</i>
allowed relative to the marriage of Rama and Seeta. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm; text-align: justify; text-indent: 36pt;"><span style="color: #222222; font-family: Garamond, "serif";"><span style="font-size: medium;">Before the bridegroom was a figure of geometrical patterns drawn with
rice flour like a chess board, and the signification of which I could get no
one to explain. It probably had some astrological significance. On the right
and left of the bridegroom stood two primitive brass lamps with coconut oil and five
or six wicks which were in marked contrast to the brilliant Western chandelier overhead.
On the right of the bridegroom, too, stood a <i>para</i> of clean paddy raised up in
a cone, and in the mixed of which was a spring of coconut blossom. The para of
paddy stood on sand spread on a plantain leaf. The paddy, etcetera, were significant of prosperity and plenty - a kind of cornucopia. By the side of the
para was a subverted brass teapot like utensil of some size. Why it was overturned this deponent cannot say, but the utensil itself, and the coloured cloth
over the white, on which the bridegroom sat, indicated that both the bride and
groom were persons of consequence. Only <i style="mso-bidi-font-style: normal;">Tambis</i>
and <i style="mso-bidi-font-style: normal;">Chembagaramans</i> and one or two
other castes are permitted these privileges. Lower castes must use only a white
cloth, and no brass vessel of the kind is permitted to appear on such
occasions.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm; text-align: justify; text-indent: 36pt;"><span style="color: #222222; font-family: Garamond, "serif";"><span style="font-size: medium;">Just opposite to the bridegroom sat a Brahmin on a board for the
receipt of the usual <i style="mso-bidi-font-style: normal;">Deshnai</i>. At the
auspicious time the native music sounded, and the clothes to be presented on
the occasion were handed by the Brahmin to the bridegroom. A moment later, the
bride, a comely maiden of sixteen, dressed in a cream coloured cloth, heavily
braided with gold, and wearing handsome jewels, stepped in from a side door and
made obeisance to her intended, bowing with both hands folded. The bridegroom
then leant forward and placed the cloth in her hands. Making obeisance a second
time she turned to the Brahmin and did the same, and lastly bowed to the
company and rapidly withdrew.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm; text-align: justify; text-indent: 36pt;"><span style="color: #222222; font-family: Garamond, "serif";"><span style="font-size: medium;">In the meantime the Nair ladies inside the house kept up the ululation
called the <i style="mso-bidi-font-style: normal;">Norava</i> cry. The ceremony
over, the guests strolled off to their respective pavilions, where they were
treated in different styles. In the European pavilion cake (from M. D'Angelis) was
handed round and wine. As soon as the glasses were charged the bride, leaning
on the arm of her husband, and accompanied by her father, entered and seated
themselves, and Mr Justice Hunt, by special request, said a few words
congratulation the young couple and wishing them all happiness. The bridegroom
responded in a few words and the guests were then rose watered and garlanded,
the sandal paste also being handed round to be touched. In the Indian pavilion
the Indian guests were treated in Indian fashion.<o:p></o:p></span></span></p>
<p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0cm; text-align: justify; text-indent: 36pt;"><span style="color: #222222; font-family: Garamond, "serif";"><span style="font-size: medium;">It may be observed that it is only very lately that Europeans have been
invited to such functions. There were several departures from the time-honoured custom in the giving of a ring with the cloth; in the bridegroom being
dressed in a white suit with a collar and wearing a cap, instead of in his
national costume of two plain clothes, and in the bride's dressing up with
jacket and jewels instead of in the more primitive garments usually worn and in
the wearing of the hair. It was altogether a most interesting function.</span></span><span style="color: #222222; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">"</span></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt; text-align: right; text-indent: 36pt;"><span style="color: #222222; font-family: Garamond, "serif"; font-size: 12pt; text-indent: 36pt;"><b>Sharat Sunder Rajeev</b></span></p><p class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 0.0001pt; text-align: right; text-indent: 36pt;"><span style="color: #222222; font-family: "Garamond","serif"; font-size: 12pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;"><b>17.10.2022.</b></span></p><b></b><p></p>Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com5tag:blogger.com,1999:blog-5982207690876666118.post-24487428856312247162022-07-17T17:38:00.002-07:002022-07-17T17:39:41.047-07:00TALES FROM THE CAPITAL CITY – 139<div style="text-align: center;"><b>The King's Craftsmen </b></div><div><div style="text-align: center;"><b> History of the Ivory Carvers of Thiruvananthapuram</b></div><div style="text-align: center;"><b><br /></b></div><div style="text-align: center;"><b><br /></b></div><div style="text-align: center;"><span style="text-align: left;">Sharing the link to the recording of the KCHR webinar 'The King's Craftsmen' where I discuss the history of ivory carving in Travancore.</span></div><div style="text-align: center;"><span style="text-align: left;"><br /></span></div><div style="text-align: center;"><span style="text-align: left;"><a href="https://youtu.be/9lNGb0SvA54" target="_blank">https://youtu.be/9lNGb0SvA54</a><br /></span></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih-vcGJji0YUgEzjZyBUixj3LlltloRLkcZSA6LIJZgMR_Oc-hlXztnGwT45D8_D7_fkxHgAZbReXt9ZM-Xntrh9upIITp-52NO9yeFWmAgkkWsjY2ymbCe4QL7xsRKyqXYElgplYBulkpep8zdbIiMf-K36Okfm67mwGnMTu5UL4bup1KXtPRXZ-p3g/s1534/293817597_10209636544985732_2467666876660163493_n.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1534" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih-vcGJji0YUgEzjZyBUixj3LlltloRLkcZSA6LIJZgMR_Oc-hlXztnGwT45D8_D7_fkxHgAZbReXt9ZM-Xntrh9upIITp-52NO9yeFWmAgkkWsjY2ymbCe4QL7xsRKyqXYElgplYBulkpep8zdbIiMf-K36Okfm67mwGnMTu5UL4bup1KXtPRXZ-p3g/s400/293817597_10209636544985732_2467666876660163493_n.jpg" /></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi51r09E6I44yotm7oktileceekJkbmuEq5DNBKdMu5CqjYWHgDqe6iXiTJJDoiEb-LnkvmJIZxHpmbErhsSq-jT8kHU_kKORZBQIf-3_tegXoREUXpzWk8-oCCc0cmNCkslworJ9HnSDdFusBfV3QjeIbk5fySR5o3n5w0mMOm86BCl5ZDSUARs-vEMA/s1534/293991835_10209636545665749_6586255127827438003_n.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1534" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi51r09E6I44yotm7oktileceekJkbmuEq5DNBKdMu5CqjYWHgDqe6iXiTJJDoiEb-LnkvmJIZxHpmbErhsSq-jT8kHU_kKORZBQIf-3_tegXoREUXpzWk8-oCCc0cmNCkslworJ9HnSDdFusBfV3QjeIbk5fySR5o3n5w0mMOm86BCl5ZDSUARs-vEMA/s400/293991835_10209636545665749_6586255127827438003_n.jpg" /></a></div><a href="https://youtu.be/9lNGb0SvA54" target="_blank"></a></div>Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com0tag:blogger.com,1999:blog-5982207690876666118.post-88252528264453404422022-07-17T17:32:00.003-07:002022-07-17T17:40:05.443-07:00TALES FROM THE CAPITAL CITY – 138<p class="MsoNormal">Sharing the link to the live recording of the Fort Area
Thiruvananthapuram Heritage Awareness Programme conducted in collaboration with
LSGD Planning and Art & Heritage Commission.<o:p></o:p></p>
<p class="MsoNormal">For more information on the building regulations (focused on
the Agraharams) you may visit kerala.gov.in https://townplanning.kerala.gov.in › ...PDF FORT AREA HERITAGE ZONE to download the handout prepared in
collaboration with the Department of Architecture, College of Engineering
Trivandrum (CET), Thiruvananthapuram. </p><p class="MsoNormal" style="text-align: center;"><a href="https://youtu.be/KNJstd3j6eg" target="_blank">https://youtu.be/KNJstd3j6eg</a><br /></p><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXUkV13sihu49VohrP8cqsAJDCSIVS_ZnAFukBkVh6Fev3zkm6b8B8OnR2XRDEE-7MZslw-zeDxkIsim-eGyGz0-KcoWUJuTTun_SXfYzblEIYuV_AGWdQ0uZ4xrpznXTb80VnotLEV7BMwJOHFkoEPxU440W0Vlgcrwrzm83uqCKFBS2X5OxjF2o1wg/s1280/293672496_10209633677514047_795721363604992022_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="893" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXUkV13sihu49VohrP8cqsAJDCSIVS_ZnAFukBkVh6Fev3zkm6b8B8OnR2XRDEE-7MZslw-zeDxkIsim-eGyGz0-KcoWUJuTTun_SXfYzblEIYuV_AGWdQ0uZ4xrpznXTb80VnotLEV7BMwJOHFkoEPxU440W0Vlgcrwrzm83uqCKFBS2X5OxjF2o1wg/w286-h410/293672496_10209633677514047_795721363604992022_n.jpg" width="286" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLDhBJgzijk0IE7Qns3o2fYYE-8AiGr3nNLuoTQ5jPrNYj7Xitsb2PGaQ7ALBCuRsQoS0cA0ar4CdyJekNEbvz4jxFxOH7w6R0ROHX3_ZFPyagrHZzZihaN30zMURkmD4uwep5Mbue80J2FiRmFUHRxl3on__qreUFpDpuEkTRftRnxe6x_nwgjVf3Jw/s1482/293409672_10209633676354018_4774603592853309034_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1482" data-original-width="1080" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLDhBJgzijk0IE7Qns3o2fYYE-8AiGr3nNLuoTQ5jPrNYj7Xitsb2PGaQ7ALBCuRsQoS0cA0ar4CdyJekNEbvz4jxFxOH7w6R0ROHX3_ZFPyagrHZzZihaN30zMURkmD4uwep5Mbue80J2FiRmFUHRxl3on__qreUFpDpuEkTRftRnxe6x_nwgjVf3Jw/w298-h410/293409672_10209633676354018_4774603592853309034_n.jpg" width="298" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><br /><br /></div>Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com0tag:blogger.com,1999:blog-5982207690876666118.post-67253962916201505002022-04-29T23:49:00.002-07:002022-04-29T23:56:52.836-07:00TALES FROM THE CAPITAL CITY – 137<p><b style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"> Uma Amba Tampuratti of Kilimanur</b></p><p><b style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"> Previously unseen excerpts from C. Raja Raja Varma's Diary</b></p><p><b style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"><br /></b></p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0hQ792_CWu61PoKUWAqOBWqJSMtHMU-aR1PE4CUN3YutvGSaTLw7tD6qa6EHIOTwzI799ngZaOrQj8WmElf2-pXSzX5azfkiIj74QYoykn5ol18gMijZpHdcjCBbpizkbXLhTVFy0_79NBzQndPyjkUbl4S-6R9LrtVZia6LWJZ0ddCvQdfU8y0LFqg/s3444/img_20220429_054229_original.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3444" data-original-width="2555" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0hQ792_CWu61PoKUWAqOBWqJSMtHMU-aR1PE4CUN3YutvGSaTLw7tD6qa6EHIOTwzI799ngZaOrQj8WmElf2-pXSzX5azfkiIj74QYoykn5ol18gMijZpHdcjCBbpizkbXLhTVFy0_79NBzQndPyjkUbl4S-6R9LrtVZia6LWJZ0ddCvQdfU8y0LFqg/w296-h400/img_20220429_054229_original.jpg" width="296" /></a><br /><br /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"> Uma Amba Tampuratti, Raja Ravi Varma's mother <br /> Image courtesy: RajaRavi Varma, Portrait of an Artist: Diary of C. Raja Raja Varma</span></td></tr></tbody></table><b style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"><br /></b></p><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">For me,
Raja Ravi Varma's birthday is an occasion to celebrate the artistic
contributions of the members of the Kilimanur clan over the generations.
Kilimanur family's tryst with art starts with two sisters, one of whom was Ravi
Varma's maternal grandmother. Bharani Tirunal Rajaraja Varma (Ravi Varma's
uncle), C. Raja Raja Varma and Mangala Bayi, the painter's siblings and
descendants, kept the tradition alive.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IN;">Uma Amba
Tampuratti, Raja Ravi Varma's mother (seen here in a reproduction of a
posthumous portrait by the Varma brothers, painted around 1887) was also an
artist. It is said that she taught art to the younger members of her family and
possibly contributed to her own children's early artistic training.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;"><span style="font-family: Times New Roman, serif;"><span style="font-size: 12pt;">In his
diary, artist C. Raja Raja Varma says: "<i>My mother was born under the star
Makayiram in the month of Medam 1007 M.E. She was the youngest of my
grandmother's eleven children. She had a very fair complexion. She was rather
below medium height and was very delicately formed. She was endowed with musical
and artistic tastes though she had no opportunity of cultivating them. She had an extremely kind and tender heart and could never see any suffering in others. I had seen her crying when she listened to tales and accounts of human suffering and misery. She was attacked with a sort of eye disease from which she suffered, but she took advantage of the illness to learn </i></span><i>Ophthalmology or the science of treating eye diseases from the various physicians who treated her and notably from a Thirumulpad <span style="font-size: 12pt;">of Naikunnam. She knew also to treat ordinary ailments of children. She appears to have given certain medicines to Her Highness the late Senior Ranee, C.I. The Ranee had cherished a great regard for the lady as some of the letters from the former to the latter testify. She had such self-sacrificing heart that she treated poor women and children gratis giving them medicines and clothing. She composed in Malayalam verse a Thullal called Parvathiswayambaram and several stray verses. </span></i></span><span style="font-family: "Times New Roman", serif; font-size: 16px;"><i>Parvathiswayambaram has been published by my second brother Goda Varma at his expense. She was a great devotee of Siva and Parvathi, and when the disease (consumption) laid its icy hand on her about the latter part of her life, she devoted most of her time to prayers and worship. </i></span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"><i>A
melancholy circumstance connected with her death was that she had not her
eldest son (Raja Ravi Varma) by her side when she died in the month of Makaram
1062. When her last illness took a serious turn we all gathered around her bed,
but a day or two previous to her death urgent business compelled my eldest
brother Ravi Varma to go to Trevandrum. From the next day she began to sink,
and she used to ask, until she became unconscious, if he had returned. When we
saw that she had not many hours to live, a man was sent post haste to
Trevandrum to give him information of her condition and he arrived to his deep
sorrow an hour or two after her death. Her obsequial ceremonies were celebrated in a grand style by my brother Ravi Varma. When the year of mourning passed away he and myself took a pilgrimage to Benares with the urn containing her ashes which we duly consigned to the holy Ganges. So let her soul rest in peace. We regretted very much that we neither
painted her portrait nor even photographed her while she lived. Her portrait
was painted... From memory and yet it is a fairly accurate likeness</i>."</span></p>
<p class="MsoNormal"><o:p> The previously unseen excerpt is taken from an article by R. Kulathu Iyer, dated 1907.</o:p></p><p class="MsoNormal"><o:p>Sharat Sunder Rajeev</o:p></p><p class="MsoNormal"><o:p>29.04.2022</o:p></p><b style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;"></b><p></p>Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com0tag:blogger.com,1999:blog-5982207690876666118.post-46923894426099884742021-12-12T05:55:00.001-08:002021-12-12T05:55:37.909-08:00TALES FROM THE CAPITAL CITY – 136<p style="text-align: center;"><b> Uthram Tirunal Marthanda Varma's Ivory Skeleton</b></p><p style="text-align: justify;"><span style="background-color: #f9f9f9; color: #030303; font-family: Roboto, Arial, sans-serif; font-size: 14px; text-align: left; white-space: pre-wrap;">It was great fun working with the staff of the Natural History Museum, Thiruvananthapuram, for this short film on the ivory skeleton currently on display at the museum.</span></p><a href="https://www.youtube.com/watch?v=0p9ly4K9u_E" target="_blank">https://www.youtube.com/watch?v=0p9ly4K9u_E</a><br /><div><br /></div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjCXHA6_JkKcmLN1gVdwtD-nnUtfm04n3pP26QzwnCkjz1t0lPXMH1fCV8UyDsEPp2Qjm8gZFJkLcTwFgLA6OIurfl3hA2ra1wDxNvrZBjFRzuqheMZ4Yg352x691dR80GeJkBDuGO8fGpfN4DrVmcRATArlprjt8sRBtewhFERsbfPecRtz-duYkvBcg=s1024" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1024" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEjCXHA6_JkKcmLN1gVdwtD-nnUtfm04n3pP26QzwnCkjz1t0lPXMH1fCV8UyDsEPp2Qjm8gZFJkLcTwFgLA6OIurfl3hA2ra1wDxNvrZBjFRzuqheMZ4Yg352x691dR80GeJkBDuGO8fGpfN4DrVmcRATArlprjt8sRBtewhFERsbfPecRtz-duYkvBcg=w640-h360" width="640" /></a></div><br /><div><br /></div>Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com0tag:blogger.com,1999:blog-5982207690876666118.post-17934124961828877912021-07-24T12:38:00.000-07:002021-07-24T12:38:17.964-07:00 TALES FROM THE CAPITAL CITY – 135<h1 class="title style-scope ytd-video-primary-info-renderer" style="background: rgb(249, 249, 249); border: 0px; color: var(--ytd-video-primary-info-renderer-title-color, var(--yt-spec-text-primary)); line-height: var(--yt-navbar-title-line-height, 2.4rem); margin: 0px; max-height: calc(2 * var(--yt-navbar-title-line-height, 2.4rem)); overflow: hidden; padding: 0px; text-align: center; text-shadow: var(--ytd-video-primary-info-renderer-title-text-shadow, none); transform: var(--ytd-video-primary-info-renderer-title-transform, none);"><yt-formatted-string class="style-scope ytd-video-primary-info-renderer" force-default-style="" style="word-break: break-word;" wfd-invisible="true"><span style="font-family: times; font-size: medium;">Life Around the Temple - Urban Form of Trivandrum Fort | SPACES 2021</span></yt-formatted-string></h1><div><br /></div><div><yt-formatted-string class="style-scope ytd-video-primary-info-renderer" force-default-style="" style="word-break: break-word;" wfd-invisible="true"><span style="background-color: #f9f9f9;"><span style="font-family: times;">
<div style="color: #030303; font-size: 14px; letter-spacing: 0.2px; text-align: center; white-space: pre-wrap;"><span style="letter-spacing: 0.2px;">Ar Sharat Sunder R & Dr Bina Tharakan </span></div><div style="color: #030303; font-size: 14px; letter-spacing: 0.2px; text-align: center; white-space: pre-wrap;"><span style="letter-spacing: 0.2px;"><br /></span></div><div style="color: #030303; font-size: 14px; letter-spacing: 0.2px; text-align: center; white-space: pre-wrap;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU-Bl_lvp0hClVOSxmE08tPnHd4q-s5aNX0pLsgsL5yYzEKQE9xeBFcskzx0haPj8J-o_fwySWX806de-vzTta7-bbOgMkz4JZe4mgm1Ab-K8zMwThLyqE4Euy-HtBbyx0oKSvEVJcjB1P/s1000/217967498_10159345857406764_1056244966930782680_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU-Bl_lvp0hClVOSxmE08tPnHd4q-s5aNX0pLsgsL5yYzEKQE9xeBFcskzx0haPj8J-o_fwySWX806de-vzTta7-bbOgMkz4JZe4mgm1Ab-K8zMwThLyqE4Euy-HtBbyx0oKSvEVJcjB1P/w400-h400/217967498_10159345857406764_1056244966930782680_n.jpg" width="400" /></a></div><br /><span style="letter-spacing: 0.2px;"><br /></span></div>
<div style="color: #030303; font-size: 14px; letter-spacing: 0.2px; text-align: justify; white-space: pre-wrap;"><span style="letter-spacing: 0.2px;"><i>The Kerala Architectural Festival, popularly known as SPACES, supported by the D.C. Kizhakemuri Foundation, DC School of Architecture and Design (Trivandrum & Vagamon) and co-promoted by D.C. Books, the makers of the Kerala Literature Festival commences on July 15, 2021.</i></span></div><div style="text-align: justify;"><span style="color: #030303; font-size: 14px; letter-spacing: 0.2px; white-space: pre-wrap;"><i><br /></i></span></div><div style="color: #030303; font-size: 14px; letter-spacing: 0.2px; text-align: justify; white-space: pre-wrap;"><span style="letter-spacing: 0.2px;"><i>The festival will be conducted online Live via YouTube & Facebook platforms due to the current pandemic restrictions. It will be held every week on Thursday, Friday and Saturday from 7pm to 9pm, till 31st July, 2021.</i></span></div><div style="color: #030303; font-size: 14px; letter-spacing: 0.2px; text-align: justify; white-space: pre-wrap;"><span style="letter-spacing: 0.2px;"><i><b><br /></b></i></span></div><div style="color: #030303; font-size: 14px; letter-spacing: 0.2px; text-align: justify; white-space: pre-wrap;"><span style="letter-spacing: 0.2px;"><b>Please go to this link to see the recorded session:</b></span></div><div style="color: #030303; font-size: 14px; letter-spacing: 0.2px; text-align: justify; white-space: pre-wrap;"><span style="letter-spacing: 0.2px;"><br /></span></div><div style="color: #030303; font-size: 14px; letter-spacing: 0.2px; text-align: justify; white-space: pre-wrap;"><span style="letter-spacing: 0.2px;"><a href="https://www.youtube.com/watch?v=814Y_qmoa_U" rel="nofollow" target="_blank">https://www.youtube.com/watch?v=814Y_qmoa_U</a><i><br /></i></span></div></span></span></yt-formatted-string></div>Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com0Thiruvananthapuram, Kerala, India8.5241391 76.9366376-19.786094736178846 41.7803876 36.834372936178845 112.0928876tag:blogger.com,1999:blog-5982207690876666118.post-33580329737440505552021-03-11T09:16:00.002-08:002021-03-11T09:18:58.385-08:00TALES FROM THE CAPITAL CITY – 134<p> <b style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: large; text-align: center;">FROM THE FAMILY ARCHIVES: G. NILAKANTAN B.A.</b></p><p><b style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: large; text-align: center;"></b></p><div class="separator" style="clear: both; text-align: center;"><b style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: large; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='407' height='338' src='https://www.blogger.com/video.g?token=AD6v5dxgnLbwWe4gVPm9PyX-aqBaA3XeE4aq3M2E6P6ypl1FZnH7V78cMb5Z3i7tjVmrFm7y7GJ0lcUaDRc1lg0TJA' class='b-hbp-video b-uploaded' frameborder='0'></iframe></b></div><p></p><p><span style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;">G. Nilakantan B.A. (Retd. Asst. Excise Commissioner, Ex. MLA, Honorary Magistrate, Municipal Councilor)- my great aunt's grandfather was the first graduate from the Viswakarma community of Travancore. Nilakantan was born in 1874, in Perinadu, Kollam, but later relocated to Trivandrum on entering government service.</span><br style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;" /><br style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;" /><span style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;">'Kamalavilas,' Nilakantan's palatial bungalow in Kunnukuzhi had been the venue to several crucial meetings and discussions involving top brass officials and social reformers during his lifetime. Some of the frequent visitors to the house were Ayyan Kali, 'Silparatnakara' N. Veloo Achary FRSA, Pichu Aiyar (Inspector General), Changanasherry Parameswaran Pillai, Rao Bahadur 'Rajyasevanirata' N. Kunjan Pillai, the Govt. Chief Secretary to name a few.</span><br style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;" /><br style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;" /><span style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;">Even though Nilakantan commenced his career as an Inspector with the Excise Dept., the testimonials of his good conduct soon reached the ears of the Maharajah Moolam Tirunal, who summoned him to the capital and placed him under the mentorship of Van Ross, the Excise Commissioner.</span><br style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;" /><br style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;" /><span style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;">In the 1930s, G. Nilakantan was identified as a prominent leader of the Viswakarma community and he became a staunch fighter for the 'Kammal Bill' in the Sree Moolam Praja Sabha, intended to regulate the social customs of the Malayalam speaking Viswakarmas. He encountered firm resistance from a faction headed by N. Veloo Achary, the mastermind behind the 'Viswakarma Bill'. Achary argued the Kammala Bill was flawed since it turned a blind eye towards the Tamil speaking Viswakarmas of southern Travancore.</span><br style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;" /><br style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;" /><span style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;">The arguments by both parties continued for a long time, and eventually, the bill remained unsettled and finally got lapsed.</span><br style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;" /><br style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;" /><span style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;">As for G. Nilakantan, he passed away on August 9, 1948, while attending a session of the Legislative Assembly.</span><br style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;" /><br style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;" /><span style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;">Thank you MyHeritage Deep Nostalgia for giving us a feel of what our long-gone ancestors may have been like!</span></p><p><span style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;">Sharat Sunder Rajeev</span></p><p><span style="background-color: white; color: #262626; font-family: -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 14px;">11.03.2021.</span></p>Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com0tag:blogger.com,1999:blog-5982207690876666118.post-53491453629655400692020-12-12T22:11:00.012-08:002020-12-12T22:27:06.398-08:00TALES FROM THE CAPITAL CITY – 133<p style="text-align: justify;"></p><p style="-webkit-text-stroke-width: 0px; background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: center; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span style="font-size: medium;"></span></p><p></p><p style="-webkit-text-stroke-width: 0px; background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: center; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span style="font-size: medium;"><b>THE ATTOLI MADHOM NAMBOOTHIRIS OF KILIMANOOR</b></span></p><p style="text-align: justify;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7tdWrmM31qOp3Ein_TLBxzeFF0x8j5gNfHDMoomVZ2kLNmcIliUW5wuMZp8QCeXKeX_WnOfddrWnsMQQ4cD5_dAnHVeLVRa7x2LkW2Nu2jWI0cYNOQriFT01yk0kk3mdjK-gXZypag3Rz/s1440/130490736_10208155538921506_3053288730617638308_o.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1081" data-original-width="1440" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7tdWrmM31qOp3Ein_TLBxzeFF0x8j5gNfHDMoomVZ2kLNmcIliUW5wuMZp8QCeXKeX_WnOfddrWnsMQQ4cD5_dAnHVeLVRa7x2LkW2Nu2jWI0cYNOQriFT01yk0kk3mdjK-gXZypag3Rz/w640-h480/130490736_10208155538921506_3053288730617638308_o.jpg" title="Attoli Sree Haritripura Kulangara temple, Malayamadhom, Ponganad." width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Attoli Sree Haritripura Kulangara Devi temple, Malayamadhom, Ponganad, Kilimanoor.</span></td></tr></tbody></table><p></p><p style="text-align: justify;"><span face="Segoe-UI" id="p0" style="background-color: white;"><br />A <span id="308-309">temple</span> <span id="363">overlooking</span> an expansive sweep of paddy farmland is so typical a <span id="310-311">sight</span> in rural <span id="17">Kerala</span>.</span><span face="Segoe-UI" id="p1" style="background-color: white;"> <span class="s-rg-t" id="18">Kilimanoor</span>, the <span id="312">birthplace</span> of Raja <span class="s-rg-t" id="19">Ravi</span> <span class="s-rg-t" id="20">Varma</span>, <span id="102-364-365">is</span> a <span id="313-314">place</span> where one <span id="101">still</span> finds <span id="114">vestiges</span> of an untouched agrarian culture.</span><span face="Segoe-UI" id="p2" style="background-color: white;"> The <span id="110">old</span> mansions of local chieftains, ancient <span id="66">temples</span>, sacred groves, water bodies and lush paddy fields are reminiscent of a <span class="s-rg-t" id="46">long lost</span> lifestyle.</span></p><span face="Segoe-UI" id="p3" style="background-color: white;"><div style="text-align: justify;"><span id="p3"><span class="s-rg-t" id="47-340-341">Sree</span><span id="340-341"> </span><span class="s-rg-t" id="48-340-341">Haritripura</span><span id="340-341"> </span><span class="s-rg-t" id="49-340-341">Kulangara</span><span id="340-341"> Devi </span><span id="67-340-341">temple</span> in <span class="s-rg-t" id="50">Ponganad</span> <span id="381-382">is</span> a small <span class="s-rg-t" id="51">- rather inconspicuous structure -</span> one among the <span id="121">numerous</span> <span id="68">temples</span> in the <span id="342-343">region</span>.</span><span id="p4"> <span id="111">But</span>, <span id="92">it</span> <span id="383-384">is</span> the <span id="344-345">story</span> of this <span id="69-346-347">temple</span> that <span id="385-386">makes</span> <span id="93">it</span> special and <span id="387">weaves</span> <span id="94">it</span> into the <span id="122">plethora</span> of oral traditions <span class="s-rg-t" id="52">around</span> the legendary painter and his <span id="81-348-349">family</span>.</span></div></span><div style="text-align: justify;"><span face="Segoe-UI"><br /></span></div><span face="Segoe-UI" id="p5" style="background-color: white;"><div style="text-align: justify;"><span id="p5">The <span id="112">old</span> <span id="70">temple</span> was revamped in the 1970s, by the '<span class="s-rg-t" id="53-350-351">Attoli</span><span id="350-351">' </span><span class="s-rg-t" id="54-350-351">Namboothiri</span><span id="350-351"> </span><span id="82-350-351">family</span>, its <span id="352">custodians</span>.</span><span id="p6"><span id="p6-pl"> </span><span id="123-388-p6-pl">According</span><span id="p6-pl"> to </span><span class="s-rg-t" id="55-p6-pl">Attoli</span><span id="p6-pl"> </span><span class="s-rg-t" id="56-p6-pl">Govindan</span><span id="p6-pl"> </span><span class="s-rg-t" id="57-p6-pl">Namboothiri</span><span id="p6-pl">, who </span><span id="389-p6-pl">resides</span><span id="p6-pl"> in a house adjacent to the </span><span id="71-353-354-p6-pl">temple</span><span id="p6-pl">, his </span><span id="83-355-356-p6-pl">family</span><span id="p6-pl">'s </span><span id="357-358-p6-pl">association</span><span id="p6-pl"> with </span><span class="s-rg-t" id="58-359-360-p6-pl">Kilimanoor</span><span id="359-360-p6-pl"> aristocracy</span><span id="p6-pl"> could be traced back to the early eighteenth century.</span></span><span id="p7"><span id="p7-pv"> "We were </span><span id="113-p7-pv">originally</span><span id="p7-pv"> based in </span><span class="s-rg-t" id="59-p7-pv">Payyanur</span><span id="p7-pv">, in </span><span class="s-rg-t" id="60-p7-pv">Kannur</span><span id="p7-pv">, but a few </span><span id="361-362-p7-pv">members</span><span id="p7-pv"> of the core </span><span id="84-p7-pv">family</span><span id="p7-pv"> had </span><span id="390-391-p7-pv">accompanied</span><span id="p7-pv"> the royals of </span><span class="s-rg-t" id="61-p7-pv">Thattari</span><span id="p7-pv"> </span><span class="s-rg-t" id="62-p7-pv">Kovilakam</span><span id="p7-pv">, in </span><span class="s-rg-t" id="63-p7-pv">Beypore</span><span id="p7-pv">, to southern </span><span class="s-rg-t" id="64-p7-pv">Kerala</span><span id="p7-pv">.</span></span><span id="p8"> When the <span id="87">royals</span> <span id="392-393">settled</span> in <span class="s-rg-t" id="65">Kilimanoor</span>, we too chose to <span id="124">remain</span> here,"</span><span id="p9"> he <span id="394-395">said</span>.</span></div></span><div style="text-align: justify;"><br /></div><span face="Segoe-UI" id="p10" style="background-color: white;"><div style="text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3OJ7tu0BuNUwTSXFsfR-Vv9_OCIb_n3bxOxU-OGiWKrsJKoS4vhzljpVhOZ3RHEhWkcSn51xr4GswBBIxFnS75PsibjDTDQHRS9v3ZSdyPnCkjtbJqVvbkdJ-_7iV-oeOnbESdvklU6OJ/s1236/Umayamba+Thampuratti.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1236" data-original-width="927" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3OJ7tu0BuNUwTSXFsfR-Vv9_OCIb_n3bxOxU-OGiWKrsJKoS4vhzljpVhOZ3RHEhWkcSn51xr4GswBBIxFnS75PsibjDTDQHRS9v3ZSdyPnCkjtbJqVvbkdJ-_7iV-oeOnbESdvklU6OJ/w300-h400/Umayamba+Thampuratti.JPG" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Uma Amba Thampuratti of Kilimanoor royal house.</span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><span id="p10"><span class="s-rg-t" id="21-79-315-316-p10-pl">Attoli</span><span id="315-316-p10-pl"> family</span><span id="p10-pl"> </span><span id="106-366-367-p10-pl">shares</span><span id="p10-pl"> a </span><span id="103-p10-pl">strong</span><span id="p10-pl"> bond with the </span><span class="s-rg-t" id="22-p10-pl">Kilimanoor</span><span id="p10-pl"> </span><span id="88-104-p10-pl">royal</span><span id="p10-pl"> </span><span id="90-p10-pl">house</span><span id="p10-pl">, and it </span><span id="368-369-p10-pl">was</span><span id="p10-pl"> a '</span><span class="s-rg-t" id="23-80-p10-pl">Attoli</span><span id="p10-pl"> </span><span class="s-rg-t" id="24-p10-pl">Namboothiri</span><span id="p10-pl">,' a famed tantric, who, in the late 1840s, exorcised a '</span><span class="s-rg-t" id="25-95-p10-pl">Yakshi</span><span id="p10-pl">' from </span><span class="s-rg-t" id="26-p10-pl">Uma</span><span id="p10-pl"> Amba </span><span class="s-rg-t" id="27-p10-pl">Thampuratti</span><span id="p10-pl"> of the </span><span id="89-105-p10-pl">royal</span><span id="p10-pl"> </span><span id="91-p10-pl">house</span><span id="p10-pl">.</span></span><span id="p11"> The <span class="s-rg-t" id="28-96">Yakshi</span>, <span id="115-116">appeased</span> through special pujas and <span id="317-318">offerings</span>, was <span id="370-371">given</span> an <span id="117-118-319">abode</span> in the <span id="320-321">palace</span>.</span><span id="p12"> The benevolent <span class="s-rg-t" id="29-97">Yakshi</span> is <span id="373-374">said</span> to have <span id="98">blessed</span> the childless <span class="s-rg-t" id="30">Thampuratti</span>, who <span id="372">gave birth</span> to three <span id="322-323">boys</span> and a <span id="324-325">girl</span>, all abundantly <span id="99">blessed</span> with creative talent.</span><span id="p13"> <span class="s-rg-t" id="31">Uma</span> Amba's <span id="107">eldest</span> son, <span id="72">Raja</span> <span class="s-rg-t" id="32">Ravi</span> <span class="s-rg-t" id="33-75">Varma</span>, went on to <span id="375-376">become</span> the most renowned painter of his <span id="326-327">times</span>.</span><span id="p14"> Among <span class="s-rg-t" id="34">Ravi</span> <span class="s-rg-t" id="35-76">Varma</span>'s younger <span id="119">siblings</span> C. <span class="s-rg-t" id="36-73">Raja</span><span class="s-rg-t" id="36"> </span><span class="s-rg-t" id="36-74">Raja</span> <span id="77">Varma</span> and <span class="s-rg-t" id="37">Mangala</span> <span class="s-rg-t" id="38">Bayi</span> too were talented artists.</span><span id="p15"> <span class="s-rg-t" id="39">Goda</span> <span class="s-rg-t" id="40-78">Varma</span>, another <span id="328-329">son</span> of <span class="s-rg-t" id="41">Uma</span> Amba <span id="377-378">was</span> a gifted musician and <span id="330-331">scholar</span>.</span></div></span><div style="text-align: justify;"> <br /></div><span face="Segoe-UI" id="p16" style="background-color: white;"><div style="text-align: justify;"><span id="p16-pl">As for the </span><span class="s-rg-t" id="42-332-333-p16-pl">Attoli</span><span id="332-333-p16-pl"> </span><span id="85-332-333-p16-pl">family</span><span id="p16-pl">, they </span><span id="109-p16-pl">are</span><span id="p16-pl"> </span><span id="108-p16-pl">still</span><span id="p16-pl"> the chief priests at the </span><span class="s-rg-t" id="43-334-335-p16-pl">Yakshi</span><span id="334-335-p16-pl"> shrine</span><span id="p16-pl"> and </span><span id="120-379-380-p16-pl">remain</span><span id="p16-pl"> in </span><span class="s-rg-t" id="44-p16-pl">Ponganad</span><span id="p16-pl">, in the </span><span id="336-337-p16-pl">precincts</span><span id="p16-pl"> of their </span><span id="86-p16-pl">family</span><span id="p16-pl"> temple - not far from the </span><span class="s-rg-t" id="45-338-339-p16-pl">Kilimanoor</span><span id="338-339-p16-pl"> palace</span><span id="p16-pl">.</span></div></span>Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com2tag:blogger.com,1999:blog-5982207690876666118.post-82840448821647458472020-09-06T09:11:00.002-07:002020-09-08T08:44:28.563-07:00TALES FROM THE CAPITAL CITY – 132<p style="text-align: center;"><span style="font-size: medium;"><b>COIMBATORE RAGHAVA AIYER</b></span></p><p style="text-align: center;"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVMp_I_v3rIJjhsRxtN3sW2B9-5oLh3U94BMtDBSY2UtGJAgZsk_DGf64OfgwG7T_sWzQCkWlSIUoqayQaUHhaFxOdErqDJkUvq9tYdXOQ-T_o9nJ27F-XIlotEP7U0UZIKApaIQvQQ2Pf/s1020/Mullamootu+bhagavathar+Raghava+Aiyer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1020" data-original-width="668" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVMp_I_v3rIJjhsRxtN3sW2B9-5oLh3U94BMtDBSY2UtGJAgZsk_DGf64OfgwG7T_sWzQCkWlSIUoqayQaUHhaFxOdErqDJkUvq9tYdXOQ-T_o9nJ27F-XIlotEP7U0UZIKApaIQvQQ2Pf/w329-h500/Mullamootu+bhagavathar+Raghava+Aiyer.jpg" width="329" /></a></span></div><span style="font-size: medium;"><br /></span><p class="MsoNormal" style="text-align: justify;">Raghava Aiyer (b.1826-d.), a
second-generation <i>Mullamootu Bhagavathar</i> (an epithet used by the Travancore
court musicians) was born in Vadasherri near Nagercoil. Young Raghava Aiyer was
fortunate to receive training in music from the famous Palghat Parameswara
Bhagavathar, who had adorned the royal court since the days of Swathi Tirunal
Rama Varma. After a brief stint at Trivandrum and Haripad, Raghava Aiyer was
helped by Cherunni Koil Tampuran, the elder brother of <i>Kerala Kālidāsa</i> Kerala
Varma Valiya Koil Tampuran, to relocate to Coimbatore. At Coimbatore, Aiyer
resumed his lessons under Chidambara Nattuvan, the grandson of the renowned
Vadivelu Nattuvan (one among the <i>Tanjore Quartets</i> of Swathi’s court).</p>
<p class="MsoNormal" style="text-align: justify;">Raghava Aiyer was introduced to
Maharajah Ayilyam Tirunal Rama Varma by M. Kunjaru Raja of Mavelikkara (a
talented musician and gifted player on <i>Swarbat</i>), during the latter’s visit to
Madras. Later, the Maharajah invited Aiyer to Trivandrum, where he was
appointed as a court musician. Not long after, the Maharajah developed a deep
admiration for Aiyer’s singing and invited him to perform at the Sangumugham
beach palace whenever the king visited the place with his close friends and
advisors. </p>
<p class="MsoNormal" style="text-align: justify;">However, around the early 1870s,
a sly court musician poisoned the Maharajah’s ears with stories that would
ultimately lead to Raghava Aiyer’s fall from grace. Crestfallen, he returned to
his wife’s house in Haripad and led a quiet life. But by a stroke of luck, in
1874, Raghava Aiyer returned to Trivandrum on the Maharajah’s command for a
musical duel at the Rangavilas palace hall. Ayilyam Tirunal was desperate to
present Raghava Aiyer before Maha Vaidyanatha Aiyer, the unmatched
musical virtuoso, who was invited to the capital for the Navarathri festival.
The legendary duel went on for two days, by the end of which the Maharajah
presented expensive shawls, pair of gold bangles and Rs.1500 to both the
contestants.</p>
<p class="MsoNormal" style="text-align: justify;">Happily for Raghava Aiyer, his
successful performance as a formidable Travancorean who could meet Vaidyanatha
Aiyer on his own ground was enough to reinstate him back on the lofty pedestal
as a royal favourite.</p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: x-small;">Sharat Sunder R, </span><span style="font-size: x-small;">05-09-2020. </span><span style="font-size: small;"> </span><span style="font-size: small;">Based on 'My Musical Reminiscences' by T. Lakshmana Pillai B.A.</span></p><p class="MsoNormal" style="text-align: justify;"><o:p></o:p></p>
<br /><p></p>Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com1Thiruvananthapuram, Kerala, India8.5241391 76.9366376-19.786094736178846 41.7803876 36.834372936178845 112.0928876tag:blogger.com,1999:blog-5982207690876666118.post-17762883490064580882020-08-23T08:23:00.009-07:002020-08-24T04:26:53.828-07:00TALES FROM THE CAPITAL CITY – 131<p style="text-align: center;"> <b style="text-align: center;"><span face="" style="font-family: garamond, serif; font-size: 12pt; line-height: 18.4px;"> </span><span face="" style="font-family: garamond, serif; font-size: x-large; line-height: 18.4px;">CHATAYAM TIRUNAL RAMA VARMA </span></b></p><p style="text-align: center;"><b style="text-align: center;"><span face="" style="font-family: garamond, serif; line-height: 18.4px;">A FORGOTTEN AMATEUR ROYAL PHOTOGRAPHER</span></b></p><p style="text-align: center;"><span style="text-align: center;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTqHKI-iagrV336-wo9b9Fkapi-ErvcCASftznXLUn5YjIq_I-lPFXQ2j72veEqFCtlQkSis_UCA3Wb2N_v_uRBN2tABJI462T-iI6IPhre-LJaOQ-Tz3IKlAejnNBTPaZYesqQKFOP4wA/s1340/chatayam.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="992" data-original-width="1340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTqHKI-iagrV336-wo9b9Fkapi-ErvcCASftznXLUn5YjIq_I-lPFXQ2j72veEqFCtlQkSis_UCA3Wb2N_v_uRBN2tABJI462T-iI6IPhre-LJaOQ-Tz3IKlAejnNBTPaZYesqQKFOP4wA/s640/chatayam.jpg" width="640" /></a><br /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span><br /><span style="font-size: small;">H.H. Chatayam Tirunal Rama Varma, the <i>Elayarajah</i> (c.1900). Detail from a photograph by Ramen Pillai, Trivandrum.</span></span><br /></td></tr></tbody></table><p class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span face="" style="font-family: garamond, serif; line-height: 18.4px;"><span face="" style="font-family: garamond, serif; font-size: x-large; line-height: 115%; mso-bidi-font-size: 11.0pt;">C</span><span face="" style="font-family: garamond, serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">hatayam Tirunal Rama Varma - the <i>Elaya Rajah</i> of Travancore
- whose life was drawn to an abrupt end on 6 June 1901, at the age of 33, was
an acclaimed amateur artist and photographer. As a member of the Amateur
Photographic Society of Madras, the prince never missed a chance to present his
works at exhibitions conducted by the Society. In Travancore, the prince
brushed shoulder with professionals like Zachariah D’Cruz (the Government
Photographer) and Ramen Pillai. In 1887, the young prince set out on a journey
to see important cities like Madras, Bombay and Calcutta. These explorations
gave him an inclusive picture of the vast and diverse history and culture of
India, and most likely these journeys transformed the prince into a
travel-photographer.<o:p></o:p></span></span></p><span face="" style="font-family: garamond, serif; font-size: small; line-height: 18.4px;">
<p class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span face="" style="font-family: garamond, serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">In Travancore, the prince made regular expeditions to
explore places of scenic beauty and tried his hand at portraiture and
allegorical themes. Among the photographs exhibited in Madras were those of
architectural landmarks like <i>Vandur Teppakulam</i> (Madurai), <i>Tevalli Palace</i>
(Kollam) and studies such as ‘<i>An Indian Prince</i>’ and ‘<i>a portrait of Mr. Charles
Michie Smith</i>’ (the eminent Scottish astronomer), presented to the Madras
Society in 1895. The prince, it seems, was in love with the southern districts,
for he produced several photographs documenting the scenery, landmarks and life
of people, e.g. ‘<i>Kuzhithuray Bridge</i>’ (Kanyakumari District, Tamil Nadu) and ‘<i>A
view of South Travancore</i>’ (both dated c.1897).</span></p><p class="MsoNormal" style="text-align: justify; text-indent: 36pt;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjwlipIfCXRx-OU9gSQNrPnCgTvo3KomEtmS_XY2fgF0_KnKZdz1oFiQ7uhPezZi63lm1dmEBYu-OYWJ9GZY8Uu4AWdIMpIMz4sokBU-zQ15D6TxMPz6pR-hbWiPkZvCdNwhTv6kQfYZI1/s2048/kl.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1488" data-original-width="2048" height="465" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjwlipIfCXRx-OU9gSQNrPnCgTvo3KomEtmS_XY2fgF0_KnKZdz1oFiQ7uhPezZi63lm1dmEBYu-OYWJ9GZY8Uu4AWdIMpIMz4sokBU-zQ15D6TxMPz6pR-hbWiPkZvCdNwhTv6kQfYZI1/w640-h465/kl.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /><span style="font-size: small;">The ancient Jain temple at Chitaral, Kanyakumari District, Tamil Nadu, c.1890s. Photograph by Chatayam Tirunal Rama Varma. From the private collection of the author.</span></td></tr></tbody></table><p></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span face="" style="font-family: garamond, serif; font-size: 12pt; line-height: 115%;">The following excerpt from a letter (dated 9th May 1898)
written by the Prince sheds light on an interesting photographic expedition he
made to the southern districts. </span></p><p class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span face="" style="font-family: garamond, serif; font-size: 12pt; line-height: 115%;">“<i>Many years ago on one of my photographic
outings in the southern districts of our picturesque country I was attracted by
this interesting rock-temple (the famous Jain temple at Chitaral, Kanyakumari
District, Tamil Nadu). Going thither one fine morning camera in hand I exposed
a plate almost against the sun as the temple faces the west. The result was
nothing extraordinary. Still I have the satisfaction of added to my collection
of photographs one of a building of such classical interest</i>.” </span></p><p class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span face="" style="font-family: garamond, serif; font-size: 12pt; line-height: 115%;">Sadly, for
someone credited to have followed photography with such passion, this bromide
print of the temple at Chitaral is the only work that can be attributed to
the prince without a doubt.<b><o:p></o:p></b></span></p><p class="MsoNormal" style="text-align: left; text-indent: 36pt;"><span face="" style="font-family: garamond, serif; font-size: 12pt; line-height: 115%;"><b>Sharat Sunder Rajeev, 23 August, 2020.</b></span></p><br /></span><p></p>Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com4tag:blogger.com,1999:blog-5982207690876666118.post-1956879967986655852020-08-23T07:39:00.032-07:002020-08-24T04:34:41.901-07:00TALES FROM THE CAPITAL CITY – 130<p style="text-align: center;"><b>REMEMBERING ASWATHI TIRUNAL MARTHANDA VARMA B.A., THE 'PHOTOGRAPHER PRINCE' ON WORLD PHOTOGRAPHY DAY</b></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="1919" data-original-width="1554" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixXNuBq04CW7AewqrjS1jy_Hw35trz93JPv5b9EiDyfAejzQimT4BOKDO9MOUZ-KwVQZi8VzWKO0aKr-4jOmax0e-vQsgwt8ExWcUtiAKDOO_9BUWUKcg8rpkgjYXbyA-dOjVTKekaGdK3/w265-h328/04.jpg" style="margin-left: auto; margin-right: auto;" width="265" /><br /><br /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">H.H. Aswathi Tirunal Marthanda Varma B.A., c.1899, (detail). From a private collection.</span> </td></tr></tbody></table><p style="text-align: center;"></p><p class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span face="" style="font-family: garamond, serif; line-height: 115%; mso-bidi-font-size: 11.0pt;"><br /><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"> </span><span style="font-size: x-large;">A</span></span><span face="" style="font-family: garamond, serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">swathi Tirunal Marthanda Varma B.A., a.k.a., ‘<i>B.A. Prince</i>’
(b.1871-d.1900) — nephew of Maharajah Moolam Tirunal of Travancore — is
celebrated as an early amateur photographer, whose photograph of Swami
Vivekananda adorns the entrance to Swami’s room at Belur Math. Prof. K.
Sundararaman (Tutor to Aswathi Tirunal) records in ‘<i>The Life of Swami
Vivekananda</i>,’… “<i>The Prince was struck like all others who came into contact
with him, with the Swami’s striking figure and attractive features; and being
an amateur photographer, asked the Swami for a sitting and took a fine
photograph which he skilfully developed into an impressive picture.</i>” This
photograph was later shown in an exhibition conducted at Madras Museum. <o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 36pt;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZH8tMviFI_XLQk580ujtl71W6BzdiLRJktGTZwjWjuwBjg_g0jYtWqvD4euZQAQh-G9iTMrkutx-MOEuHUjOwvFm42EXzM_9mcdfuh0JqJpiubmPtbpUmIbxuK4qJnSEoZETQB9gU_upJ/s1252/1402403_10200759149676632_588157334_o.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1252" data-original-width="970" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZH8tMviFI_XLQk580ujtl71W6BzdiLRJktGTZwjWjuwBjg_g0jYtWqvD4euZQAQh-G9iTMrkutx-MOEuHUjOwvFm42EXzM_9mcdfuh0JqJpiubmPtbpUmIbxuK4qJnSEoZETQB9gU_upJ/w254-h328/1402403_10200759149676632_588157334_o.jpg" width="254" /></a><br /><br /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times new roman";"> <span style="font-size: small;">Aswathi Tirunal's photograph of Swami Vivekananda, 1892.</span></span></td></tr></tbody></table><span style="font-family: "times new roman"; text-align: center;"> </span><p class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span face="" style="font-family: garamond, serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">The print currently housed at </span><span face="" style="font-family: garamond, serif; font-size: 12pt; line-height: 115%; mso-bidi-font-size: 11.0pt; text-indent: 36pt;">Belur was </span><span face="" style="font-family: garamond, serif; font-size: 12pt; text-indent: 36pt;">sourced by Swami
Brahmananda, a monastic disciple of Sri Ramakrishna when he visited Travancore
in 1916. While stationed in Trivandrum, Brahmananda came to know that a photograph
of Swami Vivekananda was taken by the Prince of Travancore at the palace and
expressed an interest to procure a print of the same. It is known that the
negative of the picture was secured by P. Seshadri Aiyer from D’Cruz, the
Government Photographer (<i>Letter from Swamy Trilokyananda, R.K. Mission,
Calicut, 1962</i>).</span><span face="" style="font-family: garamond, serif; font-size: 12pt; mso-spacerun: yes; text-indent: 36pt;"> </span></p><p class="MsoNormal" style="text-align: justify; text-indent: 36pt;"><span face="" style="font-family: garamond, serif; font-size: 12pt; text-align: left; text-indent: 36pt;"><b>Sharat Sunder Rajeev, 19 August, 2020.</b></span></p><b></b><p></p>Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com0tag:blogger.com,1999:blog-5982207690876666118.post-20570253626821629642020-04-30T11:18:00.001-07:002020-04-30T11:21:37.901-07:00TALES FROM THE CAPITAL CITY – 129<b style="text-align: center;"><span style="font-family: "garamond" , "serif"; font-size: 12pt; line-height: 18.4px;"> THE PRINCE, GOVERNOR AND TAPIOCA</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcm5qkQjuFKuc5k_7MFFL8h0AI810-3JYod7LBYurd3RjLOpcf2bEoOu2tI9KT1KIOis1bmMqEQwXaGIFPPgaoD_RdeDHV2uBR-FIVlSGMwcBmroInMCXA0ruYVrs7F_n70R4xi5z25bVu/s1600/Untitled-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1359" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcm5qkQjuFKuc5k_7MFFL8h0AI810-3JYod7LBYurd3RjLOpcf2bEoOu2tI9KT1KIOis1bmMqEQwXaGIFPPgaoD_RdeDHV2uBR-FIVlSGMwcBmroInMCXA0ruYVrs7F_n70R4xi5z25bVu/s640/Untitled-1.jpg" width="539" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;">D</span>elicacies prepared from the starchy root of the cassava plant (tapioca) have been an integral part of the traditional Malayalee cuisine for over a century. Once debased as ‘<i>poor man’s food</i>,’ this tuber was introduced in the Travancore State as a popular crop by Maharajah Visakham Tirunal Rama Varma (r.1880-1885) during the last quarter of the nineteenth century. Visakham, the nephew of Swathi Tirunal Rama Varma, was an ardent botanist and promoter of agricultural novelties, also credited to have introduced rubber trees in Travancore.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">“<span class="_4yxp" style="font-style: italic;">Seven-l<span class="text_exposed_show" style="display: inline;">eafed-root - the true potato of India</span></span><span class="text_exposed_show" style="display: inline;">”</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">How and when did the tuber, a native of Brazil, reach the Kerala coast? No one seems to have a definite answer; however, tapioca was a staple food of the indigenous tribal clans, long before it reached the platter of the Prince. In more recent times, there are references to cassava being grown in Madras Presidency in the mid-nineteenth century. Europeans residing in the Presidency often substituted tapioca for potato, “<span class="_4yxp" style="font-style: italic;">which, when prepared in a peculiar way, is totally indistinguishable from the potato</span>.”</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Around 1870s, while travelling through Madras Presidency, Lord Napier, the Governor of Madras was invited to dine at the house of a certain gentleman. At the dining table, “<span class="_4yxp" style="font-style: italic;">His Lordship was peculiarly struck at the large size and fine flavour of certain potatoes</span>.” After complimenting the hostess for the sumptuous spread, the Governor enquired about the delicious potatoes served at the meal. To his amazement, the hostess revealed that the dish he relished the most was, in fact, <i>tapioca balls</i> made from tapioca root sourced from her garden (<span style="font-size: x-small;"><span class="_4yxp" style="font-style: italic;">The Athenaeum</span>, 1876</span>).</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Soon, the story of Lord Napier’s encounter with tapioca reached Visakham Tirunal. The Prince who was already informed about the benefits of the </span><span style="font-family: "times" , "times new roman" , serif;">cassava </span><span style="font-family: "times" , "times new roman" , serif;">plant wasted no time in sourcing some from the Royal Botanic Gardens, Kew, London. Some sources mention that the first tapioca plantation in Thiruvananthapuram came up inside the Fort, in the grounds of the </span><span class="_4yxp" style="font-family: "times" , "times new roman" , serif; font-style: italic;">Vadakkae Kottaram</span><span style="font-family: "times" , "times new roman" , serif;">, where Visakham Tirunal was based as the </span><span class="_4yxp" style="font-family: "times" , "times new roman" , serif; font-style: italic;">Elayarajah</span><span style="font-family: "times" , "times new roman" , serif;"> (</span><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">Sasibhooshan. M.G., <span class="_4yxp" style="font-style: italic;">Ariyapedatha Ananthapuri</span>, 2017</span><span style="font-family: "times" , "times new roman" , serif;">). </span></div>
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<span style="font-family: "times" , "times new roman" , serif; white-space: pre-wrap;">The old-timers recall tales of Visakham Tirunal’s earnest efforts to set up tapioca farms in various parts of the State. </span><span style="font-family: "times" , "times new roman" , serif;">When he assumed the <i>gaddi</i>, Visakham Tirunal issued a proclamation with specific instructions on cooking tapioca. </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">It explained in great detail that after cleaning the tapioca, it had to be cooked and the water discarded and the process repeated to remove the bitter taste (</span><span style="font-family: "times new roman" , serif;"><span style="font-size: x-small;">Saraswathy Nagarajan, <i>How tapioca came to Travancore</i>, The Hindu, June 27, 2019</span></span><span style="font-family: "times new roman" , serif; font-size: 12pt;">). </span><span style="font-family: "times" , "times new roman" , serif;"> However, the majority of residents in the capital initially refrained from consuming the tuber. In order to </span><span style="font-family: "times" , "times new roman" , serif;">instil confidence in the minds of the reluctant subjects</span><span style="font-family: "times" , "times new roman" , serif;">, Visakham Tirunal ordered the cooks at the royal kitchen to include tapioca to his menu - thus elevating the humble tuber to a sought after delicacy! </span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Sharat Sunder Rajeev.</span></div>
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<b style="text-align: center;"><span style="font-family: "garamond" , "serif"; font-size: 12pt; line-height: 18.4px;"><br /></span></b>Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com2tag:blogger.com,1999:blog-5982207690876666118.post-81311069458209895142019-09-22T07:27:00.000-07:002019-09-22T09:02:16.560-07:00TALES FROM THE CAPITAL CITY – 128<b style="text-align: center;"><span style="font-family: "garamond" , "serif"; font-size: 12pt; line-height: 18.4px;"> 'MUCHUNDAN NARAYANAN ACHARI' - A FORGOTTEN MASTER CRAFTSMAN</span></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSR1Yt6gZZ4lwz_vpV5LqZ3_bl7UKsdTqVwYtMLNLzOl8C5mY_vU27TU1m4nv5zow27UpHy-DKjQ6Q-Hynmu-94jWoPBY2LHej_NQgpMn1fHOLa9zz5P3hpabiBgeeufsgndLtntmzH7U7/s1600/01.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1093" data-original-width="1600" height="435" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSR1Yt6gZZ4lwz_vpV5LqZ3_bl7UKsdTqVwYtMLNLzOl8C5mY_vU27TU1m4nv5zow27UpHy-DKjQ6Q-Hynmu-94jWoPBY2LHej_NQgpMn1fHOLa9zz5P3hpabiBgeeufsgndLtntmzH7U7/s640/01.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #1c1e21; font-family: "helvetica" , "arial" , sans-serif; text-align: left;"><i><span style="font-size: xx-small;">The beautifully carved wooden lids from the box made by V. Narayanan Achari - private collection of the author.</span></i></span></td></tr>
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I first heard about V. Narayanan Achari (b.c.1880), a grand-uncle, while recording snippets of family history on the maternal side. Narayanan, known in the family circles as ‘muchundan’ (one with a cleft lip), had not left behind many tangible effects to preserve his memory down the generations. Narayanan never married and there were no photographs or records of him either in the family collections. I gathered that he passed away sometime during the late 1920s, struck down with small-pox. These tit-bits did not help much to reveal Narayanan’s true persona and I realised that to know more, I should dig deep into the pile of family lore and anecdotes.</div>
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Being born into a family of traditional carpenters, Narayana Achari honed his skills under the elderly craftsmen of his native craft-guild. His mastery in crafting sophisticated chests and cash boxes made him popular with an elite clientele. A beautiful wooden box made by the craftsman was later inherited by his nephew – my grandfather. The story goes that one fine day Narayanan summoned his brothers to his workshop to show them a box he made. The box had a secret cavity, in which a gold coin was sealed away by means of a unique locking technique known only to the master craftsman. Narayanan challenged his brothers to locate and unlock the cavity. The one who succeeded could claim the gold coin! Unfortunate for his siblings, none succeeded and Narayanan continued as the unchallenged master of the guild. This very box was tucked away in a corner of our attic, where it remained for ages, covered in dust. An attempt to get it down from the attic resulted in an accident when the box slipped right out of my cousin’s hands, tumbling down through the narrow wooden stairs. I managed to salvage a pair of beautifully carved planks, the lid of one of the inner compartments – but the box was lost.</div>
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According to my late grandfather, his maternal uncle’s greatest accomplishment as a master craftsman was acknowledged while he was associated with the construction (1916-1924) of the Sri Ramakrishna Ashram at Nettayam. There, it is said, he carved a large hooded snake on one of the doors. The carving was so life-like that many hesitated even to go near it! It seems like the wonderful story and the awe for the master craftsman filtered down the generations but no one in the family ever took an effort to visit the ashram to find out whether Narayanan’s menacing serpent was still there.</div>
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In 2015 I visited the ashram with my wife. The members of the monastic order extended a warm welcome; they took us around and explained the history of the Ramakrishna movement in Kerala and the unique architecture of the ashram building. I was all ears to the hosts but my eyes searched for the snake. I was charged with many new historical facts, but there was no trace of the snake. So, when we were about to leave I asked the Swamiji whether they had any snake motifs on any of the doors. “Why do you ask?” Swamiji was curious. A faint smile appeared on his face as he listened to my family lore. As soon as I finished, he took my hand and said, “come with me, I have something to show you.” He took me to the main hall, there, on one end was a beautifully carved wooden door set within a niche that doubled as a shrine. To my surprise, the huge snake was there! After all, it was part of the monastic order’s crest – how foolish of me to not have figured this before! I missed out the door before as it was kept open during the worship hours, hiding the carving from view. I could very well see why people refrained from touching the snake, it was huge, striking, and when I ran the fingers down its body, a chill went down my spine – it felt just like touching an actual snake!</div>
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<i>‘One with the cleft lip’ was indeed a master craftsman!</i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpETvv6Ma4Ydx3iUUVmFG5l-dQE-TW5pzshfCGOdpFE4DpiLfa30H8PoyEVNjWKzFC1q57S1qyEkFN2pxLakzZUo0d20vNxtSYA7mWpc2eW-gnrNoDtqGsI0cfu8ZTW5EZtX8ZDze7rdqR/s1600/02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="992" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpETvv6Ma4Ydx3iUUVmFG5l-dQE-TW5pzshfCGOdpFE4DpiLfa30H8PoyEVNjWKzFC1q57S1qyEkFN2pxLakzZUo0d20vNxtSYA7mWpc2eW-gnrNoDtqGsI0cfu8ZTW5EZtX8ZDze7rdqR/s640/02.jpg" width="395" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #1c1e21; font-family: "helvetica" , "arial" , sans-serif; text-align: left;"><i><span style="font-size: xx-small;"> The crest of Sri Ramakrishna Mission carved by Narayanan - from the door of the inner shrine, <br />Sri Ramakrishna Ashram, Nettayam, Thiruvananthapuram.</span></i></span></td></tr>
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Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com0tag:blogger.com,1999:blog-5982207690876666118.post-5152621955630042982019-04-10T09:24:00.001-07:002020-08-24T04:38:24.215-07:00TALES FROM THE CAPITAL CITY – 127<b style="text-align: center;"><span face="" style="font-family: garamond, serif; font-size: 12pt; line-height: 18.4px;"> REMEMBERING KILIMANOOR R. MADHAVA WARRIER</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg49q9T3VRTww51F0qDpEUTgvHAiZNbvfFW-3pz6ayAaVul5Zoqfcf1ExQ9mC_lzJ00A-MpC4HtQVzw52rkqtmVh3ae4ogtO65WE22JezdtFzet7nZoAC8Pk-X3aKTxF7oodifTRolNENax/s1600/Screenshot+%2528125%2529.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="226" data-original-width="817" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg49q9T3VRTww51F0qDpEUTgvHAiZNbvfFW-3pz6ayAaVul5Zoqfcf1ExQ9mC_lzJ00A-MpC4HtQVzw52rkqtmVh3ae4ogtO65WE22JezdtFzet7nZoAC8Pk-X3aKTxF7oodifTRolNENax/s640/Screenshot+%2528125%2529.jpg" width="640" /></a><br />
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<span face="" style="background-color: white; color: #1d2129; font-family: helvetica, arial, sans-serif; font-size: 14px; text-align: justify;"><span face="" style="background-color: white; color: #1d2129; font-family: helvetica, arial, sans-serif; font-size: 14px; text-align: justify;"><br /></span></span></div>
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<span face="" style="background-color: white; color: #1d2129; font-family: helvetica, arial, sans-serif; font-size: 14px; text-align: justify;"><span face="" style="background-color: white; color: #1d2129; font-family: helvetica, arial, sans-serif; font-size: 14px; text-align: justify;">Sometime back, my research on an old book on music led me to Kilimanoor palace. There, I met C.R. Kerala Varma (</span><i style="background-color: transparent;">Sanyāsi Thampuran</i><span face="" style="background-color: white; color: #1d2129; font-family: helvetica, arial, sans-serif; font-size: 14px; text-align: justify;">), a revered scholar who introduced me to the musical heritage of Kilimanoor palace and recalled the contributions of his own guru Sri. Kilimanoor R. Madhava Warrier. A few days back, as I went through my collection of old books, I was surprised to find a small book published in 1947, which never caught my attention before. This book, titled ‘</span><i style="background-color: transparent;">Chaitrakshetram</i><span face="" style="background-color: white; color: #1d2129; font-family: helvetica, arial, sans-serif; font-size: 14px; text-align: justify;">’, was a </span><i style="background-color: transparent;">thullal</i><span face="" style="background-color: white; color: #1d2129; font-family: helvetica, arial, sans-serif; font-size: 14px; text-align: justify;"> composed by Kilimanoor R. Madhava Warrier! </span></span><span face="" style="background-color: white; color: #1d2129; font-family: helvetica, arial, sans-serif; font-size: 14px;">Kilimanoor R. Madhava Warrier (b.1878-d.1960) was a renowned scholar and musician and composer associated with the Kilimanoor royal family. He was the son of Lakshmikutty Warasyar and '</span><i style="color: #1d2129; font-family: helvetica, arial, sans-serif; font-size: 14px;">Marumakan Thampuran</i><span face="" style="background-color: white; color: #1d2129; font-family: helvetica, arial, sans-serif; font-size: 14px;">' of the Kilimanoor royal house. Today, he is mostly remembered as the composer of songs in the movie '</span><i style="color: #1d2129; font-family: helvetica, arial, sans-serif; font-size: 14px;">Bhakta Prahalada</i><span face="" style="background-color: white; color: #1d2129; font-family: helvetica, arial, sans-serif; font-size: 14px;">' (probably for the Malayalam remake).</span><br />
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<tr><td class="tr-caption" style="text-align: center;">R. Madhava Warrier</td></tr>
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Madhava Warrier was fortunate to have lived in Kilimanoor palace during its golden age, i.e., during the lifetime of the legendary artist Raja Ravi Varma. The artistic tradition of the family was preserved by Raja Raja Varma, court painter to Swathi Thirunal, and his nephews Raja Ravi Varma and C. Raja Raja Varma. Mangala Bayi, the younger sister of Ravi Varma was also an artist of talent. Alongside the artistic tradition, the Kilimanoor royals claimed a rich tradition in music. Madhava Warrier's aptitude towards music was identified by his paternal family members and they arranged R. Samba Bhagavathar, the '<i>Mullamoodu Bhagavathar</i>' to teach the young lad. Young Warrier found his mentors in Goda Varma (b.1854-d.1904), younger brother of Raja Ravi Varma and his cousin Chatayamnaal Ittammar Ravi Varma Coil Thampuran (d.1850-d.1936), who were both musicians and composers of repute.<br />
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After the untimely demise of artist C. Raja Raja Varma, who was an assistant and private secretary to his elder brother, young Madhava Warrier accompanied Raja Ravi Varma on his journeys. The artist who had the habit of picking models from among his family members once asked Warrier to sit as a 'model'. Little did Warrier know that he was being cast as Sree Krishna in the '<i>Sree Krishna as Envoy</i>' (1906), an important painting ever done by the artist!</div>
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<tr><td class="tr-caption" style="text-align: center;">'Krishna as Envoy', 1906.</td></tr>
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When Raja Ravi Varma passed away in 1906, the members of the royal house, especially the children were inconsolable. For them, the legendary artist was a lovable <i>Valyammavan</i> (patriarch) whose presence in the house always called for a festive mood. To ease the pain of the children, Madhava Warrier penned the following couplet:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAwMHgytCstq2AMpGz3wQrYPRPtk0qQ9YO1jWl90ClCMD8ij8w5YlnMKn3sjCqkd6R34WKtwxsK_GRk9wRw0ar4aoGiS9JfdBG6Jb48anBgctK22HVfW44Zz2UQ4svCwyme1t_L-13IfiS/s1600/uit.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="347" data-original-width="1600" height="85" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAwMHgytCstq2AMpGz3wQrYPRPtk0qQ9YO1jWl90ClCMD8ij8w5YlnMKn3sjCqkd6R34WKtwxsK_GRk9wRw0ar4aoGiS9JfdBG6Jb48anBgctK22HVfW44Zz2UQ4svCwyme1t_L-13IfiS/s400/uit.jpg" width="400" /></a></div>
<i><span style="font-size: x-small;"><br /></span></i><i><span style="font-size: x-small;">Based on interviews with C.R. Kerala Varma, R.K. Varma, and Kilimanoor Chandran.</span></i></div>
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Sharat Sunder Rajeev</div>
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10/04/2019.</div>
Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com7tag:blogger.com,1999:blog-5982207690876666118.post-26781934701073120632018-07-29T11:03:00.000-07:002019-09-22T09:02:39.147-07:00TALES FROM THE CAPITAL CITY – 126<div align="center" class="MsoNormal" style="text-align: center;">
<b><span style="font-family: "garamond" , "serif"; font-size: 12.0pt; line-height: 115%;">REFLECTIONS OF AN OLD STUDENT<o:p></o:p></span></b><br />
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<span style="font-family: "garamond" , "serif"; font-size: 18.0pt; line-height: 115%;">D</span><span style="font-family: "garamond" , "serif"; font-size: 12.0pt; line-height: 115%;">o memories fade away with age? “No,” says eighty-six year old D. Sanal Kumar, who cherishes crystal clear memories of his student days in College of Engineering, Trivandrum. An alumnus of the Civil Engineering Department (1950-54 Batch), Sanal Kumar was fortunate enough to do both B.Sc. (Engg.) and M.Sc. (Engg.) course from this prestigious institution. Though he returned to his alma mater in the role of a lecturer, Sanal Kumar had to leave soon, to occupy the post of Junior Engineer in the Public Works Department. “I knew that I wouldn’t make a good teacher, but I certainly had some fine mentors here at the college,” recalls Sanal Kumar. “Dr. M.V. Kesava Rao, Prof. S. Rajaraman, Prof. M.P. Mathew, Prof. O.A. Mathew, Prof. M.G. Koshy, Prof. K.C. Chacko and Prof. J.C. Alexander are some of the names etched in my memory,” he adds.<o:p></o:p></span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 12.0pt; line-height: 115%;">Hailing from a middle-class Ezhava family in Oruvathilkotta, Thiruvananthapuram, Sanal Kumar had to overcome adverse conditions to attain his goals. “I am indebted to my father for providing the best education he could afford. When it was natural for boys to discontinue their school for the perusal of jobs, my father understood the value of education and made sure that his children excelled in studies.” After schooling at N.S.S. School, Palkulangara, Sanal Kumar joined for the Intermediate Course at Govt. Arts College, Thycaud, and finally landed in the College of Engineering, Trivandrum. “The college was located in P.M.G., housed in the buildings formerly used for the Office of the Chief Engineer. M.V. Kesava Rao, head of the Electrical Department was the Principal. Among the other teachers, Rajaraman sir taught <i>Solid Geometry</i> and J.C. Alexander sir taught <i>History of Architecture</i> and <i>Graphics</i>. Once, he asked the students to draw pictures of iconic buildings and render it with colour, the submissions were displayed on the walls of the central hall. J.C. Alexander, who took his post-graduation in Architecture from USA, was supposedly associated with the team involved in the design of the famous Empire State Building, New York City,” recalls Sanal Kumar.<o:p></o:p></span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 12.0pt; line-height: 115%;">In 1955 Sanal Kumar joined P.W.D. as Junior Engineer, but towards the end of 1959, he returned to C.E.T. to do M.Sc. in Hydraulics (1959-61 Batch). Among the teachers, Prof. K.C. Chacko and Prof. O.A. Mathew who handled classes for M.Sc. course left a lasting impression on him. O.A. Mathew had joined the Civil Engineering Department on deputation from the P.W.D. His thorough knowledge and practical approach to the subject made him popular with students; however, he went back to P.W.D. and was involved in the Thanneermukkam Bund Project. Sanal Kumar himself was involved in some of the ground-breaking projects undertaken by the Public Works Department. “While posted in Thiruvananthapuram, I worked with R. Velayudhan Nair, Engineer, P.W.D., who was associated with various prestigious projects like the construction of Medical College, Thiruvananthapuram. We worked together in the construction of T.B. Centre, Pulayanarkotta. At the same time, Velayudhan Nair was in charge of the construction of the main block of Govt. Ayurveda College and the Martyr’s Column in Palayam. All these buildings were inaugurated in 1958 by Dr. Rajendraprasad, the President of India.” The Martyr’s Column in Palayam was designed by J.C. Alexander. “Velayudhan Nair was perhaps the only man in the department who dared to make alterations in J.C. Alexander’s design sheets. But J.C. sir had complete trust in the engineer and said that Nair’s ‘<i>eraser</i>’ won’t touch his sheets unless there was some problem,” says Sanal Kumar. <o:p></o:p></span></div>
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<span style="font-family: "garamond" , serif; font-size: 12pt;">Around </span>mid-1960s<span style="font-family: "garamond" , serif; font-size: 12pt;">, Sanal Kumar was working on the Pampa Irrigation Project and later worked on the Kallada Dam Project (1970-71). “The Pampa irrigation project was particularly interesting,” recalls Sanal Kumar. “The engineers met with a challenge, working on a highly undulated landscape, directing the water from the Sabarigiri Hydroelectric Plant through the valleys for irrigation purpose. A detailed study of the geographic features followed and we made several tunnels cutting across the hills to facilitate uninterrupted flow of water to the farmlands.” Around the same period, he was also involved in the construction of the Engineer’s Pilgrim Centre in Sabarimala. One of his last assignments while in active service was the construction of Co-Bank Towers, an iconic building in Palayam, Thiruvananthapuram.</span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 12.0pt; line-height: 115%;">Sanal Kumar retired from P.W.D. in 1987, while holding the post of Chief Engineer and settled in Oruvathilkotta. “I am still connected with my old college mates, but now that age has restricted us, we don’t see each other that often. However, Sanal Kumar cherishes the celebrations organised by CETAA to mark the golden jubilee celebrations of their batch. On that day he and his batch mates made a journey to the old college building in P.M.G., retracing their steps to the past, the days of carefree student life, and the memories of their favourite teachers.<o:p></o:p></span></div>
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<span style="font-family: "garamond" , "serif"; font-size: 12.0pt; line-height: 115%;">The students of 1950-54 Batch in front of 'Old CET', photographed during the occasion of their Silver Jubilee celebrations hosted by CETAA:</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQQliovUgXVlXQDoGr-VBtjG-FRCvvbfiHCwEuY1FVsjTldMIRmkWE3EQIkjNjECefLegMkfT6QiM-pcZ-17W9GwN_gmRFnxr7QYPUWgtFNb2NHIntaPobi0DUXqsEdruERwgsPWj3-nm2/s1600/12.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQQliovUgXVlXQDoGr-VBtjG-FRCvvbfiHCwEuY1FVsjTldMIRmkWE3EQIkjNjECefLegMkfT6QiM-pcZ-17W9GwN_gmRFnxr7QYPUWgtFNb2NHIntaPobi0DUXqsEdruERwgsPWj3-nm2/s640/12.JPG" width="640" /></a></div>
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<span style="font-family: "garamond" , "serif"; font-size: 12.0pt;"><i>(Write-up based on an interview with D. Sanal Kumar, Chief Engineer, P.W.D. (Retd.), an alumnus of Civil Engineering Department (1950-1954 Batch). All pictures used in the write-up are from the private collection of D. Sanal Kumar.)</i><o:p></o:p></span></div>
Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com0tag:blogger.com,1999:blog-5982207690876666118.post-62372861896795394092018-07-29T10:48:00.001-07:002019-09-22T09:02:56.421-07:00TALES FROM THE CAPITAL CITY – 125<b style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; text-align: center;"> AN ARCHETYPAL SOUTH KERALA HOME</b><br />
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<span style="background-color: white; color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px;">'An archetypal South Kerala home', a write-up on Thekkae kottaram in the Padmanabhapuram palace complex, The Hindu, 26-05-2018.</span></div>
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Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com0tag:blogger.com,1999:blog-5982207690876666118.post-41292349304911750592018-07-29T10:43:00.000-07:002019-09-22T09:03:22.564-07:00TALES FROM THE CAPITAL CITY – 124<b style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; text-align: center;"> GATEWAY TO THE PAST</b><br />
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<span style="background-color: white; color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px;">'Gateway to the past', a write-up on Padinjarae Kotta and the stories associated with it, The Hindu, 12-05-2018.</span></div>
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Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com0tag:blogger.com,1999:blog-5982207690876666118.post-3465902339033060082018-07-29T10:39:00.000-07:002019-09-22T09:03:40.075-07:00TALES FROM THE CAPITAL CITY – 123<b style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; text-align: center;"> REMAINS OF THE DAY</b><br />
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<span style="background-color: white; color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px;">'Remains of the day', a write-up on Thekkae Putten Veedu, Kalkkurichi, a house constructed by Raja Kesava Das, The Hindu, 28-04-2018.</span></div>
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Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com0tag:blogger.com,1999:blog-5982207690876666118.post-1120829037243267812018-07-29T10:35:00.000-07:002019-09-22T09:03:55.778-07:00TALES FROM THE CAPITAL CITY – 122<div style="background-color: #fff9ee; color: #222222; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 15.4px; text-align: center;">
<b style="font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px;">A FAMED ABODE OF A FORMER DEWAN</b></div>
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<span style="background-color: white; color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px;">'A famed abode of a former Dewan', a write-up on Kravilakathu Putten Veedu, the ancestral house of Raja Kesava Das, The Hindu, 31-03-2018.</span></div>
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Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com1tag:blogger.com,1999:blog-5982207690876666118.post-27988470005677803562018-03-16T23:58:00.000-07:002019-09-22T09:04:12.142-07:00TALES FROM THE CAPITAL CITY – 121<div style="text-align: center;">
<b style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px;">A GATEWAY TO STORIES</b></div>
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<span style="background-color: white; color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px;">'A gateway to stories', a write-up on Vettimuricha kotta, the fort gate on the eastern side of the historic Fort, Thiruvananthapuram, The Hindu, 17-03-2018.</span></div>
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Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com1tag:blogger.com,1999:blog-5982207690876666118.post-87297877572263807732018-03-03T04:53:00.000-08:002019-09-22T09:04:45.148-07:00TALES FROM THE CAPITAL CITY – 120<b style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; text-align: center;"> NIRAMANKARA'S PLACE IN ANNALS</b><br />
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<span style="background-color: white; color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px;">'Niramankara's place in annals', a write-up on the ancient Siva temple at Niramankara, Thiruvananthapuram, The Hindu, 03-03-2018.</span></div>
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Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com0tag:blogger.com,1999:blog-5982207690876666118.post-59739326112849981142018-02-20T21:02:00.000-08:002019-09-22T09:05:06.785-07:00TALES FROM THE CAPITAL CITY – 119<b style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; text-align: center;"> A ROYAL TOUR TO TRAVANCORE</b><br />
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<span style="background-color: white; color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px;">'A royal tour to Travancore', a write-up on HRH Prince Albert Victor's visit to Travancore in 1889, The Hindu, 10-02-2018.</span></div>
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Sharat Sunder Rajeevhttp://www.blogger.com/profile/02380571235160788972noreply@blogger.com8tag:blogger.com,1999:blog-5982207690876666118.post-12199180610121414882018-01-14T23:00:00.000-08:002019-09-22T09:05:54.119-07:00TALES FROM THE CAPITAL CITY – 118<b style="background-color: #fff9ee; color: #222222; font-family: georgia, utopia, "palatino linotype", palatino, serif; font-size: 15.4px; text-align: center;"> FROM THE PAGES OF PRESS HISTORY</b><br />
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<span style="background-color: white; color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px;">'From the pages of press history', a write-up on Subodhini Press owned by the famed family of royal oculists, Thiruvananthapuram, The Hindu, 13-01-2018.</span></div>
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