SANGAM CLASSICS IN FRENCH : PONDICHERRY GNANOU DIAGOU..... DESERVES GLOBAL ATTENTION

IN NEW INDIAN EXPRESS NANDHIVARMAN ON TAMIL AND WESTERN MUSIC

VILLISAI VENDHAR PATTABIRAMAN THE NOBLEST PONDICHERRIAN

[Villisai Vendhar Pattabiraman conferring Dravida Maamani Award on A.Vanthiyathevan, Mrs.Umamaheswari Vanthiyathevan and N.Nandhivarman in picture ]

To preserve Villupattu, a folk art form a school girl danced at a public function. 

The next day she is bound to receive a surprise mail appreciating her dance. Soon after a state honour has been conferred on a scholar a mail lauding his work will land in his house. Yes, there is one person in Pondicherry who rejoices at everyone‘s achievement. This trait of 73- year –old Kalaimamani Pattabiraman has earned him a unique place in people‘s minds. Working to preserve the folk art, Villupattu, Pattabiraman has injected into its contents government schemes like family planning and maintaining a clean, hygienic environment. 

This multifaceted poet and singer also teaches French to those who aspire to learn. Mr. Qureshi, from Maharashtra, who picked up French with ease under the guidance of Pattabiraman was deeply impressed by his teacher and openly lauds him as ―living, eternal example of simple living, high thinking, and effective, practical teaching.‖ Pattabiraman is known for his Villupattu. The title Villisai Vendar conferred on him speaks about his zeal in preserving this folk tradition for the past 36 years through his tireless performances. The greatness of Tamil music lies in converting even stone pillars into musical instruments. Playing on a bow shaped instrument the singer narrates a story in songs interwoven with prose, along with messages and morals for society, creating a melodious and pleasant musical story that came to be known as the Villupattu. 

In his book, History of South Indian Carnatic Music from Vedic Times, Rangaramanuja Iyengar states, ―The basic culture of the peninsular South is that of the Tamil language and its civilization. It is reflected in every 200 aspect of life in the three regions of Andhra, Karnataka and Kerala. Carnatic music is the common heritage of the entire region. Though the major contribution came from Tamil there is no conflict in theory or practice. Ipso facto the instinct to draw music out of even granite is in evidence all over the South. This last line deserves special mention and attention. The greatness of the musical achievement of the Dravidian states deserves world recognition.

To extract music out of stone is one of the note worthy cultural gifts for which we owe our thanks to sculptors. In the Kumbakonam Kumbeswarar temple, and at Azwar Thirunagari, we can find a ―Nadasawaram‖ made out of stone. The pillars of temples situated at Azaharkoil, Madurai, Azhwar Tirunagari, Tirunelveli, Susheen diram, Kalakkadu, Tiruvananthapuram, Tirupathi, Tadipathri, Lepakshi, Hampi and many other places of the South are capable of echoing musical notes. 

Haling from such a rich culture and legacy, it will not be surprising to find weapon shaped musical instrument indicating the inner urge of a highly civilized society that wants weapons too to eschew violence and produce music. The traditional musical instrument of the Tamils was yazh and the singers of that instrument are known as Yazpaanar, and Yazhpaanam is a territory in Sri Lanka. There were 18 kinds of ‗Yazh‘that prevailed for centuries all over the region. Yazh is a musical instrument that was popular even from the pre-historic period. Vipulananda Adigalar in his ―Yazh Nool‖ mentions a variety of yazh known as Villyazh, i.e. yazh made in the shape of a bow. Villyazh had strings but the later day Vill did not have any string. Justice Maharajan, a renowned Tamil scholar, mentions Sathur Pichaikutty as one who laid the foundations for the emergence of Villupaatu. 

The great comedian Kalaivanar N.S Krishnan popularized Villu pattu and the story of Gandhi Mahan in villupaatu performed in radio by him deserves 201 special mention. There are some more noteworthy artistes like Kuladeivam Rajagopal, S.S.Rajendran, Sevalkulam Thangayya, Nelvalai Narayanadas, Mamsapuram Baludravidan, Madathur Arunachalam, Selliah, Kovai Muruganantha Bharathy,Kanchipuram Panjatcharam, and Muthu Ganesan as mentioned by Villisai Venthar Pattibiraman in his book Isai Thantha Isai. The high pitched voice of S.S. Rajendiran, known as Latchiya Nadigar [Actor with Ideals]. and his dramatic talent created an everlasting impact on Kalaimamani given by the Government of Pondicherry. The South Zone Cultural Centre, which wanted to promote this folk art, has accepted Pattibiraman as a traditional guru and provides Assistance. The high pitched voice of S.S Rajendiran, known as Latchiya Nadikar [Actor with Ideals] and his dramatic talent created an everlasting impact on Kalaimamani Pattabiraman who started to tread in his footsteps. It has earned him many awards like the Kalaimamani given by the Government of Pondicherry. The South Zone Cultural Centre, which wanted to promote this folk art, has accepted Pattabiraman as traditional guru and provides assistance. He also has many books to his credit. Varumaiyai Ozhippom., Padithan Parungalen, Vaarungal Malaysiavuku, Pillaigale Ungalukkaga and Sathigal Illaiyada are some of his books. A teacher who won the National award for the best teacher from then President R Venkataraman in 1986, he is spreading this folk art under the guru-shishya parambara scheme. His voice can be heard in most of the government and school functions here.Yet his humanistic nature, the abundant love he has for his kinsmen and the social concern that finds expression in his poetry have won him many friends who call him the noblest citizen of Pondicherry. 

Courtesy: New Indian Express: 11th September 2004 : N.NANDHIVARMAN

SALUTING THE STUDENT OF DR.VISAYA VENUGOPAL R.BALAKRISHNAN I.A.S through TAMIL MEDIUM

TOPONYMICAL PROBE TRACING ONENESS OF HUMANITY 

 N.Nandhivarman                                                                 2005 

Pondicherry is a melting pot of various linguistic groups and cultures. Therefore it is no surprise that lot of people from Orissa have found a haven in Pondicherry. Trailing them to study for his research papers R.Balakrishnan I.A.S, Chief Electoral Officer of Government of Orissa often visits Pondicherry. There is another dimension to his visits, which is to pay respects to his teacher Dr.Visayavenugopal of Ecole Francaise D’Extreme Orient. Mr.Balakrishnan had presented numerous research papers and he specializes in toponymical probe.

  

“Place names are fossilized representations of the past. In retracing the footprints of our ancestral migrations, place names can be our guiding stars. Our case in this regard is built on the foundation that the migrating people do carry their place names and reuse them in new found homeland as a mark of continuity with past.” says R.Balakrishnan explaining the rationale of the toponymical probe he had ventured into.

 In an article that appeared in the International Journal of Dravidian Linguistics, R.Balakrishnan throws “New lights on ancient contacts between Kalinga and Indonesia”. A study conducted by him revealed remarkable similarities between the place names of Java, Sumatra and Bali regions of Indonesia on one hand and the places of Southern Orissa on the other hand. The Chilka region of Orissa seems to have been the focal point of Kalingan interactions with South East Asia.

 Balakrishnan is serious in his research and had done extensive travel to remote regions to draw similarities of place names. In another research paper titled Tamil: A Toponymical Probe he had given a long list of place names that bear the “Tam” prefixes. In a state wise alphabetical list of Tam prefixed place names in India, he states that in Andhra Pradesh [29], Arunachal Pradesh [11], Assam [38], Bihar [53], Gujarat [5), Goa [1], Haryana [3], Himachal Pradesh [34], Karnataka [24], Maharastra [120], Meghalaya [5], Manipur [14], Madya Pradesh [60], Nagaland [4], Orissa [84], Punjab [4], Rajasthan [26], Tamil Nadu [10], Uttar Praseh [64], West Bengal [24] with a grand total of 612 places names resembling Tamil and Tamil influences do occur.

    

This research may sound funny, but researches are always working out new avenues to trace truths of the past. One of the pioneers of rice research in India Mr.Ramiah had identified Jeypore region of Orissa as another independent center of origin of rice. Subsequent researches established that broad geographical region comprising Jharkand; Chattisgarh, Western Orissa and Jeypore tracts of Orissa satisfy the basic requirements to claim as center of origin of cultivated rice. If one can trace roots of rice cultivation why not trace roots of a civilization and its spread, asks Dr.Arivunambi, Dean of Tamil Studies in Pondicherry University.

 “In the Godda District of Bihar there is a village named Tamilgoda. In that District alone there are 12 place names, which end goda Tamilgoda is one of them. In the Puri District of Orissa a place name called Tamilikudi draws our immediate attention. There is no need to establish the Dravidian etymology of the suffix kudi. Tamilikudi is not an isolate case of occurrence as there are 37 place names with kudi suffix within the administrative boundary of Orissa.

 “In the process of locating Tamil related place names the entire list of India was scrutinized and I found a name called Tamia in Chindwara District of Madya Pradesh. Having come across Tamilgoda and Tamilkudi is not surprising to me. However when this name was noticed in the surprising company of such typical Tamil place names Palani, Tekadi, Theni, Bodi and many other geographical names that are in currency in the Madurai region of Tamilnadu and its adjoining upcountry neighbor Idukki, its significance and implications could be understood,” says Balakrishnan.

 Another research paper titled  “Toponymy of Konark”, by Balakrishnan traces the spread of the word Kona. The place name of Konark is a combination of two words kona and arka. A search for Kona as a place name prefix reveals as many as 249 occurrences. Out of this Kona, a mono word place name has been used at least in 13 places [4 in Andhra Pradesh, 3 in Uttar Pradesh, 2 in Madya Pradesh one each in Orissa, Bihar, Haryana and Maharastra]. Kon seems to be a universal term. ‘The primitive tribes of Austro-Asiatic and Dravidian origin use the term as much as the speakers of Indo-Aryan do. Even the English terms such as cone, conical based on Latin conus (derived from Greek konus) show definite affinity with the term. 

Depending on the context, Vedic people used a number of terms to denote angle and most common of them is Karna. The term Karna means Sun, the son of Kunti by Surya and hence the sun nexus of the term would be obvious. Karna denoting ray or beam of light is considered to be the basis for the Greek term Karneios that means radiant. This establishes the nexus between the angle and ray. The Peruvian prefix Kon means Sun and the mythical Sun king who claimed direct descent from Sun is called Kon-Tiki. So goes on Balakrishnan identifying in Iran on the Gulf of Oman just 3 km away from main coastline a village called Konark. About 5 kms away from Persian Gulf he traces another village Konark. Again in the plateau of Iran he finds Konark. The toponymical probe is a new way to establish oneness of the human race. Deveneya Paavanar and his successor R.Madhivanan have used etymological probes to prove that all languages emanated from one common language. As all continents were once united in Pangea that in Latin means All Earth, the distribution of place names across continents in another way proves continental drift and the migration of human race from one place to another.

courtesy: The New Indian Express -weekend-18.06-2005

PONDICHERRY DANCER KRISHNAMITHRA DANCED ON MUDPOT AND TEA GLASS

Pleasant Blending of Painting and Dancing

N.Nandhivarman

A French girl driven by burning desire to gain proficiency in Tamil Dance came all the way from France to the erstwhile French colony of Pondicherry. Her quest did not end in disappointment when she found a choreographer to teach her the nuances of dance with perfection. Pondicherry Tamil Sangam, the cultural hub in the town one evening was stunned to listen a French girl speak in Tamil with her own accent and dance her way to their heart. The girl stood on a pot and performed the “Kuda koothu”, a dance form that is spoken in Tamil epic Silapathigaram. These dance forms were in vogue much before the time of Tamil epic Silapathikaram. The mythology says that a King Vanan, who got infuriated by the love affair between his daughter and the son of Love God Manmathan also known as Kaman, put him in a prison. Perhaps there was no POTA in those days may be POLA (Prevention of Love Act) existed.

 To secure the release of Aniruthan, the son of Kaman, Lord Vishnu performed various peculiar dances known as “Vinotha Koothu” to distract the attention of the prison guard. The author of“ Pancha Marabu” Arivanar and Saint Thirumangai Azhvar in Nalayira Thivya Prabantham mention about Kuda koothu. This type of dance is nowadays called Karagattam. The folk dancers also call it Paanai Karagam in Tamil.  In Andhra Pradesh this is called as Karagalu and Pooja-kunitha whereas in Karnataka its own version of pot dance is called as Puttakunitha. In Madya Pradesh, Gujarat, Rajasthan, Sikkim they have pot dances with different names in different regions. French girl Benedict Doe stayed in Murugan’s house and learnt this dance in short duration. Murugan also teaches freely at the Tamil Sangam premises to students and had many stage performances to his credit all over India.

Those who had seen the late matinee idol M.G.Ramachandran and Padmini’s dance sequence in film “Mannathimannan” will remember how difficult it is to draw some painting by calculated and measured footwork while performing dancing. Painting in Tamil is known as Chithiram and hence this dance form is known as Chithira natyam. The 16 th century book written by Gangai Muthu Nattuvanar called Natanathi Vathiya Ranjanam narrates how this dance form emanated. At Thiruvalangadu a dance competition between Lord Shiva and Goddess Kaali took place and in that competition Lord Shiva performed Chithira Natyam. Lord Shiva had created 108 thandavas, i.e. dance variations to suit each and every occasion and in that 12 forms are unique. One of them is called “Uruthuba Thandava.” and that thandava is Chithira Natyam.

In Epic Silapathigaram’s chapter Arangetru Kaathai this dance is mentioned as Chithira Karnam. Panchamarabu speaks about Vinotha Koothu and one of its types is Chithira Natyam. Chithira Natyam has many varieties named after the pictures drawn by footwork.  In Radhabandam a dancer draws Temple Car, an Elephant in Gajabandham, a snake in Nagabandam, Eagle in Garuda Bandam, Elephant in Karikolam, Peacock in Mayurabandam, Lion in Simmabandam etc and these dances derived their names by the pictures drawn by the footwork of the danseuse. During 17 th century the Tanjore King Sagasi Maharaj in collaboration with a Poet Bharatha Kasinathan created a number of varieties of dances under the common title Vichithira Natiyam, that is peculiar dances. Thiagaraja Vinodha Chithra Prabandam and Sabdam Ennum Thala Sorkattu published by Thanjai Saraswathi Mahal speak about this dance under title Vichithtra Natya Marabu.

These dances were performed in court of the Emperor’s of Chola dynasty  . They spread a Rathina Kambalam, floor mattress of silk and put soft and wet sand over it. While the dancers dance their foot impression will create the picture they want to present to our eyes. Murugan’s students nowadays spread a sponge pad of 10 x 15 feet and pour ink over it. Then they cover it with a white cloth. While dance is performed the impression emerges. His disciple and impressive dancer Miss. L.R.Krishnamithra is also teaching dances freely at Tamil Sangam Pondicherry.  She performs with ease these Chithira Natyam and dances on the top of a clay pot, on the top of a 2 glass tumblers etc, winning numerable fans.

Through dance Murugan spreads his message of National integration and resolve against terrorism. The songs composed for the dances choreographed by him, and translated into English and Hindi are woven together in one dance titled National Procession to Abolish Terrorism and it is perfomed in 3 languages at the same time in succession. “We have forgotten our mother of United India after independence; in this occasion we have to gather to pray to Her to drive terrorism” so ends his appeal. But this traditional dance forms are adapted to inculcate apt messages of our times which is a laudable exercise. Reviving dances spoken in our epics and blending of dancing and painting in unique fashion highlights the greatness of the Tamil’s past which is relived in present by numerous young dancers getting trained continuously as a stream by the Tamil Sangam under Murugan’s and Krishnamithra’s guidance. Miss Krishnamitra is a dancer who has lot of talent which had to reach the world stage. If that happens not only she will be famous, the world will know about the greatness of Tamil dances.

Courtesy :   21.8.2004 : NEW INDIAN EXPRESS

UNIVERSAL FESTIVAL OF HARVEST IN NEW INDIAN EXPRESS : N.NANDHIVARMAN

[Thai Pongal is a thanksgiving festival dedicated to the Sun God. It is a four-day festival which according to the Tamil calendar is usually celebrated from January 14 to January 17. Thai Pongal corresponds to Makara Sankranthi, the harvest festival celebrated throughout India.Wikipedia ]

UNIVERSAL FESTIVAL OF HARVEST

N.Nandhivarman [22.1.2005 ]

[The Mid-Autumn Festival is a harvest festival celebrated notably by the Chinese and Vietnamese peoples. The festival is held on the 15th day of the 8th month of the lunar calendar with full moon at night, corresponding to late September to early October of the Gregorian calendar with a full moon at night. Wikipedia ]

Tamils are celebrating Pongal. In North India it is known as Sankranthi. This festival of harvest is universal one practiced by remote tribes on earth and people of various cultures, which again proves the oneness of humanity.

In the Volga region when the Sun was moving in the direction of spring, people came together to forecast the future harvest. The Mari and Chuvashes, tribal groups in Volga region prepared special food for this festival of harvest. These festivals were connected with first ploughing and sowing. The festivities took place in the field. A little bit of food was sacrificed to Mother Earth.

Slav people had their sun deities. They were called Svarog, Dazhbog, and Khors.The word god (bag) is same in all Slavic languages. You can see the resemblance with Iranian baga and Indian bhagwan with the Slavic bag. These similarities also remind us that beliefs are universal.

The Zulus of South Africa worshipped the Goddess Nomkubulwana. They believed that this goddess made land fertile and was the mythical originator of agriculture. Only women did all farming work among Zulu tribes and they only performed rites and chanted prayers for a good harvest.

Almost all people of the Caucasus region worshipped guardians of harvest and other kind of livestock. Does it make us think about Maattu Pongal, thanksgiving to cattle prevalent among Tamil people.

Celtic gods were guardians of fertility and agriculture. River Gods and Spring Gods were existent. Esus was the god of plant life.

In Mexico the agrarian influence could be seen in the Uitzilopochtti cult. During the celebrations held twice a year an enormous dummy of the God was made out of flour dough and honey. After the religious rites are over the figure was broken into pieces and eaten by all the participants.

In the Chinese civilization the cult of Shen-nong i.e Divine Farmer is note worthy. The legendary Divine Farmer is supposed to have invented agriculture. A special sacrificial altar was devoted to him in Peking, where the emperor solemnly brought offerings. In early spring every year an important state ceremony was held to mark the first ploughing season. The Chinese Emperor accompanied by prominent dignitaries ploughed a furrow on a sacred plot of the land. The God of the land was known as She and peasants offered sacrifices to her as part of spring and autumn rituals.

 In the Shintoist religion of Japan the most revered Gods are Amaterasu i.e Sun Goddess and Inari i.e Rice Man, the guardian of farming portrayed with two rice stalks and often together with a Fox.

In the ancient Egyptian religion the God Osiris deserves mention. Every year Egyptians celebrated the death and resurrection of Osiris. The image of Osiris was made out of sown wheat on the layer of soil that was sprinkled into a special wooden frame. These festivities lasted 18 days and involved ritual plouging and sowing. Osiris is the direct personification of grain,

In Asia Minor the Mother of the Gods was named Ma, Rhea, and Cybele. Her husband was a young god of fertility named as Attis. There is also another myth about the deity of plant life and fertility. God Telepinus once suddenly disappeared it is stated. Because of his disappearance grass dried up. Fields failed to yield crops. Cattle stopped multiplying. Woman no longer bore children. To put an end to this state of affairs the other gods organized a search for this God. A bee found him and awakened him, so goes the myth.

In Greek religion in the agricultural cult Demeter, the goddess was offered with bloodless offerings like fruits, grapes, honey combs and freshly reared sheep wool. These offerings were placed on an altar and covered with olive oil. Numerous such stories, myths and beliefs could be found in various civilizations. The Greek Goddess Hera wife of God Zeus was apparently a cow goddess. Signs of cow worship were found in excavations. It is heartening to note that Tamils worshipping cow goddess in Maattu Pongal times is a practice found in Greek civilization too.

In the Roman religion in the first month of spring March , festivities were held in honour of Mars. Faunus was the guardian angel of livestocks and he was the god of shepherds. At the end of winter on Feb 17 a jolly holiday Lupercalis was celebrated in her honour. Liber was the god of wine making. Saturnus the god of sowing. Jupiter the god of grapes.

Romans too worshipped gods as Pax (Peace), Spes (Hope), and Virtus( valour), Justitia (Justice), Fortuna( Happiness) etc. If we analyze at the concepts on religion in various cultures we can understand its inherent meanings. Mankind had been striving to be grateful to Nature and agricultural festivities like Pongal demonstrate this common urge of human race, which is one and indivisible. While Tamil people hail Pongalo Pongal an d thank Nature for its kindness, Harvest festivals of  various civilizations reminds us that our festival has universal appeal.

[Indonesian farmer...... ploughing his field........................ world is one. Farmers of the World Unite.. Overthrow corporate farming... ]

HISTORICAL ATLAS OF SOUTH INDIA : NEW INDIAN EXPRESS ; 16.7.2005

HISTORICAL ATLAS OF SOUTH INDIA

 N.Nandhivarman

 A partnership in research yields good results. At present “ The Department of Epigraphy and Archaeology of the Tamil University Thanjavur and The Laboratory of Geomatics and Applied Informatics of the French Institute Pondicherry have joined together to develop and deploy a digital Atlas of South India on the internet accessible to everyone, presenting the political, social and cultural and all inclusive history of South India through a combination of maps, illustrations, texts and geographical information” said Dr.Y.Subburayalu, Coordinator of the unique project on South India.

  Tamil University Thanjavur for past decade had been collecting each and every bit of information, which forms the basic data. It joined hands with the Institut Franciase de Pondicherry under the French Ministry of Foreign Affairs for incorporating all these data into the Atlas from 2000 and in four years covered lot of ground. In the meanwhile Mahatma Gandhi University of Kottayam, Mangalore University and Hyderabad University have joined as new partners. Because already for decades lot of basic data had been collected and readily available in Tamil Nadu and Kerala, the first phase of the project covers the entire two states. But since Andhra Pradesh and Karnataka entered late into the fray they are currently working on two pilot projects only to gain momentum soon.

 Using the maps by Survey of India as base maps and improving upon them with maps provided by satellite pictures the Historical Atlas of South India is being prepared. The satellite imagery will be in the background and these maps will have 30 layers of information packed to suit the needs of every scholar’s choice.

  The Geomatics and Applied Informatics Laboratory of the French Institute Pondicherry that plays a pivotal role is a laboratory that specializes in the acquisition, management, modeling and analysis of spatial information on the Indian sub-continent with the aim to address scientific queries. “The contribution of the laboratory to the research projects is based on expertise in the development of Geographic Information Systems and analysis of satellite remote sensing data and favours a multi-disciplinary and integrative approach. Recently, the laboratory was responsible for launching a new area of activity pertaining to the development of web-browser based applications for the dissemination of scientific results through CD-ROMs and the web” according to informed sources.

 Looking at the other side of the world we find that United Nations realized the need for a marriage of technology and history when it accepted in 1974 a new map prepared for the world by Arno Peters, a German scholar. Peter’s map shows countries in their respective sizes and is based on Peter’s decimal grid, which divided the surface of the earth into hundred longitudinal fields of equal width and hundred latitudinal fields of equal height.

 Because much before this map was accepted the Atlases based on Mercator maps showed Greenland and Scandinavia to be bigger than India. Russia appeared bigger than entire continent of Africa. It seemed that Europe occupied more areas than South America. “These are not due to limitations of mathematics, but a deliberate attempt to show Colonial Europe as bigger than non-European world” opines Vishal Sharma. Hence to rectify this anomaly Peter’s projections came to be accepted by United Nations. The Historical Atlas of South India too is an attempt to update knowledge keeping room to add fresh every new information as and when found. Thus it is an attempt to keep perfection and precision.

 Dating back to 5 lakh years and covering the Stone Age up to 10,000 years ago the Atlas travels down and the New Stone Age between 3000 to 4000 years ago. It covers the metal age and pre-historical period of 1600 A.D and thus Atlas provides every information in a nutshell. Tamil University Thanjavur, which studied extensively, and intensively Pudukottai area have established the contributions of Jains to the iconography of Tamils. The well built tank irrigation system of Pudukottai region with inscriptions found in the sluices of the tanks yielded lot of information on irrigation and land administration. This information is fed into the Atlas.

The Atlas is arranged in a time line of eight broad periods. It covers four major themes such as Political, Social, Economical and Cultural. Textual information is provided in link files. One can access these at http://www.ifpindia.org

Apart from the Atlas prepared by one of its divisions, The French Institute [IFP} has an extremely rare collection of photographs dating back to 1956. This assorted collection consists of about 1,23,000 black and white photographs and 5500 color films and slides focusing on South Indian religious art and iconography including temple views, stone and bronze statues, paintings, architectural motifs, pre-historic cave rock paintings, palaces, jewelry etc.

 The Department of Indology at the IFP has the unique distinction of being a meeting place for the exchange of scientific thoughts and ideas between Western Indologists on the one hand and traditional Indian scholars on the other. 

The Department houses an impressive collection of 10000 bundles of manuscripts and photographs of manuscripts on Saivasiddhanta along with 1,30,000 photographs of temples and sculptures on religious art in South India “In its vast centralized air-conditioned library from where one can see the Bay of Bengal it is surprising that local Tamil magazines and English news papers etc are not be found” commented a social activist. Researching the past must reach the present society and today’s news is tomorrow’s history.