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	<title>Blogger Scholar &#8211; Kalabodh</title>
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	<description>An Artistic Alchemy</description>
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		<title>The Terracotta&#8230;</title>
		<link>https://kalabodh.com/the-terracotta-temples-of-bishnupur/</link>
		
		<dc:creator><![CDATA[Ishani Gupta]]></dc:creator>
		<pubDate>Thu, 19 Jun 2025 11:16:32 +0000</pubDate>
				<category><![CDATA[Blogger Scholar]]></category>
		<guid isPermaLink="false">https://kalabodh.org/?p=7819</guid>

					<description><![CDATA[The term 'terracotta' is rooted in the Latin expression...]]></description>
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				        <section class="elementor-section elementor-top-section elementor-element elementor-element-5297f1ef elementor-section-boxed elementor-section-height-default elementor-section-height-default ct-header-fixed-none ct-row-max-none" data-id="5297f1ef" data-element_type="section">
            
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                <h5 class="item--title st-default case-animate-time" data-wow-delay="ms">
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                THE TERRACOTTA TEMPLES OF BISHNUPUR
                
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			<style>/*! elementor - v3.22.0 - 17-06-2024 */
.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}</style>				<p>The term &#8216;terracotta&#8217; is rooted in the Latin expression &#8220;terra cotta,&#8221; translating to &#8216;baked earth. &#8216; Terracotta can be straightforwardly defined as earthenware based on clay. The history of terracotta stretches back thousands of years. From the Indus Valley Civilization to ancient Mesopotamia, and from Greek culture to Chinese dynasties, terracotta has been utilized widely by various peoples throughout history. <br /><br />Bishnupur literally means city of lord Vishnu. This may be derived from the fact that the kings of Bishnupur were followers of Vaisnavism. Bishnupur, a quaint town in West Bengal, is a true repository of terracotta clay artistry. Here, one can experience a mesmerizing blend of history and creativity. The town is famous for its remarkable terracotta temples and sculptures that date back centuries. Temples and sculptures from this period reveal elaborate terracotta designs, highlighting a distinctive amalgamation of Hindu and Buddhist elements.These intricate works tell stories of mythological figures and ancient legends, providing insight into the region&#8217;s abundant cultural legacy. The terracotta art of Bishnupur continues to enchant visitors, standing as a testament to the lasting impact of this exceptional craft.</p><p>The town boasts a distinguished history, flourishing during the 17th and early 18th centuries. Under the governance of the Malla dynasty&#8217;s Hindu Rajas, Bishnupur cultivated a distinct architectural style and is celebrated for perhaps the finest and most intricate terracotta craftsmanship in Eastern India, which has endured the test of time. The terracotta tiles found in its temples and sacred sites illustrate narratives from the Ramayana, Mahabharata, and other mythological tales. In addition to its temple design, Bishnupur is famed for the skill involved in its terracotta figures, ceramics, jewelry, and various ornamental items. Recently, artisans from Panchmura, a nearby town in Bankura, have been producing thousands of terracotta panels that replicate the bas-reliefs found on the terracotta temples of Bishnupur. </p>						</div>
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							<p>This temple honors Krishna and was built by Durjan Singh Dev in 1694. It is celebrated for its exquisite terracotta sculptures, illustrating events from Krishna&#8217;s life and various mythological tales.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img decoding="async" width="512" height="343" src="https://kalabodh.com/wp-content/uploads/2025/06/2-1.png" class="attachment-full size-full wp-image-7828" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/06/2-1.png 512w, https://kalabodh.com/wp-content/uploads/2025/06/2-1-300x201.png 300w" sizes="(max-width: 512px) 100vw, 512px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Fig.3: Radha Shyaam temple. (Image by Amitabha Gupta- https://amitabhagupta.files.wordpress.com/2012/08/picture101.jpg)
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							<p>The Radha Shyam Temple is dedicated to Radha and Krishna and was constructed by the Malla monarch Chaitanya Singh. The terracotta panels on the structure portray moments from the Radha-Krishna legend.</p><p>The temple construction was actively done until the mid-19th century, during which time a variety of temples featuring exceptional terracotta craftsmanship were constructed. However, from the early 19th century onward, Western influences began to significantly impact styles, themes, and characteristics. Various socio-economic factors contributed to a swift decline in both the quality and quantity of temple construction and terracotta artistry. <br /><br />Reports from the 18th century indicate that Bishnupur was home to as many as 450 terracotta and laterite stone temples. Currently, only about 20 of these structures have survived. These temples are included on UNESCO’s Tentative List. They undoubtedly draw visitors globally who seek to appreciate the distinct architectural and artistic heritage of the area. The detailed terracotta carvings on these structures portray a rich array of religious and cultural narratives, establishing their significance in India&#8217;s architectural and historical heritage.</p>						</div>
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			<p><strong>About the Author:</strong></p><p><strong>Author: Ishani Gupta</strong></p><p><span style="font-weight: 400">Ishani Gupta, is an editor and an independent researcher. She holds a degree in Manuscriptology &amp; Palaeography from IGNCA &amp; holds professional training in Archaeology &amp; Art Appreciation from Indian Museum, Kolkata. The allure of heritage deeply resonates with her, and she aspires to be a curator of such treasures. She believes that every story from the past is worth discovering.</span></p><p><span style="font-weight: 400">LinkedIn &#8211; </span><a href="https://www.linkedin.com/in/ishani33"><span style="font-weight: 400">https://www.linkedin.com/in/ishani33</span></a><span style="font-weight: 400">  </span></p>		
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		<title>The Timeless&#8230;</title>
		<link>https://kalabodh.com/the-timeless-elegance-of-nauvari-saree-a-journey-through-history/</link>
		
		<dc:creator><![CDATA[Deepti Kulkarni]]></dc:creator>
		<pubDate>Mon, 16 Jun 2025 04:05:41 +0000</pubDate>
				<category><![CDATA[Blogger Scholar]]></category>
		<guid isPermaLink="false">https://kalabodh.org/?p=7808</guid>

					<description><![CDATA[The Nauvari saree, a traditional Maharashtrian drape, is...]]></description>
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                The Timeless Elegance of Nauvari Saree: A Journey Through History
                
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							<p>The Nauvari saree, a traditional Maharashtrian drape, is more than just a garment; it is a symbol of pride, heritage, and cultural identity. This iconic nine-yard saree, known for its unique draping style, has a rich history that dates back centuries. From being a warrior’s attire to a contemporary fashion statement, the Nauvari saree has evolved while retaining its essence. Let’s take a closer look at its historical significance, evolution, and modern-day relevance.</p>						</div>
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							<h5><span style="font-weight: 400;">Origins of the Nauvari Saree</span></h5>						</div>
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							<p>The Nauvari saree derives its name from the Marathi words ‘Nau’ (meaning nine) and ‘Vari’ (meaning yards), indicating its length. Unlike the conventional six-yard saree, the Nauvari’s extra fabric allows for a distinctive draping style. Historical records suggest that the Nauvari saree dates back to the 17th and 18th centuries, during the reign of the Maratha Empire.</p>						</div>
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							<p>One of the most fascinating aspects of the Nauvari saree is its association with women warriors. Women like Rajmata Jijabai, Maharani Saibai, Maharani Soyrabai, Maharani Tararanisaheb, Ahilyadevi Holkar, the famous Zansi ki Rani wore it daily and also during crucial times of battle for it was so easy to ride horses with wearing saree and not having to worry about it. Inspired by men’s attire, women adopted the Nauvari saree in a dhoti-style drape, allowing ease of movement while riding horses, wielding swords, and participating in warfare. This practical yet elegant draping method set the Nauvari saree apart from other traditional garments.</p>						</div>
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							<h5><span style="font-weight: 400;">The Role of the Peshwa Era</span></h5>						</div>
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							<p>The Peshwa period further cemented the importance of the Nauvari saree in Maharashtrian culture. Women from royal and aristocratic families wore finely woven Nauvari sarees made from silk and adorned with gold borders. The saree became synonymous with grace, dignity, and status. Peshwa queens and noblewomen showcased different draping styles, some of which are still followed today.</p>						</div>
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							<h5><span style="font-weight: 400;">Significance in Different Communities</span></h5>						</div>
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							<p><span style="font-weight: 400;">While the Nauvari saree was initially associated with warrior women and royalty, it gradually became an integral part of daily wear for women across various Maharashtrian communities.</span></p><ul><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Brahmin Women: The Nauvari saree became a staple among Brahmin women, particularly in Pune, Nashik, and Kolhapur. They draped it in a modest style, often covering the head with the pallu as a mark of respect.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Koli Community (Fisherwomen): Women from the Koli community, known for their vibrant lifestyle, adopted the Nauvari saree with a tighter drape, allowing them to move freely while engaging in fishing activities.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Rural Maharashtrian Women: In rural Maharashtra, women continued wearing the Nauvari saree while working in farms. The practical dhoti-style drape enabled them to perform laborious tasks without hindrance.</span></li></ul>						</div>
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							<h5><span style="font-weight: 400;">The Nauvari Saree in Cultural Traditions</span></h5>						</div>
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							<ul><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">The Nauvari saree is deeply rooted in Maharashtrian cultural traditions and festivals.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Lavani Dance: The vibrant folk dance of Maharashtra, Lavani, is incomplete without women draped in bright Nauvari sarees. The pleated drape enhances the dance movements, adding to the visual appeal.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Ganesh Chaturthi and Gudhi Padwa: During festivals like Ganesh Chaturthi and Gudi Padwa, women dress in Nauvari sarees to celebrate the occasion with traditional fervor.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Maharashtrian Weddings: Brides in Maharashtra often choose Nauvari sarees, especially in traditional wedding rituals like Antarpat and Mangalsutra ceremonies. The saree’s timeless appeal makes it a perfect choice for auspicious occasions.</span></li></ul>						</div>
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							<h5>Conclusion</h5><p><span style="font-weight: 400;">The Nauvari saree is more than just a piece of fabric; it is a testament to the resilience and elegance of Maharashtrian women. From battlefields to dance performances, from rural fields to red carpets, the Nauvari saree continues to hold its rightful place in Indian culture. Whether worn in its classic form or with a modern twist, it remains an enduring symbol of heritage, empowerment, and grace.</span></p><p><span style="font-weight: 400;">As we move forward, preserving and celebrating the Nauvari saree is essential in keeping our cultural identity alive. So the next time you see a Nauvari-clad woman, remember—you are witnessing a legacy that has withstood the test of time.</span></p>						</div>
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			<p><strong>About the Author:</strong></p><p><strong>Author: Deepti S. Kulkarni</strong></p><p><span style="font-weight: 400">She did her graduation in History and Master’s in Archaeology from Deccan College, Pune. Her areas of interest include Art, Architecture, Iconography and Religious Studies.</span></p>		
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		<title>Kohima War&#8230;</title>
		<link>https://kalabodh.com/kohima-war-cemetery-memorial/</link>
		
		<dc:creator><![CDATA[Ishani Gupta]]></dc:creator>
		<pubDate>Thu, 12 Jun 2025 04:46:23 +0000</pubDate>
				<category><![CDATA[Blogger Scholar]]></category>
		<guid isPermaLink="false">https://kalabodh.org/?p=7796</guid>

					<description><![CDATA[In the center of Kohima, the picturesque capital ...]]></description>
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                KOHIMA WAR CEMETERY / MEMORIAL
                
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							<p>In the center of Kohima, the picturesque capital of Nagaland, resides a grave site that resonates with bravery, selflessness, and the unyielding nature of the human spirit. Enter the Kohima War Cemetery, a touching tribute and a historically significant site that honors the Battle of Kohima. The backstory of this revered ground is both captivating and sorrowful. In the spring of 1944, during the Battle of Kohima, Allied troops engaged in a fierce confrontation with the Japanese, striving desperately to thwart their incursion into India. The conflict persisted for more than two months, transforming Kohima into a site of warfare. The Kohima War Cemetery was created to pay tribute to the soldiers who laid down their lives in this crucial battle, ensuring their legacy endures.</p>						</div>
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Commonwealth War Graves Comission <br>https://www.cwgc.org/visit-us/find-cemeteries-memorials/cemetery-details/2058100/kohima-war-cemetery/ 
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							<p>Upon entering the cemetery, you are embraced by lush greenery that instills a feeling of serenity. This site, located on Garrison Hill, overlooks Kohima city and offers sweeping views of the neighboring hills and valleys. Yet, within the reverence, one can also appreciate the beauty present. Designed by Colin St. Claire Oakes, the cemetery honors 1,420 Commonwealth burials from World War II, along with one non-war burial. </p>						</div>
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							<p>As you arrive, take a moment to reflect on the memorial dedicated to the 2nd Division, which carries the poignant inscription: &#8220;When you go home, tell them of us and say, for your tomorrow, we gave our today. &#8221; The cemetery also includes a moving tribute to the 2nd Battalion, the Dorsetshire Regiment, along with several other regimental memorials positioned on and around Garrison Hill, fostering a tranquil space for contemplation and memory. </p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="383" height="512" src="https://kalabodh.com/wp-content/uploads/2025/06/2-2.jpg" class="attachment-full size-full wp-image-7802" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/06/2-2.jpg 383w, https://kalabodh.com/wp-content/uploads/2025/06/2-2-224x300.jpg 224w" sizes="(max-width: 383px) 100vw, 383px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Commonwealth War Graves Comission <br>https://www.cwgc.org/visit-us/find-cemeteries-memorials/cemetery-details/2058100/kohima-war-cemetery/ 
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							<p>At the highest point in the cemetery lies the Kohima Cremation Memorial, dedicated to 917 Hindu and Sikh soldiers whose remains were cremated in accordance with their beliefs. After paying tribute, take some time to walk or drive around Kohima. Nearby stands the Cathedral Church, an impressive fusion of Gothic architecture and Naga design. Its colorful stained glass windows and serene setting make it a significant stop. A hike into the Dzükou Valley guarantees spectacular vistas of vibrant greenery and pristine streams surrounded by nature. In spring, the valley bursts into a spectacle of colorful flowers. The Naga Heritage Village provides an intriguing insight into the rich customs of Nagaland&#8217;s native tribes, allowing for meaningful interactions and a deeper appreciation of Nagaland&#8217;s culture. For those who love nature, a trek to the stunning Japfu Peak, the second-highest point in Nagaland, rewards adventurers with breathtaking panoramic vistas.</p>						</div>
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							<p>Regardless of when you choose to come, one truth remains: the memories created here will linger long after you leave. As you stroll among the gravestones, take a moment to commemorate those lost and contemplate the cost of freedom. In the center of Kohima, the exquisite capital of Nagaland, lies a grave site that resonates with bravery, sacrifice, and the unyielding human spirit.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="512" height="360" src="https://kalabodh.com/wp-content/uploads/2025/06/3-1.png" class="attachment-full size-full wp-image-7803" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/06/3-1.png 512w, https://kalabodh.com/wp-content/uploads/2025/06/3-1-300x211.png 300w" sizes="(max-width: 512px) 100vw, 512px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Kohima Cremation Memorial <br>http://www.kohimamuseum.co.uk/memorials/ 
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							<p><span style="font-weight: 400;">Enter the Kohima War Cemetery, a touching memorial and a pivotal historical site that honors the Battle of Kohima. The story of this hallowed ground is both captivating and tragic. In the spring of 1944, during the Battle of Kohima, Allied troops engaged in a fierce confrontation with the Japanese, desperately striving to stop their push into India. The fighting persisted for more than two months, transforming Kohima into a battlefield. The Kohima War Cemetery was created to commemorate the soldiers who made the ultimate sacrifice in this crucial conflict, ensuring their legacy remains alive.</span></p>						</div>
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			<p><strong>About the Author:</strong></p><p><strong>Author: Ishani Gupta</strong></p><p><span style="font-weight: 400">Ishani Gupta, is an editor and an independent researcher. She holds a degree in Manuscriptology &amp; Palaeography from IGNCA &amp; holds professional training in Archaeology &amp; Art Appreciation from Indian Museum, Kolkata. The allure of heritage deeply resonates with her, and she aspires to be a curator of such treasures. She believes that every story from the past is worth discovering.</span></p><p><span style="font-weight: 400">LinkedIn &#8211; </span><a href="https://www.linkedin.com/in/ishani33"><span style="font-weight: 400">https://www.linkedin.com/in/ishani33</span></a><span style="font-weight: 400"> </span></p>		
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		<title>Tying the Knot&#8230;</title>
		<link>https://kalabodh.com/tying-the-knot-seek-blessings-at-kalyan-swami-temple/</link>
		
		<dc:creator><![CDATA[Sadia Shakil]]></dc:creator>
		<pubDate>Mon, 09 Jun 2025 05:12:23 +0000</pubDate>
				<category><![CDATA[Blogger Scholar]]></category>
		<guid isPermaLink="false">https://kalabodh.org/?p=7775</guid>

					<description><![CDATA[Sri Kalyana Venkateswara Swamy Alyam is is an...]]></description>
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                Tying the Knot? Seek Blessings at Kalyan Swami Temple
                
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							<p>Sri Kalyana Venkateswara Swamy Alyam is is an ancient Hindu temple at Srinivasamangapuram in Tirupat. In Telugu, &#8220;Alyam&#8221; means home. It is believed that after his marriage to Padmavati, Lord Venketeswara Swamy spent six months living here. <br />The actual year and century of the temple have not yet been determined by archaeologists and temple experts. During the Sultans&#8217; rule in 1324, the historic Sri Kalyana Venkateswara Swamy temple was destroyed. Later, Chinna Tirumala Acharya, the poet-sage Annamacharya&#8217;s grandson, restored it in the 16th century. After that, the Tallapaka family looked after it for a while. The temple was governed by the Archaeological Survey of India (ASI) from 1967 to 1981 before being turned over to Tirumala Tirupati Devasthanam. The ASI has categorised the temple as an ancient monument of national importance.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="482" height="278" src="https://kalabodh.com/wp-content/uploads/2025/06/1-2.jpg" class="attachment-full size-full wp-image-7776" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/06/1-2.jpg 482w, https://kalabodh.com/wp-content/uploads/2025/06/1-2-300x173.jpg 300w" sizes="(max-width: 482px) 100vw, 482px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Night view of the Sri Kalyan Swami Temple, Mangapuram
https://www.trawell.in/andhra/tirupati/srinivasa-mangapuram
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							<h5>Architecture/ Materials Used/ Detailing/ Orientation/ Craftsmanship</h5><p>The temple was constructed in traditional Vijayanagara fashion. The main gateway, known as Mahadwarsm, is perched atop the &#8220;Adhishtanam,&#8221; a stone that is 10 feet tall. On either side of the entrance are stone statues of Tallapaka Annamacharya and his son Pedda Tirumala Acharya. A Dhwaja Sthambha with a pataka on top, symbols of Vaishnava traditions, and Garuda Dhwaja platforms can be found inside the temple complex. The temple&#8217;s door jambs have mala vahakas, elaborate flora with makara torana, lady attendants and a Gaja Lakshmi motif, as well as wall sculptures of elephants and horsemen. <br />Three shrines are part of the Venkateswara Vishnu Temple complex in Mangapuram. The two-life-size statue of Venkateswara Vishnu is located in the temple&#8217;s central shrine. He is known as Kalayana Venkateswara Swamy and is the temple&#8217;s presiding deity. The four-armed god is standing and facing west. Along with the seated statue of Lakshmi Narayana, there is an idol of Sri Ranganatha Swamy in a side chamber of the temple compound. Vishvakshamapathi&#8217;s idol is located in the third chamber or on the opposite side of the side room. Themandapa, which dates to the 14th through the 16th centuries AD, was allegedly erected during a later stage of the temple&#8217;s construction, according to the Archaeological Survey of India.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="481" height="299" src="https://kalabodh.com/wp-content/uploads/2025/06/2-1.jpg" class="attachment-full size-full wp-image-7784" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/06/2-1.jpg 481w, https://kalabodh.com/wp-content/uploads/2025/06/2-1-300x186.jpg 300w" sizes="(max-width: 481px) 100vw, 481px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Main building of the temple complex <br>
https://www.tirupatihelps.com/srinivasa-mangapuram-temple-history-timings/ 
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							<p>On a raised platform or plinth with ornate sculptures and mouldings on upana, adhisthana, and superimposed by a vedika frieze are the sanctum sanctorum and the side chambers, including the mandapam. 36 intricately carved pillars in the Mukha mandapa give it a lovely appearance. According to specialists in temple architecture, the mandap, also known as the temple porch or platform, was constructed between the 14th and 16th centuries and is considered to be the temple complex&#8217;s slightly later addition. There are exquisitely carved stone figurines that resemble Vijayanagar architecture. <br />The mandapams outside the temple date from the 14th to the 16th century. Both the Aartha Mandapa and the Maha Mandapa are square structures with pillars and pilasters. The toranas of the gaja (elephant), simha (lion), and makara (crocodile), as well as pushpa potikas, lotus buds, and friezes, are all included in these.</p>						</div>
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							<h5>Sociological Aspect</h5><p>For newlywed couples, who make this their first stop for prayers soon after their wedding, the temple has special meaning. It is also stated that people who are having problems getting married can pray here and resolve their issues. Every day from 11 am to 12 pm, the Lord is worshipped here during Kalyanotsavam. Attending this rite is thought to help devotees find relief from their problems.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="396" height="479" src="https://kalabodh.com/wp-content/uploads/2025/06/3.jpg" class="attachment-full size-full wp-image-7788" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/06/3.jpg 396w, https://kalabodh.com/wp-content/uploads/2025/06/3-248x300.jpg 248w" sizes="(max-width: 396px) 100vw, 396px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Deity -  Venkateshwara Vishnu <br>
https://www.thetelugus.com/blog/2019/12/07/sri-kalyana-venkateswara-swamy-alayam-srinivasa-mangapuram/?amp=1 
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							<h5>Folklore/Oral traditions</h5><p>According to legend, Lord Venkateswara left for Tirumala after marrying Padmavathi, the daughter of King Akasa Raja. However, while travelling, Venkateswara visited Sage Agastya who blessed the newlyweds before informing them of a proverb that states newlyweds shouldn&#8217;t climb any hills for the first six months of their marriage. Venkateswara and Padmavati spent the following six months residing at the ashram.<br />Lord Venkateswara and Padmavati were prepared to return to Tirumala after the six-month period was over. Venkateswara did, however, make two commitments before departing the ashram. One was a temple at the foot of the hill for those who, due to a disability, would not be able to climb the hill and get His darshan at Tirumala. The second was for individuals preparing to enter grihasthashram, or be hitched. Venkateswara guaranteed that individuals who attended the Tirumala Kalyanotsavam would always find a suitable partner. </p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="482" height="356" src="https://kalabodh.com/wp-content/uploads/2025/06/4.jpg" class="attachment-full size-full wp-image-7789" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/06/4.jpg 482w, https://kalabodh.com/wp-content/uploads/2025/06/4-300x222.jpg 300w" sizes="(max-width: 482px) 100vw, 482px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Embellished pillars of the Temple <br>
https://www.thetelugus.com/blog/2019/12/07/sri-kalyana-venkateswara-swamy-alayam-srinivasa-mangapuram/?amp=1 
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							<h5>Maintenance and Upkeep</h5><p>Since 1967, Tirumala Tirupati Devasthanams have been maintaining this historic temple, which is under the supervision of the Archaeological Survey of India (ASI), and rituals and utsavams have been conducted there since 1981. </p>						</div>
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							<h5>Bibliography:</h5><ul><li>Government of Andhra Pradesh. <em>Mining Report of Chittoor District</em>. Accessed March 27, 2025. <a href="https://www.mines.ap.gov.in/miningportal/downloads/applications/chittoor.pdf">https://www.mines.ap.gov.in/miningportal/downloads/applications/chittoor.pdf</a></li><li>Tirumala Tirupati Devasthanams. <em>More Temples</em>. Accessed March 27, 2025. <a href="https://www.tirumala.org/MoreTemples.aspx">https://www.tirumala.org/MoreTemples.aspx</a>.</li><li>in. <em>Srinivasa Mangapuram</em>. Accessed March 27, 2025. <a href="https://www.trawell.in/andhra/tirupati/srinivasa-mangapuram">https://www.trawell.in/andhra/tirupati/srinivasa-mangapuram</a>.</li><li>Tirupati Helps. <em>Srinivasa Mangapuram Temple History &amp; Timings</em>. Accessed March 27, 2025. <a href="https://www.tirupatihelps.com/srinivasa-mangapuram-temple-history-timings/">https://www.tirupatihelps.com/srinivasa-mangapuram-temple-history-timings/</a>.</li><li><em>Srinivasa Mangapuram: Importance, History, Legend &amp; Story</em>. Accessed March 27, 2025. <a href="https://prayanamam.com/srinivasa-mangapuram-importance-history-legend-story/">https://prayanamam.com/srinivasa-mangapuram-importance-history-legend-story/</a>.</li><li>The Telugus. <em>Sri Kalyana Venkateswara Swamy Alayam, Srinivasa Mangapuram</em>. December 7, 2019. Accessed March 27, 2025. <a href="https://www.thetelugus.com/blog/2019/12/07/sri-kalyana-venkateswara-swamy-alayam-srinivasa-mangapuram/?amp=1">https://www.thetelugus.com/blog/2019/12/07/sri-kalyana-venkateswara-swamy-alayam-srinivasa-mangapuram/?amp=1</a>.</li><li>The Hindu. <em>&#8220;He Weaves Stories Around Tirumala-Tirupati Landmarks.&#8221;</em> June 18, 2016. Accessed March 27, 2025. <a href="https://www.thehindu.com/news/national/andhra-pradesh/He-weaves-stories-around-Tirumala-Tirupati-landmarks/article14427629.ece">https://www.thehindu.com/news/national/andhra-pradesh/He-weaves-stories-around-Tirumala-Tirupati-landmarks/article14427629.ece</a>.</li><li>The Hans India. <em>&#8220;Tirupati: ASI Official Inspects Kalyana Venkateswara Temple.&#8221;</em> October 22, 2021. Accessed March 27, 2025. <a href="https://www.thehansindia.com/news/cities/tirupathi/tirupati-asi-official-inspects-kalyana-venkateswara-temple-714567">https://www.thehansindia.com/news/cities/tirupathi/tirupati-asi-official-inspects-kalyana-venkateswara-temple-714567</a>.</li></ul>						</div>
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			<p><strong>About the Author:</strong></p><p><strong>Author: Sadia Shakil</strong></p><p>Sadia Shakil is a post graduate in History and an independent researcher with specialisation in the field of art and cultural history. Her work spans heritage sites, historical literature and art and craft blogs.</p>		
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		<title>Maharashtrian Wada&#8230;</title>
		<link>https://kalabodh.com/maharashtrian-wada-culture/</link>
		
		<dc:creator><![CDATA[Deepti Kulkarni]]></dc:creator>
		<pubDate>Thu, 05 Jun 2025 04:29:00 +0000</pubDate>
				<category><![CDATA[Blogger Scholar]]></category>
		<guid isPermaLink="false">https://kalabodh.org/?p=7755</guid>

					<description><![CDATA[Maharashtra, a land rich in history and cultural...]]></description>
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                Maharashtrian Wada Culture
                
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							<p>Maharashtra, a land rich in history and cultural heritage, is known for its majestic forts, vibrant traditions, and age-old architectural marvels. Among these, the concept of ‘Wada’ stands as a significant symbol of the state’s socio-cultural and architectural legacy. The Wada culture, which flourished primarily during the Maratha and Peshwa eras, continues to hold historical and aesthetic value today.</p>						</div>
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							<h5>What is a Wada?</h5><p><span style="font-weight: 400;">A Wada is a traditional mansion or courtyard house that served as the primary dwelling for the noble and elite families of Maharashtra. These grand structures were influenced by both indigenous and Mughal architectural styles, reflecting a blend of functionality, aesthetics, and social hierarchy.</span></p>						</div>
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							<h5>Architectural Significance</h5><p><span style="font-weight: 400;">A typical Wada is characterized by its massive wooden doors, intricately carved pillars, and expansive courtyards. The layout usually consists of multiple sections:</span></p><ul><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">The Mahadwara (Main Entrance) – A large, artistically carved wooden door that serves as the entry point.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">The Chowk (Central Courtyard) – The heart of the Wada, where social gatherings, religious rituals, and discussions took place.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">The Devghar (Temple) – A dedicated space for worship, highlighting the deeply rooted spirituality of the inhabitants.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">The Diwankhana (Hall) – Used for official meetings and guest receptions.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">The Kholi (Private Rooms) – Residential quarters designed to offer privacy and comfort to family members.</span></li></ul>						</div>
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							<p>The construction materials mainly included teak wood, stone, and bricks, ensuring durability and protection from the elements. Many Wadas also featured secret passages and strong fortifications as a defense mechanism during times of conflict.</p>						</div>
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							<h5>Cultural and Social Relevance</h5><p>Wadas were more than just residential spaces; they were the epicenter of social and political activities. Many prominent leaders, including the Peshwas, conducted administrative affairs from these grand mansions. Festivals like Ganesh Chaturthi and Diwali were celebrated with grandeur, bringing together families and communities within these large, interconnected spaces.<br />In addition to being family homes, Wadas also functioned as centers of learning, with scholars and poets engaging in discussions on various subjects. The vibrant frescoes and carvings adorning the walls depicted mythological stories and historical events, preserving cultural narratives for future generations.</p>						</div>
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							<h5>The Decline and Preservation Efforts</h5><p>With changing times, many Wadas fell into neglect due to urbanization and modernization. However, efforts are being made to restore and preserve these historical structures. Organizations and heritage enthusiasts are advocating for the conservation of iconic Wadas like Shaniwar Wada in Pune and Vishrambaug Wada, ensuring that future generations can appreciate this remarkable aspect of Maharashtra’s history.</p>						</div>
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							<h5>Conclusion</h5><p>The Wada culture of Maharashtra is a testament to the state’s glorious past, showcasing its architectural brilliance and social dynamism. These structures not only reflect the lifestyle of their inhabitants but also narrate stories of valor, tradition, and community bonding. While modernization has transformed urban landscapes, the legacy of Wadas continues to inspire architects, historians, and culture enthusiasts alike.<br />Preserving and celebrating this heritage is essential to maintaining a connection with our roots. As we move forward, embracing the old with the new, the timeless charm of Maharashtrian Wadas remains a symbol of cultural pride and historical significance.</p>						</div>
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			<p><strong>About the Author:</strong></p><p><strong>Author: Deepti S. Kulkarni</strong></p><p><span style="font-weight: 400">She did her graduation in History and Master’s in Archaeology from Deccan College, Pune. Her areas of interest include Art, Architecture, Iconography and Religious Studies.</span></p>		
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		<title>Jewish Footprint&#8230;</title>
		<link>https://kalabodh.com/jewish-footprint-in-the-city-of-joy/</link>
		
		<dc:creator><![CDATA[Ishani Gupta]]></dc:creator>
		<pubDate>Mon, 02 Jun 2025 04:09:00 +0000</pubDate>
				<category><![CDATA[Blogger Scholar]]></category>
		<guid isPermaLink="false">https://kalabodh.org/?p=7730</guid>

					<description><![CDATA[Jewish communities have resided in Kolkata for ...]]></description>
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                JEWISH FOOTPRINT IN THE CITY OF JOY
                
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							<p>Jewish communities have resided in Kolkata for hundreds of years, with the first Jewish immigrants arriving in the city around 1798. These early settlers, primarily Baghdadi Jews originating from Iraq and various regions of the Middle East, rapidly formed a vibrant Jewish community by establishing businesses and places of worship like synagogues. The once-thriving Jewish community in Kolkata has made a noticeable impression on the city. Several notable structures in Kolkata, such as Esplanade Mansions near Government House, Chowringhee Mansions, Bamboo Villa, Sri Aurobindo Bhavan, and the Norton Building, were constructed by the Jewish community, underscoring their significant influence in Kolkata during the 18th and 19th centuries. </p>						</div>
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							<p>Pic 1 David Sassoon | Attribution: Arnold Wright, Public domain, via Wikimedia Commons</p><p>Pic 2 Ruth Prawer Jhabvala | Attribution: Gotfryd, Bernard, photographer, Public domain, via Wikimedia Commons</p>						</div>
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							<p>The city has hosted influential Jewish personalities from Sir David Sassoon to Ruth Prawer Jhabvala, each contributing significantly to both the Jewish experience and Indian film. Currently, tourists can delve into this vibrant heritage by touring locations like the Jewish Quarter or participating in festivities such as the Purim Carnival and Masquerade Ball, which joyfully honor Jewish traditions.</p>						</div>
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							<p>Three stunning synagogues exist (with two recognized as Grade 1 Heritage monuments by the Archaeological Survey of India), alongside two educational institutions, a cemetery, and numerous properties linked to these synagogues. A significant property located in Barrackpore, held in trust for the Jewish Boys School, is highly valuable and entrusted to the Official Trustee of Bengal for educational use. The Gubbay and Ezra Houses within the Kolkata Zoo are widely recognized, along with the Ezra Building at Calcutta Medical College. Ezra Street in Burrabazar honors the city’s merchant prince, Sir David Ezra. In Tikiapara, Howrah, one can find Bellilios Road and Bellilios Park. Businessman Emanuel Raphael Belilios departed from Calcutta for Hong Kong in the early 1860s, establishing himself as one of the merchant princes there.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="1600" height="1200" src="https://kalabodh.com/wp-content/uploads/2025/06/2.png" class="attachment-full size-full wp-image-7739" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/06/2.png 1600w, https://kalabodh.com/wp-content/uploads/2025/06/2-300x225.png 300w, https://kalabodh.com/wp-content/uploads/2025/06/2-1024x768.png 1024w, https://kalabodh.com/wp-content/uploads/2025/06/2-768x576.png 768w, https://kalabodh.com/wp-content/uploads/2025/06/2-1536x1152.png 1536w, https://kalabodh.com/wp-content/uploads/2025/06/2-600x450.png 600w" sizes="(max-width: 1600px) 100vw, 1600px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">The Beth El Synagogue in Kolkata. Credit: Tarunsamanta, CC BY-SA 4.0, via Wikimedia Commons.</p></div></div>		</div>
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							<p>The Jewish Quarter in Kolkata stands as a tribute to the city&#8217;s rich Jewish legacy. Situated centrally, this area has hosted the Jewish community for many years and is abundant with sites of cultural and religious significance. The Jewish Quarter is home to multiple synagogues, educational institutions, cemeteries, shops, and various establishments frequented by Jews across India. Notably, it houses prominent Jewish personalities who lived or passed away in the area, including Sir Elijah Moses Mocatta and Rabbi Solomon David Sassoon.</p>						</div>
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							<p>Neveh Shalome Synagogue is a place of Jewish worship found in Kolkata&#8217;s Jewish Quarter. Established in 1884, it ranks among the oldest synagogues in India and has played a vital role in Jewish life since its inception. Today, it acts as a spiritual refuge for numerous Jews residing in Kolkata and remains a venue for religious services on specific days throughout the year. The synagogue also organizes unique events like lectures, concerts, and exhibitions that honor Jewish heritage and culture.</p>						</div>
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							<p><span style="font-weight: 400;">The Jewish Cemetery of Kolkata is an important historical site that highlights the long-standing presence of the Jewish community in the city. Located adjacent to the Jewish Quarter, this cemetery, which dates back to 1864, contains numerous graves that narrate the history of Jewish life in Kolkata over the decades. </span></p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="512" height="286" src="https://kalabodh.com/wp-content/uploads/2025/06/4.png" class="attachment-full size-full wp-image-7747" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/06/4.png 512w, https://kalabodh.com/wp-content/uploads/2025/06/4-300x168.png 300w" sizes="(max-width: 512px) 100vw, 512px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Jewish Cemetery of Kolkata | Attribution: Rangan Datta Wiki, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons</p></div></div>		</div>
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							<p>Every year, the Jewish community of Kolkata joyously commemorates the holiday of Purim with a lively carnival and masquerade ball. This festive event takes place at various venues around the city, drawing in both Jewish and non-Jewish attendees. The carnival showcases traditional Jewish cuisine, music, dance performances, games for children, and costume contests that reveal imaginative outfits from participants. Guests can also partake in diverse attractions, including art displays, puppet performances, and magic shows to keep the atmosphere lively throughout the day. As night falls, the celebrations peak in a lavish Masquerade Ball, where attendees don intricate costumes inspired by beloved characters from Jewish folklore and literature.</p><p>Today, even though the number of Jews present are less than 100 and most of them are aging citizens, the Jewish community in Kolkata presents a distinctive and captivating narrative of perseverance, achievement, and endurance. </p>						</div>
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			<p><strong>About the Author:</strong></p><p><strong>Author: Ishani Gupta</strong></p><p><span style="font-weight: 400">Ishani Gupta, is an editor and an independent researcher. She holds a degree in Manuscriptology &amp; Palaeography from IGNCA &amp; holds professional training in Archaeology &amp; Art Appreciation from Indian Museum, Kolkata. The allure of heritage deeply resonates with her, and she aspires to be a curator of such treasures. She believes that every story from the past is worth discovering.</span></p><p><span style="font-weight: 400">LinkedIn &#8211; </span><a href="https://www.linkedin.com/in/ishani33"><span style="font-weight: 400">https://www.linkedin.com/in/ishani33</span></a> </p>		
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		<title>Hampi’s Cultural&#8230;</title>
		<link>https://kalabodh.com/hampis-cultural-legacy-from-festivals-to-folklore/</link>
		
		<dc:creator><![CDATA[Tanaya Acharjee]]></dc:creator>
		<pubDate>Thu, 29 May 2025 03:30:00 +0000</pubDate>
				<category><![CDATA[Blogger Scholar]]></category>
		<guid isPermaLink="false">https://kalabodh.org/?p=7667</guid>

					<description><![CDATA[Hampi, a UNESCO World Heritage site, isn't simply a ...]]></description>
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                Hampi’s Cultural Legacy: From Festivals to Folklore
                
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							<p>Hampi, a UNESCO World Heritage site, isn&#8217;t simply a spellbinding landscape of ruins and temples; it&#8217;s conjointly a living testament to centuries of culture, traditions, and lore. Close in Mysore, this ancient town was once the capital of the Vijayanagara Empire and continues to enchant visitors with its wealthy cultural heritage. On the far side its branch of knowledge grandeur, Hampi thrives through its vivacious festivals and unaltered legends that breathe life into its history.</p>						</div>
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							<h5><span style="font-weight: 400;">Festivals That Keep Hampi Alive</span></h5>						</div>
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							<p>One of the foremost fascinating aspects of Hampi’s cultural landscape is its festivals. These celebrations Change the historical ruins into Dynamic arenas of devotion, music, and dance, attracting pilgrims, artists, and history enthusiasts alike.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="512" height="383" src="https://kalabodh.com/wp-content/uploads/2025/05/3-4.jpg" class="attachment-full size-full wp-image-7676" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/3-4.jpg 512w, https://kalabodh.com/wp-content/uploads/2025/05/3-4-300x224.jpg 300w" sizes="(max-width: 512px) 100vw, 512px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Figure of Ranga Mandapa Vitthala</p></div></div>		</div>
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							<h5><span style="font-weight: 400;">Hampi Utsav</span></h5>						</div>
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							<p>The Hampi Utsav, also referred to as Vijaya Utsav, is that the most distinguished pageant celebrated within the region. Command annually, this grand event pays court to Hampi’s wonderful past. The pageant features cultural performances, processions, and folk music and dance. The well-lighted ruins underneath the night sky add a sorceries charm, creating it associate omissible spectacle.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="512" height="341" src="https://kalabodh.com/wp-content/uploads/2025/05/4-5.jpg" class="attachment-full size-full wp-image-7680" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/4-5.jpg 512w, https://kalabodh.com/wp-content/uploads/2025/05/4-5-300x200.jpg 300w" sizes="(max-width: 512px) 100vw, 512px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Figure of Hampl Utsava</p></div></div>		</div>
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							<h5><span style="font-weight: 400;">Purandaradasa Aradhana</span></h5>						</div>
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							<p>Dedicated to the 16th-century saint-composer Purandaradasa, this pageant celebrates Carnatic music with pious concerts and classical performances close to the famed Vittala Temple. Musicians from across the country gather to pay tribute to the legendary musician, whose hymns still echo within the temple halls.</p>						</div>
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							<h5><span style="font-weight: 400;">Mahanavami Festival</span></h5>						</div>
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							<p>During the Vijayanagara period, the Mahanavami pageant (also known as Dasara) was one amongst the grandest celebrations in Hampi. The pageant was held at the Mahanavami Dibba, a colossal platform where the king and his court would witness grand processions, military parades, wrestling matches, and cultural performances. The event symbolized the empire’s power and devotion to Hindu deity Durga. On the other hand, Mahanavami festival is essentially political festival; they convey their king as their god. His activity is significant contrasting elements of the empire.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="512" height="385" src="https://kalabodh.com/wp-content/uploads/2025/05/5-4.jpg" class="attachment-full size-full wp-image-7687" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/5-4.jpg 512w, https://kalabodh.com/wp-content/uploads/2025/05/5-4-300x226.jpg 300w" sizes="(max-width: 512px) 100vw, 512px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Figure of Mahanavami Dibba</p></div></div>		</div>
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							<h5><span style="font-weight: 400;">Deepavali Celebrations</span></h5>						</div>
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							<p>Deepavali, the pageant of lights was widely celebrated in Vijayanagara Empire. Historical accounts mention the grand decorations, light oil lamps, and festal feasts prepared at intervals the royal enclosures and temple premises. The pageant was marked by special prayers, fireworks, and community gatherings that mirrored the prosperity of the Empire. </p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="512" height="341" src="https://kalabodh.com/wp-content/uploads/2025/05/6-3.jpg" class="attachment-full size-full wp-image-7692" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/6-3.jpg 512w, https://kalabodh.com/wp-content/uploads/2025/05/6-3-300x200.jpg 300w" sizes="(max-width: 512px) 100vw, 512px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Figure of Deepavali Celebration at Virupaksha Temple</p></div></div>		</div>
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							<h5><span style="font-weight: 400;">Rathotsava (Chariot Festival)</span></h5>						</div>
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							<p>The Rathotsava, or Chariot parade, was a big spiritual event related to the Main temples of Hampi, such as Virupaksha Temple and also the Vittala Temple. The pageant concerned a grand procession of deities carried in an intricate way adorned chariots, in the midst of singing devotees, musicians, and dancers. Present day, this traditional festival continues drawing the massive crowds and celebrated with joy. Though only Virupaksha temple only started the parade of ratha.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="384" height="512" src="https://kalabodh.com/wp-content/uploads/2025/05/7-2.jpg" class="attachment-full size-full wp-image-7691" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/7-2.jpg 384w, https://kalabodh.com/wp-content/uploads/2025/05/7-2-225x300.jpg 225w" sizes="(max-width: 384px) 100vw, 384px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Figure of Rathotsava in Hampi</p></div></div>		</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="512" height="384" src="https://kalabodh.com/wp-content/uploads/2025/05/8-2.jpg" class="attachment-full size-full wp-image-7705" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/8-2.jpg 512w, https://kalabodh.com/wp-content/uploads/2025/05/8-2-300x225.jpg 300w" sizes="(max-width: 512px) 100vw, 512px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Figure of Virupaksha Temple</p></div></div>		</div>
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							<h5><span style="font-weight: 400;">Folklore: Myths and Legends of Hampi</span></h5>						</div>
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							<p>Hampi has an elongated tradition of dynasties, but it also has a connection to the epic Ramayana through its mythological and legend of storylines. These tales, which have been passed down through the ages, enhance the city&#8217;s historical value and tapestry. One of the important temples during the Vijayanagara temple is Rama Chandra temple also known as Hazara Rama Temple. This temple adorns carving narrates the entire journey of Rama.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="512" height="341" src="https://kalabodh.com/wp-content/uploads/2025/05/9-2.jpg" class="attachment-full size-full wp-image-7709" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/9-2.jpg 512w, https://kalabodh.com/wp-content/uploads/2025/05/9-2-300x200.jpg 300w" sizes="(max-width: 512px) 100vw, 512px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Figure of Rama Chandra Temple</p></div></div>		</div>
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							<h5><span style="font-weight: 400;">Kishkindha – The Monkey Kingdom</span></h5>						</div>
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							<p>According to the Ramayana, Hampi is believed to be the positioning of Kishkindha, the legendary monkey kingdom of Sugriva and Hanuman. The Anjaneya Hill, named after Lord Hanuman, stands as a reminder of those legendary tales. It is believed that Hanuman born on this hill while Anjana (Hanuman’s mother) performed mediation. The landscape itself, with its surreal boulder formations, fuels the imagination, making it straightforward to ascertain scenes from the epic.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="475" height="512" src="https://kalabodh.com/wp-content/uploads/2025/05/10-2.jpg" class="attachment-full size-full wp-image-7713" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/10-2.jpg 475w, https://kalabodh.com/wp-content/uploads/2025/05/10-2-278x300.jpg 278w" sizes="(max-width: 475px) 100vw, 475px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Figure of Anjaneya Hill</p></div></div>		</div>
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							<p><span style="font-weight: 400;">Presently, on this hill, there is a temple of Hanuman named the Anjanadri temple that has 575 steps.</span></p>						</div>
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							<h5><span style="font-weight: 400;">The Cursed Sisters- Tale of the two Boulders</span></h5>						</div>
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							<p>One of Hampi’s most intriguing folktales is about two large boulders called Akka Thangi Gudda, or the ‘Sister Rocks.’ Akka means elder sister, thangi means younger sister, and gudda means stone in Kannada. According to legend, these two sisters were cursed to turn into stones for criticizing Hampi&#8217;s wonder because they were envious. These stones currently serve as a symbol of the city&#8217;s mystical history. It&#8217;s adjacent to Kamalapura Village&#8217;s main road to Hampi.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="281" height="180" src="https://kalabodh.com/wp-content/uploads/2025/05/11.jpg" class="attachment-full size-full wp-image-7717" alt="" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Figure , Akka Thangi Gudda, Date of accession- 28/03/2025, www.google.com </p></div></div>		</div>
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							<h5><span style="font-weight: 400;">The Hidden Treasure of Hampi</span></h5>						</div>
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							<p>According to the local legends, a hidden treasure of last monarchs of Vijayanagara Empire buried deep within the ruins of Hampi. While, some believes are lies on that the treasures are protected by the divine spirits or supernatural powers. Some local stories said about uncanny night time conference and discussion and odd happenings near the ruins.</p>						</div>
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							<h5><span style="font-weight: 400;">The Queen’s Curse on the Vijayanagara Empire</span></h5>						</div>
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							<p>There is another intriguing story associated with downfall of the Vijayanagara Empire. It is mentioned that a queen, annoyed by an excellent betrayal and corruption, cursed the empire to ruin. Soon after, the empire fell to invaders, Deccan sultanates conquered Hampi and convert it into the ruins which we can see nowadays. The primary cause of the collapse was the Battle of Talikot.</p>						</div>
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							<h5><span style="font-weight: 400;">The Living Culture of Hampi</span></h5>						</div>
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							<p><span style="font-weight: 400;">Although Hampi features ancient ruins; it is not solely a remnant of history but a flourishing cultural centre. Crafts are a symbol of folk culture, and local artisans practicing traditional crafts entertain visitors through folk music and dancing. Hampi’s identity is crafted with its legends and folklore, which change it beyond a mere tourist attraction. The cultural soul of Hampi still motivates and awes individuals who traverse its paths, be it through major festivities or hushed tales between the ruins. Hampi is always ready to offer those who want to experience a combination of culture and history with open hands and countless tales to share. </span></p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="512" height="383" src="https://kalabodh.com/wp-content/uploads/2025/05/12.jpg" class="attachment-full size-full wp-image-7724" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/12.jpg 512w, https://kalabodh.com/wp-content/uploads/2025/05/12-300x224.jpg 300w" sizes="(max-width: 512px) 100vw, 512px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Figure , Achyutaraya Bazaar
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							<h5> </h5><h5><span style="font-weight: 400;">References</span></h5><ol><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Iyer, S. 2023. </span><i><span style="font-weight: 400;">Echoes of Hampi: Past and Present</span></i><span style="font-weight: 400;">. Bangalore: Hampi Archives.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Kumar, P. 2020</span><i><span style="font-weight: 400;">. Festivals of Karnataka</span></i><span style="font-weight: 400;">. Hyderabad: South Indian Heritage.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Menon, T. 2022. </span><i><span style="font-weight: 400;">Ghost Stories of</span></i> <i><span style="font-weight: 400;">Hampi</span></i><span style="font-weight: 400;">. Kerala: Mystic Legends Press.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Nair, R. 2020. </span><i><span style="font-weight: 400;">Treasures and Myths of South India</span></i><span style="font-weight: 400;">. Kochi: Heritage Research.</span></li></ol>						</div>
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			<p><strong>About the Author:</strong></p><p><strong>Author: Tanaya Acharjee</strong></p><p>Tanaya Acharjee, with expertise in archaeology and history, specializes in the study of sculptures, landscapes, and cultural heritage. Her work includes archaeological excavations, museum documentation, and research on intangible heritage, adopting a multidisciplinary approach to the past.</p>		
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		<title>The Eastern Ganga..</title>
		<link>https://kalabodh.com/the-eastern-ganga-dynasty-the-forgotten-dynasty/</link>
		
		<dc:creator><![CDATA[Jyotirmoy Dutta]]></dc:creator>
		<pubDate>Mon, 26 May 2025 05:09:00 +0000</pubDate>
				<category><![CDATA[Blogger Scholar]]></category>
		<guid isPermaLink="false">https://kalabodh.org/?p=7632</guid>

					<description><![CDATA[The Chariot Wheel of Sun Temple, Konark, Odisha ...]]></description>
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                The Eastern Ganga Dynasty: The Forgotten Dynasty
                
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="512" height="383" src="https://kalabodh.com/wp-content/uploads/2025/05/1-2.png" class="attachment-full size-full wp-image-7630" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/1-2.png 512w, https://kalabodh.com/wp-content/uploads/2025/05/1-2-300x224.png 300w" sizes="(max-width: 512px) 100vw, 512px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">The Eastern Ganga Dynasty: The Forgotten Dynasty</p></div></div>		</div>
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							<p>The Chariot Wheel of Sun Temple, Konark, Odisha 2011. Photograph. wikimedia. Source: https://en.wikipedia.org/wiki/File:Konark_Sun_Temple_Wheel.jpg. Date of Accession:(14th March 2025).<br />The landmass of India, as we know it today, was once divided among several kingdoms ruled by various dynasties. Among them was the Eastern Ganga Dynasty, which ruled over the eastern part of India, primarily in Odisha. This blog delves into the history of this dynasty, renowned for their magnificent temple architecture that serves as a testament to their power and piety, the period of their greatest prosperity, and the factors that eventually led to their decline.</p>						</div>
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							<h5>Brief History: Rise to Power</h5>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="512" height="470" src="https://kalabodh.com/wp-content/uploads/2025/05/2-1.png" class="attachment-full size-full wp-image-7636" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/2-1.png 512w, https://kalabodh.com/wp-content/uploads/2025/05/2-1-300x275.png 300w" sizes="(max-width: 512px) 100vw, 512px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Map of the Eastern Gangas. 2022. map of India. Wikimedia. Source: https://commons.wikimedia.org/wiki/File:Map_of_the_Eastern_Gangas.png. Date of Accession:(14th March 2025). 
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							<p>The Eastern Ganga Dynasty, also known as the Rudhi Gangas or Prachya Gangas, ruled from the 5th to the 15th century AD. The dynasty is said to have been founded by Anantavarman Chodaganga Deva in the Kalinga region (modern-day Odisha and parts of Andhra Pradesh). The origins are shrouded in some mystery, with different theories linking them either to the indigenous origins of Kalinga or to a branch of the Western Ganga Dynasty of Karnataka. Regardless of their exact ancestry, by the 5th century, they had established themselves as a formidable force, gradually expanding their influence and consolidating their power.The early Gangas ruled from Kalinganagara (present-day Mukhalingam in Andhra Pradesh), primarily as feudatories before establishing their independent reign. Anantavarman&#8217;s conquests extended their dominion significantly, encompassing a large swathe of eastern India, from the Hooghly River in Bengal to the Godavari River in Andhra Pradesh. His long and prosperous reign laid the foundation for the dynasty&#8217;s golden age.</p>						</div>
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							<h5><span style="font-weight: 400;">The Flourishing Period</span></h5>						</div>
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							<p>Broken stone panel from Konark ruins depicting Narasingha Deva I practicing archery. 2023. Photograph. Konark Sun temple, Odisha. Source: https://theindosphere.com/history/king-narasimhadeva-i/. Date of Accession:(14th March 2025).</p>						</div>
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							<p>The period from the late 12th to the mid-13th century, encompassing the reigns of Anangabhima III and Narasimhadeva I, is generally considered the flourishing period of the Eastern Ganga Dynasty. This era witnessed Military Supremacy: The Ganga army consistently repelled invasions from neighboring kingdoms and sultanates, maintaining the territorial integrity of their empire. Their victories boosted their prestige and solidified their control over the region. Economic Prosperity: Agriculture flourished, supported by a well-organized irrigation system. Trade and commerce thrived, both internally and with overseas partners, contributing to the kingdom&#8217;s wealth. This prosperity allowed the rulers to invest in grand building projects and support artistic endeavors.</p>						</div>
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							<h5><span style="font-weight: 400;">Temple Architecture: A Testament to Ganga Glory</span></h5>						</div>
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Konarka Temple. 2020. Photograph. Konark Sun temple, Odisha. Source: https://commons.wikimedia.org/wiki/File:Konarka_Temple.jpg. Date of Accession:(14th March 2025).</p></div></div>		</div>
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							<p>The Eastern Ganga Dynasty left an indelible mark on Indian temple architecture, developing a distinct Kalinga style within the broader Nagara school. Their temples, known for their elegant curvilinear towers (shikharas), intricate carvings, and harmonious proportions, stand as testaments to their artistic and religious devotion.Some of the famous temples built by them are:<br />Jagannath Temple, Puri: Commissioned by Anantavarman Chodaganga Deva, this temple is a major Hindu pilgrimage site, famous for the Rath Yatra festival.<br />Sun Temple, Konark: Built by Narasimhadeva I, this UNESCO World Heritage Site is designed as a colossal chariot of the Sun God, adorned with intricate carvings.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="512" height="341" src="https://kalabodh.com/wp-content/uploads/2025/05/5.png" class="attachment-full size-full wp-image-7651" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/5.png 512w, https://kalabodh.com/wp-content/uploads/2025/05/5-300x200.png 300w" sizes="(max-width: 512px) 100vw, 512px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">
Lingaraja temple. 2024. Photograph. Lingaraja temple, Bhubaneshwar, Odisha. Source: https://famoustemplesofindia.com/lingaraj-temple-odishas-architectural-marvel/. Date of Accession:(14th March 2025).</p></div></div>		</div>
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							<p>Lingaraj Temple, Bhubaneswar: Though its origins predate the Gangas, they played a key role in shaping its grand and evolved architectural style.</p><p>Mukhalingam Temples, Andhra Pradesh: These early Eastern Ganga structures provide valuable insights into the evolution of their architectural style.</p><p>The temples of the Eastern Gangas remain a cornerstone of Odisha’s cultural and spiritual heritage, drawing historians, pilgrims, and art lovers alike.</p>						</div>
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							<h5>Decline: How the Dynasty Saw Its End</h5>						</div>
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							<p>The beginning of the end of the Eastern Ganga Dynasty is both an interesting and saddening chapter in history. The dynasty&#8217;s power began to decline after the death of King Narasimhadeva I in 1264. The dynasty then faced several challenges, including invasions from the Delhi Sultanate in 1324.</p><p>The first blow was faced during the reign of King Bhanudeva IV, the last ruler of the dynasty. During his rule, internal conflicts and weakening of central authority began. The internal rivalries weakened the dynasty from within. The lack of a strong central authority led to instability and fragmentation. His minister, Kapilendra Deva, seized power, founding the Suryavamsa Gajapati Dynasty. By the 15th century, the Gajapatis had effectively conquered the Ganga kingdom, marking the end of their long and influential rule.</p>						</div>
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							<h5> </h5><h5><b>Conclusion</b></h5><p>Despite their eventual decline, the Eastern Ganga Dynasty left an indelible mark on the history and culture of eastern India. Their patronage of art, religion, and architecture resulted in a rich cultural heritage that continues to inspire and awe. Their decline serves as a reminder that even the most powerful dynasties can fall, but their legacies endure through the monuments and traditions they leave behind.</p>						</div>
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							<h5> </h5><h5><span style="font-weight: 400;"><strong>Bibliography</strong>:</span></h5><p>⦁Ancient India. R.C. Majumdar, motilal Banarsidass publications, 1995<br />⦁Sircar, Dineschandra. Indian Epigraphy. Motilal Banarsidass, 1996.<br />⦁Mirashi, Vasudev Vishnu. Literary and Historical Studies in Indology. Motilal Banarsidass, 1975.<br />⦁&#8221;Eastern Ganga Dynasty.&#8221; Wikipedia, last modified March 14, 2025.</p>						</div>
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			<p><strong>About the Author:</strong></p><p><strong>Author: Jyotirmoy Dutta</strong></p><p>Jyotirmoy Dutta is a 19-year-old student at Thadomal Shahani Engineering College under Mumbai University, pursuing a degree in Artificial Intelligence and Data Science. Passionate about history, architecture, and archaeology, he is also passionate about researching the intricate details of ancient and medieval Indian temples. His deep fascination with sculptural art extends beyond research, as he actively engages in creating sculptures, blending tradition with artistic expression.</p>		
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		<title>Exploring the Rock&#8230;</title>
		<link>https://kalabodh.com/exploring-the-rock-art-traditions-of-tamil-nadu-and-central-india-a-comparative-analysis/</link>
		
		<dc:creator><![CDATA[DARSHANA PRIYAA]]></dc:creator>
		<pubDate>Thu, 22 May 2025 04:43:00 +0000</pubDate>
				<category><![CDATA[Blogger Scholar]]></category>
		<guid isPermaLink="false">https://kalabodh.org/?p=7587</guid>

					<description><![CDATA[Man has always been expressive of his thoughts...]]></description>
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                Exploring the Rock Art Traditions of Tamil Nadu and Central India: A Comparative Analysis
                
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							<p>Man has always been expressive of his thoughts. The paintings on natural surfaces of caves, i.e., rock art, were the first means of graphical communication of early men. Rock art depicts their way of life, religious and cultural practices, and the variety of flora and fauna. Rockart in the context of the world emerged during the Upper Palaeolithic era, while in India it evolved during the Mesolithic era. The traditions of Tamil Nadu and Central India rock art provide an intriguing window into the cultural and artistic practices of ancient human societies.</p>						</div>
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							<h6><b>Geographical Location</b></h6>						</div>
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							<p>One of the richest and most important prehistoric art sites in Central India is Bhimbetka, which is in Madhya Pradesh. The site is marked by a prominent quartzite ridge and a sequence of monolithic rocks, with caves and shelters scattered over the hill slopes. The area&#8217;s rich fauna, consisting of wild creatures and consumable flora, rendered it a coveted site for the early settlements of humans.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="467" height="312" src="https://kalabodh.com/wp-content/uploads/2025/05/1-3.jpg" class="attachment-full size-full wp-image-7588" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/1-3.jpg 467w, https://kalabodh.com/wp-content/uploads/2025/05/1-3-300x200.jpg 300w" sizes="(max-width: 467px) 100vw, 467px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Bhimbetka Rock shelters
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							<p>While south India has rock art in shelters formed by granite boulders. These boulders, usually created when big granite masses collapsed and leaned against one another. Although a few shelters provide protection from weathering, granite is not the most suitable surface for paintings as it is coarse and also easily erodes. Despite such problems, these shelters continue to offer insights into rock art of ancient times.</p>						</div>
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							<h6><b>Differences in Artistic Styles and Techniques</b></h6>						</div>
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							<p>Central Indian rock paintings employ red, white, and sometimes bluish-green and yellow pigments, derived from natural minerals such as haematite. The paintings were made directly on natural rock surfaces with thin twigs, probably used as brushes. Animals are depicted in more detail and realism, usually outlined, whereas humans are depicted in simple stick figures. Geometric designs occasionally adorn animal bodies.</p>						</div>
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							<p>The South Indian rock art features a mix of monochrome and polychrome paintings, which are mainly in red and white pigments based on natural minerals such as ochre and lime. Images are often outlined in one color and filled with another, and superimposition of newer paintings upon older ones is frequent, which suggests various stages of artistic activity. The engravings or petroglyphs, frequently showing symbols and geometric motifs, are produced by bruising or incising the rock surface</p>						</div>
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							<h6><b>Common Themes and Motifs</b></h6>						</div>
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							<p>The rock art of Central India, particularly in Bhimbetka, showcases diverse themes reflecting prehistoric life. Dominant motifs include wild animals like bison, elephants, and deer, often depicted in herds, emphasizing early humans&#8217; connection to nature. Hunting scenes with armed hunters, traps, and cliff drives are common, along with depictions of social and ritual activities such as group dances and ceremonies. Some paintings feature mythological or religious elements, including deified animals. Later artworks from the historic period depict royal processions, warriors, and battle scenes. Geometric patterns and symbolic motifs illustrate a shift from naturalistic to stylized artistic expression over time.</p><p>South Indian rock art features human activities, animals, symbols, and abstract designs. Stick-figure humans with triangular torsos appear in hunting, dancing, and warfare scenes, wielding weapons like bows and swords. Horse and elephant riders, often in battle or processions, are prominent in megalithic dolmens. Common animal motifs include deer, bulls, wild boars, tigers, birds, and fish. Hunting scenes reflect early lifestyles, while geometric and symbolic motifs, such as stars and religious symbols, resemble megalithic pottery graffiti. Ritual elements, including masked figures, suggest totemic or spiritual significance, adding depth to this artistic tradition.</p>						</div>
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Hunting scene</p></div></div>		</div>
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Hunting scene</p></div></div>		</div>
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Fishing scene</p></div></div>		</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="465" height="177" src="https://kalabodh.com/wp-content/uploads/2025/05/8-1.png" class="attachment-full size-full wp-image-7612" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/8-1.png 465w, https://kalabodh.com/wp-content/uploads/2025/05/8-1-300x114.png 300w" sizes="(max-width: 465px) 100vw, 465px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">A hut like structure and a burial</p></div></div>		</div>
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							<h6><b>Notable sites</b></h6>						</div>
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							<p>In Central India ,many rock shelters have been discovered mainly in the Vindhyan region and some from Satpura ranges.Besides Bhimbetka, some other well-known sites in this region are Kharwai, Jaora, Kathotia, Lakhajoar, Adamgarh and Panchmarhi in Mahadeo hills<br />In south of India, some important rock art sites are Kuppagal (Sanaganakallu), Badami, Maski, Piklihal, Tekkalakota in Karnataka, Budagavi, Chintakunta, Kethavaram, Kurnool in Andhra Pradesh, Kilvalai ,Sethavarai and Mayiladumparai in Tamil Nadu and Edakkal and Ezuthupara rock shelters in Kerala.</p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="427" height="512" src="https://kalabodh.com/wp-content/uploads/2025/05/10-1.jpg" class="attachment-full size-full wp-image-7613" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/10-1.jpg 427w, https://kalabodh.com/wp-content/uploads/2025/05/10-1-250x300.jpg 250w" sizes="(max-width: 427px) 100vw, 427px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Distribution of rock art sites in India</p></div></div>		</div>
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							<h5> </h5><h5><b>Conclusion</b></h5><p><span style="font-weight: 400;">Sources for studying the prehistoric period are limited, with rock art being one of the most valuable. However, a major challenge in understanding rock art is the inability to determine its exact purpose, making its interpretation a subject of ongoing debate. Recent advancements in digitizing archaeology aim to address this challenge, offering new insights into prehistoric art.</span></p>						</div>
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							<h5> </h5><h5><span style="font-weight: 400;"><strong>Bibliography</strong>:</span></h5><p><span style="font-weight: 400;">Dayalan, D. and Archaeological Survey of India. n.d. “ROCK ART IN TAMIL NADU AND ITS ARCHAEOLOGICAL PERSPECTIVE.”</span></p><p><span style="font-weight: 400;">Boivin, Nicole. 2004. “Rock Art and Rock Music: Petroglyphs of the South Indian Neolithic.” </span><i><span style="font-weight: 400;">Antiquity</span></i><span style="font-weight: 400;"> 78 (299): 38–53..</span></p><p><span style="font-weight: 400;">Misra, V. N. n.d. “The Prehistoric Rock Art of Bhimbetka, Central India.” </span></p>						</div>
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			<p><strong>About the Author:</strong></p><p><strong>Author: </strong><strong>DARSHANA PRIYAA. S</strong></p><p>Darshana Priyaa is an undergraduate student pursuing a degree in History, Archaeology, and Museology at Madras Christian College, Chennai, Tamil Nadu. Her academic interests include digital archaeology, numismatics, prehistoric archaeology, and bioarchaeology. She<br />is deeply passionate about expressing her insights and ideas through writing. Additionally, as a dedicated traveler, she seeks to broaden her understanding by exploring and engaging with diverse cultures.</p>		
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		<title>Tripurantaka: Shiva&#8217;s &#8230;</title>
		<link>https://kalabodh.com/tripurantaka-shivas-form-of-cosmic-destruction-at-the-national-museum/</link>
		
		<dc:creator><![CDATA[Raveena]]></dc:creator>
		<pubDate>Mon, 19 May 2025 05:16:00 +0000</pubDate>
				<category><![CDATA[Blogger Scholar]]></category>
		<guid isPermaLink="false">https://kalabodh.org/?p=7571</guid>

					<description><![CDATA[In the Chapter 33 of the Karṇaparvan of the Mahabharata...]]></description>
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                TRIPURANTAKA: SHIVA’S FORM OF COSMIC DESTRUCTION AT THE NATIONAL MUSEUM
                
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							<p><span style="font-weight: 400;">In the </span><b>Chapter 33 of the </b><b><i>Karṇaparvan</i></b><b> of the </b><b><i>Mahabharata</i></b><span style="font-weight: 400;">., the three sons of Tārakāsura, after performing penances, received boons from Brahma that allowed them to live in three forts made of gold, silver, and iron. These forts could move and unite into one after a thousand years, which could only be destroyed by a single arrow. Despite Indra&#8217;s attack with his vajra, the asuras were unstoppable. The gods sought Brahma&#8217;s advice, who revealed that only Shiva could destroy the forts with a special arrow. Shiva agreed, but only after the gods gave him half of their powers. Shiva then became Mahadeva, the greatest of gods. Vishnu, Agni, Yama, Brahma, and other gods contributed to Shiva’s weapons, with Shiva using a three-barbed arrow of Soma, Agni, and Vishnu to destroy the forts and the asuras.</span></p>
<p><span style="font-weight: 400;">Here are an excerpt from </span><i><span style="font-weight: 400;">Mahabharat</span></i><span style="font-weight: 400;"> of </span><i><span style="font-weight: 400;">tripurantaka</span></i></p>						</div>
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							<p style="text-align: center;"><span style="font-weight: 400;">तेषां</span> <span style="font-weight: 400;">पितामहः</span> <span style="font-weight: 400;">प्रीतो</span> <span style="font-weight: 400;">वरदः</span> <span style="font-weight: 400;">प्रददौ</span> <span style="font-weight: 400;">बरम्</span> <span style="font-weight: 400;">।।</span> <span style="font-weight: 400;">७</span> <span style="font-weight: 400;">।।</span> <span style="font-weight: 400;">अवध्यत्वं</span> <span style="font-weight: 400;">च</span> <span style="font-weight: 400;">ते</span> <span style="font-weight: 400;">राजन्</span> <span style="font-weight: 400;">सर्वभूतस्य</span> <span style="font-weight: 400;">सर्वदा</span> <span style="font-weight: 400;">।</span> <span style="font-weight: 400;">सहिता</span> <span style="font-weight: 400;">वरयामासुः</span> <span style="font-weight: 400;">सर्वलोकपितामहम्</span><span style="font-weight: 400;"> </span><span style="font-weight: 400;">।।</span><span style="font-weight: 400;"> </span><span style="font-weight: 400;">८</span><span style="font-weight: 400;"> </span><span style="font-weight: 400;">।।</span></p>
<p style="text-align: center;"><span style="font-weight: 400;">                                                              महाभारत</span> <span style="font-weight: 400;">कर्ण</span> <span style="font-weight: 400;">पर्व</span> <span style="font-weight: 400;">३३</span><span style="font-weight: 400;">/</span><span style="font-weight: 400;">७</span><span style="font-weight: 400;">&#8211;</span><span style="font-weight: 400;">८</span></p>						</div>
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							<p><span style="font-weight: 400;">Pleased with them, the grandsire (Brahma) granted the boon, saying, &#8220;Immortality shall be yours, O kings, forever, With all beings, they besought Brahma, the grandsire of all the worlds.&#8221; </span></p>						</div>
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							<h6>ICONOGRAPHY</h6>						</div>
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							<p><span style="font-weight: 400;">The Tripurantakamurti is described in the </span><i><span style="font-weight: 400;">amsumadbedhāgama</span></i><span style="font-weight: 400;"> with eight forms of Shiva, each representing different aspects of his power, with slight variations. </span></p>
<p><span style="font-weight: 400;">The Tripurantakamurti depicts Shiva in various forms, each symbolizing different aspects of his power and cosmic role. In the first form, Shiva’s right leg is forward, left leg bent, with one right hand in the </span><i><span style="font-weight: 400;">simhakarņa</span></i><span style="font-weight: 400;"> pose, grasping the bowstring. The arrow’s thickness matches his little finger, and his left hand holds the bow, raised horizontally. In the second form, his left foot rests on </span><i><span style="font-weight: 400;">apasmara</span></i><span style="font-weight: 400;">-purusha, while in the third, his left leg is vertical and right leg bent. The fourth form likely has an error, with the left foot on </span><i><span style="font-weight: 400;">apasmara</span></i><span style="font-weight: 400;">, resembling the second form. The fifth form shows Shiva holding an arrow in his right hand and a drum in his left, without </span><i><span style="font-weight: 400;">apasmara</span></i><span style="font-weight: 400;">. In the sixth form, Shiva has eight arms, each with different weapons, while the seventh has ten arms bearing various attributes. The eighth form shows Shiva driving a chariot, with Brahma as the charioteer and Vishnu steadying it, symbolizing Shiva&#8217;s cosmic dominance. These forms reflect Shiva’s diverse manifestations and cosmic significance.</span></p>						</div>
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							<p><b>PLATE 1 &#8211; Tripurantaka, Early Western, Chalukya, 8th cent. A.D., Aihole, Stone.</b></p>						</div>
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="384" height="512" src="https://kalabodh.com/wp-content/uploads/2025/05/1-2.jpg" class="attachment-full size-full wp-image-7572" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/05/1-2.jpg 384w, https://kalabodh.com/wp-content/uploads/2025/05/1-2-225x300.jpg 225w" sizes="(max-width: 384px) 100vw, 384px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Tripurantaka, Early Western, Chalukya, 8th cent. A.D., Aihole, Stone.
Photo Taken By: Raveena
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							<p><span style="font-weight: 400;">The depiction of Tripurantaka Murti presents a striking scene of Shiva&#8217;s triumph over evil, capturing the essence of divine power and cosmic balance. Standing on the right corner of a chariot, symbolizing Brahma, Shiva embodies strength and grace in the </span><i><span style="font-weight: 400;">tribhanga</span></i><span style="font-weight: 400;"> pose. Adorned with a </span><i><span style="font-weight: 400;">jatamukuta</span></i><span style="font-weight: 400;">, Shiva gazes towards the left side with intense determination. With four arms, Shiva&#8217;s upper right arm is broken, while the lower right arm rests calmly on his thigh. His upper left arm holds a crescent-shaped bow, ready to unleash destruction upon the forces of darkness. The lower left arm, though broken, wields a trident, a symbol of divine power and protection. Trident also known as a barbed arrow, is composed of Soma, Agni, and Vishnu, embodying the combined strength of cosmic elements. Shiva&#8217;s left hand is depicted breaking the three castles, representing </span></p>
<p><span style="font-weight: 400;">his decisive action against evil forces. Adorned with intricate details, including a necklace, </span><i><span style="font-weight: 400;">yagnopavita, udhar bandha</span></i><span style="font-weight: 400;">, and stylized lower garment, Shiva&#8217;s divine presence radiates from the sculpture, captivating viewers with its beauty and symbolism. Below the knee level, the sculpture captures the intensity of the moment as Shiva prepares to vanquish the demon Tripurasura. The chariot, driven by Brahma, features three faces on the profile side, emphasizing the divine assistance and cosmic harmony present in this sacred scene. Two horses in motion, with a stalk of lotus emerging from them, add to the dynamic energy of the depiction. </span></p>						</div>
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							<h5> </h5>
<h5>BIBLIOGRAPHY</h5>
<ol>
<li style="font-weight: 400;" aria-level="1"><i><span style="font-weight: 400;">Mahabharata</span></i><span style="font-weight: 400;">. Vol. 4. Translated by Veda Vyasa. Gorakhpur: Gita Press, 1962. </span></li>
<li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Elements of Hindu iconography : Gopinatha Rao, T. A., 1872-1919 : Free Download, Borrow, and Streaming.” n.d. Internet Archive. Accessed March 16, 2024. https://archive.org/details/ElementsOfHinduIconographyVolIIPart1/page/n11/mode/2up.</span></li>
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			<p><strong>About the Author:</strong></p>
<p><strong>Author: <b>RAVEENA</b></strong></p>
<p><span style="font-weight: 400">I am Graduated with a degree in B.A Programme from the Maitreyi College, Delhi University. I completed a Post-Graduation in the History of Art from the National Museum Institute, New Delhi. In 2024, I completed a six-month internship in the Archaeological Department of the National Museum, New Delhi. </span></p>		
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