Academic literature on the topic 'Pallava dynasty'

As a result of the proliferation of Short literary composition genres (Prabandas), various catalog texts (Paattiyal) arose as a continuation of the tradition of finding literature and giving grammar explanations therefor. Panniru Paatiyal, Venpaa Paatiyal, Chidambara Paatiyal, Navaneetha Paatiyal, Prabandha Deepika, Ilakkana vilakkam, Thonnuul vilakkam etc. and even some grammar books that deal with five grammar forms (Ainthilakkanam) are involved in this grammatical endeavor and have given grammar to different numbers of Short Literary Compositions. These numerical differences record the development of the literature as a result of the passage of time. This number extends from 54 to 360. This genre of 96 Short Literary Works can be attributed to the fact that the number system operating in the set tradition is also applied to Short Literary Works and to be a permanent one. The name of the literary genre, Kalambakam, is given in various ways by dividing its name. There are various reasons for the mix of 18 types of elements (15-21), the proliferation of many types of compositions, and the mixing of Agappaadalkal (Agam songs). This can be explained by the fact that the name is derived from a variety of hybrids rather than one character. Nandikkalambakam, the first and foremost of the Kalambaka literatures, was sung with the third Nandi Varman of the Pallava dynasty as the Leader of the song. 25 years Nandi ruled from (847-872) with Kanchi as his capital, the Pallava dynasty and the wars fought to expand the territory of many Nandikalambaka songs. Although there are some differences in the view of Nandivarman's reign, it is accepted by scholars that he belonged to the ninth century and that Nandi Kalambakam, who led him to the song, and the ninth century. Even though this literature is in our school and college curriculum, its literary style beauty and glossary competency are unknown to the so called scholars too. So this article tries to explain the above said features of the Nandhi Kalambakam.

TD Ramakrishnan’s novel Sugandhi Enna Aandaal Devanayaki is a mixture of the mythological, metaphysical and historical into a fictional space which transcends the boundaries of nation. The novel is a quest for retelling the historical trauma of Sreelanka. In the search for Sugandhi a Tamil liberation activist, the narrator stumbles upon the mythical Sugandhi from the folklore, creating tension between faction and reality. In the search for the mythical Sugandhi Ramakrishnan uses ‘SusinaSupina’ and arrives at Devanayaki belonging to 7th century AD Pallava Dynasty. As fact, fiction and myth blur into the contemporary social space, the myth of Devanayaki merges with Rajani Thirinagame creating the notion of the alternate history from a female perspective. In the novel History blurs into myth, reality into fiction, contemporary into past, individual into society and body into spirit.TD Ramakrishnan deconstructs the millennium old Tamil- Sinhalese political history using the alternate history from mythology and folklore. This paper is an attempt to read the novel Sugandhi Enna AandaalDevanayaki as a Historiographic metafiction.

Tourism plays a major role in social development of a place. Developing a location for tourism not only brings in more tourists but also has several inter related advantages. There are several problems and possibilities faced during the development of tourism in a place. Developing a location for tourism brings in more tourists. Since the tourists rate increase, food and accommodation for tourists has to be provided. The hotels and lodges are opened for the tourists through whom revenue can be generated. Moreover transport facilities for that place increases, which paves way for the place to become a perfect holiday destination. Once it gets identified as a tourist spot, the government takes efforts to make it environmental friendly and the tourist rates increase rapidly. The major factor which is required to be considered is because of the opening of hotels and lodges, more job opportunities are created for the people and local community people have an extended advantage of being the tour guide of the destination. This research paper focuses on the major tourist destination Mahabalipuram also called as Mahabalipuram located right on the coramandel coast very next to Bay of Bengal in Chennai, Tamil Nadu. During the Pallava dynasty in the 7th and 10th centuries, it was a well-known sea port and also has several arts, architectures, rock cut caves etc. The researcher feels that Mahabalipuram has seen a quick development socially as Tourism & handicraft industry provides several job opportunities to the people. Even the opening of several beach resorts and hotels increased the transport facilities and tourist rates. The researcher is undertaking a qualitative analysis by taking in depth interviews using questionnaires from the local community and workers there to know about the role of tourism in social development.

Brahmā est introduit dans l’iconographie tamoule dès la fin du 6ème s. ou le tout début du 7ème s. par les Pallava, probablement originaires du sud de l’actuel Andhra-Pradesh : ils initient simultanément la sculpture sur pierre et le développement de la culture brahmanique dans l’extrême sud de l’Inde. La divinité apparait dans les fondations du Deccan à la même période : elle participe alors essentiellement de la triade qu’elle forme avec Viṣṇu et Śiva. La faveur que connait Brahmā par la suite, puisqu’il préside à la façade nord sur plusieurs temples shivaïtes de la fin de la période Pallava puis de la période Cola, est en revanche inédite dans d’autres traditions régionales : elle trouve sans aucun doute son origine dans la relation complexe de complémentarité et de rivalité qu’il noue avec Śiva - mais aussi Viṣṇu, même si elle est dans ce cas moins conflictuelle - dans l’idéologie royale développée par les rois Pallava, et plus particulièrement telle qu’elle est mise en scène dans l’iconographie narrative du temple Kailāsanātha à Kāñcipuram au début du 8ème s. Les interactions multiples entre les deux divinités s’articulent notamment autour de la confrontation ambiguë du brahmanisme orthodoxe avec une nouvelle forme d’expression du savoir śaiva d’une part, et, d’autre part, autour de la figure du roi, que peut représenter Śiva, et du brahmane, du purohita, incarné par Brahmā. Le contexte et la signification de ces représentations jusqu’au tournant du 10ème s. en regard de l’art contemporain du Deccan mettront en lumière les spécificités du sud tamoul mais aussi ce qui participe de concepts plus largement diffusés qu’il ne semblerait au premier abord<br>Brahmā was introduced into Tamil iconography at the end of the 6th century or the very beginning of the 7th century by the Pallava, probably from the south of present-day Andhra-Pradesh: they simultaneously initiated stone carving and the development of Brahmanic culture in the far south of India. The divinity appears in the shrines of the Deccan at the same period: he then essentially participates in the triad he forms with Viṣṇu and Śiva. The favor that Brahmā knows thereafter, since he presides over the north facade on several Śaiva temples of the end of the Pallava period then of the Cola period, is by contrast unprecedented in other regional traditions: it undoubtedly finds its origin in the complex relationship of complementarity and rivalry that it establishes with Śiva - but also Viṣṇu, even if it is in this case less conflictual - in the royal ideology developed by the Pallava kings, and more particularly such as it is staged in the narrative iconography of the Kailāsanātha temple in Kāñcipuram at the beginning of the 8th century. The multiple interactions between the two divinities are articulated notably around the ambiguous confrontation of orthodox Brahmanism with a new form of expression of Śaiva knowledge on the one hand, and, on the other hand, around the figure of the king, which Śiva can represent, and of the Brahmin, the purohita, embodied by Brahmā. The context and meaning of these representations up to the turn of the 10th century in relation to the contemporary art of the Deccan will highlight the specificities of southern Tamil imagery but also its connexion to concepts more widely disseminated than it would seem at first sight