Sopanam E Magazine Vol 2 Issue 2

7/31/2019 Sopanam E Magazine Vol 2 Issue 2

1/35Sopanam - May 2012 1

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Sopanam E-Magazine - (For members circulation only)

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2/35Sopanam - May 20122

Amritha Vachanam

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Editorial

ma l : bk a @gma l.com

e o al Boa Krishna Kumar PaliathManoj Nair Vibheesh TikkodiRedhish ChandranGayatri Raveendran

da a Ma ag m Ajaykumar AnjaneyamRajarajan Ganesan

Anandharaj KonniRani B. Basker Sindhu SanjithReshmy Krishna Kumar Aneesh Kumar. UAjith Kumar. SSuresh VarickolilRoopesh R. SouparnikaReshmi Sudheer

C a & d s gSreenivasan C.P.Sunil PookodeVinaya Babu. C.K.Viswajith .M.K.

Prejith

For Comments, Submissions &Subscriptions please write to

One of the parameters that judge the greatness of

a civilization is its art and cultural evolution over a

sustained period of time. Culture refers to the state of intellectual development or manners of the people of a

civilization.

Indian culture is rich, diverse and unique in its very

own way. As our civilization has progressed and we

accept modern changes and means of living, our values

and beliefs remain unchanged. The rich values inherited

by the Indians are deep rooted within their minds and

souls. In this edition, we have dedicated a few pages to

the various forms that will showcase the richness of our

Indian culture.

Sometimes the action of a few individuals leave a

disrespectful mark on the glorious image of our nation.

This is always pointed to show the nation and its people

in a bad light and to demoralize the society on the

whole. When people defame religious icons and national

identities in the name of progressive thinking, there is

bound to be a reaction and often these are highlighted asthe negative aspects of the society. We must ensure that

positive thoughts are those which are highlighted always.

This is what helps a nation and its people to evolve.

The gruesome images of murder that is now lling the

front pages of our media leaves the readers in a depressing

state of mind every morning. The state of affairs of our

nation today fares no better. Be it the industrial stagnation

or the falling money value, it is through quite an alarming

phase our nation passes. But we must have faith in our

ability to survive these countless onslaughts. In the early

years it was foreign invaders who came in and looted our

country. Today, its the enemies within our state.

We must sharpen our outlook and be aware of what

happens around us to recognize these enemies and be

alert of what they do. Only an alert and rationally thinking

society can survive the pressure put on us by the fast and

evolving new environment.

As the summer approaches, many of our readers in

the gulf would be preparing to go on their long vacation

back to their motherland, India.

We wish you all the best on your journey. As you

celebrate your holiday, we would like to remind you to be

wary of those unfortunate brothers and sisters who live

around you. Our amboyant expressions must not create

a dis harmony in anyones mind. Also take some time to

visit the Seva Darshan supported Bala Sadanams across

the country. It would be a warm welcome for the people

living there. Make sure our children on this vacation get

to see as much of the country as they can. Help them

understand the various rituals and customs that they will

witness during the holidays. Let this be an educative and

happy holiday for them.



Spiritualism

Kurma Avatar is the second incarnation of LordVishnu. In this avatar, Lord incarnates himself in theform of Tortoise to help Devas get the Amrita and re-gain the power that they had lost due to the curse bythe great sage Durvasa. There is an interesting storyrelated to this transformation of the God Himself.

S Sa j

Kurma Avatarof Maha Vishnu

Once Indra, the King of Devatas was riding on hiselephant. He came across the great sage Durvasa, whooffered him a special garland, which was considered tocontain fortune. Indra accepted the garland and placedit on elephants trunk. The elephant, irritated by thesmell of the garland, threw it on the ground. This en-raged Durvasa Muni and cursed Indra to be bereft of all good fortune, strength and energy.

In the battles that followed, the Devas were defeat-ed and dethroned by the Asuras. King Bali conqueredthe Universe. The helpless and distressed Devas ran toLord Brahma for aid. Lord Brahma directed them toMaha Vishnu who told them that the only way for De-vas to overcome this crisis was by obtaining the Nec-tar of Immortality. For this Lord Vishnu asked themto cast plants, herbs and creepers into the Ocean of Milk and use Mount Mandara as the churn-staff and

Vasuki, the king of serpents as the rope to churn theOcean of Milk. Lord Vishnu asked Devas to befriendtheir enemies and join them to churn the Ocean for thenectar.

Indira and the Devas did as was told to them. TheAsuras agreed to it and joined in the venture. The De-

vas and the Asuras uprooted the mountain and headedto the sea shore. But they could not carry it too far dueto its weight. Indra pleaded to Lord Vishnu who im-mediately appeared on Garuda Vahana. Later Garudacarried the Mont Mandara to seashore. When Garudadisappeared from the scene, Vasuki appeared obeyingMaha Vishnus order and allowed himself to be used asthe rope to be tied around Mount Mandara for churn-ing the ocean. The Devas and Asuras started churningthe ocean with Mandara and Vasuki in place. SlowlyMount Mandara started sinking as it had no support.Seeing this, Lord Vishnu to rescue in the form a largetortoise and placed the mountain on His back and alsohelped in churning of the ocean.

While churning, the concentrated impurities of theocean came up in the form of deadly poison. Devastook it to Lord Shiva, who collected it in His palm andswallowed it. As the churning continued, the preciousthings started emerging from the ocean. Finally, Dhan-

wantari appeared with the jar of Nectar of Immortalityin his arms. The Asuras snatched the jar from his armsand quarreled for the nectar. This time also Lord Vish-nu appeared for Devas rescue. This time Lord Vishnutook the form of a charming, young, beautiful lady bythe name Mohini. The Asuras, fascinated by the daz-zling beauty of Mohini, offered her the jar of Nectar and asked her to distribute it to them. She agreed to doso on the condition that her act will not be questioned

by the Asuras. She asked them the bathe and line up in

separated rows for the nectar to be served. She servedthe nectar to the Devas rst and made sure that the tillthe last drop the nectar was served to the Devas only,not leaving behind even a single drop for the Asuras.Finally when the nectar was completed served, Mo-hini transformed into Maha Vishnu and left the sceneon His Garuda. It is then the Asuras realized that theywere cheated and started ghting with Devas. TheDevas has regained their original valor, power andstrength and easily defeated Asuras. Indra regained

his throne and also the lost glory.Thus Lord Vishnu, once again saved the Devas who

sought refuge in Him.



Spiritualism

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Cultural

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Cultural

Nataraja or Nataraj, the dancing form of LordShiva, is a symbolic synthesis of the most importantaspects of Hinduism, and the summary of the cen-tral tenets of this Vedic religion. The term 'Nataraj'means 'King of Dancers' (Sanskrit nata = dance; raja= king). Nataraj is the "clearest image of the activityof God ...which any art or religion can boast ofAmore uid and energetic representation of a movinggure than the dancing gure of Shiva can scarcely

be found anywhere," (The Dance of Shiva)

t O g of na a aj Fo m:

An extraordinary iconographic representation of the rich and diverse cultural heritage of India, it wasdeveloped in southern India by 9th and 10th centuryartists during the Chola period (880-1279 CE) in aseries of beautiful bronze sculptures. By the 12thcentury AD, it achieved canonical stature and soonthe Chola Nataraja became the supreme statement of Hindu art.

t v al Fo m & Symbol sm:

In a marvelously uni ed and dynamic compositionexpressing the rhythm and harmony of life, Nataraj isshown with four hands represent the cardinal direc-tions. He is dancing, with his left foot elegantly raisedand the right foot on a prostrate gure 'Apasmara

Purusha', the personi cation of illusion and ignoranceover whom Shiva triumphs. The upper left hand holdsa ame, the lower left hand points down to the dwarf,who is shown holding a cobra. The upper right hand

holds an hourglass drum or 'dumroo' that stands for the male-female vital principle, the lower shows thegesture of assertion: "Be without fear."

Snakes that stand for egotism, are seen uncoilingfrom his arms, legs, and hair, which is braided and

bejeweled. His matted locks are whirling as he danc-

es within an arch of ames representing the endlesscycle of birth and death. On his head is a skull, whichsymbolizes his conquest over death. Goddess Ganga,the epitome of the holy river Ganges, also sits on hishairdo. His third eye is symbolic of his omniscience,insight, and enlightenment. The whole idol rests ona lotus pedestal, the symbol of the creative forces of the universe.

The Signi cance of Shiva's Dance:

This cosmic dance of Shiva is called 'Anandatanda-va,' meaning the Dance of Bliss, and symbolizes the

Nataraja ScientifcMetaphor

S b amoy das


7/35



Shree Somnath is rst among the twelve Aadi Jy -otirlings of India. It is the holy place of the Aadi Jy-otirling Shree Somnath Mahadev and it also has thesacred soil from where Bhagvan Shri Krishna took his last journey to his neejdham.

Ancient Indian traditions maintain a close rela-tionship of Somnath with release of Chandra (MoonGod) from the curse of his father-in-law Daksha Pra-

japati. Moon was married to Twenty-Seven daughtersof Daksha. However, he favoured Rohini and neglect-ed other queens. The aggrieved Daksha cursed Moonand the Moon lost power of light. With the adviceof Prajapita Brahma, Moon arrived at the PrabhasTeerth and worshipped Bhagvan Shiva. Pleased withthe great penance and devotion of Moon, BhagvanShiva blessed him and relieved him from the curse of

darkness partially, thus causing the periodic waningof moon. . Pauranic traditions maintain that Moon had built a golden temple, followed by a silver temple byRavana, Bhagvan Shree Krishna is believed to have

built Somnath temple with Sandalwood. Located asit is, it is widely believed that if one were to sail fromhere in a straight line, the end of the journey would beat the North Pole, without having to travel over land.

The research based on ancient Indian classicaltexts show that rst Somnath Jyotirling Pran-Pratist -ha was done on the auspicious third day of brighter half of Shravan month during the tenth Treta yug of Vaivswat Manvantar. Swami Shri Gajananand Sara-swatiji, Chairman of Shrimad Aadhya JagadguruShankaracharya Vedic Shodh Sansthan, Varanasi sug-gested that the said rst temple was built 7,99,25,105years ago as derived from the traditions of PrabhasKhand of Skand Puran. Thus, this temple is a peren-nial source of inspiration for millions of Hindus sincetime immemorial.

The later sources of history account for severaldesecrations by invaders during eleventh to eighteencentury A.D. The temple was rebuilt every time withthe reconstructive spirit of the people. The moderntemple was reconstructed with the resolve of Sardar

History of Somnath Temple

Patel who visited the ruins of Somnath temple on November 13 1947. Then President of India, Dr. Ra- jendra Prasad, did the Pran-Pratistha at the existingtemple on 11 May 1951.

Somnath temple stands at the shore of the Arabianocean on the western corner of Indian subcontinentin Gujarat State. This pilgrimage is one of the oldestand nds its reference in the ancient texts like Skand -

puran, Shreemad Bhagavat, Shivpuran etc. The hymn

from Rig-Veda quoted below mention the BhagvanSomeshwar along with the great pilgrimage like Gan-gaji, Yamunaji and Eastward Saraswati. This signi-es the ancient value of this Tirthdham. Somnath isin Prabhas Patan very near to Veraval.

Somnath means "The Protector of Moon God."The Somnath Temple is known as 'the Shrine Eter-nal,' as although the temple has been destroyed sixtimes it has been rebuilt every single time.

Brahma, one of the trinity, installed the Brahmashi-la, and paved way for the construction of the temple.On the request of the Chandrama and other godsBhagwan Shankar assumed the name Somchandra(Jyotirlinga) and resided there eternally. He becamefamous by the name Somnath in the three worlds.Since, it was the Prabhas Kshetra where BhagwanShri Krishna performed all his Lilas. In this templethere is a small cave in which a lamp burns continu-ously.

The Skanda Purana describes the Sparsa Linga of

Somnath as one bright as the sun, the size of an egg,lodged underground. The Mahabharata also refersto the Prabhasa Kshetra and the legend of the moonworshipping Shiva.

Co sy: i

BharathDharshan



The present temple is the seventh temple recon-structed on the original site. The rst temple of Som -nath is said to have existed before the beginning of the Christian era. The second temple, built by theMaitraka kings of Vallabhi in Gujarat, replaced therst one on the same site around 649.In 725 Junayad,the Arab governor of Sind, sent his armies to destroythe second temple. The Pratihara king Nagabhata IIconstructed the third temple in 815, a large structureof red sandstone.

In 1024, Mahmud Ghazni raided the templefrom across the Thar Desert. During his campaign,Mahmud was challenged by Ghogha Rana, who atthe ripe age of 90, sacri ced his own clan ghtingagainst this iconoclast. The temple and citadel wereransacked, and more than 50,000 defenders were mas-sacred; Mahmud personally hammered the temple'sgilded lingam to pieces and the stone fragments werecarted back to Ghazni, where they were incorporatedinto the steps of the city's new Jamiah Masjid (Fridaymosque).The fourth temple was built by the ParamaraKing Bhoj of Malwa and the Solanki king Bhima of Gujarat (Anhilwara) or Patan between

1026 and 1042. The wooden structure was replaced by Kumarpal who built the temple of stone.The temple was razed in 1297 when the Sultanate of Delhi conquered Gujarat, and again in 1394. The Mu-

present temple was built by the Shree Somnath Trustwhich looks after the entire complex of Shree Som -

nath and its environs.The following extract is from Wonders of

Things Created, and marvels of Things Existing byAsaru-L Bilad, a 13th century Muslim geographer.It contains the following description of Somnathtemple and its destruction: The following is a longquotation:Somnath: celebrated city of India, situ -ated on the shore of the sea, and washed by its waves.Among the wonders of that place was the temple inwhich was placed the idol called Somnath. This idol

was in the middle of the temple without anything tosupport it from below, or to suspend it from above.It was held in the highest honor among the Hindus,and whoever beheld it oating in the air was struck with amazement, whether he was a Musulman or anin del.

The Hindus used to go on pilgrimage to it whenev-er there was an eclipse of the moon, and would thenassemble there to the number of more than a hundredthousand. They believed that the souls of men used to

meet there after separation from the body, and that theidol used to incorporate them at its pleasure in other bodies, in accordance with their doctrine of transmi-gration. The ebb and ow of the tide was consideredto be the worship paid to the idol by the sea.

Everything of the most precious was brought thereas offerings, and the temple was endowed with morethan 10,000 villages. There is a river (the Ganges)which is held sacred, between which and Somnath,the distance is 200 parasangs.They used to bring the

water of this river to Somnath every day, and wash thetemple with it. A thousand brahmans were employedin worshipping the idol and attending on the visitors,and 500 damsels sung and danced at the doorallthese were maintained upon the endowments of thetemple.

The edi ce was built upon fty-six pillars of teak,covered with lead. The shrine of the idol was dark,hut was lighted by jeweled chandeliers of great val-ue. Near it was a chain of gold weighing 200 mans.

When a portion (watch) of the night closed, this chainused to be shaken like bells to rouse a fresh lot of brahmans to perform worship.

BharathDharshan

ghal Emperor Aurangzeb destroyed the temple againin 1706.Sardar Vallabhbhai Patel, then Home Minis-ter & the rst Deputy Prime Minister of India, took a

pledge on November 13, 1947 for its reconstructionfor the seventh time. A mosque present at that site wasshifted few miles away. It was completed on Decem-

ber 1, 1995 and President of India, Dr. Shankar DayalSharma, dedicated it in the service of the nation. The



Mahakavi Kalidas mentioned the Himalayas asDevataatmaa Himalaya: which is a perfectly suit-able word.

The Himalaya parvat, the highest mountain in theworld, is having many holy peaks,shrines and rivers

inside its multiple folds.Kailas Parvat, where our Lord Shiva abodes with

Parvatiis the holiest peaks inside Himalayas. Thisis where Lord Karthikeya born. A Darshan of thisholiest peak will remove all the sins accumulatedthrough many births. On the way to this holy peak is the ManaSarovar lake. The rivers Ganga, Yamunaetc. are taking the sins of people when they take dipin these rivers. Then these river-devatas take birds-

form and dip in this crystal clear water lled Mana -sarovar lake to relieve from the burden of acquiredsins.Yatris always worship this this lake rst before

proceeding further to Kailas parvat. Once Rananatried to lift this parvat with his enormous power,

but Lord Shiva pressed the parvat by his toes andRavanas ngers were trapped under. Then Ravanasang the Samavedha in a beautiful Kambothi raga,in which Lord Shiva when enjoying the song liftedhis toes and using this chance Ravana escaped.

Now, it is highly unfortunate that we have to get permission from China to visit our holy Kailas Par-vat and ourManasaroavar lake.

Badrinath is one of the 108 Vaishnav holy shrines,situated deep inside Himalayas. Here is BhagawanVishnu blesses in the form of Nara-Narayana. Thisis one of the holiest shrine for the Vaishnavas. Inthis ice cold mount, we can see the hot water springs

with boiling water and steam. Joshimath is another holy place just at the bottom of Badrinath mount.Badrinath is about 50 km from Tibet border.

Near Badrinath is a place called Maanaadhar where Vyasamuniwith his disciples did the compo-sition of Vedas in to four parts. And he wrote all the108 puranas from here only.

Vyasa Maharishi lived in a cave called VyasaG-ufa near Badrinath, where he wrote the sloga book Jaya which was the basic book for MahaBharata.

It is to be noted the holy river Saraswati was ow -

ing north of Badrinath. Now it is believed owingunderground and joining with Ganga and Yamunaat Prayag.

Kedarnath is another important holy shrine of Lord Shiva. This is one of the 12 Jyothirlinga spreadover different parts of our country. This Linga is anatural one and a peak of a mount. Neelkanthparvathis standing high behind this shrine. By vehicle, wecan reach GowriKund, a place down 14 kms from

kedarnath and at the starting place of the peak. FromGowrikund, by trekking we can reach Kedarnath.One thousand years ago Sri AdiShankara visited this

place and joined with God.

Gangotri is the place where holy river Gangastarts. Earlier Ganga was owing in swarga at thefeet of Sri Vishnu. There is a history how Gangacame to earth.

In the Ikshvaku dynasty, Sagara was a famousand powerfulking. He wanted to perform an Ash-wametaYagna. He let his horse to visit the entirecountry to receive the honour given by the kings

Devataatma Himalaya

BharathDharshan

raja aja Ga sa


11/35



Brahma kundam) and many shrines. It runs throughthe Kaziranga forest where the famous one-hornedIndian rhinoceros is having asylum.

Haridwar is the holy place situated at the feet of Himalayas. It is one of the 7 Mokshapuris. AdiShan-kara established Chathurdama (four maths) in thefour corners of our country. The math in the northis at Haridwar. (Other 3 maths are in Shringeriinsouth, Dwaraka in west, Puri in east). Ganga owshere very calmly. The aarti performed at the banks of Ganga everyday evening by thousands of devoteesis an inspiring one. Haridwar, also called as Mayais the place where Daksha conducted yagna withoutinviting Lord Shiva. Sati (earlier birth of Parvati)came here,entered into the yagna re and died fol -lowed by the destruction of yagna by Lord Shiva.

Himalayas was the place many rishis selected todo penance and established their ashrams. VasishthaRishi Aruntati ashram is in theTehriGadhwaldistrict.

Sri Uttava lived in a village, Uttavachowri in theHimalayan range. Here he got the upadesh fromSri Krishna.

Dehradun, in the Himalayan range is alwaysassociated with military training and Martial arts.Dronacharya gave the military training to Kauravasand Pandavas in a place near Dehradun. Also in that

very same place now our national military trainingcenter is established.Pandavas spent their last dayshere only.

Satyasantan was a great king who did great tapas.He made war against the demon king Kolasura who

was torturing Devas and the people on the earth. Fi-nally Satyasantan killed Kolasura and gave freedomfor all. Now Srinagar is situated on the place.

Biltehar is the place where Lord Shiva came asa hunter and tested Arjuna by ghting for the killed

pig.

Prayag means joining of two or more rivers.Throughout the ranges of Himalayas, numerous

prayags are there like Rudraprayag, Karnaprayag,Devaprayag etc.

Mukthinath, Pasupatinath are very old Shivatemples in Nepal. Janaka maharajas place and SriSitadevis birth place Mithilaapuri is inside Nepal.Bhagwan Buddhas birth place Lumbini is also in-side Nepal.

Himalayas is abode of many holy shrinesand rivers and even now we can see Sadhus do-

ing penance on Himalayas in different places.A view of the ice cladden peaks ofKailasParvat,GowrishankarShikaram(Mt Everest), KanchanJan-ga, Nanga Parvatam, Nandadeviwill sure give us animmense divine feeling.

All these divine things really make worth to callthe Himalayas as Devataatma Himalaya:

BharathDharshan


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BharathDharshan

Between cooking at home and getting the familyoff to work and school, Kerala born Dr. Tessy Thom-as was busy working on getting the Agni V missilelaunched.

True to the Indian cultural upbringing, Tessy hasmanaged to maintain the balance. Her upbringing as

part of a family with an ailing father and 5 siblingshas made her strong to take up the challenges in her life. Like all her colleagues who work and maintaintheir homes, Tessy feels its part of the Indian culturethat women take up this role at home.

She broke the male bastion to head as Project Di-rector, the Agni V missile team. The Agni V missile isan indigenously developed, 5000-km range, nuclear capable ballistic missile. She has been working withthe Agni series in various capacities. With her namesurfacing after the successful launch, the DRDO (De-fense Research and Development Organisation) haslent a new face to its often secretive world.

Tessy, inspired from Mother Teresa, says she isonly a scientist and her gender has no place in the ad-vancement of science and work for the Nation.

Her sari clad image send around India and the world by the media truly made every Indian proud. Tessysays in the difference in the space industry in Indiahas happened in the last 20 years. She considers Dr.A.P.J Abdul Kalam as her mentor, who directed her towards this project. After the Agni launch, she hasnow set her eyes in the Mutiple Independent Re-EntryVehicle (MIRV) to be used on further Agni launches.

Her mother was her other inspiration in life. After her father suffered a stroke, it was her mother, Kun-

jamma Thomas, who raised the ve girls and one boy.Her father encouraged her to take up engineering be-fore he passed away y in 1991. Balancing the life of

a home maker and a scientist has often been a chal-lenge to her. But her passion for cooking ensured ahearty meal on the table always! Her son is namedTejas and is doing his nal year engineering. Her hus -

band Saroj Patek is a commodore in the Indian Navyand is posted in Mumbai.

Dr. Tessy calls it, the Weapon of Peace. If youare strong enough, nobody will dare to touch you. If you have a stick in your hand, nobody will come to

beat you because you will retaliate. Its not what Iwant. its the countrys requirement

She grew up in a common mans household goingto school and playing with other children. After her childhood visit to the Thumba rocket station, she hadengineering and working on missiles on her mind andguided her studies and ambition to reach this goal.

Her story is truly an inspiration for the new generation who grow up thinking onlyextra ordinary people can reach such famed

g s ca .

The MissileWoman

Dr. Tessy Thomas K s a K ma Pal a



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Rich heritage of Indian Art -A Birds eye view

Is it ever possible to map the essence of the end-less mysteries and marvels of this universe in a fewsentences?

Can the beauty and depth of nature be fathomed?

Likewise it is simply impossible to capture the es-sence of Indian Art in a commentary spanning a mere

thousand words, for Indian Art is an entity that spansnumerous dimensions of existence, tradition and per -ception. Inseparable from the rich culture and heritageof India, art is verily a way of life in this country thathas produced some of the greatest artistic wonders of this world. Who hasnt been mesmerized by the beautyof the Taj Mahal and the sentiments it relays.

Art has the unique ability to travel through civiliza-tions, cultures and eras, absorbing and imbibing variouselements from each period, resulting in what is calledartistic innovation. In a cultural context, Art plays a

pivotal role as an epochal spokesperson bringing tolight lost civilizations of this world. In other words theruins and remains, cave and rock paintings, sculpturesand artifacts that have been unearthed in many parts of the world, left behind by people who went before us,relate the story of their existence, survival, customs andrituals. Painting, sculptures, literature, music, danceand other forms of ne expression are collectivelyknown in modern times as Art. However, as a painter and sculptor, I have always found myself drawn tothe rich and diverse history of painting, stone carving

and sculpting. These have been a source of ceaselessamazement and inspiration for generations of artisans.When thinking about Indian art it would be prudent tothink of it as an extension of Indian culture as art formsare expressions of different social strata and groups.In India, where art is an indispensable part of everyaspect of life it often holds larger than life connotationsfor the common man. Thus one nds Gods and God -desses gures nding common place on canvasses andin sculptures.

SCULPTURES

While it is dif cult in general to date the origin of art in this world, it is known today that in India artoriginated nearly ve thousand years ago during the

Indus Valley civilization, also known as the Harrappanculture. The timeline of evolution of art in India beginswith ancient Indian art, early Indian art, Medieval In-dian art, 15th to 19th century art and Contemporary andmodern Indian art. The earliest form of art in India was

rock painting such as those depicted in the Bhimbetaka paintings. The Mother Godesses and the Dancing Girlfrom Mohenjodaro are a celebrated pieces of sculp-ture in terracotta and bronze dating back to the Harap-

pan days of Indian art and so are 'Man's Torso' and the'Bearded man, both in stone.

The steatite seals with impressions of animals likethe unicorn bull, the Brahmani bull, rhinoceros, theearthenware jars painted with oral designs, terracottatoys, copper and stone sculptures are some of man'searliest artistic expressions.

The Art of India is a con uence of in uences fromdifferent religions and different parts of the world, someof these being Buddhism, Hinduism, Islam, Greek andBritish. The stupas at Sanchi, the cave temples of Kar-le, the rock cut caves of Ajanta and Ellora that continueto draw large number of tourists from all over the worldstand as powerful reminders of the Buddhist in uenceon Indian art.

Indian art was later in uenced by Hinduism andthis is re ected in temple art and architecture. Did youknow that there are three types of Hindu temples? Na-gara or northern style, Dravida or southern style and theVesara or combination style.

The philosophy behind the temples of India and the

A s Sas k s awww.sasikrishnan.com



Art &Literature

rituals they follow are an intrigue in themselves but evenmore mind-boggling is Hindu Mythology, stories fromwhich have been copiously sculpted and painted on thewalls of temples.

An exemplary piece of Indian temple art that has cap -tivated the world and demanded sheer attention is theKhajuraho Group of Monuments which have become

synonymous with mans erotic desires. The explicit de - piction of sensuousness, the voluptuous gures and theexpression of intense passion in these carvings remainone of the greatest paradoxes of a religion deeply rooted

in puritanism.

Somewhere in the 16 century, the Mughals laid baretheir designs on India and in the process introduced thetechniques of stone working, metallurgy and miniature

paintings.

Indian paintings can be divided broadly divided intoMurals and Minature paintings. While Murals are largeworks that are carved on caves and other solid structureslike Ajanta caves, miniature paintings are miniature insize, intricately designed as the name suggests and are

usually done on materials such as paper and cloth. Thisart form of intricate detailing originated in Rajasthan andthe different schools of miniature paintings in Rajasthanwere Bundi, Kishangarh, Jaipur, Marwar and Mewar.Here it is important to make a mention of the Ragamalaseries of miniature paintings which is a series of illustra-tions based on Ragamala or the Garland of Ragas depict-ing six different musical frequencies or ragas.

Indian mythology has always been a source of mys-tery to the world around and it would not be wrong tosay that Indian villages are the power houses of traditionand culture. Story telling is a legacy that every Indian hasacquired by way of generations. The diversity of Indianculture coupled with vivid imagination has resulted in thecontinuous out ow of stories in the form of traditional art

skills and these have fortunately reached us today as g -ures from nature and mythology painted on village wallsthat mark seasonal and religious festivals and other spe-cial events of the life-cycle. Some of these are the verytraditional and famous paintings of India are: Madhu-

bani, Lepakshi, Tanjavore, Mithila paintings, Kalamkari,Patachitra, Warli, Batic, Mysore paintings etc

While ancient Indian art derived form and structurefrom tradition and religion, today's art forms are spon-taneous expressions steeped in social and political chal -lenges, circumstances and other contemporary thoughts.These artists portray the tribulations of life in a soci-ety that is at times farce and at other times demandingthereby adding a newer dimension to artistic expression.In short, their art is not merely a personal indulgence

but strives to go beyond and convey the feelings of themasses.

No article on Indian art is complete without the men-tion of some of the greatest artists of our times.

ARTISTS OF INDIA

In the galaxy of artists of India, Raja Ravi Varma of Travancore occupies a hallowed place. He was the rstIndian painter to exhibit oil paintings and he won par -

ticular recognition for his depiction of scenes from theepics of the Mahabharata and Ramayana.

Although Varma was essentially an Indian painter of traditional images, the technique he followed was funda-mentally European. He was the recipient of the rst prizein the Vienna Art Exhibition in 1873.

Jamini Roy was an exponent of art from Bengal whoseforte lay in the portrayal of the simplicity in the life of the folk people. He was awarded the Padma Bhushan in1954. His work has been exhibited extensively in inter -

national exhibitions and can be found in many privateand public collections such as the Victoria and AlbertMuseum, London.

Abanindranath Tagore was a pioneer of his times andhe formed the Swadeshi movement and gave form to theIndian Society of Oriental Art. He modernized Mughuland Rajput forms of art to nullify the Western effect thatwas in vogue during the colonial reign of Britain result-ing in the Bengal School of Art. Not only was he an artist

but has also contributed immensely to literature throughmany childrens books authored by him.

Under the Bengal School of Art, as a student of Aban-indranath Tagore, Nandalal Bose owered into an artist

particularly known for the Indian style of painting. He


19/35Sopanam - May 2012 19

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later went on to become the principal of Kala Bhavanunder Shantiniketan. His primary in uence came byway of the Ajanta Murals and his most famous worksinclude paintings of Indian Mythology, women and ruralscenes.

Among the painters of India, Amrita Sher-Gil de-serves special mention as the most expensive woman

painter of India who was greatly in uenced by the Mu -ghal and Pahari schools of painting and the cave paint-ings of Ajanta. Her travels in India resulted in the fa-mous South Indian trilogy paintings, Brides toilet andBrahmacharis. Born of mixed parentage, she has beendubbed India's Frida Kahlo.

The JJ School of Art, Bombay produced a prodigiousexponent of art called Jatin Das whose works were ex -hibited in the Biennales in Paris in 1971, in Venice in1978 and the Documenta in Kessel in 1975. The paint-ings of Jatin Das mainly deal with the emotional aspectsof the relationship between man and woman. His por-trayal of rural life and human sentiments has won himseveral accolades. Having held over 55 one-man exhibi -tions in India and abroad he is one of Indias foremost

contemporary artists. He has also done several muralsand sculpture installations. He works in oil, water colour,ink, graphics and cont. His works have been auctioned

by major international auctioneers like Sothebys, Chris-ties and Osians.

K. C. S. Paniker, was one of the brightest metaphysi-cal and abstract painters in India who interpreted thecountrys age-old metaphysical and spiritual knowledgein the 60s with symbols and images of early scripts andcalligraphy, when Indian art was still under the in uenceof the western painters. "That was the time when a few

Indian artists were trying to break out of this Westernin uence and establish an idiom and identity of their own," he once said. The Cholamandal Artists Village,formed in 1966, 21kms from Chennai central, along

with his students and a few fellow artists is an importantcontribution of this genius.

In recent years the art loving world has read a lotabout M.F. Husain, a phenomenal painter, equally con-troversial. Certainly M.F. Hussain needs no introductionat all. His creative genius inspired an entire generationof artists who credit him for globalizing Indian Art. Hisnarrative paintings stylized in a modi ed Cubist format,invoke different emotions, some scathing, some comi-cal, some sombre. It would not be wrong to state thatM.F.Hussain is Indias answer to Picasso of the West.

M.F Hussain was the founder member when TheProgressive Artists' Group was formed by Francis New-ton Souza and S. H. Raza and Manishi Dey were earlymembers. They were soon joined by noted painters S. K.Bakre, Akbar Padamsee, Ram Kumar and Tyeb Mehta.The group was formed with the aim to liberate Indian

painting from the clutches of the nationalist in uence of the Bengal School of Art and to engage in avant-garde

paintings that would nd acceptance at an internationallevel. European style was the most prominent in uencethat shaped this group, however, like all good things thatcome to an end, this group was disbanded in 1956. At

this juncture it is important to talk about Tyeb Mehtawhose Triptych Celebration sold for 1.5Rs crore at aChristie's auction in 2002. He was also famous for theDiagonal series, Shantiniketan triptych series, Kali andMahishasura.

Well, this is neither the beginning nor the end of thestory as art continues to travel through time leaving itsfootprints on each era through the works of stalwarts. Asthis piece is being created, somewhere in India and else-where, art is certainly evolving reaching out for the starsThis involves the stretching of the periphery of Indiancanvas is stretched beyond Indian peninsular boundariesto imbibe the global changes in art and its soul.



Being a land of diversities, India is blessed with lotof its unique traditional values, culture and heritage.Among those splendid treasures there exist a number of various dance forms which counts to the traditionof different parts of our land. It is to be noted thatmost of them are closely related to our epics and my-

thology. Adherence to the guidelines in Natyashastramakes a dance form considered as classical and showsa tint of spirituality in its literature and presentation.On the other hand, folk dance forms have its heartin the tradition and life style of local inhabitants andtheir rich heritage. The declared eight Indian classicaldance styles are:

Bharatanatyam , the classical dance formoriginated Tamil Nadu, then famous by the name"Daasiyattam". It got its present form regularized

by 'Thanjavoor Brothers', Ponnayya, Chinnayya, Si-vanandam and Vativelu. The name itself potrays the

Dance formsof India importance of three basic concepts of Bhava, Ragaand Thaala.

Kathak , has its origin in North India linked tothe nomadic bards known as Kathaks, or story tellers.These bards, performed in village squares and tem-

ple courtyards. Mythological and moral tales from

the scriptures found its form in Kathak music. Handgestures and facial expressions along with instrumen -tal and vocal music perk up the stories portrayed bydancer.

Kathakali , is a classical Indian dance-dramaoriginated in Kerala during 16th century. It fasci-nate the audience in terms of its attractive make-upof characters, costumes, nest gestures and the bodymovements. It has its deep root in Hindu mythology.The use of Mudras and Abhinaya nd its pinnacle in a

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r s my K s a K ma


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Finance

of head, chest and pelvis, and upon the basic squarestance known as chauka.

Sattriya, is a totally different form of dancewith respect to the performers and performance. Per-formed only by male monks in monasteries, Sattriya

Nritya has usually based on mythological stories

presenting mythological teachings to the people inan accessible, immediate, and enjoyable manner.

Indian folk dances includes Bhangra, Bihu, Ghumura Dance, Sambalpuri, Chhau andGarba and special dances observed in regional fes-tivals such as Lohri and Navratri. They are sim-

ple and beautiful despite the essence of rawnessin them. The prime element in folk forms is theexpression of entertainment, celebration and joy.

Bright and colorful costume and jewelries with afolk touch makes it special asset of Indian culturalheritage. These dance forms are developed by groupof people depending on their own socio-culturalsetup and directly re ects their traditional lifestyle.This may be attached to occasions like birth of achild, weddings, sowing the eld, harvest, change of seasons etc. While almost all of them are performed

by the rural people, to express their joy on manyoccasion and festival, the elements differ from oneregion to another.

Modernization has brought changes in the origi-nal format of many folk forms. Time has faded awaymany folk dance forms from our collection. Now

the new generation has recognized the importanceof preserving our traditional values especially therural counterpart. Efforts are made to revive the dif-ferent folk form all over India by various culturalgroups which is a positive sign for the preservationof our endangered splendid cultural art forms.

"To worship God by Natya is to ful ll all s a o a o s fol the path of salvation. The Dance gives

prestige and longevity and destroysall m s y. t a g s g a c o

ll a c as s goo fo of ma y"

- Vishnudharmottara Purana

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m-Wv IYsbn-epw- kv{Xo-im-o-IcWn-s- dbpw- kv{Xo- kaq-ln- \v B[p-\n-I hn-Zym-`ym-kw- e`n-tWvSXn-s-dbpw- Bhiy-IX-bm-Wv t\m-h-t_m-[y-sSp-p-Xv.-\thm-m-\ Im-]\n-IIm-eLw- Ign-v ]p- tcm-Ka\ {]m-\w- B[p-\n-Ihpw- AXym-[p-\n-Ihpw-Dcm-[p-\n-Ihp-am-b Im-eLn- Fn- \n-p-tm-gpw-kq-cn-\q-cn-am-Fn- Iq-Sp-Xem-Wv.-{Zhy-,- t]io-_-m,- A[n-Im-c kzm-[o-\,- I]S- Fn-s\bm-bn-kq-cn- \q-cn-bp-sS ap-Jw-am-p-p.-\m-b-\q-Xn-cn- kap-Zm-bfn-seacp-am-bhpw-Pm-Xn- hy-hbpw-Cp-teJm-am-[h{]Wbn-eq-sS Np-tat\m- AhXcn-n-p-p.-Bghpw-]cpw- sshcp-[y-fpw- {]iv\fpw- AhXcn-n-m-

t\m-h- am-[y-aam-Ip-p.- a\p-jy-Po-hn-Xw-kakvXinssNX\y-tfm-sS Bhn-jvIcn-p- km-ln-Xy- am-[y-aam-Wn-Xv.-IYm-]m-{Xfpw-A\p-`hfpw- A\p-`q-Xn-Ifpw- Nn-Ifpw- hn-Im-cfp-samw- t\m-hen-s-d Nq-n- HXp-p-p.-aebm-f t\m-h-km-ln-Xy-im-J DPz-ehkw- hn-cn-bn-p-sIm-WvSn-cn-p-p.- ]gbXeap-dbn-se Fw.-Sn.-ap-X- apIp-,-Cp-tKm-]- hscbp-h-A\ekam-b cN\m-]m-hn-em-Wv.-AXp-sIm-WvSp-Xs hy-Xy-kvXam-bhgn-Ifn- aebm-f t\m-h-hf-p-sIm-WvtSbn-cn-p-p.-

aebmf t\mhepIfpsS\mhgnIfneqsS...

V



Our country is home to the ancient science of

Ayurveda,which not only prescribes remedies for various ailments,but also takes a holistic view of health by suggesting appropriate foods dependingupon individual health types.According to Ayurve-da all foods have either heat producing or cooling

properties.Accordingly it suggests different foodsfor various seasons.Too much of heat-producingfood is believed to affect the blood circulation andcause sluggishness resulting in pitta dosha.Pitta isa re element responsible for governing metabo -lism and changes in the body, including digestion.Excessive pitta can result in many health problemsand hence it is balanced by eating naturally coolingfoods.

Summer foods suggested traditionally, help notonly to cool our body but also help to hydrate theskin.Though one would be tempted in summer toindulge in extremely cold foods and drinks,theseare actually known to interfere with digestion andsweating, the body's natural cooling mechanism.Hence it would be more prudent to moderate our intake of cold food and replenish it with food thatis easy to digest and contains a lot of water.

Most dairy products, several legumes and len-tils, most fruit and veggies and grains like wheat,Basmati rice and barley have cooling propertiesand are therefore perfect for the hot summer days.

Nature has ensured that summer provides us witha wider variety of vegetables than in any other season.We also have many succulent,juicy sum-mer fruits to choose from such as watermelons,guavas,lichees, mangoes, musk melons, sweetlime (mousambi),oranges,papaya,grapes,bananas, pineapples,sapota(chikku), pomegranate.These

juicy,tropical fruits are ideal hydrants.In order to prevent heat-strokes plenty of water and other u -ids must be consumed and intake of oily and spicyfood must be reduced. An ideal summer diet optionwould be to have chilled soups,salads,veggies,freshfruits,

juices,lassis.etc.

We have here an Indian chaat have with the ve

essential tastes: sweet, sour, spicy, crunchy andcool. It is a simple recipe that can be put together in minutes. It can be served cold or at room tem-

perature.

Chickpea and Potato Chaat

ingredients:4 cups chickpeas, boiled 1 large potato, boiled and nely chopped 1/2 seedless cucumber, nely chopped, or 1/2 raw

green mango, nely chopped (optional)3 small fresh green chilies, nely chopped 1 medium red or yellow onion, nely chopped 1/2 teaspoon red chili powder,w or to taste1/2 teaspoon ground cumin, or to tasteSalt and pepper to taste1 tablespoon tamarind paste or juice of 1 lemonor more to taste1 bag plain potato chips, coarsely crushed, for

garnish Fresh cilantro, nely chopped, for garnish (op -tional)

Preparation:

Mix the boiled chickpeas with the potato, cucum - ber, chilies and onion. Mix the red chili powder,ground cumin and salt and pepper with the tama-rind paste.You can vary the spices to make it ashot or as mild as you like. Combine the dressingwith the vegetables in a large bowl. Mix, tasteand adjust the seasonings. Before serving, add thecrushed chips to each portion or simply pass thechips around as a topping so they don't get soggy.If you like, garnish the chaat with cilantro.Raita is a yogurt-based accompaniment to a mealand is a natural coolant that's especially welcomeduring the summer months. It takes no time to puttogether and even less time to devour! This is anideal Indian recipe for an outdoor meal or picnic,and it will be most appreciated when you serve itwith a spicy dish.

Menu for Hot Summer

MathruDharshan

Salt Pepper

A a a S a a rama


25/35



News

Zriy-am-[yaw Ac-p-hm-gp Cm-e-v, tdUntbm F Bi-b-hp-ambn aptm-p-t]m-Ip-hm ImcWw?

tNmZy-n\v Dcw \Ip--Xn\v apv Nnm-]-c-amb Hcp`nX NqI n-m-t- XpI - v. "Zriy-am-[yaw Ac-p-hm-gp Cm-ev ' F Xc-n Rm Nnn-p-n-. A-c-samcp A{]-am-ZnXzw Zriy-am-[y-a-n Fv hy-X-bp--Xp-sImI -mWv Cu`nX Rm Nq n-m-p--Xv. sSen-hn-j h-Imew apX C-c-n-ep Htsd A`n-{]m-b- Dbp-h-n-p-I v. sSen-hn-jskzm[o\w hn-p--tXmsS ]{X--fpsS {]Nmcw Ips\Ipd-bpw F hne-bn-cp--em-bn-cpp s]mXpsh DI m-b-Xv.Fm Cu Nnbvv Hc-Sn-m-\hpw Csv Imew sXfn-bn-n-pI - v. temI-cm-Py- Fm-sa-Sp-mepw {][m\ ]{X--fpsS{]Nmcw Cme-b-f-hn IqSn-bn-t-bp-p. tIcfw Xs DZm-l-c-Ww. \psS {]apJ ]{X-sms Hmtcm hjhpw Bbn-c--W-n\v hmb-\-m-cmWv IqSp-X-embn DI m-Ip--Xv. HmUnv _yqtdm Hm^v kp-te-js hmjnI dntmp-I CXv sXfn-bn-p-p-apI - v. Cy-bn Xs {]mtZ-inI `mj-bn Ghpw

IqSp-X sSen-hn-j Nm\-ep-I D kwm-\-amWv tIc-fw.hnt\m-tZm-]m[n F \ne-bnepw Hw hm-I-f-S--ap ssZ\w-Zn\ hnh-c- Adn-bp--Xn\pw P\- sSen-hn-js\ B{i-bn-p-p I v FXv icn-Xs. ]s AXv "sSen-hn-js\ am{Xw

B{i-bn-pp' F \ne-bn ImW-cp-Xv. Hcp aoUnbw F\ne-bn sSen-hn-j D]-tbm-Kn-p--t]mse ]{X--sfbpw tdUntbm-tbbp-sams P\- kao-]n-p-pI - v.

\psS \mn F^v.-Fw. tdUn-tbm-Iv hn-p-h-cpkzoIm-cyX Xs DZm-l-cWw. sSen-hn-j Hcp Imev tdUntbmsb ]n-n-sb-Xv icn--bm-Wv. BIm-i-hm-Wn-bpsS Imcn AXv kw`-hn-p. BIm-i-hm-Wn-bpsS {]t-]W ssien-b-Sw Htsd LS-I- Cm-cy-n ]cn-K-Wn-t- XpI - v.Fm IqSp-X P\-Io-b-amb coXn-bn F^v.Fw tdUntbmh-tm AXv tIhn-bpsS ]pXnb A\p-`-h-ambn Xs P\- kzoI-cn-p. sSen-hn-j\v ]e-tmgpw t{]-I-cp-ambn Hc"C n-akn' krjvSn-m Ign-bm-dn-. Fm tdUn-tbm-bpGhpw henb {]tXy-IX t{imXm--fp-ambn A-c-n-semcpBg-n-ep _w krjvSn-m Ign-bp-p-sh-p--XmWv. \ap--dnbmw \-sf-tm-ep Xe-ap-d-bpsS a\-kn tdUntbmkrjvSn Hcp henb Xcw-K-s-p-dnv. tdUn-tbm-bpsS henbkm[yX a\-kn II p-sImI -p-X-s-bmWv Cu {]t-]W

am[y-a-n-tev Rm {i tI{o-I-cn-Xv.]ns, Fhn-sS-bmWv tdUntbm XpS-m Xocp-am-\n-X

F-Xp-IqSn a\-kn-em-t- XpI - v. \me-c-ew ae-bm-fn-I Xma-kn-p Ipssh-n-emWv Hcp am[yaw XpS-m Rm Xocp-am

1980 Aepgbn P\np hf a\pN{tiJ Cv Xs kz]v\kmmXvmcns \ndhnem-Wv. PohnXns \m hgnIfn a\phn\v Fpw {]tNmZ\ambn \nesIm I ncpXv Xs A Adv. {ioF.N{tiJc Bbncpp. Hcp FM tj F Xs kz]v\w kmmXvcnpXn\v a\phn\v XmpwXWepambXv {io. ^nenv taml Bbncpp. United Network Financial Controller Bbn tkh\a\pjvTnpAtlamWv a\phns kz]v\v NndIpItfInbXv. Atlns A\p{KlWen Cv IpsshnseBZy aebmfw FM Bb 98.4 UFM s No^v Hm]tdnwKv Hm^okdmbn a\p Xs kl{]hIsc \bnpp.

a\phns hmpIfntev...98.4 UFM hntijfntevv...

Ipsshnse XcwKwFM

a\p N{tiJ

News

hn`ojv XntmSn


27/35Sopanam - May 2012 27

News

\n--Xv. AhnsS GXp-X-c-n-ep am[yaw thWw Fv Xocp-am-\n-m henb Bi-b-p-g--sampw DI m-b-Xp-an-. Xnc-t-dnbCu kaq-l-n ImgvN-sb-m IqSp-X {]kn tIhnv Xs-bm-sW hy-amb t_m[y-amWv 98.4 bp F^v. Fw FtdUn-tbm-bpsS ]nd-hnv Imc-W-am-b-Xv.

Xm-fpsS kz]v\-Xp-ey-amb Cu ]-Xnv Ipsshv Xs sXc-s-Sp-m FmWv ImcWw?

Rm kqNn-n--tm, ae-bm-fn-I-fpsS hen-b-tXm-Xn-epkmn[yw Xs-bmWv {][m-\-Im-c-Ww. Ipssh-ns Fm taJ-e-bnepw B kmn[yw {]I-S-am-Wv. hnI-k\ taJ-e-bnepw tkh-\-

ta-J-e-bnepw sXmgnta-J-e-bnepw \nm-W-ta-J-e-bn-ep-samskanX kmn-[y-amb \psS Bfp-Isf II n-sv \Sn-m ae-bm-fn-bmb F\nv Ign-bp-am-bn-cp-n-. kzw \mn\nv hf-sc-Zqsc, Hcp cmPy-ns samw ]ptcm-K-Xnv henbkw`m-h-\-I \Ip \psS \mp-Imv {]tbm-P-\-{]-Z-amb Fs-nepw sNWsa sNdnb Nn-bn \nmWv Cuhenb ]Xn DS-se-Sp--Xv. kz]v\-Xp-ey-amb ]-Xn-bm-bn-cp-n,kz]v\-]-Xn Xs-bm-bn-cpp AXv. Ipssh-nse kml-N-cy- a\-kn-em-n-b-tm t_m[y-amb HpI - v. am[y-a--fn\nv AIv Ign-bp Hcp henb hn`mKw ae-bm-fn-I Ipssh-n-epI - v Fv Rm Xncn--dn-p. hfsc Xnc-t-dnb Pohn-X-am-Wv Ipssh-n ae-bm-fn-I \bn-p--Xv. AXn-cm-hnse tPmenv t]mIp-p, ]ns Xnc-tmSv Xnc-v, sshInv hon-se-n-bmtem,av ]e-Im-cy-fpw AhnsS \sf Imn-cn-pw. `mcy tPmenv t]mIp-tm `mhv hon, `mhv tPmenv t]mIp-tm`mcy hon. Ipp-sf t\mp--X-S--ap hop-Im-cy--fn ]ecpw Hgn-hp-k-a-b--fn hym]r-X-cm-Ip-p. apNn-e-cpsSImcy- hyXy-kvX-am-Wv. tPmen-bpsS ka-b-{I-ahpw _mlp-ey-hp-sams Ahsc hnt\m-Z-n-tbpw hnh-c--fp-tSbpw temIv \nv AIn \np-p-I v. Iymp-I-fnepw apw Ign-bpsXmgn-em-fn-I-fp-tSbpw ss{Uham-cp-tS-bp-sams Imcyw DZm-l-c-Ww. sSen-hn-j ImWmt\m ]{Xw hmbn-m-t\m- t]mepw kabwInm--h-cmWv Ipssh-nse _lp-`q-cn-]w ae-bm-fn-I-fpw.Ahcnte-s-m Ign-bp GI am[yaw tdUntbm Xs-bm-Wv. bp.-F.Cbpw _lvssd\pw Ds-sS-bp K^v cmPy--fn

ae-bmfw tdUntbm Ctm \ne-hn-ep-I v. Ipssh-n ae-bm-fn-Iv th I n F \ne-bn Hcp am[y-ahpw DI m-bn-cp-n-.

tIc-f-tmSpw ae-bm-f-tm-Sp-ap kvt\lhpw hnIm-c-]-c-amASp--hp-amWv Fs Ipssh-n-te-s-m t{]cn-n--Xv. Zriy-am-[y-a-cw-Ks {]ap-J AWn-\n-c-p bp.F-

^v.-Fw. Sow AwK-sf sXc-s-Sp--tm DI m-bn-cp am\-Zw Fm-bn-cpp?

P\--fn-te-s-p R-fpsS Hmtcm ]cn-]m-Snbpw Bam\-Z--ns Af-hp-tIm hy-am-p-pI - v. Ipssh-nseHmtcm ae-bm-fnbpw a\-kn sImI p-\-S-p ]cn-]m-Sn-I-fmWv Fmw. Sow AwK--fpsS {]Xn` Hmtcm ]cn-]m-Sn-bnepw ]c-p-p I - v. B {]Xn-`- X-s-bm-bn-cpp am\-Z-w. A`n-ap-J--fpsS ASn-m-\-n-em-bn-cp-n sXc-s-Sp-v. tIcnse Zriy-am-[ya taJ-e-bnepw tdUn-tbm taJ-e-bn-ep-sams\nd-p-\n kmn-[y--fmWv bp.-F-^v.-Fw. Sow AwK-. Rmt\cn-mWv Fm-h-tcbpw II s n-b-Xv. Ign-hp-am-{X-am-bn-cpsXc-s-Sp-ns ASn-m-\w.

em`\jvS-fpsS IWs- Spv \S-p Hcp hyh- kmbw FXn-ep]cn, A{]Jym]nX eyw Fs- nepw CXn-\p]n-n-eptI m?

{]Jym-]n-Xhpw A{]-Jym-]n-X-hp-amb Hcp eyw am{X-sR-fpsS t{imXm-v IqSp-X hyXy-kvX-amb A\p--`-h- ]Ip-\IpI F eyw. \mn-epw temI-p-sams\S-p kw`-h- A-tm Ipssh-nse ae-bm-fn-Iv Fn-p-sIm-Sp-pI, Hw Xnc-t-dnb Pohn-X-n Ahv am\-kn-tIm-m-k-n\p thZn-sbm-cp-pI, ae-bm-fn-bpsS PX-n-s\mw k-cn-p-sImI v th]n-cn-bm Iqp-Im-c-\mbnamdpI Fn-h-sbms B ey-ns `mK-amWv. ]ns, hyh-km-b-sa ]Z-{]-tbm-K-ns A-hym-]vXn-sb-p-dnv RmNnn-p-n-. Fnepw kzm`m-hn-I-am-bn-s m]-\-nskm-nI LS-\bpw ]cn-K-Wn-t- XpI - v. R-fpsS am-nwKv ]m-fn-I-fp-ambn lrZ-b-_w Imp-kq-n-m\pw R {]Xn-m-_--cm-Wv.

P\--fpsS CS-bn bp.-F-^v.-F-n-\p kzoIm-cyX

Ipssh-nse Cy P\-X-bpsS \-bvmbn Fs\ D]-tbm-Knmw? AXn-tms hy-am-W-tm. Ipssh-nse Cy-m-

cpsS Pohn-X-hp-ambn _-s hnj-b-X-s-bmWv bp.-F^v.-F-ns ]cn-]m-Sn-I-fpsS ImX. Znh-khpw 18 aWn-t{imXm-v R-fp-ambn kwh-Zn-m-\p Ah-k-c-apI - v.cmPy-ns hnhn[ `mK--fn Xma-kn-p t{imXm- Fm-hcpw Ah-cp-ambn _-s hnj-b--sf-p-dnv R-fp-ambnkwkm-cn-m-dp-I v. Cusbmcp Bi-b-hn-\n-ab kwhn-[m\w Xs-bmWv tdUn-tbm-bpsS Ghpw henb {]tXy-I-X. P\--fp-amb_-s Fm {]iv\-fnepw kPo-h-XtbmsS CS-s]-Spp F-XmWv 98.4-bp.-F-^v.-F-ns s]mXp-kz-`mhw. kz`m-hn-I-aIpssh-nse Cy P\-X-bpsS \bvv D]-I-cnpw Fp--Xn kwi-b-an-.

AXn-\m-bp Fsmw ]-Xn-I-fmWv DXv?

a\p N{tiJ, ^nenv tamlt\msSmw


28/35


29/35Sopanam - May 2012 29

News

apX 9 hsc), lnn kwKo-X-ns amkva-cnI temIw t{imXm-v \Ip Nmv\n-cmtX (sh-n-bm-gvN-I-fn cm{Xn10 apX 12 hsc) Fo ]cn-]m-Sn-I-fn \nd-p-\npXv \psS sshhn-[y-am kwkvImcw Xs-bm-Wv. ]pXp-X-e-apdtIn-p-t]m-ep-an-m ]gbX-e-ap-d-bnse ]mp-Ifpw ]ms-gp-p-Imcpw Iem-Im-c-m-cp-sams bp.-F-^v.-F-n-eqsS ]p\-\n-p-p-. Ime-v ]pd-In-te-p B kmcw Xs-bmWv Cy-mv thI n-bp Nm\-embn Cu tdUn-tbmsb amp--Xv. Hw `mc-X-ns hnkvXr-X-amb kwkvIrXn tIhn-bpsS

A\p-`-h-am-n-am-p ]pXnb Nne ]cn-]m-Sn-Ifpw DS {]t-]Ww XpS-pw. amtSmv P\{i BIjnpp FXnep

kt mjhpw BiwkIfpw AdnbnpXns\mw HcptNmZyw... P\]p\np Xocpam\v ASnhcbn

Sm Hcp ]cn[nhsc kzX{ am[ya klmbIamIpp F Xncn dnhn Ipsshnse `mcXobcpsS {]iv \ A[nImcshcpsS {ibnsSpm amtSmv t]msebp kwhmZ Fs\ {]tbmP\sSpmw

Fp IcpXpp? Biw-k-Iv \n. kzX-{-am-[ya kwkvIm-c-ns ASn-

m\-n-emWv amtSmv hnj-b-sf kao-]n-p--Xv.hnj-b--fpsS sXc-s-Spv apX ]T-\hpw hni-I-e-\hpwAh-X-c-Whpw hsc \ne-hn-ep kwhmZ ]cn-]m-Sn-I-fn \nv hyXy-kvX-hp-am-Wv. {]hmkn `mc-Xo-b-cpsS PohnX Npp-]m-Sp-I-fn\nmWv amtSmv hnj-b- II s p--Xv. bmYmy-t_m-[-tm-sS-bp kao-]\w, IrXy-X-bp \ne-]m-Sp-I, hnj-bm-[n-jvTn-X-amb hni-I-e\w Fn-h-bn-sems \njvIjn-pIWn-i-X-bmWv amtSm-ns\ {it-b-am-p--Xv. {]hm-kn-I-fpsS {]iv\- A[n-Im-cn-I-fpsS {i-bns-Sp-m Xo-bmbpw amtSmv hgn-sbm-cp-p-pI - v FXpw Rv A`n-am-\-I-c-am-Wv. Hcp DZm-l-cWw {]hm-kn-I \mn-tev sIm-

I p-t]m-Ip kz-n\v \nIpXn CuSm-p--Xmb hmamtSmv N-sN-bvX-tm e`n {]Xn-I-cWw Xm Adn-n-pI -m-Ipw. Cu N-bn Btm-BWn Fw.-]nbpwUln-bn \nv X-abw ]p-tNn-cp-p. amtSmv

kPo-h-X-tbmsS Cu {]iv\w N-sN-bvX-tm Kuc-h-tmsS hjbw Dsm-m Btm-BWn Xm-dm-bn. XpSv tI{[\-Im-cy-a-{n-bp-ambn Cu hnjbw N-sN-p-sav Atlwhy-am-n. ]noSv Btm-BWn [\-a-{nsb ImWp-Ibpw\nIp-Xn-bn-msX sImI p-t]m-Im-hp kz-ns ]cn-[n-bp-bm-sav [\-a{n Dd-p-\Ip-Ibpw sNbvXp. ]mXn-h-gn-bn Dt]-n-msX hm-bp-sS XpS Ddv hcp-p-I-bmWvamtSm-ns asmcp [w. Ipssh-nse kvIqfp-I-fn ae-bmf`mj ]T\ hnj-b-am-m-Xv, {]hm-kn-I-fnse B-l-Xym-\n-cv Db-cp--Xv, Ipn-I Ip-hm-fn-I-fm-Ip kml-N-cyw, \mH-bvm-Ip {]hm-kn-I-fpsS amXm-]n-Xm-, \gvkp-am Sp {]iv\-, km-nI Xn-p-I-fn IpSp-p {]hm-kn-I, hn-p-h-cp {Sm^nIv \nb-a-ew-L-\-, A{i--sImI v

A]-I-S-ns-Sp Ipp- XpSn Htsd hnj-b--fmWv CXn-\Iw amtSmv ssIImcyw sNbvX-Xv. kwhm-Z-n\v ep henb {]Xn-I-cWw Xs-bmWv amtSm-ns {]knhn-n-p--Xv.

Chn-Sps tIc-fob kaq-l-ns Bi-b-cq-]o-I-c-W-n\pw ka-\z-b-n\pw Hcp s]mXp-th-Zn-bm-Im\pw AXp-hgn ae-bmfn kaq-l-ns ]pXnb i_vZ-am-Im\pw bp.-F-^v.-F-n\v Ign-bp-sav hnizm-k-aptI m? AsX-s\ ssIh-cn-m km[npw?

icn-sbv t_m[y-ap Imcy--fn s]mXp A`n-{]mbcq]o-I-c-W-n\v thZn-sbm-cp-pI FXmWv GsXmcp am[y-

a-n-sbpw [w. ae-bmfn kaq-l-ns Pohn-X-p-Sn-pI Xs-bmWv bp.-F-^v.-F-ns lrZb kv]-\w. tIhn-p-d-n-cpv \n-tfmSv kwh-Zn-p-I-bmWv R. tIc-fobkaq-l-ns Hgp-n-\-\p-k-cnv Ftmgpw R-fp-ap-I m-Ipw.\nv ]d-bm-\p-Xv R-fn-eqsS Gp-]-d-bmw, A\p-`-h-]p-sh-bvmw, Xam-i-I ]dv s]mn-n-cn-mw, [oc-amb {]Jym-]-\- \S-mw. AXp-sImI v Xs Ipssh-nse ae-bmfn kaq-l-ns ]pXnb i_vZ-ambn CXn-\Iw Xs Ramdn--gn-p-sh-p--XmWv icn-bmb hkvXp-X.

tZiobX hfp--Xn am[y-a-p {] k-n-sb-mWv? Xm-fpsS Cu kwcw-`-n\v {]kvXpX

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tm Cybnse {]apJ tZiob Zn\-]-{X-amb Cy FIvkv {]kv B Xocp-am-\-tm-Sp {]Xntj[w tcJ-s-Sp-nbXv FUntm-dnb tImf-n Idp-- ajn ]pc-nsmI - m-bncp-p. HcpP\-X-bpsS hnIm-c-amWv t]Pn Idp-- ajn ]pcn B ]{Xw Bte-J\w sNbvX-Xv. tZiobX Hmtcm am[ya-nsbpw hnIm-c-am-sW-mWv Fs hnizm-kw. cmPyw \nWm-bI L--fneqsS IS-p-t]m-Ip-tm tZiob-X-bpsS Imh-em-fm-tI I - Xv am[ya--fm-Wv. 98.4-bp-F- vF-ntbpw lrZ-b-hnImcw tZiobX Xs-bm-Wv. tZio

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VISHU SEVA DINAM - 2012 SEVADARSHAN FAHAHEEL UNIT

In v iew of p romot ing f ra te rn i ty and

cord ia l ex is tence among the member andfamil ies, SEVA DARSHAN - Fahaheel or-

gan ized VISHU SEVA DINAM on theeven ing o f 13 th Apr i l , 2012 , a t the aud i to -r ium of In te rna t iona l Br i t i sh School , Fa-h ah ee l .

With the t rad i t iona l lamp l igh t ing , the prog ram began in f ro n t o f a fami ly c rowdof about f ive hundred . Fo l lowed by a cu l -tu ra l meet ing , the budding s ta r s & ta len tsof Seva Darshan - Fahahee l team presen t -ed var ie ty cu l tu ra l even ts dep ic t the nos-

ta lg ic memor ies o f our mother land Ind ia .

Adv. Sumod, Co-ord ina to r, Vichar Bhara th i -Fahahee l un i t p res ided the cu l -tu ra l meet ing and had de l ivered an insp i -ra t iona l Vishu Message dur ing h is p res i -den t ia l address . Sa jeev Nai r, Pres iden t ,Adhyathmik Samith i -Fahahee l un i t wel -comed one and a l l . R. Sas idharan Nai r,Seva Co-ord ina to r addressed the aud iencewi th h is Seva Message and Sudhir Menon ,Seva Co-ord ina to r, -Fahahee l un i t p ro-

po sed the v o te o f th an ks .

A var ie ty o f cu l tu ra l en te r ta inmentswere then s taged by Seva Darshan mem-

bers , lad ie s and ch i ld ren . Rang apoo ja ,Vishukkan i -Sk i t , Th i ruva th i raka l i - the en-chan t ing dance fo rm of Kera la , Kr ishna-lee la -dance d rama, Class ica l dance fo rmssuch as Bhara thana tyam Dasava tharam ,Kuchipudi , Unar thupat tu - a musica l sk i t ,Dandiya and f ina l ly the s igna ture even tof the day, d rama Rest House s taged bythe Thapasya Thea t re (cu l tu ra l wiwng of Adhyathmik Samith i - Fahahee l ) were the

p r ime i tems en th ra l led th e au d ien ce . Atd i ffe ren t in te rva ls , the aud ience encour-aged the i r awesome per formances wi thloud app lause .

The met icu lous even t was co-ord ina t -ed by Aneesh Kumar Unnikr ishnan Nair,Program Convenor wi th ac t ive invo lve-ment and suppor t o f Mathru Darshan , BalaDarshan , Adhyathmik Samith i and SevaSamith i - Fahahee l un i t s .

Aff i l ia ted to the Ind ian Embassy, SevaDarshan has been func t ion iwwng in Ku-wai t fo r the las t 6 years , p romot ing soc ia l ,

cu l tu ra l and wel fa re se rv ices by way of he lp ing the needy, suppor t ing economi-ca l ly backward peop le , a id to a i l ing , p ro-v id ing p la t fo rm to youngste rs to exh ib i tthe i r in -born ta len ts , conduct ing c lassesand workshops fo r younger genera t ion toin t roduce the r iches t her i tage o f Ind ia .

The Seva Dinam was ded ica ted tosuppor t the ongoing welfa re ac t iv i t ies o f Bala-Bal ika- Seva Sadans wi th the k indhelp o f l ike minded communi ty members .

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31/35Sopanam - May 2012 31

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VISHU SEVA DINAM - 2012 SEVADARSHAN FAHAHEEL UNIT



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VISHU SEVA DINAM - 2012 SEVADARSHAN ABBASIYA UNIT

The ASbbasiya un i t ' s Seva Dinam programme was he ld a t the Uni ted Ind ian School . Alarge ga ther ing o f peop le a t te nded the func t ion t ha t was inaugura ted by Dr. Nampoor i . Awide var ie ty o f p rogrammes were per f o rmed on s tage by the members o f the un i t an d thech i ld ren o f Bala Darshan , The Vishu message was g iven by Shr i . Ajayan j i and the Sevarepor t was a lso read a t the venue .

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33/35Sopanam - May 2012 33

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VISHU SEVA DINAM - 2012 SEVADARSHAN SALMIYA UNIT

On the ausp ic ious day o f Vishu , 14 th Apr i l the Sa lmiya Uni t o f Seva Darshan he ldi t s Seva Dinam programme a t the Ind ian Communi tu School , Amman Branch . The wel la t tended programme fea tu red dance , songs and sk i t s by the ch i ld ren o f Bala Darshan .Many of the members adn a t tendees came fo rward wi th the v ishu ka inee tam's .The MathruSamith i members b rought a long a var ie ty o f payasam tha t was en joyed by everyone .The

prog ramme was inaug ura t ed by re spec ted e ld er s f ro m the soc ie ty. Sr i . Kr ishn a . K. Pi l la ispoke in the impor tance o f Vishu and our cu s toms.

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Bala Lokam

Kalidasa was a famous Sanskrit poet wholived in India during the third century A.D.As a young boy, he was poor and lived withhis mother in small hut facing the kings

palace. Wi thin the palace walls was a larg eorchard of mango trees. During the fruitseason, the trees were heavy with sweet, de-licious mangoes. When no one was watch-ing, Kalidasa would climb over the wallsand help himself to the mangoes.

One day when Kalidasa was stealing themangoes, he did not realize that the kingwas watching him from the palace window.That morning, while the king was peeling amango, he accidentally cut his hand. Sincethe cut drew a lot of blood, the king sum-moned his Wise men and fortune tellers totell him the significance of that accident.

The Wise men thought for a while andasked the king if he saw anything unusualthat morning. The king replied that he saw a

boy stealing some mangoes f rom the palaceground. Oh! What your majesty saw wasvery inauspicious. That boy will bring you

bad luck, said the Wise men. It is good if your majesty could get rid of him immedi-ately.

The king ordered that Kalidasa be brought before him. A s the poor trembling boy stood before the king, he was told that the kinghad seen him stealing the mangoes and this

had brought the king bad luck. He was askedif he had anything to say before he was tak-en away for execution.

Im very sorry for bringing you bad luck,Your Majesty, said Kalidasa. But it is rea-sonable to also punish accordingly the per-son who saw me this morning because asyou can see he has brought me bad luck too.That reply surprised the king as he realizedthat he was a fool to have listened to thefortune tellers who called themselves Wisemen. Being impressed with Kalidasa, theking adopted him as his son. It was in the

palace that Kalidasa developed his literaryskills and later emerged as a famous poet inIndia.

Kalidas Story


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Bala Lokam

Malavika Krishna. K Baladarshan, Abbasiya

Anuksha NarayananBaladarshan, Abbasiya

Sopanam E Magazine Vol 2 Issue 2

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Transcript of Sopanam E Magazine Vol 2 Issue 2