Kattuputhur Excavations: REACH Exhibition and Presentation by Swarnamalya

Kattuputhur Village - Location Map Google

Terracotta heads of Sastha (left) and the Buddha (right) (belongs to a period earlier than the Megalithic Age or Iron Age in Tamil Nadu) found near Kattuputhur (photograph courtesy : K.V. Srinivasan, The Hindu)

Inauguration of the Exhibition on Kattuputhur Excavations - organized by AASAI and REACH Foundation and Rotary Club of Madras Central Aadithya at at Madras Management Association, 3rd Cross St., Seethammal Extn., Teynampet on 24th August 2014 between 10.30 am and 12.30 pm. (photograph courtesy : Dinamalar)

Excavation work at Kattuputhur, Thottiam Taluk of Tiruchirapalli District, yielded five potsherds with Tamil Brahmi script, shallow and deep terracotta bowls and plates, thin black and red ware, miniature pottery, beautiful terracotta figurines of the Buddha and the Sastha, beads made out of conch shells. The artifacts datable to second century CE together  tell a story about how our ancestors lived about 1800 years ago.

The importance of the site, according to T. Satyamurthy, former Superintending Archaeologist, Archaeological Survey of India (ASI) and the founder president of REACH Foundation, Chennai, is that it belongs to a period earlier than the Megalithic Age or Iron Age in Tamil Nadu. They estimate that the site is datable from third century BCE to the 15th century CE.

Kattuputhur, the nondescript village, in Thottiam Taluk,  Tiruchirappalli district, Tamil Nadu near Namakkal, has spread along the north bank of the Cauvery river and populated with 11,115 people.  The perennial river flowing in 3 km distance from Kattuputhur and pouring her blessings on the people and turning the land green and fertile. The finest fertile lands depends mainly on the Cauvery water.

The site comprising huge mound was first identified by Dr.Swarnamalya Ganesh, renowned danseuse, actress, TV anchor and the Board of Trustee of Sri Lalithalayam trust (regd). She has also completed the course in “Deciphering South Indian Inscriptions - Tamil Brahmi, Chola Tamil and Grantham” conducted by the  REACH Foundation. This archaeological enthusiast also discovered and collected  the Sasta, Garuda, Vishnu, Jeshtadevi, Buddha and all other sculptures and photographed it first. She later invited Dr.Satyamurthy, the founder, Rural Education and Conservation of Heritage (R.E.A.C.H) Foundation, Chennai and his team of archaeologists. REACH has obtained license from ASI to conduct excavations and the team laid two trial trenches from April 26 to May 20 (Four-weeks).  The excavation director was Shri. K.K. Ramamurthy, former Superintending Archaeologist, Thrissur Circle, ASI.

Dr.Swarnamalya Ganesh, the Board of Trustee of Sri Lalithalayam trust (regd) is the decendent of the family of Dikshitars of Kattuputhur. The land grant including  of 1000 velis including the villages Kattuputhur, Thottiyam and Valayapatti as a free hold to Dikshitar family by Vijayanagara emperor Sri Krishnadevaraya. The copper plate grant issued by Sri Krishnadevaraya and the book “Sages of Himalayas” by Swami Sivananda confirm this land grant. The Sri Lalithalayam trust (regd), formed by her family with the "lofty ideals of searching the heritage roots of Kattuputhur, establishing a museum, renovation, conservation and restoration of temples, monuments and heritage edifices in and around their village."

REACH has organized an exhibition comprising the collection of photographs and artifacts obtained from the site. This exhibition recognises the ancestral as well as the historical link with the Kattuputhur village. The presentation by Dr.Swarnamalya, preferred to call her as an archaeological enthusiast, highlighted her attachment with her ancestral village. She also brought out the concept of 'Community archaeology' being experimented by REACH and the response from people is encouraging. Her direct involvement in discussions with other archaeologists, researchers, journalists and enthusiasts about the archaeological site and artefacts and it was a "learning from experience" for her. She also interacted well with the skilled and unskilled staff in the excavation process as well as the local people who showed curious reactions and later extended all possible help in the task.

The excavation has produced different varieties of ceramics such as black and red ware. The pottery sherds contain Brahmi inscriptions on them, which have provided additional evidence for the archaeologist to date them to third century BCE. Other artifacts such as shallow and deep terracotta bowls and plates, terracotta figurines of the Buddha and the Sastha, beads made out of conch shells provide clues about the nature of the settlements and the other aspects of life during the ancient Sangam Age Tamilakam.

Dr.Satyamurthy has arrived at a conclusion that the excavation revealed about the flood action from the Cauvery river, first during the second century CE and again in the seventh century CE.

Reference

1. A chance find of 1,800-year-old artefacts TS Subramanyan The Hindu  July 1, 2014
   http://www.thehindu.com/news/national/tamil-nadu/a-chance-find-of-1800yearold-artefacts/article6164059.ece
2. Dr Swarnamalya Ganesh: Her Lineage http://drswarnamalyaganesh.com/her-lineage
3. Heritage Restoration Visits REACH Foundation http://conserveheritage.org/?page_id=1547
4. ராஜேந்திர சோழன் பிறந்த நாள் குழப்பத்துக்கு தீர்வு தேவை : தொல்லியல் ஆய்வாளர் விருப்பம்  (எஸ் ராமச்சந்திரன்) தினமலர்  25 August 2014

Kattuputhur Archaeological Excavations by REACH Foundation: Exhibition (Youtube Video)

Sculpture Galleries of Government Museum, Chennai: Guided Walk on Sculpture Identification Skills

Management Consultant and History enthusiast, Pradeep Chakravarthy

Hero-stones Gallery at Govt. Museum, Egmore, Chennai

Sculptures @ Pallava Gallery

Lord Vishnu Pallava Sculpture

Dakshnamurthy Pallava

Reclining Vishnu with Sri Devi and Bhu Devi Early Chola

Chola Sculpture

 

 Vijayanagara Emblem

 Mahishasuramardhini - Chola

 Vishnu

Parvati

Management Consultant and History enthusiast, Pradeep Chakravarthy  guided the 45 minute walk on 10th August 2014 between 11.00 and 11.45 am around  select stone sculpture galleries  inside the Government Museum, Egmore Chennai 600008, India. About 30 history buffs  from all walks of life participated in this event.

About Government Museum, Egmore

The walk commenced with a brief introduction about the museum. The Government Museum, established in 1851 under the charge of Dr. Edward Balfour, Medical Officer of the Governor's Body guard, houses India's finest collection of stone and bronze sculptures that span several centuries. Initially it was inaugurated within the first floor of the College of Fort St. George (present DPI premises) with the 1100 geological specimens of the Madras Literary society. The museum was later shifted to the Pantheon building with huge garden spaces in 1854. Previously Pantheon aka Public Rooms or Assembly Rooms was being utilized for banquets, balls and dramatic performances. During 1856, a zoological garden with 360 animals was established within the museum.


Non-Agamic or Non-Vedic Pantheon of Gods

The statue of sun god occupied a center stage (staircase leading to balcony) in the main hall (at the entrance) of the museum. There is a serpent stone gallery on the left and a hero stone gallery on the right. Pradeep preferred to recognize the nature worship (as part of the sun god worship, serpent cult and hero stone worship) as the non-vedic or non-agamic pantheon of gods in Hinduism.  Before temples came into existence,  nature worship - including celestial objects such as the sun and moon and terrestrial objects such as water and fire - formed as a definite and complex system of belief in early South Indian civilizations. The sun worship played an important place even today in Hinduism. Serpent cult (Ophiolatry), Hero stone or Stonehenge (mother goddess worship on chastity counts (i.e, Kannagi, the heroin of Tamil epic Silapathikaram) worship also fall under the  non-agamic pantheon of Hinduism.

The serpent cult or worship of serpents (Ophiolatry) or Naga worship occupied high status in Hindu mythology.  It is considered even today as symbol of fertility and life. In olden times Lord Balarama (brother of Lord Krishna) was recognized as the Lord of snakes. Hero stone (nadukal) is the memorial stone erected between the 3rd century BC and 18th century AD in southern India to commemorate the heroic death of men in battle.  Stonehenge representing the womb of mother goddess or Sati stones (sacred relics of widow sacrifice) also occupied important place in the non-vedic worship.

Select Stone Sculptures

The museum complex comprise six buildings and 46 galleries. It's distinguished art collection includes the stone sculptures of Pallava period (300 - 897 AD.), early Chola period (850 - 985 AD.) medieval Chola period (985 - 1074 AD.), later Chola period (1074 -1350 AD.),  Viajayanagara period (1350 - 1600 AD.) and modern period (From 1600 AD. onwards). It also houses wonderful collection of sculptures of  Chalukya, Hoysala, Rahtrakudas dynasties.

Unique Features for Identification

Pradeep selected the stone sculpture galleries of Pallava period, early, medieval and later Chola periods, Vijayanagara period and modern period as the context for discussion. He analyzed the uniquely distinguishable features of the sculptures one by one commencing from Pallava dynasty.  The Pallava sculptures came into being from the 4th to 9th centuries. The sculpted human figures exhibit plain and simple, realistic anatomy, elongated (oval) faces with large eyes, broad nose with chubby tip, less ornamentation and cylindrical head gear.  The hind limbs  (third and fourth hands) of deities originate from the elbow the hand. Vishnu appear with Prayoga Chakra (discus is twisted in Vishnu's hands and its almost in a form - ready to go). Reclining Lord Vishnu with seated Bhu Devi (with breast band) and Sri Devi (without breast band) located in the Pallava gallery aroused interest.

The medieval Chola sculptures show rigid and artistic anatomy, slightly rounded face, nose with increased sharpness, conical shaped head gear and more ornamentation with detailed patterns. The medieval and later Chola sculptures exhibit shaped anatomy, distinct round face, sharpened nose, rich ornamentation and conically shaped head gear. The Vijayanagara sculptures followed the Chola style of sculpting and gave attention to details. The anatomically realistic sculpture forms of Pallava period evolved into much rigid and artistic  forms. The resource person analyzed the possible reasons.

Temple: From Places of Worship to Socio - Political Institutions

The Pallava kings provided direct  patronage, guidance and funding for the sophisticated agamic temple building and architecture. The medieval Cholas expanded their empire in all directions and became a military, economic and cultural power in South Asia and South-East Asia. They pioneered a centralized form of government and established a disciplined bureaucracy. Local self-govt was a remarkable feature of Chola administration. Temples in grandeur scales were built to commemorate the victories and achievements. They also provided liberal land endowments, gold, jewellery and developed public funds from land revenue and tax collection to the village administration that managed the temple. They either raised small and medium sized granite temples or rebuilt / converted brick structures into granite shrines around Cauvery plains, central and northern Tamil Nadu as well as adjoining regions of present Andhra Pradesh and Karnataka.  The Chola temples, a socio - political institution in itself,  soon became the hub of village local self governance including daily religious rituals, temple festivals, temple staffing, land revenue administration, public finance treasury, banking and notification of royal orders , endowments and  gifts through inscriptions. The temple ran Vedic schools and medical centers and served the villagers.

From Dedicated Sculptors to Mass Producing Artisans

As the temple building was at initial stage, the Pallava sculptors concentrated with simple and natural anatomy oriented sculptures. Territory expansion, more conversion of cultivable land, more land grants for Brahman villages, growth of public funding and public demand for temple aggravated the demand for more and more sculptors and the they paid less attention to natural anatomy and produced rigidly patterned and artistic sculptures in large scale. Thus the sculptures slowly lost their natural anatomy and beauty.

How to Rate the Ability?

How the participants could rate their ability in identification of sculptures? The main purpose of guided museum walk is for creating awareness about the world of sculptures. Pradeep also suggested the participants to go around other galleries including the bronze gallery and open stone gallery and wanted to take note of the unique features of the sculptures to determine the period they belonged to. The label below the sculpture could also be verified before arriving any conclusion. If the participants are able to identify the features and relate with period correctly, then the purpose of this guided walk around the museum will be achieved.

Nature in Miniature: Bonsai Exhibition and Seminar as Part of Madras Week Celebrations

 

Ever keen to grow Bosai trees in your home garden, balcony, terrace but didn’t know how? How long it takes to develop some proficiency in Bonsai? People attracted to learn bonsai are keen to get involved immediately. Yet it is a lengthy process and the passion for bonsai should be very much alive within them.

‘Nature in Miniature’ The Bodhi Bonsai Association's Exhibition and seminar, a 2 day event  held from 7th August to the 8th August 2014 at the Department of Botany, Women’s Christian College, College Road, Chennai, India. organized the event.

As part of Madras Week celebrations, the event, organized by Bodhi in collaboration with the Department of Botany, Women’s Christian College. (The founding day of Madras is considered to be August 22, 1639 and hence MADRAS DAY, as always, is August 22. In 2014, MADRAS WEEK will be celebrated from August 17 to 24. Madras Week focuses on the city, its history, its past and its present. )

Bonsai (meaning tree in a tray) is the art of dwarfing or miniaturizing a tree in a shallow pot. Though the concept of miniaturizing a tree was known in ancient India, China and Thailand, the Japanese perfected this art and science and popularized across the world.

About 50 beautiful bonsai trees  were on display  (grown by the members of the association - with some up to  40 - 50 years old) appeared in different forms and styles:  Formal (Chokkan) and Informal (Moyogi) upright forms, Multi-Trunk,  Broom form (Hokidachi), Slanting form (Shakan), Twin Trunk (Soju), Multi-trunk (Kabudachi), Group (Yose-ue), Literati form, Exposed root form, Clinging-to-rock or Planted on rock (Ishitsuki), wind-swept (Fukinagashi), cascading (Kengai), forests, etc,  The seminar held on 8th Aug 2014 at this venue included demonstration and workshop.

Members demonstrated with actual Bonsai specimen including pruning (trim branches), styling wiring (to put wires around branches to make a tree strong) before the participants. Pruning or trimming the top and outer portions of the bonsai ready tree and a wide range styling techniques explained for  developing and maintaining the tree in miniature size and shape. Wiring, an important bonsai styling technique for shaping and setting angle of the branches, includes wrapping copper wire around the trunks and branches.  Other Bonsai styling methods include defoliation, creating deadwood and planting rock formations.

The Bodhi society acts as the medium for promoting bonsai and provides good opportunity for Bonsai enthusiasts to learn through exhibitions, demonstrations and workshops. The society members meet on second Saturday every month at Children’s Green Park, Spurtank Road (Opp. Grand Sweets), Chetpet, Chennai and allow guests on payment of Guest charge.