Child of Fate

Recap: Maharani Sri Devi Parvada Vardini of Taravati invites Valli, a Tamil fortune-teller, who then begins to narrate the queen’s past.

Chapter 3/26: Child of Fate

Part 1/2 of the novella ‘The cursed keris of Taravati’

Valli focused her gaze on Parvata Vardini’s palm, tracing her fingerprints with her stick. Then, her eyelids closed and she became immersed in her vision. “I see confusion, intertwined curses… a swan is singing lonely…. and loudly…” she spoke to herself as she scattered her mini sea-shells on the floor.

The internal conflict, the simultaneous pull of opposing ideas, forces her to claim her path of destiny using that technique.

Tightening her fist, her eyes fixed on small sea-shells on the floor, she spoke as if channeling a voice from the unknown. “There was a peaceful and beautiful village at the foothills of Ranadhira, the great mountain. Lush greenery covered the slope, and the valley with its fertile soil was filled with blessed farm fields of paddy, millets, sugarcane, ginger, and turmeric.”

Lady Kandika ran along the ridge separating two paddy fields towards her husband. As the paddy roots were surrounded excessive water, her husband farmer Sutasoma was making an outlet to flow to the main canal, preventing the paddy roots from rotting. Mole crickets scurried on the ridge, fearing death under Kandika’s feet. She stopped in front of Sutasoma, catching her breath.

“Are you mad? Why are you running like this?” Sutasoma asked.

“If you heard what I heard, you would be mad too,” Kandika replied.

Sutasoma placed his shovel aside and took the towel wrapped around his head to wipe away his sweat. “What is it?”

“I went to the monastery on the slope,” she said, referring to the monastery maintained by the hermit Visvaka.

“Hmm?” Sutasoma waited for more.

“I go there often to pray for us. But today was the most memorable day,” Kandika exclaimed.

“Why? Did you get more food to fill your belly?” Sutasoma teased.

“No. The hermit said I will give birth to a baby soon,” Kandika said, her eyes and lips wide with surprise.

“Seriously?” Sutasoma sounded amazed.

“Yes. He said it will not be a normal child. It will be a divine child, the child of Lord Vishnu.”

“Narayana…” Sutasoma praised his god and said, “That’s what I wanted to hear, Kandika. Let his statement be true. But when? Did he say anything about it? How a Buddhist priest know about Vishnu’s son? ” A peacock cried out in the shadowed path leading into the forest.

“He said very soon. He told me the rules to observe a vrata – a fasting. Before the vrata ends, I will conceive,” she said.

“Whatever it is, let’s follow it.” He took the food carrier hanging on the palm tree on the ridge and moved to the nearby shade of a golden shower tree.

As they sat down to eat, Kandika said, “We must clean ourselves twice every day and perform the rituals.”

“Okay, then?”

“Ah, I forgot to tell you. We need to observe cleanliness.”

“Yes, that’s essential. What else?”

“No, I didn’t mean that. I mean, you and I…”

“You and I?”

“We need to be separate until I conceive.”

Sutasoma looked confused. “Do you know what you’re talking about?”

“Yes, he told me. Otherwise, the child’s divinity will be diminished.”

“Kandika, don’t joke. How is that even possible?”

“I am sure. It’s divine power.”

“Kandika, he might be comforting you because you go there often and pray for a baby,” Sutasoma said, expressing his disbelief.

But Kandika believed it was true. The next morning, she began observing the rules. She insisted that Sutasoma follow them too. He did so despite his skepticism, just to make her happy. The poor farmer had some knowledge of biology.

One night, Kandika dreamed of heaven. She was lying in a heavenly bed, adorned with ornamental outfits and glittering jewels. A bright spark floated in the air and came towards her. It was a bright seed with cotton wings that entered her. Shivering, she woke up and called out for her husband. Sutasoma was shocked by her scream and dismissed her dream.

“We can dream, but you are daydreaming,” he teased.

“But this is nighttime,” she replied innocently.

Strangely, Kandika showed all the signs of pregnancy. The local midwife confirmed it. Sutasoma was shocked. Unsure of what had happened, he remained confused day and night. Wherever he went, he couldn’t focus on his work. He would return home utterly exhausted, unable to sleep peacefully. As the fetus grew, he began to decline. Around the seventh or eighth month, Sutasoma collapsed in the middle of the day at his farmland and died on the spot.

The whole village gathered at the doorsteps of Kandika and blamed her unborn baby for their misfortune.

“Even before you give birth, he had eaten the soul of his father,” an old woman growled.

“If it comes to this world, he will destroy our village,” her friend murmured.

As days passed by, everybody forgot about the unfortunate Sutasoma and focused on harvesting paddy and sugarcane. But when Kandika gave birth, they gathered again. Despite her protest, her baby was taken away from her. She didn’t know what happened to the baby after that. Villagers said the baby died on the same day. But they are not that cruel. They left the baby in the cemetery at the border of the village.

“Dear queen, the kindness rejected by the habitable land, was offered by the uninhabitable graveyard. When humans abandoned, God offered a helping hand. Yes, on the same night, the local robber and drunkard Karmikan crossed that way. On hearing the baby’s weak cry, he was shocked to see the baby. Since then Karmikan became his father. He named the child as Narobha.” Valli paused for a moment.

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Note:

  • The fiction is a retelling of a historic event.
  • Images generated with ImageFx and Imagen of Google Gemini.
  • Awkward sentences are removed by AI for a smoother reading experience.

Beliefs and Lineage

Recap: Valli, a fortune-teller from the Podhigai Hills in Tamil lands, journeyed to the distant island of Taravati. There, she had been invited by the Maharani, Sri Devi Parvadavardini, to offer her divinatory services.

Chapter 2/26: Beliefs and Lineage

Part 1/2 of the novella ‘The cursed keris of Taravati’

“All hills belong to us, O my revered Rani of Taravati!” Valli started.

“Himalaya is the king of all mountains, where Lord Siva and Parvati dwell. His son Kartikeya rules the hilltops of my land. He is known as Seyon in my land. He is one of the prominent gods we worship, along with Mayon, Vendhan, Varunan and Kotravai. Once, he fell in love with Valli, a girl from a tribal clan of the Tamil hills, and married her. I am named after her, from the same clan,” she explained.

“O, the one whose beauty is worshiped far beyond the borders of this land! Hear this – Agastya, one of the Saptarishi-s and the one who brought Shaivism to your land, found peace in a mountain filled with a rain-forest, where shola-mandhi monkeys swing through the trees, wild stags chase each other in the grasslands, and peacocks spread their feathers in the drizzling grass fields. These mountains are called the Podhigai Hills, which bring the monsoon to the land of the Tamils, generation after generation. Once, a hunter named Kannappan, who lived in these hills, offered his own eyes to Lord Siva. I belong to his clan, called Guru-Avar or Kuravar.”

“That sounds interesting, young girl! You look so young. How can I believe your fortune-telling, dear?” Parvata Vardini asked.

“O, the ruler of an island country with a bustling shipyard! You accomplished what others could not: uniting two countries of different beliefs, Taravati and Durgavati, separated by Mount Ranadhira. Listen to my lineage! -”

“I am the daughter of the matriarch Sirungi, who belongs to the lineage of fortune-tellers of the Pandya kingdom, She taught us worshiping goddess Shenpaka-devi of our hills, along with mother nature. ”

“O! the one with a charming face like a fire-lily, It is not us, but my deity Shenpaka-devi, none other than Meenakshi who rules Madurai, who speaks through me. The one who saves the entire world will save you too.”

The Queen gestured, ready to listen. “Very well. Tell me something from my past to convince me that I can trust your words.”

Valli sat cross-legged, her back straight. She folded her hands, her eyes gazing upwards as her eyebrows partially veiled her fish-like eyes. With a tone like a chisel rubbing against a brass vessel, she began her narration with a prayer:

“I saw your hair, where kondrai blossoms gleam,
which even Brahman’s gaze could not reach!
I saw your hands, with stag and trident’s might
and Vasuki’s bright eyes and his fluttering forked tongues!
I saw your palms with abhaya hasta’s grace
and found my refuge in your holy space!
Oh, Thou, whose son wed Kura-Valli, of our line,
Descend –
with Sri Shenpaka-devi Meenakshi, Your consort divine,
Upon my tongue, let sacred words take flight,
Bestowing grace and everlasting light.
Om Om Om…”

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Note:

  • The fiction is a retelling of a historic event.
  • Images generated with ImageFx of Google Gemini.
  • Awkward sentences are removed by AI for a smoother reading experience.

Approach to Taravati

Chapter 1/26: Approach to Taravati

Part 1/2 of the novella ‘The cursed keris of Taravati’

Valli walked along the sandy path. Recent traces of ox carts and palace chariots marked the way. The previous night’s thunderstorm had made the path soggy and slippery. A stream, unexpectedly swollen by the rain, flowed through the thickets of cogon grass on either side, creating a lush, fortress-like passage to the palace of Taravati.

The grass blooms drooped towards the earth, like a bride within her wedding pavilion. Raindrops on the grass and its blooms glittered like a pearl-stringed mathapatti tracing the bride’s hairline. The dense growth of grass gave way to fertile farmland filled with clove plants, some ready to bloom. In the distance, lines of coconut trees led to the towering Mount Ranadhira.

Valli walked steadily, enjoying the sight of cloves, ginger plants and pepper creepers. Her newly woven cotton saree rustled softly with each step. Her brown face was adorned with three lines of sacred ash and a bright red kumkum dot, slightly larger than usual. Her hair bun indicated that her hair was long and healthy. A peacock feather enhanced her beauty. Two strings of pearl and coral formed an arc, ending at the hooks pinned to her hairline above her ears. The makara kundala, fish-motif earrings set with ruby stones, swung in rhythm with her measured gait. Fine carnelian beads and medium-sized pearl beads, connected by a silver thread and fastened with fish-motif hooks, formed a beautiful necklace that graced her neck. Her hands swung gently, like a snake crafted from the heartwood of an ebony tree from the Podhigai Hills, which separated the Pandya and Chera kingdoms in her homeland. The sacred stick in her palm felt warm, signaling that she was on her way to conduct her fortune-telling.

She had been expecting palaces like those in her motherland. Instead, she was somewhat disappointed to see slightly larger houses, thatched with coconut and palm leaves or cogon grass. Security guard posts were built in the trees, supported by bamboo. This appeared to be the city’s edge, as she noticed a lush rainforest behind the palace, ending at the banks of the Manvi River, its water turned reddish-yellow by the recent heavy rain. She mused that a river with transparent water resembled humans with tamo-guna, while the river with rainwater resembled those with rajo-guna.

She entered the grounds easily, finding them poorly guarded. A few guards were going about their work and some men and women were cleaning cloves and placing them into sacks. The chirping of bulbuls and the rhythm of flowing water filled the air. It seemed more like a large landlord’s residence than a royal dwelling.

As she approached the entrance, a middle-aged woman, who appeared to be an attendant, emerged from the doorway. Valli was led to an inner sanctum-like room, lit by several oil torches. Coils of cloth soaked in oil lamps were screwed onto iron stems with brass handles, tucked inside holders on the wall.

A small sculpture of Prajna Paramita, the Buddhist goddess of wisdom, sat in peaceful meditation. Nearby, a teak ornamental chair with soft red silk cushions on the seat and armrests invited rest. As time passed, Valli realized that the noises from outside were not heard within the room. She deduced that the room must be double-walled, as the attendant had opened two doors, one after the other, to enter. Valli had heard of such secret halls in the Pallava kingdom, but this was her first experience with one.

“The Maharani is arriving,” the lady attendant announced as she opened the door.

Valli stood up, her palms in a greeting position. As the double doors parted, Valli’s breath caught slightly. The queen Parvata Vardini‘s entrance was an example of quiet dignity. Despite the small entrance, she moved with regal grace that commanded attention.

The first thing Valli noticed was the queen’s posture. Even as she bowed her head to enter, there was an inherent strength in her bearing. The dim light of the oil torches cast a warm glow on the queen’s skin, revealing a face of serene beauty. Her features were delicate yet strong, with eyes that held a depth of wisdom and a hint of sadness. With her aquiline nose and full lips, Valli thought the queen would be divinely beautiful if she smiled.

Valli’s eyes were drawn to the queen’s attire. Though not overly ostentatious, it was clear that her clothing was of the finest quality. A richly patterned kain wrapped her lower body, its colors muted yet vibrant in the torchlight. A flower and bird patterned dark red kemben covered her upper torso, and it appeared to be made of a very fine material, likely made and woven locally in Taravati. Subtle gold jewelry adorned her neck and wrists, catching the light with a soft shimmer. Her hair, styled in a neat and elegant fashion, was adorned with small, intricate ornaments, suggesting a semi-formal or casual meeting.

Valli moved a step forward towards the queen and greeted her with folded hands. Parvata Vardini’s gesture conveyed acceptance, and her hands gestured Valli to sit. Valli noted the queen’s hands, delicate yet firm. They bore no signs of excessive adornment, suggesting a woman of inner strength rather than outward display. The queen’s movements were fluid and graceful as she sat down on the thick mattress on the floor. An aura of peace and tranquility surrounded her, a sense of inner calm that filled the room.

Despite her power, she carried herself with quiet humility. Valli sensed a deep intelligence and wisdom emanating from the queen, a quality that resonated with the goddess sculpture in the background.

“My dear young lady, you look strong as a palmyra sprout, yet you seem like a girl. Where have you come from?” Parvata Vardini began the dialogue.

Valli perceived a hint of confusion in the queen’s face, her voice sounding like an excited girl playing with her favorite pet.

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Note:

  • The fiction is a retelling of a historic event.
  • Images generated with ImageFx and Imagen of Google Gemini.
  • Awkward sentences are removed by AI for a smoother reading experience.

A2Z 2025 theme reveal: The Cursed Keris of Taravati

Taravati and Durgavati were the kingdoms of an imaginary island near the ancient Indian peninsula and the Indonesian archipelago. Due to its proximity, it had influence from Indian, Javanese, and ancient Chinese cultures, weaving a rich tapestry of beliefs, traditions, and martial arts.

But beneath the surface of this vibrant civilization concealed a simmering undercurrent of ambition and deceit. After a cruel incident, a chain of betrayals and bloodshed is unleashed. The royal family, caught in the crossfire of political intrigue, must navigate a treacherous path of revenge, loyalty, and survival.

This fiction, influenced by a series of historical events, spanning 26 chapters, will be released from April 1st during the #BlogchatterA2Z Challenge of 2025.

  1. Approach to Taravati
  2. Beliefs and Lineage
  3. Child of Fate
  4. Dark Inheritance
  5. Evocative Maiden
  6. Fractured Lotus Stem
  7. Grasping for Power
  8. Heavenly Obsession
  9. Intricate Conspiracy
  10. Justifiable Haste?
  11. Keris’s Hunger
  12. Ladder to Treachery
  13. Mourning Legacy
  14. Nuances of Negotiation
  15. Overture of Acceptance
  16. Perpetrated Opinions
  17. Quietude Quashed
  18. Rancorous Retort
  19. Seed of Subversion
  20. Treacherous Termination
  21. Uprising and Vanquishing
  22. Vicious Combat
  23. Wrathful Whispers
  24. X Marks the End
  25. Yearning for a New Dawn
  26. Zenith of Wisdom

I seek your support throughout April to make this release successful and memorable.

Tirtankara, Thekkattur

Thekkattur was a sleepy village. I missed my own village, when I went there. The rhythms of villege life contrast sharply with the frenetic pace of urban living. If we pause to reflect on the purpose behind our hurried urban existence, we might struggle to justify it.

Probably, many people think this way and realize the other side of economy-driven countries. Many nations face declining birth rates and aging population, with some individuals forbids marriage and parenthood.

However, our focus shifts from these global trends to more localized societal phenomenon. We went to Thekkattur to trace our ancient society.

Pudukkottai was one of the Jaina settlements. In this series itself, I wrote about Sittannavasal, Samanar Kudagu and Kudumiyamalai. There are so many other places where you can see Tirtankara image. One of them was Thekkattur.

Kiran (Or the Professor) had learned about this site from historical documentation. With no knowledge of its whereabouts, we went there. We were confident to reach the place by enquiring the locals, but it does not take much time to prove us wrong.

None of them know words like Tirtankara, or Jain. One lady on the outskirts of the village sounds like she understood what we search for. She pointed to direction, we went there without any second thought. With a barb wire fencing, Tirtankara was sitting alone with traces of Kunkumam on his shoulders.

Tirtankara, Thekkattur (latest image) | Picture: @Jainismrevival

The lady said it was Kali image, anyway she wanted us to view it first. Yes, the image was worshiped as Kunkuma kali.

Jainism spread in this southern part of India during late of BCE. They contributed to Tamil literature and grammar. Kings, specifically, Pandya-s, patronized Jainism. I have written about Srimaran Srivallabhan in this series.

Jain ascetics used the beds, polished in the natural caverns, over 1000 years, to perform penance. The beds are testament to the lineage of teachers, as some of their names are mentioned in the beds. One of the oldest Tamil Brahmi inscription, found in Sittannavasal mention this history.

erumi nāṭu kumuḻūr piṟanta kāvuṭi īteṉku ciṟu pōcil iḷayar
ceyta atiṭṭāṉam.

எருமி நாடு குமிழூர் பிறந்த காவுடி ஈதென்கு சிறு போசில் இளயர்
செய்த அதிட்டனம்.

एरुमि नाडु कुमिळूर् पिऱन्त कावुडि ईतेन्कु चिऱु पोचिल् इळयर्
चेय्त अतिट्टनम्।

Let me quote from prof S Swaminathan –

It mentions that one iḷayar of teṉku ciṟu pōcil made this seat for kāvuṭi born in Kumiḻūr in Erumi nāṭu. It is believed that the Kumiḻūr in Erumi nāṭu refers to a place in the present Vellore district.

This part of land accepted them as teachers and their abode was considered as school or Palli. Names of cities like Tiruchirappalli (abode of saint Siraa), Thirukattupalli (temple of Mahavira) have direction mention of Jain monasteries.

Other than this, there are many places, where isolated sculptures of Tirtankara was found. Thekkattur was one of them. What made me happy was, this image was in better place compared to its counter part at Annavasal and Bommadi Malai. The Annavasal surrounding was so horrible that made us to double think before we go near by. This was more than two decades ago, well before the Jaina association cleaned and erected boards.

Let it be worshipped as Tirtankara or Kali, it will make the one who erected that sculpture happy!

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Devapaladeva’s copper plate, Nalanda

While preparing for museum tours, I learned that kings from both India and Southeast Asia made donations to religious institutions of each other. I researched more and came to know about a valuable artifact – The Devapaladeva’s copperplate inscription.

Hiranand Shastri, the Indian historian and epigraphist, mentioned that he found this copper plate during his exploration of Nalanda University in 1921 in Monastery B (Wiki says Monastery 1). Despite the campus was destroyed heavily, this was not affected much. He looks to be happy to find this copper plate intact. With the help of Archaeological chemist, he was able to read the characters.

He is fascinated by this discovery, as it talks about kings of other countries, which made this copper palate of International value.

Devapaladeva inscription | Picture source: Reddit

Devapaladeva, a king of the Pala dynasty, issued this copper plate inscription granting permission to build a monastery at the request of the King of Suvarṇadvīpa, conveyed through a messenger. It also talks about the purpose of the offering in detail.

Suwarnadvipa or Suvarṇadvīpa is the island – south and central Sumatra in particular.

The southeast Asian Srivijayan king is mentioned as King Balaputradeva. His lineage and his relatives were also mentioned.

His mother was Tārā, daughter of King Dharmasetu of the lunar race. She was the consort of mighty king who was the son of YavaBhumi (yava is Java – remember the famous Yavanarani novel from Sandilyan!). The name of the father of Palaputradeva is not given at all but the name of the grandfather is said to have been something like Śrī-vira-vairi-mathana meaning the illustrious destroyer of heroic foes.

He strongly wrote that the Yavabhumi and the Suvarṇadvīpa are evidently identical with the Yavadvīpa and the Suvarṇadvīpa islands spoken of in Sanskrit works like the Ramayana or the Kathāsaritsāgara and are unquestionably the modern Java and Sumatra.

The Kathāsaritsāgara is a famous 11th-century collection of Indian legends and folk tales as retold in Sanskrit by the Shaivite Somadeva from Kashmir.

Hirananda Shastri, referencing various sources, concludes that Yavadvipa refers to Java proper, while Suvarṇadvīpa corresponds to Sumatra.

With other artifacts, he mentions that Srivijaya ruled Java and Sumatra from 7 to 10th century.

The historical evidence suggests that cultural and economic connections between India and Southeast Asian countries were more extensive in the past than in recent centuries. The decline of these relationships after the 14th century CE marks a notable shift in regional dynamics. This change in international relations and India’s global influence over time presents an interesting area for further historical research and analysis.

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Javanese golden armlet, Singapore

Recently I joined an nparks tour of Fort Canning Hill. During my Singapore Heritage training last year, I learned about the jewelry excavated from this site, formerly known as Bukit Larangan.

In the British colonial period, construction of a reservoir began in 1927 and finished in 1929 atop the hill, an area now closed to the public. In 1928, workers made a significant archaeological discovery: a treasure of 11 gold objects, including an exquisite Javanese-style gold armlet.

Picture source: wikipedia

This 14th-century armlet features the face of a kala (kirti-mukha or yali), a demon face from Hindu mythology. This motif, common feature on Javanese temples, was believed to offer protection. Please see my post on this motive to know more. The armlet’s intricate design includes skillfully crafted chains and clasps allowing for easy wear and removal.

The discovery suggests that Singapore (then Temasek) might be connected with 14th century Java, possibly belonging to royalty from the Kingdom of Singapura. While talking about Temasek and Javanese, I need to mention about Gaja Mada’s vow for a nusantara which annex Temasek, to show how connected these islands were.

Descriptive picture to show armlets | Generated by Gemini AI

This armlet is displayed at National Museum of Singapore. I blame myself for not visiting it yet!

This is a compelling evidence of medieval cultural exchanges between India and southeast Asia, show casing extensive trade networks that facilitated religious and artistic influences across the region.

For further reading:

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Barus Tamil Inscription

When I traced the path of Islam to southeast asia, I came across the Tamil inscription of Barus in Indonesia. This inscription mentions about marakkala-nayan, which is maraikayar today, a term used to note the South Indian muslim traders. But when I went behind the inscription, it offers much more than Tamil Muslim connection.

This inscription was found in in 1873 in the village of Lobu Tua (Loboe Toewa), near Barus (Baros), North-western Sumatra province of Indonesia. It is dated back to Saka year 1010 and 1088 CE. This archaeological discovery was reported in Madras epigraphy report of 1891-92 by E Hultzsch, an English Epigraphist based in India. Y. Subbarayalu, an eminent historian and epigraphist says, this text falls within the reign of Kulottunga Chola I of Tamil Nadu.

Barus inscription. Picture source: facebook

The text:

Let me quote –

1 svasti śrī cakarai
1 ஸ்வஸ்தி ஸ்ரீ சக ரை
2 āṇṭu ayirattu[p pa]-
2 ஆண்டு ஆயிரத்து[ப் ப]
3 ttu cellāni[n]-
3 த்து செல்லானி[ன்]
4 ra mācit tingal
4 ற மாசித் திங்கள்
5 vārōcāna mātan-
5 வாரோசான மாதன்-
6 kari vallavat tēci u-
6 கரி வல்லவத் தேசி உ-
7 yyak konta paţ-
7 ய்யக் கொண்ட பட்-
8 ṭinattu vēļāpurattu
8 டிணத்து வேளாபுரத்து
9 kūţi niranta tē[cit ticai]
9 கூடி நிரந்த தே[சித் திசை]
10 viļangu ticai āyira-
10 விளங்கு திசை ஆயிர-
11 ttaiññürruvarō-
11 த்தைஞ்ஞூற்றுவரோ-
12 m nammakanār nakara sēnāpa-
12 ம் நம்மாகனார் நகர சேனாப-
13 ti nattuceţţi
13 தி நாட்டுசெட்டி
14 yārkkum patineņpūmi
14 யார்க்கும் பதினெண்பூமி
15 tēci apparkku mā[ve]t-
15 தேசி அப்பர்க்கு மா[வே]ட்-
16 tukaļukkum nā vaittuk
16 டுகளுக்கும் நா வைத்துக்
17 kututta paricāvatu marak[ka]
17 கொடுத்த பரிசாவது மரக்க[க]
18 la… …
18 ல … …
19 la marakkala nāyanun kēvi-
19 ல மரக்கல நாயனுங் கேவி-
20 kaļum kastū[ri] vilai mu[tala]kappa[ta]
20 களும் கஸ்தூ[ரி] விலை மு[தல]க்கப்ப[ட]
21 ańcu tun[tā]yam ponnum ku[tu]
21 அஞ்சு துண்[டா]யம் பொன்னும் கு[டு]
22 ttup pāvāţai ērakkațavatākavum
22 த்து பாவாடை ஏறக்கடவதாகவும்
23 ippaţikku [i]kkal eluti nāţţi
23 இப்படிக்கு [இ]க்கால் எழுதி நாட்டி
24 k kututtom patineņpūmi tēcit ticai viļa
24 க் கொடுத்தோம் பதினெண்பூமி தேசித் திசை விள
25 ńku ticai āyirattainnūrruvarōm a
25 ங்கு திசை ஆயிரத்தைஞ்ஞூற்றுவரோம் அ
26 ramaraverka aramēy tuṇai.
26 றமறவர்க்க அறமே துணை.

Interpretation

ஸ்வஸ்தி ஸ்ரீ சாகரை ஆண்டு ஆயிரத்து[ப் ப] த்து செல்லானி[ன்]ற மாசித் திங்கள் வாரோசான மாதங்கரி வல்லவத் தேசி உய்யக் கொண்ட பட்டினத்து வேளாபுரத்து கூடி நிரந்த தே[சித் திசை] விளங்கு திசை ஆயிரத்தைஞ்ஞூற்றுவரோம் நம்மாகனார் நகர சேனாபதி நட்டுசெட்டியார்க்கும் பதினெண்பூமி தேசி அப்பர்க்கு மா[வே]ட்டுகளுக்கும் நா வைத்துக் கொடுத்த பரிசாவது மரக்க[க]ல … …ல மரக்கல நாயனுங் கேவிகளும் கஸ்தூ[ரி] விலை மு[தல]க்கப்ப[ட] அஞ்சு துண்[டா]யம் பொன்னும் கு[டு]த்து பாவாடை ஏறக்கடவதாகவும் இப்படிக்கு [இ]க்கால் எழுதி நாட்டிக் கொடுத்தோம் பதினெண்பூமி தேசித் திசை விளங்கு திசை ஆயிரத்தைஞ்ஞூற்றுவரோம் அறமறவர்க்க அறமே துணை. (Text converted from English to Tamil by Gemini AI and proof read by me!)

In the Saka year 1010 current, month Masi, we, the Five Hundred of the Thousand Directions, having met at the Vēlāpuram in Vārōsu (Barus), also called Mātańkari vallavat tēci uyyak konta pattinam (literally “the pattinam (commercial town) for the welfare of the merchant body blessed by Mātańkari, that is, Durga”), decided to grant as follows to ‘our sons’, the nagara-sēnāpati Nattu-cettiyar, to Patinen-būmi-dēsi-appar, and to the māvettu-s (elephant-trainers?): [On each of the] ships’ [cargoes?], the ship’s captain (marakkala nāyan) and crew (kēvi) will pay the fee añju-tundāyam in gold, pegged to the price of kasturi (musk), and [then only] may ‘step on the cloth spread’ (that is, enter the settlement to trade). Thus we, the Five Hundred of the Thousand Directions, known in every direction in all the Eighteen Lands, had the stone inscribed and planted. Do not forget charity; charity alone will help you.

Barus beach, Indonesia | Picture source: Wikipedia

Noboru Karashima of Tokyo University mentioned in his paper INDIAN COMMERCIAL ACTIVITIES IN ANCIENT AND MEDIEVAL SOUTHEAST ASIA published in the Plenary Session Papers of Wold Tamil Conference 1995 – P5 mentions that,

K.A. Nilakanta Sastri discussed the problem of the ainnurruvar (five hundred , I wonder why it was stated in inscription as āyirattainnūr which mean one thousand and five hundred) mentioned in the inscription by examining several South Indian inscriptions referring to it. As he pointed out for the first time in his article, ainnurruvar is another merchant guild that flourished in South India from the tenth to the sixteenth centuries. This big corporate body of merchants that originated in Aihole in Karnataka in the eighth century or so seems to have extended its activities afterwards to Tamil Nadu and Andhra Pradesh, incorporating many other merchant bodies under its banner. It also seems to have kept some groups of soldiers for protection of their commercial activities.

We observe interesting points –

āyirattaiññürruvar: This is the merchant guild or big corporate body of merchants that originated in Aihole in Karnataka in the eighth century. They are also known as Ayyāvoḷe guild. Kanakalatha Mukund, in her book The trading world of the Tamil merchant: evolution of merchant capitalism in the Coromandel says that they had a presence in Kodumbalur which is near to my native.

Nagara-sēnāpati: This is a title that likely refers to a high-ranking military or administrative official within a city or urban center (nagara).

Nāṭṭu-ceṭṭiyār: “Ceṭṭiyār” is a term used to denote a member of the Chetti community, which is traditionally associated with trade and commerce in South India.

Marakkala-nayan: seems to relate to the term marakkayar used to denote the seafaring
Muslim merchants of the Tamil Nadu and Kerala coasts in the later period.

Matankari vallava-dési-uyyakkonda-pattinam: One who is loved by Mataṅkari. vallav means ‘beloved of’ in Sanskrit. This phrase can also be read as beloved of Mataṅkari. Since Matankari in Sanskrit is a form of Durga and the Ayyāvoḷe guild considered themselves as sons of Parameshwari (Subbarayulu Pg.41) it seems appropriate to simplify the translation as beloved of Parameswari.prasasti

Saka calendar: Saka calendar is the traditional Indian calendar system based on lunar months. It consists of 12 months, each with 29 or 30 days. It is used to calculate the dates of Hindu festivals and ceremonies. In Indonesia, particularly Bali and Java, the saka calendar was in practice for centuries. It was in use until 17th centuries. It is believed that Sultan Agung replaced it with Javanese calendar. It is still in practice by Indonesian Hindus in Bali and Java. I read an interesting note in Majapahit: Intrigue, Betrayal and War in Indoesia’s Greatest Empire by Herald Van Der Linde. It goes like this.

Historical Significance

This inscription highlights:

  1. The organized nature of Indian merchant guilds like āyirattaiññürruvar.
  2. Barus’s importance as a thriving port city as Vēļāpuram in medieval Sumatra.
  3. The integration of trade, religion, and governance in regulating commerce.
  4. The influence of Tamil merchants in Southeast Asia during this period.

It serves as a testament to the inter-connectedness of south and southeast Asia through maritime trade and cultural exchanges.

If I had a chance to visit this part of land, I need to visit National Museum at Jakarta to look at this artifact.

For further reading –

  • Ancient and Medieval Tamil and Sanskrit Inscriptions Relating to the Southeast Asia and China, Noboru Karashima and Y Subbarayalu
  • INDIAN COMMERCIAL ACTIVITIES IN ANCIENT AND MEDIEVAL SOUTHEAST ASIA, Noboru Karashima, Tokyo University
  • Maritime History of the Coramandel Muslims, A Socio-Historical Study on the tamil Muslims 1750 – 1900, Raja Mohamad
  • The திசை ஆயித்தைந்நூற்றுவர் – The five hundred (merchants) of a thousand directions, 4prasasti.wordpress.com
  • Lobu Tua Inscription, Wikipedia
  • Five Hundred Lords of Ayyavolu, Wikipedia

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Samava Sarana, Sittannavasal

I wrote about our exploration of Sittannavasal by bicycle earlier. Later during 2000s I had a chance to understand the meaning of the paintings, as elaborated by scholars.

The Samava-sarana theme is a central figure of the Sittannavasal cave paintings. It is dated back to 7th century AD. This beautiful mural depicts a scene from Jain cosmology belief, a delightful Jain heaven containing a hall called Samava Sarana.

Picture source: pudukkottai.org

Samava-sarana or Samo-sharana means refuge-to-all. It is a preaching hall of the Tirtankara-s, stated to have more than 20,000 stairs in it. It is believed that the Samava-sarana seems to have replaced the Jain stupa as an object of worship.

Key aspect of the Samava-sarana painting at Sittannavasal includes the following –

  • The lotus tank (Khatika-bhumi) where the bhavya-s (jain faith followers attained the heaven) gather to hear the preaching of Tirtankara.
  • Bhavya-s collecting lotus flowers, carrying baskets
  • Animal motives makes the painting interesting. We see fishes, birds, bulls/buffaloes and elephants.

The face of the bhavya‘s looks neat, with arranged hair and pendant ear lobes.

Picture source: Karwaan Heritage
Picture source: Karwaan Heritage

Similar motives can be found in other Jain worshiping places. But Sittannavasal paintings are considered as one of the earliest examples of Jain frescoes in South India.

Further reading:

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Bodhisattva, Gandhara

The Asian Civilisations Museum (ACM) in Singapore recently received Buddhist artifacts from Kolkata. I had been a visitor there. Upon entering the museum, visitors are immediately captivated by the striking Gandhara Bodhisattva head, its arresting composure sought attention even before they reach the special exhibition. With it’s intricate decorated ornaments, curly hair/mustache/beard. It does not look like conventional Buddhist artifacts.

As I stood before the stunning Gandhara Bodhisattva head, memories of my school days flooded my mind. In class 9, we had studied about Gandhara artistry, but without any background in artistry, it was hard for us to fully appreciate its significance at the time. However, life has a way of circling back. Recently I had a visitor from India, who specifically asked about this artifact. It was heartening to see people taking interest in understanding this piece of history and artistry.

From being just another topic in school to becoming a tangible connection with someone else’s curiosity decades later, it underscored the power of personal experiences and shared interests in deepening our understanding and connection with cultural artifacts.

This is likely a representation of Avalokiteśvara, the Bodhisattva of compassion. But we can not definitely confirm. The short description on roots website did not explain this too. I’ve written in details about Avalokiteśvara in another post of the same series. Hence I am not going to repeat it once again. But let’s focus on this artifact of ACM. This terracotta sculpture is believed to be 4th – 5th centuries AD, the peak period of Gandhara art. This art form is believed to be in practice since 1st Century BC to 7th Century AD.

The style began as an influence of Greco-Roman artistic traditions mixed with Indian art forms. Historians say the refined facial expression of this is influenced by early Gandharan sculpture styles.

Gandharan region, Western Pakistan – Eastern Afghanistan, was of central importance in the development of Mahayana Buddhism from 1st Century BC. It embraced the art forms of Hellenic (ancient and modern Greek), ancient Iran and China, made a fusion with Indian art forms, reflecting the cultural exchange along the silk roads.

Back then, Gandhara art was just another topic in my history textbook, a distant concept without much personal relevance, introduced horribly by my history teachers. Now, standing before the magnificent Gandhara Bodhisattva head, I’m in awe of the rich heritage it represents. Life is interesting, though stressful at times!

For further reading

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