Sects of Buddhism in Andhra
- Dr.V.V.Krishna Sastry*
Before attempting to assemble information
regarding the sects of Buddhism it is necessary to explore
the causes that paved the way for the schism in the Order
after Parinirvana and its subsequent branching off into
eighteen known sects that adopted their respective names
on the basis of the regions, traditions, mode of worship etc
but with negligible differences in their respective
philosophies. If at all there were differences, neither any
literary texts are available nor there are perceptible
architectural or artistic variations to emphasize such
differences. Differences, no doubt, occurred not on
aesthetics or ideology but on minor usages and traditions.
Thus the main structure built up by the Master was never
shaken but in order to induce more and more followers,
some cosmetic innovations were made from time to time.
The Three Councils held after Parinirvana
It is not strange that with the passing away of a
disciplinarian his disciples pull in different directions till
the order is restored by some one as competent and tactful
as the Great Kasyapa. That there were dissensions in the
Buddhist Order immediately after the death of the Buddha
is evident from the narratives found in some Buddhist
canons. The texts1 provide information about the First
Council that was held immediately after the demise of the
Buddha. A person by name Subhadra who became a
member of the order in his old age said to his followers “
Do not grieve, do not lament, we are happily rid of the
Great Sramana. We used to be annoyed by being told, this
becomes you, this becomes you not. But now we shall be
able to do what we like and what we do not like we shall
not have to do”
In order to obviate the dangerous effects of such
rebellious tendencies, Maha Kasyapa, probably one of the
greatest followers of Buddha, who was designated as the
successor to the Master proposed that the brethren should
assemble to rehearse the sayings of the Master.The proposal,
was overwhelmingly accepted. Kasyapa selected 500
competent Arhats for the purpose to assemble at Rajagriha.
During a seven-month long Sangiti (recital) or Council held
in the Sattapanni cave in the Vihara hill near Rajagriha, the
Vinaya was codified by Upali and Dhamma by Ananda.
Some Tibetan sources inform that there were some
followers like Purana or according to Tibetan sources
*Former Director, Dept. of Archaeology and Museums, Govt. of A.P.
Platinum Platform
Gavampati who did not accept the Vinaya and Dhamma
texts as approved by the council as the Buddhavacana or
the real word of the Master. Whether Gavampati and Purana
were one and the same or two different persons is
controversial but it is certain that Purana expressed his
inability to accept the approved2 . He had also insisted upon
the incorporation of the eight rules relating to food but the
assembly negatived his proposal. The differences were of
serious nature that Purana was either excommunicated or
on his own came out of the Sangiti and was compelled to
found a new Sect known as the Mahisahaka3 that had, most
probably, its headquarters in Andhra.The Vinaya that was
approved by the Mahisashaka sect of Purana incorporated
the eight rules pertaining to food4 .
There appears to be two or more versions regarding
the momentous Second Council held after 116 years of the
Mahaparinirvana of the Buddha during the time of
Kalasoka5 , (according to Dipavamsa, (v, 99.) he was the
son of Sisunaga, the predecessor of Nandas) that brought a
major division in the Sangha. According to the Pali Vinaya6
the Bhikkus of Vaisali of Vajjian origin promulgated the
ten points or rules as permissible.
The points are 1) Storing of salt in a horn, 2) Mid
day meal may be eaten after the sun’s shadow reach two
fingers after noon, 3) Going into village to eat again after
he had once left off, 4) Bhikkus residing in the same
monastery might hold uposhadha separately, 5) A sangha
that had not reached unity in itself might carry out an official
act, 6) It was permissible to a bhikku to do anything adopted
as a practice by his teacher, 7) That curds might be eaten
after finishing the mid day meals, 8) Permissible to drink
unfermented toddy, 9) A rug or mat need not be of the
limited size prescribed if it had no fringe, 10) Permissible
to receive gold or silver.
The points that were once strictly prohibited
during the lifetime of the Master were now being attempted
to be relaxed by a group of Vajjian monks. When the Vajjian
monks attempted to collect donations from the lay disciples
of Vaisali the venerable Yasa, the son of Kakandaka raised
objection for the permissions sought to be granted. He
endeavored to stop the iniquity of the bhikkus. The monks
retaliated by excommunicating him from the sangha. He
laid his case before the laymen of Vaisali who were
99
convinced of his arguments. He then proceeded to
Kausambi. From there he sent messengers to the monks of
the western country, Avanti, then the southern country. .
Thus he could muster a large number of monks who met
on the Ahoganga hill. After deliberations they decided
that the venerable Revata who was residing at Soreyya who
was wise in the traditions, an adept in Agamas, and who
knew the Dhamma, Vinaya, and Matikas by heart was the
proper person to judge the points sought to be permitted
by the Vajjians
Meanwhile the Vajjian monks too approached
Revata for support of their ten points. Then Revata laid a
resolution before the assembly that a committee of four of
the western monks that included Revata, Sambhuta, Yasas,
and Sumana and four of the eastern monks, namely,
Subbakamin, Salha, Khujjasobhita, and Yasabhagamika
would be entrusted with the task of judging the ten points
of Vajjians.The committee finally decided that all the points
of the Vajjians were declared to be illegal. The assembly
that congregated at Vaisali to decide the legality of the
Vajjian points and rehearse the Vinaya contained seven
hundred monks in all.
The Dipavamsa7 informs that after the Second
Sangiti had been closed another council was held by the
loosing party. The Vajjian monks who were
excommunicated by the Theras gained many people
holding the wrong doctrine and one more assembly was
convened at Valukarama at Vaisali attended by ten thousand
people. Therefore this bigger council was called the Great
Council or the Mahasangha.It would thus appear that a
majority of the Buddhists adhered to those who brought
schism in the Sangha.
In the Tibetan and Chinese translations 8 of
Vasumitra, Bhavya and Vinitadeva there is a different account
of the Second Council. It is said that Mahadeva put forward
five new propositions regarding the Arhats who brought the
division of the Sangha into two schools, viz., Mahasanghikas
and Staviravadins. Some of the monks from Vaisali
vehemently opposed the propositions of Mahadeva and
separated themselves from the Sangha of the elders or
Sthaviras and organised a new one of their own calling it a
Mahasangha from which they came to be known as
Mahasanghikas.The council alluded to by the Tibetan and
Chinese sources appears to be held during the time of
Mauryan Asoka due to the fact that a Mahadeva was his
contemporary, who was deputed to Mahisashaka for
propagation of Buddhist Dharma.
The Theravadins also known as the Staviravadins,
as discussed earlier was the oldest and the most orthodox
school of Buddhism.They believe Buddha was a human
100
being but possessing superhuman qualities. He was subject
to human weaknesses like anger, old age, physical infirmities
and death.
The Sthaviravadins were split up subsequently into
eleven sects still remaining as Hinayanists.The
Mahasanghikas, divided into seven sub sects, gradually gave
up their Hinayanic doctrine and paved the way to
Mahayanism.Vinitadeva, the author of “Bikshu Varshagra
Prchcha”9 grouped the 18 sects that included Sthaviras and
Mahasanghikas into the following groups.
A) The Staviras comprised 1) Jethavaniyas 2)
Abhayagirivasins and 3) Mahaviharavasins
B) The Mahasanghikas comprised 1) Purvaselias 2)
Aparaselias (Aparamahavinaselias of
Nagarjunakonda) 3) Haimavatas 4) Lokottaravadins
and 5) the Pragjnaptivadins
C) Sarvasthivadins included 1) Mula Sarvasthivadins
2) Kasyapiyas 3) Mahishasakas 4) Dharma Guptas
5) Bahusrutiyas 6) Tamrasatiyas and 7).
Vihajyavadins.
D) Sammatiyas included 1) Kurukullakas 2) Avantikas
and 3) Vastiputriyas.
Taranatha identified the sects of Chaityaka and
Purvaseliyas as belonging to the school of Mahadeva. As
the Chaityakas and Purvaseliyas were based only in Andhra
it is likely that Mahadeva, a contemporary of Ashoka or
Kalasoka, might have been connected with Andhra. The
Mahasanghika branches were again sub divided into two
groups The Mahasanghikas and the Chaityakas or
Lokottaravadins. The Chaityakas became widely known
as Seliya or the Andhaka schools. Out of a total of 18 sects
of Buddhism29 nine have bases in Andhra. They are 1)
Mahasanghiyas or Aryasanghiyas (Nagarjunakonda), 2)
Purvaseliyas (Amaravati and Alluru) 3) Aparaseliyas
(Nagarjunakonda and Ghantasala), 4) Rajagirika
(Amaravati), 5) Chaityakas (Amaravati) 6) Bahusrutiyas
(Nagarjunakonda) 7) Mahishasakas (Nagarjunakonda) 8
Uttarasailiyas (Kalinga region as at Bavikonda, Totlakonda
etc?) and 9) Saiddhantikas.
Let us make attempt to collate the respective
doctrines of the major sects.
The Sthavira or the Theravada was the original
school that remained out of the undivided Sangha.
Alternately these were also known as Vibhajyavadins It
appears that the monks of the west, particulary from
Kausambi (near Allahabad), and Avanti (Ujjaini) formed
the core of this school. There is a reference to them in the
Saranath inscription of the Kushan period in pure Pali
Platinum Platform
language which is an indication of their existence there at
from very early times. In Nagajunakonda inscription makes
mention of their activities in propagating Buddhism.Many
Buddhist establishments of the Pre Christian era in Andhra
such as Kesanapalli, Dhulikatta etc appear to be centers of
Sthaviravadins.Manimekhalai, a Tamil work informs about
its popularity in and around Kanchi in the south10 . Hieun
Tsiang11 saw one hundred monasteries of the Sthavira
School in Dravida as also in Samatata
Doctrines of Theravadins :
The earliest available teaching of the Buddha
recorded in the Pali literature is ascribed to the Theravada
school or the most orthodox school. They admit the human
character of Buddha and that he had rupakaya having all
frailties of human beings, but possessing certain super
human powers. It is the attainment of Bodhi that makes a
being the Buddha. The Buddhas are above maitri (freterniy)
and karuna (compassion) but they show these traits to the
human beings.
Bodhisatvas are ordinary average beings and are
subject to all klesas or difficulties. Arhats are perfect beings
as such they cannot have a fall from the Arhathood.All
arhats attain nirvana. There are two grades of Arhats viz,
svadharma kusala, and paradharma kusala.
Arhats having reached the stage, which is beyond
merit and demerit, cannot accumulate merit or demerit
due to the influence of past karmas. This means that one
should try to reach such a stage or attain arhathood to get
rid of the influence of the past karmas. An average being
cannot eradicate the raga or attachment to worldly things
and dosha or hatred towards others or things he does not
like. But he may die in a perfect state of mind.
An arhat cannot utter words in a state of samadhi
or meditation. That means he should not recite or utter
any mantra or mantras in a samadhi, as it wouldn’t help in
attainment of perfection. An arhat cannot die while in the
highest samadhi. Reaching the state of highest samadhi
may itself mean physical death.
All worldly phenomena are subject to three
characteristics, viz, anitya or non-permanence, dukha or
full of sufferings, and anatma. Pudgala doesn’t exist in the
highest state. Pudgala literally means a smallest of the small
beings. It is probably the atma or soul. There is nothing
that can transmigrate from one existence to the other.
Briefly this is the anatmavada of the Buddhists.
As already stated the Mahasanghikas had branched
off into two streams , one towards north and the other
towards the south. According to N.Dutt12 the northern
or the north western group was subdivided into five sects,
Platinum Platform
viz, Ekavyavaharikas, Kurukullikas, Bahusrutiyas,
Prajnaptivadins and Lokottara vadins. The southern
branch was sub divided into Purvaselia, Aparaselia,
Saiddhantikas, Rajagirikas and Chaityakas designated
collectively as the Andhaka or Andhra sects.
Doctrines of Mahasanghikas :
The doctrines of Mahasanghikas are contained
in the Kathavattu, the Mahavatthu, and works of
Vasumitra, Bhavaviveka, and Vinitadeva.In the
Kathavatthu the views discussed were those of the
Mahasanghikas who migrated to the south and settled
down in Andhra.13 .
The Mahasanghikas believed in the four noble
truths, the eight fold path and non existence of soul, the
theory of Pratitya Samutpada, the thirty seven Bodhi
pakshiya dharmas and the gradual stages of spiritual
advancement. They believed that the Buddhas are
Lokottara or supra mundane. Their bodies, their length
of life and their powers are unlimited. Concerned Buddha
is transcendental. The Mahasanghika conception of the
Buddha contributed to the growth of the Trikaya theory
of Mahayana. They believed that Bodhisattvas are also
supra mundane and do not undergo the four embryonic
stages of human beings. They enter their mother’s womb
in the form of white elephant and come out of the wombs
from the right side. A section of the Mahasanghikas, the
followers of Mahadeva, maintain that arhats have also
frailties and that they can be taught by others, that they
still have a degree of ignorance, a degree of doubt, and
that they can attain knowledge with the help of others.
The Ekavyavaharikas held that all composite
things are unreal and fictitious. The Kurukullikas held that
Abhidhamma of the Tripitika alone contained the real
teachings of the Buddha. The school denied the importance
of study; preaching and practice of meditation. The
Bahusrutiyas were treated as bridge between Hinayana and
Mahayana doctrines.
They were the Mahasanghikas comprising 1)
Purvaselias 2) Aparaselias (Aparamahavinaselias of
Nagarjunakonda) 3) Haimavatas 4) Lokottaravadins and
5) the Pragjnaptivadins
2. Sarvasthivadins included 1) Mula
Sarvasthivadins 2) Kasyapiyas 3) Mahishasakas 4) Dharma
Guptas 5) Bahusrutiyas and 6) Tamrasatiyas 7).
Vibajyavadins.
3. Sammatiyas that included 1) Kurukullakas 2)
Avantikas and 3) Vastiputriyas.
101
 The Mahasanghiya : or the Aryasanghiya sect may
be the direct offshoot of the original Mahasanghika that
drifted from the north and from which several of the
Andhaka sects had emanated. In the pillar inscription of
Nagarjunakonda dated to the 6th regnal year of the King
Sirivirapurusadata, Bhadanta Ananda who presided over the
ceremony of renovating the Mahacaitya that belonged to
the Aparasaila sect is said to be the disciple of the teachers of
Aryasangha.Thus there appears to no restriction during the
Ikshvaku times for the acaryas of Aryasangha to preside over
the functions of Apara or Purva seliyas. Inscriptions
mentioning Aryasanghiya are found, besides
Nagarjunakonda, (Hanumantharao et al, 1998,p140.) at
Salihundam in Srikakulam district (Hanumanthararao, ibid.
p118) and Guntupalli (Hanumantharao, ibid. p 112) in West
Godavary.
The Mahisasaka Sect :
The Mahishasakas became famous even from the
first Buddhist Council (483or487BC) held at Rajagriha.As
such its origin was definitely anterior to Mahasanghika. The
Mahasasaka Vinaya attached special importance to a person
by name Purana14 who formed a group with his followers
known as Mahishasaka.
It is interesting that among the disciples of Bavari415
dispatched to Buddha there was one Punna or Purna or
Punnaga who could be identified with Purana the founder
of Mahishasaka sect It may be recalled here that among the
16 disciples deputed by Bavari to the Buddha only Pingiya
returned and the fate of others is not clear. Punna or Purna
or Purana might have remained at Sravasti and subsequently
became important in the hierarchy with a large group of
followers to establish a clique known by the name of the
region from which he hailed, i.e, the Mahisaka. The earlier
school also reached Ceylon, evidently through Andhra.The
Mahisasakas mentioned in the inscription at
Nagarjunakonda16 might be the successors of the earlier
school. As the Mahisasaka region is to be identified with the
territory between the Godavary and Krishna rivers the origin
of both the sects, the earlier and the later Mahisasaka should
naturally be traced therefrom. Then the Dakshinagiri from
which Purana or Punna hailed should be traced from the
Mahisasaka region.
The hill over which over the stupendous rockcut
Buddhist caves, near the village Guntupalli also
Jeelakarragudem in the present West Godavary district is
known as Mahanagaparvata in the inscriptions. On the basis
of an inscription dated to 4th- 3rd centuries BC and the
existence of a horse-shoe shaped rock cut Chaitya cave similar
to Barabar caves of the Asokan times, the beginings of the
Buddhist establishment at Guntupalli may safely be dated
to the Asokan or even Preasokan times, (4th Cent. BC).
102
During the recent times an inscription in Brahmi
characters of circa 2 nd century BC was noticed at
Guntupall17 i. It records the gift of a mandapa (pavilion) by
Culagoma.He was the scribe of Maharaja Sirisada, of the
family of Mahamekhavahana, the lord of Kalinga and
Mahisaka. the region from Bhuvaneswar to Vijayavada.
Kharavela, either the father or the grandfather of Sirisada
annexed the region of Mahisasaka after subduing its capital,
Pithundanagara.
As Prof. R. Subrahmanyam18 had rightly suggested
that the Buddhist monastery at Guntupalli may be identified
with Pithundanagara, the mention of which is found in a
copper plate grant of the of the time of the Ikshvaku king
Ehuvala Chamtamula (3rd cent AD) found recently at
Pantangigudem, a hamlet of Kallacheruvu in the vicinity of
Guntupalli The rock cut Buddhist caves and vihara complex
at Guntupalli and its surroundings might have formed part
of Pithundanagara, (Pithynda of Ptolemy), the capital of
Mahisasaka during the Pre and early Christian times claimed
to have been razed to the ground and got ploughed with
donkeys by Kharavela, a Jaina by affiliation.The Dakshinagiri
of Purana might be the same as Mahanagaparvata at
Guntupalli and it was possibly the headquarters of the
Mahasasaka sect.
The Caityaka Sect :
In the commentary of Kathavastu the sects of
Rajagirika, Saiddhantika, the Purvaseliyas, the Aparaseliyas
are said to be the Andhaka or the Andhra sects19 Chetika or
Chetikiya, Purvaseliya and Aparaseliya were also the offshoots
of the Mahasanghikas.The sect Chetika20 was known as such
because of a chaitya situated on a mountain where its founder
Mahadeva lived and also due to their insistence on the
erection, decoration, and worship of the chaityas. In western
India the sect has been mentioned in a cave at Nasik, which
records carving of a cave, by an Upasaka of the Chetiya sect
(Chetikupasaka). The Mahachaitya at Dhanakataka
(Amaravati) was the exclusive property of the Chaityaka sect
as revealed through several inscriptions there at. If the belief
that Mahadeva founded the sect he must have stayed at
Dhanakataka where the Mahachaitya nestles not on a
mountain but over a plain. It may be possible that Mahadeva
might initially have stayed at Mahanagaparvata (Guntupalli)
and subsequently shifted to Dhanakata where he organised
his own faction. If he was the same Mahadeva21 deputed by
the Mauryan Emperor Asoka to Mahisamandala for
propagation of the Buddhist creed, then the above
presumption is authentic.
The Purva Selia and Aparaselia Sects :
According to Mahavamsa, also Dipavamsa, the
sects of Purvasaila and Aparasaila arose during the second
Platinum Platform
century after the Buddha‘s death, possibly around 340 BC.
History, so far, knows no pre- Asokan king who ruled
Vijayavada- Dhanakataka area in the Mahishaka region
during the 4th century BC. . He may be Kubhiraka of the
Bhattiprolu relic caskets, or Somaka of the Vaddamanu
cave label inscription
Let us now examine the account of Hieun Tsang22
regarding the location of the above two sects. After traveling
a distance of 1000 Li or 270 Kms through desert and forest
towards south from A to lo (Andhra or the present
Telingana) Hieun Tsang reached Dhanakataka where there
were numerous sangharamas but mostly deserted and
ruined. Of those preserved there were about 20 with 1000
or so priests. They were all studying the Great Vehicle
(Mahayana) To the east of the capital leaning against a
mountain was a sangharama known as Purvasaila. Similarly
to the west of the city leaning against a mountain was
another sangharama known as Aparasaila.These two
convents were built by a former king, who cleared the
valley, made a road by the side of the river, opened the
mountain crags, constructed pavilions and long galleries.
During the thousand years immediately following Buddha’s
death thousands of lay Buddhists came there year after
year to spend the Vassavasa (rainy season). All these became
Arhats and went away through the air. For the last hundred
years before Hieun Tsang‘s visit (a century before 639-40
AD) there were no priests dwelling there due to the
mountain gods changing shapes and assuming the forms
of wild animals. As a result the place had become deserted
and wild, with no priests dwelling there.
If Hieun Tsang‘s Purvasaila is to be identified with
the present Amaravati Maha Stupa, which is 2 Kms east
of Dhanakataka, it neither stands on the slopes of a hill
nor was it deserted at the time of his visit. Inscriptions
inform that it was under worship till 14th century if not
later. Basing on the discovery of NBP 23 ware and
fragmentary Asokan edict24 , in which the sacred relics of
Buddha were enshrined, the Amaravati stupa is supposed
to have been built by Asoka or earlier. It was the most
popular of all Andhra stupas through the ages. It is evident
that Hieun Tsang never visited Dhanakataka, but sojourned
at some other viharas nearby and recorded the same under
the name Dhanakata.
This description almost suits to Vijayavada. The
rock cut caves, popularly known as Akkanna- Madanna
caves situated on the west having “pavilions, long galleries,
with wide chambers connecting the caverns”as Fergusson
described, found at the foot of the Indrakiladri hill at the
foot of the famous Kanaka Durga and Malleswara temples
might be the Aparasaila vihara. Towards northwest of these
Platinum Platform
cave shrines, at the middle height and adjoining them, a
Buddhist stupa and the remains of a vihara were recently
exposed. A label inscription dated to 3rd century BC said
to have found on the floor of one of these caves by Dr.N.
Venkataramanayya enables us to push the original date of
these caves to 3rd or 4th cent. BC., Undoubtedly this might
be the Aparasaila vihara. The group of caves towards east
of the Vijayavada town situated in the suburb known as
Moghalrajapuram comprising the Nataraja, Durga and
others might be the Purvasaila.A Buddhist stupa recently
exposed on one the hills near Moghalrajapuram further
strengthens our premise.
These caves on the west and east might have been
converted as Brahmanical shrines during 7-8th centuries
AD under the Eastern Chalukyan hegemony, after they
fell into disuse during 6 Th century, a hundred years before
Hieun Tsang visited. The Eastern Chalukyan king, Mangi
Yuvaraja, who had the title of Vijayasiddhi, ruled from
682 to 706 AD with Vijayavada as his capital. Being a
great scholar in Metaphysics and Nyaya. He used to defeat
the exponents of Buddhist philosophy and turned them
out of the Vengi country. This may be the probable period
when the sangharamas of Purvasaila and Aparasaila at
Vijayavada were converted as Hindu shrines.
It is certain that the itinerary of Hieun Tsiang did
not include either Dhanakataka or Sriparvata at
Nagarjunakonda, Even presuming that he had visited
Dhanakataka, which was not identical with the Purva and
Aparasaila viharas, it is certain that his itinerary didn’t
include the present Nagarjunakonda or the Sriparvata
another most important Buddhist site that contained a
Mahastupa enshrining the relics of Buddha besides having
over thirty other Buddhist establishments. By the time of
his visit, it is possible that Nagarjunakonda had already
sunk to oblivion.
The Kukkutika Sect
Among the Mahasanghikas there was another sect
by name Kukkutikas 25 , also known as Gokulikas
(Kathavathu), who believed that the entire world is red
hot (like kukkula), i.e.fire brand or live coal and therefore
is full of misery. Several of the views held by this School
are found among those ascribed by Kathavatthu to the
Andhakas (Andhras). who appear to be a powerful section
among the Mahasanghika School. Prof.P.V. Bapat (2500
Years Of Buddhism, p.98.) informs that during the second
century after Buddha‘s death the Mahasanghika sect was
split up into Ekavyavaharika, Lokottara, Kukkutika
(Gokulia), Bahusrutiya, and Prajnaptivada and shortly after
these appeared the Saila schools. Pithapura or Pistapura
103
 1
of the early inscriptions, might be the Asanapura of the above Culla Vagga XI, Dipv, iv, v. etc
2
stated Ehuvala Chantamula inscription, in the present East Culla Vagga, XI, 1,11.
3
Godavary district of Andhra Pradesh appears to be the The region between the rivers Godavary and Krishna was
headquarters of this School.The Kukkuteswara temple known as Mahisahaka during the pre and post Christaian times.
4
The eight rules pertaining to food as translated by Suzuki and
dedicated to Siva at Pithapur might be identified with the
referred by N.Dutt are 1)-cooking food indoors, 2) cooking
earlier Kukkutapada Vihara (also see Taranatha‘s History. indoors? This rule appears repetitive, as the first one is specific.
Of Buddhism, P 55.) of Pistapura.This view is strengthened 3) Cooking food for one‘s own accord, 4) receiving food for
by the discovery of huge stone images of Buddha inside the one‘s own accord, 5) receiving (or consuming?) food when rising
town. The ruins of a Buddhist monastery were found near a early in the morning, 6) carrying food home in compliance
village by name Timmapur, situated in the middle distance with the wish of the offerer, 7) eating miscellaneous fruits, (as
between Kakinada and Pithapur. some are prohibited), 8) eating things grown in a pond (fish
etc?) See N.Dutt, Buddhist Sects in India.Notes P.39.
The Bahusrutiya Sect or the Bahuliyas of the Pali 5
If the period of 116 years after the death of Buddha is considered
sources, which is a later branch of the Mahasaghikas found the ruling king might not be the Great Mauryan Asoka. He
mentioned in the inscriptions at Nagarjunakonda26 . This might be a scion of the Sisunaga family Mauryan. Asoka is
school might have emanated from the They, was regarded as believed to have succeeded to the Magadhan throne in 268 or
the precursors of the Mahayana teachings. They incorporated 271 BC.In that case we may presume the Buddhist Council
the famous five propositions of Mahadeva in the first held during the time of Asoka might be the third one. There is
Buddhist Council, which brought a major schism in the evidence that there was one Mahadeva who was a contemporary
Buddhist order. In some doctrinal matters they had a great of Mauryan Asoka.
6
Cul.Vxi,
deal in common with the Sailia schools of Andhra. They 7
DipV, v, 99
were often described as a bridge between the orthodox and 8
N.Dutt, Buddhist Sects in India, Pp 22,23.
Mahayana schools. But Nalinaksha Dutt27 compares the 9
ibid, p51
wiews of Bahusrutiyas to that of Styasiddhi school of 10
Ayyangar. “ A Buddhist School at Kanchi”, Proceedings of the
Harivarman who founded the school 900 years after the Oriental Conference, Allahabad,
Mahaparinirvana of Buddha, roughly 3rd century AD.If the 11
Watters, 11, P.226.
12
Bahusrutiyas were the precursers of the Mahayana teachings N.Dutt, Buddhist Sects of India, P.64.
13
its origin may have happened in the preChristian era and Ibid
14
Harivarman might have rehabilitated the ancient faith. Cullavagga, XI, i.ii.
15
Parayanavagga Of Suttanipata, Trans by Max muller Pp176-
Rajagirika Sect : In one of the inscriptions of 202
Amaravati there is mention of a resident of Rajagiri28 by 16
E.I. Vol.XX detached pillar inscription, P24.
17
name Budharakshita, who was probably a superintendent Hanumantharao et.al, 1998,Buddhist Inscriptions Of AP, P
of renovation (Vedika navakamakasa). Some scholars 109.
18
identified Rajagiri with Gudivada in Krishna district having Prof.R.Subrahmanyam, 1968,The Guntupalli Brahmi
a Buddhist stupa. But its ancient name appears to be Inscription of Kharavela, Hyderabad, P 21.
19
N.Dutt, 1978,Buddhist Sects in India, p.51.
Gridhravatika. There is a place by name Rajagiri in Nalgonda 20
2500 Years of Buddhism, Edit. Bapat.P.V, PP.117-118.
district of AP, though no Buddhist remains are not so far 21
Mahavamsa, xii, PP. 1-8.
identified there at. No doubt a large number megalithic 22
Chinese Accounts Of India, Hieun Tsiang, Trans.Beal.S, 1884,
burials of the Iron Age were traced here and some excavated pp420- 427.
in the past. Future exploration may result in the discovery 23
Indian Archaeology –A Review, 1973-74.pp4-5.
of Buddhist establishment at Rajagiri now popular as 24
Hanumantharao, et.al, op.cit, p 42-43
25
Rayagiri. As it is surrounded by a string of Buddhist sites 2500 Years of Buddhism, Bapat.p98.
26
such as Phanigiri, Gajulabanda, Vardhamanakota, E.I, vol XX, p, 24, also E.I, xxi, p, 62pillar inscription at
Tirumalgiri etc the claim of Rayagir cannot be ruled out. Nagarjunakonda of the time of Eahuvala Camtamula
27
N.Dutt, op.cit, p70.
The paper is intended to make preliminary attempt 28
Hanumantharao.BS.L, et, al, p52
for identification of the seats or the headquarters of some of * * * * *
the Buddhist schools that existed in Andhra during Pre and
early Christian Era The identifications are purely tentative
and subject to further research by more competent scholars.

104 Platinum Platform

 Jainism, Its Sects, Ceremonies and also its
Contribution
The term, Jainism derives itself from the word,
JINA (Conqueror or Victor) and hence its followers came
to be known as Jains. It is a fully developed and well
established religious system purely indigenous to India.
Its main object is to lead all men to salvation and open its
arms not only to the elite noble-men but also to the low-
born, sudras and even the Mlechhas. It lays great stress on
pure and moral life ,which clearly implies that Jainism
lays emphasis on one’s “Conduct” and not ! Birth ! which
was hitherto given prominence. In a word, the advent of
Jainism indeed marks a departure from the prevailing tenets
of Hinduism found in the Vedas. The whole Jainism is
centered round 24 Tirthankaras ( from Adinatha to
Mahavira). As in all religions, the Jaina Tirthankaras were,
no more deified heroes, born of human parents, raised to
the position of Godhood by their renounciation and great
services rendered to mankind. It is generally believed that
the growth of Jainism was slow due to its strict adherence
to its discipline and practices like nudity and asceticism
which kept the general public away. Further, Jaina thought
remained conservative and hence did not develop into new
divergent streams like the Buddhism and Brahmanism.
But, the history of Jainism shows that it played a
remarkable role in socio-religious aspects of Indians.
Moreover, the Jains were no more forest recluses and turned
themselves into religious leaders of people and guides of
rulers. Hence, its relevance remains undiminished even
today. Therefore an attempt is made here to focus the
philosophy of Jainism and its various sects, ceremonies
and also its contributions.
1) KARMA : Before going too deep, let us know
about the philosophy of Jainism. All schools of Indian
philosophy, with the exception of Charavaka, interpreted
Karma differently. The word, Karma in the context of Jaina
thought, has a meaning which we find nowhere else. For
Jainism, Karma is not merely a ‘deed’ or ‘work’ or a
mystical invisible force (adrista). According to Jaina
thought, Karma is the link which binds the soul to the
body. Ignorance of truth and the four passions-
anger(krodha), greed(lobha), pride(mana) and
delusion(maya) which are called kasya, attract the flow of
karmic matter towards the soul.( 1).The state when karmic
particles begin to flow towards the soul to bind it is called
*Former Director of Oriental Manuscripts Library and Research Institute, Hyderabad.
Platinum Platform
- Dr. G. Jawaharlal
asrava or flow. The state when these particles infiltrate into
the soul and bind it is called bandha or bondage. Ideal
bondage (bhava - bandha) of the soul takes place as soon
as it has a bad disposition; and material bondage(dravya-
bandha) takes place when there is an actual influx of karma
into the soul. In bondage, the karmic matter unites with
the soul by intimate interpenetration, just as water unites
with milk or fire unites with red-hot iron ball. The
possession and practice of right faith, knowledge and
conduct stop the influx of fresh karma. This state is called
samvara or stoppage. Then, the already existing karma must
be exhausted. This state is called nirjara or wearing out.
When the last particle of karma is exhausted the
partnership between soul and matter is dissolved, and the
soul shines in its intrinsic nature of infinite faith,
knowledge, bliss and power. This state is called moksha or
liberation. Here, kevaljnana or omniscience is attained.
(2). In short, passions are due to ignorance. So, ignorance
is the real cause of bondage. Ignorance can be removed
only by right knowledge which is the cause of liberation,
This right knowledge is produced by faith in the teachings
of the omniscient, Tirthankaras. Hence faith is necessary.
All karmas could be destroyed by right conduct. Hence
these tri-ratnas, Right-belief, Right-knowledge, Right-
conduct together constitute the path to liberation. Thus,
the path to salvation is possible with the unity of ‘tri –
ratnas!
2) AHIMSA : The philosophy and rules of conduct
laid down in Jain religion are based on Ahimsa to all living
beings. The Jains postulated the three kinds of injury or
violence namely Kaya(physical), Vacha(words) and
Manasa(mental) are forbidden in Ahimsa doctrine and is thus
emphasized that life, irrespective of species, caste, colour, creed,
etc., is scared and each creature, therefore, has a sanctity and
dignity.(3). Respect for the self and others, is seen in Jain
aphorism –‘ to live peacefully’ and ‘let live fearlessly’. Thus,
reverence and respect for all manifests itself in another Jain
principle, religious tolerance. Although, every school laid stress
on this principle, its wide application forms the fundamental
base of Jainism. One who observes this priniciple must rid of
all the gross emotions, such as hatred, anger, etc., This lofty
Jaina-non-violence formed the guiding principle of life for
Indians even before the Aryans entered India.
105
 3) DHARMA : The principle of Ahimsa is
practically identical with the Jaina-dharma. According to
Jainism, Dharma is nothing but Ahimsa – dharma. From
Ahimsa – dharma springs four ethical principles. They are
Satya (not to speak falsehood), Asteya(not to steal),
Bramhacharya(not to covet the neighbour’s wife and
Aparigraha (not to be greedy for possession). The last Vrata,
aparigraha is emphasized only by Jainism. It was because
of this principle, that Mahavira, the 24th Tirthankara,
renounced his princely state and took to ascetism. The Jains
gave the principle of Parimita – parigraha to the house-
holder. According to it, each house-holder, irrespective of
his position in society, was expected to limit his income.
Whatever produce he receives from his property, beyond
the required limit,must be placed at the disposal of the
whole society. According to this principle, every individual
should realize that his life was meant partly for himself and
mainly for the whole society. Here, individual welfare was
linked with the general welfare. If we accept this ideal, there
would be no disagreements, struggles among the people.
4) ANEKANTAVADA : In order to prevent
philosophical conflicts, the Jains developed the philosophy
of anekanta – vada which allows for the understanding of
all points of reality, despite its contrary relationships. Hence
this doctrine variously interpreted as the doctrine of
manysidedness or non-absolutism, syadvada (the principle
of ‘may be’) snd also Saptabhangi-nyaya (seven modes of
thought). Hence, the reality is complex and it can be looked
at from different points of view.(4). Each point of view
presents a partial truth and not the whole and exclusive
truth . It teach us to respect other Views. Intellectual
tolerance is the foundation of this doctrine . It is the
symbolization of the fundamental non –violent attitude .
The concept of non-violent approach avoids the clashes
between man and man, society and society and also nation
and nation. As a major Jain principle, it provides a method
where all religious philosophies can co-exit.
5)YOGA or TAPAS : This is another point
peculiar to Jainism, called Tapas which has a special place
in Jain theology. Jainism recognizes only two postures of
body of the person, namely standing erect(Kayotsarga) and
quietly sitting engaged in yogic contemplation. The purpose
of this discipline is to secure complete control over body
entirely under its control. The various sense organs and
their activities are amenable to psychic control,. This would
give the power to delve-deep into the subconscious-self.
6) NO-GOD: The Jaina’s doctrine of ‘no-God’,
plays a very important role in avoiding religious clashes
between man and man. Religious history shows that God
106
has been the centre of many religious conflicts, smaller or
larger .For example, Vaishnavas and Saivas have quarreled
many a time over the topic of God. Even to –day we are
facing the religious difficulties. Hence, Jains eliminated
the concept of God only to lessen the conflicts ,but it is
the attempt of the individual himself to become perfect
without the the grace of God. According to Jainisim, man
is the architect of his own destiny. By living austere-Life of
purity and virtue, one can escape from the ills of life . The
preaching of self-perfection through self-efforts keeps man
from fatalism and the attitude of depending on other super-
humanbeings.! !Be a man first and last ,for,the kingdom of
God ,belongs to the son of man ,is the message of Jainism
to mankind!’(5).
SECTS : The original Jain sangha split into two
sects-namely Svetambaras(white-clad)and the
digambaras(unclad).Thanks to the liberal attiude of the
svetambaras, Jainism took deep roots and spread to farther
regions .Both sects uphold the philosophy of Jainism .On
the rules and regulations relating to monk,nudity, dress,
idol-worship of scriptures, the Svetambaras are more liberal
the Digambaras are more rigorous and puritanical; the
Svetambaras are more accommodating .The rule about
being nude or white-clad applies only to the highest monks.
The Svetambaras allowed their monks to wear white-
robes;whereas the Digambaras uphold that they should
give-up even clothes.The Digambaras maintained that the
perfect saint(kevali)needs no ood; and that the women
cannot obtain liberation with out being born as men in
the next life. Since the original canon of Mahavira is lost,
the Svetambaras reject these views.(6). Thus these two
Jaina sects developed due to differences on a number of
points .Their different modes of living tend to draw them
further apart instead of bringing closer. These differences
subsist till to-day.
DIVISIONS & SUB- DIVISIONS: The earliest
Jain organization mendicants were referred as Nirgranthas
in the Asokan records.Etymilogically,Nirgranthas were
generally engaged in austerities and were unfettered
liberated souls. They were known to have been the
promoters of knowledge from person to person without
the granthas or books .(7). It appears that after the nirvan
of Mahavir in 527 B.C., the Nirgrantha organization was
merged with the Mulasangha.Mahavir was known to have
started the Mulasangha with 4000 monks and left it in
charge of eleven disciples under the name of
Ganadharas.(8).It consisted of Yatis, Sadhus or monks,
Arjikes or women ascetics, Sravakas or lay-hearers,Sravakes
or women –hearers. After Mahavir , the Ieadership of
Mulasangha was carried by eleven Ganadharas –Gautama,
Platinum Platform
Sudharma, Jambu-svami, Vishnu, Nandisvara, Aparajita,
Govardhana, Stulabhadra and Bhadra-bahu.(9). After
division in Jainism ,the Mulasangha was also divided
between South and North. Both the groups could not
compromise, The Southern group stick to the original rules
of the Mulasangha,continued to observe nudity. On the
other hand, the Northern group advocated a limited
wearing of cloth. Later, in the South , there arose a great
acharya, Kundakunda belonged to Mulasangha. He was
revered greatly and was considered as the authority on the
gospel of Mahavira.Then the Mulasangha is known to have
divided into splinter groups like Dravida, Sena,
Nandi,Gouli.Simha,Bhadra and so on .(10). Later, they
too were divided into gana,gaccha, kula,anvaya, sakha and
so on .Gana ia a unit which consist of various samabhogas.
The head of gana is ganin. (11). It appears to be the
prinicipal division of the sangha.It may be recalled that
Mahavira divided his followers into nine ganas and placed
each of them under one of his disciples, who came to be
known asganadharas. Each gana was generally under an
Acharya, whose worthiness was judged by the possession
of the five- fold conduct,namely Jnana(know-ledge),
darsana (faith), charita (good behavior), tapas (penance)
and virya (fortitude). (12). The monks were not permitted
to change their ganas very often. On the other hand, the
change of one’s gana was considered to be a major sin.
The gaccha appears to be a sub-division of gana. In the
epigraphs it is mentioned only after sangha and gana. In
later times gaccha became almost synonym of gana and is
called’ ekacharya-parivarah’. Below the gana there was the
kula. Each gana was made up of several kulas
(ganahkulanam – Samudayam) Kula may be identical with
anvaya. It appears each kula was under a junior acharya.
Later, it appears to have been sub-divided into bali. The
monks were also divided into various sakhas which were
group of monks belonging to one kula studying under
specified teacher. The teachers could also be grouped in
the form of various gummas or followers of various
upadhyayas appointed by the acharya of a gana. A
gumma(sankt.gulma) could be divided into a number of
phaddayas, being a group under ganavacchedaka.(13).
YAPANIYA SANGHA : Besides , the Svetambara
and Digambara sects there existed the Yapaniya sect. The
mula sangha was followed by the establishment of the
Yapaniya sangha. The term Yapaniya derived from the root
‘Ya’ meaning ‘expelled’. Then they were considered to be a
breakaway sect of their parent organization. According to
Devasena, author of Darsanasara, (14), they believed in
women attaining moksha and in taking food by the morsel
of kevalin, yet the outer dress of those Yapaniyas resembled
Platinum Platform
that of the Digambaras. They lived naked,worshipped nude
images and adored Mayurapicchi . Whereas, the
Bhadrabahu-charita (15).informs that the yapaniyas were
a section of the Digambaras of the lower Deccan who put
on clothes as against the Digambaras ritual of nudity. They
also advocated, contrary to Digambaras, that women and
house-holders were fully entitled to obtain salvation. Due
to this dual allegiance, the writer of Nitisara (16)denounced
them as Jainabhasa (those who have only an outward
appearance of Jain-monks). The earliest mention of this
sect is most likely in the inscription of Kharavela. Though
the Yapaniyas became unpopular with both the
Svetambaras and Digambaras, they helped Jainism attract
popular attention through their missionary zeal. They were
not rigid in matters of religious practices. They also
introduced the cult of Yakshi and gradually adopted
Tantrism and practiced the occult-lore. Nodoubt, its
teachers played a distinguished role in propagating the
Jaina faith in south India. They produced many celebrated
authors and preceptors like Sivarya, Svayambhu,
Pushpadanta, Ravikirti, Sakatayana, Umasvati and
Jayakirti. Thus the Yapaniyas took Jainism very close to
the masses.
Besides, some more modern schools are existed
in Jainism.
1 Bisapantha: It started in A.D. 13th century. The
monks of this group live in a cloister under the
headship of Bhattaraka. They install images of
Thirthankaras and worship them by offering fruits,
flowers and other food-stuffs. They are found in
Jaipur, Ajmer, Nagpur and Meerut.
2) Terapantha: It came into existence in A.D.1528. In this
pantha Bhattarakas are the least respected. They worship
images and offer dry-rice, coconut, almonds. But fruits
and flowers, sandal etc are prohibited.
3) Tarapantha : It was born in A.D.1448. They do not
believe in caste distinctions and admit the low-caste
people. They construct the Saraswati mandir and
keep only the texts of cannons in lieu of images of
Thirthankaras. They were dominant in M.P.
4) Gummana pantha: It was started by pandit
Gummana Rama, a resident of Jaipur. According to
it, Lighting of candles or lamps is prohibited. They
do not offer anything to images; but they visit and
view the images. It is originated in 18th centuary and
prevalent in Rajastan.
107
5) Totapantha: It came into existence from the clash
between Bisapantha and Terapantha. They believe to
some extent in the doctrines of Bisapantha and to
some extent in those of Terapantha. Similarly,
Kurchakapantha, Kavipantha, Satyasamaja and
Stanikavasi also existed until recently.
FESTIVALS : Now let us take up the similarities
found in Jainism and Hinduism, particularly in ritual and
other aspects. It must be remembered that Jainism was a
run-mate of Hinduism. In other words, it was thriving along
with Hinduism and was even fostered by Hindu rulers.
Further, Jainism is known to have adopted non-violent
attribute to other faiths. Hence, the complete likeness
between Brahmanism and Jainism in their rituals. Like
Hindus, the Jains admit the institution of caste and also
observe the essential ceremonies and other Hindu rituals.
Among the common rituals, the scared ablution(Abhisheka)
comes first. It was far more complex than that approved in
the temples of Siva and Vishnu. The Jaina Thirthankars
are purely human in form. So the Jaina deity requires the
same amenities of life as human beings. A devotee purifies
his body by taking bath. Similarly he wants to purify the
deity by bathing him in water and other auspicious
substances like honey, butter, milk and so forth. The
Varangacharita (17).contains the elaborate details of this
rituals. The growing importance of this ritual of Abhisheka
perhaps the Jains to carve a particular type of images,
namely Chaukumas and mega sculptures. The
mahamastiakaabhisheka is being celebrated in every twelve
years at Sravanbelgola. Besides some of the Hindu festivals
like Divali, Sarada-puja, Lakshmi-puja, Jnana-panchimi,
Dasara and maker-sankranthi have been adopted by Jains
like the Hindu-pujas, the pujas like Jal-puja, Akshat-puja,
Naivedya-puja will end by Aarati. Further, the Jains like
Hindus believe in Prayachttas(expiation of sins) observe
fasts( Paryushan-diksha), conduct yatras to sacred places.
Further, the Jains admitted the Brahmanic
divinities like Ganesha, Sri, Kubera, Indra, 9 planets,
Jyotishi-gods, the Dikpalas, the Ashtamangalas, the 16 Srut-
devis or Vidya- devis, Navagrahas into their worship. But
the Jains treated the Hindu gods as subordinates to their
Thirthanakras. Then, the Tantric goddesses of Hinduism
like Kankali, Kali, Jvalamukhi, Durga, Bhadrakali,
Chamundi, Gouri have found a room in the Jaina
pantheom. The Jains are known to have possessed
Prathiharamahima and occultism to win over the sympathy
of the masses. Thus the Jains maintained religious tolerance
by adopting the practices of other faiths without hasitation.
108
CONTRIBUTIONS IN THE PAST: The Jains
have played a very vital role in the linguistic development
of the country. While Sanskrit was the medium of sacred
preachings and writings of the Brahmanas and Pali that of
the Buddhists, the Jains utilized the Vernacular Languages
of the different religions for their religious propaganda.
Lord Mahavira preached in the mixed dialect, called
Ardhamagadhi .It forms the link between the classical
languages like Sanskrit and Prakrit on the one hand and
the modern regional languages on the other . The earliest
Literature in Telugu,(18) Kannada is of jain authorship
and the early Tamil Literature also owes much to Jain writers
But we find even today ,some legacy of the Jains in social
and religious practices. For instance, the formula siddam
Namah’ which is being taught to children at the time of
learning their alphabet is originally a Jaina formula, for
,only the Jains gave venerable position to the siddhas by
including Siddhas in Namomantra(Namo
siddhanam).Later on ‘Om Namah Sivayah’was prefixed to
it.
Coming to art and architecture ,the Jains are
known to have taken due share in the development of arts
in the country. As said above, Jainism was a running-mate
of Hinduism and Buddhism. Moreover, the Jains are very
Liberal in assimilating the deities and other tenets from
Brahmanical, Buddhist and Folk-cults. So, there was
complete identity between the above religions in their ritual
architecture. In a word, the art and architecture of Jainism
have moved on parallel lines with these creeds. Where the
followers of Buddhism and Brahmanism have resorted to
the rock-cut form, the Jains have likewise excavated their
caves;whereas,the Buddhistsare known to have built stupas
, carved elaborate pillars and colossal statues, the Jains also
erected stupas at Kankali-tilla (U.P) and Vaddaman (A.P)
decorated gateways , raised colossal statues at Shravan-
belgola (Karnataka), Bhavangaj (M.P), Chilkur and
Danavulapadu in A.P.
The Jains are known to have distinguished
themselves by their cave-architecture .They are known to
have carved rock-beds in the caves in order to enable them
to perfrom ‘Sallekhana-diksha’.The ritual of terminating
one’s own life is considerd as the most pious act. The term,
Sallekhana and Sanyasana are unique to Jain theology, often
interpreted as death by slow starvation.(19).According to
it, Sallekhana is nothing but a wise ,righteous and planned
preparation for the inevitable death .The term ‘nishidi’ is
generally applied to indicate a memorial erected in honour
of those who invoked such death.By depicting the deceased
and his teacher on the memorial-stones, the Jains showed
the honour not only to the dead but also to the entire
Platinum Platform
monastic order. Self-sacrifice and immolation were References :
considered by Jains as acts of heroic nature.Another
peculiar contribution of the Jains is the free-standing pillars 1. Jawaharlal, G : Comprehensive History of
found infront of Jinalayas.They are elegent structures with Andhra Pradesh, II, P. 140
a small pavilion on the top ,the capital surmounted by a 2. -do- : Op. cit., P. 141
small dome like sikhara.They are popularly known as 3. Jain Shelly : Jinamanjari, II, No. 2, P. 25
‘Manastambhas’. The Jains showed much interest in 4. Jain Hiralal : The Cultural Heritage of India,
selecting picturesque sites for constructing their Calcutta, P. 403.
basadis.The distinctive noteworthy characteristic feature
5. -do- : Op. cit., PP. 136-137.
of the Jain basadi is its stepped-pyramidal super–structure.
Most of the Jain basadis in the south posses this invariable 7. Robinson : The Cambridge History of India,
feature. P. 332.
8. Maxmuller : Sacred Books of the East,
CONTRIBUTIONS AT PRESENT; Though XXII, P. 286.
Jainism is divided and sub-divided into several schools,
9. R.C. Majundar ed : Age of Imperial Unity, P. 54.
its tradition had contributed to the society and culture of
South India in the past and is still on its mission. The 10. Sastri, TVG : Jinamanjari, VII, No. 2, P. 84
jains had their impact on the people and life of South 11. Jain Muni Uttam Kamal : Jaina Sects and Schools,
Indians. At present, Jains have their existence in every Delhi, 1975, P. 10 ff.
corner of the South, right from village to the city. The 12. Jawaharlal, G. : Jainism in Andhra, Hyderabad,
Digambara Samaj is performing extraordinary work at 1994, P. 67.
Shravanbelgola. They have not only edited the Jain 13. Jain, Muni Uttam Kamal : Op. cit., P. 12.
scriptures but also have taken the heavy work of translating
the fundamental Jain books in Kannada language.It is 14. Deo, S.B. ; History of Jaina Monachism, P. 555
contributing to teach the resource languages like prakrit 15. : Bhadrabahucharita ( Kolhapur edition)
to the students. They have also set up a number of Chapter, 6, 1921.
Danasalas in the south and are providing free facility of 16. : Jain Sidhanta Bhaskara,
basic needs of the life like food, water, clothes and Arrah, Vol. 7, I, P.3
medicines. In aword, the Jains have their impact on the 17. : Varangacharita, Chapter, 23, verse 60
people and life of South India.
18. Jawaharlal, G. : Jaina Monuments of Andhra,
The Sub-sects of the Svetambaras, like Murit- Delhi, 2002, P. 40
pujaka, Stanakvasi. Terapanthis, etc., have also played a 19. -do- : Jainism in Andhra, Hyderabad,
vital role in social reformation, education, medication and 1994, PP. 46-47
literature.(20).They belive that service of the diseased is 20. : Spectrum of Jainism in Southern India,
the service of a Tirthankara.The different Jaina Mumbai, 2009, PP. 208ff.,
organizations are contributing in various fields of society
to help the poor and needy ,to aid the diseased and conduct
various health camps for public welfare. They conduct
camps for the blind, Lame and provide free medication,
clothes, and other equipments to the needy. Thus,
Jainisim, though divided in to several schools in the past,
is making a valuable contribution to different fields of life
in South India. The foregoing analysis shows that Jainism
played a remarkabale role in socio-religious aspects of
India.By introducing Vegetarianism and Anekantavada,
Jainism makes the people of India hear and honour the
views of others and thus promote the religious-tolerance
and universal brotherhood among the people.
SARVE PRANINAHA SUKHINOBHAVANTU.

Platinum Platform 109

 The Malady of Our Times
Scriptures and Saints to our Succour
The expression ‘the malady of our times’ aptly
describes the condition of our society and body politic now.
We live in troubled times and our intellectuals seem to
have receded thinking it not worth the trouble even to
attempt to set things right. Are we living in an age of cultural
decadence and moral degeneration of values? Is it yuga
dharma? How far have we strayed from bhagavad bhakti,
God-love and paapa bheeti, Sin-fear? Is it a crisis of values:
human, national and individual? All these are befuddling,
mind-boggling posers. Statistics are showing explosion of
numbers of population, BPL families, diseases and umpteen
others.
But the individual needs to answer these questions
for his own self. He can ask himself: how much land does
a man need? How much money can one amass? How much
pleasure, how much comfort does one really need, after
one realizes the purpose of human existence? Is the average
man happier in the earlier eons? If he had been happier
than we are now, why is it so? We really don’t know for
certain but the extant scriptures and legends do tell us of
demons and their heinous misdeeds. The demons were a
few and the right-minded men outnumbered them and it
needed avatars to quell the evil doers. Today many seem to
have strayed from the path of righteousness in one direction
or another. Hence I used the term 'Malady of the Times'
to describe the human condition obtaining now.
Perhaps modern man ceased to think, to feel to
love and to aspire higher. At the micro, individual, level
one needs introspection and expeditious action under the
guidance of spiritual exemplars, scriptures and saints. The
tendency to blame all evils on the systems like governance,
distribution and entertainment, does not make anyone any
the wiser or better. There can be no universal panacea for
reconstructing humanity except by a single line guidebook
for the individual: love god, fear sin, live for joy – not for
loud-mouthed slogans.
Vyakulata – a turbulent disturbance in the mind
causes man to act for regeneration. Any value addition
must start from the individual, from the self and pervade
going upwards, family, society, nation and finally, world.
*Reader in English (Rtd), Maharaja College, Vizianagaram.
110
- Dr. V.V.B. Rama Rao*
Remember Sage Vedavyasa tossed in mental and spiritual
turbulence, thought it necessary to bring man to the path
of rectitude and gave us the eighteen puranas and classified
the Vedas into four distinctive identities. We are taught
one thing very powerfully: the individual is responsible to
himself; he can go higher or sink lower to get lesser, meaner
births. This life is meant to be a practicing ground to reach
higher, go nearer, to divinity in howsoever small a measure
it may be.
One has to turn the searchlight inward: Am I
comfort/pleasure bound? Am I money bound? Am I only
earth bound? Do I, can I, look beyond my nose?
Eternal verities, statements, exhortations,
prescriptions, prohibitions and guidelines have all the time
focused on the individual, on ME individually. Scriptures
and saints are there to guide us, just on one condition:
faith in God, faith in them and, most importantly, faith in
your own self. Our tradition, culture and way of life is
called sanatana dharma. Universal values are inherent in
eternal verities, truths that are valid for all time. We are
fortunate that our ancients left us treasures that could show
us the way to meaningful living and thus save ourselves
from anguish, ennui, doubt and inaction. Life has a purpose
and a goal. Our ancient wisdom and our sanatana dharma
urge us to reestablish our contact with the Supreme Being
as per our own desire, thirst or yearning.
Maharshi Vedavyas belonged probably to the 5th
millennium BC. In the grand narrative, during the days
of Aranyavas of the righteous Pandavas there was an episode
where Yamadharma Raja himself in the guise of a Yaksha
poses some questions to Dharmaraja, with the promise that
he would be allowed to drink of his pond. This is really a
test and the questions are related to Creation, dharma,
righteous life, human nature, insight into ideal human
relations and so on. Dharmaja answered all the seventy-
two questions to the satisfaction of the Yaksha, who out of
joy brings all the four brothers of the wise, righteous man
back to life. Here is a sampler of the questions and the
answers, which encapsulate eternal verities.
Platinum Platform
 What does really help man?
Dharma.
What which is the greatest among dharmas?
Ahimsa.
What is the path to heaven?
Truth.
What is jnaana?
Ability to discriminate, distinguish good and evil.
What envelops the whole world?
Ignorance, ajnaana.
What is ahamkara, ego sense?
Ignorance, ajnaana.
Which is the most surprising thing?
Seeing death everyday and still thinking of one’s
own permanence.
Who is a sthithaprajna?
The one who considers all dualities the same, the
one contented, the one who conquers the six
enemies, the one steadfast never losing his cool.
Adi Sankara of the 9th Century wrote Prasnottari
Mani Maala, where he asked questions and
answered them himself for the benefit of the
devout. Here is a sampler:
Who is in bondage?
Those attracted to vishayas, things, the sense
attractions.
What is called liberation, mukti?
Dispassion, vairagya towards vishayas.
Which is the most horrible hell?
This human body itself.
What is said to be the reason for liberation, moksha
kaaraNa?
Self-knowledge. atmajnaana, realization of the
self.
Who are the true enemies?
One’s own senses. If these are conquered, they
would be friends.
Who is the blindest?
The one tossed by lust.
What is death?
One’s own infamy or, disrepute.
Which is the malady right from the beginning?
Samsara, the world and also the birth cycle, which
leads to being born again and again.
Platinum Platform
Which is more poisonous than poison?
Attraction and slavery to vishayas: sense attractions
are poisonous.
Which is the biggest enemy?
Desire coupled with anger, untruth, and greed.
By destroying what does one get liberation?
Manas.
Mahatma Trailinga Swami (1607-1887) answered
his disciple’s queries with genuine love for all. These are
very pithy sayings, saarOktulu replete with the essence of
deep insights and understanding inspired by the Supreme
Being we call Eshwar. Here is a sampler:
Sishya: What is the most horrible naraka?
Guru: Our body.
Sishya: Where is swarga?
Guru: This very earth is swarga, if only desires die.
Sishya: How can the earthly bond be severed?
Guru: By attaining aatmajnaana.
Sishya: What would give mukti?
Guru: Aatmajnaana.
Sishya: What is the way for the attainment of
swarga?
Guru: Ahimsa, non-violence.
Sishya: Who is the enemy of Man?
Guru: His own senses.
Sishya: Who is the blind one?
Guru: The one ravaged by lust.
Sishya: What is Death?
Guru: Infamy or disrepute is Death. Man is
immortal.
Sishya: Who is Buddhiman? (The wise one)
Guru: The one who does not give in to lust.
Sishya: What is meant by manovinaasana?
(Destroying the manas)
Guru: Moksha, salvation.
Sishya: How do we have any belief in a thing,
which we do not see?
Guru: As we believe in the air and fragrance even
though we do not see them.
The eternal verities have relevance for all time as
guidelines to shape the goals for an individual’s conduct.
At the individual level (not as a great movement), everyone
should turn the searchlight inward. Rising above the
111
money-driven activities which are killing the human
personality, each should aspire and endeavour for
personality development and strive for a value-oriented and
principle-governed, god-loving society in one’s own way.
The moral ennui is the direct result of the erosion
of basic faith in God and goodness owing to man’s myopic
vision and skewed thinking. Belief and Faith are aspects of
Theism. Theism is a dynamics of thinking, which believes
in these intriguing concepts, intriguing because of one’s
own lack of basic understanding. This cannot be served on
a platter and this is where the concept of intimate one-to-
one relationship with God through a mental state and
contributory way of living called BHAKTI emerged. When
bad is done, wrong is committed, it would be brought to
book. It would be punished. This belief acts as a deterrent
to bad deeds. While asking people to cultivate belief and
have faith in God, the sages and seers went on to explain
the consequences of bad deeds, also called evil-doings. This
is what we now call a two-pronged approach to instill Faith.
This is found in almost all faiths, Hindu, Buddhist and
Christian religions to name only a few. In the
Mahabhagavata the punishments meted out to sinners are
listed and described. We have descriptions of twenty-one
frightful hells taamisra (thick dark) andha taamisra
(blinding dark), raurava (frightful and loathsome), and
mahaaraaurava (extremely frightful, loathsome),
kumbhipaaka (potter’s kiln) and several others.
In taamisra, those sinners who make fun of or
ridicule others’ wives and children would
be thrown into the pitch darkness. Andha taamisra
would be the lot of those sinners who
take a woman who already has a man of her own.
Rauravas are those places where those
who cheat others or be traitors for the sake of
maintaining families. Mahaaraurava is the
place where people who want to be on their own
without paying heed to the suffering and
travails of birds beasts and other beings. Those who
kill rats and creatures by ensnaring
them would be thrown into the hell where they
would be baked in potters’ kilns.
The one who is treacherous to his parents or the
pious brahmins would be thrown into the most dreadful
hell called Kaalasootra. Here there would be sun overhead
and flames underneath. The one who leaves the path of
righteousness and the Veda would be punished with
gripping sword blades on both sides making any movement
112
impossible. This is called asipatra forests. Kaalasootra naraka
is the place for those who punish the innocent. The servitors
of Yama inflict these punishments. They break the sinners
as simple sugar-cane while they howl miserably. For teasing
and joyously inflicting pain on animals and birds, the sinner
would be thrown into andhakoopa where he would be
treated as he treated the unfortunate. He who enjoys all his
wealth eating and spending only for himself without sharing
it with kith and kin would be thrown into this. There is
another severe punishment in the hell where a sinner is
made to eat worms. This is called krimi bhojan narak. In
Sandasa hell, those who commit theft of the property of
the righteous are pierced with spears heated in heated orbs.
For the madly lustful, the narak is designed in such a way
that the couple would stand intertwined, burnt endlessly
and made to embrace melting hot statues of iron. For those
who have intercourse with animals, the punishment is the
most severe. Those sinners are pounded with trees with
thorns sharp as diamond points. This hell is called vajra
kantaka shalmali. Vytaraninaraka is for the hearts of sinners
while they are made to list their sins. Here the sinner would
have to be under blood, marrow, semen and the excreta
eating and drinking them in that horrible and loathsome
heat. The one and such as those who train dogs and the
like and by killing them make a living in pride would be
punished there. There are other hells in this category called,
praanarodham where life-breath is intermittently stopped
as punishment. Vishasanamu, laalaabhakshanamu,
saarameyaadanamu, naveechirayambu are other hells where
unthinkable and unimaginable punishments are meted out.
Retah paanamu is the most detestable hell where sinners
are made to drink semen for making their wives do that in
lasciviousness. Besides these, there are seven more for
corrupt practices like bribe-taking, bearing false witness,
violating the modesty of one who performs a fire ritual,
harassing animals for fun, glaring at a guest with angry
looks, miserliness and so on. There are seven such hells,
and their names themselves are blood curdling:
kshaarakardama, rakshogana bhojana, shoolasootra,
dandashooka, navata nirodhana, saparya vartana and
shoochee mukha.Those interested to know further can go
to the second aashwaasa of the fifth skandha in Sree Mahaa
Bhaagavatham in Telugu.
The Buddhist conceptualization of hell closely
followed the Hindu perspective. There are said to be eight
hells, though some did say there were ten and even more
upto a thousand. Some Buddhists seem to have revealed
at a later stage that the tortures and hells are figments of
imagination, mainly of the sinners themselves. Khenpo
Konthar, the abbot of Karma Triyana Dharma Chakra, had
Platinum Platform
said, “From the Buddhist perspective, such a thing as hell
does not exist.” Though this is reassuring, Kshitigarbha
Bodhisattva described hells extensively. Earlier, in
Buddhism, we come across the description of eight hells.
The first is the Hell of Repetition where murderers
are sent. Those who kill for fun and pleasure inhabit this
place. The second is the Black Rope Hell for those who
kill someone while committing some other crime. It is
important to note that in the group of killers each has to
suffer though it is a sin committed by a group. In this hell
big black birds would be plucking out the eyes, pulling
out the tongues and picking out the innards of the sinners.
The tormented here are forced to drink molten copper
and then would be stabbed again and again. Crowded Hell
is for those who kill and steal and for those who are
concupiscent libertines. Satyrs and nymphomaniacs suffer
here for their transgressions. Fire Jar Hell is for those with
sexual perversions and sins associated with sexual abuse.
The organs of such are singed here. Those who indulge in
sexual fantasies with others’ women will have their eyes
scorched here. Those who are attached to the voices and
laughter of others’ women will have their ears burnt here.
The fifth is the Screaming Hell where there is a section
called Great Screaming Hell too. Those who abuse
intoxicants are thrown into this. The sixth hell is for those
who make use of voice and make sound to sow dissension.
For those who cause divisions and cause disharmony there
is a special torment. Snakes and vipers would be gnawing
at them continuously. People who hold false views are
tormented in hell of burning heat. False views include the
negating of the karmic law and God. Diamond Beak
Hornet Hell causes extreme pain to the sinner for he is
made to drink the spurting blood after the beaks stab them.
The seventh hell would be the lot of those who defile
religion. This hell is called the Burning Hell of Stinging
Worms. The worms thrust by force into the anus of sinners
would travel up eating everything on the way to emerge
out of the scalp. Hell of No Interval is the eighth where
five types of premeditated killers of father, mother, holy
man, the sangha and Bodhisattva.
Hell-fires are fierce deterrents but in spite of
knowing these, if not in this detail but at least in a broad
outline, are just brushed aside as mere fevered imaginations.
One may not believe any of these but can still adhere to
the path of rectitude out of the milk of human kindness
in his heart/mind, manas.
Six guiding principles I suggest for myself, and, if
you like, for you, you and you:
Platinum Platform
1. Choose a role-model: Goodness inspires goodness. One
can imbibe goodness from others around. One comes
across many such and one can take any one of those
and emulate the example.
2. Draw line or many lines: Money, comfort and
pleasure in the right measure are necessary and are
not wholly undesirable. But drawing a line comes
from sef-discipline: from the strength of one’s own
character. One must get stronger in character too.
3. Adjust your lenses: The implication of all this for
enthusiastic livers is to have the right attitude, to
cultivate serenity and equanimity, cheerfulness and
compassion. Only adjusting the lenses makes the
cultivation easy. If the greatest of literature has reflected
inclusive vision, the greatest of the scriptures,
Srimadbhagavadgita, has identified this attitude much
earlier (possibly five thousand years ago) as the quality
of the learned knowing ones. Sri Krishna, the divine
charioteer enjoins us to practice cultivating the saint’s
view, sama drishti. The spiritually evolved have this
quality.
Vidya vinaya sampanne brahmane gavi hastini
Shunichaiva swapaak echa pandithah samdarsinah
The learned ones, the panditas (they are jnaanis,
the knowing ones too, for learning with- out application
and practice is just tinsel appearing as gold) look upon the
learned pious brahmin, the cow, the elephant, the dog and
the one who cooks and eats dog’s meat with sama drishthi,
equal temper of mind.
4. Bridge the gap between your own professions and
your own performance : This requires self control.
One would do well to note that a person is judged
not by what he professes but by what he practises.
5. Agree / accept – One cannot expect everything to be
to one’s own taste or liking. This is a piece of advice
to listen patiently and resist the temptation to be
contrary. Contrariety is not a likeable quality. One
can disagree but with humility and conviction. It is
not necessary to negate all.
6. Live intensely; live for the ‘joy’ of living: Life is meant
to live with compassion, contentment and resilience.
* * * * *
113
 HÍHõfÜ«∞ ã¨O㨯 $uH˜ J^ŒÌO
HÍÃã ã¨~°fiÑ¨Ê 'ã≤^Õúâ◊fi~° K«i„`«=Ú—
PO„^èŒ^Õâ◊ K«i„`«Ö’ HÍHõfÜ«∞ ~åAŠѨiáêÅ<å HÍÅ=Ú
ã¨fi~°‚Ü«ÚQÆ=Ú. JO^Œ∞‰õΩ HÍ~°}O - ^ŒH˜∆}ÏѨ^äŒÑ¨`«∞Å∞QÍ H©iÎÔHH˜¯,
Ü«∂=`ü ^ŒH˜∆}ÉèÏ~°`«^Õâßhfl ѨiáêeOz# `˘e `≥Å∞QÆ∞ ~å[#∞ºÖˇ·#
âß`«"åǨÏ#∞Å `«~°∞"å`«, uiy 1000 ã¨O=`«û~åʼnõΩ JO`«
ã¨∞qâßÅ"≥∞ÿ# ™ê„=∂*Ϻxfl UHõK«Ûù„`åkèѨ`«ºOQÍ Ñ¨iáêeOz# H©iÎ
HÍHõfÜ«ÚÅ^Õ! "åi "≥Ú^Œ\ ˜ ~å[^è•x J#∞=∞H˘O_». J^Õ <Õ\ ˜
ǨÏ#∞=∞H˘O_». P `«~∞° "å`« H˘O`«HÍÖÏxH˜ F~°∞QÆÅ∞¡‰Ωõ =∂~°Û|_çOk.
J^Õ <Õ\ ˜ =~°OQÆÅ∞¡. „áêp# „QÆO^ä•ÅÖ’#∞, âßã¨<åÅÖ’#∞ -
ǨÏ#∞=∞H˘O_»‰Ωõ - J#∞=∞H˘O_», ǨÏ#∞=∞kæi, ǨÏ<凄k, ã≤^âúÕ √◊ #QÆi,
ã≤^•ú„â◊=∞=Ú =O\˜ ¿Ñ~°∞¡ HõxÑ≤™êÎ~Ú. J\Ï¡Qˆ =~°OQÆÖò‰Ωõ - F~°∞QÆÅ∞¡,
UHõtÖÏ#QÆ~°=Ú, F~°OQÆÖò, UHõtÖÏѨÙ~°=Ú, PO„^èŒ#QÆ~°=Ú =O\˜
¿Ñ~°∞¡ HõxÊ™êÎ~Ú.
F~°∞QÆÅ∞¡#∞ áêeOz# HÍHõfÜ«∞~åAÅ K«i„`«‰õΩ, P<å\˜
ã¨O㨯 $uH˜ P^è•~åÅ∞ - ã¨=∞HÍb# ™êÇ≤Ï`«º=Ú, âßã¨<åÅ∞,
q^ÕjK«i„`«HÍ~°∞Å „"å`«Å∞. ã¨=∞HÍb# ™êÇ≤Ï`«ºOÖ’ „Ѩ^è•#OQÍ
K≥ѨÊ=Åã≤#q - áêÅ∞¯iH˜ ™È=∞<å^äŒ∞x |ã¨=ѨÙ~å}-ѨO_ç`å~å^茺
K«i„`«Å∞, q^•º<å^äŒ∞x „Ѩ`åѨ~°∞„nÜ«∞=Ú =O\˜ „QÆO^ä•Å∞. J\Ï¡ˆQ
- HÍHõfÜ«∞ ™ê„=∂[º Ѩ`«<å#O`«~°O „"åÜ«∞|_ç# UHÍ„=∞<å^äŒ∞x
„Ѩ`åѨK«i„`«, HÍÃã ã¨~°fiÑ¨Ê ã≤^Õúâ◊fi~°K«i„`«, q#∞H˘O_» =Å¡Éèí~åÜ«∞x
„H© _ ®aè ~ å=∞=Ú, ‰õ Ä z=∞Oz [QÆ æ H õ q ™È=∞^Õ = ~årÜ« ∞ =Ú
K≥ѨCHÀ^Œy#q. Wq HÍHõfÜ«∞ ™ê„=∂[º Ѩ`«<å#O`«~°O 150-
200 ã¨O=`«û~åʼnõΩ "≥Å∞QÆ∞Ö’H˜ =zÛ#q. JѨÊ\˜H˜ HÍHõfÜ«∞
™ê„=∂[ºO Ѩ`«#"≥∞ÿ#ѨÊ\˜H©, HÍHõfÜ«∞ "≥·Éèí= ™œ~°ÉèÏÅ∞ ѨÓiÎQÍ
JO`«iOzáÈÖË^xŒ Ñ≤ã∞¨ OÎ k. JO`ÕHÍHõ- P<å\˜H˜ „Ѩ[Å <åÅ∞HõÅg∞^Œ
P_»∞`«∂ LO_ç# HÍHõfÜ«∞~åAÅ Ü«∞â’QÍ^äŒÅ#∞ „QÆO^äŒã¨÷O KÕã≤#
~°K«#Å∞QÍ Jq HõxÊ™êÎ~Ú. Hõ#∞Hõ - `˘e Kåi„`«Hõ HÍ"åºÅ∞QÍ
Jq ™êÇ≤ Ï `« º K« i „`« Ö ’ ã≤ ÷ ~ ° Ñ ¨ _ ç á È~Ú, P<å\˜ 㨠O 㨠¯ $f
ã¨O„Ѩ^•Ü«∂ʼnõΩ J^ŒOÌ Ñ¨_∞» `«∞<åfl~Ú. JO^Œ∞Ö’ JHõ¯_»H¯õ _» HõxÑ≤OKÕ
Jã¨O|^Œú q+¨Ü∂« Å#∞ =keÃÑ_ç`,Õ Jq Z<Àfl Kåi„`«Hõ q+¨Ü∂« Å#∞
Pq+¨¯iã¨∞Î<åfl~Ú. Hõ#∞Hõ HÍHõfÜ«∞~åAÅ K«i„`« x~å‡}ÏxH˜ Jq
ZO`À ^ÀǨÏ^ŒÑ¨_»`åÜ«∞#@OÖ’ ã¨O^ÕǨÏO ÖË^Œ∞!
JÖÏO\˜ =ÚYº"≥ ∞ ÿ # P^è • ~åÅÖ’ HÍÃã 㨠~ ° fi Ѩ Ê
'ã≤^Õúâ◊fi~°K«i„`«— XHõ\ ˜.
ã≤^Õúâ◊fi~°K«i„`« „áê~°OÉèíOÖ’ ã¨~°fiÑ¨Ê `«##∞ QÆ∞iOz H˘xfl
q+¨ Ü « ∂ Å#∞ K≥ Ñ ¨ C H˘<åfl_» ∞ . ^•xx|\ ˜ ì - PÜ« ∞ #
Jâ◊fiÖÏÜ«∞#ã¨∂„`«∞_»x, P„`ÕÜ«∞QÀ„`«∞_»x `≥Å∞ã¨∞Î#flk. â‹·"åKå~°
ã¨O„Ѩ^•Ü«∞ „ÉÏǨχ}=Oâ◊OÖ’ ѨÙ\˜ì#"å_»∞. ÃщõΩ¯ Ѩ^ŒºHÍ"åºÅ∞,
ã¨Ow`«~°K«#Å∞ KÕã≤ [QÆ„`«Êã≤^Œ∞ú_≥·# QÆOQÍ^èŒ~°∞x =∞#∞=∞_»∞.
* q„âßO`åKå~°∞ºÅ∞, `≥Å∞QÆ∞ qÉèÏQÆO, HÍHõfÜ«∞ qâ◊fiq^•ºÅÜ«∞O, =~°OQÆÅ∞¡.
114
– _®II ǨÏi t=‰õΩ=∂~ü
QÆOQÍ^èŒ~°∞_»∞ â‹·=âß„™êÎQÆ=∂^Œ∞Å#∞ ÉÏQÍ J^茺ܫ∞#O KÕã≤#"å_»∞.
eOQÍ~°Û<å„H˜Ü∂« x~°`∞« _»∞. PÜ«∞# ‰õΩ=∂~°∞_»∞ QÍ#q^•ºHÀq^Œ∞_≥#·
=∞Å¡Ñʨ ~åA. =∞Å¡Ñʨ ~åA ÉèÏ~°º ÅH∆͇~Ú. P ^ŒOѨ`∞« ʼnõΩ- ã¨~fi° ѨÊ,
Ѩ~^° tÕ , g~°}Ï~°∞º_»∞ J<Õ =ÚQÆ∞~æ ∞° ‰õΩ=∂~°∞Å∞ [x‡OKå~°∞. "åiÖ’
ÃÑ^Œ"Ì å_≥#· ã¨~fi° ѨÊÜÕ∞ D ã≤^âúÕ fi◊ ~°Ki« „`« ~°K~« Ú`«. PÜ«∞# [#‡ã¨Å÷ =Ú
á⁄eH˘O_»ã‘=∞Ö’x K≥~°∞fiѨe¡. ã¨~°fiÑ¨Ê `«e¡ ÃÑO_®~°¡Ö’ - |Ǩïâ◊ó
<Õ\ ˜ ÃÑO_®ºÅ HÍ=K«∞Û- x=ã≤OKÕk. "åik KåÖÏ c^Œ‰õΩ@∞O|O.
P ã¨=∞Ü«∞OÖ’ - ã¨∞HõqQÍ#∞ =^•#∞º_»∞QÍ#∞ q#∞uÔHH˜¯# =ÚkQ˘O_»
^Œ=∞‡#fl - PÜ«∞# ÉèÏ~°º ~å=∞=∞‡ ^ŒOѨ`«∞Å∞, `«=∞ ‰õΩ=∂Ô~ÎxzÛ
ÃÑO_ç¡KÕã≤, L^ÀºQÆO WÑ≤ÊOKå~°@. P q^èŒOQÍ HÍÃã ã¨~°fiѨÊ
J#∞=∞H˘O_»Ö’x ã≤^âúÕ fi◊ ~°∞x Hõ~∞° }=Å# WHõ¯_çH˜ =zÛ ã≤~÷ Ñ° _¨ áç È~Ú,
D ã≤^Õúâ◊fi~°K«i„`«#∞ ~°zOKå_»@!
HõO^Œ∞‰õÄi gˆ~â◊eOQÆO ѨO`«∞Å∞QÍ~°∞, 'K«i„`« K«`∞« ~å##—
zÅ∞‰õÄi g~°Éèí„^Œ~å=ÙQÍ~°∞, KåQÆO\˜ âı+¨Ü«∞ºQÍ~°∞ =O\˜
K«i„`«Ñ¨iâ’^茉õΩÅ∞ ã¨~°fiÑ¨Ê 14= â◊`å|ÌO"å_»x x~°‚~ÚOK«\ÏxH˜
„ѨÜ∞« uflOKå~°∞. HÍx ã≤^âúÕ fi◊ ~°Ki« „`«Ö’x JO`«~`æ° « P^è•~åÅ#∞|\ì̃,
ã¨~°fiÑ¨Ê 16= â◊`å|ÌO"å_»∞QÍ HõxÊ™êÎ_»∞. ã¨~°fiÑ¨Ê `«# „QÆO^ä•xfl
UHÍ„=∞<å^ä∞Œ x '„Ѩ`åѨKi« „`«—#∞ J#∞ã¨iOz „"åã≤#@∞¡ K≥ÑC¨ H˘<åfl_»∞.
Hõ#∞Hõ ã≤^Õúâ◊fi~°K«i„`«, „Ѩ`åѨK«i„`« `«~°∞"å`« „"åÜ«∞|_ç#^Õ Jx
ã¨Ê+¨ìO J=Ù`«∞Ok. J~Ú`Õ - D Ô~O_»∞ „QÆO^ä•ÅÖ’#∞ ¿Ñ~˘¯#|_ç#
#~° Ñ ¨ u ~åÜ« ∞ Å∞ HÍHõ f Ü« ∞ ™ê„=∂[º Ѩ ` « < å#O`« ~ ° O 150
ã¨O=`«û~åʼnõΩ q[Ü«∞#QÆ~° ™ê„=∂*Ϻxfl ѨiáêeOz# „ѨÉèí∞=Ù.
Hõ#∞Hõ Jq Ô~O_»∂ 16= â◊`å|ÌOÖ’ „"åÜ«∞|_ç# „QÆO^ä•Åx
qâ◊^Œ=∞=Ù`«∞Ok. J\Ï¡ˆQ g\˜Ö’ - ~å=∂Ü«∞}=Ú#∞ „"åã≤#
Hõ=~Ú„u "≥ÚÅ¡ „Ѩ™êÎ=# HõxÊã¨∞ÎOk. "≥ÚÅ¡ ‰õÄ_® 16= â◊`å|ÌOÖ’
rqOz# Hõ=~Ú„u. Hõ#∞Hõ D ~Ô O_»∞ P^è•~åÅ#∞|\ì̃, HÍÃã ã¨~fi° ѨÊ
16= â◊`å|ÌOÖ’ x=ã≤Oz<å_»x ã¨Ê+¨ì=∞=Ù`«∞Ok.
ã¨~°fiÑ¨Ê `«# „QÆO^äŒ „áê~°OÉèíOÖ’ - J#∞=∞H˘O_»Ö’x
ã≤^Õúâ◊fi~°∞x Hõ~°∞}=Å¡<Õ D Hõ$ux K≥ѨÊQÆeyu#x K≥ѨCH˘<åfl_»∞.
`« # ‰õ Ω â◊ | Ì â ßGq+¨ Ü « ∂ Å∞HÍx, QÆ ∞ }^À+¨ = ÚÅ∞QÍx, Kè « O ^À
xÜ«∞=∂Å∞QÍx `≥eÜ«∞=h K≥ѨCH˘<åfl_»∞. P ã≤^Õúâ◊fi~°∞x
J#∞„QÆǨÏO=Å¡ qÅã≤e¡# HÍHõu =∞Ǩ~åAÅ K«i„`«#∞, "å~°∞
xi‡Oz# ^Õ"åÅÜ«∂Å∞ - `«\ÏHõ=ÚÅ∞ - ѨÙ~°=ÚÅ∞ =O\˜
ã¨`å¯~°º=ÚÅ#∞, WO^Œ∞Ö’ q=iOKå#x K≥ÑC¨ H˘<åfl_»∞. J#∞=∞H˘O_»
x~å‡`«Å~Ú# Zé∞Hõ~åAÅ#∞O_ç, z=i~å*ˇ#· „Ѩ`åѨ~∞° „^Œ=∞Ǩ~åA
=~°‰õΩ Ue# ~åAÅ K«i„`«Å#∞ WO^Œ∞Ö’ á⁄O^Œ∞ѨiKå_»∞. `å#∞
â‹·=ã¨O„Ѩ^•Ü«∞ã¨∞÷_»∞ HÍ=@O=Å#<Õ"≥∂, `˘e`≥Å∞QÆ∞ „Ѩ*ÏHõqQÍ
„Ѩã^≤ ∞Œ _ú #·≥ áêÅ∞¯iH˜ ™È=∞<å^ä∞Œ x =∂~åæxfl J#∞ã¨iOz, `«# HÍ"åºxfl
Platinum Platform
kfiѨ^ŒKè«O^Œã¨∞ûÖ’ „"åâß_»∞. `«# HÍ=ºO P<å\˜ ™ê=∂#º[#∞ʼnõΩ
‰õ Ä _® JO^Œ ∞ ÉÏ@∞Ö’ LO_» \ ÏxH˜ PÜ« ∞ # kfiѨ ^ Œ Ö ’
„"åã≤ÜÚ« O_»=K«∞Û#∞. ã¨∞Åe`«"∞≥ #ÿ K«H¯õ x â‹e· Ö’, 3 Pâßfiã¨=ÚÅÖ’
D „QÆO^äŒO „"åÜ«∞|_çOk. z=~°ÉèÏQÆOÖ’ XHõ ÃÑ^ŒÌ =K«#~°K«#
L#flk. D =K«#O PÜ«∞# „"åã≤O^À, ÖËHõ =∞Ô~=Ô~·<å KÕiÛO^À
x~åúiOK«\ÏxH˜ `«y# P^è•~åÅ∞ ÖË=Ù. U"≥∞ÿ#ѨÊ\˜H© JO^Œ∞Ö’x
q+¨Ü«∂Å∞ ZO`À Pã¨HõÎ^•Ü«∞HõOQÍ LO_»@"Õ∞HÍHõ, Jk ÖËHõáÈ`Õ
„QÆO^äŒO Jã¨OѨÓ~°‚OQÍ LO_Õ^Œ<Õ ^èÀ~°}˜Ö’ #_çzOk.
"≥Ú`«ÎO g∞^Œ D „QÆO^äŒO Z<Àfl Kåi„`«Hõ-™êO㨯 $uHõ
q+¨Ü«∂Å#∞ Pq+¨¯iã¨∂Î<Õ, HÍHõfÜ«∞ ~å[#∞ºÅ "≥·Éèí"À¿Ñ`«"≥∞ÿ#
K«i„`«#∞ ‰õÄ_® Pq+¨¯iã¨∞Î#fl^Œ#@OÖ’ ã¨O^ÕǨÏO ÖË^Œ∞.
ã¨~fi° Ñ¨Ê `«# HÍ"åºxfl 'ã≤^=úŒ ∂Ǩ`«‡º=Ú— Jx K≥ÑC¨ H˘#fl@∞¡
HÍ"åº~°OÉèíOÖ’x q+¨Ü«∂xfl |\˜ì, Pâßfi™êO`« QÆ^ŒºÅ#∞|\˜ì
`≥Å∞ã¨∞Î#flk. |Ǩïâ◊ó JO^Œ∞‰õΩ HÍ~°}O - `«#‰õΩ P ã≤^Õúâ◊fi~°∞x
J#∞„QÆǨÏO=Å¡<Õ Hõq`åâ◊H˜Î J|ƒ@O HÍ=K«∞Û#∞. JO`ÕHÍHõ - P
ã≤^Õúâ◊fi~°∞x J#∞„QÆǨÏO=Å¡<Õ HÍHõfÜ«∞~åAÅ∞ 1000 ã¨O=`«û~åÅ∞
ѨiáêeOK«QÆey#@∞¡ PÜ«∞# Jaè„áêÜ«∞OQÍ QÀK«iã¨∞ÎOk. P
q+¨Ü«∞O HÍHõfÜ«∞~åAÅ „Ѩ™êÎ=#Ö’ KåÖÏKÀ@¡ QÀK«iã¨∞ÎOk.
J#∞=∞H˘O_»‰õΩ 'ã≤^•ú„â◊=∞O— J<Õ „Ѩã≤kú LO_Õ^Œx, P
q^èŒOQÍ ã≤^ŒúˆH∆„`åÅ∞QÍ Éèí∂Ö’HõOÖ’ "åã≤ÔHH˜¯# =¸_çO\˜Ö’ Wk
XHõ¯\˜ Jx, WHõ¯_ç ã≤^Õúâ◊fi~°∞_»∞ Jyfl„Ѩu+¨ªÜ«∞x HÍ"åº~°OÉèíOÖ’
K≥áêÊ_»∞.
Ô H · Ö Ï㨠" åã≤ Ü ≥ ÿ ∞ # Dâ◊ fi ~° ∞ _» ∞ áê~° fi fã¨ Ç ≤ Ï `« ∞ _≥ ·
J#∞=∞H˘O_»Ö’x ã≤^•ú„â◊=∞OÖ’ =zÛ LO_»\ÏxH˜ HÍ~°}OQÍ XHõ
K«H¯õ x Hõ^#Œä ∞ K≥áêÊ_»∞ ã¨~fi° ѨÊ. Wk UHÍ„=∞<å^ä∞Œ x „Ѩ`åѨKi« „`«Ö’
ÖË^Œ∞. ã¨~°fiÑ¨Ê HõeÊOz#k. XHõ™êi áê~°fifѨ~°"Õ∞â◊fi~°∞Å∞ „|Ǩ‡k
^Õ=QÆ}=ÚÅ`À#∞, =Ú#∞Å`À#∞ H˘Å∞=Ùfi LO_»QÍ, „Ѩ=∞^äŒ∞Å∞
"åi=^ŒÌ‰õΩ =zÛ - Nâ‹·ÖÏxH˜ L`«Î~°kâ◊Ö’ Hõ$ëê‚ QÀ^•=s#^Œ∞Å
=∞^茺 LO_ç, Ç≤Ï_çOÉÏ„â◊=∞OQÍ „Ѩã≤kúÔHH˜¯# J#∞=∞H˘O_»‰õΩ
^ŒH˜∆}=Ú# L#fl H˘O_»g∞^Œ QÆ~°æàÏk =∞Ǩâ◊‰õΩÎÅ∞, =∞Ǩ#∞ÉèÏ=ÙÖˇ·#
ã≤^∞Œ Åú ∞ ZO^Œ~À L<åfl~°x, "å~°∞ HÍÜ«∞ã≤^∞Œ Åú ∞ B+¨^ãŒè ^≤ ∞Œ Åú ∞ W=fiQÆÅ
ã¨=∞~°∞÷Åx, JÖÏO\˜ ã≤^Œ∞úʼnõΩ PÅ"åÅ"≥∞ÿ# ǨÏ#∞=∂„k ™êH∆Í`«∞Î
^ŒH˜∆}ÔH·ÖÏã¨=∞x, P „áêO`«O ^ŒH˜∆}HÍt Jx, Hõ#∞Hõ P „Ѩ^Õâ◊OÖ’
=zÛ LO_»=∞x P áê~°fif Ѩ~°"Õ∞â◊fi~°∞Å#∞ „áêi÷OKå~°∞. JO^Œ∞‰õΩ
"å~°∞ JOwHõiOz, ã≤^Õúâ◊fi~°∞_»<Õ ¿Ñ~°∞`À Ѩ~°"Õ∞â◊fi~°∞_»∞, Ѩ^•‡H˜∆
J<Õ ¿Ñ~°∞`À áê~°fif^Õq, WHõ¯_çH˜ =zÛ Éè‰í Ωõ ÅÎ #∞ J#∞„QÆÇÏ≤ OK«™êQÍ~°∞.
„Ѩ=∞^äQŒ }Æ =∞O`å ã≤^∞Œ Öú ·ˇ =zÛ, "åix ¿ãqã¨∂Î WHõ¯_Õ LO_çáÈÜ«∂~°@!
P q^èŒOQÍ D „Ѩ^ÕâßxH˜ ã≤^Õúâ◊fi~° ˆH∆„`«O Jx ¿Ñ~°∞ =zÛO^Œ@.
D ã¨O^Œ~°ƒùOÖ’ HÍÃã ã¨~°fiѨÊ, áê~°fifѨ~°"Õ∞â◊fi~°∞Å
q"åǨÏ=~°‚# KÕâß_»∞. |Ǩïâ◊ó HÍ=ºO =∞OQÆà◊O`À „áê~°OÉèíO
HÍ"åÅx J\Ï¡ KÕ ã ≤ LO_» = K« ∞ Û#∞. Wk UHÍ„=∞<å^ä Œ ∞ x
„Ѩ`åѨK«i„`«Ö’ ÖË^Œ∞. D ã¨O^Œ~°ƒùOÖ’ =i‚Oz# PKå~åÅ∞
ã¨O„Ѩ^•Ü«∂Å∞ P<å\˜ q"åǨÏ=º=ã¨÷ f~°∞#∞ qâ◊^ŒÑ¨~°∞™êÎ~Ú.
Platinum Platform
Ç≤Ï=∞=O`«∞_»∞ `«# ‰õΩ=∂Ô~Î áê~°fiux Ѩ~°=∞t=Ù#ˆH W=fi\ÏxH˜
x~°‚~ÚOz, P q+¨Ü«∂xfl K«iÛOK«\ÏxH˜ `«# |O^èŒ∞=ÙÖˇ·# "Õ∞~°∞,
qO^è Œ º , K« „ Hõ " åàÏk Ѩ ~ ° fi `« ~å[=ÚÅ#∞ Ñ≤ e Ñ≤ O Kå_» @ .
=∞#∞+¨º~°∂ѨOÖ’ =zÛ# "åix ѨÓlOz, ˆH∆=∞ã¨=∂Kå~°=ÚÅ_çy,
`«# HÀiHõ#∞ "åiH˜ "≥Å_¡ Oç Kå_»@. ^•xH˜ "å~°∞ ã¨=∞‡uOz, =∞Oz
=ÚǨ˙~°=Î Ú# |Ü«∞ÖËiÌ â◊OHõ~∞° x=^Œ‰Ì Ωõ "≥àϧ~°@. "å~°O`å =∞Oz
â◊‰Ωõ <åÅ∞ K«∂ã¨∞H˘x, `åO|∂Å¿Ñ\˜HÅõ ∞ Ѩ@∞ìH˘x "≥o¡ `«=∞ HÀiHõ#∞
`≥eáê~°@. Dâ◊fi~°∞_»∞ JOwHõiOK«QÍ, `åO|∂ÖÏÅ∞, =~°^ŒH˜∆}
WzÛ =KåÛ~° @ ! P `« ~ ° ∞ "å`« â◊ √ Éè í Å QÆ fl =Ú# áê~° fi ux
ã¨HõÅÉèí∂+¨}=ÚÅ`À JÅOHõiOz, ÃÑo§‰õÄ`«∞ix =Ú`åºÅѨšH˜Ö’
fã¨∞H˘x"≥àÏ¡~@° . „|Ǩχ^Õ=Ù_»∞ [QÆ`∞« ÖÎ ’x â◊$OQÍ~°~™° ê#flO`å HõeÑ≤
zQÆ∞~°∞ É’}˜QÍ KÕâß_® J#fl@∞¡#fl áê~°fif^Õqx =Ú`åºÅQÆ^ÃÌ≥ Ñ#· ∞Oz,
`å~å|ÅO-K«O„^Œ|ÅO K«H¯õ QÍ L#fl â◊√ÉèÅí QÆfl=Ú#∞ xâ◊Û~ÚOKå~°@.
áê~°fiuH˜ „Ѩ^è•#Ѩ٠LOQÆ~°O `˘_çy, xâ◊ÛÜ«∞`åO|∂ÖÏ^Œ∞Å xzÛ
JO`«óѨÙ~åxH˜ ѨOÑ≤OKå~°@! ÅQÆflx~°Ü ‚ ∂« xH˜ =zÛ# =Úhâ◊fi~°∞Å#∞
H˘O`«^Œ∂~°O ™êQÆ#Oáê_»@ Ç≤Ï=∞=O`«∞_»∞. P `«~°∞"å`«
áê~° fi fHõ Ö Ïº}ÏxH˜ ~° = ∞‡x ^Õ " Õ O „^•k kHÍÊÅ=~° ∞ Å#∞
PǨfixOKå_»@. q"åǨxH˜ „|Ǩχ-q+¨µ‚=ÙÅ∞ =KåÛ~°@. QÆ~°∞_»
QÆO^èŒ~°fi H˜#fl~å^Œ∞Å∞ =KåÛ~°@! ^Õ=QÆ∞~°∞_≥·# |$ǨÏã¨Êu =∞O„`åÅ∞
K«kq, Ǩϟ=∂^Œ∞Å∞ KÕ~ÚOKå_»@! ~°OÉèÏ^Œ∞Å∞ <å@ºO KÕâß~°∞.
QÆO^è~Œ ∞° fiÅ∞ QÍ#O KÕâß~°∞. ÅH˜;, WO„^•}˜ =O\˜"å~°∞ ÃÑO_çá¡ ê@Å∞
áê_®~°@! ÃÑO_ç¡"ÕkHõ#∞ #=~°`«fl=∞O@ѨOQÍ fiÛk^•Ì~°∞.
ÃÑO_çH¡ ˘_»∞HÔ #· Ѩ~"° ∞Õ â◊fi~°∞#‰õΩ ã¨HÅõ ^Õ=`«Å∞ Z^Œ∞~°∞"≥o¡ PǨfixOz
`≥KåÛ~°∞. P `«~°∞"å`« ^Õ=`å„ã‘ÎÅ∞ áê~°fif^ÕqH˜ =∞OQÆà◊™êfl#O
KÕ~ÚOz, =GÉèí∂+¨}=∂ÖϺ^Œ∞Å`À ~°=∞ºOQÍ JÅOHõiOz,
=Ú`åºÅQ˘_»∞QÆ∞ h_»Ö’ P"≥∞#∞ fã¨∞H˘x =KåÛ~°@. P `«~°∞"å`«
"å^ŒºÑ¶¨∞’+¨ q∞#∞fl=Ú@ìQÍ, Ç≤Ï=∞=O`«∞_»∞ `«# ‰õΩ=∂Ô~Î#∞ „¿Ñ=∞`À
"≥O@ɡ@∞ìH˘x =KåÛ_»@. =ÚhO„^Œ∞ÅO`å '™ê=^è•#— Jx
=∞OQÆàÏ+¨Hì ÍÅ∞ K«^=Œ QÍ, â◊√„Hõ |$ǨÏã¨Ê`«∞Å∞ 'W^≥ ã¨∞=ÚǨ˙~°—Î =∞x
`≥Å∞ѨQÍ, âß„™ÈÎHõÎq^è•#OQÍ, Ç≤Ï=∞=O`«∞_»∞ `«# ‰õΩ=∂Ô~Î#∞
Ѩ~"° ∞Õ â◊fi~°∞#‰õΩ ^è•~°áÈâß_»@! ÃÑO_çH¡ ˜ =zÛ# ÃÑ^ŒÅÌ ‰õΩ Hõ@flHÍ#∞HõÅ∞
WzÛ ã¨`«¯iOKå~°@! P `«~°∞"å`« ‰õΩ=∂Ô~ΉõΩ H˘xfl h`«∞Å∞ É’kèOz
â◊ O Hõ ~ ° ∞ #‰õ Ω JѨ Ê yOKå~° @ ! WO`« q=~° O QÍ KÕ ã ≤ # D
q"åǨÏ=~°‚#Ö’ 400 ã¨O=`«û~åÅ „H˜`«O =∞# q"åǨÏ=º=ã¨÷ Z\Ï¡
LO_çO^À qâ◊^Œ =∞=Ù`«∞Ok. WO^Œ∞Ö’ =ÚYºOQÍ - ÃÑO_ç¡
q+¨Ü«∂Å#∞ =∂\Ï¡_»\ÏxH˜ "≥o§# ÃÑ^ŒÌÅ∞ '`åO|∂Å ¿Ñ\˜HõÅ∞—
(áê<£^•<£Å∞) "≥O@ fã¨∞H˘x"≥à◊¡@O - H˘O`« HÍÅO „H˜Ok=~°‰õÄ
D `≥ÅOQÍ}Ö’ „ѨK«∞~°OQÍ LO_ç# PKå~åxH˜ J^ŒÌO Ѩ_»∞`«∞#flk.
D q"åÇ¨Ï ã¨O„Ѩ^•Ü«∂Å#∞, PKå~åÅ#∞ =∞#O D<å\˜H©
PK«iã¨∞Î<åfl=∞O>Ë - =∞# q"åÇ¨Ï ã¨O„Ѩ^•Ü«∂Å∞ ZO`« HÍÅOQÍ
=ã¨∞Î<åflÜ≥∂ „QÆÇ≤ÏOK«=K«∞Û!
q"åǨ#O`«~°O Ѩ~°"Õ∞â◊fi~°∞_»∞ ã≤^Õúâ◊fi~°∞_»∞QÍ#∞, áê~°fiu
Ѩ^•‡H˜∆QÍ#∞, D ã≤^•ú„â◊=∂xH˜ qKÕÛã≤ ã≤÷~°Ñ¨_®¤~°@! „Ѩ=∞^äŒQÆ}O
ã≤^Œ∞úÅ ~°∂ѨOÖ’ WHõ¯_»<Õ "åix H˘Å∞ã¨∂Î LO_çáÈÜ«∂~°@!
115
JO^Œ∞=Å# nxH˜ 'ã≤^•ú„â◊=∞O— J<Õ ¿Ñ~°∞ ™ê~°H÷ =õ ∞~ÚOk. JO`ÕHÍHõ
- "å~°O`å q^•º~°∞÷ʼnõΩ q^Œº#∞, Ѩل`å~°∞÷ʼnõΩ Ѩل`«ã¨O`«ux,
"≥∂H∆Í~°∞÷ʼnõΩ "≥∂Hõ∆=Ú#∞ „Ѩ™êkã¨∂Î, Éèí‰õΩÎÅ HÀiHõÅ#∞ <≥~°"Õ~°∞ã¨∂Î,
x`«º=¸ "åi ѨÓ[ÅO^Œ∞‰õΩO@∞<åfl~°@! Wk Ѩ^•‡H©∆ ã≤^Õúâ◊fi~°∞Å
K«i„`«! D F~°∞QÆÅ∞¡ P q^èŒOQÍ ã≤^ŒúˆH∆„`«O J~ÚOk!
J@∞=O\˜ ѨÙ}ºÉèí∂q∞g∞^Œ HÍHõfÜ«ÚŠѨiáêÅ#
UHõK«Ûù„`åkèѨ`«ºOQÍ ™êyOk.
Hõ$ëê‚ QÀ^•=s#^Œ∞Å =∞^躌 „Ѩ^âÕ O◊ Ö’, "≥∞@∞ìQ∞Æ @ì Jx <Õ_∞»
Ñ≤Å∞=|_»∞`«∞#fl Ç≤Ï_çOÉÏ„â◊=∞=Ú#‰õΩ Dâß#ºÉèÏQÆOÖ’ L#fl
ǨÏ<凄kH˜ ^ŒH}∆˜ ÉèÏQÆOÖ’ ã≤^ÜúŒ ∂≥ y[#¿ã=Ùº_≥#· ã≤^âúÕ fi◊ ~°∞#‰õΩ `«∂~°∞Ê#
'Éèí„^Õâ◊fii— Jx Ñ≤Å=|_Õ <Õ\ ˜ Éèí„^ŒHÍm^Õq L#flk. 1950Ö’ P
^Õ"åÅÜ«∞ ѨÙ#~°∞^Œú~°}#∞ =∂ <å#flQÍ~°∞ 'Nq^•ºxkè— H©IIâıII ǨÏi
~å^è•Hõ$+¨‚=¸iÎQÍ~°∞ Ü«∞O„`«„Ѩu+¨ª KÕã≤, J=∞‡"åi ~°∂áêxfl
„Ѩã¨#flOQÍ =∂ˆ~Û=~°‰õÄ Éèí„^ŒHÍm J=∞‡"åi ~°∂ѨO ÉèíÜ«∞OHõ~°OQÍ
LO_Õk. 400 ã¨O=`«û~åÅ „H˜`«O ‰õÄ_® J\Ï¡ˆQ LO_Õk J#\ÏxH˜
D ã≤^Õúâ◊fi~° K«i„`«Ö’x ''`«#~°∞ Éèí„^Õâ◊fii Ü«∞#OQÆ ÉèíÜ«∞^ŒO|∞QÍQÆ——
J#fl =∂@ÖË x^Œ~°≈#O! ã≤^Õúâ◊fi~°∞xH˜ ^ŒH˜∆}OÖ’ Pkâı+¨µxg∞^Œ
Ѩ=oOz# QÀáêÅ=¸iÎ, ѨtÛ=∞OÖ’ Éèˇ·~°=Ù_»∞, L`«Î~°ÉèÏQÆOÖ’
xëê^Œ~°∞„^Õâ◊fii - QÆ~°æà◊^Õ=Ù_»∞ =O\˜ ^Õ=`«Å∞ H˘Å∞"≥· LO_ç~°@!
J@∞=O\˜ Ѩ q „`« " ≥ ∞ ÿ # Éè í ∂ q∞H˜ , Nâ‹ · Å "åã≤ Ü ≥ ÿ ∞ #
Z~°∞Hõ^Õ=~åA J<Õ H˜~å`«~åA `«# ã¨Ç¨ÏK«~°∞Å`À Hõeã≤ =zÛ, D
„áêO`«O Q˘Ñ¨Ê ã≤^ãúŒ O¨ Kå~°^âÕ =◊ ∞x `≥eã≤, WHõ¯_»<Õ ã≤~÷ Ñ° _¨ ç ã≤^âúÕ fi◊ ~°∞x
H˘Å∞ã¨∂Î LO_çáÈÜ«∂_»@! J`«xH˜ J#∞=∞_»∞-H˘O_»_∞» -QÆ~àæ° Ü ı Ú« _»∞
J<Õ =ÚQÆ∞æ~°∞ ‰õΩ=∂~°∞Å∞ HõeQÍ~°∞. giÖ’ J#∞=∞_»∞-H˘O_»_»∞
J<Õ " å~° ∞ D „áêO`åxfl áêeOK« @ O=Å¡ < Õ D „Ѩ ^ Õ â ßxH˜
'J#∞=∞H˘O_»— Jx ¿Ñ~°∞ =zÛ#@∞¡ UHÍ„=∞<å^ä∞Œ x „Ѩ`åѨKi« „`«=Å#
ã¨Ê+¨ì=∞=Ù`«∞Ok. D Hõ^äŒÅ#∞ ã¨=∞#fi~ÚOz K«∂¿ãÎ, "≥Ú^Œ@ D
„áêO`åxH˜ 'ã≤^•ú„â◊=∞—=∞<Õ ¿Ñ~°∞O_Õ^Œx, P `«~°∞"å`« J#∞=∞_»∞-
H˘O_»_∞» J<Õ"å~°∞ áêeOz# `«~∞° "å`« 'J#∞=∞H˘O_»— Jx J~ÚO^Œx
ã¨Ê+¨ì=∞=Ù`«∞Ok.
Zé∞Hõ^Õ=~åA, PÜ«∞# ã¨O`«u"å~°∞ 186 ã¨O=`«û~åÅ∞
áêeOz# `« ~ ° ∞ "å`« H˘xfl 㨠O =`« û ~åʼnõ Ω , D „Ѩ ^ Õ â ◊ O Ö’
HÍHõfÜ«∞~åAÅ∞, Ѩ^•‡H©^∆ qÕ J#∞„QÆÇϨ O`À ~å[º=Ú#∞ ã¨OáêkOz,
UHõ t ÖÏ#QÆ ~ ° = Ú#∞ Hõ \ ˜ ì O Kå~° @ ! HÀ@Å∞ Hõ \ ˜ ì O Kå~° @ !
Ѷ¨∞’~°ã¨O„QÍ=∂Å∞ KÕã≤, qâßÅ ™ê„=∂*Ϻxfl ™ê÷Ñ≤Oz, "≥~Úº
ã¨O=`«û~åÅ∞ áêeOKå~°@! "åi "Õ∞\˜H©iÎx q=iOKÕ 125 Hõ^äŒÅ∞
UHÍ„=∞<å^äŒ∞x „Ѩ`åѨK«i„`«Ö’ L<åflÜ«∞x, "å\˜x kfiѨ^ŒÅÖ’
qã¨iÎ Oz K≥|∞`å#x ѨeH˜# HÍÃã ã¨~fi° ѨÊ, H˘xfl q+¨Ü∂« Å#∞ =∂„`«"∞Õ
q=iOKå_»∞! Jq H˘<Õfl J~Ú#ѨÊ\˜H© HÍHõfÜ«∞~åAŠѶ¨∞#H©iÎH˜
J^ŒÌO Ѩ_»∞`«∞<åfl~Ú!
ã≤^Õúâ◊fi~°K«i„`«- HÍHõfÜ«∞~åAÅk K«O„^Œ=Oâ◊=∞x
K≥ | ∞`« ∞ #flk. HÍx QÆ } Ѩ u ^Õ = Ùx "≥ ∂ @∞Ѩ e ¡ âß㨠# =Ú,
116
=∞ÖϯѨÙ~°âßã¨<åÅ∞ "å~°∞ ã¨∂~°º=Oâ◊~åAÅx K≥|∞`«∞<åfl~Ú. HÍx
„Ѩ ` åѨ ~ ° ∞ „^Œ ∞ x P™ê÷ # Hõ q Ü≥ ÿ ∞ # q^•º<å^ä Œ ∞ _» ∞ - "åik
ã¨∂~°ºK«O„^Œ=OâßÅHõ#fl Q˘Ñ¨Êk Jx K≥áêÊ_»∞. |Ǩïâ◊ó q^•º<å^ä∞Œ x
L^Õ Ì â ◊ º O - áêʼnõ Ω Å∞QÍ "å~° ∞ 㨠∂ ~° º K« O „^Œ = Oâ◊ ~ åAÅ#∞
q∞Oz#"å~°x HÍ=K«∞Û#∞. U"≥∞#ÿ ѨÊ\˜H© HÍHõfÜ«ÚÅ∞ U ‰õΩÅO"å~À
x~°‚~ÚOK«\ÏxH˜ ã¨iÜ≥ÿ∞# P^è•~åÅ∞ ÖË=Ù.
ã≤^âúÕ fi◊ ~°Ki« „`« „ѨHÍ~°O - N=∞Ǩq+¨µ=‚ Ù-„|Ǩχ-K«O„^Œ∞_»∞-
|∞^èŒ∞_»∞- =O\˜"å~°∞ [x‡Oz# K«O„^Œ=Oâ◊OÖ’ - áêO_»=ÙÅ∞-
Jaè=∞#∞º_»∞-ѨsH˜∆`«∞Î-[#"Õ∞[Ü«Ú_»∞- =O\˜"å~°∞ [x‡Oz#
H˘O`«HÍÖÏxH˜, ™È=∞^Õ=~åA ѨÙ\Ïì_»∞. PÜ«∞# HõO^•~°Ñ¨Ù~°=Ú#∞
áêeOKå_»∞. P ™È=∞^Õ=~åA Hõ@Hõ=Å¡Éèí∞_≥·# |šǨïx`À
Zxq∞k™ê~°∞¡ Ü«Ú^ŒOú KÕã≤ [~ÚOz<å, qã≤yáÈÜ«∂_»∞. P `«~∞° "å`«
P |šǨïx [~ÚOK«QÆŠѨل`«∞_»∞ HÍ"åÅ<Õ HÍOHõ∆`À Ѩل`«HÍ"Õ∞+≤ì
KÕâß_»∞. `«`«Êùe`«OQÍ ™È=∞^Õ=~åA ÉèÏ~°º ã≤iÜ«∂Å^Õq QÆ~°ƒùO
^èŒiOzOk. HÍx, H˘xfl ~ÀAňH |šǨï_»∞ KÕã≤# Ü«Ú^ŒúOÖ’
™È=∞^Õ=~åA =∞~°}˜OKå_»∞. P ã¨=∞Ü«∞OÖ’ - P"≥∞ QÆ~°ƒùã¨∞÷_≥·#
ÉèÏq K«„Hõ=iÎx ~°H˜∆OK«\ÏxH˜ 120 =∞Ok q„ѨÙÅ∞ ã≤iÜ«∂Å^Õqx
J#∞=∞H˘O_»‰Ωõ fã¨∞H˘x=zÛ, =∂^è=Œ â◊~‡° ~°H}∆õ Ö’ „ÉÏǨχ}"Õ+=¨ Ú#
LOKå~°∞. Jk `≥eã≤# |šǨï_»∞ J#∞=∞H˘O_»g∞^Œ ^ŒO_≥uÎ=zÛ,
`«# Éèí@∞ÅKÕ`« "å~°O~ÀAÅáê@∞ We¡Å∂¡ "≥kH˜OKå_»∞. HÍx
=∂^èŒ=â◊~å‡^Œ∞Å∞ P"≥∞ „ÉÏǨχ}=Oâ◊A~åÅx K≥Ñ≤Ê #q∞‡Oz
|šǨïx ѨOÑ≤Oz"Õâß~°∞. H˘O`«HÍÖÏxH˜ ã≤iÜ«∂Å^Õq XHõ
â◊√Éè=í ÚǨ˙~åÎ# =∞QÆtâ◊√=Ù#∞ Hõ#flk. P Ñ≤Å"¡ å_»∞ Éè∂í =∞O_»ÖÏxfl
JO`å UÅ∞`å_»x *’ºu+¨µ¯Å∞ K≥áêÊ~°∞. JO^Œ∞=Å# P Ñ≤Å¡"å_çH˜
=∂^èŒ==~°‡ Jx <å=∞Hõ~°}O KÕã≤, „â◊^ŒúQÍ ÃÑOK«™êQÍ~°∞. J`«_»∞
z#fl=Ü«∞ã¨∞ûÖ’<Õ âß„™êÎÅhfl K«kq „Ѩg}∞_»Ü«∂º_»∞. XHõ~ÀA#
J`«_∞» `À_ç ÉÏÅ∞~°`À Ѩ^•‡H©^∆ qÕ PÅÜ«∞OÖ’ K«^∞Œ =Ù‰õΩO@∂, ѨÅHõ-
ѨÙã¨ÎHõ=ÚÅ∞ =∞izáÈ~Ú WO\˜H˜ =KÕÛâß_»∞. Jk *Ï˝Ñ¨HõO =zÛ,
Jq `≥K«∞ÛHÀ=\ÏxH˜ XO@iQÍ Ñ¨^•‡H©∆^Õq PÅÜ«∂xH˜ "≥àÏ¡_»∞. P
ã¨=∞Ü«∞OÖ’ J=∞‡"å~°∞ Éèí∂`«-„¿Ñ`«-Ñ≤âßK«- âßH˜h-ÉèË`åà◊
Ѩi=$`«Ü≥ÿ∞ LO_çOk. =∂^èŒ==~°‡ x~°ƒùÜ«∞OQÍ P ^Õqx ZkiOz
=∂\Ï¡_ç, `«# ѨÅHõ ѨÙã¨ÎHÍÅ#∞ fã¨∞H˘x "≥à◊¡É’`«∂ LO_»QÍ, P
^Õq P`«x ^è~·≥ º° ™êǨϙêʼnõΩ ã¨O`À+≤Oz, Y_»Mæ @Ë Hõ=ÚÅ#∞ „Ѩ™êkOz,
"å\˜ ã¨Ç¨Ü«∞O`À â◊„`«∞=ÙÅ#∞ [~ÚOz, qâßÅ™ê„=∂*Ϻxfl
ã¨OáêkOK«=∞x, g∞ =Oâ◊O"å~°∞ "≥~Úºã¨O=`«û~åÅ∞ ~å[ºáêÅ#
KÕ™êÎ~°x Pj~°fikOzOk. P q^èŒOQÍ =∂^èŒ==~°‡ ÃÑiyÃÑ^ŒÌ"å_≥·
`«# â◊„`«∞=ÙÅ#∞ [~ÚOz, áÈ~Ú# ~å*Ϻxfl uiy ã¨OáêkOK«∞H˘x,
ǨÏ#∞=∞H˘O_»‰õΩ =zÛ ~å[ºO KÕÜ«∞™êQÍ_»∞.
ã≤^Õúâ◊fi~°K«i„`« 2,3 Pâßfi™êÅÖ’ - HÍHõfÜ«∞~åAÅ
ѨÙ@∞ìѨÓ~Àfi`«Î~åÅ∞, "åi =Oâß#∞ „Hõ=∞}˜Hõ, "å~°∞ KÕã≤# Ü«Ú^•úÅ∞,
™êkèOz# q[Ü«∂Å∞, Hõ\ ˜ìOz# QÆ∞_»∞Å∞-"Õ∞_»Å∞, „`«qfiOz#
`« \ ÏHÍÅ∞ =O\ ˜ Z<Àfl q+¨ Ü « ∂ Å∞ q=iOѨ | _ç < å~Ú.
„Ѩã¨HÍÎ#∞„Ѩã¨HõÎOQÍ KåÖÏ qâıëêÅ∞ HõxÊ™êÎ~Ú.
Platinum Platform
 P ~ÀAÅÖ’ F~°∞QÆÅ∞¡ #QÆ~°O Jáê~°"≥∞ÿ# ã¨OѨ^ŒÅ`À
`« ∞ Å`« ∂ QÆ ∞ `« ∂ LO_ç # @∞¡ Hõ x Ê㨠∞ Î O k. Éè í ∞ =<≥ · H õ = ∞Å∞¡ _ » ∞
`«∞ÖÏѨÙ~°∞+¨=Ú `«∂y HÀ\˜ ã¨∞=~°=‚ ÚÅ∞ ^•#O KÕâß_»@. ~°∞„^Œ^=Õ
=∞Ǩ~åA 8 `«∞ÖÏѨÙ~°∞+¨=ÚÅ∞ `«∂QÍ_»@. „Ѩ`åѨ~°∞„^Œ∞_»∞ „Ѩu
ã¨O=`«û~°=Ú 12 `«∞ÖÏ Ñ¨Ù~°∞+¨=ÚÅ∞ `«∂y, q„ѨÙʼnõΩ HÀ@¡ ã¨OYºÖ’
^•<åÅ∞ KÕâß_»@. J\Ï¡Qˆ - F_çáÈ~Ú# ~åAÅ∞ "åi¬HOõ QÍ K≥eO¡ KÕ
HõÑʨ =ÚÅ∞ ‰õÄ_® HÀ@¡Ö’ Hõ#Ѩ_∞» `«∞Ok. „Ѩ`åѨ~∞° „^Œ∞x P^•Ü«∞O
`«# ~å[ºO #∞Oz 20 HÀ@∞¡ HÍQÍ, F_çáÈ~Ú# ~åAÅ∞ K≥e¡OKÕ
HõѨÊ=Ú U\Ï 24 HÀ@¡@. „Ѩ`åѨ~°∞„^Œ∞_»∞ "å~°}Ïã≤ qâıfiâ◊fi~°∞xH˜,
Nâ‹Å· =∞e¡HÍ~°∞#˚ ∞xH˜, N"ÕOHõ>âË fi◊ ~°™êfiq∞H˜, HõOz UHÍ„=∞<å^ä∞Œ xH˜,
N~° O QÆ < åÜ« ∞ ‰õ Ω xH˜ , WOHÍ W`« ~ ° „Ѩ ã ≤ ^ Œ ú ^Õ = `å=¸~° ∞ Î Å
x`Àº`«û"åʼnõΩ „Ѩu ã¨O=`«û~°=¸ XH˘¯Hõ¯iH© 3 HÀ@¡ K˘Ñ¨C#
K≥e¡OKÕ"å_»@. „Ѩ`åѨ~°∞„^Œ∞x Y~°∞Û ã¨O=`«û~åxH˜ 44 HÀ@¡@!
D ÖˇHõ¯Å∞ K«∂¿ãÎ - „Ѩ`åѨK«i„`« ã≤^Õúâ◊fi~°K«i„`«ÅÖ’ =i‚Oz#
q^èŒOQÍ, F~°∞QÆÅ∞¡Ö’ ã¨Ê~°≈"ÕkeOQÆO LO_Õ^Œx, Jk „Ѩu~ÀE
XHõ ÉÏ~°∞= - JO>Ë 120 gÃãÅ |OQÍ~åxfl WKÕÛ^Œx, P q^èŒOQÍ
„áÈÅ~åA HÍÅO#∞Op „Ѩ`åѨ~∞° „^Œ∞x z=i ~ÀAÅ=~°‰Äõ , ^•^•Ñ¨Ù
300 ã¨O=`«û~åÅ∞ |OQÍ~°O Wã¨∂Î LO_çOk J<Õ Hõ^äŒ "åã¨Î="Õ∞
JxÑ≤ã∞¨ OÎ k. JO`ÕHÍHõ - `«∞~°∞+¨¯¿ã#Å#∞ 7 ™ê~°∞¡ ã¨=∞~°=÷ O`«OQÍ
ZkiOz áê~°„^Àe# „Ѩ`åѨ~∞° „^Œ∞_»∞ 1310Ö’ JÖÏ¡LnÌ<£ Ãã<· åºÅ‰õΩ
ÖÁOyáÈ~Ú, HõѨÊOQÍ QÆ[`«∞~°QÆ=ÚÅ`À áê@∞ Jáê~°"≥∞ÿ#
|OQÍ~°=Ú, "≥O_ç, ^è#Œ ~åâ◊√Å#∞ WK«∞ÛH˘x q_çÑO≤ K«∞H˘<åfl_»x Jg∞~ü
Y∞„™È =O\˜ `«∞~°∞+¨¯ K«i„`«HÍ~°∞Å∞ „"åâß~°∞. J\Ï¡ˆQ -
=∂eH±HÍѶ¨~ü‰õΩ 9600 =∞}∞QÆ∞Å |OQÍ~°=Ú, #QÆÅ∞, =∞}∞Å∞
WKåÛ_»@. PÜ«∂ ã¨OѨ^ŒÅ#∞ _èçb¡H˜ `«~°eOK«\ÏxH˜ =∂eH±HÍѶ¨~ü
KÕã#≤ „ѨÜ∞« `«flOÖ’, P ã¨OѨ^ÅŒ |~°∞=Ù#∞ "≥∂Ü«∞ÖËH,õ "≥~Úº XO>ˇÅ∞
^Œ_^» _Œ Ö» Ï_çáÈÜ«∂Ü«∞x lÜ«∂LnÌ<£ |~åh „"åâß_»∞. „Ѩ`åѨ~∞° „^Œ∞_»∞
W<Õflà◊¥§ ‰õÄ_»É\ˇ #ì̃ ã¨OѨ^#Œ O`å =∂eH± HÍѶ~¨ ü Ѩ@∞ì‰Ωõ áÈÜ«∂_»x
‰õÄ_® |~åh „"åâß_»∞. P `«~∞° "å`« =∞i ~Ô O_Õà§◊ Hˆ uiy `«∞~°∞+¨µ¯Å∞
^ŒO_»Ü«∂„`« KÕÜ«∞QÍ, „Ѩ`åѨ~°∞„^Œ∞_»∞ =∞m§ F_çáÈ~Ú, 500
=∞}∞QÆ∞Å |OQÍ~åxfl, Jáê~°^#Œè ~åâ◊√Å#∞ WzÛ q_çÑO≤ K«∞H˘<åfl_»@.
uiy 1318Ö’ ‰õΩ`«∞|∞nÌ<£ =ÚÉÏ~°H± KÕã≤# ^•_çÖ’ F_çáÈ~Ú#
„Ѩ`åѨ~°∞„^Œ∞_»∞, `«∞~°∞+¨¯¿ã<åx J~Ú# Y∞„ã¨∂MÏ<£#∞ '`«$Ñ≤ÎѨ~°z—
ѨOáê_»@! =∞ǨÏ=∞‡nÜ«∞ K«i„`«HÍ~°∞Å D „"å`«Å#∞|\˜ì K«∂¿ãÎ,
„Ѩ`åѨKi« „`«-ã≤^âúÕ fi◊ ~°Ki« „`«ÅÖ’ „"åã≤#@∞¡ P<å_»∞ HÍHõfÜ«∞~åAÅ
P^•Ü«∞=ºÜ«∂Å∞ HÀ@¡Ö’ LO_Õ=#@OÖ’ ã¨O^ÕÇ≤ÏOK«#=ã¨~°O
ÖË^ŒxÑ≤ã¨∞ÎOk. W=hfl P<å\˜ HÍHõfÜ«∞ ™ê„=∂[º ã¨OѨ#fl`«‰õΩ
x^Œ~≈° <åÅ∞!
HÍHõfÜ«∞~åAÅ∞ KÕã≤# x~å‡}ÏÅ∞ H˘OK≥O =∂~°∞Ê`À
"åà◊¿¡ Ñ~°g¡ ∞^Œ<Õ D<å\˜H© K«ÖÏ=∞}˜Ö’ L<åfl~Ú. QÆ}Ѩu^Õ=Ùx ¿Ñ~°
xi‡Oz# T~°∞ 'QÆ}ѨÙ~°O— - D<å_»∞ nxx Ѷ¨∞#ѨÓ~ü Jx
JO@∞<åfl~°∞. PÜ«∞# ¿Ñ~° xi‡Oz# `«\ÏHõO 'QÆ}Ѩã¨=Ú„^ŒO—.
~°∞„^Œ=∞^Õq ¿Ñ~° xi‡OѨ|_ç#k '~°∞„^Œ=~°O—. „Ѩ[Å∞ P"≥∞#∞ `«eQ¡ Í
ÉèÏqOz 'JO|— Jx Q“~°=OQÍ Ñ≤eKÕ"å~°∞. P"≥∞ ¿Ñ~°∞#
Platinum Platform
xi‡OѨ|_çOk 'JOÉÏÅ—. P‰õΩÅ K«O„^ŒÜ«∞º J<Õ q„ѨÙx
^ÀÑ≤_ô^˘OQÆÅ∞ HõuÎ`À á⁄_»=QÍ =¸~°ÛùáÈÜ«∂_»∞. P`«x ÉèÏ~°º
Ѩ ~ ° = ∞Ѩ u „=`« . P"≥ ∞ ÅH© ; ^Õ q x P~åkè O z `« # Éè í ~ ° Î # ∞
„|uH˜OK«∞H˘#flk. JO^Œ∞‰õΩ ã¨O`«ã≤Oz# „Ѩ`åѨ~°∞„^Œ∞_»∞ P"≥∞
P~å^茺^≥·="≥∞ÿ# ÅH©;^Õq ¿Ñ~° 'ã≤iѨÙ~°=Ú—#∞ xi‡Oz WKåÛ_»@!
WÖÏO\˜ q+¨Ü«∂Å∞ D ã≤^Õúâ◊fi~°K«i„`«Ö’ H˘xfl HõxÊ™êÎ~Ú.
J\Ï¡Qˆ F~°∞QÆÅ∞¡ HÀ@ x~å‡}ÏxH˜ ã¨O|OkèOz# q+¨Ü∂« Å∞
WO^Œ∞Ö’ 3,4 KÀ@¡ HõxÊ™êÎ~Ú. F~°∞QÆÅ∞¡ HÀ@ x~å‡}O "≥Ú^Œ\ ˜
„áÈÅ~åA HÍÅOÖ’ - 1075= ã¨O=`«û~°OÖ’ „áê~°OÉèí"≥∞ÿ#^Œ@!
~° ∞ „^Œ ^ Õ = Ù_» ∞ „Ѩ Ç ¨ Ï iHÀ@, `À~° } 㨠ΠO Éè Ï Å∞ Hõ \ ˜ ì O Kå_» @ !
QÆ}Ѩu^Õ=K«„Hõ=iÎ HÍÅOÖ’ ~åuHÀ@, W\˜HÔ HÀ@Å∞ Hõ@|ì _ç<åÜ«∞@!
~°∞„^Œ=∞^Õq Éè∂í q∞HÀ@#∞ Hõ\Oì˜ K«@"Õ∞HÍHõ, ~åu-Éè∂í q∞ HÀ@Å =∞^躌
ѨÙ@ìHÀ@#∞ Hõ\ ˜ìOzO^Œ@! ~åuHÀ@‰õΩ ֒Ѩe"≥·Ñ¨Ù# `«O`≥Å∞
Hõ\ Oì˜ zO^Œ@! JO`ÕHÍHõ, HÀ@‰õΩ QÆ=#∞Å∞-k_»∞¡ xi‡Oz Ãã#· º~°H}∆õ
U~åÊ@∞ KÕ~ÚOzOk ‰õÄ_® ~°∞„^Œ=∞^ÕqÜÕ∞! Éèí∂q∞HÀ@‰õΩ-8
QÆ=#∞Å∞, 16 k_»∞¡ † ѨÙ@ìHÀ@‰õΩ-4 QÆ=#∞Å∞, 8 k_»∞†¡ ~åuHÀ@‰õΩ-
4 QÆ=#∞Å∞, 8 k_»∞¡ U~åÊ@∞ KÕ~ÚOzO^Œ@. XH˘¯Hõ¯ |∞~°∞A
~°Hõ∆}‰õΩ 50 =∞Ok <åÜ«∞‰õΩÅ#∞, QÆ=x ~°Hõ∆}‰õΩ 500 =∞Okx,
k_ç¤ ~°Hõ∆}‰õΩ 100 =∞Ok K˘Ñ¨C# xÜ«∞q∞OzOk. HÀ@ K«∞@∂ì
~°H}∆õ Hõ=K«OQÍ Ñ¨iѶ∞¨ Å#∞ xi‡Oz, "å\˜Ö’H˜ [Å=Ú xO¿Ñ U~åÊ@∞
‰õÄ_® KÕ~ÚOzOk. P HÀ@ K«∞@∂ì JO^Œ"∞≥ #ÿ K≥@#¡ ∞, ѶŨ =$H∆ÍÅ#∞
<å\˜OzOk. 1323Ö’ F~°∞QÆÅ∞¡#∞ =Ú@ì_çOz# LÅѶπ∞MÏ<£
#QÆ~°™œO^Œ~åºxfl "≥∞K«∞ÛH˘O@∂ „"åâß_»∞. HÀ@QÀ_»g∞^Œ ZH˜¯
xÅ∞ÛO>Ë, PÜ«∞#‰õΩ Z@∞K«∂ã≤<å h~°∞z=Ú‡`«∞#fl |∞QÆÅæ ∞, =∂q∞_ç-
J~°\-˜ Ѩ#㨠=O\˜ ѨO_»`¡ À@Å∞, ã¨OѨOy, *Ïl =O\˜ ѨÓÅ`À@Å∞
HõxÑ≤OKåÜ«∞@. Hõ#∞Hõ ã≤^Õúâ◊fi~° K«i„`«Ö’x q+¨Ü«∂Å∞ HõeÊ`åÅx
„`Àã≤"≥Ü«∞ºÖË=Ú.
HÍÃã ã¨~°fiÑ¨Ê K≥Ñ≤Ê# H˘xfl q+¨Ü«∂Å∞ Ü«∞^ä•~°÷=Ú
ÅxÑ≤™êÎ~Ú. D<å_»∞ KåÖÏ=∞Ok- F~°∞QÆÅ∞¡ JO>Ë XˆH ÃÑ^ŒÌ tÅ
Jx, HÀ@Ö’x ã¨fiÜ«∞OÉèí∂^Õ"åÅÜ«∂xH˜ =ÚO^Œ∞"≥·Ñ¨Ù H˘OK≥O
^Œ∂~°OÖ’ L#fl ÃÑ^ŒÌ H˘O_»ÜÕ∞ P UHõtÅ Jx, ^•x=Å¡<Õ nxH˜
UHõtÖÏ#QÆ~°=Ú ÖËHõ F~°∞QÆÅ∞¡ ¿Ñ~°∞ =zÛO^Œx K≥|∞`«∂ LO\Ï~°∞.
HÍx Jk ã¨=Úz`«OQÍ HõxÑ≤OK«^Œ∞. 'X~°QÆÅ∞¡— Ѩ_»¤KÀ@∞ Hõ#∞Hõ
nxH˜ F~°∞QÆÅ∞¡ Jx ¿Ñ~°∞ =zÛO^Œx ã¨~°fiÑ¨Ê K≥áêÊ_»∞. X~°QÆÅ∞¡
JO>Ë ã¨Ê~°≈"ÕktÅ. Jk `«QÅÆ @O=Å¡<Õ |O_çK„« HõÑÙ¨ W#∞Ѩ W~°∞ã¨∞
|OQÍ~°OQÍ =∂iOk. P q+¨Ü«∞O `≥eã≤ „áÈÅ~åA JHõ¯_çH˜ =zÛ
P Ѩ~°∞ã¨"Õk eOQÍxfl fã¨∞H˘x "≥à◊§\ÏxH˜ „Ѩܫ∞uflOKå_»@. Jk
~åHõáÈÜÕ∞ã¨iH˜ JHõ¯_Õ PÅÜ«∞x~å‡}O KÕ~ÚOKå_»∞. J^Õ <Õ\ ˜
'ã¨fiÜ«∞OÉèí∂^Õ"åÅÜ«∞O—. Hõ#∞Hõ [#„â◊√uÖ’ L#fl Hõ^äŒHõ#fl,
ã≤^Õúâ◊fi~°K«i„`«Ö’ L#fl q+¨Ü«∞"Õ∞ 'F~°∞QÆÅ∞¡— J#fl ¿Ñ~°∞ ~å=\ÏxH˜
HÍ~°}=∞x qâ◊^Œ=∞=Ù`«∞Ok.
J\Ï¡ˆQ - QÆ}Ѩu^Õ=K«„Hõ=iÎH˜ P ¿Ñ~°∞ ÃÑ@ì\ÏxH˜ QÆÅ
HÍ~°}O XHõ¯ ã≤^Õúâ◊fi~° K«i„`«Ö’ `«Ñ¨Ê =∞ˆ~ „QÆO^äŒOÖ’#∞ HõxÊOK«^Œ∞.
117
JO^Œ∞‰õΩ HÍ~°}O - ~°∞„^Œ^=Õ =∞Ǩ~åA‰õΩ KåÖÏHÍO =~°‰Äõ ã¨O`å#O
HõÅQÆÖË^Œ∞. JѨC_»`«_»∞ Nâ‹·ÖÏxH˜ "≥o¡, JHõ¯_» H˘xfl ~ÀAÅ∞ LO_ç,
N =∞e¡HÍ~°∞˚#™êfiq∞x P~åkèOKå_»@. P `«~°∞"å`« JHõ¯_» L#fl
10 "ÕÅ =∞Ok =∞~îåkèÑ`¨ ∞« Å#∞ P~åkèOK«QÍ, "åi â◊√ÉèÏjã¨∞ûÅ=Å#
XHõ ‰õΩ=∂~°∞_»∞ ѨÙ\Ïì_@» . P q^èOŒ QÍ t=QÆ}=ÚÖˇ#· P =∞~îåkèÑ`¨ ∞« Å
J#∞„QÆǨÏ=Ú# ѨÙ\˜ì#"å_»∞ Hõ#∞Hõ 'QÆ}Ѩu— Jx ~°∞„^Œ^Õ=Ù_»∞
¿Ñ~°∞ÃÑ\Ïì_»@!
J\Ï¡Qˆ - "≥ÚyeK«~Ö¡° ’x UHõg~å^ÕqH˜ P ¿Ñ~°∞ ~å=\ÏxH˜
HÍ~°}O JHõ¯_» P"≥∞ XHõ¯`ÕÎ LO_»@=∞@! D<å\˜H© P ^Õ"åÅÜ«∞OÖ’
XHõ¯ UHõg~å^Õq q„QÆǨÏO `«Ñ¨Ê =∞~˘Hõ q„QÆǨÏO ÖËHõáÈ=@O=Å#,
ã¨~°fiÑ¨Ê K≥Ñ≤Ê#k ã¨=∞O[ã¨"Õ∞ JxÑ≤ã¨∞ÎOk. JO`ÕHÍHõ - D<å\˜H©
P Ti¿Ñ~°∞ '"≥ÚyeK«~—¡° Jx LO_»@O QÆ=∞xOK«=Åã≤# q+¨Ü∞« =Ú!
ǨÏ#∞=∞H˘O_»Ö’x ~°∞„^Õâfi◊ ~åÅÜ«∞=Ú#∞ Hõ\ Oì˜ z# ~°∞„^Œ^=Õ Ù_»∞, ^•x
^è∂Œ Ѩ-nѨ-<≥"· ^Õ •ºÅ‰õΩ '=∞kÌK~≥ ∞° =ÙÅ— J<Õ „QÍ=∂xfl ^•#O KÕâß_»∞.
H˘O^Œ~°∞ Ѩiâ’^茉õΩÅ∞ P =∞kÌK≥~°¡ÜÕ∞ <Õ\ ˜ "≥ÚyeK«~°¡ Jx
JO@∞<åfl~°∞. HÍx Jk "åã¨Î=O HÍ^Œx ã≤^Õúâ◊fi~°K«i„`« -
„Ѩ`åѨK«i„`«Å=Å# ã¨Ê+¨ì=∞=Ù`«∞Ok.
J^Õq^èOŒ QÍ - ǨÏ#∞=∞H˘O_»‰Ωõ 2,3 H˜Ö’g∞@~°¡ ^Œ∂~°OÖ’
L#fl <Õ\ ˜ =_≥¤Ñ¨e¡H˜ ѨÓ~°fi<å=∞O 'X_»¤Ñ¨e¡—. WHõ¯_» K≥é∞=ÙQÆ@∞ì#
L#fl PÅÜ« ∞ O q<åÜ« ∞ ‰õ Ω x QÆ ∞ _ç . P q<åÜ« ∞ ‰õ Ω x ¿Ñ~° ∞
'|∞^Œ#ú QÆ}Ѩu—Ü«∞@! „Ѩ`åѨKi« „`«-ã≤^âúÕ fi◊ ~°Ki« „`«Å∞ ~Ô O\˜Ö’#∞ Wk
HõxÊã¨∞OÎ k. Wq ~°∞„^Õâfi◊ ~°∞_»∞ Hõ\Oì˜ z#=x „Ѩ`åѨKi« „`« K≥|∞`«∞#flk.
=~°OQÆÖò-ǨÏ#∞=∞H˘O_» =∞^茺֒ L#fl ã¨∞„Ѩã≤^Œú Éèí„^ŒHÍm
^Õ"åÅÜ«∞O ‰õÄ_® HÍHõfÜ«ÚÅ <å\˜^Õ. Wk „H©.â◊. 10= â◊`åaÌÖ’
Zé]É∂íè áêÅ∞xKÕ xi‡OѨ|_çO^Œx P ^Õ"åÅÜ«∞ ã¨OÎ Éèí âßã¨<åÅ#∞|\˜ì
`≥Å∞ã¨∞ÎOk. P ~ÀAÅÖ’ P"≥∞ ÉèíÜ«∞OHõ~°~°∂ѨOÖ’ LO_Õ^Œx,
JO^ŒiH© Éèí„^Œ=ÚÅ#∞ „Ѩ™êkOKÕk Hõ#∞Hõ P"≥∞#∞ 'Éèí„^Õâ◊fii— Jx
‰õÄ_® Ñ≤eKÕ"å~°x, ã≤^Õúâ◊fi~°K«i„`«Ö’x ''`«#~°∞ Éèí„^Õâ◊fiiÜ«∞#OQÆ
ÉèíÜ«∞^ŒO|∞QÍQÆ—— J<Õ "åHͺxfl|\˜ì qâ◊^Œ=∞=Ù`«∞Ok. JO`ÕHÍHõ -
„Ѩ`åѨ~°∞„^Œ∞x HÍÖÏxˆH P"≥∞ Éèí‰õΩÎÅáêe@ H˘OQÆ∞|OQÍ~°"≥∞ÿ
qÅã≤e¡#@∞¡ P Ô~O_»∞ „QÆO^ä•ÅÖ’#∞ HõxÊã¨∞ÎOk. „Ѩ`åѨ~°∞„^Œ∞x
P™ê÷#HõqÜ≥∞ÿ # âßHõ"e≥ ¡ =∞e¡HÍ~°∞#˚ Éè@í ∞ì P J=∞‡"åix 11 â’¡HÍÅÖ’
ã¨∞uÎ Oz, ^ŒH}∆˜ ^ÕâO◊ #∞Oz =zÛ# ã¨∞^Œ~≈° #q∞„`«∞x "å^ŒOÖ’ QÔ eÛ#@∞¡
D Ô~O_»∞ „QÆO^ä•Å∂ ™êHõ∆ ºq∞ã¨∞Î<åfl~Ú.
=~°OQÆÖò HÀ@‰õΩ ã¨∞=∂~°∞ 4 "≥∞àÿ ¡◊ ^Œ∂~°OÖ’ L#fl HÍj|∞QÆæ
^Õ"åÅÜ«∞O „Ѩ`åѨ~°∞„^Œ∞x z=i~ÀAÅÖ’ Hõ@ì|_ç#@∞¡ P Ô~O_»∞
„QÆO^ä•Å∂ ¿Ñ~˘¯O@∞<åfl~Ú. „Ѩ`åѨ~°∞„^Œ∞_»∞ Ѩ~°=∞t=Ùx
™êH∆Í`«¯iOѨ*Ëã¨∞HÀ\ÏxH˜QÍ#∞, =∞Ǩt=Éèí‰õΩÎ_≥·# áêÅ∞¯iH˜
™È=∞<å^äŒ∞x J#∞=∞u`À, „Ѩu~ÀE HÍj#QÆ~°O #∞Oz QÆOQÆh\˜x
`≥Ñ≤ÊOz Dâ◊fi~°∞#‰õΩ Jaè¿+HõO KÕ¿ã"å_»@. J\Ï¡ H˘xfl~ÀAÅ∞
QÆ_çKåHõ, XHõ~ÀA Dâ◊fi~°∞xH˜ P ~åAÜ≥ÚHõ¯ ÉèíH˜Îx ѨijeOKåÅ#fl
HÀiHõ Hõey, "å~°O~ÀAÅ áê@∞ „|Ǩ‡O_»"≥∞ÿ# ‰õΩOÉèí=$+≤ì
118
‰õΩiÑ≤OKå_»@. ^•x=Å# HÍj#QÆ~°O #∞Oz F~°∞QÆÅ∞¡ #QÆ~åxH˜
JOK≥ Å OK≥ Å ∞QÍ h~° ∞ `≥ K Õ Û HÍ=_ç " åà◊ ¡ ‰ õ Ω W|ƒOk Hõ e y
`ÕÖËHõáÈÜ«∂~°@. P ã¨=∞Ü«∞OÖ’ „Ѩ`åѨ~°∞„^Œ∞_»∞ ã¨fiÜ«∞OQÍ XHõ¯_Õ
|Ü«∞ÖËÌi =ã¨∂Î LO_»QÍ P ÃÑ^ŒÌ"å#=Å# =ÚO^Œ∞‰õΩ ™êQÆÖËHõ
áÈÜ«∂_»@. J~Ú#ѨÊ\˜H© `«# Ѩ@∞ì^ŒÅ#∞ =^ŒÅHõ „Ѩ`åѨ~°∞„^Œ∞_»∞
ZÅ∞ÔQuÎ Dâ◊fi~°∞x „áêi÷OK«QÍ, Dâ◊fi~°∞_»∞ „Ѩ`«ºHõ∆"≥∞ÿ P ~åA#∞
J#∞„QÆÇ≤ÏOz, TiH˜ L`«Î~°kâ◊Ö’ 2 „HÀã¨∞Å ^Œ∂~°OÖ’ U#∞QÆ∞
`˘O_» = ∞O`« Ö Ï=Ù ^è • ~° ` À QÆ O QÍ[ÅO LaH˜ =㨠∞ Î O ^Œ x
J#∞„QÆÇ≤ÏOKå_»@. P q^èŒOQÍ h\˜|∞QÆæ "≥Å∞=_ç#KÀ@∞ Hõ#∞Hõ
^•xH˜ 'HÍj|∞QÆæ— Jx ¿Ñ~°∞ =zÛOk. P QÆOQÍ[ÅO "≥Å∞=_ç#
KÀ@<Õ „Ѩ`åѨ~°∞„^Œ∞_»∞ XHõ t"åÅÜ«∂xfl Hõ\ ˜ìOz, P QÆOQÍ[ÅO`À
x`«º=¸ Jaè¿+HõO KÕã¨∂Î LO_Õ"å_»@! D<å\˜H© P „áêO`åxfl
HÍj|∞QÆæ J<Õ Ñ≤Å∞ã¨∞Î<åfl~°∞. H˘xfl ã¨O=`«û~åÅ„H˜`«O =~°‰õÄ P
^Õ"åÅÜ«∞O „ѨHõ¯# XHõ ÃÑ^ŒÌ ÉÏq LO_Õk. JO^Œ∞Ö’x h~°∞
ã¨fiK«ÛùOQÍ#∞, xO_»∞QÍ#∞ LO_Õk. ã¨∞=∂~°∞ 60 ã¨O=`«û~åÅ „H˜`«O
=~°OQÆÖòÖ’ ¿Ñ¡QÆ∞"åºkè =zÛ#ѨC_»∞, KåÖÏ=∞Ok JHõ¯_çH˜ "≥o¡ P
h\˜x „`åy „|uHÍ~°x P ~ÀAÅÖ’ K≥ѨCH˘<Õ"å~°∞. D<å_»∞ P
ÉÏq ^Œ∞~å„Hõ=∞}ʼnõΩ Ö’<≥·, ѨÓ_çÛ"ÕÜ«∞|_çOk. P PÅÜ«∞„Ѩâ◊ã≤Îx
`≥Å∞ã¨∞‰õΩ#fl JHõ¯_ç Éèí‰õΩÎÅ∞ H˘O^Œ~°∞ W\©=Å 10 ÅHõ∆Å Y~°∞Û`À
^Õ"åÅÜ«∂xfl ѨÙ#~°∞^ŒúiOz x`«ºÑ¨Ó*Ï^Œ∞Å∞ KÕã¨∞Î<åfl~°∞. P ÉÏqx
‰õÄ_® ѨÙ#~°∞^Œúi¿ãÎ =∞# F~°∞QÆÅ∞¡ˆH ZO`À "Õ∞Å∞ HõÅ∞QÆ∞`«∞Ok.
F~°∞QÆÅ∞¡Ö’x WÖÏO\˜ PÅÜ«∞ qâıëêʼnõΩ ã≤^Õúâ◊fi~°K«i„`«-
„Ѩ`åѨK«i„`«Å∞ Y#∞Å∞!
HÍHõfÜ«∞~åAÅ K«i„`«-ã¨O㨯 $`«∞ʼnõΩ ã¨O|OkèOz#
q+¨Ü«∂Å#∞ D ã≤^Õúâ◊fi~° K«i„`«Ö’ Z<Àfl K≥áêÊ_»∞ ã¨~°fiÑ¨Ê -
1. P HÍÅOÖ’ F~°∞QÆÅ∞¡ #QÆ~°OÖ’ HÀ\˜H˜ Ѩ_»ÔQuÎ# "≥·â◊√ºÅ∞
320 =∞Ok LO_Õ"å~°@!
2. "Õ^Œ"Õ^•OQÆáê~°QÆ∞Öˇ·# q„ѨÙÅ Wà◊√§ 18,000 LO_Õ=@!
3. QÆ}Ѩu^Õ=Ù_»∞ `«# ~å[ºx~°fiǨÏ}Ö’ ã¨Ç¨Ü«∞O KÕ¿ã"åiH˜
*Ïu-‰õΩÅ q=Hõ∆ ÖˉõΩO_® Ü≥∂Qƺ`«#∞ |\˜ì JkèHÍ~åÅ∞
WKÕ Û "å_» @ . JO^Œ ∞ =Å#<Õ PÜ« ∞ #‰õ Ω -
'<å<å=~°‚=~°=∞O_»b Hõ~°QÆO_»— J<Õ a~°∞^Œ∞ =zÛO^Œ@.
=∞~˘Hõ qz„`« " Õ ∞ q∞@O>Ë - QÆ } Ѩ u ^Õ = Ù_» ∞ `« # ‰õ Ω
Hõ^#Œ ~°OQÆOÖ’ ã¨Ç¨ Ü«∞OKÕã#≤ 77 =∞Ok Ѩ^‡Œ <åÜ«∞‰õΩÅ#∞
Lz`«sux ã¨OÉèÏqOK«@"Õ∞ HÍHõ, =∞O„`«∞Å∞, ¿ã<åѨ`«∞Å∞
JO^Œi`À Hõeã≤ 'XHõ¯Ñ¨OH˜—Î Ö’ ‰õÄ~˘Ûx Éè’[#O KÕ¿ã"å_»@!
Jn PÜ«∞#Ö’x B^•~°º=Ú, Q˘Ñ¨Ê`«#=Ú!
4. „Ѩ`åѨ~∞° „^Œ∞x =^ŒÌ 9 ÅHõÅ∆ =∞Ok qÅ∞HÍO„_»∞ LO_Õ"å~°@!
'#=ÅHõ∆ ^èŒ#∞~°ú~åkè<å^äÕ Ñ¨$kägO âßã¨u g~°~°∞„^Œ^Õ"Õ— Jx
„ѨâO◊ ã≤OѨ|_ç<å_»∞. "åi r`«É`íè åºÅ‰õΩ „Ѩu ã¨O=`«û~°=¸
3 HÀ@¡ 80 ÅHõ∆Å∞ Y~°ÛÜÕ∞º^Œ@!
Platinum Platform
5. „Ѩu ã¨O=`«û~°=Ú - ѨOH˜ÎÉè’[<åʼnõΩ, #QÆi náêʼnõΩ,
<å<å^ÕâßÅ #∞O_ç =zÛ# q^•º~°∞÷Å Y~°∞ÛʼnõΩ 3 HÀ@¡
60 ÅHõÅ∆ ∞ Y~°∞ÛÃÑ>Ë"ì å_»@! Wk "åi ™ê=∂[Hõ ã¨Ê $ǨωõΩ
x^Œ~°≈#=Ú.
6. "åyfi"å^ŒOÖ’ ÔQez# âßHõ"≥e¡ =∞e¡HÍ~°∞˚#Éèí@∞ì‰õΩ, W`«~°
F~°∞QÆO\˜ q„ѨÙʼnõΩ 10 ÅHõ∆Å =~°Ç¨Å∞ W=fi@"Õ∞HÍHõ,
F_çáÈ~Ú# ã¨∞^Œ~°≈#q∞„`«∞xH˜ ‰õÄ_® ÅHõ∆=~°Ç¨Å∞ WzÛ
ѨOѨ@O „Ѩ`åѨ~°∞„^Œ∞x B^•~åºxH˜ =∞~˘Hõ =∞K«∞Û`«∞#Hõ!
7. „Ѩ"åã¨∞Öˇ·#"åiH˜ =O_çÃÑ@ì\ÏxH˜ =O@ÅHõ¯Å Wà◊√§
F~°∞QÆÅ∞¡Ö’ 5 "ÕÅ∞ LO_Õ=@!
8. ^Õâ◊O ã¨∞aèHõ∆OQÍ LO_»@O=Å¡, P ~ÀAÅÖ’ "Õâߺ=º=ã¨÷
‰õÄ_® JkèHõOQÍ<Õ LO_çOk. Jk ZO`« „ѨK«∞~°OQÍ
LO_ç O ^À áêÅ∞¯iH˜ ™È=∞<å^ä Œ ∞ x |㨠= Ѩ Ù ~å}-
ѨO_ç`å~å^茺 K«i„`«ÅÖ’ q=~°OQÍ =i‚OѨ|_çOk.
k=ºHÍO`«ÅÖÏQÍ LO_ç, #=~°`fl« Yz`«"∞≥ #ÿ ѨÅH¡ Å© Ö’ ZH˜¯,
„Ѩ`åѨ~∞° „^Œ∞x P™ê÷<åxH˜ qKÕÛ¿ã Hõ=∞Å<Õ„u, ã≤iyi=∞Å∞¡,
z`åÎ~°∞"åi „Ѩu=∞ =O\˜ "Õâ◊ºÅ∞ 200 =∞Ok LO_ç#@∞¡
ã≤^Õúâ◊fi~°K«i„`« K≥|∞`«∞#flk. „Ѩ`åѨ~°∞„^Œ∞x LOѨÙ_»∞Hõ`≥Î
=∂K«ÖËÌq! ''ã¨~°fi[QÆ„`«Êã≤^Œú ã¨∞=∞<ÀÉÏ}Ïã¨<å=∂flÜ«∞
q^Àºáê^è • º~Ú, „Ѩ ` åѨ ~ ° ∞ „^Œ ^è Œ ~ ° } © â ’áê`« Î
QÀ+‘ª„Ѩuëêªáês}—— J~Ú# P =∂K«ÖËÌqH˜ P<å_»∞ LO_ç#
H© i Î „ Ѩ u +¨ ª Å ∞ ''_è ç e ¡ 㨠∞ ~° ` å}˜ H ˜ x ÖË ^ Œ ∞ —— J#fl
„H©_®aè~å=∞OÖ’x =∂@ P<å\˜ "Õâߺ=º=㨉÷ Ωõ Ѩ~åHÍ+¨Qª Í
HõxÑ≤ã¨∞ÎOk! ''Ü«∞^ä•~å*Ï - `«^䕄Ѩ*Ïó—— J#fl P~ÀºH˜Î
‰õÄ_® ™ê~°÷Hõ"≥∞ÿ#@∞¡ ã¨=∞HÍb# ™êÇ≤Ï`«ºOÖ’ HõxÑ≤ã¨∞ÎOk!
9. áêÅ∞¯iH˜ ™È=∞<å^ä∞Œ _»∞ áêʼnõΩiÎ #∞Oz F~°∞QÆÅ∞¡ #QÆ~åxH˜
qKÕÛ¿ã@ѨC_»∞ - â‹·=ÙÅ∞ HÍx"åix K«∂_»‰õÄ_»^Œ<Õ
xÜ«∞=∞O LO_»@O=Å¡, `å#∞ =KÕÛ |O_çH˜ XHõ ÃÑ^ŒÌ
QÆ∞_®~°O Hõ\ ˜ìOz, ^•xÖ’ Z=~°∂ `«#‰õΩ Hõ#Ѩ_»‰õΩO_®
‰õÄ~˘Ûx, |O_çH˜ Hõ\ ˜ì# Z_»¡‰õΩ ‰õÄ_® eOQÆ=Ú„^ŒÅ∞
"Õ~ÚOz =KåÛ_»@! nxx|\˜ì P<å\˜ â‹=· =∞`« „áêÉè=í =Ú,
â‹·=-"≥·+¨‚= =∞`«=ÚÅ =∞^茺 q^ÕfiëêÅ∞ ZO`« Z‰õΩ¯=QÍ
LO_Õ"À qâ◊^Œ=∞=Ù`«∞Ok.
10. Ѩ^Œ‡¿ã# =∞Ǩ~åA ã≤^Õúâ◊fi~°∞x ‰õÄëê‡O_» Ѷ¨Å=ÚÅ`À
ѨÓ[KÕÜ«∞@O =Å# PÜ«∞#‰õΩ ã¨O`«u HõeyOk. PÜ«∞#
¿Ñ~°∞ "≥#fl=∞~åA.
11. HÍHõfÜ«ÚÅ WÅ"ÕÅ∞Ê HÍHõu^Õq Jx ã≤^Õúâ◊fi~°K«i„`«
ã¨Ê+¨ìѨ~°∞ã¨∞Î#flk.
12. ~°∞„^Œ=∞^Õq `«# ‰õÄ`«∞~°∞ L=∞‡Hõ¯‰õΩ ã¨O`«uHÀã¨O
'Z_»¡<À=Ú— <À~ÚOzOk.
13. ''ѨÓ~°fi[#‡Hõ$`«O áêѨO "åºkè~°∂¿Ñ} ÉÏ^èŒu—— -
Platinum Platform
ѨÓ~°fi[#‡Ö’ KÕã≤# áêѨO=Å¡ D [#‡Ö’ ~ÀQÍÅ∞
ã¨O„Hõq∞™êÎÜ∞« x =∞#"åi #=∞‡HõO! ^•xH˜ âßOu ѨÓ[Å∞,
^•<å^Œ∞Å=Å# HõÅ∞QÆ∞`«∞O^Œx qâ◊fiã≤™êÎ~°∞. „áÈÅ~åA
‰õΩ=∂~°∞_≥·# =∞Ǩ^Õ=ÙxH˜ =∞Ǩâıfi`«~ÀQÆO =zÛOk.
JO^Œ∞‰õΩ ѨiǨ~°OQÍ „áÈÅ~åA XHõ „=`«O KÕ~ÚOKå_»∞.
P ѨÓ[ `«~°∞"å`« 5 ѨÙ@¡ #∞=ÙfiÅ#∞ uÅѨ~°fi`«OÖÏQÍ
áÈã≤ ^•#q∞Ñ≤ÊOKå_»∞. ^•xH˜ - =ÚO^Œ∞ ZѨC_»∂ ^•#O
fã¨∞HÀx 㨄^•ƒÇ¨Ï‡}∞x HÀã¨O QÍeOz, ^Œ∂kˆHâ◊=Ù_»<Õ
q„ѨÙx ã¨fiÜ«∞OQÍ „áêi÷Oz `≥zÛ ^•#O WÑ≤ÊOKå_»@.
`«`«Êùe`«OQÍ =∞Ǩ^Õ=~åA âıfi`«~ÀQÆO âßOuOzO^Œ@.
HÍh ^•#O ѨÙK«∞Û‰õΩ#fl ^Œ∂kˆHâ◊=Ù_»∞ K«zÛáÈ~Ú
„|Ǩχ~åHõ∆ã¨∞_≥·<å_»@. Jk `≥eã≤# „áÈÅ~åA P
„ÉÏǨ Ï ‡}∞x ‰õ Ω =∂~° ∞ x Ñ≤ e Ñ≤ O z, 3 "Õ Å =∞Ok
„ÉÏǨχ}∞ÅxzÛ, „áêÜ«∞tÛ`«OÎ QÍ 30 ÅHõÅ∆ ã¨∞=~°x‚ +¨¯=ÚÅ∞
^•#q∞zÛ, HÍjˆ H ∆ „ `åxH˜ Ѩ O Ñ≤ O z ^•#^è Œ ~ å‡Å∞
KÕ~ÚOKå_»@! P q^èŒOQÍ ^Œ∞+¨ì^•# Ѩi„QÆǨÏ}O=Å#
Hõ e y# =∞Ǩ  áê`« H õ = ÚÅ∞ áÈ~Ú, ^Œ ∂ kˆ H â◊ = Ù_» ∞
„|Ǩχ~åHõ∆ã¨`«fiO #∞O_ç q=Ú‰õΩÎ_≥·<å_»@! WO^Œ∞Ö’ -
=∞Ǩ~ÀQÍʼnõΩ âßOu Z\Ï¡ K≥Ü«∂ºÖ’, JѨC_»∞ KÕ¿ã
^•<åʼnõΩ ZÖÏO\˜ 㨄^•ƒÇ¨Ï‡}∞_»∞ HÍ"åÖ’, J~Ú#ѨÊ\˜H©
^•x ^Œ∞„+¨ÊÉèÏ=O Z\Ï¡ LO@∞O^À, ^•xx U q^èŒOQÍ
âßOuOѨ*ËÜ«∂Ö’ K«Hõ¯QÍ =i‚OѨ|_çOk.
W\Ï¡O\˜ qâıëêÅ∞ D ã≤^Õúâ◊fi~° K«i„`«Ö’ WOHÍ Z<Àfl
HõxÊ™êÎ~Ú. HÍÃã ã¨~°fiÑ¨Ê =~°OQÆÖò x"åã≤ HÍ=@O=Å¡ `≥ÅOQÍ}
=∂O_»eHÍÅ∞ WO^Œ∞Ö’ KåÖÏKÀ@¡ HõxÊ™êÎ~Ú. #∂‰õΩ, QÆÑC¨ K«∞ѨÙÊ,
~°≠Ï_çOz, ^˘~°Å∞, =∞~°¡|_»∞, *ÁǨ~°∞, `«O`≥Å∞, ã¨"åÅHõ∆ =O\˜
=∂O_»eHõ Ѩ^•Å∞, =r~°∞¡, ã¨~°^•~°∞¡, =H©à◊√¡, <Ò|`«∞Å∞ =O\˜
L~°∂ÌѨ^•Å∞ HõxÊ™êÎ~Ú. WO^Œ∞Ö’ *ÁǨ~°∞ JO>Ë XO\˜KÕ`ÀÎ KÕ¿ã
#=∞™ê¯~°=∞x |ã¨=ѨÙ~å}OÖ’ K≥áêÊ_»∞ ™È=∞#.
"≥Ú`«ÎO g∞^Œ WÖÏO\˜ Z<Àfl q+¨Ü«∂Å`À q~ålÅ∞¡`«∞#fl
D ã≤ ^ Õ ú â ◊ fi ~° K « i „`« Hõ e Ê`« = ∞x, Kåi„`« H Í^è • ~åÅ∞ ÖË x ^Œ x ,
J„áê=∂}˜Hõ=∞x „`Àã≤"≥Ü«∞º\ÏxH˜ gÅ∞ÖËxk. nxÖ’ K≥Ñ≤Ê#
q+¨Ü«∂ʼnõΩ `«y# P^è•~åÅ∞ K«i„`«Ñ¨Ù@ÅÖ’#∞, ã¨=∞HÍb#
™êÇ≤Ï`«ºOÖ’#∞ Hõ#Ѩ_»∞`«∂ LO_»@O=Å#, Wk HÍHõfÜ«∞ K«i„`«
ã¨O㨯 $`«∞ʼnõΩ „áê=∂}˜Hõ „QÆO^äŒOQÍ<Õ fã¨∞HÀ=Åã≤#kQÍ „QÆÇ≤ÏOz
Ѩiâ’kèOKåe!
* * * * *
119
 Ü«ÚQÍO`«=∂?
Ü«ÚQÆ=Ú J#QÍ Ñ¨~㰠ʨ ~°O ‰õÄ_»∞H˘xÜ«Ú#flk. Ѩ~㰠ʨ ~°O
JO>Ë... ''=∞#(ã¨∞)=Ú–„ѨHõ$u—— , ''^èŒ~°‡O–^•x Ѷ¨ÅO——. =∞#ã¨∞Ö’
^èŒ~å‡xH˜ „ѨHõ$u#∞O_ç „Ñ¨uѶ¨ÅO ÅaèOK«_»"Õ∞ Ü«ÚQÆO. Jk U
Ü«ÚQÆ"≥∞ÿ<å JO`Õ LO@∞Ok. Ü≥∂QÆâß„ã¨Î „ѨHÍ~°O Ѷ¨∞hÉèíqOz#
=∞#¿ã ^ÕǨÏ=∞x K≥áêÎ~°∞. h~°∞ QÆ_»¤Hõ_ç`Õ =∞OK«∞QÆ_»¤(Sãπ)
J~Ú#@∞¡QÍ =∞#¿ã „ѨHõ$uQÍ Ñ¨i}q∞ã¨∞ÎOk. =∞#ã¨∞Ö’ L#flk
„ѨѨOK«Ñ¨Ù ã¨∂H∆͇Oâ◊"Õ∞. ÉÏǨϺOÖ’ L#flk =∞#ã¨∞Ü≥ÚHõ¯
ã¨∂÷ÖÏOâ◊O. '=∞#ã¨∞–„ѨHõ$u— XˆH <å}ËxH˜ Ô~O_»∞=ÚMÏÅ=O\˜q.
„ѨHõ$u„ѨÉèÏ=O r=~åtÃÑ·#, =∞#ã¨∞ „ѨÉèÏ=O „ѨHõ$uÃÑ·#
„ѨuѶ¨eã¨∞ÎOk. =∞x+≤ `«# `≥eqKÕ`« KåÖÏHÍÅOQÍ , „ѨHõ$uÖ’x
KåÖÏÉèÏQÍxfl ã¨∞YO¿Ñ~°∞`À #+ì̈Ñ~¨ ∞° ã¨∂<Î Õ L<åfl_»∞. âß„ãÎ̈"`Õ ÅΫ O`å
ÃÇÏK«ÛiOKÕ ™ê÷~ÚÖ’ F*’<£ á⁄~°‰õΩ U~°Ê_ç# ~°O„^èŒ"Õ∞ JO^Œ∞‰õΩ
L^•Ç¨ Ï ~° } . JÖψ Q `« # QÆ ∞ }OKÕ ` « „Ѩ H õ $ u 㨠∂ „`åÅ#∞
`å~°∞=∂~°∞KÕã∞¨ <Î åfl_»∞. ã¨HÍÅOÖ’ =~å¬Å∞ ~åHõáÈ=_»O, JHÍÅOÖ’
=~å¬Å∞ [#„áêO`åxfl =ÚOK≥`_Ϋ O» W^ŒO`å ã¨∂„`åÖ’¡ =zÛ# =∂ˆ~Ê.
WÖÏ =∞x+≤ `≥eqKÕ`« ÉÏǨϺ„ѨH$õ ux, QÆ∞}OKÕ`« „ѨH$õ u ã¨∂„`åÅ#∞
qzÛù#flO KÕã¨∞Î<åfl_»∞.
*’ºu+¨º âß„ã¨OÎ „ѨHÍ~°O ~åâ◊√Å∞, #Hõ„∆ `åÅ∞, „QÆÇ¨ Å^•fi~å
=∞x+≤H˜ U~°Ê_Õ Hõ~°‡x , Hõ+¨ì#ëêìÅ#∞ `≥eÜ«∞*Ë¿ã q^è•#O LOk.
#=„QÆǨÅO>Ë ^Õ=`«Å∞ "≥Ú^ŒÅ∞H˘x ã¨=∞ã¨Îr=~åt L^Œƒù"åxH˜
HÍ~°}"≥∞#ÿ ã¨$+≤qì ^è•#Ѩ٠=¸ÅaO^Œ∞=ÙÅ∞. JO^Œ∞Hˆ =∞#O ѨÓlOKÕ
^Œâß=`å~åÅ∞ ‰õÄ_® #=„QÆǨÅ P^è•~°OQÍ U~°Ê_ç#"Õ#x K≥áêÎ~°∞.
㨠∂ ~° ∞ º_» ∞ – ~å=∂=`å~° O , K« O „^Œ ∞ _» ∞ – Hõ $ ëê‚ = `å~° O ,
‰õΩA_»∞–#~°ã≤OǨ=`å~°O, |∞^èŒ∞_»∞ – |∞^•ú=`å~°O, QÆ∞~°∞_»∞ –
"å=∞<å=`å~°O, â◊√„‰õΩ_»∞ – Ѩ~°â◊√~å=∂=`å~°O, â◊x –
‰õ Ä ~å‡=`å~° O , ~åǨ ï =Ù – =~åǨ  =`å~° O , ˆ H `« ∞ =Ù –
=∞`åºû=`å~° O QÍ K≥ á êÎ ~ ° ∞ . ^Õ = `åOâ◊ Å ∞ "≥ Ú ^Œ Å ∞H˘x
=∂#=ÙÅ`Àã¨Ç¨ ÉèQí =Æ O`«∞x J=`å~åÅ`À ‰õÄ_ç# ã¨=∞ã¨Î r=~åt
=~° ‰ õ Ä #=„QÆ Ç ¨  ÖË =¸ÅHÍ~° } OQÍ =∞#O QÆ ∞ iÎ O Kå=Ú.
r=HÍ~°‰Ωõ _≥#· ~°q ~å=∂=`å~°OQÍ#∂, =∞#ã¨∞ HÍ~°‰Ωõ _≥#· K«O„^Œ∞_»∞
Hõ$ëê‚=`å~°OQÍ#∂ L^ŒƒùqOKå~°∞ Hõ#∞Hõ<Õ ~å=Ú_»∞ r=<åxH˜
=∂~°æ^Œ~°≈‰õΩ_≥·`Õ, Hõ$+¨µ‚_»∞ `«# É’^èŒ`À =∞#ã¨∞ QÆ=∞<åxH˜
=∂~°æ^Œ~°≈‰õΩ_»Ü«∂º_»∞. ˆH=ÅO ^Õ==∂#=ÙÖËHÍ^Œ∞ Éèí∂q∞`Àã¨Ç¨
ã¨=∞ã¨Î ѨOK«Éèí∂`åʼnõΩ , =∞x+≤Ö’x QÆ∞}ÏʼnõΩ ‰õÄ_® #=„QÆǨÖË
*NQÆ∞~°∞^è•"£∞, |Å∞ã¨∞áê_»∞, [QÆæÜ«∞º¿Ñ@.
120
– ÔQO>ËÅ "≥OHõ@~°=∞}*
HÍ~°}OQÍ L<åfl~Ú. [ÅO, ã¨=Ú„^•xH˜ HÍ~°}"≥∞ÿ# â◊√„‰õΩ_»∞,
K«O„^Œ∞_Õ „¿Ñ=∞‰õΩ, =∞#ã¨∞‰õΩ HÍ~°}=∞ø`«∞<åfl~°∞. JÖψQ Éèí∂q∞H˜
HÍ~°‰õΩ_≥·# |∞^èŒ∞_Õ |∞kúH˜ HÍ~°}OQÍ L<åfl_»∞. JyflH˜ HÍ~°‰õΩÖˇ·#
~°q, ‰õΩAÅ∞ â◊H˜ÎH˜ , PHÍâ◊ HÍ~°‰õΩÖˇ·# QÆ∞~°∞_»∞ q"ÕHÍxH˜,
"åÜ«ÚHÍ~°‰õΩ_≥·# â◊x „â◊=∞‰õΩ HÍ~°‰õΩÅ∞QÍ L<åfl~°∞. WÖÏ
#=„QÆǨʼnõΩ , ^Œâß=`å~åʼnõΩ, ѨOK«Éèí∂`åʼnõΩ, „ѨѨOK«
=∞#∞QÆ_»‰õΩ, =∂#=rq`åxH˜ L#fl ã¨O|O^è•xfl HõxÃÑ\˜ì#
Ѩq„`«É∂íè q∞ =∞#k. W`«~° U ^ÕâO◊ Ö’#∂ WO`« qâßÅ"≥∞#ÿ qâı+¡ }
¨
Hõ#|_»^Œ∞. W^ŒO`å ÉèÏ~°fÜ«∞ =∞ǨÏ~°∞¬Å q*Ï˝#"≥·Éèí=O.
#=„QÆǨÅ∞ J=`å~åÅ∞ "≥Ú^ŒÅ∞H˘x ã¨=∞ãÎ̈ =∂#"åoH˜,
Ѩâ◊√ ѨH∆ͺk =$H∆ÍʼnõΩ, Ѩ~°fi`« #n#^•Å‰õΩ HÍ~°}"≥∞ÿ#q. "åºkèx,
F+¨kxè ~Ô O\˜x „QÆÇϨ "Õ∞ ã¨∂zã¨∞OÎ k. PǨ~°<åà◊O, <å_ô=º=ã¨Å÷ ‰õΩ
HÍ~°}"≥∞ÿ# K«O„^Œ∞_Õ ^•xH˜ J=ã¨~°=∞ÜÕ∞º HͺOѶ¨~ü J<Õ Ç¨ÏŸq∞ÜÕ∞
B+¨^•è xH˜ HÍ~°‰Ωõ _çQÍ L<åfl_»∞. ~°q „áê}ÏxH˜, K«O„^Œ∞_»∞ =∞#ã¨∞‰õΩ,
‰õΩA_»∞ â◊H˜ÎH˜, |∞^èŒ∞_»∞ |∞kúH˜, QÆ∞~°∞_»∞ q"ÕHõ, *Ï˝<åʼnõΩ, â◊√„‰õΩ_»∞
ã¨∞MÏxH˜ â◊x ^Œ∞óMÏxH˜, „â◊=∞H˜ „ѨurqÖ’#∂ HÍ~°‰õΩÅ∞QÍ
LO\Ï~° ∞ . ÅQÆ fl O JǨ Ï OHÍ~åxH˜ 㨠∂ zHõ Q Í LO@∞Ok.
~å=∞=`å~åxH˜ =ÚYºã¨OˆH`«O ã¨∂~°∞º_Õ J~Ú<å q∞ye# „QÆǨÅ
„ѨÉèÏ=O ÖˉõΩO_® áÈ^Œ∞. ~å=Ú_≥·<å, Hõ$+¨µ‚_≥·<å „QÆÇ¨Ï „ѨÉèÏ"åÅKÕ
rq`«OÖ’ Hõ+ãì¨ ∞¨ MÏÅ∞, ÖÏÉè#í ëêìÅ∞ K«qK«∂ã≤# "åˆ~. =∞# *Ï`«HÍÖ’¡
L#fl „QÆǨÖË "åi *Ï`«HÍÖ’¡#∂ L<åfl~Ú. HÍh L`«Î=∞"≥∞ÿ#
=∞#ã¨∞KÕ`« "åiÃÑ· "å\˜ „ѨÉÏè =O "Õ~∞° QÍ LOk. #=„QÆÇ¨ Å „ѨÉÏè =O
LO_»QÍ<Õ P`å‡#O^•xfl K«qK«∂ã≤# =∞Ǩ`«∞‡Å∞"å~°∞. D q^èOŒ QÍ
„QÆǨÅѨikèÖ’H˜ ~åx q+¨Ü«∞O UnLO_»^Œ∞. „QÆǨÅ∞ J#QÍ<Õ
=∞#H˘Hõ ~°∂ѨOÖ’ TÇ≤ÏOK«∞‰õΩO\ÏO. ^Õ"åÅÜ«∂Ö’¡ qq^èŒ
^Õ=`å=¸~°∞ÎʼnõΩ ѨÓ[Å∞ x~°fiÇ≤Ïã¨∞Î<åfl =∞#O KÕ¿ãk ZÖÏÔQ·`Õ
q„QÆǨ~å^èŒ#HÍ^À „QÆǨÏO ‰õÄ_® =∞#=∞#∞‰õΩ<Õ ~°∂Ѩ"≥∂,
<å=∞"≥∂HÍ^Œ∞. „QÆǨÏO JO>Ë Ñ¨~°=∂`«‡ â◊H˜Î^•fi~å ã¨$+≤ìx #_ç¿Ñ
XHõ ã¨OˆH`«O. XHõ =∞„iq`«Î#OÖ’ ZÖÏÔQ·`Õ ÃÑ#∞=$Hõ∆O , ^•x
Éèqí +¨º`ü ZÖÏ Wq∞_çLO@∞O^À „ѨÑO¨ K« Éèqí +¨º`ü JO`å #=„QÆÇ¨ Å<Õ
ã¨∂zHõÖ’¡<Õ á⁄O^Œ∞Ѩ~°Û|_ç LO@∞Ok. Jq =ºH˜ÎQÆ`«OQÍ#∂ ,
™ê=¸Ç≤ÏHõOQÍ#∂ LO@∞Ok. L^•Ç¨Ï~°}‰õΩ ‰õΩA_»∞, â◊√„‰õΩ_çH˜
=∞^茺 =∞Oz ^Œ$+≤ì ^•`«$`«fiO, ã¨OѶ¨∂xH˜ "Õ∞Å∞ KÕÜ«∂Å<Õ L^•~°`«
LO\Ï~Ú. J^Õ K≥_»∞^Œ$+≤ì LO>Ë ^Œ∞ÉÏ~åY~°∞Û, ÖˇHõ¯ÖËx `«#O,
<≥·uHõ`« Ѩ`«#O LO@∞Ok. J^Õ Éè∫QÀoHõOQÍ fã¨∞‰õΩ#flѨÙÊ_»∞
Platinum Platform
"å\˜=∞^茺 â◊√Éèí^Œ$+≤ì, q"åǨÅ∞, ã¨O`å#O, ã¨∞YO, âßOu,
"åºáê~°O, ^Õâq◊ ^ÕâßÅ=∞^躌 ã¨`û« O|O^èOŒ LO\Ï~Ú. J^Õ K≥_∞» ^Œ$+≤ì
LO>Ë q_®‰õ Ω Å∞, „Ѩ [ Ö’¡ Jqhu, 㨠O |Okè ` « <Õ ~ åÅ∞,
ã¨OѶ∞¨ q„^ÀǨÅ∞ „Ѩ|Å∞`å~Ú. JÖÏ<Õ Éè∫QÀoHõOQÍ ‰õΩ[, â◊#∞ʼnõΩ
=∞Oz^Œ$+≤ìLO>Ë âßOuÉèí„^Œ`«Å∞, áêÅ<å Ѩ\ ˜+¨ª`« ÉÏQÆ∞O@∞Ok.
K≥_∞» ^Œ$+≤ì LO>Ë „ѨÉ∞íè =ÙH˜ „Ѩ=∂^ŒO, f„="≥∞#ÿ „Ѩ=∂^•Å∞, „Ѩ[Ö’¡
Jã¨O`«$Ñ≤Î, ǨÏ`«ºÅ∞, ^˘OQÆ`«<åÅ∞ ÃÑ~°∞QÆ∞`å~Ú. =ºH˜ÎQÆ`«OQÍ
fã¨∞‰õΩO>Ë W"Õ „QÆǨÅ∞ =∞OzQÍ LO>Ë „áêH˜ìHõÖòQÍ, ^è≥·~°ºO`À,
ÅHõ∆ º™ê^èŒ#HÀã¨O Ѩi„â◊=∞ L@∞Ok. K≥_»∞^Œ$+≤ì LO>Ë JO^Œ∞‰õΩ
q~°∞^ŒúOQÍ LO@∞Ok. W^Õ ™ê=¸Ç≤ÏHõ =∞#ã¨Î`«fiO „ѨHõ$u^•fi~å
=ºHõÎO J=Ù`«∞Ok. ÉèÏ=OKÕ`« ^•xfl JkèQÆq∞OKåe. ZO^Œ∞HõO>Ë
Ü≥∂QÆâß„ã¨ÎO „ѨHÍ~°O D ã¨$+≤ìÖ’ U HÀiÔH·<å HÍÖÏO`«~°OÖ’
f~°‰Ωõ O_® LO_»^∞Œ . =∞#Ö’x K≥_∞» ^Œ$¿+ì HÍÖÏO`«~O° Ö’ „QÆÇ¨ Å=∞^躌
K≥_»∞^Œ$+≤ìx `≥ã¨∞ÎOk. JѨÙÊ_»∞ =º‰õΩÎÅÃÑ·<ÕHÍ^Œ∞, „ѨHõ$uÃÑ·‰õÄ_®
^•x ^Œ∞„+¨ÊÉèÏ=O LO@∞Ok. =ºH˜ÎQÆ`« `«Ñ¨ÙÊ ã¨q∞+≤ì ^Œ∞+¨ÊùÅOQÍ
=∂~°∞`«∞Ok.
J=ã¨~åxfl fˆ~Û „Ѩu J=HÍâ◊OÖ’#∂ L#flk „¿Ñ"Õ∞.
D q^èŒOQÍ ã¨HõÅ K«~åK«~° r=~åtH˜ r=# J=ã¨~åÅ∞ fˆ~Û
ѨOK«Éèí∂`åÖ’¡ „¿Ñ"Õ∞ W=∞_çLOk. HÍh =∞x+≤ ™êfi~°÷O`À „¿Ñ=∞#∞
q_çz g\˜x J=Ú‡H˘<Õ ™ê÷~ÚH˜ KÕ~°∞‰õΩ<åfl_»∞. Wk `«Ñ¨ÙÊ
JxÑ≤OKåeûOk áÈ~Ú `«Ñʨ _»OÖË^xŒ ã¨=∞i÷OK«∞‰õΩ<Õ ã≤u÷ H˜ =KåÛ_»∞.
„QÆǨτѨÉèÏ=O – =∞#ã¨∞ Ѩq„`«`«Å#∞ |\˜ì Ѷ¨ÖÏÅ∞, Ѩi}Ï=∂Å∞
LO\Ï~Ú. Ѩq„`« =∞#ã¨∞¯_çH˜ ‰õΩAx â◊√Éèí ^Œ$+≤ì „Ñ¨ÉèÏ=O
Ѩ~å„Hõ=∞O, ^è≥·~°ºOQÍ Ñ¨i}q∞ã¨∞ÎOk. HÍh J^Õ Jâ◊√Éèí^Œ$+≤ì
HÍ~°}OQÍ HÍ=∞OQÍ, ~åHõ∆ã¨`«fiOQÍ =∂~°∞`«∞Ok. J^Õ „ѨÉèÏ=O
Éèí∂q∞ÃÑ· Éèí∂HõOáêÅ∞QÍ HõxÑ≤ã¨∞ÎOk.
=∞x+≤ ˆH=ÅO ã¨∞MÏxfl HÀ~°∞HÀ=_»O =Å¡ r=#OÃÑ·
J=QÍǨÏ# ÖËHõ =∂#ã≤HõOQÍ Hõ$Oy P`«‡Ç¨Ï`«ºÅ∞ KÕã¨∞‰õΩ<Õ ã≤÷uH˜
KÕ~°∞‰õΩO@∞<åfl_»∞. Z=iH˜ "åˆ~ `«=∞k „Ѩ`ÕºHõ =∞#ã¨x J#∞‰õΩ<åfl
D ã¨$+≤ìJO`å XˆH =∞#ã¨∞ LOk. ã¨=Ú„^ŒOÖ’ U=¸Å JÅ[_ç
Hõey<å JÅÅ∞, `«~°OQÍÅ ~°∂ѨOÖ’ JO`«\Ï "åºÑ≤Oz#>Ë¡
=∞<Àã¨O„^ŒOÖ’ Hõey# JÅ[_ç „Ñ¨Hõ$uÖ’ =ºHõÎ=∞ø`«∞Ok. =∞x+≤
HÀ~°∞‰õΩ<Õk ã¨∞Y"Õ∞. „ѨHõ$u „Ѩ™êkOKÕn ã¨∞Y"Õ∞. ѨÓÅ=∂ÅÖ’
L#fl ^•~°OÖÏ nxfl J#∞ã¨O^è•#O KÕ¿ãk ^èŒ~°‡"Õ∞. ^èŒ~°‡=∞O>Ë
„|Ǩχ"Õ∞. HÍh ^èŒ~°‡OÖË#ѨÙÊ_»∞ P ã¨∞YO JO^Œ^Œ∞. K«∞@∂ì ZHõ¯_®
J#∞‰õÄÅ`«ÖË#ѨÙÊ_»∞ Z^Œ∞~°∞QÍ L#fl ã¨∞YO JO^Œ#ѨÙÊ_»∞ „ѨHõ$u
ZÖÏ L<åfl Jk `˘Å∞`« K≥ÑÙ¨ ʉõΩ#fl Ü«ÚQÍxH˜ qѶ∂¨ `«"∞Õ J=Ù`«∞Ok.
JѨ Ù Ê_» k Ü« Ú QÍO`« O HÍHõ =∞ˆ ~ =∞ø`« ∞ Ok. 㨠= Ú„^•Å∞
á⁄OQÆ∞`åÜ«∞<Õ ã¨Oâ◊Ü«∞O Hõ<åfl =ÚO^Œ∞ =∞# =∞#ã¨∞Å∞ ѨÓiÎQÍ
Hõ$OyáÈ~Ú L#fl q+¨Ü∂« xfl QÆ=∞x¿ãÎ Wk J~°Oú J=Ù`«Ok. =~°^ÖŒ ’
Platinum Platform
z‰õΩ¯‰õΩ#flѨÙÊ_»∞ HÍ=eû#xfl hà◊√§<åfl Jq „`åQÆ\ÏxH˜ gÅ∞
ÖËHõáÈ=_»"Õ∞ ÃÑ^ŒÌz‰õΩ¯. qxÜ≥∂QÆOÖ’H˜ `≥K«∞ÛHÀÖËHõáÈ`Õ P #k
L<åfl ÖË#>Ë¡. JÖÏ<Õ ã¨∞Y"Õ∞ ÖË#ѨÙÊ_»∞ „ѨHõ$u ZÖÏ L<åfl XHõ¯>Ë.
ã¨∞YO J<Õ „ѨÜ≥∂[#O HÀã¨O =∞#ã¨∞–„ѨHõ$u HõÅ=_»"Õ∞ Ü«ÚQÆO.
Pã¨∞Y"Õ∞ ÖË#ѨÙÊ_»∞, JO^Œ#ѨÙÊ_»∞ Jk Ü«ÚQÍO`«"Õ∞. Ü«ÚQÆO
^è~Œ å‡xfl , „¿Ñ=∞#∞ `≥Å∞Ê`«∞Ok. =∞#ã¨∞Ö’ „¿Ñ=∞ L#flѨÙÊ_»∞ W`«~∞° Å
Z_»Å, „ѨHõ$u Z_»Å =∞Oz ^Œ$HõÊ^èŒO U~°Ê_»∞`«∞Ok. „¿Ñ=∞`«ˆQæ
H˘kÌ U z#flq+¨Ü«∂xfl ÉèíiOK«ÖËx ã≤÷u HõÅ∞QÆ∞`«∞Ok. „¿Ñ=∞‰õΩ
HÍ~°‰õΩ_»∞ â◊√„‰õΩ_»∞. â∫~åºxH˜ HÍ~°‰õΩ_»∞ ‰õΩA_»∞. â∫~°ºO qHõ\ ˜Oz
qK«ÛÅq_ç`«#OQÍ =∂i`Õ =∞#ã¨∞Ö’¡ HõOѨ~åxH˜, „ѨHõ$uÖ’
HõOѨ<åÅH˜ J^Õ HÍ~°}=∞ø`«∞Ok. r=#OÖ’ =∂^è∞Œ ~°ºO áÈ`Õ =∞x+≤
`«#Ö’ `å<Õ rq`åxfl KåeOKåÅx J#∞‰õΩ#fl>Ë¡ =∞#ã¨∞Ö’¡
„¿Ñ=∞Ö’Ñ≤Oz#ѨÙÊ_»∞ „ѨHõ$uÖ’#∂ J^Õ „ѨuѶ¨eOz `«#‰õΩ`å#∞
LѨã¨OǨÏiOK«∞‰õΩO@∞Ok. „¿Ñ=∞ L#flѨÙÊ_Õ JO^Œih XHõ\ ˜KÕ¿ã
ã¨∞YâßO`«∞Å∞ JO^Œ∞`å~Ú. JkÖËx ~ÀA =∞x+≤#∞O_ç =∞x+≤H˜
ã¨∞YâßO`«∞Å∞ JO^Œ=Ù. „ѨH$õ uÖ’#∂ J^Õ HõxÑ≤ã∞¨ OÎ k. ~°∞`«∞=ÙÅÖ’
U~°Ê_®eû#q U~°Ê_»HõáÈ=_»O, ѨO_®eû#q ѨO_»HõáÈ=_»O
QÆ∞}OÖ’ =zÛ# =∂~°∞Ê=Å¡<Õ.
`«ÑÙ¨ ÊKÕ¿ã =ºH˜Î ^•x ^Œ∞„+¨ÊÉèÏ"åxfl QÆ∞iÎOK«‰Ωõ O_® JѨÊ\˜H˜
ã¨O`Àëêxfl á⁄O^Œ∞`«∞O_»=K«∞Û. HÍx ZѨÊ\˜H© Jk™ê^茺OHÍ^Œ∞.
=∞#ã¨∞ ™ê÷~ÚÖ’<Õ QÆ∞iÎOz PѨÖË#ѨÙÊ_»∞ J`«x =∞<À „ѨHõ$u
ÉÏǨϺ „ѨHõ$u^•fi~å f„= Ѩi}Ï=∂Å∞QÍ „ѨuaOaã¨∞ÎOk.
=∞#ã¨∞^•fi~å J`«#∞ QÆ∞iÎOK«ÖËx q+¨Ü«∂xfl HÍÅOÖ’ QÆ∞iÎOKÕÖÏ
„ѨHõ$`Õ ã¨ÊOkã¨∞ÎOk. J^Õ HÍÅ*Ï˝#=∞O>Ë. Ö’HõO K≥_çáÈ~ÚO^Œ<Õ
QÆ∞~°∞Î "≥Ú^Œ@ „ѨH$õ uÖ’<Õ HõxÑ≤ã∞¨ OÎ k. =∞x+≤Ö’x QÆ∞}ÏÖË „ѨH$õ uQÍ
„ѨuaOa™êÎ~Ú. =∞#ã¨∞ ÉÏQÆ∞O_»#ѨÙÊ_»∞ "å`å=~°}O (QÍe–h~°∞)
ZÖÏ L<åfl ã¨∞YO JO^Œ^Œ∞. =∞#ã¨∞ ÉÏQÆ∞O_»@O JO>Ë „¿Ñ=∞`À
LO_»@O. XHõ_»∞ W`«~°∞Å#∞ ^Àz _»|∞ƒã¨Oáêk¿ãÎ ÉÏkè`«∞Å
"Õ^#Œè "åi =∞<Àã¨O„^ŒOÖ’ JÅ[_çQÍ =∂~°∞`«∞Ok. HÍÖÏO`«~O° Ö’
P =ºH˜Î =∞#ã¨∞#∞ `åH˜ f~°∞`«∞Ok. JѨÙÊ_»∞ Ѩiã¨~åÅhfl ÉÏQÆ∞<åfl,
ã¨∞YO ã≤^ŒúOQÍ L<åfl =∞#ã¨∞=∂„`«O JÅ¡HõÖ’¡ÅO J=Ù`«∞Ok.
|Ü«∞\˜ „ѨHõ$uHõO>Ë =ÚO^Õ Ö’Ñ¨Å „ѨHõ$uÖ’ JÅ[_ç =ã¨∞ÎOk.
™ê=¸Ç≤ÏHõ „áê~°÷# „ѨHõ$u#∞O_ç U~°Ê_Õ qѨs`åÅ#∞
`«yOæ z#ѨÙÊ_»∞ ™ê=¸Ç≤ÏHõ J<≥u· Hõ`‰« Äõ _® „ѨH$õ u^•fi~å ™ê=¸Ç≤ÏHõ
âßѨOQÍ „ѨuaOaOz f~°∞`«∞Ok. HÍÅOÖ’ =KÕÛ =∂~°∞ÊÅQÆ∞iOz
f„=OQÍ PÖ’zOz K«iÛOK«∞HÀ"åeû# J=ã¨~°O ~å=_»"Õ∞ XHõ
ÃÑ^ŒÌ QÀ¡|Öò "åiflOQ∑ QÍ HõxÑ≤ã¨∞ÎOk. U L^ÕÌâ◊ºO HÀã¨O D
Éè∂í „QÆÇϨ O U~°Ê_çO^À Jk <≥~"° ~Õ #° ѨÙÊ_»∞ D „QÆÇϨ O „ѨÜ∂≥ [#O
U=ÚO@∞Ok? WHõ J^≥O^Œ∞‰õΩ JÖÏ q∞ye LO@∞Ok? „ѨѨOK«O
"≥Ú`åÎxH˜ ÉèÏ~°`^« âÕ "◊ ∞Õ H˘Å=∂#O. „ѨÑO¨ K«Éqíè +¨º`üH˜ ÉèÏ~°`^« âÕ "◊ ∞Õ
121
J^ŒOÌ ÖÏO\˜Ok. Z`≥#η „Ѩ^âÕ ßxfl‰õÄ_® h\˜=∞@ìO `åH˜O^ŒO>Ë Jk
=~°^Œ „Ѩ=∂^ŒŒ™ê÷~Úx `≥Å∞Ê`«∞Ok. JÖÏ<Õ „ѨѨOKåxH˜ XHõ
"≥∂_»ÖòQÍ , =∂~°æ^Œ~°≈HõOQÍ LO_ÕO^Œ∞‰õΩ ~°∂á⁄OkOz# ÉèÏ~°fÜ«∞
ã¨O„Ѩ^•Ü«∂ʼnõΩ ‰õÄ_® qѶ¨∂`«O U~°Ê_»@O „ѨѨOK«OÖ’ =ã¨∞Î#fl
=∂~°∞ÊÅ f„=`«‰õΩ , ~åÉ’ÜÕ∞ "å\˜ Ѩi}Ï=∂ʼnõΩ ã¨∂zHõQÍ
xÅ∞ã¨∞OÎ k. XHõ ѨÙ~°∞+¨µ_çH˜ kfiHõà„◊ `« Ü≥∂QÆO (Ô~O_Àq"åǨÏÜ≥∂QÆO)
LO^Œx K≥¿ÑÎ ÉèÏ~°fÜ«∞ ǨÏ$^ŒÜ«∂Å∞ `«Å¡_çÅ∞¡`å~Ú. XHõ „ã‘ÎH˜
=∂OQÆź qѶ¨∂`«O LO^ŒO>Ë ÉèÏ~°`«^Õâ◊OÖ’x =∞Ç≤Ïà◊Å QÆ∞O_≥Å∞
ѨQÆ∞Å∞`å~Ú. J^Õ ÉèÏ~°fÜ«∞`«. W`«~° ^ÕâßÖ’¡ ^èŒ~å‡xH˜ qѶ¨∂`«O
HõÅQÆ_»O, ÉèÏ~°`«^Õâ◊OÖ’<Õ ^èŒ~å‡xH˜ QÍ¡¡x HõÅQÆ_®xH˜ KåÖÏ `Õ_®
LOk. XHõ K≥@∞ì H˘=∞‡Ö’¡ , P‰õΩÖ’¡ `≥QÆ∞Å∞~å=_®xH˜ ^•x
"≥Ú^ŒÅ∞‰õΩ p_»Ñ¨@ì_®xH˜ L#flO`« `Õ_® LO@∞Ok.
Hõ$`«ÜÚ« QÆOÖ’ ^è~Œ ‡° O <åÅ∞QÆ∞áê^•Å`À #_çzOk. JO^Œ∞Hˆ
ÉÏÅ=∞~°}ÏÅ∞, JHÍÅ=∞~°}ÏÅ∞, ÉèíÜ«∞OHõ~° ~ÀQÍÅ=O\˜q ÖË=Ù.
<Õ\ ˜ HõeÜ«ÚQÆOÖ’ ^èŒ~°‡O XHõ¯áê^ŒOÃÑ· LOk. Hõ$`«–Hõe H˜ `Õ_®
JO`å ^èŒ~°‡OÖ’<Õ. Hõ$`«Ü«ÚQÆOÖ’ <åÅ∞QÆ∞áê^•Å ^èŒ~°‡O.
„`Õ`åÜ«ÚQÆOÖ’ =¸_»∞áê^•Öˇ·Ok. JO>Ë XHõáê^ŒO J^èŒ~°‡O`À
Hõeã≤Ok. Jk ^•fiѨ~°Ü«ÚQÆOÖ’ Ô~O_»∞áê^•Öˇ·Ok. JO>Ë J^èŒ~°‡O
Ô~O_»∞áê^•Å‰õΩ qã¨ÎiOzOk. HõeÜ«ÚQÆOÖ’ ^èŒ~°‡OUHõáê^Œ"≥∞ÿ
J^èŒ~°‡O =¸_»∞ áê^•Öˇ·Ok. J^èŒ~°‡"Õ∞ ѨÓiÎQÍ P„Hõq∞OK«_»"Õ∞
WHõ q∞yeOk. J^èŒ~°‡OÖ’ ''Hõe——ã≤áÈ=_»"Õ∞ ã¨OѨÓ~°‚ Hõe HÍÅO.
Ü«ÚQÆO U^≥·<å ^èŒ~°‡O–„ѨHõ$u Å =∞^茺 L#fl ã¨∂„`åxfl`≥ÖËÊ^Õ.
*Ï`«HOõ K«∂ã≤ Éèqí +¨º`ü K≥ÑÊ≤ #@∞¡ =∞#ã¨∞#∞ |\˜ì ã¨∂K«#QÍ Éèqí +¨º`ü
K≥ѨÊ=K«∞Û.
Éèíq+¨º`ü ã¨∂K«#Å∞ „QÆǨÏã¨OѨuÎ „ѨHÍ~°O LO\Ï~Ú.
QÆ`«OÖ’ =∞#O Z#fl_»∂ Hõx,qx Z~°∞QÆx `«Ñ¨ÙÊÅ#∞ QÆ=∞xOKåeû
~å=_»O, <åºÜ«∞™ê÷<åÅ∞ H˜@H˜@ÖÏ_Õ ™ê÷~ÚÖ’ J<åºÜ«∞O ÃÑ~°Q_Æ O» ,
=∞x+≤H˜ =∞x+≤H˜ =∞^茺 ^Œ∂~°OÃÑ~°QÆ_»O, P ^Œ∂~°O`À<Õ Hõeã≤LO_Õ
„Ѩܫ∞`«flOÖ’ ã¨OѶ¨∞~°¬}‰õΩ Ö’#∞HÍ=_»O, ™êfi~°÷O`À Hõeã≤ LO_ç
=∂#ã≤HõOQÍ q_çáÈ=_»O, ^Œ∞iƒùHõ∆O, PHõeKå=ÙÅ∞ W=hfl HÍÅOÖ’
QÀK«iã¨∞Î<åfl~Ú. WѨÊ\˜ˆH HõxÑ≤ã¨∞Î<åfl~Ú. "Õ^ŒO`À xOáêeû#
PHÍâßxfl =∞x+≤ ã¨fiÜ«∞OHõ$`«"≥∞ÿ# "Õ^Œ#`À xOѨÙ`«∞<åfl_»∞. „ѨHõ$u
ѨÙ+¨¯ÅOQÍ Wã¨∞Î<åfl =∞x+≤ ™êfi~°÷OKÕ`« HÍ"åeû#O`« ¿Ñ^ŒiHõO
ã¨OáêkOK«∞H˘x ^Œ∞iƒùH∆Íxfl WѨÊ\˜ˆH H˘x`≥K«∞Û‰õΩ<åflO. =∞#Ö’x
Jã¨=∂#`«Å#∞ „ѨH$õ uÖ’ ‰õÄ_® HõxÑ≤OKÕ^•HÍ fã¨∞H˘KåÛO. =∞x+≤
U =Ü«∞ã¨∞Ö’ KÕÜ«∂eû# Ѩ#∞Å∞ P =Ü«∞ã¨∞Ö’ KÕÜ«∞HõáÈ=_»O
=Å¡<Õ UU ~°∞`«∞=ÙÖ’¡ ~å"åeû# =∂~°∞ÊÅ∞ PÜ«∂ ~°∞`«∞=ÙÖ’¡
~å=_»OÖË^∞Œ . D Ѩiã≤u÷ H˜ =∞iH˘O`« ™êÜ«∞O "≥Ñ· s¨ `åºÅ ~°∂ѨOÖ’
„ѨHõ$u#∞O_ç‰õÄ_® HÍÅOÖ’ JO^Œ∞`«∞Ok JO>Ë „ѨHõ$uѨ~°OQÍ<Õ
h~°O^ŒHõ, Éèí∂q∞ ѨO_»Hõ W|ƒO^Œ∞Å∞ Ѩ_»`åO. h\˜H˘~°`«,
122
J<å^äŒÅ‰õΩ, =$^Œ∞úʼnõΩ ™êÜ«∞O H˘~°=_Õ q^èŒOQÍ ^•`«$`«fiO
=∞$QƺOHÍ=_»O,„ѨÉèí∞`«fi Y*Ï<å‰õΩ QÆO_ç. nx=Å¡ áêÅ# J<Õ
=∞øeHõQ∞Æ }O „ѨÉ∞íè `åfixH˜ áÈ=_»O. q∞ug∞i# ¿ãfiK«Û,ù Pâ◊, P"ÕâO◊ ,
ÉèíÜ«∞OHõ~°Hõ$Ï~°`«fiO, ^èŒ~å‡xH˜ QÍ¡¡x =O\˜ =∂#ã≤Hõ "≥·Ñ¨s`åºÖË HÍHõ
J<ÕHõ „ѨHõ$u "≥·Ñ¨s`åºÅ#∞ *’ºu+¨ºO ã¨∂zã¨∞ÎOk. *Ï`«HõOÖ’
™ê^è•~°}OQÍ =∞#ã¨∞#∞ K≥ÑÊ≤ Éèqí +¨º`üx K≥áêÎ~∞° . WHõ¯_»‰Äõ _® „ѨH$õ u
"≥·Ñ¨s`åºÅ`À áê@∞ =∞#ã¨∞Ö’ =KÕÛ =∂~°∞ÊÅ∞...JO>Ë „Ѩ[Å
=∞#ã¨∞Å#∞ , „ѨHõ$u cèÉèí`åûxfl HõeÑ≤ K≥ѨÙÎ<åfl~°∞.
*Ï`«HõOÖ’ „QÆǨÅ =Å¡ HõeˆQ Ü≥∂QÍÅ∞ =¸_»∞~°HÍÅ∞.
Jq Ü«Úu, ã≤u÷ , ^Œ$+≤.ì XHõ „QÆÇϨ O ã¨fi`«Ç¨ QÍ Éè∂í HõOáêxfl W=fi^Œ∞.
HÍh ^Œ$+≤ì, HõÅ~ÚHõÅKÕ`« Jk U~°Ê_»∞`«∞Ok. „ѨѨOK«Éèíq+¨º`ü
ÉèÏ~°`«^Õâ◊OÖ’ K«∂ã≤#>Ëì ÉèÏ~°`«^Õâ◊ Éèíq+¨º`ü =∞# =∞#ã¨∞Ö’¡
K«∂_»=K«∞Û. ^ÕxHÀã¨O =∞x+≤, „ѨHõ$uÅ HõÅ~ÚHõ LO^À Jk
ÖËx~ÀA P Ô~O_ç\ ˜H© qѶ¨∂`«"Õ∞. Jk Ü«ÚQÍO`«"Õ∞. =∞#ã¨∞Ö’
„¿Ñ=∞ ZO_ç`Õ =∂^èŒ∞~°ºOáÈ~Ú#>Ë¡ Éèí∂q∞Ö’ ѨO_çOKÕ QÆ∞}O J<Õ
„¿Ñ=∞áÈ~Ú x™êû~°=∞ø`«∞Ok. =~°¬ã¨∂K«#‰õΩ =ÚO^Œ∞ `«∂hQÆÅ∞
u~°y#@∞¡ , Éèí∂HõOáêxH˜ =ÚO^Œ∞ ‰õΩHõ¯Å∞, H˘xfl [O`«∞=ÙÅ∞
"≥oá¡ È~Ú#@∞¡ `≥Å∞ã¨∞‰õΩO@∞<åflO. H˘Ü«∞ºÅ‰õΩ Hõ>ãìË #≤ [O`«∞*ÏÅO
‰õÄ_® =ÚO^Œ∞QÍ<Õ `«Ñ≤ÊOK«∞‰õΩ<ÕO^Œ∞‰õΩ „Ѩܫ∞uflOK«_»O K«∂™êÎO.
ã¨=Ú^Œ„OÖ’ ã¨∞<åq∞ =zÛ#ѨÙÊ_»∞ [O`«∞Hõàı|~åÅ∞ ^˘~°Hõ¯áÈ=_»O
QÆ=∞xOKåO. W^ŒO`å „Ñ¨Hõ$u QÆ∞iOz [O`«∞*ÏÖÏxH˜ LO_Õ
=ÚO^Œ∞K«∂ѨÙ. „ѨH$õ u cèÉ`íè û« O =ÚO^Õ [O`«∞*ÏÖÏxH˜ ã¨∞ÊùiOzOk.
"å\˜‰õΩ#fl ã¨Ç¨Ï[ ™ê=∞~åúºxfl K«∂ã≤ „ѨHõ$ux , Ѩi}Ï=∂Å#∞
JOK«<å "Õã≤# ^Õâ◊O =∞#k. „ѨHõ$uH˜ [O`«∞=ÙÅ áÈHõ_»ÅH˜
ã¨O|O^èŒO L#fl>Ë¡ „ѨHõ$uH˜ =∞x+≤ =∞#ã¨∞‰õΩ ‰õÄ_® ã¨O|O^èŒO
LOk. HÍHõáÈ`Õ Jk KåÖÏ =∞O„^Œ™ê÷~ÚÖ’ LOk. bÅQÍ<≥·<å
JxÑ≤OK«|>Ëì JO^ŒiH© ''Ü«ÚQÍO`«=∂?—— J#fl ã¨O^ÕÇϨ O =ã¨∞#Î flk.
J^Õ HÍÅ f„=`«‰õΩ ã¨OˆH`«O. Wk „QÆǨÏã¨OˆH`«O HÍ^Œ∞. „ѨuXHõ¯~°∞
„QÆÇ≤ÏOK«QÆeˆQ ã¨OˆH`«O. =∞x+≤ =∞#ã¨∞,áÈHõ_»Å#∞ K«∂¿ãÎ „ѨHõ$u
cèÉèí`«û `≥Å∞ã¨∞ÎOk. XHõ^•xH˘Hõ\ ˜ „ѨuѶ¨eã¨∞ÎOk.
2020 #∞O_ç ã¨O㨯~°}Å [~°∞QÆ∞`åÜ«∞x „QÆǨÏã≤÷u
ã¨∂zã¨∞Î#flk. ã¨O㨯~°}Å J=ã¨~°O =zÛO^ŒO>Ë Jk U™ê÷~ÚÖ’
qÅ∞=ŠѨ`«#O LO@∞O^À K≥ѨÊ#Hõ¯ˆ~¡^Œ∞. =∞#ã¨∞Ö’x ã¨O㨯~°}Ë
„ѨHõ$uÖ’#∂ LO@∞Ok. J^Õ 2009, 2010Ö’¡<Õ [~°∞QÆ∞`«∞#fl@∞¡
HõxÑ≤ã∂¨ <Î Õ LOk. ^•<Õfl *’ºu+¨ºÉèÏ+¨Ö’ ^Œâ◊ JO\ÏO. UÜ«ÚQÆ"∞≥ <ÿ å
=∞x+≤=∞#ã¨∞‰õΩ, „ѨH$õ uH˜ ^è~Œ ‡° "Õ∞ ã¨∂„`«OQÍ LOk. =∞# Éèqí +¨º`üH˜
=∞#"Õ∞ HÍ~°}O. *’ºu+¨ºO ‰õÄ_® ^•<Õfl ã¨∂zã¨∞Î#flk. =∞#ã¨∞‰õΩ,
*Ï`«HÍxH˜ ã¨O|O^èŒOLOk. *’ºu+¨ºOÖ’ =ÚO^Œ∞ =∞#ã¨∞K≥Ñ≤Ê
`«~åfi`« *Ï`«HõO K≥áêÎ~°∞. ™ê^è•~°} rq`«OÖ’ =∞#ã¨∞K«∂ã≤ "å_ç
áÈHõ_»Å#∞ |\˜ì Éèíq+¨º`ü K≥áêÎ~°∞. HͺÔ~Hõì~ü „Ѩ^è•#O. =∞#‰õΩ
Platinum Platform
HõxÑ≤OKÕq Ô~O_»∞ ~°HÍÅ HÍÅ∞ëêºÅ∞. ÉèÏ=HÍÅ∞+¨ºO, "å`å=~°}
HÍÅ∞+¨ºO Ô~O\˜H© =∞#¿ã HÍ~°}O. ™ê^è•~°} HÍÅ∞+¨ºO „ѨHõ$uH˜
qѶ¨∂`«O. Jk <≥=∞‡kQÍ ^Œ∞„+¨ÊÉèÏ=O K«∂ѨÙ`«∞Ok. HÍx
ÉèÏ=HÍÅ∞+¨ºO „ѨHõ$u ã¨∂„`åxˆH qѶ¨∂`«O HõeyOz f„=
Ѩi}Ï=∂ʼnõΩ HÍ~°}O J=Ù`«∞Ok.
XHõ =ºH˜Î *Ï`«HõOÖ’ Ô~O_»∞„QÆǨÅ ^Œ$+≤ì, ÖË^• Ü«Úux
K«∂ã≤ =ºH˜ÎQÆ`«OQÍ U~°Ê_Õ Ñ¨i}Ï=∂Å∞, =∂#ã≤Hõ =∂~°∞ÊÅ∞,
^Œ∞+¨ì"≥∞ÿ# ^Œ∞+¨Êi}Ï=∂Å∞ `≥eÜ«∞*Ë™êÎ~°∞. J^Õ „QÆǨÅ ^Œ$+≤ì, ÖË^•
Ü« Ú u „Ѩ H õ $ uÖ’ Éè ∫ QÀoHõ O QÍ =KÕ Û f„= Ѩ i }Ï=∂Å#∞
ã¨∂zã¨∞ÎOk. L^•Ç¨Ï~°}‰õΩ â◊x‰õΩAÅ Ü«ÚuQÍh, K≥_»∞^Œ$+≤ìQÍh
f„= „Ѩ=∂^•Å∞, Ü«Ú^•úÅ∞, Éèí∂HõOáêÅ∞ =O\˜q `≥eÊ`Õ J^Õ
Ü«Úu =ºH˜ÎQÆ`« *Ï`«HõOÖ’ J`«xH˜ HõeˆQ „Ѩ=∂^•Å∞, Ѩ^Œg#+¨ìO,
J<å~ÀQƺã¨∂K«# =O\˜q `≥Å∞Ê`«∞Ok. =ºH˜QÎ `Æ « *Ï`«HOõ Ö’ HõxÑ≤OKÕ
„Ѩ=~°Î<å ^À+¨O P =ºH˜ÎˆH Ѩiq∞`«"≥∞ÿ`Õ , J^Õ Z‰õΩ¯==∞OkÖ’
=¿ãÎ, ã¨OѶ¨∞OÖ’ HõxÑ≤¿ãÎ Jk „ѨHõ$u Ѩ~°"≥∞ÿ# =∂~°∞ÊÅ#∞
ã¨∂zã¨∞OÎ k. ZO^Œ∞HõO>Ë Ü«ÚQÆO JO>Ë Ñ¨~㰠ʨ ~° ã¨O|O^è"Œ ∞Õ HÍ|\˜.ì
Jk ^èŒ~°‡O`À<Õ =Ú_çѨ_çLOk HÍ|\˜ì.
*’ºu+¨ºOÖ’ ^•fi^Œâ◊~åâ◊√Å∞<åfl~Ú. PÜ«∂ ~åâ◊√Ö’¡
ã¨OK«iOKÕ „QÆǨÅ#∞ |\˜ì ^•fi^Œâ◊ ÉèÏ"åÅ∞<åfl~Ú. g@xflO\˜x
Hõe¿Ñ ~åtK«„HõO JO\Ï~°∞. ~åt JO>Ë ã¨q∞+≤ì Jx J~°úO.
~åâ◊√Ö’¡#∞, ~åtK«„HõOÖ’#∂ ã¨=∞+≤ìѶ¨ÖÏÖË HõxÑ≤™êÎ~Ú. ¿Ñ~°∞H˜
^•fi^Œâ◊ÉèÏ"åÅx Ñ≤Å∞™êÎOQÍx JO^Œ∞Ö’ J#O`«ÉèÏ"åÅ∞,
JO`«~åƒù"åÅ∞ LO\Ï~Ú. Jq Hõ~‡° #∞|\˜ì =ºHõOÎ J=Ù`å~Ú. ~åã¨∞Å
ÉèÏ"åÅ∞ „QÆǨÅ^•fi~å „QÆÇ≤Ï™êÎO. J"Õ J#∞Éèí=OQÍ U~°Ê_»`å~Ú.
W^ŒO`å HõeÑ≤`Õ Jk HÍÅO J=Ù`«∞Ok. ~åtK«„HõOÖ’x ã¨=∞ã¨Î
ÉèÏ"åÅ∞ `«#∞ÉèÏ=O`À<Õ =Ú_çÑ_¨ ç LO\Ï~Ú. J<ÕHÍ<ÕHõ ÉèÏ=OÖ’
UHõÉÏè =OQÍ L#flk `«#∞ÉèÏ="Õ∞. `«#∞ÉèÏ=O, `«#k J#flÉèÏ=OQÍ
=∂~°`«∞Ok. Ѩâ◊√ѨH∆ͺ^Œ∞Ö’¡ÖËxk, =∞x+≤Ö’ L#flk W^Õ.
^•fi^Œ â ◊ É è Ï "åÖ’¡ ÅQÆ fl , K« ` « ∞ ~° ú , ã¨ Ñ ¨ Î = ∞, ^Œ â ◊ = ∞ Éè Ï "åÅ∞
=ÚYº™ê÷<åÅ∞QÍ K≥áêÎ~°∞. Jxfl ÉèÏ"åÅ∞ g\˜=∞^茺<Õ LO\Ï~Ú.
HÍh "å\˜Ö’x ™ê^èŒ#, `«Ñ¨ã¨∞û, "≥∂Hõ∆O =O\˜ qâßÅÉèÏ"åÅ#∞
=ke ˆH=ÅO ã¨O‰õΩz`«"≥∞ÿ# <Õ#∞, <å WÅ∞¡, <åÉèÏ~°º, <å (Ѩ^Œq)
L^ÀºQÆO J<Õ ÉèÏ"åňH Ѩiq∞`«=∞ø`«∞<åfl~Ú.
„QÆǨÏHÍ~°Hõ`åfiÖ’¡ ã¨∂~°∞º_»∞ `«#∞ÉèÏ"åxH˜, K«O„^Œ∞_»∞
=∞#ã¨∞, ‰õΩA_»∞ â◊H˜Î, |∞^èŒ∞_»∞ Ü«ÚH˜Î, QÆ∞~°∞_»∞ *Ï˝#O, â◊√„‰õΩ_»∞
`«$Ñ≤Î, â◊x Hõ~°‡HÍ~°‰õΩ_≥· =ÚH˜Îx JOk™êÎ~°∞. r=ÉèÏ"åxH˜ ~°q
L^ŒÜ∞« O J~Ú`Õ â◊x Jã¨=Î ∞Ü«∞OÖÏO\˜Ok. â◊√Éè,í Jâ◊√Éèí „QÆÇ¨ Ö<Õq
ÖË=Ù. Jq =∞# áêáêxH˜ Ѷ¨ÖÏxfl JOkOK«_»O=Å¡ áêѨ„QÆǨÅ∞QÍ
Ñ≤Å∞ã¨∞Î<åflO. QÆ∞~°∞_»∞ ^èŒ#HÍ~°}O, â◊√„‰õΩ_»∞ â◊√Hõ HÍ~°}OQÍ
‰õÄ_® LO\Ï~°∞. ~°q, K«O„^Œ,‰õΩ[,|∞^èŒ∞ÅOkOKÕ `«#∞=Ù, =∞#ã¨∞,
Platinum Platform
â◊H,Θ |∞kÌx QÆ∞~°∞,â◊√„Hõ „QÆÇ¨ ÅOkOKÕ *Ï˝#O, qâ◊fi„¿Ñ=∞Å#∞ =ke
ˆH=ÅO ^èŒ<å~°˚#, ã¨∞YÖÏÅã¨ÅHÀã¨"Õ∞ LѨÜ≥∂yã¨∂Î KÕã¨∞Î#fl
áêáêÅ=Å¡ z=i^≥·# â◊x =∞#‰õΩ áêѨ„QÆǨÏOQÍ QÀK«iã¨∞Î<åfl_»∞.
J^Õ HÍ~°ºHÍ~°}ã≤^•úO`«O. ~°q, QÆ∞~°∞, â◊√„Hõ, â◊#∞Å∞ ^èŒ~°‡, J~°÷,
HÍ=∞ "≥∂H∆ÍʼnõΩ „ѨfHõÅ∞. g\˜Ö’ JO`åºÖˇ·# ^èŒ~°‡, "≥∂H∆ÍÅ#∞
=ke Hˆ =ÅO J~°H÷ Í=∂ÅHÀã¨"∞Õ r=#O ™êyOK«_"» ∞Õ áêѨÑÖ¨¶ ÏʼnõΩ
HÍ~°}O. W^ŒO`å HõeÑ≤ qâ◊fi~åt J~ÚOk. J^Õ ~åtK«„HõOÖ’
HõxÑ≤OKÕ HÍÅK«„HõO. P K«„HÍxH˜ ^èŒ~°‡"Õ∞ W~°∞ã¨∞QÍ LOk. K«„HõO
JO>Ë uiyuiy =∞#O KÕã≤O^•xfl uiy =∞#HõOkOKÕk. „Ѩu
„QÆÇ¨ xH˜ qã¨Î $`« ÉèÏ=O`Àáê@∞ ™êfi~°O÷ `À HõeQˆ ã¨O‰õΩz`«ÉÏè "åxH˜
‰õÄ_® J=HÍâ◊O LOk. JO^Œ∞Ö’ Uk =∞#O ã‘fiHõi™êÎO J<Õ
q+¨Ü«∞OÖ’ „Ѷ‘qÖò LOk. ^≥·"åxfl, ã¨^Œ∞æ~°∞=Ù#∞ P„â◊~ÚOK«_»O
=Å¡ "å~°∞ =∞#ã¨∞#∞ ã¨<å‡~°æOÖ’ qâßÅ ÉèÏ"åÅ#∞ ã‘fiHõiOKÕÖÏ
KÕ™êÎ~°∞. J^Õ 'Ü≥∂QƈH∆=∞O =Ǩ=∞ºÇ¨ÏO— Jx "åi #∞O_ç =∞#‰õΩ
ÅaèOKÕ Éèí~À™ê. *’ºu+¨ºOÖ’ Hõ~°‡ Ѷ¨ÖÏʼnõΩ ÃÇÏi_ç@i,
Zxfi~å<£"∞≥ O\ò, HͺÔ~Hõ~ì Åü #∞ =ÚYºOQÍ K≥áêÊ~°∞. WO^Œ∞Ö’ _≥ãhì≤ x,
HͺÔ~Hõì~ü ã¨∂zã¨∞ÎOk. J^Õ _≥ã≤ì<Õ+¨<£‰õÄ_® J=Ù`«∞Ok. â◊xx
=∞O^Œ„QÆǨÏO JO\Ï~°∞. =∞O^Œ„QÆǨÏO JO>Ë <≥=∞‡kQÍ K«iã¨∞ÎOk.
=∞#áêѨѶ¨ÖÏÅ∞ ZѨÙÊ_»∂ <≥=∞‡kQÍ<Õ JO^Œ∞`å~Ú. JO^Œ∞ˆH Jk
áêѨ„QÆǨÏOQÍ Ñ≤Å∞™êÎ=Ú.
„QÆǨÅ∞ ˆH=ÅO Hõ~°‡ˆHHÍ^Œ∞ *Ï˝<åxH˜, `«Ñ¨ã¨∞û‰õΩ
ã¨∂zHõÅ∞QÍ xez Ѩiëê¯~°O‰õÄ_® K≥ѨÙÎ<åfl~Ú. #=„QÆǨÅO>Ë
ã¨$+≤Hì Í~°ºOÖ’ Ѩ~=° ∂`«‡‰õΩ LѨH~õ }° ÏÅ∞. "å\˜H=˜ ¸Å"≥∞#ÿ Ѩ~„° |Ǩχ
=ã¨∞Î=ÙˆH "å\˜QÆ=∞#OÖ’x JO`«~å~°úO J~°ú"≥∞ÿ „ѨÉèÏ"åxfl
x~ÀkèOK«QÆÅ â◊H˜Î LO@∞Ok. ~å=Ú_çH˜ ‰õÄ_® =∞#ÖÏO\˜
„QÆǨÏKå~°"Õ∞ J~Ú<å L`«Î=∞"≥∞ÿ# =∞#ã¨∞KÕ`«, J`«∞º#fl`«
ã¨O™ê¯~°OKÕ`« „QÆÇ¨ Å#∞ âßã≤OK«QÅÆ qâßfiq∞„`«∞_»∞ QÆ∞~°∞=ÙQÍ "≥O@
LO_ç #_çÑ≤OKå~°∞. =∞#^Œ$+≤ìKÕ`« „QÆǨÏ^Œ$+≤ìx=∂ˆ~Û JÖÏO\˜
QÆ∞~°∞=Ù#∞ =∞#‰õΩ „Ѩ™êkã¨∞ÎOk. Hõ+¨ìã¨∞MÏÅ∞ JÖÏ<Õ L<åfl "å\˜x
JkèQqÆ ∞Oz ™êQÆ∞`«∂ Ѩ~=° ∂#O^•xfl á⁄O^Õ =∞#ã¨∞#∞ P QÆ∞~°∞=Ù
„Ѩ™êk™êÎ_»∞. ^èŒ~°‡O ѨÓiÎQÍ =∞#ã¨∞Ö’ xO_ç# HÍÅOÖ’
=∞ǨÏ~°∞¬Å^•fi~å JOkOz# ã¨O„Ѩ^•Ü«∞OÖ’ =ºH˜ÎQÆ`« J~°›`«Å#∞
|\˜ì Ѩ~°=∂`«‡#∞ KÕ~°\ÏxH˜ J<ÕHõ ™ê^èŒ<å =∂~åæÅ∞ U~°ÊiKå~°∞.
JqHÍHõ ^è•i‡Hõ r=#O, Hõà◊Å∞, =O\˜ ™ê=∂#º HÍ~åºÅ`À‰õÄ_®
Ѩ~=° ∂`«‡#∞ KÕ~_° O» LO_Õk. D~ÀA‰õÄ_® J^ÕÅHõ∆ ºO`À ÉèÏ~°fÜ«∞
ã¨O㨯 $uÖ’ Z=~°∞ ZO^Œ∞Ö’<≥<· å ã¨∞Å∞=ÙQÍ QÆ∞iÎOKÕÖÏ ^Œ~≈° #q∞ã¨∂Î
™êQÆ∞`«∞#fl ã¨^Œ∞æ~°∞=¸ˆ~Î NNNt"å#O^Œ ã¨^Œ∞æ~°∞=¸iÎ. Ü≥∂yH˜
Ü≥∂yÖÏ, ã¨<åºã≤H˜ ã¨<åºã≤QÍ ™ê^茉õΩxH˜ ™ê^茉õΩxQÍ WÖÏ
JxflO\˜h "åi=^ŒÌ K«∂_»=K«∞Û. `«# J#∞„QÆÇϨ O`À „QÆÇϨ „ѨÉÏè "åxfl
Ãã`· O« =∂~°ÛQÆÅ"å_»∞ Hõ#∞Hõ<Õ QÆ∞~°∞=٠Ѩ~„° |ǨÏã¨fi~°∂ѨÙ_»Ü∂« º_»∞.
„QÆ Ç ¨  ÅxflO\ ˜ H © JO`« ó 㨠∂ „`« O QÍ L#flk Ѩ ~ ° = ∂`Õ ‡ .
123
<≥=∞eQÆ∞_»∞¤Ö’#∞O_Õ ^•x ã¨Ñ¨Î=~å‚Å∞ ѨÙ@∞ìH˘zÛ#@∞¡ Ѩ~°=∂`«‡ HõOkã¨∞Î<åfl~°∞. „Ѩu „QÆǨxH˜ ã¨fi, LK«Ûù, hK« ™ê÷<åÅ∞ LO\Ï~Ú.
=ã¨∞Î=Ù#∞O_Õ „QÆǨÅ∞, "å\˜ ã¨OKå~°O, Ѷ¨ÖÏÅ∞ ѨÙ@∞ìH˘™êÎ~Ú. P Jxfl„QÆǨÅ™ê~°O `å<≥· =∞#ÃÑ· J#∞„QÆǨÏO ‰õΩiÑ≤OKÕ "åi h_»Ö’
Ѩ~°=∂`«‡‰õΩ „Ѩu~°∂Ѩ"≥∞ÿ# Ѩ~°„ÉǨχ~°∂Ѩ"Õ∞ ã¨^Œ∞æ~°∞=Ù. ^•fi^Œâ◊ hK«„QÆÇ¨Ï „ѨÉèÏ"åÅ∞, hK«ã≤÷u ^Œ∞+¨ÊùÖÏÅ∞ LO_»=Ù. JO^ŒiH˜ 'ã¨fi—
ÉèÏ"åÖ’¡ qq^èŒ Ñ¶¨ÖÏÅ#∞ WKÕÛ #=„QÆǨʼnõΩ =¸ÅOQÍ PÜ«∞<Õ JxÑ≤OKÕ "åi ã¨xflkèÖ’ ã¨^• 'LK«Ûù— ã≤÷ux á⁄O^Œ∞`«∂ 'hK«— J<Õk
LO\Ï_»∞. `«#∞ÉèÏ=OÖËx ã¨^Œ∞æ~°∞=Ù‰õΩ q∞ye# UHÍ^Œâ◊ÉèÏ"åÅ∞ ÉèOí QÆ"∞≥ ÿ ~å[Ü≥∂QÆOQÍ Ñ¨i}q∞ã¨∞OÎ k. ã¨^∞Œ ~æ ∞° =Ù PK«iOz K«∂¿Ñ
^•™ÈǨÏ=∞O\Ï~Ú. UHÍ^Œâ=◊ ÚY~°∞„^Œ∞_çQÍ „QÆÇϨ „ѨÉÏè "åxfl âßã≤Oz, ^èŒ~å‡xfl J#∞ã¨iã¨∂Î "åi K«Å¡x h_»Ö’ Ѩܫ∞xOKÕ=∞#‰õΩ x[OQÍ
ã¨=iOK«QÆÅ ã¨^Œ∞æ~°∞=Ù#∞ P„â◊~ÚOKåÅ<åfl JO^Œ∞‰õΩ =∞#Ö’x Ü«ÚQÍO`«"Õ∞ ã¨OÉèíqOz<å U H˘^Œ∞"å LO_»^Œ∞. Ü«ÚQÆÜ«ÚQÍÅ∞QÍ
ã¨^Œ∞ƒùkÌ, =∞# ѨÓ~°fiѨÙ}ϺÖË ^•iK«∂ѨÙ`å~Ú. HÀ\˜ ã¨O=`«û~åÅ =∞#x HõxÃÑ@∞ìH˘x =ã¨∞Î#fl NNNt"å#O^Œ ã¨^Œ∞æ~°∞=¸iÎ
pHõ \ ˜ < ≥ · < å XHõ ¯ nѨ O `À qzÛù # O KÕ ã ≤ # @∞¡ 㨠^ Œ ∞ æ ~ ° ∞ =Ù#∞ Hõ#∞ã¨#flÅÖ’ L#fl"åiH˜ Ü«ÚQÍO`«ÑÙ¨ heh_» ‰õÄ_® `«QÅÆ ^Œ#_»OÖ’
J#∞ã¨iOKåÅ#fl ã¨^•ƒù=OKÕ`« [#‡[<å‡O`«~åÅ Hõ~°‡‰q+¨Ü«∞OÖ’ ã¨O^ÕǨÏOÖË^Œ∞.
„QÆǨτѨÉèÏ=O ‰õÄ_® `å~°∞=∂~“`«∞Ok. ^•fi^Œâ◊ÉèÏ"åÖ’¡
Ѷ¨ÖÏÅ#∞, Ѩi}Ï=∂Å#∞ „QÆǨÏQÆ`«∞Å∞ ã¨∂zOz<å
`«#∞ÉèÏ=OÖËx ã¨^∞Œ ~æ ∞° =Ù‰õΩ `«#HõO@∂ XHõ ÉèÏ=O LO_»^∞Œ . =∞#"Õ∞
ZO^Œ∞‰õΩ P Ѷ֨ Ïxfl Wã¨∞<Î åflÜ≥∂ `≥eÜ«∞^Œ∞. J^Õ Ñ¨~=° ∂`«‡ ã¨OHõÅÊO.
PÜ«∞#ÉèÏ=OQÍ LO\ÏO. ã¨^• 't=ÉèÏ=O—`À LO_»@"Õ∞ `«#
=∞#Hõ~°‡Å#∞ =∞#ˆH JOkOKÕO^Œ∞‰õΩ „QÆǨÅ#∞ P^è•~°OKÕã¨∞H˘x
ã¨fiÉèÏ=OQÍ "≥Å∞Q˘O^Œ∞`å~°∞.
~°∂á⁄OkOz# ã¨$+≤Hì Í~°º~°K#« . P~å^è#Œ ^•fi~å „QÆÇ¨ Å#∞ P„â◊~Ú¿ãÎ
*Ï`«HõOÖ’ U „QÆǨÏO ÉÏQÆ∞O>Ë *Ï`«‰õΩxH˜ P QÆ∞}ÏÅ∞ â◊√ÉèíѶ¨ÖÏÅ∞ HõÅ∞QÆ∞`å~Ú. QÆ∞~°∞=Ù J#∞'„QÆǨxfl— P„â◊~ÚOz<å
qâı+¨OQÍ, „Ѩã¨∞Êù@OQÍ HõxÑ≤™êÎ~Ú. HÍh Jxfl „QÆǨÅ ã¨^Œ∞æ}ÏÅ∞ J^Õ Ñ¶¨ÅO <≥~°"Õ~°∞`«∞Ok. „QÆǨÏO HõxÑ≤OK«^Œ∞. HÍx QÆ∞~°∞=Ù
=¸ã¨áÈã≤#@∞¡QÍ LO_»@O XHõ¯ Ѩ~°„|ǨχˆH ™ê^茺O. NNN J#∞„QÆǨÏO Z^Œ∞~°∞QÍ QÀK«~°=∞ø`«∞Ok. `«#∞ÉèÏ"åxH˜ HÍ~°}"≥∞ÿ#
t"å#O^Œ ã¨^Œ∞æ~°∞=¸iÎÖ’ =∞#O^ŒiH© QÀK«iOKÕ „QÆǨÏQÆ∞}ã¨OѨ`ÕÎ ã¨∂~°∞º_Õ t=Ù_»∞. uiy r=Ù_çx `«#Ö’ HõÅ∞ѨىõΩ<ÕO^Œ∞ˆH D
"åi x[ã≤÷uH˜ xÅ∞=Ù@^ŒÌO. ã¨∂~°º„QÆǨÏѨ٠â◊√ÉèíÅHõ∆}ÏÖˇ·# ѨiѨÓ~°‚ `«#∞ÉèÏ"åxfl W™êÎ_∞» . ã¨∂~°∞º_ç#∞O_ç â◊x=~°‰Äõ ã¨=∞ã¨Î „QÆÇϨ ™ê~°OQÍ
â◊~°}ÏQÆu, x+¨¯Å‡+¨„¿Ñ=∞, „ѨHõ$u „Ñ≤Ü«∞`«fiO "åiÖ’ HõxÑ≤™êÎ~Ú. L#fl ã¨^Œ∞æ~°∞"Õ. =∞#ó, â◊H˜Î, Ü«Ú‰õΩÎÅ#∞ J~°ú, HÍ=∂Å HÀã¨O
K«O„^Œ„QÆǨÏѨ٠ѨiѨÓ~°‚"≥∞ÿ# „¿Ñ=∞`«`«fiO"å~°∞. ^è≥·~°ºO, |ÅO, H͉õΩO_® *Ï˝#O, „¿Ñ=∞ÅHÀã¨O qxÜ≥∂yOKÕ â◊√Éèíã¨OHõÅÊO
Ѩ~å„Hõ=∞O, P`«‡qâßfiã¨O, ã¨~°fiã¨fi`«O„`« ÉèÏ"åÅ`À ‰õΩAx =∞#‰õΩO>Ë ã¨^Œ∞æ~°∞=Ù =∞#‰õΩ "≥∂H∆Íxfl Hõ~°`«ÖÏ=∞ÅHõO KÕ™êÎ~°∞.
â◊√ÉèíÅHõ∆}ÏÅ#∞ „Ѩã¨∞Êù@O KÕ™êÎ~°∞. Jx`«~°™ê^茺"≥∞ÿ# *Ï˝Ñ¨Hõâ◊H˜Î, ã¨^Œ∞æ~°∞=ÙÃÑ· qâßfiã¨O`À =∞#ã¨∞#∞ ÉÏQÆ∞KÕã¨∞‰õΩO^•=∞<Õ |∞kú
Jx~°fiK«hÜ«∞"≥∞ÿ# "Õ∞^èŒã¨∞û, ã¨^•ã¨`«ºx+¨ª, ã¨~°fiâß„ã¨Î „áêg}ºO, U~°Ê_ç`Õ QÆ∞~°∞_»∞ WKÕÛ *Ï˝<åxfl, â◊√„‰õΩ_»∞ WKÕÛ `«$Ñ≤Îx JOkOz
|ǨïÉèÏëê<≥·Ñ¨Ù}ºO "åix JѨ~° |∞^茄QÆÇ¨Ï =¸iÎQÍ ^Œ~°≈#O â◊x WKÕÛ =ÚH˜Îx JOk™êÎ~°∞. J^Õ"åi WK«Ûù.
KÕ ~ Ú™êÎ ~ Ú. "Õ ^ Œ q *Ï˝ # Éè Ï O_®QÍ~° "≥ ∞ ÿ # P 㨠^ Œ ∞ æ } xkè
Jáê~°^•`«$`«fiO, P^蕺u‡Hõã¨OѨ^ŒÅ`À |$ǨÏã¨ÊuH˜ =∞~°∞~°∂ѨOQÍ *****
LO\Ï~°∞. ã¨^•ã¨O`À+¨ ~°∂ѨÙÖˇ· , Pf‡Ü«∞`å#∞~åQÍʼnõΩ,
HõàÏaè~∞° K«∞ʼnõΩ, „ѨH$õ u Ñ≤áê㨉Ωõ <≥Å=ÙQÍ HõxÑ≤OKÕ"å~°∞ â◊√„Hõ„QÆÇϨ
â◊√Éèãí O¨ ѨuQÎ Í HõxÑ≤™êÎ~∞° . ã¨ÇϨ <åxH˜ =∂~°∞¿Ñ~°∞QÍ x`«ºÑ¨iâ◊„=∞`À
ã¨OK«iOKÕ"åi Jáê~° x„QÆÇϨ â◊H,Θ xâ◊ÛÅ`«fiO, Hõ~=ΰ ºx+¨,ª ^Œ∂~°^$Œ +≤,ì
q#Ü«∞O â◊x„QÆÇ¨Ï â◊√ÉèíÅHõ∆}ÏÅ#∞ K«∂ѨÙ`å~Ú. ã¨∂~°º`Õ[ã¨∞û`À
Ü≥∂y~å*ˇ#· `«O„_çQÍ, K«O„^ŒHàõ Å◊ `À J=∞$`«=¸iÎÜ∞ÿ≥ # `«eQ¡ Í "åˆ~
LO\Ï~°∞. PѨ#∞flÅ#∞ P^Œ∞‰õΩ<Õ ‰õΩ[ Ѩ~å„Hõ=∞O, Hõ~°‡#∞
uiy~åÜ«∞QÆÅ |∞^èŒ q*Ï˝#O, *Ï˝<åxfl "≥^Œ[ÖË¡ |$ǨÏã¨Êu `Õ[O,
Ѩi_èq» ÖË¡ â◊√„‰õΩx „¿Ñ=∞, Hõ~‡° HõÜ∆ ∞« OKÕ¿ã x~°O`«~° Ѩi„â◊=∞Ö’ â◊<â·≥ Û◊ ~°
`«`«fiO`À U_»∞„QÆǨÅ â◊√ÉèíÅHõ∆}ÏŠѨÓ~°‚=ºH˜Î`«fiO "åik. JÖÏO\˜
Ѩ ~ ° „ |Ǩ Ï ‡ 㨠fi ~° ∂ Ѩ O QÆ ∞ ~° ∞ =ÙQÍ LO_» @ O, "åi h_» Ö ’
=ÚO^Œ∞‰õΩ™êQÆ@O =∞#O^ŒiH©=~°O. =∞# rq`«O ZÖÏLO^Œx HÍ^Œ∞.
rq`«OÖ’ "å~°∞ ZÖÏLO@∞<åfl~°#flk =∞#H˜ "åiKÕÛ x`«ºã¨O^ÕâO◊ .
P P^Œ~å≈xfl ~å=Ú_çÖÏ rqã¨∂Î, Hõ$+¨µ‚_çÖÏ É’kèã¨∂Î =∞#
124 Platinum Platform
 qq^èŒ ^Œ~°≈<åÅÖ’ ÉèíH˜ÎH˜ ™ê÷#O
ÉèÏ~°fÜ«∞ `åuÎ fiHõ qKå~°O J<åkHÍÅO #∞Op J<ÕHõ
^è•~°Å`À „Ѩ=Ç≤Ïã¨∂Î =ã¨∂Î#flk. XH˘¯Hõ¯ ^è•~° XH˘¯Hõ JuѨq„`«
„uѨ^äŒQÍ „™È`«ã¨∞û =O\˜k. g\˜HõxflO\˜H© XˆH XHõ QÆ=∞º™ê÷#O
Ѩ~°`«`«Î fi ã¨fi~°∂Ѩ q*Ï˝#O. Wk ã¨HõňH¡â◊„ѨǨ}Ï`«‡Hõ=Ú
Ѩ~°=∂#O^Œ~°∂Ѩ=¸ J~Ú# "≥∂H∆Íxfl JOkã¨∞ÎOk.
Ѩ~°`«`«Î fi^Œ~°≈#O KÕ~ÚOKÕ âߢ™êÎʼnõΩ '^Œ~°≈<åÅ∞— Jx
¿Ñ~°∞. J<ÕHõ ^Œ~°≈<åÅÖ’ „Ѩ^è•#"≥∞ÿ#q P~°∞ Pã≤ÎHõ ^Œ~°≈<åÅh
P~°∞ <åã≤ÎHõ ^Œ~°≈<åÅh „Ѩã≤kú D<å_»∞ Ö’HõOÖ’ LOk.
Ѩ~°Ö’HÍ^Œ∞Å∞ L<åfl~Ú J<Õ #"Õ∞‡"å_»∞ Pã≤ΉõΩ_»h, "å\˜x
#=∞‡x"å_»∞ <åã≤ΉõΩ_»h, Dâ◊fi~°∞_»∞<åfl_»x #"Õ∞‡"å_»∞ Pã≤ΉõΩ_»h
#=∞‡x"å_»∞ <åã≤ΉõΩ_»h JO@∂O\Ï~°∞. áê}˜x KÕã≤# x~°fiK«#O
„ѨHÍ~°O Ѩ~°Ö’HõO L#fl^Œ<Õ"å_»∞ Pã≤ΉõΩ_»∞, ÖË^Œ<Õ"å_»∞ <åã≤ΉõΩ_»∞
– ''Jã≤Î <åã≤Î k+¨ìO =∞uó—— (áê.ã¨∂. 4.4.60) ''Jã≤ΠѨ~°Ö’Hõó
Wu Ü«∞ó =^Œu 㨠Pã≤ÎHõó.....—— Jx ÔH·Ü«∞\Ï^Œ∞Å "åºMϺ#O
J~Ú`Õ – ''<åã≤HÎ À"Õ^xŒ #ÌHóõ —— J#∞ =∞#∞㨇 $u "åHͺxfl P^è•~°OQÍ
fã≤ H ˘x "Õ ^ Œ „ áê=∂}ºO JOwHõ i Oz#"å~° ∞ Pã≤ Î ‰ õ Ω Åh,
JOwHõiOK«x"å~°∞ <åã≤‰Î Ωõ Åh ѨO_ç`Ö« ’HõOÖ’ „Ѩãk≤ ú L#flk. nxx
J#∞ã¨iOz "Õ^Œ„áê=∂}ºO JOwHõiOz# ™êOYº–Ü≥∂QÆ–
<åºÜ«∞–"≥â· +ı H≤ –õ ѨÓ~°fig∞=∂O™ê–L`«~Î ° g∞=∂O™ê^Œ~≈° <åÅ∞ Pã≤HÎ õ
^Œ~°≈<åÅh, Kå~åfiHõ–*ˇ·#–É∫^Œú=∞`åÅ∞ <åã≤ÎHõ ^Œ~°≈<åÅh „Ѩã≤kú
U~°Ê_çOk. HÍx Dâ◊fi~°∞x JOwHõiOK«HõáÈ=_»O KÕ`« "≥Ú^Œ\ ˜q
=¸_»∞ <åã≤HÎ ^õ ~Œ ≈° <åÅ∞. ™êOMϺ^Œ∞Å∞ Pã≤HÎ ^õ ~Œ ≈° <åÅ∞ Jx K≥Ñʨ _»O
‰õΩ^Œ~^° ∞Œ . ™êOY∞ºÅ∞, ѨÓ~°fig∞=∂O㨉Ωõ Å∂ ‰õÄ_» ("Õ^„Œ áê=∂}Ϻxfl
JOwHõiOz<å) Dâ◊fi~°∞x JOwHõiOK«ÖË^Œ∞ QÍ# Jq ‰õÄ_»
<åã≤ÎHõ^Œ~°≈<åÖË HÍ=Åã≤ LO@∞Ok. JO^Œ∞KÕ`« ''<åã≤ÎHÀ "Õ^Œx#ÌHõó
—— J#∞ =∞#∞㨇 $u "åHͺxfl „Ѩ=∂}OQÍ KÕã≤H˘x D qÉèÏQÍxfl
JOwHõiOz#@∞¡ Hõ#|_»∞`«∞Ok.
"åã¨=Î OÖ’ =∞#∞㨇 $uÖ’x ÃÑ· "åHõºO <åã≤‰Î Ωõ x ÅHõ}∆ OQÍ
K≥Ñ≤Ê#k HÍ^Œ∞. ^èŒ~°‡O q+¨Ü«∞OÖ’ „â◊√u 㨇 $`«∞ÖË Ñ¨~°=∞„Ѩ=∂}O
Jx K≥¿ÑÊ Ñ¶¨∞@ìOÖ’ =∞#∞㨇 $uÖ’ ''U kfiA_»∞ ¿ÇÏ`«∞âߢ™êÎÅ#∞
(¿ÇÏ`«∞"å^Œ „Ѩ^è•#"≥∞ÿ# âߢ™êÎÅ#∞) J#∞ã¨iOz „â◊√u–㨇 $`«∞Å
„áê=∂}Ϻxfl „Ѩtfl™êÎ_À J\˜ì <åã≤‰Î Ωõ }˜‚ ã¨`∞« Ê~°∞+¨µÅ∞ |Ç≤Ï+¨¯iOKåe——
Jx JO@∂ ''JÖÏO\˜ "Õ^ŒxO^Œ‰õΩ_»∞ <åã≤ΉõΩx =O\˜"å_»∞—— J#fl
*q„âßO`åKå~°∞ºÅ∞, ã¨O㨯 $`« qÉèÏQÆ=Ú, L™ê‡xÜ«∂ qâ◊fiq^•ºÅÜ«∞O, ÃÇ·Ï^Œ~åÉÏ^Œ∞.
Platinum Platform
- =∞Ǩ=∞Ǩϟáê^蕺ܫ∞ _®II ѨÙÖˇ¡Å N~å=∞K«O„^Œ∞_»∞
Jaè„áêÜ«∞O`À ÃÑ"· åHõºO K≥Ñʨ |_çOk. JO^Œ∞KÕ`<« Õ `«^•fi ºMϺ#OÖ’
‰õ Ω Å∂¡ H õ É è í @ ∞ì – ''"Õ ^ Œ " åHõ º "£ ∞ J„Ѩ = ∂}"£ ∞ † "åHõ º `åfi`ü †
q„ѨÅ=∞ƒùH"õ åHõº=`ü† Wu „Ѩu‰õÄÅ `«~å¯=+¨"ì ∞Õ ƒù# Kå~åfiHÍk <åã≤HÎ õ
W= <åã≤ÎHõó Ü«∞`À "Õ^Œx#ÌHõó—— Jx P "åHͺ~°úO q=iOKå_»∞
(=∞.ã¨∞‡ $. 2.11) JO^Œ∞KÕ`« 'Jã≤Η '<åã≤Η â◊ÉÏÌÅ #∞O_ç
x+¨Ê#fl=ÚÖˇ·# 'Pã≤ÎHõ— '<åã≤ÎHõ— â◊ÉÏÌʼnõΩ áê}˜x K≥Ñ≤Ê# J~°÷"Õ∞
„QÆÇ≤ÏOK«_»O Ü«ÚHõÎO.
P J~°O÷ „QÆÇÏ≤ ¿ãÎ É∫^Œ–ú *ˇ#· ^Œ~≈° <åÅ∞‰õÄ_» Pã≤HÎ õ ^Œ~≈° <åÖË
J=Ù`å~Ú HÍx <åã≤HÎ õ ^Œ~≈° <åÅ∞ H͉õÄ_»^∞Œ . XHõ¯ Kå~åfiHõ ^Œ~≈° #O
<åã≤HÎ õ ^Œ~≈° #O Jx K≥áêÊe. JO^Œ∞KÕ`<« Õ „H©ã∞¨ âÎ H◊ Oõ ѨOK«=∞ â◊`åaÌH˜
K≥Ok# ǨÏiÉè„í ^Œã∂¨ i J#∞ XHõ *ˇ#· ^•~°≈x‰õΩ_»∞ +¨_~¤» ≈° hã¨=ÚK«ÛÜ ù ∞« ó
J#∞ XHõ „ѨH~õ }° „QÆO^äOŒ Ö’ – ''=¸ÅÉè^Ë •hfl, ^Õ=`å`«`Ϋ fi Éè^Ë •hfl
Ѩ\ ˜ì É∫^ŒúO, <≥·Ü«∂~ÚHõO, ™êOYºO, *ˇ·#O, "≥·âı+≤HõO, *ˇ·q∞hÜ«∞O
Jx ^Œ~°≈<åÅ∞ P~°∞ =∂„`«"Õ∞—— Jx „ѨuáêkOKå_»∞.
''^Œ~°≈<åx +¨_Õ„"å`« =¸ÅÉèË^Œ =º¿ÑHõ∆Ü«∂
^Õ=`å`«`«Î fiÉèË^Õ# *Ï˝`«"åºx =∞h+≤aèó
ɡ·^ŒúO <≥·Ü«∂~ÚHõO ™êOYºO *ˇ·#O "≥·âı+≤HõO `«^ä•
*ˇ·q∞hÜ«∞O K« <å=∂x ^Œ~°≈<å<å =∞=¸#ºÇ¨ÏŸ
ÃÑ·# K≥Ñ≤Ê# ^Œ~°≈<åÅhfl Pã≤ÎHõ ^Œ~°≈<åÖË Jx ‰õÄ_»
ǨÏiÉè„í ^Œã∂¨ i Jaè„áêÜ«∞O. JO^Œ∞KÕ`<« Õ W`«_∞» „QÆO^ä•O`«OÖ’ –
''*ˇ·q∞hÜ«∞ „Ѩ=∂}㨺 ã¨OˆH∆áÈ-Ü«∞O x"Õk`«ó
U==∂ã≤ÎHõ"å^•<åO Hõ$`«O ã¨OˆH∆ѨH©~°Î#"£∞——
Jx JO\Ï_»∞. *ÏQÆ~°ÎQÍ Ñ¨ije¿ãÎ D<å_»∞ „ѨKå~°OÖ’
L#fl Pã≤ÎHõ–<åã≤ÎHõ^Œ~°≈# qÉèÏQÆO J~åfip#O – U #∂~°∞
#∂@Ü«∂Éèˇ· ã¨O=`«û~åÅ „H˜`«"≥∂ U~°Ê_ç#k JxÑ≤ã¨∞ÎOk.
Pã≤ÎHõ^Œ~°≈<åÅ∞ P~°∞ J#∞ XHõ ã¨OYº x~åúiOz# `«~°∞"å`« <åã≤ÎHõ
^Œ~°≈<åÅ∞ ‰õÄ_» P~°∞ Jx HõeÊOz LO\Ï~°∞. ZO^Œ∞KÕ`«##QÍ D
qÉèÏQÆO „ѨHÍ~°O É∫^Œú – *ˇ#· ^Œ~≈° <åÅ∞ <åã≤HÎ ^õ ~Œ ≈° <åÅ∞ J<åfl‰õÄ_»
Kå~åfiHõ^Œ~°≈#O`À HõeÑ≤ "å\˜ ã¨OYº =¸_»∞ =∂„`«"Õ∞ HÍ"åe.
JO^Œ∞KÕ`« +¨@ûOMϺѨÓiÎHÀã¨O É∫^Œ^ú ~Œ ≈° #OÖ’x J"åO`«~° Éè^Ë •Öˇ#·
Ü≥∂QÍKå~°–™œ„`åOuHõ–"≥·ÉèÏ+≤Hõ–=∂^茺q∞Hõ ã¨O„Ѩ^•Ü«∂Å#∞
<åÅ∞QÆ∞ ^Œ~≈° <åÅ∞QÍ „QÆÇÏ≤ Oz P~°∞ Jx K≥Ñʨ _»O [iyOk. WÖÏO\˜
125
J"åO`«~° ÉèË^•Å#∞ HõÅ∞ѨÙH˘O>Ë Pã≤ÎHõ^Œ~°≈<åÅ ã¨OYº U W~°"≥·HÀ
ÃÑ~°QÍe. JÖψQ *ˇ·#OÖ’x, âıfi`åO|~°–kQÆO|~° ÉèË^Œ^ŒfiÜ«∂xfl
|\˜ì <åã≤ÎHõ ^Œ~°≈<åÅ∞ Hõhã¨O U_»∞ HÍ"åe. U"≥∞ÿ<å áê}˜hÜ«∞
x~°fiK«<å#∞™ê~°O É∫^Œú–*ˇ·# ^Œ~°≈<åÅ∞ ‰õÄ_® Pã≤ÎHõ^Œ~°≈<åÖË J<Õk
q=H˜∆`åOHõ∆O.
''Éèí[¿ã"åÜ«∂"£∞—— J#∞ ^è•`«∞=Ù #∞O_ç x+¨Ê#fl"≥∞ÿ# 'ÉèíH˜Î—
â◊ÉÏÌxH˜ ¿ãqOK«∞@ Jx J~°÷O. ¿ãqOK«∞@ J#_»OÖ’<Õ ^≥· fi`«O,
ÉèË^ŒÉèÏ=O JO`«~°æ`«"≥∞ÿ L#flk. ¿ã=Ùº_»∞ (¿ãqOѨ^Œy#"å_»∞),
¿ã=‰õΩ_»∞ (¿ãqOKÕ"å_»∞) J#∞ ÉèË^ŒÉèÏ=O L#flѨÙÊ_Õ '¿ã=— J<Õk
‰õΩ^Œ∞~°∞`«∞Ok. `«#HõO>ˇ Q˘Ñ¨Ê"å_≥·# XHõ =ºH˜Îx ÖË^• â◊H˜Îx
=∞<À"åHͯܫ ∂ ÅKÕ ` « P~åkè O z `« ^ Œ # ∞„QÆ Ç ¨  xfl
ã¨OáêkOK«∞H˘#_®xH˜ KÕ¿ã Ü«∞`«fl"Õ∞ ¿ã=. JÖÏO\˜ ¿ã=‰õΩ
„¿Ñˆ~Ñ≤OKÕ =∂#ã≤Hõ=$uÎ ‰õÄ_» ÉèíH˜ÎÜÕ∞.
qq^èŒ ^Õ=`«Å ã¨∞`Î ∞« Å`À xO_ç L#fl "Õ^•ÅÖ’ ÉèHí cΘ *ÏÅ∞
JO`«\Ï xH˜∆ѨÎ=ÚÖˇ· L<åfl~Ú. Ѩ~°"Õ∞â◊fi~°∞}˜‚ qq^èŒ~°∂áêÅÖ’
=i‚ã¨∂Î, `«^•~å^茉õΩÅ K«i„`«Å#∂, P~å^èŒ<å q^è•<åÅ#∂
qã¨Î $`«OQÍ „ѨuáêkOKÕ WuǨ㨠ѨÙ~å}ÏÅ Ju „áêp#HÍÅO
#∞Op ÉèÏ~°`^« âÕ O◊ Ö’ „ѨKå~°OÖ’ L#fl ÉèHí HΘ ˜ ã¨<å`«#^è~Œ ‡° OÖ’ L#fl
J`«∞º#fl`« ™ê÷<åxH˜ L^•Ç¨Ï~°}Å∞.
J~Ú`Õ Ñ¨~°`«`«Î fi x~°‚Ü«∞ „Ѩ^è•<åÖˇ·# ^Œ~°≈<åÅÖ’
ÉèíH˜Îã¨fi~°∂ѨO, "å\˜Ö’x Dâ◊fi~° ã¨fi~°∂Ѩ x~°‚Ü«∂xfl Ѩ\ ˜ì H˘OK≥O
"Õ~°∞"Õ~°∞QÍ Hõ#|_»∞`«∞Ok. Ô~O_»∞ =¸_»∞ ^Œ~°≈<åÅ∞ `«Ñ¨Ê q∞ye#
^Œ~≈° <åÅxflO\˜Ö’#∂ Dâ◊fi~°ÉHíè HΘ ˜ ZO`À „áê^è•#ºO L#flk. r=Ù#‰õΩ
Dâ◊fi~°∞#‰õΩ („|Ǩχ‰õΩ) ÉèË^ŒO ÖË^Œ∞ J<Õk Ѩ~°=∞ ã≤^•úO`«O Jx
„ѨuáêkOKÕ J^≥· fi`«^Œ~°≈#OÖ’ ‰õÄ_» ÉèíH˜ÎH˜ J`«ºkèHõ „áê^è•#ºO
LO_»_=» ¸, x*ÏxH˜ D<å_»∞ „ѨKå~°OÖ’ L#fl ÉèHí =Θ ∂~åæxH˜ J^≥· fi`«
ã≤^•úO`« ѨÙ#ó„Ѩuáê^Œ‰õΩÖˇ·# N â◊OHõ~°ÉèíQÆ=`åÊ^Œ∞ÖË „Ѩ^Œ~°≈‰õΩÅ<Õ
q+¨Ü«∞=¸ QÆ∞iÎOѨ^Œy#q.
É∫^Œ–ú *ˇ#· ^Œ~≈° <åÅ∞ Dâ◊fi~°∞}˜‚ JOwHõiOK«Háõ È=_»O KÕ`«
Dâ◊fi~°ÉèíH˜ÎH˜ "å\˜Ö’ J=HÍâ◊O ÖËHõáÈ~Ú<å, ^•xH˜ U=∂„`«=¸
fã≤áÈx W`«~"° ∞≥ #ÿ ÉèHí Θ "å\˜Ö’ ã≤~÷ "° ∞≥ #ÿ ™ê÷<åxfl ã¨OáêkOK«∞H˘#flk.
„áê~°OÉèí^Œâ◊Ö’ ZÖÏ L<åfl HÍÅ„Hõ=∂# É∫^Œú=∞`«OÖ’ |∞^Œ∞úx
P~å^èŒ#‰õΩ, ^•xH˜ ã¨O|OkèOz# J<ÕHõ HÍ~°º„Hõ=∂ʼnõΩ „áê^è•#ºO
W=fi_»O „áê~°OÉèí"≥∞ÿ#k. J<ÕHõ „Ѩ^ÕâßÅÖ’ J<ÕHõ q^è•Öˇ·#
^Õ"åÅÜ«∂Å x~å‡}ÏÅ∞ KÕÜ«∞|_®¤~Ú. Z<Àfl ã¨∂ÎáêÅ∞ <≥ÅH˘ÅÊ
|_®¤~Ú. ^Õ"åÅÜ«∂ÅÖ’ |∞^Œ∞úx q„QÆǨÅ∞ ™ê÷Ñ≤OK«|_®¤~Ú.
ã¨∂ÎáêÅÖ’ |∞^Œ∞úx âßs~å=âıëêÅ∞ xH˜∆ѨÎ=ÚÖˇ·<å~Ú. D
126
q„QÆǨʼnõΩ ѨÙëêÊ^Œ∞Å`À ѨÓ[Å∞ [~°∞QÆ∞`«∂O\Ï~Ú. ™ê=∂#º
„áê~°÷<å^Œ∞ÖËHÍHõ =∞ǨÜ«∂# =„[Ü«∂<åk É∫^Œúã¨O„Ѩ^•Ü«∂ÅÖ’
|∞^Œ∞ú}©‚, ^èŒ~å‡hfl QÆ∂iÛ# J<ÕHõ L`«û"åÅ∂, ѨÓ*Ïq^è•<åÅ∂
„áê~°OÉèOí JÜ«∂º~Ú. „Ѩf L`«û==¸ Hõ~‡° HõÖÏѨ=¸ ‰õÄ_» ''|∞^ŒOú
â◊~°}O QÆKåÛùq∞——, ''^èŒ~°‡O â◊~°}O QÆKåÛùq∞—— ''ã¨OѶ¨∞O â◊~°}O
QÆKåÛùq∞—— J#∞„uâ◊~°}QÆ=∞# =∞O„`åÅ [ѨO`À „áê~°OÉèíO
J=Ù`«∞Ok. ZO^Œ~À ^Õ=`«Å∂, =∞O„`åÅ∞, =Ú„^ŒÅ∞, ^è•i}©Å∞,
=∞O_»ÖÏÅ∞ "≥Ú^ŒÖˇ·#q J`«ºkèHõ „ѨKå~°OÖ’xH˜ =KåÛ~Ú. W=hfl
É∫^Œ=ú ∞`«OÖ’x ÉèHí HΘ ,© `«`û« O|^Œ"ú ∞≥ #ÿ HÍ~°ºHõÖÏáêxH© ã¨O|OkèOz#
„Ѩ^è•<åOâßÅ∞.
É∫^Œ∞Åú ∞ |∞^Œ∞}ú ‚˜ Dâ◊fi~°∞xQÍ ÉèÏqOz#>Ë¡ *ˇ#· ∞Å∞ *ˇ#· =∞`«
„Ѩ=HõÎÜ≥ÿ∞# =∞Ǩg~°∞}˜‚ Dâ◊fi~°∞xQÍ ÉèÏq™êÎ~°∞. =∞Ǩg~°∞x
q„QÆǨÅ`À#∞, *ˇ·#∞Å∞ P~åkèOz J<ÕHõ ^Õ=`«Å q„QÆǨÅ`À#∞
J<ÕH"õ ∞≥ #ÿ ^Õ"åÅÜ«∂Å∞<åfl~Ú. *ˇ#· ∞ÅO^Œ~∂° P q„QÆÇ¨ Å#∞ qq^èŒ
Ѩ^Œú`«∞ÅÖ’ ѨÓlã¨∞ÎO\Ï~°∞. D qѶ¨∞OQÍ *ˇ·#^Œ~°≈#OÖ’ ‰õÄ_»
ÉèíH˜Î=∂~åæxH˜ „áê^è•#ºO LOk.
Pã≤ÎHõ ^Œ~°≈<åÅ∞QÍ „Ѩã≤kúK≥Ok# ™êOYº–ѨÓ~°fi
g∞=∂O™ê ^Œ~≈° <åÅ∞ Dâ◊fi~°∞}Ë‚ JOwHõiOK«=Ù. [QÆ`û« $ëêì ºk‰õO
JO`å „Ñ¨^•è # ѨÙ~°∞+¨µÅ (r=ÙÅ∞) "å\˜ ã¨O|O^è=Œ ¸ – g\˜`À<Õ
[iyáÈ`« ∞ #flѨ C _» ∞ WOHõ Dâ◊ fi ~° ∞ x`À Ѩ x Uq∞\˜ Jx
™êOY∞ºÅO>Ë P Ѩ#∞Åhfl Hõ~°‡KÕ`«<Õ [iyáÈ`«∞<åfl~Ú QÍ#
Dâ◊fi~°∞_≥O^Œ∞‰õΩ Jx ѨÓ~°fig∞=∂O㨉õΩÅO\Ï~°∞. W^˘Hõ
qz„`«"∞≥ #ÿ J~°~÷ Ç° Ï≤ `«"∞≥ #ÿ "å^ŒO. ^Õ=Ù_»∞ LO_»_O» ÖËHáõ È=_»O
J<Õk XHõ Ü«∞^ä•~°ã÷ u÷≤ x |\˜ì x~°~‚ ÚOK«=Åã≤ LO@∞Ok. P`«_∞»
KÕÜ«∞=Åã≤# Ѩx Ug∞ ÖË^Œ∞ JO^Œ∞KÕ`« P`«_Õ ÖË_»∞ J#_»O
J~°~÷ Ç° Ï≤ `«"∞≥ #ÿ "å^ŒO. XHõi LxH˜ =∞# WëêìxëêìÅg∞^Œ J=ã¨~å#
=ã¨~åÅg∞^Œ P^è•~°Ñ¨_ç LO_»^Œ∞ Hõ^•? JÖÏO@ѨÙÊ_»∞, g∞
=∞`åxH©, g∞~°∞ J_»∞QÆ_∞» QÆ∞<å YO_çOKÕ Ö’HÍÜ«∞`« =∞`åxH©
Éè^Ë OŒ Uq∞\˜? JO^Œ∞KÕ`« P^Œ~≈° <åÅÖ’<Õ `«~∞° "åu PKå~°∞ºÅ∞
P "å^•xfl JOwHõiOK«Ö^Ë ∞Œ . âßGO „Ѩ=∂}O Jx JOwHõi¿ãÎ
^Õ=Ùxfl JOwHõiOKåe. JO^Œ∞KÕ`«<Õ „áêp#"≥∞ÿ# xsâ◊fi~°
™êOMϺxfl HÍ^Œx ¿ãâ◊fi~°™êOYº=Ú (J^Õ Ü≥∂QÆ^Œ~°≈#=Ú)
¿ãâ◊fi~°g∞=∂O™ê |Ü«∞Å∞^Õ~å~Ú. "å\˜Hˆ Pã≤HÎ Öõ ’HõOÖ’ Z‰õΩ¯=
„Ѩ=∂}ºO.
N â◊OHõ~°ÉèíQÆ=`åÊ^Œ∞ʼnõΩ =$^Œú ã¨=∞HÍe‰õΩ_≥·# ‰õΩ=∂iÅ
Éè\í Ïì~‰° Ωõ Å∞ `«# âß|~°ÉÏè +¨º "åºYºÜ≥∞ÿ # â’¡H"õ åiÎHOõ (âß|~°ÉÏè +¨ºO
ѨÓ~°fig∞=∂O™ê =¸Å"≥∞ÿ# *ˇ·q∞xã¨∂„`åÅ ÉèÏ+¨ºO) t=ã¨∞Îu`À
„áê~°OaèOKå~°∞.
Platinum Platform
 ''qâ◊√^Œú*Ï˝#^ÕǨ`«∞ „u"Õnk=ºK«‰õ∆Ω+‘
NÜ«∞ó „áêÑ≤Î xq∞`åÎÜ«∞ #=∞ó ™È=∂~°ú^è•i}Ë—— (â’¡."å. 1.1)
JO`Õ H ͉õ Ω O_® ''H˘O^Œ ~ ° ∞ „áêp# "åºMϺ`« Å ∞
ѨÓ~°fig∞=∂O™êâߢ™êÎxfl Ö’HÍÜ«∞`« "å^ŒO ã≤u÷ H˜ kQÆ*ψ~Ûâß~°∞.
Jk ã¨iKÕÜ∞« _»O HÀã¨O D "åºYº „"åã¨∞<Î åfl#∞—— Jx ‰õÄ_»
JO\Ï~°∞.
''„áêÜÕ∞}ˇÿ= Ç≤Ï g∞=∂O™ê Ö’ˆH Ö’HÍÜ«∞fHõ$`å,
`å=∞ã≤HÎ Ñõ ^¨ Õä Hõ~∞° =Î ∞Ü«∞O Ü«∞`«fló Hõ$`À =∞Ü«∂—— (â’."å. 1.10)
™êOYº^Œ~≈° #O „ѨHÍ~°O „ѨH$õ u, ѨÙ~°∞+¨µ_»∞ (r=Ù_»∞) Jx
Ô~O_Õ =¸Å`«`åÎ fiÅ∞. „ѨHõ$u [_»O, r=Ù_»∞ K≥·`«#ºã¨fi~°∂ѨÙ_»∞.
„ѨÑO¨ KåxH˜ =¸ÅHÍ~°}O „ѨH$õ u. Wk ã¨`Ϋ fi–~°[ãπ–`«"∂≥ QÆ∞}ÏÅ
ã¨OѶ∂¨ `«~∂° Ѩ"∞≥ #ÿ k. D =¸_»∞ QÆ∞}ÏÅ∞ ™ê=∂º=ã¨Ö÷ ’ L#flѨÙÊ_»∞
ã¨$+≤ì LO_»^Œ∞. JѨÙÊ_»∞ „ѨHõ$u („Ѩ^è•#O Jx ‰õÄ_» nxH˜ P
ã≤÷uÖ’ ¿Ñ~°∞) JK«OK«ÅOQÍ LO@∞Ok. ѨÓ~°fiHõ~å‡#∞™ê~°O
ѨÙ~°∞+¨µÅ‰õΩ „ѨH$õ u`À ã¨OÜ≥∂QÆO U~°Ê_»_O» `À „ѨH$õ u ã¨$+≤ì KÕÜ∞« _»O
„áê~°Oaèã¨∞ÎOk. „ѨHõ$u #∞O_ç "≥Ú@ì"≥Ú^ŒÅ∞ =∞ǨÏ`«Î`«Î fiO
ѨÙ_»∞`«∞Ok. ѨÙ~°∞+¨µx K≥·`«#ºO =∞ǨÏ`«Î`«Î fiOÖ’ „ѨuaOaOK«_»O
KÕ`« Jk KÕ`#« O =Öˇ ÉèÏã≤ã∞¨ OÎ k. JѨÙÊ_»∞ ^•xx ã¨HÅõ [QÆ^∞Œ `«ÊuÎ
¿ÇÏ`«∞"≥·# |∞kú`«`«Î fiO JO\Ï~°∞. D |∞kú`«`«Î fiO JǨÏOHÍ~°OQÍ
Ѩi}`«O J=Ù`«∞Ok. D JǨÏOHÍ~°`«`«Î fiO '<Õ#∞— '<åk— J#∞
Jaè=∂<åxH˜ HÍ~°}O. nx`À ã¨O|OkèOK«_»O KÕ`« ѨÙ~°∞+¨µ_»∞
Hõ~°Î#x J#∞H˘O@∂O\Ï_»∞. ã¨`«Î fiQÆ∞} „Ѩ^è•#"≥∞ÿ# JǨÏOHÍ~°O
#∞O_ç `«fiH±–K«‰Ω∆õ ó–„â’„`«–„Ѷ∂¨ }–~°ã#¨ Å#∞ S^Œ∞ *Ï˝<OÕ „kÜ«∂Å∞,
"åH±–áê}˜–áê^Œ–áêÜ«Ú–LѨã¨÷Å#∞ J~Ú^Œ∞ Hõˆ~‡O„kÜ«∂Å∞,
LÉèÜ í ∂« `«‡Hõ"∞≥ #ÿ =∞#ã¨∞û [x™êÎ~Ú. `«=∞ó „Ѩ^•è #"≥∞#ÿ JǨÏOHÍ~°O
#∞O_ç ѨOK«ã¨∂÷Å =∞ǨÉèí∂`åʼnõΩ HÍ~°}"≥∞ÿ# ã¨∂Hõ∆ ‡Éèí∂`åÅ∞
(g\ ˜ ˆ H Éè í ∂ `« ` « < 凄`« Å x ¿Ñ~° ∞ ) Ѩ Ù _» ` å~Ú. g\ ˜ Ö ’
â◊|–Ì ã¨Ê~°≈–~°∂Ѩ–~°ã–¨ QÆO^è•Å J=ºHÍÎ=ã¨Ö÷ ’ LO\Ï~Ú. g\˜#∞O_ç
ã¨∂÷Å=ÚÖˇ·# ѨOK« =∞ǨÉèí∂`åÅ∞ ѨÙ_»`å~Ú. D q^èŒOQÍ
™êOY∞ºÅ∞ 24 `«`åÎ fiÅ#∞ JOwHõi™êÎ~°∞.
r=Ù_»∞ J*Ï˝#=â◊O KÕ`« J<å`«‡Öˇ#· ^Õ¿ÇÏO„kÜ«∂^Œ∞ʼnõΩ
K≥Ok# ã¨∞Y^Œ∞óMÏÅ#∞ `«#g∞^Œ "Õã≤H˘x ã¨∞Y^Œ∞óY=â◊O=^Œ∞
_Ò`«∞O\Ï_»∞. ™ê^èŒ# ^•fi~å D J*Ï˝#O `˘ÅQÆQÍ<Õ Ö’Hõ=º=Ǩ
~å#flO`«h XHõ q^è"Œ ∞≥ #ÿ xi¡Ñ`Ψ À K«∂ã¨∂OÎ \Ï_»∞. W\˜ì ã≤u÷ Hˆ HÔ =· źO,
=ÚH˜Î, JѨ=~°æO Jx ¿Ñ~°∞¡. W\˜ì ã≤÷ux D â◊s~°O LO_»QÍ<Õ
ã¨OáêkOK«QÆey`Õ Jk r=#∞‡H˜Î.
Wk ã¨OH˜∆ѨÎOQÍ ™êOYº^Œ~°≈<åxHõ „Ѩ„H˜Ü«∞. nxÖ’
Dâ◊fi~°∞xH˜ QÍx Dâ◊fi~°ÉèíH˜ÎH˜ QÍx U=∂„`«=Ú `å=ÙÖË^Œ∞.
Platinum Platform
Ü≥∂QÆ^Œ~°≈#O [QÆxfl~å‡}Ïk q+¨Ü«∂ÅÖ’ KåÖÏ=~°‰õΩ
™êOYº^Œ~°≈<åxfl J#∞ã¨iOz LO@∞Ok. LѨx+¨^•^Œ∞ÅÖ’
xQÆ∂_è»"≥∞ÿ# D ^Œ~°≈<åxfl „Ѩ=iÎOѨKÕã≤#"å_»∞ Ѩ`«O[e =Úx.
D ^Œ~°≈#O ™êOY∞ºÅ K«`«∞ifiOâ◊u `«`åÎ fiÅ`Àáê@∞ Dâ◊fi~°∞}˜‚
‰õÄ_» ѨOK«qOâ◊u`«=∞`«`Ϋ fiOQÍ JOwHõiã¨∞OÎ k. J~Ú`Õ Dâ◊fi~°∞_»∞
[QÆ`ü ã¨$+≤ì – ã≤÷u – ã¨OǨ~åʼnõΩ HÍ~°}=∞x Ü≥∂QÆ^Œ~°≈#OÖ’
JOwHõiOz#@∞¡ ÖË^Œ∞. z`«ÎOÖ’ ã¨~°fi^• U"Õ"À ÉèÏ"åÅ∞
HõÅ∞QÆ∞`«∂<Õ LO\Ï~Ú. "å\˜H˜ z`«=Î $`«∞ÅÎ x ¿Ñ~°∞. D z`«=Î $`åÎxfl
ѨÓiÎQÍ PÑ≤"Ü Õ ∞« _»O Ü≥∂QÆO. D ã≤u÷ x ™êkèOK«_®xH˜ P=â◊ºHõ"∞≥ #ÿ
Ü«∞=∞xÜ«∞=∂k ™ê^èŒ<åÅ#∞ Ü≥∂QÆ^Œ~°≈#O É’kèã¨∞ÎOk.
z`åÎxfl UHÍ„QÆO KÕã≤H˘#_®xH˜ J<ÕHõ"≥∞ÿ# LáêÜ«∂Å#∞
É’kèã¨∂Î "å\˜Ö’ XHõ\ ˜ z`åÎxfl Dâ◊fi~°∞xg∞^Œ xÅѨ_»O Jx –
''Dâ◊fi~°„Ѩ}˜^è•<å^•fi—— (Ü≥∂.ã¨∂. 1.23)
J#∞ ã¨∂„`«OÖ’ K≥ѨÊ|_çOk. Dâ◊fi~°∞_»∞ ã¨~°fi[˝`åfik
QÆ∞}qt+¨µì_»∞. „Ѩ}=O (FOHÍ~°O) Dâ◊fi~° ã¨fi~°∂ѨO, Dâ◊fi~°
„ѨfHõ=¸ ‰õÄ_». nx J~å÷xfl =∞##O KÕã≤H˘O@∂ ^•xg∞^Œ
=∞#ã¨∞û xÅáêe. Wk z`«Î=$uÎ x~À^è•xH˜ LѨÜ≥∂yOKÕ
J<ÕHÀáêÜ«∂ÅÖ’ XHõ\ .˜ D q^èOŒ QÍ Ü≥∂QÆ^~Œ ≈° #OÖ’ Dâ◊fi~°∞xH˜
Dâ◊fi~°ÉèíH˜ÎH© L#fl „áê^è•#ºO JO`«O`« =∂„`«"Õ∞.
g∞=∂O™êã≤^•úO`«O „ѨHÍ~°O "Õ^•Å∞ Ѩ~°=∞„Ѩ=∂}O.
WÖÏ K≥Ü«∂ºe Jx "Õ^ŒOÖ’ qkèOz#^ŒO`å ^èŒ~°‡O. WÖÏ
KÕÜ∞« ‰õÄ_»^∞Œ Jx x¿+kèOz#k J^è~Œ ‡° O. P`«‡ [#‡=∞~°}~°ÇÏ≤ `«O.
x`«ºO. P`«‡‰õΩ *Ï˝#O ã¨ÇϨ [O HÍ^Œ∞. Wk P`«‡ ^Õ¿ÇÏO„kÜ«∂^Œ∞Å`À
ã¨O|OkèOz LO_ç q+¨Ü«∂Å#∞ „QÆÇ≤ÏOKÕ ã¨=∞Ü«∞OÖ’<Õ ^•xÖ’
*Ï˝#O HõÅ∞QÆ∞`«∞Ok. ^ÕǨÏÉèË^•xfl Ѩ\ ˜ì r=ÙÅ∞ aè#∞flÅ∞.
Hõ#|_»∞`«∞#fl D [QÆ`«ÎO`å ã¨`«º"≥∞ÿ#k. nxH˜ Pk HÍx JO`«O
HÍx ÖË^Œ∞. Jxfl HÍÖÏÅÖ’#∞ [QÆ^Œfi º=Ǩ~°O WÖψQ LO@∞Ok.
JO^Œ∞KÕ`« [QÆ`«û$ëêì º^Œ∞Å xq∞`«ÎO Dâ◊fi~°∞_˘Hõ_»∞<åfl_»x
JOwHõiOK«=Åã≤# ѨxÖË^∞Œ . r=ÙÅ Hõ~‡° Å##∞ã¨iOz „ѨÑO¨ K«OÖ’
Ѩ^•~å÷Å∞ ѨÙ_»∞`«∂O\Ï~Ú. Hõ~°‡ÜÕ∞ ã¨~°fiâ◊HõÎ"≥∞ÿ Ö’Hõ=º=Ǩ~°O
#_»∞ѨÙ`«∂ =ÙO@∞Ok.
=∂#=Ù_»∞ "Õ^ŒqÇ≤Ï`åÖˇ·# ã¨fi^èŒ~å‡Å#∞ (Hõ~°‡Å#∞)
PK«iã¨∂Î<Õ LO_®e. WÖÏ ã¨fi^èŒ~å‡#∞ëêª#O KÕÜ«∞QÍ KÕÜ«∞QÍ
Hõ~°‡|O^è•Åhfl #tOz "≥∂Hõ∆O Åaèã¨∞ÎOk. "≥∂Hõ∆O JqzÛù<åfl#O^Œ
~°∂Ѩ=∞x H˘O^Œi g∞=∂O㨉õΩÅ Jaè„áêÜ«∞O. ã¨fi^èŒ~å‡#∞ëêª#O
KÕ`« ã¨fi~°æO Åaèã¨∞ÎO^Œx „áêp# g∞=∂O㨉õΩÅOwHõiOK«QÍ
`« ~ ° ∞ "åu"å~° ∞ xëê¯=∞Hõ ~ ° ‡ KÕ ` « "≥ ∂ Hõ ∆ O Hõ Å ∞QÆ ∞ `« ∞ O^Œ x
JOwHõiOKå~°∞.
127
 Dâ◊fi~°∞}˜‚ JOwHõiOK«x „áêp# g∞=∂O㨉õΩÅ ^Œ$ëêì º
D ^Œ~°≈#OÖ’ Dâ◊fi~°∞xH˜ QÍx Dâ◊fi~°ÉèíH˜ÎH˜ QÍx J=HÍâ◊O
Ug∞ÖË^∞Œ . Dâ◊fi~°∞}˜‚ JOwHõiOz#"å~°∞ ‰õÄ_ P`«x "≥t· ëêì º^Œ∞Å#∞
QÆ∂iÛ QÍx, ÉèíH˜Îx QÆ∂iÛ QÍx Ug∞ K≥ѨÊÖË^Œ∞. "åà◊¡ ^Œ$+≤ì ‰õÄ_®
"Õ^•~°÷x~°‚Ü«∞ – Hõ~å‡K«~°}Ï^Œ∞Å q+¨Ü«∞OÖ’<Õ ˆHO„nHõ$`«"≥∞ÿ#k.
<≥Ü · ∂« ~Ú‰õΩʼnõΩ "≥â· +ı ‰≤ Ωõ ʼnõΩ ‰õÄ_® Ѩ~=° ∞ÅHõ∆ ºO "≥∂Hõ"∆ ∞Õ .
Wk `«`«Î fi*Ï˝#O KÕ`« ã≤kúã¨∞ÎOk. g~°∞ [QÆ`«∞Î#O`«#∂ H˘xfl
Ѩ^•~å÷Å~°∂ѨOÖ’ qÉèílOz D Ѩ^•~å÷Å Ü«∞^ä•~°÷ ã¨fi~°∂ѨO
`≥eã≤H˘O>Ë P`«‡Ü«∞^ä•~°÷ ã¨fi~°∂ѨO `≥Å∞ã¨∞OÎ ^Œh, J^Õ `«`Ϋ fi*Ï˝#=∞h,
Jk "≥∂Hõ∆¿ÇÏ`«∞=h „ѨuáêkOKå~°∞. g~°∞ Ü«ÚH˜Î™êǨÜ«∞O KÕ`«
Dâ◊fi~åã≤Î`åfixfl ™êkè™êÎ~°∞. Ѷ¨∞\Ïk HÍ~åºÅ∞<åflÜ«∞#QÍ "å\˜
x~å‡}Ï^Œ∞Å#∞ QÆ∂iÛ ÉÏQÆ∞QÍ `≥eã≤# â◊‰õΩÎÖˇ·# ‰õΩÖÏÖÏ^Œ∞Öˇ·#
Hõ~Åΰ ∞O_®e. J>Ë¡ [QÆxfl~å‡}O q+¨Ü∞« OÖ’ ã¨~fi° A˝_∞» – ã¨~fi° â◊‰Ωõ _Î ∂»
J~Ú# Dâ◊fi~°∞_˘Hõ_»∞ L<åfl_»x JOwHõiOKåe. P Dâ◊fi~°∞_Õ
[QÆ ` « û $+≤ ì – ~° H õ ∆ } –㨠O Ǩ  ~° H õ ~ ° Î . x`« º =ÚÖˇ · # Éè í ∂ `« K « ` « ∞ +¨ ì Ü « ∞
Ѩ~°=∂}∞=ÙÅ ™êǨÜ«∞O`À#∞, HÍÅ–P`«‡–kH±–PHÍâ◊–=∞#ã¨∞ûÅ
™êǨÜ«∞O`À#∂ Dâ◊fi~°∞_»∞, D [QÆ`«∞Î#∞, r=ÙÅO^Œ~°∂ "åi"åi
ѨÙ}ºáêáêŠѶŨ O J#∞Éèqí OK«_O» HÀã¨O ã¨$+≤ãì ∞¨ OÎ \Ï_»∞. ZѨÊ\˜HÔ <· å
„Ѩu r=Ù_»∂ ‰õÄ_» `«`«Î fi*Ï˝#O ã¨OáêkOK«∞H˘x JѨ=~°æO
á⁄O^Œ=K«∞Û#∞. JѨ=~°æOÖ’ ã¨∞Y=¸ LO_»^Œ∞ ^Œ∞óY=¸ LO_»^Œ∞.
^Œ∞óMÏÉèÏ="Õ∞ "≥∂Hõ∆O. Dâ◊fi~°∞}˜‚ JOwHõiOz<å ‰õÄ_» D ^Œ~°≈<åÅ∞
Dâ◊fi~°ÉèíH˜ÎH˜ „áê^è•#ºO Ug∞ W=fiÖË^Œ∞.
ÃÑ·# K«∂z#@∞¡QÍ – Pã≤ÎHõ^•~°≈x‰õΩÅx K≥ѨÊ|_Õ
™êOY∞ºÅ∞, ѨÓ~°fig∞=∂O㨉õΩÅ∂ ‰õÄ_» Ѩ~°"Õ∞â◊fi~°∞}˜‚ JOwHõ
iOK«ÖË^Œ∞. „áêp# ѨÓ~°fig∞=∂O㨉õΩÖˇ·`Õ WO„^•k ^Õ=`«Å‰õΩ
â◊sˆ~O„kÜ«∂^Œ∞Å∞<åflÜ«∞x ‰õÄ_® JOwHõiOK«ÖË^Œ∞. nxx Ѩ\ ˜ì
qq^èŒ Ñ¨Ù~å}ÏÅÖ’x ^Õ=`å=~°#‚ Ѷ∞¨ \ÏìʼnõΩ, ^Õ=`«Å‰õΩ ã¨O|OkèOz#
LáêMϺ<å^Œ∞ʼnõΩ gi =∞`«O „ѨHÍ~°O ZÖÏO\˜ „áê=∂}ºO
LO@∞O^À TÇ≤ÏOK«=K«∞Û#∞. Dâ◊fi~°∞}˜‚ JOwHõiOz# <åºÜ«∞–
"≥·âı+≤Hõ–Ü≥∂QÆ∞Å∞ ‰õÄ_® Dâ◊fi~°∞#‰õΩ â◊sˆ~O„kÜ«∂^Œ∞Å#∞
JOwHõiOK«ÖË^Œ∞. gà◊¡ =∞`«O „ѨHÍ~°O – Ѩ~°"Õ∞â◊fi~°∞xH˜ [QÆ`«û$+≤ì
– ~°Hõ∆}–ã¨OǨÏ~°}Ïk Hõ~°Î $`«fi=Ú, ã¨~°fi[˝`«fi–ã¨~°fiâ◊HõÎ`åfi^Œ∞Å∂
LO_»_»O KÕ`« ã¨QÆ∞}∞_≥·<å ‰õÄ_®, Ѩ~°"Õ∞â◊fi~°∞_»∞ x~åHÍ~°∞_»∞.
DÜ«∞#‰õΩ "Õ~°∞"Õ~°∞ Ö’HÍÅ∞, Ѩi"å~åÅ∞, ÉèÏ~åº^Œ∞Å∞ L#fl@∞¡
ÖË^∞Œ . Ѩ~"° ∞Õ â◊fi~°∞x‰õΩ#fl D Q˘Ñ¨Ê`«<åxfl, ã¨~fi° [˝`åfi^Œ∞Å#∞ QÆ∞iÎã∂¨ <Î Õ
=∂#=Ù_»∞ `«# ^èŒ~å‡Å#∞ `å#∞ x~°fiiÎOK«∞‰õΩO@∂, ~åQÆ^Õfiëêk
^ÀëêÅ#∞ `˘ÅyOK« ∞ H˘O@∂ `« # L^Œ ú ~ ° } O HÀ㨠O `å<Õ
„Ѩܫ∞uflOKåe.
128
"Õ^•O`« ^Œ~°≈<åxH˜ =¸Å„QÆO^äŒ"≥∞ÿ# ÉÏ^Œ~åÜ«∞}Hõ$`«
„|Ǩχã¨∂„`åxH˜ âßs~°Hõ g∞=∂O㨠J#∞ ÉèÏ+¨ºO ~°zOz N
â◊ O Hõ ~ ° É è í Q Æ = `åÊ^Œ ∞ Å∞ BѨ x +¨ ^ Œ " ≥ ∞ ÿ # J^≥ · fi`« ã≤ ^ •ú O `åxfl
LѨx+¨^•^Œ∞Å "åºMϺ<åÅ ^•fi~å ‰õÄ_® „Ѩu+≤`ª O« KÕ¿ã<å\˜ =~°‰Ωõ
JO`«‰Ωõ =ÚO^Œ∞ „ѨKå~°OÖ’ L#fl ^Œ~≈° <åÅÖ’ Dâ◊fi~°ÉHíè HΘ ˜ JO`«QÍ
K≥ѨÙÊH˘#=Åã≤# ™ê÷#O ÖË^Œ∞. W\˜ì ã≤÷uÖ’ Ѩ~°"Õ∞â◊fi~°∞_»∞ ‰õÄ_®
Éè í H õ Î [ <å#∞„QÆ Ç ¨ Ï OHÀ㨠O â◊ s ˆ ~ O„kÜ« ∂ ^Œ ∞ Å∞ ^è Œ i Oz
™êH∆Í`«¯iOK«_»OÖ’ `«Ñ¨ÙÊÖË^Œh, Jk LѨx+¨`«ûO=∞`«"Õ∞#h Z\˜ì
ã¨Oâ◊Ü«∂xH© `å=ÙÖËx =∂@ÅÖ’ ã¨~°fi„Ѩ^äŒ=∞OQÍ#∞, ^Œ$_è»OQÍ
„ѨuáêkOz ѨÙ~å}Ï^Œ∞Å „áê=∂}Ϻxfl ‰õÄ_» ™ê÷Ñ≤Oz# Ѷ¨∞#`«
N â◊OHõ~°ÉèíQÆ=`åÊ^Œ∞ňH K≥O^Œ∞`«∞Ok. JO^Œ∞KÕ`«<Õ–
''„â◊√u 㨇 $u ѨÙ~å}Ï<å=∂ÅÜ«∞O Hõ~°∞}ÏÅÜ«∞"£∞
#=∂q∞ ÉèíQÆ=`åÊ^Œ â◊OHõ~°O Ö’Hõâ◊OHõ~°"£∞——
J#∞ N â◊OHõ~°ÉèíQÆ=`åÊ^Œã¨∞Îu „ѨKå~åxH˜ =zÛOk.
''#∞=Ùfi K«∂ã¨∞Î#flk <å ã¨`«ºã¨fi~°∂ѨO HÍ^Œ∞. W^ŒO`å <å
=∂Ü«∂™êǨÜ«∞O`À HõeÊOz#k. <å Jã¨Å∞ ã¨fi~°∂ѨO nxH˜
Jf`«"≥∞ÿ#k—— Jx qâ◊fi~°∂Ѩ^èŒ~°∞_≥·# <å~åÜ«∞}∞_»∞ <å~°^Œ∞x`À
K≥Ñ≤Ê#@∞¡QÍ ÉèíQÆ=O`«∞_»∞ J#∞„QÆÇ≤ÏOK«_»O HÀã¨O qq^èŒ ~°∂áêÅ∞
^è Œ i OK« = K« ∞ Û#∞—— Jx N â◊ O Hõ ~ ° É è í Q Æ = `åÊ^Œ ∞ Å∞ XHõ KÀ@
K≥Ñ≤ÊL<åfl~°∞.
''™êº`ü Ѩ~°"Õ∞â◊fi~°™êºÑ≤ SKåÛù=âß`ü =∂Ü«∂=∞Ü«∞O
~°∂ѨO ™ê^èŒHÍ#∞„QÆǨ~°÷"£∞
=∂Ü«∂ ¿ÇϺëê QÆ∞}=∞~¸ Ü«∞<å‡O Ѩâ◊ºã≤ <å~°^Œ,
ã¨~°fiÉèí∂`«QÆ∞}ˇÿ~°∞ºHõÎO "≥∞ÿ=O =∂O *Ï˝`«∞=∞~°›ã≤——
Wu 㨇~°}Ï`ü. („|.ã¨∂.ÉèÏ. 1.120)
LѨx+¨`«∞ÎÅÖ’ ''„|Ǩχ`«Ñ¨Ê =∞ˆ~n ÖË^Œ∞—— (''<ÕÇ¨Ï <å<åã≤Î
H˜OK«#——) ''Hõ#|_Õ^ŒO`å „|Ǩχã¨fi~°∂Ѩ"Õ∞—— (P`≥·‡"Õ^ŒO ã¨~°fi"£∞——)
''h"Õ „|Ǩχ=Ù—— (''`«`Ϋ fi=∞ã≤——), ''D r"å`«‡ „|Ǩχ"Õ∞—— (''JÜ«∞=∂`å‡
„|Ǩχ——), ''<Õ<Õ „|Ǩχ#∞—— (''JǨÏO „|Ǩ‡ã≤‡——), ''„|Ǩχ XHõ¯>Ë L#flk,
Ô~O_»=k UnÖË^Œ∞ (''UHõ"Õ∞"åkfifÜ«∞O „|Ǩχ——) W`åºk "åHͺÅ∞
„|Ǩχ XHõ¯>Ë ã¨`«ºO† r=Ù_»∂ „|Ǩ‡ XHõ¯>Ë Jx J^≥· fi`åxfl
É’kèã∞¨ <Î åfl~Ú. WÖÏO\˜q J<ÕHõ "åHͺÅ∞ L<åfl~Ú. J>Ë¡ [QÆ`∞« #Î ∞,
[QÆ`«û$+≤ìh QÆ∂iÛ K≥¿ÑÊ "åHͺÅ, J<ÕHõ"≥∞ÿ# Láêã¨#Å#∞ QÆ∂iÛ
K≥¿ÑÊ "åHͺÅ∂ ‰õÄ_» JkèHõOQÍ L<åfl~Ú. D Ô~O_»∞ q^è•Öˇ·#
"åHͺÅ∂ ‰õÄ_» "Õ^Œ"åHͺÖË QÍ# J=hfl „Ѩ=∂}ÏÖË. "å\˜
„áê=∂}ºO ™ê÷ÑO≤ KåÅO>Ë "å\˜H˜ ã¨=∞#fiÜ«∞O K«∂Ñ≤OKåe. JO^Œ∞HÔ ·
N â◊OHõ~åKå~°∞ºÅ∞ áê~°=∂i÷Hõã¨`«Î, "åº=ǨiHõ ã¨`«Î J#∞ Ô~O_»∞
Platinum Platform
ã¨`ÅΫ #∞ JOwHõiOz áê~°=∂i÷Hõ ^ŒâÖ◊ ’ J^≥· fi`«O ã¨`º« O. J~Ú<å
‰õÄ_» =º=ǨiHõ^Œâ◊Ö’ ^≥· fi`«O ‰õÄ_» #∂\˜H˜ #∂~°∞áêà◊¥§ ã¨`«º"Õ∞
Jx „ѨuáêkOKå~°∞. áê~°=∂i÷Hõ ã¨`«º`«fiO L#fl „|Ǩχ#∞ 'ã¨`«ºO—
Jh, "åº=ǨiHõ ã¨`«º`«fiO L#fl [QÆ^•kHÍxfl 'q∞^䌺— Jh ¿Ñ~°∞
ÃÑ\Ïì~∞° . "åº=ǨiHõ ã¨`Ϋ JO>Ë Uq∞\’ J~°O÷ J=_®xH˜ „áêuÉèÏã≤Hõ
ã¨`«Î J<Õ ^•xx ‰õÄ_® K«∂ѨÙ`«∞O\Ï~°∞. XHõ_»∞ ^Œ$+≤ì^Àëê^Œ∞ÅKÕ`«
„`å_»∞K«∂z ã¨~°ÊO J#∞H˘<åfl_»∞. H˘xfl xq∞ëêÅ `«~°∞"å`« Z=~À
K≥ Ñ ¨ Ê QÍ<À, 㨠fi Ü« ∞ OQÍ<À Jk 㨠~ ° Ê O HÍ^Œ ∞ , „`å_» ∞ Jx
`≥Å∞ã¨∞H˘<åfl_»∞. JÖÏ `≥Å∞ã¨∞H˘<Õ=~°‰õÄ JHõ¯_» P ã¨~°ÊO LOk.
P ã¨~åÊx‰õΩ#fl ã¨`«Î (LxH˜) „áêuÉèÏã≤Hõ ã¨`«Î. ^•xÖ’ P ^À+¨O
L#flO`« =~°‰õΩ Jk Hõ#|_»∞`«∞Ok. J^Õ q^èŒOQÍ J<åkHÍÅO
#∞Oz r=ÙÅ∞ =∂Ü«∂=$`«∞Öˇ· x„^ŒáÈ`«∂O\Ï~°∞. P x„^Œ
H˘xfl=O^ŒÅ, "ÕÅ ã¨O=`«û~åÅáê@∞ LO_»=K«∞Û. QÆ∞~°∞ âߢ™êÎ^Œ∞Å
^•fi~å "åiH˜ *Ï˝#O HõeˆQ=~°‰õΩ LO_»=K«∞Û. Jk L#flO`« =~°‰õÄ
"åiH˜ D „ѨѨOK«Hõ=¸ LO@∞Ok† „ѨѨOK« =º=Ǩ~°O JO`å
LO@∞Ok. H˘xfl "ÕÅ =∞Ok D "åº=ǨiHõ`À ã¨`‰Î« Ωõ ã¨O|OkèOz#
=º=Ǩ~°O`À H˘xfl [#‡Åáê@∞ H˘@∞ìq∞\Ïì_»∞`«∂O_»QÍ U XHõ¯_À
nxx JkèQqÆ ∞Oz áê~°=∂i÷Hõ ã¨`åºxfl Hõ#∞Q˘#=K«∞Û#∞. P ã≤u÷ x
KÕ~°∞H˘#_®xH˜ LѨHõiOKÕ ™ê^èŒ<åÅÖ’ KåÖÏ „áê^è•#ºO HõÅk
Dâ◊ fi ~° É è í H ˜ Î . qq^è Œ ~° ∂ áêÅÖ’ L#fl D Éè í H ˜ Î =∂~åæ x fl
J=ÅOaOK«_»O ^•fi~å ™ê^茉õΩ_»∞ P`«‡*Ï˝#O ã¨OáêkOz "≥∂Hõ∆O
á⁄O^ŒQÆÅ∞QÆ∞`å_»x J^≥· fi`«ã≤^•úO`«O L^À…+≤ã¨∞ÎOk. D q^èŒOQÍ
ÉèíH˜ÎH˜ „Ѩ„Ѩ^äŒ=∞OQÍ L#fl`« ™ê÷<åxfl HõeÊOz# ^Œ~°≈#O J^≥· fi`«
"Õ^•O`« ^Œ~°≈#O. J^≥· fi`«O "Õ^•O`«^Œ~°≈#OÖ’ XHõ „áêp#
ã¨O„Ѩ^•Ü«∞O.
N=∞„^•=∂#∞*ÏKå~° ∞ ºÅ∞ D âßOHõ ~ ° =∞`åxfl
JOwHõiOK«‰õΩO_® Dâ◊fi~°∞xH˜ r=ÙxH© =∞^茺 ÉèË^ŒO JOwHõiã¨∂Î,
[QÆ`«∞Î ã¨`«º"≥∞ÿ#^Œx „Ѩuáêkã¨∂Î „|Ǩχã¨∂„`åʼnõΩ NÉèÏ+¨ºO
~°zOKå~°∞. Dâ◊fi~°∞_˘Hõ¯_Õ ã¨`«ºO. P Dâ◊fi~°∞xÖ’ P`«x
J=Ü«∞"åÅ∞QÍ z`«∞ÅÎ ∞ (r=ÙÅ∞), Jz`«∞Î (K≥`· #« º~°ÇÏ≤ `«"∞≥ #ÿ [QÆ`∞« ,Î
„Ѩ H õ $ u) L<åfl~Ú. Dâ◊ fi ~° ∞ _» ∞ (DÜ« ∞ # =∞`« O „Ѩ H Í~° O
N=∞Ǩq+¨µ‚"Õ ã¨~Àfi`«Î=Ú_≥·# ^Õ=Ù_»∞) J#O`« ã¨HõÅ HõÖϺ} QÆ∞}
qt+¨µì_»∞. J`«_»∞ `«# J=Ü«∞=OQÍ, `«#Ö’<Õ, `«#`Àáê@∞
âßâ◊fi`«OQÍ L#fl Jz`«∞Î #∞O_ç JKÕ`«# Ѩ^•~å÷Å#xflO\˜h,
™êÖˇÑ¨Ù~°∞QÆ∞ `«# ^ÕǨÏO #∞O_ç ^•~°O ѨÙ\˜ìOz#@∞¡ ѨÙ\˜ì™êÎ_»∞,
uiy `« # Ö’ˆ H f㨠∞ H˘O@∂O\Ï_» ∞ . r"å`« ‡ Å∞ J<Õ H õ O .
J}∞Ѩi=∂}=ÚÖ’ Jq J*Ï˝#O =Å¡ =zÛ# Hõ~°‡|O^èŒOÖ’
z‰õΩ¯H˘x ã¨∞Y^Œ∞óMÏÅ∞ J#∞Éèíqã¨∂ÎO\Ï~Ú. Éèí‰õΩÎ_»∞ x`«ºHõ~°‡Å∞
Platinum Platform
K«∂ã¨∂Î x~°O`«~° q+¨µ‚¿ã= KÕÜ«∞_»O ^•fi~å Hõ~°‡q=Ú‰õΩÎ_≥· "≥∂Hõ∆O
á⁄Ok, x`«º=¸ q+¨µ‚Ö’HõOÖ’ q+¨µ‚ ã¨xflkèÖ’ LO\Ï_»∞. z`ü,
Jz`ü D Ô~O_»∂ ‰õÄ_» ÉèíQÆ=^Œ=`å~åÖË QÍ# D J^≥· fi`«O
qtëêì^≥· fi`«O J~ÚOk.
N=∞^è•fiKå~°∞ºÅ∞ – ÃÑ·# K≥Ñ≤Ê# J^≥· fi`åxfl QÍx,
J=Ü«∞"åÜ«∞qÉèÏ"åxfl QÍx JOwHõiOK«Hõ r"Õâ◊fi~° [QÆ`«∞ÎʼnõΩ
Ѩ ~ ° ã ¨ Ê ~° = Ú Ñ¨ Ó iÎ Éè Ë ^ •xfl JOwHõ i ™êÎ ~ ° ∞ . gi =∞`« O Ö’
N=∞Ǩq+¨µ‚"Õ ã¨~Àfi`«Î=Ú_≥·# ^Õ=Ù_»∞. P`«xÃÑ· JK«OK«ÅÉèíH˜ÎÜÕ∞
"≥∂Hõ∆¿ÇÏ`«∞=Ù.
N=∞„^•=∂#∞*Ï~° ∞ ºÅ∞ q+¨ µ ‚ qtëêì ^ ≥ · fi`åxfl
„Ѩ u áêkOK« Q Í `« ~ ° ∞ "å`« =zÛ# H˘O^Œ ~ ° ∞ PKå~° ∞ ºÅ∞
t=–â◊H˜Î–ÅH©;–Hõ$ëê‚^Œ∞Å#∞ Ѩ~°`«`åÎ fiÅ∞QÍ „Ѩuáêkã¨∂Î
„|Ǩχã¨∂„`åʼnõΩ t=qtëêì^·≥ fi`«Ñ~¨ O° QÍ#∞, â◊HΘ qtëêì^·≥ fi`«Ñ~¨ O° QÍ,
ÅH©; qtëêì^≥· fi`«Ñ¨~°OQÍ#∞ "åºMϺ<åÅ∞ „"åâß~°∞. gi ã≤^•úO`«
„Ѩ„H˜Ü«∞ KåÖÏ =~°‰õΩ N=∞„^•=∂#∞*ÏKå~°∞ºÅ∞ JOwHõiOz#
„Ѩ„H˜Ü«∞<Õ J#∞ã¨iOz LO@∞Ok. =∂~°∞ÊÅ∞ KåÖÏ JÅÊO. D
"åºMϺq^è•<åÅxflO\˜ g∞^Œ qq^è•QÆ=∞–ѨÙ~å}ÏÅ „ѨÉèÏ=O
JkèHõOQÍ Hõ#|_»∞`«∞Ok. JxflO\˜Ö’#∂ ÉèíH˜ÎˆH „áê^è•#ºO.
H˘xfl â‹=· ^Œ~≈° <åÅ∞ „|Ǩχã¨∂„`åÅ *’eH˜ "≥à‰¡◊ Ωõ O_® H˘xfl
PQÆ=∂ňH Z‰õΩ¯= „áê^è•#ºO WzÛ `«=∞ ã≤^•úO`åÅ#∞ ™ê÷ÑO≤ Kå~Ú.
g\˜Ö’ ‰õÄ_» ÉèíH˜ÎH©, ^•xH˜ ã¨O|OkèOz# J<ÕHõ ѨÓ*Ïq^è•<åÅH©,
Hõ~°‡HõÖÏáêÅH© „áê^è•#ºO LO@∞Ok.
â‹=· ^Œ~≈° <åÅÖ’ HÍj‡~°^jÕ Ü«∞"≥∞#ÿ „Ѩ`º« aè*Ï˝^~Œ ≈° #O, nxH˜
''„uHõ^Œ~°≈#O—— ''t"å^≥· fi`«O—— Jx ‰õÄ_® ¿Ñ~°∞¡. D ã≤^•úO`«O
„ѨHÍ~°O ã¨~°fi=¸ t==∞Ü«∞"Õ∞. ™êH∆Í`ü t=ã¨fi~°∂ѨÙ_Õ J~Ú<å
‰õÄ_» r=Ù_»∞ J*Ï˝#=â◊O KÕ`« P t=`åfixfl =∞~°z ã¨O™ê~°OÖ’
z‰õΩ¯H˘x LO\Ï_»∞. 'Ѩâ◊√=Ù— 'J}∞=Ù— W`åºk <å=∂O`«~åÅ∞
QÆÅ r=Ù_»∞ x~°O`«~° ™ê^èŒ# ^•fi~å `å<Õ t=Ù_»∞ Jx QÆ∞iÎOK«_»O
^•fi~å "≥∂Hõ∆O á⁄O^Œ∞`å_»∞. WÖÏ QÆ∞iÎOK«_®xˆH '„Ѩ`«ºaè[˝— Jx
¿Ñ~°∞. W`«~° â‹·= ã¨O„Ѩ^•Ü«∂ÅÖ’ K≥Ñ≤Ê# Hõiî# `«Ñ¨â◊Û~åº^Œ∞Å`À
ã¨O|O^èOŒ ÖˉΩõ O_® JO`å t==∞Ü«∞O J#∞^Œ$HõÊ^äOŒ JÅ=~°K∞« H˘x
Ѩ i â◊ √ ^Œ ú r=# q^è • #O J=ÅOaè O K« _ » O =Å¡ „Ѩ ` « º aè [ ˝
HõÅ∞QÆ∞`«∞O^Œx D ã≤^•úO`«O K≥ÑÙ¨ `«∞#flk. D =∂~åæxfl J#∞ã¨iOz
P`À‡^Œ~°ú~°}O KÕã≤H˘<Õ J~°›`« „Ѩf XHõ¯iH© LOk. ''<Õ<Õ t=Ù_»#∞
J#∞ xtÛ`åaè„áêÜ«∞O XHõ¯™êi á⁄O^ŒHeõ y`Õ KåÅ∞. =∂\˜=∂\˜H˜
^•xx =∞##O K≥Ü«∞º=Åã≤# Ѩx‰õÄ_® ÖË^Œ∞.
129
 D q^è Œ O QÍ âßOHõ ~ å^≥ · fi`« ^ Œ ~ ° ≈ #O 㨠∞ ã≤ ÷ ~ ° ` åfixfl HÍ=K«∞Û#∞. U"≥∞ÿ<å #^Œ∞Åhfl "Õ~°∞"Õ~°∞=∂~åæÅÖ’ ã¨=Ú„^•xfl
ã¨OáêkOK«∞H˘#fl<å\˜ #∞O_ô ‰õÄ_» Jxfl ^Œ~≈° <åÅÖ’#∞ ÉèHí ÉΘ Ïè "åxH˜ KÕi#@∞¡ =∂#=ÙÅO^Œ~°∂ z=iH˜ KÕ~°=Åã≤#k x<Õfl—— Jx
KåÖÏ „áê^è•#ºO ÅaèOz#k. J~Ú`Õ D ^Œ~°≈<åÅÖ’ H˘xfl W`«~° ѨÙѨÊ^ŒO`«∞_»#∞ QÆO^èŒ~°∞fi_»∞ t=Ù}˜‚ ã¨∞ÎuOKå~°∞.
=∂~åæÅ`À áê@∞ ÉèíH˜Î=∂~°æO ‰õÄ_» "≥∂Hõ∆™ê^èŒ#O Jx JO>Ë H˘xfl
''Ü«∞O â‹·"åó ã¨=Úáêã¨`Õ t= Wu „|¿Çχu "Õ^•xÎ<À
^Œ~°≈<åÅ∞ ÉèíH˜Î XHõ¯>Ë „Ѩ^è•#"≥∞ÿ#k Jx JOwHõi™êÎ~Ú.
É∫^•ú |∞^Œú Wu „Ѩ=∂} Ѩ@=ó Hõˆ~Îu <≥·Ü«∂~ÚHÍó
J~Ú`Õ ÉèÏ~°fÜ«∞ ^Œ~°≈<åÅÖ’ L#fl "≥·t+¨ì ºO U=∞#QÍ – J~°›xfl`«º^äŒ *ˇ·#âßã¨#~°`åó Hõˆ~‡u g∞=∂Oã¨HÍó
U ^Œ~°≈#=¸ ‰õÄ_» ã≤^•úO`«=∂„`« „Ѩuáê^Œ#O`À `«$Ñ≤ÎѨ_»Hõ P ™È-Ü«∞O q^Œ^è•`«∞ "å&˜Ûù`«Ñ¶¨ÅO „`≥·Ö’Hõº<å^äÀ ǨÏió——
ã≤^•úO`«OÖ’ K≥Ñ≤Ê# `«`åÎ fixfl J#∞Éèí=OÖ’xH˜ `≥K«∞ÛH˘x `«iOKÕ
''t=Ù_»∞ Jx â‹·=ÙÅ∂, „|Ǩχ Jx "Õ^•O`«∞Å∞, |∞^Œ∞ú_»∞
Ѩ^Œú`«∞Å∞ ‰õÄ_» É’kèã¨∞ÎOk. Wq ''Ѩ_»Hõ ‰õΩsÛ `«`«Î fizO`«#Å∞——
Jx É∫^Œ∞úÅ∂, [QÆxfl~å‡`« Jx <≥·Ü«∂~Ú‰õΩÅ∂, l#∞_»x *ˇ·#∞Å∂,
(Armchair Philosophy) HÍ=Ù. U ã≤^•úO`åxfl J=ÅOaOz<å
Hõ~°‡ Jx g∞=∂O㨉õΩÅ∂ „uÖ’Hõ „ѨÉèí∞"≥·# U =∞Ǩq+¨µ‚=Ù#∞
`«^•fi~å Ѷe¨ `åÅ#∞ á⁄Ok P#OkOKÕ"å~°∞ J<Õ‰Ωõ Å∞ Hõ#|_»`å~°∞.
P~åkèã¨∂ÎO\Ï~À P =∞Ǩq+¨µ‚=Ù g∞ HÀÔ~¯Å∞ f~°∞ÛQÍHõ—— W`åºk
D ÉèíH˜Î=∂~°æO "≥#∞Hõ, P~å^èŒ<åѨ^Œú`«∞Å =¸ÅOÖ’ L#fl â’¡HÍÅ∞ ã¨~°fi„Ѩã≤^Œú"≥∞ÿ#q.
XHõ¯ Ѩ~°=∞ ã¨`åºxfl QÆ∞~°∞ÎOK«∞H˘x, `«=∞`«=∞ ã¨O„Ѩ^•Ü«∂Å#∞
Wk Hˆ =ÅO =∂@ňH Ѩiq∞`«O HÍ^Œ∞. PK«~}° Ö’ K«∂Ñ≤#
J#∞ã¨iOK«∞"å~°∞ "å\˜ ã¨`«Êùe`åÅ#∞ ѨÓiÎQÍ á⁄O^ŒQÆÅ∞QÆ∞`å~°∞.
ZO^Œ~À =∞ǨѨÙ~°∞+¨µÅ∞ „Ѩã≤^Œ∞úÅ∞. Ѩ~°=∞=∞¿ÇÏâ◊fi~°∞Öˇ·# (HÍj‡~°
`«kfi~°∞^Œ"ú ∞≥ #ÿ ÉèÏ"åÅ∞ =∞#ã¨∞ûÅÖ’ ÃÑOá⁄OkOK«∞H˘<åfl, „ѨKå~°O
^ÕâßxH˜ K≥Ok#) P#O^Œ=~°#ú Jaè#= QÆ∞áêÎ^∞Œ Å∞ t=Ù_Õ Ñ¨~`° `« Ϋ fiO
KÕã≤<å, q‰õ∆Ω|ú =∞#ã¨∞Öˇ· P Ѷ¨e`åÅ#∞ J`«ºÅÊOQÍ<Õ D [#‡Ö’
Jx qâ◊fiã≤Oz#"åˆ~ J~Ú<å J<ÕHõ ã¨÷ÖÏÅÖ’ =∞Ǩq+¨µ‚ ÉèíH˜Îx
á⁄O^ŒQÆÅ∞QÆ∞`å~°∞.
„Ѩ^iŒ ≈™êÎ~∞° . =∞#HÍÅOÖ’<Õ N t"å#O^Œ=¸iÎ QÍi Ñ≤`$« K«~} ° ∞Å∞
''W¢#Ì O q∞„`« O =~° ∞ }=∞yfl=∂Ǩ ï ~° ^ ä À k=ºó N |ã¨=~åA QÍ~°∞ ~å=∞`å~°Hõ =∞O„`« [Ѩ áê~åÜ«∞}∞Å∞QÍ „Ѩãk≤ ú
ã¨∞Ѩ~À‚QÆ~°∞`å‡<£ K≥O^•~°∞. ã¨^Œ∞æ~°∞=ÙÖË NHõ$ëê‚+¨ìg∞, N~å=∞#==∂º^Œ∞º`«û"åÅ∞
UHõO ã¨kfi„áê |Ǩï^è• =^ŒxÎ JyflO Ü«∞=∞O =∂`«iâßfi# =∞Ǩ"≥·Éèí=OQÍ [~°∞ѨÙ`«∂O\Ï~°∞. U ^Õ=`«Å q+¨Ü«∞OÖ’#∞
=∂Ǩïó—— (|∞∞ˆQfi^ŒO 1.164) ^Õfi+¨ÉèÏ=O Z~°∞QÆx ÉèíH˜Î=∂~°æO =∂„`«"Õ∞ „âıÜ«∞㨯~°O J=Ù`«∞Ok.
''ã¨∞=~°‚O q„áêó Hõ=Ü≥∂ =KÀaèó UHõO ã¨#ÎO |Ǩï^è• Nó Nó Nó
HõÅÊÜ«∞xΗ— (|∞∞."Õ. 1.10114)
* * * * *
(''ã¨`«Ê^•~°÷O XHõ¯>Ë. ^•x<Õ WO„^•k <å=∞^èÕÜ«∂Å`À
ѨO_ç`∞« Å∞ J<ÕHqõ ^è•Å K≥ÑC¨ `«∞O\Ï~°∞——) W`åºk |∞∞ˆQfi^Œ "åHͺÅ∞
„Ѩã≤^Œú"≥∞ÿ#q. P ÉèÏ"å<Õfl ѨÙ~å}ÏÅ∞, WuǨ™êÅ∞, W`«~° „áêp#
„QÆO^ä•Å∞ ‰õÄ_® J_»∞QÆ_»∞QÆ∞<å „Ñ¨uáêkã¨∞Î<åfl~Ú.
„`«~¸ ™êOYºO Ü≥∂QÆó Ѩâ◊√Ѩ`«=∞`«O "≥·+¨‚=q∞u
„Ѩaè<Õfl „Ѩ™ê÷<Õ Ñ¨~°q∞^Œ=∞^Œó Ѩ^䌺q∞uK«
~°∂p<åO "≥·z„`åº^Œ$A‰õΩ\˜Å <å<åѨ^äŒAëêO
#$}Ï"Õ∞HÀ QÆ=∞ºó `«fi=∞ã≤ Ѩܫ∞™ê=∞~°‚= W=
(t==∞Ç≤Ï=∞fl™È΄`«O)
''F! Ѩ~°=∞t"å! x#∞fl KÕ~°_®xH˜ – "Õ^Œ„`«Ü«∞=Ú,
™êOYº=Ú, Ü≥∂QÆ=Ú, â‹·==Ú, "≥·+¨‚==Ú "≥Ú^ŒÖˇ·# Z<Àfl
=∂~åæÅ∞<åfl~Ú. g\˜Ö’ H˘xfl ^ŒQÆæ~°^•~°∞Öˇ·`Õ H˘xfl =OHõ~° ^•~°∞Å∞

130 Platinum Platform

 Reform and Respect for Tradition
1. Introduction :
At the first look, the two terms, reform and
tradition, seem to be contradictory – it appears that if one
respects tradition, reform appears almost impossible. The
aim of the essay is to show that these two are indeed
compatible concepts and that the simultaneous realization
of both of them is possible and is, in fact, highly desirable.
This is in the best interest of an individual as well as that
of the society of which he is a member. Before we proceed
further, let us look at the meanings of the two words,
reform and tradition:
Reform - (v. t) to transform, to restore, to
rebuild, to make better by removing defects
- (n) The transformation of a system or
institution or religion for better, e.g. legislative reforms, social
reforms etc.
Tradition - a handing over, an oral transmission
from generation to generation of religious beliefs, customs,
tales and practices e.g. Vedic tradition, temple traditions,
householder traditions, continuous development of a body
of literature, music etc. e. g. Epic tradition, Puranic
tradition, Karnatic music tradition. Anything bound up
with or continuing in a family, e. g. the Siva-pooja
tradition, Hindu marriage tradition, the tradition of story
telling by grand parents to grand children etc.
Reform intends a beneficial change, more
specifically, reversion to a pure original state, by restoration,
repair or correction. Reform is generally distinguished from
Revolution. The latter means a basic or radical change;
whereas reform may be no more than fine tuning, or at
most redressing serious wrongs without altering the
fundamentals of the system. Reform seeks to improve the
system as it stands, never to overthrow it wholesale.
Radicals on the other hand, seek to improve the system by
trying to overthrow the available system, along with its
traditions, whether it is of the government or that of a
group of people themselves. A tradition is usually what
has been transmitted from generation to generation and
often contributes to the cultural wealth of the society.
*Professor of Computer Science (Rtd.) Indian Institute of Science, Bangalore.
Platinum Platform
- Dr. V. V. S. Sarma*
However, over the years as times and environments change,
some of the traditions may require a relook and often need
adaptation to a new situation. Rabindranath Tagore sang
Where the mind is without fear, Where knowledge
is free, …, Where the clear stream of reason has not dried
up in the dreary desert sand of dead habit, … Into such
kind of freedom, O Father, let my country awake.
Customs related to older traditions have the risk
of degenerating into dead habits because the underlying
basis for them is often forgotten, the tradition itself appears
a superstition, and the changed situation certainly warrants
reform, while rediscovering the basis and preserving the
good features of the tradition. A citizen in a country has a
cultural heritage including his religion, language, beliefs
and customs to be transmitted as tradition to his progeny.
He plays the role of a link in a long chain. A home is a
unit of the nation and a family is a unit of the society.
Thus, he is a link in the long chain of a perpetual society.
Now a society can undergo changes as a nation in its
religion through reforms or by foreign invasions. A citizen
who did not realize his existence as a transmitting link in
the long chain of a tradition or culture would commit the
unpardonable mistake of breaking up of an age old valuable
message of the past on to the next generation. A citizen
has therefore a serious responsibility in preserving
traditions which should not be evaded in favour of a
materialistic existence, which is of no consequence at all.
Hinduism, with its most valuable human values,
social culture, spiritual beliefs and religious observances is
too precious to be ignored. A Hindu citizen without
adequate understanding and wisdom may commit the
mistake of mistaking it and commit the sin of eschewing
and discontinuing it much to the loss of his own progeny.
Hinduism has a valid reply to any criticism and answer to
any doubt about it. Today’s Hindu society has forgotten
the value of tradition under the influence of half-baked
criticism or under the influence of mushrooming new
schools of thought many of which are not quite sound in
their understanding of the ancient religion. But it may be
a different thing with the much needed reforms brought
131
about by great men of wisdom who have not attempted to
replace the same rather than cleansing it or updating it to
suit the changing times. That it has been a golden rule in
the Hindu India that one should not discontinue the
tradition under any influence, but approach the wise and
the learned in case of doubt.
What applies to religious traditions equally applies
to the way of life, the culture, the language, the food, the
dress etc., all of which belonging to the Hindu India have
survived over many millennia. By the lack of understanding
of these values a citizen loses his own identity both national
and religious if he breaks the tradition and drifts into a
different culture with no understanding about it. Keeping
of traditions makes one a patriot faithful to his country.
Patriotism is the highest value in human life. A Nation’s
loss of a citizen may be small, but a citizen’s loss of a
nationality is a loss of everything and is irretrievable.
In the following, by considering examples from
several societal systems in the Indian context, we attempt
to show how to achieve a balance between reform and
respect for tradition.
2. The Hindu Society :
2.1 Why Hindu Society needs Reform ?
A subject of utmost importance for India’s all-
round development and national resurgence is the reform
and self-renewal of the Hindu society. Hinduism is the
repository of the most exalted teachings about human
evolution and realization of God. Its philosophy is
profound and the relevance of its principles is both universal
and eternal. Its distinguishing feature is its lack of dogma,
its readiness to accept truth in all its manifestations, without
putting the seal of finality on any of them, and its emphasis
on the need to climb higher on the ladder of human
evolution through righteous living. The freedom of thought
and expression that it provides in all intellectual, theological
and philosophical matters is unmatched. So much so that
even Charvaka, who denied the existence of God, was
respected as a rishi (seer) in the framework of Sanathana
Dharma because of his erudition. Since Hinduism teaches
us to see the divine in every animate and inanimate creation
of God, the concept of equality of human beings is in-
built in its belief system. The Bhagavad Gita states
emphatically that a man’s greatness is determined by his
karma and not by his birth.
Nevertheless, due to many historical factors certain
customs and traditions of the Hindu society are viewed as
132
negative, regressive and thoroughly indefensible features.
The degeneration of the concept of Varna into division of
society in terms of high and low castes and the practice of
treating certain castes as ‘untouchables’ is one such. The
injustice in many forms that is often meted to women is
another. Customs such as “Sati” though not widely
prevalent acquired disrepute. (If it was widely prevalent,
the recommended living for widows in Dharma Sastras
would be redundant.)
Time and again the Hindu society has
demonstrated both its willingness and capacity to reform
itself by rediscovering its own foundational principles as
well as by learning from other constituents of humanity.
Secondly, considerable progress has indeed been achieved
in the modern era, both during the freedom movement
and the decades that followed. This is due to the efforts of
many modern-day social reformers such as Swami
Vivekananda, Swami Dayananda, Raja Ram Mohan Roy,
Mahatma Jyotiba Phule, Narayan Guru and, Mahatma
Gandhi and Dr B.R. Ambedkar. RSS and the various
organizations inspired by it, emphasize the message of social
equality in their mission for Hindu unity and Hindu
renaissance. While all condemn the caste system, politics
in India is unfortunately centred on caste and all political
parties exploit this at election times in activities such as
selecting candidates for membership of legislatures. What
were simple restrictive traditions in marriage or food were
brought into public life by our politicians.
3. The Hindu Marriage Tradition :
The institution of marriage and the matrimonial
relationship form the backbone of the Hindu society, which
inherited its values from the noble Vedic Aryans. The Aryans
envisaged the institution of marriage as a union leading
the married couple on a path of fulfillment, both in the
worldly and the other worldly obligations. In India, there
is an underlying dharma governing marital relationship.
Leading a happy married life, extending hospitality to
visitors, having good progeny, serving the nation and the
society have all been cited as the benefits of the institution
of marriage. But what is the spiritual aspect of this
matrimonial relationship? How does this system enable the
married couple to enter the path of spirituality leading to
the ultimate goal of life, liberation (moksha)?
We read in news papers these days about crimes
committed against young women by people, who expressed
their “love” towards them earlier. In some of the so-called
love marriages, couples are discovering irreconcilable
differences leading to divorces and even violent crimes such
Platinum Platform
as murders have become common place. Even the
“arranged marriages” performed with parental efforts and
approval are not faring much better. Why are the marital
relations turning sour increasingly? Do the married couples
understand and totally accept the underlying sentiments
in the Hindu marriage? Are there any solutions for these
problems? What is the balance between the tradition we
lost in the process of “modernizing” and the introduction
of reforms such as divorce?
These questions are related to the fundamental
issues concerning the institution of Hindu marriage and
its decay in the recent times. People who have faith and
belief in the Hindu traditions, values and the institution
of marriage can only appreciate the answer here. Hindu
marriage assumes that both of the marital partners will, at
all times, be with each other in realizing the four goals or
ideals of human life, namely dharma, artha, kama, and
moksha.
3.1 Examples of Marriage as depicted in the Epics :
Rama, in Ramayana was an ideal son, an ideal
husband, an ideal king, an ideal brother and an ideal leader.
Why did this ideal king send his pregnant wife Sita to
forests, even personally acknowledging her chastity? If this
case is presented before a family court today, Rama might
have been convicted and punished of cruelty! But these
critics have to apply their mind to the following facts. Why
did Sita never complain that an injustice has been done to
her? She did not utter a word against this decision. Can
others take this as public interest litigation, in such a
situation? Sons Lava and Kusa asked their mother (not
knowing who they were) “Why did Rama abandon his
innocent wife? Why is he called a great person by Rishi
Valmiki?” Sita’s replied “Dear sons, you do not know
dharma. Rama did what is expected of a king with a full
knowledge of the intricacies of Raja dharma with all the
layers of his mind, intellect, consciousness and ego involved
in his decision. We do not have the competence and
wisdom to question his decision. It is wrong to criticize
him.” Rama upheld dharma and Sita accepted his decision.
This shows our tradition. Sita knows the subtlety of dharma
and Rama’s conflict of interests as a king and as a husband.
Of course, we need not always hold our head high
and say “We have given the highest place for women in
our culture and this level of dignity was never given to
women in any other society and culture.” The greatest
insult to women was meted out to Draupadi in the royal
Platinum Platform
court of Hastinapur. It was done in the king’s durbar but
the king was blind. Sita at personal level suffered injustice,
and so did Draupadi. Such atrocities were committed and
such an event signaled the end of an era accompanied by
great destruction. It has become the turning point and the
heart of a great epic poem. Sita and Draupadi are two
noble women, who suffered and the injustice done to them
provided the subject matter of the two great epics of India.
The impact of these epics is visible even till today.
Savitri could restore her dead husband Satyavan
back to life by her encounter with Yama, the God of Death,
herself being alive through the power of yoga. She was
also committed to the welfare of her father-in-law.
Take the Puranic example of Sumati. Her husband
was a leper. Still he was the husband. He desired another
woman. She wanted his happiness. She carried him and
gave him to the woman desired by him. This is a severe
test she faced in her life. No body had such a test in life. It
can not be imagined. It is difficult to serve a person
suffering from leprosy. Over and above this, he was
immoral and was talking unimaginable immoral words.
Sumati’s choice of continuing to serve him cannot even
be imagined by others. It is the ultimate limit to stay in a
dharma of her choice. Purana says that she acquired
through this act the power even to stop the sun from rising.
Staying firm in pativrata dharma, gave enormous
power to such women. (e. g. Savitri, Sita, Anasuya and
Rukmini.). These women could even curse gods. This
dharma does not imply subservience to an individual. On
the other hand, it denotes submission to a concept, a
system, an institution, a dharma and a principle. (Pativrata
= a dedicated, faithful, loyal, virtuous and chaste wife.)
3.2 Hindu Marriage Today :
Hindus today are governed by Hindu Marriage
Act, 1955 which provides for the conditions of a Hindu
Marriage where under the bridegroom should be of 21
years and bride of 18 years, they both should be Hindus
and should not be within the degree of prohibited
relationship, neither party should have a spouse living nor
any party should be subject to recurrent attacks of insanity
or epilepsy, either of them should not be suffering from
mental disorders or should not be unfit for marriage and
procreation of children and both should be of sound mind
and capable of giving valuable consent.
As long as the institution of marriage retains its
character and purity, the Hindu society will survive and
133
retain its noble character. In Indian marriage we are
invoking the powers of gods and are praying to them for
their grace. Agni or fire is used as witness in the case of
Vaidika marriage. Gauri-puja or worship of Gauri, consort
of Siva, is always performed by the bride. Gods are not like
the two witnesses identifying the bride and the groom in
the Registrar’s office in case of a civil marriage. They live
eternally without bodies as witnesses at the marriage rituals
done with their grace and they follow this couple by living
in their bodies and protect them.
The bridegroom vows - I take hold of your hand
for good fortune, so that with me, your husband, you may
attain old age. The gods Bhaga, Aryaman, Savitr, and
Pushan give you to me for leading the life of a house holder
(Rigveda 10.85.36)
Bounteous Indra, endow this bride with great sons
and fortune. Give her ten sons and make the husband the
eleventh. (Rigveda 20.85.46))
Traditional marriage involves several rituals such
as Niscitartha, Mantapa pravesa, Sumuhurtam,
Mangalasutra dharana, Pani-grahana, Sapatapdi, Laja-
homa, Asirvada etc. For example, Mangalasutra is analogous
to the wedding ring in the Western traditions and is more
deeply symbolic. The Mangalasutra represents a turmeric
soaked thread with a little gold coin of a traditional shape
and is placed on the yoke of a plough. This act is an
expression of hope that the couple will always walk together
and “pull the plough of life” and symbolizes the agricultural
background of Hindu society. The priest and the elders
bless the sutra and the bridegroom ties it around the neck
of the bride with three knots. These three knots symbolically
represents the the marriage of the mind, spirit and body.
For some who have not even seen a plough or its yoke, this
custom may appear as an anachronism.
Of late, these traditional aspects are increasingly
forgotten and great emphasis is put in the expensive
celebrations associated with the wedding ceremony. People
want a grand ceremony and minimal religious rites, which
are often performed with little interest and understanding.
The priest is instructed to complete the Vedic rituals in
minimum time. The implications of these are not
understood. Modern Hindu marriage definitely needs
reforms to regain its original purity.
134
3.3 The Question of Divorce :
Divorce under the Hindu Marriage Act 1955 can
be obtained on the grounds such as adultery, cruelty,
desertion for two years, conversion in religion, unsound
mind, suffering from venereal disease and/or Leprosy, has
renounced the world and not heard for 7 years Tradition
to a certain extent has played a role in the drafting of the
Hindu marriage act while reform is in mind when the
provision of divorce is added. It should, however, be
remembered that divorce is not in tune with the dharma
sastras of Hindus. Provision of divorce does not mean that
it is the recommended action in case of a conflict. In spite
of the act, many Hindu women are tolerating the atrocious
behaviour of cruel husbands without being influenced by
the provisions of the divorce act, while more educated and
financially independent women are in favour of divorce
with the idea that it offers a new found freedom. The
situation in a turbulent marriage may be considered
analogous continuing to work with a bad boss in an office,
because of the necessity of receiving the salary at the end of
the month. But when a woman tolerates a bad husband
there is an element of sacrifice which involves love for the
husband and concern for the future of children born out
of such a marriage. If the parents of the woman encourage
her to take the hasty action of divorce, abandoning the
marriage, they are not upholding any values. Having
separate careers and separate bank accounts, satisfying
individual fancies and seeking divorce to protect these is
certainly against the Hindu tradition and, in reality,
amounts to abusing both the reform and the tradition.
4. Hindu Traditions - Householders :
A Hindu is supposed to have four goals in life.
They are dharma, artha, kama, and moksha. Artha and
kama are pursuits of wealth, desires and even pleasures and
are considered necessary in the youthful years of a Hindu
householder. But these are to be obtained strictly according
to dharma and the ultimate goal in life is moksha. Moksha
means release, release from the bondage of life. The basis
for these is the theory of Karma. Karma denotes actions
performed by an individual and lead to results in due course,
some times even in the next life.
The first stage in an individual’s life is studenthood.
Marriage brings him or her into the stage of a householder.
It is during this stage that a man has children (with his
wife), forms a family, establishes himself in a career or job,
and strives to be an active member of his community. He
Platinum Platform
will establish his own household, with appropriate puja
traditions. Indeed, with his wife, the householder is now
responsible for ensuring that the rituals of domestic life
are carried out at their proper times and in the proper
manner. This stage is important because it carries the
responsibilities of looking after and supporting elders such
as parents and children
Performance of numerous religious duties consists
of proper following of one’s Dharma. These are the
bounden or obligatory karma of a Hindu house holder.
There are five great sacrifices (Pancha-mahayajna). These
are to be performed thrice daily at sunrise, noon and sunset.
They consist of:
• Brahma-yajna, the acquisition of jnana
• Pitr-yajna, the worship of the ancestors, by
libations of water and periodical Shraddha
• Deva-yajna, the worship of the gods, by
pouring ghee on the sacred fire or puja
• Bhuta-yajna, the worship of all living things,
by scattering grains and food for the animals
and spirits
• Purusha-yajna, the worship of men, by
showing hospitality
The householder tradition aims at sustaining the
social order through the family system, and thereby
emphasizes sexual purity and loyalty. While the sannyasa
tradition is generally thought to be more direct because it
allows the aspirant to focus entirely on practice, this is
only a general rule. Many great yogis have come from
householder traditions, and many Vedic rishis were married
and had children. According to the Hindu tradition,
human beings can live a householder life and fulfill their
social and family duties and still achieve liberation. This
is particularly important today when monasticism is in
decline worldwide and in the West where it hardly exists
at all. While the renunciate tradition is generally more
direct, it is more strenuous, and is the exception rather
than the rule in all times and cultures, even those eras
which are enlightened. Yoga does not tell us that we must
give up what provides us with happiness, but suggests that
we should consider where our real happiness comes from.
True happiness resides in consciousness, not in any material
form, identity, or activity..
5. Hindu Temple and Pilgrimage Traditions :
A Hindu temple or Mandir is a place of worship
for Hindus. It is usually dedicated to one primary deity,
Platinum Platform
Siva, Vishnu or Mother Goddess, as the presiding deity,
and other subordinate deities associated with the main
deity. Temples did not exist in the Vedic period. Temple
represents democratization of the Hindu religion and serves
all sections of the Hindu society while the Vedic rituals
can be performed only by the qualified and learned
Brahmins.
5.1 History :
Temple construction in India started nearly 2000
years ago. The oldest temples that were built of brick and
wood no longer exist. Stone later became the preferred
material. Temples marked the transition of Hinduism from
the Vedic religion of ritual yajnas to a religion of bhakti or
love and devotion to a personal deity. Temple construction
and mode of worship is governed by ancient scriptures
called agamas, of which there are several, which deal with
individual deities. For example, Pancharatra are Vaishnavite
devotional texts dedicated to a single deity Sriman
Narayana (or Vishnu), who manifests in different forms.
God exists in his absolute form (Para), his Vyuha forms,
his incarnations (as beings born as humans or animals)
and his existence in holy images. The Pancharatra Agamas
prescribe temple worship of icons as transformed from
Vedic rituals like Yajnas. The Agamas accept the authority
of Vedas, Samkhya, and Aranyakas. Agamas talk about
construction of temples; the rules for installation and
consecration of the deities in the temples; the methods of
performing pujas in the temples; philosophy; mantra-
sastra; tantras, bhakti yoga; domestic observances
(samskara, ahnika); and festivals. There are substantial
differences in architecture, customs, and traditions in
temples in different parts of India.
5.2 Temple Management :
The grand temples of India were built by kings
and maintained by royal patronage and public support in
terms of lands given by donors to the presiding God for
the upkeep of the temple. With the decline of Hindu
kingdoms, the component of royal patronage has declined
and in the independent India the princes have disappeared
along with their patronage of temples.
Today, the Archeological Survey of India has
control of most ancient temples of archaeological
importance in India. In India, theoretically, a temple is
managed by a temple committee or board that administers
its finances, management and events. However, since
independence, the autonomy of individual Hindu religious
135
denominations to manage their own affairs with respect to
temples of their own denomination has been severely
eroded. State governments of many states in India (and
especially all the states in South India) have gradually
increased their control over all Hindu temples. Over
decades, by enacting various laws which have been fought
both successfully and unsuccessfully up to the Supreme
Court of India, politicians of the ruling parties especially
in the southern states control every aspect of temple
management and functioning. The lands were mismanaged
and often occupied by other people with candid support
of politicians. Hindus are not a cohesive group, they do
not belong to any particular temple, and visiting temples
is purely voluntary. They feel sorry to see the erosion of
tradition but not in a position to demand reforms in the
existing setup.
5.3 Pilgrimages :
A pilgrimage is a Hindu social tradition and every
year millions of people participate in such pilgrimages at
several sacred sites in India, Nepal and Kailas-Manasarovar
in Tibet, China. Arjuna and Balarama had undertaken
pilgrimage (tirtha yatra) in the Mahabharata. Some times
it may involve thanks giving to the Lord for a wish fulfilled.
Some times it is done to atone for a sin (prayaschitta). Many
a time it is an urge to travel across the country and knowing
it. Pilgrimages are undertaken based both on individual
desire and as a part of socio-cultural tradition. India has
numerous pilgrimage sites such as Ayodhya, Mathura,
Hardwar and Himalayan places such Badarinath and
Kedarnath, Kasi (Varanasi), Kanchipuram and the pancha-
bhuta temples, the twelve Jyotirlinga sites such as Srisailam,
Tirumala, Puri, Dwaraka etc. The contribution of
piligrimages to Indian economy amounts to a very
significant share and millions of people or gainfully
employed in this activity. A Hindu pilgrimage or for that
matter Hinduism itself is a great unifying factor in India
and directly contributes to national integration. The
economic benefits are shared by Non-Hindus as well. For
example, all the people who support the visit and are fairly
compensated in the Amarnath Yatra in Kashmir are
Muslims. Of late, there is a tendency of state governments
to convert picturesque locations of temples into tourist
places. For example, the Kedarnath area and the Mandakini
valley in the Himalayas are sought to be converted as places
for winter sports of foreign tourists. This is a very dangerous
move as it has the danger of destroying the sanctity of holy
places and holy rivers.
136
5.4 Devadasi System :
Devadasi system originally described a religious
practice in which girls were “married” and dedicated to a
deity. Tradition says that Gods themselves patronize music
and dance. Dancing Siva or Nataraja is well known.
Saraswati is depicted with a Veena in hand. Narada,
Tumbura and Hanuman are considered great singers. In
addition, to taking care of the temple and performing
rituals, the devadasis learned and practiced Bharatanatyam
and classical dance forms and other classical Indian arts
traditions and enjoyed a high social status. Following the
demise of the great Hindu kingdoms the practice
degenerated. Originally, devadasis were celibate all their
life. Reference to dancing girls in temples is found in
Kalidasa’s “Meghadoot”. It is said that dancing girls were
present at the time of worship in the Mahakaleswara temple
ofUjjain.. Some scholars are of the opinion that probably
the custom of dedicating girls to temples became quite
common in past, as most of the Puranass containing
reference to it have been written during this period. Several
Puranas recommended that arrangements should be made
to enlist the services of singing girls for worship at temples.
By the end of 10th century, the total number of
devadasis in many temples was in direct proportion to the
wealth and prestige of the temple. During the medieval
period, they were regarded as a part of the normal
establishment of temples; they occupied a rank next only
to priests and their number often reached high proportions.
For example, there were 400 devadasis attached to the
temples at Tanjore.
Local kings often invited some temple dancers to
dance in their courts, the occurrence of which created a
new category of dancers, rajanartakis who modified the
technique and themes of the recitals. A devadasi had to
satisfy her own soul while she danced unwatched and
offered herself to the god, but the rajanartaki’s dance was
meant to be an entertainment for the king and his court.
The popularity of devadasis seems to have reached
its pinnacle around 10th and 11th century AD. The rise
and fall in the status of devadasis can be seen to be running
parallel to the rise and fall of Hindu temples. Invaders from
West Asia attained their first victory in India at the
beginning of the second millennium CE. After the Islamic
invasions, the status of the temples fell very quickly in North
India and slowly in South India. As the temples became
poorer and lost their patron kings, and in some cases were
Platinum Platform
destroyed, the devadasis were forced into a life of poverty,
misery, and, in some cases, even prostitution. The Chola
Empire encouraged the devadasi system. Men and women
were dedicated to temple service. They developed the
system of music and dance employed during temple
festivals. The rise of Chola Empire in the 6th century AD
coincided with the decline of Buddhism and Jainism in
South India. Inscriptions reveal that the 400 dancers, their
gurus and orchestras, were maintained by the Brihadeesvara
temple, Thanjavur, with munificent grants, including the
daily disbursement of oil, turmeric, betel leaves and nuts.
Pressure from the British colonial reform
movement led to suppression of the practice. Adherents
of this movement considered devadasis immoral since they
engaged in sex outside of the traditional concept of
marriage, and described them as prostitutes. As a result of
these social changes, devadasis were left without their
traditional means of support and patronage. Reformists
and Abolitionists, under the pressure of the European
Christian priests and missionaries, conceived of the
devadasi practice as a social evil and considered every
Devadasi to be a prostitute. The first anti-Nautch and anti-
dedication movement was launched in 1882. Their main
aim was to do away with this system. Reform lobbyists
were drawn mainly from missionaries, journalists and
doctors. They urged the abolition of all ceremonies and
procedures by which young girls dedicated as Devadasis
of Hindu shrines. They organized seminars and conferences
to create a public opinion against the Devadasi system. In
the later part of 1892 an appeal was made to the Viceroy
and Governor General of India and to the Governor of
Madras. Social reformers such as Raja Rammohan Roy
also supported this movement.
engineering education, education in almost all branches
of knowledge such as pure sciences, humanities and
languages have all suffered utter neglect. Education system
has become purely commercial at all stages and the so called
reforms – which are undertaken periodically – seem to
worsen the system in every attempt. For example, the
concept of a university is a far more comprehensive
structure than an IIT, IIM, IIIT or a technological
university. But we have destroyed our university system
for political ends.
7. Conclusions :
We observe that many Hindu traditions have a
sound basis and they form the wealth of the society.
Occasionally, when the underlying basis is forgotten and
the situation in the society changes, and when the value
systems undergo changes, it appears that traditions
degenerate into dead habits and superstitions and the
reformers come to the fore. All the reformers need not be
genuine; some might represent vested interests whose main
aim is to debunk the Hindu religion and traditions. Some
of these may be pushed under the veneer of modernity.
8. Acknowledgements :
Much of the material for this essay is from the
discourses of Sadguru Sri Sivananda Murty garu. The topic
of the essay was also suggested by him. Some material is
from Dr. David Frawley’s writings. Wikipedia articles
provided some useful inputs.
* * * * *

6. Scientific and Philosophical Traditions of India :

Sanathana dharma has a comprehensive view of
life. Vedas, Vedangas, Darsanas, Itihasa and Purana
literature together constitute the overall picture of
Sanathana Dharma. For example, Nyaya and Tarka (the
science of logic and debate) has a sophisticated theory of
true knowledge of things of concrete and abstract things
and goes far beyond Aristotle’s logic. It is also intimately
connected to language and grammar, psychology and
philosophy of life. It also is related to other darsanas such
as Vaiseshika, Yoga, Mimamsa and Vedanta. Ayurveda has
excellent contributions to the science.
Our education system unfortunately lacks
reference to these traditions. Excepting undergraduate

Platinum Platform 137

 Contribution of Telugu to Karnatic Music
We can study the contribution of Telugu to
Karnatic music under three heads:
1) Telugu’s contribution to origin and evolution of
Karnatic music.
2) Treatises written by Telugu scholars either in Sanskrit
or Telugu.
3) Telugu composers and compositions.
The terms Carnatic music and Hindustani music
were used for the first time in Sangita Sudhakara by
Haripala, written sometime between 1309 & 1312.
If we turn our attention to the word Karnataka it
represented the entire peninsular India during the days of
Vijayanagara empire. Krishna devaraya was described as
prabala rajaadhiraaja veera prataapa ——
raajaparameswaraartha durgaa natesa
sahitee samaraangana sarvabhauma—— Krishna
raayendra
gajapati gajakoota paakala.. mooru raayara ganda
karnata kshiti mandladheeswara…….
One who ruled over the karnata country, at that
time the entire south India.
Kallinadha, commentator to Sangitaratnakara,
defines Karnata as below:
Asti karnaata desam suvimala yasasaa pooritaalam
prudhivyaah
Kaaveree krishnavenee tarala tara tarangaadra
dakshottaraamsah
Hrushta samslishya poorvaapara vijana pushaa
praachya pashaatya vele
Paadho naatha prasakti prabalita nikhila swaanga
saubhaagya lakshmeeh
He refers to the entire southern India as Karnataka.
There are evidences that Krishadevaraya who ruled
the vijayanagara empire during 1510-1529 visited
Purandaradasa (1484-1564) at least 3 times and paid his
respects to him. Purandaradasa is said to have composed
4,75,000 compositions. Purandaradasa is known as the
Karnataka Sangeetha Pitamaha who laid a definite path
for learning Karnatic music. Not only a composer, he is
*Former Director, American Institute of Indian Studies, Chennai.
138
- Dr. Pappu Venugopala Rao*
one who set a syllabus for learning Karnatic music. He
also composed Suladi Prabhandas and also Ugabhogas. He
is the one who prescribed Maya Malava Gowlai Melam for
learning Karnatic music.
These are some major reasons why the south In-
dian music is known as karnatic music.I don’t want to go
further and deeper into this aspect.
Geetham Vadyam cha Ntrutyamcha triam
Sangeethaam uchyathe
Song, instrumental music and dance put together
is known as Sangeetham according to Sangeetha Ratnakara
of Saranga Deva. If we go back to the origin of Indian
music, all of us believe that the present music has evolved
from Sama Veda.
Sama Vedat idam geetham Samjagraha
Pithamahaha, says, Sangeetha Ratnakara.
The earliest treatise on music available to us today, is
Bharatha’s Natya Sastra, which talks about music exclu-
sively in six chapters. Bharatha mentions different re-
gional musics and mentions Andhri as one style.
Natya Sastra is ascribed to second Century BC.
The Sathavahanas, the Telugu kings who ruled entire In-
dia, during BC 184 AD 320, patronized music according
to inscriptional and sculptural evidences. A music instru-
ment called Eka Tanthra Veena, one stringed veena, Satha
Thantra Veena, a hundred stringed Veena were shown in
epigraphical evidences. The Nagarjuna sculputures show
two other veenas, the Deva Veena and the Manava Veena,
the divine and human veenas respectively. Mahendra Varma
of Pallava Dynasty who ruled Andhra was considered to
be a great vainica. There is a doubt about the nativity of
Pallava kings, while some say that they are Tamilians some
others claim them to be Andhra. A particular region in
Andhra is known after them as Pallavanadu or Palanadu.
Mahendra Varma, is said to have left Andhra for Tamil
Nadu and with him took several Telugu Musicians. In-
scriptional evidences show that his music guru was a vo-
calist known as Rudracharya, who discovered Sankeerna
Jathi Tala Bhedas and got inscribed a Swara Raga on
Kudimia Malai temple premises.
Platinum Platform
 There are abundant literary evidences of great Ahobala Panditha 17th Century Sangeetha Parijatha
musical heritage in Andhra for a period almost from the Somanatha th
17 Century Raga Vibhodha
time of Bharatha (2nd century BC), but there was no Telugu
literature itself until 11th Century AD. It is presumed that Chatura Damodara 16-17th Century Sangeetha Darpanam
the official language during the period of Sathavahanas Subbrama Dikshitar 19-20 Century Sangeeta Sampradaya
was Sanskrit and it continued to dominate the life and Pradarsini
activities of the Telugus until literature began in 11th Cen-
tury AD. The music heritage Andhra had until then is are some of the prominent treaties which have
Desi or Regional music amalgamated with Sanskrit tradi- disciplined and directed the course of the evolution of
tional and classical music Karnataka music.

Palakuriki Somanatha a great Saivaite poet of 13th Having understood the role and contribution of
Century talks extensively about music in his works, Telugu in the origin and evolution of Karnatic music and
Panditaradhya Charitra and Basava Purana. the treaties that have been authored by the Telugu musi-
cologists, let us turn our attention to composers and the
These are the same kind of compositions which compositions who have enriched the density of classicism
are defined and refined by the classicists and renamed by of Karnatic music. While doing so we will also see what
the lakshana karaas in their treatise as Ela, Prabhandam, were the lakshana granthas written contemporarily to the
Padam etc., composers. This will enable us to infer the mutual and
Somanatha in his Basava Purana mentions the reciprocal influence on lakshana and lakshya.
classification of music as Margi and Desi, Classical and If we take the repertoire of Karnatic music pres-
Regional, the seven notes and the 22 sruthis. In ently available to us, we find compositions of Telugu are
Panditharadya Charithra, he classifies Ragas, as male, fe- more than all the other three languages put together. The
male and neutral, and also Shaudava and Audava. He reason and the logic behind this, needs to be probed into.
mentions 108 Ragas and divides them into Sanga,Desanga, A logical inference reveals that at the time of the forma-
Kriyanga, Upanga and Raganga Ragas. tion of the peninsular Indian music around 13th Century
There are umpteen number of references to mu- AD and from then on until about 5 centuries, Telugu
sic in Telugu literature which flourished during the rulers have ruled the major part of South India from
Vijayanagara regime. There are at least 15 major treaties Vijayanagara, Madhura, Tanjore, Chenji and other places.
authored or commented upon by Telugu lakshanakaras. Though the rulers of Vijayanagara are not by birth Telugus,
Nrutha Ratnavali of Jayapaseenani, 13th Century AD is there are historical evidences to show that they patronized
one of the most authentic works on dance and dance music. Telugu and their official languages used to be mostly
Sangeetha Ratnakara of Saranga Deva (13th Century AD) Telugu. The greatest of the Vijayanagar rulers, Sri Krishna
is one of the most extensive work on music and musicol- Deva Raya authored a book Amuktha Malyada in Telugu
ogy. Sangeetha Sudha, a commentary on this work was and some works in Sanskrit. This establishes the predomi-
authored by Simhabhoopala of 14th Century AD, other nance of Telugu in the field of music for about 500 years.
important treaties are : It is during his time that at least five major lakshana
Author Century Book grandhas have come up. His predecessor, Saluva
th
Narasimha Raya patronized Annamacharya for a while.
Haripala Deva 14 Century Sangeetha Sudhakara The Nayak rulers, of Tanjore, Raghunatha Nayaka and
Vidyaranya 14th Century Sangeetha Saram Vijayaraghava Nayaka were themselves musicologists who
Kumaragiri Vasantha Raju 14th Century Vasantha Rajeeyam wrote Sangeetha Sudha and composed several Yakshaganas
(Drametergy) during 17th Century. These 400 years from 1300 to 1700
Pedakomati Vema Reddy 15th Century Sangeetha Chithamani are very crucial to the formation of Karnatic music which
Gopendra Tippa Bhoopla 15th Century Tala Deepika has synthasised rich Tamil culture, the mellifluous Telugu
Chatura Kalinatha 15th Century Kalanithi – Commentary language and the regional musics of different geographi-
on S. R cal areas into one known as Karnatic music. This is the
Annamacharya 15th Century Sankeerthana Lakshana time when the Tamil country ruled by Telugus absorbed
Bandaru Lalxminaraya 16th Century Sangeetha Suryodaya Telugu as the language of music.
Cherukuri Laxmidhara 16th Century Raga Lakshana Vivekam
Ramamathya 16th Century Svara Mela Kalanidh The first available compositions in Telugu were

Platinum Platform 139

in prose sung to music. These were written by Padams, Chiluka, Thummeda, Lali, Suvvi, Gobbi. Vuyyala,
Krishnamacharya and are entitled Simhagiri Narahari Jola, Melukolupu, Nalugulu, Dampullu, Gujjanagullu,
Vachanas. These are written in Telugu on the lines of Mangala Harathulu, Allonerallu, Thandanalu and
Srimadramanajua’s Gadhya Trayam. Krishnamacharya Vennelalu. He employed some very rare ragas, some of
(1268-1323) is said to have composed 4,00,000 prose com- which are not available to us today, like Telugu Kamboji,
positions with the refrain Simhagiri Narahari Namo Konda Malahari, Dravida Bhairavi, Desaalam, Amara
Namo Dayanidhi. These are also known as Churna Padams. Sindhu, Rayagoula, Narani etc., We find only 89 ragas
Though we do not have even 100 of his compositions avail- were employed by him very frequently.
able today, tradition tells us that these were sung in the hill Name of the Raga Frequency
temple of Tirumala for a very long time before
Annamacharya. Krishnamacharya’s compositions have also Ahiri 107
greatly influenced Annamacharya’s compositions and the Samantham 103
Divya Nama Sankeerthanas of Thyagaraja Swamy. Sreeragam 89
Mukhari 82
Treatises written during this period by Telugu Padi 60
Lakshanakaras in Sanskrit were: Bouli 57
Haripala Deva of 14 th Century Sangeetha Sankarabharanam 53
Sudhakara Ramakriya 44
Consists of five sections - Abhinaya, Thala, Mu- Kambhoji 37
sical Instruments, Natya, and Geetha. He defines Varali 37
Prabandha and describes 76 types of Geetha Prabandhas. Bhairavi 36
Salanganata 26
Vidyaranya of 14th Century, Sangeetha Saram,
Believed to have been the first work to describe Raga in Majority of the compositions of Annamacharya
detail. Raga aalapana has got six Angas. Aukshipta, Raga available to us are erotic. Annamayya is probably the trend
Vardhini, Vidari, Sthayi, Varthani and Nyasa. He describes setter for the Srungara padams as well, as much as
nearly 15 Melas and derives Janyas from them. Sankeerthanas, that is the reason why he is known both as
Pada Kavitha Pithamaha and as Hari Sankeerthanacharya.
Kumaragiri Vasantha Raju (14 th Century).
Vasantha Rajeeyam (Dramaturgy). Dr. Raghavan says that Some of the major Lakshana Granthas by Telugu
though this book is on Dramaturgy,it dealt with many as- scholars during this period were:
pects of music Annamacharya (15th Century) himself authored
PADAM, SANKEERTHAM AND THE Sankeerthana Lakshana
BHAJANA tradition are given to Karnatic music by the Annamacharya is the first composer whose work
Thallapaka Trinity, Annamacharya, his son Peda on Sankeerthana Lakshana is a pioneering work. It talks
Thirumalacharya and his grandson China about the division of the lyric for the first time into Pallavi
Thirumalacharya. If only, Annamayya is known to the and Charanams. He gives the characteristics of a compo-
world 200 years ago, history of Karnatic music would have sition and also describes, the Mudra Charanam. All his
been rewritten. Though he composed 32000 padams he compositions are examples of his treatise.
felt that even one composition is enough to protect him, Pedakomati Vema Reddy (15th Century)
got them engraved on copper plates and stored them in Sangeetha Chinthamani
the Sankeertanala Bhandaram inside the temple premises
of the Seven Hills. These were discovered as late as in 1933, Sangeetha Chinthamani consists of Nrutha,
by the Tirumala Tirupathi Devasthanams. Thatha, Vadya chapters and also Marga Thalas and Desi
Thalas. There are chapters on Sushira, Avanadha and Ghana
Annamayya (1408 to 1503) is a pioneer, a trend musical instruments and a chapter on Geethas.
setter and Lakshanakara who initiated compositions and
divided into Pallavi and Charanams for the very first time Gopendra Tippa Bhoopla (15th Century)
in Karnatic music. He is also the one who gave the tradi- Tala Deepika
tion of Mudra in the last charanams. Out of these 14,230 This is a book basically on rhythmic aspects of
compositions available to us today, there is a vast variety of music dealing with Marga Thalas, Desi Thalas, Thala
compositions, Jajaras, Chandamama Padams, Kovela Viveka, Prasthara and Nirupana.
140 Platinum Platform
 Chatura Kalinatha (15th Century)
Kalanidhi – Commentary on S. R
He is a court poet of Immadi Deva Raya, who
ruled Vijayanagara (1423-46). Kalanidhi is a commen-
tary on Saranga Deva’s Sangeetha Ratnakara. He mentions
and extensively quotes from Kohala, Bharatha, Mathanga,
Viswavasu, Thumbura, Yajnavalka, Datthila,
Abhinavagupta and other ancient authors of treaties.
Chatura is a title given to him for his exhaustive knowl-
edge of music and musicology.
Perhaps, India is only the country in the world,
where every form of Art is considered as path for libera-
tion or Moksha Marga and fortunately, during the period
of formation of Karnatic music and its evolution as a clas-
sical tradition between 13th and 18th Centuries there was
an indomitable Bhakti movement sweeping the entire
country in general and south in particular. Therefore, the
compositions invariably reflect the Madhura Bhakti tra-
dition where only Narayana is considered as absolute Man
or Paramapurusha and the rest of the universe as femi-
nine. Therefore, male composers imagined themselves as
the consorts of the Lord and sang his praise with erotic
devotion or Srungara Bhakti.
Immediately following Annamayya was Narayana
Thirtha, who composed Krishna Lila Tharangini in San-
skrit in 12 chapters, each known as a Tharangam (not
each composition as we call it today), and 156 composi-
tions. Narayana Thirtha mentions 36 Ragas for these. Some
of them are very rare, Mangala Kapi, Ahiri, Manjari,
Dwijavanthi, Karnataka Saranga, Gouri etc., Some of the
most popular compositions often heard in congregational
singing are:
COMPOSITION RAGA
Ayimudam Dehi Yadukula kamboji
Krishnam Kalaya Sakhi Mukhari
Puraya Mama Kamam Bilahari
Kalaya Yasode Tava Balam Kedara Goula
Bala Gopala Krishna Mohana, etc.,
Heard in concerts about 20 to 30 years ago,
Narayana Thirtha’s compositions are gradually receding
in to oblivion in musical arena though they are picking
predominance in the field of dance. Narayana Thirtha is
attributed to have written a Yakshagana entitled
Parijathapaharanam which came to light about 50 years
ago from the manuscripts available at Tanjore Saraswathi
Mahal library. By coincidence another copy of this palm
leaf manuscript is also found with the Melattur Bhagavath
Mela Artists, strengthening the concept of the possible
first Dance-Music Composition in Southern India.
Platinum Platform
Another great Vaggeyakara, who enriched the rep-
ertoire of Karnatic music with his Sanskrit compositions
is Sadasiva Brahmendra. Prof. V Raghavan, in an article
dt. 11.1.1970 in The Hindu wrote thus, “Like Narayana
Thirtha, Brahmendra was a Telugu and his intiperu, sur-
name was Moksham and his general name was Sivarama’.
23 of his compositions are available today set to music by
Blamuralikrishna and the doyen of Karnatic music
Semmamgudi Sreenivasayyar. These songs are pregnant
with spiritualism, saturated with highest form of Bhakthi
and the Mudra in these is Parama Hamsa. Some of his
famous compositions are
“Pibare Ramarasam in Jhanjtho,
Maanasa Sancharare – Navaroju
Smara varam varam – Kapi
Thunga Tharange Gange – Surati
Chintha Nasthikila – Kamboji
Sarvam brahma mayam in peeloo
Critics opine that he left an indelible impression
on the Trinity in their Sanskrit compositions.
It is very common in Indian music that the com-
posers become Saints or Saints become composers.
Here is a case where a Government employee who
sang in praise of Rama in ardent devotion embezzled the
state funds and was imprisoned for 12 years. Bhadrachala
Ramadas (1620-1680) is one of the greatest composers
whom Thyagaraja mentions with reverence at least 4 times
in his compositions. Neither his surname was
Bhadrachalam nor his name was Ramadas. His original
name was Kancherla Gopanna. But he was identified with
Rama of Bhadrachalam and is known as Bhadrachala
Ramadas by the world today. Ramadas wrote about 154
compositions classified as those written before he went to
the prison, while he was in prison and after his release
from the prison. He is considered to be the foremost among
the composers who composed in Anandha Bhairavi for
the very first time and many times. There is no village in
Andhra without a Rama Temple, there is no Rama temple
without a Bhajan group of singers attached, there is no
Bhajan group who do not sing Ramadas compositions.
Some of the most popular of his are;
Tarakamantramu korina dorakenu Dhanyasi
Takkuvemi manaku Nadanamakriya
Yetheeruga nanu daya chusedavo Nadanamakriya
Garudagamana rara Yamuna Kalyani
Seetharamaswamy nechesina neramulemi Saveri
Palukebangaramayera‘ AnandaBhairavi
Iksvaku kula thilaka Kambhoji
Nanubrovamani cheppave Kalyani
141
 Ramadas’ compositions reflect his life, his stead-
fast devotion, flowing from the depths of his heart.
Ramadas also composed a sathakam known as Dasaradhi
sathakam with Makutam – Dasaradhi Karuna Payonidhi,
an English translation of this work written by me was
published by the Telugu University, Hyderabad.
Incidentally, Bhadrachala Ramadas is the only the
composer who composed on only one God of one place.
Some of the Lakshana Granthas authored by
Telugu Musicologists during this periodwere:
Bandaru Lalxminarayana 16th Century Sangeetha Suryodaya
Cherukuri Laxmidhara 16th Century Raga Lakshana Vivekam
Ramamathya 16th Century Svara Mela Kalanidhi
It is a complex work of 328 couplets in Sanskrit
divided into 5 chapters, preface, Svara Prakarana, Veena
Prakarana, Mela Prakarana and Raga Prakarana. He is the
first lakshanakara who used the word Mela in the meaning
that we are using today and listed 20 Melas.
Ahobala Panditha (17th Century) Sangeetha Parijatha
Consists of 8 chapters. Introduction, Svara,
Grama, Murchana, Alamkara, Jathi and Gamaka. He clas-
sified the 22 Sruthis among the five Jathis.
A new chapter in the history of Karnatic music
was opened with the advent of the greatest Pada composer
Kshetrayya, who has given a definite shape to the Ragas in
Karnatic music that we use today. He employed about 39
Ragas of which there is only one Padam each for six Ragas.
He employed 22 Ragas very frequently. We find
37 in Kamboji, 22 in Mukhari, 16 in Saveri, 15 in
Thodi,
13 each in Kedara Goula, Panthu Varali, Ghanta
Ravam, 12 each in Mohana, Y Kamboji, 11 in Anandha
Bhairavi, 10 in Madhyamavathi,
9 each in Sankarabharanam and Ahiri,
8 each in Huseni, Punnagavarali and Sourashtra and
5 each in Begada, Navaroju and Saindhavi.
The concept of a composition has taken a distinct
shape in his writings. There is a gradual exposition of Raga,
as we go from Pallavi to Anupallavi and then to Charanams.
The complete picture of the Raga is seen gradually in
Yethugada, Nadai and Svara Sanchara. We can definitely
say that he has laid a clear cut Raga form for the later com-
posers particularly in Ragas like Saindhavi, Ahiri, Mukhari
and Begada. His compositions are sung normally in
Vilamba kala – slow tempo. In one of his compositions,
Vedukatho Nadachukonna Vitarayadu in Kamboji, he gives
142
the total number of compositions he authoried as 4,500,
but what is available to us today are hardly 350 only. His-
torical evidences show that he sang in Madhura, Tanjore
and Golkonda courts. His compositions, though erotic in
nature are drenched in the ocean of devotion and his Mudra
“Muvva Gopala” reveals this.
Another great composer who influenced
Thyagaraja both in devotion and composition is Munepalli
Subrahmanya Kavi (1730-1780). His Adhyatma Ramayana
Sankeerthanas written in 6 chapters as Ramayana with 104
compositions where 31 Ragas are employed is a sacred
work embedded with spiritual music, figurative language
and melodious music.
Thyagarajaswamy’s Ghana Raga Panncha Ratnas reflect
inspiration and influence he received from Subrahmanya
Kavi. These compositions are not heard nowadays in the
concert field.
If we have to mention another Pada Composer of
great repute after Kshetrayya we need to mention
Sarangapani of Karveti nagar who composed with
Venugopala Mudra, 75 Srungara Padamas, 66 Vesya Vilasa
Dhushanams, 46 Vairagya neethi bodha and 16 folk com-
positions. Out of his many composition, two Hecharikas
set to Saveri and Kedara goula one Lullaby in Navaraoj
and one Mangalam in Bhairavi are very famous.
Mogudochi pilichedu a composition in Sahana is
very famous. Similarly, a compositions in Anandha Bhairavi
reveals his alliteration
“Rammanave ee menu vani sommanave, kougita
cherchukommanave, movi tenelimmanave” There is one
Padam which has a contrast with popular Tamil Padam
Example …
Telugu : Ichina Manchide
Tamil : Kayyil Kasilla vital
Some contemporary Lakshana Granthas at this
time were:
Somanatha, 17th Century Raga Vibodha
It consists of nine prakaranas dealing with, Sruthi,
Svara, Grama, Murchana, Gamaka, Mela, Raga. He also
enlists 122 Ragas.
Chatura Damodara, 16-17th Century Sangeetha
Darpanam
It consists of 7 chapters, Svara, Raga, Prakeerna,
Prabandha, Vadya, Tala and Nriya. He classifies Ragas into
four and describes 22 Melas.
If we go on talking the composers, the list becomes
endless. Govinda swamayya, Kuvana Samayya brothers
Platinum Platform
from Karvetinagaram are known for their knowledge of
Bharatha’s Natya Sastra, their Jathi Svarams, Padavarnams
in Kedaragoula, Navaroju and Mukhari are very famous.
Muvvanalluri Sabhapathayya … Matru Bhuthayya
.. Changalvaraya Sastry, Subbaraya Sastry, Melatturi
Veerabhadrayya, Melatturi Venkatarama Sastry, Paidala
Gurumurthy Sastry, Narumanchi Janakairamayya, Dasu
Sreeramulu, Thumarada Sangameswara Sastry, Parimalaranga
Pada Kartha, Thachuri varu, Bhallaparapu varu, Sobhanagiri
varu Natapalli varu, Vinukonda varu, Sivarampuram varu,
Ogirala Veeraraghava Sarma, Hari Nagabhushanam, Adibhatla
Narayana das, Emani Sankara Sastry, Bobbili Kesavayya,
Thumu Narasimha Das, Veena Guracharyulu, Doorvasula
Somayajulu, Vaasa Krishnamurthy and umpteen number of
others, some composers are not known and some composi-
tions are not available.
Melatturi Veerabhadrayya of 18th Century is the
first composer who wrote Svarajathi, Varnam and Thillana.
Subbarama Dikshitar wrote in Sangeetha
Sampradaya Pradarsani and I quote “ eeyana Trailinga
Brahmanudu, Tenuguna manchi prajna kalavadu …….
His mudra was Atchutha varada. Even today, the Melattur
Bhagavatha Mela annual performances are celebrated out-
side Varadarajaswamy temple in Melatturu. Historical
evidences show that this village now known as Mellatturu
was given away by Atchuthappa Nayaka in early 17th Cen-
tury to the Melattur Bhagavatha Mela artists.
O Manasa Yemaraka Srirama namamu in Ahiri
and Neenama Keertanale tarakamayya in Kamas are two
of his great compositions, but Subbarama Dikshithar
mentions two others in Sangeetha Sampradaya Pradarsini,
Pathitha pavana in Bhairavi, Sevimparavamma in Kapi.
Prof. Raghavan, brought out a svarajathi in Mohana from
the Tanjore Saraswathi Mahal Library attributed to
MelatthuruVeerabhadrayya. This svara jathi,
Modi seya meragadane, thodi theve naa saamini,
was edited by Prof Raghavan and published in
Music Academy Journal. Subbarama Dikshithar paid a
very rich tribute to Melattur Veerabhadrayya, by saying I
quote “ Neti Karnataka Sangeethaniki Margadarsi”
Ghanam Seenayya (1704-1731) was a Minister
for the Madhura king Vijaya Ranga Chokkanadha- a very
staunch Vaishnava devoted to Mannaru Ranga. He wrote
the famous satire – Siva Deeksha Paruralanu Ra in kurunji.
Sangeetha Sarvaartha Sangraha mentions two of his com-
positions as examples. One is in Darbaru – Magavadani
Adudani, the other in Neelambari Magavadu Valachenu
Sukham
Platinum Platform
In the post Venkatamakhi period one of the great-
est composers who wrote in all the 72 Melakarthas and
wrote 1000 geethams for the learners was Paidala
Gurumurthy Sastry . Some of his compositions were pub-
lished in Gayaka Parijatham of Thachuri Singaracharya
in 1971, He was known as Veeyi Geethala Gurumurthy
and composed in all the 7 Thalas.
Tirupathi Narayanaswamy (1873-1912) has many
popular compositions to his credit. Vagaladi Bhodanalaku
– the famous Javali was written by him. Ikanaina,
keerthana set to Pushpa Latika was recorded by Mysore
Choudayya , Baayaraani Baaliche Bhaamanampina Ravu
set to Kapi is another famous composition.
All the other contributions of Telugus put to-
gether, perhaps equal to a single handed contribution of
Thyagaraja Swami (1767 – 1847). . He is one among the
trinity who have metamorphosized and gave the Karnatic
music, its present form, structure, body and soul. Out of
the trinity, Thyagaraja has the unique distinction of hav-
ing more number of disciples than the other two. He also
is the one responsible for some of the aesthetic compo-
nents in the Kruthi format like “Sangathis”, “Gamakams”
and a concordance between the method of singing
Anupallavi and Charanam with identical svarams. There
are many number of his compositions which describe
Sangeetha as Mokhs Marga and emphasized Nadopasana
for liberation. A study of his Pallavis exclusively will make
a touching reading. His compositions summerise the
Vedas, Upanishads, Scriptures, Philosophy and Mundane
worldly sufferings of human beings. His compositions
on Tiruvattiur Tripura Sundari, Kovvuru Sundareswara,
Tirupathi Venkateswara, Kanchi Varadaraja Swamy etc.,
reflect his deep devotion. Whatever be the number of
compositions he said to have authorized, some say, 2400,
some say 3600, what is available to us today is close to
700 and in about 36 Melakarthas. He has made use of
some rare Ragas, Bahudari, Chenchu Kamboji, Deepaka,
Devamrutha Varshini, Gambheera Vani, Garuda Dwani,
Jana Ranjani, Kokila Dwhani, Mayura Dwhani,
Nabhomani, Nada Rangini, Navarasa Kannada, Phala
Manjari, Saramathi, Uma Bharanam, Suposhini, Vijaya
Sree etc., Some of these Ragas might have been created by
Thyagaraja himself because we do not find these Ragas in
the compositions earlier to him. About 200 Ragas are
employed by him. Most frequently used Ragas of
Thyagaraja are: Sankarabharanam, Thodi, Kalyani,
Bhairavi, almost 30 in each of these Ragas.
Dhanyasi, Saveri, Asaveri, Reethi Goula, Kedara
Goula, Darbaru, Atana, Arabhi, Deva Gandhari, Bilahari,
143
Begada, about 20 in these Ragas and Nayaki, Sarangi,
Sehana, Huseni, Jai Manohari, Sree Ranjani, Neelambari,
Balahamsa in these delicate and soft Ragas 5 to 6 each.
Thyagaraja gave life to some of the Ragas which were
present in those days just in name like Kharaharapirya,
Hari Kamboji. There is a variety of Thalas employed by
Thyagaraja. We find 310 in Adi, 93 in Rupakam, 86 in
Desadi, 78 in Chapu, 33 in Jampe, 18 in Triputa and 8 in
Trisra laghu. His music operas are the first of that kind in
Telugu literature and in the history of South Indian music.
Out of the three, he composed, “Seetharama Vijayam”,
“Prahlada Bhakti Vijayam” and “Nowka Charitra” only the
latter two are available.
His Utsava Sampradaya Keertanas and Divya
Nama Keertahanas are class by themselves. He was also
the first composer who brought Western influence into
Karnatic music. His “Sara Sara Samaraik Sura in
Kuntalavarali is based on a British band tune. Similarly,
among his Divya Nama Sankeertana, Varaleela Gana lola
in Sankarabharanam is an imitation of an English tune.
The most authentic and exhaustive and the latest
of all the treatises is sangeeta sampradaya pradarsini by
subbarama dikshitar in four volumes in telugu, encom-
passing all most all composers, musicologists and the
lakshana granthas written earlier to him. He enlists the
various ragas, their characters, arohana, avarohana and gives
examples from earlier vaggeya karas. Easily the best in our
times is Sangeeta sampradaya pradrsini in telugu. This needs
badly a translation in to English.
I have not mentioned the Yakshagana composers
or the philosophical compositions of another class of com-
posers like, Pothuluri Veera Brahmam, Yedla Ramadas,
Dudekula Siddappa and others. These compositions may
not be fit for a classical concert, but they are fit to turn a
mundane man into an ascetic.
Similarly, there is another exclusive school of
Karnatic music in the Harikatha realm of devotional mu-
sic. Adibhatla Narayana Das, the Hari Katha Pithamaha
of Andhra needs a special mention as a composer of Hari
Kathas in Telugu and Sanskrit and for his gymnastics in
music with his Pancha Thala Prabhanda, where the five
thalas are simultaneously played and “ Dasavidha Raga
Navati Kusuma Manjari” where you read the composition,
in different ways in different Ragas and different Thalas.
There are many composers in 20 th Century – Hari
Nabhabhushanam, Patrayani Seetharama Sastry etc.,
Dr Bala Murali Krishna’s compositions in 5 differ-
ent Langauages, in 72 Mela kartha Ragas, in different forms,
Krithi, Keerthana, Samkeerthana, Padam, Varnam, Javalis
and more particularly “Thillanas” need to be high lighted.
144
There are lot of instrumentalists who have gave a
definite direction to the techniques in playing Karnatic
music like Veena Gurachari, Emani Sankarasastry and
Chittibabu on Veena, Dwaram Venkataswamy Naidu on
Violin, Mullapudi Laxmana Rao on Mrudanga. Similarly,
Bobbili in North Andhra is as famous as Tanjore for mak-
ing Yekanda Veenas . We should also mention the intro-
duction of Mandoline into Karnatic music by Sreenivas.
Most of the varieties of the compositions have been
first written by Telugu people. There are historical evidences
which prove the fact that the Telugu has been the Lan-
guage of Music for over five hundred years and continues
to be so. Syama Satry out of the trinity, Puchi
Sreenivasayyangar, Patnam Subrahmanyam Ayyar,
Margadarsi Seshayyangar, and many others in Tamil Naudu
whose mother tongue was not Telugu chose to compose in
Telugu. Swathi Thirunal, deep down below in the South
also wrote in Telugu. Mysore Vasudevachariar wrote only
in Telugu. That itself is a signal contribution of Telugus to
Karnatic.
There is a school of musicians / musicologists who
think while rendering the compositions music is impor-
tant and not the language. Yes. Music is important, but
language is also equally important if not more. I would
even say that music may be more important. We talk of
music as inherited from the Vedas and pronounce compo-
sitions wrongly, split words unethically and distort intona-
tion. It is a very painful phenomenon, and if it is not
taken care of some of the compositions may become un-
recognizable in course of time. In Madras there are enough
Scholars in Sanskrit, Telugu, Tamil, Malayalam and
Kannada. Vocalists should not hesitate to approach them
for correct pronunciation. That does not diminish their
stature. It only enhances their personality. I don’t want to
give examples of wrong pronunciations. My appeal to the
vocalists in particular is .. Let us respect the composers and
their compositions.
Of late, we hear some of some futile attempts to
translate Thyagaraja Swamy’s and Annamacharya’s
compostions into Tamil. We can translate the composi-
tions definitely, but can we translate their heart? Their
devotion? Will any translation be useful without those
components ?
The contribution of Telugus to Karnatic music is
phenomenal and unparalleled. May Telugus recognize it.
This Paper is an offering at the LOTUS FEET
of Sadguru Sri Sivananda Murty Garu
* * * * *
Platinum Platform
 Art of Andhradesa
Art is a product of human activity. It is used by
man and society for both religious and secular purposes.
Art was also used by powerful monarchs as a direct or
indirect means to propagate their socio-political ideas and
ideologies. In Andhradesa the Buddhist art was patronized
and well developed from the 3rd century B.C. to 4th century
A.D. The early art of Andhra is evidenced in the stupas at
Amaravati. The mahastupa here revealed the triratna,
vriksha-chaitya in graphic art, datable to the 3rd century
B.C. Yakshi figures and stele with carvings like events from
the life of the Buddha with label inscriptions, purchase of
Jetavana, structural complex, multi-storeyed building show
strong resemblance to the Sunga-period reliefs of Bharhut.
Flat forms of the body and angularities are similar to the
Sunga period reliefs. Amaravati art is basically
representational and narrative in character, which is a
feature of early Indian art of pre-Christian centuries. The
flora and fauna, human sculptures carved in low relief from
here exhibit flat carving, plump limbs, smiling faces,
draped turbans and heavy jewellery, belong to the 2nd and
1st century B.C. Stiff and angular style found in the figures
at Jaggayyapeta is very close to those seen at Bharhut.
The mature art of the Amaravati has taken place
during the Later Satavahana period with replacement of
the old railing with highly decorative one to the mahastupa.
Jataka stories, scenes from the life of the Buddha, flora
and fauna, Buddhist symbols are composed on the railings.
Still narration and descriptive content dominates, pushing
these to the background in the representation. Female
devotees paying homage to an empty throne marked with
the Foot-Prints and a roundel showing the Buddha in
human form subduing a maddened elephant are also
depicted. (Govt. Museum, Chennai). It shows both the
enraged elephants’ charge, tossing bystanders aside with
its trunk and the scene where it kneels down in the sacred
presence of the Lord. It is one of the best examples of the
mature Amaravati School. The action oriented
representation is remarkable for its space organization,
wealth of architectural details and human details. The head
of the Buddha is round, though slightly damaged, a
sophisticated production is a good example of subtle
modulation of flowing art. (Musee Guimet, Paris). In depth
*Professor of Ancient Indian History, Culture & Archaeology, Sri Venkateswara University, Tirupati.
Platinum Platform
- Dr. D.Kiran Kranth Choudary*
carving, crowded compositions and various difficult poses
of forms are found. The figures register feelings and
emotions in their facial and physiognomic attitudes and
expressions. The mature art of the Amaravati is one of the
India’s major distinct styles. It is considered by many critics
to be the finest school of Indian sculpture.
The Ikshvaku period of Andhra art is found at
many Buddhist centres- Goli, Guntupalli, Gummididuru,
Alluru, Ghantasala, Ramatirtham, etc. The post-Ikshvaku
Buddhist art is seen at Nelakondapalli, Buddham,
Sankaram, Jaggayyapeta, etc. The Buddha and Bodhisattva
images in stone from Nagarjunakonda and Buddha figures
form Buddham are notable specimens. The life-size
standing Buddha figure developed at Amaravati seems to
have had influence on south-east Asian art. Amaravati
prescribed the standard for the Buddha figure with the
heavy physique, the robe covering the forearm, the right
hand in abhayamudra pose, and the left hand holding the
folds of the robe near the chest, a circular mark on the
forehead, and ring-like curls of hair in a top-knot.
With evidence of the Gudimallam Siva linga dated
to the 2nd century B.C. it can pointed that the Brahmanical
art tradition is as old as the Buddhist art tradition in
Andhradesa. The linga has seven sides in the middle, nut
shape at the top and is square at the bottom. It looks like
the male organ in a state of erection. Siva as a samapada
sthanakamurti is carved in the linga itself in bold relief.
Interestingly, he has only two hands and no yajnopavita,
“a remarkably early state in the iconographic concept of
Siva”. The fine cloth is tied below the abdomen. The creases
and both smaller and heavier folds of the cloth are very
well sculptured. These characters recall the Patna yakshas.
Additional waist band tied in loop-knot recalls the
Bharhut- Amaravati arts.
The Ikshvaku period sculptures of Kartikeya,
Gauri, Kubera, Nidhi are similar to the style of Buddhist
art. They are featured with an oval face, slim bodies with an
hourglass torso, and long limbs. Several stone plaques
depicting the trinity are found at Konidena, Kondamotu,
Madugula, Duvvuru, etc. The style of depiction of human
figures, drapery and ornamentation resemble the art of
Vijayapuri and Amaravati. The Duvvuru plaque depicts
145
Brahma, a linga and a mother goddess, while the end figure
is broken. It may be Vishnu, as in the plaque found at
Konidena. The mother goddess is seated in a crouching
posture on a pitha. She has a full-blown lotus instead of a
human head, large breasts and a slim waist. The figures of
Vishnu from Kondamotu, Yeleswaram recall the early Pallava
four armed Vishnu. Large numbers of lingas ranging from
the 1st century to the 5th century A.D. are found. The
Amaravati-Nagarjunakonda idem is found in the fifth
century sculptures of Surya from Chejerla, Konidena and
in the sixth century figures from Yelaswaram, Vijayawada
and Undavalli.
A two armed Ganesa figure in terracotta from
Veerapuram, belonging to the first century A.D. shows a
fine physique and features a prominent paunch and trunk
turned to left. He has no yajnopavita. Two armed Kartikeya
figure from Chejerla shows the continuity of Ikshvaku style.
The deity is endowed with a youthful smiling face, smoothly
closed lips, large eyebrows. Interestingly he holds sula instead
of sakti. An early example of Siva and Parvati, datable to the
third or fourth century A.D. was found at Pedavegi. The
Amaravati and Nagarjunakonda naturalistic style of art forms
continued till the end of 6th century A.D.
In Andhradesa from the 7th century A.D. a new
style, Vengidesa art, began with faint reminiscence of early
sculptural style. Its continuity is evidenced with the art of
the Vishnukundin period at Vijayawada. From now on, the
Brahmanical sculpture predominates while the Jaina
sculpture proliferates over the stagnant state of Buddhist
art. The sculptural art of the 7th century A.D. is represented
by the Vijayawada dvarapala images, preserved in the
Government Museum, Chennai. The short and stout figures
in tribhanga are endowed with beaming expression. Among
the decorative detail of the images, folded large sized
kativastra with the tassels in a bunch at the centre, the
yajnopavita of lilies and lotuses, the top knot head dress
without horns and one of the left lower hands in vismaya
pose are noteworthy. The squarish face with stubby nose,
highly arched eyebrows, wide pouting lips and prominent
broad chin are the facial features.
In the 8th century the nasikas of the Jalpesvara
temple at Pondugula are inset with the human heads,
Trimurti decorative devices similar to that of the rock-cut
temples at Mogalrajpuram. The Vidyadhara figures and a
loose image of Mahishamardini from the Rupalamma temple
at Terala are supple and slender with pleasant expression.
The early 8th century Svetambara Jaina cave at Ambapuram,
Krishna district, houses a huge seated Jaina with chouri
bearers. The stiff standing Parsvanatha and Tirthankara
icons covered with small cloth, indicative of the Yapaniya
146
sect, and Ambika with trisula carved near Parsvanatha are
crude in appearance.
The sculptural panels of 9th century AD are found
in a temple of Jammidoddi locality, Vijayawada. Here one
of the panels featured with three musicians flanked by two
dancers on the sides and atop a sage. The vigorous
movements of the drummers and cymbal players are
brought out with sharp lines and angularities. The dancers
are shown in linear rhythm with graceful curves. The scenes
from Kiratarjuniya story are carved on an inscribed pillar
of the 9th century A.D.
Ganesa from the Golingesvara temple at Biccavolu
is a four armed classical pot-bellied figure. It is seated in
sukhasana without the presence of the rat. The introduction
of jatamakuta indicates the influence of the Kalinga art as
found in the temples of Mukhalingam. The Tirthankara
image from Biccavolu datable to the 9th century A.D. now
in the Government Museum, Chennai, is in elegant seated
form. The firm and slender torso and serene face are
noteworthy.
The sculptural art of 10th century A.D is evidenced
from the Virabhadra sculpture in the niche of Nakkalagudi
and Kancharagudi at Biccavolu. Stiff figures standing
rigidly have square face, short and sturdy nose, hollow eyes
with elevated eyebrow, pouted lips, pointed chin and short
forehead. The ornamentation particularly of the vanamala
and uttariya in the image of Vishnu is after the Kalinga
tradition. The 10th century’s sculptural art is also present at
Draksharama, Samarlakot, Chebrolu, Dharmavaram, etc.
The seated Ganesa figures at Draksharama, Samarlkot etc,
have similar traits as seen at Biccavolu. The images have
oval puffed up faces, long noses and pleasant beaming
expression. The stress on beaded ornamentation, elaborate
fold and tassels of kativastra is noteworthy.
The temples at Mukhalingam, represent a
distinctive sculptural art and iconographic tradition of
Kalinga. Intricately carved Madhukesvara temple,
belonging to the later half of the 8th century, recalls the
forebears in Bhuvanesvar. The figures are spectacular with
effective expression. The decorative trait and outer
treatment recall those of the early temples at Bhuvanesvar.
The short statured figures create cramped feeling and
terracotta appearance. These figures in dehancement are
slender and have prominent chest and waist with
exaggerated body contours. Besides the expressive chubby
faces, the masks like ones are also encountered. Bun type
head-dress with ringlets and variety of beaded
ornamentation, the delineation of folds of tassels in loops
and various stances emphasized characteristic to the art is
after the Kalinga tradition.
Platinum Platform
 Unique iconographic features of the Mukhalingam
region also reveal the influence of Kosala and Bhuvanesvar
art traditions. In majority cases Siva in various forms is
invariably shown with urdhvalinga. Four handed Ganesa is
present without his vahana either sitting or dancing modes.
The dancing Ganesa on the outer door-jamb of the Parivara
shrine in the Madhukesvara temple is unique for its
iconographic features. The rhythmic dance pose of the four
armed Ganesa is well brought out with his right leg slightly
bent and resting on the ground while the left is touching
the ground with the toes. The third eye on the forehead,
the left turned and upraised proboscis holding sankha, small
snail like coiffure with snake fillet, jeweled crescent, a flower
band are noteworthy. The Western Andhra preserves the
Chalukayan Art of the 7th and 8th centuries A.D. The images
of Kumara Brahma at Alampur present with the supple and
youthful bodies and flush faces are endowed with radiant
expression. The smooth modelling and half-closed eyes
indicate a sensuous quality. The less ornamentation and
heavy coiffures of crowns with pronounced strings lend
majesty. In the composition and treatment of the mithuna
panels the impact of Vakataka-Kalachuri tradition is felt as
in the temples of Aihole. Parvati (now in the Site Musuem,
Alampur) in graceful stance holds a nilotpala in the uplifted
hand. The splendid tilt of the head, the chest thrown back
towards left, the marked outward of the hip enhances the
beauty of the figure. The facial physiognomy tends to be
squarish from the temple to the jaw and down to the chin
it becomes acutely pointed. High arching eyebrows,
downward cast glance, the gentle smile and the freshness of
the face make it more elegant. The Kalachuri art form can
be seen in the Sangamesvara temple at Kudavali.
In the images of the Virabrahma temple at Alampur
a change in proportions, elongation of body with slender
physique is encountered. Ganga and Yamuna figures have
short drooping shoulders and high navel. The Balabrahma
temple at Alampur has youthful images with an oval face
and the temple narrowing down to the chin, protruding
eyes and long pointed nose and open stare.
The period of Vinayaditya initiates a new trend in
the Svarga Brahma temple at Alampur. The balanced
decorative method is more pleasing. The influence of the
Kalachuri-Vakataka tradition lost its hold on art but some
art motifs are favoured. In general the short proportions
and slender bodied figures favoured as seen in the art of the
Bala Brahma temple. The sixteen armed Nataraja kept in
the bhadragavaksha dancing in chatura pose is elegant. The
slight tilt of the head to the left and the flexed torso to the
right make a harmonious blend of circular and semi-circular
movements of the figure. The linear creation of the attendant
Platinum Platform
figures created in various poses brings grace and rhythm to
the entire panel. The absence of apasmara is noteworthy.
The Garuda Brahma temple at Alampur shows a
new trend of art in the 8th century A.D. The charming
figures are present with a rhythm and elegance. The Padma
Brahma temple preserves the horned dvarapalas and the
geometric designs. Geometrical devices based on svastika,
frets, checks and many patterns found at the base are rarely
seen in Indian temple architecture.
The Ramalingesvara and the Bhimalingesvara
temples at Satyavolu have images of Siva in various forms.
The sculptures in the Bhimalingesvara are crude in
appearance. High provincial character is felt in these
sculptures as in the case of architecture.
The Rupala Sangamesvara, Bhujangesvara and
the Sangamesvara temples at Bhavanasi Sangam belonging
to the last quarter of the 8 th century have lavish
ornamentation. The sculptures have youthful and
exuberant faces. The bodily poses, though encountered at
Alampur, and are derived from the art of Sangamesvara
temple at Kudavali. The eight armed Nataraja from
Papanasi is preserved in the Site Museum, Alampur. The
Siva dances gracefully in catura pose on the apasmara
purusha. The deity holds parasu, patra, damaru, trisula,
sarpa, agni and the remaining two are held in pravarita
and lolahasta poses. The third eye is present. Bedecked
with jatamakuta, sarpa and cakrakundalas, ekavali, a three
banded beaded hara, a three stranded yajnopavita, keyuras,
kankanas, and a large sized nupura Siva has a graceful form.
The kativastra is very short and is made up of several wavy
folds that flow across the thighs in circular motion. Two
figures are present playing flute and mardala.
The northern Telingana region had witnessed a
different art tradition. The Bhimesvara temple of
Vemulavada belonging to the later half of the 9th century
A.D. preserves bas-reliefs and sculptures. Among the
sculptures the Mahashasuramardini is significant for its
modeling. The eight armed goddess is shown trampling
the asura, and the latter is shown in human form. Though
the goddess has thin graceful physic, the twist of the body,
tilt of the head and position arms and the vigour present
in her action are indicative of excellent tight modelling.
Though the image exhibits delicate delineation, lack of
expression is striking. The vahana of the deity is absent.
This figure has similarities to the examples at Ellora and
Alampur.
The brick temples dedicated to Jaina pantheon are
found at Alavanipalli in Mahabubnagar. These are datable
to 9th to 10th centuries A.D. A headless image of a seated
147
Mahavira is noteworthy for its strong volition imbued in
the slender and firm limbed body. The Tirthankara images,
the foot prints of the Tirthankara and the Cakresvari
sculptural panel on the Bommalagutta and the inscription
of Jinavallabha dated A.D. 945 deserve mention for these
are dated sculptures. The Tirthankara images with triple
parasol atop are full length supple figures. They are suffused
with youthful charm and serene grace.
In the lower south –western Andhradesa a new style
of art prevailed in the Nolambavadi, comprising the present
south-east Karnataka and contiguous portions of Andhra
Pradesh and Tamilnadu. The Nolambas nurtured Hemavati
the capital as a notable centre of artistic expression through
their monuments. The art of Nolambas testifies that it is an
expression of local idiom of art in a distinctive mode, hence
called Nolamba style. The monuments at Hemavati preserve
the art of 9th and 10th centuries A.D.
The Siddhesvara temple represents the art of 9th
century A.D. Bhairava enshrined in the sanctum is a powerful
and elegant one. The youthful Bhairava seated in lalitasana
pose holds the attributes in a naturalistic way, a deviation
from the tradition, is noteworthy. The fingers around the
trisula are relaxed, the damaru rests in the palm and fingers
of the hand but not held by two fingers, which is a normal
feature. The round and fleshy face with highly arched
eyebrows with open eyes and the mouth with two small
protruding fangs show pleasantness than ferociousness in
appearance. Stylized hair ringlets encircle the head in two
rows and form like a halo. A skull adores the head top and a
naga entwines the forehead. Neatly decorated image has also
naga keyuras and munda-yajnopavita. Though the ugra form
of Bhairava is not seen here it certainly dominates among
the other Bhairava forms in art. Another sculpture
comparable to the Bhairava aesthetically and spiritually is
that of Kali preserved in the Madras Government Museum,
Chennai. The Virupaksha temple has the most elaborate
pillar reliefs. The art at Hemavati is a blend of the Chalukyan
and Rashtrakuta traits in certain aspects but it has
autonomous local expression which can be termed as the
Nolambavadi idiom.
In the lower south –eastern of Andhradesa at
Tondamanadu, near Srikalahasti the Chola idiom is present.
Parantaka I (907-955 A.D.) erected a pallippadia
(sepulchral) temple in honour of Aditya I, near
Tondamanadu. The koshtha-devatas have heavy
physiognomy, round faces, short chin and visionless eyes
with high arched eye brows, flat modeling and rigid
frontality. It can be said that the originality of the Chola
idiom is missing.
148
The Renandu region, comprised of the present
Kadapa district and parts of Kurnool and Prakasam districts,
presents a distinctive idiom of art. The earliest example,
belonging to 8th century A.D., in stone comes from the
Chennakesava temple at Muttukuru. The trisakha doorway
is decorated with latapatra in shallow carving. The dvarapala
figures at the base recall the Peddamudiyam plaque. It
exhibits pole like figures, bow like torso, the arresting chest
and hips and an elongated oval faces.
Similar features are noticed in the Saptamatrika
panel of 8th century from Ramesvaram. The early phase of
the rock-cut temples at Bhairavakonda, datable to the period
later of the 8th century, have the sculptures of Brahma,
Vishnu, dvarapalas, Candesa and Ganesa. The figures have
heavy physiognomy, flat modelling, linear accent of the
carving, high curved ends of the shoulders and inflexible
frontality. Trivikrama image from Pedda Chrukuru,
Prakasham district, datable to 7-8th century, is unique with
all the attendant figures carved as prescribed in the texts.
The balance and disposition of the limbs are superb. The
deep cut of contours elevates the main figure when compared
with the accessory figures. The deity has oval face with pouch
like mouth and with splayed nose and wears elongated
conical kiritamakuta with facets.
The images of Parsvanatha, Padmavati, headless
goddess, Caumukh from Danavulapadu are examples of 10th
century art of the Rashtrakuta period. The images have short
squarish face, heavy shoulders, high chest and elongated
torso, high arching eyebrow and wide pupils. These features
are evident in the paintings and sculptures of Ellora.
The Agastyesvara temple at Chilamakuru,
belonging to the 8th century A.D., has carvings on the pillars.
The eight armed Nataraja dances in the lalita mode on
apasmara. The diagonal movement of the body is balanced
with the display of arms. Manmatha in graceful bends
holding sugarcane along with its leaves as the bow in his left
hand and a flower with long stalk in the right as the arrow,
has pleasing expression in the face. Rati in three graceful
flexions in her body holds a lotus in her left hand and keeps
right in lolahasta pose has smile and a serene appearance.
The iconographic features are similar to those Cholamandala
tradition.
A good number of memorial stones are found in
the Rayalasima region from the 8th century to 10th century,
belonging to the period of Vaidumbas, Nolambas, and the
Banas. Memorial stones, usually rectangular in shape, contain
the sculptures of the heroes, and the depiction of the celestial
nymphs with flywhisks in their hands on either side of the
hero. Sometimes an inscription describing the valorous deed
Platinum Platform
of the hero is engraved. In some cases auspicious objects
like water pots, boxes and mirrors are created. The standing
poses, movements, in some cases riding the horses and the
dispositions of arms in the sculptures are indicative of action.
Though the facial expressions are not effective the contours
of the body with virile expression are delineated in the
examples from Bodinayanipalli, Chittoor district,
Dambaladinne, Kurnool district and Vandadi of Kadapa
district. Majority of hero stones have the awkward, crude
physiognomy, expressionless with linear carvings. It can only
be explained that for the creation of these memorial the
local talent was utilized.
In the Telangana region under the Kalyana
Chalukyas the temples at Panagal, Nandikandi, Ganapur,
Patancheru, Kantesvaram, Mallesvaram, Choppadandi etc.,
reveal the art of 11th and mid 12th centuries A.D. The
sculpture during this period is largely confined to the bas
reliefs. Rarely sculpture in round is met with. These are
mostly in the hall flanking the doorway and a Nandi either
in the hall or outside is encountered. The niches do not
possess the figures. The sculptural scheme excelled at Panagal
Pachchala Somesvara temple. Slim figures however have
broad and heavy shoulders, broad hips and round limbs.
The ethnicity is seen in the face which has high arching eye
brows, protruding eyes, long pointed nose, pouting lips,
prominent chin, and high check bones. Tight modeling is
seen in the erect and elongated torso.
The Ramalingesvara temple at Nandikandi (A.D
1015-1042) preserves the life size figures. These figures have
heavy physiognomy, squarish faces and taut torso. While
the dry finish is seen in the dvarapala figures and Ganesa,
Sarasvati images reveal smooth and polished surface. It may
be noted that carving of life size dvarapalas become a rarity
in the 12th century temples. The old Trikuta temple at
Naganur in its art reveal affinity to the Panagal sculptures.
The 11th century Jain sculpture from Chilkur, Kulcharam,
Yellakonda, Kolanupaka, Patancheru, Hanumakonda,
Polasa etc are highly polished or of dry finish. Parsvanatha
figures from Patancheru now in the state Museum,
Hyderabad datable to the 11th century A.D is slender bodied
and an elegant figure.
The Veyistambhalagudi is the principal example
of mid 12th century art. The figures of Vasudeva, Dvarapalas,
dancers, attendant figures etc reveal stylization. In the figural
art two sub types are noticed. Slim pillar like figures have
with little flexions of the body. The puffy squarish faces
dominate and are characterized by prominent eyeballs, long
pointed noses and wide pouting lips. The other worldly
nature of the faces is striking. Tall crowns and the schematic
Platinum Platform
carving of the jewellery give a feel of wooden craftsmanship.
The other type is the contorted pose and profile view of
the face of the slender figures. This type dominates the
Kakatiya art and can be termed as the stylistic preference of
the Kakatiya period in the Telangana region. The figures
are noted for their exaggerated stance, the emphatic thirst
of high naval region, and keeping the right leg much lower
at the bottom placing across the arching left leg. The figures
with oval face, broad forehead, and high cheek bones, narrow
and prominent chin are ubiquitous. Drooping broad
shoulders, heavy breasts and slim round limbs characterize
the figures. In the carving of the eyes, the double folds of
the arching eye brows are treated with an elongation.
Adorned with heavy jewellery mostly beaded and diamond
stringed chains, the figures glow in the contrast of black
and white of the stone.
The 13th century temples at Palampet, Ghanapur,
Warangal, Nagulapadu, Dharmapuri, Pillalamarri etc are
notable for Kakatiya art. The Ramappa temple at Palampet
built in A.D 1213 can be counted as an excellent, example
for Kakatiya art. As the temple was built with pale pink
stone of hard variety, the sharpness and freshness of the
decorative pieces and sculptural carving is noticeable. The
beautiful well modeled figures are in high relief while the
creeper is carved in low relief. The nayika figures in the
rangamandapa are characterized by stiffness and in frozen
quality. The stylized cylindrical movement and cubistic
carving dominate. The supple and graceful figures of nayikas
are notable in the rangamandapa of the Kotagudi, Ghanapur.
The tall, elongated and slim nayakas on the short pillars of
vedi are shown as playing instruments and some in dancing
posture. The majestically seated Nandi, beautifully bedecked
with beaded ornaments is typical of Kakatiya art in its
splendid form.
The Svayambhulinga temple at Warangal (A.D
1254) is now littered with sculptural and architectural
fragments. The nayikas adoring ornaments or looking at
mirror etc or torsos are shown in convoluted poses. The
masks like faces betraying serene quality characterize these
sculptures. Further rich and profuse ornamentation of
dvarapalas, the men or women or the animals and especially
Nandi is noteworthy. What strikes one seeing the remains
the meridian, the Kakatiya art had achieved.
The art of the Renadu region is best represented
by the Saumyanatha temple at Nandalur, the Vaidyanatha
temple at Pushpagiri. Very few sculptures are preserved in
the niches of the temples. Sculptures preserved in the
Vaidhyanatha temple-Umamahesvara, Surya, and
Lingodbhava are datable to the late 11th century A.D. These
149
are characterized by taut modelling and have smooth and
polished limbs. Simple physique with squarish face and pointed
chin are notable. Profuse ornamentation especially of pearls is
striking. The Chola sculptural styles impact is seen.
The art style of Pakanadu and Banavadi show the
dominant trend of Cholanadu style. Sri Kalahastisvara
temple, Sri Kalahasti, datable to the end of 10th century
A.D has the image of Lingodbhavamurti in the niche of the
sanctum. It is shown standing in the aperture of the linga in
samabhanga pose. Bedecked with a high crown of
jatamukuta, the supple bodied figure is a picture of elegance.
The radiating slight smile of the face is notable. Siva
Dakshinamurthi, in the southern niche of antarala is shown
seated in virasasana under the tree. Sparsely ornamented
Siva has a serene face, drooping arms and supple body. The
Siva Dakshinamurti and Umamahesvara figures from the
Kapilesvara temple, Tirupati datable to the mid 11th century
A.D are excellent specimens of Chola periods art.
The art of the Pakanadu region under the Telugu
Chodas of Nellore during the 12th and 13th centuries A.D is
influenced by the Chola art style. The sculpture in round is
preferred while the bas reliefs are rarely encountered on the
walls of the temple. The slender figures with squarish faces,
supple modelling and dry finish characterize the art. Heavy
physiognamy also is met with in the figures. Prominent knee
and angularities are characteristics to the sculptures. Notable
sculptures are seen in the Udayakalesvara temple at
Gandavaram, Krishnapatnam, Mallam, Chennur etc. In the
13 th century A.D sculptures reveal rigidity and
schematization. The sculptures are highly generalized in its
modeling but have vigour and dynamism in the portrayal of
the figures in the episodes of narrative art.
During the later Ganga period, 11th to 14th century,
the temples at Srikurmam, Simhachalam, Narayanapuram,
Jayati and the Bhimesvara temple at Mukhalingam were built.
Their architectural and art traditions of Kalinga late phase
have impacted the temples of Kalinga. The Srikurmam
temple’s four handed Trivikrama stands on his right leg while
the left foot is raised up to the height of his head. The tube
like arms, stump like legs show imbalance resulting in crude
disposition. The four handed Harihara in samapada sthanaka
has Siva in the right half and the left half corresponds to
Vishnu. The half third eye and membrum verile are present.
However, the round face, curved bent lower lip, hour glass
torso and the stance are disproportionate. The stocky and
rigid flexions resulted inaction. The Simhachalam temple
in the Visakhapatnam district dated to the beginning 12th
century A.D. contains life size sculptures in the niches of
walls. The stance, the threatening posture of the hand, the
150
muscular structure of the body and broad chest of
Yajnavaraha indicate the strength and determination to fight
with the demon. Figures are realistically portrayed in relaxed
positions, displaying a soft and sensuous modelling. Details
are simplified and the emphasis is on the flowing outlines of
the body. In the Nilakantesvara temple, 12th century A.D.
at Narayanapuram, Vijayanagaram district, Siva Nataraja is
noteworthy. Mahisasuramardini figure from the Bhimesvara
temple at Mukhalingam, stands with her left leg resting firmly
on her mount lion while her right leg is placed on the back
of the buffalo demon. The image is imbued with great
strength and vigour and exudes an aura of vitality. The
features are delicately created and the entire sculpture is
infused with dynamism. The Orissan impact is found in the
scheme of sculptures, but the beauty, liveliness and
tenderness are lacking.
Select Bibliography:
Douglas Barrett, Hemavati, Bombay, 1958
Gopalakrishna Murti .S, Kakatiya Sculptures,
Hyderabad, 1970
Gurumurthy. A, Sculpture and Iconography, Cuddapah
District temples, Madras, 1990
Jawaharlal G, Jaina Monuments of Andhra, Delhi,
2002
Kiran Kranth Choudary. D, Srikalahastisvara Temple
(Study based on Epigraphs and sculptures), New
Delhi, 2008
Krishna Kumari. M, Iconography and Art of
Andhra:Lesser Known Facets, New Delhi, 2008
Masthanaiah. B, Temples of Mukhalingam, Delhi, 1975
Nigam M L, Sculptural Heritage of Andhra Pradesh,
Hyderabad, 1975
Radhakrishna Sarma M, Temples of Telangana,
Hyderabad, 1972
Rajendra Prasad. B, Art of South India Andhra Pradesh,
Delhi, 1980 Rajedra Prasad. B,(ed.), Early
Medieval Andhra Pradesh AD 624-1000, New Delhi,
2009
Ramanaiah J, Temples of South India, New Delhi,
1989
Sankaranarayanan. S, Rare Facets of Ancient Indian
History and Culture,
New Delhi, 2009
Sarma, I.K. (ed.), Early Historic Andhra Pradesh
500BC-AD 624, New Delhi, 2008
Sivaramamurti. C, Nataraja in Art, Thought and
Literature, New Delhi, 1974
Sivaramamurti. C, Nolamba Sculptres, Bulletin of the
Madras Government
Museum, Madras, 1964
* * * * *
Platinum Platform
 The Art of Vijayanagara Times
The Vijayanagara rule over the South India from
A.D. 1336 to 1680 A.D., was a glorious epoch. The
Vijayanagara empire was established in 1336 A.D., by
Harihara and Bukkaraya of Sangama Vamsa, with the
blessings of the great spiritual master, Vidyaranya. The
empire established for the propagation of Dharma and for
the support of Hindu ideals and reinforced by the blessings
of the great sage, grew in strength and spread dharmic and
religious institutions. The Sangama Vamsa (1336 to 1471
A.D.) followed by Saluva (1485 to 1503 A.D.), Tuluva
(1505 to 1576 A.D.), and Aliya or Araveeti (1576 to 1680
A.D.) Vamsas were great rulers of Vijayanagara. Sangama
Vamsa kings were Virupaksha bhaktas, where as the other
three Vamsas were followers of Vaisnavism. The
Vijayanagara rayas consciously promoted religion and
culture. Hampi had been a Saivite tirtha from pre-
Vijayanagara times. At Vijayanagara, were incorporated
many cults and religious traditions, not only Hindu, but
also Jain and Islamic. This explains the significance of
religious amalgamation. Alongside these are a variety of
secular themes including those depicting courtly and martial
scenes. This rich inter-mixture of religious and secular
themes make Vijayanagara art especially interesting and
different from the earlier periods of South Indian Art.
A new impetus was given to temple building and
in the large empire, which embraced Andhra, Karnataka,
Dravida, Kerala and Maharastra in its scope, touching even
Orissa, the Vijayanagara style of architecture, sculpture and
painting were influenced. It fused various elements of
Chalukya and Chola art, though the Dravida element
predominated. It was thus a continuation of the early and
Pandya traditions, combining to some extent, in the
Canaries and Telugu districts, Chalukya tradition that earlier
had firm roots there.1
Remains of Architectural sculptures and Icons are
surviving in many places. Very famous places of
Vijayanagara are Tirupparuttikunram, Hampi, Lepakshi,
Anegundi, Somapalli, Pillalamarri, Tadipatri, Penugonda,
Kanchipuram, Chandragiri, Srikalahasti, Tirupati,
Tirvannamalai, Chidambaram, Tiruvalur, Srirangam and
Kumbakonam, etc.
*Professor, Department of AIHC&A, Osmania University, Hyderabad-500 007, A.P.
Platinum Platform
- Dr. V. Meena Kumari*
The artists of Vijayanagara followed the features
of Indian art. The six limbs of Indian art known as
Shadangas like Rupabheda, Pramana, Bhava, Sadrusya,
Lavanya and Varnikabanga which were his main vision.
They were followed intensely by other features like Idealism,
Naturalism, Symbolism, Mythology, Religion and
Philosophy to uplift Spiritualism. These characteristics with
the individuality of the sculptor, highlightened the aesthetic
taste of Rayas of Vijayanagara. They reflected their ideas,
their society, culture and economic conditions of the period.
These sculptors’ succeeded in their achievements with
various kinds of stone, metal and coins. They could chistle
the hard and smooth stones to achieve their goals equally.2
ICONOGRAPHY:
Iconography was popular and well developed
during this period. Forms of Siva such as Lingodhbhava,
Nataraja, Gangadhara, Chandrasekhara, Somaskanda,
Vishnuanugraha murti, Ravananugraha murti, Dakshina
murti, Gajantaka murti, and Tripurantaka murti, etc.
Virabhadra, Bhairava, Ganesha, Subrahmanya, Nandi,
Lingas in the round shape, Monolithic Lingas, Reliefs of
Lingas, Siva on Nandi, Kalyana Sundara Murti, Harihara,
Mailera or Khendoba, Mailara Deva, Chandikesvara,
Bhringi, Nageswara, etc., forms of Siva are represented.
Vaishnavism became very popular. Various kinds
of Vishnu Iconography became predominant. The two
important Vaishnava sects at Vijayanagara were Sri
Vaishnavism and Madhavaism. Both had their impact on
Vijayanagara sculptor, in which there appears certain
variations or new forms and the Madanagopala image,
Krishna with in a Prabhavali, the four armed Rama, Rama
seated like a king, Sthauna Narasimha, etc illustrate this.
There are two groups as the Chaturvimshati murtis, but
few of these twenty four appear individually. The
Dasavataras are very popular and appear as a group or
individually. Some incarnations were greatly favoured and
are frequently represented especially Narasimha, Rama and
Krishna. Other forms like Venkatesvara, Ranganatha,
Vithala, Varadaraja, were also popular. Minor aspects of
Vishnu like Mohini is also represented. Garuda, Hanuman,
Adishesha, Dvarapalakas, Jaya and Vijaya, Vrishvaksena,
Sudarshana also appear. The two main emblems of Vishnu,
151
Chakra and Shankha gain in importance during this period
and are separately carved. The Namam appears in art during
Vijayanagara times. Sri Krishna theme became very popular
during Vijayanagara times. Balakrishna themes like
Vatapatrasayi, Navanita Krishna, crawling Balakrishna, Nritta
Gopala, seated Balakrishna with butter balls in hands, Raja
Gopala, Madana Gopala, Kaliyamardana Gopala, Venu
Gopala themes are favourite themes for Metallic Sculptor.
Numerous Bronze, Copper and Brass figures of Balakrishna
are found in Vijayanagara. Golden Balakrishna coins are
famous during this period along with Srirama, Siva Parvati,
Maheswara, Hanuman, Garuda coins. We find various forms
of hanuman in sculptures. Bhaktanjaneya, Viranjaneya,
Yantroddharaka Anjaneya, Chaturbhuja Hanuman,
Hanuman with Sanjeevini Parvata, apart from stories of
Ramayana. The Madhva sage Vyasaraya widely popularized
Hanuman worship. It is even claimed that he installed 732
Hanuman idols.3 Hence, Hanuman sculptures became very
popular.
Various goddesses like Saraswati, Lakshmi, Parvati,
Bhuvaneswari, Durga, Kali, Mahishasuramardani,
Saptamatrikas, Bhadrakali, Ganga, Yellamma, Lajja Gouri,
Bhairavi, etc., are found during the Vijayanagara period.
Brahma, Astadikpalakas, Surya, Chandra, Kama and Rati
Devi, Narada, Tumbura, Gandharvas, Kinnaras, Ganas,
Nidhis, Nagas, and other minor deities are also chistled.
Nayanars, Alvars, Acharyas, Saptarishis and their stories are
chistled in the form of Narrative Sculptures along with
Ramayana, Mahabharata and Bhagavata themes. Sati,
Veerakal, Jaina images are also found. Among the non-
religious themes courtly, martial themes, hunting scenes,
musical instruments, various dance figures, soldiers and
warfare, tribal hunters, folk dances like kolatam, composite
figures, flora and fauna, etc., are very famous during this
period. Nature representation is abundant in these
sculptures. Decorative motifs like floral and vegetal themes,
creepers, foliage, geometric motifs, Vijayanagara Emblem
like Varaha, are also found in these sculptures.4
Architectural sculptures are found on mandapas,
pillars, boulders, slabs, balustrades, walls, columns and piers,
ceilings, parapets and towers, etc. of palaces. Monolithic
sculptures of Kandi Ganapati, Avaginja Ganapati, Sivalinga
and Narasimha are very popular along with monolithic
Rathas at Hampi and Tadipatri. Portrait sculptures of Sri
Krishna Devaraya and other emperors are found at various
places like Tirumala, Chidambaram, etc.5 Portrait figures
of Sri Krishna Devaraya with his queens in copper are also
found at Tirumala. Metalic sculptures of Ghana and Sushira
are also famous during this period. Narrative scenes of the
152
Ramayana, Mahabharata, Bhagavata are very famous at
Hampi, Tadipatri, Srisailam, etc. Similarly Kannappa,
Srikalahasteeswara Mahatyam, Gajendra Moksham narrative
scenes are found at Srisailam, Srikalahastri, Mahanandi,
Lepakshi, Tiruvannamalai, Trichi, etc.
Such variety of sculptures indicate the special
features of sculptor’s interest.
PAINTING:
Remains of Vijayanagara painting have survived in
Tirupparuttikunram, Hampi, Lepakshi, Anegundi,
Somapalli, Pillalamarri. There are fragments of paintings at
Tadpatri, Kanchipuram, Kalahasti, Tirupati, Tirvannamalai,
Chidambaram, Tiruvalur, Kumbakonam, Srirangam and
other places belonging to the Vijayanagara and the Nayaka
periods.6
The painting of the early phase of the Vijayanagara
Empire can be seen in the Sangitamandapa of the
Vardhamana temple at Tirupparuttikunram. They may be
fragments, but yet they are most interesting, not only because
their themes portray important episodes pertaining to Jaina
legend, but also because of the special place they occupy in
the study of the development of painting during the age of
the Vijayanagara monarchs. This temple was built by
Irugappa, the minister and general of Bukkaraya-II in 1387-
88. Irugappa was a devoted follower of Jaina faith. Naturally
the themes choosen for depiction here are from the life of
Vardhamana. The nativity scene in the story of this
Tirthankara presents his mother, Priyakamini, in labour. The
bath and ceremony of anoiting the child by Saudharmendra,
the Jaina lord of the celestials, corresponding to Indra of the
Brahmanical pantheon, accompanied by his wife is painted
with elegance and is quite typical in every respect of the
form and deportment, ornamentation and decoration of the
period. In this episode, there is always presented the dance
of Saudharmendra before Vardhamana with legs crossed in
padasvastika which is unique. In this earlier phase, not only
the crowns, jewellery and apparel but also the fondness of
the line for smooth curves in outlining figures are features
derived from the classical tradition. The later phase recalls
the conventions of Ellora. The smooth curves give place to
angularities, figures become emaciated and the nose projects
sharply in profile.
The Virupaksha temple at Hampi, has 15th century
paintings on dynastic history, episodes from the Ramayana,
Mahabharata and the exploits of Siva. A homage is paid to
Vidyaranya, the spiritual preceptor and minister who helped
Harihara and Bukkaraya to found and stabilize their new
kingdom. He is shown as being carried in a palanquin in a
Platinum Platform
procession. The composition is managed without crowding
and with a steady forward impulsion. This long procession
in the painting with Vidyaranya in a palanquin, preceded
and followed by a large retinue, including elephants, camels,
cavalry, trumpeters, banner – bearers and other hosts, is an
impressive scene of the fourteenth century, recorded a
century later. It may not be exactly of the time of Vidyaranya
himself, but still the image of Vidyaranya is fresh and is
seen from the ceiling of the pillared hall. There are paintings
of Arjuna’s archery test in which he won the hand of
Draupati, (Matsya yantra), (Sivadhanurbhanga), the
stringing of the mighty bow of Siva by Rama to win the
hand of Sita, Dasavataras, Tripurantaka Samhara Murti and
Madanantaka. These episodes have been picturised in a
symmetrical and decorative composition. The scene of
Arjuna’s archery recalls identical sculptural representation
in Hoyasala art. The Vijayanagara painter and sculptor
have occasionally chosen, especially when the fury of God
is to be indicated or the importance of the celestial as a
hero, to add the moustache to make him look valiant and
fierce. Tripurantaka in the Vijayanagara painting has been
given this appendage which is unknown in earlier painting
or sculpture. The frown and knit brow of Tripurantaka,
the blazing eyes no doubt depict the fury of the God. The
representation of horses of the chariot of Tripurantaka is in
stylistic fashion. Brahma, the charioteer is some what red,
which is the popular mode of representing rajas in a
Vijayanagara painting, rather than in the required golden
glow, while Siva as Sattva is white. The wheels of the chariot
of Tripurantaka are shown as the sun and moon, eyes, nose
and lips composing their face with the moustache specially
added as should be done in a scene of fury. The
representation of chariot in Madanantaka, depicts the birds
on their wings leading on the chariot have to be compared
with the horse galloping in race again for Tripurantaka. The
Lokapalas with their Vahanas are also interesting. Indra on
his elephant, Agni on his ram, Yama on Buffalo, Nirriti on
his human mount, Varuna on Makara, Vayu on his antelope,
Kubera on a horse and Isana on his bull, Tambura, equine
faced with the lute in his hand, Narada with his lute (Veena)
and Vidyadharas famed for vocal music are depicted
elegantly. The decorative and symmetrical composition and
the tidily framed figuration already points to the style of
the paintings of Tanjore of a much later date.7
Paintings in the Virabhadraswami temple at
Lepakshi in the Anantapur district were noticed by A.H.
Longhurst in 1912-13. This temple belongs to middle of
the sixteenth century as it has inscriptions of the time of
Achyuta raya. This temple was built by Virupanna and
Viranna, who were local chieftains. The ceiling of the
Platinum Platform
mandapa has a large figure of Virabhadra with his devotees,
Virupanna and Viranna, beside him. This magnificent large
panel probably the largest painting anywhere that represents
Virabhadra, is even larger to an extent than the largest
painting of Siva anywhere in any temple like Bruhadeeswara
temple at Tanjore. There is also representation in painting
of Virupanna and Viranna, with their retinue, receiving
sacred ashes (vilshudi) from the priests of their tutelary deity,
Virabhadra. Their dress and especially the headgear, recalls
that of Krishnadevaraya with his queens at Tirumala. It is
only the brothers as eminent chieftains that are shown with
their headgear, while the rest of the retinue wear other
varieties of turban. There are various themes like
Markandeyanugrahamurti, Tripurantakasamhara murti,
Andhakasurasamhara murti, Yogadakshina murti,
Chandesanugraha murti, Bhikshatana murti, Kalyanasundra
murti, Gangadhara murti, Ardhanareeswara, Natesa in
Bhujangatrasita, Vrishabharudha and Chandrasekhara etc.
A gana between the two figures, blowing a long bugle,
announces the great gift to the devotees is very interesting
in Chandesanugraha murti theme. The Vijayanagara type
is a picture of the concept of the times and differs in many
respects from the earlier form, though the tradition is
followed meticulously, in atleast iconographic detail of all
that has to be shown in the matter of the detail of
presentation. The theme of Gangadhara, is a delicate theme
rendered delicately. The whole composition of the picture
does credit to the genius of the painter. Here is a happy
blend of action and repose, anger and calm; also of the
straight line and the curved that make up the rhythmic
outline of the composition in the Samabhanga of Parvati
and the complex tribhanga of Siva, appears within the
boundary of atibanga. The expression of the jealous anger
of Parvati as Khandita nayika is well preserved here. Arjuna’s
penance for Pasupatastra (Kiratarjuneeya) is well depicted
here. Siva in the form of tribal hunter with his consort
hunts boar along with the arrow from Arjuna. The forest
with thick dense trees, various animals, etc., is very amusing
to watch. The boar hunt is depicted in a detailed style.
The very interesting themes like Vatapatrasayi, Dasavatara,
Mohini, etc., are worth noticing here. Kalpa Vruksha and
Kalpataruvu are noticed in various places.8
We find Cheetah hunting also. These hunters wear
shoes made of rope but they are different from those in the
Kiratarjuniya. The Cheetah is bold with a clear outline
alive and flexible. The change from gloomy red to the white
of this back ground throws a flood of light on to this picture.
These hunters are lively. The blood gushing out of the
wound made by the dagger and the cheetah’s biting the
hunter’s head make the scene very realistic. Line, colour
153
and illustration are powerful in this painting. Where as in
Kiratarjuneeya gave the painter a veritable holiday, releasing
from the bonds of purana. The fugitive deer, rabbits, dogs
and parrots, the bucks hiding in corners as the boar runs
fast, the hunters trying to spot the boar looking around from
the branches of trees, the laughing youth running over the
hills, the confusion of the mendicants at the sight of the
wild boar, gave enough freedom to the painter’s brush. It is
only Narada standing behind the bachelor youth, waiting
for Isvara’s darshan, who is a bit natural in his humility.
Stones and hills are indicated by curved lines, not
by straight blocks as in Ajanta. Clouds are delineated as
long boats with one difference that their bottom lines are
formed by a series of connected lines curving upward.
The contemporary social habits are seen in
painting. The upper half of the sarees of ladies goes round
the body twice for good covering. Plaiting the hair is seen
here and there but gathering the hair into a big knot was
the habit of the people. Loose flowers were stuck into those
knots. Men wear flexible sherwanis reaching down to their
knees and tied up their loins with an upper cloth, when
going to temple prayers. Garlands of pearls were worn
round their necks and wrists. They wore head gears in the
shape of turbans or caps. These were made up of thick
cloth, and carried embroidery and printed designs. We see
the sculptor with his characteristic cap, painted in profile
at Lepakshi. By his side is the painter – master with his
low hemispherical turban, with a small round prominence
at its corner. The interesting series of professional and
positional headgears of painter, general, sculptor, musician
and chief minister are depicted. We find six varieties. The
painter of the Bhairava Murti, stands by his side with folded
hands, wearing the painters turban. Two different figures
of painters are found at Lepakshi. All these paintings were
not done by one painter as can be seen from the types of
lady profiles or even in animals etc.9
Many types of Musical instruments like Veena,
Lute, Flute, the Drums, Mridanga, Shennoi, Cymbals, etc.,
are found here. Temples, chariots, fort walls and decorative
paper baskets are amusing. The designs of garments are
conspicuously emphasized and the panels are invariably
framed by borders of Textile designs. Vijayanagar period
was one of intense admiration of music and dance, and the
delineation of Karanas and angaharas in dance is a natural
corollary. Ornamentation and draping in the case of all
the figures has been done with great restraint and judging
from the charm of the paintings.
154
The paintings at Uchhayappa matha at Anegundi
fall in the third quarter of the sixteenth century. The
paintings here are interesting, both for the vigour with which
they are drawn and for the themes that reflect the spirit of
the age. One panel shows a bush in flowers, a squirrel and
two women. The squirrel holds the tail erect, body inclined
forward, and the eager little face uplifted, the small creatures
has been painted with an affection which recalls the animal
painting of Ajantan days. This recalls the age long affinity
of the art minded with nature around them. The running
women as palanquin bearers suggest an age when they were
freely used for such a purpose in the royal harem. Another
fragment shows a crowned and bearded figure riding a camel,
with an elephant running in front. Yet another has a bearded
rider with long hair on an elephant composed of five women
acrobats. Similarly another rider is on a horse of five women
while a woman with a bouncing step carries an umbrella in
front. Lotus garlands are suspended from the top in most
of these panels.10
Paintings of Vijayanagar at Chennakesava temple
at Somapalle, which were discovered by Dr. James, H.
Cousins, belong to the last quarter of sixteenth century. We
find Astadikpalakas approaching Vishnu to incarnate himself
to put an end to the evil on earth. In another, boy Rama is
slaying the Tataki. Another fragment depicts the
Sivadhanurbanga by Rama. Bows of princely figures, buglers,
drummers and musicians are here painted with great mastery.
The dress, ornamentation, the arrangement of the bride
(Sita), setting of the flowers, every detail meticulously follows
the Vijayanagara stream.
The temple at Pillalamarri has paintings of the last
phase of the Vijayanagara tradition. The panel showing
Rama’s battle with Ravana has survived in faint traces. The
clear sharp profile gives way to smoother contours. The
Moghal idiom of Akbar’s time began to insinuate itself into
a tradition whose first creative impulses had sunk to
exhaustion.
The temple of Varadaraja in Kanchipuram also has
fragments of paintings which consist of
Gopikavastrapaharana, and Kaliyamardana. There are
dancing figures, Vidyadhara riders on palanquins composed
of feminine figures, a theme popular in Vijayanagar art. The
Siva temple of Tiruvilimalalai in Tanjore district has few
paintings.
The six limbs of Indian paintings known as
Shadangas Rupabheda, Pramana, Bhava, Lavanya, Sadrisya
and Varnikabhanga is followed by the painters of Vijayanagar.
The Vijayanagar Empire was so far flung that, in the different
Platinum Platform
parts composing it, a variety of modulation or variation in
details of style, can be easily perceived. Thus as much as
there is a distinct Vijayanagara influence in the Deccani
Kalm of miniatures, there is a reflection of Vijayanagara
pictorial form and technique even in Orissa. The paintings
of the Cuddapah school and those from Lepakshi, the
forerunners of the great surviving art of Kalamkari are
influenced by Vijayanagara painting.11
MUSIC AND DANCE:
The contemporary literature of Vijayanagara times
gives us information about Music and Dance of that day.
Panditaradhya Charita mentions about dance dramas.
Kuchipudi Bhagavatulu presented a dance drama, in the
presence of Veera Narasimharaya about the Local Tyrait
Guravaraju and his misbehaviour with people. The king
understood their problems and released them from their
problems. Sri Krishna Devaraya’s Amuktamalyada mentions
about Music and dance forms. Srikrishna Devaraya had
learnt Veena from Musician Srikrishna. He patronized
dancers belonging to Ranjakam Vamsa. Kuppayi or
Kuppasani was his court dancer. She had two daughters.
They were Tirumalamma and Muddukuppayi.
Muddukuppayi was sent as Devadasi to Govindaraja swamy
temple at Tirupati later. The records of Pais prove that he
visited Natyasalas where dancers use to perform dances.
The Pillars of Vittala Temple at Hampi and Pillar of
Tirunalveli Temple produce Saptasvaras even today. The
temples of Vijayanagara times, stand as witness for music
and dance of those days.12
Different musical instruments are found in
sculptures and paintings of Vijayanagar. The stringed variety
of instruments like Veena, Tambura, Veena with one guard,
Veena with two guards, Ghana instruments like Cymbals,
Castanets, Twin Sticks (kolatam sticks), Wind Blown
instruments (sushira) like Shahnai and Nadaswaram, Modi
or Snake charmer’s type, Sankha or Jalaja, Trumpets like
Kommu, Baka, leather instruments like Damaru or Dhakka,
Dhol, Mridanga, Small drums, War Drum, Dundubhi or
Bheri, A shallow drum Pataha, etc., are found. A very good
number of dancers and musicians are in sculpture and
paintings. Music and dance were patronized by these
emperors. The artists used to give their performances at
Private and Public gathering, especially in the temples. The
Natyamandapa became the most attractive and largest
component of the temple, where numerous figures of
musicians and dancers in various poses are seen. Most of
them were attached to the temple. The musicians and
dancers were considered as privileged class. They were
permitted to sit before the emperor and chew pan.13
Platinum Platform
The Temple Architecture became very significant
during Vijayanagara period. Though they started Vesara
style at Hampi, slowly the Dravidian style predominated
later. The Prakara has Four Gopuras on all sides. They
were known as ‘Raya Gopuras’. The Amman or Devi shrine
is found at North Western side of Garbhagriha, Kalyana
Mandapa, Utsava Mandapa, Natya Mandapa, Nritta
Mandapa, Nrutya Mandapas were added inside the
complex. The Pakasala was also added. This temple is
based on Human habitation. The secular architectures in
the forts of Hampi, Penugonda, Chandragiri and Vellore
have Gajasalas, Aswasalas, Queen’s Palaces, etc. The Lotus
Mahal of Hampi and the Queen’s Palace at Chandragiri are
noteworthy. The Temple played a very important role in
the society.14 & 15
It is very interesting to note that these fine arts
like Sculptures, Paintings, Music, Dance and Architecture
are interlinked with each other. The presentation of
Sculptures, Paintings, Music and Dance in Temple complex
indicated the interdisciplinary system of fine arts. They
became sources of information for art historians, as they
acted as “Media of Communication”.
REFERENCES
1
C. Sivarama Murti, South Indian Paintings, New Delhi,
1970, p. 79.
2
C. Sivarama Murti, Indian Sculpture, New Delhi, 1961, p.
80.
3
B. Venkoba Rao, Introduction to Sri Vyasayogi Charitam,
pp. XIV-XV.
4
Anna, L. Dallipiccola & Anila Verghese, Sculpture at
Vijayanagara, (Iconography and Style), New Delhi, 1998, pp.
108-110.
5
Ibid., pp. 17-18
6
C. Sivarama Murti, Vijayanagara Paintings, New Delhi,
1985, p. 32.
7
Ibid., p. 35.
8
S. Gopala Krishna Murthy, The Art of Lepakshi, Hyderabad,
p. 20.
9
D. Hanumantha Rao, Lepakshi Temple, Delhi, 2004, p. 70.
10
C. Sivarama Murti, Indian Painting, New Delhi, 1970, p.
78.
11
C. Sivarama Murti, Vijayanagara Painting, New Delhi,
1985, p. 43
12
Dr. K. Kusuma Bai, Nayakarajula Charitra, Kala Samskruti,
Hyderabad, 2001, p.11.
13
D. Hanumantha Rao, Op.Cit., pp.128 & 136.
14
Percy Brown, Indian Architecture (Buddhist and Hindu), Vol.
1, Bombay, 1959.
15
N. Ramesan, Temples and Legends of Andhra Pradesh,
Bombay, 1962.
* * * * *
155
 Manifestations of Siva in the Chalukyan Temples of
Andhradesa : A Study
The extention of the Chalukyan power to
Andhradesa made a powerful impact on the cultural scene
of Andhradesa. Royal patronage to the religious institutions
and art traditions ete., manifested themselves in the temples
that were constructed.
During the Pre-Chalukyan period, Alampur is
known through 3rd century A.D. inscription and recent
excavations at Virapuram, Siddhesvaram, Kudavalli, etc.,
reveal the emergence of temples of Saiva affiliation at these
places1. The distribution of Siva temples in the villages of
the upper Krishna and lower Krishna regions is significant.
Virapuram, Siddhesvaram and Alampur are the
points of entry into the Southern Andhra. At Siddhesvaram,
phase I revealed the excavations of shrine of Siva which
can be dated to 4th century A.D.2 The Virapuram brick
temples numbering fourteen belong to two phases;3 the
early phase is dated to the beginning of the first century
A.D., while the other to the 3rd -4th century A.D. Each of
the temple units of the first phase contains a linga, rolled
river pebble of Quartzite, fixed into the floor of the shrine.
Each of the temples of the later phase possesses a linga on
pedestal in the centre of the shrine. No other icons or niche
figures are found. The Gurzala Brahmi inscription is clear
evidence for the existence of the Nava-Brahma temples at
Alampur4.
We can see the growth of Saiva Kshetra net work
by the 7th century A.D. While the pre-eminence of Srisaila
as Saiva Kshetra is indisputable, Alampur emerged as a
nodal Saiva centre in the upper Krishna valley, Siddhavatam
in the central Pennar valley, Tripurantakam at the cross
roads near the Srisailam hills and Umamahesvaram across
the Krishna on the north.
The existence of Pasupatmatha near Alampur is
known through the Amudalapadu plates which refers to
Sudarsanacharya who initiated Chalukya Vikramaditya into
Saivism by performing the ceremony of Sivamandala-
diksha. 5 With this event the Chalukya Vikramaditya
initiated the construction of temples at Alampur around
655 A.D. Nine temples known as Navabrahma temples
were built by 750 A.D.6
*Associate Professor, Dept of AIHC & Archaeology, S.V. University, Tirupati.
156
- Dr. V. Sakunthala*
The spread of the Pasupata cult by 3rd century A.D.
is attested by the Caturmukha linga from Amaravati.7 We
may consider the Ikshvaku period as the condusive period
for the strong Pasupata sect emerging in Andhradesa.
Commercial and political contacts with central and western
India brought in the Lakulisa-Pasupatism. It is characterized
by the Yoga and Bhakti worship of Siva as Mahesvara as an
essential element of Pasupata cult. The shrine dedicated to
Pushpabhadra svami is called a Mahadeva in the epigraph.
The inscription in the Arkabrahma temple at Alampur
refers to the shrine as Mahadeva.8
The acculturised tribals, memebers of Sudra varna
and also rich peasants and the nobility formed the social
support of the Pasupata sect. The Pasupata centres during
this period probably were located at Srisailam, Ipurankal
near Alampur and Siddavatam etc.
The growth of non-Brahmana Saiva matha and
temples were largely responsible for the increasing
popularity of Pasupata sect and its association with the
royalty and trade guilds.
The process of legitimation marks the gradual
transformation of a local ruling lineage into a regional
power.
There are certain historical mechanisms of the
religious process. Prof B.D. Chattopadhyaya opines that
in the related religious process the main trend was
integration of local cults, rituals and sacred centres into a
supra local structure and the mechanism of integration was
by seeking affiliation with a deity or a sacred centre which
had come to acquire supra-local significance.9
The Lakulisa images are found at Alampur and
Kudaveli.10 Two unique sculptures of Lakulisa are found at
the latter site. The bigger one almost life size, is in a koshtha
on the northern exterior wall face of the gudha mandapa.
The standing nude figure is two handed, and the right hand
holds a rosary and raised in abhaya and the left arm is
broken but reveals the out line of Lakula resting against
the shoulder of the figure. At the lower region, two disciples
are shown, one each on either side in namaskara mudra. At
Alampur the Bhara Siva is represented in the Svarga Brahma
temple on the pillar.11
Platinum Platform
 The popularity of Sada Siva concept from the fifth
century A.D. in the Deccan and South India is striking.
The role of Simha parishad in popularizing the Sadasiva
concept from the 9th century A.D. through five temple
centres in Vengidesa is noteworthy.12
In the Saiva Siddhanta system the Para Siva, the
supreme being is without form. When he wills for creation
Parasakti comes out from his self. From her Adisakti and
Ichchasakti and in turn Jnanasakti and the Kriyasakti
emerge. From these five saktis emerge the five aspects of
Sadasiva i.e., Isana, Tatpurusha, Aghora, Vasudeva and
Sadyojata. These elemental forms are related with the
Panchakrityas and five mantras. They preside over the five
elements. From the fifth aspect of Sadasiva originates
Mahesa. He is the direct agent in the acts of creation,
protection and reabsorption of the universe. Thus this
concept of Sadasiva of creation, protection and
reabsorption of the universe is the central concept of
Srisaila and its gateways.13
The Simhaparishad was instrumental in evolving
the five temple centres in the context of cultural centre
and sphere. The Srisaila is central to the circuit of space
and other four centres located at the caravan routes are in
the cardinal directions. These are Tripurantakam (east),
Siddhavatam (south), Alampur (west), and
Umamahesvaram (north).
The temples situated at Alampur, Panyam,
Satyavolu, Kadamara Kalava, Kudaveli, Mahanandi ete.,
reveal the manifestations of Siva and Siva as Lakulisa and
Siva Dakshinamurti. The other important sculptures are
the Bhikshatanamurthy, Tripurantaka, Nataraja and the
Lingodbhavamurti etc. 14(see Tables for the iconographic
scheme of the temples of the Chalukyas). Daksa images of
the Chalukyan period now in the Alampur Museum also
relate to the Pasupatas as Virabhadra, destroys the Daksa’s
sacrifice. The Lingodbhava representation denotes the Saiva
sectarian supremacy. The prominence given to the
Tripurantakamurthi symbolizes the Chalukyan supremacy
over the different kingdoms. The Siva Nataraja images in
the bhadra gavaksas of the temples signify the rhythmic
play as the source of all movement within the cosmos and
the purpose of his dance is to release the countless souls of
men from the snare of illusion.
Patronage and Integration of Local Cults: The
early Chalukyan inscriptions refer to the worship of
Saptamatrikas. At Alampur, Matrika sculptures of the
period are quite common. Another aspect possibly relating
to the environment of the times was the acute famine
conditions during this period. The increase in the
patronage of Deccan to Lajja Gauri is striking and she was
worshipped to ensure fertility of crops.15
There are two specimens of Lajja Gauri in stone
at Alampur. One is from Kudaveli and the other is near
the Dhvajastamba of the temple of Balabrahma. The
Kudaveli image is four handed specimen. It is more a
goddess than a sensuous symbol. In place of the head lies
a double foliated lotus. The representation of the lotus
shows suitability and mythical character in the sculpture.
References:
1. Sarma, I.K., The development of Early Saiva Art
and Architecture, Delhi, 1982, pp.43ff.
2. Ibid.,
3. Ibid.,
4. Rajendra Prasad, B., Chalukyan temples of Andhradesa,
Abhinav Publications, New Delhi, 1983, p.77.
5. Epigraphica Indica Vol-XXVI, pp.123-125.
6. Ibid., pp.99-103.
7. Kiran Kranth Choudary, D., Emergence of Saivism
in Andhra, Dr. Girigipati Rudrayya Choudary
Endowment lecture, Ramachandrapuram, East
Godhavari district, 1999.
8. Rajendra Prasad, B., 1983, p.106.
9. Chatopadhyaya, B.D., The Making of early
medieval India, Delhi, 1994, pp.30-31.
10. Rajendra Prasad, B., 1983, p.45.
11. Ibid., p.26.
12. Rajendra Prasad, B., Art of South India, New Delhi,
1980, p.
13. Kiran Kranth Choudary, D., op.cit., pp.10-11.
14. Rajendra Prasad, B., 1983, Tables II to VII, pp.80-
96.
15. Carol Rad Cliffe Bolon, Forms of the Goddess Lajja
Gauri in Indian Art, Delhi, 1997, pp.26-42, see
figures 52, 53, 55.
* * * * *

Platinum Platform 157

 The Temple in Andhradesa
The beginnings of structural form of the temple
and its evolution through the centuries are briefly traced.
The small platforms under a tree supporting an
image or object and of a stone slab resting over two uprights
are the most ancient types of worship. Deep-rooted cult of
tree worship among the people through the ages deserves
mention. The tree in railing in the pre-Christian era was
called as the Rukka Caitya. These are depicted in the
Amaravati sculptures.
The hypaetheral type of shrines were raised in
ancient India in the pre Christian period. In Andhradesa
the open air type shrine is evidenced at Gudimallam. The
Parasuramesvara temple at Gudimallam, near Renigunta
airport, originally had an image of Siva-linga set on a
polished two stone rings and was enclosed by a limestone
square railing. Later in the 2nd century A.D an apsidal brick
structure was raised enshrining the linga. The hypothermal
temple is dated to 2nd century B.C. This form’s vide
prevalence can be noticed as it figures in the Ujjain coins
of 2nd century B.C.
Earliest temple form of Dravidadesa is evidenced
in the plaque form Ghantasala dated 2nd century A.D. A
two storeyed superstructure is shown decorated with blind
doors and kutas and crowned by an octagonal dome and a
stupi. The sala and gajaprastha type of roofs are also seen in
the structural representations in Buddhist art of Andhra.
The structural temples of the Satavahana and
Ikshvaku period are found at Virapuram, Siddhesvaram,
Alampur, Vijayapuri (Nagarjunakonda) etc. The
excavations at Nagarjunakonda revealed several temples of
3rd century A.D. The Pushpabhadrasvami temple built in
the 14th regnal year of Ehuvala Chantanula comprises of
an apsidal shrine a detached mandapa, a dhvaja stambha
enclosed in a prakara with gateway on all sides. The
gajaprshtakara vimana, 16 pillared mandapa and the dhvaja
stambha underline the temple layout.
The storeyed palatial Sarvadeva temple called as
the mandapa prasada also belongs to the reign of Ehuvala
Chantamula.
* Prof. B. Rajendra Prasad (July 1942), former Professor of Ancient Indian History, Culture & Archaeology, Sri Venkateswara University, Tirupati,
is known for his work on Art and Architecture of Andhra. He worked in the prestigious Project of Encyclopaedia of Indian Temple Architecture. He
has authored, edited and contributed articles on Temple Art and Architecture to several reference books.
158
- Prof. B. Rajendra Prasad*
Thus the temples at Vijayapuri square, oblong or
apsidal on plan conformed to the Dravida tradition.
During this Vishnukundin period the temples at
Keesaragutta, Kudaveli etc., followed the earlier tradition.
The seventh century A.D however brought forth sea change
in the architectural history of Andhradesa.
The temple form in Dravida tradition according
to the vastu texts consists of six major elements called the
adhisthana the base, pada, the wall, prastara, the entablature,
griva the neck, sikhara the roof and stupi the finial. The
ground plan of the Dravida temple in Andhra desa normally
consists of a mukhamandapa, the pillared hall, an antarala,
the vestibule and a garbhagriha, the sanctum. In the axial
arrangement of the temple the mukhamandapa is always
large in dimensions than the sanctum. Another form in
vogue is the diminutive mukhamandapa fronting the
sanctum as noticed in the temples at Biccavolu, Pondugula,
Gudem etc. The incidence of apsidal temples in
Rayalaseema region is striking. The temple complex is
enclosed by a prakara and around the main shrine at the
corners either four or eight subsidiary shrines are provided;
the former panchayatana and the latter ashtaparivara. From
the 13th century A.D the temple complexes were studded
with the Kalyanamandapa, yagasala, pakasala and matha.
The prakara acquired a towered gate, the gopura on all sides.
The torana gateway came into vogue from the 11th century
A.D as seen at Mallesvaram, Alampur, Nandikondi etc., in
the Telangana region. The tiruchuttimala, the cloister
around the prakara became popular from the 13th century
A.D as seen in the Pancharama shrines, Simhachalam,
Bapatla etc.
The madakara vimana – the storeyed temple,
wherein the ground floor features a mandapa and the hall
enclosing the sanctum, staircase is provided beside the
mandapa to reach the upper floor. Herein lies the sanctum
where one can circumambulate. The towering linga that
emanates from the ground floor is awe inspiring. Two
storeyed superstructure crowns the majestic structure. This
temple form is seen only at the Pancharamas: The
Bhimesvara temple at Draksharama, Kumararama,
Platinum Platform
Samarlakot, the Bhimesvara temple, Bhimavaram, the The tiered pyramidal superstructure is defined in
Amaresvara temple, Amaravati. Though not reckoned as the vastu texts as the Phamsana. In the Kalinga region it is
a Pancharama shrine, the Bhimesvara temple at Chebrolu called as the Pidha deul . This form is also of Northern
is a madakara vimana of the early 10th century A.D. origin. Earliest known examples are found at Alampur,
Mahanandi, Kadamarakala etc. This is the most favoured
Seventh century A.D in Andhradesa witnessed temple form in the Telangana region from the 8th century
Badami Chalukyan hegemony that heralded the temples A.D.
of Nagara style. The Vastu texts call the temple architectural
tradition as the Nagara. The archetype of the Nagara temple The apsidal form temples are known as the vesara.
form is characterized by a square sanctum with a curvilinear But as a style the vesara can be ascribed to the Kalyana
sikhara, crowned by an amalaka, a ribbed globular shaped Chalukya, Hoyasala and the Kakatiya temples of vimana
member and topped by the Kalasa pitcher finial. The form. The Ramappa temple at Palampet is an excellent
temple on plan, normally features a mukhacatuski, the creation of Kakati Ganapatideva period.
porch, gudhamandapa, the closed hall, an antarala, and
the garbhagrha, the sanctum may have inner 1. Parasuramesvara temple, Gudimallam
circumambulatory path. The panchayatana temple layout 2. Rajarajesvara temple, Biccavolu.
is commonly noticed. What distinguishes the temple form
3. Bhimesvara temple, Draksharama
is the towering sikhara is its curvature, soaring to the sky
like the Kailasa Mountain. In Andhradesa, the Nagara style 4. Svarga Brahma temple, Alampur
temples are located at Alampur, Kudaveli, Satyavolu, 5. Ramalingesvara temple, Nandikandi
Mahanandi, Panyam. Alampur Navabrahma temple
complex architecturally is a significant one nurtured by 6. Papanasesvara temple, Papanasi.
the Badami Chalukyas from the time of Vikramaditya to 7. Ramappa temple, Palampet.
Kirttivarman A.D 655 to 730. Most significant temples,
in stylistic perspective are the Svarga Brahma and Visva
Brahma temples.
* * * * *
In course of time the Nagara style had evolved in
the tenth century A.D., a form called Bhumija; first
introduced at Omkara Mandhata in Madhya Pradesh. This
temple form is characterized by square, orthogonal, circular
and with eight offsets. The sikhara is bereft of corner offset.
The string of miniature sikharas called srnga comes in
between central offsets. They are either in three or five
rows vertically and five to nine rows horizontally. Each
storey in this part is decorated with kuta stambha over a
pilaster. The crowning members are the ghanta, griva,
amalasarka and kalasa.
The Bhumija form was adopted in Andhradesa
during the 11th century A.D., the period of Kalyana
Chalukya hegemony. The earliest example is the
Ramalingesvara temple at Nandikandi (early 11th century
A.D), Nilakanthesvara temple at Nizamabad, later half of
11th century A.D and the Siva temple at Peddatumbalam
of the early 12th century A.D. This form later on inspired
the architects to design the major temples of the Kakatiyas
as seen at the Thousand Pillar temple at Hanamkonda,
the Erakesvara temple at Pillalamarri, Kotagudi at
Ghanapur etc., several subsidiary shrines adopted the
Bhumija form.

Platinum Platform 159

 Sciences and Arts in Indian Scriptures
Most of the present generation feel that basic
sciences are less useful than computers. They do not realise
that ancient sciences are the roots behind the present day
technology. In this connection, its not out of context or
place to mention that most of us brush aside the fact that
ancient Hindu scriptures are store houses of knowledge.
They reveal facts of sciences, arts, social justice, geography,
gemology etc. Every scripture is a store house of knowledge.
We read about Rama conquering Ravana and
coming back to Ayodhya by Pushpaka Vimana. For most
of us Pushpaka Vimana is a myth, but a few know that
Pushpaka Vimana was a reality. Many of us do not know
about Bharadwaja Vimana Sastra which describes the
elements used in building up an aircraft of those days.
Agni Purana (AP) deals in detail several subjects
which include building technology – construction of
temples from the preparation of ground to the finishing of
the structure in the chapters 39 and 42..
The details from the ground plan to the
measurements of different components like division of the
ground into different squares, size of adhisthana (base), door
jambs, size of the image in the sanctum, location of sub-
shrines etc are dealt in detail. Location of Navagrahas are
also mentioned. Simple formulae like “the height of the
tower should be a quarter lesser than that of the temple,
the pedestal of the image of the deity of five cubits should
be of a cubit” are also given(AP.42.22). It also mentions
about the height of walls, the projection measurements of
arches, height of the temple sikhara proportionate to the
length of the temple, location of mandapas and subsidiary
deities etc.
In the same Purana it gives the details of
characteristics of a site for building. Apart from that, the
Purana says what are all the plants one should have in the
court yard of the house together with directions. Position
of garden is also discussed. “ A Plaksa tree would be
auspicious on the north and the vata tree on the east of the
house. Udumbara tree on the south and the Asvattha tree
on the west are excellent. A garden should be laid on the
left of the house. Dwelling in such a house is good.”
(AP.247.24-31). It also deals with renovation of decayed
*Director, Birla Archaeological & Cultural Research Institute, Hyderabad.
160
- Dr. G. Kamalakar
images in chapter No.67. The same Purana deals with the
science of town planning in chapter No. 106.
If one goes through the details, certainly one feels
the town planning was much better than today’s town
planning of Metro Cities. It goes to the extent of saying
which community / professionals should stay where in the
city. It suggests that professional dancers and courtesans
be on the southern quarter, Brahmins, ascetics and holy
men be stayed in the northern quarter, army commanders
on the eastern quarter, the regiments of the army in the
south-eastern quarter, war material stores on the western
quarter, chief ministers, treasurers and architects should
be in the western direction and the judicial officers on the
northern part. The physicians and army be located in all
directions. The temples be located in the western part facing
the east (AP.106.7-17). One should notice here the
importance given to doctors and army by saying that they
be located in all directions
Coming to the science of Geography, Agni Purana
gives description of different continents in chapter No.119.
It gives the dimensions of Jambudvipa wherein India is
located. It says “Jambudvipa extends to a lakh of yojanas,
surrounded by the oceans measuring one lakh yojanas”
(AP.119.1) The same subject is dealt in the Bhagavata
Purana in the fifth skandha, chapter No.18. Brahmanda
Purana also deals on this subject under the heading length
and extent of the world and description of Jambudvipa.
Regarding the Magnitude of Oceans and Continents and
about the Continents Brahma Purana mentions in Chapter
Nos.18 and 16 respectively.
Archery – Vilu vidya is one of the 64 arts. About
this Agni Purana narrates in chapters No.249 and 250. It
narrates that Archery is of four sections – resting on the
warriors on chariots, elephants, cavalry and infantry. Again
they are classified as ones thrown by machines and hands.
Stones and other weapons like iron clubs thrown by means
of hands or machines are one type, the other type are the
ones permanently retained by the user like swords. It says
“battles fought with bows are excellent, those with darts
are mediocre, those with swords are inferior and those
fought with hands are still inferior to them” (AP.249.6-8).
About the positioning of hands while handling the bow, it
Platinum Platform
says “an expert in the archery should keep the elbow down
while drawing an arrow, above while releasing and be in
the line with the target in the middle state, those who are
well-versed in the science of archery know it as the
excellent” (AP.250.30-37). It also says how a bow of same
size differs in its usage by cavalry, infantry, chariot and
elephant riders in the battle field. “ A bow of four cubits
is excellent, that of three and a half cubits is mediocre and
that of three cubits is inferior always by the infantry men”.
Regarding bows also it clarifies “the superior kind of arrow
is known to be twelve mustis (breadth of a clenched fist),
the mediocre of eleven mustis and the inferior one of ten
mustis”(AP.250.30-37). This way the Agni Purana
mentions all about bows, arrows, their qualities and usage.
About time – Kaala, different Puranas mention
in detail. Brahmanda Purana says about the division of
time in Chapter No.21. The same Purana in chapter No.6
and 29 deals in detail about the Kalpas, Manvantaras, their
duration and about the cycle of Yugas and the characteristics
of Yugas. the Bhagavata Purana in its chapter No.13 deals
about the future Manvantaras.
On military and administration skills, Agni
Purana mentions a lot. It describes about the invulnerable
forts and their construction in chapter no.222. It says
about the excellent fortification “ the king should reside in
fort, it should abound with the traders and servants and
sparsely with others. It should have few Brahmins and plenty
of artisans. (AP.222.1-2) It also says that the “ forts are six
types – forts guarded by archers, land, men, forest, water and
hills. The excellent among these would be the fort protected
by the hill. It is indestructible and it destroys others.
(AP.222.4-5). What a fort should contain is told as “ fort
should have the market place, temple and other things. A
fort furnished with weapons and implements and surrounded
by water is an excellent one” (AP.222.6).
The same Purana in chapter No.228 narrates the
instructions relating to Military expedition. “ One should
employ an army consisting largely of infantry etc. and
elephants in the rainy season. In the early and advanced
winter it should consist of chariots and cavalry, while it
should consist of four divisions of an army (cavalry,
infantry etc.) in the spring and autumn. An army consisting
of large number of infantry would always win the enemies”
(AP.228.6-7). What has been said in the Puranas about
the military administration is more or less being followed
by the present day military administration also because of
its merit.
In chapter No.242 of the same Purana it mentions
about the statesmanship for a king. In this also the
Platinum Platform
planning and strategy of a King during battle is clearly
given. “After having worshipped gods, and arranging six
divisions of the army, the king should march against the
enemy. The six divisions of the army are the central force,
the front, the rear, the auxiliary, hostile and the pioneer….
The leader of the forces should march at its head being
surrounded by best warriors. The queen, king, treasury
and the excellent warriors of the army should be placed in
the middle. The cavalry men should be on the two sides,
the chariots by the side of the cavalry and the elephants by
the side of the chariots. The pioneer forces are by the side
of the elephants. Then the commander in chief should
go slowly behind all with a fully equipped army
encouraging the dejected” (AP.242.1-6). Further it states
about various array (formations of soldiers etc.) to be
adopted for various grounds of battle field etc. It also
mentions about the rewards, compensations etc. for the
victories and loss of life in battle. On every victory in the
battle, the soldiers be paid rewards, that too sufficient
amount. For the death of the enemy king a lakh should
be given as reward and half of that amount if the son of
the enemy king dies in the battle. For the death of the
enemy Commander in Chief also sufficient rewards are
mentioned (AP.242.34-38)
Chapter 239 deals with the duties of a king. In
short it says – the king, like the god of rain, should be the
sustainer of all good. He would take a part of the earnings
from the source of one’s earning. This indicates that tax
deduction at source was there right from puranic time. It
also says that the king should take tax after taking note of
people’s problems and dangers. One can understand from
this, how considerate the ruler and the rules were. It also
advocates that a good king should protect eight things
such as agriculture, trade, fort, bridges, elephant stables,
mines, ocean (source of gems) and the abodes of the down
cast thus following a good code of conduct. The relatives
and friends are advocated that they should dissuade the
king from doing evil deeds. (AP.239.42-48)
The same Purana mentions the art of using a
noose to capture and kill the enemies in chapter No.251
in great detail. It says, that the noose should be used by a
person who has control over hand & mind and obtained
proficiency in hitting the target from the chariot he is
riding. A noose should be of ten cubits length made up of
either cotton, tendon or hide. It should consist of thirty
well twined pieces. The noose should be a well rounded
one and should be made into a loop. It should be held in
the left hand and with the right hand it should be whirled
round the head and throw over the enemy galloping on a
horse so that the enemy’s head is locked in the loop of the
161
noose. After capturing the enemy this way, he should be
made stand before. Holding a new club in the right hand
and strike the enemy’s head so as to kill the enemy instantly.
(AP.251.1-12)
Criminal Justice is another subject dealt by
Puranas. Agni Purana in chapter No.227 describes about
various misdeeds, crimes and punishments thereon for
the crimes committed. Punishments were severe hence the
crime rate was also low. Some of the crimes in the society
and their punishments are given here.
“One who accepts payment and does not do the
work should be levied fine, in the same way a master
dismissing a servant before the end of the term should be
punished with the same fine.(AP.227.13-22). The killers
of a cow , elephant, horse or camel should have their legs
and hands cut off ”. Even there are punishments for cutting
a tree (AP.227.32) . One who steals a rope or the pot from
the well and damages the channel should be punished with
one month’s imprisonment. If a person beats an animal
also the punishment is same. Capital punishment is
prescribed for stealing gold and silver, same punishment
for kidnapping men and women.(AP.227.33-36). The
organ with which one would steal from others should be
removed by the king for the sake of discipline. (AP.227.37).
If one violates the bed of preceptor, a mark of female
generative organ should be made on the forehead, a pot of
wine in case of drinking of wine, a dog in case of stealing
and the head of a person in the case of killing a
Brahmin.(AP.227.50). A king should kill all those who
offer shelter, food and wealth to thieves in the villages also
(AP.227.52). The king should kill those who break tanks
and temples. (AP.227.54) If an accused person escapes
from the custody of the punisher on account of the latter’s
carelessness, that punisher should be fined.(AP.227.66)
Regarding the science of Astrology also Puranas
speak at length. Garuda Purana(GP) in chapter Nos.59-
62 and 66 describes various factors about astrology. In
these chapters dasas of different planets, auspicious stars
and in auspicious stars, auspicious and inauspicious animals
and their effects, asterism, ascendancy and descendancy
of moon and their effect, janma raasi, Lagnas, things to do
during ascendancy of different planets etc. (GP.I.62.1-19)
Narada Purana (NP) also deals about astrology in
chapter No.56 and in the chapter of Vedangas.
Narada Purana explains in detail the topics like
positioning of 9 planets (Nava Grahas), Lunar Days (Tithis),
the days of the week (Vaara), the asterisms (Nakshatra),
Yoga, Karana, Muhurta,Upagraha, Sun’s transit into a sign,
current motion of the planets (Gocharai), Strength of the
162
Moon and Planets (Chandra-Tarabala), Rising of the signs
(Sarva Lagna), First Menstruation (Prathama Arthva),
Naming Ceremony (Namakarana), First Feeding
(Annaprasana), Marriage, Vastu, Travel (Yatra) etc. In this
chapter it says what are the right and auspicious things to
do and what are the things to be avoided for good results.
Agni Purana in chapter 121 deals in detail the
science of jyotishya. It says in the very beginning of the
chapter that by knowing this science one becomes
omniscient(AP.121.1). Further it gives so many tips on
dos and don’t’s of several day-to-day ceremonies and events.
Regarding performing of marriages it advocates that a
marriage is not commendable when the Sun is in the house
of Jupiter or the Jupiter is in the house of the Sun (AP.121.5)
A marriage is said to be commendable in the asterisms
Rohini, Uttara, Mula, Svati, Hasta, and Revati when the
Sun is in Libra or Gemini.(AP.121.8).
The first feeding of the child (annaprasana) should
be done on a Friday or Thursday or in the asterism of
Mrigasira or in the sign of Pisces, in the five asterisms
beginning with Hasta, Chitta and Swati and in the three
asterisms beginning with Krittika, Rohini and rigasira
(AP.121.12). The first shave of a child (mundane or puttu
ventrukalu) is commended on Sunday, Monday,
Wednesday, Thursday and Friday in the six months
commencing with Magha (February –March)(AP.121.24).
The karnavedha i.e. piercing of the ear should be done on
Wednesday and Thursday in the asterisms of Pushya,
Sravana and Chitta. Aksharaabhyasa – commencement of
study in the fifth year should be done after worshipping
Vishnu, Saraswati and Lakshmi avoiding the sixth, first
and the fifteenth, the rikta days (4th, 9th &15th days) and
also Tuesday.(AP.121.25-26). Commencement of
constructing a new house in the asterisms of Asvini, Rohini,
Mula, Uttara Phalguni, Uttara Bhadrapada and Uttara
Ashadha, Margasira,Svathi, Hasta and Anuradha is
commendable.
Gifts (daana) have good effects on the giver. If
these gifts are given on the day of eclipse they have increased
effects. It says, when the Sun is eclipsed by Rahu, any gift
is deemed to be gold, all the Brahmins are equal to Lord
Brahma and all the waters are equal to Ganga .(AP.121.38).
.
Gemology is the science which deals with Gems
and their study. On testing of gems, Agni Purana describes
in the chapter No.246. Garuda Purana(GP) in its chapter
No.68 describes the testing of diamonds while the same
Purana in chapter Nos.69 to 80 mentions the testing of
Diamond, Pearls, Ruby, Emerald, Sapphire, Lapis Lazuli,
Platinum Platform
Topaz, Karketana, Bhishma Mani, Pulaka, Blood Stone,
Crystal and Coral.
Garuda Purana says the origin of these gems also
from different sources. To say a few, Diamond from the
Vajrayudha (thunderbolt) of Indra, Pearls from the conch
of Vishnu and from many other animals, Ruby from the
blood of demon by name Bala, from the same demon’s
skin, semen, fat and entrails are produced topaz,
Bhishmamani, Crystal and coral respectively.
As a simple and general rule about the wearing of
gems, it is mentioned in brief that the good features of
gems are profusion of colour, heaviness, smoothness,
evenness, transparency, iridescence and greatness. It also
mentions that gems are not good if they are sandy, cracked
within and stained. If any one wears a gem of many flaws
knowingly or unknowingly, grief, anxiety, sickness, death,
loss of wealth and other evils torment him(GP.1-18,19)
Talking about the qualities of good diamonds, it
is mentioned that it must have six elevated tips, eight equal
sides and twelve sharp edges. If a person pure at heart and
body wears a diamond, all sorts of fear arising from snakes,
fires, poison, tigers, imprecatory and malefic actions, the
sorcery of the enemies shall not harass him.(GP.1.68.31,33)
Many of us know that Pearls are the products from
the pearl shells of sea. But, talking about pearls, the Garuda
Purana says that “pearls found in bamboos, elephants, whales,
and wild boars are usually devoid of luster though reputed to
be auspicious . It also says that – of the eight varieties of
pearls as the experts say, those obtained from the shells
and temples of elephants are the poorest in quality
(GP.I.69.3-4)
This Purana gives a detailed account of each gem,
their good and bad qualities, weight, identification and
their history of origin which many of the experts
Gemologists are also not aware. Agni Purana also gives
more or less the same account but very briefly.
The science of Cosmos and Planets – Astronomy
is also discussed in the Puranas. Agni Purana in Chapter
No.121 along with Jyotisha deals the subject of Astronomy
also. Narada Purana in chapter Nos.42 and 54 discusses
about Cosmogony and Mathematics & Astronomy
respectively. Brahmanda Purana in Chapter No.20,
21,22,23 and 24 describes Netherworlds, the Solar System,
movement of heavenly luminaries, the divine luminaries,
varieties of clouds, division of Stratosphere, the movement
of Polar Star, the Sun and the source of light to Luminaries
etc. It also deals with the creation of Universe in chapter
No.5.
Platinum Platform
Narada Purana (NP) in the mathematics chapter
(No.54) deals with notational places, additions and
subtraction, multiplication, divisions, square, square root,
cube and cube root, fractions, fractions of fractions,
associated and dissociated fractions, addition and
subtraction of fraction, denomination of an integer,
multiplication and division of fractions, square etc. of
fractions, inverse operations, operations with assumed
numbers (istakarma), operations with sums and differences,
method to get perfect squares based on any assumed
number, operation involving the addition of quantity to
squares, capital and interest, geometrical progression,
triangles and quadrilaterals, circumference of a circle, sine
of an arc and arc from the sine etc.(N.P.54.12-51). Not
only these, it also gives interesting calculating methods
for measuring the water in a tank, measuring the rubble,
measuring a heap of corn, Gnamon and the lighted lamp
wherein the height of the lamp and the distance of shadow
can be calculated.(N.P.II.54.51b-59).
In the Astronomy chapter, the Narada Purana
gives the details of Mean Planets (Madhya Grahas), Sphuta
Grahas (True Planets), on direction, place and time,
Grahanas (Solar and Lunar eclipses), Vyatipata and
Vaidhrata (Malignant situations of Sun and Moon) and
other miscellaneous matters .(N.P.II.54.60-187). If we
go into details of the same, it tells us about the Yugas,
revolution of the planets, terrestrial and lunar days, additive
months (adhika masas), solar months, nodes of the planets,
Number of days from the epoch, Lords of the day, Mean
Planets, Mean apogees, Measurements of Earth, the
Central Meridian, Beginning of the Week day, Celestial
Latitude of the Moon and Planets (Viksepa), Retrogression
of planets, Length of Day and Night, Position of a planet
in an asterism, Yoga at a given time, Tithi at a desired
Time, the Karana at a desired time , setting the gnomon
etc .
On the eclipses, it mentions about the possibility
of an eclipse, eclipser and the eclipsed, computation of
the Lunar and Solar eclipses (NP.II.153b-156b)
On Medicine and Diseases also Puranas discuss
a lot. This includes not only the human diseases and
treatments but also the animals’. Cosmetology subject is
also included in this. Agni Purana in its chapter Nos.140
to 142 deals with description of herbs used in charms,
description of medicines and medicinal incantations.
Garuda Purana extensively deals with diseases, their
identification and cure. Several chapters are assigned in
Garuda Purana for this subject. Chapter 146 deals with
the description of the diseases. Chapters 147 to 193 and
163
200 to 203 - a total of 51 chapters exclusively deal with physical strength and the ailment.” (GP.I.108.25) This is
the subject medicine and diseases. The medicines and exactly what is needed for a good doctor even today.
treatments prescribed are just not only for humans bust
Dhanvantari did not leave even the treatment of
also for animals as said above.
fractured bones. He says “On locating the fracture of a
In Achara Kanda, Chapter No.201 deals with the bone, it shall be first washed with cold water. Then it
Medical Treatment of Horses and Elephants.(GP.II.201.1- must be plastered with clay and bound with Darbha grass.
39). In this chapter it deals about the varieties and qualities The diet of the patient must be black gram meat, ghee,
of horses and their ailments. For different ailments many milk and a soup of gingelly seeds. Restorative and
treatments are suggested. Gajaayurveda is mentioned for constructive diet and drink should be given to him … Let
the treatment of ailing elephants. Along with the treatment the patient be on a diet of garlic, honey, fried grain water
use of mantras also prescribed to keep the elephants hale and sugar residue. Broken, cut or dislodged bones will be
and healthy in all respects. set right instantaneously “ (GP.I.171.11-12) – how apt and
simple? There is no end for diseases, their diagnosis and
It may be astonishing for a common man that why
treatment mentioned in Garuda Purana. Even the peculiar
in Garuda Purana several chapters are meant for diseases
diseases of women (GP.I.172.1) and techniques of growing
and medicine? Because, Garuda Purana, for majority
hair on bald heads and blackening the grey hair - a hot
public, is a book containing the post rite rituals (Sraddha
topic of today’s society, are also discussed in
Karmas) and should not be read as a general reading like
detail(GP.I.176.1-18).
any other Purana. Majority believe that Garuda Purana
should not even kept in the house as its reading is rendered It is quite obvious that a common man cannot
only during the mourning period of a family due to the expect all these things from a Purana or any other scripture.
loss of a family member or a close relative. However, this Even for the educated in their respective fields, chances are
is not correct, this wrong belief came into existence because vague to know all these things unless one evinces keen
this Purana deals in great detail about the post rites of a interest to know.
person. At the end of Dharma Kanda (Garuda Purana has
Theses are only a few subjects from a large list
3 kandas – Achara Kanda, Dharma Kanda or Preta Kanda
one can find in Puranas. There are also art subjects like
and Brahma Kanda or Moksha Kanda) it says “the man
the science of Music, description of wrestling arena, Yoga
who hears it or narrates it gets rid of fierce tortures in hell
and its components, Criminal Law, Grammar etc. The
and shaking off his sins aside enters heaven where he enjoys
Puranas did not leave even the art of living. They discuss
the company of celestial nymphs” (GP.II.49.136). Hence,
from the duties of a king to the duties of a house holder in
this Purana, like any other Purana can be read at all times,
the society.
not necessarily during mourning period.
In short we can say that these scriptures which are
Now coming to various diseases and their
store houses of knowledge, instruct us about Art of Living
treatment, Lord Dhanvantari narrates to Susruta, the
in the society. The instruction of these scriptures, which
famous surgeon and physician of those days in this Purana.
are age old, are fit even to the present generation and also
No disease or subject of medicine were untouched. Mainly
for the future generations. It is for us, the present
pathology of different diseases are discussed. They include
generation, to take the torch of knowledge of these
pathology of fevers (GP.I.147.1), Svasa roga – dyspnea
scriptures to the future generations.
(GP.I.150.1), Hrudroga (heart disease)(GP.I.154.1), Arsas
– piles (GP.I.156.1-3), dysentery and diarrhea (GP.I.157.1),
Urinary diseases (GP.I.158.1-3), Diabetes (GP.I.159.1),
Ascites (GP.I.161.1), Jaundice (GP.I.162.1), diseases of * * * * *
Nervous system (GP.I.166.1-3) etc. These are very few to
mention from a large list.
Dhanvantari also says about how a doctor should
go about in diagnosing the diseases. He says “ A physician
shall start his work after thoroughly understanding the
habitation, season, age of the patient, digestive power,
physical temperament, nature of his constitution, drug,

164 Platinum Platform

 Role of Women in the Economic Growth of
Tirumala Tirupati Temples : A Historical Approach
In Hindu culture woman plays an important role
in religious activities. Unless accompanied by wife the hus-
band is not eligible to perform Vedic rituals like certain
yajnas. In the historical period too she enjoyed great reli-
gious freedom. This is well attested by several inscriptions.
The well known example comes from the epigraphs of the
Ikshvakus of Vijayapuri (3rd – 4th cen. A.D). The Ikshvaku
kings followed Vedic religion while their queens extended
liberal patronage to Buddhism and consequently both the
religions flourished simultaneously in the Nagarjunakonda
valley. Inscriptions of the following centuries have abun-
dant information regarding the participation of women in
temple activities. In the present paper it is proposed to
examine the role of women in the economic growth of
Tirumala Tirupati Temples, based on inscriptions. These
inscriptions cover a period of about nine centuries (9th to
17th century). Needless to say, chiefly women figure in these
inscriptions as dancers as also donors in the temples.
The earliest epigraph, to refer to a woman donor,
coming from the temple of Lord Venkatesvara may be dated
back to about the 9th century. It records an endowment by
Samavai, also known as Kadavan Perundevi, the wife of the
Kadava chief Sattivitankan (I – 8 and 9) *. She installed a
silver image of Manavala Perumal (processional deity) in
the temple of Lord Venkatesvara and gold jewels studded
with various kinds of precious stones. She further granted
land to perform the worship of the Lord for nine days com-
mencing with ankurarpanam. This nine – day-festival was
to be preceded by a two – day worship. This implies that
the utsavam initiated by the queen was the Brahmotsavam
celebrated to the Lord of the Seven Hills.
Parantakadevi – amman, the chief queen of Chola
Parantaka II (I – 14), gifted a pattam to Lord Venkatesvara
which was studded with six rubies, four diamonds and 28
pearls. In 1534 A.D. Periya Kommamma, the queen of the
chief Salakaraja Periya Tirumalayyadeva-maharaja, gifted
1,300 panam for providing various offerings to the god
Venkatesvara including atirasapadi to be offered on the 7th
festival day, during nine Brahmotsavams, on which day the
Lord is taken on the Garuda – vahana in procession along
the four mada streets of the Tirumala temple (IV – 31).
The queen also built a mantapa and laid a flower garden at
*Professor (Rtd.), Dept. of Ancient Indian History, Culture & Archaeology, Sri Venkateswara University, Tirupati.
Platinum Platform
- Dr. S.S. Ramachandra Murthy*
Tirumala. In another inscription, dated 1536 A.D, she is
mentioned as Tathukkonamma (IV – 66). This inscription
records her endowment of 150 varahas for providing one
tirupponakam to the same god.
The liberal endowments made by Chinnadevi and
Tirumaladevi, the queens of the illustrious emperor
Krishnadevaraya to the god Venkatesvara are too well –
known to be repeated here.
In the history of the temples of Tirumala and
Tirupati the Vijayanagara period, particularly that of
Krishnadevaraya and his successors Achyuta and Sadasiva,
is a glorious chapter. The temples registered all – round
development during this period due to the liberal patron-
age of kings, queens, royal officials and the members of
their families as well as nobles, merchants and common
men. For instance, Lakshmi – ammangar, wife of the
Pradhani Saluva Timmarusu, gifted 1,200 panam to the
god Venkatesvara (III – 19; 1511 A.D). It is during this
period that several women belonging to different social hi-
erarchy made noteworthy contribution to the glory of the
temple of Lord Venkatesvara in different ways.
During the period of Saluva Narasimha, in 1457
A.D, one Venkatavalli, a dancing – girl (emberumanadiyar)
attached to the temple of Narasimhadeva (at Tirumala),
gifted 1000 narpanam for providing food offerings to the
god Venkatesvara (II – 5). As we see in the sequel many
dancing girls attached to the temple of Lord Venkatesvara
made liberal grants to temples at Tirumala and Tirupati.
In 1486 A.D a tiruvidhi – sani named Valandi gifted 300
narpanam for offering 30 tirukkanamadai (food offerings)
to the same god (II – 86). The tirukkanamadai was to be
offered at the rate of one per day during the Margali month.
The tiruvidhi – sani was the dancing girl who accompanied
the god in procession performing dance, the theme being
obviously, religious. The dancing girls were also singing
songs in praise of god. An inscription of 1495 A.D refers
to the practice of singing the ula of Kandadai Ramanuja –
ayyangar in the sanctum while Malaikuniyaninra – perumal
and Govinda – perumal were taken on procession during
the kodai – tirunal (summer festival) (II – 134). Another
inscription dated in the very next year informs that an
amount of two panam was paid to the emberuman – adiyar
165
who rendered service in an offering instituted by Kandadai
Ramanuja – ayyangar, noted above, and his disciple (II –
135). Yet another inscription states that one panam was
paid to the dancing girl (1506 A.D; III-7). Obviously there
was not uniformity in the wages paid to the dancing girls
and the amount to be paid was in accordance with the de-
sire of the donor or discretion of the sthanattar. This is
supported by another inscription of the same date (III –
13). It informs that six panams were to be paid towards the
wages to a tiruvidhi – sani in connection with a service in-
stituted by one Appa – pillai to the god Govindaraja of
Tirupati. One more inscription mentions the wages as three
panam to a tiruvidhi – sani (III – 105; 1515 A.D).
Liberal endowments by the dancing girls contin-
ued during the period of Krishnadevaraya also. Kuppayani,
daughter of Ranjakam Srirangaraja, gifted one thousand
panam for providing one sandhi to the god
Tiruvenkatamudaiyan (III – 24; 1512 A.D) 1 .
Tirumalamma, the daughter of Ranjakam Kuppayi, same as
Kuppayi mentioned above, gifted 3000 panams to the god
Venkatesvara in 1517 A.D (III – 117). The gift was in-
tended for providing one dose – padi every day to the god.
It is noted above that even the common women contrib-
uted their mite to the economic growth of the temple. In
1518 A.D one Ekkadi Timmamman, daughter of Nalla
Gangamman, gave 1500 panam to the temple to provide
one tirupponakam to the god Venkatesvara (III – 124).
Absence of any description of either the donor or her father
shows that she was not a woman of high status.
Achyutadevaraya is known to have deputed many
dancers of his court to Tirumala to render their services to
the god Venkatesvara and obviously they were highly tal-
ented and rich by the time they reached Tirumala. Their
gifts to the god and the reputation they earned are notewor-
thy. Apart from these sanis, others, who were already in the
service of the god, also made liberal endowments not only
in the form of money but also in other ways. Govinda –
sani, daughter of Sajjarauta Pollaiyan, residing at Tirupati,
gifted 300 narpanams for offering six atirasa – padis, every
year, to the god Govindaraja of Tirupati (IV – 5). She also
built a mandapa on the bank of the Govinda – pushkarini at
Tirupati. She stipulated that the atirasa – padi should be
offered to the god while he is seated in that mantapam. She
made this gift in 1530 A.D. Again in 1534 A.D she en-
dowed 1620 narpanam for providing one tirupponakam daily,
to the same god, during the month of Margali, thus total-
ling to thirty tirupponakam for the Dhanurmasa – puja (IV
– 33). Further, she along with her elder sister Chikkasavayi,
also residing at Tirupati, gifted 1750 narpanam to the same
166
god for providing certain offerings while he is seated in the
mantapam constructed by them in the garden, also laid by
them in Tirupati (IV – 39). Thus the sisters are stated to
have built a mandapa and laid a garden to the god. The
offerings to the god were to be made on the occasion of
Chittirai – Vishu i.e. Tamil New Year day.
From the inscription dated 1531 A.D we understand that
the emperor Achyutadevaraya ordered Muddukuppayi,
daughter of Vidvatsabharaya Ranjakam Kuppa – sani, to
serve the god Venkatesvara, (udiyam pannikkondu) (as
dancer) and receive one taligai prasadam every day from the
temple of Govindaraja at Tirupati (IV – 11). It is obvious
that Muddukuppayi was to reside at Tirupati and render
dance in the temple of the god Venkatesvara at Tirumala on
specific occasions.
At least two more sanis were sent by Achyuta to
serve the god Venkatesvara as evidenced by inscriptions. An
inscription dated 1540 A.D records an endowment of 820
narpanam by Hanumasani, daughter of Timmayan, who was
sent by Achyutaraya (Achchuta-maharayar vitta), for pro-
viding 13 appapadi, one dose – padi etc. to the god Venkatesa
and the deity Tiruvali – alvar (Sudarsana – chakra) on dif-
ferent occasions like Brahmotsavam (IV – 142). Another
dancing girl sent by Achyuta to the temple of Lord
Venkatesvara finds mention in an inscription of Sadasivaraya,
successor of Achyuta (V – 46). This inscription, dated 1545
A.D. states that Nagasani, daughter of Obulayyan, one of
the dancing girls sent by Achyutaraya (Achchutaraya –
maharayar vitta emberumanadiyaril), made provision for
providing 10 appa – padi to Malaikuniyaninra Perumal while
seated in the mantapa built by her in the garden also laid by
herself at Tirumala, on all the 7th day festivals of ten
Brahmotsavams at Tirumala and two appa – padi to the god
Govindaraja on the 7th day festivals of Vaikasi and Ani –
Brahmotsavams at Tirupati.
Linga – sani and Tiruvenkata – manikkam, who
are described as emberuman – adiyal (dancing girls) stand
foremost among the dancing girls who served the gods at
Tirumala. They were the daughters of Tippa – sani, also
known as Tiruvenkata – dasi (V – 32). In almost all the
inscriptions, which refer to them, they figure together sug-
gesting the deep affection they had towards each other. They
served the god for about 15 years extending over the reign
periods of Achyuta and Sadasiva. Their endowments to the
gods deserve special mention. Of the two sisters Tiruvenkata
manikkam was honoured by the temple authorities at
Tirumala for her distinguished service to the god. The earli-
est inscription which refers to Linga – sani and Tiruvenkata
– manikkam is dated 1533 A.D (IV – 21). It states that
Platinum Platform
these emberumanadiyar gifted 300 narpanams for maintain-
ing 11 dose – padis every year of which nine were to be
offered to Malaikuniyaninra-perumal while seated in the
mantapa built by them in the garden also raised by them,
during all the 7th day festivals during the Brahmotsavams
celebrated to the god Venkatesvara. Two years later they
gifted 230 narpanams for providing food offerings to the
god Govindaraja at Tirupati (IV – 49). In 1540 A.D they
gifted 1,650 narpanams for maintaining food offerings to
the gods Malaikuniyaninra – perumal and Govindaraja (IV
– 146). Five years later (1545 A.D) they again gave 1,600
panams for providing various offerings including sacred food
to the god Malaikuniyaninra – perumal and Nachchiyar
while seated in the swing arranged in the stone – chariot on
the 20th day of the summer festival (V – 32). It is stipu-
lated by them that their share of prasadam should be dis-
tributed among the Srivaishnava devotees, Kumara
Tatayyaingar, Kuppa – Archaka – Karunakara – ayyan which
attests to their devotion to the Sri Vaishnava teachers. (In
this context the name of one of the dancers, Linga – sani, is
interesting. Probably earlier she had Saivite leanings).
The inscription dated 1546 A.D. which records
the honour conferred on Tiruvenkata – manikkam is inter-
esting in more than one respect (V – 74). Firstly, it shows
the distinguished position she enjoyed among the dancing
girls of the temple of the god Venkatesvara by virtue of her
talents and service to the god. Secondly, we learn from this
inscription the details of the practice of honouring the
temple dancers. No other inscription, as yet discovered in
Andhra Pradesh, gives this kind of information.
Tiruvenkata-manikkam is stated to have been recognized
as dancer par excellence by the local chief Potlapadi
Timmaraja and the sthanattar of the temple by the grace of
Lord Venkatesvara and the goddess Alarmalmangai. They
granted dandika (palanquin) and one full share of prasadam
without allu and alivu (portions of prasadam due to the
temple servants) to be delivered daily to her house at Tirupati
and another full prasadam to the cultivator of her flower
garden, known as Alarmelmangai – nachchiyar flower gar-
den situated at Tirumala. The latter was done probably at
her request. Of these two prasadams the first one is daily
offered to Lord Venkatesvara and his consort Alarmelmangai
during the first sandhi at Tirumala and the other is daily
offered to the god Govindaraja at Tirupati, also during the
first sandhi. It is specified that the grant of prasadam was
made hereditary. This is indeed a rare gesture.
Linga – sani and Tiruvenkata – manikkam figure
as donors in an undated inscription which records their
endowment of 930 narpanams for providing food offerings
Platinum Platform
to the god (IV – 233). Since the inscription is damaged
the details are not known. The last dated inscription, 1548
A.D., curiously mentions only Linga – sani as making pro-
vision for offering ten manohara–padis to
Malaikuniyaninra–perumal on all the 7th day festivals dur-
ing the ten Brahmotsavams celebrated every year to god
Venkatesvara at Tirumala (V–104). The above data shows
that both the sisters together made an endowment of 4,710
narpanams in total to the gods over a period of 12 years. It
may further be noted that in the long history of the temples
of Tirumala and Tirupati Tiruvenkata–manikkam was the
only emberumanadiyar to receive the honour as noted above,
as evidenced by the Tirumala– Tirupati epigraphs.
In 1535 A.D Peruchchi, daughter of Malaghana
Venkatatturaivan Selvi, who was an emberumanadiyar, gifted
230 narpanam for maintaining food offerings to the god
Govindarajasvami (Tirupati), his consort Nachchimar and
Senai–mudaliyar (Vishvaksena) on the occasion of Makara–
sankramana (IV-44). Bejje, probably same as Peruchchi
referred to above, gifted 200 narpanam for providing one
dose–padi and one tirupanyaram to the god Govindaraja on
the Makara–sankramana day (V–116; 1538 A.D).
During the reign of Sadasiva, in 1543 A.D. one
Selli, a temple dancer, gifted 1,120 narpanam for provid-
ing various offerings to the gods Malaikuniyaninra–perumal,
Nachchimar, Senai–mudaliyar and Tiruvali–alvan (V-9). In
1545 A.D another dancing girl Senbagavengu, daughter of
Turigachchelvi Timmi, gifted 600 panam for providing ten
iddali – padi to the god Tiruvenkatamudaiyan during the
Churnabhisheka ceremony celebrated at Tirumamani–
mantapam on all the 9th day festivals of 10 Brahmotsavams
in a year (V–41). The stipulation regarding the distribu-
tion of the donor’s share in iddali–padi is interesting. Her
religious teacher Kumara Tatayyangar and Venkatatturaivar,
who recites the Tiruvenkata – mahatmyam were given each
two iddali padi in the donor’s share.
An inscription found engraved on the inner side
of the east wall of the old kitchen in the Kapilesvarasvami
temple (Tirupati) is noteworthy (V–172). This is dated
1563 A.D. Its primary purport is to record that Sevvu–
sani, a dancing girl installed the image of Vighnesvara in
the nritta–mandapa of the Kapilesvarasvami temple and that
she gifted 200 panam for daily worship, etc. Incidentally it
states that one Rachavittu–Nayakkar reconstructed the
prakara walls and the kitchen of the Kapilesvarasvami temple
as they were struck by thunder and suffered damage. It is
further stated that the amount of 200 panam paid by Sevvu-
sani would earn two panams as interest per month at the
rate of one panam per cent per month and that it would be
167
utilized for worship, etc. of the god Vighnesvara. The rate
of interest per year, obviously comes to 12%.
After the period of Sadasiva epigraphical references
to emberumanandiyar are almost absent. In the following
lines endowments made by women other than the dancing
girls are discussed.
It is noteworthy that in a couple of instances the
donors are referred to as adaippam, which means an officer
who carries betel leaves and areca nuts for the use of the
king. It is well – known that at the time of assigning any
important task the king offers tambulam to the individual
concerned in recognition of his ability to accomplish it and
it is for this purpose that the adapam (Telugu) or tambula–
karanda–vahi will always be available to the king. It is pos-
sible that here the adaippam were such officers. Alternately,
it may stand for surname. (Even today there are families in
Andhra bearing the surname adapam or adapa). Here it may
be noted that the donors Adaippam parmadamma and
Adaippam Rukmini-amma (see below) were the sisters of
Adaippam Bayyappa-Nayakkar (VII-p.222). An inscription
dated 1535 A.D states that Adaippam Parmadamma made
an endowment of 518 rekhaipon for maintaining various
offerings to the god (IV – 56 and n. 2). It is interesting to
note that of the gift amount 20 rekhaipon was to be spent
for purchase of a garden site; 18 for erecting compound
wall with stone; interestingly, 180 for purchase of plants
and 150 for construction of a mantapam in the garden.
Another inscription bearing the same date records an en-
dowment of a similar amount by Adaippam Rukmini–
amma, the purport of which is similar (IV–57).
A woman by name Ellamman, daughter of Kottiya
Mallayyar, gifted 1,600 narpanam for providing food offer-
ings to the god Venkatesvara (IV–65; 1536 A.D). Her sta-
tus is not known. It is interesting to note that a woman
belonging to shepherd community (Vadukar – Idaiyar) made
an endowment of 2,180 narpanam for maintaining various
offerings to god Venkatesa for the merit of her parents and
elder sister (V–38; 1545 A.D). An undated inscription
records that one Krishna–mangai gifted 110 panam for
maintaining food offerings to the gods Raghunatha and
Govindaraja at Tirupati (V–40). It mentions the recital of
Kaisiki – puranam on the day of Kaisiki–puranam festival,
celebrated in the temple of Govindaraja. There is a lone
instance of the grant of a village by a woman other than
queen. In 1547 A.D Chinnamman, daughter of Pratapa
Ellamarasar of Atreya-gotra, Asvalayana–sutra and Rik –
sakha, granted the village Vankayalapattu alias
Sriramachandrapuram situated in Kondavidu – sima, yield-
ing an annual income of 300 rekhai – pon for food offerings
168
to the gods Govindaraja and Vitthala of Tirupati (V – 118).
Probably Pratapa Ellamarasar was a chief of some region in
Kondavidu – sima.
The foregoing account leads us to some interesting
conclusions. Firstly, the contribution of women to the eco-
nomic prosperity of the temple is by no means negligible.
It may be recalled that the temple authorities at Tirumala
(sthanattar) invariably invested the gift–money on improv-
ing irrigation facilities in the temple villages resulting in the
significant economic growth of the temple. Except in one
instance, in all other instances the endowments were made
by women in the form of money only. Secondly, in the
early history of the temple the dancing girls were paid only
wages in the form of prasadam (I–220), whenever their ser-
vices were required and this was, of course, not often. It is
probable that during those days the temple was in dense
forest, infested by wild animals and it was very difficult to
reach and hence the presence of dancing girls in the temple
was rare. It is from the period of Saluva Narasimha that the
prominence of dancing girls, even as donors, started rising.
The emperor Achyuta sent his court dancers to Tirumala
and this heralded a new era in the participation of dancing
girls in the temple activities by way of making liberal en-
dowments to god which suggests that they were economi-
cally sound. The temple also recognised their talents and
contribution to the economic prosperity. It is significant
that the lone reference to conferring honour on a temple
dancer is found in an inscription coming from the temple
of Tirumala. Many of the temple dancers built mantapams,
of course, small in size, in their gardens where the proces-
sional deity received worship. With the end of the rule of
Sadasiva references to temple dancers became scarce and the
reasons are obvious. Apart from the temple dancers other
women also figure in inscriptions as donors. That one of
them belongs to the shepherd community is noteworthy.
Also interesting is the mention of two sisters described as
adaippam. The above discussion clearly points to the fact
that women’s participation in temple activities of the Andhra
country certainly deserves attention particularly to under-
stand their cultural, social and economic life.
Notes:
* The numeral in Roman refers to the no. of the volume of
the TTD Inscriptions while the following no. or nos. refers
to the no. of inscription in that volume.
1. Ranjakam Srirangaraja was the master of a troop of dancers of
the royal court. Krishnadevaraya conferred the title Vidvat–
sabh –raya–ranjakam on him. (III–p. 206, n.)
*****
Platinum Platform
 Welfare Activities of Tirumala Tirupati Temples :
A Historical Approach
Temple particularly in the medieval period played
a key role in the religious as well as secular life of the society.
With the increase of endowments they grew rich and as
they became richer and richer they introduced more
number of festivals and festivities. Consequently they
became one of the largest employers and every section of
the society became involved in the temple activities and
benefited significantly. Another interesting factor is that
women in good numbers made donations to the temple.
Very often we find the donors making endowments to the
temple as stated and have been doing so for the merit of
their overlord or parents or other near relatives. Thus they
were sacrificing the punya that they earned for the benefit
of others. Naturally the sentiments like respect towards
elders, loyalty to the masters, helped in building a healthy
society.
The temple of Lord Venkatesvara at Tirumala and
those of Govindaraja and others at Tirupati were
patronized by the kings, chiefs and even common man to
a great extent. Though we find less number of donations
made to these temples during the time of the Yadavarayas
they became prominent. During the Vijayanagara period
particularly of Sri Krishnadevaraya, Achyutadevaraya and
Sadasivaraya, they registered a phenomenal growth in all
respects. New festivals and festivities were introduced and
new structures were added. These temples particularly of
that of Venkatesvara gained popularity and their fame
reached almost all over South India. This is evidenced by
the number of inscriptions [approximately 2000], engraved
on the walls of temples at Tirumala and Tirupati. The
very existence of the Kapilesvara swamy temple, a Saivite
one, at the foot of the hills shows the importance given to
the maintenance of religious harmony. It can be safely said
that devotees who visited the temple of Venkatesvara at
Tirumala visited that of Kapilesvara also, with the brief
that ultimately Siva and Vishnu are the manifestations of
one Supreme god. This is an indirect role played by the
temples at Tirumala as well as Tirupati in the maintenance
of communal harmony. With the wide influence they
commanded these temples paid due importance to the
welfare of the society. The present paper aims at throwing
*Associate Professor & Head Dept. of AIHC & Archaeology S V University, Tirupati-517 502.
Platinum Platform
- Dr. Nagolu Krishna Reddy*
light on the welfare activities of the temples at Tirumala
and Tirupati.
The Tirumala and Tirupati temples had their
lands in several villages as evidenced by the epigraphs. The
temple authorities took keen interest in land reclamation
and development of irrigational facilities by way of
excavating tanks or improving the canals or repairing the
already existing ones by spending large amounts of money
donated by the devotees for conducting various kinds of
services in the temple. About 300 inscriptions available in
Tirumala Tirupati state that the temple trustees undertook
to spend the amount paid by the donors for the
improvement of tanks and canals in the temple villages.
For instance Lakshmi Ammangar, the wife of Pradhani
Saluva Timmarusayyangar, paid 1200 nar-panam into the
temple treasury for providing food service to the Lord of
Seven Hills in 1511 A.D. The temple authorities received
the gift amount and invested the same for the purpose of
digging the tanks and channels in the villages to improve
the irrigation facilities to the temple lands.1 Similarly the
amount of 150 nar-panam paid by a donor Tiruvenkata-
mudaiyar was utilized for the improvement of an
irrigational channel called Tirumala-nayakkar’s channel in
order to provide water facilities to the lands situated at the
devadana village Panakam.2
Further, temple authorities encouraged private
initiative also in this regard. Sometimes the donor himself
dug a new channel or caused necessary repairs to be done
to the already existing one at his own cost.3 In turn the
temple authorities bound themselves to conduct the
religious services instituted by these donors, by supplying
the necessary articles from the Sribhandaram in lieu of the
extra income resulting from the donor’s work. About 44
epigraphs record this type of arrangement between the
donors and the temple trustees.4 For example, an epigraph
of 1460 A.D. states that Tippu Nayakkar, a nattuva,
excavated a river channel to flowdown from its head-basin
within the boundaries of Tiruchchukanur, passing with
in the limits of Mannaipundi village, to irrigate the lands
in the temple village Padi and raise fresh crops. The temple
authorities agreed to conduct the service of food offerings
169
and lamps lighting to god Sri Venkatesvara as stipulated by
the donor, from the additional yield of the above land thus
irrigated.
These instances drive home the point that
Tirumala Tirupati temples played a unique role in providing
irrigation facilities on a large scale and consequently brought
vast extents of land under cultivation. Naturally this would
have enormously increased the temple’s revenue. A study
of the inscriptions reveals the fact that the aforesaid activities
of the temple were highly intensive and extensive during
the Vijayanagara period.
It is noteworthy that the Sthanattar, almost
invariably, invested the gift-money on excavating tanks and
irrigation canals in temple villages to get a reliable and stable
income. The cultivators of the land in temple villages were
also benefited by this kind of capital investment by the
temple. N. Ramesan states “Cultivators of temple village
not only realized the benefits from the capital improvements
in their land, and therefore greater, minor share - incomes,
but they probably benefited materially from the investment
initially since the money was mainly used for labour services
in construction of irrigation improvement. It is probable
that actual labour was performed by the cultivators”.5 Thus
the temple as well as the cultivator were benefited since the
former regularly got its melvaram and the cultivator,
kudivaram. The economic condition of the temple villages
too rose high. This kind of capital investment is found in
three more temples viz., the Srikalahastisvara temple at
Srikalahasti and the Varaha Narasimha Temple at
Simhachalam near Visakhapatnam in Andhra Pradesh and
Sri Ranganatha Temple at Srirangam in Tamilnadu and
such instances are rare even in these cases.6
Another welfare activity of the Tirumala Tirupati
temples is the distribution of prasadam of the donor. One-
fourth of the sacred food offered to the god would go to
the donor as his share [Vittavan Vilukkadu} and he had the
right to retain it for himself, or transfer to a person or
institution of his choice. Usually the 12 nirvahamsof the
Stanattar would get the 3/4th share of the prasadam; the
donor is given his due share, they distribute it among the
pilgrims. N. Ramesan observes “Inscriptions from the
temple make it very clear that there was a well regulated
trade in the prasadam. One inscription mentions eleven
lease-holders who had the monopoly to all the prasadam
after procuring it from the donors and temple functionaries.
These were called Prasadakkarar.... This clearly shows that
prasadams were being sold according to well established
170
trade practice and the sale deeds were also being registered
by the temple authorities. There are plenty of such
inscriptions registering sale deed of prasadams” 7 He
concludes that many temple functionaries sold their share
of prasadam and endowed the money thus earned to the
temple and consequently they got more prasadam which
can again be sold. In other words it became a safe investment
for them for good returns.8 Hence, it would appear that
the management of the finances of the temple were so finely
balanced that there was sufficient motivation for an
endowment to the Lord, as the monetary return by a sale
of the l/4th share of the prasada was sufficiently attractive”.9
It is noted above that the donors had right to give
their share of prasadam to the persons or institutions of
their choice. The following are a few examples. These
examples do not suggest the prevalence of the practice of
selling prasadam during the Vijayanagara period. Some
inscriptions show that the donors made over their share to
Ramanujakutams which were free feeding houses. One
Obalanayakkar Ramanayakkar gifted 200 cows for
providing paledukulambu to the god Venkatesvara. He gave
away his share of prasadam i.e., paledu-kulambu to the
Ramanujakutam, established by him. Similarly udiyam
Ellappa-nayakkar delivered his full share to
Ramanujakutam.10 Kuppayani, daughter of Ranjakam
Srirangaraja, gave away her share of prasadam to the
cultivator of the flower garden of the temple.11
Lakshmi Ammangar, wife of Pradhani Saluva
Timmarasu, gave away her share of prasadam to Nadendla
Appaya, who was her son-in-law.12 An inscription of
Pradhani Saluva Timmarasu, dated 1512 A.D. states that
he gave away one prasadam of his share to one Singayyan,
a Sattada Sri Vaishnava, who cultivates his flower garden.13
In several instances the donors made over their shares to
the 12 nirvahans of the Stanattar.14
Ekaki Tiruvenkatayyan, who was the manager of
Tiruvaliparappinan-nandavanam at Tirumala, gifted 240
narpanams in 1514 A.D. for offering eight atirasapadi to
the god Malaikuniyaninra-perumal.15 He made over his
share to the Srivaishnavas chanting lyal. It is interesting
that the Sthanattar, obviously at the request of the donor
stipulated that in the event of the death of the donor the
Ekaki Vaishnava who succeeds him as the manager of the
above noted nandavanam and the matham would be
entitled to receive the donor’s share. In another instance
the donor’s share was handed over to the Sri Vaishnavas,
Ekaki Sri Vaishnava who was the manager of a matham
and to the Tiruninra-ur-udaiyam [Temple Accountant].16
Platinum Platform
 In 1520 A.D. Periya-Koyil-Kelvi Tiruvenkata-
Jiyyar, who was the manager of Perarulalan-
tirunandavanam at Tirumala, made a gift of 1510
narpanams for maintaining food offerings to the god
Venkatesa and stipulated that from out of his share of
prasadam the first half should be delivered to the Jiyar
managing the Perarulalan-matham and the second half to
be distributed among the desantaris managing the
Tiruvenakkal-kilai-matham.17
In one instance the donor made over her share to
her spiritual teacher Vengaluvu, daughter of Pagera
Ammanan, gifted 1500 narpanams to offer sacred food to
the god Sri Venkatesa.18 At her request the Sthanattar
undertook to deliver her share of prasadam to
Appaiyyangar, who was her acharya.
Ramanujakutam denotes the free feeding house
of Sri Vaishnava brahmanas and they are generally located
within the temple premises. They are so called after the
great Sri Vaishnava saint Ramanuja. One of the early
inscriptions referring to the Ramanujakutam at
Srinivasapuram, a suburb or Tirupati is dated 1450 A.D.19
It is stated that the donor Kesavadasa gave away his share
of one nail of prasadam as his charity to the
Ramanujakutam. This implies that Ramanujakutams were
in existence even before the middle of the 15th century.
An inscription dated 1456 A.D. records an
endowment made by Saluva Narasimhadeva maharaya.20
It states that the donors share of the prasadam consisting
of 13 appas and one nali of akkali were given to the
Ramanujakutams constructed by Narasimhadevaraya
himself at Tirumala and Tirupati for serving to the Sri
Vaishnavas in these free feeding houses. It is further
mentioned that these Ramanujakutams were managed by
one Ramanujayyan of Kandadai family. It is interesting to
note that this practice of delivering the donor’s share of
prasadam to the Ramanujakutams was specified to be
hereditary.
It is noted above that generally the
Ramanujakutams are located in the temple premises. An
inscription dated 1465 A.D., refers to a Ramanujakutam
situated in the Sannidhi street of the temple at Tirumala
which was managed by Kandadai Ramanujayyangar
referred to above. 21 Some of the managers of these
Ramanujakutams were of considerable importance in the
religious matters. The inscriptions under reference is of
particular significance. It states that under the direction
Platinum Platform
of Kandadai Ramanujayyangar his disciples were to take
daily the sandal paste, turmeric paste, the paste of
myrobalan [usirika : in Tamil nelli], musk, refined camphor
and a small cloth and 25 arecanuts and the same number
of betel leaves to the temple at the time of Alagappiranar
for Tirumanjanam [sacred bath] from the Ramanujakutam.
In return the Ramanujakutam was to receive four arecanuts
and four betel leaves as prasadam. This clearly shows that
some of the managers of the Ramanujakutam were rich
and enjoyed the authority of providing certain articles for
the religious purpose to the temple. Kandadai
Ramanujayyangar as manager of Ramanujakutams figures
in a number of inscriptions belonging to the period of
Saluva Narasimhadeva maharaya.
During the period of Sri Krishnadevaraya the
practice of donors making over their share of prasadam to
the Ramanujakutams continued.22 An inscription dated
1521 A.D. informs that the managers of the
Ramanujakutams were incharge of the flower gardens laid
by the donors.23 The managers of the Ramnujakutams were
generally known as dharmakartas.
The references to the Ramanujakutams are quite
less as we comedown to the periods of Achyutadevaraya
and Sadasivaraya. However, this does not mean that the
institution of Ramanujakutams suffered a total set back.
The endowments continued to pour in during the period
of Sadasivaraya also into the temple treasury of Lord
Venkatesvara. The Ramanujakutams too might have been
continuing their welfare activity of free feeding. Just on
the basis of the mere absence of references to
Ramanujakutams we need not jump to the conclusions
that this institution was almost ignored.
A Historical study of the temples of Tirumala and
Tirupati points to the importance paid by the
administrative body [Sthanattar] for the welfare of the
society. In this respect the contribution of the donors is
also noteworthy. The measures taken by the temple
authorities to improve the irrigation facilities in the temple
villages had far reaching effects. By this vast extents of
land was brought under irrigation resulting in the increase
in the agricultural yield. Needless to say even dry land
could be converted into wetland by the provision of
perennial water supply made available through channels
and canals, sometimes, even connecting two tanks. It is
obvious that expert excavators were employed to maintain
the level of water that flows in the canal. With the increase
of agricultural activities the allied industries like carpentry,
171
ironsmithy also were benefited to considerable extent. The 6. S.S. Ramachandra Murthy, Endowments to the
agriculturist is also benefited by the increase in the yield Temple of Lord Venkatesvara during the period of
and it led to the increase of revenue to the state. Thus the Krishnadevaraya, paper presented at the Seminar
agro-economy got a boost. held on the occasion of 500 th year of Sri
Krishnadevaraya’s coronation by ICHR at
Secondly the introduction of Ramanujakutams Bangalore in January, 2010.
initiated by the great saint Ramanuja led to the
establishment of many such free feeding houses at Tirumala 7. N. Ramesan, Op. Cit, p. 397.
and Tirupati which cater to the needs of the pilgrims 8. Ibid., pp.397-98.
coming from outside. In this case the direct participation
of the donors, by making over their share to them is 9. Ibid., p. 398 n.
significant. Thirdly number of mathas were established who 10. TTD Inscriptions Vol. Ill, No. 109, also see Nos.
too often received donor’s share of prasadam, took keen 130, 140, 142, 147, etc.
interest to spread the tenets of Viashnava philosophy far
11. Ibid., No. 245.
and wide through their students. Fourthly a large number
of gardens were laid on Tirumala for the supply of flowers 12. Ibid., No. 19, 1511 A.D.
to the God. There were managers to supervise them. 13. Ibid.,No. 23.
Needless to say there were number of gardeners to tend the
gardens. Apart from the main purpose of supply of flowers 14. Ibid., Nos. 31, 99, 105 etc.
the ecological balance of the Tirumala hills was well 15. Ibid., No. 97.
maintained.
16. Ibid., No. 98, 1514 A.D.
Evidently the temples at Tirumala and Tirupati 17. Ibid., No. 139, also see No. 140.
apart from being repository of Hindu Culture, with a stress
on Sri Vaishnavism, played an active role in the welfare of 18. Ibid., No. 162 : 1524 A.D.
the society even on secular side. Being a large temple with 19. Ibid., Vol. I, No. 224.
the organization of a number of festivals and festivities and
offering variety of food items on a large scale to the god, it 20. Ibid., Vol. II, No. 5.
naturally became the biggest employer next to the royal 21. Ibid., No. 22.
court. The phenomenal growth of the temple over centuries
22. Ibid., Vol. III, No. 109.
is certainly amazing. Even today its contribution to the
social life by way of providing free education, medical 23. Ibid., No. 147.
facilities, maintaining orphanages etc., is quite apparent.
Finally it is a matter of astonishment that today the annual
budget of the Tirumala Tirupati Devasthanams exceeds that * * * * *
of a small state in India.
Notes and Refeences :
1. TTD Inscriptions, Vol. III, No. 19.
2. Ibid., No. 31.
3. Ibid., No. 105.
4. R. Soma Reddy Irrigation and Reclamation of Land
in the Tirumala Tirupati Temple Villages during the
Medieval Period, published in Proceedings of the
3rd Annual Conference of South Indian History
Congress, 1982, p. 147.
5. N. Ramesan, The Tirumala Temple, p. 389.

172 Platinum Platform

 Socio-Religious Conditions of Medieval Telangana
as gleaned from Kannada Inscriptions in Telangana
The present Telangana region comprises 10 out of
23 districts in the state of Andhra Pradesh viz..
Mahaboobnagar, Medak, Hyderabad, Rangareddy,
Nizamabad, Adilabad, Karimnagar,Warangal and
Nalgonda.(1).
Telangana was ruled during the medieval period
by the rulers who hailed from the central part of the present
Karnataka state. The rulers and their sub-ordinates issued
the inscriptions in Kannada language which was the official
language at that time. An attempt is made in the present
paper to throw some light on the socio- religious conditions,
based on the information given in the inscriptions. Kannada
inscriptions of present study give much information about
the Social conditions prevailing at that time. The
information can be corroborated with sources such as
writing of foreign travelers who visited the courts of the
kings during this period.
Caste System:
Society was based on caste, with all its hierarchical
characteristics during the medieval period, even the
Buddhists and Jains who originally disregarded it came
gradually under its influence and adopted it with certain
modification to suit their needs. The bulk of population
was Hindu. Society was basically divided into four main
castes, the Brahmins, Kshetriyas, Vaishyas and Sudras, and
a few minor sub-castes such as Nayaks, Boyas and Reddys
who find a mention in the inscriptions.
Brahmins:
The Brahmins occupied the foremost place in
society. They were the leaders of thought and repositories
of learning. They spent most of their time in the study and
teaching of Vedas and Shastras. They were held in high
esteem by members of other castes, kings and nobles
honored them by bestowing on them liberal gifts of land
and money. Some times the whole village was given as
donation known as agraharas. Several inscriptions mention
land donation to Brahmins. Inscriptions from Gangapuram
Mn 452 mentions the land grant made by Tribhuvanamalla
Vikramaditya VI to two learned Brahmins, Aditya
Bhattopadhyaya and Viddana Bhatta as Jyotirvritty
[Astrological endowment] Mn 88.3 Puduru mentions grant
made by Mahamandalesvara of Pondura Hallavarasa to his
* Assistant Professor, Dept of History, Archeology and Culture, Dravidian University, Kuppam - 517425
Platinum Platform
- Dr. Aravind Kumar*
Guru Kanakaseva Bhatta 100 mattars of dry land and 1
mattar of wet land under Bheema Samudra Tank. Khazipet
inscription of Kakatiya Beta mentions grant of certain village
as Sarvamanya by King Dugga Tribuvanamalla son of
Betarasa to the Kalamukha monk Rameswara Pandita.
The Brahmins did not confine their activities to
religious pursuits only. As educated members of the
community their service was indispensable to society and
the state, to carry on the work of administration. Therefore
they entered the services of the state in large numbers and
helped the king in governing the kingdom as counselors to
ministers and members of civil service. They entered the
army and fought the battles for their kings, several Brahmana
warriors of distinction were mentioned in the inscriptions
who by dint of their merit rose to positions of highest
command.
In the Mn 49 Gangapuram inscriptions4 one
Jayananda Bhatta was mentioned as Dandanayaka of
Tailapadeva who ruled Kandurunadu. Brahmin names
ended within suffixes such as Bhatta, Upadhyaya, Pandita
sometimes as Arya if they were holding an administrative
post under the king. Such as Namaya Bhatta5 [Hd 1],
Nagadeva Bhatta [Mn 41]6, Prakash Bhatta [Mn 45 –
Gangapuram] who was the scholar and Guru of
Tribhuvanamalla Vikramaditya. Nagarasi Pandita, son of
Sadyojata Pandita., Burugugadda inscription mentions one
Govindarasa who was Mahapradhana of Ananthapalayya
sub-ordinate of Tribhuvanamalla Vikramaditya VI ruling
from Vengi-12000. It mentions his lineage with
Vipravamshottama and his conquest were mentioned in
the inscription. Brahmins also acted as Mahasthanapathi
of a temple who looked after the temple land’s income and
expenditure and proper conduct of temple rituals.
Inscription gives ample evidence in this regard. Most of the
land or money donated to a particular temple is made into
the hands of the Mahasthanapathi. Inscription from
Alampur shows this where Brahmeswara Bhatta
Mahasthanapati of Brahmeswaradeva7 [A1 8, 14, 19, 22].
Some other Mahastana Pathis mentioned in the epigraph
were Barni Rasi Pandita [A1 15]. Someswararasi Pandita
[A1 16, 41]. Keshavarasi Pandita [A1 32]. Several Pandita
[A 33] Dharinindrarasi Pandita [A1 37, 38]8.Thus we can
173
conclude that the Brahmins played a prominent role in the
medieval society in the areas under study.
Kshatriyas:
Kshatriyas, who occupied a second place in the
traditional caste hierarchy, still formed the ruling caste and
were a flourishing community. They fell into two large groups
called Solar and Lunar dynasties according to their assumed
descent from Sun or Moon. Chalukyas and Rashtrakutas
derived their descent from Lunar lineage.
In south India all the rulers of the day and all those
who took to military service did not belong to Kshatriya
caste.9 Reference has already been made to Brahmin general.
Among the rulers there were several who belonged to Sudra
caste. The Velanati Chodas, Kotas, and Reddys belonged to
the Durjaya family of fourth caste. After they became rulers
their status in social hierarchy was raised and they came to
be recognized as Kshatriyas, and the rulers who were
Kshetriyas by tradition entered into marriage alliances with
them. The Kakatiyas of Warangal belonged to the fourth
caste, but the two daughters Mailamba and Kundamba of
the Kakatiya king Mahadeva were married to Mettavadi
Rudra a Kshatriya10. The Agni Kulas who played prominent
part in the history of the Northern and Western India were
unknown in the South. Most of the nobles belonged to
Kshatriya caste of they lived in small estates scattered all
over the kingdom.
The names mentioned in the inscriptions do not
show any particular suffix to the people belonging to this
community. The term “Arasa” meaning a king may refer to
Kshatriya community or it is applied even to other caste
people who were holding high office under the government
service. Inscription from Burugugadda mentions one
Govindarasa who was a Brahmin, his Brahmin lineage is
mentioned in the inscription as “Chaumopam Vipra
vamsotamam”. The word arasa suffix shows high official or
a noble of royal class.
Vaisyas:
Vaisyas occupied the third position in the caste
hierarchy. They were exclusively devoted to trade; several
records registered their benefactions to temples and other
religious foundations.
Their names generally end with the suffix “setti”.
Many names ending with setti are mentioned in the
inscriptions. Sankisetti, Devasetti, Vayusetti [Mn 39]11
Rudrasetti, etc. the settis generally constituted themselves
into a guild called Nakaram. They are called as samayas or
shettikaras and [Mn 42]12 mentions as Shettikarasamayas
– “Shettikarum awara samaya samuhagala.” The guilds were
174
many such as nanadesis, ubhayananadesis [Mn 42] mentions
about Ubhayananadesis making gift to Saleswara deva,
Angabhoga and Rangabhoga. Inscription Mn43 (13)
mentions the number of Shettikaras 36 – “Muvattaru beedi
shettikarum. These vaisyas lived as a community in one place,
the market being in the center of the working place. This
might have led to the settlement of all the people of this
community in one place.
The inscription Mn 47(14) mentions that 500
Areca nut traders had their godowns in one place in a village,
Tripura – “Tripura dadakiya malagiya balasiddi yuvarabbaru
pramukha vagi alliya manigara.” The most celebrated guild
of the time was 500 swamys of Ayyevolepura. This body of
men was the protectors of Veera banaju dharma, i.e., law of
noble merchants of Ayyevolu, Bananju being a thathbhava
form of Sanskrit word vanika or vanija meaning merchant.15
This dharma was employed in 500 Veerasasanas, edicts of
heroes. There were 16 settis of eight nadus among them.
The mercantile community appears to have formed a vast
confederate of groups spread all over the land. One
inscription from Alampur of Kalachurya period mentions
the Ayyavole guild.16 “Panchashat veera shasana labdaneka
gunaganalankrita satya sancha charu charita naya vinaya
vibhuva veera bananju dharma pratipalakarappa sri Ayyavole
nobba swamigala pramhuka.”
These shettis, this community made many grants
to the temples. Several inscriptions mention names of these
shettis making grants to the temples. Inscription Mn 42(17)
mentions that the gift of income derived from certain taxes
from the market to god Sakalesvara’s Angabhoga and
Rangabhoga by all settikaras and ubhyanadesis. Mn 47
mentions income derived from tolls to god phojjeswara by
different settikaras nanadesis and the community of
nanadesis 500 strong having the areca nut market. Inscription
Mn 48(18) mentions gift of haga money for the pavitra
ceremony of god Savareswara. Another inscription mentions
the gift of money for Kaupina cloth of Rudrashakti Pandita
by Keshava Shetty son of Tiruvishetti.
Samayas:
On the basis of numerous inscriptions it becomes
clear that the society in the period under study led corporate
life. Besides the main four castes Brahmana, Kshatriya,
Vaishya and Sudra, there were several sub-sects formed
Platinum Platform
mainly according to their profession. The usual way of
representing the people in general is by mentioning them
as Astadasa praja, 18 sects of people, a comprehensive term
conveying the whole society. All these 18 castes used to
organize their corporate associations particularly to look
after the well being of their individuals called samayas.
Sudras:
They formed the bulk of the population, though
no information is available about the structure of their
society. It might have been consisted of several sub-castes
as at present. The inscription mentions that people
belonging to this community had many suffixes, such as
Ayyas, Nayaks, Reddys, and Boyas to their names. They
were mainly tillers of the land and made their living by
means of agriculture and cattle rearing, weaving and
gardening. Inscription Kn 6 mentions one Machiga as a
gardener. Mn 43 mentions Bhoothinayaka. Mn 50 mentions
Rudramayya. The inscriptions Mn 60, 61, A1 17(20),
mention Nayakas. Md 1, Mn 50(21), Ng 43, Ng 49, Nd 2,
A1 8, A1 28, A1 42(22) mention ayyas. Mn 63 mention
one Gonaputta Reddy as a sub-ordinate ruler. Inscription
Wg 15(23) from Hanumakonda mentions a Boyapadi, as a
sweeper. A1 26 mentions a karimka called seva boya. (24).
It may however be noted that there was always an
upward mobility within the caste system. It is clear that the
Sudras did not form a homogenous community. On the
basis of the occupation carried on they were divided into
numerous sub-castes.
Boyas: These were sometimes acted as a custodians
of temple and employed in the temples.25
Nayakas: These are the members of the Sudra caste.
It is however not clear whether they all formed a separate
sub-caste or it was sort of title. We have several references
to this community.
Reddys: Reference to this is made in Mn 63
inscription. It is same as Rattadys a designation of a person
on whom a territory conferred.
ROLE OF WOMEN: In India society has
naturally varied in its importance at different times in various
places under changing circumstances. The conditions during
this period seems to have been favorable to women to take
part in public affair when they were inclined to do so, at
least for women from the higher strata of society. Some
instances of prominent women and their performance have
found mention in the inscriptions. The out standing
Platinum Platform
instances of several women mentioned command proofs.
Besides the ladies of high society, there were in considerable
number women from the world of courtesans, “sulegars”
who were inclined to life in the larger cities performing
duties, assigned to them in temples during the daily worship
and on the occasion of festivals.
Queen Chandaladevi is mentioned in the
inscriptions. Mn 41, Mn 57 mention her beloved son
Tailapa Yuvaraja ruling from Kanduru making donation of
a village, Bodupura, to Rameswaradeva, God of
Nekkonde.(26)
Inscription Mn50, mentions gift made by one
Malhamadevi, whose lineage is mentioned in the inscription.
Inscription Md 5 mentions the gifts made to different
servants employed in the temple by Mahamandaleswara and
Somaparamadi’s wife Lakshemi Arasi. Ng 41 mentions the
gift given to the temple by Mahamandaleswara Krishnaraja’s
wife and sister.
Wg 15(27) which has four faces, the third mentions
some land donation and income from taxes by Prolamantri’s
wife Mailama to Kadalayabasadi on the eve of Uttarayana
Sankranti. Inscription Wg 17 mentions the construction
of a temple Muppeswaradeva by Mahamanadaleswara
Duggabhupala’s wife Muppamambika, to which
Mahamanadaleswara made donation of land and a water
tank. It also mentions gift by one woman Ketabarani.
Inscription from Alampur A1 15 mention the favourite
queen of Vikramaditya VI making grants to
Brahmeswaradeva, Angabhoga and Rangabhoga. In view
of her great learning she is described as Abhinava Saraswati.
This confirms that the women from the higher strata of
society had easy access to higher education. A1 36 mentions
another queen Mamadevi Wife of Vikramaditya VI making
some gifts to Brahmeswaradeva’s Angabhoga and
Rangabhoga. She had the title of Abhinava Parvathi, Sri
Mahadevi. This indicates she was very powerful and had
great influence on the king as she was a source of immense
strength and power as Parvati is associated with ‘Shakti’.
So we can say that the over all position was well
compared to other periods. They were free to move in the
society and take part in all activities of social life. The above
references confirm that general dependency of women on
men did not stand in the way of women making religious
endowments in their own name.
Education: During this period for receiving higher
education the students went to Agraharas, Brahmapuris,
Temples, Maths and Ghaticas.
Agraharas: Agraharas are institutions endowed by
ruler and other charitablly disposed people for the
175
preservation of ancient learning and its propagation. They
are not subject to any control by the state, and were fully
autonomous and self-governing. They enjoyed freedom in
respect of what should be taught and how it should be taught.
The agraharas may therefore be said to have constituted the
real universities of India. It may be ascertained from the
epigraphical records that many of these agraharas were state
foundations. An inscription from Lemulavada (Kn 7)(28)
mentions that the village Sankayapally was donated to
Lemulavada Agrahara to bear the expenditure of repairs to
the temple, feeding ascetics residing there and to give salaries
to the teachers residing there – “Tapodhanara vidyartigala
Aahaarakam daanakam vidyardhigalige vakkanisuva
upadhyayara jeevitakke.”
Brahmapuri: Second institution which imparted
education in those days is Brahmapuri, literally means a town
of Brahmins. It differed from Agrahara in that it had a part
of a city, town, while Agrahara was self sufficient and a
cooperative village. Inscription Mn 47 mentions a donation
by Yuvaraja Tailapadeva to Rameswaradeva of a Brahmapuri
Nagadatta – A village called Badambudupura. The word
Brahmapuri Nagabhatta confirms the existence of
Brahmapuri as learning centre.
Another important agency where education is
imparted was Ghatika. These were attached to temples where
the residential scholars known for their learning taught the
Vedas, Vedangas and Agamas, besides several other subjects,
secular in character. The term means an assembly of
Brahmins or a religious centre or an educational colony. A
very clear idea of Ghatika can be obtained by the study of
Ghatika at Nagai (in Gulbarga district of present Karnataka)
mentioned in the Nagai inscriptions.29 This Ghatika was
founded by Madhava in the temple of Madhusudhana at
Nagai in AD 1056. It made provisions for 200 students of
Veda, 50 students of Sastras and three teachers of Vedas,
three teachers of Sastras, besides one librarian, in all 257
persons. They were all to be fed and clothed out of proceeds
of endowments. It gives the details about the salaries of
teachers, librarian and the timekeeper. Many inscriptions
mention these Ghatikas which were attached to temples in
this region. The inscriptions Kn 5, Mn 41, Mn 46, Mn57,
Ng 46 mention the endowment made to the temples and to
the students staying in the Ghatikas attached to these
temples.
Another institution of learning was a Math. It was
typical Indian monastery with monks, ascetics and students
living within its precincts. The Mathas were also free
boarding houses where not only the students and ascetics
who received instructions at the math were provided with
176
food and clothes free of charge, but also the poor and the
infirm found free board and lodge. Inscription Mn48
mentions a donation of money for the Kaupeenavastra of
Rudrashaktipandita. It goes without saying that the training
in the technical arts was mostly hereditary and domestic.
The brief summary of education and educational
institutions and the spread of learning have demonstrated
that the pursuit of higher education was then, as now
necessarily concentrated in particular centers which
commanded the resources of men and material required for
it. The result of such study was evenly spread all over the
country. Men possessed highest learning to which they had
access at the time. The most cultured and refined intellectuals
went to live in villages all over countryside where they took
an active and constant part in guiding the daily lives of their
enlightened country men. Education in all its stages vitally
connected with all social life and institutions and was
productive of more abiding and tangible benefit to the people
than appears in our periods (30)
RELIGIOUS CONDITIONS: Religious
conditions of this period are a striking example of a general
atmosphere of spiritual conciliation in which many creeds
lived together on the basis of mutual tolerance and enjoyed
the impartial patronizing of monarchs and nobles. Saivism
and the Vaisnavism were major creeds in Hindusim, the
former being a more important faith, judging by the number
of adherents shown by the inscriptions. For the rest Jainism
was much more wide spread and commanded a large volume
of support than Buddism did. Under the Kalachuryas
occurred a strong revival of Saivism in the form of Lingayat
creed initiated by Basava – known as Veerasaivism. The
emperors adopted daana the bestowal of charitable gifts as
the most obvious and realistic method of evincing their
devotion alike to religion and to the welfare of their subjects.
Saivism: Among the several schools of Saivism like
Kalamukhas, Kapalikas, Pashupathas, Aradyasaivas and
Veerasaivas, we find in the early period Kalamukha Saivism
was very important, later Veerasaivism became dominant
creed during Kalachuris’ period. In Hanumakonda
inscription – Beta II is said to be the best pupil of Rameswara
pandita who professed Kalamukha Saivism. Rameswara
pandita was an authority on Lakuleswara Agama. When
Srisailam was the main Saiva Center it was presided by
Kalamukha guru.31 The ascetics of Kalamukha School were
well versed in Nyaya, Vaisesika and Sankhya darshanas.
Alampur on the bank of Tungabhadra was another
important Kalamukha Centre in this region. The
Mahastanapatis of Brahmeswara Temple at that place were
renowned for their scholarship and piety and were greatly
Platinum Platform
revered. Several inscriptions mention about Kalamukha
ascetics: Mg 48, Mn 55, A1 10. Thus we notice that up
the end of the 12th century Kalamukha Saivism spread
throughout this region not only in temples and maths but
also in royal courts.
Vaisnavism: Several inscriptions mention about
Vaisnava Gods – Keshavadeva (Mn 51 and 59),
Jegadevanarayana (Mg 44). Inscription Ng 46 begins with
Vishnustuti. Inscription Nb2 mentions (31) about
construction of Indra Narayana temple at Bodhan by
Rashtrakuta Indra. An inscription from Alampur Al 28
mentions about a gift to Madhavadeva temple.
J A I N I S M: Jainism seems to have received an
impetus during the period. This is attested by a number of
inscriptions mentioning donation to Jaina Basadis. Jaina
Basadis are mentioned in the inscriptions – Kn7, Mn 52,
Mn 58.
Mn 58 mentions donation to Pallava Jinalaya of
Dravila Sanga. Mn 61 abd 62 from Ujjili mention
Baddijenalaya (Chenna Parswadevi). Md 3 from
Alladurgam mentions Keertivilasa Shanti Jinalaya. Ng 43
mentions Ambikadevi (Jaina Yakshi). As far the rituals are
concerned we do trace the impact of contemporary
Brahminical religion on Jainisim. Thus we find initiation
of women, worship of Yaksyas and Yakshis as adhistari Gods
and Goddesses etc. Many of the popular beliefs and
practices were common to both the systems of Jainism and
Hinduism. Jainism fell into bad days in later half of 11th –
12th century AD, probably by the rise of Veera Saivism
(33).
T E M P L E S: It was a Gurupeetha to propagate
principles of religion. It was a Vidyalaya for imparting Vedik
education. It was a platform from which religious teachers
delivered lectures. It was a sabha where the scholars
discussed the sastras, it was a public forum from which
pauranics revived and expanded the ethics, it was a prayer
hall. It was a great institution which protected the culture
and life of the age .34 This period witnessed the construction
of numerous temples dedicated to Siva, Vishnu and several
other Gods. It was a period when Saivism was more popular,
and hence Siva temples and shrines were more numerous
than those dedicated to other Gods. In the present study
other sects or religion include Vaishnava temples and Jaina
Basadis which are mentioned in the Kannada inscriptions.
The reasons for constructing temples were: decline in the
influence of other religions such as Bhuddism, influence
of Cholas who were builders of several temples in South
India and the peaceful conditions of the period. We find
from the inscriptions that several temples were constructed
Platinum Platform
by the kings or their sub-ordinate chiefs. Temples were
constructed in the memory of the people and the deities
took the names by whom or for whom it was constructed.
Some times the names of the places were also given to the
Gods.
Some of the names mentioned in the inscriptions
are Harikeswara God (Kn 5, 7), Nekkonda Rameswara
(Mn 41), Saleswara Deva (Mn 42), Sagareswara (Mn 43),
Bheemeswara (Mn 46), Pojjeswara (Mn 47), Gooduru
Malleswara (Ng 42), Swayambu Someswara (Ng 47) and
Brahmeswaradeva is mentioned in several Alampur
inscriptions. Most of the records mention donations
made to these temples in the form of land or money form
several taxes for feeding the ascetics or jeernodhara (repairs),
white washing and for conducting the temple rituals such
as angabhoga, rangabhoga, dhoopa, deepa naivedya and
Nandadevige (eternal lamp). The inscriptions mention
several Vaishnava Gods and Jaina Basadis. The inscriptions
mention names of some other Gods such as Karthavadi,
Katyasomanatha (Mn 49), Varuna (Prathishta) – Wg 19.
Temple: Rituals: In all temples certain rituals
were conducted daily based on the Agama sastras. The
rituals are (1) waking of the deity (2) Karpurarchana (3)
Siddi (4) Tomala Seva (5) Archana (6) Naivedyam.
Naivedyam was the main food offering to the deity which
was later distributed amongst various servants of the
temples according to customary rules . These rituals include
such as Angabhoga, Rangabhoga, Dhoopa, Deepa and the
practice of burning a lamp eternally before the God
(Nandaa Deepa).Many inscriptions mention donations to
the temples for angabhoga, rangabhoga naivedya,
jeernodhara and for nandaa deepa.
Angabhoga: Angabhoga is often associated with
rangabhoga usually explained as decorations and
illuminations of the deity.35
Rangabhoga: Amusements to be arranged for a
deity and land granted for it is also called
Shringarabhoga.36
Nandaa deepa: A lamp kept burning before a deity
in a temple some times called Akhanda Deepa.37
Jeernoddhara means undertaking repairs,
renovations and conservation of an old temple. Temples
played an important part in the general life of people. Their
influence extended far beyond the sphere of religious
worship. They owned a large landed estate which is
confirmed by several inscriptions mentioning many land
grants and cattle farms. They maintained a large body of
agricultural laborers for carrying on cultivation of the land
belonging to them. There was a regular hierarchy of officers
177
from the Mahastanapati down to menial servants, whose 3. APAS NO3 page 40-41.
status as well as wages varied from category to category. 4. ibid page 36
Mahastanapati: is the most important official of the temple. 5. ibid page 18-19
He was the manager of the temple. He controlled various 6. APAS NO.3 PAGE-29
members of staff and supervised its daily routine. He was 7. Ibid page nos 105-118.
the chief in charge of endowments of the temple. Inscriptions 8. ibid page 124-126.
A1 15, 16, 19, 22, 23, 32, 33, 37, 41, mention the names 9. Vaidehi Krishnamurthy. A. Social and Economical
of Mahastanapatis. The important Mahastanapatis conditions in Eastern Deccan p-1‘29.
mentioned are Dharani Prarasi Pandita, Someswararasi 10. Shastry PVP. Kakatiyas of Warangal, p 180.APAS NO
Bhatta, Brahmarasi Bhatta, Kesavarasi Bhatta and Sevarasi 57, Govt of AP Hyderabad.
Bhatta.(38) 11. Dikshit. D.P. Guilds under the Chalukyas of Kalyana,
Poojaris: They are invariably Brahmins. Different Mythic society , Banglore.
priests were appointed to perform the worship or go through 12. APAS no 3 page 30-31
the rituals associated with each deity and were called with 13. ibid
the name of the deity(39).Other categories of servants 14. APAS no 3 page 31
employed by the temple the inscriptions mentions are Deva 15. Yazdani. G Early History of Deccan, Oxford University
dasis, Gorava (Priest of low caste), Drum Beater, Singer, press London 1960.
Dandapati and Sweepers. Inscriptions Md 5 mentions 16. ibid
donation of land to these sevants – Salake goravange
17. ibid page31
Kariyanela 6 mattars, Parakegarege (drum beater) Kisukeya
18. ibid page 35-36.
mattaru 2, Gandharvige (singer) 16 mattars, Netrikari
(dhandipati). Here the word ‘gorava’ means a low caste 19. op cit shastry page 180.
poojari or priest. Another inscription Nb 2 (Bodhan) 20. APAS NO 3 PS 42-43
mentions donation of house sites to different employees of 21. IBID PS 45-53.
Indra Narayana temple constructed by Rashtrakuta Indra – 22. IBID PS 131-132.
Narayanagere obathyu kaigala nivishamvrata patta – 23. op cit Vaidhehi Krishnamurthy ps129.
Sootradhari manaye niveshampatta varadu (9 x 70 yards) 24. APAS 3 PS 40
plots singers, 60 plots (of 7 x 30 yards) to sootradharis. 25. IBID PS 43-46.
Badaga devarolagada soolegeriyalli gana eradu (for devadasis 26. IBID PS66-67.
two oil mills). The temple had a great concern for any 27. IBID PS 125.
unemployed person in the village and provided employment 28. IBID PS 21-22.
to him or her. They did some work or other and made 29. APAS 3 PS
their livelihood. Several dozens of people like the Boyas, 30. Aravind kumar, studies in Kannada inscriptions in
shepherds, oil mongers and petty merchants who under take Telangana,ps 109,
the responsibility of supplies and provisions to the temple KA publications Hyderabad 2006.
regularly on behalf of the donars were also to be considered
31. op cit Vaidhehi Krishanmurthy, ps129.
among the servants although they were not regular
32. APAS 3 P 67-70.
employees.(40).
33. op cit Aravind Kumar p 111.
Thus we find that the Kannada inscriptions in 34. Sircar D.C. Epigraphical Glossary ps 276,321, 211.
Telangana give information on socio-religious aspects of
35. ibid ps 20,276.
medieval Telangana.
36. ibid p 211.
References 37. ibid p136, 321.
1. Radhakrishna sarma. M. Temples of Telangana 38. op cit Shastry PVP p 180.
Director of publications and press, Osmania 39. Iswara Dutta. K. Sasana Sabda Kosam, Andhra
University, Hyderabad. 1978. Pradesh Sahitya Academy, Hyderabad.
2. Andhra Pradesh Archaeological Series (APAS) No. 3 40. Op cit Aravind kumar p 115.
page 32.
Director of Archaeology and Museum Govt of * * * * *
Andhra Pradesh Hyderabad.

178 Platinum Platform

 Political Boundaries of the Telugu Country from
Ancient Times to The Formation of Andhra Pradesh
Boundaries are subject to frequent change due to
various forces and hence it is very difficult to determine
the boundaries of Telugu country across the ages. The
course of centuries witnessed various vicissitudes that
altered its boundaries. Occasionally natural, economic,
administrative and religious sentiments form a force in
shaping the boundaries, but they are not at all rigid and
constant. In the changing scenario of politico-
administrative systems inevitably changes will take place
in the fixation of boundaries. Thus any boundary is subject
to change in course of events and Telugu country is not an
exception.
Chilukuri Veerabhadra Rao who has written
History of Andhras, refers to the existence of Andhra country
even from the period of the epics, Ramayana and
Mahabharata. That fact is also testified in the Jaina and
Buddhist Literatures. Brihatsamhita, Markendeya Purana,
Natyasastra and Indica of Megasthanese considered Andhra
as one among the southern kingdoms. Jayamangala in his
commentary to the Kamasutras located Andhra province
to the eastern side of Karnataka. From the period of the
early Pallavas in the records of the ruling powers
Andhradesa is referred to as Andhra Padha, Andhra Bhutala,
Andhra Mandala, and Andhra Vishaya. In different periods,
in different contexts the word ‘Andhra’ is significantly used
to denote one province or other in the present Andhra
Pradesh.
Satavahanas, the curtain raisers of the history of
the Telugu country in their lengthy rule, at least on
some occasions, exercised authority over the entire
Dhakshinapadha, and claim themselves as ‘the lords of three
oceans1. More or less the entire present Telugu land in the
then territorial divisions like Assaka, Mulaka etc.,
constitute a part and parcel of the mighty Satavahana
empire. The authority of the succeeding ruling powers to
Satavahanas is limited to few provinces either in the present
Andhra or Telangana. Ikshvakus, Salankayanas, and
Vishnukundins held sway in different provinces of the
present Andhra Pradesh, where as Matharas and
Pitrubhaktas extended their authority into the Kalingan
frontiers. Thus in the succeeding centuries of the
*Professor, Dept. of History & Archaeology, Andhra University, Visakhapatnam.
Platinum Platform
- Dr. Kolluru Suryanarayana*
Satavahana rule no political family could continue their
political legacy and as such the country was parcelled out
into small principalities with no political cohesion.
The situation has completely changed with the
advent of the Chalukyas from Badami in Karnataka to
Vengi in Andhra. Pulikesi Vallabha II who claimed over
lordship on entire dakshinapadha nominated his beloved
brother Kubja Vishnuvardhana as the ruler of the Vengi
kingdom. In course of time it separated itself from the
early Chalukyan family and is considered in history as the
Chalukyas of Vengi or Eastern Chalukyas . That family,
which identified itself with the Vengi country, ruled
Andhra for more than four and a half centuries and made
its impact on the history and culture of the Telugu people.
The establishment of Vengi rajya is considered to be a
turning event in the history of the Telugu region. Moreover
those rulers were considered as the makers of the Telugu
culture and literature. The geo-physical extensions of the
kingdom of Vengi from Mahendragiri mountain in the
north, to Manneru river in the south, along the Eastern
Ghats in the west, further extended the geographical spread
of the Telugu community identity. Though they extended
their power into the present districts of Telangana,
Rayalasima and parts of Kalinga occasionally, their main
authority is confined only to coastal Andhra. At the same
time the Eastern Gangas of Kalinga occupied present day
northern districts of coastal Andhra i.e., Trikalinga
province. From then onwards for a long period Trikalinga
province became a bone of contention between
Vengichalukyas and Gangas which is Vaguely referred to
in Dandin’s Dasakumaracharitra also. In different parts of
Rayalaseema, the Cholas of Renadu, the Banas and the
Vaidumbas were masters, but they had to accept the
suzerainty either of the Chalukyas of Badami or the Pallavas
of Kanchipuram. In fact Banas who originated at Parigi
region, i.e., the present Anantapur District claim that their
region is in the west to Andhra Patha, i.e., Andhra country.
The Telangana part was under the control successively of
the main authorities like the Chalukyas of Badami,
Rashtrakutas and the Chalukyas of Kalyana or under their
subordinates like Chalukyas of Vemulavada, where as some
provinces were under the Vengi subordinates like
179
Chalukyas of Mudigonda. Sri Vijaya a Court poet of
Amoghavarsha of the Rashtrakutas in his Kavirajamarga
described the extent of Kannada kingdom, from river Kavari
to river Godavari. In fact in those centuries major portions
of the present Telangana were a part and parcel of
Karnataka. \
Telangana or the earlier Telugana of the earlier
period is the entire land north of river Krishna. That is
referred to with its name sake in the inscriptions and
literature from the medieval period onwards. The Velicherla
inscription of Prataparudra Gajapati dated A.D. 1510 refers
that province as Telungana. Basing on the Orissan sources
it can be said that it is referred to in the same name even
from the period of Kapilesvara. Vennalakanti Surana in his
Vishnupurana also referred it as Telugana. Krishnadevaraya
in his Tirupati inscription refers it as Telangana.
Towards the end of the Vengi Chalukyan rule,
when Rajendra, the Kulottunga considered himself more a
Chola (from maternal side) than a Chalukya (from paternal
side), Vengi Kingdom lost its significance and glory and
was made a dependency on the Chola throne. As per the
policy of the Chalukyas of Vengi, a number of loyal and
capable subordinates were appointed as mandalika rulers
in different provinces and as a result the succeeding history
of the Telugu country is no other than the history of
mandalika rulers whose authority is restricted to a small
tract. Many subsidiary families of the Chalukya, Pallava
and Chola descents appeared on the political scene of the
Telugu country.
In Telangana, which was then under the control
of the Chalukyas of Kalyana, the Kakatiyas emerged as rulers
with Anumakonda and Orugallu as their head quarters.
During their period they extended their authority on the
entire Telangana and on Ralayasima and tried to hold their
authority on Coastal tract also. Ganapatideva found the
chiefs of Velanadu on the Coast as the representatives of
the Chalukya-Chola rulers and defeated them and tried
to unify the whole of Andhra Pradesh. However, even
Ganapatideva could not remove some ruling families, but
was satisfied with their submission. Thus the feudal chiefs,
with much autonomy, were exercising their political
authority in Coastal Andhra, while in Rayalasima, and
Telangana the chiefs must have had limited political control.
The authority of the Kakatiya power was acknowledged
throughout the Telugu country, though its effectiveness
varied from province to province. It seems the first
geographical identity to the Telugu country was brought
during the Kakatiya period. Vidyanatha the minister of
180
Pratapa Rudra in his Pratapa Rudra Yasobhushanam
identified the area amidst of the three lingas, i.e., Sriparvata
(Srisailam in Rayalasima), Kalesvara (Kalesvara in
Telangana) and Daksharama (Draksharama in Coastal
Andhra), as Trilinga Desa or Telugu country. The
inscriptions of the Velanati Chiefs describe the country
surrounded by the eastern sea, Sri Saila Mountain ,
Mahendragiri hill ranges and Sri Kalahasti, as the Andhra
country. Vinnakota Peddana in his Kavyalankarachudamani
also attests Sri Saila, Kalesvara and Daksharama as the
boundaries of the Telugu country. Even prior to the
Kakatiya period probably for the first time this type of
geographical identity of the Telugu country is found
in Rajasekhara’s Viddhasalabhanjika dated A.D. 999.
The Ganga rulers who began their rule in northern
districts of Coastal Andhra struggled with the Vengi
Chalukyas for the supremacy over the land, in course of
time, extended their authority towards north and shifted
their capital from Kalinganagara in Srikakularn district to
Cuttack in Orissa. Kapilesvara Gajapati who put an end to
the Ganga rule conquered as far as Orugallu, and stated to
have taken some devadasi families from there to Puri.
Sarasvathivilasam by Lolla Lakshmidhara of the period
describes the entire land from Gautami Ganga (Godavari)
to Bhagiradhi Ganga ( Ganga ) consists of the Kalinga
Country. Thus the boundaries of each province change in
echo with the changing political circumstances.
In the period between A.D. 1303 to 1323 a
number of attempts were done by the Muslim power to
put an end to the mighty Kakatiya power, and only in the
last attempt of A.D. 1323 they succeeded in occupying
Orugallu. During this period it seems the entire Andhra
Country had gone into the hands of Muslim rulers. Shortly
to this period, the Musunuris under Prolaya Nayaka and
the Reddis under Prolaya Vema Reddi asserted their power
and recovered some areas in the Krishna, Godavari
tracts. Muhammad-bin-Tughlaq, due to his own problems
found no time to deal with the changing political
circumstances in the Telugu country. As a result, the
Aravidu members and the Sangama family occupied
southern parts of Andhra while the Musunuris under
Kapaya Nayaka extended their authority into Orugallu by
A.D. 1336. But the Recherlas, former feudatories under
the Kakatiyas, were ruling parts of Telangana and this led
to a conflict between the Musunuris and the Recherlas.
The latter ousted the Musunuris within three decades. Thus
ended the brief rule of the Musunuris. Now, the Recherlas,
and from A.D. 1347 the Bahmanis in Telangana, the Reddis
in Coastal Andhra, mainly south of the river Krishna, and
Platinum Platform
the Sangamas of Vijayanagara in different parts of in the beginning of 19th century from the Nizam. Thus
Rayalasima stood out as the most outstanding ruling the entire Andhra went into the hands of the British and
families in different parts of Andhra Pradesh. in course of time became a part and parcel of the Madras
Presidency.
The Vijayanagara Rayas held sway on the entire
area south of Krishna by challenging the authority of the Partition of Bengal , Vandemataram movement
Reddies of Kondavidu. During the period of Devaraya I, and Swadeshi movement thoroughly influenced the
the port of Motupalli with all its commercial glory came Andhra people and turned them towards the direction of
into the hands of the Rayas. The Reddi Kingdom of achieving the linguistic state. To enlighten and to motivate
Kondavidu crumbled soon after by A.D. 1424. This was the people in that direction various meetings were held in
an accomplishment of a long felt desire of the Vijayanagara different centres of Andhra and Rayalasima and a number
to reach the river Krishna which should serve as a natural of delegates from Hyderabad , Warangal, Nagpur, Ballari
boundary. To safeguard themselves and to check the Rayas, and Berhampur participated in the deliberations. In those
the Reddis sought the help of the Bahamanis. When the decades the movement for linguistic state in Andhradesa
Vijayanagara empire was at its lowest ebb, the Gajapatis is thoroughly interwoven with the Freedom movement.
entered into the scene and conquered the entire area up to In the process of national interest Telugu people in utmost
the south. It is only during the period of Krishnadevaraya, dissatisfaction left some of their areas like Berhampur,
the authority was extended not only up to the river Krishna, Chatrapur, and Jaypure at the time of the formation of
but went beyond up to Simhachalam, if not to the capital Orissa state. Similarly in the later stages at the time of
of the Gajapatis, Cuttack . formation of Andhra state Telugu people lost the areas
like Bastar to Madhya Pradesh, Kolar and Ballary to
The land south of Krishna was under the strong Karnataka, and some areas in North Arcot to Tamilians.
hold of the Vijayanagara Rayas until the battle of Tallikota.
The province north of Krishna went into the hands of the After the division of the Hyderabad state into three
Qutb Shahis of Golkonda after the down fall of Gajapatis provinces, Telugu speaking districts were merged in Andhra
in the middle of the 16l century. Thus the coastal Andhra under some conditions and agreements which paved way
successively witnessed the authority of the Reddis of for the formation of Visalandhra,
Kondavidu, the Rayas of Vijayanagara, the Gajapatis of
Cuttack, and the Qutb Shahis of Golkonda. . Thus until the formation of Andhra Pradesh on
1st November 1956, it can be said that in no period in
During this period Telangana province was shared history Telugu land knows no boundaries.
between the Recherla rulers, the distinguished feudatories
under the Kakatiyas, and the Bahamani Sultans who were
succeeded by the Qutb Shahis of Golkonda. Qutb Shahis * * * * *
held their authority both in Telangana and the areas north
of river Krishna until the advent of the Europeans into
the Telugu country.
Rayalaseema was with, small exceptions, under
the Vijayanagara control until it was shared at a later stage
between Qutb Shahis and Adil Shahis.
The entry of Europeans into this country changed
the entire existing system. In the establishment of trading
companies at different centres, the mutual rivalries of the
French and the English form the history of the successive
periods. Their strategic involvement in the internal politics
of the native rulers benefited them in extending their
authority to various provinces both in coastal Andhra and
Rayalasima. British acquired Northern Circars (i.e. the
present Coastal Andhra) in the second half of eighteenth
century and ceded districts (i.e. the present Rayalasima)

Platinum Platform 181

 ã¨fiã≤Î – ã¨fiã≤ÎHõ=Ú
ã¨fiã≤Î :
D "≥Ú^Œ\ ˜ Ѩ^Œ=Ú Ju „áêp#HÍÅO #∞O_ç "≥·kHõ
ã¨O㨯 $uÖ’ â◊√Éèí=Ú, =∞OQÆà◊=Ú, ˆH∆=∞=Ú W`åºk J~°÷OÖ’
"Õ^•Ö’¡#∞, âßG, PQÆ=∂Ö’¡#∞ HõxÑ≤ã¨∞ÎOk. |∞∞ˆQfi^ŒOÖ’ 'ã¨fiã≤Î #
W„<ÀÌ =$^Œú„â◊"åó, ã¨fiã≤Î #ó ѨÓëê qâ◊fi"Õ^•ó, ã¨fiã≤Î #ó `å~À∆ º
Ji+¨<ì qÕ ∞ó, ã¨fiã≤Î <À |$ǨÏã¨Êu~°^Ì •è `«∞— (I–89–6) J#∞ =∞O„`«=ÚÖ’
WO„^Œ∞_»∞, ѨÓ+¨<å=∞Hõ Pk`«∞º_»∞, QÆ~°∞`«‡O`«∞_»∞, |$ǨÏã¨Êu D
^Õ=`«Å∞ =∂ H˘é‰õΩ =∞OQÆà◊„Ѩ^Œ∞Å∞ JQÆ∞^Œ∞~°∞QÍHõ. WK«@ 'ã¨fiã‘Î
`«ºq<åt <å=∞— Jx Ü«∂™ê¯Kå~°∞º_»∞ J~°÷=Ú K≥ѨC#∞. =∞é˜H˘xfl
L^•Ç¨Ï~°}=ÚÅ#∞ ‰õÄ_» WK≥Û#∞. '㨠K« ™êfi#ó ã¨fiãÎ̈Ü∞Õ — (I–1–9),
'¿ã=ã¨fi#ó ã¨fiãÎ̈ÜÕ∞—† 'WO„^•}© =∞ǨÏfi T`«"Õ∞ =~°∞}ÏhO ã¨fiãÎ̈ÜÕ∞—†
'~°H˜∆`å áêÜ«Ú ~°^Œ|úó ã¨fiã¨ÎÜÕ∞—. D q^èŒOQÍ J<ÕHõ ã¨O^Œ~åƒùÖ’¡
'ã¨fiã≤Η Ѩ^ŒO "≥·kHõ "åV‡Ü«∞OÖ’ HõxÑ≤ã¨∞ÎOk. <Õ_»∞ ‰õÄ_® áœ~å}˜Hõ
„Ѩ=K«<åÅ∞ =Úyã¨∂Î 'ã¨fiã≤„ΠѨ*ÏÉèºí ó— Jx =HõÅÎ ∞ =∞OQÆàã◊ ∂¨ K«HOõ QÍ
JO\Ï~°∞. D Ѩ^ŒOÖ’ ã¨∞, Jã≤Î J#∞ Ô~O_»∞ ÉèÏQÆ=ÚÅ∞ HõÅ=Ù. D
~Ô O_»∞ ‰õÄ_® =∞OQÆà◊ ã¨∂K«H=õ ÚÅx =∞ǨHõ=ÙÅ∞ `«Å∞ã¨∂Î H˘O^Œ~∞°
`«=∞ ~°K«#Å#∞ „áê~°Oaè™êÎ~°∞. 'Jã¨∞κ`«Î~°™êºO kt^Õ=`å`凗 Jx
HÍo^•ã¨∞ ‰õΩ=∂~°ã¨OÉèí= HÍ"åºxfl 'Jã≤Η Ѩ^ŒO`À „áê~°OaèOK≥#∞.
'ã¨`ü–z`ü–P#O^Œ— ã¨fi~°∂Ѩ=∞~Ú# Ѩ~°=∂`«‡#∞ 'ã¨`ü— J<Õk 'Jã≤Η
~°∂ѨOÖ’ ã¨∂zã¨∞ÎO^Œx ÉèÏ==Ú. J=∞~°HÀâ◊=Ú <å<å~°÷=~°æOÖ’
'ã¨fi™êκjó ˆH∆=∞ ѨÙ}Ϻ^Ò— Jx K≥ÃÑÊ#∞.
nxH˜ 'QÆ∞~°∞ÉÏÅ „ѨɒkèHõ— Pj~åfi^Œ=Ú, x~°∞Ѩ„^Œ==Ú,
ѨÙ}º=Ú, Pk â◊|=Ì Ú =Å# â◊√Éè=í Ú, „áê™ê÷xHõ=Ú (Ü«Ú^Œ=ú Ú#‰õΩ
É’=Ù ~åA#∞ nqOK«∞@), '„áê™ê÷qHõO ã¨fiã¨ÎºÜ«∞#O „ѨܫÚ[º—
Jx nqOK«∞@. D Ü«∞~°÷=ÚÅÖ’ "å_»∞@ HõÅ^Œ∞. âßã¨#
"åV‡Ü«∞OÖ’ "≥Ú^Œ\ ˜ 'ã¨fiã≤Η ™ê=∂#ºOQÍ HõxÑ≤ã¨∞ÎOk.
WO^Œ∞ =∞é˜Ü≥ÚHõ =ÚMϺOâ◊=Ú QÆ=∞xOK«^ŒyÜ«Ú#flk.
ã¨fiã≤Î J#QÍ ã¨∞ Jã≤Î Jx qÉèÏQÆ=Ú. JO>Ë ã≤÷~°"≥∞ÿ# ÉÏQÍ =Ù#flk.
W\˜ì LO_»∞@ XHõ ã¨`ü "åK«º"≥∞ÿ# Ѩ~°=∂`«‡‰õΩ =∂„`«"Õ∞
J#fi~ÚOK« ∞ #∞. Hõ # ∞Hõ 㨠fi ã≤ Î J<Õ Ñ¨ ^ Œ = Ú Ñ¨ ~ ° = ∂`« ‡
"åK«Hõ=∞QÆ∞K«∞#flk. 'Jã≤Î „Ñ≤Ü«∞O ÉèÏu— J<Õ Ñ¨~°=∂`«‡ ÅHõ∆}ÏÖ’¡
K≥ѨÊ|_ç# Jã≤ÎÜÕ∞ ã¨fiã≤Î (ã¨∞ Jã≤Î) Ö’#∞#fl 'Jã≤Η. Ü«∂™ê¯Kå~°∞º_»∞
K≥Ñ≤Ê# 'ã¨fiã‘Îu Jq<åt #=∞— J<Õ J~°÷O ‰õÄ_® Ѩ~°=∂`«‡
É’^èHŒ Oõ QÍ<Õ Ü«Ú#flk. 'Jq<åt`«∞ `«kfikú ÜÕ∞# ã¨~fi° q∞^ŒO `«`"« ∞£ —
J<Õ ÉèQí =Æ næ`å "åHõº=Ú ‰õÄ_® (II–17) Ѩ~=° ∂`«‡ =∂„`«"∞Õ Jq<åt
Jx K≥ѨCK«∞#flk Hõ^•. D Ѩ~åºÖ’K«##∞ |\˜ì 'ã¨fiã≤Η Ѩ^Œ=Ú
182
- Ñ≤.q. Ѩ~°„|Ǩχ âߢã≤Î
Jq<åtÜ«∞QÆ∞ Ѩ~°=∂`«‡‰õΩ <å=∞"≥∞ÿ Ü«Ú#flk. FOHÍ~°=Ú =Öˇ<Õ
'ã¨fiã≤Η Ѩ^ŒO ‰õÄ_® Ѩ~°=∂`«‡#∞ `≥Å∞ѨÙ@#∞ |\˜ìÜÕ∞ 'FO, #=∞ó,
™êfiǨ, ã¨fi^è•, =+¨\ò—, J<Õ Ñ¨OK«„Ѩ}"åÅ =Öˇ<Õ 'ã¨fiã≤—ΠѨ^Œ „ѨÜ∂≥ QÆ
ã¨O^Œ~°ƒù=Ú# K«`«∞s÷ qÉèíH˜Î „ѨÜ≥∂QÆ=Ú ã¨∂z`«=∞~ÚOk. 'ã¨fiã≤Î
„Ѩ*ÏÉèíºó † ã¨fiã≤Î QÀ „ÉÏǨχ}ËÉèíºó— W`åºkQÍ.
ã¨fiã≤ÎHõ :
'ã¨fiã≤ÎHõó ã¨~°fi`ÀÉèí„^À #<å̺=~åÎ^ŒÜ≥∂-Ñ≤K«
– J=∞~°HÀâ◊=Ú I, ѨÙ~°=~°æ=Ú–10
N=∞O`«∞Å QÆ$ǨÏx~å‡}=ÚÅÖ’ <˘Hõq^èŒ=Ú, ã¨fiã≤Î ´
â◊√Éèí=Ú#∞† ^Œ^•u ´ Wã¨∞ÎOk† Jx 'ã¨fiã≤Η Ѩ^•xH˜ 'Hõ— „Ѩ`«ºÜ«∞O
KÕi#@∞¡ 'QÆ∞~°∞ÉÏÅ „ѨɒkèHõ—, "åb‡H˜ ã¨∞O^Œ~°HÍO_»=ÚÖ’ H˘xfl
~åHõ∆㨠QÆ$ǨÅ∞ ã¨fiã≤ÎHÍHÍ~°=ÚÖ’ =Ù#fl@∞¡ =i‚OK≥#∞. H˘xfl QÆ$ǨÅ
Éè í ∂ „Ѩ ™ êÎ ~ åÅ∞ 㨠fi ã≤ Î H õ ~° ∂ Ѩ O Ö’ Hõ Å =x Éè Ï ==Ú.
JÜ≥∂^蕺HÍO_»=ÚÖ’ QÆ∞Ǩï_»∞ Éèí~°`«∞_çx ã¨fiã≤ÎHÍOH˜`«=ÚÅ~Ú#
<å=ÅÃÑ#· QÆOQÍ#kx ^•\˜Oz#@∞¡ HõÅ^Œ∞ (JÜ≥∂. 89–11–12).
nxfl|\˜ì "åb‡H˜ <å\˜H˜, (ã¨∞=∂~°∞ „H©.ѨÓ. 5= â◊`å|ÌO)
QÆ$ǨÏ"åã¨∞Î=ÙÖ’#∞, <å=Å JÅOHÍ~°qkèÖ’#∞ ã¨fiã≤ÎHõ zǨÏfl=Ú
„ѨK«e`«=∞~Ú Ü«Ú#fl@∞¡ `≥eÜ«ÚK«∞#flk. =∞ø~°∞ºÅ HÍÅO <å\˜
(„H©.ѨÓ. 3= â◊`å|ÌO) ѨOz=∂~°∞¯Å∞ QÆÅ <å}ˇ=ÚÅ g∞^Œ ã¨fiã≤ÎHõ
zǨÏflO HõÅ^Œ∞. g\˜x |\˜ì K«i„`« ÉÏQÍ `≥Å∞ã¨∞Î#fl <å\˜ #∞O_ç
ã¨fiã≤ÎHõ zǨÏfl=Ú â◊√Éèíã¨∂K«Hõ=ÚQÍ "å_»∞HõÖ’ HõÅ^Œx `≥Å∞ã¨∞Î#flk.
ã¨fiã≤ÎHõ W\Ï¡ˆQ =ÙO@∞O^Œx ÖË^• W\Ï¡O\˜ QÆ∞~°∞Î#∞
K«i„`«Ö’ q^•fiOã¨∞Å∞ ã¨fiã≤ÎHõ J<Õ ¿Ñ~°∞ ÃÑ\˜ì~å J<Õ ã¨O^ÕǨÏO
HõeQˆ J=HÍâ◊O HõÅ^Œ∞. D ã¨O^ÕÇϨ x=$uÎHÔ · =∞é˜H˘xfl ã¨O^Œ~åƒùÅ#∞
ѨijeOK«=Åã≤ÜÚ« #flk. Hõ$ëê‚#n =ÚY^•fi~åxH˜ ã¨g∞áê# ~ˆ Ѩ֡ˇ
#QÆ~°O ^ŒQÆæ~° Éèí\ ˜ì„áÈÅ∞ „QÍ=∂# XHõ „áêp# É∫^Œú ã¨∂ÎѨO HõÅ^Œ∞.
^•xfl „a\©+µ¨ "åi JkèHÍi JÖˇQÍ˚O_»~ü ~Ô , „`«qfiOz Ѩiâ’kèOK≥#∞.
|∞^Œ∞úx Jã¨∞÷Å#∞ H˘O\˜x Éèí„^ŒÑ¨éz# ã¨Êù\ ˜Hõ Hõ~°O_»=ÚÅ∞
(Éèíi}ˇÅ∞) =¸_»∞ ã¨∂ÎѨOÖ’ xH˜∆ѨÎ=Ú KÕÜ«∞|_≥#∞. JKÀÛ@
=ÚO^Œ∞QÍ <ÕÅg∞^Œ ѨOKü =∂~°∞¯Å∞ QÆÅ "≥O_ç <å}ˇ=ÚÅ#∞
ã¨fiã≤ÎHÍHÍ~°OÖ’ „Ѩã¨ÎiOz P „Ѩ™êÎ~°OÃÑ·# |∞^Œú ^è•`«∞=ÙÅ∞#fl
ã¨Êù\ ˜HõѨ٠Éèíi}ˇÅ#∞ LOz#@∞¡ Hõ#∞Q˘xi. *ˇ·#∞Å∞ ‰õÄ_® ã¨fiã≤ÎHõ
zǨflxfl =∞OQÆà◊„Ѩ^ŒOQÍ Ñ¨Å∞ ã¨O^Œ~åƒùÅÖ’ "å_çi.
„H©.ѨÓ. 1= â◊`å|ÌO =∞^茺ÉèÏQÍxH˜ K≥Ok# MÏ~°"ÕÅ∞_»∞
"Õ~ÚOz# ǨkäQ∞Æ OǨ âßã¨#O ã¨fiã≤HÎ õ zǨÏflO`À „áê~°OÉè=í ∞Ü≥∞º#∞.
Platinum Platform
Kå=∞~åÅ∞, â◊ O Y=Ú, Ѩ Ó ~° ‚ Ñ ¶ ¨ ∞ @=Ú, J^Œ Ì = Ú W`åºk
J+¨ì=∞OQÆà◊=ÚÅÖ’ ã¨fiã≤ÎHõ ‰õÄ_® HõÅ^Œ∞. "åã¨∞Î „QÆO^ä•Ö’¡
„áêp#=∞~Ú# '=∂#™ê~°— (Ñ≤.ÔH. PKå~°º „ѨK«∞iOz# "≥Ú^Œ\ ˜
=Ú„^Œ}, ¿Ñl. 318)Ö’ J+¨ì=∞OQÆàÏÅ#∞ K≥¿ÑÊ ã¨O^Œ~°ƒù=ÚÖ’
'^ŒH˜∆}G ^Œ~°Ê}O "å"Õ∞ ã¨fiã≤ÎHõO â◊OY"Õ∞=K«— Jx xÜ«∞q∞ã¨∂Î
K≥ÃÑÊ#∞. Hõ#∞Hõ â◊OYO „ѨH¯õ # QÆÅ zǨÏflO ã¨fiã≤HÎ =õ ∞x K≥Ñʨ =K«∞Û#∞.
Jk D q^èŒ=ÚQÍ HÍx, D q^èŒOQÍ HÍx LO_»∞#∞.
W\Ï¡O\˜ zǨÏfl=ÚÖË „H©.ѨÓ~°fi=Ú, „H©. `«~∞° "å`« áêeOz# H˘O^Œ~∞°
~åAÅ∞ WzÛ# ѨOz=∂~°∞¯Å∞#fl\˜ì <å}ˇ=ÚÅ∞, âß`«"åǨÏ#∞Å
=O\˜ ~åAÖÁã¨y# <å}ˇ=ÚÅ∞ Hõey Ü«ÚO_≥#∞. Hõ#∞Hõ ã¨fiã≤ÎHõ
zǨÏfl=Ú ã¨=ºOQÍ HÍx JѨã=¨ ºOQÍ QÍx QÆ∞iÎOѨ|_»∞`«∂ =™ÈÎOk.
HÍx H˘O^Œ~∞° Ѩiâ’^艌 Ωõ Å∞ ÉèÏ~°`^« âÕ O◊ Ö’ W\Ï¡QÍ, „w‰õΩ ^ÕâO◊ Ö’
W\Ï¡QÍ LO_Õ^Œx ã¨∂zOzi. (WO_çÜ«∞<£ UO\˜Hõfii VII –
119, 176 ¿ÑrÅ∞).
WO`«‰õΩ D zǨÏfl=Ú ã¨fiã≤ÎHõ=Ú#‰õΩ QÆ∞~°∞Î JxÜ«Ú, P
QÆ∞~°∞Î ã¨fiã≤Î (ˆH=∆ ∞=Ú#∞) HõeyOK«∞#∞ J<Õ J~°=ú Ú`À 'Hõ— „Ѩ`º« Ü«∞=Ú
KÕ~°Û|_ç ã¨fiã≤ÎHõ=Ú Jx ¿Ñ~˘¯#|_»∞K«∞ "åb‡H˜ ~å=∂Ü«∞} HÍÅO
#∞O_ç ÉèÏ~°`^« âÕ O◊ Ö’<Õ HÍHõ, „w‰õΩ, [~°‡h ^ÕâßÖ’¡ Ãã`· =« Ú "å_»∞HõÖ’
L#fl@∞¡ Ѩiâ’^茉õΩÅ∞ ÉèÏqOK«∞^Œ∞~°∞. JO>Ë =∞#‰õΩ ÉÏQÍ
`≥eÜ«∞=ã¨∞Î#fl Kåi„`«Hõ HÍÅO „H©.ѨÓ. 5, 6 â◊`åÉÏÌÅ #∞O_ç
=∂„`«"Õ∞ D QÆ∞~°∞Î Ü≥ÚHõ¯ „áêp#`«#∞ K≥ѨCK«∞<åfl~°∞.
D ã¨O^Œ~°ƒù=Ú# Ju=ÚYº=∞~Ú# JOâ◊=Ú#∞ QÆ∂iÛ
QÆ=∞xOK«=Åã≤Ü«Ú#flk. „H©.ѨÓ. 3 "ÕÅ ã¨O=`«û~åÅ #∞O_ç H˘xfl
â◊`åÉÏÌÅ∞ ã¨∞=∂~°∞ 12 – 15 â◊`åÉÏÌÅ∞ =iúe#¡ ã≤O^è∞Œ <åQÆiHõ`,«
ǨÏ~°áêÊ, "≥ÚǨÏO*Á^•~À, WѨÊ\˜ áêH˜™êÎ<£Ö’ #∞#fl „áêp#
#QÆ~åÖ’¡ |Ü«∞ÅÊ_ç# J<ÕHõ ѨÙ~å`«# J=âıëêÖ’¡ H˘xfl „"å`«Å∞,
=Ú„^ŒÅ∞ QÆÅ HÍeÛ# =∞\ì̃`À KÕÜ«∞|_ç# aà◊¡Å∞ H˘xfl "ÕÅ∞ HõÅ=Ù.
"å\˜Ö’ H˘xfl\˜ÃÑ·# ã¨fiã≤ÎHõ zǨÏfl=Ú ‰õÄ_® HõÅ^Œx Ѩiâ’^茉õΩÅ∞
QÆ∞iÎOzi.
D Ü«∂^è•~åxfl ѨÙ~°ã¯¨ iOK«∞H˘x ã¨fiã≤Î – ã¨fiã≤HÎ õ zǨÏfl=Ú
"≥ · k Hõ 㨠O „Ѩ ^ •Ü« ∞ O`À#∞, `« ^ •Ì fi ~å P 㨠O „Ѩ ^ •Ü« ∂ xH˜
=¸Å=∞~Ú# "Õ^Œ–"Õ^•OQÆ=ÚÅ∞ „H©.ѨÓ. 3 "ÕÅ ã¨O=`«û~åÅ
„áêp#`«#∞ ã¨∂zã¨∞Î#fl=x x~åúiOK«∞@ 㨿ÇÏ`«∞Hõ=∞QÆ∞K«∞#flk.
ã¨fiã≤Î – ã¨fiã≤ÎHõ=ÚÅ#∞ ã¨∂zOK«∞ JHõ∆~°=ÚÅ∞ P
"åV‡Ü«∞=ÚÖ’ „Ѩ`ÕºH˜Oz xˆ~ÌtOK«|_»ÖË^Œ∞. HÍx ÉÏQÆ∞O_»∞@,
ˆH∆=∞=Ú, Pj~åfi^Œ=Ú, ѨÙ}º=Ú J#∞ J~°÷=ÚÅ∞ QÆŠѨ^ŒOQÍ
'ã¨fiã≤Η Ü«Ú, "å\˜x HõeyOK«∞#kQÍ 'ã¨fiã≤ÎHõ—=Ú "å_»|_»∞@
„Ѩã≤^Œú"≥∞ÿÜ«Ú#flk.
ã¨fiã≤ÎHõ zǨÏfl=Ú#∞ xÅ∞=Ù ÉèÏQÆ=Ú, J_»¤ÉèÏQÆ=ÚÅ#∞
q_çQÍ „QÆÇ≤Ï¿ãÎ . Wq „H©.ѨÓ. 3 â◊`åÉÏÌxH˜ K≥Ok#
=∞ø~°º=OâßxH˜ K≥Ok# Jâ’Hõ K«„Hõ=iÎ âßã¨<åÖ’¡ F HÍ~åxfl
`≥Å∞ѨÙK«∞#flq. Ô~O_À^•xfl 900 ã¨=∞HÀ}OÖ’ „uÑ≤Ê K«∂_»=Öˇ#∞.
Platinum Platform
'"£∞— ǨÏÅ∞¡#∞ ÖË^• ^•xH˜ |^Œ∞Å∞ J#∞™êfi~åxfl (.) ÃÑ·# K«∂Ñ≤`Õ
4 . 'F"£∞— ÖËHõ 'FO— U~°Ê_»∞`«∞Ok. Hõ#∞Hõ „áêp# „ÉÏǑχ
JHõ∆~åÖ’¡ . #∞ W\Ï¡ xÅ∞=ÙQÍ#∞, ^•xH˜ J_»¤=ÚQÍ#∞ Ô~O_»∞
q^è • Å∞QÍ „"å¿ãÎ Ô ~ O_» ∞ 'FO—Å ‰õ Ä _ç H õ Ü Õ ∞ 㨠fi ã≤ Î H õ
zǨÏfl=∞QÆ∞K«∞#flk.
'F"£∞— J<Õ Ü«∞Hõ~∆ "° Ú≥ Hõ¯>Ë „|Ǩχ#∞ ã¨zÛ^•#O^Œ ~°∂ѨOÖ’
`≥eÜ«∞KÕã¨∞ÎO^Œx ^•xfl Láêã≤OK«=ÅÜ«Ú#x =Ú=Ú‰õ∆Ω=ÙʼnõΩ
„|Ǩχ}∞ºÅ~Ú# QÆ∞~°∞=ÙÅ∞ LѨ^ÕtOK«∞^Œ∞~°∞. LѨx+¨`«∞ÎÅÖ’
=ÚYºOQÍ =∂O_»∂ºHõ=Ú, KèåO^ÀQÆ=Ú, „Ѩâ◊flÅÖ’ F"£∞ Ü≥ÚHõ¯
„áêâ◊ã¨Îº=Ú J<ÕHõ q^è•Å∞QÍ =i‚OK«|_≥#∞. nxˆH „Ѩ}==∞x
<å=∂O`«~°=Ú.
=∂O_»∂HÀºÑ¨x+¨`«∞Î „áê~°OÉèíOÖ’<Õ
''Fq∞`Õº`«^ŒHõ∆~° q∞^ŒQ∑O ã¨~°fiO, `«™ÈºÑ¨"åºMϺ#"£∞
Éèí∂`«O Éèí=`ü Éèíq+¨ºku ã¨~°fiO FOHÍ~° U=,
Ü«∞KåÛ#º„uÎHÍÖÏf`«O, `«^ŒáȺOHÍ~° U=——
'FOHÍ~° = Ú ã¨ ~ ° fi =Ú— Jx Ju㨠O H˜ ∆ Ñ ¨ Î O QÍ
ã¨Q∞Æ }Ï`«‡Hõ=∞~Ú# D qâßfixfl JO`«#∞ Éè∂í `«, =~°=Î ∂#, Éèqí +¨º`ü
HÍÖÏʼnõΩ K≥Ok# ^•xx QÍ#∞, =¸_»∞ HÍÖÏʼnõΩ Jf`«=∞~Ú#
^•xx QÍ#∞ xˆ~ÌtOK≥#∞. `«^Œ∞Ѩi 12= =∞O„`«O =~°‰õΩ ^•xH˜
q=~°} K≥ѨÊ|_≥#∞. D =∞O„`åʼnõΩ Q“_»áê^Œ∞Å"å~°∞ HÍiHõÅ∞
~°zOK«QÍ N â◊OHõ~° ÉèíQÆ=`åÊ^Œ∞Å "å~°∞ `«=∞ QÆOcè~°â‹·eÖ’
ÉèÏ+¨º=Ú ~°zOzi. JO`«\ ˜ =∞Ç≤Ï=∂xfi`«=∞~Ú#k 'FO—HÍ~°=Ú.
áê`«O[Å Ü≥∂QÆ^~Œ ≈° #=Ú „Ѩ}==Ú ™êH∆Í`«∞QÎ Í Dâ◊fi~° "åK«H=õ ∞x
^•x<Õ =∞##=Ú KÕÜ«∞=∞x LѨ^ÕtOK«∞K«∞#flk.
„uHÍÖÏf`« = ∞~Ú# q+¨ Ü « ∂ Å#∞ q=iOKÕ k
LѨx+¨`«∞ÎÅ~Ú`Õ ã¨∂÷Å ^Œ$+≤ìÖ’ <åÅ∞QÆ∞ k‰õΩ¯Å‰õΩ ‰õÄ_»
Jf`«=∞~Ú# JOâßÅ#∞ ã¨∂zOK«∞@ÔH· „|ǨχѨ^•~°=ú Ú J#O`«=Ú
J<Õ Éè Ï =##∞ 㨠∞ Êù i OѨ * Ë Ü « Ú @Ô H · <åÅ∞QÆ ∞ q=$`«
=ÚY=ÚÅ∞O_»∞#@∞¡ ã¨fiã≤ÎHõ zǨÏfl=Ú ~°∂á⁄O^≥#∞. nx=Å¡ Ѩ~°
– JѨ~° „|Ǩχ=Ú k‰õΩ¯Å KÕ`«#∞, HÍÅ=ÚÅ KÕ`«#∞ J=zÛù#fl=Ú
J#QÍ Ñ¨iq∞`«=ÚQ͉õΩO_»∞#\˜ì XHÍ<˘Hõ Q˘Ñ¨Ê ã¨^fiŒ ã¨∞=Î Ù. JkÜÕ∞
ã¨fiã≤Î. J\˜ì ã¨fiã≤Îx zǨÏfl~°∂Ѩ=ÚÖ’ `≥eÜ«∞*Ë¿ã^Õ ã¨fiã≤ÎHõ=Ú.
Wk Ô~O_»∞ . (FO)Å Ü≥ÚHõ¯ HõÅ~ÚHõQÍ „"åÜ«Ú@
~Ô O_»∞ q^è•Å∞QÍ HõxÑ≤™ÈÎOk. "≥Ú^Œ\ k˜ XHõ^•x ÃÑ#· J_»O¤ QÍ
Ô~O_À #∞ W\Ï¡ „"åÜ«Ú@. Ô~O_Àk XHõ „ѨHõ¯<Õ Ô~O_Àk
„"åÜ«∞@O. W\Ï¡ „"å¿ãÎ |∞∞ `≥Å∞QÆ∞Ö’ HõÅ^Œ∞. "åb‡H˜
‰õÄ_® ã¨∞O^Œ~°HÍO_»Ö’ ǨÏ#∞=∞O`«∞_»∞ =∞¿ÇÏO„^•„kÃÑ· #∞O_ç
ÃÑHÔ· QÆ∞~°∞#ѨÙ_»∞ P H˘O_»g∞^Œ ã¨~Ê° =ÚÅ∞ Ѩ_Q» ÅÆ ∞ qÑ≤Ê P_»∞#ѨÙ_»∞
=ºHõÎOQÍ ã¨fiã≤ÎHõ zǨÏfl=ÚÅ∞ HõxÑ≤OK≥#x K≥ѨC#∞. (ã¨∞. 1 –
20)
* * * * *
183
 What remains to be done in Epigraphy
I wish to deal with the subject, What is still left to be done
in the Telugu Inscriptions in two parts viz., (A) Retrospect and (B)
Prospect. Unless we take stock of the work that has been done so
far, it will not be possible to suggest what is yet to be done. Though
I may suggest some topics for further research, the knowledge of
what was done would propel others to consider what subjects
need attention.
I would take by Telugu inscriptions, not merely the
language of the inscriptions, but inscriptions issued in Prakrit
and Sanskrit languages as well. One is aware of the fact that Prakrit
was the dominant language of India from the Asokan times (3rd
century BC) to 3rd century A.D., when Buddhism ruled the roost.
Prakrit was replaced by Sanskrit which continued to hold sway
up to the inscriptions of the Vijayanagara period. Desi (or Telugu)
occurs sometimes in the names of individuals and places but as
the language of inscriptions, it figures from the time of the Renati
Cholas in the middle of 6th century A.D. From 9th century
onwards, Telugu verse also comes into use, though literature, as
such, has to wait for 2 more centuries.
(A) Retrospect :
Inscriptions of Andhra Pradesh have been published in
several works, an outline of which is given below:
The Epigraphical wing of the Archaeological survey of
India has to be mentioned first. Its officials visit several places
and notice the inscriptions in their reports annually, called Annual
Report on South Indian Epigraphy, later changed to Annual Report
on Indian Epigraphy, where the summaries of the inscriptions
collected during the year are recorded, with highlighting of the
important records for historical reconstruction. The texts of these
inscriptions appear in a series called South-Indian Inscriptions. For
example, the inscriptions lying in several temples (and those on
loose slabs), like those at Draksharama, Chalukya-Bhimavaram
(Samalkot), Pithapuram, Vijayawada, Nadendla, Bapatla,
Mukhalingam, Srikurmam, Simhachalam etc. have been
published in Vols. IV, V and VI, along with the Kannada and
Tamil inscriptions from other parts of South India. Vol IX contains
Kannada inscription of the Madras Presidency, some of which
hail from the Anantapur and Kurnool districts.
Vol X is exclusively devoted to the Telugu Inscriptions of the
Madras Presidency which were arranged in a chronological order.
Vol. XVI is again exclusively devoted to the Vijayanagara
inscriptions in Telugu collected by the Department from 1904-
*Retd. Professor of History & Archaeology, Andhra University , Visakhapatnam .
184
- Dr. C. Somasundara Rao*
1928. The other publication, Epigraphia Indica is more valuable,
because, not only the text of the inscription, but the overall
importance and a discussion of the issues raised by the inscription
or its relationship to other inscriptions- are available here. Here,
not only the inscriptions collected by the office, but important
discoveries made by others are also edited. For example, some of
the inscriptions edited in the Journal of Andhra Historical Research
Society, Bharati and other journals by different writers are re-edited
and their readings checked and importance of the inscriptions is
re-evaluated.
Apart from the publications of the Epigraphy branch of
the Archaeological Survey of India, the former Hyderabad State
had its own department of Archaeology which examined
inscriptions. It published Parts I, II of inscriptions in the Telingana
Districts of the Nizam’s Dominions, while Parts III and IV were
published after the creation of Andhra Pradesh. The first three
parts were prepared by Dr. P. Sreenivasachar and the fourth part
was the work of Sri M. Somasekhara Sarma, but edited by Dr. R.
Subrahmanyam after Sri Sarma’s demise. The Department of
Archaeology and Museums, Government of Andhra Pradesh has
published several inscriptions under the title Inscriptions of Andhra
Pradesh relating to the Karimnagar, Warangal, Nalgonda,
Cuddapah (Kadapa), Mahboobnagar, Medak districts, after
undertaking a village-to-village survey for inscriptions. Copper-
plate inscriptions lying in the state Museum have been published
long back in 1960’s in two volumes by Dr. N. Ramesan.
The Department has also brought out 6 volumes of
Epigraphia Andhrica, where several scholars contributed articles.
New discoveries like the Bayyaram tank inscription, re-
interpretation of the Mangallu plates of Davarnava, symposium
on the Koravi inscription, editing of new grants of the Chalukyas
of Vengi and Mudigonda the Eastern Gangas , the Kakatiyas and
Vijayanagara rulers have made their way. Several other
publications like the Select Epigraphs of Andhra Pradesh,
Siddhodvaha edited by Dr. P. V. Parabrahma Sastry have come
out. The work of the Department of Archaeology and Museums,
Government of Andhra Pradesh, in respect of epigraphical
research has much to commend, because of the direction and
active work of Dr.P.V.Parabrahma Sastry and late Drs.
N.Venkataramanayya, N. Ramesan and R. Subrahmanyam. More
recent is the publication of the Corpus of the Telugu inscriptions
of the Vijayanagara period, sponsored by the Indian Council of
Historical Research. The completion of the Kannada inscription
Platinum Platform
in 3 volumes and Telugu in 1 volume have given to scholars
valuable material for Vijayanagara history. It is to be hoped that
soon the Sanskrit and Tamil inscriptions of the period will be
published. We are given to understand that the corpus of the
Kakatiya inscriptions, edited by Prof. S. S. Ramachandra Murthy
is being brought out shortly. One must note that Kunduri Iswara
Dutt published the Epigraphical Glossary of Andhra Pradesh
which is of great use to students of epigraphy.
In respect of Palaeography, the most recent one is that of
Dr. P. V. Parabrahma Sastry and Dr. N. S. Ramachandra Murthy
on the Telugu Script (2009), published by the Government
Oriental Manuscripts Library, Hyderabad. This work gives a
complete picture of the evolution of the Telugu script from the
Asokan/Bhattiprolu script, with a good number of illustrations.
Another work is that of Dr. B. Rameschandra Babu on the
Palaeography of the Early Inscriptions of Andhradesa (300B.C-
300A.D) which deals with the problems relating to the
chronological arrangement of undated records.
(B) Prospect
1) There is need for revision of Sri K. Iswara Dutt’s
Inscriptional Glossary of Andhra Pradesh (1967). Over 40 years
have elapsed since its publication. It is necessary that scholars,
who are adepts in Sanskrit and Telugu, with a knowledge of
Tamil and Kannada should be able to deal with the words and
phrases that occur in the inscriptions of Andhra Pradesh. This
is very essential, because many feel difficulty in understanding
the usages and technical terms used in inscriptions. It is known
that scholars like Dr. Budaraju Radhakrishna and Dr. Korada
Mahadeva Sastri have published glossaries also at the end of their
works on Early Telugu Inscriptions up to 11th Century and also in
respect of inscriptions during 12th – 13th centuries. But this must
be extended to Sanskrit and Prakrit inscriptions. Therefore a
glossary of terms occurring from the Maurya – Satavahana period
to the Vijayanagara period is a desideratum. It would also be
advisable to see if such terms occur in the Sanskrit and Telugu
literary works and the context in which they occur.
2) As the inscriptions were composed by poets of
considerable merit, literary parallels from Sanskrit and Telugu
works can be cited, wherever possible. An attempt has been
made by Dr. P.V. Parabrahma Sastry to give the meaning of a
number of Sanskrit and Telugu stanzas found in the inscriptions
of the Kakatiyas. Scholars are aware of the fact that the invocatory
passages and heroism of the kings of this period are described in
high-flown language, unlike the verses and passages of the earlier
and later periods. The stereotyped forms of prasastis that occur
in the Eastern Chalukya and Eastern Ganga inscriptions were
given up; and each inscription has a different type of presentation,
though the lists of kings and their achievements are the same.
Dr. Parabrahma Sastry’s work is to be emulated; and the passages
occurring in the inscriptions of other dynasties have also to be
Platinum Platform
collected and summaries given, for the use of scholars as well as
the public. It would also be worthwhile, if the stanzas of famous
poets are compared with those of the writers of inscriptions.
3) It is already stated that the Department of
Archaeology and Museums, Government of Andhra Pradesh,
has published a number of District volumes under the Inscriptions
of Andhra Pradesh series. As is stated, except for the volume
relating to the Cuddapah district, all others relate to the Telangana
part. It is necessary that the rest of the volumes have to be brought
out. It would be advisable, if scholars visit places, not visited by
the Department of Epigraphy and search for new inscriptions.
If the manpower is a hurdle, then at least those published in
different South Indian Inscriptions and Epigraphia Indica volumes
may be first collected and then the texts available with the
Department of Epigraphy for inscriptions noticed in the Annual
Reports on Indian Epigraphy may be utilized in order to complete
the District Volume series. It is understood that the Department
of Archaeology and Museums, Government of Andhra Pradesh
is going to publish the Inscriptions of the Kurnool District. The
Epigraphia Andhrica volumes have to be revived.
4) Since the above-mentioned proposals would take
long time, it is advisable to publish soon the summaries of
inscriptions of Andhra Pradesh from the Maurya period to the
Vijayanagara period. Earlier, an attempt was made by Prof.
Maremanda Ramarao to publish the summaries of inscriptions
of Andhra Pradesh on the basis of topography, like that of Prof.
V. Rangacharya’s work. But it was incomplete, and only a few
districts were covered (from Anantapur to Guntur in alphabetical
order). It is possible to bring out in 2 or 3 volumes, the summaries
of inscriptions dynastic-wise, along with miscellaneous
inscriptions, when they cannot be attributed to a dynasty or
accommodated in the chronological order. This would be mostly
desk-work, without much field work. It may be necessary to go
to various libraries where old of inscriptions are available.
Bibliographical details of publication would be a great asset to
researchers in the fields of Andhra epigraphy and history.
5) A study of script is much more rigorous, and it has
to be done by senior epigraphists. While one is happy that the
nature of the script from the Brahmi to the Telugu script of the
Vijayanagara period is traced, it is possible to take small periods
and examine more closely the changes that occur in point of
time and also in a given area. The peculiar forms of letters or
optional forms of letters may be recognized in the script.
I have traced above the work that is accomplished and
that is yet to be worked upon in epigraphy. The general trend is
dwindling of interest in epigraphical and palaeographical studies.
Scholars working on early and medieval history do consult
inscriptions, which is the primary base, but ignore referring to
the estampage of the inscription to check the veracity of the
reading.
*****
185
 Caste System During the Kakatiya Times
The structure of society during the Kakatiya pe-
riod received a stimulus to attain positive features of equal-
ity, self-respect and mutual co-existence within the tradi-
tional heterodox composition. According to epic and
puranic stories, the Andhras were originally the inhabit-
ants of forest and hill areas and were identified with the
tribal groups like pulindas, sabaras, mahisakas, nagas, etc.
The Telugu country itself was referred by the Buddhists as
Andhaka-ratta as it was a dark region due to thick forests.
The literary works and inscriptions of the Satavahana pe-
riod refer to eighteen castes (ashtadasa-prajalu) , which can
be seen as formed on the basis of occupation. At the same
time, we can find the shadowy impact of north Indian four-
fold caste system in Andhradesa even by 3rd century B.C..
Some references in the Buddhist Jataka stories and the per-
formance of Vedic sacrifices by Satakarni attest to this fact.
Even the Nasik inscription of Gautami Balasri describes
Gautamiputra Satakarni as the protector of caturvarna
system in the country. But it was not so rigid and impos-
ing upon the already existing potent professional groups.
Here a doubt arises why this kind of effort to im-
pose social system of northern part of India on the south
was taken up? The political turmoil that took place in the
3rd century B.C. after the Greek invasions reminds us of
the agony that was faced by Indians. This severe cultural
blow made the intellectuals and the ruling class to think
about the remedies and to find ways to escape from fur-
ther such calamities. They aimed at cultural unification as
a base for political integration and even strongly believed
the dire need of socio-cultural unity. The intellectuals strove
to achieve this and propagated the need of linguistic and
structural unity of society from Setu to Sitachala. As a
result of this, we can see the penetration of fourfold caste
system into the Telugu country which was notionally ac-
cepted by the elite but could not affect the caste identity of
the people involved in material culture.
The fourfold caste system was adapted grouping
the professional communities following the line of
Caturvarna system of north India. But we do not find the
existence of ksatriya varna as such in Telugu country. Those
who followed the military profession were praised by the
poets as belonging to either solar or lunar race of the ksatriya
*Professor, Dept. of History & MTM, Kakatiya University, Warangal.
186
- Dr. P. Hymavathi
clan. Likewise, we can see the elite who were called as
Brahmins as involved in many a profession like agricul-
ture, warfare, state-craft, healing art, as lawyers, logicians,
priests, teachers, etc. The sudras took up military profes-
sion and rose to be the kings. Some of them entered into
trade and commerce. Thus following the circumstances of
the day, different communities followed other professions
deviating from traditional ancestral occupations.
These developments mostly took place during the
Chalukyan period, especially when each caste started sub-
divided due to division of labour in the fast growing in-
dustries and also the hegemonic expansion over different
regions of South India. Even Brahmins were divided
mainly into Vaidikas and Niyogis in addition to the re-
gional sakha variations like Pakanati, Kammanati, Velanati,
Mulikinati, etc. But it can undoubtedly be stated that the
Chalukyas tried to bring about cultural unity among the
Hindus and supported the notional frame work of the caste
hierarchy borrowed from the north. Though Saivites and
Vaishnavites stood for a certain kind of equality among
the devotees, they could not wipe out the caste identities.
The society continued to be organized on the basis of caste
system with a vertical division – Brahmin at the top, sudras
at the bottom and the kshatriya and Vaisya coming in be-
tween.
During the Kakatiya period, we can see the no-
tional concepts of caturvarna and astadasa-praja, though
there were many a number of sub-castes. Gaurana, the
author of Navanatha Caritra refers to the Caturvarnas as
Sudra, Vaisya, Rajula (Ksatriya) and Dwijula. He also gives
the ratio of these castes in the population as : 10,000 :
1000 : 100 : 10 respectively at a particular place.1 In the
inscriptions, we find the names of the 18 castes as:
vyavaharikas (officers) , pancalas (artisans), kumbhalikas
(potters), tantuvayas (weavers), vastrabhedakas (dyers),
tilaghatakas (oil-mongers), vastraraksakas (tailors), devanga
(spinners), perikas (transporters of goods by pack-loads),
goraksas (cowherds), kirata (hunters), rajakas (washermen)
and Ksurakas (barbars), etc.2
Brahmins:
As the custodians of the spiritual knowledge and
experts in subjects like Ayurveda, mathematics astronomy,
Platinum Platform
astrology, darsanas, etc., the Brahmins were considered as
the highest in rank in social structure and commanded
respect from all other sections. Markandeya Puranam re-
fers to the duties of a Brahmin as dana, adhyayana (learn-
ing), adhyapana (teaching) and yajana (performing reli-
gious rites)3 Brahmin community itself was classified
basing on their knowledge in Vedas and allied subjects.
We can find the sub-division basing on their gotra which
generally was derived from a rishi who was regarded as
their progenitor. We find a number of such gotras in the
contemporary epigraphical records. The most important
among them are Atreya, Bharadwaja, Kaundinya, Srivatsa,
Kausika, Sandilya, Haritasa, Kasyapa, Vasishta, Garga,
Gautama, Maudgalya, etc. 4
Another important factor in deciding the identity
of sub-division among Brahmins is the place or region, to
which they originally belong. The Brahmins of each nadu
formed into a separate sect which derived its name from
the nadu, their original habitat. Thus we can find the Brah-
min sect of Velanadu, Venginadu, Kammanadu,
Kandurunadu, Renadu, Pakanadu, Mulikinadu, Utkala,
Dravida, Kashmira, etc. In Kridabhiramam, we find a ref-
erence to a Kasalanati Brahmin.5 The Malkapuram inscrip-
tion refers to Dravida Brahmins, who were serving in dif-
ferent capacities in Golaki matha. Generally, the Brahmins
hailing from Utkala to Dravidadesa were known as
daksinatyas.6 Sometimes, the surname of the families were
changed when anybody in the family achieved a success or
got appointment as governors. For example, when Induluri
Somana conquered the Kolanu region and got appointment
as the governor of the newly conquered region, his family
name became Kolani family. The sub-grouping took place
basing on the occupation or branch of knowledge in which
they attained expertise.
During this period, owing to the political exi-
gencies, a large number of Brahmins entered into state
service and distinguished themselves in various capacities
as generals, mandalikas, revenue officers, etc. In course of
time, these Brahmins evolved into a distinct endogamous
sect known as niyogis. The names of these Brahmins were
prefixed or suffixed with the designations like
Dandanayaka, Preggada, Amatya, Raju, Samanta, Mantri,
etc. Their communal organization came to be known as
Karnalu and that of Vaidikas as Mahajanulu. Those en-
gaged in trade were known as Vaisya-brahmins and those
acted as temple priests, village priests, administrative or
military career etc. were called as sudra-brahmins, who
were considered as secondary by the Vaidika Brahmins
and marital relations were not allowed between these two
crystallized broader sects.
Platinum Platform
The Vaidika Brahmins were granted agrahas as
ekabhoga or ganabhoga. They were rewarded and honoured
not merely on the basis of caste superiority but by dint of
their merit either as scholars or teachers. They were given
noble roles as judges, physicians, meteorologists, poets etc.
Usually poets, dancers and other artists were patronized
by the religious institutions like temples and mathas and
agraharas. The role of Brahmins was based upon dignity
and prestige as before which their birth and learning con-
tinued to confer upon their capacity to act as the pace-
makers and ideal intellectuals playing multi-faceted roles.
Even agriculture was aimed to be brought on to the scien-
tific track with the help of Brahmin scholars. This indi-
cates the high expectations of the ruling class on the ser-
vices of the intellectual class in every sphere of activity.
Ksatriyas or Racavaru:
As mentioned earlier, we do not find a caste iden-
tified as ksatriya varna. Though Gaurana refers to Rajula
varna, we find only certain families ruling the country
who belonged to the fourth caste. The Racavaru of the
Telugu country were the descendants of four major wings,
namely the Kakatiyas, the Kotas, the Paricchedis, the
Reddis and the Padmanayakas. Some inscriptions state
that the Kakatiyas belonged to Durjaya family. Durjaya
means ‘one who can not be conquered or defeated easily’
which indicates their military career. The Bayyaram7,
Motupally8 and many other records describe them as who
belonged to Durjaya clan. The Malkapuram record9
record mentions that they were kshatriyas. But a perusal
and epigraphical and literary sources reveal that they be-
longed to the fourth caste.
In the Mangallu grant, the Kakatiyas were men-
tioned as samanta-visti family. Ganapatideva also intro-
duced himself as belonging to vitti-kula, which means as a
service caste. The word vitti is derived from the Sanskrit
word visti which means free’ service’ . The Pratapa Caritra
describes that the Kakatiyas belonged to a caste which is
far superior to either a solar or lunar line of kshatriyas,
making it clear that they did not belong to any kshatriya
clan. The Velanati and Natavati chiefs and also the
Kondapadumatis belonged to the Durjaya family of the
fourth caste in the varna system, with whom the Kakatiyas
maintined marital relations. Thus it can be taken that
vitti indicates the fourth caste, whose duty was to under-
take a profession of servicing nature. These families, who
originally belonged to the farming community extended
free military service at the time of wars and gradually left
the traditional occupation when found recognition in mili-
tary career and hence were called as Durjayas. As they
187
started their military career extending free service (vitti) to
the country, they proudly and confidently introduced them-
selves as belonging to vitti-kula and as durjayas instead of
claiming false notional kshatriya identity.
Vaisyas:
In the fourfold caste system, the Vaisyas occupied
the third place. They bore the suffixes as cettis, settis and
komatis. The last one was more common during the
Chalukya and the Kakatiya times. According to Kanyaka
Puranam, as they took their origin from the stomach of
the holy cow, they were called as Gomatulu. B.S.L.
Hanmanta Rao, who studied the Jaina sources opined that
they were called as Gomatulau since they, originally, were
Jainas by faith. As they were engaged primarily in trade
and commerce, they maintained good relations with all
the sections in the contemporary society and travelled
through out the Telugu country and overseas.
The Kanyaka Puranam, written by Guru
Bhaskaracharya explains the social status and ethics fol-
lowed by the Vaisyas of the Telugu country, who functioned
from Penugonda as their head-quarters. This work refers
to an elaborate list of gotras of this community which tally
with the names of the gotras of the Vaisyas found in the
inscriptions. An epigraph of 10th c. A.D. from Vemulawada
(Karimnagar dt.)10 refers to a group of nine srestis along
with other important elders of the royal court. Gradually,
they entered into royal service as rayacettis and treasurers.
Inscriptions from the Godavari, Krishna and Guntur dis-
tricts refer to the merchants who introduced themselves as
the Lords of Penugonds. A record of 12th c. A.D. from
Penugonda describes the professional skills and ethics of
the community as “they were the followers of dharma and
obtainers of the grace of the wise. They belonged to the
race of Kubera, with fame spread all over the world.”11 They
were supposed to follow the kuladharma(kattadi) at the
cost of anything in life. In protecting the kuladharma,
they were ready to sacrifice their lives can be grasped from
the decisive incident that took place in the life of Vasavi
Kanya, who on martyrdom, became their tutelary deity.
Though they respected Brahmins and made donations and
offered gifts to them, they did not follow the Vedic rituals.
They wanted to prohibit Vedic rituals and rejected widow-
marriages and inter-caste marriages.12
Though they were members in many trade guilds,
which were economic in nature, their social organization
seems to be Sresti-samaya of Penugonda. They maintained
samayas at local level and also represented in the adminis-
trative body of Bahattara . According to Pratarudra Caritra,
the number of Vaisya houses stocked with every material
in Orugallu in those days was 30,000.
188
The Sudras:
The sudras, as a matter of fact, formed the largest
section of society though they were ranked as the fourth
caste in the traditional varna organization. Marana’s
Markandeya Puranam explains the duties of a sudra as one
who was to serve the other varnas.13 Different communi-
ties involved in various occupations as carpenters, gold-
smiths, blacksmiths, stone cutters, masons, oil-mongers,
weavers, basket-makers, potters and a host of others were
the members of this varna group.
The Prataparudra Caritram of Ekamranatha while
referring to the astadasa-prajalu who lived in the capital
city of Orugallu and the details of their houses mentions
more than 18 castes. This reveals the fact that the number
18 is a traditional one in the Telugu country with regard to
the number of castes. In reality, there came up many castes
with the division of labour within the artisan communi-
ties. Among the sudra castes, Reddi, Velama and Kapus
were considered to be the groups of the same social status
and were commonly considered as kapus, indicating their
occupation as cultivation of lands and protection of the
crops as well as peace and order of the local area. The
Velama caste took its origin just before or after the battle
of Palnadu. According to folk traditional sources, once a
difference of opinion took place among the kapus with
regard to the status of women on par with menfolk in ev-
ery sphere of activity. To settle the issue, a meeting was
held and a decision was taken by Samaya-sabha to accept
for the opportunities to be provided for women in every
field of activity including state-craft. This decision was
not accepted by a group of people, who walked out with-
out accepting the decision. Those who did so were called
from that day as’ Velamas’ (those who were excommuni-
cated) and Malas became their priests to celebrate mar-
riage and other ceremonies when Brahmins rejected to
attend such duties at their homes. Those who accepted
the Document (kamma) came to be known as kammavaru.
But so far, no other historical evidence either from con-
temporary literature or epigraphical sources is available.
The information from kaifiyats is yet to be exploited to
find out any clue in this regard. However, it is an accepted
fact that the Velama caste came into existence after the battle
of Palnadu and Brahma Naidu is said to be the progenitor
of this caste. They continued the military profession and
got much recognition during the reign of Prataparudra.
They were mostly appointed as Nayamkaras when he for-
mulated the system. It is a known fact that the word reddi
indicates the designation of a village head. In the Telangana
and the Rayalasima regions of Andhra Pradesh. The vil-
lage-head, even now, is called as Reddi to whichever sub-
Platinum Platform
caste he belongs. In the coastal region, Kapu or Peddakapu
was the substitute to it.
In course of time, these sub-groups were formed
into separate castes. The Reddis were further divided on
the basis of a variety of distinctions. An epigraph from
Bhogapuram dated A.D.1178 refers to desi-rattadis which
was a corporate body of native Reddis.14 The other sub-
groups were Pamta-reddis, Pakanati-reddis, Motati-reddis
and Kasalanati- reddis. These epithets to caste groups in-
dicate the regional identification. Among the Kapus, who
were basically agriculturists, some took up other occupa-
tions like trade, transport, bangle-making, manufactur-
ing of and trading in perfumes and cosmetics, etc. The
Virabalinjas, who previously worked as guards of mer-
chant-caverns turned into traders by themselves on wit-
nessing the high profits that the traders gained. The
Virabalinjas thus took separation from the Kapu commu-
nity and declared themselves as Balinja-settis. The Kapus
who turned as traders in glass-bangles came to be known
as Gajula-balinjas or Gajula-cettis. The Dasaris who
manufactured and traded with cosmetics and perfumes
also later came to be known as Dasaris or Kumkuma-dasaris.
The Telikulas were oil-mongers and they formed
into two prime sections – Telikulas of omteddu and Telikulas
of Rendedlu , those who employed a single and a pair of
bullocks respectively to run in the mill. An inscription
dated A.D. 1323 refers to them as gandlavaru.15 ( Gandla
or ganuga means an oil-mill) The Teliki community was a
powerful group as its industry was in a flourishing con-
dition. The Telikis tried to trace their origin from Manu
belonging to the lineage of Pulasthya, an off-spring of
Brahma to elevate their social status. They had a strong
caste organization through which they tried to impose
certain rules of conduct on the name of Samaya-dharma.
They tried to safeguard their rights and also to participate
in the social service activities through their samaya-sabha
with its head-quarters at Bezawada, which was popularly
known as Teliki-vevuru.16
The artisan community of this period claimed
the common origin and traced it from Viswakarma, who
had five faces (pancanana). Those five faces or heads are
said to have different names. They are: Maya, Silpi,
Twastra, Viswagna and Daivagna. Bhisagvaranjanamu of
Somaya, a medical work, also refers to the origin of five
divisions of the artisan community from the five faces of
Viswakarma.17 The word pancanulu used as a name of
the engineering community also denotes the same mean-
ing (panca = five; ananas = faces). Inscriptional evidences
also support the same fact. Somaya says that though the
faces are different, the trunk or body is one. Likewise, the
Platinum Platform
inscriptions of the period also refer to the single commu-
nal organization, though they are engaged in five different
occupations – black-smithery, carpentry, stone-carving,
metal-work and jewellery.18 Among them goldsmith can
be found prosperous and well-stationed as indicated in
the inscriptions. They made many gifts to the temple on
behalf of the five subcastes of their community19. They
had instituted a deity named after Kammata (a portable
furnace), one of the important devices of their crafts, as
kammateswara. The deity was also known as Akkasaleswara
after the name of the agasalas or agnisales (goldsmiths)20.
Goldsmith, blacksmith, and carpenter were in-
cluded in the village administrative body consisting of 12
ayangas. Their Samaya at the rural level and ahana at the
regional level used to depute their representatives to par-
ticipate in the administrative bodies. The number of ahanas
of the panchanamvaru was seventy four21.
Salevaru:
As can be seen from the sources, textile industry
was in flourishing condition during the Kakatiya period.
According to Prataparudra Charitra, there were 25000
houses of silk cloths weavers and 9500 cotton producing
were in the capital city alone. This member might have
increased in the coastal textile producing centre like
Ghantasala, Machilipatnam, Korangi, Narasapur,
Hamsaladivi, Motupalli, Vetapalem, Pedaganjam
Chinaganjam. The weaving community had formed into
a caste organization known as Salevaru-samaya. The
Girmajipet inscription of A.D. 1228 refers to
Salaswaradevara, who was installed by the dharmasales and
the endowment made to the deity on collecting individual
contributions. The record inflicts the punishment of ex-
communication on the defaulters22.
In the inscriptions, we come across the words,
padmasale, devanga, jandra, togata, etc. which were subdi-
visions with in the community besing on the nature of
craft they adapted23. Though there were some subcastes
with in the productive caste, usually they were considered
as one and one among the 18 communities and were treated
as sudras. But as an attempt for self-appraisal, they traced
their origin from Bhavana rishi, of Khatriya origin and
had worn holy thread24.
Others :
The perfumers were called as Bukkavaru whose
products were in great demand in local as well as overseas
trade. According to Prataprudra Charitra, there were 6300
houses of performers who were engaged in this industry
located in the capital city of Orugallu. They had their com-
munal organization and a trade guild known as Gandha-
189
asesha-nakaramu to safeguard their privileges25. This indi-
cates that they not only produced perfumes and cosmatics
but also marketed them.
Likewise the potters, medaras (basket-makers) and
fishing community (bestavaru) also formed into caste or-
ganizations to settle their social issues and sefeguard their
privileges. The bestavaru was a samaya-sabha of the fishing
community. As their industry was in a flourishing condi-
tion, they added much revenue to the kakatiya state. Ac-
cording to inscriptional evidences, they were included
among the antyajas26 like medaras, whose occupation also
was pollution-prone, spreading fowl smell25 around the
soakage pils of bamboos. Hence they lived out side the
gate of warangal27. The fishermen marketed fish in a sepa-
rate fair known as maila-santa.Prataparudra charitra men-
tions that there were 16000 houses of fishermen and 2500
houses of mat-weavers in the capital city alone. According
to the same work, there were 1500 houses of painters, who
might have been engaged in textile printing.
There were some other castes like dommaris,
godugulavaru, gollavaru, mangali, madivalu or chakali,
garagalavaru edaravaru, kasevaru, kutrapuvaru(tailors)
mokari, etc. who also maintained caste organizations. But
we do not find much information regarding theme.
In Kridabhiramam, there is a reference to
chandalas, whose habitation was known as velipalem29 lo-
cated outside the Orugallu city. These people consisted of
two groups-malas and madigas. The madigas were gener-
ally the leather workers and some were appointed as ‘vettis’
and ‘nirukathis’ or ‘miradis’. As their profession was mainly
to clean leather and process it, and since it was very unhy-
gienic in its surroundings it was located outside the vil-
lages and towns and was called as velipalem.
The madigas took active part in the village ad-
ministrative bodies as ‘vetti’ and ‘miradhis’ were appointed
from among their caste people, leather work also added
significance to their economic and administrative role. In
these days, where there was no supple and strong material
like leather to assemble the agricultural and industrial imple-
ments and devis, leather enjoyed greater demand. From
the shoes to the puppets and musical instruments in addi-
tion to the agricultural and industrial package material ev-
ery thing was wonderfully manufactured by the madigas.
As such their presence in village administrative meetings
was felt very much essential and without the presence of
madiga representative meetings were postponed30. The
bavanis (pambalavaru) a sub-sect were the worshippers of
Ellamma, Maisamma, Pochamma and Balamma and can
be regarded as musicians at their temples. They were named
190
after the musical instruments they used like jamadikas,
Javanika and pamba31. The malas were engaged in weaving
coarse cloth and preparing leather ropes and buckets. In
Kridabhiramam, we find a reference to a mala woman, who
entered the streets of Orugallu singing on the glories of
Ekavira32.
Samayas :
It is a common feature that all the castes formed
themselves into caste organisations known as ‘samayas’. The
word ‘samaya’ literally means “an agreement”. The samaya
made the individuals of respective caste to abide by the
rules and regulations framed by the elders of their caste in
consultation with the members and in accordance with the
custom of the community which was popularly called as
samaya chara. Generally, the rulers or officials did not in-
terfere in the internal matters of the samaya especially with
regard to the social issues and their settlements. If the
organisation needed the help of the state in strict imple-
mentation of the decisions taken, then the samaya sabha
had to authorise the state to act accordingly. Then only the
state could interfere in the affairs of the samaya.
The samayas used to send their representative to
the administrative bodies from the local level, regional and
the central administrative bodies. At the village level, the
head of each community represented their organisation in
the ayangar-body whose traditional number was panniddary
(12) and at the top, they represented their caste leader in
bahattara body consisting of 72 officials.
The elders of each community were elected by
“mutual acceptance based on moral integrity33. The caste
organisations so formed enjoyed the right to decide the
rate of tax to be paid to the government in consultation
with the members of their community and executed the
responsibility of collecting the tax from their members and
remitting a major part to the state exchequer and the re-
maining was spent for the welfare of the community, con-
struction or repair of temples or public welfare activities in
general such as digging wells, canals, tanks, etc and laying
roads etc. also were taken up as virtues.
The samayas gave an opportunity to each caste to
represent in the government to redress the grievances of
the caste people who followed the same profession. Espe-
cially at the times of draughts they achieved tax remissions
or omissions through representation of their samayas. An
inscription dated A.D. 1245 reveals similar case where re-
mission of tax on bulls was accorded to perikavaru samaya
by the sunkedhikari of Ganapatideva.
Platinum Platform
 The samayas also settled the internal communal
issues and also the social problems and imposed punish-
ments like ex-communication and penalties on the cul-
prits or those who violated the samayachara. Ketana’s
vignaneswara explains that the nature of punishments vary
depending on the samayachara of the respective caste34.
The same work mentions that one should not be asked to
produce either witness or take oath while executing a deed
of sale within the caste organization and among the same
caste people35.
Some times samayas of all castes took decisions
by meeting at a common place especially when it was the
welfare of the village, sthala or nadu. Then it was brought
to the notice of the local officials for implementation. An
inscription from Maktal dated A.D. 1321 reveals this
imformation where it is mentioned that the samayas of all
the castes in that village, together with the vaishnava-
samaya made a grant to a mason who built the temple
with the consent of all the samayas36.
The role of religious sects in influencing the caste
system also is noteworthy during this period. The Bhakti
centred radical movements such as Virasaivas tried to coun-
teract the influence of Jainism and cultivised Brahmanical
superiority. The Sri Vaishnavas also vied with the saivites
and tried to bring more number of people under their
wings. They competed with each other in propagating lib-
eral ideas in socio-religious matters. Equality of castes,
inter-dining, non-Brahmin priesthood and temple-entry
open to all the castes, etc. were propagated and imple-
mented. In such a competitive atmosphere, the Saivites
under the leadership of Nagamma came into conflict with
Vaishnavites under the leadership of Brahmanaidu. With
the defeat of Brahmanaidu, the reform movement was ar-
rested and the rulers also promoted the caste organiza-
tions. By strengthening the samaya sabhas, the government
sought its security in the economic sphere and peace in
the social matters. However, the followers of Basaveswara
and Brahma naidu settled down as new Sects within the
Sudra community which further led to the multiplicity of
castes.
As a part of their reform movement the Saivites
and Srivaishnavas give diksha to their followers and tried
to elevate their social status by allowing them to wear holy
thread (yagnopavita) and tracing the origin of their caste
from epic and puranic characters, thus, can be seen the
claim of panchanamvaru as viswa-brahmins and salsvaru
as the descendants of Bhavana rishi and wearing holy
thread. Like wise, the pallekarulu or bestavaru(fisherman)
declared themselves as agnikula kshatriyas as they were
Platinum Platform
adventurous while fishing on the sea. They too started
wearing yagnopavita. The telikivevuru traced their origin
from Manu who was of the lineage of Pulastya, an off-
spring of Brahma and following the sankhya system
founded by sage Kapila. All these castes previously identi-
fied as belonging to the fourth caste, thus started claiming
theelite superior social status and came nearer to the ritual
order. The Reddis formed their way into the ruling elite
and tried to appropriate a position of affluence in social
order and claimed to be the satsudras37.
It is also interesting to note that all the eighteen
communities were formed into a samaya of astadasa-praja
or samastha-praja to promote the feeling of fraternity
among all the communities and to avoid the over-growth
of any one community. This samastha-praja organization
is referred in many inscriptions which recorded the gifts
or donations made collectively by all the communities
including Brahmins, komatis, nayakas and all the other
productive communities to religious institutions or pub-
lic welfare activities.38
The State generally did not interfere in the inter-
nal matters of these communities, but when any issue arises,
used to settle it through the representatives of the con-
cerned caste or community. An epigraph from Nelandanur
states that Kakatiya Prataparudradeva, having been in-
formed by Vidvamsulu that the local chiefs were unjustly
collecting certain taxes on the vrittis held by the Mahajanas
of the place in the villages of Nelandalur, Andapuram,
Mandadam and Astyapuram, ordered the remission of
those taxes. The Vidvamsulu who informed the emperor of
the unjust collection might be either poets of his court or the
Assembly of Vidwan Mahajanas of Nelandalur. Besides these
instances of illegal interference and unjust oppression, there
are many instances which clearly indicate that the State
did exercise some control over the affairs of these agrahara
villages or community organizations.39
The Velamas, who were intruders into the eco-
nomic, political and religious life of Palnadu, the region
which was dominated by the Saivites led by Reddis, were
defeated and driven away from that region. They were well-
received by the Kakatiyas, who provided them fiefdoms
of Pillalamarri and Amanagallu and employment in the
fort city of Orugallu. They maintained good relations with
the Kakatiya rulers and found more favour during the reign
of Prataparudra-II. This policy of favouritism to the
velamas by the ruler caused further aggravation of rivalry
between the Reddis and the Velamas which led to the fall
of the Kakatiya dynasty. When Muslim invasions took
place, the Reddis kept themselves from the catastrophe
191
thinking that after the defeat, Prataparudra would realize 87-92.
the weakness of the velamas and the merit, valour and pa- 5. Kridabhiramam (Kd.Rm. hereafter) vv.188-89.
triotism of the Reddis. But the situation turned 6. S.I.I. X -395
unfavourable as Junkhan sent Prataparudra to Delhi as a 7. Epigraphia Andhrica Vol.I, P.71
captive. Thus the rivalry between the politically dominant 8. Epigraphia Indica, XII, P.188
castes led to the fall of the Kakatiya dynasty which is known 9. S.I.I. X -395 lines 11-12
so far for its ideal policy of social justice and equality, pro- 10. ARE, 17 of 1966
tection of dignity of each community and also promotion 11. SII, X -82
of the policy of checks and balances among all the castes, 12. Kanyakapurana, ch 44, stanzas 24-27.
which in turn served as a protective-shield of social peace 13. Markandeya Puranam.III-142
and harmony. 14. Nellore District inscriptions, Voll.Ongole-58
Conclusion : 15. SII, X-533
16. Sundaram, K., Social life in Andhra
Thus we can find that inspite of the efforts made
(A.D.1000-1400), Hyd 1968, P.P. 44-45
by the bhakthi preachers, caste system was not eradicated
17. Ramarao, B. “Bhisagvaranjanamu”, Bultin,
as it had strong roots which were further strengthened by
IIHM, Vol.IV (3&4) P-136
the policies of the State. The Kakatiya rulers empowered
18. Sundaram,K., Social life in Andhra, A.D.
the samayasabhas delegating some powers to them, thus
1000-1400, 1968 PP 24-25.
lessoning the burden of the government and democratiz-
19. Narasimha Rao, R., Corporate life, P.61
ing the decision-making in evolving policies. By this, ad-
20. Ibid., P-63
ministration reached the threshold of the common man
21. NDI, Udayagiri,21
who was a member in a samaya, which enjoyed the right to
22. IAP, Warangal, 184
take decision on all important matters of local and regional
23. Corpus of Inscriptions in HEH The Nizam’s
administration. Each caste can best be described as a body
Dominions, Vol.II P.30.
comprising of strong self regulating group which shared a
24. Narasimha Rao, R., Corporate Life, PP 83-
common background of social rights and obligations. All
85;Thurston, Caste and Tribes, VI, p.187
the castes were treated equally and their role in effective
25. Narasimha Rao, R.,Ibid, p. 42
functioning of the State was recognized and honoured. The
26. SII, Vol.V-1307 Kd.Rm., v.170
caste order was marked on horizontal line but no vertical
27. Kd.Rm. v.170
division was accepted. The confidence that each caste gained
28. Ibid, v.101
and the liberty that was enjoyed by all the communities led
29. Ibid, v.67
them to claim an identity of their choice to bestow dignity
30. A.R.E.,1910, No.405
and honour to their respective community. Every caste
31. Ramaraju, B. Telugu Janapadageya Sahityam,
organization tried to protect its honor and participate in
P.435
social service in general. They enjoyed equal opportuni-
32. Kd.Rm. vv.127-133
ties. The samaya-dharma and samayachara inevitably im-
33. P.V.P.Sastry, the Kakatiyas, Hyd.1978, p.181
posed ethical code of conduct on each caste to follow for the
34. Prayaschitta kanda, v.116
protection of its dignity and elevation of its honour. It was
35. Vyavaharakanda, v.33
concerned with the welfare of the caste community in which
36. Corpus of Telangana Inscriptions, III, P.51
welfare of individual included.
37. Inscriptions of A.P., Warangal, p.50
Reference : 38.Narasimha Rao, R., Corporate Life, pp.12-13
1. Navanatha Charitra, AP Sahitya Acadamy, 39.Ibid.,pp.96-97.
Hyd, 1984, P.272)
2. Corpus of Telangana Inscriptions, No.107
3. Markandeya Puranam, A.P.Sahitya Akademi,
Hyd, 1984, III-142)
4. Annual Report on Epigraphy (ARE hereafter),
No.5 Epigraphia Andhrica, vol.IV, P.93,
Narasimha Rao, R. corporate Life in Medieval
Andhradesa, A.D. 1000-1450, Hyd, 1967, P.P.

192 Platinum Platform

 qâ◊fiq^•ºÅÜ«∂Ö’¡ `≥Å∞QÆ∞ É’^èŒ#
QÆ}Ë+π Hõ=¸º#Öò – QÍ_ç^Œ Ãã‰õΩºÅ~ü
L`«Î~° „Ѩ^ÕâòÖ’ 'ÉÏÅtHõ∆— „QÆO^äŒO `«Ü«∂ºsH˜ F ã¨OѶ¨∞O
‰õÄK«∞Ok. „Ѩ*Ï™êfi=∞º ÉèÏ~°`O« J<Õ =∂@‰õΩ =ÚO^Œ∞ JѨC_»ÑC¨ _Õ
Ö∫H˜Hõ"å^ŒO J<Õ =∂@ KÕiOk. Ö∫H˜Hõ ^Œ$+≤ì`À áê~î°º„QÆO^ä•Å∞
x~å‡}O KÕÜ«∂Å<Õ P[˝Å∞ ‰õÄ_® *Ïs JÜ«∂º~Ú. JO`«=~°‰õΩ
ÉÏÅtHõ∆Ö’ 'Hõ— JHõ∆~åxH˜ Hõ=∞Öò Jh, 'QÆ— JHõ∆~åxH˜ QÆ}Ëâò Jh
LO_Õk. Hõ=∞Öò ^ŒQÆæ~° ¿Ñp ÖË^Œ∞. (ZO^Œ∞HõO>Ë JѨÊ\˜H˜ ÉèÏ[áê
ѨÙ@ìÖË^Œ∞, ѨÙ\˜ì LO>Ë ^•x zǨÏflO Hõ=∞ÅO J~Ú LO>Ë Jk
=∂ˆ~Û"å~°∞) HÍx QÆ–‰õΩ L#fl QÆ}+Ë π `˘ÅyOKå~°∞. QÆ}âË ò‰Ωõ =∂~°∞QÍ
'QÆ^è•— ÃÑ\ÏìÅ<åfl~°∞. ÃÑ\Ïì~°∞ ‰õÄ_®! ѨÙ~å}ÏÅ „ѨHÍ~°OQÍ QÆ}Ëâò
Ç≤ÏO^Œ∞=ÙÅ ^Õ=Ù_»∞, QÆ^è• Ãã‰õΩºÅ~ü ^Õ=Ù_»∞. Wk J"≥∞iHÍÖ’x F
áêsì zǨÏfl=∞O_ç! Jx Z=~À JÉèíºO`«~°O `≥eÑ≤`Õ, =∞#^Õâ◊OÖ’
HÍ^Œ∞QÍ JO@∂ H˘\˜ìáê~° "Õâß~°∞. q^ŒºÅ (*Ï˝#) ^Õ=Ù_»∞ QÆ}Ëâò
áê~î°º„QÆO^ä•Å #∞O_ç JÖÏ `˘ÅyáÈÜ«∂_»∞.
Jyæ – P„QÆǨÏO – W@∞Hõ – DQÆ
`≥Å∞QÆ∞ ÉÏÅtHõÖ∆ ’¡ JHõ~∆ åʼnõΩ J=∞‡–P=Ù–WÅ∞¡–Dâ◊fi~°∞_»∞
J<Õ Ñ¨^•Å∞O_Õq. J=∞‡ ÃãO\˜"≥∞O@∞ – JnQÍHõ ^Õ=`«#∞ ‰õÄ_®
J=∞‡ JO\Ï~°∞. P=Ù Ç≤Ï^Œ∞=ÙʼnõΩ Ѩq„`«"≥∞ÿ#k. WÅ∞¡ ‰õÄ_®
ÃãO\˜"≥∞O>Ë. Dâ◊fi~°∞_»∞ K≥áêÊeû# J=ã¨~°"Õ∞ ÖË^Œ∞ – ѨHͯ
Hõ=¸º#Öò. JO^Œ∞H˘~°‰õΩ D <åÅ∞æ Ѩ^•Å ™ê÷#OÖ’ Jyæ–P„QÆǨÏO
–W@∞Hõ–DQÆ J<Õ Ñ¨^•Å∞ "å_®Å<åfl~°∞. Jyæ ÃÑ_ç`Õ "≥Å∞QÆ∞ =ã¨∞OÎ k.
P„QÆÇϨ O JO>Ë áÈ~å@ Ѩ\=˜ ∞ ÃÑ~°∞QÆ∞`«∞Ok. W@∞Hõ JO>Ë W@∞Hõ‰Ωõ
ã¨=∂^è•#OQÍ ~å~Ú`À H˘@∞ì (D\òˆH ["åÉò Ѩ`«Î~ü¿ã^À) Jx
K≥á⁄ÊK«∞Û. P q^èŒOQÍ Ñ≤Å¡Å#∞ `«Ü«∂~°∞ KÕÜ≥ÚK«∞Û. DQÆ =ÚiH˜
g∞^Œ ZÖÏ „"åÅ∞`«∞O^À ^•x<≥ÖÏ K«Oá⁄KÀÛ K≥á⁄ÊK«∞Û.
~°^ä•xH˜ =∂~°∞QÍ ~°QÆ∞æ–~°QÆ_»
P =∞^躌 ÉÏÅtHõÃ∆ Ñ· PO„^è„Œ Ѩ^âÕ òÖ’ áê~ „QÆO^äŒ x~å‚Ü∞« Hõ
ã¨OѶ¨∞O "å~°∞ ‰õÄK«∞<åfl~°∞. "å~°∞ JHõ∆~åÅ q+¨Ü«∞OÖ’ Ѩ^•Å
q+¨Ü«∞OÖ’ K«~°ÛÅ∞ KÕâß~°∞. ѨÓ~°fi=Ú#fl ÉÏÅtHõ∆ „QÆO^äŒOÖ’ '~°—
J<Õ JHõ∆~åxH˜ ~°^äŒO LOk. ~°^äŒO XHõ =∞`åxfl (Ç≤ÏO^Œ∂) QÆ∞~°∞Î
KÕ ã ¨ ∞ Î O k. Ö∫H˜ H õ ~å[ºOÖ’ ~° ^ ä Œ O J<Õ =∂@ ÉÏÅtHõ ∆ Ö ’
LO_»~å^Œ<åfl~°∞. XHõ~°<åfl~°∞ ~°QÆ∞æ Jx. ~°QÆ∞æ `≥Å∞QÆ∞ Ѩ^ŒO
HÍ^Œ<åfl~˘Hõ~°∞. JO`Õ =∞~˘Hõ~°∞ ~°[x J<åfl~°∞. JO>Ë ~å„`å!
J=∂‡Ü«∂! ~å„`Õ J~Ú`Õ ÉÁ=∞‡ ZÖÏ "Õ™êÎO! J=∂‡ÜÕ∞ J~Ú`Õ
*q„âßO`åKå~°∞ºÅ∞, `≥Å∞QÆ∞ qÉèÏQÆO, L™ê‡xÜ«∂ qâ◊fiq^•ºÅÜ«∞O, ÃÇ·Ï^Œ~åÉÏ^Œ∞.
Platinum Platform
– _®II Hõã≤Ô~_ç¤ "≥OHõ\òÔ~_ç¤*
ÉÁ@∞ì ÃÑ\ÏìÖÏ! p~° Hõ\ÏìÖÏ! ѨÓÅ∞ ÃÑ\ÏìÖÏ! HÍ@∞Hõ ÃÑ\ÏìÖÏ!
W=hfl ÃÑ_ç`Õ P J=∂‡~Ú Ç≤ÏO^Œ∞=ÙÅ J=∂‡~Ú J=Ù`«∞Ok.
Ãã‰õΩºÅ~ü ^Õâ◊OÖ’ Ç≤ÏO^Œ∞=ÙÅ J=∂‡~Ú ÉÁ=∞‡ ÉÏÅtHõ∆Ö’
"ÕÜÚ≥ KåÛ! JO^Œ∞Hˆ WO`« =∞ã≤ÉÁ=∞‡ "Õã≤ ~å„`«#_»"∞Õ ÉÏQÆ∞O@∞Ok
J<åfl~°∞. ~°^ä•xfl =^ŒeÃÑ\˜ì ~å„`À – ~°[<À JO@∂ áê~î°º„QÆO^äŒ
x~å‚Ü∞« Hõ ã¨OѶ∞¨ O "å~°∞ H˘O`«¿ãѨ٠ã≤QÑÆ @¨ ∞ì Ѩ@∞ì‰Ωõ <åfl~°∞. ''W^ŒO`å
ZO^Œ∞HõO_ô! ~°OQÆÜ∞« ºQÍ~°∞ T~°Hˆ P ~°^•ä <Õfl LOK«~å^ŒO_ç—— J#flk
ã¨~ã° fi¨ `«=∞‡. ''P ~°^•ä xfl ÃÑ_ç`Õ =∞#efl q^•º=º=ã¨÷ HÍëêÜ«∞=∞Ü«∞O
KÕâß~°O\Ï~°∞ `≥Å∞™ê!—— J<åfl_»∞. WѨÊ\˜ˆH c*ˇÑ‘ "åà◊§#∞
Z„~°OQÀà◊√§ <å<åÜ«∂w KÕã¨∞Î<åfl~°∞. <åHõO^Œ∞Ö’ H˘O^Œ~°∞ `≥eã≤
L<åfl =∞#H© |^Œ∞<åO `«Ñ¨Ê^Œ∞. UO^ŒÉσ! D ~°QÆ_»O`å! J<åfl_»∞
ã≤OQÍ~°"ÕÅ∞. ''P P Ѩ^ŒO ^˘iH˜Ok—— Jx QÆO`Õâß_»∞ ~°OQÆÜ«∞º.
UOk ''JO^Œ~°∞ „Ѩâßfl~°÷HõOQÍ K«∂âß~°∞—— ''D ã≤OQÍ~°"ÕÅ#fl^Õ——
~°QÆ_» ~°QÆ_» J<åfl_»∞ ~°OQÆÜ«∞º.
''~°QÆ_» JO>Ë Kè«O^Œ™êû! ÖËHõáÈ`Õ [QÆ_»=∂!—— J_çyOk
ã¨~ã° fi¨ `«=∞‡. [QÆ_"» ∞Õ ! W^Œ~Ì ∞° H˘\Ï¡_∞» `«∞#fl á¶È\’ "Õ¿ãÎ KåÅ∞ J<åfl_»∞
~°OQÆÜ«∞º. JO^Œ~°∂ 㨈~ JO>Ë ã¨ˆ~ J<åfl~°∞ ã¨~°ã¨fi`«=∞‡ `«Ñ¨Ê.
z=~°‰õΩ ~°QÆ_Õ x~°‚Ü«∞"≥∞ÿOk.
JHõ∆~åÅ∞ U|Ü«∂º~À! #Å|Ü«∂º~À!
Ѩ^•Å ã¨OQÆu =ke"Õ^•ÌO. WHõ JHõ~∆ åÅ ã¨OQÆu K«∂^•ÌO
J#∞H˘<åfl~°∞ ~°OQÆÜ«∞º, ã¨`«ÎÜ«∞º, qâ◊fi<å^äŒOÅ∞. ''JHõ∆~åÖËO\˜
K«∂KÕk. FO =∂ÅÖ’ Zxfl LO>Ë Jxfl U|Ü«∂º~°∞—— JOk
ã¨~°ã¨fi`«=∞‡.
''UO =∂Å UO@=∂‡—— J_çQÍ_»∞ qâ◊fi<å^äŒO.
''F#=∂Å#∞ JO>Ë =~°‚=∂Å#∞ FO=∂Å J<åÅh,
ZO^Œ∞HõO>Ë D ^Õâ◊OÖ’ Jxfl ÉèÏ+¨Å‰õΩ FOHÍ~°"Õ∞ P^ŒºHõ∆~°=∞h
„|Ǩχ NǨÏi ÅH©;#~°ãO≤ ǨÏâ◊~‡° QÍ~°∞ K≥áêÊ~°∞—— J<åfl~°∞ ã¨~ã° fi¨ `«=∞‡
Ѩ~°=∂#O^ŒOQÍ.
''HÍëêÜ«∞ q^Œº HÍëêÜ«∞q^Œº—— Hõã∞¨ ~°∞H˘<åfl_»∞ ~°OQÆÜ∞« º.
''Z<åflà◊§‰õΩ ã¨`åº~°÷ „ѨHÍâ◊#O [iyOk—— J<åfl_»∞
#~°ã≤OǨÏÜ«∞º.
''Jã¨Å∞ ã¨OQÆuH˜ ~°O_ç! D Z|Ü«∂ºiO\’¡ H˘xfl JHõ~∆ åÅ∞
f¿ã^•ÌO—— J<åfl_»∞ ~°OQÆÜ«∞º.
193
 ''ZO^Œ∞‰õΩ—— J_çyOk ã¨~°ã¨fi`«=∞‡.
''`≥Å∞QÆ∞ ÉèÏëêaè=$kúH˜! g∞‰õΩ `≥Å∞™ê! Wxfl JHõ∆~åÅ∞
L#flO^Œ∞=Å¡ `≥Å∞QÆ∞ JHõ∆~åÅ∞ `˘O^Œ~°QÍ <Õ~°∞ÛHÀ=_»O ÖË^Œ∞——
HÀѨOQÍ J<åfl_»∞ ~°OQÆÜ«∞º.
''=¸Å„^•q_» ÉèÏ+¨‰õΩ U_À, `˘q∞‡^À JHõ∆~åÅ@ Hõ^•!
P „áÈ„\’„^Œq_çÜ«∞<£ JHõ∆~åÅ"≥·Ñ¨Ù "≥o§áÈ^•=∂—— #qfiOk
ã¨~°ã¨fi`«=∞‡.
''J=Ù#∞ `≥Å∞QÆ∞ „áêp# ÉèÏ+¨QÍ xÅ"åÅO>Ë JO`«^∂Œ ~°O
"≥o§áÈ"åe—— J<åfl_»∞ `≥Å∞QÆ∞<å@ Ãã\˜Å~Ú# `«q∞à◊ ã≤OQÍ~°"ÅÕ ∞.
''WѨC_»O`« Ѩx KÕÜ«∞ÖËO QÍx ÉÏÅtHõ∆Ö’ U|Ü«∂º~°∞
JHõ∆~åÅ∞ =∂„`«O =Ú„kOK« Î Î ~å^Œ∞. "å\˜Ö’ |∞∞, |∞∂,
(J~°ã¨∞#fl) V, &, K«, [, é J<Õ Ñ¨k JHõ∆~åÅ∞ `˘ÅyOKå~°∞. P
JHõ∆~åʼnõΩ „Ѩ`åº=∂flÜ«∞OQÍ '|∞∞ |∞∂—ʼnõΩ '~°∞ ~°Î ∂—Å#∞
Î '
—ʼnõΩ 'Å∞ Å∂—Å#∞ 'V—‰õΩ 'QÆfl— QÍh ã¨∞#fl QÍx, K« [ ʼnõΩ K«
[ Å#∂, '&—H˜ ã¨∞#fl#∞, 'éÏ—‰õΩ '~å—#∞ "å_®e. J~°ã¨∞#fl Jã¨Å∞
J=ã¨~°"Õ∞ ÖË^Œ∞. D Zxq∞k Ѩk JHõ∆~åÅ∞ ÖË#O`« =∂„`«OÖ’
LKåÛ~°}Hˆ O ֒ѨO ~å^Œ∞. `≥Å∞QÆ∞ ÉèÏ+¨‰Ωõ 46 JHõ~∆ åÖË Jx WѨÊ\˜
#∞O_ç K≥ѨCHÀ"åe...—— J<åfl_»∞ ~°OQÆÜ«∞º.
=∞i ÉÏÅ"åºHõ~°Î ã¨O㨯 $`«=Ú#‰õΩ =~°‚=ÚÖË|k Jx,
JK«Û `≥#∞QÆ∞‰õΩ =ÚѨÊÜ«∂º~°∞ Jx, P =ÚѨÊÜ«∂ºé∞ =~å‚ʼnõΩ
|∞∞, |∞∞ qã¨~°æ Y Kè« ~î° ^äŒ Ñ¶¨ Ѷ¨∞ ~°≠ _è» ^èŒ Éèí V & â◊ +¨
Å∞ HõeâßÜ«∞<åfl_»∞ Hõ^•! P Hõeã≤# Jxfl JHõ∆~åÅ∞ `˘ÅyOKåÅx
ˆ~Ѩ\ ˜<å_»∞ Z=Ô~·<å JO>Ë =∞Ǩ„áê}ÏÅ∞#fl KÀ@ JÅÊ „áê}ÏÅ∞
„"åÜ«∂Åx, â◊ +¨ Å∞ Ô~O_çO\˜H˜ 㨠HÍ~°O XHõ¯>Ë KåÅx "åkOKÕ
"åà◊√§ ѨÙ@∞ìH˘x ~å=K«∞Û Hõ^•!—— ã¨O^ÕǨÏO "≥e|∞zÛOk ã¨~°ã¨fiu.
JO`« J=ã¨~°O ÖË^Œ∞, =Ú#∞‡O^Œ∞ Z=~°∂ J#~°∞,
„Ѩã¨∞Î`åxH˜ D Ѩk `˘Åy¿ãÎ KåÅ∞. QÆ∞é∞]QÍ K«∂âß_»∞ ~°OQÆÜ«∞º.
'HÍHõáÈ`Õ <å L^ÕÌâ◊OÖ’ qã¨~åæxfl `˘ÅyOz ^Œ∞óY=Ú
J#flѨC_»∞ Ç¨Ï „H˜O^Œ Y „"å¿ãÎ (^Œ∞ǨÏö=Ú) KåÅ∞... (Q˘Ñ¨Ê ÉèÏëê
âßG"Õ`«ÎÖÏ) á¶ÈlKåÛ_»∞ qâ◊fi<å^äŒO.
''=∂ Ñ≤.Zãπ. ã¨∞„|Ǩχ}ºO, g∞ Éèí„k~åA, "å_≥=_À
ã¨ã¨∞~À, =∞~À|∂¡O Ѷ‘Öò¤ "åà◊¥§ gà◊¥§, L#fl"åà◊¥¡ áÈ~Ú#"åà◊¥§
H˘`«Î ^èŒfi#∞ʼnõΩ H˘`«Î „ѨfHõÅ∞ (ã≤O|Öòû – QÆ∞~°∞ÎÅ∞) ÃÑ@∞ìHÀ"åÅx
JO@∞<åfl~°∞ Hõ^•! g∞i\Ï¡ Ñ‘H˜ áêˆ~¿ãÎ ÉèÏëê âßG"Õ`ÅΫ ‰õΩ JѨKå~°O
KÕã#≤ @∞¡ Hõ^•! eÑ≤ ã¨O㨯~°} ¿Ñi@ L#fl"å\˜x Ñ‘Hˆ ¿ã,Î 'ѶH≤ ~õ ∞° Ö’x
HÍѶ‘—Ö’x Ѷ≤, Ѷ‘Å#∞ K«∂Ñ≤OKÕ^≥ÖÏ! WѨÊ\˜ˆH _®@∞¡, _®º+¨µÅ∞,
ÉÏ}ÏÅ∞ (-...^v) LK≥·Ûùã¨fi~åÅ∞ hK≥·ã¨fi~åÅ∞ =∞O„^Œã¨fi~åʼnõΩ (–)
L#fl QÆ∞~°∞ÎÖË"≥∞ÿáÈ"åe. g∞ `≥Å∞QÆ∞"åà◊§ `≥Å∞QÆ∞ <åHõ~°÷"≥∞ÿ Kå=_»O
ÖË^∞Œ . ÉèÏ+¨‰Ωõ |~°∞"À, ÉÏÅtHõ‰∆ Ωõ |~°∞"À <åHõO`å JÜ≥∂=∞Ü«∞OQÍ
194
LOk— J<åfl_»∞ *ÏfÜ«∞ q^•ºˆHO„^Œ Ѩiâ’^èŒ# ã¨q∞u ã¨Éèí∞º_»∞
ã≤OQÍ~°"ÕÅ∞ `«Å‰õΩ KÕ`«∞Å∞ Ѩ@∞ìH˘x.
''`≥Å∞QÆ∞ ÉèÏëê âßG"Õ`ÅΫ O "Õ∞O, áê`« zO`«HÍÜ«∞ ѨKÛ« _ç
ÖÏO\˜ `≥Å∞QÆ∞#∞ „QÍOkäHõ ^Œ∞~°æO^èŒO #∞O_ç |Ü«∞@ Ѩ_Õã≤,
"åº=ǨiHõO "≥·Ñ¨ÙQÍ Ñ¨~°∞ÔQuÎã¨∂Î P^èŒ∞xH©Hõ~°} ã¨∞QÆO^è•Å#∞
ѨOzÃÑ_»∞`«∞#flk "Õ∞O. `≥Å∞QÆ∞ `≥eÜ«∞x ã≤OQÍ~°"ÅÕ ∞ʼnõΩ, „QÍOkäHOõ
~˘K«∞ÛÖ’ á⁄~°ÖÏ_Õ ã¨~°ã¨fi`«=∞‡Å‰õΩ, <å@HõѶ¨H©¯Ö’ =∂\Ï_Õ
#~°ã≤OǨÏÜ«∞ºÅ‰õΩ <Õ\ ˜ `≥Å∞QÆ∞ QÆ∞iOz UO `≥Å∞ã¨∞—— J<åfl_»∞
~°OQÆÜ«∞º KèåÖˇO*ò KÕã¨∞Î#fl@∞¡.
''ɡO_»HÍÜ«∞Å∞ – =OHÍÜ«∞Å∞—— Q˘}˜QÍ_»∞ qâ◊fi<å^äŒO.
J~Ú<å ã¨~ã° fi¨ `«=∞‡‰õÄ, #~°ãO≤ ǨÏÜ«∞º‰õΩ, ã≤OQÍ~°"ÅÕ ∞‰õΩ P =∂@Å∞
J qxÑ≤OKå~Ú.
"å~°∞ =∞ø#=Ú„^•ÅOHõ$`«∞ÅÜ«∂º~°∞. U|Ü«∂ºiO\˜Ö’
ѨkO\˜x Ñ‘ˆHã≤ ÉÏÅtHõ∆Ö’ 46 JHõ∆~åÅ<Õ KÕ~åÛ~°∞. uÖÏáêѨO
`«ÖÏÑ≤_çÔH_»∞, JO^Œ~°∂ ã¨O`«HÍÅ∞ KÕâß~°∞.
`≥Å∞QÆ∞ ѨO`«∞à◊§áê@∞¡ – `«_»ÉÏ@∞¡
''U=∞Ü«∂º! H˘`«Î ѨO`«∞Å∂ ~°∞+≤, ~°∞Hõ∆=Ú, ~°∞`«=Ú,
~°∞`«OÉèí~° Jx „"åâß"Õ=∞Ü«∂º! U xѶ¨∞O@∞=ÙÖ’#<åfl D Ѩ^•Å∞
^˘~°∞‰õΩ`«Ü«∂º!—— J^蕺Ѩ‰õΩÅ QÆkÖ’ Jiz#O`«Ñ¨xKÕâß_»∞ áê`«
`≥Å∞QÆ∞ ѨO`«∞Å∞.
''<Õ#∞ x#fl "≥Ú#fl Z"Õ∞‡Ö’ „ѨHÍ~°º ÉèÏ+¨ (Ѷ¨OHõ∆#Öò
ÖÏOˆQfi*ò) K«^Œ∞=ÙH˘<åfl#∞. g∞ HÍÅOÖ’ D q+¨Ü«∞O ÖË^Œ∞. =∂‰õΩ
K≥Ñ≤Ê# J^èŒ∞<å`«# ÉèÏëê âßG"Õ`«ÎÅ∞ Ѩ„uHõÖ’¡x ÉèÏ¿+ Ѩ~°=∞
„áê=∂}˜Hõ ÉèÏ+¨ J<åfl~°∞. Ѩ„uHõÅ∂, J<ÕHõ \©g Kèå#à◊√¡, ZÖÏ
~å™êÎ~À, ZÖÏ ‰õÄ™êÎ~À J^Õ „áê=∂}˜H=õ ∞h Ü«¸x=iû\© „á⁄ÃÑ㶠~ˆ¨ ¡
JO@∞<åfl~°∞. "å~°∞ „ѨHÍ~°º ÉèÏ+¨ ¿Ñi@ J^Õ É’kèã∞¨ <Î åfl~°∞. =∂Hõ^Õ
XO@|\˜ìOk...—— #"åfi_»∞ H˘`«Î ѨO`«∞Å∞.
''Hõ$+≤, Hõ$+¨µ_‚ ∞» , Hõ$áêHõ~∞° _»∞, #$áêÅ∞_»∞, `«$}=Ú, `«$+¨.‚ ..
Wq ZÖÏ „"å™êÎ=Ù <åÜ«∞<å—— "≥H˜¯iO`« ^èÀ~°}˜Ö’ J_çQÍ_»∞ áê`«
ѨO`«∞Å∞.
''P Ѩ^•ÅxflO\˜H˜ H˘=Ú‡ÃÑ\˜ì, ˆ~Ѷ¨O `«yeOK«_»"Õ∞——
J<åfl_»∞ H˘`«Î ѨO`«∞Å∞.
''K«e— K«O^Œ=∂=∞ – Kå=∞ – K«∞Hõ¯ – K«∂Ѩ٠– KÒHõ –
[=Ú_»∞ – *Ï`«~° – A#∞fl – ZÖÏ LK«Ûi™êÎ~°∞ ™êfig∞—— =∞s
¿ÇÏà◊# KÕã¨∞Î#fl@∞¡ J_çQÍ_»∞ áê`« ѨO`«∞Å∞.
''D ^ŒO`ÀºKåÛ~°} WѨÊ\˜ˆH áÈ~ÚOk. =Ú#∞‡O^Œ∞
áÈ`«∞Ok. `åÅ"åºHõ∆~°O „"åÜ«∞|_®¤ `≥eã≤#"å~°∞ ^ŒO`«ºOQÍ
LK«Ûi™êÎ~°∞. `≥eÜ«∞x"å~°∞ `åÅ=ºOQÍ LK«Ûi™êÎ~°∞. ZÖÏ
Platinum Platform
LK«ÛiOz<å J~°÷OÖ’ Ѩ~°=∂~°÷OÖ’ =∂~°∞Ê LO_»^Œ∞ Hõ^•——
zkfiÖÏã¨OQÍ #"åfi_»∞ z#flѨO`«∞Å∞.
''Wk `≥Å∞QÆ∞ ÉèÏ+¨‰õΩ ™œÉèÏQƺ=∂! ^Ò~åƒùQƺ=∂!—— <≥uÎH˜
KÕ`«∞Å∞ ÃÑ@∞ìH˘<åfl_»∞ ÃÑ^ŒÌ ѨO`«∞Å∞.
''=Ú=∂‡\˜H© ^Ò~åƒùQºÆ "Õ∞—— QÆ\Qì˜ Í J<åfl_»∞ H˘`«Î ѨO`«∞Å∞.
a`«Î~°áÈ~Ú K«∂âß_»∞ áê`« ѨO`«∞Å∞.
''ã¨~!ü ##flÜ«∞, uHõ¯#, Zé]#, N<å^ä,Œ áÈ`«#, ÃÑ^Œ#Ì Å#∞
K«^Œ∞=QÆ∂_»^Œx, ÉèÏ~°`«, ÉèÏQÆ=`« ~å=∂Ü«∞}Ïk „QÆO^ä•Å#∞
J^茺ܫ∞#O KÕÜ«∞‰õÄ_»^Œx, ÉèÏ+¨ ˆH=ÅO ™ê=∂#∞ºxH˜ J~°÷=∞ÜÕ∞º
@@∞¡QÍ<Õ LO_®Åx, „áœ_è» ã¨=∂㨠Éèí∂~Ú+¨ì"≥∞ÿ# ~°K«#Å∞ KÕÜ«∞
‰õÄ_»^Œx, „áêp# ã¨O„Ѩ^•Ü«∞OÖ’ =zÛ# `≥Å∞QÆ∞ ™êÇ≤Ï`åºxfl
K«∂_»<Õ K«∂_»‰Äõ _»^xŒ É’kèOKÕ qâ◊fiq^•ºÅÜ«∞ J^蕺Ѩ‰Ωõ Å∞ =∂‰õΩ
QÆ∞~°∞=ÙÅ∞.
ÃÑ·QÍ ‰õΩÅ"å^Œ, ¢ã‘Î "å^Œ, ^Œo`«"å^Œ ã≤^•úO`åʼnõΩ
ÉÏxã¨Öˇ·# Ѩu`«∞Å∞ „Éèí+¨µìÅ∞ =∂ PKå~°∞ºÅ∞. J~°™êʼnõΩ,
q~°™êʼnõΩ, ã¨~°™êʼnõΩ H˘=Ú‡Å∞ HÍã¨∂Î, áêsìʼnõΩ ѨiKåiHõÅ∞QÍ
(LOѨÙ_»∞ QÆ`≥ÎÅ∞QÍ) ѨxKÕ¿ã ^Œ^ŒÌ=∞‡Å∞ =∂ J^蕺Ѩ‰õΩÅ∞. f~°÷O
J<Õ Ñ¨^ŒO áê~î°O =∞^茺֒ =¿ãÎ WO\˜ =ÚO^Œ∞#fl "≥∂sÖ’x hà◊§x
J~°O÷ K≥ÑÊ≤ # "≥^"Œè åÜ«∞Å∞ =∂ ѨO`«∞à◊√§. ÉèÏ~°fÜ«∞`«#∞ ÉèÏ~°fÜ«∞
™êÇ≤Ï`åºxfl Ѩ~=° ∞ K«O_®ÅOQÍ q=∞i≈ã¨∂Î =∞=∞‡efl q^Õj W*ÏʼnõΩ
ÉÏxã¨Å∞QÍ =∂ˆ~Û q+¨=ӺǨÅ∞ ~°zOKÕ ^Õâ◊„^ÀǨïÅ∞ =∂
LѨ<åºã¨‰õΩÅ∞. Ѷ¨ÖÏ<å ‰õΩÅO "å~°∞ K≥a`Õ q#HõO_ç JO@∂,
Ѷ¨ÖÏ<å "å_çx u@ìO_ç JO@∂ H˘O`«=∞Ok q^•º~°∞÷ʼnõΩ ^ŒO_çQÍ
– xO_»∞QÍ Ç¨[s – =∂~°∞¯Å∞ Pâ◊ K«∂ѨÙ`«∂ K≥=ÖÏÜ«∞Å∞QÍ
=∂~°∞ÛH˘<Õ JѨq„`åKå~°∞ºÅ∞ =∂ É’^茉õΩÅ∞... WHõ K≥ѨÊO_ç ã¨~ü!
"Õ∞"≥∞ÖÏ `«Ü«∂~°=Ù`å"≥∂! JO`Õ HÍ^Œ∞ D =∞^茺# ‰õΩÖÏÅ∞QÍ
peÛ Ñ¶¨ÖÏ<å "åx`À WÖÏ =∂\Ï_ç ÉèíÜ«∞ÃÑ_ç`Õ g∞ Ѩx
J=Ù`«∞O^Œh, P \©K«~ü |ÅÇ‘Ï#`«Å#∞ `≥Å∞ã¨∞H˘x u_ç`Õ
g∞~°#∞‰õΩ#fl Ѩ#∞Åhfl <≥~"° ~Õ ∞° `åÜ«∞x =º=Ǩ~° tHõ}∆ Ï `«~Q° `Æ ∞« Å∞
x~°fiÇ≤Ïã¨∞#Î fl K«^∞Œ =ÙÅ `«e¡ âßÅÖ’¡ "Õ∞O UO <Õ~∞° ÛH˘O\ÏO! ÉèÏ+¨<å!
ÉèÏ==∂! J#∞âßã¨#=∂! ã¨O™ê¯~°=∂! JO^Œ∞ˆH ^Ò~åƒùQƺO
JO@∞<åfl#∞ ã¨~ü...—— JO@∂ `å#∂ `«ÅѨ@∞ìH˘x ‰õÄ~°∞Û<åfl_»∞
H˘`«Î ѨO`«∞Å∞.
áê`« Ѩ O `« ∞ Å∞ Hõ O _» ∞ "å`À Hõ à Á§`« ∞ Î H ˘<åfl_» ∞ . P
áê~î°âßÅÖ’x q∞QÆ`å J^蕺Ѩ‰õΩÅ∞ z„`«™ê‰õ∆ΩÖÏ¡ xÅzáÈÜ«∂~°∞.
HÍÅO =¸QÆ"À~ÚOk.
<å<å\˜H˜ fã≤Hõ@∞ì – <åQÆOÉÁ@∞ì
L#fl`« áê~î°âßÅÅ =~°‰õΩ áê~î°º„QÆO^ä•ÅHõxfl\˜H˜,
„Ѩ^•è #OQÍ `≥Å∞QÆ∞‰õΩ „Ѩu `«~Q° uÆ H˜ F ã¨Oáê^Œ‰Ωõ _»∞, F ~°K~« Ú`«,
Platinum Platform
ÖË^• W^ŒÌ~°∞ ~°K«~Ú`«Å∂ LO\Ï~°∞. ÉÏÅtHõ∆ "≥Ú^Œ\ ˜ `«~°QÆu,
Ô~O_»= `«~°QÆu, =¸_»= `«~°QÆu... WÖÏ Ñ¨^Œ= `«~°QÆu =~°‰õΩ
`≥Å∞QÆ∞ "åK«HÍ Å∞O\Ï~Ú. ÃÑ· XHõ\ ˜ Ô~O_»∞ `«~°QÆ`«∞ʼnõΩ
LѨ"åK«HÍÅ∞O\Ï~Ú.
QÆ^ºŒ O, Ѩ^ºŒ O, Qˆ Ü«∞O, "åºHõ~}° O, Hõ^•ä xHõ, rq`«Ki« „`«,
™ê"≥ ∞ `« Å ∞, á⁄_» ∞ Ѩ Ù Hõ ^ ä Œ Å ∞, WÖÏ ZOÑ≤ H õ [~° ∞ QÆ ∞ `« ∞ Ok.
ã¨Oáê^Œ‰õΩxn, ~°K«~Ú`«n ã¨=∞#fiÜ«∞ ^Œ$+≤ì, ã¨=∞`å^Œ$¿+ì. HÍx
`«=∞ t+¨µºÅg, `«=∞ QÆ∞~°∞=ÙÅg, JO^Œ∞Ö’ KÀ@∞ KÕã¨∞H˘O\Ï~Ú.
~°K«~Ú`«Å∞ H˘O^Œ~°∞, ã¨Oáê^Œ‰õΩÅ∞ P áê~î°º ã¨Oq^è•#‰õΩx ¿Ñ~°∞
`≥Å∞ã¨∞H˘x ÃÑ~· g° Å∞ H˘#™êy™êÎ~∞° . H˘O^Œ~∞° ÃÑ· JkèHÍ~°∞Å #∞O_ç
~å[H©Ü«∞OQÍ |ÅOQÍ L#fl"åi #∞O_ç XuÎà◊¥¡ `≥™êÎ~°∞. WHõ D
ã¨Oáê^Œ‰õΩ_»∂ ÖË^• ~°K«~Ú`« U^À XHõ áêsìH˜ H˘=Ú‡HÍ¿ã"åÔ~·`Õ
WHõ K≥áêÊeû# J=ã¨~°O ÖË^Œ∞. x*ÏxH˜ `≥Å∞QÆ∞ "åK«HÍÅ ^•fi~å
q^•ºi÷H˜ ÉèÏëê qHÍã¨O, ™êÇ≤Ï`«º ѨiK«Ü«∞O, ™êÇ≤Ï`«ºO ^•fi~å
<≥·uHõ =∂#gÜ«∞ =¸ÖϺŠx~å‡}O [~°QÍe. ã¨`«ºO, JÇ≤ÏOã¨,
„¿Ñ=∞, Hõ~°∞}, ^è≥·~°ºO, ã¨$[#â◊H˜Î, =ºH˜Î`«fi qHÍ㨠x~å‡}O HÍ"åe.
ÉèÏëê ™êÇ≤Ï`åºÖË ã¨O^Œ~°ƒùOÖ’#∂ ~å[H©Ü«∞ áêsìŠѨiKåiHõÅ∞
HÍ~å^Œ∞. ѨHõ∆áê`« ^Œ$HõÊ^äŒOÖËx ~°K«~Ú`«Å∂ – ã¨Oáê^Œ‰õΩÅ#∂
WѨC_»∞#fl gi #∞O_Õ =∞#O xi‡OK«∞HÀ"åe. JѨC_Õ `≥Å∞QÆ∞
áê~îåºOâßÅ∞ ÉÏQÆ∞O\Ï~Ú.
D q+¨Ü«∞O WO@s‡_çÜ«∞\ò, _ç„w ™ê÷~Ú áê~îåºOâßʼnõΩ
‰õÄ_® =iÎã¨∞ÎOk. J~Ú`Õ ÉèÏëê – ™êÇ≤Ï`åºÅ q+¨Ü«∞OÖ’ ™ê÷~Ú,
„áê=∂}˜H`õ « `«Ñʨ xã¨iQÍ áê\˜OKåe. „Ѩu `«~Q° uÆ Ö’ H˘xfl =O^ŒÅ
H˘`«Î Ѩ^•Å∞ ѨiK«Ü∞« O HÍ"åe. #=Å, <å@HõO, rq`« K«i„`«Å#∞
LѨ"åK«HÍÅ∞QÍ áÈ\©Ö’¡ ZOÑ≤Hõ KÕã≤#ѨC_»∞ x+¨ÊHõ∆áê`« ^Œ$+≤ì
J=ã¨~°O.
Ü«Ú.l. ™ê÷~ÚÖ’ áê~îåºOâßÅ∞
„Ѩã¨∞Î`«O _ç„wÖ’ HÍ=∞<£HÀ~ü áê~îåºOâßÅ∞<åfl~Ú. Jxfl
qâ◊fiq^•ºÅÜ«∂Å J^蕺Ѩ‰õΩÅKÕ U~°Ê_»¤ Hõq∞\˜ "å~°∞ „ѨÉèí∞`«fiO
ã¨∂K«#Å "Õ∞~°‰õΩ Wq ã¨Oã≤^ŒúO KÕ™êÎ~°∞. „áêp# áê~îåºOâßÅÖ’
J~Ú<å, J~åfip<åO„^èŒ áê~îåºOâßÅÖ’ J~Ú<å ÉèÏëê qHÍã¨O,
™êÇ≤Ï`«º ѨiK«Ü«∞O, `«^•fi~å q^•º~°∞÷Ö’¡ =∂#gÜ«∞ =¸ÖϺÅ
x~å‡}O D ^Œ$+≤ì`À áê~î°º „Ѩ}ÏoHõ ã¨Oã≤^Œú=∞=Ù`«∞Ok. J~Ú`Õ
WO^Œ∞Ö’ ‰õÄ_® LѨ"åK«HÍk „QÆO^ä•Å∞ áÈ\©Å‰õΩ Ñ≤ezQÍx, ÖË^•
JK«Û~Ú# „QÆO^ä•Å∞ ѨijeOz QÍh, ÖË^• Ѩa¡+¨~°∞û ÃÑ>Ëì
„Ѩ֒ÉèÏʼnõΩ Ö’<≥·QÍh ZOÑ≤Hõ KÕÜ«∞_»O [~°∞QÆ∞`«∞O^Œx Hõ~å‚Hõi‚QÍ
qxÑ≤ã∞¨ OÎ k. =¸_»∞ „áêO`åÅ ~°K~« Ú`«Å‰õΩ „áêux^躌 O W"åfiÅ<Õ
PÖ’K«#Å∂ qxÑ≤ã∞¨ <Î åfl~Ú. ÉèÏ~°`,« ÉèÏQÆ=`«, ~å=∂Ü«∞}ÏOâßÅ#∞
=∞`«Ñ¨~°OQÍ K«∂_»‰õÄ_»^Œ<Õk D áê~î°º„QÆO^äŒ x~å‚Ü«∞Hõ ã¨OѶ¨∞O
"åiH˜ `≥Å∞ã¨∞. P HÍ~°}OQÍ "å\˜x D ^ÕjÜ«∞ r=# q^è•#OÖ’
195
JO`«~åƒùQÆOQÍ, ™êO㨯 $uHõ ÉèÏ=*ÏÅO L#fl"å\˜QÍ, =∂#hÜ«∞
=¸ÖϺÅ#∞ „áÈkKÕ¿ã JOâßÅ`À L#fl Ѷ¨∞\ÏìÅ<Õ K«∂ã≤ ZOÑ≤Hõ
KÕã∞¨ <Î åfl~°∞. J~Ú`Õ ÉèÏëê „áœ_è=ç ∞ H˘xfl KÀ@¡ "≥∂`å^Œ∞ q∞Oz#@∞¡
qxÑ≤ã¨∞ÎOk. J~Ú`Õ H˘`«Î Ѩ^•Å ѨiK«Ü«∂xH˜ Wk J=ã¨~°O Jx
H˘O`«=∞Ok J^蕺Ѩ‰õΩÅ "å^Œ#. Hõq∞\©Ö’ qâ◊fiq^•ºÅÜ«∂Å
J^蕺Ѩ‰õΩÅ∞ HÍHõ _ç„w HÍÖËl J^蕺Ѩ‰õΩÖË LO_®Å<Õ "å^Œ#
qxÑ≤ã¨∞ÎOk. „áêp# ™êÇ≤Ï`«º=∞O>Ë, ã¨O„Ѩ^•Ü«∞ ™êÇ≤Ï`«º=∞O>Ë
Ѩ_»x J^蕺Ѩ‰õΩÅ∞ Hõq∞\©Ö’¡ LO_ç, L^•`«Î =∂#gÜ«∂OâßÅ∞O_Õ
Ѷ ¨ ∞ \Ïì Å ∞ áê~î å ºOâßÅÖ’ ÃÑ@ì ‰ õ Ω O_®, ~å[iHõ =º=㨠÷ # ∞
„ѨuaOaOKÕq, â◊$OQÍ~°O ^ŒO_çQÍ LO_Õq HÍ"åÅ<Õ áê~îåºOâßÅÖ’
ÃÑ\˜ìOz Ѩk=∞Ok q=∞~°≈‰õΩ QÆ∞~°ÜÕ∞º@∞ì KÕã¨∞Î<åfl~°<Õ "å^Œ#Å∂
qxÑ≤ã¨∞Î<åfl~Ú.
ÉèÏ+¨g∞^Œ, ™êÇ≤Ï`«ºO g∞^Œ, ã¨O„Ѩ^•Ü«∞O g∞^Œ =∞=∞`«,
„¿Ñ=∞, x+¨ª U~°Ê_Õ@∞ì áê~îåºOâßÅ#∞ Z#∞flHÀ"åeû# J=ã¨~O° LOk.
Ü«ÚQÆÜ«ÚQÍÅ ™êÇ≤Ï`åºxfl ã¨HÍ~å`«‡Hõ ^Œ$HõÊ^äŒO`À q^•º~°∞÷Å∞
J^茺ܫ∞#O KÕ¿ã@∞ìQÍ, áê~îåºOâßÅ#∞ ã¨Oã≤^ŒúO KÕÜ«∞=Åã≤#
J=ã¨~°O LOk.
2008 – 2010 _ç„w `≥Å∞QÆ∞ ѨÙã¨ÎHÍÅ∞
=∞i áê~îåºOâßÅ∞ D QÆ∞}jÖÏÅ ^Œ$+≤ì`À ã¨Oã≤^ŒúO
KÕã¨∞Î<åfl~å! P ^Œ$+≤ì ÖËHõáÈ=_»"Õ∞ HÍ^Œ∞† `≥Å∞QÆ∞ ÉèÏ+¨#∂,
™êÇ≤Ï`åºhfl, `≥Å∞QÆ∞"åi ã¨O㨯 $ux <åâ◊#O KÕ¿ã q^èŒOQÍ
áê~îåºOâßÅ∞O@∞<åfl~Ú. JO^Œ∞‰õΩ L^•Ç¨Ï~°} 2008–2010 _ç„w
`≥Å∞QÆ∞ áê~î°º „QÆO^ä•Å∞.
_ç„w q^•º~°∞÷Å =Ü«∞ã¨∞û 18 ã¨O=`«û~åÅ∞ J#∞H˘O^•O.
F ã¨O=`«û~°O `«‰õΩ¯=, F ã¨O=`«û~°O Z‰õΩ¯=QÍ LO_»=K«∞Û ‰õÄ_®.
=∞#ã¨∞û ÉèÏ"åÅ#∞ =∞Å∞Ѩ٠u¿ÑÊ =Ü«∞ã¨∞û. JÉσ~ÚÖˇ·<å
J=∂‡~ÚÖˇ<· å W^Õ ã≤u÷ . J@∞=O\˜ =Ü«∞ã¨∞û q^•ºi÷h, q^•º~°∞Å÷ ‰õΩ
##flÜ«∞ ÉèÏ~°`«OÖ’x QÆOQÍâ◊O`«#∞Å Hõ^äŒ ÃÑ\Ïì~°∞. áê~îåºOâ◊O
¿Ñ~°∞ ã¨Oáê^Œ‰Ωõ ÖË ÃÑ_»`å~°∞. ##flÜ«∞º =∞¿ÇÏuǨ™êxfl "åºã¨∞Å"åi
##∞ã¨iOz J#∞=kOKå~°∞. D ÉèÏQÍxfl _ç„w q^•º~°∞÷ʼnõΩ
ÃÑ_»`å~°x, ÃÑ\ÏìÅx "å~°∞ „"åÜ«∞ÖË^Œ∞. Hõ^ä•Hõ^äŒ#OÖ’ J^˘Hõ
JOâ◊O.
=∞Ǩaè+µ¨ _»∞ WH∆Ífi‰õΩ~åA† PÜ«∞# „|Ǩχ¿ã=Ö’ LO\Ï_»∞.
JHõ¯_çH˜ QÆOQÆ =ã¨∞OÎ k. P QÆOQÆ =¢™êÎÅ∞ QÍeH˜ `˘eQÍ~Ú. JO^Œ~∞°
Hõà√◊ ¡ =¸ã¨∞‰õΩ<åfl~°∞. =∞Ǩaè+µ¨ _»∞ P"≥∞ "≥Ñ· Ù¨ JaèÖÏ+¨`À K«∂âß_»∞.
„|Ǩχ =∂#=Ö’HõOÖ’ ѨÙ@ì=Åã≤O^Œx â◊Ñ≤OKå_»∞. QÆOQÆ ‰õÄ_®
J`«xÃÑ· =∞#ã¨∞Ѩ_Oç k. P =∞Ǩaè+µ¨ _»∞ ǨÏã≤#Î #∞ áêeOKÕ „ѨfѨÙxH˜
â◊O`«#∞xQÍ [x‡OKå_»∞. =ã≤+µ¨ xª âßѨO =Å¡ J+¨=ì ã¨∞=ÙÅ∞ QÆOQƉΩõ
[x‡OKåÅx xâ◊Û~ÚOK«∞ H˘O\Ï~°∞. ѨÙ\˜#ì "≥O@<Õ Ñ≤ÅÅ¡ #∞ QÆOQÆ,
QÆOQÆáêÅ∞ KÕÜ∂« e Jx xÜ«∞=∞O. P QÆOQÆ `«Ñ㨠∞¨ û KÕã∞¨ #Î fl „ѨfѨÙ}˜‚
196
`«##∞ ã‘fiHõiOK« =∞O@∞Ok. =∞#‡^äŒ=â◊Ü≥ÿ∞ =zÛ J`«x `˘_» g∞^Œ
‰õÄ~°∞ÛO@∞Ok. Jyfl™êH˜Q∆ Í ÃÑo§ KÕãH≤ ˘#fl "åix `«Ñʨ =∞~˘Hõi"≥Ñ· Ù¨
K«∂_»##fl „ѨfѨÙ_»∞ `«# H˘_»∞‰õΩ#∞ ÃÑo§ KÕã¨∞H˘=∞‡O\Ï_»∞. QÆOQÍ
â◊O`«#∞Å q"åǨÏO [~°∞QÆ∞`«∞Ok. "åiH˜ Hõey# Zxq∞k =∞OkÖ’
U_»∞QÆ∞ix QÆOQÆ, QÆOQÆáêÅ∞ KÕã∞¨ OÎ k. Zxq∞^Œ= =ã¨∞=Ù „ѨÉÏè ã¨∞_»∞†
J`«_Õ cè+¨µ‡_»∞. cè+¨µ‡}˜‚ =^Œe QÆOQÆ "≥o§áÈ`«∞Ok. D =∞^茺֒
J+¨ì=ã¨∞=ÙÅ∞ #Okh ^èÕ#∞=ÙÃÑ· "≥∂A Ѩ_»_»O, z=i"å_≥·#
„ѨÉèÏã¨∞_»∞ ^˘OyeOK«_»O, JO^Œ∞=Å¡ =∂#=ÙÅ∞QÍ Ñ¨Ù@ìO_»x
=t+¨µª_»∞ âßѨq∞=fi_»O Hõ^äŒ K«~°Û‰õΩ =ã¨∞ÎOk. QÆOQÆ Jxfl q^ŒºÖ’¡
Pi`Õi# H˘_»∞‰õΩ#∞ JѨÊyOz "≥o¡áÈ`«∞Ok.
Wn JO^Œ∞Ö’x Hõ^.Œä Wk _ç„w q^•º~°∞Å÷ ‰õΩ áê~îåºOâ◊OQÍ
ÃÑ@ì=K«∞Û<å! QÆOQÆ |@ìÅ∞ `˘Åy`Õ =∞Ǩaè+¨µ_»∞ K«∂âß_»∞.
Jk‰õ Ä _® ''T~° ∞ =¸Å "Õ ∞ ~° Ê _» Q Æ #Ü« Ú ºq^Œ =Å∞=Ù
`˘ÅÔQ#xÅO|∞KÕ`«...—— T~°∞=¸Å =∞#fl =∂@#∞ q=iOz
K≥ѨÊQÆÅ=∂! `˘_»Å‰õΩ =¸Å „Ѩ^Õâ◊O Jx ZO`« *Ï„QÆ`«ÎQÍ K≥Ñ≤Ê<å
Ñ≤Å¡Å∞ H˜ã¨∞‰õΩ¯=∞x #=fi~å! P"≥∞#∞ "≥O@<Õ Hõ=∞ÅÜ≥∂x,
=∞~°ÎºÜ≥∂xÖ’ ѨÙ@ì=Åã≤O^Œx â◊Ñ≤OKå_»x LOk. D Ѩ^•Å∞#fl
Ѩ^ŒºO WÖψQ áê~îåºOâ◊OÖ’ LO_»=KåÛ! P `«~åfi`« „ѨfѨÙx
''^ŒH˜∆}À`«ûOQÆ=Ú #O^Œ∞ =∞#‡^äŒ =â◊O|∞##∞O_≥—— J<Õ =∂@‰õΩ
‰õΩ_ç`˘_» g∞^Œ =∞#‡^äŒ ÉèÏ"åxH˜ ‰õÄ~°∞Û#fl^Œ#fl q=~°} W=fiQÆÅ=∂!
=t+¨µª_»∞ =ã¨∞=ÙʼnõΩ =∞#∞[Ü≥∂x ѨÙ@ìO_»x âßѨq∞™êÎ_»∞. WHõ¯_»
‰õÄ_® D Ѩ^•xHõ~°÷O ZÖÏ K≥áêÊe.
ã≤Q∞Æ Kæ _≥ ç =ÚYO =Ú@HõiOK«∞H˘x, ã≤Q∞Æ qæ _çz K≥|∞`å_»∞.
q^•ºi÷h q^•º~°∞÷ÖË"≥∂ J#∞‰õΩO\Ï~°∞. U^≥ÖÏ [iy`Õ Jk
[~° ∞ QÆ ∞ `« ∞ Ok. Ѩ i }Ï=∂ÖË g ∞ Ѩ \ ˜ ì O K« ∞ HÀO! HÍh
ã¨Oáê^Œ‰õΩÖˇO^Œ∞H˜ÖÏ KÕâß~°∞? ÃÑ^ŒÌ „Ѩâ◊fl.
"åiH˜ q^•º~°∞÷Å =∞#ã¨Î`«fiO `≥eÜ«∞^•! Láê^蕺ܫÚÅ
W|ƒO^Œ∞Å∞ `≥eÜ«∞"å! =∞Ç≤ÏàÏ PKå~°∞ºÅ∞ =∞QÆ Ñ≤šʼnõΩ
K≥¿ÑÊ@ѨC_»∞, ѨÙ~°∞+¨ J^蕺Ѩ‰õΩÅ∞ P_»Ñ≤šʼnõΩ K≥¿ÑÊ@ѨC_»∞ Ѩ_Õ
=∂#ã≤Hõ H∆ÀÉèí QÆ∞iOz `≥eÜ«∞^•!
W=hfl `≥e¿ã KÕâß~å! ÉèÏ~°fÜ«∞ ã¨O㨯 $uH˜ =¸Å
HõO^•Å∞QÍ ÉèÏqOKÕ ÉèÏ~°`« – ÉèÏQÆ=`« – ~å=∂Ü«∞}Ï^Œ∞Ö’¡
W@∞=O\˜ â◊$OQÍ~åOâßÅ∞O\Ï~Ú. Ѩ^Œ*ÏÅO JÖψQ LO@∞Ok,
=~°∞㨠`«Ñ≤Ê# Ãã· fi~° qǨ~°O LO@∞Ok Jx ÅHõ∆ÖÏk =∞Ok
q^•º~°∞÷ʼnõΩ `≥eã≤ "å~°∞ D ã¨O㨯 $uH˜ =ºuˆ~‰õΩÅ∞ HÍ"åÅ<Õ
L^ÕÌâ◊O`À HÍ"åÅ<Õ D áê~îåºOâ◊O ÃÑ\Ïì~å! Jx #∂\˜H˜ `˘Oɡ·
`˘q∞‡k =∞Ok J^蕺Ѩ‰õΩÅ∞ ÉèÏqã¨∞Î<åfl~°∞. (<Õh q+¨Ü«∂xfl
J^蕺Ѩ‰õΩÅ#_çˆQ „"åâß#∞.)
<åQÍ~°∞˚#, L™ê‡xÜ«∂, N "ÕOHõ>Ëâ◊fi~°, HÍHõfÜ«∞, NHõ$+¨‚
^Õ=~åÜ«∞, PO„^èŒ qâ◊fiq^•ºÅÜ«∂xH˜ ã¨O|OkèOz# (QÆ∞.Hõ$,
Platinum Platform
\˜.ÔH.P~ü, Zãπ.l._ç., Z.a., P~ü.ã≤ÃÇÏKü.P~ü, ZO.*ˇ) P~°∞æ~°∞
„á⁄ÃÑ㶠~¨ ∞° ,¡ =∞~À =ÚQÆ∞~æ ∞° _ç„w HõàÏâßÅÅ LѨ<åºã¨‰Ωõ Å∞ ã¨Oáê^ŒHõ
=∞O_»eÖ’ L<åfl~°∞. JO^Œ~°∂ É’^茉õΩÖË, â’^茉õΩÖË. Ѩiâ’^èŒ#
~°OQÆOÖ’ HÍHõÅ∞ fi#"åˆ~. HÍx "Õ∞O ZO`« ÃÑ^ŒÌ ã¨=∂*Ïxfl
K≥_»Q˘_»∞`«∞<åfl=∞x PÖ’zOK«ÖËHõáÈÜ«∂~°∞.
JÅ¡™êx ÃÑ^ŒÌ# 'ǨÏOã‘K«„Hõ ã¨O"å^ŒO— =∞~À áê~î°O.
WO^Œ∞Ö’ ã¨fi~Àz =Ú=Ùfi~°∞ ÉèÏ~°ºÅ q+¨Ü«∞O, P~°∞=O^ŒÅ
ã¨O=`«û~åÅ HÍ"≥∂ѨÉè’QÆ r=#O ã¨OQÆu, P `«~åfi`« =#^Õ=`«`À
ã¨O™ê~°O... W=hfl K«pÛ K≥_ç K≥áêÊe Hõ^•! D ѨÙ}Ϻ`«∞‡Å∞
ÃÑ\˜ì# áêáêxH˜ ѨO`«∞à◊¥§ Ñ≤Å¡Å∞ `«ÅÅ∞ =OK«∞HÀ"åeûO^Õ Hõ^•!
ѨÅ∞=Ù~°∞ WO`«∞Å`À XHõ¯x Éè’QÆ "åOKè« q=iOKÕѨC_»∞
Z=i =∂#™êÅ∞ ZÖÏ LO\Ï~Ú? XHõ"≥·Ñ¨Ù „Ѩ=~°∞_»∞, =∞~À"≥·Ñ¨Ù
ã¨fi~Àz† K≥áêÊeûOk „Ѩ=~°∞x QÆ∞iOKå! ã¨fi~Àz QÆ∞iOKå! ZO`«
Q˘Ñ¨Ê ã¨Oáê^Œ‰õΩÅ∞ g~°∞!
D ã¨Oáê^Œ‰õΩÖË Ô~O_À ã¨O=`«û~°O _ç„w ѨÙã¨ÎHÍxH˜
áê~îåÅ∞ ZOÑ≤Hõ KÕâß~°∞. H˘éq QÀѨ~åA 'âße"åǨÏ# q[Ü«∞O—
áê~î°O XHõ\ ˜, ~°Ñ¶¨Ú<å^äŒ <åÜ«∞‰õΩ_»∞ „w+¨‡~°∞Î=Ù XHõ\ ˜. D
Ô~O_çO\˜Ö’ ‰õÄ_® Jj¡Å=ÚOk. P^èŒ∞xHõ Hõq`«fiOÖ’x ^èŒ~°‡
ã¨O"å^ŒOÖ’ Jj¡Å=Ú#flk.
`≥Å∞QÆ∞ áê~îåÅhfl Jj¡Å, Jã¨Éèíº, HÍ=∞Éè’QÆ "åã¨<å
ÅOa`åÅ<Õ „ѨKå~°O „|Ǩ‡O_»OQÍ [~°∞QÆ∞`«∞#flk. `≥Å∞QÆ∞ÉèÏëê,
™êÇ≤Ï`åºÅ∞ WO`« K«O_®ÅOQÍ L<åflÜ«∞x `«∞ѨC# L"Õ∞‡ã¨∞Î<åfl~°∞.
ã¨Oáê^Œ‰õΩÅ HõO_»∞¡ K«Å¡|_ç LO\Ï~Ú. "å~°∞ `å=∞#∞H˘#flk
™êkèOKå=∞x ã¨O`«$Ñ≤Î K≥Ok LO\Ï~°∞. =ã¨∞^èŒ ^Õâ◊ Ç≤ÏO^Œ∞^Õâ◊ x"åã≤
J~Ú# ǨÏi[#∞}˜‚ J}z"Õâß~°h ǨÏi[# â◊`«HõOÖ’x JOâßÅ∞
„ѨKå~°O KÕ¿ã áê~îO° ÃÑ\˜#ì gˆ~ (Ô~O_À ã¨O=`«û~°OÖ’), D ã¨∞"å~°<Î £
Kå\˜OѨÙ=Ú rq`«O|∞ ™ê~°÷Hõº=∞QÆ∞<£—— Jx "≥Ú^Œ\ ˜ ã¨O=`«û~°O
=Ú™êѶ~¨ ∞° ÅÖ’ K≥ÑÊ≤ OKå~°∞. ã¨Oáê^Œ‰Ωõ ÖˇO`« ‰õΩǨÏ<å Ö∫H˜H"õ å^Œ∞Ö’
K«∂_»O_ç!
J@∞=O\˜ gi HõO\˜H˜ J^Õ ÉèÏ~°`O« Ö’x QÍ~°∞_ÀáêMϺ#O,
=∞$`« ã¨Or=x, â◊‰õΩO`«Ö’áêMϺ#O, ^èŒ~°‡"åº^èÀáêMϺ#O, q^Œ∞~°
h`«∞Å∞, Ü«∞Hõ„∆ Ѩâfl◊ Å∞ – WÖÏ =O^ŒÖÏk Ѷ∞¨ \ÏìÖOˇ ^Œ∞‰õΩ HõxÑ≤OK«Ö^Ë À
J~°÷O HÍ^Œ∞. HÍ"åÅ<Õ KÕâß~å! Wk Hõ∆q∞OK«~åx JѨ~å^èŒO. Wk
q^•º=∞O„u ^ŒQÆæ~°‰õΩ, =∂#=ǨωõΩ¯Å ã¨OѶ¨∞O ^ŒQÆæiH˜, „Ѩu gã≤
^ŒQÆæiH˜, „Ѩu `≥Å∞QÆ∞ âßY ÃÑ^ŒÌ `«Å ^ŒQÆæiH˜ "≥àϧeû# JOâ◊O.
WHõ JK« ∞ Û`« Ñ ¨ C Å∞, ~° K « ~ Ú`« ŠѨ i K« Ü « ∂ Ö’¡ x
Jã¨=∂#`«Å∞, ^ÀëêÅ∞ Whfl Jhfl HÍ=Ù. `«ÅÅ∞ Ѩ@∞ìH˘x PÖ’zOKÕ
ã¨=∞Ü«∞O ‰õÄ_® ÖË^Œ∞. JO`å JO>Ë D HõŇ+¨=∞O`å JO^Œi
"≥∞^Œà◊¡Ö’H˜ "≥o¡áÈ~ÚOk. =¸_»∞ ã¨O=`«û~åÅHÀ HÀ\˜ =∞Ok
Platinum Platform
q^•º~°∞÷Å∞ áê_≥·áÈÜ«∂~°∞. =¸_Õà◊√¡ K≥Ñ≤Ê# – K≥¿ÑÊ Ñ¨O`«∞à◊√¡ 'ã≤QÆ∞æ
– zq∞_ç— K«zÛáÈÜ«∂~°∞. ã¨Oáê^ŒHõ =∞Ǩâ◊Ü«ÚÖÏ~å! Hõ_»∞ѨÙÖ’
K«Å¡ Hõ^ŒÅ‰õΩO_® ‰õÄ~°∞Û#fl g∞ q+¨ =∂#™êʼnõΩ *’Ǩ~°∞¡. WHõ
Ñ≤.l. q+¨Ü«∞OÃÑ· ^Œ$+≤ì ™êi^•ÌO!
Ñ≤.l. ™ê÷~ÚÖ’ áê~îåºOâßÅ∞
Ñ≤.l. ™ê÷~ÚÖ’ `≥Å∞QÆ∞ áê~îåºOâßÅ x~°‚Ü«∂xH˜ „Ѩu
qâ◊fiq^•ºÅÜ«∂xH˜ `«#^≥·# ™⁄O`« Hõq∞\© LO@∞Ok. `≥ÅOQÍ}Ï
~åÜ«∞Åã‘=∞ HÀ™êÎ PO„^è•Å „áêOfÜ«∞ ÉèÏëê ™êÇ≤Ï`åºÅ‰õΩ
ã¨=Úz`« „áê^è•#ºO D ã≤Å|ãπÖ’ HõxÑ≤ã¨∞ÎOk. J~Ú`Õ `≥Å∞QÆ∞
™êÇ≤Ï`«ºOÃÑ· ÉèÏëêѨ~O° QÍ, "åºHõ~} ° – JÅOHÍ~° – ÉèÏëê âߢ™êÎÅ
Ѩ~°OQÍ `«# ѨÓiÎ „ѨÉèÏ"åxfl „Ѩã¨iOѨ*Ëã≤# ã¨O㨯 $`åxfl H˘xfl
qâ◊fiq^•ºÅÜ«∂Å∞ `˘ÅyOKå~Ú. H˘xfl H˘O`«"∞Õ ~°‰Ωõ `«yOæ Kå~Ú.
`«∞Å<å`«‡Hõ J^茺ܫ∂xÔH·<å ã¨O㨯 $`«O `≥Å∞QÆ∞ ZO.Z. "åiH˜
ѨiK«Ü«∞O KÕÜ«∂e.
ÉÏÅ"åºHõ~°}O, áœ_è»"åºHõ~°}O, ZO.UÖ’ ѨÓiÎQÍ
K«^Œ"åe. HÍx H˘xfl qâ◊fiq^•ºÅÜ«∂Å∞ „áœ_è»"åºHõ~°}Ïxfl
`˘ÅyOKå~Ú. =∞iH˘xfl qâ◊fiq^•ºÅÜ«∂Å∞ "åºHõ~°}Ï<Õfl SzÛùHõO
KÕâß~Ú. P^èŒ∞xHõ "å^•Åhfl ™êÇ≤Ï`«º K«i„`«Ö’ KÀ@∞KÕã≤H˘<åfl~Ú.
"å\˜H˜ `«y# áê~îåºOâßÅ∞ ‰õÄ_® áê~îåºOâßÖ’¡H˜ =KÕÛâß~Ú. J~Ú`Õ
‰õΩÅ"å^Œ, ¢ã‘Î"å^Œ, =~°æ – =~°‚ "å^•Å‰õΩ =∞s =∞s „¿Ñ~°} xzÛ
q^•º~°∞÷Å =∞^茺 zK«∞Û ÃÑ>Ëì ã≤÷u HõxÑ≤ã¨∞Î#fl^Œx H˘O^Œ~°∞
J^蕺Ѩ‰Ωõ ÅO@∞<åfl~°∞. ~å[H©Ü∞« ã≤^•úO`åÅ∞ ‰õÄ_® áê~îåºOâßÅÖ’
K˘~°|_ç q^•º~°∞÷Å UHõ`«‰õΩ QÆO_ç H˘_»∞`«∞<åflÜ«∞x H˘xfl 㨈~fiÅ∞
K≥|∞`«∞<åfl~Ú.
LѨ„â◊√u
Q˘OQÆ \ ’¡ J#flO uO@∞<åflO, "≥ O „@∞Hõ Å ∞
"Õ~°∞KÕÜ«∂eûO^Õ. LOnÖË =∞OzHÍÅO =ÚO^Œ∞ =ÚO^Œ∞# Jx
Z^Œ∞~°∞ K«∂_®eûO^Õ. áê~îåºOâßÖ’¡ LKåÛ~°}‰õΩ ã¨O|OkèOz, ÉèÏëê
tHõ}∆ XHõ\ ˜ ZHõ¯_À XHõ ^ŒQ~æÆ ° =Ú#∞‡O^Œ∞O_Õ@∞ì KÕã≤ â◊√^ÀúKåÛù~}° ‰õΩ
`≥~°fÜ«∂eû LOk. ã¨g∞Hõ∆Å#∞ ã¨q∞K«ÛÅ<Õ J^蕺Ѩ‰õΩÅ∞ `«Ü«∂~°∞
H͉õΩO_® K«∂_®eûO^Õ. Z=in ÉÏ^茺`« JO>Ë =∞#^Õ. =∞# ÉèÏ+¨
HÍ|\˜ì...
*****
197