A (Re)Treat Unexpected At Swamimalai (K4)

Continued from here.

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Fauna:

These deer appear well-fed and healthy. File shots show children holding them up and petting.

Free roaming peacocks. Every morning, grains are strewn for them to feed. Their ‘screams’ are distinctly identifiable. When this one flew in and landed overhead, it sounded like the roof was coming down crashing.

A good number of ducks, big and small, spotlessly white and hued. A few turkeys too. They are not known to stray out of the resort perimeter despite the paths open to them!

(a file shot)

One wakes up in the morning to a chorus of calls of birds of many kinds. The show is repeated for our listening pleasure in the evening hours too!

At times snakes have been sighted emerging from the bushes though there’s no record of anyone, human or animal, suffering bites anytime.

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What really makes this place unique of its kind besides re-creating the rural ambiance of the past are those hundreds of objects/artifacts, small and big, painstakingly collected over the years, on display. Would do proud to any respectable museum.

It would take days and weeks just to look at them (many inside glass cases). And to think each one has a story to tell about its life!

Here’s a very small selection for you to sample the flavor.

Gone off the road long since:

A manually pulled rickshaw. These were last seen on the roads of Kolkata? File shots show guests taking a ride.

A bullock cart, still in use in some parts of the country. I recall riding a more common mono version of it when young in Srirangam. Years ago one of our premier institutes of management even researched on bettering the wheel design to make it easier on the animals.

No idea where these were used. Perhaps the forerunner of the modern day ‘cages’ used to ferry children to school? Though looks a little fragile for the rural roads.

A deliberate design for lovers in the park? On the left are grinding stones used in kitchens.

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Creative Designs:

Actually a rain water drain pipe!

A space-saving folding chic looking crib! Uses a pantograph like link mechanism.

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Now, for the stories:

Story 1:

This is ‘Chola Boy’ napping in his own bed. Notice something? He lost his forelegs two years ago in an accident. Now he is cared for at the resort.

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Story 2:

This is an icon of Ardhanari, a male cum female form of Shiva. Will let the placard tell the story below. Info about the icon and its making is in the last para preceded by explanation on the concept of male cum female. A metalurgical marvel – the flawless icon, a SEAMLESS composite of half bronze and half copper! Incidentally Swamimalai even today sustains the art of bronze iconography. The iconographer of this piece is no more, we learnt, but his son is active today carrying on with the art.

The male and female face and crown, Observe Shiva’s flaring braids.

The male and female lower torso. Look at the different embellishments.

A close-up of the female torso.

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Story 3:

A strange but true story below, in their own words, lightly edited:

‘’…A miraculous translocation of a worthy heritage monument, The Mint Palace, from Chennai to its present location in Swamimalai. 42 trucks, 120 conservation student volunteers, 40 craft masons, 30 labour persons and about 35 days of labour, a couple of crores of rupees and a few persuasive minds doubled with tons of passion and pride. Here is the story:

An oil wick lamp, placed on the roof of the officers’ mess, which was also the then Exchange Building (now the Fort Museum), served the vessels coming into the Madras port during the 17th and 18th century for the East India Company. As technology improved, a new flashing light consisting of argand layers and reflectors were ordered from the Chance Brothers, Birmingham, UK. This was to be placed in the lighthouse tower being constructed in the present high court campus. Interestingly, even before all this, the East India Company officers were looking for a tall building along the shores of the then Madrasapattinam within their territory to embed a traditional wick lighthouse to guide their cargo carrying sailboats.

One of their suppliers and minter, by name Bhansi Lal Rai Bahadur, owned the interesting tall building near the black town. While the consideration to fix the wick lamp here was on, the British officers arrived to reject the idea of the company men and position the same within the officer’s mess along the shore.

The said house was, at that point, known as the Mint Palace, for the simple reason, the street led to the government mint. In 1742, the second mint of the Madras Presidency was established in Chindadaripet, which was shifted into Fort St. George in 1792, alongside the existing mint established in 1695. These mints were finally closed down in 1869 to make way for the Government Press. But Mint Street once known as Thangasalai remains until this day housing several gold and silver dealers.

Even though the idea of positioning the wick lamp on top of the Mint Palace failed, the provisions created on the roof for this lighthouse was left behind and not removed. The good relationship between the East India Company and the owner of the house resulted in giving him the title of Rai Bahadur. The last owner was known a Bhansi Lal Abheerseth Bahadur.

Sadly, this beautiful building was razed to the ground in 2010 to make way for sale of the land and erection of another multi-storey complex; a real-estate compulsion…the resort acquired all the pieces of this beautiful building with the deep desire to erect it at a suitable location where it would live forever. Interestingly, unlike many other buildings in Chettinad, every pillar, jali frames and woodwork has been singularly edged in Rajasthan and transported to Chennai for this unique creation. No two columns are of the same dimensions…’’

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Story 4:

A cell where Subhash Chandra Bose was held captive in erstwhile Madras is dismantled and transplanted here. The placard tells the story (above and below)

(original)

Look how spacious…fit for some of today’s politicians!

Observe the redundant bolts in the locking mechanism.

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So it goes on…stories waiting to be uncovered!

May be it’ll be you to…

This is all we could cover in the short time – an hour here an hour there over the two days we stayed – we could steal from the hustle and bustle of a traditional marriage.

The website here provides a glimpse of what the retreat has to offer besides boarding and lodging – an amazing range of participative activities in local art and culture. Also has shots of select objects and collections.

A further incentive to visit: Swamimalai is close to Darasuram, Ganga Konda Chozhapuram and Thanjai Periya Koil (Brihathiswara Temple, briefly covered here), three World Heritage Sites, treasure houses of Dravidian art and architecture.

End

PS: While the resort with its rooms, ameneties and service are plain commerce, the collection, in my view, should also get due attention with the support of trained and committed staff even if minimal.There’s room for organizing the objects better with informative placards. The general upkeep could also be tightened – saw here and there broken/damaged artifacts piled up carelessly. Some need unobtrusive touch-up. Of course it’s not easy to maintain such a large collection on daily basis without employing an army with attendant expenses. Also a nagging question: It would be sad to let the collection atrophy. Is it live and growing? Is it still a one man’s – Steve Borgia, Chairman and Managing Director, INDeco Hotels –  passion?

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A Treat Unexpected At Swamimalai (K3)

To me the word ‘Resort’ conjures up images of a row of cabins laid out around a pool, some trees and lawns thrown in, some play gear and a sand pit for children, etc. etc.

So when last week we set to Swamimalai near Kumbakonam to attend my niece’s wedding, a two-day event, I was too jaded to have any real expectations as we checked into this resort. In fact it caused me a little concern to learn it is an acclaimed, award winning hotel providing authentic living experience of bygone years – too authentic? As was in those days, did it also include hurrying all the way to nearest ‘nature’ with a bucket of water in hand to attend to its ‘call’, keeping eyes and ears open for curious small animals from the bushes sniffing around?

My concerns were grossly unjust – the accommodation was both comfortable, with all of the ‘atmosphere’ it is credited and a lot more! An experience I would love living through once again!

This was our ‘room’!

Looks exactly like our house in the village did some fifty plus years ago. In fact it’s an old dwelling in the village of Thimmakudy, acquired and renovated, preserving its original aspects as far as possible, thanks to the initiative of a ‘possessed’ individual! The door opens into a fairly large sized room with beds, chairs, tables of the kind one had seen if ever only in ancestral homes, complemented by a noiseless AC, a colour TV, a rotary-dial phone and a geyser in the bathroom.

It’s the same with every structure – residences, pathways, courtyards, halls – in the resort as seen here:

(main reception)

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As you walk along, every now and then, you’re accosted…..by an icon, often full sized, in metal, terracotta…that you cant get tired of!

(a man of village)

(a woman of village)

(a village god)

(villager with bananas)

(Bhairava, a form of Shiva?)

(Lord Muruga, the presiding deity of Swamimalai, in bronze)

(Soorya, the sun god, in his chariot pulled by seven horses)

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Walls adorned with large and beautiful pictures and frescoes painted by local talent using natural colors:

(Thiruvikrama, an avatar of Vishnu, his feet on the head of Maha Bali)

(Shiva)

(a marriage scene from Mahabharata?)

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This is not all. What puts this resort in a class of its own, to follow!

End of Part 1

The Exquisite And The Unusual At Brihathiswara Temple, Thanjavoor (K2)

This living temple, most written about, most visited, a UNESCO World Heritage Site, is one of the largest Shiva temples (Brihat in Sanskrit means ‘large’) in the south, constructed by Raja Raja Chozha between 1003 and 1010 AD. Later day enhancements came from Pandya, Nayaka, Vijayanagara and Maratha era, before the colonial era kicked in

A spectrum of Hindu temple styles continued to develop from the 5th to the 9th century over the Chalukya era rule as evidenced in AiholeBadami and Pattadakal, and then with the Pallava era as witnessed at Mamallapuram and other monuments. Thereafter, between 850 and 1280 CE, Chozha emerged as the dominant dynasty [Wiki]. This temple is a proud showcase for Chozha’s engineering and artistic skills in terms of the structures they built embellished with sculptures, murals and frescoes.

Everything about this temple is big – two-story-high Shiva-Lingam (the main deity), 25-ton-monolithic Nandi (the bull), some 60-ton-heavy dome placed on top of the main gopuram (how did they manage to get it up there and hold it in place without the structure underneath collapsing??) that, owing to its special geometry,

throws its shadow on itself and not on the ground (!) at all times of the day, the huge circumambulatory structures…and so are its myths too.

Ours was a short visit of about 90 minutes . And in no way does justice to this treasure that must be pursued at a pace with no reference to the clock, savoring its beauty in every nibble. For us the shrines were closed either for repairs or it was off-hours. The impressions here are collected during a quick round of the peripheral structures.

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A celestial being in reverential attendance – legs do not seem human like.

A richly caparisoned elephant. Zoom in to see the details including the chain girdle.

A four-armed devotee in this wall-painting, obviously a celestial being. Look, he has removed his crown while worshiping Shiva!

The beautiful bower motif, again. The damsel bending her leg back to strike a gracefully coquettish pose:

Here’s a dancer in an uncommon and vigorous arms-up pose:

You thought it’s someone licking off an a ice-cream cone? It’s a boothagana blowing a conch or some wind instrument:

Lord Muruga on his peacock mount with his two consorts – observe the sharpness of the lines in the rich details:

Here’s the vasthra-apaharana episode from the lore of Krishna – there are a few more Vaishnavite themed pieces in an essentially Shaivite temple:

Vishnu offering his sister in marriage to Shiva. Notice the plantain tree brought in for the auspicious occasion:

Amazing symmetry in placement and variety in design of the fluted columns:

What is this person doing up there?

Perhaps a marriage scene? Look at the rishi’s, the deva’s and the kings showering flower petals from above on Shiva (and his consort) – zoom in to see the details:

Here’s an elaborate floral pattern stretching seamlessly across more than one block of stone! For a moment, dont be distracted by the ugly cable running on one side:-((

At places, the blocks of stones are stacked up well without gaps or fillers despite their irregular edges that do not appear straight and horizontal or vertical!

And finally, contribution from visitors (the vandals) could not leave things alone:-((( They appear written over murals at number of places. May them rot in…

End

Damsels Showing Off At Srimushnam (K1)

At Bhu Varaha Swamy temple – referred to in Chola inscriptions of 11th century, later enhanced by kings of various dynasties of whom notable is Achuthappa Nayak (1560 – 1614 AD).

Wonder what is adorning her fore-arm! Quite unusually the dame does not seem to cover her modesty.

Look at her braids tied up by a kunjalam at the tip. Also her elaborate waist band!

The bower motif is a favorite of Nayak artists.

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Musicians and dancers reveling:

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On the way to Srimushnam:

Nice roads.

A typical village house, now a local office of some kind.

Another view of the quaint looking house.

And before us is…

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This temple with its rituals and practices serves as a shining example of religious amity between communities – muslims welcomed and honored for their participation!.

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A Home To Two Artists!

These are from V, residing in Chennai, a self-taught first-timer, having a go at Warli – a tribal art from Maharashtra – with left-over paints!

The art form, simple in its elements and color, acquires in composition an undeniable charm of its own evident in these panels.

Unfortunately, not offered for sale, not available for even public viewing – for they are painted on a wall at the back of their house!

The second artist remains unnamed, unacclaimed, prolific, the wide world his/her canvas cum gallery. Titled ‘Exuberance’ this is his/her handiwork – perhaps the palette board – in a patch tended by V herself in their front yard:

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At Chennai International Airport

As we deplaned at the international airport at Chennai – it was a domestic flight from Mumbai – and made our way to collect our baggage, on both sides of the long walk we were treated to some delightfully eye-catching high-quality art-works – panels in relief, paintings, icons carved in wood…all drawing upon the rich cultural motifs of Tamil Nadu.

And that’s when our good old Murphy’s Law kicked in. Even if the gentleman had not said anything on the subject, I’m sure you’ll know what I mean. Here was art decked out in all its splendor pining for attention and adulation, and for crying out loud, my camera-cum-cell-phone rides in my wife’s handbag, about fifty feet in the lead. Lumbering along with a particularly heavy piece of cabin baggage, I had to be content merely ogling at these art pieces, telling myself may be next time…

Finally, caught up with the lady waiting for me to join at the entrance to the baggage hall.

I set my load on the floor and told her by gestures there was a pressing matter to attend that cannot keep..

Inside the toilet, I finished the business and then by sheer chance looked up.

And saw this:

The poster art, a civic initiative, by itself made sense as the city is presently reeling under severe water shortage this year. But its juxtaposition

May be it’s a brilliant move: Where/How else a message could get undivided attention for even up to a minute or more smack in the face of an audience helplessly glued to their station and at the same time in a relieved frame of mind 🙂

Retrieved my camera and took a shot of the art to ponder over the ways of those creative minds that worked on it – a perfect brain-food 🙂

And a small compensation for not ‘capturing’ those enchanting art pieces?

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Who Is The Killer? (Concluding)

(fm Brightside.com)

Monk.. …..I think the killer is #3, because

  1. She has the easiest access to the ladies bathroom
  2. She has plenty of clothes on, which would hide wounds the victim inflicted in self-defense
  3. She has a worried look on her face
  4. The killer would likely have immediately gotten a knife after getting out of the bathroom to reduce evidence (perhaps from the guy behind her)
  5. Women get more personnel when murdering someone, because they get more emotional about that than men do. So then a woman may stab the victim, but a man would instead smother them with a pillow so they wouldn’t have to see their face.

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Donn.. ….I think it the one wearing red shirt. If you look closely enough the torn piece of his shirt is under victim. Other indicators are the victim was with the other girl. The open purse is the probably the victims. The waiter looks suspicious because he is bringing her the drink and she is gone. The girl hasn’t ordered yet Because she is waiting on her. The guy with red shirt is eating with both hands watching to see if their is any suspicions while covering up the fact he doesn’t have a knife. He is pretending to use one. Look closely to left hand. Their is nothing. He left his in the restroom.

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Dave ….., BA applied mathematics

It appears that the murder weapon was left by the body, and it appears to be a knife.

#2 and #3 have their knives.

#1 is definitely a suspect, as we can’t see whether he still has his knife. Nor can we see whether he has blood on his clothes.

The other suspect is #4. His right hand appears to be holding a fork, as most activities with a knife require both hands, one to steady the food while the other cuts or spreads. His left hand is grasping something which could be food, but doesn’t look like a knife. He appears not to have a knife. Also, his shirt is the colour of the blood.

It might have been suicide. She doesn’t have a number, but maybe the numbers are there to mislead us. The question doesn’t mention the numbers.

Therefore it could also be the server. He doesn’t have a knife.

The door is ajar. Maybe the killer has already fled.

Wait, I’ve got it! #4 is probably eating meat. That makes him an indirect killer of an animal. But, in a sense, aren’t they all then the killer?

Back to #3: The server looks surprised to see her. Maybe she has taken the victim’s seat. Maybe that’s the victim’s purse on the table. And… her knife! Maybe the garment she’s wearing was an outer garment taken from the victim. Maybe #3 isn’t even a woman.

Nope. I need more information.

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Neil ……..Could be #1 as you can’t see his table to establish whether he has a knife.

#2 and #3 clearly have knives on the table. Although it would be quite easy to grab a knife from another table.

#4 appears to be using chopsticks? He’s also in the line of sight of #2 which would be careless of he killer.

Most plausable options are the waiter as he could walk around the restaurant unnoticed. He could easily get into the ladies toilet without the patrons noticing.

however. It Is my belief that the killer or victim was sat in the chair on the vacant table, top left of the picture. The chair is slightly pulled out, which suggests its recently been vacated. (Every other chair is nearly pushed in) Also – note the ajar door top right of the image – someone has just left.

I believe the attacker was known to the victim. Stabbing like this is a passionate crime. (Probably a cheating husband involved) and lack of defensive wounds suggests the attacker could get close to the victim.

TL:DR – the killer left the restaurant through the open door and isn’t on site. (Who stays behind to finish their pasta salad after killing someone?!)

source: I watch tv.

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Finally Adam ………

So it was!

As much as solving the puzzle, it was fun to follow the loud thinking!

End