Latest news with #Kalinga
Time of India
a day ago
- Politics
- Time of India
Unesco tag eludes tarakasi, Pipili applique, pattachitra
1 2 3 4 Bhubaneswar: Despite Odisha's globally renowned indigenous art forms like pattachitra, Pipili appliqué work, tarakasi silver filigree, and dhokra metal casting, none of them are officially recognised by Unesco or included in India's national intangible heritage list so far, the Union culture ministry informed the Lok Sabha on Monday. Responding to a question raised by BJP MP Sangeeta Kumari Singh Deo, Union culture and tourism minister Gajendra Singh Shekhawat said no proposal for the inclusion of these art forms is currently under consideration by the ministry. The Sangeet Natak Akademi (SNA), the nodal agency for intangible cultural heritage (ICH), only examines nominations received from communities and stakeholders before forwarding them to Unesco for evaluation. "As per the prescribed procedure, state parties are required to submit a detailed nomination dossier of the concerned ICH element for evaluation by the Intergovernmental Committee of Unesco. At present, no such proposal is pending consideration with the ministry," the minister said. The question also sought district-wise data on artisan households and cultural clusters involved in heritage crafts in Odisha, particularly in Cuttack, famous for tarakasi, Pipili noted for appliqué work, and Sambalpur known for handloom weaving and Dhokra art. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 5 Books Warren Buffett Wants You to Read In 2025 Blinkist: Warren Buffett's Reading List Undo However, the ministry's reply did not provide this information. The culture ministry also remained non-committal on whether it is considering setting up a National Centre for Kalinga Art and Architecture, a proposed institution to promote research, exhibitions, and documentation of Odisha's distinctive temple design legacy. The idea was floated to give academic and cultural impetus to Odisha's architectural contributions, especially the famed Kalinga style seen in temples, Singh Deo said. Odisha's artists and cultural practitioners have long demanded both national recognition and global exposure for their traditional crafts. "Many of these art forms are passed down through generations and are currently struggling due to lack of institutional support, funding, and market access. Including these crafts in Unesco's heritage list or the national ICH inventory could open doors for preservation grants, training programmes, and global promotion, giving the artisans much-needed economic stability," said Pradip Kumar Mishra, former secretary of Odisha Sangeet Natak Academy.
India.com
2 days ago
- India.com
From Somnath To Kedarnath: 12 Iconic Shiva Temples Every Devotee Should Visit — Not Just Kashi Vishwanath!
Pilgrimage isn't always about reaching a temple. Sometimes, it's about what the journey reveals. When the conch echoes through the air, when the scent of sandalwood mixes with mountain mist or ocean breeze, something ancient awakens. And Shiva temples—more than monuments—become moments of stillness. Most pilgrims rush to the famous Kashi Vishwanath, say a prayer, and leave with a tika on their forehead. But what if we told you: devotion isn't in the destination. It's in the detours. In a country where every river seems sacred and every mountain feels sentient, there are Shiva temples that don't just ask for your prayers—they ask for your patience, your silence, and sometimes your surrender. Let's begin the yatra. Not just through geography—but through emotion. Through myth. Through energy. What makes Shiva temples so different from other spiritual sites? It's not just the god. It's the energy. Shiva isn't worshipped with fear. He's approached with rawness. With intensity. He accepts the wild, the wandering, the wounded. These temples—often tucked into jungles, perched on cliffs, or sunk into time—don't need fancy gopurams to be grand. They hold their power in rock and ash. In lingas worn smooth by centuries of touch. Unlike temples that dazzle with gold, Shiva's shine comes from simplicity. A water pot dripping slowly on a black stone. A bell tied with hope. A chant echoing off cold walls. Here, you don't just find god. You lose yourself. Tired of temple queues? These Shiva shrines invite the seeker in you 1. Somnath, Gujarat – The Eternal Flame of the West Not just a temple. A and rebuilt over 17 times, Somnath stands as a symbol of land meets the Arabian Sea, the linga faces the ocean—as if Shiva is meditating on infinity at dusk. Watch the waves. Light a diya. Say nothing. 2. Kedarnath, Uttarakhand – Where Stones Breathe At 11600 feet, this isn't a temple. It's a deep in the Himalayas, Kedarnath asks for every ounce of devotion and climb is long. The air is thin. The silence is when you see the linga, shrouded in mist and snow, your soul kneels before your body does. 3. Brihadeeswarar, Thanjavur – Shiva in Stone and Scale Built by the Cholas, this massive temple isn't just about size—it's about scale of every carving breathes mythology. Every corridor hums with 216-foot tower was built without scaffolding. The shadow never falls on the smiles through geometry. 4. Lingaraj Temple, Bhubaneswar – The City That Worships Every Stone Bhubaneswar isn't home to one Shiva temple. It is Lingaraj is the crown jewel. Built in Kalinga style, its towering spire watches over a thousand smaller architecture becomes an offering. 5. Baidyanath Dham, Jharkhand – Healing in Every Drop Also known as Baba Dham, this jyotirlinga is believed to have the power to walk barefoot from Sultanganj carrying holy Ganga this ritual of pain and prayer, the body becomes the offering. 6. Mahakaleshwar, Ujjain – Time Stops Here This temple doesn't just house a linga. It houses is the lord of death and time, and here the aarti is performed in the early hours—when the world is Bhasma Aarti, where the linga is smeared with sacred ash, is both haunting and holy. 7. Tarakeshwar, West Bengal – The Shiva of Farmers and Faith Not far from Kolkata, this temple is raw and may not be grand in design, but it throbs with daily in saffron chant 'Bol Bam,' women offer hibiscus flowers. Here, devotion is unfiltered. 8. Trimbakeshwar, Maharashtra – Where the God Has Three Faces Located near Nashik, this jyotirlinga represents creation, preservation, and destruction—Brahma, Vishnu, and temple architecture holds secret meanings. The rituals feel ancient and the nearby Godavari river adds grace to gravity. 9. Amarnath Cave, Jammu & Kashmir – The Ice That Melts the Ego This is not just a trek. It's in the Himalayas, an ice linga forms naturally every snowstorms and steep climbs, lakhs arrive with chants of 'Har Har Mahadev.'The cave teaches you: the coldest places can carry the warmest faith. 10. Nageshwar, Gujarat – The Silent Guardian of the Coast Another jyotirlinga that guards the western massive Shiva statue outside is a landmark, but the real power lies in the small, silent sanctum the loudest strength is quiet. 11. Kal Bhairav, Varanasi – Where Shiva Drinks Whiskey A fierce form of Shiva, Bhairav accepts offerings of in the heart of Varanasi, this temple is unusual, intense, and here, doesn't follow rules. It breaks them, then bows. 12. Rameshwaram, Tamil Nadu – The Bridge Between Two Lands Here, mythology meets believed that Rama prayed to Shiva here before crossing to temple corridors stretch endlessly. The 22 wells inside offer water from different is where north meets south. Where stories walk with you. Why explore these temples? Isn't devotion personal? Exactly. And that's why these places matter. Shiva's shrines don't demand rituals. They demand aren't always comfortable. Some are remote. Some are chaotic. Some are that discomfort breaks something open. Ego. Hurry. Noise. What these temples offer is not just darshan. It's a doorway. A moment to sit by a rock dripping with ghee and feel time drip too.A chance to ring a bell not out of habit—but out of look up at a shikhara piercing the sky and feel your spine straighten. Practical Tips: How to Do a Shiva Temple Trail Like a Seeker Travel light but trueCarry cotton clothes, extra patience, and less expectation. Ask localsGoogle may show the road. But locals show the route. Go slowA temple seen in a rush is just stone. A temple felt slowly becomes soul. Respect silenceNot every chant must be loud. Some of the strongest prayers are whispered. The hidden economy of these holy sites Every time you buy prasad from a small shop Every time you sleep in a dharamshala instead of a hotel Every time you ride a shared jeep instead of a luxury cab You are keeping these towns alive. You're choosing real over telling the next generation: this heritage still matters. So what's stopping you? A remote location? A tough climb? A language you don't know? Good. Shiva never made things easy. He made them honest. While others wait for holidays to post travel reelsYou could be bowing before a linga that watched kings come and goYou could be walking barefoot on temple stone still warm from centuries of faith Final Thoughts Don't just visit Shiva. Let Shiva visit Somnath's sea to Kedarnath's snow, each shrine is a syllable in a mantra older than it. Whisper it. Witness it. Because temples don't just hold hold the stories of those who walked before youAnd the promise of those who will come after.
The Hindu
18-07-2025
- The Hindu
King Rajendra Chola's military expedition to the Gangetic plains that inspired the building of Gangaikonda Cholapuram
The stone edifice of Gangaikonda Cholisvaram, the Shiva temple more famously known as the Brihadisvara Temple, dominates the skyline of the Gangaikonda Cholapuram, a nondescript village in Udayarpalayam taluk of Ariyalur district in Tamil Nadu. It is hard to believe that the place was a throbbing capital of the Imperial Cholas for about 250 years. The city, its temple, and its massive lake called Chola Gangam remain the embodiment of the signal achievements of Rajendra Chola I (regnal years 1012-1044 CE). Rajendra Chola I is famed for his exploits, but his military expedition to the Gangetic plains about a thousand years ago remains one of the most celebrated in the history of the Chola dynasty. The Tiruvalangadu, Esalam, and Karanthai Copper Plates, several inscriptions, and literary works celebrate his victory and the construction of the Brihadisvara Temple, listed as one of the three great living Chola temples by UNESCO. Rajendra himself celebrated the victory by assuming the title 'Gangaikonda Cholan'. He also built Gangaikonda Cholapuram, along with the Gangaikonda Cholisvaram — the jewel in his crown that rivals the Rajarajeswaram (also known as Brihadisvara Temple) built by his father in Thanjavur — and the Chola Gangam, excavated as a jalasthambam, a liquid pillar of victory. Water from the Ganga During the expedition to the Gangetic plains, Rajendra Chola I defeated several kings and chieftains, including the Kalinga ruler and the Pala ruler Mahipala of Bengal. According to the Tiruvalangadu Copper Plates, the vanquished kings were made to carry the Ganga water on their heads to Gangaikonda Cholapuram. The water was poured into the Chola Gangam, now known as Ponneri. Rajendra Chola I also brought several beautiful Chalukya and Kalinga sculptures as war trophies. But why did Rajendra Chola I shift his capital from Thanjavur? Many historians believe that one of the reasons could be that he wanted a bigger well-planned city to accommodate his huge army and serve his mercantile interests better. R. Nagasamy, the first Director of the Tamil Nadu State Department of Archaeology, however, holds an interesting view. Rajendra Chola I, he says, probably had a 'sentimental attachment' to the place which inspired him to attain phenomenal success, though it was unheard of even as a village when he came to the throne. 'Tanjavur had been the Chola capital ever since it had been captured from the Muttaraiya chieftains by Vijayalaya... Tanjavur served the interests of the Cholas well... Yet, within a few years of the erection of the great temple [Rajarajeswaram] and within a few years of his [Raja Raja I] passing, his son, Rajendra, shifted his capital to Gangaikonda Cholapuram. Was this because Gangaikonda Cholapuram served strategic purpose better than Tanjavur (but Tanjavur had better claims with its fortifications and natural river barriers)! No answer is possible except for a suggestion that it was probably here that Rajendra resolved to despatch a military expedition to the Gangetic plain,' says Nagasamy in his book, Gangaikondacholapuram, published by the department in 1970. Gangaikonda Cholapuram remained the capital from 1025 CE till the fall of the Chola dynasty till 1279 CE. 'As the capital of the Cholas from about 1025 AD for the about 250 years, the city controlled the affairs of entire south India, from the Tungabhadra in the north to Ceylon in the south,' says Nagasamy. It was the second largest and important city in the 11th-12th Centuries and the centre of political, commercial and cultural activities, like Madurai in Pandyanadu and Karur in Cheranadu, says Natana Kasinathan, another former Director of the Department of Archaeology. Yet, there is no inscription of Rajendra Chola I in the Gangaikonda Cholapuram temple, a spectacular gallery of Chola art and architecture. It is from an inscription of his son Vira Rajendra that it is known that his father had built the temple. Details about the palace and other parts of the city are found in the epigraphs of Rajendra's successors, says Kasinathan in his book, The Metropolis of Medieval Cholas. The inscription of Vira Rajendra, the third son of Rajendra, refers to the palace at Gangaikonda Cholapuram as Chola-Keralan Thirumaaligai, evidently named after one of the titles of Rajendra I. Bustling city once Gangaikonda Cholapuram had been a bustling city with a fort, palaces, and well-planned streets. 'In an inscription dated in the 49th year of Kulottunga (1119 AD,) a reference is made to Gangaikondachola maaligai at this place. It is likely that there were more than one royal building, each having its own name. Besides, the names of the palace and fort walls, the names of a few roads and streets are preserved in the epigraphs,' says Kasinathan. The city is celebrated in Tamil literature too. An elaborate description of the citadel comes from Muvar Ula of Ottakuttar. Rajaraja Cholan Ula gives an account of almost all the important places of the city. The city is referred to as Gangapuri in Kalingattuparani, composed by Jayankondar. Though there have been attempts to excavate and showcase the past glory of the city in the recent times, the fortunes of Gangaikonda Cholapuram seems to have come a full circle. 'This capital of the most powerful empire in Asia at one time is now desolate, only the temple survives. To those who know of the brilliant history of the Chola empire, it is a tragedy,' writes Nagasamy. As he explains, the Pandyas, who put an end to the Chola empire in the 13th Century, avenging their defeats, 'should have razed the city to the ground'. One thousand years have passed since the sacred Ganga water was brought to this city, and the millennium deserves to be commemorated as a fitting tribute to the emperor who founded the city, says R. Komagan, chairman, Gangaikonda Cholapuram Development Council Trust.
The Hindu
18-07-2025
- The Hindu
A military expedition to the Gangetic plains that inspired a Chola capital
The stone edifice of Gangaikonda Cholisvaram, the Shiva temple more famously known as the Brihadisvara Temple, dominates the skyline of the Gangaikonda Cholapuram, a nondescript village in Udayarpalayam taluk of Ariyalur district. It is hard to believe that the place was a throbbing capital of the Imperial Cholas for about 250 years. The city, its temple, and its massive lake called Chola Gangam remain the embodiment of the signal achievements of Rajendra Chola I (regnal years 1012-1044 CE). Rajendra Chola I is famed for his exploits, but his military expedition to the Gangetic plains about a thousand years ago remains one of the most celebrated in the history of the Chola dynasty. The Tiruvalangadu, Esalam, and Karanthai Copper Plates, several inscriptions, and literary works celebrate his victory and the construction of the Brihadisvara Temple, listed as one of the three great living Chola temples by UNESCO. Rajendra himself celebrated the victory by assuming the title 'Gangaikonda Cholan'. He also built Gangaikonda Cholapuram, along with the Gangaikonda Cholisvaram — the jewel in his crown that rivals the Rajarajeswaram (also known as Brihadisvara Temple) built by his father in Thanjavur — and the Chola Gangam, excavated as a jalasthambam, a liquid pillar of victory. Water from the Ganga During the expedition to the Gangetic plains, Rajendra Chola I defeated several kings and chieftains, including the Kalinga ruler and the Pala ruler Mahipala of Bengal. According to the Tiruvalangadu Copper Plates, the vanquished kings were made to carry the Ganga water on their heads to Gangaikonda Cholapuram. The water was poured into the Chola Gangam, now known as Ponneri. Rajendra Chola I also brought several beautiful Chalukya and Kalinga sculptures as war trophies. But why did Rajendra Chola I shift his capital from Thanjavur? Many historians believe that one of the reasons could be that he wanted a bigger well-planned city to accommodate his huge army and serve his mercantile interests better. R. Nagasamy, the first Director of the Tamil Nadu State Department of Archaeology, however, holds an interesting view. Rajendra Chola I, he says, probably had a 'sentimental attachment' to the place which inspired him to attain phenomenal success, though it was unheard of even as a village when he came to the throne. 'Tanjavur had been the Chola capital ever since it had been captured from the Muttaraiya chieftains by Vijayalaya... Tanjavur served the interests of the Cholas well... Yet, within a few years of the erection of the great temple [Rajarajeswaram] and within a few years of his [Raja Raja I] passing, his son, Rajendra, shifted his capital to Gangaikonda Cholapuram. Was this because Gangaikonda Cholapuram served strategic purpose better than Tanjavur (but Tanjavur had better claims with its fortifications and natural river barriers)! No answer is possible except for a suggestion that it was probably here that Rajendra resolved to despatch a military expedition to the Gangetic plain,' says Nagasamy in his book, Gangaikondacholapuram, published by the department in 1970. Gangaikonda Cholapuram remained the capital from 1025 CE till the fall of the Chola dynasty till 1279 CE. 'As the capital of the Cholas from about 1025 AD for the about 250 years, the city controlled the affairs of entire south India, from the Tungabhadra in the north to Ceylon in the south,' says Nagasamy. It was the second largest and important city in the 11th-12th Centuries and the centre of political, commercial and cultural activities, like Madurai in Pandyanadu and Karur in Cheranadu, says Natana Kasinathan, another former Director of the Department of Archaeology. Yet, there is no inscription of Rajendra Chola I in the Gangaikonda Cholapuram temple, a spectacular gallery of Chola art and architecture. It is from an inscription of his son Vira Rajendra that it is known that his father had built the temple. Details about the palace and other parts of the city are found in the epigraphs of Rajendra's successors, says Kasinathan in his book, The Metropolis of Medieval Cholas. The inscription of Vira Rajendra, the third son of Rajendra, refers to the palace at Gangaikonda Cholapuram as Chola-Keralan Thirumaaligai, evidently named after one of the titles of Rajendra I. Bustling city once Gangaikonda Cholapuram had been a bustling city with a fort, palaces, and well-planned streets. 'In an inscription dated in the 49th year of Kulottunga (1119 AD,) a reference is made to Gangaikondachola maaligai at this place. It is likely that there were more than one royal building, each having its own name. Besides, the names of the palace and fort walls, the names of a few roads and streets are preserved in the epigraphs,' says Kasinathan. The city is celebrated in Tamil literature too. An elaborate description of the citadel comes from Muvar Ula of Ottakuttar. Rajaraja Cholan Ula gives an account of almost all the important places of the city. The city is referred to as Gangapuri in Kalingattuparani, composed by Jayankondar. Though there have been attempts to excavate and showcase the past glory of the city in the recent times, the fortunes of Gangaikonda Cholapuram seems to have come a full circle. 'This capital of the most powerful empire in Asia at one time is now desolate, only the temple survives. To those who know of the brilliant history of the Chola empire, it is a tragedy,' writes Nagasamy. As he explains, the Pandyas, who put an end to the Chola empire in the 13th Century, avenging their defeats, 'should have razed the city to the ground'. One thousand years have passed since the sacred Ganga water was brought to this city, and the millennium deserves to be commemorated as a fitting tribute to the emperor who founded the city, says R. Komagan, chairman, Gangaikonda Cholapuram Development Council Trust.
Indian Express
15-07-2025
- Entertainment
- Indian Express
Producers asked why I was making Shah Rukh Khan's Asoka where no one wins, recalls Santosh Sivan: ‘Kareena Kapoor wasn't available during war scenes'
Although the movie did not achieve massive critical or commercial success upon release, despite the presence of Shah Rukh Khan and Kareena Kapoor in the lead roles, director Santosh Sivan's Asoka (2001) has garnered something of a cult following over the years. However, the cinematographer-turned-filmmaker recently revealed that making Asoka was not an entirely pleasant experience for him. 'When I was gearing up to make Asoka, I was asked by the people producing it, 'Why do you want to make a film where no one wins the war? If I am watching a war film between the Germans and the English, I would want the English to win. Someone has to be winning.' You can't make a film where no one wins, it's a draw, or there's no outcome.' So, a lot of people did not want me to get into it (the film) because it wasn't very commercial. But I thought that the story was very interesting. I also wanted to take Asoka and split him into someone who's very romantic, especially when there's a monsoon and it's misty,' he said during a chat with a YouTube channel. Speaking about filming the scenes depicting the Kalinga war, Santosh noted that it was particularly challenging, especially with big stars involved. 'Kareena was not available when we were shooting the war. So, I had to shoot most of it in Film City. All those things happened. You have to adjust and, of course, try to work it out,' he added. While Shah Rukh Khan depicted Asoka, the Emperor of Magadha and the third ruler of the Mauryan dynasty, who played a pivotal role in the spread of Buddhism across ancient Asia, Kareena Kapoor portrayed Karuvaki, the 'second Queen Consort' of Asoka. The film also starred Danny Denzongpa, Rahul Dev, Hrishitaa Bhatt, Gerson Da Cunha, Subhashini Ali and Umesh Mehra in key roles, with a special appearance by Tamil star Ajith Kumar. Asoka featured cinematography by Santosh Sivan himself, editing by A Sreekar Prasad, music by Anu Malik and a background score by Sandeep Chowta.
