AALAVAI - Tamil Heritage FoundationTamilTamil--Brahmi inscriptions are important not only in t Brahmi inscriptions are important not only in the histohe history of Tamil Nadu ry of

AALAVAIAALAVAIAALAVAIAALAVAIAALAVAIAALAVAIAALAVAIAALAVAI

ஆலவாஆலவா

AalavaiAalavai K R A NarasiahK R A Narasiah 11

AALAVAIAALAVAIAALAVAIAALAVAIAALAVAIAALAVAIAALAVAIAALAVAIRESEARCHING FOR WRITING RESEARCHING FOR WRITING

THE BOOK AALAVAITHE BOOK AALAVAIஆலவா ஆ வி ேபாஆலவா ஆ வி ேபா

AALAVAI AALAVAI –– THE BOOKTHE BOOK


THE NAME MADURAITHE NAME MADURAI

�� ச க இல கய தி ம ைரச க இல கய தி ம ைர, , மாதிைரமாதிைர, , மதிைரமதிைர, , எ ேற எ ேற றி பிட ப கிறறி பிட ப கிற ..

�� க ெதாைக க ெதாைக 2323, , 9696 பாட களிபாட களி�� சி பாணா பைடயி சி பாணா பைடயி 6767 பாடபாட


�� சி பாணா பைடயி சி பாணா பைடயி 6767 பாடபாட�� பாிபாடபாிபாட ,,�� றநா றி சில பாட களி றநா றி சில பாட களி

ம ைர காண சியி ஒ இட திம ைர காண சியி ஒ இட தி , , ((6969 வவ ) ) காண ப கிறகாண ப கிற

�� ம றப ட எ றெபயேர காண ப கிறம றப ட எ றெபயேர காண ப கிற ..

அ��தசா�திரஅ��தசா�திர

�� அ தசா திர தி அ தசா திர தி 44 வ அ தியாய தி இர டாவ வ அ தியாய தி இர டாவ இயஇய , , ம ைர றி பிட ப ளம ைர றி பிட ப ள ..

�� ““In the centre of the city . . . The above In the centre of the city . . . The above Goddess Goddess MadiraMadira ((MadiraMadira Graham)Graham) is is situated” situated” -- from the translation of from the translation of SamaSama


Goddess Goddess MadiraMadira ((MadiraMadira Graham)Graham) is is situated” situated” -- from the translation of from the translation of SamaSamaSastrySastry

க�ெவ��களி� ம�ைர எ� ெபய�க�ெவ��களி� ம�ைர எ� ெபய�

�� ேம இர க ெவ கேம இர க ெவ க : : கிகி. . . . 22 றா ைட ேச தைவறா ைட ேச தைவ

�� அமண மதிைர அ திர உைற உதயனஸஅமண மதிைர அ திர உைற உதயனஸ�� அ திர எ ற மதிைரைய ேச த சமண னி அ திர எ ற மதிைரைய ேச த சமண னி

உதயனி உபயஉதயனி உபய�� "["[மம]]திர அ ைத திர அ ைத [[விவி]]ஸுவஸுவ " " மதிைரய ேச த மதிைரய ேச த


�� "["[மம]]திர அ ைத திர அ ைத [[விவி]]ஸுவஸுவ " " மதிைரய ேச த மதிைரய ேச த அ ைத விஸுவஅ ைத விஸுவ

�� அழக மைல அழக மைல 22 க ெவ கக ெவ க ::�� ""மதிர ெபா ெகா வ அத அதமதிர ெபா ெகா வ அத அத " "

மதிைரைய ேச த ெபா ெகா ல அத மதிைரைய ேச த ெபா ெகா ல அத �� ""ம திைரேகம திைரேக" (" (ம ைரைய ேச தம ைரைய ேச த))

INSCRIPTIONS INSCRIPTIONS --UNDERSTANDINGUNDERSTANDING


A trip to mamandur to understand the TB script and A trip to mamandur to understand the TB script and methodology to be adoptedmethodology to be adopted

LEARNING THE SCRIPTLEARNING THE SCRIPT


CAVES WITH TAMIL BRAHMI CAVES WITH TAMIL BRAHMI INSCRIPTIONSINSCRIPTIONS

�� The caves are naturally occuring rock shelters, The caves are naturally occuring rock shelters, formed under overhanging boulders.formed under overhanging boulders.

�� A drip ledge is cut in the brow to protect the A drip ledge is cut in the brow to protect the cave from rain water.cave from rain water.


cave from rain water.cave from rain water.

�� Inside narrow stone beds are carved with raised Inside narrow stone beds are carved with raised rocks for pillows.rocks for pillows.

�� Post holes are carved for erecting light roofs.Post holes are carved for erecting light roofs.

�� Drinking water is obtained from springs nearby. Drinking water is obtained from springs nearby.

MAMANDUR JAIN CAVE MAMANDUR JAIN CAVE

INSCRIPTIONINSCRIPTION


kaniman கணிமா�

THE SCRIPTTHE SCRIPT

The hill of Kaniman

the chieftain who took

Tenur. Ciru. .van the

carpentar made the

props.


Tenur tanta kon kunru [|*] aci

Ceyitan tacan ciru

van

ேத�� த த ேகா� !�" ஆசி

ெசயிதா� தச� சி"

õ¡

THE TEXTTHE TEXT

�� கணிமா�கணிமா�� ேத�� த த ேகா� !�" ஆசிேத�� த த ேகா� !�" ஆசி�� ெசயிதா� தச� சி"ெசயிதா� தச� சி"

�� The hill of Kaniman, the chieftain, who The hill of Kaniman, the chieftain, who


�� The hill of Kaniman, the chieftain, who The hill of Kaniman, the chieftain, who

took Tenur. Ciru . . Van the carpenter took Tenur. Ciru . . Van the carpenter

made the propsmade the props

IRAVATHAM SAYSIRAVATHAM SAYS

�� TamilTamil--Brahmi inscriptions are important not only in the history of Tamil Nadu Brahmi inscriptions are important not only in the history of Tamil Nadu and the rest of South India but for the whole country. They have many and the rest of South India but for the whole country. They have many unique distinctions. They are the oldest writings in any Dravidian language. unique distinctions. They are the oldest writings in any Dravidian language. They are also the oldest Jaina inscriptions in India. They are also the oldest Jaina inscriptions in India.

�� Iravatham believes that the Mankulam TamilIravatham believes that the Mankulam Tamil--Brahmi inscription of [Pandyan Brahmi inscription of [Pandyan king] Nedunchezhiyan is older than the Karavela inscription at Udayagiri in king] Nedunchezhiyan is older than the Karavela inscription at Udayagiri in Orissa. Orissa.


�� TamilTamil--Brahmi inscriptions are the only record of the old Tamil, the one prior Brahmi inscriptions are the only record of the old Tamil, the one prior to Sangam poetry. Many Tamilto Sangam poetry. Many Tamil--Brahmi inscriptions are important landmarks Brahmi inscriptions are important landmarks in our history. For example, the inscriptions of Nedunchezhiyan at in our history. For example, the inscriptions of Nedunchezhiyan at Mankulam, the Irumporai inscriptions at Pugalur near Karur and the Jambai Mankulam, the Irumporai inscriptions at Pugalur near Karur and the Jambai inscription of Adhiyaman Neduman Anji link the Sangam age with the Tamilinscription of Adhiyaman Neduman Anji link the Sangam age with the Tamil--Brahmi age. It is the Jambai inscription that prove that the “Satyaputo” Brahmi age. It is the Jambai inscription that prove that the “Satyaputo” mentioned by Asoka was none other than the Adhiyaman dynasty, which mentioned by Asoka was none other than the Adhiyaman dynasty, which ruled from Tagadur, modern Dharmapuri ruled from Tagadur, modern Dharmapuri

TAMIL BRAHMI INSCRIPTIONSTAMIL BRAHMI INSCRIPTIONS

�� Iravatham’s early observations showed Iravatham’s early observations showed 74 74 Early T/B and Vattezhuthu Inscs.Early T/B and Vattezhuthu Inscs.

�� Early periodEarly period 2 2 –– 1 1 cent. BCcent. BC

�� Middle periodMiddle period 1 1 –– 2 2 cent. ADcent. AD


�� Middle periodMiddle period 1 1 –– 2 2 cent. ADcent. AD

�� Late periodLate period 3 3 –– 4 4 cent. ADcent. AD

�� Early Vattezhuthu Early Vattezhuthu 5 5 -- 6 6 cent. ADcent. AD

�� This was observed by him in This was observed by him in 1966 1966 and and later he has listed later he has listed 121 121 inscs.inscs.

JAIN CAVES AROUND MADURAIJAIN CAVES AROUND MADURAI

�� majority of the early Jain caves are found around Madurai. majority of the early Jain caves are found around Madurai.

�� There are about twentysix caves with several stone beds in places There are about twentysix caves with several stone beds in places like like

�� Anaimalai, Anaimalai, Alagarmalai, Alagarmalai,

�� Arittapatti, Arittapatti, Tiruparankundram, Tiruparankundram,

�� Muttupatti, Muttupatti, Vikramangalam, Vikramangalam,

�� Karungalakkudi, Karungalakkudi, Kilavalau, Kilavalau,


�� Karungalakkudi, Karungalakkudi, Kilavalau, Kilavalau,

�� Kongarpuliyankulam, Kongarpuliyankulam, Mankulam, Mankulam,

�� Tiruvatavur and Tiruvatavur and Varichiyur Varichiyur ––

�� all situated within a radius of 20 miles from all situated within a radius of 20 miles from Madurai townMadurai town. The . The brahmi brahmi records inscribed on these early monuments, generally, records inscribed on these early monuments, generally, assigned to the 2nd assigned to the 2nd -- 1st centuries BC., refer to the names of the 1st centuries BC., refer to the names of the resident monks as well as the laity who caused stone beds to be cut. resident monks as well as the laity who caused stone beds to be cut.

THIRUVADAVUR THIRUVADAVUR (Ova malai hill)(Ova malai hill)

�� This hill is situated close to Thiruvadavur This hill is situated close to Thiruvadavur but finding it was a problem as great but finding it was a problem as great amount of quarrying is going on around amount of quarrying is going on around and finding and reaching the spot was and finding and reaching the spot was


and finding and reaching the spot was and finding and reaching the spot was quite difficult.quite difficult.

�� I was helped by Dr. Santhalingam of TNSA I was helped by Dr. Santhalingam of TNSA deptt.,deptt.,

OVA MALAI OVA MALAI

�� The roughly hewn The roughly hewn steps leading to the steps leading to the cave cave

�� The inscription The inscription


The inscription The inscription belongs to belongs to 22ndnd cent cent BC. The inscription is BC. The inscription is on the brow of the on the brow of the lower cave above the lower cave above the drip ledge.drip ledge.

OVAMALAIOVAMALAI


ONE LINE IS ABOVE DRIP LEDGE ONE LINE IS ABOVE DRIP LEDGE AND TWO LINES ARE BELOWAND TWO LINES ARE BELOW

பா$காட அ� இத� கா��பிேதா�


உபச� ப� அ(

உைற ெகா��பிேதா�

THE TEXTTHE TEXT

�� There are three lines; one above and two below the drip There are three lines; one above and two below the drip ledge:ledge:

�� PankataPankata arar--itanitan kottupitonkottupiton�� பா காட அ இத கா பிேதாபா காட அ இத கா பிேதா�� AritanAritan of of pankatpankat(u) caused this to be carved.(u) caused this to be carved.


�� AritanAritan of of pankatpankat(u) caused this to be carved.(u) caused this to be carved.�� UpacanUpacan parpar--acuacu�� UraiUrai kottupitonkottupiton�� உபச ப அஉபச ப அ�� உைற ெகா பிேதாஉைற ெகா பிேதா

KONGARPULIYANKULAMKONGARPULIYANKULAM


KURA KOTUPITHAVAN UPA CAN UPARUVAN

!ற ெகா�பிதவ� உபஅச� உப"வ[�]

Upparuva(n), the preceptor, caused to be given (this) cutting.

AANAIMALAI JAIN CAVEAANAIMALAI JAIN CAVE


THE STONE BEDS IN THE CAVETHE STONE BEDS IN THE CAVE


The sculpted figures on the rock The sculpted figures on the rock face above the caveface above the cave

�� In Aanaimalai these In Aanaimalai these figures very clear and figures very clear and show that they have show that they have defied timedefied time

�� For centuries they For centuries they


�� For centuries they For centuries they have stood the have stood the nature’s fury and the nature’s fury and the heat heat

�� There was no attempt There was no attempt to disfigure any of to disfigure any of them them

INSCRIPTION INSCRIPTION -- THE CAVE THE CAVE 2 2 cent ADcent AD

�� Iva Kunratu uraiul Iva Kunratu uraiul patantan eri aritanpatantan eri aritan

�� Attuvai aratu kayipanAttuvai aratu kayipan

�� In the abode (of In the abode (of ascetics ) at ascetics ) at


ascetics ) at ascetics ) at Ivakunra(m) : the Ivakunra(m) : the venerable aritan of Eri venerable aritan of Eri (and) aratta kayipan (and) aratta kayipan the expounder of of the expounder of of meaning (of the meaning (of the scriptures)scriptures)

VIEW OF THE CAVEVIEW OF THE CAVE


MAHAVIRAR IN AANAIMALAIMAHAVIRAR IN AANAIMALAI

�� This figure attracts This figure attracts our attention since our attention since the colours seen are the colours seen are still intact!still intact!

�� The figure is still in its The figure is still in its


�� The figure is still in its The figure is still in its original beauty.original beauty.

�� There was no attempt There was no attempt to disfigure these to disfigure these sculptures, which is sculptures, which is important to note.important to note.

LATER VATTEZHUTHU LATER VATTEZHUTHU INSCRIPTIONINSCRIPTION


Dated to 9 – 10 cent., these are grants by later pandyas

JAINISM AND SAIVISMJAINISM AND SAIVISM

�� During the research there were material, During the research there were material, published and widely read that spoke published and widely read that spoke about subjugation of Jain monks and their about subjugation of Jain monks and their belief.belief.


belief.belief.

�� Many evidences are shown in the form of Many evidences are shown in the form of literary works and paintings.literary works and paintings.

�� It was said that It was said that 88,,000 000 Jain monks were Jain monks were killed after the debate with Sambandar.killed after the debate with Sambandar.

REPORTED IMPALEMENT OF JAINSREPORTED IMPALEMENT OF JAINS

�� Some believe that Jain monks were Some believe that Jain monks were persecuted and impaled.persecuted and impaled.

�� In fact the reports say that 8000 jains In fact the reports say that 8000 jains were implaed in Madurai or in its were implaed in Madurai or in its


were implaed in Madurai or in its were implaed in Madurai or in its surroundingssurroundings

�� This appears to be grossly exaggerated.This appears to be grossly exaggerated.

�� Historians do not believe that such Historians do not believe that such impalement took place.impalement took place.

THE PAINTING IN SUPPORT THE PAINTING IN SUPPORT


CHINTAMANI TEMPLE STAKECHINTAMANI TEMPLE STAKE


OTHER PAINTINGSOTHER PAINTINGS


FINDINGS WHEN RESEARCHEDFINDINGS WHEN RESEARCHED

�� These paintings belong to Nayak’s time, These paintings belong to Nayak’s time, 1616//1717thth centurycentury

�� The reported occurrence dates back to The reported occurrence dates back to 77--88thth cent.cent.


88thth cent.cent.

�� There is a gap of about There is a gap of about 1000 1000 years!years!

�� Therefore it is not wrong to assume things Therefore it is not wrong to assume things were grossly exaggerated.were grossly exaggerated.

OTHER REASONSOTHER REASONS

�� As said earlier, all the Jain caves and the As said earlier, all the Jain caves and the sculptures are intact and are well sculptures are intact and are well preserved.preserved.

�� In case of such wide persecution these In case of such wide persecution these


�� In case of such wide persecution these In case of such wide persecution these would not have been let off.would not have been let off.

�� Social dynamics have aslo to be Social dynamics have aslo to be considered.considered.

UMAIYANDAR KOVILUMAIYANDAR KOVIL

�� This rock cut temple on the south side of TPK This rock cut temple on the south side of TPK temple is believed to have been originally a Jain temple is believed to have been originally a Jain temple.temple.

�� It is also said that during later Pandyas’ time this It is also said that during later Pandyas’ time this


It is also said that during later Pandyas’ time this It is also said that during later Pandyas’ time this was changed to Saivaite temple.was changed to Saivaite temple.

�� The very long Tamil inscription talks about The very long Tamil inscription talks about grants to the temple in SundaraPandya’s time.grants to the temple in SundaraPandya’s time.

�� There is reason to believe that his might have There is reason to believe that his might have been originally a Jain temple. been originally a Jain temple.

THE CHANGED FIGURESTHE CHANGED FIGURES


THE SCULPTURES NOWTHE SCULPTURES NOW


THE TRANSITIONTHE TRANSITION

�� The temple apparently served as a monastery The temple apparently served as a monastery for the Jain saints who lived in these hills.for the Jain saints who lived in these hills.

�� More inscriptions refer to the More inscriptions refer to the 1313th century th century Pandya ruler, Sundara Pandiyan and it says that Pandya ruler, Sundara Pandiyan and it says that a Saiva saint under the patronage of the king a Saiva saint under the patronage of the king


a Saiva saint under the patronage of the king a Saiva saint under the patronage of the king converted this Jain monument into the temple converted this Jain monument into the temple and named it Sundara Pandian Eswarar’ Temple and named it Sundara Pandian Eswarar’ Temple after the monarch.after the monarch.

�� It is believed the saiva saints shown in the It is believed the saiva saints shown in the sculptures were responsible for it. sculptures were responsible for it.

LOOKING FOR FRESH MATERIALLOOKING FOR FRESH MATERIAL

�� Going through the main Murugan temple Going through the main Murugan temple in Thirupparankunram, some fresh in Thirupparankunram, some fresh material was seenmaterial was seen

�� Though known, they have not been much Though known, they have not been much


�� Though known, they have not been much Though known, they have not been much reported.reported.

�� Fortunately I was able to see the cave Fortunately I was able to see the cave shrine of Jyeshta Devi.shrine of Jyeshta Devi.

An INTERESTING FIND WAS An INTERESTING FIND WAS JYESHTA DEVIJYESHTA DEVI

�� Just below the Muruga shrine there is a Just below the Muruga shrine there is a cave shrine for Jyeshta Devi.cave shrine for Jyeshta Devi.

�� This shrine is kept closed and sealed. This shrine is kept closed and sealed.

�� The reason was Jyeshta Devi worship was The reason was Jyeshta Devi worship was


�� The reason was Jyeshta Devi worship was The reason was Jyeshta Devi worship was stopped long before!stopped long before!

�� But from the fine sculpture it is seen that But from the fine sculpture it is seen that there was worship here for quite some there was worship here for quite some time. time.

THE SHRINE OF JYESHTA DEVITHE SHRINE OF JYESHTA DEVI

�� According to a Vatteuttu inscription dated in the According to a Vatteuttu inscription dated in the 66th year of Maranjadaiyan, has been attributed th year of Maranjadaiyan, has been attributed to Jatila Parantaka of the Anaimalai inscription. to Jatila Parantaka of the Anaimalai inscription.

�� It records the construction of the Tirukkoyil It records the construction of the Tirukkoyil


It records the construction of the Tirukkoyil It records the construction of the Tirukkoyil (shrine) and of the Sir(shrine) and of the Sir--tatakam (tank) by Sattantatakam (tank) by Sattan--Ganapati, a resident of Karavandapura, who is Ganapati, a resident of Karavandapura, who is called Pandicalled Pandi--Amritamangalavaraiyan.Amritamangalavaraiyan.

�� The shrines of Durgadevi and Jyeshthadevi were The shrines of Durgadevi and Jyeshthadevi were constructed by Nakkanconstructed by Nakkan--Korri. Korri.

தி*++ர$!�ற க�ெவ��தி*++ர$!�ற க�ெவ��

�� ேகாமாற சைடயேகாமாற சைடய�� ரா ய வ ஷ ஆறாவ ெச லாரா ய வ ஷ ஆறாவ ெச லா�� நி ப ம றவநி ப ம றவ ff மஹா மஹா�� ஸாம தனாகிய கரவ த ராதிஸாம தனாகிய கரவ த ராதி�� வ ைவ ய பா அமிவ ைவ ய பா அமி�� த ம கல ேப ைரயனஇத ம கல ேப ைரயனஇ


�� த ம கல ேப ைரயனஇத ம கல ேப ைரயனஇ�� ந சா த கணபதி திந சா த கணபதி தி�� திவி தி ேகாஇதிவி தி ேகாஇ�� தடாக தடாக 11 ம றவம றவ�� ம தி ஆகிய ந ம தி ஆகிய ந�� க ெகா றியா ெசயக ெகா றியா ெசய�� ப ட கா ேதவி ேகாப ட கா ேதவி ேகா�� இ ேஜ ைட ேகாகிஇ ேஜ ைட ேகாகி

THE SHRINETHE SHRINE


«è£ºè¡ Ü‚Q «îM

THE STATE OF THE CAVETHE STATE OF THE CAVE


MADANAGOPALASWAMI TEMPLEMADANAGOPALASWAMI TEMPLE

The temple is in Mela masi veedhi, Madurai.The temple is in Mela masi veedhi, Madurai.

Main Deity is Madanagopalaswamy and Goddess Main Deity is Madanagopalaswamy and Goddess Maduravallithaayar.Maduravallithaayar.


Sthalapurana says Lord Siva worshipped a Sivalinga he Sthalapurana says Lord Siva worshipped a Sivalinga he installed here.The intensity was too much for the installed here.The intensity was too much for the living beings and Vishnu played His flute to lessen the living beings and Vishnu played His flute to lessen the effect and Draw Siva’s attention. effect and Draw Siva’s attention.

It is said that one who wants to become well versed in It is said that one who wants to become well versed in music worships Madanagopalaswamy.here.music worships Madanagopalaswamy.here.

MADANAGOPALASWAMY TEMPLEMADANAGOPALASWAMY TEMPLE

–– This temple attracts This temple attracts our attention as the our attention as the empty space seen in empty space seen in front of the temple is front of the temple is conspicuous conspicuous


conspicuous conspicuous

–– There was a There was a mandapam here with mandapam here with carved pillarscarved pillars

–– It was transported to It was transported to the US!the US!

PHILADELPHIA MUSEUMPHILADELPHIA MUSEUM

�� At the heart of the Museum’s At the heart of the Museum’s rich collections of Indian art rich collections of Indian art stands a magnificent temple stands a magnificent temple hall, the only example of prehall, the only example of pre--modern South Indian stone modern South Indian stone architecture to be found in an architecture to be found in an American museum. American museum.


American museum. American museum.

�� This evocative space is made This evocative space is made up of over fifty granite up of over fifty granite architectural elements architectural elements acquired by a Philadelphia acquired by a Philadelphia woman who visited the ancient woman who visited the ancient city of Madurai, India in the city of Madurai, India in the early years of the twentieth early years of the twentieth century. century.

THE RECONSTRUCTION THE RECONSTRUCTION

�� Darielle Mason, curator of Indian and Himalayan art at Darielle Mason, curator of Indian and Himalayan art at the Philadelphia Museum of Artthe Philadelphia Museum of Art

�� Earlier, she was assistant curator in the Asiatic Earlier, she was assistant curator in the Asiatic Department at the Museum of Fine Arts, Boston.Department at the Museum of Fine Arts, Boston.

�� She is also an adjunct associate professor in the She is also an adjunct associate professor in the Department of the History of Art at the University of Department of the History of Art at the University of


She is also an adjunct associate professor in the She is also an adjunct associate professor in the Department of the History of Art at the University of Department of the History of Art at the University of Pennsylvania and an associate at the university’s South Pennsylvania and an associate at the university’s South Asian Center.Asian Center.

�� Another person involved was Stella Kramrisch (Another person involved was Stella Kramrisch (18961896--19931993) ) Curator of Indian and Himalayan Art Department Curator of Indian and Himalayan Art Department

of Indian Art Philadelphia Museum of Art.of Indian Art Philadelphia Museum of Art.

RECONSTRUCTION IN THE RECONSTRUCTION IN THE MUSEUMMUSEUM

�� The mandapam was The mandapam was purchased by one purchased by one Adelaine Pepper Gibson Adelaine Pepper Gibson in 1914 in its entiretyin 1914 in its entirety


�� The sculptures and the The sculptures and the pillars were shifted to the pillars were shifted to the USUS

�� Later the pieces were Later the pieces were handed over to P M A.handed over to P M A.

DURING MADRAS RESEARCHDURING MADRAS RESEARCH

�� While looking for evidence regarding F W While looking for evidence regarding F W Ellis, I was told that his inscription on a Ellis, I was told that his inscription on a well is preserved in Mahal museum.well is preserved in Mahal museum.

�� With the assistance of Dr santhalingam I With the assistance of Dr santhalingam I


�� With the assistance of Dr santhalingam I With the assistance of Dr santhalingam I could get a photograph of it.could get a photograph of it.

�� The stone was thoroughly cleaned for this The stone was thoroughly cleaned for this purpose.purpose.

THE TEXT IN TAMILTHE TEXT IN TAMIL

. . . . ப டண ெத ச எ பவ யாேனப டண ெத ச எ பவ யாேனப டாரகாாிய பார ம ைகயிப டாரகாாிய பார ம ைகயி

லவ க ெப மா மயில பதியாலவ க ெப மா மயில பதியாெத வ லைம தி வ பவனாெத வ லைம தி வ பவனா


ெத வ லைம தி வ பவனாெத வ லைம தி வ பவனாதி றட னி தி ள ப றியதி றட னி தி ள ப றிய""இ ன வா த மைல வ னஇ ன வா த மைல வ னவ லர நா வ லர நா ""எ பதி ெபா ைள எ ளாஎ பதி ெபா ைள எ ளா . . .. . .

F W Ellis inscription on wellF W Ellis inscription on well

�� This inscription was on This inscription was on one of the one of the 27 27 wells that wells that Ellis sank in Madras in Ellis sank in Madras in 1919thth century beginning.century beginning.

�� ““Waters from rains and Waters from rains and


�� ““Waters from rains and Waters from rains and springssprings

�� A mountain near, and A mountain near, and waters thencewaters thence

�� These make a landThese make a land

�� With fortress’ sure With fortress’ sure defence”defence”

THE FIRST OFFICIAL MAP OF THE FIRST OFFICIAL MAP OF MADURAIMADURAI


MY GRATEFUL THANKS TOMY GRATEFUL THANKS TO

�� Sri Irvatham MahadevanSri Irvatham Mahadevan

�� Dr. S. RajagopalDr. S. Rajagopal

�� Dr. SanthalingamDr. Santhalingam

�� Sri RamachandranSri Ramachandran

Sri K R KrishnamurthySri K R Krishnamurthy


�� Sri K R KrishnamurthySri K R Krishnamurthy

�� Sri T C RamaswamiSri T C Ramaswami

�� Sri P S SriramanSri P S Sriraman

�� Sri G. Sundar (RMRL)Sri G. Sundar (RMRL)

�� Sri M V Pasupathi (Dr U V S Lib)Sri M V Pasupathi (Dr U V S Lib)

�� Sri L. Adimoolam Director DinamalarSri L. Adimoolam Director Dinamalar

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