ANDHRA PRADESH HISTORY

The history of Pallava dynasty, their lineage, how lineage shifts from simhavarman to Ganga-Pallava lineage. Conflict for succession of throne, after the death of Parmesvaravarman II, last king of Simhavarman lineage. Emergence of Ganga-Pallava lineage, and first king was Nandivarman. Despite of conflicts for throne and lineage, the Imperial Pallavas ruled around 322 years and noted their glorious era in History. This article is focused on the purely Pallava dynasty with some references showing presence of Guptas, Cholas, Pandyas, Cheras, Western Chalukyas, Rashtrakutas, Banas rulers of Andhras, and other rulers, which were contemporary to Pallavas.

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The Pallava dynasty was an Indian dynasty that existed from 275 CE to 897 CE, ruling a portion of southern India. They gained prominence after the eclipse of the Satavahana dynasty, in which the Pallavas served as feudatories. Pallavas became a major power during the reign of Mahendravarman I (571 – 630 CE) and Narasimhavarman I (630 – 668 CE) and dominated the Telugu and northern parts of the Tamil region for about 600 years until the end of the 9th century. Pallavas are well known for their architectural patronage and for the introduction of the new Dravidian style of Indian architecture, with the finest example being the Shore Temple in Mahabalipuram, a UNESCO World Heritage Site. The Pallavas were the ones who had laid the foundations of medieval South Indian architecture by constructing impressive temples and sculptures.

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The Temple in South Asia, ed. Adam Hardy. London: British Academy.

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As Swami Dayanand Saraswati says, we must go back to the Vedas, I agree and say, in order to understand the best of history, we must revisit at our primary sources, as they tell us something more than reproduced histories. Something older than mentioned exists. In this paper, citing the example of Sadaiyar Temple of Tiruchchenampuri,Tamil Nadu, will show evidences of Tamil being used as a language to address masses exist. The study of this temple is necessary because Tamil is one of the oldest vernaculars introduced along with Kannada as told by Sheldon Pollock in his article, Pretextures of time. When we look at Sheldon Pollock's :role of cosmopolitan and vernacular,in the times of India article,we see that he tells that tamil is the oldest vernacular language belonging to 10 century at the time of cholas whereas we see tamil use even before during the time of the Pallavas in 8 century. This is probably another reason why the study of this temple is necessary. I agree with the chairman of Indian Council of Historical Research in his lecture given on the aryanisation of India the whole of South India was not sanskritised at the time of Pallavas. We can see it from vaikuntha perumal temple and Sadaiyar Kovil Temple having Inscriptions of the locals-tamil. In The Achievements of the Pallavas in Administration and Art ,asPuja Mondal says,Pallavas was the first well-known dynasty which came into power in the South after the fall of the Andharas.They have ruled over India for over more than 700 years as shown in the ' digital library of South Asia's 'map. They are the first one to introduce rathas,cave temples,graphite made architecture in India. They were Dravidian themselves! The Pallavas who were alien to the Tamil country and who had imbibed brahmanical ideas in their original home, i.e., the Andhra region, claimed to be brahma-ksatriyas. tracing their descent to Brahma, but emphasising their ksatriya-hood for political dominance. As quoted by Burton Stein in his article, the economic function of a medieval south indian temple. It is one of the temples which gives us the evidence of Tamil being used as a language to address the common masses , not just the Brahmins and the ruling elite through the curtains of legitimisation by the king.(Perumandigal) .It shows how much the king is concerned about the welfare of the people and how much concern does he show to maintain Tamil as a language of power in the Deccan. Where is it located and what is its importance? Sadaiyar Kovil temple lies in the area of Tiruchchenampuri in Tamil Nadu. Inscriptions from the reigning period of Nandivarma Pallava III and Nrpatungavarman are found in this temple. Several inscriptions from the period of Parantaka I are also found here.. Known for its myths and legends, I intend to show details about this temple drawing from the epigraphical evidence present on the gateways of this temple as translated from Tamil in the form of abstract by historian T.V. Mahalingam in his book " Inscriptions of the Pallavas " published in 1988 by Indian Council of Historical Research. At present , we are able to get 10 inscriptions dating to 8 th century .Basically ,all the Inscriptions have one thing in common that is, the different types of land grants given to the temple by different regional kings or officials of that time. The two major cults that we find according to our Inscriptions are of Shaivism and the cult of lord Perumandigal. Although it is questionable if lord Perumandigal is king Nandivarma himself as presented in the book Cave temples of he Pallavas published by Archaeological survey of India Also, In Tiruchchennampundi, the Sadaiyar temple, built in 910 according to Dr.Barrett, Nataraja is depicted as a small sculpture on the vimana. Barrett states about it " This is, I believe, the earliest representation of the Nataraja in ananda

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The Chola dynasty was a Tamil thalassocratic empire of southern India and one of the longest-ruling dynasties in the history of the world. The earliest datable references to the Chola are from inscriptions dated to the 3rd century BCE during the reign of Ashoka of the Maurya Empire. As one of the Three Crowned Kings of Tamilakam, along with the Chera and Pandya, the dynasty continued to govern over varying territories until the 13th century CE. The Chola Empire was at its peak under the Medieval Cholas in the mid-9th century CE. Dr Uday Dokras' articles and Books on Srivijay Empire>

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ShodhKosh: Journal of Visual and Performing Arts

It is a known fact that contact between the Tamil country and Southeast Asia, including Śrī Laṅkā and China was a long-established tradition. References to the yavanas in Tamil Caṅkam literature and the notes supplied by Greek, Roman, and Egyptian classical authors would establish the fact that commercial intercourse between the east and west was an immemorial process 1 , datable to at least a few centuries earlier than the Christian era 2. However, it was under the Pallavas and Cōḻas that the arts of the country made a daring intrusion into the distant lands 3. In this process of sharing artistic idioms from the subcontinent, the Āndhras of the Amarāvati School, the Guptas, and the Pālas of Beṅgal played a vital role. The Pallava link with the Malaya peninsula was blood-based because a collateral branch of the family is said to have ruled the distant land under Hiranyavarmaṉ whose son Nandivarmaṉ Pallavamalla (731-96 CE) became the ruler of Kāñci when there was no direct male heir to occupy the throne after the premature death of Parameśvaravarmaṉ II (Minakshi (1941), Subramaniam (1967) 80-94).

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The present article brings to light two unnoticed later Pallava images and architectural fragments from the Toṇṭīśvaram or Rājādittīśvaram at Nāvalūr. This region, called Naṭunāṭu, does not fig-ure prominently in the archaeological map of the Pallavas. A number of sthalas are notified in the Tamil bhakti hymns. Few of these sthalas retain vestiges of Pallava art. The question is: why such temples are not brought under Pallava art? It involves a methodological approach to Pallava studies. The later Pallava images reported are Kalaiamarcelvi/Mṛgavāhinī, a new entrant in the field of early medieval iconography and sthānaka-Viṣṇu that includes new idioms for examina-tion. Other fragments are an inscribed slab and pillars.

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The present paper is mainly concerned in pinpointing certain socio-religious, cultural and political aspects that can be discernible in the Govardhanadhari panel in the Krishna mandapa. The scope and theme of this panel is limited as it depicts an event. Yet it seems that the artist or the patron through this panel wants to bring to life the contemporary village life in this panel and seems to convey some meaning to the viewer.

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