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Belur & Halebidu trip:Splendor of Hoysala Art and Architecture – Part 1

Posted by Prashant - 05/08/10 at 02:08:55 pm

In a span of close to 350 years of their rule, the patronage that art and architecture received from the Hoysala rulers have few parallels in the history of India. It was a over a dinner on saturday night that we decided to make a trip to the cradle of Karnata Dravida architecture, Belur and Halebidu. This is not the first time we are going there, but every time we make a visit these places, the splendor in stone, the exquisite detail that the sculpturer has chiselled into the stone and skilled craftsmanship that they have demonstrated in every inch of the stone, just enamours you like nothing else.

It takes skills of a genius to take a block of stone and carve such exquisite details on it and get all of it absolutely right the very first time. If you err then there is no undo button, it is a start allover again. We are just plain lucky to still have a chance to see the work of innumerable geniuses who toiled for more than 100 years to build the temples at Belur and Halebidu. This and several of forecoming blog posts are just a small attempt to catch that unmatched beauty on as minuscule as a 12 Mega Pixel Nikon D300 camera.

On one hand this trip gave direct access to what is probably the epitome of Hoysala’s architecture, on the other hand looking at the broken statues, vandalized sections, it makes you feel sad how carelessly we are treating this treasure trove. Right in front of my eyes, I saw a tourist climbing one of the temple structure only to be stopped by a security guard, who came in and ordered him not to do that. Now I find it impossible to understand, why does it take a security gaurd to tell you that you are not suppose to climb on something that delicate. Doesn’t the idea of you damaging something so beautiful prick your conscience even before you start doing it. I guess not. Anyways, if we cannot save something this beautiful, then I guess we really do not deserve it.

High Resolution photographs can be found here.

Belur & Halebidu trip

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ಕುಮಾರವ್ಯಸ – ಕರ್ಣಾಟ ಭಾರತ ಕಥಾಮಂಜರಿ (ಆದಿಪರ್ವ, ಪೀಠಿಕಾ ಸಂಧಿ)

Posted by Prashant - 04/08/10 at 03:08:52 pm

Kumaravyasa’s Karnata Bharatha Kathamanjari, Aadi Parva, Peetika Sandhi

ತಿಳಿಯ ಹೇಳುವೆ ಕೃಷ್ಣಕಥೆಯನು
ಇಳೆಯ ಜಾಣರು ಮೆಚ್ಚುವಂತಿರೆ
ನೆಲೆಗೆ ಪಂಚಮ ಶ್ರುತಿಯನೊರೆವೆನು ಕೃಷ್ಣ ಮೆಚ್ಚಲಿಕೆ
ಹಲವು ಜನ್ಮದ ಪಾಪ ರಾಶಿಯ
ತೊಳೆವ ಜಲವಿದು ಶ್ರೀಮದಾಗಮ
ಕುಲಕೆ ನಾಯಕ ಭಾರತಾಕೃತಿ ಪಂಚಮ ಶ್ರುತಿಯ …………………………………೧೩

ತಿಳಿಯ ಹೇಳುವೆ ಕೃಷ್ಣ ಕಥೆಯನು. ಇಳೆಯ ಜಾಣರು ಮೆಚ್ಚುವಂತಿರೆ. ನೆಲೆಗೆ ಪಂಚಮ ಶ್ರುತಿಯನು ಒರೆವೆನು ಕೃಷ್ಣ ಮೆಚ್ಚಲಿಕೆ. ಹಲವು ಜನ್ಮದ ಪಾಪ ರಾಶಿಯ ತೊಳೆವ ಜಲವಿದು. ಶ್ರೀಮದ ಆಗಮ, ಕುಲಕೆ ನಾಯಕ, ಭಾರತ ಆಕೃತಿ, ಪಂಚಮ ಶ್ರುತಿಯ

ಇಳೆ = Earth, ಭೂಮಿ
ನೆಲೆಗೆ = It actually means ವಾಸಸ್ಥಾನ, but here we need to read it as people around the place
ಪಂಚಮ = Fifth
ಶ್ರುತಿ = Veda
ಒರೆ = To tell
ಆಗಮ = This word has many meanings, the most popular being “to come”. But here it means a scared text
ಆಕೃತಿ = Again this word has many meanings, but here I guess it should be read as foundation

I’ll narrate the story of Krishna in a manner wise ones of the world would approve. To the people around I’ll impart the fifth Veda, Krishna admiring. This is the water that would wash away mounds of sins accumulated over many a past life.

The most famous verse of the Kumaravyasa Bharata. One knows anything else or not about the Bharatha, but this verse for sure, it is so famous. Historians estimate Kumaravyasa’s time-line between 1400-1450 AD and by this time the genre of “story” or ಕಥೆ as a literary form was very well rooted in our tradition. In this light the use of word ಕೃಷ್ಣಕಥೆ makes sense. It is interesting to note that Kumaravyasa says he is narrating ಕೃಷ್ಣಕಥೆ in a way that even Lord Krishna will admire, so in a way Kumaravyasa is telling Krishna’s story to Krishna himself. Another interesting thing to note is the double usage of ಪಂಚಮ ಶ್ರುತಿಯ (Fifth Veda), it is as though Kumaravyasa is stressing on the fact that the story he is going to narrate is nothing less than a fifth Veda. Another interesting word used here is ಭಾರತಾಕೃತಿ, I guess the poet is indirectly trying to say that the story is not just about the Pandavas and Kauravas, it is not just about good and evil, but it stands as a foundation of India. It is the story of India itself. One more thing to note is the usage of word ಒರೆವ which mean to tell. One way to interpret this is as if Kumaravyasa is saying he is going to create anything but he is going to just narrate (something which is already there). This mood is similar to that in poem 7 where Kumaravyasa

ಪದದ ಪ್ರೌಢಿಯ ನವರಸಂಗಳ
ವುದಿತವೆನುವಭಿಧಾನ ಭಾವವ
ಬೆದಕಲಾಗದು ಬಲ್ಲ ಪ್ರೌಢರುಮೀ ಕಥಾಂತರಕೆ
ಇದ ವಿಚಾರಿಸೆ ಬಘೆಯ ತೊಳಸಿಯ
ವುದಕದಂತಿರೆಯಿಲ್ಲಿ ನೋಳ್ಪುದು
ಪದುಮನಾಭನ ಮಹಿಮೆ ಧರ್ಮವಿಚಾರ ಮಾತ್ರವನು …………………………………೧೪

ಪದದ ಪ್ರೌಢಿಯ, ನವರಸಂಗಳ ವುದಿತವ ಎನುವ ಅಭಿಧಾನ ಭಾವವ ಬೆದಕಲು ಆಗದು ಬಲ್ಲ ಪ್ರೌಢರುಂ ಈ ಕಥಾಂತರಕೆ. ಇದ ವಿಚಾರಿಸೆ, ಬಘೆಯ ತೊಳಸಿಯ ವುದಕದಂತ ಇರೆ ಇಲ್ಲಿ ನೋಳ್ಪುದು ಪದುಮನಾಭನ ಮಹಿಮೆ, ಧರ್ಮ ವಿಚಾರ ಮಾತ್ರವನು

ವುದಿತ = ಉದಿತ = born, ಹುಟ್ಟು
ಅಭಿಧಾನ = Power or sense of understanding a word, its meaning and significance
ಭಾವವ = Feeling
ಬೆದಕು = To search
ಬಘೆಯ = type of
ತೊಳಸಿ = Tulasi = a medicinal plant
ವುದಕ = water or liquid portion prepared with green leaves
ನೋಳ್ಪು = To face, ಎದುರಾಗು
ಪದುಮನಾಭನ = ಪದುಮ+ನಾಭ = Lotus+navel = One from whose Navel sprang the lotus = Lord Vishnu

In this poem Kumaravyasa talks about his audience. He says the work he is going to produce is not only for the learned people who are obsessed with emotive aesthetics of the Nava rasa and the intricacies of thought, language etc, but for common man. This work is like the “Tulasi water”, if the reader reads it with dedication it will be Teertha (sacred water served in the temple) and for a casual reader it will act as a medicinal water thus always being good to anyone who reads it. He continues to say this work is about the greatness of Krishna, Avatar of Lord Vishnu and about the principles of dharma.

If you see poet clearly mentions this is not work for who is obsessed with poetic aesthetics, but if one reads Kumarvyasa Bharatha, the poetic aesthetics he brings to the scene using creative figure of speech or with the way he plays with words is of top notch quality. So one might wonder why this contradiction. The way we need to look at this is even though he puts in lots of effort to bring the scene to life using figure of speech or play of words, but then he makes sure that aesthetics does not overshadow the two main things which are important to him, spread the message about greatness of Krishna and the principles of dharma.

ಕುಮಾರವ್ಯಸ – ಕರ್ಣಾಟ ಭಾರತ ಕಥಾಮಂಜರಿ (ಆದಿಪರ್ವ, ಪೀಠಿಕಾ ಸಂಧಿ)

Posted by Prashant - 02/08/10 at 03:08:39 pm

Kumaravyasa’s Karnata Bharatha Kathamanjari, Aadi Parva, Peetika Sandhi

ದುರಿತಕುಲಗಿರಿ ವಜ್ರದಂಡನು
ಧರೆಯ ಜಂಗಮ ಮೂರ್ತಿ ಕವಿ ವಾ
ರಿರುಹ ದಿನಮಣಿ ನಿಖಿಲ ಯತಿಪತಿ ದಿವಿಜವಂದಿತನು
ತರಳನನು ತನ್ನವನೆನುತ ಪತಿ
ಕರಿಸಿ ಮಗನೆಂದೊಲಿದು ಕರುಣದಿ
ವರವನಿತ್ತನು ದೇವ ವೇದವ್ಯಾಸ ಗುರುರಾಯ …………………………………೧೧

ದುರಿತ ಕುಲಗಿರಿ ವಜ್ರ ದಂಡನು. ಧರೆಯ ಜಂಗಮ ಮೂರ್ತಿ. ಕವಿ ವಾರಿರುಹ ದಿನಮಣಿ. ನಿಖಿಲ ಯತಿ,ಪತಿ,ದಿವಿಜ ವಂದಿತನು. ತರಳನನು, ತನ್ನವನು ಎನುತ ಪತಿಕರಿಸಿ, ಮಗನು ಎಂದು ಓಲಿದು ಕರುಣದಿ ವರವನು ಇತ್ತನು ದೇವ ವೇದವ್ಯಾಸ ಗುರುರಾಯ

ದುರಿತ = Sin
ಕುಲಗಿರಿ = generally it means sacred and best mountain, ಶ್ರೇಷ್ಠವಾದ ಪರ್ವತ. But here we need to read it as a mountain.
ವಜ್ರ ದಂಡ = Here it is interpreted as a strong weapon (against mountain of sins). But actually it is the weapon of Lord Indra.
ಧರೆ = Earth
ವಾರಿರುಹ = Lotus
ದಿನಮಣಿ = Sun
ನಿಖಿಲ = All, ಎಲ್ಲ
ಯತಿ = It refers to a person who has control over all the senses, generally a sage
ಪತಿ = Lord, ಒಡೆಯ
ಪತಿಕರಿಸು = To accept or to praise
ದಿವಿಜ = Devatas
ತರಳ = Kid who is really smart

Like the Indra’s diamond bolt to the mountain of sins. God’s delegate walking on this earth. To the galaxy of poets is like sun giving life to Lotus. Recipient of homage from all the sages and gods. Veda Vyasa, teacher unmatched, taking in hand this stripling, conferred on him a boon with grace abounding.

You must noticed that the poet has referred to Vyasa as Veda Vyasa and truly in Hindu mythology Vyasa is the one of the most celebrated sage. He is considered the avatar of Lord Vishnu himself. He is attributed to have classified the Vedas, authored one of the greatest epic known to human kind, the Mahabharata, and also authored the Vedanta sutras and Puranas. Vyasa comes from a very illustrious lineage which boasts of eminent and revered sages like Vasishta, Shakthi and sage Parasara. Legend goes that Vyasa was born on an island and when born had a complexion that matched the Lord Krishna himself, hence Vyasa is also known as “Krishna Dhvaipayana”. Kumaravyasa has placed Vyasa on nothing less than a pedestal and worshiped him at most respect.

In this poem, Kumaravyasa considers himself worthy to be the son of Veda Vyasa. If you read the last two lines, Kumaravyasa does not “request” Vyasa to consider him as his son..the attitude is more like..”nothing doing! I am your son ” .

ವಂದಿತಾಮಳ ಚರಿತನಮರಾ
ನಂದ ಯದುಕುಲ ಚಕ್ರವರ್ತಿಯ
ಕಂದ ನತಸಂಸಾರ ಕಾನನ ಘನ ದವಾನಳನು
ನಂದನಂದನ ಸನ್ನಿಭನು ಸಾ
ನಂದದಿಂದಲೆ ನಮ್ಮುವನು ಕೃಪೆ
ಯಿಂದ ಸಲುಹುಗೆ ದೇವ ಜಗದಾರಾಧ್ಯ ಗುರುರಾಯ …………………………………೧೨

ವಂದಿತ, ಅಮಳ ಚರಿತ ನ ಅಮರ ಆನಂದ. ಯದುಕುಲ ಚಕ್ರವರ್ತಿಯ ಕಂದ. ನತ ಸಂಸಾರ ಕಾನನ ಘನ ದವಾನಳನು. ನಂದ ನಂದನ ಸನ್ನಿಭನು ಸಾನಂದದಿಂದಲೆ ನಮ್ಮುವನು ಕೃಪೆಯಿಂದ ಸಲುಹುಗೆ ದೇವ ಜಗದಾರಾಧ್ಯ ಗುರುರಾಯ

ಅಮಳ = Pure, ನಿರ್ಮಲ (?)
ನತ = To prostrate or one who prostrates
ಸಂಸಾರ = Whole world
ಘನ = Intense
ಕಾನನ = Forest
ದವಾನಳನು = Forest fire (?)
ನಂದ = Step father of Lord Krishna
ನಂದನ = Son
ನಮ್ಮುವನು = us, ನಮ್ಮನ್ನು
ಸಾನಂದ = ಆನಂದದಿಂದ ಕೂಡಿದ
ಸನ್ನಿಭನು = ಸಮಾನವಾದುದು

I am not very confident if I have understood this correctly. I guess poet is referring to Lord Krishna here, but I am not sure why he uses the word ಸನ್ನಿಭನು nor I do not know how to interpret the line ನಂದ ನಂದನ ಸನ್ನಿಭನು. Is the poet trying to say, the one who is equivalent to the ನಂದ ನಂದನ? Not sure. Anyways following is the translation as per my understanding.

Prostration to the one with pure personality and source of never ending happiness. One who is son of Yadukula cakravarthi(king). One whom the whole world will take refuge in case of intense sorrow and misery (here referred to as intense forest fire). One, who is son of Nandana and the whole world worships, protect us.

ಕುಮಾರವ್ಯಸ – ಕರ್ಣಾಟ ಭಾರತ ಕಥಾಮಂಜರಿ (ಆದಿಪರ್ವ, ಪೀಠಿಕಾ ಸಂಧಿ)

Posted by Prashant - 29/07/10 at 04:07:01 pm

Kumaravyasa’s Karnata Bharatha Kathamanjari, Aadi Parva, Peetika Sandhi

ಶರಿಧಿಸುತೆ ಸನಕಾದಿ ವಂದಿತೆ
ಸುರನರೋರಗೆ ಮಾತೆ ಸುಜನರ
ಪೊರೆವ ದಾತೆ ಸುರಾಗ್ರಗಣ್ಯಸುಮೌನಿ ವರಸ್ತುತ್ಯೆ
ಪರಮ ಕರುಣಾ ಸಿಂಧು ಪಾವನ
ಚರಿತೆ ಪದ್ಮಜ ಮುಖ್ಯ ಸಕಲಾ
ಮರ ಸುಪುಜಿತೆ ಲಕ್ಶ್ಮಿ ಕೊಡುಗೆಮಗಧಿಕ ಸಂಪದವ …………………………………೯

ಶರಿಧಿಸುತೆ. ಸನಕಾದಿ ವಂದಿತೆ. ಸುರ ನರ ಓರಗೆ ಮಾತೆ. ಸು ಜನರ ಪೊರೆವ ದಾತೆ. ಸುರ ಅಗ್ರಗಣ್ಯ ಸು-ಮೌನಿ-ವರ ಸ್ತುತ್ಯೆ. ಪರಮ ಕರುಣಾ ಸಿಂಧು. ಪಾವನ ಚರಿತೆ. ಪದ್ಮಜ ಮುಖ್ಯ. ಸಕಲ ಅಮರ ಸುಪುಜಿತೆ ಲಕ್ಶ್ಮಿ ಕೊಡುಗ ಎಮಗ ಅಧಿಕ ಸಂಪದವ

ಶರಿಧಿ = Sea, ಸಮುದ್ರ
ಸುತೆ = daughter
ಶರಿಧಿಸುತೆ = Daughter of sea or someone born to a sea, Goddess Lakshmi
ಸುರ = Devatas
ನರ = Human
ಓರಗೆ = equally
ಪೊರೆ = To protect
ದಾತೆ = One who bestows Mercy and compassion
ಅಗ್ರಗಣ್ಯ = Something that is regarded as foremost or best
ಮೌನಿ = Sage
ವರ = ಶ್ರೆಷ್ಠ
ಸಿಂಧು = sea/river. There are two ways I can think we can interpret ಕರುಣಾ ಸಿಂಧು. Firstly, Poet is trying to say that Goddess Lakshmi is a sea of compassion. secondly, ಸಿಂಧು can be treated as treasure. So poet might be trying to say for people who is seeking compassion, Goddess Lakshmi is a treasure trove.
ಚರಿತೆ = Personality
ಪದ್ಮಜ = Lotus
ಮುಖ್ಯ = face
ಸಕಲ = all
ಅಮರ = It could mean two things. Firstly, it could mean all people who do not have death i.e. Devatas. Second meaning for ಅಮರ is King.
ಸಂಪದ = Prosperity

One who is the daughter of sea (Goddess Lakshmi emerged out of the sea when it was churned using Mandaranchal as dasher and Vasuki, the serpent as the churning rope, by the Devatas on one side and Asuras on the other). One who is an equal mother to both devatas and humans. One who is revered by the greatest of sages. One who is a sea of compassion and a treasure trove for people seeking compassion. One who has a pure and clean personality. One who has a lotus like face. One who is worshiped by the great devatas. Goddess Laskshmi, bestow upon us abundant prosperity.

One might wonder why Kumaravyasa is asking for not just prosperity but for abundant(ಅಧಿಕ) prosperity. It was not the same when he was praying Goddess Saraswathi, where ಅಧಿಕ ಸಂಪದವ would have made more sense as he was a poet on a journey to complete the epic. I guess this is because Goddess Lakshmi is not only the goddess of wealth and prosperity, but also for Wisdom and Fortune. So I guess poet is appealing to that side of Goddess Lakshmi and probably not wealth and prosperity.

ಗಜಮುಖನ ವರಮಾತೆ ಗೌರಿಯೆ
ತ್ರಿಜಗದರ್ಚಿತ ಚಾರು ಚರಣಾಂ
ಬುಜೆಯೆ ಪಾವನಮೂರ್ತಿ ಪದ್ಮಜಮುಖ್ಯ ಸುರಪೂಜ್ಯೆ
ಭಜಕರಘ ಸಂಹರಣೆ ಸುಜನ
ವ್ರಜ ಸುಸೇವಿತೆ ಮಹಿಷ ಮರ್ದಿನಿ
ಭುಜಗ ಭುಷಣನರಸಿ ಕೊಡು ಕಾರುಣ್ಯದಲಿ ಮತಿಯ …………………………………೧೦

ಗಜ ಮುಖನ ವರ ಮಾತೆ ಗೌರಿಯೆ. ತ್ರಿ ಜಗದ ಅರ್ಚಿತ ಚಾರು ಚರಣ ಆಂಬುಜೆಯೆ. ಪಾವನ ಮೂರ್ತಿ. ಪದ್ಮಜ ಮುಖ್ಯ. ಸುರ ಪೂಜ್ಯೆ. ಭಜಕರ ಅಘ ಸಂಹರಣೆ. ಸುಜನ ವ್ರಜ ಸುಸೇವಿತೆ. ಮಹಿಷ ಮರ್ದಿನಿ. ಭುಜಗ ಭುಷಣನ ಅರಸಿ ಕೊಡು ಕಾರುಣ್ಯದಲಿ ಮತಿಯ.

ಅರ್ಚಿತ = Worship
ಆಂಬುಜ = Lotus
ಪದ್ಮಜ = Lotus
ಅಘ = Fear,ಪಾಪ, ದುಖ:
ವ್ರಜ = group, ಗುಂಪು
ಮಹಿಷ = Demon Mahishasura
ಮರ್ದಿನಿ = Slayer
ಭುಜಗ = Serpent, Snake
ಭುಷಣ = Ornate
ಅರಸಿ = Consort

Goddess Gauri, who is an excellent mother to the elephant headed (Ganapati). One whose lotus feet is worshiped by all three worlds.One who is epitome of purity. One who has lotus like beautiful face. One who is worshiped by all good people. One who destroys the fears and sorrows of people who chant her name. One who takes care of group of good people. One who slayed the buffalo demon Mahisha. One who is the consort of person(Lord Shiva) who is ornate by a serpent or snake, Gauri, bestow upon us the intellect.

ಕುಮಾರವ್ಯಸ – ಕರ್ಣಾಟ ಭಾರತ ಕಥಾಮಂಜರಿ (ಆದಿಪರ್ವ, ಪೀಠಿಕಾ ಸಂಧಿ)

Posted by Prashant - 28/07/10 at 05:07:32 pm

Kumaravyasa’s Karnata Bharatha Kathamanjari, Aadi Parva, Peetika Sandhi

ವೀರನಾರಾಯಣನೆ ಕವಿ ಲಿಪಿ
ಕಾರ ಕುಮಾರವ್ಯಾಸ ಕೇಳುವ
ಸೂರಿಗಳು ಸನಕಾದಿಗಳು ಜಂಗಮ ಜನಾರ್ದನರು
ಚಾರುಕವಿತೆಯ ಬಳಕೆಯಲ್ಲ ವಿ
ಚಾರಿಸುವಡಳವಲ್ಲ ಚಿತ್ತವ
ಧಾರು ಹೋ ಸರ್ವಜ್ಝರಾದರು ಸಲುಗೆ ಬಿನ್ನಪವ ………………………………… ೭

ವೀರನಾರಾಯಣನೆ ಕವಿ ಲಿಪಿಕಾರ ಕುಮಾರವ್ಯಾಸ. ಕೇಳುವ ಸೂರಿಗಳು ಸನಕಾದಿಗಳು ಜಂಗಮ ಜನಾರ್ದನರು. ಚಾರು ಕವಿತೆಯ ಬಳಕೆಯಲ್ಲ, ವಿಚಾರಿಸುವ ಅಡಳವ ಅಲ್ಲ. ಚಿತ್ತವ ಧಾರು ಹೋ ಸರ್ವಜ್ಝರಾದರು ಸಲುಗೆ ಬಿನ್ನಪವ.

ಸೂರಿ = scholar
ಸನಕ = Sage Sanaka
ಜಂಗಮ = ಓಡಾಡುವ
ಜನಾರ್ದನ = Lord Vishnu. Also ಜನಾರ್ದನ means a person whose duty is to protect normal people from Asuras, so in this direction ಜನಾರ್ದನ here can be read as common soldiers
ಚಾರು = ಮನೋಹರ
ಅಡಳ = I guess it means something that is beyond the realms of thought
ಧಾರು = I am not sure what this means
ಸಲುಗೆ = Be lenient
ಬಿನ್ನಪ = Request, ವಿಜ್ಝಾಪನೆ

This poem is an example for the beauty of poetry. A simple line like ವೀರನಾರಾಯಣನೆ ಕವಿ ಲಿಪಿಕಾರ ಕುಮಾರವ್ಯಾಸ can be interpreted in multiple ways and each of those creates a different mood. Reading this the first thing that comes to mind is the humility of the poet. Even though he has created this epic, he still says he is just a scribe and Veeranarayana is the actual poet. But if you know the history of Mahabharata, it was actually told by Sage Veda Vyasa and Lord Ganapati as a scribe wrote it down. In this context, we can interpret Kumaravyasa’s line as though he is saying he himself is nothing less than Lord Ganapati. Do you see the self-aggrandizing, boastful mood that this interpretation creates .

Another reason why one has to read Kumaravyasa is for his ability to turn things around by playing with words. In the line “ಕೇಳುವ ಸೂರಿಗಳು ಸನಕಾದಿಗಳು ಜಂಗಮ ಜನಾರ್ದನರು”, if we remove the word ಜಂಗಮ, Kumaravyasa is trying to convey that the audience for this story of Mahabharata are none other than Sage Sanaka and Lord Vishnu (ಜನಾರ್ದನ)themselves. But look at the twist Kumaravyasa brings in with inclusion on just one word ಜಂಗಮ, which means something that is not stationary , now it is not just ಜನಾರ್ದನ but ಜಂಗಮ ಜನಾರ್ದನ. Obviously ಜಂಗಮ does not make sense for lord Vishnu (idol), so poet is not referring to Lord Vishnu but the local people who can move around and are listening to his work. He has elevated the status of local people to the heights of Sanaka and Vishnu.

Here is the complete translation from Sheshagiri Rao’s book;

Veeranarayana himself is the bard, Kumaravyasa is but scribe and those who hear him are sages like Sanaka and Vishnu in Human grab. Its not mere rapturous poesy, if reasoned is beyond debate. Wise ones, lend your minds to it and give ear to my plea

ಶ್ರೀಮದಮರಾಧೀಶ ನತಪದ
ತಾಮರಸ ಘನವಿಪುಳ ನಿರ್ಮಲ
ರಮನನುಪಮ ಮಹಿಮ ಸನ್ಮುನಿ ವಿನುತ ಜಗಭರಿಥ
ಶ್ರೀಮದೂರ್ಜಿತ ಧಾಮ ಸುದಯಾ
ನಾಮನಾಹವ ಭೀಮ ರಘುಕುಲ
ರಾಮ ರಕ್ಷಿಸುಪೊಲಿದು ಗದುಗಿನ ವೀರನಾರಯಣ………………………………… ೮

ಶ್ರೀಮದ ಅಮರಾಧೀಶ ನತ ಪದ ತಾಮರಸ, ಘನ ವಿಪುಳ ನಿರ್ಮಲ ರಮನ. ಅನುಪಮ ಮಹಿಮ. ಸನ್ಮುನಿ ವಿನುತ. ಜಗ ಭರಿಥ. ಶ್ರೀಮದ ಊರ್ಜಿತ ಧಾಮ. ಸು ದಯಾ ನಾಮನ. ಆಹವ ಭೀಮ. ರಘು ಕುಲ ರಾಮ. ರಕ್ಷಿಸು ಪೊಲಿದು ಗದುಗಿನ ವೀರನಾರಯಣ

ಅಮರಾಧೀಶ = King of Devatas, devendra
ನತ = ನಮಸ್ಕರಿಸಿದವನು, prostrate
ಪದ = Feet
ತಾಮರಸ = Lotus
ಘನ = Excess, ಅಧಿಕವದುದು
ವಿಪುಳ = ದೊಡ್ಡ, ವಿಶಾಲವಾದ
ರಮನ = I guess here it means name
ಅನುಪಮ = unparalleled
ವಿನುತ = something that is praised or worshiped.
ಭರಿಥ = Fill entire space
ಊರ್ಜಿತ = ಏಳಿಗೆಯನ್ನು ಪಡೆದ
ಧಾಮ = ಮನೆ, house
ಆಹವ = War, ಯುದ್ದ
ಭೀಮ = Not fearing, brave
ಪೊಲಿದು = ಒಲಿದು = To love

Great lords like Indra prostrate before your lotus feet. You are the one who has a very pure name. Your greatness is unparalleled. You are the one who is revered, praised and worshiped by the great sages. You presence has occupied the entire world. Not sure how to translate “ಶ್ರೀಮದ ಊರ್ಜಿತ ಧಾಮ”..Its like saying you are the one who is placed in the highest possible place by a person. Pretty bad translation huh! But that’s the best I can think of for now. Your name is good compassion and tenderness for others. In war you are unfearing. With all these qualities embodied in you, you are the Rama who was born in the lineage of the great Raghu. With all the love protect us Veeranarayana.

After the above disastrous translation, now you know why I use the English translations from book by Sheshagiri Rao. Knowing the meaning is one thing but translating it is totally a different beast. It is damn difficult.

ಕುಮಾರವ್ಯಸ – ಕರ್ಣಾಟ ಭಾರತ ಕಥಾಮಂಜರಿ (ಆದಿಪರ್ವ, ಪೀಠಿಕಾ ಸಂಧಿ)

Posted by Prashant - 26/07/10 at 04:07:53 pm

Kumaravyasa’s Karnata Bharatha Kathamanjari, Aadi Parva, Peetika Sandhi

ವಾರಿಜಾಸನೆ ಸಕಲಶಾಸ್ತ್ರ ವಿ
ಚಾರದುದ್ಬವೆ ವಚನರಚನೋ
ದ್ಧಾರೆ ಶ್ರುತಿ ಪೌರಾಣದಾಗಮ ಸಿದ್ಧಿದಾಯಕಿಯೆ
ಶೌರಿ ಸುರಪತಿ ಸಕಲ ಮುನಿಜನ
ಸೂರಿಗಳಿಗನುಪಮದ ಯುಕುತಿಯೆ
ಶಾರದೆಯೆ ನರ್ತಿಸುಗೆ ನಲಿದೊಲಿದೆನ್ನ ಜಿಹ್ವೆಯಲಿ………………………………… ೫

ವಾರಿಜ ಆಸನೆ. ಸಕಲ ಶಾಸ್ತ್ರ ವಿಚಾರದ ಊದ್ಬವೆ. ವಚನ ರಚನ ಉದ್ಧಾರೆ. ಶ್ರುತಿ ಪೌರಾಣದ ಆಗಮ ಸಿದ್ಧಿದಾಯಕಿಯೆ. ಶೌರಿ ಸುರಪತಿ ಸಕಲ ಮುನಿಜನ ಸೂರಿಗಳಿಗೆ ಅನುಪಮದ ಯುಕುತಿಯೆ. ಶಾರದೆಯೆ, ನರ್ತಿಸುಗೆ ನಲಿದು ಓಲಿದು ನನ್ನ ಜಿಹ್ವೆಯಲಿ

ವಾರಿಜ = Lotus
ಶ್ರುತಿ = Vedas
ಶೌರಿ = Lord Vishnu (Lard Krishna to be specific). The name ಶೌರಿ and how it got associated with Lord Krishna is an interesting story. It is said that Shouripur was a town established by price “Shoor” of the Yaduvansh on the banks of river Yamuna. The king of this town was Andhak Vrishni who had 10 kids, the youngest of one of whom was Vasudev. Vasudev had two sons Lord Krishna and Balarama. Later due to the fear of invasion by Jarasandha, the king of Magadha, all the Yadavas left Shouripur & Mathura and moved towards Dwarika, near the sea. So as Lord Krishna hailed from this town of Shouripur, he was referred to as Shouri.
ಸುರಪತಿ = ಸುರ+ಪತಿ, Lord Indra
ಅನುಪಮದ = Some thing that does not have parallel.

Seated on the lotus, takes the shape in the kernel of all knowledge, nurtures speech and writing. Brings to fruition scriptural lore of all kinds. And the unique confluence of Vishnu, Lord of Heaven, Indra and the multitude of saints and intellectuals, Oh Sharada, leave your imprint on my tongue

ಆದಿ ನಾರಾಯಣಿ ಪರಾಯಣಿ
ನಾದಮಯೆ ಗಜಲಕ್ಶ್ಮಿ ಸತ್ವಗು
ಣಾಧಿದೇವತೆ ಅಮರ ವಂದಿತ ಪಾದಪಂಕರುಹೆ
ವೇದಮಾತೆಯೆ ವಿಶ್ವತೋಮುಖೆ
ಯೈದು ಭೂತಾಧಾರಿಯೆನಿಪೀ
ದ್ವಾದಶಾತ್ಮ ಜ್ಯೋತಿರೂಪಿಯೆ ನಾದೆ ಶಾರದೆಯ………………………………… ೬

ಆದಿ ನಾರಾಯಣಿ. ಪರಾಯಣಿ. ನಾದಮಯೆ ಗಜಲಕ್ಶ್ಮಿ. ಸತ್ವ ಗುಣ ಆಧಿ ದೇವತೆ. ಅಮರ ವಂದಿತ ಪಾದ ಪಂಕರುಹೆ. ವೇದ ಮಾತೆಯೆ. ವಿಶ್ವತೋಮುಖೆ. ಯೈದು ಭೂತ ಆಧಾರಿ ಯೆನಿಪ ಈ. ದ್ವಾದಶ ಆತ್ಮ ಜ್ಯೋತಿ ರೂಪಿಯೆ. ನಾದೆ ಶಾರದೆಯ.

ಆದಿ = ಮೊದಲು, first
ನಾರಾಯಣಿ = It generally refers to Goddess Lakshmi, but here we need to consider it as consort of Narayana. It is interesting to see that goddess Sharade is referred to as ಆದಿ ನಾರಾಯಣಿ. This might be because, at one time both Sharade and Lakshmi were both wives of Lord Vishnu, but Sharade was “born” earlier than Lakshmi.
ಪರಾಯಣಿ = Some one who thinks deeply about something or contemplate, ಸದಾ ಆಲೋಚನೆಯುಳ್ಳವಳು
ಸತ್ವ = purity and goodness
ಅಮರ = ದೆವರು, god or goddess
ಪಂಕರುಹ = Lotus. I guess the way this word is split is ಪಂಕ+ರುಹ. ಪಂಕ means slimy mud, ಕೆಸರು. ರುಹ means “to be seen”, so ಪಂಕರುಹ is something that is seen in ಕೆಸರು, Lotus.
ವಿಶ್ವತೋಮುಖೆ = Generally it refers to Varuna who is present everywhere in the universe, but here it needs to be taken as Omnipresent. ಯೆಲ್ಲ ದಿಕ್ಕಿನಲ್ಲು ಮುಖವುಳ್ಳವಳು
ಯೈದು = I guess this means five.
ಭೂತ = Elements of earth. Water ,Air ,Fire, Space ,Earth
ಆಧಾರಿ = I guess it means protector.
ದ್ವಾದಶ = 12

This has been the most difficult part of this canto to understand and to be frank I still haven’t understood what the poet is trying to say. For example
1) I am still not clear why poet is calling sharade as ನಾದಮಯೆ ಗಜಲಕ್ಶ್ಮಿ. The name ಗಜಲಕ್ಶ್ಮಿ generally refers to goddess Lakshmi.
2) Poet refers to Sharade as ವಿಶ್ವತೋಮುಖೆ. There is nothing wrong in it, the word can be used as a generic adjective, but still do not understand the context of this reference
3) ಯೈದು ಭೂತಾಧಾರಿಯೆ – Why does the poet say this? Is there any legend to support this?
4) ದ್ವಾದಶಾತ್ಮ ಜ್ಯೋತಿರೂಪಿಯೆ – Again why does the poet say this? What does the ದ್ವಾದಶ ಆತ್ಮ ಜ್ಯೋತಿ refer to? Do they refer to the 12 sons born to Aditi, one of whom is Lord Vishnu.

Consort of Lord Vishnu. One who is always contemplating. one whose lotus feet are worshiped even by the god and goddess. One who is omnipresent in the universe. One who protects of the elements (I guess)

Above is just part of the translation. I have not understood rest of it to translate.

ಕುಮಾರವ್ಯಸ – ಕರ್ಣಾಟ ಭಾರತ ಕಥಾಮಂಜರಿ (ಆದಿಪರ್ವ, ಪೀಠಿಕಾ ಸಂಧಿ)

Posted by Prashant - 25/07/10 at 02:07:28 am

Kumaravyasa’s – Karnata Bharatha Kathamanjari, Aadi Parva, Peetika Sandhi

ವರಮಣಿಗಳಿಂದೆಸೆವ ಮೌಳಿಯ
ಸರಸಿಜಾರಿಯ ಕಿರಣದೋಳಿಯ
ವಿರಚಿಸಿದ ಸಿಂಧೂರಭಾಳದಿ ಕುಣಿವ ಕುಂತಳದ
ಕರಿ ನಿಭಾಕೃತಿಯೆನಿಪ ವದನದ
ಕರದ ಪಾಶದ ಮೋದಕದ ವಿ
ಸ್ತರದ ಗಣಪತಿ ಮಾಡೆಮಗೆ ನಿರ್ವಿಘ್ನದಾಯಕವ………………………………… ೩

ವರ ಮಣಿಗಳ ಇಂದ ಎಸೆವ ಮೌಳಿಯ. ಸರಸಿಜಾರಿಯ ಕಿರಣದ ಓಳಿಯ. ವಿರಚಿಸಿದ ಸಿಂಧೂರ ಭಾಳದಿ ಕುಣಿವ ಕುಂತಳದ. ಕರಿನಿಭ ಆಕೃತಿ ಎನಿಪ ವದನದ. ಕರದ ಪಾಶದ ಮೋದಕದ ವಿಸ್ತರದ ಗಣಪತಿ, ಮಾಡ ಎಮಗೆ ನಿರ್ವಿಘ್ನದ ಆಯಕವ

ವರ = ಶ್ರೇಷ್ಠ
ಮಣಿ = ರತ್ನ, gems
ಎಸೆ = Shine, ಪ್ರಕಾಶಿಸು
ಮೌಳಿ = ಕಿರೀಟ, crown
ಓಳಿ = ಸಾಲು, ಪಂಕ್ತಿ
ಸಿಂಧೂರ = ಚಂದ್ರ, moon
ಭಾಳ = Forehead, ಹಣೆ
ಕುಂತಳ = Hair
ಕರಿನಿಭ = ಕರಿ means elephant, ಕರಿನಿಭ mean something that is in the shape of an elephant.
ವದನದ = face
ಕರ = Hand
ಪಾಶ = Rope, ಹಗ್ಗ
ಮೋದಕ = One of the favorite savory of Lord Ganesh
ವಿಸ್ತರ = Description
ಆಯ = ಅನುಕೂಲ

Crest adorned with lustrous gems shines like a line of soft moon beams, truant locks frolic on vermilion – smeared forehead. Face with the visage of elephant, with noose and sweet crispies in fist, So revealed, Oh Ganapathi, free my path of impediments.

ಗಜಮುಖನೆ ಮೆರೆವೇಕದಂತನೆ
ನಿಜಗುಣಾನ್ವಿತ ಪರಶುಧಾರನೆ
ರಜತಗಿರಿಗೊಡೆಯನ ಕುಮಾರನೆ ವಿದ್ಯೆವಾರಿಧಿಯೆ
ಅಜನು ಹರಿ ರುದ್ರಾದಿಗಳು ನೆರೆ
ಭಜಿಸುತಿಹರನವರತ ನಿನ್ನನು
ತ್ರಿಜಗವಂದಿತ ಗಣಪ ಮಾಳ್ವುದು ಮತಿಗೆ ಮಂಗಳವ………………………………… ೪

ಗಜ ಮುಖನೆ ಮೆರೆವ ಏಕ ದಂತನೆ. ನಿಜ ಗುಣ ಅನ್ವಿತ ಪರಶುಧಾರನೆ. ರಜತ ಗಿರಗೆ ಒಡೆಯನ ಕುಮಾರನೆ. ವಿದ್ಯೆ ವಾರಿಧಿಯೆ. ಅಜನು ಹರಿ ರುದ್ರಾದಿಗಳು ನೆರೆ ಭಜಿಸುತಿಹರ ಅನವರತ ನಿನ್ನನು. ತ್ರಿ ಜಗ ವಂದಿತ ಗಣಪ. ಮಾಳ್ವುದು ಮತಿಗೆ ಮಂಗಳವ

ಮೆರೆ = ಪ್ರದರ್ಶಿಸು
ಅನ್ವಿತ = ಕೂಡಿದ, ಸೇರಿದ
ಪರಶು = Axe
ರಜತ = Kailas
ವಾರಿಧಿ = Ocean
ಅಜ = One who does not have a birth, Brahma
ಅನವರತ = ಯಾವಾಗಲೂ, all the time

Elephant – Visage, Single-toothed, Who wields the ace symbolizing truth, son of Prameswara, who is the lord of silver peaked Kailas, Ocean of learning, adored by the Trinity – Brahma (ಅಜ), Vishnu (ಹರಿ) and Maheswara(ರುದ್ರಾ), Ganapathi, venerated by the three worlds. Lead my mind in the right direction

Note:
All English translations are not mine and are taken from book by D. Sheshagiri Rao.

Finally one off the Photography gear wishlist

Posted by Prashant - 24/07/10 at 11:07:47 am

It pricked as the credit card got charged but then when it arrived and I held the spanking new (almost, actually its a one month old used lens) lens in my hand, all the hard feelings vanished and weight of the credit card bill felt like it was worth it. It was the first time I had a feel of a 500mm lens and it felt good, really good. Watching the pro photographer posing with their bazooka kind of uber gear on INW, I always wondered how it would feel having possession of such gear, now I can understand the joy after holding the Sigma 150-500 f/5-6.3 HSM OS lens. If, with an average, slow lens like my Sigma, I can see so many photographic possibilities opening up, having a fast prime lens with almost the same reach will just quadruple the possibilities. But no, I am not complaining and so far I am just loving it.

So how is the lens?

haven’t had enough face time with it yet, just had one birding session close to my place, but the initial experience is as follows;

1) Build – It has got a solid build and really nice feel to it. Coming from an old Nikkor 70-300 G lens, the Sigma 15-500 weights significantly higher. But not something that we cannot manage. You can actually hand hold it all shots below are hand held. Did not use a tripod or any kind of support.

2) OS – OS is pretty impressive, I have not had that many opportunities to use IS/VR/OS lens, but recently I had did get a chance to use Nikkor 18-200 VR lens. The OS system on this lens is as good as the Nikkor one.

3) Weight – It is heavy for a day long shooting. For 2-3 hours job you wont feel the weight, but after that you will for sure feel the need for a tripod or monopod to rest your lens on.

4) IQ – Not all that great, images tend to be a soft, not clear as other pro lens, but then the IQ is a good bargain for the reach and price you pay for this lens.

More detailed analysis later..for now these are the images taken with this lens. All are hand held shots, at 500mm, ISO 800

ಕುಮಾರವ್ಯಸ – ಕರ್ಣಾಟ ಭಾರತ ಕಥಾಮಂಜರಿ (ಆದಿಪರ್ವ, ಪೀಠಿಕಾ ಸಂಧಿ)

Posted by Prashant - 22/07/10 at 07:07:18 pm

It was through the lectures of G. B. Harish at the kannada club of my work place that I first started reading Karnata Bharatha Kathamanjari by Kumaravyasa. I was not prepared for the way this work would jolt me. Its sheer quality of the work combined with the amazing oratory of Harish that got me hooked into reading this.

Unfortunately Harish quit our organization and the reading of Karnata Bharatha Kathamanjari at our Kannada club stopped with that. But great works like these are an addiction. There is always an unknown force that pulls you towards it. So an idea of exploring this work on my own sprouted and led me to purchase this book edited by Shri Kuvempu and Masti Venkatesh Iyengar. It was not easy at all to begin with. I could hardly understand the poetry and most of the words sounded alien. I could not break the sentence in to words which made it impossible to understand. This is when I bought another book which was an English translation by D Sheshagiri Rao. With the english translation in place, I now understood the overall meaning but then it was not the same as reading the original poetry. It was like something was missing. So I thought of giving it another shot, this time with an Kannada-Kannada dictionary. It took time to understand where to break the sentence and then understand the meaning of it. But in spite of being time consuming, when you still put that effort, you actually get to realize why it is a classic. The magic unfolds itself and engulfs you.

Last week one of my colleague emailed me this link where few people have taken time out to make this great work available online. You can see their effort here. It is indeed laudable effort. Now the whole world has access to enjoy it. But it has only poetry and there is no translation. So if you are new to this and have limited Kannada vocabulary (shame, considering its my mother-tongue) like me, you will have to go through the same learning curve as I did which could be a bit frustrating to start with. This is when I thought why not publish my notes so that you get a head start and hence this and several of the upcoming posts.

Note:
All English translations are not by me but have been taken from Book by D. Seshagiri Rao. If there is anything extra which I know, I have tried to make it part of the translation.

Kumaravyasa’s – Karnata Bharatha Kathamanjari, Aadi Parva, Peetika Sandhi

ಶ್ರೀವನಿತೆಯರಸನೆ ವಿಮಲ ರಾ
ಜೀವ ಪೀಠನ ಪಿತನೆ ಜಗಕತಿ
ಪಾವನನೆ ಸನಕಾದಿ ಸಜ್ಜನನಿಕರ ದಾತಾರ
ರಾವಣಾಸುರ ಮಥನ ಶ್ರವಣ ಸು
ಧಾ ವಿನೂತನ ಕಥನ ಕಾರಣ
ಕಾವುದಾನತ ಜನವ ಗದುಗಿನ ವೀರನಾರಾಯಣ ………………………………… ೧

ಶ್ರೀ ವನಿತೆಯ ಅರಸನೆ, ವಿಮಲ ರಾಜೀವ ಪೀಠನ ಪಿತನೆ, ಜಗಕೆ ಅತಿಪಾವನನೆ, ಸನಕಾದಿ ಸಜ್ಜನ ನಿಕರ ದಾತಾರ, ರಾವಣ ಅಸುರ ಮಥನ, ಶ್ರವಣ ಸುಧಾ ವಿನೂತನ ಕಥನ ಕಾರಣ, ಕಾವುದ ಆನತ ಗದುಗಿನ ವೀರನಾರಾಯಣ

ವನಿತೆಯ = ವನಿತ in general refers to a women but here it mean Goddess Lakshmi
ವಿಮಲ = ಪವಿತ್ರವಾದ, ನಿಷ್ಕಳಂಕ
ರಾಜೀವ = Many meaning to this word, but here it mean Lotus as the context refers to Lord Brahma
ಪಾವನ = When taken as a verb means to clean up, to purify or to sanctify
ಸನಕಾದಿ = Sanaka was one among the four ‘Jeevan Muktha’ ( One who has attained enlightenment ), Sanaka, Sanandana, Sanatana and Sanatkumara. Brahma before starting to create the universe wished for four people who would be the embodiments of pure qualities. Out of this wish were these four born.
ನಿಕರ = Group
ದಾತಾರ = Master,Lord
ಮಥನ = Put to death, generally in a war
ಸುಧಾ = Honey
ವಿನೂತನ = Something that is praised by all
ಕಾವುದ = Protect
ಆನತ = to Prostrate or one who prostrates

It is a common practice for authors to begin any literary work with a praise for lord and seek his blessings. In this case Naranappa a.k.a. Kumara vyasa, praises his beloved Veera Narayana of Gadag for being that creative inspiration that will allow him to complete this work.

Consort of the goddess of prosperity, Lakshmi. Father of Brahma, who is seated on the chaste lotus. Hallowed by all the worlds. One who nourishes the righteous like Sage Sanaka. Destroyer of demon King Ravana. One who is the source of many auspicious tales which are ambrosial to the ear. Oh Shri Veeranarayana of Gadag, enfold them who prostrates before you in protective embrace.

There is a legend which says Brahma is self-born (without mother) in the lotus flower which grew from the navel of Vishnu at the beginning of the universe and hence Kumaravyasa refers to Veeranarayana as father of Brahma.

There is a reference to sage Sanaka, who was one among the four ‘Jeevan Muktha’ ( One who has attained enlightenment ), Sanaka, Sanandana, Sanatana and Sanatkumara. Brahma before starting to create the universe wished for four people who would be the embodiments of pure qualities and would help him build the universe. Out of this wish were these four born. But going against the expectations of Brahma, they refused to get married and help Brahma to create the world instead they remained unmarried and roamed the universe spreading the message of Lord Vishnu.

ಶರಣಸಂಗವ್ಯಸನ ಭುಜಗಾ
ಭರಣನಮರ ಕಿರೀಟ ಮಂಡಿತ
ಚರಣ ಚಾರುಚರಿತ್ರ ನಿರುಪಮ ಭಾಳಶಿಕಿನೇತ್ರ
ಕರಣನಿರ್ಮಲ ಭಜಕರಘ ಸಂ
ಹರಣ ದಂತಿ ಚಮೂರು ಚರ್ಮಾಂ
ಬರನೆ ಸಲಹುಗೆ ಭಕುತ ಜನರನು ಪಾರ್ವತೀರಮಣ………………………………… ೨

ಶರಣ ಸಂಗ ವ್ಯಸನ. ಭುಜ ಆಭರಣ. ಅಮರ ಕಿರೀಟ ಮಂಡಿತ ಚರಣ. ಚಾರು ಚರಿತ್ರ. ನಿರುಪಮ ಭಾಳ ಶಿಕಿ ನೇತ್ರ. ಕರಣ ನಿರ್ಮಲ ಭಜಕರ ಅಘ ಸಂಹರಣ, ದಂತಿ ಚಮೂರು ಚರ್ಮ ಅಂಬರನೆ. ಸಲಹುಗೆ ಭಕುತ ಜನರನು ಪಾರ್ವತೀ ರಮಣ

ವ್ಯಸನ = It is generally used in a negative sense to speak of some kind of addiction to bad habits, but here it should be used as a person who revels
ಅಮರ = It has many meanings but here it takes a meaning of a king (heading a 1000 foot-soldier army)
ಚಾರು = Pleasant, ಮನೋಹರ
ಚರಿತ್ರ = Personality
ನಿರುಪಮ = Without parallel, ಹೋಲಿಕೆ ಇಲ್ಲದ
ಭಾಳ = Forehead, ಹಣೆ
ಶಿಕಿ = Fire
ಕರಣ = ಇಂದ್ರಿಯ
ನಿರ್ಮಲ = cleanse
ಭಜಕರ = One who prays, ಪೂಜಿಸುವವನು
ಅಘ = ಪಾಪ
ಸಂಹರಣ = Remove
ದಂತಿ = Elephant
ಚಮೂರು = Tiger
ಸಲಹು = Protect,ಕಾಪಾಡು

Who Revels in the company of the godly, wears serpents for ornament, whose feet are adorned with the diadem of gods, has charming life, with blemish less eye on the forehead, washes away the sins of those who come baser instincts cleansed, is draped in the skins of elephant and tiger, thus reveled may Parvati’s consort protect devotees

Orissa and Sandak Phu Complete Travel Log

Posted by Prashant - 22/07/10 at 01:07:41 am

Because of travel, work and lots of other things, I could not post the complete travel log for my Orissa and Sandak Phu trip on this blog. But the entire travel log is available in a PDF version for offline viewing. There are two versions as shown below;

Sandak Phu and Orissa Travel Log - PDF Version

File Name	Size	Download Location
Sandakphu_Travel_Log_With_Very_High_Res_Photos.pdf	90 MB (High Resolution)	Download
Sandakphu_Travel_Log_With_Very_Low_Res_Photos.pdf	6 MB (Low Resolution)	Download

Please note the high resolution file has really high resolution images and hence the size of the file will be a killer if you are bandwidth challenged. But if you do not have any such constraints then high resolution file is recommended.

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