Kannada, Kannadiga, Kannadigaru, Karnataka,

Kannadigarella ondaagi Kannadavannu ulisona, kalisona and belesona

HAVERI-District-Tourist Places-THE HISTORY OF TEGGINAMATH-BADA Village-KANAKADASA-KAGINELE-Kaginele Kanaka Guru Peetha-Hallikere-Motebennur

Haveri District

Before it was made a separate district, it was part of Dharwad District. Haveri District is 335 km from Bangalore. Bada village where the greatest of all Saints Kanakadasa was born is situated in the district. Today Mutt dedicated to this great saint is located in Kaginele Village called the Shri Kaginele Kanaka Guru Peetha. The freedom fighter Mailara Mahadevappa, who resisted British rule, is from Motebennur in Haveri District. Another freedom fighter Gudleppa Hallikere a native of Hosaritti is also from this district. He started a residential school Gandhi Grameen Gurukul in Hosaritti. Konanahalli Family has been a model in terms of education, as many from that family have become architects, lawyers, medical doctors and engineers in India and abroad.

Tourist Places of Haveri

Haveri district is exactly in the center of Karnataka with equal distance from Bidar in the far north to Kollegal in the far south. It is also known as the gateway district to the northern districts of Karnataka. Total population is 1,439,116 of which 299022 live in urban and 1140096 in rural area.

Haveri district has a very rich culture and tradition. The district is proud to be the birth place of Santa Shishunala Sharif, great saint Kanakadasaru, Sarvagnya, Hanagal Kumara Shivayogigalu, Wagish Panditaru, Writer Galaganatharu, Ganayogi Panchakshari Gavayigalu, Gnyana Peetha Awardee Dr.V.K.Gokak and many more. The freedom fighter Mailara Mahadevappa, who resisted British rule, is from Motebennur in Haveri District. Another freedom fighter Gudleppa Hallikere a native of Hosaritti is also from this district. He started a residential school Gandhi Grameen Gurukul in Hosaritti.

Haveri district along with Gadag district was earlier part of undivided Dharwad district. Owing to the demands of the people Haveri district was carved out of old Dharwad district and was formed on 24.08.1997.

History of Haveri district dates to pre-historic period. Evidences are available on existence of pre-historic civilizations on the Tungabhadra and Varada river basins. Stone carvings depicting Stone Age civilizations are found in many parts of the district. About 1300 stone writings of different rulers like Chalukyas, Rastrakutas are found in the district. Though none of the major kingdoms of Karnataka had their headquarters in Haveri, many Mandaliks ruled in this district.

Bankapura Challaketaru, Guttavula Guttaru, Kadamba of Hanagal and Nurumbad are some of the well known Samanta Rulers. Devendramunigalu the teacher of Kannada Adikavi Pampa and Ajitasenacharya the teacher of Ranna Chavundaray lived in Bankapura. This was also the second capital of Hoysala Vishnuvardhana. Guttaru ruled during latter part of 12th century and up to end of 13th century from Guttavol (Guttal) village as Mandaliks of Chalukya, independently for some time and as Mandaliks of Sevuns of Devagiri. Shasanas found in Choudapur, a village near Guttal, reveal that Mallideva was Mandalika of 6th Vikramaditya of Chalukyas. Jatacholina, under the leadership of Mallideva built the Mukteshwar temple at Choudapur. Kadambas of Nurumbad during the period of Kalyana Chalukyas ruled about 100 villages with Rattihalli as their capital. Kadambeshwar temple at Rattihalli is a beautiful Chalukya style temple.

All these Samantas who ruled from different parts of the district have left their permanent evidences in the history of the district. Many beautiful temples like Tarakeshwar at Hanagal, Kadambeshwar at Rattihalli, Someshwar at Haralahalli, Nagareshwar at Bankapur, Mukteshwar at Choudapur, Siddheshwar at Haveri, Eeshwar at Galaganath, Jain Basadi at Yalavatti depict the rich culture and history of the district.





THE HISTORY OF TEGGINAMATH The history of Tegginamath is as old as the rule of palayagars of Vijayanagara empire. The historians opine that during the rule of palayagars, the Math and Veerabhadreshwara temple were in exiestence to the right side of Kalamma temple at the present location of ruined fort.



The history of Tegginamath is as old as the rule of palayagars of Vijayanagara empire. The historians opine that during the rule of palayagars, the Math and Veerabhadreshwara temple were in exiestence to the right side of Kalamma temple at the present location of ruined fort. In the later period, the Math was shifted to the place where it is existed now. As Tegginamath was patronized by famous palayagars, it was also know as SAMSTHANAMATH. The palayagars had great reverence to the pontiffs of Tegginamath. They were spiritual guides to palayagars. The original name of Tegginamath is Hiremath. As math is in the pit, it came to be known as Tegginamath. speaking on an occasion. Shri. Jagadguru veeragangadhara swamiji of Rambapuripeetha causally remarked, “math is in the pit, The pit is symbol of depth of knowledge. Shri Tegginamath has a great tradition of being a sakha Math of Shri. Madrambhapuripeetha of Belehonnur, which is one among the panchpeethas of veerashaiva The Math has a legacy of hereditary succession (Puthravarga heredity).
The branchas of Tegginamath are in Nagathibasapur, Koilaragatti, Bhavanipethe and Gouripura. Thera are tomb-monuments of former religious enlightenment. Among those former religious heads, the documentary evidences of Shri. Kashaiah swamy, Shri. Channaveera swamy Shri. Gurubasava swamy and Shri. Chandrashekhara swamy are available. the religious heads of these Maths had a glowing account of their spiritual and social commitment. They had the reputation of patronizing art, culture, music and astrology and maintaining continual Annadasoha (offering )of free food) right from the days of palayagars till today.

Bodhaka – Sadhaka

Swamiji’s illustrious career began with a teaching profession. He gracefully accepted Shri. Sharanabasappa Appa’s offer to work as lecturer in Philosophy in Sharanabasaweshwara College, Gulbarga of Sharana basaweshwara Samsthe in 1964. He was the head of the depertment of Philosophy and then Reader during 1970. He worked to the fullest satisfaction of Shri. Sharanabasappa Appa his co-mate in Philosophy. He recognising his services worthrecording and commendable, respectfully recommended him to Shri. Vageesha Panditharadya of Shrishail peetha to make use of his services in his Vidya Peetha. Shri. Chandramoulishwara gratefully responded to the call of Shri. Vageesha Panditharadya to work as the founder principal of S.J.V.P. College of Harihar during 1970-72. Swamiji entrusted with positions of greater responsibility, worked hard for the allround development of the institution. Thus, he provided a firm footing to the institution of Shrishailpeetha. He was a visionary. While working at Gulbarga and Harihar, his dream of making Harapanahalli a seat of learning was fully taking shape in his mind. As a result, he gave birth to Shri. Tegginamath Arts and Education Society in 1969. Thus he sacrificed his earlier profession to fulfill his life-mission in the field of religion and education. He descended down to Harapanahalli as a messaih of Shri. Chandrashekhara swamy to shape its destiny. As a step towards a big leap in the field of education Swamiji started Teacher’s Training Institute (T.C.H.) in Harapanahalli during 1970-71. The first offspring of Shri. Tegginamath Arts and Education Society at the foot of famous Gosavi hills. The People of Harapanahalli welcomed it as an oasis in the desert. So is the life of Yogi-begins as bodhaka and ends as Sadaka.


Book Series Lecture Notes in Geoinformation and Cartography
ISSN 1863-2246
Book GIS for Health and the Environment
Publisher Springer Berlin Heidelberg
DOI 10.1007/978-3-540-71318-0
Copyright 2007
ISBN 978-3-540-71317-3 (Print) 978-3-540-71318-0 (Online)
Part Part 7
DOI 10.1007/978-3-540-71318-0_18
Pages 243-255
Subject Collection Earth and Environmental Science
SpringerLink Date Thursday, October 04, 2007
Lecture Notes in Geoinformation and Cartography
GIS for Health and the Environment
Development in the Asia-Pacific Region With 110 Figures
Poh C. Lai and Ann S. H. Mak

A Public Health Care Information System Using GIS and GPS: A Case Study of Shiggaon

Ashok Hanjagi3, Priya Srihari4 and A.S. Rayamane5

(3) Department of Geography & Geoinformatics, Bangalore University, Bangalore-56, India
(4) Department of Geography & Geoinformatics, Bangalore University, Bangalore-56, India
(5) Department of Geography & Geoinformatics, Bangalore University, Bangalore-56, India


Health data maps and Geographic Information Systems (GIS) are significant resources for health planning and health services delivery, particularly at the local level. The ability to visualize the spatial distribution of health status determinants and indicators can be a powerful resource for mobilizing community action to improve the health of residents. Currently, health data maps and other GIS applications tend to be highly technical and specialized, and are therefore of limited use to community members and organizations providing community-based health services. Developing relevant, accessible, and usable GIS and health data maps for communities and local agencies is an important step towards enabling individuals and communities to improve their health and increase their control over it. The final map was prepared by overlaying all the layers generated. The spatial objects were digitized out of LISS and PAN merged data and topomap supplied by the NRSA and Survey of India respectively. Questionnaires were prepared to get the data needed from each hospital and house by field investigation. Finally, a map of Public Health Care Information System was created by interlinking all topographical features with attribute data of the town so as to keep this information for planning and development in days to come.

Keyword public health care system – GIS – GPS


 SUDHA MURTY was born in 1950 in Shiggon in Haveri district of north Karnataka.

An M Tech in Computer Science, she is currently the Chairperson of Infosys …


 The Temple of Muktesvara, Chaudadanapura

Includes temple plans, history and reconstructions,and accounts of its architecture.

 The Temple of Mukt®¿vara at Cau·ad¡napura


 Temple seen from South east angle, after áivadevavijayam, photo showing inscriptions.


In all, there are eight inscriptions in the compound of Mukte¿vara temple. Except one which is on the k¢rtistaÆbha, all are written on well-polished stelae specially prepared for engraving. An image of V¢rabhadra has been carved on the back of the inscription No. V. The sixth inscription is written on the back of the inscription No. III. Except the one on the k¢rtistaÆbha all are kept in the shade of a shed which was recently built to shelter them. Judging from old photographs, it was not their original place. Originally they were installed near the temples, to the activities of which their contents refer.

All the eight inscriptions are written in Kanna·a characters of 12th and 13th centuries. The letters are well incised and beautifully engraved. Texts are a good combination of prose and poetry. Seven inscriptions are in Kanna·a interlaced with Sanskrit verses, whereas the one on the stone pillar is entirely in Sanskrit. As in most of the inscriptions, the pra¿asti part of the text is in poetry and the details of the grants are in Kanna·a prose



Stella bearing inscription I, k¡lamukha worshipper.


Inscription No. I (incomplete). Construction of a temple by Attir¡ja. Between 1101 and 1120.

(S.I.I. XVIII No. 112)

The stela containing the text of inscription No. 1, now installed in the shed specially built to shelter the inscriptions, is the second from the right and faces the East. Formerly, according to the Dharwar District Gazetteer, this stela was in the shrine of Mukte¿vara. This inscription is also published in áivadeva VijayaÆ as No. VII, p. 33 in Appendix; then in Cau·ad¡napura Monograph as No. 1 and in S.I.I. XVIII, No. 112. There are a few variants in these different publications. S. C. Nandimath had already given a full description of these stelae in his monograph (p. 66-67). We have mainly followed his reading and verified the printed text directly on the stone. S. C. Nandimath gives the description of the stone slab as follows: “It (the stela) measures 7′-6″ in height and 3′-8″ in breadth. The written space covers 5′-6″ by 3′-6″ leaving a margin of 1″ space on both sides. At the top of the slab there is an arc of a circle. In the centre of the arc there is a Li´ga. To the left of the Li´ga is a man, a devotee with beard and matted hair tied to form the shape of a turban. He is in the act of worshipping the Li´ga i. e. offering a garland of rudr¡kÀa on the top of the Li´ga. Above the Li´ga there is a cow and sucking calf. Above them there is the Sun. Just below this whole scene there is a band, 2 1/2″ in breadth, consisting of one and a half line. Round the arc of a circle at the top there is a band of 4 1/2″ breadth”.

There are 63 lines, but the inscription is incomplete. The portion containing the date and the purport of the grant is missing. The inscription is written in Kanna·a characters of 12th century with round and legible letters. “The text is in prose and poetry and the language is Kanna·a interlaced with Sanskrit verses. There are totally 32 verses in various metres such as anuÀ¶ubh, utpala, campaka, mah¡sragdhar¡, matt®bha and kanda. ” (ibidem p. 67)

The composition of the text is as follows. As in most of the epigraphs of this epoch, it begins with the famous ¿l°ka “Namas tu´ga¿ira¿-cumbi” followed by another in praise of God áiva. Then follow the titles of the C¡½ukya king Tribhuvanamalla Vikram¡ditya VI. The description of his realm and the name of G°vindarasa the governor of Banav¡si come next. This is followed by the history of the feudatory chiefs of the Gutta family starting from their origin, namely from the days of the legendary king Vikram¡ditya of Ujjayin¢. From l. 10b to 14 there is a pra¿asti of the legendary king Vikram¡ditya in Sanskritised Kanna·a enumerating his epithets and achievements. M¡gutta was a descendant of this family. His son was Gutta whose son was Mallid®va or Mallugi or Mallabh£pa. From l. 30b to 48a, in a very beautiful poetical style, a long description of the river Tu´gabhadr¡, of a temple of áiva built by one of the descendants of Ja¶¡ C°½a family, relatives of Guttas, are given. In the family of Ja¶¡ C°½a was born JoÆma whose son was D¡sa. From his wife Candabbarasi, D¡sa begot two sons, Attin¤p¡la and Canda. It appears from the inscription that the feudatory chieftain Mallabh£pa of Gutta family was the father-in-law (m¡va) of Attir¡ja, the author of a áiva temple at Cau·ad¡napura. The portion between lines 37b-45a is full of double meanings: e. g. d¡n°cita sth¡na means a place fit for donation and another meaning of d¡na is the rut of the elephant; bhitti is a wall and also the temple of elephants; n¡ga means snake and elephant and according to the Hindu mythological conception snakes are in the P¡t¡½a or subterranean world; rambh¡ stands for the banana tree and also is the name of a celestial nymph who was in the court of Indra; the waves of the sea are called t¡½a which is also the rhythm in music; sumana means the gods whose mind is good and also flowers which beautify the body and make it well-appreciated.

In l. 54b-55a the poet extols the king’s generous qualities and compares him with the cint¡ma¸i (celestial wish granting stone) and the kalpav¤kÀa (heavenly wish granting tree) and says that these are inferior to the king, because the monarch invites meritorious people and honours them with rich grants, whereas the other two satisfy the desires of those who ask. So these two remain barely a tree and a stone when compared to the king.

Though there is no date, Fleet has assigned this inscription to 1115 on the basis of other documents, which evoke the governorship of G°vindarasa in Banav¡si between 1110 and 1120 under Vikram¡ditya VI. But there are other inscriptions, namely from Abl£ru and Ba½½ig¡ve, which record the governorship of G°vindarasa in Banav¡si as early as 1101 A.D. Consequently, the date of construction of this áiva temple by Ja¶¡ Co½a at Cau·ad¡napura can be taken back to a date slightly earlier than 1115 and it may not be wrong to say that the temple might have been built after 1101 but before 1120 A.D.

With regard to orthographical peculiarities Dr. Nandimath’s remarks are valuable. For example:

1. Syllable ri , in mri¸maya (l. 1), prithivi (l. 3) etc., for vowel ¤

2. ¿a for sa in ¿ahasra (l. 2), ¿amadhigata (l. 7).

3. ¿a for Àa in ¿a·akÀari (l..43) for Àa·akÀari.

4. sa for ¿a in sil¡ (l. 2), sikhama¸i, sara¸¡gata (l. 8), sauca (l. 14).

5. ba for va in br¡ta (l. 26).

6. Consonant after r is doubled in t£rttada (l. 30).

1a. Homage to áaÆbhu, lovely with a Cauri, the moon kissing his lofty head, foundation column of the construction of a city, the three worlds.(1)

1b-2. Grass [for building a temple, procures] one crore of years [in heaven], mud ten crores, wood hundred crores, stone thousand crores. (2)

3-5a. The refuge of all the world, master of the earth and fortune, king of great kings, great seigneur, great lord, glory of the family of Saty¡¿raya, ornament to the family of C¡½ukyas, Tribhuvanamalla’s victorious kingdom extending on all sides, to continue as long as the sun, moon and stars,

5b-6a. (kanda) King Vikram¡ditya, ruled over the earth, with the western ocean to the West, the eastern ocean to the East, to the North the snow, and to the South the bridge (s®tu) as boundaries; 3

6b-7a. This king Vikram¡´ka, tilaka of the family of C¡½ukyas after having made the entire stretch of the ocean-bound earth contained in the palm of his own hand, ruled it in glory. (4)

7b-9a. While the fortunate G°vindarasa, dweller at his (King’s) lotus feet, having all five great titles, great chieftain of vassals, great general, an arrow like Indra’s thunderbolt to the mountains which are the enemies, commander of great warriors, protecting jewel to those who seek refuge, great minister, was administering in pleasure the Banav¡si 12000,

9b-10a. killing those who were not submissive, protecting those who prostrated (to him), G°vindarasa displayed his fame in all grandeur in company of K¢rti-LakÀm¢ , while the whole South obeyed his orders.(5)

10b-15a.Hail.To tell the grandeur of Guttas,descendants of Vikram¡ditya :

the foreheads of the people of the earth prostrated extolling highly his lotus-feet; he was destroyer of groups of enemies, blessed by God Mah¡k¡½a of Ujjaini, taking pleasure in all branches of learning, master of P¡¶a½¢pura, Lord of the Lady of Celebrity, having Banyan tree as a banner, in courage like Him (ViÀ¸u) who has an eagle as his banner,

an eye on the forehead of S°ma’s family, having lion as emblem, Bh¢ma of Guttas, firm like R¡ma in battles, with feet touched by the crowns of royal princes, ornament of Guttas, Sun to the darkness which is the army of enemies, club of the god of death to the enemy clan, King Vatsa to horses, in beauty Cupid, wish yielding jewel in protection, jewel among disciplined army, wish granting tree to those who compliment him, protector of the submissive, full (moon) to the family of king of kings Candragupta, Kar¸a in truth, follower of Manu, donor of honours to the deserving, in chastity like Hanum¡n, never withdrawing a promise once made, Disk of Ayya (ViÀ¸u), Indra of the entire circle of the earth.

16. (kanda) There, in the family of Guttas, who were like Lords of LakÀm¢, was born king M¡gutta known as unrivalled and invincible. (6)

16b-17a. To such a king (was born) a son, treasure of valour, crest jewel of the royal family, god of death to adversaries, wish granting stone to the subdued, like Cupid in beauty. (7)

17b-19a. (v¤tta) Glory of the Gutta family: not satisfied with the kingdom inherited from his forefathers, he acquired more territories by slaying heroically the enemies who came to face him; and by granting wishes to one and all who desired, King Gutta attained everlasting celebrity as his own palace. What a fulfilment King Gutta achieved in life! (8)

19b-20a. (kanda) Best in the dynasty of Guttas, sacred finial of the royal palace of Gutta family, crest jewel amongst Gutta descendants; (thus) Gutta appeared like tilaka on the forehead in the line of Guttas. (9)

20b-21a. His son, Mallid®va, Lord of mighty lords, respecter of rules of polity in the world, lion to mighty elephants the enemies, fearless amongst kÀatriyas on the earth. (10)

21b-23a. (v¤tta) What is the use of other kings? Now Mallid®va shines like a moon on the eastern mountain, a lotus in the midst of an ocean,

ruby in a ring, refuge to the inhabitants of the earth, crest jewel amongst kings, (like) Mandh¡ta (son of Yuvan¡¿va) to three worlds. (11)

23b-24a. (kanda) Our brave hero who conquered the entire host of enemy kings by the might of his limbs, bore the goddess of Victory on his arms, who is like M®ru, our king Malla, is he an ordinary king ? (12)

24b-25a. The words of Malla are such that if not uttered, there is no issue; if he says “I will”, they are like boons of áiva, letters engraved on the celebrated mountain M®ru if once uttered (by him). (13)

25b-27a. O king Malla, should I be alone to eulogise your sports in the battlefield (the inscription reads ‘sugr¡ma’ (to be corrected as ‘saÆgr¡ma)’ I could be accused of partiality. However, will not the host of enemies in many a battle speak eloquently about you: in despair the enemies mounted on an ant-hill, bit the grass, you slew those who threw their sword, hid under water, made others flee, others to join hands for protection. (14)

27b-28a. (kanda) Brilliant Mallan¤pa mounted on his horse, tilled the soil of the battle-field with its hooves, to reap a crop of shining, celebrated glory by sowing heads of enemies as seeds. (15)

28b-30a. (v¤tta) The terrific nature of the battlefield was increased very much indeed by the blood of the killed enemy force newly painting the quarters, and by the severed heads of slain soldiers and mutilated body bits of slaughtered horses enveloping the entire sky. (16)

30b. Description of the temple of áiva at Muktit¢rtha built by the descendants of Ja¶¡ C°½a dear dependent of the descendants of Guttas:

31. (kanda) Is there any river or fleuve in the world equal to TuÆgabhadr¡ descending from V®da¿aila and the celestial river (Ga´g¡) residing in áiva’s matted hair ? (17)

32a-33a. The water of holy Tu´gabhadr¡ dripping from the mountain appears as if oozing from moonstones on the slopes of V®da¿aila, embellished with full blown lotuses turned into red by the saffron powder used by damsels during their water sports, deafened all directions with a multitude of high waves. (18)

33b-34a. Equal to river Ga´g¡, (Tu´gabhadr¡ is) southern Ga´g¡; like Ga´g¡ this southern Ga´g¡ too washes off loads of sins of mortals who bathe there. (19)

34b-35a. In sacredness this southern Ga´g¡ (Tu´gabhadr¡) is equal to Ga´g¡. Who is able to eulogise the sanctity of Tu´gabhadr¡? (20)

35b-37a. The flow of Tu´gabhadr¡, is the purifier of all sins, with its clean water (poured by) clouds having come in large quantity near the source of the river on the summit of the V®da¿ai½(l)a which is comparable to M®ru and Him¡cala, lord of mountains.(21)

37b-45a. Like the fluid flowing from Air¡vata’s temples, MuktikÀetra, encircled by walls, is fit for the flow of water libation; like the top of áiva’s matted hair, it shines with a river; like the netherworld with snakes (n¡ga), it is an abode of a mighty race of elephants (n¡ga); like the bed of Sur®ndra with Rambh¡, it is embellished with (rambha) banana groves; like the world of celestial beings with (sumana) gods, it is delightful with (sumana) flowers; like music with rythm (t¡½a), it is delightful with waves (t¡½a);

ike the dvija in Brahmasabh¡ it shines with brahmins (dvija); (and) in such MuktikÀetra blessed in all three times (k¡las) and six (¤tus) seasons, he and she parrots play, intoxicated bees sing sweet songs, echoed with the sweet musical sound “pugal, pugal” of cuckoo; it is delightful with flowers like nam®ru, mand¡ra, p¡(ri)j¡ta, with thick smoke of homa performed by the best of brahmins (who recite) maÆtr¡kÀara in the saptasvaras of S¡mav®da,

with the good brahmins engaged in offering tarpa¸a to gods, to ¤Àis , and to the directions repeating japas of G¡yatri, Sa·akÀari, with yogins engaged in performing difficult yogic exercises (such as) vajr¡sana, padm¡sana, svastik¡sana, and four ways (of mantrocc¡ra) n¡dabh®da, bindubh®da, ¿aktibh®da, ¡tmabh®da; Muktit¢rtha which is like an embodiment of the way to liberation, shines with many shelters for numerous Li´gas. (22)

45b-46. (kanda) Like Brahm¡’s assembly it shelters dvijas, like Indra’s court sumana (gods, flowers);

like the heavenly elephant’s (ichor), here flow water libations (of donations). Is Muktit¢rtha ordinary? (23)

47-48a. (v¤tta) With full-bloomed jasmines, p¡¶a½is, newly come unaccountable ripe new mangoes, the buzzing of bees, the passionate cooing of cuckoo couples, the gentle breeze of south passing through render MuktikÀetra lovely to look at. (24)

48b. The family descent of (Jomma):

49-50a. (kanda) On this earth encircled by oceans, in Ja¶¡ (C°½a’s) family was born Jomma, abode to the goddess of fortune, refuge to the making of grants and good laws, Indra in enjoyment and statecraft. (25)

50b-51a. Amongst the celebrated princes (was) born D¡sa pure in character, an ornament to heroes, like the wish-fulfilling celestial tree to the seekers on the earth; is he an ordinary person? (26)

51b-52a. To the lotus-faced Candabbarasi and D¡sa, abode of good qualities, was born Attin¤pa, bee on Hara’s lotus feet, renowned for taking interest in other’s welfare. (27)

52b-53a. Can there be an equal to his younger brother Canda on earth ? He is like LakÀma¸a, brother of he who has Brahm¡ in his navel (ViÀ¸u), who built the bridge and killed R¡va¸a, like (Bhag¢ratha) who brought the heavenly river to the earth. (28)

53b-55a. His father-in-law is (mah¡ma¸·a½e¿vara) as Lord áiva to Cupid he is to the army of valourous heroes, (m¡¸·a½ika) of three kings, lion to the elephants, the enemies. To tell his glory : (kanda) In inviting and endowing donation with affection to those who deserved it the king cannot be compared to the tree of plenty or the wish-fulfilling stone (cint¡ma¸i), (because) do they call and give ? (29)

55b-57a. Mallabh£pa, an IÀ¶adaiva to param¡rtha, master of the whole world, tilaka in the family of king Vikrama, under the protection of áiva and his consort Girij¡, rules the (kingdom) with compassion. Blessed on the earth, this Attir¡ja, a mountain in the family of Ja¶¡ C°½a. (30)

57b-58a. (kanda) (In MuktikÀetra) equal to V¡ra¸¡si on the bank of the celestial river, with pleasure, Attir¡ja made to be built a temple for Hara, destroyer of loads of sins. (31)

58b-59a. Who will not praise this excessively good king Attir¡ja, the best in the assembly of the best of kings, best amongst people of good conduct, highest in the congregation of the learned poets? (32)

59b-61a. (campaka) There are not many good people on the earth in this iron age, just as there are no white elephants. Indeed he is the foremost among good men, a patron of letters, harvest in the hands of his kinsmen, hand mirror to the gods, a treasure house of virtues; a man of sterling character, he is singular on the earth like the wish-fulfilling tree. (33)

61b-62. Mah¡s¡manta, lord of the goddess V¢ralakÀm¢; wish-granting stone to the ¿iÀ¶as, best amongst the descendants of Ja¶¡ C°½as, of pure g°tra, Candrah¡sa of Guttas, bee on the lotus feet of áiva, jewel in politeness… The inscription is left incomplete here.

Inscription No. II. Donation of land to the temple of Mukte¿vara by K¡meya N¡yaka (relative of Attir¡ja), officer of Vikram¡ditya II Gutta.

(S.I.I. XVIII No. 299. In Elliot’s collection vol. II. No. 17, folio 345 verso – 347 recto)

This inscription is now set up in the special pendal built to shelter all the engraved stelae, which means that it is not in its original place. In the shed it stands second from right and faces east. According to Dharwar District Gazetteer, it was found standing in “Ì¿vara temple on the bank of Tungabhadr¡” (p. 390). This Ì¿vara temple probably is the main temple, i. e. Mukte¿a. Also in the collection of inscriptions by Sir Walter Elliot it is mentioned “in the village of Ca·¡Æpura in the temple of Ishvara near the river”. From a photograph of the inscription taken somewhere in the middle of the last century by Dixon it can be noticed that this stela was planted next to the main temple. Judging from a photograph published in Col. Meadows Taylor’s book, Architecture of Dharwar and Mysore, we may say that it was installed to the South of the main shrine not far from the others (p. 57, photo 39). The text on the stela was facing west. From the above mentioned facts it is clear that the Li´ga which was worshipped by Muktaj¢yar began to be called Mukte¿vara and even today the temple goes by the same name. Otherwise, only in the European documents it was known as Ì¿vara temple.

“On the slab of 7′-5″ x 3′-4″ the inscribed area covers 7′-5″ x 3′-2″ leaving a margin of one inch on either side. The arc at the top measures 2′-4″ in the centre and 3′-2″ at the base” (Cau·ad¡napura Monograph p. 74). The figure of the temple in the centre of the arc resembles in structure that of the main temple of Mukte¿vara. In the centre of the temple a replica of the Li´ga is represented in cylindrical form but on a high p¡¸ip¢¶ha. Whereas in the main temple, the Mukte¿vara Li´ga being an udbhavam£rti is very small and not much elevated from the floor level. The devotee who is engaged in the worship of Li´ga looks like the one in the inscription No. I. Behind the personage is a couchant Nandin and the sun above. To the left of the temple are a cow and a sucking calf. The crescent moon is carved above the cow and calf.

Totally there are eighty-two lines, of which the first five are engraved on a band of 7″ below the arc. Each line contains 30-35 round and legible Kanna·a letters of 12th century. The text of the inscription is strewn with some beautiful decorative motifs viz. ¿a´kha, cakra, etc. The language of the inscription is Kanna·a prose and poetry except the beginning and a few imprecatory verses which are in Sanskrit. The inscription is complete and preserved in a very good condition. There are 34 verses containing kanda and v¤tta as follows: anuÀ¶ubh 1, mah¡¿ragdhara 4, campaka 6, utpala 2, matt®bha 6, ¿¡rd£la 1, kanda 14. Orthographical peculiarities are there but not worth mentioning (Cau·ad¡napura Monograph p. 75).

The inscription begins with an invocation to áiva in Sanskrit and continues in the style of a k¡vya describing oceans, mountains, JaÆbudv¢pa, Bh¡rata, and finally M¡½ava with its capital Ujjayin¢. Further it speaks of the supernatural powers of Vikram¡ditya the ruler of Ujjayin¢. With the descendants of Vikram¡ditya, the history of Guttas of Guttava½al begins. Then it describes the Gutta chieftain, his officer K¡meya N¡yaka and his relationship with Ja¶¡ C°½a family. A grant was made by K¡meya N¡yaka after laving the feet of Muktaj¢yar, the ascetic who was in charge of the religious activities of the temple. The last line of the inscription gives the name of R®v°ja who was the architect and sculptor of the temple.

Also, there is a piece of information, which is very important from the point of view of history. Today, Guttala is a small and insignificant village without any trace of its past glory. But the inscription records that there was a fort and it was a jaladurga or “water-fort”; that means it was encircled by water. Effectively, the river Tu´gabhadr¡ flows not far from there. As Guttala was the principal residence of Gutta chieftains, it is but normal that it had a fort. As the river flows in its vicinity no wonder the fort was encircled by water. According to other inscriptions (S.I.I. XVIII, nos 296, 297) Guttala was lying in the limits of MuktikÀetra.

With regard to the text of the inscription a few words may not be out of place here. The poetry that we read here is of a high rank and the poet uses many ala´k¡ras such as ¿liÀ¶opam¡, utprekÀ¡ and so on. For example in l. 5b to 11a the poet points out the superiority of the earth over all the worlds by using utprekÀ¡. In l. 17b-19a the poet shows his talents in parisaÆkhy¡ by using the same word in two different meanings. With regard to j¡ti the pun is excellent. J¡ti stands for caste as well as jasmine flowers. So j¡tisa´kara was only in the garlands of jasmine with an admixture of various other flowers and not in the sense of mixture of castes in marriages. Similarly, the word karagraha¸a also has double meaning. Kara is tax as well as hand. Karagraha¸a may mean holding the hand in marriage ceremonies as well as levying taxes. Here the poet says that karagraha¸a used to take place only in marriages and no new taxes were levied. Also kaRe means milking animals as cows etc., or black stigma. Black stain is the sign of spreading anti-propaganda, calumnies. In M¡lava kaRe was used for milking animals and there was no place for evil.

In lines 29b-31a king Jomma is compared with Indra, S£rya and ViÀ¸u because he shared with them common epithets. Vinat¡nandana-sa´gataÆ; the king was “endowed with the quality of pleasing those who bow down to him”, ViÀ¸u is Vinat¡ nandana “he who causes pleasure to Vinat¡”, i. e. her son, Garu·a, ViÀ¸u’s vehicle. Sajanit°dyat k¡mavarÀapra-vardhanaharÀaÆ: King’s joy was increasing by fulfilling, literally raining down, the wishes of devotees. Of the three Gods Indra, Divasendra and Upendra, Indra is associated with the rainbow, the Sun with light, ViÀ¸u with K¡ma. In this way the poet extols the qualities of his patron King Jomma through ¿liÀ¶°pame, a means to exhibit his poetic talents.

The date, áaka 1113, Vir°dhikrit, M¡rga¿ira amav¡sya, Budhav¡ra, S£ryagraha¸a, corresponds to A.D. 1191, December 18, Wednesday. And the other date mentioned in line 80, namely Vir°dhikritu saÆ, PuÀya amav¡sye, brihaspativ¡ra corresponds to A.D. 1192, January 16, Thursday.

1-2a. Obeisance to Mukte¿a on whose knotted hair is the moon crescent which shines like a swan swimming in the divine river GaÆg¡. (1)

2b-5a. May Mukte¿vara bless us with zeal and pleasure, place of worship of the world of devotees, whose sacred feet are praised by the Moon and ViÀ¸u, master of the whole world, bestower of sovereignty born of unfettered prosperity, sole root of pleasure to the heart of Gaur¢ ever associated with Him; his very bright fame has reached the heaven in the form of the praise of the good. (2)

5b-8a. On the orders of ViÀadatar®¿vara (áiva) indeed all the fourteen worlds have come into being. Earth is the most pleasing to the mind, created following the rules of áiva-dharma; and to raise the beauty of the world to a higher level the seven splendid oceans were made to encircle them. (3)

8b-9a. Encircled by seven oceans, with seven continents, the earth shines as if it had acquired for itself all the joys of the rest of the fourteen worlds. (4)

9b-11a. Amongst the seven dv¢pas JaÆbudv¢pa is the most beautiful one, and it appeared as if the other six have been assigned to protect it around. Who knows the rules of the Creator? (5)

11b-14a. The beautiful ocean with rows of waves full of foam, of giant fishes and other aquatic reptiles, appeared as if it were the beautiful girdle of Goddess LakÀm¢ of the JaÆbudv¢pa resplendent with the fragrance of D®vad¡ru, sandal wood trees and a number of gems. (6)

14b-15a. In the midst of the ocean(s) JaÆbudv¢pa (is like) a lotus in a pond of clear water, M®ru being the stalk, the directions the petals, whirlpools armies of bees. (7)

15b-17a. Mount M®ru with six islands is encircled: Suragiri, I½¡v¤tta, KiÆpuruÀa, HarivarÀa, Himavadgiri, (and) BharatavarÀa with Him¡laya, and to their south shines M¡½ava. (8)

17b-19a. Spoken words are used only in the sense of “lotus”; j¡tisa´kara is in jasmine garlands only; and karagraha¸a in marriages; kaRe used only in milking the cow. In such M¡½ava r¡jan¢ti shines with multitudinous desires of LakÀm¢ (prosperity). (9)

19b-20a. The merit of ears is to hear about Ujjayin¢, (capital) city of M¡½ava (where) the mansions made of moon-stone exceed in lustre that of the blackness of the eyes of fishes; without rains grow wood-lands. (10)

20b-22a. Vikram¡ditya the best of the kings of that city, having achieved eight great Siddhis, without hesitation bestowing pleasure to his subjects by fulfilling their desires, covering the three worlds with his glory, ruled the beloved Earth with his mighty arm, as if She had a glorious life only in his arms and nowhere else. (11)

22b-24a. Owing to his magical merits Vikram¡ditya’s bundle gives gems, his bowl supplies best food, his sandals take him where he wants, his brush paints what he desires,

his sword slays enemies heads at will, his clothes turn into gold, he becomes invisible by force of magic pills; his merit is unaccountable.(12)

24b-25. While it was said thus about Vikram¡ditya, here, in the family of Candragupta, after defying the belief that no one will be born (equal to him), was born V¢ra Vikram¡ditya. (13)

26-28a. His good character, good conduct, great desires, entertainment, matchless heroism, the expansion of his rich empire made god Cupid to suffocate. The good fame of Vikram¡dityad®va made the world to think that he is unique. (14)

28b-29a. To this valorous king Vikram¡ditya was born JoÆman¤pa, as the lord of lotuses the Sun (rose) in Udayagiri (eastern direction), when the bride Earth opened her eyes. (15)

29b-31a. He treats humbly and courageously in company, accrues the joy through a shower of genuine good wishes, deserves the praise of protector of literates; affection rises through cast-ing a glance on his realm; he excells in beauty He who holds Sudar¿ana cakra (ViÀ¸u); such Jomma shines like Indra, Divas®ndra (Sun) and Up®ndra. (16)

31b-33a. Many kings have no perseverance for literary taste; if endowed with refined taste, they have no sharpness; if endowed with sharpness they have no spirituality; without spirituality they have no good conduct, without good conduct they have no grace, whereas all these good qualities are united in King Jomma lord of the earth. (17)

33b-34a. Gutta, younger brother of JoÆma, with the eulogy of r¡j¡c¡ra was delighted by the reading of j¡pyamantra of shining b¢j¡kÀaramantra of Bh£lakÀm¢ by the priests. (18)

34b-36a King Gutta with his charming body appeared as Cupid having himself entered into his body after having been bodiless; by uniting with his fame the Moon could face the attacking clouds; in his circle they say that Yama lives in his sword for the pleasure of a sumptuous food. (19)

36b-38a. The beloved spouse of King Gutta, Padmalad®vi, lady of Padmin¢ class, of charming grace and wit, dazzling like LakÀm¢, having graceful walk like a royal swan in love with the sun, celebrated with honors by a circle of poets, made (Guttala) into a water-fort of Cupid and pleased her husband with charm and wit. (20)

38b-39a. In V¢ra Vikram¡ditya born in the pure lotus like stomach of Padm¡, like Padmabhava in the lotus stomach of K¤À¸a, (now) will there be any limit for diplomacy. (21)

39-42a. V¢ra Vikrama is possessed of three qualities, humility, heroism and merit, the ornaments of administration to the goddess of the kingdom, strength, humbleness, liking for all ¿¡stras, promotion of dharma were all present abundantly in Vikram¡ditya the great king. (22)

42b-44a. The sharp edge of the sword as his friend, he enters the battlefield, the enemy feels that the king has become an entire army; as the saying goes “as the form, so the conduct”; his will is so firmly set on victory, what is the use of any other joy; the only goal worth seeking by a king is a kingdom which comes as a fruit of valor in war. These qualities adorn king Vikram¡ditya. (23)

44b-46a. Occasionally, even the goddess of victory would long for his beauty which is such that women would crave for; so is his munificence in statecraft and good conduct which people on the road look as perfection; he shines with his greatness manifest in everything (24)

46b-53a. Be it well. V¢ra Vikram¡ditya, mah¡ma¸·a½e¿vara of five great titles, lord of Ujjaini, having va¶akalpav¤kÀa as emblem on his victorious banner, unique right arm in protecting the earth, full moon to the nectar ocean of Candragupta’s family, eternal Indra in magnanimity, cak°ra to the moonlight shooting off from toe-nails of Hara, pea-cock enjoying the sound of clouds, Guru’s words, plunderer of the proud property (husband) of women, brave in battles, Bhairava to vassals, white lotus to the eyes of joyous young damsels, overlord of twelve, fond lover of fighting, Sun in wars, V¢ra Vikram¡ditya governed Banav¡sen¡·u from his residence Guttavo½al, in pleasure and pleasant conversation, in good pursuits, chastising the wicked and protecting the chaste.

53b- 55a Like a bee on the lotus feet of his overlord, with his deep dedication and talents fit to be called appropriate minister to the king, through his own valor he became the true dexterous right arm of the king, the world famous K¡meya, chief amongst the generals of the king. (25)

55b. To tell about his genealogy:

55c-57. Atyarasa, fiery king, mine of truth, shining as the shaft of Dharma, with daily festivities and appropriate actions made to feel as an abode to all (good) qualities; (26)

57b-58a. of his daughter, M¡calad®vi, causing waves of fluid of sweet sap in a lotus pond, her heart, N¡yaka M¡ra obtained the good pleasure of holding the hand. (27)

58b-60. K¡meya N¡yaka was born to M¡raya N¡yaka and M¡cale; he was like a bee on a lotus the noble feet of áa´kara, play of good omens, made women to feel that the lord of Rati (K¡ma) was born. K¡meya N¡yaka, the best of heroes, is there anybody equal to him in good qualities? (28)

61-62a. With Bh¢ma’s puissance, R¡ma’s courage, Hanum¡n’s devotion and affection, the illustrious K¡meya N¡yaka was of brilliant nature. (29)

62b-65a. As king Vikram¡´ka, tilaka of earthly kings, when set to reduce quickly the armies of enemies, he used strongly his shining sword, quickly raised the ranges of elephants in rut, speedily running cavalry, (placed) the strong infantry in the fronts and said to rule “why should you worry”, said K¡ma. (30)

65b-66a. Swollen by the flow of water pouring for grants by the lord of men, the Tu´gabhadr¡ flows in that land as if saying “I am the necklace of the respectable lady Earth”. (31)

66b-67a. The children of the beautiful woman Earth’s twice seven (fourteen) worlds; as a support to them áiva with Um¡ present there began to be called by the name Mukte¿a; (32)

67b-69a. With all pra¿atis, while ár¢manu mah¡ma¸·al®¿vara V¢ra Vikram¡dityad®va, was ruling from his residence Guttava½al in pleasure, discourse and divertissement.

69b-75. KhaÆ·eyak¡Ra K¡meya N¡yaka dwelling at the lotus feet of the King, after conquering the good will of the master, a trophy obtained a field of six mattaru at Honnavatti, the four limits of which are: to the east the field of God C¡m®¿vara, to the south the road to Gope, thus four limits of six mattaru of land being defined, on the date of the solar eclipse of new moon day in the month of M¡rga¿ira, in the cyclic year Vir°dhik¤tu, áaka 1113, for the pleasure of the decoration of the Lord’s body and stage, and for the repairs of what is worn out, …, after bowing down at the feet of Muktaj¢yar, making the field tax free, offered it with water libation (to the God). Salutation to the Lord of the Universe Homage to ár¢ Mukte¿vara.

76-77. By protecting this dharma one obtains the fruit of buying a Kapil¡ cow(s) at the arghyat¢rtha of Pray¡ga, setting up its (their) hooves with gold, giving it to 1002 brahmins versed in Vedas.

77-79a. He, who destroys this dharma, will incur the great sin of killing a brahmin, a Kapil¡ cow in V¡r¡¸as¢. He, who steals the earth given by him or another, is reborn as a worm in dirt for sixty thousand years. (33)

79b-83. On the eclipse and vyat¢p¡ta of the new moon day of the dark fortnight of the month of Pu¿(À)ya in the cyclic year Vir°dhik¤tu…

for the three main food offerings of Lord Mukte¿a ár¢ V¢ra Vikram¡ditya… in the presence of the assembly of Mah¡janas was granted a field measuring 20 kaÆba; the limits are: to the south the temple in ruins of ár¢ Kalid®va in ár¢madagrah¡ra Honnavatti, to east of the same God. In this manner (the clauses of) this chart should be executed without any derogation.

83b. Including the stone pendal the execution of external work (was) by R®v°ja.

Salutations to Mukte¿a.

Inscription No. III.

Eulogy of áivadeva. 1262

Cau·ad¡napura Monograph No. IV; South Indian Inscriptions vol. XVIII, No. 244. In Sir Walter Elliot’s collection: no. 52, folios 240 verso to 242. In The Inscriptions of Dharwar and Mysore photographed by Pigou and Biggs, edited by T.C. Hope No. XXXVII)

Chronologically this inscription comes third.”The stela is kept along with the others in the same pendal in the south-western part of the temple complex. It is 7′ 10″ high and 3′ broad. The carved space occupies 5′ 4″ from top to bottom, 2′ 10″ from left to right leaving a one-inch margin on both sides and an unwritten space of 8″ at the bottom. The letters are pretty good and belong to the 13th century Kanna·a script. The whole is in fairly good condition except the damaged last few lines” (Cau·ad¡napura Monograph p. 94). Vi½¡sa is the term employed by Walter Elliot’s copyists to designate the top of the stela in semicircular shape. Like in other inscriptions, here too a shrine has been represented with a Li´ga in the centre. To the right of the Li´ga is the figure of a devotee in seated posture unlike in the two previous inscriptions, other details being same except for a kind of crooked sword carved above the cow and calf. Two lines are written in the space left as margin round the semicircle and the name of the engraver on the pedestal of NaÆdin: D®va¸a of Guttavo½al who recited and wrote the text of the inscription. The language is mainly Kanna·a, interlaced with Sanskrit and Pr¡krit ¿l°kas. The text begins with “namas tu´ga…”. There are 26 verses: Nos. 1, 2 and 22 are in Sanskrit and anuÀ¶ubh metre, 23 is in Pr¡krit and the rest in Kanna·a. Of these three are in mah¡sragdhar¡, four in matt®bhavikr¢·ita, five in ¿¡rd£lavikr¢·ita and eleven in campaka metre.” (Cau·ad¡napura Monograph p. 95)

After invocatory verses on áiva and Mukte¿vara, the inscription proceeds with the description of Kail¡sa and the glorification of bhakti. P¡rvat¢ the consort of áiva requests Her Lord to impart bhakti to the world. áiva looks at Nandin and the latter answers that, as Basava the spiritual son of SaÆgam®¿a did, similarly he would accomplish the mission in the name of áivadeva. First he goes to worship Dhava½ali´ga at ár¢¿ailam where he meets áivamuddud®va and then he proceeds to MuktikÀetra. This part of the text is not very clear. In the following inscription the same matter is recounted in a different fashion. At MuktikÀetra he becomes a great saint, imposing on himself many restrictions such as not to lie down on a bed, not to embrace women, not to beg anything from anybody etc. In l. 29 one of his vows is mentioned in very concise style: sv¡mi mah¡d®vanitto·allada n®maÆ, i. e. he will not accept anything except given by Lord áiva. A ¿ivaka¶¶e was built by him at MuktikÀetra to stop the river Tu´gabhadr¡ from advancing up to the Li´ga. What it is and where it is, is not specifically indicated. Dr. M. M. Kalburgi and Dr. Katti suggest that it may be identified as an embankment of the river. The architectural plan of the temple strengthens this opinion. On the northern side of the shrine there is no door whereas there is one to the east and another to the south. This blindness is due to the embankment built checking the rising up of the river water. He also built a shrine to Rudra, most probably V¢rabhadra. Moreover, the main temple to áiva was repaired by him and was entirely decorated with stone panels. The inscription mentions that he wrote Kai½¡sa-caritra, which unfortunately is not available to us today.

There is a piece of interesting information in l. 15. Here we come across with two important names. Not only Basava the son of SaÆgam®¿a is mentioned but also his companion and faithful follower Ba´kaya. The exact name of the latter occurs in the literature as Ba´kan¡tha. He was from Iµcal in Torgal, which is the same as Toragale in the inscriptions. Ba´kan¡tha while fighting with the army of Bijja½a during the troubled days of Kaly¡¸a finally reached Iµcal where he built a temple which goes by the name of Ba´kan¡thana Gu·i even today. He was a staunch defender of the principles of Basav®¿vara. Here in this inscription there is an allusion to Ba´kan¡tha and áivadeva says that he will defend the principles of áaivism of Basava like Ba´kan¡tha.


 ARCHITECTURE – The Temple of Mukt®¿vara


The Temple of Mukt®¿vara

The site is on the left bank of the Tu´gabhadr¡, on the convex and elevated bank of a meander of the river, which flows from east to west at this particular point. The westward direction of the river has a strong poetical, or even religious resonance in the minds of the people, as it is a feature repeatedly emphasized in the inscriptions. The religious site covers the highest ground, looking down towards the river and the flat cultivated plain on the opposite bank. The steep slope of the bank has been built into a flight of steps on a length of 40 metres approximately. The ancient built site must have been larger than the area delimited by the modern compound. The modern village is at a distance of about 500 metres from the temple site. Villagers recently excavated the ground to the south-west of the compound and found a few ancient sculptured slabs which were re-used by them when erecting a small shrine dedicated to the Goddess Honnamma.

The main ancient elements are:

1) on the northern side, the temple of Mukte¿vara (No. 1), the largest and most beautiful monument on the site; to the east, in its east-west axis a later ma¸·apa;

2) on the eastern elevation of the ground three smaller shrines (2-4);

3) on the southern elevation four shrines in one row (6-9);

4) to the south a lofty monolithic stone mast (5);

5) six inscribed stelae recently installed in a modern shed (10; their original place visible on old photographs is indicated in No. 11).

The diagram of the site refers to the present state. When compared to Cousens plan, it shows a few modifications: the disappearance of the ground structure facing shrine 2 and the displacement of the inscribed stela.

1. Mukte¿vara a. garbhag¤ha

2. Kallid®va b. ¿ukan¡s¢

3. Li´ga c. ¤a´gama¸·apa

4. Li´ga d. mukhabhad¤a

5. K¢rtistambha e. later ma¸·apa

6. Li´ga

7. V¢rabhadra

8. Li´ga

9. Goddess

10. Inscribed stelae (new location in a modern shed; roman numbers refer to Epigraphy section)

11. Inscribed stelae (old location from Cousens plan)

12. V¢rabhadra

Northern facade, áikhara.

The undated photograph reproduced in áivadevavijayam, published in 1949 shows well the original location of the stelae bearing the inscriptions and the elements which have disappeared in front of shrine 2. The stela bearing the image of V¢rabhadra seen on top has been installed in the recent shed with the inscribed stelae.

To the south of the later ma¸·apa of the main monument there is a temple with one cella and an antechamber open to the west. On its axis Cousens plan shows a square platform which looks like the base of a ra´gama¸·apa, and traces of the foundations of a structure which we are not able to identify. This is a possible location for a porch which could have been erected in front of the ra´gama¸·apa. An old photograph which may be contemporaneous with Cousens plan shows in this very place a large stela bearing an image of V¢rabhadra in high relief. It can be identified as the stela which bears the ins-cription No. V on its other side. From the contents of the inscription we infer that this monument is the temple where KaÆn¡d®vi had a Li´ga installed, called Kallin¡tha after the name of her defunct husband, Kallid®varasa, in 1262. Nowadays the stela has been displaced; its original place has been levelled and the traces of the old foundations have disappeared; the traces of the ra´gama¸·apa platform seen on Cousens plan have also disappeared in a modern platform. On the west side of the surviving building we see clear indications of the existence of an attached structure, i. e. pilasters and corbels the presence of which imply the existence of the architraves of the lost structure. The original name, Kallin¡tha, of the Li´ga, is also forgotten. It was al-ready so in the time of Walter Elliot who recorded the name “temple of Gomuni” still in use among the villagers.

This shrine has kept its doorjambs and lintels. The outer walls of the cella have a double axial projection, but no other decoration. There is a tower above the cella and a projection, called ¿ukan¡s¢, coming above the antechamber. The tower is made of seven low strata of gradually diminishing size, with a small dome. The ¿ukan¡s¢ has six strata. Each strata has indentations in a regular spacing. We interpret this feature as a schematic representation of an eave with its attic windows and with turned up points at the angles. The small dome of square plan rests upon a flat moulding with a padma moulding between two recesses. It has a double axial projection on each face. Its graceful curve turns up at the base with upward points at the angles. The crowning motif is a padma moulding of square plan supporting a double circular base for a bulb shaped moulding and a pointed flower bud. The ¿ukan¡s¢ is covered with a flat roof. Its West side is closed with a gable-end motif.

To the south of this structure, a shrine consisting of only one cella open to the west, the outward wall of which has no projection, nor any decoration, is what remains of a small temple. There is no visible trace of any other structure attached to it. There is no superstructure. On an old photograph a post is seen in front of that shrine. It is a short post in stone, approximately 1.5 M high, with a lotus bud at the top, and on one side two mortices, at the bottom and towards the top.

To the south-east, there is a third structure consisting of only one cella of slightly larger size, open to the east. Only the inward facing of the wall remains. The outward facing, as well as the door frame, had already disappeared when Cousens drew his plan.

The southern group comprises four shrines. Cousens plan shows two parallel temples, with cella and antechamber, open to the north-west. At the level of their antechamber they are connected by one single rectangular cella, open to the same direction. To the west extremity of the row there is one more single cella of equal size. Only the inward facings of the walls remain. The three first shrines have preserved their doorframe. The whole has been modified by recent renovations.

Monolithic Mast, K¢rtistamba, bearing Inscription VII


The monolithic mast has a double base. From bottom to top its section is successively square, octogonal, sixteen edged. It is topped by a large square abacus. One sees three small pillarets on the abacus; this is what remains of the ancient superstructure. The mast bears a Sanskrit inscription (No. VII) recording its foundation and where it is called k¢rtistambha “pillar of fame”.

Main Monument.


The main monument is a structure comprising one cella (garbhag¤ha), one antechamber (¿ukan¡s¢) and a closed hypostyle hall (ra´gama¸·apa), all placed on the same east-west axis. All of them are open to the east. The ra´gama¸·apa has a second opening to the south, and a porch for each opening.

To the east one more ma¸·apa with four central pillars, of slightly larger size, has been added in later times. It has, in fact, no structural connection with the main monument. It is slightly out of its axis, even though its central low platform with four pillars is in the east-west axis. It is closed on its south and north sides. Only the internal facings of these walls remain.

The Temple of Mukt®¿vara, elevation of the northern facade.

The main structure is a remarkably well-built monument. It is clearly the product of one well-thought architectural project. Though an inscription mentions a renovation made in the 13th century, in the construction, as we see it now, we do not observe any recast of an initial project, nor any later modification or important repair. The renovation may have been such an important reconstruction, that no earlier parts, nor any trace of an older stage have been left visible.

The main monument shelters a Li´ga called Mukte¿vara “Lord of the Released (Souls)”. The inscriptions which contain a number of references to the Li´ga called Mukte¿vara and express the feelings and thoughts of the worshippers, in the form of refined literary eulogies of the god, reveal a noteworthy evolution in their attitude and conceptions. The two first inscriptions describe mostly the mythological aspect of áiva. The following ones keep the same theme and introduce new concepts. In inscription III the foundation of a temple is told to be the bringing of Kail¡sa on the earth (l. 33):

“áivadeva having brought the Kail¡sa, said to be beyond imagination, with the army of all gods, to the earth, had a pleasant abode built to áiva, to produce áiva’s pleasure.”

Similarly the temple of áiva is declared to be a M®ru, MuktikÀetra being a Kail¡sa (III l. 23-24).

The inscription III introduces a new religious figure, áivadeva. With him comes a new concept of the deity, which includes the mythological representation, but does not give to it the same emphasis. The emphasis is put on devotion. A larger place is given to the view of the worshipper áivadeva is told to be an incarnation of Nandin or Amara-Ga¸a i. e. a courtier of áiva in Kail¡sa. He performed worship mostly in the form of heroic vows described in Inscription III. In fact he belongs to the class of saints and yogins practicing meditation and pursuing mystic experiences. He is turned more towards the unmanifested aspects of God. His attachment to the manifested aspect appears in his vow not to move out of MuktikÀetra. May be that was due to his belief in the sanctity of this place. His belief in the sacredness of ár¢¿ailam in Ëndhra, where he resided before his coming to MuktikÀetra in 1225, is also recorded (III l. 15b-16a). The attachment to the Li´gas of these two particular temples seems to be the main link maintained by him with the manifested.

The attitude of the worshipper who directs his mental representation towards a concrete object, who places the unmanifest on the manifest is directly expressed (III l. 16b-17a):

“áivamuddud®va who says: “I shall show to this world that the invisible áiva is manifested here in Dhava½ali´ga” believes in it firmly.”

Later the emphasis is placed more on the practice of meditation, than on ritual practices. It goes upto the point to declare that the mental representation creates the concrete form. In inscription No. V stanza 7 which describes the sage áivadeva meditating on the áivali´gatattva and causing it to take form:

“This áivadeva who caused the very rich essence áivali´ga to take form by meditating intensely over it.”

The essence called áivali´ga is in V¢ra¿aiva doctrine the supreme entity, not accessible to the senses. The qualification ghanatara is often given to the supreme principle to indicate the plenitude of its essence (compare with the epithet cidghana “full of consciousness”. áivadeva practices meditation over the supreme. The intensity of his meditation gives a concrete form to the abstract entity. By the force of meditation the yogin gets a direct perception. Thus the non-manifest and the manifest are linked by the religious practice.

The identification of the concrete Li´ga with the abstract concept of God is also remarkably illustrated in inscription VIII l. 9-10:

“The god Mukte¿vara who is the Li´ga-soul of the siddha áivadeva.”

From the date of 1265 onwards áivadeva is called a siddha, i. e. one who has acquired supernatural powers by y°ga, who has attained liberation in the form of union with the supreme áiva. In V¢ra¿aiva vocabulary he has become the principle of áiva Li´ga. His soul or livening power called pr¡´a is a Li´ga, one with the supreme. The demise of the saint took place in MuktikÀetra. This is his sam¡dhi or fusion with Li´ga. From that time the soul of the saint equated with God is placed on the Li´ga in the temple. The soul of the saint fused with God is the unmanifest placed in the manifest by the event of the demise and liberation of the saint. In inscription VII l. 10-11 the name of the saint is transferred to the Li´ga:

“In the presence of the god Mukte¿vara who has the name ár¢ Siddha áivadeva.”

One more fact about the Li´ga Mukte¿vara deserves to be recorded. Today the villagers declare that the deity of their temple is Mukte¿vara in the form of an udbhava li´ga. This is the common designation in Kanna·a of a Li´ga which is believed to have come out spontaneously, by itself, in a particular place. The installation is not ascribed to men, but to the god himself, who is considered as having come to the earth in a particular place by his own will. In Sanskrit this type of temple image is called svayaÆbh£ – li´ga. N¢laka¸tha áiv¡c¡rya defines it in his Kriy¡s¡ra:

“Satisfied with the penance of gods and sages, in order to make himself present, áambhu who is inside the earth as a seed in the form of n¡da, like an immobile germ, breaks the ground and becomes manifest. Because he is bh£ta i. e. born from himself, he is known as svayambh£ “self-born”. By the worship of this li´ga, knowledge grows by itself.

“The denomination of svayambh£ or udbhava does not occur in the inscriptions, nor is it told in any of them that the Li´ga was installed by any historical figure. References are to the construction of temples, not to the creation of a Li´ga. However two passages give clear indications that the belief in the spontaneous presence of áiva in MuktikÀetra was current in the times of áivadeva. In inscription IV a myth of the descent of áiva in MuktikÀetra is narrated with the words (l. 16b-18a):

“Staying there I shall purify all in the three worlds” saying thus the beloved of mountain’s daughter appeared as Mukt¢¿a and aroused love in the Lord of the Earth. “Li´ga has already appeared on the Earth” (See also Inscription V l. 9b-11a).

Therefore nothing goes against the local oral tradition which we record nowadays. And we may consider that Mukte¿vara has been regarded as being a svayambh£-li´ga in the past also.

It also has the low shape characteristic of this type of Li´gas.


East West section looking South, Vim¡na.

The vim¡na is the architectural volume dedicated to the Li´ga Mukte¿vara. The abstract entity, áiva, is represented by the Li´ga, which is here of small size and on a very short base, as in many other temples of the same region and time. The Li´ga is at the centre of a cella of square plan (2.20 x 2.20 M). This cella is almost cubic, the height is 2.45 M under the ceiling, 2.20 M under the architraves. It is called garbhag¤ha as it is the innermost part of the monument. It has only one opening, a door on the eastern side. The walls of considerable thickness (1.50 M at the plinth level in the east-west axis) are made of a filling, which we could not observe, between two facings of long stone slabs. Those of the inward facing have the full size of the wall on each side of the cella. In each angle there is a pilaster. On the west and north walls there is a cyma for the purpose of keeping cult instruments. The architraves have a chamfered edge. The ceiling is made of two series of triangular slabs placed in the angles and leaving a square space in the centre. That square space is covered by a slab decorated with three circles of lotus petals and a flower bud.

The cella is topped by a tower of pyramidal shape with two steps and a small dome. We had no possibility of observing the interior of it.

The outward facings of the walls bear the superimposed secondary structures, which will be described later. In the recesses between them parts of what may be considered as belonging to the main structure, are seen. The elements which it is made of are the same as those of the secondary shrines, so that there is agreement and continuity of both structures. For the cella they are a double base, a wall with pilasters, an eave; for each step of the tower there is a wall with pilasters and an eave. The dome of square plan rests upon a base and a recess. Its outward shape is that of lotus petals curved downwards and with turned up points at the base. It has three axial projections on each side. The last is the architectural motif of a square gable-end of a roof; it is now a flat stone; it may have been the support for a sculptured stela. There is one more crowning motif: three rows of lotus petals and a lotus bud on a double base.

The whole, cella and tower, bears the name of vim¡na or pr¡s¡da. These two terms are used for the dwellings of gods or kings, or more technically refer to buildings having a superstructure. The word vim¡na is sometimes used in reference to the superstructure alone (Mayamata) (VIII 195) and this use which seems to be rare in ancient times, seems to become more current in modern times.

Thus the facings of the walls are of a totally different nature. The inward facing is made of seemingly thin stone slabs placed on edges and devoid of decoration; it is a pure stone architecture. The outward facing is made of thicker stone slabs bearing a sculptured representation of wooden architectural models. The ground level is the same for the cella and the courtyard outside, so that the two facings have the same height.

We have not been able to observe the foundations. Their last layer, the top of which is apparent at the level of the paving of the courtyard, is made of long stone slabs. That may be understood as the component called up¡nah in áilpa¿¡stra. It is the basic layer, the strength and horizontality of which ensures the tightness of the construction. The plinth is a few centimetres in recess. Following the most common prescriptions of áilpa¿¡stra the base is to be considered as made of two parts, lower and upper, called upap¢¶ha and adhiÀ¶h¡na. The former comprises three major protruding mouldings: a flat plinth (jagat¢ or p¡duka) repeated in slight recess and topped by a lotiform moulding (padma), a chamfered band (kumuda), a terminal moulding (Kapota) in the shape of an eave, i. e. a sloping roof with jutting out attic windows cal-led n¡sik¡ or n¢·a. In between these three mouldings there are two deep recesses (ka¸¶ha). A finer square moulding, which may be called Kampa, together with small padmas provide graceful transitions between them. There are deep hollow joints at the base and between the plinths. This series of mouldings forms a unit, as shown by the up¡nah which is a lower element and by the kapota which is an upper and terminal element. That is why it bears the distinctive name: upap¢¶ha. It is the proper base of the building.

All the three major mouldings bear a refined decoration sculptured in very low relief: a creeper motif on the first plinth, a frieze of haÆsa on the second one, a geometrical jewellery motif on the outward edge of the kumuda, a series of n¡sik¡, symmetrically disposed, with the lion-head motif on the kapota.

The upper part of the base, or adhiÀ¶h¡na, is a base for the pillars of the wall. Therefore it may be considered more properly as a part of the wall itself. It consists of two protruding mouldings separated by low recesses. The first moulding above the kapota of the upap¢¶ha is an original feature, which is proper to this type of temple in Karn¡¶aka; it is the representation of a series of extremities of beams with connecting bands. Their number and disposition depend upon the representations of secondary structures and will be described later with them. The last moulding is a square band supported by a large inverted padma. It may be called prati which in áilpa¿¡stra is a common designation of the uppermost moulding of the adhiÀ¶h¡na. It supports directly the pilasters and is not cut by any of the niches.

This adhiÀ¶h¡na can be understood as the direct support of the pillars in a wooden construction. The crossed and radiating beams, the extremities of which are seen in the lower moulding, could be the representation of a tight wooden base for a superstructure. This feature can be seen in modern wooden temple cars. The second band or prati can be a representation of a connecting beam passing through the pillars. Because it is continuous, it ensures the fixation of the pillars and the tightness of the building.

South facade, Central niche.

The wall (p¡da) shows a series of small pilasters (ku·yastambha) carved in the body of the massive stones. This is a representation of thin wooden pillars of a hypostyle pavilion, the space between the pillars being filled with some material. The other structures carved between the pilasters are secondary structures, which will be described below. The represented pillar consists of a base, a shaft of square section and an upper part made of three elements, a bulb slightly protruding, a chamfered band and a large abacus, with thin transition mouldings. The middle element and the upper one are much larger than the shaft. They are the most conspicuous elements and may be the kala¿a and ma¸·i or (phalaka) of áilpa¿¡stra.

Between the abacus of the pilaster and the first architrave there seems to be an intermediary system of corbels. We call corbel the protruding element (potik¡ or bodhik¡) which supports an architrave (uttara) and which is the usual intermediary between a pillar and any superstructure in Indian wooden or stone architecture. The corbel does not rest directly on the abacus. In the space between them appears a square element, which has the breadth of the body of the pillar. That may be a representation of the square tenon engaged in the abacus and the corbel, visible in the space between them, and which is of square section to prevent the abacus and corbel to turn. In áilpa¿¡stra it is called v¢raka¸¶ha or (v¢raka¸·a) and is given as the terminal part of the pillar below the potik¡. In the angles of the monument, where orthogonal architraves are crossed, there is a system of crossed orthogonal corbels.

The entablature is the representation of two superposed architraves (uttara). Where there is a representation of an angle, orthogonal architraves are crossed and their crossed extremities are shown. These extremities appear above the corbels, so that we see a series of three corbelling elements above the pilasters. Such a superposition of corbels and architraves is a feature of wooden architecture, which can be still observed in recently built houses in North Karn¡¶aka.

The pair of architraves bears a long, non-curved eave. The angles have a turned up point. Occasionally there are attic windows called n¡sik¡. The eave is topped by one more protruding moulding, which is a kapota after a small recess. It has the shape of a shorter eave with n¡sik¡. This is not a duplication of the previous eave. The role of the kapota is to mark the termination of an architectural element. Here it indicates the termination of the first level of the building. It has also a functional role. The very long eave rests on the architraves in cantilever position and a strong counterweight must be placed above in order to prevent it to topple down.

Architraves, eave and kapota are given in áilpa¿¡stra as one unit called prastara.

The prastara described so far supports, not one superstructure, but a frieze of figured superstructures of reduced sizes.

Each one comprises an adhiÀ¶h¡na similar to that of the wall, i. e. the moulding made of beam extremities and the upper band (prati), then, after a small recess, a dome-shaped roof (¿ikhara). Because of the division and composition of the side into multiple representations of secondary structures, the frieze is made of several types of ¿ikhara. Those placed in the angles are of square plan and called kar¸ak£¶a. Those in the axis are of oblong plan and called madhyakoÀ¶ha or (bhadra¿¡l¡). Those in the intermediary left spaces are square, are still more reduced in size and called paµjara.

With this frieze of ¿ikhara we can consider that the first level (tala) of the monument is completed. It tops not only the first level of the vim¡na, but also the rangama¸·apa and porches, going around the whole monument, in the same way the base and wall do. The vim¡na portion is topped by two more levels, the structure of which is quite similar to the first one. These two upper levels are of diminishing size and less elaborate than the first one. Because of their reduced sizes they look like attics. But we can recognise in their structure the wall (the adhiÀ¶h¡na of which is hidden in the terrace of the lower level behind the frieze of (¿ikhara) with pilasters, the prastara (without the longer eave), the superstructure with its adhiÀ¶h¡na and frieze of ¿ikhara.

We had no possibility to observe the interior of the tower. However, from the observation of the external construction, one can determine the different layers of stone. It is probable that the walls of the tower are made of corbelling stone slabs. We do not know whether there are internal reinforcing built walls, as found in other monuments of the same period and style (Ra¶¶iha½½i, etc.). The height of the two upper talas taken together leaves an inner hollow volume approximately equal to the volume of the garbhag¼ha of the first level. But there is no trace outside that any access to it had ever been provided.






November 10, 2007 Posted by | EKAVI HAVERI | 3 Comments

From ekavi YUVAPREMI

ಕನ್ನಡದೊಳು ಜನನ
ಕನ್ನಡ ತಣಿಸಲು ತನುಮನ
ಕನ್ನಡ ಬೆರೆಸಿತು ಜನಮನ
ಕನ್ನಡ ನುಡಿ ನೀ ಅನುದಿನ
ಕನ್ನಡ ತರಲಿದೆ ಸುದಿನ
ಕನ್ನಡಕಿರಲಿ ನಿನ್ನಯ ನಮನ


ನಾನ್ ಕಲ್ತಿದ್ ಕೋಟಿ ಭಾಶೆ, ಆದ್ರೆ ನಾ ಹಾಡೋದ್ ಒಂದೆ ಭಾಶೆ.. ಕನ್ನಡ…!! ಕನ್ನಡ..!!


ಕರ್ನಾಟಕವೆಂದರೇನು? ಹೆಸರೇ ಬರಿಯ ಮಣ್ಣಿಗೆ?
ಮಂತ್ರ ಕಣಾ, ಶಕ್ತಿ ಕಣಾ, ತಾಯಿ ಕಣಾ, ದೇವಿ ಕಣಾ,
ಬೆಂಕಿ ಕಣಾ, ಸಿಡಿಲು ಕಣಾ, . . .

ಸಿರಿಗನ್ನಡಂ ಗಲ್ಗೆ ಸಿರಿಗನ್ನಡಂ ಬಾಳ್ಗೆ

-ರಾಷ್ಟಕವಿ ಕುವೆಂಪು

ಮನದ ಮೌನವ ಮೆಲ್ಲನೆ ಸವಿಯೆ…!!
ಮೊಗದ ನಗೆಯನು ಹಂಚಿದರೆ ರುಚಿಯೆ..
ಮಾತದು ಮಲ್ಲಿಗೆಯ ನೆನೆಸುವಂತಿರಬೇಕು…!!
ಸ್ನೆಹದ ಸುಧೆಯನು ಸಧಾ ಸುರಿಸುತಿರಬೇಕು…
ನೋಟದ ಹಸಿ ನುಣುಪದು ಮನ ನಾಟಬೇಕು…
ಈ ಎಲ್ಲದರ ಒಡೆಯ ನಾನಾಗಬೇಕು…!!


November 10, 2007 Posted by | EKAVI YUVAPREMI | Leave a comment

yuvapremi one

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Art By Harish Devadiga
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K¤ßà ªÀÄ£ÀzÀ CAvÀgÁ¼ÀªÀ, ¸ÁévÀAvÀæzÀ Q¸ÉUÉ…

KAzÀÄ §ÈAzÁªÀ£ÀªÀ vÉÆÃj¸ÀªÉ ¤Ã..
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KAzÀÄ §ªÀuÉ vÉÆgɸÀÄªÉ ¤Ã..
§ÈAzÁªÀ£ÀzÀ §ÈAzÀzÀ £ÉÆÃl¢…!!

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KAzÀÄ §ÈAzÀªÀ £ÉÆr¸ÀÄªÉ ¤Ã..

November 10, 2007 Posted by | EKAVI YUVAPREMI | 1 Comment

DEJAGOW on HungerStrike for KANNADA



Classical status for Kannada: D Javare Gowda stages fast
Mysore, UNI:
Former Vice-Chancellor of Mysore University and noted writer D Javare Gowda on Saturday observed a fast here, demanding classical language status for Kannada.

Talking to newspersons at the fast venue, Prof Gowda alleged that the Centre was showing a ”stepmotherly” attitude towards Karnataka and Kannada language.

Prof Gowda also urged the MPs of the state to prevail upon the Centre for according classical language status to Kannada.

It was for the fourth time in the last two years; Mr Gowda was staging a hunger strike demanding the Centre to confer classical language status on Kannada.




Dejagow demands classical language status for Kannada


Staff CorrespondentMYSORE: Former Vice-Chancellor of University of Mysore and noted writer, D. Javare Gowda on Saturday observed a dawn to dusk fast in front of the Kuvempu statue at Kuvempu Vidyavardhaka Trust, demanding classical language status for Kannada. It was for the sixth time in the last two years that Mr. Gowda was observing a hunger strike for the same purpose.

Earlier, scores of writers and academicians expressed their support to Prof. D. Javare Gowda (who is popularly known as “Dejagow”) and joined him in the fast. President Karnataka Rakshana Vedike P.A. Narayana Gowda, MP Shivanna, Vice-Chancellor, Karnataka Open University, B.A. Vivek Rai, poet C.P. Krishnakumar, writer Akbar Ali and Chairman Translation Academy Pradhan Gurudutt were among them.Mr. Gowda, who had written to former President A.P.J. Abdul Kalam, that the language was an offshoot of the Proto-Dravidian language, Tamil. He had also threatened to return his Padmashree, if the Centre failed to address the demands of Kannadigas.

Speaking to reporters he said that Kannada was an ancient language and should be accorded classical language status. He regretted that this was not done to mark the 50th anniversary of the formation of the State. Prof. Gowda said that there was proof that the language existed before the Christian era and it had a history of more than 2,000 years.

He talked of noted personality Potti Sri Ramulu, who gave up his life when the then government did not accede to the demand for linguistic status in 1953.


November 10, 2007 Posted by | Classical status to Kannada | Leave a comment

kannada bhashegoskara oggattagabeku-kannada aadalitha bhashe aagabeku-ellaru serimaadisabeku-ide nammellara modalane guriyagabeku

kannada bhashegoskara oggattagabeku –

kannadaaadalitha bhashe aagabeku – ellaru serimaadisabeku –

ide nammellara modalane guriyagabeku !!

ನಮಸ್ತೆ kannadigare mattu ಗೆಳೆಯರೇ…..

“ವಾಟ್ ಈಸ್ ದೇರ್ ಇನ್ ಕನ್ನಡ”
ಹಾಗಂತ ಅನ್ನೋ ಪರ ಭಾಷಿಕರಿಗೆ… “ಕನ್ನಡದಲ್ಲಿ ಏನಿಲ್ಲ?”
ಅಂತ ನಾವು ತೋರಿಸಿ ಕೊಡಬೇಕಾಗಿದೆ….

ಕನ್ನಡದ ಬಗ್ಗೆ ಪ್ರೀತಿ ತೋರಿಸಿ ಅಂದ್ರೆ….
ಮನಸಲ್ಲಿದ್ರೆ ಸಾಕು ಅನ್ನೋ ನಿರಭಿಮಾನ ನಮ್ಮದಾಗದೇ ಇರಲಿ….

ಕಾವೇರಿ ಗಲಾಟೆ ಆದಾಗ..”ಅಬ್ಬಾ… 1 ದಿನ ರಜ ಸಿಕ್ತು ಅನ್ನೋ ಕೆಟ್ಟ ಬದುಕು ನಮ್ಮದಾಗದೇ ಇರಲಿ….

ಕನ್ನಡ ಮಾತಾಡೋಕೆ ನಾಚಿಕೆ ಪಡೋ ಜನರನ್ನ ಸೃಷ್ಟಿ ಮಾಡಿರೋ ನಮ್ಮ ವಿದ್ಯಾ ಸಂಸ್ಥೆ ಗಳಿಗೆ ನಮ್ಮೆಲ್ಲರ ದಿಕ್ಕಾರ ಬೇಡ್ವ????????

ಮತಾಂತರ ಮಾಡೋ ಬದಲು…
ಆ ಜನರನ್ನ ಭಾಷಾಂತರ ಮಾಡಲೇ ಬೇಕಿದೆ….

ಇನ್ನೂ ಕೈ ಕಟ್ಟಿ ಕೂತಾರೆ…..

ಕನ್ನಡ ನೆನಪಾಗಿ ಉಳಿದೀತು….

ಕೊನೆಯದಾಗಿ 1 ಮಾತು….

“ಅಮ್ಮ,, ಬಡವಾಗಿದ್ದಾಳೆ…..

ಬದುಕಿಸುವುದು ನಿಮ್ಮ ಕೈಲಿದೆ……..”

kannada bhashegoskara oggattagabeku –
kannada aadaltha bhashe aagabeku –
ellaru serimaadisabeku –

ide nammellara modalane guriyagabeku

YES it is good to combine all our efforts for the sake of KANNADA.

Join hands to correct the problems of KSD. This one of the MAJOR issue for KANNADIGAS to tackle.

panchayathinda vidhana soudhadavarige kannada adlitha bhasheyagi jaarige tarabeku – en aagide eega ?


I think all of us should make a unified effort to bailout our language from this sad situation::Poornachandra Tejasvi.

https://ellakavi.wordpress.com /2007/10/23/i-think-all-of-us -should-make-a-unified-effort -to-bailout-our-language-from -this-sad-situationpoornachandr a-tejasvi/
kannada aadaltha bhashe aagideya? ellaru serimaadisabeku – nammellara guriyagabeku

Govt. nalli sariyada Kannada Standards ideya ?

Govt. approved Kannada Keyboard sariyagi ideya ? enu tappu ide ?

Dr. Sarojini Mahishi varadi en aagide ?

Dr. Nanjundappa varadi en aagide?



KANNADIGAS NEED to GET TOGETHER to do this. This will be a good sign for KSD.

First we need to correct what has happened in KSD at all levels. Including GoK and PRIVATE.

Kannada medium students are not getting the job in KARNATAKA STATE !!
Do you know why ?????

KANNADA is not used in all Departments of GoK.

We all need to look into




We have all the information to pertain to KSD.

Let us get together on COMMON PLATFORM for KANNADA.

We have collected KSD issues information since 2004. Some we have from 1998 and 2001 also.

Let us collectively work for the sake of KANNADA.

November 10, 2007 Posted by | KANNADA KARNATAKA | Leave a comment



ಮೇಘಗಳೇ ನೀವೆಷ್ಟು ಚಿಕ್ಕವರು
ನನ್ನ ಕಣ್ಣುಗಳ ಮುಂದೆ..
ನಾನು ಸುರಿಸಿದಷ್ಟು ಕಣ್ಣೀರು
ನೀವು ಸುರಿಸಲಿಲ್ಲ ನೀರು…!

ಎಷ್ಟು ವರ್ಷವಾಯಿತು ಗೆಳೆಯ
ಶಬರಿಯಂತೆ ಕಾದಿದ್ದು ನಾನಲ್ಲ
ನನ್ನ ಕಣ್ಣುಗಳು….ಬಯಕೆಯಿಂದ
ನೀ ನನ್ನ ಮೈ ಮುಟ್ಟಲೇ ಬೇಡ
ಬಾ ಮುತ್ತಿಡು ನನ್ನ ಕಂಗಳಿಗೆ…!

ನನಗೆ ಗೊತ್ತು ಮೋಸವಾಗಿದ್ದು
ನನಗೆ..ದುಃಖಿಸಿದ್ದು ನಾನಾದರೂ
ಬೋರ್ಗರೆದು ಅತ್ತಿದ್ದು ಮಾತ್ರ ಕಣ್ಣುಗಳು
ಒಂದು ಸಲ ನನ್ನ ಕಂಗಳ ಮೇಲೆ ನಿನ್ನ ಬೆರೆಳು..!
ಆಮೇಲೆ ಸತ್ತರು ಚಿಂತೆಯಿಲ್ಲ…ಕಣ್ಣುಗಳು ಮಾತ್ರ ನಿನ್ನವು…!

ಹೃದಯ ಸುಳ್ಳು ಹೇಳುವುದಿಲ್ಲವಂತೆ
ಹಾಗಾದರೆ ನನ್ನ ಕಣ್ಣುಗಳು ಯಾವತ್ತು?
ನೀನಾಡುವ ಒಂದು ಮಾತಿಗೆ ಜಾತಕ
ಪಕ್ಷಿಯ ಹಾಗೆ ಕಾತರಿಸಿದ್ದು ಕಿವಿಗಳಲ್ಲ ಕಣ್ಣುಗಳು….
ಅಲ್ಲಿರುವ ಬೆಳಕು ನೋಡಿಯು ನೀ ಅರಿಯಲಿಲ್ಲ…!

ನಾನಿಷ್ಟವಗಲಿಲ್ಲವ ಹೇಳು ಕಾರಣ ಬೇಕಿಲ್ಲ
ಒಂಟಿಬಾಳು ನನಗೆ ಹೊಸದಲ್ಲ..
ಅದು ನನ್ನ ಹಕ್ಕೆಂದು ಭಾವಿಸಿಯಾಗಿದೆ
ಆದರೆ ನನ್ನ ಕಣ್ಣುಗಳನ್ನ ಮಾತ್ರ ಜರೆಯಬೇಡ
ಒಟ್ಟು ಸಾವಿರ ಚಿತ್ರಗಳಿರಬೇಕಲ್ಲಿ
ಕಣ್ಣು ನನ್ನವಾದರು ಅಲ್ಲಿರುವ ಚಿತ್ರ ಮಾತ್ರ ನಿನ್ನದೆ…!

November 10, 2007 Posted by | EKAVI Group | Leave a comment

ನಿನ್ನ ನೆನಪೊಂದು

ನಿನ್ನ ನೆನಪೊಂದು

ಸುಂದರ ಜಲಧಾರೆ

ಭಾವ ಶಿಖರದಿಂದ

ಹರಿಯುವ ಜೀವಧಾರೆ


                                    ನೀಲ ನಭವ ಹೋಡುತಾ

                                    ಮಧುರ ವೀಣೆ ಎದೆಯಲಿ

                                    ಜುಳು ಜುಳು ಹರಿಯಿತ

                                    ನುಡಿಸಿದೆ ಅಂತರಂಗದಲಿ

ನೀನು ಬರುವ ದಾರಿಯಲಿ

ಹುಡುಕಿದೆ ಅಲೆಯುತಲಿ

ಗಿರಿ ಸಾಲುಗಳೆಲ್ಲಾ ಹಸಿರೇ ಹಸಿರು

ಹಾಡು ಹಕ್ಕಿಗಳ ದ್ವನಿಯಲಿ ನಿನ್ನದೇ ಉಸಿರು

                                     ಬಣ್ಣ ಬಣ್ಣದ ಹೂಗಳ ಅರಳಿಸಿ

                                     ಹೊಂಬಣ್ಣಕೆ ತಿರುಗಿದೆ ದಿನಮಣಿ ಸ್ಪರ್ಶದಿ,

                                     ಹಾಡುತಾ, ನಲಿಯುತಾ ಓಡಿದೆ ದಟ್ಟಕಾಡಿನಲಿ

                                     ಮತ್ತೆ ಕಂಡೆ ನಿನ್ನ ಸಾಲು ಘಟ್ಟಗಳ ಮೇಲೆ

                                     ಮೇಘಗಳ ಚಿತ್ತಾರದಲಿ

November 10, 2007 Posted by | EKAVI Group | 1 Comment

Dr.U.B.Pavanaja writes- BARAHA VASU is giving WRONG INFORMATION to press and to kannadigas. Also VASU is quoting a WRONG COURT CASE to prove what has done by stealing IPR from AKRUTHI is correct.

BARAHA Vasu’s interview to Deccan Herald in 2004

and Dr. U. B. Pavanaja’s comments

Vasu’s interview to Deccan Herald and comments by Dr. U. B. Pavanaja

Vasu gave an interview to Deccan Herald during his visit to Bangalore in June 2004. Here are some excerpts and my comments on them:-


> “Then, I, along with Ganaka Parishad and the State Government worked to bring Kannada software for official use”, he (Vasu) said.

I don’t remember any of such efforts by Sheshadri Vasu. In fact Vasu was very reluctant to implement the GoK standard for font and keyboard. There was a heated argument between Dr Panditharadhya and K T Chandrashekharan, father of Vasu, in this connection. All along the time Shasthry, Narasimha Murthy and Panditharadhya were advocating that Baraha killed Kannada while Nudi saved it!   Vasu did implement the keyboard and font standards after repeated appeals by Shrinatha Shasthry and Narasimha Murthy.

> Baraha 4.0 was the first software that was implemented in Government offices with font styles.

I don’t think this statement of Sheshadri Vasu is true. There were many Kannada software being used in state govt much much before KGP, Nudi or Baraha came into existence.

> But the Ganaka Parishad and the State Government have introduced Nudi software as a benchmark system.

If Vasu were to introduce the GoK standards much earlier than the release of Kalitha (Nudi), Nudi would not have come into existence.

VASU said:  > Unfortunately for me, the government is insisting the use of Nudi software.

Why should be unfortunate to him? He is not selling Baraha.

> While Baraha has fulfilled the terms and conditions put forth by the Government, including stipulations such as keyboard and transliteration, I wonder why they are forcing departments to use only Nudi”, he said. One of Baraha’s many advantages, according to Vasu, is that it allows a person who knows Kannada to type it in English fonts. He felt preference of software (Baraha or Nudi) should be left to end user.

Why the choice should be only between Nudi and Baraha, both of them are obsolete in the current and future time where Unicode is the world standard?

Actually the choice should be between Windows XP/2003, Mac, Linux, Solaris, Java Desktop, Unix, etc. all are having Unicode compliance.

Meeting with Vasu in June 2004

Vasu was felicitated by Upasana in Bangalore during his visit in June 2004. I met him during that function. I discussed many things in general like Unicode features, facility needed in Baraha to convert RTF and HTML documents into Unicode, etc. Casually I asked him where from he is getting the fonts for his Baraha package. As per his answer, there is an artist in Bangalore who draws the shapes on paper and sends them to him. He (Vasu) scans, digitizes and  makes them into fonts. I did not discuss anything about the Akruti font issue.



VASU of BARAHA was NOT TRUTHFUL to reporters in 2004. Now also !!!

SHABDRATNA, the first Kannada Word processing Software developed in 1987 by SRG Systems. Now SRG is not in business because of NUDI and KAGAPA and BARAHA.


VASU is the CULPRIT here for KSD

SHABDRATNA, the first Kannada Word processing Software was
launched by the then Director of Karnataka Govt. Computer
Center during January 1987. This was used extensively by
almost all Offices & Depts of the Govt. of Karnataka.

SRG Systems Letter to V. M. Kumaraswamy in 2004.


VASU sends the following email to kannadigas all over the world.

WHY ? Because VASU got Caught for STEALING the IPR.

This following information is also FALSE according to some sources.


Dear friends,

Recently I have read some forwarded emails mentioning that Baraha has used fonts copied from other software. This statement is not true and I would like to clarify the same in this mail. As of Baraha 6.0 (to be released shortly), the following fonts are available for use.

BRH Amerikannada

BRH Bengaluru

BRH Kailasam

BRH Kannada

BRH Kasturi

BRH Sirigannada

BRH Vijay

BRH Devanagari

BRH Tamil

BRH Telugu

BRH Malayalam

All the above fonts are designed and hand-written on the paper by the artist Sri. Lingadevaru and digitized (conversion to TrueType Fonts) by me. “Except for “BRH Kannada” all the other Kannada fonts are totally new styles which don’t exist in any other Kannada software“. Most of the Kannada font styles that we see on computers today existed and used in the books, magazines and news papers much earlier. The “BRH Kannada” style follows one such classic type face that was used much before the computers came into existence as shown in the following examples.

Gnana Gangotri – 1971

Amara Chitra Katha – 1978

The above style is a kind of de-facto standard for Kannada, which is used by almost all the publications today. Every Kannada font vendor has created this style using re-digitization (re-digitization is the process of creating a digital font based on an existing font either by scanning a printed letter or extracting from an existing font) and has given his own name. The following are some of the fonts, which have this style. There are many other generic type face styles for Kannada, which can be found in all the software packages.

BRH Kannada – Baraha

Nudi Akshara 09 – Nudi

AkrutiKndPadmini – Akruti

Shree-Kan-0850 – ShreeLipi

SHREE_DECCAN – Prajavani

KPNEWS – Kannada Prabha

Kan Badami – PhonScript Systems

so on…

All these fonts use the style shown in the above examples. We may find a few minor differences, when we compare these fonts. In most cases, this difference is introduced automatically during the digitization process. Some vendors deliberately introduce a few changes to certain glyphs, to be able differentiate from others. Some times, a different character or line spacing is used so that the font looks different when displayed on the screen or printed. Some times, the font size, thickness is modified to give a different look. Whatever may be the difference, they all derive from a common design, which cannot belong to any one individual or company.

The common font styles that existed much before the computers cannot be copyright protected by any one person or company. This is the rule followed for English fonts. The English fonts such as “Arial”, “Times New Roman”, e.t.c belong to this generic category. Here only the brand names such as “Arial” is copyright protected and that name can’t be used for other styles. But the actual character styles (or outlines) in the Arial font may be copied and re-produced by anybody. Font copyright laws vary from one country to another. In Germany for example, only the new font styles that are created after 1981 can be copyright protected by filing a special registered design with the patent offices. I am not aware if any such laws exist for fonts in India.

USA courts have long back decided that fonts can’t be copyrighted AT ALL! Here, the digital outline can never be protected. According to them there can’t be any original font style, because, every font is created by slightly modifying some other font, and there aren’t really “new” font designs! See the following excerpts from the law…

“The Copyright Office has decided that digitized representations of typeface designs are not registerable under the Copyright Act because they do not constitute original works of authorship. The digitized representations of typefaces are neither original computer programs (as defined in 17 U.S.C. 101), nor original databases, nor any other original work of authorship.”

So, in a font, the name, any programming code not describing the font design are all that can be copyrighted. This leaves the door open in the USA to have anyone pay for the output of each character from a typesetter and re-digitize it or extract the design from a font program (and rename it), easily duplicating the design. Most foundries have very similar fonts derived from work largely designed by others. More information about font/copyright can be found at http://ssifonts.com/Myths.htm

When I started developing Kannada software in 1998, I had no knowledge of fonts at all. I had to do a lot of research and analysis on various Kannada fonts freely available in the Internet, which helped me to understand the current technology and the various issues. I am sure the other software vendors created their software only after doing such a research. This is not against any law.

Some Kannada software vendors complained that Baraha has hurt their business because of its free nature. I still believe that the only way Kannada can compete with English is by a user-friendly, quality, free software. If not me, some other individual would have done the same work later. It is unfortunate that no Kannada software vendor utilized this great opportunity. The initial version of Baraha was just an experiment (not so serious…), which I wanted to share with my family and friends. I didn’t know it would become so popular and used by many people. When Baraha gained popularity, I introduced new Kannada fonts in the versions that followed, as mentioned above. I could have easily re-produced the common font styles that existed in other software and competed with them. Instead, I came up with only new styles, which didn’t exist before. My intention is only to provide a free facility for the basic documentation needs of Kannada. I have focused more on standardization issues and portability of data to various formats and Operating Systems, which was ignored (deliberately for business interests?) by other software vendors. Since I don’t have any business interest regarding Baraha, the only motivation for me is quality, usability, portability and the interest in Kannada. Through Baraha, I have made a lot of friends throughout the world, which are more valuable for me than the financial benefits.

Baraha is not a rocket technology! I have simply put together many things that existed already. While doing so, I haven’t violated any copyright laws concerning font software.

Many software vendors and individuals have created Kannada software either out of business interests or personal interest in Kannada culture. Whatever may be the reason, my personal thanks to all of them because they formed the foundation for Kannada in IT. They kept Kannada alive so that it can be rejuvenated today. The credit goes to software companies such as C-DAC, ShreeLipi, Akruti, KGP and many others. KGP did a good work by standardizing Kannada fonts and the keyboard. Some individuals such as Sri. Kasturi Rangachar and Sri. Vishweshwara Dixit here in USA, had attempted to create Kannada software much before the introduction of Baraha. The list goes on… Without the efforts of above companies and Individuals, Kannada on computers would not have grown to the extent it is today.




Dr. U. B. Pavanaja’s comments on VASU’s ABOVE assertions:
 Vasu’s justification and the realities

With this background let me discuss a bit of what Vasu has written in a document and widely circulated in mailing lists. This document is also present in his Baraha discussion group (groups.msn.com/baraha). Let me quote from this document-

—————– Begin ———————————

USA courts have long back decided that fonts can’t be copyrighted AT ALL! Here, the digital outline can never be protected. According to them there can’t be any original font style, because, every font is created by slightly modifying some other font, and there aren’t really “new” font designs! See the following excerpts from the law…

“The Copyright Office has decided that digitized representations of typeface designs are not registerable under the Copyright Act because they do not constitute original works of authorship. The digitized representations of typefaces are neither original computer programs (as defined in 17 U.S.C. 101), nor original databases, nor any other original work of authorship.”

So, in a font, the name, any programming code not describing the font design are all that can be copyrighted. This leaves the door open in the USA to have anyone pay for the output of each character from a typesetter and re-digitize it or extract the design from a font program (and rename it), easily duplicating the design. Most foundries have very similar fonts derived from work largely designed by others. More information about font/copyright can be found at http://ssifonts.com/Myths.htm

———————- End —————————-

Vasu is very cleverly and conveniently quoting from a web-site put up in the year 1997 and has not been updated afterwards.

There is a reason for this site not being updated afterwards. This refers to the classic legal battle between Adobe and SSI. Southern Software Inc. (SSI) used to copy and rename fonts from Adobe and others. They thought they were safe from prosecution because, though they had directly copied the points that define the shapes from Adobe’s fonts, they had moved all the points just slightly so they were not technically identical. Nevertheless, in his 1998 judgment, the judge determined that the computer code had been copied:

The evidence presented shows that there is some creativity in designing the font software programs. While the glyph dictates to a certain extent what points the editor must choose, it does not dictate every point that must be chosen. Adobe has shown that font editors make creative choices as to what points to select based on the image in front of them on the computer screen. The code is determined directly from the selection of the points. Thus, any copying of the points is copying of literal expression, that is, in essence, copying of the computer code itself.

SSI lost the legal battle at the courts. Judgment was in favor of Adobe. Hence SSI did not update their web-site.

Vasu is conveniently quoting from this web-site. One can read in detail about this case in the following web-sites:-




When we conducted a opentype font workshop at Bangalore during March 2003, there was a talk on IPR issues related to fonts by Lawrence Liang, who is an expert on cyber laws. He had discussed this Adobe vs SSI case.


November 10, 2007 Posted by | Baraha, Sheshadri Vasu | 1 Comment

V. Demand for granting classical language status to Kannada[Rajyasabha]





(Proceedings other than Questions and Answers)


Thursday, April 28, 2005/ Vaisakha 8, 1927 (Saka)

V. Demand for granting classical language status to Kannada

SHRI K.B. KRISHNA MURTHY: Going by the criteria set for recognition of a language as a Classical one, Kannada rightfully qualifies for accord of a classical status. On all accounts-antiquity, ancient body of literature, original living traditions and continuity-Kannada has impeccable credentials. A well-documented case has already been made by the Government of Karnataka, in its communication to the hon. Prime Minister of India, which I commend, be subjected to critical evaluation by the Sahitya Academy. Compared to Hebrew and Chinese writing systems that claim an antiquity of three millennia, among Indian languages only ‘Tamil’ and ‘Kannada’ have a long and enduring history of writing. Therefore, I request the Government of India to accord a ‘Classical Language’ status to Kannada.

(Shrimati Prema Carriappa, Shri E.M. Sudarsana Natchiappan, Shri B.K. Hariprasad and Shri Jairam Ramesh associated.)

November 9, 2007 Posted by | Classical status to Kannada | 2 Comments

DISGRACE: Why are so we lacking in swabhimana?[from churumari-Kannadigas read these comments by fellow kannadigas on KANNADA]

DISGRACE: Why are so we lacking in swabhimana?

SUMA RAMANNA writes from Madras: We are proud Mysoreans from Srirampura living in Chennai since the last three years. And for three years now, I have felt completely alienated.

Ello bere deshadalli idddene annisuthe.

Here, except Kannada, all other south Indian languages are powerful. Illi Telugu, Malayalam pictures run for 100 days. One can get VCDs, DVDs, books in Telugu and Malayalam, but not in Kannada.

No way. Kannada is a foreign language in its own country. Getting any Kannada thing is impossible.

Don’t think there are no Kannadigas here. There is a large section of them. In fact, there is a big Karnataka Sangha in T. Nagar which is in the heart of the city. It also runs a reputed school. But organizing Kannadigas happens in a very low key manner.

Why are we still like this? Why can’t we do something to get a better position for ourselves in other states? (Of course, Kannada is missing on Bangalore’s streets itself, but at home everyone learns to live in any difficult situation.)

Instead of fighting for classical language status, why can’t Kannadigas work to improve the status of Kannada and Kannadigas elsewhere? Why can’t film producers release Kannada films here instead pf protesting against the early release of Tamil and Telugu films there?

Alli Tamil film ododadare, illi yake Kannada odolla?

I think the saying that Kannadigas lack swabhimana is perfectly right. Yake naavu heege? Prapanchakke namma iruvike gothu aagabekadare we should cry.

Without crying when a child won’t get any food then how will we get the due recognition we are eligible for?

So I urge all Kannadigas to do something to improve our status. As Bangalore becomes famous we must make it a point to popularize Kannada around the world.

Elladaru iru, enthadaru iru, endendigu nee Kannadavanagiru.

My husband and I follow this dictum very well. We have not yet learnt Tamil till now, but it does not serve any purpose. We have to do something else. What?

33 Responses to “DISGRACE: Why are so we lacking in swabhimana?”

  1. prabhakara Says:
    May 12th, 2006 at 8:14 am it has nothing to do with ’swabhimana”, the fact is kannada pictures are really bad, so no one wants to watch them.this includes rajkumar movies.
  2. prakash Says:
    May 12th, 2006 at 9:03 am Prabhakara avare :Nimge Cinema andhre adhra ‘Gandha’ yilla annisuthe..
    Berae Baashae nalliro olLE cinema swalpa Patti YiLitheera mahaswamy .
    PuttannaKaNagal kelidheera????? Gothilla andre bidi.Neevu Kannadigaralla
    athava neevu NIRABHIMANIgaLU.
    Nimanthaavrindha namma Kannadakke yee gathi bandhirodhu.
    Modhalu Thaayinaadu , mathrubhaashe maryadhae kododhu kalthkolli
    amele mikkidhu.
    Yaavdho yugadhalli idheera.
    to explain in Pure english .
    Prabhakara sir , Can you list the so called good movies in other languages
    let me gauge your intellectual index . Maybe you are not a kannadiga or never born here . People have their opinions about good and bad movies .
    But generalizing that ‘ALL MOVIES incl RAJKUMAR’s ‘ means you have never CINEMA in your life ….maybe you lead a low life
  3. Pandu Says:
    May 12th, 2006 at 9:38 am Instead of lamenting and mud slinging Suma Ramanna can start a Kannada VCD (DVD also) shop in Chennai and ‘Swabhimani’ Prakash can send latest Kannada VCDs (after 7 weeks of release only!!) to Chennai.

    Though not a Kannadiga, I watched a great movie recently of Vishnuvardhan: Bhoothayana Maga Ayyu or something. I am sure there are many more movies like this. If Kannada Films have failed in Marketing itself dont put the blame others.

    Take the blame on yourself!

    Prakash, this is not a general knowledg quiz to name good movies in other languages. It would require several blogs like this to really list.

  4. Prasad Says:
    May 12th, 2006 at 10:29 am I can totally understand Suma’s plight. But I would like to tell her that the situation is not totally hopeless. The solution may be via books and internet.

    When I was growing up, Pune had a vibrant Kannada Sangha which also ran a school and several mini Sanghas. The problem was the same – Kannada movies hardly were shown in theatres, videos were almost non-existent but the one factor that kept these groupings going was a steady supply of books and magazines. In fact there would be people wanting to be part of different Sanghas just to get books and magazines home. It was all run by volunteers and there were not strict rules about membership. Most of the books were purchased when people made trips to their hometown. These books formed a nice starting point and allowed many Kannadigas to meet and plan other activities.

    I do not know how it is now as the reading habit has decreased among people. Fortunately good Kannada books/ kadambaris are still available in plenty for affordable prices in Karnataka.

    But in these modern times, another way to hook up with the rest of the world is via internet. So Suma should never feel left out.
    Chennai illadiddarenu, Churumuri is just a mouse click away.

  5. H.R.Bapu Satyanarayana Says:
    May 12th, 2006 at 10:32 am It is true that Kannadigas suffer from misplaced feeling of being ’secular’ at the cost of seeing our own people sidelined in our backyard. We are so ready to please others to speak their language. There is no bar in learning another language but if you have no pride in your own language, the language will die eventually. Kannada is the second oldenst language. We are considered ’sappe jana’ because we have no pride in our own strength. There was a time during 11th and 13 the centuries we ruled Mythili in Bihar for more than two cnturies, Kannada rulers reigned supreme in Nawadweepa in West Bengal, Hoysalas ruled parts of Tamil Nadu and record show we have conquered parts of Nepal. Yes, it is part of history and unimpeachable record exists through shasanas, historical records and even ruined palaces. This has been brouht out in asmall book written by A.S.Nataraj which is a must read for every Knnadiaga It only shows we have to bring back in us that pride to establish our pre-eminence and everyone of us has to try in his/her own way to popularise Kannadaaand work for it. In Vijaya Karnataka dated 10th instant there is a fine article written by Hiremagalur Kannan and I would urge everybody who is passionate about our language to go through it.
  6. Suma Says:
    May 12th, 2006 at 10:58 am Prabhakara,
    Mental Manja…Kathri Kaala,Chapli chora…these are the movies now a days in kannada….but there are also Beladingala Baale,Amritha Varshini,America America..Watch selective[good movies ] especially Kaviratna Kaalidasa of Dr. RAjKumar and then comment on his movies or for that matter any Movie.

    Also if we do not watch Kannada movies that doesn’t mean we do not have Swabhimaana…

    Kannada film industry is part of Kannada and not the other way round.
    its not a deciding factor at all.

  7. December Stud Says:
    May 12th, 2006 at 11:40 am I have a lot of problems with Suma’s article here. Though the intent is nice, the essence is bad.

    Let me start off by saying what one of my Kannada teachers used to say. His definition of people from South Indian states (excluding Keralites, who according to him will gel very well anywhere in the world) :

    ” tamiLinavaru durabhimAnigaLu
    teluginavaru swabhimAnigaLu
    kannaDigaru nirabhimAnigaLu ”

    All the students had a nice laugh after listening to this !!! Though he generalized it way too much, he had made his point quite clear.

    Now, coming to the Kannada movie thingy in suma’s writing. I completely son’t understand how I can show my LOVE of Kananda just by watching the movies. Infact, I agree with prabhAkara to a large extent. Bulk of the present day kannada movies are downright atrocious.

    Oh, before I continue, I want to make sure prakash doesn’t think I lead a low life 😉

    So, yes there are great Puttanna movies, very good Sunil Kumar Desai movies. And, even fairly recent movies such as “America America !!!” and “Amrutavarshini” are brilliant !!! We have had a consistent sparkles in ‘beLLi mODa’, ’saMskara’, ’sharapaMjara’, ‘eDakallu guDDada mEle’, ’suprabhAta’, etc…etc….

    But, realistically how many such movies are we getting in theatres now ? I don’t watch most of the Kannada movies today. I enjoy watching a Steven Speilberg or a Aamir Khan movie much better.

    That said, I do make it a point to watch any good Kananda movie which comes out. But, unfortunately there are very few of them.

    The movie goer mentality in Andhra and Tamil nadu are way different. People there love the stunts of Rajanikanth and Chiranjeevi.n the other hand, I don’t even consider Shivarajkumar as a good actor.

    At one point, I was a HUGE fan of Rajkumar. I still think he did an incredible job in mythological movies. But off late I don’t like his movies either. I prefer Ananthnag, Vishnuvardhan and Ramesh. But, even to this day I enjoy Puttanna’s movies.

    Now, you can’t brand me as a nirabhimAni because I don’t watch most of Kannada movies. Or can you ?

    And, here’s the most disturbing thing in Suma’s article. You do NOT save Kannada by NOT learning Tamil !!! Be a Roman when you are in Rome – simple rule for survival. I can understand the nuisance if someone came and talked to you in tamil in Bangalore. Infact, somebody did do that with me a long time back and I promptly replied back in Kannada.

    I think if Suma had based her article on kannada books than movies, then it would have made much more sense. That I can’t argue, Kannada definitely has one of the richest literature in the world.

  8. Suma Says:
    May 12th, 2006 at 11:46 am Thanks for the responses what i wanted to tell is not only about kannada movies. bere ella vishayadallu hege aguthe. movie bagge yake helide andare adhu olle manoranjaneya madhyama. Navu sappe jana khanditha alla swami bapu avare illina janakke udipi aduge thumba ruchi koduthe. Nanu adanne helutha irodu sappe aago badalu eddu namma byadagimenasina banna ruchi thorisodakke agalva? antha
  9. ashok Says:
    May 12th, 2006 at 1:20 pm Instead of lamenting and mud slinging Suma Ramanna can start a Kannada VCD (DVD also) shop in Chennai and ‘Swabhimani’ Prakash can send latest Kannada VCDs (after 7 weeks of release only!!) to Chennai.

    Though not a Kannadiga, I watched a great movie recently of Vishnuvardhan: Bhoothayana Maga Ayyu or something. I am sure there are many more movies like this. If Kannada Films have failed in Marketing itself dont put the blame others.

    Take the blame on yourself/

    Prakash, this is not a general knowledg quiz to name good movies in other languages. It would require several blogs like this to really list.

  10. Sunaad Raghuram Says:
    May 12th, 2006 at 1:44 pm Suma, your anguish is being felt by me here in Mysore.

    I have wondered too. Why on earth are we Kannadigas so insensitive towards our own language and culture?

    How many times haven’t we all come across Kannadigas who find it squeamish, so very beneath them if you like, to converse in Kannada.

    How many times haven’t I come across men and women stubbornly refusing to speak Kannada in a conversation but continuing in atrocious English! And making bufoons of themselves. Quite unnecessarily I must add.

    What mettle are we made of I wonder. A bunch of men and women who don’t accord our own mother tongue any value, any sense of status in our hearts.

    To get to the bottom of this sick scenario is to, I think, attempt to unravel our collective psyche which mirrors an element of the sissy in us all.

    A bent of mind that has long washed off all the pride, the honour and the joy of having your mother tongue sounding sweet to the ears.

    It is not enough if we blacken English boards on the streets of Mysore and Bangalore.

    Our ‘Kannadiga’ hearts have been tarred amd marred long before that!

  11. bondu Says:
    May 12th, 2006 at 3:11 pm Good films in Kannada , since last 1 year
    Rakshasa – 4 state awards, Nenapirali, akaash,rishi, jogi,Hatavaadi,Mata,Haseena,Suntaragaali,Amruta Dhaare,Deadly Soma, Shree. All are original , not remake.
    Watch these films and compare with any language films in these times. Kannad film industry has more hits than any language in last 2 years.
    This is just a sample…. Like every language Kannada also has some dry days of good films. Now that will not be there
    wait for Kumararama, Kallarali Hoovagi..
  12. Saumya Narayan Says:
    May 12th, 2006 at 4:11 pm Prabhakara avare,

    kasthuri nivasa, sandhya raga, bangaradha manushya – innu halavaaru utthama kannada chitragalu ive. haudhu, naanu baree annavra chithragala hesarugalanne heliddhene, yakendre, chikkavayassindha, kebal tv-li avra chithragalannu nodi, kannada shabdagala spashta uccharane, hege alpa matthu maha prana aksharagalannu samanya sambhashanegalallu kruthakathe illadhe mathannaduvudhu – heege aneka vishayagalannu kalthkonde. avara chithragalu bareya manaranjaneya avashyakatheyannu mathra pooraisalilla. nammanthavara kannada bhasheya mele bahala mattige prabhava beeridhe. eega kooda, chennai nalli namig sigo kannada channels udaya matthu ushe tv maathra. adhrallu, namma annavra chitragalu bandhre, nanna 4 vayassina magala jothe aa chitragalannu veekshisuvudhuntu.

    Saumya Narayan

  13. Saumya Narayan Says:
    May 12th, 2006 at 5:35 pm Suma,

    I also live in chennai and absolutely empathise with you. I somehow feel that ever since the kaveri river issue started, some kind of mutual hatred and anger permeated our collective consciousness on both the sides, which is very sad.

    However, would you mind clarifying a few things?

    1. Profits drive the sales of VCDs and DVDs. I see no reason why stores like, say, landmark (chennai citi centre or mt. rd.) will not want to stock kannada vcds, books or dvds if there is sufficient demand. I don’t quite get the point you are making – are you cribbing that there is no place in chennai where these are available and hence YOU are not able to enjoy these, or, are you hurt that chennai has no place for anything Kannada? If the answer to the former question is ‘yes’, try www.seventymm.com for kannada film vcds and dvds.

    2. ‘Organizing Kannadigas happens in a very low key manner.’ Really?!! I heard people there have a blast.

    3. ‘Why can’t Kannadigas work to improve the status of Kannada and Kannadigas elsewhere’? Do you mean the Kannadigas in Karnataka should work to improve your and my status? Instead of expecting someone else (Kannadigas in Karnataka) to bail us out ,can we not be proactive and do what little we can?

    4. ‘We have not yet learnt Tamil till now, but it does not serve any purpose.’ I am glad you realise that.

    5. ‘Prapanchakke namma iruvike gothu aagabekadare we should cry.’ Baree atthre aen prayojana banthu? Kannadadha prayogavannu haradodhakke sakarathmakavadha, nammindha sadhyavago chikka chikka kramagalannu kaigolbahudhalla.

    Growing up in Bangalore, I found people of all languages and religions living harmoniously in my apartment complex. I got the chance to learn a bit of Telugu, Tulu and Konkani aside from Tamil. I managed to teach Kannada to these friends too. I also used to gift simple books in Kannada to them on a subject of their interest. That, I believe, is a positive way of spreading Kannada, instead of saying ‘I will not learn your language’. Don’t you think this attitude will only further animosity? I am also trying to teach a few Kannada words to my daughter’s little (non-kannada) friends. They are able to lisp small disparate sentences in Kannada which gladdens my soul no end.

    Maybe there could be many more blogs in Kannada. Aside from Kamat’s and Nadig’s blogs, how many do we have? I really don’t know, and would appreciate it if someone could post the link of some Kannada blog aggregator. Talk of Bangalore being the tech hub.

    Saumya Narayan

  14. prakash Says:
    May 12th, 2006 at 9:09 pm My response to some of the caustic remarks on the subject .
    I dont say ‘Kannada Movies are best’ even today .They are like any other film world where there are good movies and bad movies. But my only objection to brand ‘Kannada Movies are BAD’ . There are merits which certainly one can appreciate in terms of subject ,editing ,direction,camera etc when we watch Puttanna’s movies . I also appreciate the clean movies which Rajkumar acted where each and every person in a family can sit and watch without the fear of any obscene acts or vulgur language .

    Today when we see a Kannada movie we cannot gaurantee the same .but again there are good and bad movies in every language and majority are Bad ones .

    Coming to present state of kannada . Well we have to blame ourselves .
    First and foremost lets start conversing in kannada within our own homes with kids and with friends . I always see people switching to ‘English’ in the middle of a conversation and then continue with it .This trend started very early from all those elders who got retired post independance days ( 50’s and 60’s ) .They used extensive english to show their prowess on the language and the rest of generation just picked up .
    Last visit to Bangalore I was dismayed when i walked into the ICICI bank in malleswaram . None of the Bank personell knew Kannada .They helplessly told me they dont know the language .Most of the youngsters working there were from Assam, bengal and Madhyapradesh .
    This is the situation we are in.
    The gestures that people throw when you speak in ‘Kannada’ in Bangalore Malls makes you feel that you are a stranger speaking an ALIEN language .

    Forget chennai , lets start looking at our home first

  15. Quizman Says:
    May 12th, 2006 at 9:12 pm On the other hand, Suma could look a the positive side – two actors with origins in Karnataka have been very successful in Tamil Nadu, one an acting superstar and the other as a Chief Minister. Plus, people with origins in Karnataka like V. Murthy, Guru Dutt, Shyam Benegal, Girish Karnad, the Shettys (villian, Shilpa, Sunil*). Aishwarya, Ganesh Hegde, Srinivas Bhasyam, Niret Alva etc have made their mark+ in the larger Hindi market. So perhaps, not being constrained by language makes individuals more successful?

    That said, perhaps some like Srinivas Bhasyam may have a comment on this topic since he has worked on both sides of the fence. [i.e. he may have more insight into the ease or difficulty of financing Kannada film projects, marketing it etc].

    Also, the art film market in Marathi and Bengali – two struggling film industries is (arguably) much larger than the Kannada market. Is the art film market large enough to sustain film production? Is the theatre going experience for Kannada films good? i.e. do people prefer sitting at home and watching soaps instead? Has the advent of Kannada satellite channels made the VCD market smaller? Does the fact that Karnataka has at least four different languages (not counting dialects) within its borders make it more difficult to make a uniform “Kannada market”?

    * or however he spells his name now
    + good or bad, based on your pov. 🙂

  16. Suma Says:
    May 12th, 2006 at 10:23 pm saumya avare nanu kannadigara bagge heluvaga nanna bittu helalilla. nannu serisikondu helliddu nanu enu madythiddene? anno orashne bandagale hege helliddu. Nanu mooru varshadinda illi iidane erade eradu kannda karyakrama nadedirodu. We speak only KANNADA at our home for ur information i am a big fan of S.L Byrappa,M.K Indira, and lists goes on. I know we have to do for ourselves my question is are we doing? no
    I too have taught kannada to many people

    It is not only in chennai i was unable to get movies or books even i n U.S.A it is the same situation where i stayed for nearly a year before coming to chennai.
    As Mr Prakash said in Bangalore bank employees don’t know kannada but here calls from call centre will only be in tamil unless u request for english now do u know the status.

    We don’t even get DD chandana but DD bengali, Telugu, Malyalm are available Do uhave any answer why can’t we protest i am asking

    If in bangalore u feel alien is it not our duty and birth right to protect kannada.

  17. Prasad Says:
    May 12th, 2006 at 10:56 pm I think Saumya & Quizman have made some really valid points here. Instead of feeling threatened by other languages or feeling disillusioned we must keep Kannada alive in our own little ways.

    Talking about Quizman’s point about a uniform Kannada market for movies – not just in Bangalore but in the other major cities of Karnataka too, I feel the Kannada market is fragmented. This may be due to many reasons including sizable number of non Kannada speakers and higher number of other language movies produced. Maybe to overcome this, maybe Kannada movie producers should try video only movies or plays. These would be easier to distribute, do not need high investment and can be targetted for specific audience groups. This will avoid good filmmakers having to make compromises while filmmaking.

  18. Quizman Says:
    May 12th, 2006 at 11:14 pm Prasad,

    Agreed. Continuing on the fragmentation theme, folks who compare Kannada to Tamil are comparing apples to oranges. The reality is, that Tamil has a large overseas market. For example, there is a substantial second, third generation Tamil population in Malaysia & Singapore and a large population in Sri Lanka. [i.e. not to be confused with PIOs or NRIs]. Quite a few Tamil films may be financed & seen by these overseas Tamils. Thus, the scale of production is quite different. As you’ve mentioned, the Kannada film market is far more fragmented and needs specific targeting.

    One has to remember that mainstream Tamil films were/are as crappy as mainstream Kannada ones. But the off-beat commercial ventures by a few Tamil directors gained national attention. Plus, A. R. Rahman became a crossover hit in a way Ilayaraja did not. All it will take is a decent Kannada crossover hit or two to make the industry competitive again. Once there is a market, video stores will automatically stock them. Remember, how video stores in Mumbai stocked “Shankarabharanam” and “Nayakan” in the 80s?

    I think a fair comparison for Kannadigas is to compare themselves with Bengalis – both have a rich tradition of literature, music and a cultural heritage that goes way back. People of both regions have migrated outside of the state, adapted the local cultures and have been successful (writers, artists, filmmakers, journos, businessmen, academics). Both states have rural and urban audiences that is rather different. Filmmakers in Kannada have to do a Ghatak, Ray or Ghose. The have to bring the audiences up to their level instead of going down to theirs. [More Girish Kasaravallis, please!]

    I can afford to be dispassionate about these things, since I’m the worst of all kinds – a second generation Kannadiga raised in Mumbai & living in the US. I escaped the film-based fanaticism that is prominent in the south of the vindhyas 🙂

  19. December Stud Says:
    May 13th, 2006 at 5:15 am Suma and gang,

    Here’s something on a similar note :


    At least, let the voices be heard.

  20. srm Says:
    May 13th, 2006 at 11:38 am [regarding Low life]
    One doesn’t watch movies doesn’t mean he/she leads a low life.

    about this post:
    As Suma points, it is not one person or one industry’s effort to bring Kannada upfront and make it popular outside of kannada regions. It takes a great effort indeed and willingness of kannadigas that can get-together and make it better. naanu singaapuradhalliddaaga sumaaru jana kannadigaru ondhede seruttiddevu; kannada kaaryakramagaLu kooda nadesittiddevu… alli eegaloo bahaLa sogasaagi amtaha kaaryakramagaLu nadeyuttavemdu kELide.

    regarding “stubbornly refusing to speak Kannada in a conversation but continuing in atrocious English! And making bufoons of themselves. ” –> taavu idanna kannadadalle hELabahudaagittu. –> khaMdita, naavu sumaaru sanniveshagaLalli imtahadanna kaaNuttEve – akasmaattaagi bere bhaasheyavaroo a sambhaashaNeyalliddare sandharbhaanusaaravaagi bhasheya baLake maadabekaagutte.

  21. bondu Says:
    May 13th, 2006 at 2:38 pm I strongly disagree with Saumyaa . From 100+ years we told to Adjust to others (any languague people). But why cant we tell other to adapt to the environment they live. When they start live here, they have to learn Kannada (same when we are in other states) without losing our identity. Because of Saumyaa attittued (70-80% have same attitude) the situtation is like this now. If the same continues Kannadigas have to learn all other languages to live in Bangalore. It is not time for discussion. It is time for Action.
  22. Matyady Gopal Says:
    May 13th, 2006 at 6:34 pm Time and again we trumpet our inferiority complex. Why can’t we wake up and make up our minds to spread Kannada within the State and beyond its borders? Our politicians are the culprits here. They encourage the migrants and woo them for their votes and money. That’s why our State has become a Tower of Babel. Go to our neighbouring States. The entire ambience smells the fragrance of the native language. Even in big cities and metros. In Chennai the weather breathes Tamil. In Kerala wherever you go, you can’t survive without Malayalam. Why shouldn’t we build our language likewise in our own State? If every Kannadiga decides not see any Tamil / Telugu / Malayalam movie when he / she is in Karnataka, only one or two prints of those movies will be released here, that too, months after their release in those States. Why should we allow signboards in all and sundry languages here, when Kannada signboards disappear as soon as we cross our borders? Our politicians deliver election speeches in the languages of the migrants, while Kannada is not all used in daily life beyond our borders, even when majority of the people living there are Kannadigas. We allow even Hollywood movies dubbed into Telugu and Tamil to be released here. This is too much. Our Kannada chaluvalis, Rakshana Vedikes etc. thrive on the alms given by these Kannada-hating, Kannada-baiting non-Kannadigas. When good serials richly produced in Hindi and English are being dubbed into Tamil, Telugu, Bengali etc., why should Kannadigas be deprived of watching them in their own tongue?

    It is reported a village in Belagavi district has the audacity to have a signboard wherein it is written that the village belongs to Maharashtra State. Doesn’t our government have the guts to get it removed by its officials?

    If Marathis living in Belagavi do not join the mainstream, the fault lies with our government. Even after 50 years of linguistic reorganization of Karnataka, we have not been able to make Kannada the official language from Vidhana Soudha to village panchayat. Kannada should be the medium of instruction upto X standard in all schools in the State, barring Kendriya Vidyalayas. And such Kendriya Vidyalayas should cater to the children of employees of Central Govt. who are frequently transferred from other states.

    It is strange to witness that the subordinates in the offices of our State speak the mother-tongues of their bosses just to please them. Employees whose mother tongue is Tamil / Telugu / Malayam / Urdu etc. impose their language on thier subordinates. The govt. should make it mandatory that Kannada atmosphere should prevail in all its offices.

    Marans and Karunanidhis propagate their language wherever they go. Even Harward-educated Chidambarm quotes Tiruvalluvar budget after budget. But, our ministers and netas speak English ridiculously even if they are not comfortable with the tongue, whenever a TV camera is on. Even the scribes and media persons representing national newspapers and electronic media here pose questions in English to our netas. But, the reporters in other states like Tamil Nadu and Kerala ask questions and conduct interviews in the language of the respective State.

    We bought some HCL computers for our office recently, which are manufactured in Pondicherry. In every computer there is preloaded software which features babynames in Tamil script. Most of the pictures provided as clipart portray Tamil leaders, Tamil poets, Tamil gods and goddesses etc. All with Tamil flavour. And they are shipped to non-Tamil States! If you happen to listen to the conversation between any two Tamil / Telugu / Malayalee software engineers working in our State, it will be in their own tongue. But if two Kanndiga SW engineers meet they feel it’s undignified to talk in Kannada and invariably they use English. If a third Tamil SWE joins they would love to converse to him in his own dear Tamil with great difficulty. This is the height of pridelessness!

    Some of our politicians, actors and producers distribute films of other languages in this State. Poor Kannadigas strive hard to learn those languages just to understand the movie. And this proliferation of other tongues in our State make the adamant non-Kannadigas live here happily forever without learning Kannada. They condemn every Kannada film released, even if it’s watchable and praise all and sundry movies made in other tongues!

    Most of the English journalists in our State are dangerously anti-Kannada. But, even the national newspaper The Hindu is afraid to write anything against Tamil chauvinism. Why this double standard?

    I know a retired Tahsildar from North Arcot who spent his life atfer retirement in Mysore, propagating Tamil till his last breath. We used commute in the same bus. He would always say, “Oru Ballal” to get his city bus ticket. Such people are plenty in Karnataka. When Marans and Karunanidhis clinched the Classic Language title to Tamil even before truly ancient and rich Samskrita, our Bengalooru streets were agog with graffitti – “ulagaththil muthal mozhi tamizh”.

    And we are all Kannadigas, helpless and useless…

  23. prakash Says:
    May 17th, 2006 at 1:10 am http://lazydrive.wordpress.com/2006/05/16/renewing-interest-in-kannada/

    Why we lack swabhimaana…an excellant example in the above link

  24. Shashi Rangarathna Says:
    May 17th, 2006 at 3:12 am Didn’t know it was some National Government that declares a Language, Classical. Why not a State Government?

    I always assumed it was more an academic thing or even something like UNESCO designating a World Heritage Site.

    Needless to say Kannada and very soon every other Indian language will be declared classical. Whatever Prof. George L. Hart’s (Tamil Chair, Univ. of California, Berkeley) definition of a classical language is.

    Dr. B.G.L Swamy’s tamiLu talegaLa naDuve has lengthy debates on this subject to a point you feel it’s one-sided. His dating puts the earliest Tamil literature as contemporary to Kannada. tamiLu talegaLa naDuve’s lively articles about the Tolkappiyam, Tirukkural, Cilappatikaram, the imaginary Sangam period is hilarious and a must read for anyone interested on the subject of Language Glorification.

  25. Sethu Says:
    May 18th, 2006 at 11:58 am Hi,
    I am an Indian consulting professional who recently moved to Bangalore, as my wife got transferred on her public sector job here.

    After my first 21 years stay in Tamil Nadu, I moved to Calcutta for 2 years, then in Mumbai for 15 years, before moving to Bangalore just a month back. I strongly subscribe to learning the local language not only for its day to day usefulness but it should also be a matter of interest, love and inclination.

    Happily I have learnt Bengali, Marathi and Hindi during my stints in East and West India so I speak these languages fluently, in addition to English and Tamil.

    I definitely want to learn spoken (and possibly written) Kannada within the next one year. If any of you know of quality Kannada language classes being held in and around Malleswaram, please do me the favour of passing on their contact details.

    Thanks very much.
    Best regards,

    Sethu Venkataraman

  26. Vinay Says:
    June 22nd, 2006 at 10:18 am I appreciate kannadigas taking renewed interest in Kannada and keen on improving the awareness about the language. But one thing that annoys me is contant references to Tamil language/culture (many a times even unfairly downgrading). I can only humbly request to stop that, cause Tamil is what it claims (the oldest living spoken language and so many things to its credit that are little known by others). It has become customary for some kannadigas to make ignorant remarks on Tamil cause nobody knows much abt Tamil amongst you so one can say whetever he/she likes. The status of classical language for Tamil for eg. was a result of research by so many linguistic scholars across the globe and not just Tamilians. There is archaelogical evidence and added literature to prove these things. I don’t understand why suddenly every language wants a classical language status. Sanskrit and Tamil are miles ahead of any Indian language. I think there are less than a dozen languages that are considered classic worldwide.

    There is a general belief that Tamil is older than what is understood now and that it flourished in a continent that earlier existed near the current Tamil Nadu. We also read abt discovery of temple ruins under the seas these days (kannadigas maynot be aware of them, see here: http://news.bbc.co.uk/2/hi/south_asia/4312024.stm)

    Someone above had the audacity to say, ‘the imaginary Sangam period’. (The above link should make you think twice before posting a phase like that).

    To be perfectly honest there are some things abt kannada culture that is great like the literature and yakshaghana (there are so many more) . I would not like to comment on the Gnana peeta award winners though (the writings are good but are you saying Tamil Nadu had just 2-3 winners when Karnataka had 8-9? When a Tamil RK Narayan can become the Nation’s greatest English language writer and when a Masti Venkatesh Iyengar can win gnana peeta for kannada why not more ppl in Tamil? When Tamilians have won the most Bharat ratna awards why not in the area of literature ? (Add to this 2 of the 6 Nobel prize winners of India are Tamilians), When Tamil cinema can come up with so many original stories that are remade into so many languages (inc Kannada) even these days, could the Tamilians have really had difficulty in getting more gnana peeta awards? Central govt was touting Hindi as the “National language” (in a diverse country like ours) and were not interested with Tamil language literature or its development

  27. Prakash Says:
    June 23rd, 2006 at 11:10 am >> Elladaru iru, enthadaru iru, endendigu nee Kannadavanagiru.

    >> My husband and I follow this dictum very well. We have not yet learnt >> Tamil till now

    Neevu mathra elliddharu Kannadavagirabeku athare bengalurinalli yaaratharu tamilu telugu bashe yalli mathadithare nimage thadkolakke aagothilva? :D, this is funny! Enri yenenu “follow” madothu antha bedava? Are you saying even when buying stuff like vegetables or communicating with strangers you use English (or kannada)? Don’t lie!

    >> And for three years now, I have felt completely alienated

    That explains the result!

    See i’ll try to talk as an outsider and not as a Tamilian and give some suggestions to this disapora problem:

    Some observations:

    1. A Kannadiga has to proud abt his/her culture but remember to respect other cultures, everything, Malayalam, Tamil, Korean, German, Italian etc. It will be wrong to think the world is only kannada, it is not! What is more interesting than to discover a new culture and read and know abt it? I am sometimes interested in knowing more abt kannada culture, as I like directors like Kasaravalli and GV Iyer, but the kannadigas hatred on tamilians (and others) makes it difficult for tamilians like me (and many more am sure) to appreciate or study kannada culture, which while maynot be as ancient as tamil (;D) is nevertheless very interesting and indigenous one. For hundreds of years karnataka had great culture and literature, but kannadigas these days see tamilians, telugus everyone as foes and that is making it all difficult for others to take interest. Without arguing with me, I hope you understand the point

    2. When you are with kannadigas speak in kannada, including at home if you are comfortable with that. kannada like every other language is a just a language for communication. There is nothing fancy abt not talking in that language in favor of English (or Hindi!) when the two can actually understand kannada better. Vast majority of Asian and European population speak in their native language, not English for eg. at home and office. So nothing wrong as long as no problem in communication. If one or both of you are not comfortable with kannada there should be some other problem, FIND it and its within YOU! Like Jiddu krishnamurthi says observe a problem from outside and you will get to know what is actually the problem or if it even existed! Maybe it was all in your mind. Anyways I think I went somewhat offtopic


  28. Kannada lover Says:
    July 6th, 2006 at 5:47 am I think it is futile to claim that Kannada is classical language.
    One of the foremost condition is that a classical language should have its own native words for all commonly used words. Of course a few modern words can be borrowed from other languages.
    But alas for Kannada, both the words “classical” and “language” dont have an equivalent native word.
    Then it is ridiculous to fight for classical status based on being 1500 years old.
    Tamil has its own words for these words, and it can stand on its own legs.
    I am afraid that it is not by political pressure alone Tamil got classical status, she deserves it in every way.

    For example I was shocked and jealous to note that Tamil is the only language in the whole world, which has poems (tons of them) where the starting lines rhyme, unlike in all other languages it is only the ending words in a line rhyme.

    It is a shame that even after 50 years of freedom we dont feel proud that an Indian language got classical status, but try to find out reasons why it should not get such a status!

  29. Kannada lover Says:
    July 6th, 2006 at 5:55 am We should stop criticising Tamils just because they got classical status.
    Before it was granted we tried to prevent it by telling since Tamil is living language it shouldnt be made classical.
    NOw we want Kannada to be made classical, although Kannada is still living. Isnt this being hypocite?
  30. Swarna Says:
    January 5th, 2007 at 3:02 am I have been going thro these commnents. Why in heavens should people be intimidated by other languages. I understand that Kannada should be promoted in Karnataka but why the constant references to Tamil??? Tamil is a truely great, rich and glorious language and it does not require your certificate cos’ it has the certificate from academicians worldwide.

    Tell me, people talking about “Imaginary Sangam” period, have you ever made an attempt to know even titbits of information about Tamil???? If not under what authority are you talking about it? The so-called “scholar” Swamy, who is he and what is his credentials. Is he a respected historian? Does India’s historic academy recognise him?? Please dont burden your memory with rot. Promoting Kannada can be done only by promoting Kannada and not by degrading other languages.

  31. samarthc@gmail.com Says:
    May 22nd, 2007 at 10:18 pm hi..
    i totally agree with u suma!! i am also living in chennai from the past 2 yrs i am doing my engineering in anna university chennai.. iili kannada anodhu bari raghavendra matt nalli keldhe!!.. bengalooru nalli yelli nodhru tamil cinema athava book galu siguthe!!.. nanage thunba bejaru ayethu.. adhare chennai nalli hindhi ge kuda maryadhe illa!!. idhana navu nammavarige thilisa beku!! kanndavanu munerisa beku!! nan full support nim hatra iddhe!! kannadave satya kannadave nithya!!
  32. Another Kannada Lover Says:
    September 6th, 2007 at 7:32 am Well to all Kannada Abhimanis, as mentioned by many people on the blog, instead of mud-slinging on other languages and culture, let us improve our Kannada culture and language.

    This topic was raised on May 12th, 2006 at 5:56 am. More than a year has passed by. Has the topic writer or any one of us who have written a blog taken any one step towards the betterment of Kannada culture or language?

    As mentioned in one of the blogs, being proactive, getting members of Kannada community together and brainstorming would result in umpteen number of solutions to improve the situation of our language and culture. In a technologically advanced world, we have all the mediums to utilize to spread the message across the world about our language and culture.

    I am happy to be born in a state that bore warriors like Immadi Pulakeshi, Sri Krishnadevaraya, Tipu Sultan, Kittur Rani Chennamma etc., eminent writers like Kuvempu, Da Ra Bendre, U.R Ananthamurthy etc, famous musicians like Bhimsen Joshi, Piteelu Chowdiah, etc, prominent personalities like Sir M Visvesvarayya, Kengal Hanumanthaiah, N.R. Narayana Murthy, Vijay Mallya, Azim Premji. Karnataka is the state with the largest number of Jnanpith award winners.

    If the above-mentioned people had thought that Kannada culture is declining, then they would have never realised the dreams of becoming of what they are today.

    I do love movies. But taking Kannada movies as a reference in improving culture and language is not a very strong point in spreading the message across to people.

    As a country with so many languages and culture, let us try to improve our Kannada language and culture in every possible manner and be proud of ourselves. Does anyone have any ideas??

  33. Sanjeev Nagaraddi Says:
    September 21st, 2007 at 11:22 pm I wanted to share my thoughts on this topic because I am passionate about the issue of language.

    Let me give you a brief background about myself. My parents hail from north Karnataka, my dad being from Koppal district

    and my mom from Gadag district. I grew up for a major part of my life outside of India , in Zambia, where the majority of

    Indians were Hindi speaking or at least North Indian.

    The only time I spent in India were the 5 years of my high school in Tamil Nadu before I came to the US. As a Kannadiga I have always lacked

    a social support system that has nurtured and supported my cultural heritage. I have always felt like an outsider where

    ever I have gone in my life. While growing up in Zambia I attributed this to the fact that my family was one the few Kannada speaking families, most of whom I was never aware even existed!

    My parents tried to talk to my brothers and I in Kannada but we began to speak more and more in English ( Zambia was a British colony)

    during our early childhood. The only connection to our roots was during the biennial trips my family would make to our native place

    in Karnataka. That is when I felt a sense of my roots, knowing that my mother tongue is Kannada and that I am a Kannadiga.

    Other than that I was always in the company of Hindi or English speaking people. I have always yearned to get in touch

    with my roots, specifically learning Kannada and finding a community that is proud to showcase its rich and diverse heritage.

    It should come as no surprise that I grew up not getting a chance to become well versed or fluent in Kannada

    because of my surroundings. When I was in high school in Tamil Nadu, I chose to learn Kannada as my

    second language! I absolutely had no clue about the Kannada alphabets or its literature up until the day I started

    learning it in my 7th grade. For someone who absolutely had no clue about Kannada literature I took a lot of interest to learn

    the language which I did for only 2 semesters while studying in Tamil Nadu. To me this was a remarkable achievement considering my


    I have spent the past 15 years in the US and once again I did not get much of a chance to interact with too many Kannadigas

    or find opportunities to interact in Kannada. I am proud to be a Kannadiga and even with my limited knowlegde I am always willing to defend my culture and

    language if anyone disrespects it. But sadly, with great sorrow I have to admit that so many Kannadigas have an

    inferiority complex and will not put up any fight. They meekly take the abuse while there are some who do fight back. How you ask? By

    learning other languages and speaking them while shunning Kannada. What an utter shame!!! What is this going to achieve?

    I simply don’t understand why. This self destructive mentality is responsible for the morose state of Kannada in Karnataka.

    It’s really not at all complicated folks. Why do the Telugu, Tamil, Malayalam, Hindi etc people speak their respective languages?

    Because they were born in to families that spoke the language and so it is only natural that they are going to continue

    their tradition, especially in their homeland. Why does this concept then elude the logic of the Kannadigas and non-Kannadigas alike who are perplexed when there are demands

    that Kannada be spoken in Bengaluru or Karnataka at large? No one would like it if someone came to your house and stampeded

    all over you in your own house. When I tell people I am from Karnataka and my mother tongue is Kannada some of them have

    the audacity to smugly ask me if I speak Tamil or Telugu or other languages as if I am supposed to know them.

    These type of questions irritate me to no end.

    Another frequent comment that I hear from people concerns the Kannada movie industry. Granted I am not an expert on the Kannada movie industry or the other language movie industries but every time someone has anything to say about a Kannada movie it is invariably laced with negative bias. They claim that the Tamil, Telugu and Malayalam movies are so much better!! Really?? Are they any Oscar winning actors or performances that the whole world speaks of? It does not come as a big shock when one toots his or her own horn which is definitely the case with followers of Tamil, Telugu, Malayalam or Hindi movies. There are hordes of non Kannadigas living in Bengaluru who pass judgments without ever having seen a single Kannada movie. It is just the heights of moronic, insolent, chauvinistic and ethnocentric pomposity! I have watched a few Tamil and Telugu movies in addition to many Hindi movies and in most cases I was not blown away with the quality of acting or the originality of the scripts. Some are good but it is not like every single no name movie the other language movie industries churn out are world class. A recent Kannada movie “Mungaru Male” has proved that the Kannada Film Industry is very capable of putting together an enjoyable, blockbuster movie with melodious songs. So for those who love to tout the Tamil, Telugu and other language movies, please give credit where credit is due!!

    It is very disheartening and disturbing to see witness the complete lack of respect meted out to the sovereignty of Karnataka and the native

    Kannadigas by the non-native population. It is a sad state of affairs to see Kannada being reduced to second class status

    in its own homeland. Fellow Kannadigas, I say with a stern face and a worried heart that this is not the time for

    complacency or nonchalance. Your culture and your heritage are at stake as Kannadigas are so openly being discriminated and pushed aside in their own homeland. This fact is what really boils my blood

    and makes me furious. Any reasonable person from any part of the world would sympathize with what I am saying. It looks

    like there are a lot of NRI Kannadigas who are more passionate than the folks back home in promoting and defending the cause of

    Kannada in Karnataka.

    No one would have been this tolerant or taken this much abuse for this long. It speaks to the testimony of the open-

    mindedness and open-heartedness of the Kannadigas. Lest one forget, no human being has boundless

    patience and understanding especially when others are so blatantly dismissive and disrespectful.

    This writing is as much a reprimand to the Kannadigas as it is others. The double punch of indifference of the Kannadigas and the disparaging attitude of the rest spells trouble for the future of the great language of Kannada.

November 9, 2007 Posted by | KANNADA | 6 Comments