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Chapter I - The Age of Paţţinapālai, Chapter II - Political Conditions of the Tamils, Chapter III - Social Conditions of the Tamils, Chapter IV - Economic Conditions of the Tamils, Chapter V - Religion, Chapter VI - Art and Culture, Chapter VII - Conclusion.
KALIDASA is one of the greatest poets in the world. He became famous because of his apt similes and imageries in his seven works. He was a playwright and poet. His age is still an unsolved mystery. He is dated between second century BCE and 4th century CE, that means any date in a range of 600 years! Foreigners placed him in Gupta period around 4th century CE. But great Indian scholars dated him around first or second century BCE. I wrote a thesis to get Ph.D.in this matter. But the Sanskrit University asked me to put it in Sanskrit and I am yet to do it. After reading all the 18 books of Sangam Tamil literature and all the seven dramas and poems of Kalidasa, I came to conclusion that Kalidasa lived in Pre-Sangam period. Indian tradition also links him with the greatest of the Indian Emperors, Vikramaditya. After the original Vikramaditya of first century BCE died, hundreds of Hindu Kings called themselves Vikrama or Aditya or Vikramaditya. The proof for my thesis lies in the Kalidasa’s 200++ similes found in Sangam Tamil literature. Sangam poets even used the same epithet to the Himalayas (Kaanchana Srnga- Por Kotu) ‘Golden Peaked’. The first ten slokas of Kumara Sambhava of Kalidasa are used by Sangam poets to describe Himalayas and sages.
Chiefly on history of Tamil Nadu.
The knowledge and general range of interest in Indian history is restricted to Indus Valley Civilization, Mughal Dynasty (that too up to Aurangzeb's reign), Sher Shah Suri (for his building Grand Trunk Road, though it was built long before him), Mohammad-ibn Tughlak (due to the wrong and whimsical actions shown during his reign) and British era (restricted to Battle of Plassey and Lord Clive). Moreover, the major focus of history is oriented mainly around political history. Social and natural history is mostly ignored from general historical information. The 12,000-year-old Indian historical timeline is vast, and it may take years to acquire reasonable knowledge of the history of India. This book makes an effort to catch this vast spectrum of Indian history as a snippet in limited space. Efforts are made to capture social, natural, scientific, art, and human history alongside political history. Indian history, for the general readers, focuses mostly on North Indian (?ry?varta) History. Not many are aware of the rich history of the south of Vindhya Range and also the history of India that exists east of Patna. This book attempts to capture the contemporary history of South India and Eastern India along with North Indian History. The study of history is not complete unless one gets an overall global perspective of a particular period. This book tries to capture contemporary Global History alongside Indian History in that particular age.
Th e art of vernacular painting in India is not only varied and rich but also intriguing for several reasons. With such observations the book addresses certain issues, like the validity of the historical information on Indian Art that excludes vernacular trends. The information on vernacular art in India has either been ignored such as in ancient literary discourses or inadvertently misconstrued within the theoretical purviews of modern days. If the hierarchy of the Hindu caste system has marginalised the culture of the lower rung groups, the lexicon of twentieth century anthropological studies has seen this art as material evidence of undeveloped societies; both creating the same value: to be patronised but not ‘art’. Can art be weighed on a scale of development? Arguments have been developed within the specifi c focus on scroll paintings by the itinerant painter bards in Bengal. Th e bardic tradition has been known to exist in India since a pre-Christian era and still continues within two vibrant trends of vernacular art forms – Bangla and Santhal pat. Th e book redefi nes and repositions the notion of art with contemporary folk art. As the picture Plates are self-evident, the book draws attention on a world of art that has not been present in Indian Art History.
The peerless young Kovalan leaves his loyal wife Kannaki for the courtesan Madhavi, and though he returns to her, he still meets his death because of her ill-omened ankle bracelet. The Shilappadikaram has been called an epic and even a novel, but it is also a book of general education. Adigal packed his story with information: history merging into myth, religious rites, caste customs, military lore, descriptions of city and country life. And four Cantos are little anthologies of the poetry of the period (seashore and mountain songs, hunters and milkmaid s song). Thus the story gives us a vivid picture of early Indian life in all its aspects.