The tiger's fortress

This one of Karnataka’s best island fortress and often regarded as the best known not only in India but the world over.

Situated at the junction of two rivers, the fortress was initially built by a local chieftain. However, it achieved renown as one of the most impregnable forts only in the 17^th and 18^th century.

Today, the ruins of the fort dominate the island and it still stands in all majesty, a tribute to all those who worked hard to make it a formidable bastion of stone, lime and mortar.

 The fort was breached by the British more than 200 years ago. The breach too stands as it was centuries ago, a mute testimony to the treachery of  a handful of people and the determination of the British to stifle out all dissent and opposition, in their bid to make India their own.

This is the fort of Srirangapatna, just a few miles from Mysore and located on the Bangalore-Mysore Road.

The fort is surrounded by the waters of the Cauvery and Paschimavahini and it one of the best known island forts of India. Though the fort is closely associated with Tipu Sultan and his father, Hyder Ali, not many know that they were not the builders of the fort. They only reinforced, strengthened and at some places added to the already existing fort.

The history of the Srirangapatna fort goes back to the 15^th century when a local chieftain, Thimanna Hebbar of Nagamangala began construction of a mud wall. The then Vijayanagar Emperor, Deveraya, the second, permitted Hebbar to fortify Srirangapatna. The construction commenced sometime in 1454 and when the Vijayanagar dynasty was decisively defeated by the Muslim Kingdoms of  the Deccan in the Battle of Talikota in 1565, Srirangapatna rose to prominence as one of the strongest forts of a truncated and much decreased (in area and size) of the Vijayanagars.

 The fort was the last frontier of the Vijayanagars and when the last Vijayanagar Viceroy of Srirangapatna province, Tirumala Raya lost a battle to Raja Wodeyar in 1601 (This was the battle of Kesare, which today is part of Mysore), the Wodeyars made Srirangapatna their capital and began ruling from there.

The Wodeyar Kings began strengthening the fort walls and in 1654, Kanteerava  Narasaraj Wodeya, the then ruler of the Mysore, rebuilt it.  More than a century later, Tipu Sultan with the help of French engineers, added to the fort structures and strengthened its defenses.

Tipu went in for a double enclosure fort constructed with massive granite blocks. However, the inside of the fort ramparts are made of mud and rubble masonry.

The Srirangapatna fort is shaped like a triangle, and aligned along the northwestern corner of the island so that the eaters of the Cauvery add to the defence. The rugged riverbed form a natural moat on the north and west of the fort. From the air, the fort looks like an irregular pentagon with a

perimeter of about 4 kilometres.

The double moats on the south and east side of the forts were built by Tipu to deter the enemy from gaining easy access. Crocodiles were let into the moats but today they are rather dry. The moats were 30 feet deep.

The moats around the fort were dug under the personal supervision of the French military engineer, Huben. For Tipu, the moats provided the much needed security for a capital which was constantly under enemy attack.

The main entrance to the island city was from the bridges and gateways on the south and eastern side of the fort. Two important gateways – the Mysore Gate and the Elephant Gate face the Bangalore-Mysore highway..

The ruins of Bangalore and Delhi Gates or the water gate have their own tales to tell. The fort was once ringed by 18 watch towers, interspread with cannons.

It  was from the water gate that the British successfully breached the fort. Unfortunately, for Tipu and his family, this was the only passage for them to access water from around the moat without fearing for crocodiles.
The moat today is facing threat from a different kind. A callous and insensitive administration coupled with man’s greed is spelling ruin to this once grand structure.

Debris from the town and the other areas is being dumped into the moat surrounding the fort. Leftovers from chicken, mutton and fish stalls and other garbage are also being thrown into the moat.
The moat near Cauvery Layout in Srirangapatna is partially buried under debris and the situation is similar on the road that connects Thomas Inman’s dungeon. Weeds have grown in the moat.

Just a little away from the Water Gate is the place where Tipu died, valiantly fighting on till his last breath. 

Bruce and his code for Tirupathi

Who has not heard of Robert Bruce, the hero of Scotland. Born Robert I (1274-1329), he is more widely known as Robert the Bruce, the King of Scotand, from 1306 to 1329. He fought successfully during his reign to regain Scotland’s place as an independent nation, and is today remembered in Scotland as a national hero. However, there is one more Bruce and he is closely connected to the East India Company and British India. A British civil officer, this Bruce had a hand in drafting the first set of administrative rules for the Srinivasa or Venkataramana Temple in Tirumala. Unfortunately, he remains relatively unknown and even today mention Bruce and the majority of people link him to the heroic Scot King.

The Indian Bruce, as we will call him here, formulated a set of rules which came to be known as  Bruce's Code. This code, which operated for several years, is a set of rules for the management and administration of temples of  Tirumala and Tirupathi and it was enacted by the East India Company way back in 1821.

Bruce was the District Commissioner of Chitooor under which Tirupathi-Tirumala came. He drafted a set of  42 rules to ease the administration of temples. These rules were drawn from the existing customs and traditions practiced in the temple and  they did not interfere in the day-to-day affairs of the temples.

The British found themselves the masters of  South India after they killed Tipu Sultan in the fourth and final Anglo-Mysore War of 1799. Except for the Nizam of Hyderabad and the Marathas, there was no other major power in south India.  The British found themselves ruling over a fairly large part of south India, including the province of Tirumala-Tirupathi.

The vast wealth of the temple and its huge income was a major attraction to the East India Company. The company decided to take over the management of the temple and Bruce, the then district commissioner, framed the rules. The main objective of the Bruce Code, as it came to be called, was to generate fixed revenue to the company and also to prevent misappropriation and mismanagement of temple funds. The rules or the Bruce Code were in force till 1842-1843 when Queen Victoria of England stripped the company of all powers to administer Hindu temples.

The Srinivasa Temple, till then, had been generously endowed with and funded by scores of Hindu Kingdoms, including the Pallavas, Cholas, Hoysalas and Vijayanagars. After the Vijayanagar Empire disappeared in the mid 17^th century (1665), the area of Thondaimandalam came under Muslim rulers including Golconda. When the Mughal Emperor, Aurangzeb, extinguished Golconda in 1687, Tirupathi-Tirumala came under the Mughals. It was in 1710 that Thondaimandalama became a separate Kingdom and Sadatullah Khan became its first Nawab. In 1748, the Nawab of Arcot first assigned the revenue of the Tirupathi temple to the East India Company. In 1782, Hyder Ali of Mysore, captured the region but he did not interfere with the administration of the temple. In 1801, the East India Company took over the administration of the temple from the Nawab of Arcot.

In 1803, Bruce, the then Collector of  Chitoor, sent a report to the board of revenues of the East India Company showing the full account of the institution, along with details of pujas, expenses, and extent of lands. This report was known as Statton’s Report on the Tirupati Pagoda. These reports formed the basis on which the company controlled the temple till 1821. The report was accepted and the code was prepared on July 25, 1821 and it was in force for a little over two decades.

The Bruce Code makes for fascinating reading. It states that food offering were made to the deity six times a day. To pay for this, erstwhile rules had donated the revenues of 432 villages surrounding Tirupathi to the temple. When the temple came under the Sultans, the Nawab of Arcot and finally the Company, the offerings were reduced to three times a day-morning, noon and night.     

Between 1805-16, there were many instances and complaints about misappropriation and mismanagement of  temple funds and when they were brought to the notice of board, the East India Company passed Regulation VII of 1817 to check such buses. Through the regulation provided only superintendence and not management, the board interfered in almost all aspects of the administration.

Such interference in the Tirupathi temple continued till the Court of Directors in England strongly resented the participation of the Company in idolatry and ordered its relinquishment of their administration of religious endowments. This order was signed by Queen Victoria in 1842-43 when the administration of the temple was transferred to the Hathiramji Mutt, Tirupati. It was only in 1932 that the TTD was formed to administer the temple.

A once thriving City that is now an obscure village

What do Banavasi, Badami, Aihole, Pattadakal, Halebidu and Belur, Somanathapura, Manyakheta or Malkhed, Mayurkhindi, Talakad, Manne have in common with Gundlavaddigeri.

Gundlavaddigeri is a small village, just a little over a hundred kilometers from the City of Hospet in Bellary taluk. It has a population of less than a thousand people and we at the post are sure that its name has never been heard of by a majority of people.

But what is it that makes us place its name along with well-known places such as Banavasi, Badami, Belur and other places.

Banavasi, as all of us know, was the capital of the Kadambas (345-525), the first Kannadiga dynasty of our State. The beauty of Banavasi was such that even Kalidasa, the greatest Sanskrit poet of all times, admired it and mentioned it in his work, Meghadoota.

Kalidasa had been sent to Banavasi as an Ambassador of the Guptas. Today, Banavasi has a few temples that speak of the glory of  the Kadambas.

Similarly, Badami, Aihole and Pattadakal are well-known for their Chalukyan temples. Badami, which was earlier known as Vatapi,  was the capital of the powerful Chalukyas (543-763) and it has some of the most magnificent temples and cave temples of the Chaluyka period, some of which were built by Pulakeshi (609-642), who is often particularly described as one of the greatest Emperors of Karnataka.

Talakad was the capital of the Gangas (400-1000) and it was one of the major cities of its times until it was sacked by the Hoysala Emperor, Vishnuvardhana. Today, Talakad is nothing but ruins in a sand.  

Similarly, Belur, Halebidu and Somanathapura are renowned for their exquisite temples belonging to the Hoysalas (1026-1343). All these places have ruins of temples.

Malkhed or Manyakheta and Mayurkhindi were once the capitals of  the Rashtrakutas (753-982) who ruled over large parts of south and Central India.

All these centres mentioned in earlier paragraphs were once known as major cities or urban conglomerates and each of them have had their tryst with history. Even today, they are in the news and they attract hordes of tourists and visitors. But how does Gundlavaddigeri get into this list of illustrious cities.

Gundlavaddigeri was earlier in Bellary district and it is today placed in Koppal district.

Archaeologists and historians now have discovered that Gundlavaddigeri was one of the biggest cities of its times in Karnataka and this was prior to the establishment of the Vijayanagar Empire in 1336 by Hakka and Bukka.

A 12th century stone deed in Halegannada (old Kannada), belonging to the Vijaynagara dynasty and some weapons used by people have been unearthed in the village.

The old Kannada inscription says that a lake was built in Gundlavaddigeri in memory of Yankubi, son of Kumbara Ponnayya. The inscription says the lake was constructed for  irrigation purposes.

The inscription has three lovely figures, a wheel of eight swords,  cow and a calf, which are the symbols of Shaivism.

Research has shown that Gundlavaddigeri was a big city before the founding of Vijaynagara. Even today, the village boasts of scores of  dry lakes and this is a testimony to the extent of the City that once Gundlavaddigeri was.

The stone inscription, measuring four feet by three feet, stood facing the North with a four-line script in Halegannada.

Gundlavaddigeri is surrounded by Gangavathi taluk towards North, Sandur taluk towards South, Koppal taluk towards west and  Hagaribommanahalli taluk towards South. All these taluks headquarters too were big cities at one point of time but while they are all fairly well-known even today, Gundlavaddigeri is even today an obscure and forgotten village.
Today, Gundlavaddigeri is surrounded by Bellary, Gangavati, Hospet, Sandur, Mundargi and Tekkalakota. Kannada is the local language here and there are less than 150 houses. The total area of Gundlavaddigeri is just 629 hectares and compare this to the thriving town it was more than nine hundred years ago.

What does this post tell us or rather what does it teach us. It tells us that just as centuries passed by, cities rose and fell and some like Gundlavaddigeri fell into obscurity, never to rise again.  

The story of the Chakratheertha

This is the first of the 732 Hanuman idols that the venerable Vyasa Raja or Vyasa Theertha (1447-1539) consecrated. The idol is in Hampi or Vijayanagar and it has an interesting history.

Vyasa Raja was he Raja Guru of  Vijayanagar. He not only stayed in Vijayanagar and advised the Emperor, but also held the position of Chancellor of Vijayanagar University.

Vyasa Raja and his disciple, Purandara Dasa, were inseparable. Purandara was always at the beck and call of Vyasa Raja, whom he acknowledged as his guru. When Vyasa Raja preached, Purandara sang and danced.

Whenever Vyasa Raja stayed at Vijayanagar, he used to walk from the Virupaksha Temple to Chakratheertha where the Kodandarama Temple is situated. This temple is believed to be the precise spot where Rama crowned Sugreeva King of Kishkinda after killing Vali.

Vyasa Raja always had his bath at the Chakratheerta. He then meditated and prayed at a rocky hill adjacent to the Chakratheerta.

Chakratheertha had a special place in the heart of Vyasa Raja as the swirling waters here form the image of Rama. Lakshmana and Sita.   

One day, a monkey came and sat on a rock where ha had drawn it with angara or charcoal. It disappeared into a rock soon after Vyasa Raja completed his pooje. It vanished from the surface of the rock. This happened several times (Legend says it occurred twelve times over a period of twelve days) and for several days. One evening, Vyasa Raja prayed to Prana Devaru and requested him to stay back on the rock and bless people.

Vyasa Raja then composed the Yantrodharaka Hanuman stotra. He then encircled the image with yantra. This is called the Shatkona Yantra or Hexagon which is also known as the Vayu Yantra. Thereafter, the image of the monkey then remained on the rock.

This place is holy as it is here that Hanuman met Rama when he came with Lakshmana to Kishkinda searching for Sita, who had been kidnapped by Ravana.

Today, this area is better known as Yantrodharaka Hanuman. This is the place where Vyasa Raja meditated. This is also the place where Purandara Dasa used to give Hastodaka for Prana Devaru.

It was the Vijayanagar Emperor, Tammaraya, who constructed the Yantrodharaka temple on the rock. He also built the steps leading to the temple.

The temple has attracted Madhwa seers and Haridasas right from the time of  Vyasa Raja. One of the three sons of Purandara Dasa called Madhwapathi Dasa, worshipped it daily. In fact there is story that Madhwapathi Dasa as a child used to return home in Hampi only after the Yantrodharaka Hanuman took the Hastodaka prepared by his father.

Vyasa Raja has composed a song on Yantrodharaka Hanuman and it is called by the same name. This is one of the few temples of Hanuman in a sitting position.  

Raghavendra Swamy, the next avatar of Vyasa Raja, came to Chakratheertha and worshipped the Hanuman temple before proceeding to Nava Brindavana.  Vijaya Dasa, who is believed to Madhwapathi Dasa the son of Purandara Dasa in his earlier birth and also an amsha of Brighu Muni, has composed a beautiful poem on the Yantrodharaka Hanuman.

Surendra Theertha and Vijayendra Theertha of the Rayara Matha, Vadiraja Theertha of  Sode, Srinivasa Theertha and Rama Theertha of Sosale Vyasaraja Matha, Kanaka Dasa, Jagannatha Dasa, Gopala Dasa, Guru Jagannatha Dasa, Mohana Dasa have worshipped the idol at different points of time.

The composition by Vijaya Dasa on the Yantrodharaka Hanuman is a suladi and it goes like this:

Yantrodharaka Hanuma Surasarvabhouma
Yantradharaka Yenage Manasinolage
Yantravahakana Dayadindha
Sakalantaryamiyagi Characharadaliya
Tantravanu Nadesuva Mantri
Eetanu Kano Swatantrapurusha
Vijayavithalana Nijaa Bhakta
Antravilladae Thana Stutiparana Poreva.

One of the most famous disciples of Vijaya Dasa was Gopala Dasa. He too has written a beautiful song on the Yantrodharaka Hanuman.

Idu yeno Charita Yantrodhara
Idu Yeno Charita
Sri Padumanabhana Dhoota
Sada Kala Sarvara Hrudayantargatanagi
Varidhi Gospada Nerante
Dhira Yogasana Dhariyagipudu
Durula Kouravaranu Vara Gadeyali
Konda Karadali Japamale Dharisi Yenisuvudu
Hena Matagalanu Vanili Taridantha
Jnanavantane Hege Mounavagipudu
Sarvavyapaka Neenu Poorvika Devane
Sarvana Pitha Bandu Parvata Sereadu
Gopalavitalage Nee Pretiya Mantriyu
Vyapara Madade Ee Pari Kuli.

The Chakratheertha is one of the most holy spots for pilgrims in Hampi. It is this very place where Vishnu got his Chakra. Since the Tungabhadra flows nearby, it got the name Chakratheertha.

Near the Chakratheertha is the Purandara Mantapa and across the river is Nava Brindavana, which houses the nine brindavana of Madhwa saints. Nava Brindavana is also the place where the first ever Brindavana of a Madhwa saint was built and this is of Padmanabha Theertha, one of the four direct disciples of  Madhwacharya.

The Brindavana of  another of the four direct disciples of Madhwacharya-Narahari Theertha- is also located nearby. His Brindavana is not part of the Nava Brindavana complex. Narahari Theertha has ascended the Madhwa peetha after Padmanabha Thertha.

Chakratheertha has a number of smaller temples and many sculptures that are scatter across the rocks. Some of them include the small Kotilinga which is sculpted on a rock, avatars of Vishnu sculpted on a rock, sculptures of Lakshmi Narasimha and Anantha Padmanabha on boulders and a few paintings belonging to the Stone Age.   

Coming back to the Yantrodharaka Hanuman, Vyasa Raja travelled all over the Vijayanagar Kingdom and consecrated 731 more idols of Hanuman after this one at Hampi. Of the 732, he consecrated more than 360 in Penukonda itself.

Chakratheertha can be described as Hampi’s most sacred bathing Ghat and a point for crossing the swirling Tungabhadra on a coracle.

Nearby is the Vyasaraja Temple which once formed part of the famed Lokapavani University or Hampi University of which Vyasa Raja was the Chancellor. This University had 10,000 students.         

Today, we can see a majority of the Vyasa Prathistha Hanuman in the states of  Karnataka, Andhra Pradesh and Tamil Nadu. Some of the prominent Vyasa Prathistha Hanuman in and around Bangalore are the Gali Anjaneya on Mysore Road, the Kannaspatre Anjaneya or Hanuman in front of Minto Eye Hospital, the Kote Anjaneya in fort near City Market, the Hanuman Temple at Kengal on Bangalore-Mysore Road and the Anjaneya Temple at Honnenahalli near Yelahanka on the Doddaballapur road.

The incomparable Haridasa

He is widely regarded as the pioneer of Carnatic music and among the first of the Dasa Koota founded by Vyasa Theertha (1447-1539). A trader and businessman by profession, he took deekshe from Vyasa Theertha and from one of the richest merchants of the Vijayanagar Kingdom, he took to begging for food.

This change in his lifestyle was because he became a Haridasa. In all his trials and tribulations, his wife and children never uttered a word of protest. His wife too was a composer of note and so were his three sons.

He has to his credit 4,75,000 compositions and this is gleaned from one of his own compositions which goes as, “Vasudevana nomavaliya”.

When his wife, Saraswati died, this Haridasa composed and sang, “giNuyu (giLiyu) panjaradoLLilla”, and continued his life as a wandering mendicant. This Dasa is none other than Purandara Dasa who compares his wife to a parrot which was taken away by a cat, leaving behind its family.

“giLiyu panjaradoLilla

shrI rAma rAma baridE panjaravAitalla

akka ninna mAta kELi cikkadondu GiLiya sAkide akka nAnillada vELeyalli bekku koDu hOyitayyo

artigondu giLiya sAkide muttina hArava hAkide muttukoNDu giLiyu tAnu ettalODi hOyitayyO

hasuru baNNada giLiyu kushala buddhiya giLiyu asuva kundi giLiyu tAnu hasana geDisi hOyitayyO

muppAga beNNeyannu tappade nA hAki sAkide oppadinda giLiyu Iga teppane hArihOyitayyO

rAma rAma embO giLi kOmala kAyada giLi prEmadi sAkida giLi Ommege summanayitallo.

ombhattu bAgila maneyalli tumbi tumbi mandi iralu kamba muridu bimba biDu ambarakke  hAritayya

angayyalli ADuva giLi mungay mEle kuniyo giLi ranga purandara viTTalana sangaviralu hoyitayyo”.

In an earlier composition, Aadaddella Valiye Aayitu, he had sung,

“gOpALa buTTi hiDiyuvudakke bhUpatiyante garvisutidde
patni kula sAviravAgali gOpLa buTTi hiDisidaLayya”,

Whereby he had credited his wife for reforming him.

He preached as he composed and he was an ardent devotee, disciple , follower and faithful companion of  Vyasa Raja. He went around the length and breath of the Vijayanagar Empire, singing the glory of Hari and propagating Dwaitha Siddantha.

He says he is more than satisfied after having accepted deekshe and sings,

“haridAsara sanga dorakitu enagIga innEninnEnu

varaguru upadEsha neravAitu enage innEninnEnu”.

He then pleads with Hari to take care of his family. In

“Enna kaDehAyisuvuda ninna bhAra”

Purandara Dasa says,  

“Enna kaDehAyisuvudu ninna bhAra

 ninna neneyutihude enna vyApArara

Enna sathi sutarige nIne gati

ninnanoppisuvudu enna nIti

Enna oDala porevudu ninna dharma

ninna aDigeraguvudu enna karma

hari nInallade Ara moreyiDuve

siri purandara viTTala ninna pADuve”.

Here, we see Purandara telling Hari that it is his job to take care of his family and feed them, while he (Purandara) continues pleasing the lord by singing.

He always exhorted people to follow God and lead a path of righteousness. He asked people not to lay stress on money which, he said, is a double edged weapon.

In, “DuggaNi embudu durjana sangha”, he warns people about the tarp of falling into love with money.  

  

“DuggaNi embodu Durjana sangha Duggani balu keTTadaNNa

Achara helodu Duggani bahu nichara maDodu Duggani

Nachike illade mane mane tirugi chi chi ennodu duggani

nentatana helodu Duggani Bahu nentara nudisodu Duggani

Onte hange more melakke selakondu kunta nenisuvudu Duggnianna

manava gelisuvudu Duggani mana hadagedisuvudu Duggani

Bahumananidhi shri purandaravittalana kanisadiruvudu Dugganianna”.

He was against superstition and blind beliefs. He was also among the first Haridasas to preach against untouchability, blind belief  and caste system and this is beautifully brought out in “Holeya horagihane urolagillave Sri  Hariyasmaraneyanu ballavaru.”

In another composition, he says:

“Madi madi madi endu adigadi haruve madi mAduva bage bEruntu

podavi pAlakana pAda dhyanavanu bidade mAduvudu adu madiyu

batteya neeroLagaddi moLagisi uttukondare adu madiyalla

hotteyoLagina kAma krodhavanu bittu nadedare adu madiyu

hiriyara gurugaLa haridAsarugala charana keragi bhakutiyali

paripAlisu endu purandaravithalana iruLu hagalu nenevudu adu madiyu”

He then goes on to say that all days and all dates are auspicious and no day is inauspicious.

 “ಇಂದಿನ ದಿನವೇ ಶುಭದಿನವು
ಇಂದಿನ ವಾರ ಶುಭವಾರ
ಇಂದಿನ ತಾರೆ ಶುಭತಾರೆ
ಇಂದಿನ ಯೋಗ ಶುಭಯೋಗ
ಇಂದಿನ ಕರಣ ಶುಭ ಕರಣ
ಇಂದು ಪುರಂದರ ವಿಟ್ಠಲ ರಾಯನ
ಸಂದರ್ಶನ ಫಲವೆಮಗಾಯಿತು”

Though these beautiful lines were written more than five centuries ago, they attest to this Haridasa’s faith against blind superstition and they are valid even today. In this composition, Purandara says all days are the same and there is no such thing as a good day or a bad day.

This is one of his Ughabhogas where he has moulded the language in his inimitable style to make a philosophical statement.  

A prolific composer, he has written on a wide spectrum of topics covering philosophical musings to deeply religious, historical, spiritual and even mundane everyday activities.

His name is known all over India and certainly across nations too. He is known for formalising Carnatic music and also for carrying forward the Haridasa tradition conceptualised by Vyasa Raja or Vyasa Theertha.

He is also believed to be an amsha of Narada Muni and one of the favourite disciples of Vyasa Raja or Vyasa Theertha (1447-1539).Yet, mush of his life and times are shrouded in mystery and the only source of his life are his own compositions and of his disciple, Vijaya Dasa.

Though he lived during the Vijayanagar period and he is popular for his compositions, many aspects of his life and his family are still unknown. Infact, not much is known about the place of his birth and even his family.

The general belief is that his birth place is Purandaragad near Pune. But recent research and epigraphical evidences in Karnataka have zeroed in on the fact that Purandara Dasa was born in Theerthalli  near Sagar in Shimoga district in Karnataka.

However, researchers and scholars of Maharashtra still maintain that Purandara Dasa was born in Maharashtra. He is given a high place  in the Santhamalike of Maharashtra. Besides this, Marathi scholar Ajagavker in his book “Maharashtra Kavicharitre:, says that the 18th century saint, Sant Vittoba Anna Daphtardar of Karad,  claimed to be an amsha of Purandara Dasa and that he had taken responsibility to compose 25000 songs.

On the other hand, the inscription found at Sagar in Shimoga district says that Kshemapura here is the Purandarapur where the dasa was born. This place, during the Vijayanagar period, was a thriving business and trading centre.

Purandara, as he himself acknowledges, belonged to Nayaka family involved in trade and business. An inscription discovered at Teerthahalli and another found in 1400 claim that the nomenclature of  Nayaka was the surname of  Brahmins of Teerthahalli.

Moreover, the name of one of the sons of Purandara was Hebanna. Even today, these type of names are common to residents of towns in and around Teerthahalli.

Historians Dr. R. S. Panchamukhi and S. R. Rao both have researched on this aspect. Others historians like Dr. P.B. Desai and Kapartal Krishna Rao debunk the theory that Purandara was born at Purandaragad near Pune. The Dwaitha scholar BNK Shara too argues against Purandaragad as being the birthplace of Purandara Dasa.

K. Krishnarao identifies Kshemapura as the birthplace of Purandara. Incidentally, the copper plate inscription of 1526 at Kamalapur near Hampi proves that Purandara Dasa belonged to Vasishta Gothra and Yajushaka. The same inscription also explains that the three sons of Dasa were Lakshmana Dasa, Hebanna Dasa and Madhwapathi Dasa. They received a grant from Vyasa Raja, the Rajaguru of Vijayanagar, in 1526.

BNK Sharma says the word Purandara has nothing to do with the place of birth of the Dasa. He argues that Purandara was only the ankita and that his full name was Purandara Vittala Dasa. No Dasa, he says, has been recognized by the place of his birth.

However, we know that Purandara Dasa obtained Deekshe and ankita from Vyasa Raja and that he was his constant companion for several years.  Researcher and musicologist Prof. P. Sambamoorthy, says it was sometime in 1525 that Srinivasa Nayaka was initiated as Purandara by Vyasa Raja. He was then 40 years of age.

Purandara was also a close associate and friend of Belur Vaikunta Dasa and Kanaka Dasa. All of them were very well acquainted with Vadiraja Theertha (1480-1600) and other disciples of Vyasa Raja. 

Purandara Dasa was patronised by Krishna Deva Raya (1509-1529) and his brother, Achuta Deva Raya (1529-1542). However, after the passing away of  Vyasa Raja in 1539, royal patronage to Purandara declined and it was almost non-existent during the reign of Aliya Rama Raya.

Purandara was anguished and deeply pained by the epicurean lifestyle of Aliya Ramaraya and the residents of  Vijayanagar and he warned them against such excesses. In “Nechhadiree bhagya”, he cautioned the people against going after material pleasures and neglecting god.

He asked people to chant the name of God and remember God till their tongues could speak. He sang:

“Narajanma Bandaga Nalige Iruvaga Krishna Endare”

Unfortunately, Purandara Dasa passed way in Hampi in 1564 and with him died the Haridasa Sahitya only for Vijaya Dasa to revive it several decades later.

Today, a little more than 800 compositions of Purandara Dasa are available. Many are autobiographical in nature and we get the information from them that Purandara was a wealthy merchant.

In Ana Lae Kara, which is generally regarded as among his first compositions, he laments how he has wasted several decades of his early life in indulgence and in worldly matters. . 

Coming back to his compositions, Purandara Dasa himself says,

“ವ್ಯಾಪಾರ ನಮಗಾಯಿತು
ಶ್ರೀಪತಿಯ ಪಾದಾರವಿಂದ ಸೇವೆಯೆಂಬೋ |p|

ಹರಿಕರುಣವೆ ಅಂಗಿ ಗುರುಕರುಣವೆ ಮುಂಡಾಸು
ಹರಿದಾಸರ ದಯವೆಂಬೋ ವಲ್ಲಿ
ಪರಮಪಾಪಿ ಕಲಿಯೆಂಬೋ ಪಾಪೋಸು ಮೆಟ್ಟಿ
ದುರಾತ್ಮರಾದವರ ಎದೆಮೇಲೆ ನಡೆವಂಥ || ವ್ಯಾಪಾರ ನಮಗಾಯಿತು||

ಬಿಳಿಯಕಾಗದ ಹೃದಯ ಬಾಯಿ ಕಲಮದಾನಿ
ನಾಲಿಗೆಯೆಂಬೋದೇ ಲೇಖನಿಯು
ಲೋಲನ ಕಥೆ ನಾಮಂಗಳ
ಶೀಲಮನವಿ ಬರೆದು ಹರಿಗೆ ಒಪ್ಪಿಸುವಂಥ || ವ್ಯಾಪಾರ ನಮಗಾಯಿತು||
 

Here, ವ್ಯಾಪಾರ means trade or business. Purandara Dasa describes in this composition the dress worn by a trader. He also lets us know how he became a Haridasa. He says he has been tasked with the job of helping people fight evil.

In another composition, Purandara Dasa himself says:

ಎನ್ನ ಕಡೆಹಾಯಿಸಿರುವುದು ನಿನ್ನ ಭಾರ
ನಿನ್ನ ನಂಬಿ ಬದುಕುವುದು ಎನ್ನ ವ್ಯಾಪಾರ

It is your responsibility to take me to the other side. It is my business to have faith in you. Here again, we see the word Vyapara or business used allegorically.
Apart from these compositions, there are several suladis where Purandara Dasa is autobiographical. However, the references are so cleverly concealed and they form an integral part of the composition, that we can coreleate some of the words and lines to his life only after we go through the composition several times. 

Just as we can come to know about his life, we can also zero in on the exact day and date on which Purandara Dasa died. This is so as one of his sons, Madhwapathi Dasa, who was later reborn as Vijaya Dasa, has written about it. 

The composition by Madhwapathi Dasa is matter of fact and there is no unnecessary glorirfication of death or lament of a father. The lines of the composition show that death was expected. Purandara Dasa died in 1564, an year before Hampi or Vijayanagar was sacked by the Muslim forces and he probably breathed his last at the Purandara pavillion.

The Mantapa which stands in the Tungabhadra even today. If we visit Hampi, we can see the Mantapa.

We get information on the death of Purandara in a composition by Madhwapathi Dasa.

Madhwapathi Dasa says his father died on Pushya amavasye in the Raktakshi samvatsara:

He says: 

ತೆರಳಿದರು ಹರಿಪುರಕಿಂದು || ಪಲ್ಲವಿ ||
ಪುರಂದರದಾಸರಾಯರು ದೀನಬಂಧು || ಅನುಪಲ್ಲವಿ ||

ರಕ್ತಾಕ್ಷಿವತ್ಸರ ಪುಷ್ಯಾಂತ ರವಿವಾರ
ಮುಕ್ತಿಗೈದಿದರು ಕೇಳಿ ಬುಧಜನರು || ೧ ||

ವಿರೂಪಾಕ್ಷ ಕ್ಷೇತ್ರದಿ ವಿಠಲನ್ನ ಸನ್ನಿಧಿಯಲ್ಲಿ
ಶರೀರವನಿರಿಸಿ ಅನಾಥರನು ಹರಸಿ || ೨ ||

Both the pallavi and anupallavi in the composition amply makes it clear that it was written on the day Purandara Dasa passed away. The first says that it was on amavasye, Pushya masa, Sunday when the death occurred.  

In Kannada, Ravivara means Sunday and Pushya is one of the masa or month that Madhwapathi Dasa refers to. The second charana mentions Virupaksha Kshetra and this nothing but Hampi or Vijayanagar. Hampi was well-known for the temple of Virupaksha and it was the family diety of the Vijayanagars. The temple of Virupaksha still stands in Hampi today and it was known as Virupaksha Kshetra.

The composition only hints that Purandara Dasa died somewhere in the vicinity of the Vijaya Vittala temple and this was probably at the  Purandara Mantapa where the he spent several years and composed thousands of songs.
Incidentally, even many of the compositions of Vijaya Dasa sheds light on the life and times of Purandara Dasa.

Vijaya Dasa considered Purandara Dasa to be his guru and he has collected several compositions of Purandara Dasa.

In Guru Purandara, he says,

“Asare nimma charaNakamalava nambide||

garuvarahitana mADi ennanu poreva bhAravu nimmade||1

ondu ariyada mandamati nAnindu nimmanu vandipe|

indireshana tandu tOrisi tande mADelo satkRupe||2

purandaragaDadolage nindu niruta dravyava galiside|

paramapuruShanu vipranandadi karava nIDi yAchise||3

parama nirguNavanavanaritu harige sUreya nIDuta|

aritu manadOlu haridu bhavagala taruni sahitA horaTane||4

mArajanakana sannidhAnadi sAragAnava mADuva|

nAradare I rUpadindali chArudarushana tOrida||5

ajabhavAdigalarasanAda vijayaviThalana dyAnipa|

nija su~JAnava koDisabEkendu bhajipenO kEl guruvara||6

A musician and a composer, he took giant strides towards systemising Carnatic music in many of his Suladis, Ughaboghas, Padas and Padyas. He fused Kannada with sangeetha and the result was the Haridasa sahitya.

Apart from biological references, there are nearly 30 compositions where he refers to music, musical instruments and the qualification of a musician. In “Keleno Hari Taaleno, Taalamelagaliddu”, he talks of tambura, Kombu, flute.

In the Suladi “Govindanaadidaatagalanu”, Purandara speaks of  swara, nada, murchana, jati, geeta and prabandha. He also refers to the ragas that were in vogue in many of his compositions.

He also introduced raga Thodi to Carnatic music and laid down certain other rules. He introduced Mayamalavagowla as the first scale in Carnatic music to be learnt by a beginner.

All his compositions were composed in Kannada and they were in the Bathisi raga that he had stressed. Purandara took pains to introduce the basic lessons of Carnatic music by structuring Swaravalis (graded exercises) and Alankaras (exercises based on the Sapta talas).  He also ensured that there was pallavi, anupallivi and charana in all his compositions.

Thus, though we have amass of information on the kritis and devaranamas of  Purandara Dasa, we do not have clear and undisputed information on his life. It appears that everyone today known Purandara only through his compositions. Even among his compositions, a majority of them appear to have been lost. Not much is known about his life and his family and of course his 4,75,000 compositions. What a pity.

The Vijayanagar Queen who composed the longest single word in the world

She was a genius. Apart from being an excellent grammarian, she was also a woman who knew many scripts. A poetess herself, she was employed as a Royal reader-a job that required her to read out the compositions of women from the royal family in the royal court.

A musician, she was also well-versed in the epics. She was a scholar in poetry, drama and philosophy. A bibliophile, she was also a linguist.

She was such a multi-talented woman that the Emperor fell in love with her and married her after elevating her to the status of a Queen. Even after her marriage, she continued writing poems and indulging in other literary activities.

She immortalized herself when she wrote a beautiful composition on the marriage of her husband-the Emperor-with the senior queen. She thus ensured her place in history when as a junior queen she lavished praise on her husband’s first marriage. No wonder, she was liked and loved by everyone who came across her. Of course, it goes without saying that the senior queen adored her and loved her as her own younger sister.

This remarkable woman was Oduva Thirumallamba. Oduva in Kannada means student. She lived during the Vijayanagar period and her husband was Emperor Achuta Deva Raya (1529-1542), the younger brother of Krishna Deva Raya (1509-1529).

Achuta Deva Raya had employed Oduva Thirmallamba as a Royal Reader. She attended the court of the Vijayanagar Emperor and read out the literary compositions of the women from the royal household.

Since she was poet herself, her language and diction was flawless. A master of several languages, she was best in Sanskrit. She conversed in several languages, including Kannada, Sanskrit and Telugu.

Emperor Achuta Deva Raya was himself an accomplished musician. He played the veena exceeding well. Just like his elder brother, Krishna Deva Raya, he too was a great patron of art, architecture and literature.

He honored Vyasa Raja as the Raja Guru and set great store by his advice. He also patronised Purandara Dasa (-1484-1564) and Kanaka Dasa (1509-1609). He was also an ardent follower of Vadiraja Theertha (1480-1600).

Thirullamba was one of the many women of literary talents in the Vijayanagar court. However, this multi-talented woman made a deep and everlasting impression on Achuta Deva Raya. Her simplicity, her goodness and her talents ensured that he fell in love with her.

Achuta Deva Raya them married Thirumallamba and gave her the status of a junior queen. Soon after her marriage, she composed Varadambika Parinaya Champu, a romance in Sanskrit,  celebrating the wedding of Achuta Deva Raya with his senior queen Varadambike.

This champu is the only one composed in Sanskrit by a woman. It ends with the investiture of  the young price, Chinna Venkatadri, as the heir apparent.

Very few people are aware that the Guinness World Record for the longest word used in any language in world literature is a Sanskrit compound word composed of 195 Sanskrit characters. This word is a part of the Varadambike Parinaya Champu. This word in Sanskrit transliterates into more than 400 letters in the Roman alphabets used by the English language. It is therefore rated as longest word to ever appear in any literature in the world.

The Sanskrit word is

निरन्तरान्धकारितादिगन्तरकन्दलदमन्दसुधारसबिन्दुसान्द्रतरघनाघनवृन्दसन्देहकरस्यन्दमानमकरन्दबिन्दुबन्धुरतरमाकन्दतरुकुलतल्पकल्पमृदुलसिकताजालजटिलमूलतलमरुवकमिलदलघुलघुलयकलितरमणीयपानीयशालिकाबालिकाकरारविन्दगलन्तिकागलदेलालवङ्गपाटलघनसारकस्तूरिकातिसौरभमेदुरलघुतरमधुरशीतलतरसलिलधारानिराकरिष्णुतदीयविमलविलोचनमयूखरेखापसारितपिपासायासपथिकलोकान्.

She also composed two other works in Sanskrit. The first was called Anandanidhi and this was written on the occasion of  one of Achuta Deva Raya’s ceremony where he gave away gifts. She had the event engraved in many places.

The second composition was to commemorate Achuta Deva Raya’s gift of gold to Brahmins in Hampi in 1540. This is immortalised in one of the stone inscriptions in the Vittala temple in Hampi. It is in this inscription that we find her name as Oduva Turumalamba..

Whet is surprising is that at the end of the composition, Tirumallamba does not identify herself as the queen but as one who is dear to the King and as one who is his confident.

However, she herself reveals that she is musician, grammarian, rhetorician, writer, and a connosiur of several arts.

She says she is religious minded and that she made rich offerings to priests, temples and religious institutions. She says she is happy to enjoy the full confidence of the King.

Tirumallamba was also the first woman pot to write about Kannada language and culture and to appeal to Kannada nationalism.  

The Srinivasa Stotra

The Srinivasa Stotra is composed by Vyasa Raja or Vyasa Theertha (1447-1539), one of the most venerable Madhwa sages and the previous avatar of Raghavendra Swamy (1595-1671).

Vyasa Raja first studied under Brahanye Theertha of Abbur and subsequently under Sripadaraja of Mulabagal. Both Bramanye Theertha and Sripasaraja were cousin brothers and it was Bramanye Theertha who identified young Yathiraja as the future star of Madha parampare and took him to his ashrama in Abbur. He then gave him the name Vyasa Theertha.

Vyasa Raja studied at Kanchi and then at Mulabagal in the university of Vedas and Shastras founded by Sripadaraja.

It was Sripadaraja who asked Vyasa Raja to head for Vijayanagar or Hampi and take over as the Raja Guru. Vyasa Raja was the Raja guru for six Emperors of the Vijayanagar dynasty, including Narasimha, Thammarayawhen they ruled from Chandragiri and Saluva Narasimha I and Saluva Narasimha II, Narasa Nayaka, Thuluva Narasimha, Krishnadevaraya and Achyuthadevaraya  from Hampi. He was thus the Raja Guru of Vijayanagar for 54 years (1485 - 1539).

By then, Bramanye Theertha had passed away and Vyasa Raja had succeeded to the Sri Matha in 1476.

Before coming to the court of  the Vijayanagar, Vyasa Raja performed pooje to Srinivasa at Tirupathi for twelve continuous years from 1486 to 1498. He was then stationed in Chandragiri near Tirupathi. He reformed the temple practices and streamlined the administration but he never once imposed the Vaishnava practice. He continued the practices as it had existed.

A great devotee of Srinivasa, he consecrated a temple to this god in Chennapatna and this exists even today just besides the Varadaraja Swamy temple established by Ramanajucharya.

Vyasa Raja has composed several kritis and stotras on Srinivasa and Krishna. If Krishna Nee Begane Baro is his most famous composition on Krishna, this stotra on Srinivasa is equally famous.

The lyrics of the Srinivasa stotra in Kannada and English are as follows:      

ಶ್ರೀ ಶ್ರೀನಿವಾಸಸ್ತೋತ್ರಮ್

ಪ್ರಾತಃ ಸ್ಮರಾಮಿ ರಮಯಾ ಸಹ ವೇಂಕಟೇಶಂ

ಮಂದಸ್ಮಿತಂ ಮುಖಸರೋರುಹಕಾಂತಿರಮ್ಯಮ್ |

ಮಾಣಿಕ್ಯಕಾಂತಿವಿಲಸನ್ಮುಕುಟೋರ್ಧ್ವಪುಂಡ್ರಂ

ಪದ್ಮಾಕ್ಷಲಕ್ಷಮಣಿಕುಂಡಲಮಂಡಿತಾಂಗಮ್ || ೧ ||

ಪ್ರಾತರ್ಭಜಾಮಿ ಕರರಮ್ಯಸುಶಂಖಚಕ್ರಂ

ಭಕ್ತಾಭಯಪ್ರದಕಟಿಸ್ಥಲದತ್ತಪಾಣಿಮ್ |

ಶ್ರೀವತ್ಸಕೌಸ್ತುಭಲಸನ್ಮಣಿಕಾಂಚನಾಢ್ಯಂ

ಪೀತಾಂಬರಂ ಮದನಕೋಟಿಸುಮೋಹನಾಂಗಮ್ || ೨ ||

ಪ್ರಾತರ್ನಮಾಮಿ ಪರಮಾತ್ಮಪದಾರವಿಂದ-

ಮಾನಂದಸಾಂದ್ರನಿಲಯಂ ಮಣಿನೂಪುರಾಢ್ಯಮ್ |

ಏತತ್ ಸಮಸ್ತಜಗತಾಮಿತಿ ದರ್ಶಯಂತಂ

ವೈಕುಂಠಮತ್ರ ಭಜತಾಂ ಕರಪಲ್ಲವೇನ || ೩ ||

ವ್ಯಾಸರಾಜಯತಿಪ್ರೋಕ್ತಂ ಶ್ಲೋಕತ್ರಯಮಿದಂ ಶುಭಮ್ |

ಪ್ರಾತಃಕಾಲೇ ಪಠೇದ್ಯಸ್ತು ಪಾಪೇಭ್ಯೋ ಮುಚ್ಯತೇ ನರಃ ||

|| ಇತಿ ಶ್ರೀವ್ಯಾಸರಾಜಶ್ರೀಚರಣವಿರಚಿತಂ ಶ್ರೀನಿವಾಸಸ್ತೋತ್ರಮ್ ||

The lyrics in English is as follows:

prAtaH smarAmi ramayA saha vEMkaTESaM
maMdasmitaM muKasarOruhakAMtiramyam |
mANikyakAMtivilasanmukuTOrdhvapuMDraM
padmAkShalakShamaNikuMDalamaMDitAMgam || 1 ||

prAtarBajAmi kararamyasuSaMKachakraM
BaktABayapradakaTisthaladattapANim |
SrIvatsakaustuBalasanmaNikAMchanADhyaM
pItAMbaraM madanakOTisumOhanAMgam || 2 ||

prAtarnamAmi paramAtmapadAraviMda-
mAnaMdasAMdranilayaM maNinUpurADhyam |
Etat samastajagatAmiti darSayaMtaM
vaikuMThamatra BajatAM karapallavEna || 3 ||

vyAsarAjayatiprOktaM SlOkatrayamidaM SuBam |
prAtaHkAlE paThEdyastu pApEByO muchyatE naraH ||
|| iti SrIvyAsarAjaSrIcharaNavirachitaM SrInivAsastOtram ||

Vyasa Raja and Purandara Dasa together visited the Apremeya Swamy temple at Dodda Malur on the Bangalore-Mysore Road just a little distance away from Chennapatna.

This temple stands on the banks of the Kanva and legend has it that Rama, Lakshmana and Sita stayed here for some time on their way to Vana Vasa. The idols of Srinivasa here is very beautiful as is the idol of Ambegallu Krishna.

When Purandara Dasa saw the small idol of Krishna, he spontaneously sang “Jagadodarana”. He also composed several songs when he saw the idol of Srinivasa consecrated by Vyasa Raja at Chennapatna.   

The stotra to get back riches and money

One of the greats saints of  Madhwa parampare is Vadiraja Theertha (1480-1600).

He belonged to the Sode Matha, which today is better known as Vadiraja Matha. He was given deeksha by Vageesh Theertha and

He was born in Gowri Gadde and his Brindavana is in Sode near Sirsi.

Vadiraja has several brilliant compositions and philosophical works to his credit. He was one of the most prominent disciples of Vyasa Raja or Vyasa Theertha (1447-1539). He was a contemporary of several Madhwa saints and Haridasas such as Surendra Theertha, Vijendra Theertha and Sudhindra Theertha of Raghavendra Swamy Matha,  Srinivasa Theertha and Rama Theertha of Sosale Vyasaraja Matha and several others.

He knew Purandara Dasa, Belur Vaikunta Dasa, Kanaka Dasa, Annamacharya and others.   

Vadiraja Theertha was a frequent visitor at Hampi and he is believed to have been one of the outstanding visiting professors of

the Vijayanagar University of which Vyasa Raja was the Chancellor.

However, after the passing away of Vyasa Raja in 1539, his visit to Vijayanagar or Hampi became less and less frequent. However, when he heard that Achuta Deva Raya (1529-1542) was in distress as the Kingdom’s treasury was empty, he helped out the Hindu Kingdom by revealing the secret treasures that had been hidden in the rocks around Hampi.

Vadiraja Theertha also composed a stotra and asked Achuta Deva Raya to recite it to regain all the lost wealth of Vijayanagar. Of course, the stotra helped the Raya regain the lost wealth.

Vadiraja Theertha asked Achuta Deva Raya to recite the sloka a thousand times. Achuta Deva Raya did so and he was able to get hold of untold wealth.

A little known fact about Achuta Deva Raya is that he patronized Purandara Dasa and he himself was an accomplished Veena player.

Coming back to Vadiraja, both Krishna Deva Raya and his half-brother, Achuta Deva Raya, had high regard for the saint from Sode.     

This is how the stotra that Vadiraja taught Achuta Deva Raya goes. It can be recited if you have lost money and or wealth. Be sure to recite it after doing sankalpa.

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