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  1. Ravindra patil

    October 8, 2016 at 2:40 pm

    I want to about faizpur congress 1936, photo also

    • sreenivasaraos

      October 8, 2016 at 3:29 pm

      Dear Patil

      I didn’t quite get it.

      What is your specific question ?

      Please be clear.



    December 19, 2016 at 10:37 am

    Sir, I want your contact number please . If you can do, so that, to enable me to contact you directly sir. As I have some doubts on vedas. Sir please do favour.

    GSR Murthy.

    • sreenivasaraos

      December 20, 2016 at 1:38 pm

      Dear Shri Murthy , I would prefer if you could frame SPECIFIC questions and post them.That would be easier for me; and, it would also help others seeking answers to similar issues. Thank you. Regards

  3. joshy

    December 27, 2016 at 7:42 am

    i am from my village temple , an alangara gopura for sri rajaarajeswary devi is planned to build at the village entrance. In my opinion gopura is to be in kerala style with slanting roof etc..
    is there any specification according to silpa sastra in building an alangara gopura

    • sreenivasaraos

      December 27, 2016 at 8:14 am

      Dear Joshy

      I presume, your question relates to the proposed Grand entrance (Raja-Gopura) to the village/temple complex.

      It is said in the older texts that the concept of Gopura originated from extensive cow-stalls (Go-griha) which was virtually a gate-house at the doorways of a huge building , monastery , temple or even a town/village (Pura-dvaram tu gopuram I Dvara-matre tu gopuram I ).

      The Gopura, therefore, technically, denoted gate-houses of palaces, cities and residential buildings of various descriptions; and that they did not necessarily belong to temples alone.

      As far as I know, the concept of such (Raja) Gopura entered into the temple architecture of South India, rather late. And, Gopura is not an essential feature of the temple per se.

      According to the traditional texts on Shilpa-sharta, the most important part of a temple, it’s very heart as it were, is the Garbha-griha or the sanctum sanctorum. Sometimes the Garbha-griha with its Vimana alone is defined as temple per se. But, generally, it is extended by an Ardh-Mandapa, a Mandapa or a large hall up to the Bali-pita.

      In the later texts, there is mention of Gopura-s with sixteen storeys, divided into ten classes. But the details of only five storeys are given;, others being left to the discretion of the architects.

      All that is to suggest the Raja- Gopura is not an essential part of the temple; and its structure and design is left to the discretion of the architect.

      Since the temple is in Kerala, I feel, the Gopura at the entrance of the village could be in the traditional-Kerala style and design.
      I hope, it might, in some way, help you to take a view of the subject.

      But, Please do consult a technical expert before you decide.


  4. sai swaamy

    January 2, 2017 at 1:33 pm

    pls send urs mobile swamy my mob 9133425077 pls sir

  5. Sreenivasa Rao

    January 3, 2017 at 5:04 pm

    Dear Sreenivasa Rao garu,
    I am wondering if you have done any research or published any blogs on Sri Syama Saastri as part of your murti-trayam writings. Could you please direct me to any such? If you haven’t published anything yet but are willing to answer some of my questions, could you please let me know if you are available to discuss offline?
    Thank you and Regards,
    Sreenivasa Rao

    • sreenivasaraos

      January 5, 2017 at 12:11 am

      Dear Shri Sreenivasa Rao, Yes; I have prepared articles about Sri Shyama Shastry ; but not published yet.

      Of course, as compared to Sri Dikshitar and Sri Tygaraja his out put is not large and the range is not wide.

      But, the emotional appeal to Mother is intense.

      I was trying to draw a comparison with the songs of Ramaprasad Sen of Bengal appealing to Mother.

      Let me see


      Happy New Year


      • Sreenivasa Rao

        January 5, 2017 at 10:24 pm

        Hello, Thank you for getting back to me. Please do share your Syama Sastri research when you have it available. At this point though, my immediate interest is in gathering information about his pedigree – there are conflicting claims as to his family’s origins in Kambam near Ongole vs. Cumbum in TN. Are there any specific records or verified sources of his ancestry? There is a lot of circumstantial evidence that he was a native Telugu person – the aesthetics and the sweetness of his Telugu compositions is nearly impossible to achieve if one is not native to that tongue. Also, he belongs to ‘vadama’ sect which by definition means people from the north (ie. north of the Kanchi-Thanjavur axis). Most peple belonging to this sect are known to be from the banks of Krishna river. 

        I would appreciate any of your thoughts.


        Sreenivasa Rao 

  6. anitha pn

    January 16, 2017 at 8:39 pm

    Hi sir…
    I am a new reader to your articles..I like many of them..Specifically about M.N.Roy..Kindly add articles about DEVELOPMENT OF MODERN INDIAN LITERATURE AND WESTERN THOUGHTS IN DIFFERENT PARTS OF INDIA if you are interested..

    Thank you.

    • sreenivasaraos

      January 17, 2017 at 12:07 am

      Dear Anitha

      You are welcome.

      Thank you for reading the series on MN Roy about whom there are not many detailed writings

      I would be grateful if I can have your feedback on some of the specific issues/articles in the series.


      It is a huge task, with about 25 odd languages, their history, developments, trends and comparison with ‘western thoughts’ (which term needs to be defined clearly, to start with).

      Unlike in the earlier days ( when most of India across the states/languages read Tagore, Saratchandra, Premchand, Khandekar , Karanth et al ) the readership across the languages , in the present day, is getting rarer. India, sadly, appears to be growing more and more region-oriented and inward looking. There appears neither the desire to learn nor the outlook to appreciate the ‘good’ happening outside of one’s own language.

      Further, there is the problem of the availability of translations of the recent works in all the Indian languages.

      For instance, I have written about Bamkim, Tagore , Sarat, Bijaya Ghosh etc ( please do read those articles here) ; But , I am unable to follow the contemporary trends / developments in modern Bengali . I hardly can go beyond Bibhutibhushan Bandopadhyay of the fifties. Even the works of later authors like Sunil Gangopadhyay, Sirshendu Mukhopadhyay , Bimal Mitra and Sankar in later days or Buddadev Guha are not easily available outside of Bengal.

      I wonder if any of the Universities/National Trusts or even Doctoral thesis’s have taken up the task you suggested.

      Yet; what you suggested is truly fascinating. I would love to attempt it, however inadequately.

      Let me think and also talk to a few I know,

      BTW, have you any thoughts / ideas about the subject. Please let me know.

      Thanks for writing

      Please do read the articles on other subjects as well.

      Please keep talking


  7. Rummah

    February 1, 2017 at 4:26 am

    Thank you for the informative blog. There is so little information on the ten great cosmic wisdoms in the West.

    • sreenivasaraos

      February 12, 2017 at 5:58 pm

      Thank you Rummah

      You are welcome

      Please do read the articles and let me have your comments


  8. Rajashri Rajashekhar

    February 12, 2017 at 5:33 pm

    Dear Sir,

    I am completely impressed by you blog and verious subjects that you have considered to write. I would like to personally meet you to discuss about the work that I have undertaken in the area of Woman. My study is on scripture based.



    • sreenivasaraos

      February 13, 2017 at 3:17 pm

      Dear Rajashri

      Than you for your visit

      I am delighted you liked what you read here.

      I would now be visiting my daughter in Portland- OR-USA

      Sorry Maa

      May I know your special field of interest.

      Kindly send me your specific questions

      I shall try to reply with whatever little I know

      Please do keep reading and writing

      Warm Regards

  9. Gauri Varma

    February 21, 2017 at 9:57 am

    Dear Mr Sreenivasarao

    I have a folk painting made by a dead Maithil artist from Madhubani. It is in the Tantric style and shows the figure of Hanuman engaging in burning Lanka in the centre, with a Yantra. Around his figure are ten forms which appear to be Rudra/Shiv. They are mostly ascetics with knotted hair, tigerskins. They are also shown with tails. Each is shown riding an animal mount, including an elephant, horse, deer, bull, makara, swan, goat (?), bull, chariot (?) and one seems to be riding a dwarf or demon or young boy figure. Have not been able to find out who these forms represent. Could you please help. I have read numerous desciptions of the Rudras and Shiva’s incarnations but they dont all seem to fit these forms especially the vaeying Nimal mounts shown. I would jave liked to email you a photo of the painting. Please let me know where I can do so. Thanks and regards, Gauri Varma

    • sreenivasaraos

      February 21, 2017 at 3:32 pm

      Dear Gauri Varma, You seem to have come across a rare type of tribal depiction. That is good. You mentioned Rudra-like figures riding: elephant; horse; bull; swan; demon or dwarf etc.

      My guess is that the figures you mentioned might represent Ashta Bhairava- the eight manifestations of Bhairava, a ferocious aspect of Shiva. They guard and control the eight directions… Tantra – Sara mentions the eight Bhairavas as:

      Asitanga Bhairava (Vahana: Swan); Ruru Bhairava (Vahana: Bull); Chanda Bhairava (Vahana: Peacock); Krodha Bhairava (Vahana: Garuda, eagle); Unmatta Bhairava (Vahana: Horse); Kapala Bhairava (Vahana: Elephant); Bhishana Bhairava (Vahana: lion or Pretha i.e. Ghoul); and Samhara Bhairava (Vahana: dog).

      [Each of these eight Bhairavas, in turn, brings forth eight forms of his own representations. Thus, in all, sixty-four forms (or sub-forms) of the Bhairavas, are divided into eight sets.]

      In addition there is the Kala-Bhairava

      It is said; in the holy city of Varanasi: . Ruru Bhairava protect the south-east; Chanda Bhairava – the south; Asitanga Bhairava – the east; Kapala Bhairava – the north-west; Krodha Bhairava – the south-west; Unmatta Bhairava protect the west; Samhara Bhairava – the north-east; and Bhishana Bhairava protect the north.

      I think the figures you mentioned might perhaps be the set of eight Bhairavas

      Please see the link for the image given below

      As regards Hanuman and Bhairavas:

      A tribal legend mentions that Hanuman, also called Lanka Bir, was at the guard of cave entrance, where Vaishno Devi was meditating for nine months, before she came out of cave. There is a stream called Baan Ganga (Baan literally means an arrow), where Devi used her arrow to take out a stream of water from the hill, to quench the thirst of Hanuman, when he became thirsty. Hanuman also fought with Bhairavs before Vaishno Devi asked him to leave Bhairav to her.

      I am not sure if the picture you saw could relate to this legend.


      I am sorry; I have not been able to provide you with a definite answer.

      Kindly send your picture to me. Let me try. I could also consult someone knowledgeable in these matters.


      • sreenivasaraos

        February 22, 2017 at 7:06 am

        Dear Mr Sreenivasarao

        Thank you for your prompt and insightful reply. I attach a photo.

        This sounds very close to what has been depicted. But there are ten forms. I wonder if they rule the ten directions as per Indian Vaastu?…I attach a photo of this rare painting. I would be grateful if you could shed further light on it. I also want to say that I find your blogs very scholarly and interesting. I am giving the link to my husband too!

        Warm regards
        Gauri Varma

    • sreenivasaraos

      February 24, 2017 at 9:27 am

      Dear Gauri Varma,

      After your reply, I looked at the picture again.

      This is what I reckon. I may be wrong. Please cross check with someone who-knows.

      1. It is basically a Lanka-dahan theme.

      There are several versions of that theme using Hanuman as the central figure; and surrounding him with other deities.

      For instance; as you are very well aware, there is a depiction similar to the one you sent where the tail-blazing Hanuman is framed by Asta-Matrukas .

      2. The picture you sent is also a Lanka-dahan theme; but, with ten cardinal guardian deities: eight Dikpalas and with the sky represented by Brahma on the top (Ūrdhvā) and the Ocean below (Adhah) represented by Samudra-raja . Dikpalas

      3. For some reason, the orientation of the picture is reversed.

      In the traditional pictures the East is at the top (unlike North in modern-day depictions) with South (Dakshina; the term literally means the ‘Right) on your right, followed by North (Uttara; meaning that which follows ) on to your left.

      In your picture, the West is at the top; and east is at the bottom

      6. Please read your picture, starting at the top from your left-hand side, (for the present you may ignore the central Hanuman theme and the Chakras)

      7. It would be:

      South-West; Nritti – riding a horse
      West – Varuna – in the middle of the picture – riding a Makara
      North-West- Vayu- riding a spotted deer

      Next row (skip the Hanuman detail)

      South-Yama – riding a buffalo
      North – Kubera – riding a man (Nara-vhana)

      Bottom row (apart from Yantra etc)

      South-East – Agni –riding a goat
      East- Indra –riding an elephant- holding a thunderbolt

      And, at the far right-hand bottom corner

      North- East – Ishana – riding a Bull


      There is at the top –center of the picture Brahma, representing the sky , the zenith (Ūrdhvā). He rides a swan

      At the bottom of the picture is the Samudra-raja, Lord of the seas, representing ‘down-blow’ the nadir (Adhah) .

      He as the Lord of waters is, at times, shown on a chariot drawn by seven swans.

      Kindly verify and let me know.

      Today is Maha-Shiva-ratri. May he bless you with wisdom, happiness and longevity


      • sreenivasaraos

        February 24, 2017 at 9:44 am


        Dear Mr Sreenivasarao

        I think you are absolutely right. I too felt that Varun was shown on top riding a Makaar.

        Thank you very much for sharing your deep knowledge so painstakingly.

        A very auspicious Maha Shivratri to you and your family. I will keep following your blog. May God bless you.

        Warm regards,

        Gauri Varma

  10. Vinod

    February 21, 2017 at 11:02 am

    Hello Sir,
    I want to learn and practice Srividya. Searching for a samaya or mishra guru. Can you please help?

    • sreenivasaraos

      February 21, 2017 at 3:35 pm

      Dear RVinod

      I am not competent to advice you on this.

      I suggest , if you so like , you may contact the great scholar Mahamahopadyaya DR. R . Satyanarayana who is properly initiated into Sri Vidya Upasana by his Guru. He also written extensively on Sri Vidya.

      He may be contacted at : N0. CH 12 , ‘Thrayeelakshmi’ , 9th Cross , 4th Main , Jayanagar , Mysore 570014. Tel N0. 0821 2567891 (please re check the number).

      Good Luck

      • Vinod

        February 22, 2017 at 4:09 am

        Thank you very much for prompt reply sir!!

  11. sreenivasaraos

    March 13, 2017 at 7:20 am

    Dear Mr Sreenivasarao,

    I followed up on your very helpful information. The only other suggestion I have is that the figure guarding the nadir could be Samudra Raja or Vishnu (also called Ksheer Samudra Raja, holding a disc on a chariot drawn by swans/garuda).

    Also, not clear why the ten dikpalas are shown with monkey tails. Perhaps as attendants paying homage to Hanuman?

    Your opinion would be valued.

    Warm regards

    Gauri Varma

  12. sreenivasaraos

    March 13, 2017 at 7:22 am

    Dear Gauri

    Sorry for the delay in responding

    1. The painting basically depicts ten directions around the Hanuman motif

    2. The SKY (Brahma) is at the TOP; and, WATERS (Samudra) is at the BOTTOM

    3. No. It is not Kshirasagara. And there is no Vishnu here. That is a different aspect. What is depicted here is a set of minor deities, with Hanuman at the center.

    4. No. There is no Garuda here. The eagle flies in the sky; and, has very little to do with Sub terrestrial waters

    5. The Waters below is often personified as a King, riding a chariot floating on water,; and which is drawn by a set of seven swans

    6. As regards the tails; like you mentioned – the Dikpalas could either be treated as aspects of Hanuman; or as minor deities paying tribute to Hanuman.

    Btw, in the older texts, the tails were at times regarded as signs of heroes; and, certain celestial deities such as Kinnaras were depicted with tails.

    I am not sure if this helps you

    Please keep talking

    Have a very enjoyable and a noisy Holi


  13. Pattabhi Sitaraman

    April 27, 2017 at 5:46 am

    Dear Mr. Rao,

    Very recently while I was browsing the net for some writing on Ganapathyam I stumbled onto your blogs and I am very happy to have access to your writings. There was a question as to who could be the author of the popular invocation to Lord Ganesh starting with “Gajaananam Bhootha Ganaathi Sevitham” and the other three that follow this sloka. From your blogs and also the various inputs from the speeches of Kanchi Paramacharya Chandrasekarendra Sarasvathi 68th Peetathipathi of the Kanchi Kamakoti peetam, I could get some inference that these four to five slokas could have been rendered for invocation of Lord Ganesh during the 1 or 2 CE. I also inferred that the author could be either Baudhayana or Yagnavalkya between 5 BCE to 2 CE. Would very much appreciate whether my inference is correct.
    With kind regards,


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