The 17th century mosque in Keezhakarai is the finest example of Dravidian-Muslim architecture.
Yaadhum , a documentary film, tracing the history and identity of the Tamil Muslim community, has won the Bronze Remi award at the 48th WorldFest -Houston – the third longest running International Film Festival in North America.
“The film is a Tamil Muslim’s journey in search of his roots and identity,” says Kombai S. Anwar, the film-maker who won the award under the Cultural/Ethnic category. There were participants from 33 countries and more than 550 international film-makers attended the festival. The film was also screened at The Hindu Literary Festival.
Distorted history
Mr. Anwar said his objective was to set right the distorted history of Muslims constructed by Western historians.
“Contrary to the popular perception that Islam made advances through violent conquests, in Tamil Nadu the religion arrived with trade. The sculpture found in the Tirukurungudi temple explains the maritime trade with the Arabs,” he said.
Inspiration
Two incidents — late writer Sujatha’s argument that thousands of Vaishnavites were killed during the Muslim invasion and Anwar’s role in helping the local community preserve the Kallupalli (the mosque made of granites) — became the inspiration for the film.
“Muslims in Tamil Nadu adapted themselves to the local cultures and combined the elements of Dravidian architectures while constructing mosques,” he said.
Dravidianarchitecture
Even though there are a lot of mosques built following the Dravidian architecture, the 17thcentury mosque in Keezhakarai constructed by Seethakathi, known as Vallal Seethakathi, remains the finest example of Dravidian-Muslim architecture.
The film covers excavations, inscriptions, old mosques built in the architectural traditions of Tamil Nadu and Kerala, literature and interviews with well-known historians.
It attempts to correct the distorted historical account of how the community came to the State
source: http://www.thehindu.com / The Hindu / Home> News> States> Tamil Nadu / by B. Kolappan / Chennai – May 15th, 2015
The kallupallis are reminders of the region’s cultural and architectural traditions
Among the many inscriptions at the Vaishnavite shrine of Adhi Jagannatha Swamy at Thirupullani, about 10 km from Ramanathapuram in southern Tamil Nadu, there is one about a grant for a mosque. This particular inscription of the late 13th Century by the Pandya King Thirubuvana Chakravarthy Koneri Mei Kondan, describes the grant made to the Muslim Sonagar, to build a mosque at Pavithramanikka Pattinam. While no one today has a clue as to the exact location of Pavithramanikka Pattinam, the region has many ancient mosques like the rest of Tamil Nadu. What is unique about these mosques is that they were all built of stone, in the Dravidian architectural style with Islamic sensibilities.
Unlike north India, Islam came to the south through maritime spice trade even as it was spreading across Arabia in the 7th Century. The Muslims who were traders enriched the country with precious foreign exchange, and hence were accorded a special place by the Tamil rulers of the day, and often received grants to build mosques, like the one at the Adhi Jagannatha Swamy temple.
As mosques are called Palli Vaasal in Tamil, and they were built of kal, the Tamil word for stone, they came to be locally known as kallupallis. These kallupalliswere essentially built more like mandapams, better suited to Islamic requirement for the congregation to assemble and stand together in prayer.
Engraving of Tamil calendar for prayer found inside the mosque
With guidelines for the construction of mosques being simple – such as prayer facing Mecca, no idol worship and clean surroundings, the masons who worked on these mosques under the supervision of religious heads restricted themselves to carving floral and geometrical motifs instead of human figures as in a temple. “While the raised ‘Adisthana’ of the Hindu temple was retained, there were no ‘Garbha Grahas’ and no figurines carved on any of the pillars” says Dr.Raja Mohammad, author of Islamic Architecture in Tamil Nadu.
For more than a millennium, hundreds of such mosques built in the Dravidian Islamic architectural style came up across Tamil Nadu, often with the help of grants from the rulers of the day, ranging from the Cheras, the Pandyas, the Venad kings and the Nayaks to the Sethupathis of Ramanathapuram. Across Tamil Nadu, wherever Tamil Muslims lived in large numbers, from Pulicat near Chennai to Kilakarai, Kayalpatnam, Kadayanallur, Kottar, Tiruvithancode, Madurai, etc., one finds these beautiful kallupallis.
Amongst these kallupallis, though not the oldest, the most beautiful mosque is to be found at Kilakarai, near Ramanathapuram. A medieval port town with a predominant Tamil Muslim population, Kilakarai has many mosques built during different eras spanning many centuries. The one built towards the end of 17th Century is the most beautiful of them all. It is believed to have been built by the great merchant and philanthropist Periathambi Marakkayar, also known as Seethakkathi, whom the Dutch records speak of as a great trader having considerable influence with the Sethupathis, the then rulers of Ramanathapuram.
The mosque built in the Dravidian architectural style of the late Vijayanagara period, has elements that are specific to native traditions. Like many other kallupallis, this mosque too has Podhigai, the floral bud detailing on the pillar corbels, which represent positivity and auspiciousness, an essential part of the cultural beliefs of the land. An interesting engraving found in this mosque is the Tamil calendar for prayer.
What is unusual about this calendar is that, timings for prayers in the various Tamil months are marked in Tamil numerals, a rarity, found in just a few other mosques in southern Tamil Nadu.
These mosques, deeply embedded in the Tamil culture, were also places where Tamil flowered. Further down south, at the Kottar mosque in Nagercoil, an early Tamil Islamic literary work, Mikuraasu Malai, was presented to the assembled congregation by Aali Pulavar in the late 16th Century.
Mikuraasu Malai, a palm leaf work
Mikuraasu is a Tamilised form of Mihraj, and narrates a significant event in the life of Prophet Muhammad (Pbuh), his ascension to the heaven. Even after 400 odd years, the tradition of singing Mikurasu Malai on the eve of Mihraj continues to this day at the Kottar mosque. Other literary works such as Seera Puranam, a Tamil epic on the history of the Prophet, are also recited across mosques in Tamil Nadu.
The Kallupallis in Tamil Nadu stand as proud reminders of not just an architectural tradition but also of cultural traditions, where Islam effortlessly adapted itself to the native customs.
source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture – Anwar’s Trail / by Kombai S. Anwar / November 23rd, 2017
Kaman Darwaza in Chennai | Photo Credit: Kombai Anwar
Madras was in the eye of a power storm, 200 years ago
An ailing or aged ruler triggering a political crisis is not something new in Indian history, but what is interesting about the recent drama that unfolded in Chennai has its parallels to a power struggle that Madras was witness to a little more than 200 years ago. The drama then too had an ailing ruler, various aspirants including a ‘sister’ scheming to take over power upon his death, and a Governor keenly assessing the situation.
The only visible token of the dramatic events that unfolded in 1801 when Umdatu’l-Umara, the Nawab of Arcot, died, is a nondescript arch with the name ‘Azeempet’ chiselled on it, that still stands on Chennai’s Triplicane High Road, a few yards away from the Walajah Mosque. It is a reminder of sibling love that turned bitter and ultimately led to the dramatic fall of the House of Arcot, paving the way for the East India Company to establish itself firmly in the saddle and change the course of Indian history. Old timers remember this arch as the gateway, ‘Kaman-Darwaza,’ to the palace of Sultanu’n-nisa Begam, the daughter of Nawab Muhammad Ali Walajah and sister to Nawab Umdatu’l-Umara.
Nawab Umdatu’l-Umara, who succeeded Muhammad Ali Walajah upon the latter’s death in 1795, was very fond of his sisters, especially his senior sister (meaning the eldest of his younger sisters) Sultanun’n-nisa, also known as Buddi Begum. Sultanu’n-nisa was equally fond of her brother so much so that, out of concern for his safety, and to ward off evil, she used to send everyday a rupee coin to the Nawab, which he would dutifully tie it on his upper arm.The Nawab very often spent his evenings at the palace of his senior sister, listening to musicians, watching a dance recital or just having dinner. He had a room in her house, where the Nawab met with his officers and others. It was widely believed that Sultanu’n-nisa was the actual power behind the throne. Somewhere down the line, Sultanu’n-nisa had assumed that her son Raisul Umara would succeed her brother to the throne. But she was not the only one eyeing the throne, as the Nawab himself would lament – “I intend my son for the throne; Sayful Mulk (the Nawab’s younger brother) intends that the throne is for him; my senior sister has in mind that her son is meant for the throne after me; and the firangs (foreigners – the East India Company) are waiting for their opportunity. But it shall be as the Supreme Ruler wills.” The Nawab wrote a will on his deathbed, making his son Tajul Umara his successor, a move that enraged his sister, who felt betrayed. It was an opportunity too good to miss for the firangs, who were looking for an excuse to take over the Carnatic entirely.The English used the simmering anger of Sultanu’n-nisa and spread the rumour that a coup against the Nawab was in the offing. With the connivance of Nawab’s Diwan, Col. Barret, they surrounded the ailing Nawab with the Company’s troops.
When Nawab Umdatu’l-Umara died in 1801, a bitter Sultanu’n-nisa would not forgive her brother. She refused to let the coffin pass through the Kaman-Darwaza. It had to be left the whole night with guards in a hall opposite the arch. After failing to persuade his aunt to let the coffin through, Tajul Umara, son of the deceased Nawab, decided to break the wall behind Nusrat-mahall and send the coffin to Trichy, to be buried next to the tomb of his grandfather Nawab Walajah.
This power struggle enabled Governor Edward Clive to make a man of Company’s choice as the next Nawab, a man who was willing to sign away the Kingdom, which the young Tajul Umara, the rightful successor, refused to do. Umara’s cousin Azim-Ud-Daula was anointed as the next Nawab. Tajul Umara died within a few months. Sultanu’n-nisa and her son left for a Hajj pilgrimage and chose to settle down in the holy city of Karbala in Iraq, where she eventually died.
Two hundred years later, the arch still stands, a mute witness to the bitter power struggle that not just led to the tragic fall of the House of Arcot .
Kombai Anwar is a writer, photographer and film maker.
source: http://www.thehindu.com // Th Hindu / Home> Society> History & Culture / by Kombai S. Anwar / February 17th, 2017
