PM Narendra Modi President Xi Jinping in Tamil Nadu for second India China Informal Summit

MEA India briefing on Modi Xi Jinping second informal meet day one in Mahabalipuram

MEA: Concluding a highly productive day with a pleasant conversation over a long dinner . PM & Chinese President Xi continued their exchange of views on deepening of the India-China partnership over a breathtaking Kalakshetra cultural performance followed by dinner.

Alarippu (3 minutes) : It is a dance performance that symbolizes the offering of respect to God, teacher, and the audience. It is accompanied by the recitation of Sol-fa syllables. Performances of an Indian classical dance form known as ‘Bharatnatyam’ include Alarippu in the opening sequence.

Purappadu(4 minutes) : In this dance, the dancer expresses himself through various hand gestures and facial expressions which closely follow the verses that are being recited. The performance is marked by high tempo music, quick foot movements, and vigorous drumbeats. ‘Purappadu’ is a component of the initial part of a ‘Kathakali’ dance performance. ‘Kathakali’ is an Indian classical dance form that dramatizes stories which have been mostly adapted from Indian epics through a blend of dance music, and acting. This performance will also include segments that will display of another Indian classical dance form known as ‘Mohiniyattam’.

Sethubandhanam(5 minutes): This is an excerpt from Rukmini Devi’s six-part series on ‘Ramayana’. This scene is from ‘MahaPattabhishekam’ which was choreographed in the year 1970 by Rukmini Devi, it depicts the building of the bridge across the sea to Lanka – ‘Sethubandhanam’ – by Sugreeva, Hanuman, Jambavan and others. The lyrics are in Sanskrit and have been taken from Valmini’s Ramayan.

Bhajo re Bhaiyya Ram Govind Hari(6 minutes): It is a ‘Bhajan’ (a devotional song) composed by the 15th-16th Century Indian mystic and saint known as Kabir. It exalts the worship of Lord Rama.

Tilana(6 minutes): It is a dance performance based on the rhythm patterns of a sfamous composition called ‘Shanti Nilava Vendum’, which seeks to promote the message of peace and harmony.

Shanti Nilava(2 minutes): Shanthi Nilava Vendum is a prayer for global peace which was Mahatma Gandhi’s cherished objective.

Performances by: Kalakshetra Sanstha

Backdrop:

SHORE TEMPLE

The Shore temple, an earliest representation of structural temple at Mamallapuram, belongs to the period of Narasimhavarman II alias Rajasimha Pallava (700-728 CE). As this temple stands on the bedrock near the sea it is globally called as sea shore temple. There are two shrines in this complex; one faces east and other faces west named as Kshatriyasimesvaram and Rajasimhesvaram respectively. Both the shrines, similar on plan, consist of a garbhagriha (sanctum) and an ardhamandapa (porch) andare installed with fluted Sivalinga. Behind the Sivalinga is Somaskanda (depiction of Siva and Parvati with infant Skanda) panel which also repeated on the either side walls of the porch. The superstructure of the Kstraiyashimesvaram is larger than that of Rajashimesvaram. It has an additional prakara of low height with small gopura-dvara at the east. In between these two temples, there is a small shrine provided with a cell and small porch and is without superstructure. It enshrines a figure of reclining Vishnu (Narapatima Pallavagriham). The courtyard of the temple complex is partly surrounded by an unfinished enclosure, along which are arranged rows of Nandis.

EXCAVATED REMAINS AT SHORE TEMPLE:

Sustained removal of the sand in the last few decades, brought to light several buried structures around the shore temple. Unique among them is the early Pallava period bathing-ghat like stepped structure, approximately 200m long. The steps are built of interlocking granite slabs over a laterite core. The intelligent interlocking method used here prevented the slabs form collapsing. This structure is running north to south parallel to the sea. In 1990, the excavation exposed a Bhuvaraha image, a miniature shrine and a well enclosed by an elliptical enclosure. These remains are carved on the bedrock. The miniature shrine, dedicated to Siva, has its sixteen-sided base carved out of the bedrock while the circular wall and superstructure are structural. The Bhuvaraha is shown retrieving the Earth symbolically from the deep ocean.

MAMALLAPURAM

Mahendravarman (580-630 CE), his son Narasimhavaraman-I Mamalla ( 630-668 CE), Paramesvaravarman (672-700 CE) and Narasimhavarman-II Rajasimha (700-728CE) contributed the most in developing Mamallapuram as a centre of art and architecture. Mahendravarman-I, the son and successor of Sihmhavishnu who initiated the rock cut architecture was a poet and a musician and had many titles such as Mattavilasa, Vichitrachita etc. His son Narashimhavarman- I was the most successful and distinguished ruler, and under him the Pallava rule attained its zenith in terms of power and prestige.

The name Mahabalipuram is derived from Mamallapuram, “the city of Mamalla”, a title of Narashimavarman I (630 to 670 CE), the great Pallava ruler of the seventh century, who was responsible for most of the rock-cut temples and carvings at this place.

SHORE TEMPLE

The Shore temple, an earliest representation of structural temple at Mamallapuram, belongs to the period of Narasimhavarman II alias Rajasimha Pallava (700-728 CE). As this temple stands on the bedrock near the sea it is globally called as sea shore temple. There are two shrines in this complex; one faces east and other faces west named as Kshatriyasimesvaram and Rajasimhesvaram respectively. Both the shrines, similar on plan, consist of a garbhagriha (sanctum) and an ardhamandapa (porch) andare installed with fluted Sivalinga. Behind the Sivalinga is Somaskanda (depiction of Siva and Parvati with infant Skanda) panel which also repeated on the either side walls of the porch. The superstructure of the Kstraiyashimesvaram is larger than that of Rajashimesvaram. It has an additional prakara of low height with small gopura-dvara at the east. In between these two temples, there is a small shrine provided with a cell and small porch and is without superstructure. It enshrines a figure of reclining Vishnu (Narapatima Pallavagriham). The courtyard of the temple complex is partly surrounded by an unfinished enclosure, along which are arranged rows of Nandis.

EXCAVATED REMAINS AT SHORE TEMPLE:

Sustained removal of the sand in the last few decades, brought to light several buried structures around the shore temple. Unique among them is the early Pallava period bathing-ghat like stepped structure, approximately 200m long. The steps are built of interlocking granite slabs over a laterite core. The intelligent interlocking method used here prevented the slabs form collapsing. This structure is running north to south parallel to the sea. In 1990, the excavation exposed a Bhuvaraha image, a miniature shrine and a well enclosed by an elliptical enclosure. These remains are carved on the bedrock. The miniature shrine, dedicated to Siva, has its sixteen-sided base carved out of the bedrock while the circular wall and superstructure are structural. The Bhuvaraha is shown retrieving the Earth symbolically from the deep ocean.

FIVE RATHAS

This group of monuments simply called as Five Rathas (chariot) as they resemble the processional chariots of a temple. These five rathas are hewn out of the solid rock to form five free–standing monolithic temples. These rathas were hewn during the reign of Pallava king Narshimavarman-I.

Draupathi ratha is the smallest and northernmost one having simple hut like Vimana,enshrining image of four armed Durga in the sanctum adored by the two male worshippers. It is supported by four corner-pilasters and has a niche on three sides, while the western niche containing the figures of dvarapalikas which flank either side of the doorway. The remaining niches each contain representation of Durga. In front of the ratha is a standing lion representing the vehicle of Durga.

Arjuna ratha, the next one to the south and sharing the platform with Draupadi called Arujuna ratha. It has small two tiered vimana consists of a sanctum sanctorum with pillared front mandapa on plan. There are carved panels between the pilasters on the four sides of its main body on the ground floor and in the first storey. In the corner panels there are standing figures of dvarapalas. In the central panels are siva leaning on Nandi on the south and

Indra on Airavata on the east and Vishnu leaning on Garuda on the north. In the other panels are mithuna figures or royal couples, rishi carrying a staff is depicted. Behind this ratha is a colossal monolithic couchant Nandi, which, even in its semi-finished state, is a masterpiece.

Bhima ratha has a roof shaped like the hood of a country-wagon, is elongated on a rectangular base and is supported length-wise by four pillars and two pilasters. The other ornamentations, false chaitya-windows (kudu) and pavilion, are similar to that of the Dharmaraja- ratha.The Bihma-ratha contains no figure carving.

Dharmaraja ratha, the southernmost and also the highest temple of the group. The temple is pyramidal structure with a square base. It has three storied square vimanas with octagonal (eight sided) sikahara. The niches around the wall of the sanctum and niches in upper talas contain the images of different forms of Siva. One of the niche contains the portrait of king possibly Narashimavarma-I with the title “Sri Mega” and “Trailokiyavardhana vidhi” inscribed in grantha script. In inscription this temple is called “Atyantakama Pallavesvaram”,

Nakula Sahadeva ratha is a monolithic apsidal temple with front porch supported by two lion pillars. There are no figure carvings on this temple. Close to this is the monolithic elephant suggestive of the Gajapristhakara (elephant back) shape representing an apsidal temple.

In this video you can watch PM Modi and Chinese President Xi Jinping visiting following places:

UNFINISHED ROCK-CUT CAVE TEMPLE NORTH OF KRISHNA MANDAPA

Beyond Krishna mandapa is a large cave-temple known as Panchapandava mandapa.This cave-temple would have been the largest of all cave-temples of the Pallavas. On stylistic grounds, it may be placed later among the Mamalla style cave-temples in the period of Paramesvaravarman I (672-700 CE). This cave-temple has six lion pillars and similar pilasters at either end are finished. The brackets above the capitals of these pillars are decorated with lions and griffins with human riders. Even in its unfinished stage, this cave temple is unique. Its sanctum was designed to have a passage all around the exterior, so that it would be possible for circumambulation of the sanctum.

ARJUNA’S PENANCE

This magnificent bas- relief popularly called as ‘Arjuna’spenance’ suggestively depicts the story of ‘Kiratarjuna’, of the great epic Mahabhartha. The panoramic view of the life in the forest is aptly sculptured here in the two large boulders. The cleft between these two boulders is brilliantly utilized to show the flow of the river Ganga which is evinced by the presence of Nagas and Naginis. The great event of obtaining the weapon pasupatha from Lord Siva by Arjuna, one of the heroes of Mahabharatha is portrayed. This event witnessed by the three worlds reveals an overall view to visitors. A man with emaciated body and long beard engaged in severe penance standing on his right leg is identified with Arjuna. While Lord Siva with trident standing majestically above his right side appeared in front of him to bless Arjuna with the weapon. All Semi Gods and Goddess are rushing towards the central point to witness the great event. Below this scene on the same side, a small temple dedicated to Lord Vishnu is shown. In front of the temple, sages are engaged in Yoga and Tapas and Brahmins are doing mid day rituals known from their paryanka granthi and suryapasthana (Madhiyana sandhi) posture respectively. The depiction of forest life is interestingly portrayed here. Some scholars identified this panel with the story of Bhagiratha bringing the Ganges to the earth ( Descents of Ganges). According to them, the representation here is that of Bhagiratha’s penance and Siva granting him the desired boon by agreeing to release Ganga from his locks, the scene representing the descent of the river from the jungle covered hills in the joyful presence of the gods.

MONKEY-GROUP

This is a tiny but realistic carving of a group of monkeys a family consisting of a father, mother and child. One of the parents is removing lice from the head of the other, while the little one is resting on the lap. An excellent example of mastery of Pallava sculptors over depicting animals.

GANESHA RATHA

This monolithic temple, dedicated to Siva, is known as “Atyantakama Pallavesvaram” from the inscription of this temple. The title “Atyantakama”is to be identified with Paramesvaravarman-I (672-700 CE) and some scholars believe that this ratha belongs to the period of Narasimhavaraman-I (630-668 CE) on stylistic basis. The former identification is more convincing as Paramesvaravarman-I continued the tradition of carving of monolithic temple initiated by Narasimhavarman-I at Mamallapuram. This monolithic temple isrectangular on plan and has a dvitala salavimana. The adhisthana is not defined. The walls are punctuated by plain Visnukanta pilasters. The gable- ends of the sikhara have miniature models of vimana as in the case of Bhima Ratha.The narrow mukhamandapahas two lion-pillars in the centre and two lion-pilasters and is flanked by two dvarapalas at either end.Since there is a Ganesha image inside the shrine, this monolithic templeis called asGanesha Ratha.

KRISHNA’S BUTTERBALL

More than an archaeological, Krishna’s butter ball is a natural monument. It is a gigantic granite boulder delicately balanced by nature on the slope of the hillock. The boulder is approximately 6 meters high and 5 meters wide and weighs around 250 tons.

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PM Narendra Modi was dressed in South Indian traditional dress. PM Modi guided Chinese President through the walk covering the places listed above. Both leaders then visited Panch Rath and shore temple sites in Mahabalupuram.

This group of Monuments at Mamallapuram was declared as a World Heritage Site by the UNESCO in the year 1984, in recognition of its outstanding universal value, contribution to humanity in the field of art and architecture.

Name Mahabalipuram derived from Mamallapuram, “the city of Mamalla”, a title of Narashimavarman I (630 to 670 CE), the great Pallava ruler of the seventh century, who was responsible for most of the rock-cut temples and carvings at this place.

 

PM and Chinese President, Xi Jinping visit Shore Temple monuments in , Tamil Nadu.

PM and Chinese President, Xi Jinping visit Shore Temple monuments in , Tamil Nadu.

PM and Chinese President, Xi Jinping at Arjuna’s Penance and Krishna’s Butter Ball in , Tamil Nadu.

PM and President Xi Jinping are at the Pancha Rathas complex in Mamallapuram.

PM welcomes President Xi Jinping at Arjuna’s Penance in Mamallapuram, Tamil Nadu.

PM & Chinese President Xi have a quiet conversation at the ‘five chariots’ at . The monuments resemble processional chariots of a temple and are hewn out of solid rock to form five free-standing monolith temples.

Standing together and tall! PM and Chinese President Xi Jinping at Krishna’s butterball, a gigantic granite boulder sitting firmly on the slope of a hillock.

Earlier

Chennai: Countdown for second informal summit between India and China is on. Prime Minister Shri Narendra Modi arrived at Chennai airport today morning to attend India China second informal summit with Chinese President Xi Jinping at Mahabalipuram. Shri Modi was welcomed at airport by Tamil Nadu Governor, Chief Minister and others. Shri Modi straight away boarded a chopper of Indian Air Force to reach Taj Hotel on sea side of Mahabalipuram where Chinese President Xi Jinping will be reaching in the afternoon today. In recent time, this is second visit of Shri Modi to Tamil Nadu. He had lastly visited IIT Madras Convocation function in Chennai.

Jinping arrives at Chennai airport, accorded grand traditional welcome

Mamallapuram as venue

PM Modi drives home the message of India’s central civilizational role in global culture, commerce and trade flows

1. These monuments show that India has always played a central civilization role in global trade and commerce.

2. The monuments/temples visited today are all 1300 years old. But they are not museums; they are all living monuments. This apart from showing our civilizational heritage shows our ability to live in harmony with nature.

3. The ability to live in harmony with nature is also reflected by the monuments themselves. For instance, at Arjun’s Penance, not one of them is a hunting scene. There are 20 scenes of animals, but there is none of violence etc. This reflects the spirit of mutual harmony and peaceful coexistence that embodies Indian culture and civilization.

4. Today evening cultural performance will reflect India’s cultural richness and diversity. The function has been put together by India’s premium
Cultural Group-Kalakshetra that was set up by Ms. Rukmani Devi Arundale in 1936.

In menu this evening

President Xi Jinping to get a ‘Taste of India’ with a special focus on South Indian delicacies tonight.

At a special dinner hosted by PM Modi in honour of the Chinese President in Mamallapuram this evening, the choicest of Indian culinary delights will be on display. The special focus of the evening will be to showcase diverse cuisines of South India.

From Thakkali Rasam to Arachavitta Sambar;  from Kadalai Kuruma to Kavanarasi Halwa, the menu on offer will reflect the sweeping diversity of South Indian culinary traditions. From Chettinad to Karaikudi, all regional cuisines will be represented at the visiting dignitary’s dinner table tonight.

Cultural performance

 

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DeshGujarat