International Research Journal of Tamil
Latest articles in this journal
International Research Journal of Tamil, Volume 3, pp 1-10; doi:10.34256/irjt2121
From the earliest days of the Tamil music tradition, music was considered to be a combination of vocal music, instrumental music and dance. Each of these musical genres is closely intertwined. Knowledge of one helps to know about the other. Instrumental music has been interpreted as accompaniment to solo music and dance and as a solo specialty. In Bharata's book 'Natyashasthram', musical instruments are generally divided into four categories as nerve (tata) hole (kasira) ¸ skin (avanatta) ¸ kana (kanja). In this context, it is a research paper on the history and use of the Nagaswaram and thavil instruments, which are referred to today as the Mangala Vaathyam, which the Tamils have merged with their culture. This article also examines in detail the ideological changes that have taken place over time in the use of these two musical instruments. At the same time, the use of these instruments in the sociological context is taken into account. Finally, this article is a historical study of the lineage of musicians who have mastered these instruments.
International Research Journal of Tamil, Volume 3, pp 18-26; doi:10.34256/irjt2123
Marriage is a kind of relationship that takes place in human life. A marriage takes place depending on the respective culture and tradition of a particular group of people living as a society. This is a process that takes place all over the world according to their circumstances. These circumstances reveal the prosperity of their cultural practices. In this case, the marriage ceremony of the tribes living in the Yelagiri hills of Tirupattur district depends on the old customs and traditions. This article goes to apply Richard M.Dorson’s folk cultural aspect theory to know the methods and record the marriage system as an essential part of these tribes.
International Research Journal of Tamil, Volume 3, pp 11-17; doi:10.34256/irjt2122
Every human on the is to develop knowledge in order to experience happiness satisfaction and peace. All living being draw life force from the comic naturally. Man exists by transforming the natural resources into things of use and comfort with the help of his skills and knowledge which is an art. Pranayama refers to the breathing techniques which cleans our Respiratory track and boost up the immune system. It is the dynamic bridge between body and mind. It brings the energy under the control and stabilise the flow of air into our body. Through which the body can observe the sufficient level of oxygen and improves the immune intelligence. This article discusses the importance and necessity of Pranayama practice in Ashtanga yoga for the human body and mind.
International Research Journal of Tamil, Volume 3, pp 273-280; doi:10.34256/irjt21131
This article is about the eloquence of the narrator Vadivel Mudaliar. Demonstrates his erudition and the strategies he has adopted in his speech. Texts are structured according to the purpose of the text and the background of the authors. The eloquence of each narrator varies according to the nature of the texts they handle. Vadivelu Mudaliar has written texts for Sivavakkiyar's songs on various strategies. In it, the text is stated based on semantic interpretation. He follows the principle of summation and adopts the technique of expressing multiple meanings in a word. Quiz-based narration is a method followed by Ilambooranar. He uses it in the songs of Sivavakkiya. The text is set up in the form of asking and answering a question. He has quoted from other texts and explained the verse in the form of a quotation mark. VadiveluMudaliar has written the lyrics for the songs of Sivavakkiyar Title, Explaining the relevance of the title and remove the sariyai, such as following the techniques.
International Research Journal of Tamil, Volume 3, pp 260-264; doi:10.34256/irjt21129
The universal unification of the Lord siva and sakthi was the result of creation of woman. The woman was glorified by the poets like valluvan, kamban, and Ilango and they were felicitated by Bharathi. "Panjali Sabatham" was a revengeful epic of Bharathi and he created Panjali as an eminent equivalent to the prisoned persona Seetha, and virally virtuous Kannagi. The speaking skill of these three characters was exhibited marvellously by the creativity of the poets. The object of this research is to exhibit the exuberant speaking skill of these characters. The argumentative speech of Kannagi to prove the innocence of her husband towards the Pandiya King and Seetha against the pleading Ravana, and Panjali who was ashamed by her relatives were taken for research. The research also brings out the heroic nature of these characters through their speech was the reason for the stability of these three epics.
International Research Journal of Tamil, Volume 3, pp 281-288; doi:10.34256/irjt21132
Ancient Tamils wrote epics with the fundamental objectives worthy of human pursuit, i.e., Aram (Ethics), Porul (Economy), Inbam (Joy) and vīdu (Heaven). Though the epics are not happenings of facts, they teach livelihood for generations. As Valluvar says ‘what is greater than women?’ Women perform the important part in Tamil society. They have capacity to administer family as well as the country efficiently. In Sīvaka Cinthamani, Thiruthakka Thevar establishes the hero Sivakan to the core. But depicts the women characters a little lesser than him. Women are attributed with gentleness. This research tries to bring out the excellence of such women.
International Research Journal of Tamil, Volume 3, pp 289-295; doi:10.34256/irjt21133
Chola kings of Sangam period are so great among the Chera, Chola, Pandiya kings, Vēlir (Heads of small territory) and philanthropists of Puranānūru. Their reigns seems to include the special features of modern democracy. They reformed the forests, improved the water resources and gave a good governance to the citizens. So, they were praised as “the kings of water resources”, “possessors of paddy”, “Chola kingdom has abundance of rice” etc., relating to the richness of their country. As they nipped the enemies in the bud it self they were called ‘killi’; ‘chenni’ as they had the leadership qualities and ‘Valaran’, as they ruled an opulent country. To know the greatness of Chola kings in total, Cholan Nalangilli has been chosen, whose dignity has been sung in fourteen poems in Puranānūru. This is like testing with a single cooked rice, the fitness condition of the entire pot. Bringing out the facts about the rule of Cholas, their charity, sympathy, valour, bravery, administrative skills, patronage etc., are the objectives of the paper.
International Research Journal of Tamil, Volume 3, pp 247-254; doi:10.34256/irjt21127
As a result of the proliferation of Short literary composition genres (Prabandas), various catalog texts (Paattiyal) arose as a continuation of the tradition of finding literature and giving grammar explanations therefor. Panniru Paatiyal, Venpaa Paatiyal, Chidambara Paatiyal, Navaneetha Paatiyal, Prabandha Deepika, Ilakkana vilakkam, Thonnuul vilakkam etc. and even some grammar books that deal with five grammar forms (Ainthilakkanam) are involved in this grammatical endeavor and have given grammar to different numbers of Short Literary Compositions. These numerical differences record the development of the literature as a result of the passage of time. This number extends from 54 to 360. This genre of 96 Short Literary Works can be attributed to the fact that the number system operating in the set tradition is also applied to Short Literary Works and to be a permanent one. The name of the literary genre, Kalambakam, is given in various ways by dividing its name. There are various reasons for the mix of 18 types of elements (15-21), the proliferation of many types of compositions, and the mixing of Agappaadalkal (Agam songs). This can be explained by the fact that the name is derived from a variety of hybrids rather than one character. Nandikkalambakam, the first and foremost of the Kalambaka literatures, was sung with the third Nandi Varman of the Pallava dynasty as the Leader of the song. 25 years Nandi ruled from (847-872) with Kanchi as his capital, the Pallava dynasty and the wars fought to expand the territory of many Nandikalambaka songs. Although there are some differences in the view of Nandivarman's reign, it is accepted by scholars that he belonged to the ninth century and that Nandi Kalambakam, who led him to the song, and the ninth century. Even though this literature is in our school and college curriculum, its literary style beauty and glossary competency are unknown to the so called scholars too. So this article tries to explain the above said features of the Nandhi Kalambakam.
International Research Journal of Tamil, Volume 3, pp 296-298; doi:10.34256/irjt21134
All of Kambar’s feminine characters were created on the basis of moral ethics. The purpose of this research paper is to highlight the high attributes of women like love, affection, division, chastity and sacrifice. This epic mentions about three less spoken women- Kosalai, Sumitrai and Mandotharai. The similarity is that these women are shown as substandard women, which still stands as an acceptable cultural standard for the women of the the present world.
International Research Journal of Tamil, Volume 3, pp 265-272; doi:10.34256/irjt21130
We come to know that this inscription was given in the 8th reign of the Sonadu Kondaruliya Maravarman Sundara Pandya Devan, with the great participation of his brother, Maravarma Kulasekara Pandian, who was worthy of the title Konerinmai Kondan. According to the Venetian traveler Marco Polo who set foot upon Pandya Nadu during the rule of Maravarma Kulasekara Pandyan, this place was famous for pearl harvesting and was also the vital seaport of the Pandya Nadu. The inscription depicts the succeeding Pandyas having friendly and business relations with the Sonagars to make the trade be carried on wonderfully with no issues. From the inscription, we come to know that Aiyan Malavarayan was the cause of the construction and deity worship related ceremonies that takes place in Sonakarpalli. It is also mentioned that the rulers remembered the royal attributes as dignified and not just ministers and subject to authority, which shows us the respectful traits of the Pandya kings. The people giving importance to the worship done by the Sornars (Muslim traders) as they worshipped their lord is quite well known by the inscription.