Indian Columbus

I have been documenting the Kanheri Caves through a series of detailed articles. In earlier parts, I explored the architectural layout and sculptural grandeur of Cave No. 3, covering its majestic entrance, the imposing pillars within the Chaitya hall, colossal Buddha images, donor couple sculptures, extensive sculptural panels along the verandah walls, the central stupa, lion-crowned pillars, votive stupas, some of the earliest Buddha figures and started explaining the inscriptions found in the site. This is the 15th article in the series. In this part, I continue focusing on the inscriptions found in and around Cave No. 3, which add another layer of depth to our understanding of the site’s history, patronage, and Buddhist affiliations. Inscription 6  This inscription is engraved on a  small bas-relief stupa  located on the  right side wall outside the verandah  of  Chaitya Cave No. 3 . The votive stupa itself is modest in scale and carved directly on the r...

I have been documenting the Kanheri Caves through a series of detailed articles. In earlier parts, I explored the architectural layout and sculptural grandeur of Cave No. 3—covering its majestic entrance, the imposing pillars within the Chaitya hall, colossal Buddha images, donor couple sculptures, extensive sculptural panels along the verandah walls, the central stupa, lion-crowned pillars, votive stupas, and some of the earliest Buddha figures found in the site. This is the 14th article in the series. In this part, I begin focusing on the inscriptions found in and around Cave No. 3, which add another layer of depth to our understanding of the site’s history, patronage, and Buddhist affiliations. Inscription No. 1 This large and prominently carved inscription is found on the right-hand gatepost of the Chaitya, as viewed by an approaching visitor. Characters : Brahmi script, 2nd century CE Language : Prakrit Content :  The inscription is significant on many levels. It records t...

In my earlier installments, I explored the architectural layout and sculptural richness of Cave No. 3 at Kanheri, including its entrance features, massive interior pillars, colossal Buddha images, donor couples, and numerous sculptural panels adorning the verandah walls. In this article, I continue my exploration of Cave No. 3 by stepping into the inner hall, where unfinished stonework, votive stupas, and one of the earliest depictions of the Buddha in western India await our attention. As previously discussed, Cave No. 3, also known as the Chaitya Cave, faces west and houses a spacious apsidal prayer hall. The hall comprises a central nave and two side aisles, supported by a total of 34 stone pillars . Several of these pillars remain unfinished, suggesting that work was left incomplete, possibly due to changes in patronage or shifting priorities. The twelve pillars near the hall’s entrance, six on each side, are stylistically refined, featuring a tiered base, octagonal shaft, cushio...

About 13 kilometers from Tirunelveli lies the heritage-rich village of Krishnapuram , renowned for its grand Venkatachalapati Temple . Local tradition believes that this 16th-century temple serves as an alternative for those unable to visit Tirupati. However, Krishnapuram offers more than spiritual solace—it is a living museum of Nayaka-period art. While many temple articles begin with the presiding deity or sthala purana, the true calling card of Krishnapuram is its life-sized sculptures , carved with unmatched finesse. With photography prohibited inside the temple, witnessing these works in person becomes an unforgettable experience. This is the eighth article in my ongoing series on the temple. The first six focused on the six sculpted pillars of the Veerappa Nayakka Mandapa . In the seventh article, I introduced the two northern-facing pillars at the eastern end of the Mukha Mandapa . This episode begins with the third pillar from the east , which also faces north. Third Pilla...

Right in the center of White Town, Pondicherry’s historic colonial quarter, lies Bharati Park – a tranquil green space that offers a gentle escape from the bustle of urban life. Located in the heart of White Town and bordered by streets such as Rue Romain Rolland and Rue Saint Louis, this park is not just a spot for relaxation, but also a silent witness to centuries of history, colonial transitions, and civic pride. A Historical Backdrop In the early 1700s, the French captured the Puducherry region from the Dutch and soon constructed Fort Louis , a well-planned fortification with defensive walls and bastions to protect their new settlement. This fort became the administrative and military center of French power in the region. However, during the Carnatic Wars in the 1760s, the British forces defeated the French and demolished Fort Louis , leaving behind only fragments of its once-imposing structure. For many decades after, the area remained an open ground, occasionally used for ...

Tucked within the serene expanse of Bharati Park , surrounded by well-manicured lawns, blooming flowers, and tall swaying palms, stands a striking ivory-white monument — Aayi Mandapam . Located just a few minutes’ walk from the Promenade in what is now known as White Town , this elegant structure might easily be mistaken for a colonial arched gateway at first glance. But beyond its European-style architecture lies a powerful story of sacrifice, resilience, and unexpected legacy. Who Was Aayi? Aayi was not royalty, nor a noblewoman. She was a courtesan from the 16th century. The legend goes that during one of his visits to the region, the Vijayanagara King Krishnadeva Raya mistook her well-lit and ornate home for a temple and stopped to offer prayers. Upon realizing his error, he felt deeply humiliated. Enraged, he ordered that the house be demolished. Faced with shame and heartbreak, Aayi pleaded for a chance to make amends. She offered to tear down her own home and requested permi...

In the heart of Puducherry, just opposite Bharati Park, stands a statue that often catches the eye of visitors. It is the life-size figure of Édouard Goubert , a man whose contributions to the city’s history were both complex and significant. The avenue leading to the beach also bears his name — Goubert Avenue — a tribute to a leader who played a crucial role during a turning point in Puducherry’s political journey. Early Life and Education Édouard Goubert was born in Pondicherry on 29 July 1894 to a French father and a Franco-Indian mother. He grew up in a world where French culture and Tamil heritage coexisted, a blend that would later shape his political vision. Goubert pursued his early education in French Indochina and went on to study law in France , equipping himself with both European academic credentials and a deep understanding of colonial governance. Political Career and Ideological Shift In the early days of his political life, Goubert was a staunch supporter of Fren...

Puducherry, with its rich blend of Tamil roots and French flair, has long stood out as a cultural mosaic. A visit to the Puducherry Museum , located near Bharathi Park and the Governor’s residence, offers a deep and fascinating look at this unique heritage. Established in 1983, the museum serves as a gateway to understanding the city’s layered past — from ancient geological formations to the colonial grandeur of French India. French India Gallery – A Glimpse into Colonial Elegance As you enter the museum, you’re greeted by the French India Gallery , which is arranged in segments that recreate the refined interiors of colonial office rooms, complete with vintage furniture and décor. In the central section is a replica of a chair once used by Governor Dupleix, a name deeply intertwined with the city’s colonial history. Among the striking displays is a hand-operated Gutenberg-style printing press , once used in the Imprimerie du Gouvernement . Next to it are journals and books printed ...