This is not a review. There is no point writing reviews for these two movies because you know you are gonna watch them anyway.(Plus Ravi has reviewed Shatakarni here already). This post is just a few stray thoughts that sprung to my mind while watching these movies.
And of course, spoilers galore – especially for Gautamiputra Shatakarni. You have been warned. Continue reading
This is the last post in my three-piece series about Andhra Mahabharatamu and the three poets who contributed to this epic project that spanned almost to 3 centuries. The first two posts were on the contributions of Adikavi Nannayya and Tikkanna Somayaji.
With Tikkanna Somayaji’s marathon contribution, the Andhreekarana of Mahabharata was almost complete, except for the second half of the Aranya Parva left incomplete by Adi Kavi Nannayya. Some scholars opine that a superstition was the reason that Tikkanna stayed away from this part. Others opine that the difference between the styles of both, made him put off writing the remnant chapter. For all we know, it might be the lack of inspiration! Knowing the reformer and the political mind Tikkanna is, it is highly unlikely that he would have given in to a superstition and left out the small part. About fifty years after Tikkanna, the remaining half of the Aranya Parva was taken up by Yerrapragada, or Yerrana. Continue reading
This is in continuation to my last post on Andhra Mahabharatamu. This post will dwell on Kavibrahma Tikkanna Somayaji, who continued the Andhreekarana of Mahabharata, which was left incomplete with the death of Adikavi Nannayya.
Picture source: Internet
Tikkanna Somayaji lived in the thirteenth century CE during the Kakatiya period. The socio-political conditions in which Nannayya and Tikkanna lived were totally different. Nannayya’s aim was to give an intellectual response, rooted in Vedic philosophy, to the Jain supremacist arguments put up by earlier poets. However, Tikkana’s inspiration sprung from the divisions in society arising due to extremist elements of different faiths. Continue reading
(Read Part 2 of this series here.)
Whenever the Vedic legacy faces a crisis, the fifth Veda, which is the Mahabharata, takes a new shape to redefine Dharma.
This is a loose translation of a statement made in the preface to the Andhra Mahabharatamu edition by Tirumala Tirupati Devasthanams (TTD). The conditions that led to the composition of Andhra Mahabharatamu validate the quote. The Telugu version of the epic Mahabharata has a unique distinction of being composed by not one, but three poets belonging to three different generations. It took close to 300 years for this book to reach completion. These three poets are collectively called as Kavitrayam (“Poet Trinity”) among the Telugu literary sphere. The scope of this post is to observe the conditions that inspired each of the poets to take up this work. Continue reading