From Haridasu Tradition to Venkatadri Mudi

The Haridasaru movement was ushered in by the Haridasas (literally “servants of Lord Hari”) and took shape during the 13th–14th century CE, prior to and during the early rule of the Vijayanagara Empire. The main objective of this movement was to propagate Dvaita philosophy. The Haridasas, also known as Maladasas and Maladasaras, are a group of devotional singers who perform Harinama Sankirtana and Vaishnava hymns during the month of Dhanurmasam (December–January) in Andhra Pradesh. They visit households chanting the holy names of deities such as Rama, Krishna, and Govinda, and bless the householders who offer alms by saying Ramarpanam, Krishnarpanam, and Bhagavatarpanam.

During Dhanurmasam, the Haridasas wake up early in the morning, take a holy bath, and apply sacred markings such as Nosata Tirumani, Thiru Churnam, and Pattenamas. They dress in traditional attire, including a white or kashaya panche (dhoti), a folded shirt, a waist cloth, anklets, garlands, and a kalash (Akshayapatra) on their head. Carrying a tambura on their right shoulder and chitikelu (small cymbals) in their left hand, they go from house to house singing Harinama Sankirtana. They return home by noon and partake of their meal only after bathing again and completing their daily puja.

The Haridasu (literally “the servant of Hari”), who wanders the streets of Andhra Pradesh and Telangana during Dhanurmasam, is known for dressing in bright saffron attire adorned with garlands and traditional accessories. Their appearance resembles that of Sage Narada, the supreme devotee of Lord Vishnu. According to legend, Lord Vishnu once took this form during Dhanurmasam, which culminates in Sankranti. To honour this belief, the Haridasu dresses in this manner every year and walks through the streets singing praises of the Lord. Playing traditional instruments and carrying a vessel atop his head, the Haridasu sings in pure Telugu and Sanskrit, narrating verses with clarity and melodious intonation.

Unfortunately, due to challenges in the rural economy, the livelihood of the Haridasas has been adversely affected. Their performing arts are not always valued or supported, making it difficult for them to sustain this ancient tradition. As a result, some have been compelled to abandon their ancestral profession. It is important to support and encourage the Haridasas and their devotional art so that this heritage continues and receives the recognition it truly deserves. From this Haridasu tradition, the Vairamudi/Venkadadhri Mudi model may have drawn inspiration, as the vessel they carry on their head symbolically resembles the Akshaya Patra, associated with abundance and fulfilment of desires.

During the Garuda Seva held on the full-moon day of the Vaisaka month in 1858, the distinguished crown was ceremoniously adorned on Sri Varadaraja. This crown, later known as the Sri Venkatadri Crown in honour of its donor, continues to embellish the deity and is revered as the “jewel among jewels.” According to tradition, on the night of this significant event, the divine consorts Sridevi and Bhudevi appeared in Sri Venkatadri Swami’s dream and expressed their desire for similar ornaments. With their divine grace, he accomplished this task effortlessly, and Kanchipuram soon witnessed a resplendent procession of the Lord and His consorts, each adorned with exquisitely crafted diamond and ruby crowns. Comparable crowns can also be found in other major Vaishnava centres such as Tirupati, Melkote, Triplicane, and Srirangam.

In Melkote, it is traditionally believed that the crown now known as Vairamudi was originally referred to as Vainamudi, a name symbolically linked to the sacred feet of Lord Vishnu (Vainam). Over time, this name evolved into its present form. A well-known legend adds further sanctity: Garuda, the divine mount of Vishnu, is said to have tested the crown on various forms of Perumal and found it perfectly suited only to Melkote Selvappillai, upon whom he finally placed it.

The Melkote Vairamudi Seva is celebrated annually in the month of Panguni under the auspicious Pushya star. This ritual commemorates the divine moment when Perumal, mounted on Garuda, is adorned with the Vairamudi brought by Garuda himself.

The Vairamudi Festival transcends its role as a ceremonial adorning of the crown; it stands as a profound testament to centuries-old devotion, ritual continuity, and collective faith. Renowned as one of Karnataka’s most spiritually significant festivals, its highlight is the nocturnal adornment of the sacred diamond crown upon the idol of Lord Cheluvanarayana Swamy. This is followed by a grand night-time procession, witnessed by thousands of devotees who gather to behold the Lord and receive His blessings.

Given its sanctity, the Vairamudi crown is not housed in the temple throughout the year. Instead, it is securely preserved in the government treasury at Mandya. Annually, it is transported to Melkote under stringent security protocols, and even the officiating priests are not permitted to view it during transit. The crown is ceremonially placed on the deity only once a year, during the Vairamudi Festival. Structurally, the Vairamudi closely resembles the Venkadadhri Kondai, sharing distinct aesthetic and iconographic features.

Similar types of crowns can also be observed in both Vishnu and Shiva temples, particularly across the northern regions of Tamil Nadu, indicating a broader iconographic and ritual tradition associated with regal headgear in South Indian temple worship. From the college tradition, we can see that the continuity of this practice still exists today.

--Ramu. Rm.N

ner kiridam

The artistic heritage of South India is richly adorned with distinctive ornamentation styles, among which the Ner Kridam occupies a significant place. Recognised by its tall and upright structure, this crown is one of the most graceful and authoritative headdresses seen in temple sculptures, bronzes, and paintings of Hindu deities. The term itself denotes a straight or vertically rising crown, symbolising divine supremacy, spiritual ascension, and the regal nature of the deity.

The most striking feature of the Ner Kridam is its elongated, elevated form, which rises from the head in a straight, unbroken line. Unlike rounded or hemispherical crowns, this one stands tall, forming a visual pathway that draws the devotee’s gaze upward. Thus, the very shape of the crown becomes symbolic of the soul’s journey toward higher realms.

Structurally, the Ner Kridam is composed of multiple ornamental tiers, usually three, five, or seven, each decorated with intricate designs such as lotus petals, beaded garlands, and miniature filigree patterns. These layers add richness, texture, and depth, reflecting the exceptional craftsmanship of South Indian artisans. The base of the crown is broad and fits gracefully around the head, tapering gradually towards the top, which ends in a refined sharp point called sigamani or a gently flattened tip. This tapering form enhances visual balance, creating both stability and elegance.

The decorative elements of the Ner Kridam  elevate its majesty. Gold bands, gem like motifs, beaded rows, and traditional symbols such as the chakra and shankha often embellish the crown, emphasising divine and royal authority. It is not merely an ornament but further a deliberate artistic expression of cosmic kingship. Deities adorned with the Ner Kridam are portrayed as supreme rulers of the universe, radiating sovereignty and spiritual brilliance.

Historically, the Ner Kridam can be traced through the sculptural traditions of the Vijayanagara period from the 14th century onward, with each artistic era contributing refinements to its form. Early Vijayanagara sculptures portray the crown with smooth, graceful tiers, while later Nayaka works introduce heavier ornamentation. The medieval Vijayanagara phase adds even more elaborate and richly detailed patterns, reflecting the opulence of the time. In paintings, especially Tanjore and Mysore art, the Ner Kireedam appears with shimmering gold layers, capturing the resplendence of divine royalty.

Araiyar Tradition the Ritual Headgear

The headgear depicted is known as the Araiyar Kulla or simply the cone crown. This crown forms the most distinctive part of the ritual attire worn by the Araiyars, a hereditary community of temple performers in the Sri Vaishnava tradition of Tamil Nadu.

Visual Decoding of the Crown: The crown is tall and conical, resembling a mitre. It is structured to sit firmly on the head during movement and is typically made of stiffened cloth covered with coloured velvet or silk. In the collage, we observe that the patterns are plain and without detailed ornamentation, similar to the simpler crowns depicted in Vijayanagara royal sculptures of the southern states. As crowns were associated with both royalty and divinity, this royal aesthetic naturally influenced temple ritual costumes.Thus, we see that this tradition has survived through the centuries in Araiyar Sevai performances in Vaishnava temples such as Srirangam, Srivilliputhur, and Madurai Azhagar Kovil. In Araiyar crowns, the most prominent front feature is the Tiruman, marking the wearer as a servant of Vishnu.

In Saiva temples such as Tiruvannamalai and Tiruvanaikaval, the zari motifs on the thoppi or kulla change according to sectarian traditions. At Tiruvannamalai, the crown is worn during special festival days like Brahmotsavam, while at Tiruvanaikaval the priests wear the crown daily during the noon rituals.

At the very top of the crown sits a metallic finial, often made of brass or copper, called sigamani, symbolising the sacred status of the wearer. The crown often includes distinct ear flaps, continuing the design seen in Vijayanagara crowns.

Examples from Temple Treasuries

In the collage, we see golden crowns from Kanchipuram Varadaraja Perumal Temple and Tiruvannamalai Unnamulai Amman.The Varadaraja Perumal Ner Kireedam, crafted from thick gold sheets, features a tapered cylindrical structure rising to a rounded tip with a lotus bud shaped sigamani. The surface is embellished with repousse work, showing stylised mango motifs and intricate floral vines. The blend of warm, hammered gold and the brilliance of gem set borders creates an aura of opulent spirituality and timeless power.

Similarly, Unnamulai Amman’s crown is entirely made of gold and studded with Burmese kemps and polki stones, a true masterpiece of temple jewellery craftsmanship.

Royal and Monastic Parallels

In the collage, a bronze idol of Krishnadevaraya shows a similar crown, though with simpler workmanship. By contrast, the crown worn by the Sringeri Shankaracharya Sri Bharati Tirtha during Vijayadashami Darbar displays extraordinary craftsmanship. This crown has a conical silhouette tapering toward the top, reminiscent of Vijayanagara royal headgear.

The apex bears a golden finial shaped like a budding lotus, symbolising spiritual peak and auspiciousness. Though the core is stiffened cloth covered with velvet, the surface is fully concealed by dazzling gold embellishments, ruby and emerald pendants, and heavy metallic embroidery. This headgear stands as a masterpiece of traditional artistry. Similar crown styles appear widely in Tanjore and Mysore paintings, showing the endurance of this crown pattern.

--Rañmu.Rmm.N

pandiyan kondai

Namperumal of Srirangam is revered as a majestic and glorious Emperor  the king of all kings according to Vaishnava tradition. Among the many rulers who served Him with devotion, King Jatavarman Sundara Pandiyan I (1250–1284 CE) stands out for his immeasurable love and dedication toward Lord Ranganatha.

The most resplendent of his many contributions is the gold plating of the Pranavakara Vimanam, which continues to shine like a divine crest-jewel. Because he rendered numerous services using gold, he earned the honorary title “Ponmeynda Perumal Sundara Pandiyan Devar” — the king who adorned the Lord with gold.

Another significant service offered by Sundara Pandiyan is the introduction of the Pandiyan Kondai, the special crown worn by Namperumal. During Vaikunta Ekadashi and on occasions when He gives Thiruchchi (procession) along with the Ubhaya Nachiyars, Namperumal adorns this distinguished headgear.

The Pandiyan Kondai currently in use was reconstructed in the 19th century by a devotee named Venkadadhri Swamigal, after the original one deteriorated. Today, the Ranganathar Temple preserves two variants of this sacred headgear:

1.Ratina Pandiyan Kondai – crafted in gold and studded with precious stones such as rubies, emerald and blue sapphire.

2. Muthu Pandiyan Kondai – made with Basra pearls and tiny stone worked pendent elements. This version is often used in processions and features intricate workmanship.

As the Pandiyan Kondai is regarded as a royal ornament, it later inspired several other Vaishnava temples, where similar headgear came to be used during temple processions and special occasions.

The representation of the Pandiyan Kondai has been understood through references from sculpture and bronze icons in the college. A notable example is the depiction of Jatavarman Sundara Pandiyan I in the Chidambaram Temple, where the king is shown with a right-side bun, interpreted as shown as artistic perspective to showcase the hair bun . Similarly, the celebrated bronze image of Nammalvar in Srirangam shows a distinct topknot that closely resembles the shape of the Pandiyan Kondai.

This sculptural hairstyle is typically a simple elegent coiled topknot, an ancient method of securing long hair. The bun is positioned at the top of the head with a slight forward tilt and appears compact and rounded, tapering gently at the top. A decorative band possibly pearls or beads encircles the base of the bun, signifying adornment associated with royalty or divinity.

Similar hairstyles can be observed in several Alvar bronzes, suggesting that this iconic headgear may originally have drawn inspiration from common traditional hairstyles, later refined into a royal and divine emblem.

-- Ramu Rm N

agasthiyar kondai

Throughout history and across cultures, has served as a powerful medium for personal expression, social status, and spiritual belief. In the rich tapestry of South Indian traditions, particularly in Tamil Nadu, hairstyles are not merely aesthetic choices but are deeply intertwined with cultural narratives, religious iconography, and regional identity. This exploration delves into two distinct yet equally significant hair bun styles

Agasthiyar Kondai

The Agasthiyar Kondai is not a simple circular coil; it has a distinct, almost symmetrical shape that flares out on the sides, resembling a stylized bow or a large, flattened fan. This requires considerable hair length or the use of hair extensions or padding to achieve such volume and form. The neatness and defined shape suggest a carefully constructed style, likely using pins, ties, or even internal support to maintain its form. These buns were predominantly depicted on sages in Nayaka period sculptures of worshiping rishis, and rishis around Dakshinamurthy. In Southern Tamil Nadu, especially in Courtallam (Kutralanathar Temple) and the Tirunelveli region, this hair bun style can be observed on sages. This bun is particularly associated with Agasthiyar. In this collage, I have attached pictures of bronze statues and sculptures featuring this similar "kondai." This style was mostly common among men.

Visirikondai

The "Visirikondai" is a classic, rather informal hair bun technique, particularly effective for hair with natural texture, resulting in a relaxed aesthetic. This style was quite common among women in the Southern Tamil Nadu region until the mid-20th century, though it is very rare to see it nowadays.

The process begins by gathering the hair into a high ponytail, designed to keep hair off the neck and create lifted volume at the crown. The gathered hair is then twisted in preparation for coiling. This twisted section is subsequently wrapped around its own base, forming the circular shape of the bun. The final step involves securing this coil firmly against the head with strategically placed bobby pins. The bun's appearance, with its visible texture and potentially a few wisps, suggests a technique that prioritizes ease and a natural look over absolute sleekness or precision, making it suitable for everyday wear. I've included a collage featuring the Kollangudi Karuppayi folk singer from Sivagangai district, showcasing this hair bun from different angles to illustrate its real-time appearance.

The Visirikondai is almost always adorned with fresh flowers, particularly jasmine or "kathambam" garlands, which are often draped around the bun itself, enhancing its beauty and fragrance. Occasionally, traditional gold hair ornaments (like "rakodi" or "chandraprabai") are placed on the bun, further accentuating its shape. "Kunjam" or "lolaku" ornaments were securely placed on the sides of the "kondai."

Agasthiyar kondai from vaitheeswaran kovil

This hairstyle is typically associated with women in Southern Tamil Nadu. As hairstyles often inspire deity crowns, we can observe similar patterns in the crowns used for processional deities in Shiva temples across the Tirunelveli, Tenkasi, and Thoothukudi regions. I've included a collage showcasing ruby-studded crowns – true masterpieces of traditional craftsmanship. These feature multiple tiers, each adorned with a rich array of gemstones, predominantly deep red rubies and emeralds, set in intricate gold filigree. The collage includes crowns of processional deities from Tirunelveli (Gandhimathi), Sankarankovil (Gomathi), Thiruvidaimaruthur ( Perunalamamulai ammai ), and Thiruchendur (Valli & Devasena). Each crown is unique in its workmanship and details. Due to its visual texture, this type of crown has also been referred to as "Agasthiyar kondai," but unfortunately, both are not the same. From these pictures, we can witness that the usage of headdress from deity to the common public is quite commonly done.

-- Ramu.Rm.N

Siamese twins in chettinad

Among the many eclectic decorative objects that once animated the opulent halls of Chettinad mansions, the porcelain figurine of Chang and Eng Bunker stands out as one of the most intriguing. These miniature representations of the famed 19th-century conjoined twins—whose lives gave rise to the term “Siamese twins”—were imported in large quantities during the peak of the Nagarathar trading era. As the Chettiars travelled widely across Southeast Asia for commerce, especially to Burma, Ceylon, Malaysia, and Singapore, they brought back not only wealth but also a remarkable array of foreign goods that found a place in their elaborately decorated homes. The figurines of Chang and Eng, often crafted in fine porcelain, became a symbol of elite cosmopolitan taste, embodying the community’s fascination with global stories, unusual personalities, and objects that signified their far-reaching commercial connections.

Chang and Eng Bunker (1811–1874), born in Siam (Thailand), were brought to the United States in 1829 and thrust into public view as exotic “Siamese Youths.” Presented in travelling shows across America and the British Isles, they were marketed as living wonders of nature, performing athletic feats and attracting crowds willing to pay to witness their extraordinary physical condition. Eventually, the twins liberated themselves from exploitative management and took control of their public image, presenting refined parlor exhibitions in English and earning substantial financial independence. Their later years were spent in North Carolina, where they married sisters, established a prosperous household, and fathered a total of 21 children—an unusual and much-discussed family structure that captivated public imagination.

The presence of their porcelain likenesses in Chettinad homes reveals more than an interest in curiosities; it illustrates a cultural moment when international trade, colonial-era spectacle, and domestic aesthetics intertwined. These figurines, displayed alongside Burmese lacquerware, European clocks, Japanese ceramics, and local Chettinad crafts, highlight how global encounters shaped the visual and material culture of the region. In this way, the Chettinad mansions stood not merely as architectural marvels but as living museums of a community whose identity was deeply rooted in both Tamil tradition and worldwide engagement.

--Ramu. Rm.N