Saturday, December 20, 2008

14. Coup On Arts

Art! The essence of life. The taste of life. The fragrant of life. The beautiful way of expression of feelings is art.

I refer an example to you. While we are going on road, when we watch a pig in a ditch, drowning in mud, we feel hatred and turn our face towards other direction to avoid watching that scene. Though it is not giving bad smell, we don't like to see such dirty scene.

Suppose a photographer had caught it in camera, and exposed as a photograph in artistic way and put it in photo exhibition. We don't turn our face to other direction immediately from that photograph of pig in ditch. We look at it with a smile. There is a possibility to pass a comment like "It is a funny one" or "It's lively" or "Can't this photographer get alternate scene to capture in his camera?" any way we won't feel dirty.

Suppose a painter had drawn a picture of a pig in a ditch, and painted with beautiful & natural color and put it, in an art exhibition! We won't turn our face from that painting. We watch it without dropping the eyelash on our vision – we look at it with an admiration. There is a high possibility to pass a comment like "How natural this is!" or "The pig, the ditch, the mud, the dirty water drops on pig, everything looks as if they are real." Or "How talented this painter to imitate this as if it seems to be natural."

Any way we feel excitement and happy by watching it.

That is the magic of art.

Art can attract us. Art can mesmerize us. Art can teach us. Art can motivate us. Art can make us to think. Art has influence to change our attitude. Art can make us to joyful and to be pleasant.

In Indian life, every work, everything, every field had taken up to high maturity up to high standards, up to scientific i.e. shasthra level. To converse with humorous, with sensitiveness, with meaningfulness, itself is the art of talking. Sri Rama and Dharma Raja were described as Mrudu Bhashi and Satya Bhashi, which means Sweet talkative and Truth talkative persons. To make others to smile, to laugh is Chatura Kala i.e. the past role of now-a-days comedians. Telling a story, describing an incident, framing a story etc. etc. everything is the form of art. There was a general opinion among Indian women, the girl who ever is capable to make her eyes bright with kajal lines can be said as talented. Such girl knows the art of living. The life of both men and women in India, and every work in their daily life was filled with art, in previous. By knowing or unknowing, people used to practice them.

Before sunrise, Indian women used to draw rangoli in front of their house doors. Before sun rise Indian men used to melobon the oxen to work with them with co-ordination. Such that their daily life used to start with art form or work form. In their daily life, in their profession, art is the internal flow of their activities. Every farmer could feel thrust to show his art in tilling the field in parallel lines in perfect way. He could feel thrust to show his talent in sowing seeds, in planting little plants in rows and columns. Every housewife could feel to exhibits her talent in rangolies, in Mehandi drawing, in stitching, in embroidery work, in cooking food, in keeping house, in decorating the house, in receiving and serving the relatives and guests and in governing children. Every potter, every tailor, every weaver, every carpenter etc etc could try to establish their talents, skills through their work. This is quite natural characteristic of human beings, irrespective of time, irrespective of country, religion and society.

In fact, all human beings can be classified in to three categories. Satwa, Rajassu, and Thamogunas. Satwa could make the people, as thrustful towards working. Thamassu could make the people as thrustful towards laziness. That's why in Indian culture, all the arts could try their maximum level to motivate the people towards Rajassu and Satwam and to eliminate the thamassu from people. All the literature, epic stories, religions, traditions, culture and life style, in India, in ancient times could promote the people from tamassu to Satwam.

But now, all the art forms were nullified in the society and cinema & T.V. became monopoly of all arts, and that cinema is motivating the people to sink in thamassu. Regarding this, I explained in the topic, cinemas. Except sex, nothing is getting motivation in public by cinemas. I can discuss in detail.

Before that discussion, I want to describe about the ancient arts, which we got as in heritage.

Indian culture had taken all the art forms to high level, as Shasthra i.e. to technical saturation. They prescribed 64 arts forms. As the world knows, sex also had taken up to Sasthara level by Sri Vatsayana, as Shrungara Shasthram. Music, Dance, everything had taken up to matured level. Those art forms including literature etc were used to dedicate to God, with devotion and idealistic views. The art form must derive from feelings; it should not be like modern art.

I explain some good example and some stories to you.

అనగా అనగా..........

Once upon a time, there was a great man called Nana Faundnaveese in Poona Rajasthanam i.e. Kingdom. He was Deewan i.e. Minister there. He was very wise and sincere towards the king and kingdom. There was an idiom on his name as "Kab thak Nana, Thab thak Poona." That means, "Whenever Nana is there, up to then Poona will be there", such that he was governing Poona.

Once, to the court of king, a sculpture came with his 3 wooden dolls. The dolls were beautiful and very artistic. These were three women dolls carved with wooden painted with beautiful colors, decorated with colorful dresses and ornaments. A great surprise! Those three dolls were looking similar. They were 100% alike. There was nothing difference among them. Same size, same color combination, same shape, every doll is same to other dolls.

The wooden sculpture said "Maharaja! I request you to distinguish these dolls and identify them, which is very good. My request is to classify these 3 dolls, find the difference among them. With this request, I exhibited my dolls in so many kingdoms, but nobody could do it. If anybody full fills my request, in your court, I present these dolls to you. I request your good self to observe my talent and reward my art."

The king, courtiers were felt wonder. The sculptures, Painters, poets and other artists had examined the dolls. The others also tried but nobody could identify which doll was great among those three dolls. The king asked Nana Faudnaveese to try and to protect the respect of his kingdom.

Nana examined three dolls keenly. To eyes, to touch, to smell nothing difference among them. There were thin and little holes on the lips & ears of three dolls. Suddenly he got an idea. He asked the soldiers to bring some dry grass sticks. They brought thin dry grass sticks. Nana penetrates them into the ear holes of three dolls. In first doll, the stick penetrated through its ear hole came out of its mouth. In second doll, the stick penetrated through its ear came out of another ear. In third doll, the stick penetrated through its ear didn't come out.

Nana said "Maha Raj! Among these three dolls, the third doll is good. The second doll is okay. But the first doll is worst."

The wooden sculpture clapped his hands and said "Yes! Maharaja! I'm presenting the dolls to your good self."

The king felt wonder and asked "Nana! How did you decide such?"

Nana said "Maharaja! The said three dolls look alike, physically. But the first doll, the stick penetrated through its ear came out of its mouth. It represents people who propagate things & secrets whatever they hear. There is harm by such people. That's why I said that doll is worst. The second doll, the stick penetrated through its ear came out of its another ear. It represents people who leave the things and secrets whatever they hear. They won't remember them, understand them as well as they won't tell them to others. There is no harm, no benefit by these people. That's why I said the second doll is okay. But the third doll, the stick penetrated through its ear, didn't come out of it. It represents people who keep the things and secrets in mind whatever they hear. They won't leak it others. They understand the secrets, they remember the secrets. There is more benefit by such people. That's why I said that the third doll is the best."

All in court appreciated him. Sculpture said "Maha raja! The art must have the heart to feel. Your minister is very wise. He established my idea in this art. I'm very happy. Thank you very much."

The king felt happy and rewarded the sculpture and made him happy.

That's the entire story!

Such that art must be creating from feelings, emotions, in single word, art must be with heart. And art must be provocative feelings and emotions in the public.

Let us consider modern art of painting. Some paints will pour on the canvas and the paints will be spread by brush in any manner. But the modern artist insists us to imagine feelings in it. To imagine our selves, why should we feel from such color pouring on the canvas by an artist? Can't we imagine such, from color pouring by a kid?

The modern artist insists us to imagine something from nothing, inversely the cine vamps are saying, "sex appeal, sex vision is in your eyes. Not in my dance, not in my dress." What a contradiction argument is this? Such type of argument is the form of coup. There is nothing in the modern art of paintings. But we have to derive feelings from it. There is nothing dress on the vamps or heroines in movies. But we should not feel and say that it is the sexy expose of body.

In other words, arts were disappeared except the cinema and that monopoly art is bringing the man to animal status. Art is an energy which can motivate people from human being status to super being status. If arts are, discriminate to in quality, if the arts are ruined, people become emotionless, thoughtless, energy less and knowledge less. Then the only need of food and sex will remain in people, just like animals. Actually animals also are not like that i.e. without emotions and feelings. This status is least than that of animals. People in thamasam means, people in such status of emotionless and feeling less. Qualities in Arts were destroyed to lead people to this status. That is the coup planned and implemented by coup makers i.e. CIA, ISI, Ramoji Rao and their supporters.

In ancient India, even theft also had given a place, in 64 arts i.e. Chatushashti Kalahs. There were stories of thieves and thiefting. But in those stories, the art of thiefting was the hero, but not the thief. But in now-a-days movies like 'Super' and 'Dhoom 1&2' etc. the thieves are the heroes.

I narrate you a beautiful story in Bhatti Vikramarka stories.

Raja Vikramadithya, his brothers Bhatti and Bhrurthu Hari were historical characters. Bhatti & Vikramarka were the prime minister and king of Ujjain kingdom. They were devotees of Devi Kali Matha. They got boons to live 2000 years. Raja Vikaramaditya had a self- commitment to rule his kingdom for 6 months and to go on tour for another 6 months in country in every year.

During such tour time, once he faced a challenge to achieve a task. There was a beautiful young woman, famous as talk less beauty. There was a condition to marry her. The man, who wanted to marry her, had to make her to talk three times. In the part of such goal, Raja Vikramaditya made Bhethala, the leader of ghosts to tell stories and ask questions on them. Wantedly he had given wrong answers. He had provoked talk less beauty to give right answer and made her to talk like that.

In this context, king Vikramaditya made Bhethala to tell two stories and made talk less beauty to talk twice. In the third attempt, he asked the Dupatta i.e. covering cloth on the blouse, wore by women in Indian traditional dress, to tell a story to him as "Oh Payyeda! Your boss is not speaking. I'm getting bore. Time is not cheerful. So please tell me a story to lead time happily."

Bhethala inserted himself in the Payyeda and said "Sir! This beautiful lady had tied me tightly on her blouse with a golden ornament. I am facing – trouble to breath. How can I tell you story?"

With surprise, the talk less beauty, taken off her payyeda and dropped it on the floor. King Vikramaditya said "Oh! Payyada! Your boss is so kind lady. She released you. Now tell me a story."

Bhethala in Payyeda started the story.

అనగా అనగా..........

Once there was, a city called Kunthala Nagaram. King Gopala Varma was ruling it. Golaharudu was his Minister. There was a village, nearby Kunthala Nagaram, named as Mathangi puram.

In that village, there was a thief by name Karthi Keya. He had four sons. He put their names as Full thief, Three quarter thief, Half thief and Quarter thief respectively.

One day, early in the morning he called his fourth son, quarter thief and said, "Look my son! I want to know your capacity in doing theft. Show your robbered wealth to me before sunset of this day."

Quarter thief had taken leave from his father Karthikeya and reached Kunthala Nagaram. He approached a barber shop. By that time, the barber was shaving a customer. Quarter thief asked him "I want to have a shave. How much that you charge for that service." The barber replied "Anna! [That means six paisa]. Quarter thief said, "I have in urgency. If you shave me immediately, I will pay you Pavala [i.e. 25 paisa]". The barber requested his customer to whom he done half shave to wait for few minutes as "This man is paying me 25 paisa to immediate shave, please wait for few minutes. I do shave to this man and then I'll complete yours." The customer agreed.

The barber had done nice shave to Quarter thief. Quarter thief asked, "Do you have change for rupee?" the barber said "No sir". Then Quarter thief said "Well! Come with me to market road. I'll get change to give you Pavala."

When the barber got ready to go with him, the customer who was waiting with half shave stopped him as "Hai! Barber! You made me to wait. And now you are leaving me with half shave. Complete my shave and go."

The barber worried. Quarter thief said, "Why are you worrying? Send somebody with me to collect money." By watching the barber's son who was playing in front of the saloon, he continued, "Is he your son? Send this boy with me. I'll keep money in his dress and send."

The barber agreed. He asked his son to go along with Quarter thief to bring money. Quarter thief straightly went to a posh cloth shop. By watching his appearance the shop keeper thought that he might be a rich customer and received him with great respect. He asked the cloth shopkeeper to show costly saris: by keeping the barber's son in his lap. The cloth businessman had shown costly silk saris. Quarter thief selected around 30 saris of each costly 2000 to 3000 varahas. In those days, that much money means it is huge amount. He said with the shopkeeper, "Our family women are in choultry room. You know about the women nature in case of sari selections. I take these saris to show them to select. I will return the remaining saris and I pay for the selected saris. You send somebody with me."

Because that time was very rush time, so the business man was in trouble to send the sales man with him. Then Quarter thief said "Okay! Keep my son here. I'll come back within half an hour." The shop keeper accepted his deal.

Quarter thief took the packet of costly saris and left the shop. By another way, he reached his house and shown, the thiefted things to his father Karthikeya. He felt happy.

In the Kunthala Nagaram, the barber waited for his son and the cloth shop owner waited for his customer. After an hour, the shop keeper asked the barber's son "Where is your father." The innocent boy said "He is in the barber saloon." The cloth business man worried and asked his fallow men to tie the boy's hands and legs with rope. The poor boy frightened and started to cry with loud voice. Mean time, the worried barber came to the market road in search of his son. When he watched his son in cloth shop, he shouted "Hai! Why you are beating my son?" The shop man said "Oh! You are the co-fellow of the thief. Did you plan, one of you to theft the costly saris by keeping a boy here as security mortgage, and then the other person will come to take out the boy? I won't leave you both. Pay my bill and go. Otherwise I'll beat you."

Such that the quarrel started and the barber and cloth business man were beating each other and shouting at each other. People gathered there to watch, intimation gone to king's soldiers. They took both the men, along with the boy to the king's court.

After enquiring in detail, the king, and the minister could understand the cheat and theft. The king said "Both of you got cheated. Without enquiring whether your customer is the father of this boy or not, you had given costly saris to the thief. It is your mistake. Go and do your business with care."

Both the barber and cloth business man left the court. The king ordered "At day time, in busy market road, a thief succeeded to cheat people and to theft the things. It is ashamed of Kothwal of the city. [Kothwal means police commissioner of city] Within 24 hours, Mr. Kothwal, you have to find out the thief. The thief should be in prison."

By this time, in Mathangi Puram, Karthikeya called his third son: Half thief and said, "Your younger brother had shown his capacity of doing theft. I'm happy. You go to same Kunthala Nagaram, by this night itself. Before sunrise you have to show your talent to me. Make me happy by doing so."

Half thief took leave from his father and reached Kunthala Nagaram. He enquired people by pretending that he was a tourist to that city. People told him "In our city, today a thief had cheated a business man and theft costly saris. Our king was very angry about it. He ordered the Kothwal to arrest the thief within 24 hours. The Kothwal was already on duty."

Then he enquired about background and what about of the Kothwal. He was told "The Kothwal has a daughter. In the younger age i.e. at the age of six years, he performed his daughter's marriage. But the bride groom had left the house and gone somewhere. Now his daughter is at the age of 16 years. Since 10 years, he is searching for his son-in-law, but he could not find him. This is most unhappy thing to him".

Half thief thought about a plan. He dressed himself in rich appearance. He purchased new and costly clothes for the Kothwal, his wife and his daughter. He brought sweets, fruits, flowers and other gifts and reached the house of Kothwal. By that time, the Kothwal was ready to take his dinner. When he observed the Half thief's arrival, the Half thief put Namaskar to his feet and said "Father-in-law, how are you?" the kothwal was shocked. His wife rushed to there. He put another namaskar to her feet and said "Mother-in-law. How are you?" Both of the shocked and could not recall the memory of their son-in-law. They thought, "It was 10 years back. At that time our son-in-law was a boy. We can't recognize him after grown up. If we say anything wrong, he may leave our house again."

By thinking like this, the Kothwal and his wife received him with great respect, served him a delicious dinner. The Kothwal wife made up their daughter with gold ornaments. When the Kothwal was getting ready to go out, the Half thief asked, "Father-in-law, why are you getting to go out at this late hour?" The Kothwal said "My dear boy! Today there happened a theft in the city. The king ordered me to capture him. That's why I'm making move."

The Half thief said "Well uncle. I want to come with you. Let me see the city."

The Kothwal agreed for it. It was full moon day. Both the Kothwal and Half thief took rounds in the city and reached a junction, which was near to the Kothwal's house. There was a rock with holes. It was used to keep the hands and legs of a thief when he was caught at nighttime, before presenting him in court. There was a locking system in that rock which was called as Gudi Banda that means rock prison.

When they reached there, Half thief pretended innocence and asked "Uncle! What is this?" The Kothwal said, "It is Gudi Banda. We use it to arrest thief by keeping his legs and hands in these holes and we can lock it."

Half thief said "Uncle! It is strange. Let me see how it works. I'll keep my hands and legs in this, and you look it."

Kothwal felt embracing. He said "My boy! You are my son-in-law. I feel bad to do so. Do one thing. I keep myself in the holes of this Gudi Banda. You observe how it works. But take care. Don't lock it. I have no keys with me. The keys are at home. We need the keys in the morning only. That's why I kept them in house as precautionary of losing."

Then he put his hands and legs in the holes. Half thief pretended as observing its working and locked the Kothwal in the Gudi Banda. He said "Alas! Uncle! Sorry! I done mistake. It was locked."

Kothwal worried. He said "Go home and bring the key immediately. If thief comes by this time, we may loss an opportunity to catch him."

Half thief said okay to Kothwal and ran to his house. He said to Kothwal's wife "Aunty! Uncle had information that the thief was planning to come to robbery in our house. That's why he asked me to tell this information to you and bring all the wealth including money and gold to him to keep it in secured place."

Kothwal wife confused by this, she shouted at her husband "Hai! Shall I give him?" He thought about the key, and then in reply he shouted, "Send immediately." She thought about wealth, she packed all the valuables including money, gold and other things and gave it to Half thief.

With that packet, Half thief went to Kothwal and said, "Are you capable to catch holding me?" Kothwal shocked by it.

Just like a flash of light, Half thief vanished from there. He reached Mathanga puram and explained everything to his father Karthikeya. He felt happy.

In the morning, all the public, soldiers surprised at Kothwal in Gudi Banda. The soldiers released him from it. They went to the king. After enquiring all, the king was very angry. The Minister said "Cool Maharaja! This night, I'll try to capture the thief." The king accepted it.

Mean time Karthikeya called on his second son, Three quarter thief and said, "Your younger brothers had gone to Kunthala Nagaram and did robbery there. I'm happy about their talent. Now I order you to go to same city and show your art of theft."

Three quarter thief said "Okay father." He reached the city and stayed at a choultry. He enquired in the city among mob. Public had gathered in groups and were discussing about the thieves and Kothwal. When he enquired, somebody told about the incident of Kothwal, and the following Minister's commitment to capture the thief. In conversation, skill fully he enquired about the personal details of the Minister. He was informed that, "The Minister had an extra marital affair with a prostitute named Meenamba. She is living in the house number 2 in up street. The Minister comes to her house every night." He observed the appearance, behavior and voice of Minister by visiting the court of king like a citizen.

He collected the needful things and up to night he waited in his room. Then he dressed himself looks like Minister and reached Meenamba's house. That woman felt surprise and said "Every night, you used to come by late. Today you come early!" He said by imitating Minister's voice "Meenanba! I pledged to capture the thief today. But I had received an information that the thief is about to come to our house in my get up. That's why I came early to warn you. Bring a stick and rope to beat and tie up the thief. Pack all your gold ornaments, money and other valuables and keep them under our bed. Send out all the servants. They may be corrupted by the thief and they may help him. Hurry up. "Meenamba immediately done as he said. In the mean time he emptied the water in all pots and tubs which were filled with water to bath.

Within short time, the Minister entered into the house. Immediately, with the help of Meenamba, Three quarter thief had beaten the Minister with stick until he lost consciousness. He had tied his hands and legs with rope. He kept a towel in his mouth to prevent him to shout. He asked Meenamba to prepare for his bath. When she watched in the bath room, all the pots and tubs were empty. He said "I am very tired by fighting with the bloody thief. I must have bath." Meenamba said "Let us draw water from the well."

It was an old well. To draw water from it, there was a system of big and long bamboo known as Yatham. At one end of it, there was a big pot. At another end a man should climb. By walking in opposite direction water can be drawn from the well. Since all the servants were sent out, Meenamba climbed upon the bamboo stick. While holding the water pot, Three quarters thief had pulled off the sari of Meenamba. She was half nude on the Yatham. Three quarters thief left her there and went into the house. He had collected the wealth packet under the cot and went home. He explained everything to his father. Karthikeya felt very happy by noticing the talent of his son.

At the Meenamba's house, she kept calm, didn't shout for help because she felt ashamed being half nude. In the morning, when soldiers were searching for the Minister, they found him at Meenamba's house, in unconsciousness. They gave him medical treatment and all of they had gone to king's court. After knowing all the issue, the king felt very angry and said "you are all useless fellows. Today night, I will go to capture the thief."

Mean time, Karthikeya called on his first son, Full thief and said "My dear son. Your three brothers had exhibited their art of theft. I'm very glad about it. Today, you go to the Kunthala Nagaram, where your brothers had shown their talents. You robber there and show it to me."

Full thief said "Well father. I do my level best."

He reached Kunthala Nagaram and wandered on the roads to enquire into the matter of city news. He came to notice about the king's effort to capture the thief on that night. He purchased some mats, a lantern i.e. lamp, betel nuts and pan leaves etc. materials which were required to make pans. He waited until night.

After became dark, Full thief approached the entrance to the city. At certain distance to entrance gate of the city, he spread his mats kept some big bags in folders, kept betel nuts, pan leaves etc. in plates and sat there as if a business man of pans.

The king Gopala Varma, along with his soldiers was wandering on the roads of the city in search of thief. They went around the city and came to the entrance gate. At far they observed light of a little lamp. They approached there. They saw a pan merchant i.e. Full thief. With authoritative voice, the king said "Hai! Man. Who are you? What are you doing here by these late hours?"

Full thief said with trembled voice "Maha Raja! I am a small pan business man, doing my business here." The king suspected him and said "Tell me the truth. Otherwise, I will punish you. At this late night, who will come to you to purchase your pans?"

Full thief pretended as crying out with fear and said "Maharaja! Excuse me! Since three days, a thief is coming by this time in this way along with his group. He is purchasing my pans and taking rest on these mats for some time and giving me good amount of money. That's why I'm waiting here by this late hour."

The king said, "Do you know that, to help a thief, itself is a crime? I'll punish you."

Full thief fell on the feet of king and said "Maharaja! Leave me. I never do this again. Please leave me. I have wife and children, for their sake excuse me."

The king said "Okay. If you help me to capture the thief, I'll leave you. More over I reward you."

Full thief said "Sure Maharaja! I'll help you to capture the thief and his group. Time is approaching. He may come by this time. Ask you soldiers to go far and hide somewhere. If the thief watches others here, he may not come here. You hide here in this bag. When the thief come here, when he take rest, by appropriate time I will make whistle. Immediately you can come out the bag and you can catch hold of the thief."

The king accepted the plan. He ordered all his soldiers to go far and hide."

When the king got ready to enter in to the bag, Full thief said "Maha Raj! You remove your gold ornaments, and silk dress. Otherwise, they may emit light through the holes of this jute bag. The thief may suspect it."

The king was in anxiety to capture the thief. He obeyed Full thief's suggestion. He removed all his valuables and entered in to the bag. Immediately Full thief had bound the mouth of the jute bag with a strong thread, and beaten the king. He had blown off the lamp, and left that place, to his house.

Full thief approached his father Karthikeya and explained everything & shown the ornaments and costly dress of the king. Karthikeya felt happy and satisfaction about the talents of his sons.

In the morning, soldiers had searched for the king and pan merchant. They found the big jute bag there. They thought that the thief was caught and kept in it. When they opened it, they found king in it. The king felt ashamed and returned to his palace.

By completing the story, Bhetala in Payyeda asked king Vikramaditya "Sir! Now tell me, among four thieves, King, Minister, Kothwal etc who are more talented than others."

Wantedly Vikramaditya said, "The king, the Minister and Kothwal are more talented than the thieves!"

The talk less beauty irritated with such answer and said "No. No. The thieves are talented. Among the four, Full thief was more talented. He cheated the king that to on the consecutive incidents of theft. That means when the situation is alert he performed the theft. Hence he is more talented thief."

Because she broke her silence, Raja Vikramaditya won her and he got married her.

That's the entire story.

In the story, the thief is the hero of the story but not the thieves. But in movies like Super in Telugu, Dhoom 1&2 in Hindi etc give image to hero charectored and hero actors, such that they give wrong signals to innocent youth, and children that the thefting is also a type of heroism like eve-teasing in now-a-days.

In this context of art of theft, I narrate another interesting story to you.

అనగా అనగా..........

Once there was a kingdom called Anantha giri. King Anantha Varma was ruling it. Gopala Deva was his Minister.

In their capital city Anantha Giri, there was a thief by name Rae Chukka that means Night star. Nobody knows his appearance. But everybody knew his name and the mode of theft. In fact, Rae Chukka was very talented thief. He used to theft at night times. He was pretending as a small business man and living normal citizen life in the city. But business was only an over leaf cause. His real income source was thefting only.

Days were passed like this. Rae Chukka's wife, Nisi got pregnancy. Both the wife and husband felt happy. Rae Chukka said, "We are going to have a son or daughter. I must increase our wealth. So I'll go to our neighbor country, theft there and I'll bring enough of money.

His wife Nisi said "No dear. We have enough wealth. You please don't go by leaving me lonely."

He said "No dear. Don't fear. I'll return within two months."

Nisi disliked his proposal, because of his convince, she said "Okay".

Next day, Rae Chukka left to the neighboring country Mahindra Giri. Within two months, he done theft there in many rich men's houses, and he was about to return home. By that time, he saw a beautiful dancer, Tara Devi. He fell in love with her. She entertained him. He had forgotten his promise, which he gave to Nisi and was living with Tara Devi at Mahindra Giri.

Here, in Anantha giri, Nisi waited long for her husband. He didn't return. She felt so sad. She had given birth to a boy baby. She brought him up by keeping name Pagati Chukka that means Daystar to him. Twenty years over, during these twenty years, Nisi was very sad, but very careful to govern her son Pagati Chukka. Since childhood, Pagati Chukka observed his mother's sadness. Being 20 years younger age, he asked his mother Nisi, where was his father and why she was sad. Nisi didn't reply. But Pagati Chukka didn't leave her. Then she told everything regarding his father Rae Chukka.

Pagati Chukka said "Mother. I will go to Mahindra Giri and enquire there about my father. I hope that he is alive. Let me know his particulars to recognize him."

Nisi resisted that idea. But Pagati Chukka convinced her. She told him all the particulars of Rae Chukka, how to recognize him, how he looked, about his height & his voice etc etc.

Pagati Chukka said "Mother. Soon I return along with my father."

He went to Mahindra Giri and stayed in a room at a choultry. He introduced himself as a tourist. He enquired all the particulars of the city and citizens. According to the mannerisms told by Nisi, he traced out Rae Chukka. He came to notice about the relationship between the dancer Tara Devi and Rae Chukka. He had hidden himself in their house and heard their conversation, and confirmed that he was his father.

Then every day whenever Rae Chukka was going out from house, Pagati Chukka followed him. Coincidentally Rae Chukka had seen him. He felt something disturbance in his mind. He recalled his memory of his wife, Nisi and expected son. So that he was not in cheer-up mood. Tara Devi asked him about the reason. He didn't reply.

Mean while, one day, when Tara Devi and Rae Chukka were walking on the road, Tara Devi had seen a beautiful sari in a showcase of cloth emporium. She said "What a beautiful sari. I want it."

Rae Chukka said "Okay. Tomorrow you can wear it.

Pagati Chukka was following him all the time. He heard this conversation. He guessed that Rae Chukka might try to theft the sari from the cloth emporium. His guess was quite correct. Rae Chukka theft that sari and kept it in ward rob. He slept with satisfaction. Pagati Chukka silently entered in to the house of Tara Devi and theft that sari. He reached his choultry room. He dug a small pit in the room, kept the sari in a small box and buried it there.

In the morning, Rae Chukka noticed that the sari was theft by some body. He recalled the recent happenings. He could remember that some young boy of aged 20 years was following him. He could sense that something disturbance after watching him.

Suddenly he remembered that if his wife Nisi gave birth to a male child, definitely he might be 20 years age. He doubted whether the young follower was his own son. He guessed that if that young follower was his own son, then he might theft the sari.

Immediately he started the effort to trace out the young follower and succeeded to find out his where abouts. In the night, he entered in to the Pagati Chukka's choultry room. Actually, Pagati Chukka expected this. He wished to happen it. He was pretending as if he was sleeping. Rae Chukka examined the room to locate the sari. He watched the fresh dig in the corner of the room. Without making sound, he had dug there and taken away the sari.

He sensed that Pagati Chukka was pretending sleep. When he returned home, he expected that the young boy will come to theft the sari. That's why he kept the sari in a box and holds it on a pot with water up to the brim. He arranged the entire things in a sling i.e. hanging frame. He kept his bed just beneath this sling.

Since the pot was filled with water fully, whenever somebody touch it, water drops might fall on him, so that he could wake up from sleep and could catch the thief. Because he was expecting the thief, he didn't sleep but pretending as sleeping. Pagati Chukka entered there. He watched all the arrangements. He went in to the kitchen. In those days, there were no electric or gas stoves. Only sticks & logs were used as fuel to cook food. Dung of cows and buffaloes was made as caked and dried in sunlight to use as fuel. After burning, the ash of these dung cakes were in that solid shape only and they were called as "Kachika."

Pagati Chukka picked some kachika and dipped them in the water of pot in the sling. Just like sponge, these kachikas could suck water. Without split of water, Pagati Chukka could theft the sari. Rae Chukka wondered about the talent of this young thief and followed him up to his choultry room.

There he caught the young man and asked "who are you? Why are you following me? Why are you stealing my woman's sari?" Pagati Chukka said, "My name is Pagati Chukka. My mother name is Nisi. We are living in Anantha Giri. I came here to search my father Rae Chukka."

Rae Chukka trembled with emotion. He got tears in eyes. He hugged Pagati Chukka and said "My son. I'm Rae Chukka. Sorry my boy. I made sorrowful your mother and you. Let's go our place. I had theft so much of wealth and gave to Tara Devi. Let's take it and go."

Pagati Chukka said, "Leave it father. She had given shelter to you. I can earn much. If you come, mother will be very happy, that's enough. Let's go immediately".

Both reached Anantha Giri. By receiving husband and son, Nisi felt very happy. Days passed.

One day Rae Chukka said, "Son. Lets steal Raja's Khajana i.e. treasury."

Pagati Chukka said ,"Father! We have more than enough. No need to steal money now."

But Rae Chukka insisted to make hole to king's treasury. That night both the father and son went to king's palace. They dug hole to the treasury wall and entered in to it. They packed all the valuable germs, diamonds, ornaments and other valuables. The soldiers noticed them. Immediately they rushed through the hole. First Pagati Chukka escaped out. When Rae Chukka was crawling through the hole, the soldiers had caught his legs. His head was on the opposite side of the wall in which they made hole. He cried out "Son! I was caught by soldiers. Cut my head and take it away with you. Do what I say."

Being helpless Pagati Chukka cut his father's head to prevent the soldiers to identify him and escaped away from there.

The soldiers had taken the headless body of Rae Chukka to king's court and reported about the robber. On next day morning, the king, Minister and other officers tried to find who the thief was, but they could not. In the morning, Pagati Chukka had attended the king's court to know the proceedings, regarding the robbery in treasury in disguise i.e. in other get up. In the court the king shouted with angry on his officers and soldiers.

He ordered "Well soldiers! You take this headless body to burial ground as a procession by keeping the dead body on a cart. Army Chief! You follow the procession, while it is going on streets in the city. Wherever, anybody cries by watching this, irrespective of men, women and children, you bring them. They may be the thief's family members".

The Army Chief arranged the procession. Pagati Chukka went home and briefed his mother regarding the procession. He said "Mother! You should not cry while the procession is going on this street. You have to control yourself" Nisi said "How can I my child? He is my husband. How can I be without crying after watching his dead body?"

He thought well, and said "well mother. You get ready. Let us go to another street, where there is drumstick tree. I'll climb up the tree and fell down. With such claim you cry up to your satisfaction."

They went to another street. Pagati Chukka had climbed up a drumstick tree and fallen down while the procession was going on that street. The soldiers asked her why she was crying. She said "My son had fallen down from the top of this tree. That's why I'm crying."

The procession reached the burial ground. There was a tradition in Hindu's to burn down the dead body instead of burying in the ground. The Army Chief returned to king's court to report him by keeping security to the dead body in the burial ground. In disguise, Pagati Chukka attended the court like a citizen.

The king asked the Army Chief "Did anybody cried?"

The chief replied "No Maharaja."

The king said "It is impossible. Did you observe carefully?"

The chief said "Yes Maharaja! I observed every citizen who was watching the procession. Nobody had cried except one woman."

King said "Who? Why?"

The chief said "I enquired her sir! She was about the age of 40 years. She had a son about 20+ ages. The young man had fallen down from the top of a drumstick tree. That's why she cried."

The king said "You foolish man. The thief said when our soldiers cough him in the hole at the wall of our treasury as "Son. I was caught by soldiers." His age seems to be 45 years. He might by have a son of age 20+ and wife of age 40+. Nobody will climb up drumstick tree because its twigs are hard and can be easily break. No doubt they were the family members of the dead thief. Go to that street and search for them."

After some time, the soldiers returned the king's court with failure.

The king got angry. He said "Well do one thing. Burn that body by this night. Definitely the thief's son will come there to burn the cut head of the thief along with the dead body. It is our tradition. Nobody will omit it. Go and watch the burial ground. Who ever tried to keep the head in the fire of the dead body, bring him here? He should be the thief's son."

Pagati Chukka heard all this. He thought about a plan. At the night he wore black dress from head to toe and painted his face with black color & rode on a black horse, to the burial ground. He rolled big cloth around some sticks, dipped them in oil and fired them to burn. He told two of them in both hands, binds two more of them at his back, and rushed in to the burial ground by making strange shouting's.

The soldiers who were on guard duty frightened by watching such scene and thought it might be ghost of fire and ran away from there. He thrown the head of Rae Chukka in that fire after taking 3 rounds around the burning body as per tradition and left the burial ground.

Next day morning, in the king's court, the soldiers reported the happenings in the burial ground.

The king shouted "You foolish soldiers. It is not the ghost of fire, if it is a ghost, why it takes three rounds around the burning body. You heard the horse sound also. Certainly it was the thief's son. You missed him. He had come there, frightened you and fulfilled his traditional duty. Well, do one thing. Mr. Army Chief! Today night, you make a tent on the place where you burnt the dead body of the thief. So that nobody can collect the ash of the body to perform next traditional program after the death. The thief's son should come to collect the ash. Then you catch hold of him."

In disguise, Pagati Chukka was there and knew about the king's plan. He collected all the personal particulars of the Army Chief. His name was Subbayya. He had wife and children. He had liquor addiction and womanizing nature. He had a lover, by name Vanajakshi who was a prostitute i.e. sex worker. Every day he would go to her house.

With this information, after mid night Pagati Chukka, dressed him like a young woman and went to the burial ground. There at the entrance soldiers were guarding. There was a tent on the spot. With female voice, Pagati Chukka said "Oh! Soldiers! I am Vanajakshi, lover of your boss. He asked me to come to here by this late hour. Let me go to him. Otherwise your boss will get angry". They didn't see Vanajakshi in previous but they knew about her name. So without suspecting, they allowed him/her inside.

When Pagati Chukka entered into the tent, the Army Chief was in sound sleep. He put a ball of cloth in his mouth to prevent him from shouting and bound his hands and legs with a rope and tied him to the central pole of the tent. He had taken the ash and left bones of his father's dead body and left the place by saying thanks to the guards.

Next day morning the soldiers noticed the situation of their chief and reported everything to the king. The king fired out the Army Chief. He said "Tomorrow he will perform consecutive traditional program. As per tradition, being son, he has to mix the ashes of his father's dead body in the river water or in tank water. And he has to donate food lumps to the crows, which are equivalent to the soul passed away. So, you guard on the banks of rivers and tanks in our city. Whoever is performing this program, bring him here."

As usual in disguise, Pagati Chukka noticed all of this. Next day morning soldiers were guarding on the banks of every river and tank. Pagati Chukka had gone to Northern gate of the city. There was a river. He was just wore a long cloth piece to cover his waist. His hair was most disorder. He was pretending like a mad man. He was laughing, crying with loud voice and shouting without reason. Dancing for some time and singing for some time. First, the soldiers were alert when they saw him. After some observation, they thought that he might be mad. So they neglected him. He rubbed some ash on his body, poured it on his head. He sank in the water of the river thrice. He cooked rice in a pot on the bank of the river by keeping 3 stones as stove and dry twigs as fuel. He spread rice to all directions and imitated cries of the crows as caw, caw, other birds and dogs. He broken the pot and spread them all over. Laughed, cried, and shouted. Again he sank in the river water and taken bath. He sang meaningless songs. He left that place with a loud laughing. The soldiers didn't suspect him and his activities.

In the evening, all the soldiers reported to the king about their watching. The king recognized that the mad man was not really mad and he was the son of dead thief.

He felt irritation. He scolded his soldiers for their ignorance. He ordered, "Secretly declare to all the Brahmins Pandits in our city to do not perform any ceremony, 'Shradha', which is traditional after the death of family member i.e. on 11th day. Though the host offer large amount of money as "Dakshina,' the pundits should not perform it. They should inform us who ever approach them for 'Shradha". The soldiers obeyed king's order.

In disguise, Pagati Chukka came to know all this. He didn't approach any Pandit. Every day he waited at the choultry which was at the edge of the city. One day some tourist Brahmin Pandits came there from neighbor city. He approached them and offered very large amount of money to perform 'Shradha'. He said "Respected Pandits! I lost my father. Tomorrow I have to conduct 'Shradha'. I'll provide food and accommodation to you for two days. I'll give money as per your demand. You please perform it." Pagati Chukka was in disguise. They agreed. He had driven them to his house by covering their eyes with cloth piece, at night. Within two days, he completed all the ceremony and left them at the choultry.

The tourist Brahmin Pandits were very happy about his treatment and gifts. While they were enjoying in the choultry, the soldiers noticed them, and sensed something odd. They bought them to the king's court. The king enquired all the matter. He understood what happened. He asked them "Can you remember him or his house."

They said, "No Maharaja! He covered his face with a black cloth. He covered our eyes while taking us to his place. Please excuse us."

The king sent out the tourist Brahmins. He said, "It is a challenge to us. This thief is very intelligent. We have to capture him. It is a prestige to us. Mr. Kothwal! You take this responsibility to capture him."

In disguise, Pagati Chukka followed every happening. He decided to face the challenge. That night Kothwal was on duty to capture the thief. Along with soldiers, he was watching roads and guarding the city. Pagati Chukka had hidden there and watching the Kothwal. After midnight, the soldiers were tired and inactive. The Kothwal was near Gudi Banda. Pagati Chukka approached at Gudi Banda. Pretending like an ignorant, he was trying to keep his legs and hands in the Gudi Banda in improper way and to lock it. But he was not succeeded in that trial. Again and again, he was trying to do so. But most disorder and improper working was there in his trial. The Kothwal was watching this. In beginning he was alert. After noticing that the man who was trying to keep himself in the Gudi Banda was mad or ignorant, he watched the activity as casual, next with curiosity. By watching the repeated improper trial, he got irritation. He said "You fool! Not like that. You have to use the Gudi Banda like this." By saying like this, he locked himself in Gudi Banda. Immediately Pagati Chukka had beaten him on his head and made unconscious, to prevent him to call soldiers. He rushed to the Kothwal's house and informed his wife and family members as "The thief had beaten our Kothwal. He was unconscious there. You please take him to doctor."

All of they rushed in the direction shown by Pagati Chukka. Leisurely, he theft all the valuables from Kothwal's house and left a massage there to the king as "Maharaja! My name is Pagati Chukka. I'm a thief. You can't capture me."

With this incident the king felt very angry. He ordered the Minister to capture him. By knowing this, pagati Chukka enquired about the Minister and his family. The Minister had a wife and three sons. His sons were in the Gurukulam not in the house. At present, only his wife and servants were in the house. By night, Pagati Chukka dressed himself like Minister and went to his house. Imitating Minister's voice, he said "Hai! Servants, come all of you. Here is an intimation that the thief, Pagati Chukka was about to come to our house in my get up. Pack all the valuables, and get ready to capture him." Minister's wife and servants had packed the money, ornaments and other valuables. He said, "Let's drop it in the well for the sake of safety. Bring it to the back land". He dropped a big stone in the well by keeping all of them in hurry. He kept the packet of valuables in the bushes.

At that moment the Minister entered into the house. Pagati Chukka said, "Catch him. Bind him with rope." Minister was shocked by watching another man in his own get up and voice. The soldiers caught him, beaten him and bound him with a rope, thinking that he was the thief.

After that, Pagati Chukka said with Minister's wife, "I am hungry. I'll take bath and come. Arrange dinner to me." Minister's wife went into the kitchen.

Pagati Chukka went to the back land, collected the packet of valuables, and escaped from there silently.

By knowing all this, the king felt irritation. He scolded everybody. In disguise, Pagati Chukka was in the court. The princess Akasa said to the king "Father! These are all fools. This time I'll try to capture him."

The king said "Yes. You are right. I know you are capable to do so."

The princess was a beautiful young girl. Pagati Chukka excited by this challenge. He secretly followed her in the king's palace. The servant-maid of princess asked "Yuva Rani i.e. Princess! The soldiers, Kothwal and Minister were failed to capture the thief. How can you catch hold of him?"

Akasa replied with a naughty smile "Look. This thief Pagati Chukka seems to be very intelligent. Every day he was defeating our efforts and plans to capture him. That means, definitely he might following the proceedings in the king's court secretly. Today night, I will wait lonely for him in our Royal garden. Certainly, he will come there and I will capture him. Wait and see."

Pagati Chukka thrilled about this. That night was full moon day. The Royal garden was beautiful and pleasant flowers were spreading sweet fragrant. There was cool breeze. The princess, Akasa was dressed in beautiful manner. She was waiting in the garden lonely. She thought if soldiers were there, Pagati Chukka might not come there. That's why she ordered the soldiers to be not there. After some time Pagati Chukka came there. Pretending like tourist he said "Hai! Beautiful girl, I am a tourist. Shall I take rest here?"

Akasa recognized him as thief. He knew it. She was amazed at his handsomeness. He admired her beauty. She thought, "If this Pagati Chukka has been not a thief, I would like to marry him". He thought, "If she marries me, I'll leave my profession". They chatted for some time. She thought "Any way, I'll mesmerize this young man; I prevent him from leaving here. In the morning I'll call the soldiers to capture him."

After some time, Pagati Chukka said, "I'm tired. Let's sleep."

They laid on a marble bench. He pretended sleep. Akasa tied her sari border to his dhoti border, to know his movements in the sleep and slept there. With satisfaction and little bit proud of her achievement, she had gone into sound sleep. Pagati Chukka waited for such situation. Silently he got up from there, without disturbing the princess; he had taken off her sari and left the garden.

In the morning, when the servant-maids approached the princess, she was half-nude. This turned as sensational news. People talked about it and it was spread like a wild fire.

The king was horrified. Akasa told her father that she loved Pagati Chukka and wanted to marry him. The king had no children except her. He could not overlook her request. Moreover, he also admired the wisdom and adventure of Pagati Chukka.

He made a public notice as "Mr. Pagati Chukka! I'm glad with your intelligence and dareness. I want to give my daughter to you. Leave your profession. If you use your wisdom to make good to people, you can become as a good ruler. Come to the palace. I'll arrange your marriage with my daughter and I'm ready to make you as a king after myself."

By watching all of these thrilling episodes, people also accepted the king's decision. Pagati Chukka declared his identity. The king arranged the marriage of Akasa with Pagati Chukka. After some years, he became the king of Anantha Giri and ruled in righteous manner.

That's the entire story.

In this story, the art of theft was described, as well as the thief was given as hero image, who dropped his profession of thief ting. Recent movie Dhoom1&2 was like this, giving at least not bad signals in to the society. The story of Rae Chukka – Pagati Chukka is our folk story. I heard its reference from my elders. I read it somewhere without the reference of author.

In Indian society, every art had taken up to Sasthra i.e. science level, including music, dance and sex. Vasthyana Kama Suthra was the matured status of sex, in a scientific approach. It had guided the connoisseurs i.e. persons of taste to enjoy the sex in extreme and healthy manner i.e. without perversions. The saints and Sanskrit literate had taken sex to matured level and high peaks for adults, but not dragged to high school level like sex education for children.

In this context, I will narrate you another wonderful story of Bhatti Vikramarka. There was a talk about the Sanskrit original book of 'Conversation of Bhatti and Vikramarka', but it was ruined. It is not in availability. These stories were in the memory of some people, collected and complied in Telugu by Sri Subbarayalu Naayani.

I narrate this story in the context of sex treated as art of talent. As I already explained you about Bhatti and Raja Vikramaditya, they used to rule the kingdom for six months and used to tour on country for another six months in every year.

అనగా అనగా..........

Once Raja Vikramaditya finished his ruling time of six months, he was about to start the time of six months for touring on country. This time Bhatti, his brother and Minister was accompanied with him.

On an auspicious day, they kept the responsibility of kingdom on the other Ministers and started their tour, after performing devotion, pooja to Ujjain Kali Mother.

On the way, they reached the basin of river Tungabhadra. On the bank of that river, there was a town called Amba Puram. In that town, a housewife had done sin of prostitution; she cheated her husband and made extra marital affairs with other men. She was caught by public. In that town, there was a custom to punish such people by killing them. So she was killed and her corpse was left on the bank of the river to remind people and to prevent the people from such bad thoughts.

In disguise, Batti and Raja Vikramaditya were bathing in the river a side. Men and women were coming there to fetch water and were talking about the current issue. Then two young girls came there. They were sisters. By watching the corpse, the elder girl had tears in her eyes. Her name was Mukti Valli that means Garland of pearls. Her sister, the younger girl, named Pravala Valli. That means Garland of corals, asked her why she was crying. Mukki Valli, the married girl said "Look that corpse. She also a woman like us, now her corpse was without cremation."

Pravala valli, the unmarried girl asked "why her corpse left here, without cremation?"

Mukti valli told the reason. Pravala valli said, "That woman had no talent. If she wanted to enjoy sex with a man other than husband, she must be talented." By conversing like this, both the girls filled water in their pots and left to the town.

Both Bhatti and Vikramaditya surprised by that. Bhatti said "Being young, how dare that girl to talk like that?"

Vikramaditya said, "Let's check her talent." They followed them in to the town and enquired about the girls. They came to notice that those two girls were daughters of Muddau Manikya Setti, a rich diamond business man. Both Bhatti and Vikramaditya had changed their appearance like diamond business men, taken some diamonds with the help of Bhethal's magic power and opened a shop, opposite to Muddu Manikya setti. Few days passed.

They got touch with other merchants in the town including Muddu Manikya Setti. He appreciated these two young business men. When he enquired their personal particulars, Bhatti said "Sir! We are brothers, our native is Kanchi Puram. Our father is a great diamond business man, called Dhana pala Setti. This is my brother. In search of a good girl to marry my brother, we are touring, as well as we are doing business of diamonds."

Muddu Manikya setti felt happy and said "Boys! I have two daughters. Elder got married. I'll give my younger daughter to you to marry."

They agreed. Muddu Manikya Setti performed the marriage of Pravala Valli with Raja Vikramaditya who was in the disguise of young business man.

After some days, they had given valuable gifts to Setti and said "Uncle! We left our place long back, we want to return home. Let us go! Send your daughter with us."

Muddu Manikya Setti pleased with them, given sendoff to them.

Bhatti, Vikramaditya, left that town Ambapuram along with Pravala Valli and started walking. After some distance they reached a small town and traced a fort. The fort was locked. Nobody was residing in it. There was a palace, gardens and other buildings inside. They were observing the palace and fort. There came a resident of the town. They asked him "Oh! Man like our father! What is the name of this town? Whose fort is this?"

He said "Men like our father! This has a big history. I'll tell you in brief. This town is known as Kala Kanta Puram. The king of this fort was Kala Dharma. He was very righteous, faithful and sincere towards people. His ruling was like Sri Rama's ruling. People behaved according to the rules and Dharma. Though the king was very good, he had a sorrow. He had no children. He performed so many poojas, devotional programmes, yagnas and donations. But he didn't get children. When he was on deathbed, he asked all the people in the fort to vacate it, to lock it. He desired that except Raja Vikramaditya, nobody should open these fort doors. Since that day, the fort was like this."

They felt surprise. The man left there. Raja Vikramaditya touched the lock of the fort door. It was opened. They entered into the fort. The fort, the palace and the gardens were lively, neat and pleasant as if somebody were using them every day.

Every day Pravala valli was cooking food for them. Bhethala was on guard duty at the door of the fort. Bhatti and Vikramaditya used to go to forest and nearby places by keeping Pravala Valli in the fort and locking its door in the daytime. In the nighttime, they made Pravala Valli to sleep in between them. Being husband, Vikramaditya didn't touch Pravala Valli. Few days passed.

To wash their clothes, they appointed an old washer woman. She must come, collect the dirt clothes, and return the washed and ironed clothes when Bhatti and Vikramaditya were in the fort. They put such condition. One day the washwoman was sick and asked her son to wash and iron the clothes. When the washer man was washing the clothes, he observed some pleasant smell in a sari and blouse. He thought that "When the odor of this sari and blouse was this much pleasant, then how much beautiful and pleasant the woman who wear this sari and blouse? What is the use of my life unless I enjoy such woman?"

Since that day, with such desire, the washer young man was sad and fell sick. He became lean. He was not having food and sleep. By watching this, his mother the washer woman asked him "Son! Why are you sorrowful? What's the matter? What's your problem? Let me know. I'll try to help you". He told about his desire. With shock, she said "Dear son! You desire the non-available fruit. In our fort, some kings were residing. A young girl was there along with them. I also should not go inside when they were not inside. I should go to do service, when the kings were in the fort. That's why don't think about her, even in dream. Forget her."

The washer man said "Mother! I'll die if I won't see her."

The washer woman felt helpless. She said "Well son! Today I will try to speak with her. I'll try to know her opinion."

While returning washed clothes to Pravala Valli, the washer woman said "Mistress! I want to request a boon from you. But I fear to ask." Pravala Valli said "No problem. Tell me. What do you want?" Washerwoman said "Mistress! You are like my Mother. I have only one son. With lust on you, he was sick. He was almost on death bed. Hence you have to give life to my son, if you call him once as "Oh! Washer man" he feels happy. He will be alive. Otherwise he may die. Please be kind to us." The washerwoman cried like anything.

Pravala Valli didn't reply for some time. Then she said, "If your son has brain, he can live." By saying like this Pravala Valli left there. The washer woman took the dirt clothes to home and told her son "Look my dear son. I told everything to her. She said if you have brain. You can live. Except this she didn't say anything."

The washer young man felt very happy. When the night came, he dressed in nice clothes and reached the fort. Its doors were locked and its walls were very high. He took a circle walk around the fort to enable to find a way to go inside. He watched a big banyan tree whose hanging roots were large and fallen on the wall of the fort. He thought that it was the best way to go inside and climbed up the hanging roots, he over jumped the walls and reached the terrace of the fort. By the stair case, he reached down and found the beautiful Pravala Valli, sleeping in between the two men. All were sleeping. The washer young man thought himself as "If I die in this trial, let me die." He touched the toe of Pravala Valli. She woke up from sleep. She observed him in the bright light burning in the room and thought, "This man might be the son of washerwoman. If I go to another room, the king and his minister might notice my absence and effort to trace me."

By thinking like this, Pravala Valli indicated him to enjoy her, there itself. The washer young man felt happy. They made sex there itself, while Bhatti and Vikramaditya were sleeping on both sides to them. In that time, the washer man's hand touched Vikramaditya, so that we woke up. When he observed Pravala Valli, he thought the man who engaged with her was Bhatti. He turned other side and thought "Bhatti is my minister, my younger brother. Why he is doing like this? To find this girl's talent I married her and didn't touch her. If he has desire on her, he should tell me. Won't I give her to him? Didn't he know my nature? This is nasty."

By that time, Pravala Valli's hand touched Bhatti, so that he woke up. When he observed Pravala valli, he thought the man who engaged with her was vikramaditya. He turned other side and thought "Vikramaditya is my king, my elder brother. He married her and didn't touch her. If he has desire on her, he should tell me. Won't I sleep in another room? Didn't he know my nature? This is nasty."

By thinking like this, they didn't sleep well. In the morning, Pravala Valli made the washer man to hide in a secret place in the inner rooms of the fort. Because of disturbed sleep, Bhatti and Vikramaditya woke up by late. In the morning, Bhatti observed Vikramaditya angry with himself. He thought, "Why my brother, Raja Vikramaditya is angry with me? If he enjoyed his own wife, he should not feel angry with me. He should feel embracing because he didn't ask me to sleep in other room. But he is angry with me. Something wrong is somewhere. Probably, this girl might engage with some other man, might Vikramaditya thinking that it was I. I have to solve this puzzle."

By thinking like this, Bhatti was walking on the terrace. With anger, Vikramaditya didn't talk to him and sat lonely in garden. Bhatti observed the big banyan tree and its large hanging roots which were falling on the wall of the fort. He guessed that somebody had climbed up & entered inside. He was deeply thinking to find what happened.

Suddenly he observed a strange incident. There was a small river near the fort. After that there was the forest into which, every day Bhatti and Vikramaditya used to go to shire. On the bank of the river, two saints came down by travelling in air. After landing on the ground, they chatted some magic word and released their hair knots. Surprise! Two women in thumb size where hidden in their hair knots. The saints allowed them on the floor and said magic word. They grow big as in to normal human being size. The two saints went to bath in river. The two women walked to little distance and released their blouse knots. Double surprise! Two men in less than thumb size were hidden in their blouse knots. The two women allowed them on the floor and said magic word. They grow big to normal human size. The two women went to bath in river. The two men walked to little distance and had bath. After bath, the two women reduced the size of two men and hidden them in their blouses, with the help of magic word. The two saints also reduced the size of two women and hidden them in their hair knots. They were about to start.

Bhatti rushed towards them immediately. He prayed "Oh! Saints, today there is a ceremony in my house. Please come to have lunch. Do come." The saints accepted his invitation. He brought them to palace in the fort and introduced to Vikramaditya. By that time, Vikramaditya rethought about the issue and sensed something wrong somewhere, because Bhatti was not such kind of immoral man to enjoy other's wife. By watching guests, with Bhatti, he could thought "I should follow Bhatti activities. Though I'm not able to understand, what is happening, let me wait and see. I have confidence on Bhatti."

He received the guests with cardiology and treating them as a host. Bhatti went into the kitchen and asked Pravala Valli "Sister-in-law. You are like my mother. I want to know, that how much rice you are cooking for us every day."

She said "Three forth of Padi."Padi means 1 ½ kg, in ancient measurement. He said "Well mother! Today you cook 2 ½ Padi of rice, dal and other curries in relevant proportion. Prepare nice lunch."

She said "Okay."

Bhatti prepared 10 leaf plates to take lunch. He arranged the leaf plates in a room and kept water tumblers. At the lunch time he asked Pravala Valli to serve all the dishes in all 10 plates. He asked to sit two saint guests in front of two plates. They sat, he asked Vikramaditya to occupy a seat, he done so. Bhatti sat in front of another plate. He asked Pravala valli to occupy a seat. She had done so. Five more vacant places were there. Everybody was watching Bhatti with curiosity. Bhatti said with saints "Fathers! You are saints. You know all the Dharma. While we take food, we should not make our co fellows to fast. So please be kind to me. You please allow your wives whom you hide in your hair knots."

The saints were shocked in beginning. They thought, "This man might know our secret. No alternative to us." They chatted magic word and allowed the women to sit in front of two more plates.

Bhatti said with the wives of the saints "Mothers! You know that it is not right to take food by keeping our co-members on fasting. Please be kind to me. You please release your lovers whom you hidden in your blouses."

They frightened first, later thought "We have no alternative. This man had declared our secrecy." They chatted magic word and allowed the men to sit in front of two more plates. One more plate was vacant. Everybody was with anxiety; Bhatti turned towards Pravala Valli and said, "Mother! Same Dharma with you, you please call your lover whom you hidden inside the rooms to take lunch."

With shock, she called the washer-man to have lunch. All of they had lunch. Later the saints said, "We are saints. We have magic powers to travel in air etc but we didn't over come arishadwargas. We thought that our wives are sincere. Now we are leaving them and we want to concentrate on devotion. Let them marry their lovers and lead fresh life."

Bhatti said "Brother Vikramaditya. What you decide for Pravalla Valli?"

Vikramaditya said, "Brother Bhatti, I didn't marry Pravalla Valli by loving her. We wanted to test her talent in doing prostitution. We tested her. No doubt, she is talented. We must appreciate her regarding that. Let her marry this washer-man."

Every body agreed. The saints' wives had married their lovers; Pravala Valli had married washer man. Bhatti and Vikramaditya made the washer man as the king of that fort, and the lovers of the saint's wives as ministers to him. They made the people of Kalakanta puram, the previous kingdom of Kala Dharma to pay the taxes to the king.

The saints blessed them all and went by air. Bhatti and vikramaditya returned Ujjain as their period of tour was completed.

That's the entire story.

In this story, though the talent in sex is not described, the fabrication of the story shows the maturity level regarding sex in villagers. This we can say because this story is a folk story.

Not only folk stories, folk arts also, have maturity in thinking's and in ideas. So many folk arts had ruined because of non-patronize. Leather idols show, Bagavathula Ata, Pagati Veshaalu, Dappu Dances, Padya Nataka i.e. Dramas, Katha Kalakshepam, Ashtavadhanam, Sathavadhanam, Kavya ganam, Goshti, sode etc etc. There was a genetic and traditional relationship in between the Dappu sound i.e. Drum beat and Indian blood. In the loud decibels of Taj, Baj, Disco etc etc musics, folk music has anchor up the Indian heart. Recent Telugu movie song

" రబ్బరు గాజులు ..........

రిబ్బను, పువ్వులు .........

..........................

నువ్వంటే పడిపడి చస్తానే "

That means, I'll give rubber bangles to you

I'll bring ribbon flowers for you……………………………………

I love you like anything.

I'll die for you.

Such folk songs, such drum beats, fill response in the hearts of Indians from 2 years kid to 80 years old people. That is genetic. No disco, no jaj, no pop, no Indi-pop etc etc has that much echo in the Indian heart.

In Veyi Padagalu, i.e. Thousand snake's hoofs written by Sri Viswa Nadha Satyanarayana in Telugu have detail description of ancient folk arts. At the time of Sankranthi festival, the artists of Gangireddu i.e. oxen play will come to villages to show their art. I read one incident regarding this Gangi reddu. I wish to narrate it to you. I forgotten the author's name and I'm sorry for it. According to the author…

One day, the author was brushing his teeth with a twig of Neem by sitting on the outer bench beside the compound wall of his house in the morning. There came a team of artists of Gangi Reddu. But two artists were bent by covering white cloth, dancing like an ox with suitable get up. The music was with full beat of drums and shahanaw. They were dancing according to the rhythm of music with the movement of ox. The author was watching it. He noticed the talent of artists. The artists also watched the keen observation and appreciation of the author in his eyes. The dance and music was in high pitch. The author wanted to test the involvement of artists. He took a small mud stone and thrown it to waist of ox i.e. actor who were dancing like ox. When it touched their waist, just like an ox, the artist had shrugged his waist.

All the audience shouted with joy. It was not as per script, as per pre-planed. It was just spontaneousness. It was the same frequency of viewer of art and artists. Are we enjoying such lively-ness, concentration and commitment in arts? Are we enjoying such resonance [same frequency] among art exhibitor and art receiving persons, whatever the art may be, music, dance or drama?

I narrate you another incident which I experienced in my childhood. Once there came Gangi reddu artists to my grandfather's place i.e. Sangadi Gunta in Guntur. They performed a show of Sita Rama Parinayam of Ramayanam. That means it was the marriage episode of Sita with Sri Rama. In that team, some artists were making music with instruments like dappu i.e. drum and Sehanai etc. The oxen and cows had decorated with colorful clothes, beeds, garlands, bells and belts. Some artists were singing the songs, saying dialogues and narrating the story. One ox named as Raja Dasaratha, one as Sri Rama and a white cow named Sita. The artists were singing, the oxen and cow were dancing. In the drama, the artists said, "Look! Ramayya is angry with Sitamma. He is displeasure with Janaka Raja."

The ox, Sri Rama was dancing with high speed. The tinklets and small bells in its neck and on four legs were giving rhythmic sweet sounds, which were like background music to the song of artists. The ox, Janaka was taking rounds around Sri Rama and was acting to convince him by licking its dewlap. When Janaka ox came this side, the Rama ox was turning to other side pretending angry. Both were putting steps rhythmic to the music beat. Both the oxen had shown different steps, exposing displeasure and pleasing. Janaka & Rama oxen acted for the song as

Janaka: "Oh! Ramayya! I will give silk Dhotis, come bridegroom.
[
ఓ రామ పట్టుపంచెనిస్తాను రావయ్యా ఓ పెళ్ళికొడకా!]

Rama: Oh! Mamayya! I don't need silk Dhotis. I won't come.

[ఓ మామయ్య! పట్టుపంచెలొద్దు నాకు రానయ్యా ఓ మామయ్య!]

Janaka: Oh! Ramayya! I'll give crop. Come bride groom.

[పొలం పంటనిస్తాను రావయ్యా పెళ్ళికొడకా!]

Rama: Oh! Mamayya! I don't need crops! I won't come.

[పొలం పంటలొద్దు నాకు రానయ్యా ఓ మామయ్య!]

Janaka: Oh! Ramayya! I'll give my daughter a good girl.

[మా పిల్లనిస్తాను, మంచిపిల్లనిస్తాను రావయ్యా పెళ్ళికొడకా!]

Rama: Oh! Mammayya! I'll come. I'll come.

[అట్లయితే వస్తానయ్యా మామయ్య! వస్తానయ్యా మామయ్య!]

At the end of song, both had shown same steps of dancing. After that the singers said, "Now Sitamma had displeasure to Ramayya. Look! She is going. Dasaratha Raja! Go to Sitamma. Do pleasing her. Pet her."

Then the cow Sitamma moved a side. When Dasaratha came one side, she was turning other side, by dropping her head to the ground showing shy as a bride. Then Rama ox approached the cow. A female singer was singing for Sita and a male singer was singing for Rama. Teams of singers were supporting them.

Rama: Oh! Sitamma! I will give silk saris. Come bride!

[ఓ సీతమ్మ! పట్టుచీరలిస్తాను రావమ్మ పెళ్ళికూతురా!]

Sita: Oh! Ramayya! I don't need silk saris. I won't come bridegroom.

[ఓ రామయ్య! పట్టుచీరలొద్దు నాకు రానయ్య పెళ్ళికొడకా!]

Rama: Oh! Sitamma! I'll give diamond necklace. Come bride.

[ఓ సీతమ్మ! రవ్వల పట్టేడనిస్తా రావమ్మ పెళ్ళికూతురా!]

Sita: Oh! Ramayya! I don't need diamond necklace. I won't come bridegroom.

[ఓ రామయ్య! రవ్వల పట్టేడొద్దునాకు రానయ్య పెళ్ళికొడకా!]

Rama: Oh! Sitamma! I'll give garlands of pearls. Come bride.

[ఓ సీతమ్మ! ముత్యాల దండనిస్తా రావమ్మ పెళ్ళికూతురా!]

Sita: Oh! Ramayya! I don't need garland of pearls. I won't come bridegroom.

[ఓ రామయ్య! ముత్యాల దండొద్దు నాకు రానయ్య పెళ్ళికొడకా!]

Rama: Oh! Sitamma! I'll give my life to you. I never leave you, come bride.

[ఓ సీతమ్మ! నాబతుకే నీకిస్తా. నిన్నిడిచి ఉండనంటా రావమ్మ పెళ్ళికూతురా!]

Sita: Oh! Ramayya! I'll be with you. I'll follow you. I will come with you bridegroom.

[ఓ రామయ్య! నీతో నేనుంటా. నీతోనే వస్తా పెళ్ళికొడకా!]

Then the marriage dances were performed. All of the viewers forgotten the time, we wondered by the expressions & body language exhibited by the oxen and cows according to the dialogues, songs and music of artist. How they could remind the movements according to the drama? All of viewers praised their talent. There was the tradition to give bride and bridal marriage dress i.e. 'Thalambralu' dress to the artists in our house. People had given good rewards to them. Though I was young when I watched this dance play of Gangi reddu, but it was penetrated and stored in my mind, Later whenever I watch circus live or on T.V. I used to recall the memory of it. In circus though the elephant play football, do cycling, the lions and tigers jump through the burning circles, it looks like feats to me. It looks like an action without feeling in my opinion. In circus, the animal's feats are without the involvement and commitment of animals. The cruel restriction of trainers and the helpless obedience of animals are projecting in the feats. That is the difference between commercial art and idealistic art. Being cows and oxen, by remembering the song, beat, rhythm to show continued dance steps and body movements, is it not wonderful than the adventurous feats of circus? Is it not the art from heart? Such is the saturated level of folk arts of India. I hope that the ancient and traditional arts of all races, in all over the world seem to be like this only. Like in India, they might be destroyed. That was the coup. To develop their business, the corporate companies had destroyed this entire heritage. By destroying the arts, cinema & T.V. can be developed as monopoly. So that it will be easy to make money. That is the motive of coup, who ever may be in behind this coup, C.I.A. or I.S.I. or Ramoji Rao?

I try to explain this at my level best. The ancient arts, folk arts are direct exhibit arts. Cinema and T.V. are indirect exhibit arts. On stage when a drama is playing by artists, no possibility of dialogue dubbing. If any tape recorder etc is used to give dubbing, the drama will get failure. The artists can't depend on any other trick or technology except on his or her own talent and capacity. In cinema, if the artist is not capable to say dialogue, dubbing is available. What is action without saying the dialogue? Again, artist has no need to sing. Play back singing is available. The worst thing is dupe action. If the artists are not capable to do a feat, dupe will perform it. Camera trick can be used for it. But the entire thing will keep under cover and the artist i.e. hero or heroine etc can give image as if they done such adventure. Hence the drama or stage play or direct art is confined with truth and the cinema is confined with false. The most worst thing, I will explain to you. If the actor is unable to give right expression of angry or sad etc, the cameramen will do another feat as focusing the camera on that actors face in an angle from x0 to y0 repeatedly and the music director do an extra feat by giving repeated music bit for each camera flash. Thus audiences should emboss that the so-called actor had shown so and so expression as the director of the scene forced us to feel such.

As concern as music also, stage show i.e. direct presentation of music can create resonance among the singer and listeners. Both the singers and listeners can share same emotion, same feeling and same wavelength of art. Whatever the emotion of art from the artist, it can be received by the listeners or viewers.

But with indirect presentation i.e. through electronic media such as C.D.s, movies, and T.V., there is no possibility of sharing of emotion and feelings with art among producers of arts and receivers of arts.

Take example of music, some time back, there was a hit album of Shankar Mahadevan and S.P. Bala subramanyam, by name breathless. It was famous and popular. Later it was known, as the singers didn't sing continuously without taking breath, they recorded it on 7-track system with breaks. But it was heard that some non-popular singer had sang breathless on stage show.

Such that there is high possibility of showing unworthy, incapacity as worthy and capacitive, with electronic media. Actually, with electronic media, we have other advantages such as the art can be preserved permanently though the artists would pass away. Though the great singers, actors like M.S. Subha Lakshmi, Ghantasala, Rafi etc singers, N.T.R., S.V.R., Savithri etc actors had passed away, we are able to enjoy their arts because of electronic equipments.

But there is disadvantage of deceive, cheat such as giving image to non worthy people as worthy artists. As well as we cannot share the emotion, we cannot experience the resonance of art. In fact, the resonance experience among the artists and receiving people is very high, and happiest. It has to be experienced. Nobody can explain about it to anybody. To experience such feeling, such happing, now the youth and the public are attending discotheques and pubs. But there is no such healthy divine happiness, pure joy in discotheques and pubs because there is the tinge of smokes and liquids such as cigars and liquors.

I narrate you one of my childhood experience. In my childhood, the festival of Sri Rama Navami is used to celebrate on large scale. In Guntur, my native town, numbers of pandals with palm leaves were used to construct. Voluntarily people used to form some groups, donate money to celebrate the marriage of Sita Rama Swamy. So many folk artists such as Kolatam, Chekka Bhajana, Tolu Bommalata, Hari Katha, Burra Katha, Classical dances, Music concerts and Dramas of epics with poems of Telugu had shown. Being children, we would be at the Pandals almost all the time, in the evening of those 9 days, last day there will be Annadanam, giving lunch to all poor and public.

Among 9 days, we used to enjoy with the cultural programs with all art forms. The epics stories in the form of poetic Dramas had shown. In the drama of Sri Rama Bhakta Hanuma and other such type of dramas, when Anjaneya Swamy appears on the stage, all the viewers used to stop breathing and watch the stage. The stage will be dark or in red color. The mike will be arranged at two levels, at the bottom of the stage and at the proper height of the artist when he stands up. The artist, who will act as Sri Anjaneya, with get up, used to have Bhajana Chekkas in both hands, raising his voice with devotional song of Sri Rama …. Sri Rama with 'Rajo pooraka' tune that means, such tune could motivate Rajassu among the viewers and raising his body slowly with proportion to his raise in voice. The audience breathing will be raise in the same frequency. Though thousands of audiences were present there, complete silence except the singing of Rama Bhajana will be there in the Pandal. When the song is in high pitch, audience will sing Corus along with the actor with a large release of breath.

Such joy, pure joy was free of chemicals, free of cost, free of liquors, free of musical equipments except a small harmony and two drums. It was only the joy of pure art and devotion.

This system was destroyed strategically or by a pakka coup. In Hindi movie, 'Shoolay' a famous one, Mr. R.D. Barman had given a song "Mehabooba Mehabooba woo woo" with certain tune to wamp to dance. In Bharata Natyam and Kuchipudi i.e. Classical dances of Indians, there is a famous song in the part of Sri Krishna's teasing the Milk maids in Vrepalley as "మధురా నగరిలో చల్లనమ్మ బోదు దారి విడుము కృష్ణా!". That means, "I have to go to sell butter milk in the city of Madura. Let me go. Krishna, please give me the way." By singing like this, little girls used to dance in Bharta Natyam as Golla Bhama i.e. Milk maid. But this classical song was got a parady form with the tune of wamp song "Mehabooba Mehabooba. Woo ….woo" and was inserted in a Telugu Movie. That vulgar tune polluted the divinity of dance. Whenever the dance was performing in every pandal, mob whistled and laughed at the dance. In this in-discipline, Chain snatchers, pick picketers, eve-teasers had taken the advantages. Hence, the rich and middle class people seized to attend the pandal and to participate in the cultural programs. Slowly in some Pandals, movies of social stories and cowboy stories had exhibited with mini projector camera. Hence the pandal and festival confined to low class or Mass people. Gradually, the celebration of festival got disappeared. This was happened just 30 to 35 years back. My aged generation and I are the witness of this destroys.

In fact, 'mass' is a word created strategically to ruin the quality of arts, values in arts and to introduce immorality in arts. Definitely, I can say, no lower income man or mass could imagine his lover or wife to wear such bikinis or cloth ribbons as dress like the heroines in the said Mass movies. For example, in 'Chirutha', 'Krishna' etc. recent movies or movies with heroes as Chiranjeevi, Bala Krishna and Ravi Teja etc etc. And definitely, I can say that no lower income man or mass could imagine his lover or wife to dance and to expose her body in a group of male dancers. These were stamped movies and forcing as in the story of Nalla Meka – Naluguru Dongalu i.e. BLACK GOAT – FOUR THIEVES.

In fact, 'mass' is the word created by the people involved in coup to drive the innocent people in society to such animal's level to think only about food and sex, but about nothing else.

You can verify the time, the happenings in India. Within 40 to 50 years, the strategy is aimed to ruin the system of Indian society, Indian culture, and Indian life.

In Indian blood, there is a characteristic of dedicating every art, every work, and every matter with devotional concept to God. All the ancient art forms, including movies of early age were with devotional touch only. Indians are particular about quality rather than the appearance. Even to refer a marriage proposal, they prefer a girl or boy, who is known as good rather than good looking.

But within these 40 to 50 years, Indians were forced to run after mirages. Gradually, slowly and systematically the coup makers and the media man had implemented this coup.

I illustrate an example to you. Thousands and hundreds of years back, in India, beautiful architecture and sculpturing arts were established. In North, South and various parts of India, beautiful Temples with wonderful arts, carvings, paintings and sculptures were constructed. I can refer so many ancient temples to you. Madurai, Rameswaram, Kanchi, Ajanta, Ellora, Somanadh, Konark, Puri, Humpy, Holebedu, Sravan Benagola, Lepakshi, Ahobilam etc etc. Many temples! Wonderful arts! Wherever beautiful environment is there, our fore fathers built temples there, like Yaganti, Uma Maheswaram. Wherever natural valuable assets are there, our fore fathers built temples there, like Mahanandi.

So many temples with miraculary art forms, no temple have such popularity as TajMahal. Many temples had built past to Taj Mahal. They were built centuries back where as Taj built only in 1600 A.D. though it was a rich construction, though it was a beautiful construction, but it was built for a human being. Though she was a Queen, but it was a tomb. Her husband, Mr. Shajahan for the sake of his tomb, constructed it also. To invest money, to invest wealth created by the industry of public, poor people of his kingdom, is it not selfish? Though he was an emperor, though he was a king, though he loved his wife very much, to invest public money to construct a rich Tomb instead of investing the public money for public, is it not selfish? That to Muntaj was not his only wife. He had other women also.

If it is a symbol of pure love, then the Mini Taj, constructed by Ajam sha, the son of Aurangzeb in 1951 to 1961 in the memory of his mother, Mrs. Durras Bhanu Begam i.e. Rabbiya at Durvami, the wife of Aurangzeb, is not a symbol of love? This is situated at Aurangabad, 150 K.M. to Shiridi. How many of us hear about this mini Taj? Did it get popularity like Taj in Agra? Though the Taj in Agra is big and rich, though the Mini Taj is not so big & rich as it is in Agra, is it not eligible to get minimum popularity as love symbol or mini love symbol? The love between wife and husband or between male and female is only love? The love among mother and son is not love? Or the love which can lead people to sex is only love? The love among parents & children, among teacher & disciples, among brothers, among sisters, and among friends is not love?

On the other hand, great Vijay Nagara rulers, Pandyas, Cholas had constructed beautiful temples to God, but not with selfishness. They didn't install their identity in those temples. By investing the public money, they constructed for people only. Temples were the centers for education, for arts, for physical exercises, for health, for tourism, and for recreation. Are they not symbols of arts or symbols of humanity or symbols of love and affection?

This type of publicity to Taj Mahal, as symbol of love between male and female, won't drive crazy lovers and teenaged or young aged lovers to run after costly gifts? This type of publicity though it is a reason to draw tourist attracting, won't lead people towards lust and desire full?

Is it much important that how will be our tomb than what we done in life? Which is important? Our tomb richness or beauty, after our death, or helping others, leading righteous life when we alive? Leading life to help poor, to help in needy, to perform good and faith to society, to serve country, to show humanity, to follow human values is much more valuable than our tombs. When we born, we bring nothing. When we die, we take nothing with us. We leave our body even, here on the earth. After death, how beautiful the body, how strong or how healthy, but the dead body will get ruin, get bad smell and decay. For such body, is it necessary to construct a tomb with marbles or with gold or with diamonds? Is it not self-centeredness and selfishness? Without referring this angle, if everybody praises its richness or beauty, is it not a strategy? Is it not coup to make people to run after luxuries, lust or desires?

Otherwise, the beautiful sculptures, arts, architecture, engineering skills, skillful designs of wall and pillars of Madurai Temple and other so many constructions, why didn't they get minimum publicity? They had constructed past to Taj Mahal. That means the scientific or technical approach of such temples was more ancient than that of Taj Mahal. After 1450 the industrial and technical development in Europe was speeded up. In 1600 A.D. while the construction of Taj Mahal, such technology was available. Whereas while construction of Pyramids or China wall or Madura etc temples, it was not available. Then whose artistic values are high?

Then why such extreme publicity was giving by worldwide media including Indian Governments to Taj Mahal where as minimum publicity or nominal publicity had given to Ancient temples? Is it because Taj Mahal was constructed as a symbol of love between a male and female or a Muslim king constructed it?

In fact, in India every art form is dedicated to God and mingled with devotion. Miraculary astronomical knowledge, solar scientific approach is mixed in the construction of Sun Temples in India. A small bird like 'Gigigadu' constructs its nest in most artistic way. A small child wants to Paint his picture with beautiful colors in a pleasant pattern.

With this background, if some color tins are spread in most disorder manner, by keeping a name of modern art and insist us to understand some strange relation less feelings in those color spots, what we can say? Simply put a salute to such modern artist.

Similarly, without any system, rhythm, or Sruthi Laya, if somebody shakes their body and says it is modern dance by name jaj, or salsa or Sambar or Rasam, what we can say? Simply we can say 'great'.

Actually, Indians had developed cooking also up to an art level. Nala Maharaja and Bheema sena of Maha Bharatam were famous for the art of cooking i.e. Paka Kala. With six tastes i.e. Shadruchulu, salt, sour, hot like chilly, sweet, bitter and ogaru like betel nut, with five eatables such as
'
భక్ష్య భోజ్య చూహ్య లేహ్య చూర్ణ పదార్ధములు
that means solid eatables, liquid eatables, jelly eatables, paste eatables and powder eatables and with super Rice, food system flourished in India. The subject, food and Nutrition is very young while compare with the Indian Paka kala Sasthram.

In every art, the spirits, the emotions, and the feelings are classifieds by the Saints and elders of ancient times of India into nine categories, which are known as Nava Rasalu. They are [1].Shrungara [sexual], [2].Humor, [3].Pity or Kind, [4].Anger, [5].Ferocious, [6].Fear, [7].Terror, [8].Miraculary & [9].Peace.

This is the level of maturity of Indians and of human beings.

Such that, in any country, in any society, at any time, when the younger generation starts from where the previous generation had stopped, then there will be progress. It is applicable not only to arts and it is applicable to every aspect. Then only to human race can develop.

I can give an example to you to understand this concept. If our parents learnt and developed from 0 to 10, and if we start development from 10 to 20 and if our children start from 20 to 30, definitely our development range is from 0 to 30 within 3 generations. Suppose our parents develop from o to 10. If we won't accept it by saying, "it is ancient, not modern". As we are the modern people, and starts from 0 to 10, and if same thing repeats in case of our children, they start again from 0 to 10, hence our development range is from 0 to 10 only within 3 generations. There will be nothing deference with in 30 generations. If we forget our history, our past, our inherited knowledge, our traditions, our development will be from 0 to 10 only, not from 0 to infinity.

To confine the human psychological and spiritual development from 0 to 10, to make the human beings like robots, a coup was planned and implemented. According to that coup, people made crazy towards the so-called modern, made to hate the so-called ancient traditions and made to quarrel with elder generations by claiming as generation gap. Otherwise, where was such generation gap in history?

In fact, the entire ancient is not good as not well as all the modern is bad. According to our wisdom, according to our discrimination, we have to adopt the good from whenever it is good, but with sincerity.

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3 comments:

  1. An overwhelming response of more than 8000 participants from 115 cities of India coming from the huge range of age, profession and cultural groups has motivated us to take the entire movement to the next level.When such an over whelming number of people join a platform, then there is an obvious need to make the platform larger.

    the organisers of the Rang Rasiya Freedom of Expression Movement feel immense pleasure to introduce and welcome you all to a global Artist Networking Portal. Please join our artist's community at http://freedomofexpressionmovement.ning.com/ . We aim to make this community a platform which enables artists to interact with each other, exchange ideas around art making, viewing and showcasing. All this is just a part of our endeavour to make the Freedom of Expression Movement, the largest ever platform for artistic talent.

    All of you have not yet participated in the competition log on towww.rangrasiya.com and chase the spirit of Raja Ravi Varma.
    Let's come together and make a difference an Art Way.

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  2. madam...I found everything in the above very interesting and how you have shown the importance of culture is making me think .. thanks for the efforts you took

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  3. Venkatesh garu,

    Thank you very much for your comment. I felt happy by receiving it.

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