Chidambaram

The early history of the temple lies hidden in the mists of time. It reached its present form under the patronage of the kings of the Chola dynasty in the 11th, 12th and 13th centuries. From the aerial view we can see the total surface area of the temple covers 13 hectares or 35 acres. Placing it among the largest temples in the whole of India. It is designed with five concentric Prakaras, or circumambulatory temple courtyards. These are associated with the Five Elements. The innermost Prakara is not visible. It lies within the sanctum with the golden roof, and can only be entered by the Deekshithars. The architecture and the rituals of this temple reflect its history and doctrine.


Where we now find this beautiful and ancient temple, was once an impenetrable forest of Tillai trees, which is a kind of mangrove. This forest gave Chidambaram its firs and most ancient name, Tillai. Within this sprawling forest was a lotus pond, and at the southern bank of this pond existed a Svayambhu Linga. A linga is a representation of Lord Shiva which unites both the concepts of Form as well as of Formless in itself. In modern terms this formless-form might be called an abstraction.

Svayambhu means ‘self existent’, signifying that the linga was not made by human beings, but came into existence by itself, from nature. To this lotus pond in the Tillai forest came two saints, named Vyagrapada and Patanjali. They came from very different backgrounds and from very different directions, but they came for the same reason: to witness Shiva’s Cosmic Dance. It had been foretold to them that if they would worship the linga on the bank of the lotus pond in the forest, Lord Shiva would come to perform His Dance.

Eventually this great event took place. Nataraja came to perform His Dance on a Thursday, when the moon was in the asterism Pushan, in the Tamil month of Tai, long before the Christian era. This dance is called the Ananda Tandava or Dance of Bliss. The saints achieved liberation, and on their special request Shiva promised to perform His Dance for all time at that place. For the full narration of the myth the reader is referred to chapter III.

The story of the origin of the worship of Shiva Nataraja in Chidambaram is told in the Chidambaram Mahatmyam. The Sacred History of Chidambaram, which is part of the Skanda Purana, one of the 18 great Puranas or collections of mythology. From one of the saints, Vyagrapada, which means Tiger Footed, Chidambaram received its second name, Puliyur, meaning ‘City of the Tiger’.

Its third name, Chidambaram, refers to the philosophy and doctrine of the temple. Cit means consciousness or wisdom. Ambaram signifies ether in Sanskrit, but in Tamil the ambalam means hall. The name unifies two aspects of the doctrine. Meaning both Hall of Wisdom, as well as the place of the Ether of Consciousness.

The edifice which now includes within its garbhagriha or sanctum this Svayambhu linga form of Shiva, situated on the southern bank of the sacred pound, is called Mulasthana. This Sanskrit term means ‘place of origin’ or ‘root place’. It can be found in the third courtyard, within the Nataraja temple proper. Facing east, it is a conventional temple with a garbha-griha or sanctum containing the linga, and an ardha-mandapa, a hall in front of the sanctum.

In this ardha-mandapam we find the images of the two saints, Vyagrapada and Patanjali. They stand with their hands folded, worshipping. A sanctum placed at an angle to the linga shrine, facing south, houses the consort of Shiva, the goddess Uma-Parvati. On the western wall of the shrine we find a relief sculptured of the Kalpa Vriksha or Wishing Tree of Paradise. This shrine achieved its present form probably under the middle and later Cholas in the 11th and 12th century.

The main edifices of the temple are the five Sabhas or Halls: the Cit Sabha, Kanaka Sabha, Deva Sabha, Nritta Sabha, and the Raja Sabha.

At the centre of the temple is situated the sanctum sanctorum or holy of holiest, called the Cit Sabha or Cit Ambalam. This means the ‘Hall of Wisdom’. It is the main shrine where Lord Shiva Nataraja accompanied by his consort Parvati performs His Cosmic Dance, the Ananda Tandava or Dance of Bliss.

The world is the embodiment of the Virat Purusha, the colossal human form. Chidambaram is the centre of this form, the place of the heart, where Shiva performs the Cosmic Dance.

The Chidambaram temple is laid out as a Purusha. For this reason the devotees may approach the central shrine from two sides. As blood flows to and from the heart. The nine stupas topping the golden roof represent the nine orifices of the human body, and also symbolize the nine Matrikas or goddesses. The roof is made of 21.600 tiles, representing inhalations and exhalations of breath. The links and side joints symbolize the connecting veins.

The five main steps at the entrance to the shrine stand between the devotees and the image of Shiva, covered in silver. They are the five seed words or syllables of the mantra.

By chanting these syllables, the devotee can cross the ocean of bondage and attain to the Lord. The granite plinth of the shrine is called Parvadam, because it does duty for Mount Kailasa in providing a support for Lord Shiva. On all special occasions puja or worship is performed to this plinth.

The name, Hall of Consciousness or Hall of Wisdom, refers to the quality of wisdom which pervades the atmosphere, bestowed upon the worshippers by the Dance of the Lord. His boon is the experience of the Cosmic Dance.

A unique feature is that the structure of the actual Sabha is made of wood, which has so far not been botanically classified. It is rectangular in form and here Shiva is worshipped in his three aspects:

As Form                             Nataraja the murti or image of Shiva

As Formless-Form          The crystal linga called Chandramaulishvara

As Formless                       The yantra which is the Akasha Linga

From the platform opposite the Sabha one can see the image of the Dancing Shiva, situated in the middle of the Sabha. Shiva is facing south, unlike most other Hindu deities. This signifies he is the Conqueror of Death, dispelling the fear of death for the humanity.

The Crystal Linga called Chandramaulishvara is Shiva as Formless-Form. This Crystal Linga was formed from the essence of the crescent moon in Shiva’s matted hair, for the purpose of daily worship. This murti is taken from its keeping place at the feet of the Nataraja six times a day, and abhishekam of holy ablution is performed to him in the hall called Kanaka Sabha in front of the Cit Sabha.

Immediately to the proper right of the Nataraja is the Chidambaram Rahasyam, the ‘mystery’ of Chidambaram. Here, behind a silk curtain which is black on the outside and red on the inside, is the Akasha Linga, in the form of a yantra. An abstract  geometrical design, on which the deity is invoked. Behind the curtain, before the yantra, hang a few strands of golden vilva leaves. This signifies the act of creation. One moment nothing exists, the next instant the All has been brought into existence. At regular timings the curtain is removed to allow the devotees to worship the Akasha. he Ether which is the vehicle of the Absolute and Consciousness.

The Cit Sabha houses one more unique form of Shiva. This is the Ratna Sabha Pati, the Ruby Lord of the Sabha: a replica of the Nataraja murti in ruby form. This murti appeared out of the fire of the sacrifice in response to the devotion of the Deekshithars.

Once a day, as part of the 10.00 o’clock morning puja ritual, after the abhishekam of the Crystal Linga, abhishekam is also performed to the Ruby Shiva. As conclusion of this ceremony the Ruby Nataraja is placed on the edge of the Parvadam of the Kanaka Sabha and Mangala Arati is offered. This is the burning of camphor on a special plate which is shown both in front and behind the Ruby Nataraja. This brings out the special quality of translucence of this murti, creating a mystical spectacle for the onlookers.

Nobody knows when the worship of Nataraja was established here, or when the Cit Sabha was build. The original wooden structure is doubtless the oldest structure in the temple complex, as the shrine of the Mulasthana Linga is a later construction under the Chola Kings. The Sabha has no features that could help to date it. It is unique and no other structure is known like it anywhere else in Indian architecture. Analysis by the C 14 method would be unreliable because it is known to have been regularly renovated during the centuries. But the origins of the temple of Shiva Nataraja in Chidambaram definitely lie back in prehistoric times.

According to the mythology the temple was first constructed by a king called Shveta Varman. This king was healed of leprosy by bathing in the sacred pond in the Tillai forest and witnessed the Cosmic Dance. The first gilding of the roof of the Cit Sabha and the instituting of the temple and the formal worship of the Nataraja are all attributed to this King.

The first historical references can be found in the Skanda Purana, especially in the Suta Samhita part. Here Shanmukha, the six-faced son of Shiva and Parvati, is described as worshipping his parents in Chidambaram, before going to do battle with a demon called Surapadma. This text can be dated to the second century BCE.

The Cit Sabha, Shiva’s dance and Chidambaram are also prominently mentioned in the Tirumantiram of Tirumular, an important religious and philosophical text in ancient Tamil, dating from the beginning of the Christian era. A few centuries later the temple and its Lord are often mentioned by poets of the Tevaram, especially Appar and Sambandar (7th century) and by Manikavasakar (8th century).

The first historical kings to claim having gilded the roof of the Cit Sabha are the Chola Aditya I (871-907) and his son Parantaka I (907-955). By this time the temple had already become important. The place where kings were crowned, and where they came
to worship and receive counsel. How the gilding of the roof was done is a knowledge that was sadly lost with time. But it is without doubt one of the great technical achievements of ancient times.

Immediately in front of the Cit Sabha is the Kanaka Sabha, or golden hall. Its roof is made of copper, although Kanaka means gold. This is the gold of spiritual treasure: to experience Shiva’s dance from so near.

In this Sabha are most of the daily rituals of worship for Nataraja performed. The Yagna of the morning rituals. The rituals with lamps and ritual objects. And the abhishekam of the Crystal Linga and Ruby Nataraja. The public can enter certain areas of the
Kanaka Sabha for worship of the Nataraja and the Akasha Linga at specified hours of the day.

It is a controversy whether this Sabha was originally constructed together with the Cit Sabha, or some time later.

The Nritta Sabha is the shrine in the form of a ratha or chariot, pulled by two stone horses. It is situated opposite the Cit Sabha, in the third courtyard. It is the place of the dance contest between Nataraja and the goddess Kali.

Shiva conquered the goddess, who would not calm down after she destroyed a powerful demon, by lifting his right leg straight up towards the sky. This dance is called the Urdhva Tandava. Then and there Kali suddenly remembered who she really was, the peaceful Parvati, consort of Shiva, and she was able to leave her furious mood and returned to her peaceful self. This scene is depicted in the sanctum inside the Sabha. We see Shiva performing his Urdhva Tandava, his leg lifted straight above his head, Kali calmed down in one corner, both accompanied by Vishnu playing the talam, the
instrument which is used to accompany dance.

The chariot form of the Sabha commemorates Shiva as Tripurasamhara murti, the Destroyer of the Three Demon Cities. Several divine powers joined together to create Shiva’s chariot. Thus the sun and moon became the wheels, the Vedas the horses etc.
After destroying the Three Cities he descended from his chariot, having landed opposite the Cit Sabha, and ascended into the Sabha to commence His Dance. From this the Nritta Sabha is also called Edir Amabalam or opposite hall.

This Sabha has several distinguishing features aside from its shape and its function. Its columns are unique to the chariot hall. They are square, and although carved from the hardest granite they are covered with exquisite miniature relief’s, depicting dancers,
musicians and all kinds of mythological figures.

One other feature sets this edifice apart from any other hall within the temple complex and from all other temple halls in India. This Sabha is mysteriously connected to the Sphinx. Just under the floor surface of the raised platform which is the body of the Sabha is a belt or pattika, surrounding the whole Sabha. Here we see lions and sphinxes alternating in pairs, girdling the Sabha.

Also the pillars of the two pavilions on the western side of the Sabha are supported by four sphinxes which function as caryatids.

The Nritta Sabha is considered by tradition the second oldest building in the complex, without any real indication of its age. It is reported in inscriptions as having been renovated by the Chola King Kulottunga I in the 11th century.

The Deva Sabha can be found in the third prakara or courtyard. The festival deities are kept during the year, and worship is performed for them daily. This is done inside the Sabha, and is not open to the public. The age and history of this Sabha is also hidden in the mists of time. There is some evidence the Deva Sabha was once used as an audience hall by visiting kings of the different governing dynasties of the Cholas, Pandyas and others during the several phases of history. No other information is
available.

The Raja Sabha is the Thousand Pillar Hall in the second courtyard. It is the architectural representation of the Sahasradara, or Crown Chakra. Which is the seventh spiritual energy point in the astral body. The Nataraja and the goddess Sivakamasundari, his consort, dance here on the 9th and 10th day of the Chariot Festival.

About this Sabha too, we have very little historical information. It is first mentioned as the place where the medieval poet Sekkilar premiered his great work on the lives of the 63 Nayanmars or Saiva saints, the Periya Purana, before the Chola king Kulottunga II or III, in the 12th century.

Its base is encircled by relief’s of dancers and musicians, as it were participating in a procession.

The most imposing feature of the temple, which can be seen soaring above the plain from miles away, are the four temple gateways or gopurams, located in the second wall of enclosure at the cardinal points. They are considered among the earliest examples of
such structures and are in their present form dated to the 12th and 13th century. Scholars disagree about the dates of individual gopurams, or about which one was build first. Some consider the west gopuram as oldest, some the east gopuram.

In between the sculptures decorating the inside of the west gopuram we find a musician playing a standing double drum. This could point to an early date for this gopuram.

On the outside of the granite bases of the gopurams are found sculptures of many important as well as less well known deities in niches in a particular order. The inside walls of passages through all the four gopurams are decorated with the 108 karanas, the dance movements of Shiva, from the Natya Shastra, the world’s most ancient treatise on dance, drama and theatre. Besides in Chidambaram these karanas are depicted in only four other temples, all in Tamil Nadu.

The four gopurams, together with the golden dome of the central shrine are the five towers which represent the five faces of Shiva, with the Cit Sabha symbolizing the masterful face.

In the innermost courtyard, at a right angle with the golden Sabha, we find the shrine of Vishnu, as Govinda Raja. Reclining on the Cosmic Snake, he is in the yogic state of consciousness, enjoying the vision of Shiva’s dance. The coexistence of the worship
of both Vishnu and Shiva within one temple is unique. The worship of Vishnu was established in the earliest times and was originally performed by the Deekshithars themselves. In the later medieval period, with a shifting political situation under pressure of Muslim invasions, there was possibly a discontinuation of the worship for a
long period, after which it re-instated by the king Achyuta Raya (1539) of the Vijayanangara empire. The worship of Vishnu Govinda Raja has since then been in the hands of Vaishnava priests, and was no longer performed by the Deekshithars.

Within the inner courtyard, to the east of the Sabha, we find a small shrine which houses the murtis of both the Creator god Brahma, of the Hindy Trinity, and Chandikeshvara, a deified saint. The presence of Brahma (a deity almost never worshipped) establishes the worship of all three deities of the Hindu Trinity with-in the
one complex.

The temple of goddess Shivakamasundari, consort of Shiva, is situated on the west side of the Shivaganga tank. A flight of steps leads down into its courtyard. The goddess
is worshipped here as the Jñana Shakti: the energy and power of wisdom. On the frontal portion of the pillared hall, on the ceiling of the right and left wings, the finest eye-capturing fresco paintings of approximately a thousand years old, illustrate the Leelas or Sacred Deeds of Shiva. The galleries surrounding the temple are decorated with a procession of dancers and musicians, sculptured in relief. This temple was possibly build in the 11th century under the Chola king Kulottunga I.

The Shiva Ganga is the sacred water place or tank. It is famous for healing the ancient king Sveta Varman of his skin disease. His skin became golden after which he was called Hiranya Varman.

In this tank we find a stone representation of the Linga of Tiruvanaikaval, which represents the Element Water. In the dry season it becomes visible as the water level in the tank is reduced.

The Pandya Nayaka temple is dedicated to Murugan, the second son of Shivan and Parvati. This shrine is also shaped as a chariot, pulled by horses and elephants. This temple was according to tradition build by a king of the Pandya dynasty from Madurai, which superceded the rule of the Cholas in the 13th century. His name was Sundarar Pandya, and the temple is named after him.

In the middle of the 18th century this temple was renovated with the support of Dutch merchants, who had a trading post in nearby Porto Nuovo. According to an inscription on copper plates they donated a share of their profit for this purpose

Vellore

Vellore Fort is a large 16th-century fort situated in Vellore city, in the state of Tamil Nadu, India built by Vijayanagara Kings. The Fort was at one point of time the headquarters of the Aravidu Dynasty of Vijayanagara Empire. The fort is known for its grand ramparts, wide moat and robust masonry. The Fort's ownership passed from Vijayanagara Kings, to the Bijapur Sultans, to Marathas, to the Carnatic Nawabs and finally to the British, who held the fort until India gained independence. The Indian government maintains the Fort with the Archaeological Department.

During British rule, the Tipu Sultan's family and the last king of Sri Lanka, Sri Vikrama Rajasinha were held in as prisoners in the fort. The fort houses a Christian church, a Muslim mosque and a Hindu temple, the latter of which is famous for its magnificent carvings. The first rebellion against British rule erupted at this fort in 1806, and it is also a witness to the massacre of the Vijayanagara royal family of Sriranga Raya.

History:
Vellore Fort was built by Chinna Bommi Nayak and Thimma Reddy Nayak, subordinate Chieftains under Sadasiva Raya of the Vijayanagara Empire in the year of 1566 AD. Vellore Fort gained strategic prominence following the re-establishment of Vijayanagar rule with Chandragiri as their 4th capital after the Talikota battle. The Aravidu Dynasty that held the title of Rayas in 17th century resided in this fort, using it as a base in the battle of Toppur in the 1620s. This major battle took place for the claiming of the Raya title between two faction of the Raya family. Each faction was by their respective subordinates; the Nayaks of Tanjore, the Gingee and the Madurai taking sides to suit their interests.

The Rayas also had long-running battles with their longtime rivals, the Bijapur Sultans, and with the Nayaks of Madurai and the Gingee over non-remittance of annual tributes. In the 1640s, during the reign of Sriranga Raya III, the Fort was briefly captured by the Bijapur army, but was eventually recaptured with the help of the Nayaks of Tanjore.

Construction:
The fort was constructed in granite from the nearby quarries in Arcot and Chittor districts. It spreads over an area of 133 acres (0.54 sq km) and is located at an altitude of 220m within a broken mountain range. The fort is surrounded by a moat which was once used as an additional line of defence in the case of an invasion. It includes an escape tunnel leading to Virinjipuram about 12 km away, which could be used by the king and other royals in the event of an attack. The fort is considered to be among the best of military architecture in Southern India and is known for its grand ramparts, wide moat and robust masonry. This 13th-century fort was opened up to tourists and is now maintained by the Archaeological Survey of India, and is well maintained compared to other monuments.

Buildings Within The Fort:
    Sri Jalagandeeswarar Temple: The temple, dedicated to Jalagandeeswar, is noted for its sculptures, and speaks volumes of the exquisite craftsmanship of the highly skilled artisans of that period. The sculpture in the porch on the left of the entrance is a masterpiece appreciated by the connoisseurs of art and architecture. The temple was long used as an arsenal, and remained without a deity, although several years ago it was sanctified with an idol of Lord Shiva.During mughal period the idol was removed and kept away from the town, forgotten by the generation. In the year 1983 a Christian missionary spoke out side the fort ground, inside the fort an empty temple. This evoked a quick response from the Vellore elites and all gathered together and promptly placed the idol and started their prayers. The temple is maintained by a Trust.
    The Mosque: This building was constructed during the last Arcod Navab's period.
    The Church: This building was constructed during the early British period (Robert Clive, East Indian Company).
    Muthu Mandapam: This is a memorial built around the tombstone of Sri Vikrama Rajasinha, the last ruler of Sri Lanka. Situated on the bank of the Palar River, it is just one kilometer north of Vellore fort.
    Government Museum: This is a multi purpose museum maintained by the Department of Museum Government of Tamil Nadu. Its treasures include ancient- and present-day curiosities relating to subjects such as anthropology, botany, geology, numismatics, pre-history, and zoology. Historical monuments of the erstwhile composite North Arcot district are gracefully depicted in the gallery.

Royal Prisoners:
    Family of Tipu Sultan: After the fall of Srirangapatnam in 1799 and the death of Tipu Sultan, his family, including his sons, daughters, wife and mother (who was the wife of Hyder Ali), was detained in the fort. After the 1806 Sepoy Mutiny, the British transferred Tipu's sons and daughters to Calcutta. The Tombs of Bakshi Begum, widow of Hyder Ali and Padshah Begum, Tipu's wife & sons, who died in 1834 are located with a kilometre to the eastern side of the Fort.
    Last King of Kandy: Vellore Fort also became the final destination for the last ruling monarch of Sri Lanka, Sri Vikrama Rajasinha (1798-1815). The kind and his family were kept as prisoners of war at this fort for 17 years with his family. His grave can be found in the fort along with last raya kings of Vijayanagara Empire.

Tiruvannamalai

The history of Tiruvannamalai dates from the early Chola period, the period of Aditya I and Parantaka I (871-955 AD) when the Chola empire had expanded northwards to include practically the whole of Tondaimandalam. After Parantaka I till the reign of Rajendra I, the rule of the Chola Empire is not confirmed by inscriptions inside the Arunachaleswarar Temple. Possibly on account of the Rashtrakuta invasions and occupation of this area by Krishna III. This is perhaps indicated by a single inscription of Kannaradeva (Krishna III) found in the Temple. The recovery of the region by the Cholas was a slow process and reached its successful conclusion only towards the close of the reign of Rajaraja I approximately. AD 1014, but even Rajaraja is conspicuously absent in the inscriptions of Tiruvannamalai.

         While the rule of Rajendra I and Rajadhiraja I over this area is attested by their inscriptions, once again a fairly long gap of over a hundred years is indicated by the absence of any Chola inscriptions till the beginning of Kulottunga III's region (AD 1183)
         Large scales activities in the period of Kulottunga III and Rajaraja III are indicated by a number of records in the Temple. Further, the frequent references to a number of Chola feudatories of this period would also show a gradual ascendancy in their power and importance till the final establishment of independence by the Kadavaraya chieftains in the second quarter of the 13th century AD In this connection mention may be made of an interesting inscription at Tiruvannamalai, which records an agreement entered into by a number of feudatory chieftains to support one another and swearing allegiance to the ruling Chola king (Kulottunga III of AD 1210), pointing to a period of great political tension under the late Cholas. 
         The inscriptions of Kopperunjinga clearly show that by the second quarter of the 13th century, the Kadavarayas had established complete mastery over this region leading to the final decline of Chola power.
          A brief period of Pandya supremacy over this region is indicated by the inscriptions of the Pandyas of the second empire such as Jatavaraman Srivallabha and Tribhuvanachakravartin Kulasekhara in the 13th century AD.
         The Hoysalas under Vira Vallaladeva (Ballala III) of around AD 1340 also exercised sway over this area which indicates that the Hoysalas continued to influence Tamil politics even after the Muslim invasions of Malik kafur.
         After the Hoysalas, Tiruvannamalai passed into the hands of the Vijayanagar rulers, whose southern invasions under Kampana led to the establishment of Vijayanagar authority over practically the whole of Tamil Nadu.

         Vijayanagar inscriptions in Arunachaleswarar Temple are large in number and range from the period of Harihara II to the late Vijayanagar ruler Venkatapatideva Maharaya of the late 14th to the 17th Centuries AD. Following them, the Kayak feudatories of Tanner, established their independent sway over this region and under Sevvappa Nayaka, carried out large scale renovation and building activities in the Temple.
         After Nayak rule, the region gradually passed into British hands except for a brief period of subordination to the Mysore Odeyars in 1816 AD.

Ramanathapuram

In the early 15th Century the present territories of Ramanathapuram district comprising of taluks Tiruvadanai, Paramakudi, Kamuthi, Mudukulathur, Ramanathapuram and Rameswaram were included in Pandiyan Kingdom. For a short period, this area was under the Chola Kings when Rajendra Chola brought it under his territory in 1063 AD.   In 1520 AD., the Nayaks of Vijayangar took over this area under their control from the Pandiyan dynasty for about two centuries, Marava chieftains-Sethupathis who were Lords under Pandiyan Kings and  reigned over this part (17th  century).   At the beginning of the 18th century,  family disputes over succession resulted  in the division of Ramanathapuram.  With the help of the King of Thanjavur in 1730 A.D. one of the chieftains deposed Sethupathy and became the Raja of Sivaganga.  Acting upon the weakness of the Nayak rules, the local chieftains (Palayakarars) became independent.  Raja of Sivagangai, Sethupathy of Ramanathapuram were prominent among them.  In 173, Chand, a Sahib of Carnatic, captured Ramanathapuram.   In 1741,  the area came under the control of the Marattas and then under the Nizam in 1744 AD, Nawab’s rule made displeasure in the mind of those chieftains.  That made them declare  the last Nayak as ruler of Pandiya Mandalam against the Nawab in 1752 AD. By that time, throne of Carnatic had two rivals,  Shanda Sahib and Mohamed Ali,  and this district was part of Carnatic.  The British and French supported Chanda Sahib and Mohamed Ali respectively.  It paved the way for series of conflicts in the southern part of the continent.

In 1795, the British deposed Muthuramalinga Sethupathy and took control of the administration of Ramanathapuram. In 1801 Mangaleswari Nachiyar was made the Zamindar of Sivagangai  After passing of Queen, the Marudhu Brothers took the charge by  paying regular revenue to the East India company.  In 1803 the Marudhu Brothers of Sivaganga revolted against the British in collaboration with Kattabomman of Panchalamkurichi.  Colonel Agnew captured Marudhu Brothers and hanged them and made Gowri Vallbah Periya Udaya Thevar as Zamindar of Sivaganga.  After the fall of Tippu Sultan, British took the control and imprisoned the Nawab.  In 1892 the Zamindari system was abolished and a British Collector was appointed for administration.

In 1910, Ramanathapuram was formed by clubbing portions from Madurai and Tirunelveli district.  Shri J.F. BRYANT I.C.S was the first collector. And this district was named as Ramanathapuram.  During the British period this district was called “Ramnad”.  The name continued after independence.  Later the district was renamed as Ramanathapuram to be in conformity with the Tamil Name for this region.

Nagapattinam

History of Nagapattinam District speaks of the influence of the Cholas, the Pallavas, the Portuguese, the Dutch and lastly the British till the independence of India.The district of Nagapattinam was formed by the bifurcation of the composite district of Thanjavur on 18th October 1991. It is a unique district with all its historical and cultural significance. This district is one of the constituents of Cholamandalam, acclaimed as the most notable among the ancient Tamil kingdoms. Its salient features have contributed to the glory of the Cholamandalam.

The coastal district of Nagapattinam was the headquarters of a region during the period. This region has been named after Kshatriya sigamani, one of the titles of Raja Raja Chola. Nagapattinam was also known as Cholakula Vallippatinam.The heritage of this district is found in the Burmese historical text of the 3rd century B.C. and it also gives evidences of a Buddha Vihar constructed by the great emperor Ashoka Hieun Tsang, the Chinese traveler also described about the Buddha Vihar in his book. In the ancient Buddhist Literature the Nagapattinam district is mentioned as Padarithitha.

In ancient times, Naganadu ;Nagapattinam was referred only to Sri Lanka. Buddhist monks in Sri Lanka had close links with this district of Nagapattinam. Animangalam Copperplate of Kulothungachola noted that; Kasiba Thera, a Buddhist monk, renovated the Buddhist temple in the 6th century AD with the help of Buddhist monks of; Naganadu his nagar annam vihar; later came to be called as Nagananavihar.

The Pallava King (A.D. 690 to A.D. 728) permitted a Chinese king to construct the Buddha Vihar in Nagapattinam. Hence there existed a Chinese built Buddha Vihar in the district of Nagapattinam. As per Anaimangalam copper plate of Kulothunga I, Sri Vijayathunga Varman of Sri Vijaya kingdom constructed the Raja Raja Perumpalli in the name of Raja Raja Chola and Rajendra Chola Perumpalli in the name of Rajendra Chola in A.D. 1090. This Buddha Vihar of the district is also known as the Sudamani Vihar. Excavations were conducted by the Archaeological department at Vellipalayam in Nagapattinam and more than three hundred Buddha statues were unearthed and kept at the Museum in Chennai. This dilapidated Buddhist tower was razed down about two hundred years ago.

Nagore, a town of this district, is called so because it was inhabited by the Nagars. The Nagapatinam Kayaroganam Shiva temple existed even in the 6th century. Appar Sambandar and Sundarar were associated with this temple; Kayaroganam Shiva temple is based on the `Laguleesa Pusuptha Cult.` The Soundaraja Perumal Viashnava temple is one of the notable features of Nagapattinam. Portuguese had a commercial contact with this town during the Tanjore Nayakkas rule and the Portuguese commercial centre was established in the year 1554. Since then Christianity began to take root under the commercial contact, and ten villages were taken control of by Portuguese traders. 

In the year 1658, the Dutch tried to evict the Portuguese from Nagapattinam to establish the commercial centre there under the agreement reached between King Vijaya Nayakkar of Thanjavur and the Dutch on 5th January 1662. The following ten villages namely Puthur Muttam, Azhingimangalam, Poruvalancheri, Thiruthinamangalam, Anthonippettai, Nagappattinam Port, Karureppankadu, Sangamangalam, Manjakollai and Nariyankudi were transferred from the Portuguese to the Dutch.

Ten Christian churches and a hospital were constructed by the Dutch. They also released coins with the name Nagapattinam; engraved in Tamil letters. According to the agreement between the first Maratha King Egoji of Tanjore Paintings Tanjore and the Dutch, Nagapattinam and surrounding villages were handed over to the Dutch on 30th December 1676. Latter this town fell into the hands of the British in the year 1781. After the prolonged struggles, two hundred and seventy seven villages with Nagur as the headquarters were handed over to the British East India Company in 1779. Gold coins bearing the names Nagapattinam Varaganand Nagapattinam chornam were in circulation during the period of Tanjore Maratha Kings. Thus the Nagapattinam has the history of over two thousand years to its credit. Today the district of Nagapattinam is a part of the Tamil Nadu state of India. 

The total area covered by this district is 2715.83 square kilometers and the headquarters of this district is Nagapattinam. Among the Chola kings, King Karikalan renovated and constructed the renowned port of Poompuhar with is located presently in the district of Nagapattinam.

Cuddalore

Cuddalore, situated on the coast of Bay of Bengal is one of the fastest growing cities in the state of Tamil Nadu. The name Cuddalore refers to “Sea town” in Tamil language, and the town is indeed abundant with beautiful beaches. The city is also famous for its magnificent temples. Cuddalore has two districts namely the Old Town and the New town.

The Gedilam River separates the Old town from Thirupadiripuliyur, the New town, while flowing through the town. The old town was called “Islamabad” during the Mughal rule, and it continues to be a Muslim dominated area. Cuddalore was also the capital of the English Possessions in the period from 1748 to 1752.

The Cuddalore town is famous for its various Shiva and Vaishnava temples. Some of the most famous temples are Pataleeshwarar temple, Tiruvaheendirapuram temple, Mangalapureeswarar temple, Sudarkozhunthutheesar temple, to name a few.

The city has also become a major tourist destination thanks to its numerous beaches. The Silver Beach which is the second longest in the state of Tamil Nadu is close to Cuddalore. Fort St David and the Garden House are other sites in Cuddalore which are worth visiting due to its historical and architectural significance.

Pichavaram which is famous for its backwaters and water sports is a must visit. This is also an expansive Mangrove Forest. There are also several islands located close to the mainland which are a huge attraction for bird watchers. Boating facilities here is an added attraction.

Other attractions of Cuddalore include the Lignite Mines, Gadilam Castle, the Capper Hills, Chidambaram and Srimushnam. The tsunami that hit the Indian coast on 26th December 2004 had a devastating effect on Cuddalore, however, the city has survived through it with it’s never say die spirit.

Historically, the Cuddalore district consisted of “Chola Naadu” and “Nadu Naadu”. The town has existed as a seaport since the ancient times. The town was ruled by several colonial powers, including the Dutch, Portuguese, French and British, throughout history. There was a Naval Battle of Cuddalore fought between the French and the British in 1758. There was a situation of unrest in Cuddalore during the American War of Independence and the Second Anglo-Mysore war after which the town was finally handed over to the British through the peace treaty. Some areas of Cuddalore still retain traces of its rich colonial history. Some of the educational institutions initiated by the British still exist in Cuddalore.

Kanchipuram

" Golden City Of Temples" was believed to be the most attractive city of ancient India .This city is one of India's seven sacred cities and is the second holiest place in India next to Varanasi. This city was the Historical Capital of the Pallavas, the Cholas and the Vijayanagar rulers. It was under the Pallavas from 6th to 8th century A.D. It later became the citadel of the Cholas, Vijayanagar kings, the Muslims and the British. During Pallava times, it was briefly occupied by the Chalukyans of Badami, and by the Rastrakutas when the battle fortunes of the Pallava kings reached a low ebb. Many of these temples are the beautiful work of Pallavas and later Cholas. 

The remains of few Buddhist stupas here also bear testimony that Buddhism also prevailed here for a little while. One of the Acharya Peetas of Sri Adi Sankaracharya - "The Kanchi Kamakotti Peetam" is situated here. It has been a centre for Tamil learning and Culture for centuries and gives us a clear picture of the glorious Dravidian Heritage of the Vaishnavites and Shaivites. 

The ancient Tamil empire spread out into what are now the states of Tamilnadu, Kerala, and some parts of Andhra Pradesh. There were three major Tamil kingdoms, namely the Chera, Chola, and the Pandiya kingdoms. In addition, there were smaller kingdoms like the Thondai and Kongu mandalams. Kanchipuram is believed to have been the capital city of the Thondai mandalam. There were periods when this region was under the rule of the Chola kingdom. It has also been under the Great Pallava dynasty for the longest period of time. The Pallava rule is said to have been the Golden period for the city of Kanchipuram, as well as Hindu arts and architecture. Each of the dynasties which ruled Kanchipuram has left historical monuments to speak of its glories.

In the early days, this city is said to have been built in the shape of a Peacock. Before the advent of Hinduism, this city had been a center for Buddhism. There have been a few monasteries in the city, from which monks travelled to eastern Asia to spread the religion. One among the prominent Buddhist monks who lived in the city is Bodhi Dharma.

When Buddhism later lost its roots in the country of its origin and continued to be practised in the south-eastern parts of Asia, Hinduism made Kanchipuram an entirely new city in all aspects. Kanchipuram and its neighboring cities became celebrated centers for Hindu architecture and arts. Not many of those monuments exist now. But, the region still has Kanchipuram and Mahabalipuram to talk about the glory of the period.

Today, Kanchipuram is a small, rural town about 75 kilometres from Chennai (Formerly, Madras) in the state of Tamilnadu. It also serves as the district head quarters for the Chengalpattu district. Its economy is entirely dependent on Tourism and the well established handloom industry. Kanchipuram has thousands of handlooms and skilled weavers that make its silk sarees one of the best in the entire world. About 75% of the city's population is associated with the handloom industry in some way.

The Silk industry along with the city being the Capital of a Kingdom also brought people from various other parts of India over the years. Today's Kanchipuram is a cosmopolitan city with people speaking several languages.Other than the native Tamil, languages like Telugu, Kannada, and Saurashtra are also prevalent in the city. 

With the Sankara Mutt acting as the hub of Hindu activities and the temples, Kanchipuram is still one of the most highly visited pilgrimage spots in India, and can rightfully be called the "Religious Capital of South India".

Moreover, almost all other religious cities in India support one of the two sects in Hinduism - Vaishnavism and Saivism. Kanchipuram has lended itself equally to both the sects, dividing itself into Vishnu Kanchi, surrounding the Varadaraja Perumal Temple, and Siva Kanchi, surrounding the Ekambaranathar Temple, while the Kamakshi Amman Temple stands in between as a place of Shakthi worship.

Surprisingly, the 'Religious capital of South India' is also the 'Atheistic capital of South India'. The strongest ever anti-hinduism movement in India, namely the Dravidian Movement has had very strong roots in the city. Some of the movement's eminent leaders like Arignar Anna were born and bred in Kanchipuram. Kanchipuram was also the birth place of the first political offshoot of the Dravidian movement, the Dravidar Kazhagam.

Kanchipuram ,the "Silken Paradise" is also world renowned for the gorgeous hand-woven silk sarees of myriad rich colours, noted for their shine, finish and matchless beauty.The exquisite silk sarees are woven from pure mulberry silk in contrasting colours and have an enviable reputation for lustre, durability and finish.They reflect a Weaving and dyeing tradition,hundreds of years old and whose riches the West came seeking before the industrial age was born.