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<journals>

 <journal>
  <number>33</number>
  <date yyyymmdd='20252301'>23-Aug-2025</date>
  <cover>volume33/articles/volume33.html</cover>
  <notes>Silver Jubilee Volume</notes>
  <cover>volume33/images/cover.jpg</cover>
  <outer-cover>volume33/images/cover.jpg</outer-cover>
  <orientation>portrait</orientation> 
  <cover>volume33/articles/contents.xml</cover>
 </journal>

 <journal>
  <number>32</number>
  <date yyyymmdd='20150810'>10-Aug-2015</date>
  <cover>volume32/articles/contents.xml</cover>
  <notes>Tamiḻ Iconography</notes>
  <cover>volume32/images/cover.jpg</cover>
  <outer-cover>volume32/images/cover.jpg</outer-cover>
  <orientation>portrait</orientation> 
  <file>volume32/articles/contents.xml</file>
 </journal>

 <journal>
  <number>31</number>
  <date yyyymmdd='20140223'>23-Feb-2014</date>
  <cover>volume31/articles/contents.xml</cover>
  <notes>Paripāḍal</notes>
  <file>volume31/articles/contents.xml</file>
 </journal> 
 
 <journal>
  <number>30</number>
  <date yyyymmdd='20131105'>05-Nov-2013</date>
  <cover>volume30/articles/contents.xml</cover>
  <notes>Sangam Literature</notes>
  <file>volume30/articles/contents.xml</file>
 </journal>
 
 <journal>
  <number>29</number>
  <date yyyymmdd='20130902'>02-Sep-2013</date>
  <cover>volume29/articles/contents.xml</cover>
  <notes>தமிழில் முதற்பாட்டு (Tamiḻil mutal pāṭṭu)</notes>
  <file>volume29/articles/contents.xml</file>
 </journal>

 <journal>
  <number>28</number>
  <date yyyymmdd='20130120'>20-Jan-2013</date>
  <cover>volume28/articles/contents.xml</cover>
  <notes>Srī Rudram - Siva Sivā</notes>
  <file>volume28/articles/contents.xml</file>
 </journal>

 <journal>
  <number>27</number>
  <date yyyymmdd='20121122'>22-Nov-2012</date>
  <cover>volume27/articles/contents.xml</cover>
  <notes>Tamil Sangam (Special Issue)</notes>
  <file>volume27/articles/contents.xml</file>
 </journal>

 <journal>
  <number>26</number>
  <date yyyymmdd='20120901'>01-Sep-2012</date>
  <cover>volume26/articles/contents.xml</cover>
  <notes>Brahma Deyam (Special Issue)</notes>
  <file>volume26/articles/contents.xml</file>
 </journal>

 <journal>
  <number>25</number>
  <date yyyymmdd='20120717'>17-Jul-2012</date>
  <cover>volume25/articles/contents.xml</cover>
  <notes>A memorable tribute to Rajendra Chola</notes>
  <file>volume25/articles/contents.xml</file>
 </journal>

 <journal>
  <number>24</number>
  <date yyyymmdd='20120513'>13-May-2012</date>
  <cover>volume24/articles/contents.xml</cover>
  <notes>Ernakulattu Appan temple</notes>
  <file>volume24/articles/contents.xml</file>
 </journal>

 <journal>
  <number>23</number>
  <date yyyymmdd='20120413'>13-Apr-2012</date>
  <cover>volume23/articles/contents.xml</cover>
  <notes>The Vedic Roots of Hindu Iconography</notes>
  <file>volume23/articles/contents.xml</file>
 </journal>
	
<journal>
  <number>19</number>
  <date yyyymmdd='20090919'>19-Sep-2009</date>
  <cover>volume19/journal.html</cover>
  <notes>Navarātri Special Issue</notes>
  <file>volume19/articles/contents.xml</file>  
 </journal>
	
<journal>
  <number>16</number>
  <date yyyymmdd='20090815'>15-Aug-2009</date>
  <cover>volume16/articles/contents.xml</cover>
  <notes>Śaṅkara - Studies</notes>
  <file>volume16/articles/contents.xml</file>   
</journal>
	
<journal>
  <number>10</number>
  <date yyyymmdd='20071108'>08-Nov-2007</date>
  <cover>volume10/articles/volume10.html</cover>
  <notes>"Kalavai a Village Study" - Kalavai a small village in North Arcot district, sprang into world wide prominence with the association of Sri Candrasēkharēndra Sarasvati svāmikal, the Mahāsvāmikal of Kanchi Kāmakōṭi pīṭham. Two of his predecessors on the pīṭha attained samādhi merged with (Para-brahmam) in the village where their Brindāvan temples are enshrined. Provident brought young Swaminathan (the pre sanyāsa name of Mahāsvāmikal) to Kalavai when he was hardly 13 years of age and was ordained as the Head of the Kanchi Mutt under the dīkshā name Candrasēkharēndra Sarasvathi, in this village in 1907.</notes>
  <file>volume10/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>9</number>
  <date yyyymmdd='20071020'>20-Oct-2007</date>
  <cover>volume9/articles/volume9.html</cover>
  <notes>"Guruvaakyam" - His Holiness Jagadguru Shri Chandrasekharendra Saraswati ascended the famous Kanchi Kamakoti Peetha as a young Brahamcharian of 13. He has rightly been regarded as an Avatar of Adi Sankara for the great work he has been doing not merely for Sanatanadharma, not only for our country, but for the entire humanity. ... taken at random from His discourses several years back. This rosary will bring us peace and happiness.</notes>
  <file>volume9/articles/contents.xml</file>   
 </journal>
	
<journal>
  <number>8</number>
  <date yyyymmdd='20070915'>15-Sep-2007</date>
  <cover>volume8/articles/volume8.html</cover>
  <notes>"கொங்கு நாடு சிறப்பிதழ்" - The Kongu country consisting of Coimbatore , Salem, a part of Trichy, and Dharmapuri districts constituted the ancient Kongu country. It developed a character of its own and in many ways unique among the Tamils. For example most of the population of this region generally called Gaunder – Cultivating Agriculturist declare that they are the “devotees in perpetuity” “adimai” of the famous Tamil Poet Kamban. It is unique in the history where an entire community owes their allegiance to a Poet, for the past eight to ten centuries.</notes>
  <file>volume8/articles/contents.xml</file>   
</journal>
	
	<journal>
  <number>7</number>
  <date yyyymmdd='20070414'>14-Apr-2007</date>
  <cover>volume7/articles/volume7.html</cover>
  <notes>"தமிழ் புத்தாண்டுச் சிறப்பிதழ்" - வரலாற்றுக்கு (கி.மு) 180 ஆண்டுகளுக்கு முன் பாக்டீரிய மன்னன் "அகதாக்லியஸ்" என்பவனால் வெளியிடப்பட்ட காசின் தலையில் நின்ற வடிவிலே பலராமர் கையிலே கலப்பை தாங்கி காணப்படுகிறார். கிரேக்க ஆடை அணிந்து காணப்படுகிறார். விளிம்பில் "அகதாக்லியைனுடைய" என கிரேக்க எழுத்துக்களில் பொறிக்கப்பட்டுள்ளது. அக்காசின் பின்புறம் நின்ற நிலையில் "வாசுதேவன்" ஆன "கண்ணனின்" உருவம் பொறிக்கப்பட்டுள்ளது. கண்ணனும் கிரேக்க உடையில் தான் காணப்படுகிறான். ஆப்கனிஸ்தானத்தையும் கடந்து பாக்டீரிய நாட்டில் வரலாற்று ஆண்டுக்கும் (கி.மு) 180 ஆண்டுகட்க்கும் முன்பே கண்ணன், உருவும் பலராமன் உருவும் காசுகளில் வெளியிடப்பட்டுள்ளன எனில் இந்திய பண்பாடு எவ்வளவு பரந்து திகழ்ந்தது என அறியலாம்.</notes>
  <file>volume7/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>6</number>
  <date yyyymmdd='20070327'>27-Mar-2007</date>
  <cover>volume6/articles/volume6.html</cover>
  <notes>"ராம பக்தி சிறப்பிதழ்" - அறத்தின் மூர்த்தியாய இராமபிரானையே முழுமுதல் கடவுளாக வணங்குவது "இராம பக்தி". இராம பக்தியை படம் பிடித்துக் காட்டுவோரில் திருமழிசை ஆழ்வாரும் ஒருவர். இவ்வாழ்வார் ஏறக்குறைய வரலாற்றில் 600 ல் வாழ்ந்தவர். தமது திருச்சந்த விருத்தத்தில் ஒரு பாடலில் "இராமா நீயே எனது ஊணில் உயிராய் விளங்குகிறாய். எனது உணர்வு முழுவதும் நீயே. நான் உறங்கும் போது உணர்வற்றுத்தான் இருக்கிறேன். ஆனால் உறக்கம் நீங்கி எழுந்ததும் என் நினவுகளெல்லாம் அற்றுவிடாமல் தொடர்ந்து வரும் உணர்வும் நீதான். </notes>
  <file>volume6/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>5</number>
  <date yyyymmdd='20070301'>01-Mar-2007</date>
  <cover>volume5/articles/volume5.html</cover>
  <notes>"Buddha, a Hindu God" - There is a tradition for nearly 2000 years or more that Buddha was an incarnation of Viṣhṇu, portrayed in inscriptions and sculpture. Some scholars consider that this happened quite late in history, may be around 5th or 6th cent CE. But there are enough evidences to show that the concept could be traced to earlier than the beginning of the Common Era. The Lalita-vistara dated to the beginning of the CE does record that both before and immediately after the birth of Gautama, he was considered the very Nārāyaṇa, who came to the earth for the salvation of human beings. According to both the Buddhists and Hindus, Buddha was the Nārāyaṇa on earth, who appeared to dispel “the darkness of ignorance”.</notes>
  <file>volume5/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>4</number>
  <date yyyymmdd='20070101'>01-Jan-2007</date>
  <cover>volume4/articles/volume4.html</cover>
  <notes>"Special Issue on Kṛṣhṇāism" - There is an important Vaiṣhṇava kṣhētra near Madurai called Aḻagar kōyil i.e. the temple of the beautiful God. There is a long and high hill here called Aḻagarmalai, “the hill of the Beautiful God”. In ancient times it was called ”Solai malai” the hill with a pleasant garden. It is well known that the main deity now in this temple is Viṣhṇu. And this situation has been there for several centuries so mch so if some one says this temple was originally dedicated to the dual deities Balarāma and Kṛṣhṇa, the devotees might even frown. And Yet the Sangam poem Paripādal no 15 declares that this temple was dedicated to the dual deity Balarāma and Vāsudeva Kṛṣhṇa.</notes>
  <file>volume4/articles/contents.xml</file>   
 </journal>

	
	<journal>
  <number>3</number>
  <date yyyymmdd='20010801'>01-Aug-2001</date>
  <cover>volume3/articles/volume3.html</cover>
  <notes>"Nataraja and Sandhya-vandanam" - Gayatri prays that the sun should inspire knowledge in men. The rising sun dispels darkness and makes men rise from their slumber and realize the happenings around them; they were ignorant of what was happening during their sleep at night that is dark. Ignorance is compared always to darkness and dawn of knowledge to brightness. The Sandhya hymn is for dispelling Darkness, a function attributed to Sun. ........ The same function is also attributed to Nataraja, dancing on the back of the Dwarfish demon. The dwarf represents ignorance that is removed when the Lord manifests.</notes>
  <file>volume3/articles/contents.xml</file>   
 </journal>
	
<journal>
  <number>2</number>
  <date yyyymmdd='20000401'>01-Apr-2000</date>
  <cover>volume2/articles/volume2.html</cover>
  <notes>"Tripurantaka" - Tripurantaka images are called Tripura-samhara-murti, Tripura-sundara, Tripura-vijaya, Purari and by other names. The images may, according to texts, have 2,4,8,or 10 arms. Some texts list eight types of Tripurantaka images, the differences between them being mainly in the postures of legs and arms. One may have the right leg planted firmly and the left slightly bent or vice versa. Some may have a dwarf beneath the leg while others may simply be standing on the pedestal. The main arms being in the pose of holding the bow and arrow, their positions are detailed in the texts.</notes>
  <file>volume2/articles/contents.xml</file>   
 </journal>
	

	<journal>
  <number>1</number>
  <date yyyymmdd='20000101'>01-Jan-2000</date>
  <cover>volume1/articles/volume1.html</cover>
  <notes>At the start of 2nd millenium, over thousand years ago, the entire Southern part of India witnessed the rule of an all round genius Rajaraja Chola. I (985 to 1015 CE) . In the fields of arts, architecture, sculpture, paintings, bronzes, music and dance, literature, war and peace, administration and justice, religion and philosophy, catholicity of outlook and above all clarity of thought and implementation, Rajaraja was an unequalled monarch. He paid meticulous attention to the welfare and comfort of his people. Thousands of his inscriptions that have survived to give a vivid picture of his personality and contributions.</notes>
  <file>volume1/articles/contents.xml</file>   
 </journal>
	
 <!-- 
 <journal>
  <number>22</number>
  <date yyyymmdd='20100710'>10-Jul-2010</date>
  <cover>volume22/journal.html</cover>
  <notes>The Sun wielder of Light</notes>
  <file>volume22/articles/contents.xml</file>
 </journal>
 
 <journal>
  <number>21</number>
  <date yyyymmdd='20091107'>07-Nov-2009</date>
  <cover>volume21/journal.html</cover>
  <notes>Dance Dramas in 1700s</notes>
  <file>volume21/articles/contents.xml</file>
 </journal>

 <journal>
  <number>20</number>
  <date yyyymmdd='20091025'>25-Oct-2009</date>
  <cover>volume20/journal.html</cover>
  <notes>Three Immortal Gitas Translated into Tamil</notes>
  <file>volume20/articles/contents.xml</file>  
 </journal>

 <journal>
  <number>19</number>
  <date yyyymmdd='20090919'>19-Sep-2009</date>
  <cover>volume19/journal.html</cover>
  <notes>Navarātri Special Issue</notes>
  <file>volume19/articles/contents.xml</file>  
 </journal>

 <journal>
  <number>18</number>
  <date yyyymmdd='20090912'>12-Sep-2009</date>
  <cover>volume18/journal.html</cover>
  <notes>Dance and Music Special Issue</notes>
  <file>volume18/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>17</number>
  <date yyyymmdd='20090830'>30-Aug-2009</date>
  <cover>volume17/journal.html</cover>
  <notes>Bharata's Nāṭya Śāstra and Yamaka in Early Tamil Literature</notes>
  <file>volume17/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>16</number>
  <date yyyymmdd='20090815'>15-Aug-2009</date>
  <cover>volume16/journal.html</cover>
  <notes>Śankara - Studies</notes>
  <file>volume16/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>15</number>
  <date yyyymmdd='200900810'>10-Aug-2009</date>
  <cover>volume15/journal.html</cover>
  <notes>Ephigraphical Studies</notes>
  <file>volume15/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>14</number>
  <date yyyymmdd='20090810'>10-Aug-2009</date>
  <cover>volume14/journal.html</cover>
  <notes>RN 80th Birthday - Special Issue</notes>
  <file>volume14/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>13</number>
  <date yyyymmdd='200900414'>14-Apr-2009</date>
  <cover>volume13/journal.html</cover>
  <notes>Vedic Agni Special Issue</notes>
  <file>volume13/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>12</number>
  <date yyyymmdd='20090201'>01-Feb-2009</date>
  <cover>volume12/journal.html</cover>
  <notes>"Varāha Purānā - Special Issue" - How one should worship Nārayanā is the subject, dealt with at the beginning of Varāha Purāna. It almost sums the essence of this purāna and is of great interest to understand the Hindu approach to worship. The Varāha purāna is considered a Vaishnava purāna and thus points out the approach to worship vividly. It is considered an early Purāna may be of the age of Guptās, 4th cent. There lived an honest and noble king named Asvasiras who performed a yāga, gifted wealth to Brāhmins and needy. Once two sages, one named Kapila and the other named Jaigishavya came to his court. The king received them with due honours and requested them to teach him how and where to worship Nārāyanā. ...... One should see Nārāyanā in ones own body and in all beings every where. Seeing Nārāyanā everywhere is the way to worship him” the sages told the king. This is the very reason why we showed ourself as Nārāyana and then as Anantasāyi and as all these beings.” The king Asvasiras was astounded at the teaching and learned how Nārāyanā can not be restricted to one place and one image but man should cultivate the feeling to see him everywhere. This approach is reflected in the Varāha Purāna through out. It is the essence of the Hindu approach. Anything contrary to it is not acceptable. Quite often Hindus are misunderstood as worshippers of idols but their story illustrates the true approach of Hindus to Godhood.</notes>
  <file>volume12/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>11</number>
  <date yyyymmdd='20080115'>15-Jan-2008</date>
  <cover>volume11/journal.html</cover>
  <notes>"Kaverippakkam a Village Study" - Kaverippakkam is a fertile and important settlement in North Arcot district of Tamilnad. Situated about 100 km from Madras, on the Madras-Bangalore highway, it has yielded a group of remarkable sculptures, which are now housed in the Madras good museum, and are generally ascribed to the later Pallava period, 8th cent. Besides there sculptures in the Madras museum, a number of yogini sculptures, also ascribed to the later Pallava period, have found their way to several western Museum but T.A. Gopinatha Rao in his work, elements of Hindu Iconography, has given an illustration of what he calls as Sadasivamurti that is said to have come from a ruined temple in Melaccheri near Kaverippakkam.</notes>
  <file>volume11/articles/contents.xml</file>
 </journal>

 <journal>
  <number>10</number>
  <date yyyymmdd='20071108'>08-Nov-2007</date>
  <cover>volume10/journal.html</cover>
  <notes>"Kalavai a Village Study" - Kalavai a small village in North Arcot district, sprang into world wide prominence with the association of Sri Candrasēkharēndra Sarasvati svāmikal, the Mahāsvāmikal of Kanchi Kāmakōṭi pīṭham. Two of his predecessors on the pīṭha attained samādhi merged with (Para-brahmam) in the village where their Brindāvan temples are enshrined. Provident brought young Swaminathan (the pre sanyāsa name of Mahāsvāmikal) to Kalavai when he was hardly 13 years of age and was ordained as the Head of the Kanchi Mutt under the dīkshā name Candrasēkharēndra Sarasvathi, in this village in 1907.</notes>
  <file>volume10/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>9</number>
  <date yyyymmdd='20071020'>20-Oct-2007</date>
  <cover>volume9/journal.html</cover>
  <notes>"Guruvaakyam" - His Holiness Jagadguru Shri Chandrasekharendra Saraswati ascended the famous Kanchi Kamakoti Peetha as a young Brahamcharian of 13. He has rightly been regarded as an Avatar of Adi Sankara for the great work he has been doing not merely for Sanatanadharma, not only for our country, but for the entire humanity. ... taken at random from His discourses several years back. This rosary will bring us peace and happiness.</notes>
  <file>volume9/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>8</number>
  <date yyyymmdd='20070915'>15-Sep-2007</date>
  <cover>volume8/journal.html</cover>
  <notes>"கொங்கு நாடு சிறப்பிதழ்" - The Kongu country consisting of Coimbatore , Salem, a part of Trichy, and Dharmapuri districts constituted the ancient Kongu country. It developed a character of its own and in many ways unique among the Tamils. For example most of the population of this region generally called Gaunder – Cultivating Agriculturist declare that they are the “devotees in perpetuity” “adimai” of the famous Tamil Poet Kamban. It is unique in the history where an entire community owes their allegiance to a Poet, for the past eight to ten centuries.</notes>
  <file>volume8/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>7</number>
  <date yyyymmdd='20070414'>14-Apr-2007</date>
  <cover>volume7/journal.html</cover>
  <notes>"தமிழ் புத்தாண்டுச் சிறப்பிதழ்" - வரலாற்றுக்கு (கி.மு) 180 ஆண்டுகளுக்கு முன் பாக்டீரிய மன்னன் "அகதாக்லியஸ்" என்பவனால் வெளியிடப்பட்ட காசின் தலையில் நின்ற வடிவிலே பலராமர் கையிலே கலப்பை தாங்கி காணப்படுகிறார். கிரேக்க ஆடை அணிந்து காணப்படுகிறார். விளிம்பில் "அகதாக்லியைனுடைய" என கிரேக்க எழுத்துக்களில் பொறிக்கப்பட்டுள்ளது. அக்காசின் பின்புறம் நின்ற நிலையில் "வாசுதேவன்" ஆன "கண்ணனின்" உருவம் பொறிக்கப்பட்டுள்ளது. கண்ணனும் கிரேக்க உடையில் தான் காணப்படுகிறான். ஆப்கனிஸ்தானத்தையும் கடந்து பாக்டீரிய நாட்டில் வரலாற்று ஆண்டுக்கும் (கி.மு) 180 ஆண்டுகட்க்கும் முன்பே கண்ணன், உருவும் பலராமன் உருவும் காசுகளில் வெளியிடப்பட்டுள்ளன எனில் இந்திய பண்பாடு எவ்வளவு பரந்து திகழ்ந்தது என அறியலாம்.</notes>
  <file>volume7/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>6</number>
  <date yyyymmdd='20070327'>27-Mar-2007</date>
  <cover>volume6/journal.html</cover>
  <notes>"ராம பக்தி சிறப்பிதழ்" - அறத்தின் மூர்த்தியாய இராமபிரானையே முழுமுதல் கடவுளாக வணங்குவது "இராம பக்தி". இராம பக்தியை படம் பிடித்துக் காட்டுவோரில் திருமழிசை ஆழ்வாரும் ஒருவர். இவ்வாழ்வார் ஏறக்குறைய வரலாற்றில் 600 ல் வாழ்ந்தவர். தமது திருச்சந்த விருத்தத்தில் ஒரு பாடலில் "இராமா நீயே எனது ஊணில் உயிராய் விளங்குகிறாய். எனது உணர்வு முழுவதும் நீயே. நான் உறங்கும் போது உணர்வற்றுத்தான் இருக்கிறேன். ஆனால் உறக்கம் நீங்கி எழுந்ததும் என் நினவுகளெல்லாம் அற்றுவிடாமல் தொடர்ந்து வரும் உணர்வும் நீதான். </notes>
  <file>volume6/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>5</number>
  <date yyyymmdd='20070301'>01-Mar-2007</date>
  <cover>volume5/journal.html</cover>
  <notes>"Buddha, a Hindu God" - There is a tradition for nearly 2000 years or more that Buddha was an incarnation of Viṣhṇu, portrayed in inscriptions and sculpture. Some scholars consider that this happened quite late in history, may be around 5th or 6th cent CE. But there are enough evidences to show that the concept could be traced to earlier than the beginning of the Common Era. The Lalita-vistara dated to the beginning of the CE does record that both before and immediately after the birth of Gautama, he was considered the very Nārāyaṇa, who came to the earth for the salvation of human beings. According to both the Buddhists and Hindus, Buddha was the Nārāyaṇa on earth, who appeared to dispel “the darkness of ignorance”.</notes>
  <file>volume5/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>4</number>
  <date yyyymmdd='20070101'>01-Jan-2007</date>
  <cover>volume4/journal.html</cover>
  <notes>"Special Issue on Kṛṣhṇāism" - There is an important Vaiṣhṇava kṣhētra near Madurai called Aḻagar kōyil i.e. the temple of the beautiful God. There is a long and high hill here called Aḻagarmalai, “the hill of the Beautiful God”. In ancient times it was called ”Solai malai” the hill with a pleasant garden. It is well known that the main deity now in this temple is Viṣhṇu. And this situation has been there for several centuries so mch so if some one says this temple was originally dedicated to the dual deities Balarāma and Kṛṣhṇa, the devotees might even frown. And Yet the Sangam poem Paripādal no 15 declares that this temple was dedicated to the dual deity Balarāma and Vāsudeva Kṛṣhṇa.</notes>
  <file>volume4/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>3</number>
  <date yyyymmdd='20010801'>01-Aug-2001</date>
  <cover>volume3/journal.html</cover>
  <notes>"Nataraja and Sandhya-vandanam" - Gayatri prays that the sun should inspire knowledge in men. The rising sun dispels darkness and makes men rise from their slumber and realize the happenings around them; they were ignorant of what was happening during their sleep at night that is dark. Ignorance is compared always to darkness and dawn of knowledge to brightness. The Sandhya hymn is for dispelling Darkness, a function attributed to Sun. ........ The same function is also attributed to Nataraja, dancing on the back of the Dwarfish demon. The dwarf represents ignorance that is removed when the Lord manifests.</notes>
  <file>volume3/articles/contents.xml</file>   
 </journal>

 <journal>
  <number>2</number>
  <date yyyymmdd='20000401'>01-Apr-2000</date>
  <cover>volume2/journal.html</cover>
  <notes>"Tripurantaka" - Tripurantaka images are called Tripura-samhara-murti, Tripura-sundara, Tripura-vijaya, Purari and by other names. The images may, according to texts, have 2,4,8,or 10 arms. Some texts list eight types of Tripurantaka images, the differences between them being mainly in the postures of legs and arms. One may have the right leg planted firmly and the left slightly bent or vice versa. Some may have a dwarf beneath the leg while others may simply be standing on the pedestal. The main arms being in the pose of holding the bow and arrow, their positions are detailed in the texts.</notes>
  <file>volume2/articles/contents.xml</file>   
 </journal>
-->

 <!--
 <journal>
  <number>1</number>
  <date yyyymmdd='20000101'>01-Jan-2000</date>
  <cover>volume1/journal.html</cover>
  <notes>At the start of 2nd millenium, over thousand years ago, the entire Southern part of India witnessed the rule of an all round genius Rajaraja Chola. I (985 to 1015 CE) . In the fields of arts, architecture, sculpture, paintings, bronzes, music and dance, literature, war and peace, administration and justice, religion and philosophy, catholicity of outlook and above all clarity of thought and implementation, Rajaraja was an unequalled monarch. He paid meticulous attention to the welfare and comfort of his people. Thousands of his inscriptions that have survived to give a vivid picture of his personality and contributions.</notes>
  <file>volume1/articles/contents.xml</file>   
 </journal>
-->
 
</journals>





