#Chola style

[scarlett-bitch69]

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[akitossohma]

Margaret Chola - Zambian Fashion Icon (via)

[bellafemme]

Vote!

[myobsessionsspace]

legendary_glamma

[cheshitora]

thinking abt.... latina fem!baji

[n0cturnal-archives]

Chula *ੈ

[citizenzombieproductions]

Folklorico Catalina

This was too late for Cinco De Mayo but I'm uploading this anyway

Art done in Adobe Illustrator CS5.1 & Adobe Photoshop CS5.1

[whencyclopedia]

Chidambaram

Chidambaram (Cidambaram) is an important Chola temple site in Tamil Nadu, southern India. Most of the temples at Chidambaram were built in the 12th and 13th centuries CE. The site is dominated by the huge gateway tower of the Nataraja temple but Chidambaram also boasts the first Devi or Amman shrine, the first Surya shrine with the distinctive stone chariot wheels which would adorn many subsequent temples, and the first large Siva Ganga tank. In this respect Chidambaram is something of a transitional site, linking elements of the old and new styles of Indian temple architecture.

The name Chidambaram, one of several from antiquity, derives from the Tamil Cirrambalam, meaning 'little hall'. The site was chosen because according to mythology it was the precise spot where the Hindu god Shiva had once danced in a grove of tillai trees. The dance was, in fact, a competition between Shiva and Parvati and naturally the great Shiva won. The story became a popular subject in Hindu art over the centuries.

The site is enclosed within four perimeter walls and covers a rectangular area of 55 acres. Within the compound are shrines, halls, temples, ornamental gateways, and a large ritual bathing pool, known as a Siva Ganga tank, which is surrounded by cloisters. Inscriptions claim the site was built by various Pandya kings and local rulers but none are contemporary with the dates the buildings were actually first constructed. The walls and east gopura (gateway) may be ascribed with greater certainty, and were probably built by Kulottunga III, who reigned from 1178 to 1218 CE.

The Nataraja temple was constructed between c. 1175 and c. 1200 CE. The actual temple shrine is relatively modest as by now in Indian architecture the gopuras had become the most important structures, at least in terms of aesthetics. The twin sacred chamber was, however, adorned with copper sheets covered in gold by successive Chola kings. The shrine is preceded by a dance hall and large entrance porch with columns (mandapa).

The massive granite and brick east gopura dominates the site but there are three other gopuras on the north, south and west sides (the earliest). The corbelled roofs diminish as the structures rise and are finally topped with the usual barrel-vaulted roof (sala), the eastern gopura also having a row of 13 decorative finials. The east gopura has a proper interior floor at each of its nine levels and there is an interior staircase which climbs to the very top of the building. All four gopuras have false windows on their facades, typical for this kind of structure, and pairs of pilaster columns set at regular intervals. The second floor of each gopura also has a passageway which worshippers ritually walked around. The entrance archways all have coffered ceilings decorated with relief panels.

Of particular note at Chidambaram are the thousands of sculptures adorning its buildings. In particular there are many statues of women in a wide variety of dance postures. Many statues are accompanied by quotations from Hindu literature which provide an invaluable reference for scholars. There are also figures of the four dvarapalas (guardian demons), the dikpalas (cardinal directions), many figures of Shiva performing heroic deeds, various other deities such as Vishnu, Devi, Sarasvati, and, unusually in southern architecture, river goddesses.

Finally, Chidambaram is also famous for its 17th century CE Nayaka ceiling paintings which decorate the Shivakamasundari shrine of the Nataraja Temple. More than 40 panels depict scenes from the life of the saint Manikkavachakar, a devotee of Shiva.

Continue reading...

[faschionism]

‘Oh my God, this is what we needed’: the Zambia style granny who went viral

Sarah Johnson

5–6 minutes

Rainbow and gold coloured wedges, an electric blue wig and a black and hot-pink strapless gown are not what you would expect a grandmother in rural Zambia to wear. But Margret Chola, in her mid 80s, has become an internet sensation and accidental fashion icon after she agreed to swap clothes with her New York-based stylist granddaughter, Diana Kaumba.

Photos of Chola dressed in a red Adidas tracksuit, and wearing strappy high heels paired with blue Adidas socks and gloves, chunky sunglasses, gold chains and a crown first went viral when Kaumba posted them on her Instagram account in April last year.

“People were like, ‘Oh my God, who is this? This is what we needed.’”

A few days later, Kaumba set up an Instagram account for her grandmother, or Mbuya in the Bemba language, titled Legendary Glamma. It has more than 140,000 followers including singer Rihanna, the actor Jennifer Hudson, and the actor and film producer Viola Davis. Chola’s image has featured on the cover of magazines, on the BBC and in other media outlets, is printed on T-shirts, and Kaumba has appeared on TV talkshows.

Kaumba, who spends her time between the US and Zambia, hires a small team, which includes her nephew, to help her style and shoot Chola. She posts a new picture of her grandmother in a different outfit every other week as part of her granny series.

In the background of the photos are scenes from the family farm in the village of Mungule, just north of the Zambian capital, Lusaka.

Kaumba, 42, inherited a love of fashion from her father, a diplomat. When he got a job in New York, she was 20 and moved with him. There, she was exposed to glossy fashion magazines, which served as further inspiration.

While people outside Zambia celebrated Chola and were clamouring for more, the reaction in the southern African country was more critical. “The Zambian response was not positive at first,” remembers Kaumba. “People really judged me and they were laughing at me in Zambia. They asked, ‘Why would you do that [to your grandmother]? Why can’t you just leave her alone?’”

Chola’s view of herself has also changed. “She told me it has given her a second chance at life,” says Kaumba (pictured with Chola, left). “She has something to look forward to because, before, she would wake up with different pains and just talk about that. Now, you see this whole different kind of energy.”

This means a lot to Kaumba, who says Chola, who was not available to speak to the Guardian, has had a difficult life. She was raised by her grandparents, went to school until she was 12 and then for economic reasons was forced to marry a man in his 30s.

She gave birth to six children, started drinking heavily and eventually escaped the marriage. When Chola talks about it now, she becomes teary because of the trauma she went through. She had another son, but he died, aged 16. She now lives with Kaumba’s mother and has become the sole focus of Kaumba’s work when she goes back to Zambia.

[h0bg0blin-meat]

The best part about the Chola and Palas styles of sculptures is that everyone's got dat smol waist and wide hips, male or female ☠️

Sometimes the faces are so androgynous idek what their gender is until I look at the chest area

Also these styles are the ones I consider "Everyone's a twink" Styles.

[teaah-art]

Some Ponniyin Selvan themed tarot card designs! In no particular order. And there will be more!

Some design notes under cut

The Fool : Chose Vandiyadevan for this one. The Fool Card I referenced had a dog in it and I chose to replace that with Semba. Instead of a traveller's bindle, Vandiyadevan here is holden a sheathed sword, symbolic of Aditha Karikalan's sword he received in the beginning of the story. Instead of snowy mountains, around him are green Nilgiri Hills and black basalt rocks, typical for the Deccan plateau.

The Magician: Chose Ravidasan for this. My train of thought was essentially = Sorcerer? Magician? Kinda?. Kept the left hand pose same as the original card but replaced the white wand with the fire in hand which is how the PS movies portrayed Ravidasan praying to Kottravai (I haven't read the books). Chose not to draw anything else from the original card, since it didn't fit Ravidasan's aesthetic and I also kinda liked the look of the card without anything 🤷‍♀️

The Hierophant: This one's Madhurantakan. It just fits him so well! My intention with this was to draw him sitting on a throne in a Chola style Shiva temple, but I found it more appealing to have a blurry/dark background with the lighting on Madhurantakan himself, which ended up making the background details kinda pointless. The two people kneeling are supposed to be Periya Pazhuvettaraiyar and his brother, though honestly, interpret it how you will. Original card ref.

The Hermit : Chose Alwarkadiyan Nambi for this. Replaced the lamp from the original card with one of those deepams that have a deity at the center and are throne shaped. The one my mom owns/ the ref I had in mind has Vishnu at the center so it sorta felt fitting, at least on a personal note. He's supposed to be standing on a beach but unsure if that's coming across (I'm not that great with backgrounds....)

[someonefromsometown]

CIV VII; A defense of civ choices

I have seen significant backlash on the forums regarding Firaxis' choices in regards to what civs to include and not to include within Civ VII.

The image above contains the complete list of base game civs, as understood from official sources and leaks. The most common issues levied agienst the roster are:

No British Civ in the Modern Age

No Portuguese Civ in the Exploration Age

6 slots being dedicated to China and India

A majority of countries lacking a true "Historical" pathway

After mulling over the list for a long time, I eventually realized that I'm okay with the compromises made here, even if they lead to some occasionally strange results.

Let's agree on one fact to start: 30 civs was the maximum. Given the constraints of developer time and resources, we couldn't have gotten any more Civs in the base game. If that is the case, what needs to be prioritized when choosing what goes into the game. I would argue that the intention was diversity in game play.

When I say "diversity in game play" I'm not referring to capital D "Diversity", but rather the different play styles and a game allows. If a Civ game were comprised of only militaristic Civs, then the experience would be lesser. The game would either boil down to who can be the best at war or make war useless as everyone is good at it. Civ, despite being a symmetrical grand strategy game, needs asymmetries in the strategies a player would employ.

Civ VII seems to want to embrace all styles of play. Give the age goal mechanics, ideally you want to be able to choose a CIV in the next era that is able to capitalize on good science, culture, or what have you from the previous era.

That brings me to Britain and Portugal. Are they important historically? Yes! Do they bring something new to the table? I'd argue no. Britain is a shoe in for expansion and economics. An economic powerhouse built on a massive empire. Heartbeat of steam. That also all applies to America. Similarly, we have Portugal. Great navigator, colonizer, and empire builder. They sail off into distant lands with intentions to bring back as much as they can. And so did Spain.

The question for them is not "why not replace someone?", but rather "why America over Britain?" and "why Spain over Portugal". For the former I don't know, and honestly I find the decision to be one built mostly on preference. For the ladder I'd assume it's because Spain has a stronger military association with their actions in the new world, allowing them to be a naval civ with a military focus rather then the near total economic expectations that Portugal holds.

As for China and India, we find Civs that have very unique gameplay styles. The Ming live with a tradeoff of science for adaptability. The Chola are the highly diplomatic naval power. The Qing works as a land empire wanting international trade, with issues of falling behind on science. These are experiences that aren't in the game otherwise. Compare if we had a German trifecta, where we'd run into issues with redundancies with other military land based empires or diplomatic empires.

Oftentimes we'll find that the historical choices are going to run into issues of redundancies. While any given European power is not interchangeable, co-existence leads to similarities, both between eras and within an era. Venice is a civ I would love to see return as a path from Greece or Rome, but I acknowledge that it would be a similar experience to Chola. If this game has 30 unique civs, I don't want two of them to play the same. Even if that means that it looks a bit like a hodgepodge

This isn't all to say that these civs will never come, that there aren't other factors involved, or that I don't care about the history. I can't wait to see how they try to differentiate Portugal or Britain or any other power that's been left out. The Civ list does have issues; there's somewhat worrying implications to having no native modern era civs, South America doesn't get anything, and the middle east feeling strangely bear. But, all and all, I don't mind the list we've been given because it looks fun. And why else would I play CIV VII

[fragmentsoftheforgotten]

Comparative Analysis of Indian Temple Architecture

Indian temple architecture reflects the cultural, religious, and historical ethos of the subcontinent. Over centuries, it has evolved, with regional styles and construction techniques emerging based on geography, dynasties, and the prevalent religious beliefs. Here, we explore the major architectural styles—Nagara, Dravida, and Vesara—and their evolution through time.

1. Nagara Style (Northern India)

Origin and Features: The Nagara style of architecture primarily developed in northern India, and it is characterized by its distinctive Shikhara (spire) or Vimana (tower). This style typically includes a curvilinear, beehive-like tower that rises in a stepped fashion, symbolizing the mount Meru, the mythical mountain at the center of the universe in Hindu cosmology.

Key Features:

Shikhara (the tower) is often bulbous and curvilinear, ending in a pointed top, resembling the mountain.

Temples are built on a raised platform, with an inner sanctum (garbhagriha) housing the deity.

Mandapa (pillared hall) is present, often attached to the main structure for gatherings or rituals.

Ornamentation includes elaborate carvings of gods, goddesses, and mythological figures.

Notable Examples:

Kandariya Mahadev Temple in Khajuraho (Madhya Pradesh), built during the Chandela dynasty.

Lingaraja Temple in Bhubaneswar (Odisha), representing the architectural apex of the Kalinga style.

2. Dravida Style (Southern India)

Origin and Features: In southern India, the Dravida style, which flourished under the Chola, Pallava, and Vijayanagar dynasties, is marked by Gopurams (gateway towers) and a large central sanctuary. Unlike the Nagara style, Dravida temples are more expansive horizontally than vertically, with pyramid-like structures often rising in multiple tiers.

Key Features:

The Gopuram is the towering gateway adorned with intricate sculptures.

Vimana, the tower over the sanctum, is short and pyramid-shaped, differing from the tall spires of the northern style.

The temple complex often includes a large courtyard, multiple shrines, and water tanks for ritual purification.

Elaborate sculptural decoration and wall carvings are a hallmark, with scenes from Hindu mythology and deities.

Notable Examples:

Brihadeeswarar Temple in Thanjavur (Tamil Nadu), a masterpiece of the Chola dynasty.

Meenakshi Temple in Madurai (Tamil Nadu), showcasing the grandeur of the Dravida style.

3. Vesara Style (Hybrid Style)

Origin and Features: The Vesara style is a hybrid of the Nagara and Dravida styles, which evolved in the Deccan region during the rule of the Chalukyas and later the Hoysalas. This style combines the tower of the Nagara with the base plan of the Dravida style, offering a distinctive fusion that incorporates both verticality and expansiveness.

Key Features:

Vesara temples often have a Dravida-like base with a Nagara-inspired spire.

The temple structure incorporates horizontal expansion but also has distinct central sanctum towers.

Sculptural elements are generally detailed, with figures depicting religious stories and deities.

Often these temples have intricate Hoysala pillars, known for their detailed and artistic designs.

Notable Examples:

Durga Temple in Aihole (Karnataka) represents early Vesara features.

Chennakesava Temple in Belur (Karnataka), an example of Hoysala architecture combining both styles.

Evolution and Legacy:

The evolution of temple architecture in India is a testament to the changing religious and cultural dynamics of the subcontinent. The influence of various dynasties and their regional styles has led to a rich diversity in temple architecture, which continues to inspire both contemporary architecture and art. While the Nagara style reflects the spiritual ascent and the divine connection with the cosmos, the Dravida style emphasizes grandeur and community involvement in religious practices. The Vesara style represents a harmonious blend, offering unique features that bridge the gap between the north and south Indian traditions.

In the present day, these architectural styles continue to serve not only as places of worship but as living historical documents that convey the spiritual, artistic, and cultural heritage of India.

[whencyclopedia]

Chidambaram

Chidambaram (Cidambaram) is an important Chola temple site in Tamil Nadu, southern India. Most of the temples at Chidambaram were built in the 12th and 13th centuries CE. The site is dominated by the huge gateway tower of the Nataraja temple but Chidambaram also boasts the first Devi or Amman shrine, the first Surya shrine with the distinctive stone chariot wheels which would adorn many subsequent temples, and the first large Siva Ganga tank. In this respect Chidambaram is something of a transitional site, linking elements of the old and new styles of Indian temple architecture.

The name Chidambaram, one of several from antiquity, derives from the Tamil Cirrambalam, meaning 'little hall'. The site was chosen because according to mythology it was the precise spot where the Hindu god Shiva had once danced in a grove of tillai trees. The dance was, in fact, a competition between Shiva and Parvati and naturally the great Shiva won. The story became a popular subject in Hindu art over the centuries.

The site is enclosed within four perimeter walls and covers a rectangular area of 55 acres. Within the compound are shrines, halls, temples, ornamental gateways, and a large ritual bathing pool, known as a Siva Ganga tank, which is surrounded by cloisters. Inscriptions claim the site was built by various Pandya kings and local rulers but none are contemporary with the dates the buildings were actually first constructed. The walls and east gopura (gateway) may be ascribed with greater certainty, and were probably built by Kulottunga III, who reigned from 1178 to 1218 CE.

The Nataraja temple was constructed between c. 1175 and c. 1200 CE. The actual temple shrine is relatively modest as by now in Indian architecture the gopuras had become the most important structures, at least in terms of aesthetics. The twin sacred chamber was, however, adorned with copper sheets covered in gold by successive Chola kings. The shrine is preceded by a dance hall and large entrance porch with columns (mandapa).

The massive granite and brick east gopura dominates the site but there are three other gopuras on the north, south and west sides (the earliest). The corbelled roofs diminish as the structures rise and are finally topped with the usual barrel-vaulted roof (sala), the eastern gopura also having a row of 13 decorative finials. The east gopura has a proper interior floor at each of its nine levels and there is an interior staircase which climbs to the very top of the building. All four gopuras have false windows on their facades, typical for this kind of structure, and pairs of pilaster columns set at regular intervals. The second floor of each gopura also has a passageway which worshippers ritually walked around. The entrance archways all have coffered ceilings decorated with relief panels.

Of particular note at Chidambaram are the thousands of sculptures adorning its buildings. In particular there are many statues of women in a wide variety of dance postures. Many statues are accompanied by quotations from Hindu literature which provide an invaluable reference for scholars. There are also figures of the four dvarapalas (guardian demons), the dikpalas (cardinal directions), many figures of Shiva performing heroic deeds, various other deities such as Vishnu, Devi, Sarasvati, and, unusually in southern architecture, river goddesses.

Finally, Chidambaram is also famous for its 17th century CE Nayaka ceiling paintings which decorate the Shivakamasundari shrine of the Nataraja Temple. More than 40 panels depict scenes from the life of the saint Manikkavachakar, a devotee of Shiva.

Continue reading...

[oatmealmika]

FEM! TRAFALGAR LAW HEADCANONS BECAUSE I LOVE WOMEN

a/n : sometimes i just wish law was actually written as a girl cuz DAMN

first off, CLOTHES SHE'D WEAR!!

i'm getting major streetwear/chola style vibes from fem! law

like i mean ripped up baggy jeans, croptops, hoodies, oversized t-shirts, sports bras, long clickity clackity nails (if she really wanted to but very occasionally), and of course (his? her?) their hat

she got her earrings done when she was too little to remember so it's just annoying to have to redo them every so often

i have no clue who'd do her tattoos since she most definitely wouldn't trust some sketchy guy to do them

maybe herself but i don't think that's it either

and whenever you ask her, she makes up a different story (like that one blond guy in "ratatouille" who has a criminal record)

"woke up with it" "they're stick n pokes" "this guy i knew who would only wear bucket hats" and of course "nunya"

she is half german and half mexican (may or may not be self projection with the mexican part)

i get HUGE ymir from aot vibes with fem! law

she appears rude, hardheaded, and pessimistic, but she really does care about others and does have some hope in her (wishing her crew likes her horrendous hawaiian shirts)

her music taste is rock, rap, indie dream pop (tv girl), and then sad spanish songs that slap way too hard (i'm thinking "no me queda mas" by selena, a bunch of vicente fernandez songs my mom loves to play at full volume, and "amor eterno" by rocio durcal)

def not straight i mean just look at fem! law fanart on tumblr bro like honey... and man, am i glad she isn't straight cuz GODDAMN

if you go out with her, you need to order for her pls she can't do it on her own

but she will take the bill, no excuses

i think the type of person she needs as a partner would have to be okay with silence, they have to be outgoing and fun but mature with intense situations, and yeah

plays the bass guitar and has been for years

also plays the drums but her main instrument is bass

really wants to be in a band but not really since she hates the idea of having to be nice all the time for the public

at a mall, she either hangs out at hot topic, barnes and nobles, or justice the whole time

got a bunch of piercings all over her but that's a secret lol nobody knows...

UNTIL I TELL YOU: bellybutton, industrial, conch, ear lobe, tragus, bridge, middle tongue, hip, nipple, and then a bunch of genital piercings i will not be discussing any further XD

her most used apps are photos, notes, tumblr, pinterest, depop, and....... ao3

OKAY OKAY as hard as it might be to believe this, this is NOT self projection it is TRUTH

she doesn't religiously read fics or anything, just occasional oneshots about her nerdy crap when she's bored or something

my girl out here reading her "sora, warrior of the sea" 10k+ fics 💀

if you take her home to meet the family, at first they'll be thrown off by her intimidating looks, but soon enough they'll realize what a little loser she is! the cutie patootie she is <3

LOVE LOVE LOVES cringy 70s/80s/90s movies (think "grease", "the princess bride", "pretty in pink", "10 things i hate about you", etc.)

she doesn't know why. she hates the dumb stereotypes and all that stuff, but she just can't help it! she's so real for it too

idk why but i feel like she'd LOVE spiderman???? like as an obsession?

she is pretty normal about the live action movies, it's just SPIDERVERSE THAT MAKES HER GO CRAZY

she also wants to be good at art but never has motivation to do it

she def has an upside down smile (that what it's called? i think of it more as a "oh that's cringy look and stare y'all" smile)

is she scrawny? muscular? i can't decide honestly. like yeah guy law has some brawn, but he is still a pretty lanky guy, so that's why i see fem! law as a lanky chick. but i love muscular women... goddamn she is just lanky. she obviously has some meat on her bones, but not much.

that being said, i don't think she's very curvaceous either (let's pretend oda didn't draw her the way he did). she is no doubt an a cup, and while her butt is fairly larger, she's still pretty flat.

she also only ever wears sports bras since she thinks regular bras are uncomfy and a hassle.

for a va to replace masc! law's, i would say for japanese romi park. for english, i'd say either trina nushimura or elizabeth maxwell.

for one piece live action, i would want like zendaya as fem! law 😭 aye anything for queen zendaya

only bepo knows this, but she wears socks and sandals on sundays no fail.

has a tattoo somewhere of bepo's name inside a heart with an arrow through it (think those tattoos that tough guys get, with instead of bepo, "mom" is what's written)

fem! law still wears ugly ass hawaiian shirts, don't get it mixed up ✊

that's all for now :)

likes and reblogs are appreciated <3

have a good day!!

[balladedutempsjadis]

Ponniyin Selvan (The Book vs. Movie edition)

I've just today finished the five volumes of Kalki Krishnamurthy's epic historical novel Ponniyin Selvan, which was the basis for the two-movie series of the same name which I ADORED after I watched the first movie for the first time a couple of weeks ago. And ... I have some thoughts on the books and on the adaptation of the books. First of all, some general thoughts about the books:

I really wish I could read this in the original Tamil. In my understanding, these books are a beloved modern classic of Tamil literature, and the English translation, though perfectly fine and serviceable in terms of explicating the plot, rarely has memorable language.

Perhaps this is a function of the translation, or a different literary tradition, or the author's style (and I'll never really know which), but there is a lot of stuff that I can best describe as static. Actions and events are often described after they occur so as a reader, I felt distanced from what was going on in several scenes.

There are a LOT of coincidences (the entire Sembian Amuthan plotline is heavily based on coincidences) and repetition.

Even if I didn't know this was serialized, I would have guessed because of the repetition mentioned above, frequent flashbacks, and the padding out of some of the scenes. This isn't necessarily a bad thing (it reminds me of Dickens' novels, which I happen to be quite fond of) but it's definitely a hallmark of the novels.

I felt sometimes that Kalki was having a bit of a struggle with the historical characters having to do what they did in history versus his fictional characters like Nandini being able to do what they wanted. So sometimes I felt the characterizations were a bit lacking (and I definitely skipped some of Sembian Mahadevi's musings, SORRY!)

Now for the differences between the books and film versions (SPOILERS FOR THE BOOKS AND BOTH FILMS BELOW).

In general, with one exception I'll talk about later, I think the scriptwriters did an amazing job of adapting this immense series to film. In fact, for a number of things, I think they improved the pacing of the narrative and cut out extraneous stuff that detracted from the momentum of the main story - these were things that may have worked in a serialized novel but would have drowned even a gigantic six hour film series. All that follows is just my opinion, of course!

First of all, a fair number of characters were just cut out of the story, which I thought tightened up the narrative. (For example, Manimeghalai was completely unnecessary IMO for the story to proceed and she really detracted from the scene between Aditha Karikalan and Nandini when Karikalan dies; the intensity of that scene would have suffered from having anyone else observe it.) Poonghuzhali's brother and father (her sister-in-law Rakkamal is still there but not related) are gone in the film version. And that's all fine, I think it would have made things more confusing and I don't even think a tv series would have been able to use ALL these characters. (Also, I think I like that Poonghzhali seems more stable in the movie.)

I also liked that they cut out the astrologer. I thought the book relied way too heavily on the astrologer's predictions and while that may have been an accurate portrayal of 10th century Chola society, it also removed the jeopardy from the characters. If Arulmozhi Varman's sister would be confident that nothing terrible could happen to him because of the lines on his palm, then it was really hard to generate suspense about him within the story. (I mean obviously as readers/moviegoers we might know that he became Rajaraja Chola and therefore survived the assassination attempts, but his contemporaries and the fictional characters in-universe didn't know that he would end up being a great king.)

For me, it was more powerful to see how much the kingdom mourned him and his family mourned him than to have his sister shrug and be like "oh well, the stars don't say he dies so he's probably alive." And the way that they mourned him also helped develop their characters (To be fair, I also can't figure out what Kalki believed re:astrology either, because occasionally the author's voice is very skeptical about the astrologer as well.)

More controversially, I think they were right to cut out the whole Senthan Amuthan storyline about being the real son of Sembian Mahadevi and the previous king etc. etc. The hidden identity heir business was just way too melodramatic for me even in the book, and I don't think it would have worked at all for me in the movies. I mean, SA doesn't really even have much characterization in the book anyway (he's there a lot and helps out when he can but other than the fact that he loves Poonguzhali and has a nice voice, I couldn't tell you much about him.) Plus that would necessitate that Fake!Madhurantaka be Nandini's twin etc. and that would also have not been believable.

Now ... onto the main characters books vs. movie:

Aditha Karikalan: I honestly liked him much more in the movies than in the books. He was the tragic hero of the movie, with a clear arc, and Vikram brought oodles of charisma to his role. But in the books, he was a lot more opaque to me (his love for Nandini is not his focus - so he maybe falls in love with Manimegalai? - and that moment where he chooses to die isn't as crystal clear.) Also, Book!Aditha is a bit of an asshole towards all of his friends, frankly, which movie Aditha is not.

His chief faults in the movie are that he's ruled by his emotions (which is both why he sins against Nandini by beheading an unarmed man - Veera Pandyan - in a fit of rage that Nandini is pleading for his life AND why he tries to atone for that sin by committing suicide, which of course doesn't actually solve anything and in fact embroils innocent people like Vandiyathevan in a horrible situation).I still think he wouldn't have made a good king, not least because he would not listen to ANYONE'S advice, whether that someone was his grandfather, his friend, or his brother or his sister.

Book!Aditha might have made a better King - he actually goes to Kadambur not just to see Nandini, but partly in order to find out and allay the different Chola clans and possibly cement one of their loyalties by marriage to MM, so I thought that made for an interesting contrast. Even in the books, though, Kalki compares how the people mourned Aditha (as a great warrior whose absence threatened their kingdom's survival) and how they mourned Arulmozhi when he was believed to be dead (as a beloved son/brother even if they didn't know him personally.) The book (and movie though to a lesser degree because it's so preoccupied with Nandini/Aditha) has a lot to say about power and responsibility (so there are constant contrasts between not just Aditha and Arulmozhi but between the Pazhuvettarayar brothers and Arulmozhi - for example, over whether the Chola kingdom should supply the army in Elangai or whether they should live off the land. AMV is much more farsighted and knows how important it is to not make a conquered populace feel subjugated because they will rebel.)

Nandini: I feel like she was a lot more fleshed out in the film than Book!Nandini, and as she and Aditha were the emotional focal point of the movies, it makes more sense. Her motivations seemed clearer to me, and I also appreciated that we actually found out what happened to her, and she didn't just disappear off the page. I also liked, as mentioned above, that they didn't bother with the False!Madhuranthakan who was actually Nandini's twin etc. I liked that they fleshed out the love story between her and Aditha and gave Kundavai a role and also showed how it was Aditha's impulsive declaration that she would be THE Chola Queen that directly led to Nandini - who had done nothing wrong - being unceremoniously bundled off to wherever. (Would I also have liked a little more of how Aditha reacted to his family's banishment of Nandini? I think I would. Like we got a little bit of that in PS1 when he blames Kundavai for being jealous but not much more than that?)

Kundavai was very awesome in both book and film, but she had a lot less to do in the second movie. As I mentioned above, I loved that she actually believed her beloved younger brother to be dead so we got to see her reaction compared to Aditha's. (Aditha basically goes into beast mode and is like “I can fight whoever to avenge my little brother” and Kundavai is, as usual, a lot more rational even in the depths of grief.) I also really liked that brief scene the film gave us with all three siblings together which was a nice addition to the story. I felt there were not very many differences between Book! and Movie!Kundavai - although the book definitely played up her influence over her younger brother a bit more. She is the mirror to Nandini and maybe Nandini would have been like Kundavai if she had not had such struggles in her early life? I do like that in both books and movie, the female characters are so strong (I mean, well-characterized) and different from one another.

Vandiyadevan is just a great character! His resemblance to D'Artagnan was even stronger in the books (he had time for even more adventures) and his verbal sparring with Nambi was great and nicely translated to screen, I thought. I did think his presence in Kadambur and his (partial) witnessing of Aditha's death and aftermath was handled with more pace and worked better for me in the film (again, no Manimegalai was a great decision. And the picnic that Nandini goes on with Aditha and Vandiyadevan and MM and others (I think?) It was late at night when I was reading and I was like WTF so I might be misremembering it) dilutes the Aditha/Nandini meeting a lot. Anyway, back to Vandiyadevan - still sooooo charming. I loved Karthi in this role and am going to watch Kaatru Velliyadai (although I understand he's very different in that one!) sometime this week. But I found Book!Vandiyadevan lovely as well. I think his character translated perfectly from book to screen.

Arulmozhi Varman - I thought the books would focus more on him than they did, given that he's the title character. And I was a little surprised that he still wasn't the main focus of the books (though there's more focus on him in the later volumes), but there were some nice little character moments that I wish could have come into the movie. (Though there were a couple of things in the movie that I also really liked which showed his character beautifully.)

I read Kalki's afterword about how the pivotal scene in all of the books is Arulmozhi Varman's sacrifice of his crown, because that is an amazing thing for any ruler to do, to voluntarily give up his own power and step back. The books talk about the Chola ancestor Sibi, who was willing to give up his own life to protect a pigeon from an eagle because the pigeon was under his protection. I believe we are meant to understand Arulmozhi's sacrifice in a similar light. He is all about protecting the realm, even if it means sacrificing his own ambitions and that makes him Sibi's worthy heir. (In the Mahabharata, Arjuna is the peerless warrior prince, but his brother Yudhishtira is the Dharmaraja - the best of all; and I think we are meant to see echoes of Arjuna (and his son Abhimanyu, alone in the midst of his enemies) in Aditha and echoes of Yudhishtira in Arulmozhi.)

The books and the movie handle this immense sacrifice a little differently; in the book, we get a lot more motivation for that action: AMV is steeped in the history of the Singhalese kingdom and horrified by how bloody their succession battles were (he references fathers killing sons and vice versa more than once) and he is super clear that he doesn't want to bring that mess to the Chola kingdom or cause a civil war or anything like that. But there are two more elements as well, that I mostly got from the book: he truly loves Vanathi and she has sworn an oath that she doesn't want to be empress, so he can't have both Vanathi and the throne (but it's also a political decision, since if he's King, and marries Vanathi, then he'll be seen as privileging her clan above all others unless he marries a bunch of other girls as well). I also genuinely think he also wants to go hang out with Vandiyadevan and have adventures (while also doing the necessary jobs of fighting pirates and expanding trade and all that other stuff.)

The movies don't make that explanation as explicit, but there is this golden thread of self-sacrifice that runs through Arulmozhi's scenes in the movies as well: first of all, he refuses to take the throne of Elangai, though it is offered to him by the monks who crowned all the kings of the island. (This happens in both the books and the movie, but the books make this a more political decision - AMV says Elangai is too small for the scope of his vision, and that he doesn't want it to look like he's setting up a parallel second kingdom to the Cholas in opposition to his brother - whereas in the movies, it is clearly a matter of dharma. And the movie really sells that.)

Then Arulmozhi jumps into a stormy sea to swim to a ship full of people who want to kill him, in order to save Vandiyadevan. (I mean also some breathtaking confidence in himself that he and Vandiyadevan by themselves can defeat the Pandya rebels. He definitely does not lack for confidence :)) I cannot believe I actually forgot about this and had to come back and edit this post.I guess I am too used for Arulmozhi being awesome for this even to register on the scale?

The third self-sacrifice is when Arulmozhi is recovering from his life-threatening fever amidst the Buddhist monks at Nagapattinam. In the movie, somehow the Pandya assassins find out he's there and rile up the crowd which threatens to destroy the monastery which they claim is hiding their beloved prince from them. Although AMV is encouraged to slip away to escape the Pandya assassins, he refuses to repay his hosts by allowing their monastery to be destroyed. So he goes out to face the crowd, despite knowing that he's putting his life in danger by doing this. In the movie, he makes a choice to reveal himself and once again we see that Arulmozhi will always privilege the good of the people under his protection (the people of Elangai, Vandiyadevan, the monks, and ultimately the whole populace of the Chola Kingdom) over his own desires, and even his own life if need be. Over and over again, he shows himself to be the true heir of Sibi. (I also thought the elephant-goad plot was REALLY well done in the movie; even knowing obviously that AMV survived this, I was SO tense during that entire sequence. The book version just wasn’t as tense. Anyway …) So in the movie we keep seeing WHY Arulmozhi will be the great king he becomes but also why he will not take the crown at the end - and by not taking it, he makes himself all the more worthy of it.

In the book, in contrast, he leaves the monastery because there's about to be a devastating cyclone and it's not safe there any more. His disguise is revealed against his will by Rakammal hailing him as the prince; he's not given any choice in the matter. And he has very good and valid reasons for not wanting to reveal who he is which are also an excellent lead-up to his giving up the throne. Book!Arulmozhi wants to avoid a civil war over the succession at all possible costs. And he knows the public is fickle and easily swayed (there’s a whole subplot about there are rumors that HE had Vandiyadevan kill Aditha Karikalan so he - AMV - could be crowned, which only one character says in the film and everyone ELSE is like “Arulmozhi would NEVER!” But in the books more people seem like they are could be swayed by that thought - and giving up the throne to his father’s cousin is one spectacular way to give the lie to those rumors. And here’s also me, getting so angry on behalf of a fictional /historical character ;))

I think the movie version and the book version of this event both work really well for their respective media in terms of establishing who this man is, and what his character is, which lead up to his ultimate sacrifice.

The last sacrifice is, of course, that he give up the kingdom that *everyone* wants him to have. I think in both the books and the films, it's clear that the weird succession situation from his great-uncle Gandaraditha's day (where the throne when to the younger brothers of the king, and then to Sundara Chola - AMV's father - Gandarathia's nephew - rather than to Gandaraditha's own son) was bound to create a locus for discontent and coups egged on by the enemies of the Chola Kingdom. And that internecine strife is, from Kundavai's and AMV's perspective, what killed their brother and even put AMV in line to the throne at all. (They don't know all the backstory about Nandini and Aditha's guilt and his essential suicide. Also, I think it’s an interesting contrast between Aditha Karikalan who offers to give up the throne - once to the council of plotters where he says he’d do it if he had an army to go get himself another kingdom, and once when he proposes to Nandini that they just run off together. Arulmozhi had his chance at a kingdom won by force of arms - Elangai - and said no, and when he gives up the throne at the end of the books/movies it’s for love of the country he was expected to rule, not for love of an individual.)

The one thing I wish the movies had done was flesh out the Kundavai/Vandiyadevan and Vanathi/Arulmozhi connections. The actors did a lovely job with what they were given just from facial expressions and eyes (Vandiyadevan looks hopeless in love in the course of a single conversation when he's dressed as Krishna's uncle) and I bought into Vanathi and Arulmozhi's love for each other with nothing more than him reading her message in PS1 and a couple of times they looked at each other (so much love for Jayam Ravi and Shobita Dhulipala's facial expressions which sold the connection), but IT WOULD HAVE BEEN NICE FOR BOTH THESE COUPLES TO HAVE A CONVERSATION! But I realize I've seen a couple of Mani Ratnam's Hindi films (Dil Se, and Raavan - though I really want to watch the Tamil version of that) and he does doomed romance very adroitly. (Although from reading the plots of his several other films, apparently he also does do happy endings sometimes and I sort of wish we could have shifted the focus from Nandini/Aditha A LITTLE BIT to maybe just get a tiny conversation between these two other couples the I also loved. But at least I got some crumbs in terms of the full videos of the songs of "Veera Raja Veera" (for AMV/Vanathi) and "Aga Naga" (for Kundavai/Vandiyadevan. (FYI, the Veera Raja Veera video song is super hot - Rajaraja Chola is looking at his beloved while she dances as though she is an extremely tasty snack he can't wait to sample :P)

ALSO, if anyone wants to make PS3 with these actors I WOULD LOVE YOU FOREVER. In my head, it would be about Vandiyadevan doing wild stuff and flirting with EVERYBODY while Arunmozhi Varman sort of sighs and goes along with him to try and exercise some control over him* because Kundavai will kill him if anything happens to her boo, and they keep getting embroiled in weirder stuff and getting hit on the head (Vandiyadevan) and chilling out looking at Buddhist cave art and talking to elephants (AMV) and Kundavai just sits back and continues to run the kingdom (because she knows that AMV will not let anything happen to her boo). And of course, Nambi would be keeping an eye on both of them as well. Meanwhile, Vanathi is doing lots of dancing and going on some of the art tours with her husband, and also hanging out with Kundavai and rolling their eyes over their husbands. That would be totally fine!

*one of the things I loved in the books was that Vandiyadevan is influenced by Arulmozhi to be more truthful and upstanding, while Arulmozhi gets more devious after he meets Vandiyadevan. I feel this dynamic (along with the real-life bromance of Karthi and Jayam Ravi - every interview I've seen with them is the two of them having a great time!) would be AWESOME.

OK, this is insanely LONG again but I really enjoyed the novels and the movies - each medium enhanced the other for me, and in my head, the version of Ponniyin Selvan is what takes the parts I liked the best in movies and film. So Movie!Aditha and Movie!Nandini, BOTH the Vandiyadevans, Kundavais, Arulmozhi Varmans and Vanathis live in my heart :D

And I've also acquired Anirudh Kanisetti's Lords of the Deccan (which is more about the Cholas' predecessors and opponents like the Rashtrakutas and the Chalukyas) and Kamini Dandapani's Rajaraja Chola, which is about Ponniyin Selvan (but also about his predecessors and successors.)