Mapping times of David and Solomon

Today, EtP has announced the next phase of Project 365, creating and preserving visuals of the ancient tri-sangam ports Tindis, Muziris and Korkai. PP Sha Nawas, Author and Independent writer had been interviewing Abul Kalam Azad, Director, Project 365 the past week and has written the following article on EtP’s move to map archaeological ancient port sites of South India.

Tamilagam in Sangam times included present day Tamil Nadu, Pondicherry, Karnataka, Kerala and parts of Andhra Pradesh. The commercial and cultural link of this area with South Arabia, Mesopotamia, Egypt and Rome since Iron age is evident from both textual and archaeological sources.

Mortimer wheeler, the British archaeologist, who did excavations in Arikkamedu in 1946, had provided evidence for this history from an archaeological perspective. Later, many other local archaeological attempts have been conducted in the region which has reinforced and rectified Wheeler’s discoveries. Many ancient natural ports along the coastal region of early Tamilakam, provided the abode to  commercial activity. The Egyptian port Bernika was the linking port of this ocean trade activities between India, Sri Lanka, South Arabia, Mesopotamia and Rome. During the reign of Augustis, Rome dominated the commercial activities in this area.

The Roman amphora sherds found abundantly in these ancient port regions give rich evidence to the golden era of South India’s commerce with the Rome via Indian ocean. Sangam literature has many mentions about the Indian ports like Muzris and Tindis from where the pepper and other spices as well as wood and other precious materials were exported to the Roman empire. Actually South Arabia was the pioneer in this commercial activity. The recent excavations by Kerala Council for Historical Research (KCHR), at Pattanam near Kodungallur, has established the evidence for these facts that have been earlier mentioned in textual and other historical soucres. The Arabian, Mesopotamian, Bhuddhist and Jain connections as part of the trade and commerce in the areas have been established by these excavations ventures. However, often the golden era of Rome is highlighted, may be because of some Orientalist interest in the matter.

EtP’s project of making photographic images from these ancient shores of commerce and culture is a notable expedition which may turn into a phenomenal event helping both archaeology and history of South India. Abul Kalam Azad, Tulasi Swarna Lakshmi and Manini Rahman Pattanam had visited the excavation sites of Pattanam during its seventh season. I was working in the project as a volunteer where the research of locating the ancient port of Muzris was going on. Some of the images Abul captured from the site has been already published in EtP”s postings. Selecting Tindiz and Korkai in the present project by EtP, apart from Muzris, is a welcome step since it will be a harbinger to the coming essential archaeological excavation to be held at Tindis and Korkai. Through this photographic mapping, the team may be identifying our past traditions of Buddhism, Jainism, Arabian, Mesopotamian cultures as well as European link of South India from the time of antiquity.

The archival images of our ancient culture, since 1000 BCA, may be an eye opener to the nationalist projects of India and elsewhere. How different regions of the same nationality contributed to, rather than mere highlighting a particular aspect of national culture and geography. Thus, in Deccan plateau where distinct Iron culture was flourishing even before the integrating project of Arianization. The Mangad excavation in Kerala has already established that the Iron age culture of South India was older than the banks of Ganges culture… To the Ganges, the Iron tools were brought in by the Arian settlers, while in south India, since it has strong ocean trade connectivity, the Iron technology came in an early phase, which reiterates the antiquity of Tamilakam region with regard to its culture and commerce. The EtP 365 project may also be gathering images of our history of the birth and development of Imperial powers since the time of Roman empire. This photographic mapping may lead us back up to the era of David and Solomon. During their time, around 1000 BC (according to historians), the technique of making steel from Iron was discovered. Scriptures say the technique of softening iron is revealed to David, and the knowledge on Mansoon was known to Solomon. (Refer. Holy Quran)

I am very proud to co-operate with Abul Kalam Azad and his team for this project since its inception. Such a photographic mapping done with the awareness of our history and culture, would be valuable in many ways including its political and cultural aspects of our contemporaneity. The concept of EtP, ancient India in contemporary times, is counter posing our past and present in a new perspective. The blend of history and and art is not vogue in our ego driven market world of art and culture. That way also the project marks its significance in the photographic history of South Asia.

PP SHANAVAS, KANNUR, KERALA.

Call for photographers – Project 365 tri-sangam ports Tyndis, Muziris and Korkai

Project 365 tri sangam ports Tyindis, Muziris and Korkai

We are happy to announce that Project 365 is getting ready for our next phase…. the tri-sangam ports Tindis, Muziris and Korkai. Project 365 Tiruvannamalai is going on in full swing and the photographers have been bringing forth interesting visuals of our ancient culture and lifestyle. Traveling MUKHAMUKHAM – face to face with project 365 photographers is also received very well and in the coming months the event will be organised at Delhi, Hyderabad, Calcutta and many other parts of the country. Tiruvannamalai is EtP’s base which is actually a very small municipality town in South India. The next project is spread across two states – Kerala and Tamil Nadu situated in three different locations. A lot of prior planning and setting up is required to make this a possibility.

KORKAI (in Tamil Nadu) is a small village in the Srivaikuntam taluk of Thoothukudi district in Tamil Nadu, India. It is situated about 3 km north of the Thamirabarani river and about 6 km from the shore of Bay of Bengal. Korkai was the capital, principal center of trade and important port of the Early Pandyan Kingdom.

TINDIS (Tyndis, Thundi) (in Kerala) is an ancient seaport and harbor-town north to Muziris (Muchiri) in the Chera Kingdom, modern day India on the Malabar Coast. The exact location of the Tindis port is still unknown. Modern day Kadalundi, Ponnani and Pantalayani Kollam are often identified as Tyndis located in the Sangam age Tamil kingdom of the Cheras. Tyndis was a major center of trade, next only to Muziris, between the Cheras and the Roman Empire.

MUZIRIS was an ancient seaport and urban center in south-western India (in Kerala) that existed as far back as the 1st century BC, or even before it. Muziris has found mention in the bardic Sangam literature and a number of classical European historical sources.The port was a key to the trade between southern India and the Phoenicians, the Egyptians, the Greeks and the Roman Empire. The exact location of Muziris is still not known to historians and archaeologists. It is generally speculated to be situated around present day Kodungallur, a town situated 18 miles north of Cochin.

INTERESTED PHOTOGRAPHERS CONTACT EKALOKAM TRUST FOR PHOTOGRAPHY AT EKALOKAM@GMAIL.COM OR CALL OFFICE AT {0}4175 237405 / {0}94879 56405.

The support of each one of you is very much essential to create and preserve visuals of our culture. Join us in this herculean task.


Thank You !!!

‘SEMA’ – the whirling dance

'Sema' - solo show of Abul Kalam Azad
‘Sema’ mix-media print on painted hard wood / 30 cm x cm / 2014

What I may not see, let me not see;

What I may not hear, let me not hear;

What I may not know, I ask not to know…

Beloved, I am contented with both thy speech and thy silence !!!

‘Sema’, solo print show of Abul Kalam Azad is the third of the yearlong ‘Photography and beyond’ exhibition series organised by EtP as part of Project 365 – the yearlong public photo art project. In this recent works, Abul has fused found litho prints, archival pigment prints on painted hardwood… the show also features two digital print on silk.

'Sema' mix-media print on painted hard wood / 30 cm x 30 cm / 2014
‘Sema’ mix-media print on painted hard wood / 30 cm x 30 cm / 2014
'Sema' mix-media print on painted hard wood / 30 cm x 30 cm / 2014
‘Sema’ mix-media print on painted hard wood / 30 cm x 30 cm / 2014
'Sema' pigment print on silk / 54 cm x 54 cm / 2014
‘Sema’ pigment print on silk / 54 cm x 54 cm / 2014

The Sema (whirling dance) of the dervishes is an expression of the cosmic joy experienced by the simultaneous effect of annihilation and glorification. Sema is the witnessing of the state of perceiving the mysteries of the God through the heavens of the divinity. It is to fight with one’s own self, to fight, to flutter desperately like a half-slaughtered bird, bloodstained and covered with dust and dirt. Sema is a secret. There is a time with god and during this time neither angel nor prophet can intrude. Sema is to attain that place where even an angel cannot go…

'Sema' - solo show of Abul Kalam Azad
‘Sema’ mix-media print on painted hard wood / 90 cm x 90 cm / 2014

P P Sha Nawas is an author / Independent writer based in Kerela. He has traveled much in South India and has written many articles in the field of art, archeology, theology, culture and photography. His articles have been published in several prominent malayalam newspapers and periodicals which has also been translated to English and published in art magazines across India. He has written the following piece about the ongoing SEMA show:

“Kalai Illam is a small space for art and photography at Thiruvannamalai. The house turned into a gallery space has witnessed many shows of eminent artists since its inception a year ago. Right now, ‘SEMA’ a print exhibition of photographer Abul Kalam Azad is being exhibited. In this recent series, Abul has used the found lithographic popular prints, fused on painted hardwood; digital pigment prints on silk, paper etc., . SEMA, the show titled, talks of a time when men and God communicated without a middle man, neither through the medium of a saint nor a prophet. SEMA shows the part images of our well known saints and gurus, printed in the wooden circles. Why part images of these revered personalities like Narayana Guru, Saradamba, Ambedkar, Vivekananda and God images of Hanuman and others? May be, it is connoting the current scenario of the lost faces of our saint teachers, in the ego driven greedy world of spirituality which is commercialized and marketed. The teachers’ teaching have been lost… instead their images are venerated and adored without any reasonable reason behind!!! Reign of the images, the age of spectacle, according to Debore, is the rule of the day. And, this desperate situation is depicted in a special way in these works. The technique of pop art is used to make an ambiance of sarcasm, as always a characteristic feature of Abul Kalam Azad’s works. Abul’s works for the last couple of decades have been transformed into capturing part images of the objects, instead of usual technique of framing and seeing the entire object. These part images invoke a bunch of memories which may lead the onlooker to his lost past. Photography always leaves traces of nostalgia, and Abul uses this characteristic of his medium to its height and breadth. These prints also provide a rich memory of our cultural past and renaissance fervor.

'Sema' mix-media print on painted hard wood / 90 cm x 90 cm / 2014
‘Sema’ mix-media print on painted hard wood / 90 cm x 90 cm / 2014

Two other prints, which is also round in shape, are marvelous works that Abul has done recently, in which the tiny image of TAJMAHAL and the gopura of Madurai MEENAKSHI temple is captured. The starry night and moon lit ambiance engulfs the images. The gopura of the temple is seen from the view of an arch, which invokes a Mughal architectural motif. And the tiny image of TAJMAHAL, is counter posed with a railway line under. What is meant by this subtle juxtaposition? Connoting something historical? Invoking some historical evolution of our tradition of seeing and viewing? These prints have many things to say, the architectural resemblance of TAJ and the Temple Gupura, the Persian and Egyptian influences and references of Indian architecture could be one way of understanding. It also could be interpreted through the ongoing process of political change that has changed our perception of viewing things. Dynasties and rules change the style and functioning of our viewing. A new ruling ideology may make paradigm shift in our seeing and viewing things. These part images of Gopuram of a South Indian temple and and Tajmahal are thus talking a story of changing political situation. It is like seeing reality through the ideology of the rulers. But the aesthetic aspect of these works should speak by themselves. Not by descriptive words, but by seeing and assimilating the visual itself…”

TO BE CONTINUED

Disclaimer: All rights reserved. All the images published in this post is a photograph of the prints of Abul Kalam Azad taken by project 365 photographer Arnav Rastogi and belongs to EtP Archives. Text (C) PP Sha Nawas. Reprinting / publishing rights reserved by the author and EtP Archives. Prior permission is required for reproduction / re-publishing. For more information about Project 365, contact EtP at {0}4175 237405 / {0}94879 56405 / ekalokam@gmail.com/ FACEBOOK – Project 365

Deepam, sociology and ecology (part one)

Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives
Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives

Jiby Charles, a photographer and graphic designer based in Bangalore has been creating visuals of the flora and fauna of Tiruvannamalai as part of Project 365. His interest also extends to the sociological dimension of Arunachala Hill… how the people of the land relate to the Hill and its ecology is an aspect he has been searching… the extent of people’s involvement in managing this ancient practice and how coordinated are the several thousand people in bringing ghee and other necessities for the festival… Even though Deepam is not Jiby’s direct concept, he has been attempting to bring out the connection between the people, the flora and fauna of this ancient town. More than being a mere witness to this grand festival, Jiby has become a part of the festival Jiby and Arnav started early in the morning, only to join the parivattam (a ceremony to respect t he ‘Nattar’ family who would be lighting the fire)… however, as the Nattar family was all set to climb up Arunahcala, Jiby and Arnav also joined them – they didnt get much time to neither have their breakfast, nor find proper shoes… they stopped a brief while, only to  buy a plastic bag to cover their cameras… the journey of four hours, climbing the steep hill barefoot.. mid-day sun didn’t fetter their passion !!! Deepam, the birth of Lord Murugan, the deity of Tamil language is celebrated by all as the festival of light… People from different caste, religion and belief play a role.. Nattars are traditional fishermen who light the lamp.. the Achary’s, the traditional wood carvers make the chariots…. the Chettiyars decorate the gods… Thousands of liters of pure ghee donated by people are carried uphill to lit the gigantic fire seen several kms around the Hill…

Jiby is hailing from a christian family… He has done his Bachelor Degree in Visual Communication from Hindusthan College of Arts & Science (Bharathiar University, Coimbatore). He currently lives in Bangalore. He is passionate about photography, design and traveling. Sharing few of his Deepam photographs.

Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives
Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives
Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives
Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives

Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives

Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives

Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives
Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives
Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives
Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives

Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives

Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives

Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives

Deepam 2014 / photography (C) Jiby Charles / Project 365 public photo archives

Project 365 is a PUBLIC PHOTOGRAPHIC ART PROJECT initiated by EtP to photo-document the fast changing ancient culture and contemporary lifestyle of the ancient Tamilakam territory. During the first phase, forty photographers will be documenting the multi-cultural aspects of #Tiruvannamalai, South Indian heritage town over a year period (Aug 2014 – July 2015). This Project is led by contemporary Indian photographer Abul Kalam Azad. FOR MORE PROJECT 365 IMAGES, see #etpproject365 In the next five years, EtP will document the Sangam period ports Muziris, Tindis, Korkai and the Cauvery basin culture and lifestyle.

Disclaimer: All rights reserved. All the images published in this blog is copyrighted property of the author and belongs to PROJECT 365 PUBLIC ARCHIVES. Text by Tulsi Swarna Lakshmi / EtP. Reprinting / publishing rights reserved by the author and EtP (PROJECT 365 public archives). Prior permission is required for reproduction / re-publishing. For more information about Project 365, contact EtP at {0}4175 237405 / {0}94879 56405 / ekalokam@gmail.com/ FACEBOOK – Project 365

“AGNI”

Karthikai Pournima 2014 Photography

On 5th December 2014, Karthigai Mahadeepam was celebrated in Tiruvannamalai. For generations, the Nattar family (fishermen), lights the fire on top of the Hill. During Deepam festival, the people from various walks of life contribute in different ways. The different caste groups have a role to play.

Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives
Deepam 2014 / Photography (C) Arnav Rastogi / Project 365 public photo archives

Parting with your first camera….

Project 365_donation 4

One of the main purposes of Project 365 is to rejuvenate the traditional analog medium…. Our concern is to ensure that the project 365 prints stay longer and of better quality. Nazneen Tonse, writer, poet and social activist approached Project 365 Director and expressed her interest to donate an analog camera…. Abul directed me to collect it from her. The Bangalore MUKHAMUKHAM event was scheduled to be in Bangalore on 15th November 2014 and we decided to meet in Bangalore. On 13th November, I visited 1 Shanthi Road, to meet Suresh Jayaraman to discuss a partnership. Nazneen had earlier mentioned that she is a friend of Suresh Jayaraman and it is from his facebook wall that she had came across our request for donation. So, I called her from 1 Shanthi Road and she agreed to come in an hours time… after a relaxed lunch and long conversation with Suresh Jayaraman and Cop Shiva, I heard a sudden announcement, “Hey Tulsi…. I am sorry, I was late”…. It was Nazneen Tonse. “Now the camera….”, she said and took the precious Yashika from her bag and held it in her hands, as one would hold their child. After few lingering moments she said, “This is my first camera… I have many fond memories associated with this..” and a after a brief silence, she looked straight into her camera and said, “I am gonna miss you. But then you will be now put to use and be well taken care of…. now, you are out of your retirement and back to work..” saying this, she looked at me and asked, “Wouldn’t you be using the camera…”. I replied with an affirmation… I didn’t have much words to offer… however, this particular conversation had left a big mark in me… I can vividly remember her kissing the camera and bidding goodbye…. As, I was carrying the camera, the tripod and the documents in the busy streets of Bangalore, I realised the priceless value of the donation we had received. I took extra care and kept them closer to me….

Yashika FX-3, donated by Nazneen Tonse
Yashika FX-3, donated by Nazneen Tonse / camera photographed by Arnav Rastogi

The very same day, Abiman Prasath donated his digital camera to EtP Project 365. Whilst I took possession of the digital camera, Abul gave the Yashika to Project 365 photographer Arnav Rastogi. Arnav has been creating photographic visuals of the Tamil living spaces in Tiruvannamalai. He will be experimenting with the analog medium. Yes, the trusted possession of Nazneen Tonse will be put to use.

Project 365, the public photo art project is going on its full swing and the first public preview is being organised on 7th December 2014. The support of many has made this a possibility… the vision, the collective consciousness, the dedication, hard work of the 365 photographers, the collaborative support of the local people and audience… this also includes many parting with their trusted possessions for a beautiful cause…

Thanks a lot and do join in this effort to create and preserve photographic visuals of an ancient town,

Tulsi Swarna Lakshmi

The procession of saint poets

Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives

And, the saint poets and their gods are on the road… fully decorated in their various vahanas (vehicles)!!! Giving dharshan to the thousands of devotees and others… Many are touched by their own overwhelming bhakti, whilst others are moved by the sheer joy and faith of the devotees.. there are quite a few who would be silently enjoying the beauty of this artistic expression.. These priceless idols of our culture being shown to the public to look and experience is a celebration by in itself. Project 365 photographers have also been swept away by the festive mood of this ancient town… halogen lights and oil lamps warms up the chilled nights and the team gets ready for their ever fresh encounters…. Most of the photographers are using their smart phone to document this extensively documented festival. “Intimacy is the key”, said Abul Kalam Azad. “We are not mere witness to this festival, but we are part and parcel of the whole celebration. The smart phone makes it necessary for the photographer to be very close with their subject… it means a dialogue, a smile, a hug, a word or any form of exchange is a prerequisite to the photograph itself”, He added. Leading project 365 photographer Dinesh Khanna was supposed to lead the Deepam documentation. However, due to the sudden demise of his beloved mother, he is unable to join the team now. So, Abul is continuing to lead the team. He said,, “Amidst this overflowing mood of celebration, we have received this sad news from Dinesh… Let us salute and respect this loving mother and thank her for gifting this wonderful photographer to our world.”

The online feed of Deepam festival is also made in Project 365 page facebook page and instagram feed #etpproject365

Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Periyapuranam chanting / Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Drumming / Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Manikandan, the sarathi of silver chariot / Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
The procession / Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
The women trumpeter of Sri Thirunavukarasar band / Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Panneer Selvam / Project 365 Public Photo Archives
Photography (C) Panneer Selvam / Project 365 Public Photo Archives

As the temple and its surrounding bubbles with the festival, there are many a preparation that had underway to ensure the peaceful proceedings.

Photography (C) Arnav Rastogi / Project 365 Public Photo Archives
Photography (C) Arnav Rastogi / Project 365 Public Photo Archives
Photography (C) Arnav Rastogi / Project 365 Public Photo Archives
Photography (C) Arnav Rastogi / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives

And the tireless work of the police department….

Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives

And the most awaited “Mattu Chanda”. Last year the absence of the mattu chanda (cow market) was very much felt and the upcoming mattu chanda is expected by the spectators and buyers alike… our neighborhood bulls getting ready for the chanda…

Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives
Photography (C) Abul Kalam Azad / Project 365 Public Photo Archives

For more deepam photographs check #etpproject365 and #deepam

Project 365 is a PUBLIC PHOTOGRAPHIC ART PROJECT initiated by EtP to photo-document the fast changing ancient culture and contemporary lifestyle of the ancient Tamilakam territory. During the first phase, forty photographers will be documenting the multi-cultural aspects of #Tiruvannamalai, South Indian heritage town over a year period (Aug 2014 – July 2015). This Project is led by contemporary Indian photographer Abul Kalam Azad. FOR MORE PROJECT 365 IMAGES, see #etpproject365 In the next five years, EtP will document the Sangam period ports Muziris, Tindis, Korkai and the Cauvery basin culture and lifestyle.

Disclaimer: All rights reserved. All the images published in this blog is copyrighted property of the author and belongs to PROJECT 365 PUBLIC ARCHIVES. Text by Tulsi Swarna Lakshmi  / EtP. Profile by Ami Jangal / EtP. Reprinting / publishing rights reserved by the author and EtP (PROJECT 365 public archives). Prior permission is required for reproduction / re-publishing. For more information about Project 365, contact EtP at {0}4175 237405 / {0}94879 56405 / ekalokam@gmail.com/ FACEBOOK – Project 365