Ancient Dravidian culture

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A Kolam drawing.

The identity of Ancient Dravidians is a matter of much debate. It has been challenged and contested by some as a conspiracy by colonialists to 'divide-and-conquer' South Asia,^[1] yet to others the Dravidians were the originators of the Harappan civilization.^[2] as it not only explains the linguistic difference in South Asia but also explains the origin of a matrilineal culture.^[3] In a ruling, the Supreme court of India ruled that there can be little doubt that Dravidian languages were actually flourishing in the western regions of Northern India at the period when languages of the Indo-European type were introduced by the Aryan invasions from the north-west, although the ruling also pointed out that the Pre-Dravidian aborigines must be regarded as the primitive existing race, as opposed to the later Dravidians.^[4]

The extent of Dravidian culture has a presence in South India, Sri Lanka, the Malbars and Malabars of Réunion, Chitty of South-east Asia, emigrant indentured communities in Burma, Singapore, Malaysia, South Africa and Fiji, as well as modern emigrant communities across the world.

Dravidian attire

Clothing

Men traditionally wore types of dhoti like lungi and mundu. The style of draping has changed and simplified over the years. Dravidian women wore some of the finest silk clothing of their times. Young Dravidian women wear different clothing to married women who wear saris to show they are unmarried.

Hair

Note the hair style of Shiva, his name means the red one in Tamil, red being the auspicious colour.

In ancient Dravidian culture hair was regarded as the source of great force, intimately tied to powers of sexuality, aggression, and supernatural energies.^[5] Much like their East-Asian counterparts, ancient Dravidian men wore their hairs into top knots and adorned them with flowers and ornaments.^[6] The style of top knot and ornaments worn varied with social status. The concept of this may be as early as the Indus Valley Civilization as featured in the Pashupati seal. Unlike other gods, Shiva is known for his top-knotted hair, hinting at his Dravidian origins. Following this, even today, rishis all over India wear top-knots as a symbol of divinity and authority.

Linguistic identity

The primary evidence for Dravidian identity is linguistic, because the Dravidian languages have not been shown to be related to any other language family. Dravidian languages show extensive lexical (vocabulary) borrowing, but only a few traits of structural (either phonological or grammatical) borrowing, from Indo-Aryan, whereas the Indo-Aryan shows more structural features than lexical borrowings from the Dravidian languages.^[7] The Dravidian impact on the syntax of Indo-Aryan languages is considered far greater than the Indo-Aryan impact on Dravidian grammar. Some linguists explain this asymmetry by arguing that Middle Indo-Aryan languages were built on a Dravidian substratum.^[8]

Architecture

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Dravidian architecture is well known for its pyramid shaped temples, and ornate stone carvings. Dravidian architecture has gone through many changes depending on the era, with each ruling South Indian dynasty adding their own distinct contribution to it.

Influence

Dravidian architecture styles has greatly influence Sri Lanka and Southeast Asia. It was extremely popular during the Chola Empire when significant portions of Southeast Asia was under Chola rule, and subject to Dravidian culture. The Chola school of art, as it was to be called, spread to South-East Asia, such as Thailand, particularly in the Northern provinces like Chiengsaen, Chiengmai, Lampang, Chiengrai, Sukhothai, Kamphaengpet and Pisanulok.^[9]

With the modern spread of the diaspora, temples in the Dravidian styles are seen all around the globe from London to Berlin. Even to the Hawaiian island of Kauai where the Iraivan temple is being built.

Arts

Murals

Kalamezhuthu was an ancient Dravidian art form connected with religious rituals. It was a ritual art of sprinkling and filling up different colour powders inside outlines sketched with the powder.^[10]

Dance

Many of the folk dances of modern South India were derived from rituals of Ancient Dravidians.^[11]

South India boasts of the following folk dances:

Opera

Dravidian dance forms were often combined with theatrical and musical elements to form major operatic theatres and centres of entertainment.

In the Perumkathai, a work of the eighth century, there is a reference to the entry of the ‘Koil Nadaga Kuzhu' or the drama troupes of the temple. The ancient Opera focused more on the music and dance, while the drama and dialogue was of lesser importance.

The King owned his own opera troupe, consisting of both male and female actors. The lead actress was known as 'Thalaikolli'. They often performed these plays in the temples. It was a means of propagating their power and wealth as well as a symbol of devotion to God.^[12]

Classical music

The main form of classical music in South India is the Carnatic music.

Instruments

Yazh

The ancient யாழ் (yazh) is a harp-like instrument which is considered the predecessor of the Veena. It is arguably the most important Dravidian contribution to Indian music. The City of Jaffna in Tamil is known as யாழ்ப்பாணம் (Yazhpanam) and is named after this instrument, hence, features on the emblem of the Northern Province, Sri Lanka.

Some scholars hold that yazh and veena are different because they were used in juxtaposition in many literary sources. For instance, Thirunavukkarasar has in a verse referred to the practice of the Veena and the Yazh separately.^[13]

In the epic பெரும்கதை (Perumkathai), the legendary King Udayanan subdues a mad elephant with his yazh.

Parai

Parai is a drum which is, and was, at the heart of political and social heritage of Dravidians. It is a symbol of the Paraiyars, a major untouchable caste in Tamil Nadu.

In Tamil and Malayalam, the word 'parai' means to 'speak' or to 'tell'. It is an ancient instrument performed in the courts of Sangam, Chola, and Pandiyan rulers. They were also used by ancient Town criers. The two best-known Dalit drumming castes are the Paraiyars (named after the parai drum) and the Telugu speaking Cakkiliyars. In addition to performing music at their own temple festivals and religious celebrations, Dalits for the last several centuries have provided inauspicious ritual services for higher castes, most notable drumming for funerals. Because of its association with death, Dalit drummers and the parai drum are considered both impure and degraded by upper castes. In recent years, some Dalit communities have reclaimed the parai with pride to become a symbol of Dalit cultural identity and social freedom.^[14]

Sculpting

Dravidians were well known sculptors. The uncontested evidence for which are the majestic temples, and the ornate carvings etched in them. Throughout Dravidian history, various dynasties made their stamp known by adding certain characters to their sculptures.

Influence

Thai and other South-east Asian artists were inspired by Pallava and Chola art.^[15] Dravidian art flourished in Takupa, Weing Sa and Chaiya during the Chola era.

Floriography

Ancient Dravidian civilisation contributed its love of flowers to India. During the Vedic age, the sages often offered to the gods by burning them in fire, including flowers, Dravidians being admirers of flowers, introduced the idea of garlands and floral decorations which is now spread much over India.^[16]

Adoring God with flowers and incense was an ancient practice prevalent among the early Dravidians. Flower represented the heart, and incense melting of it.^[17] Hence, as opposed to the practice of homa, the fire worship of the Aryans which was generally accompanied by animal sacrifice, the Dravidians worshipped with offerings of grain and flowers — puja.^[18]

Ancient Dravidians also used flowers to decide their rank, and the army chieftain granted different types of garlands for different reasons.

• Wedchi: given for seizing enemy cattle and starting a war, with military honours. Seizing cattle was a meant a war was declared.
• Wanchi: given for successfully winning a battle while invading enemy territory.
• Kanchi: given for repelling invasion.
• Thumbai: given to the most brave in defending a fort.
• Wahgai: given to those who put the enemy to rout and were completely victorious.
• Karandai: given to those who recover the captured cattle used to declare war.
• Uzhignai: given to those who take over enemy forts.

Religion and philosophy

Dravidians were traditionally very open minded and strong in their beliefs, but were rationalists, unwilling to take anything for granted. Thiruvalluvar sums up Dravidian philosophy in one kural:

எப்பொருள் யார்யார்வாய்க் கேட்பினும் அப்பொருள் மெய்ப்பொருள் காண்ப தறிவு.

— குரல் ௪௱௨௰௩

which can be translated as, "Whatsoever from whoever's mouth is heard, from that, discerning the truth is knowledge. Kural 423"

Prehistory

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The 3 foremost Nayanars with Manikkavacakar — collectively called the Nalvars: (from left) Sambandar, Appar, Sundarar, Manikkavacakar.

The most prominent and archaic type of Dravidian belief concepts is the mother goddess cult, expressed today as Shaktism and Tantrism. Female worship is also represented in countless minor deities across South Indian villages such as the cult of the seven sisters. A Lingam with a bull crouching in front has been ascribed to the Neolithic age.^[19] Shiva was worshiped in various forms in India, but mainly in the Lingam form. Claims were made, that the ancient Dravidians feared evil spirits the most, hence a row of demon cults evolved (Kali). Connected with demonic spirits are the Kolam and Rangavalli, ancient forms of self protection with various other functionalities. The Dravidian animal cult practices are thought to be of West-Asian Elamite origin. Scholars hold, that animal worship of buffaloes and serpents are clearly attested in the ancient Elamite religious system. There is also a scholarship, who think, that the Elamites and Dravidians share a common language family and culture of an agricultural society, spanning from Elam to the Dravidian Indus Valley Civilization (IVC). This theory is being gradually accepted by linguists,^[20] however Dravidologists still look for more evidence. The IVC culture shared also many features with the ancient Sumerian society. Representations of the legend of Gilgamesh and the similarities of priestly practices indicate a common origin to the extent, that the culture is also been called "Sumero-Dravidian".^[21] Several scholars have attempted to show a direct linguistic relationship between them, while general agreement hasn't been established yet.

There is general academic acceptance, that the ancient Dravidians contributed the most to Jainism and Hinduism, respectively. Concepts such as Puranic myths of Rama and Krishna, holy rivers, sacred springs and pools, sacred groves and trees, soul philosophies (Atma) and Yoga, Ahimsa seem to have been born out of the Dravidian genius.^[22][23][24] Several "high profile words", which earlier were thought to be of Aryan origin, actually derived from Dravidian roots: Pundit (learned), Brahmin (priest), Puja (worship), Dharma (religion), Mandir (temple), Manush (man), Nagar (city), Nir (water), etc.^[23] The god Vishnu of Vaishnavism is popularly misinterpreted to have sprung out from the minor Rigvedic solar god Vishnu; he had its roots in the old Dravidian sky god Vin(nu), who was later Prakritized as Vitnu and finally Sanskritized as Vishnu. The blue color of the god indicates the sky, the aboud of Vishnu, Vaikuntha, is known as Vinnagar in Dravidian.^[19] Further suspected Dravidian practices include animism, contemplative spiritualism, non-Dualism and metempsychosis.^[25] Archaeological findings of pottery and relics in several places in Tamil Nadu, particularly in Adichanallur had ideographic inscriptions of the god Murugan and show signs that Murugan worship was prevalent at least as early as 10th century B.C, if not earlier.^[26] The burial practices in Adichanallur corresponded with the findings of the earlier Indus Valley Civilization. The dead people wear buried in crouching position in terracotta coffins, while food and weapons were placed for another world.^[27]

Antiquity

Hinduism was revived in Tamilakam by the sixty-three Nayanars, of whom three, Tirunavukkarasar, Campantar and Appar were most prominent. The famous Tirumurai produced is one of the finest pieces of devotional literature, that serves as an inspiration to Hindus and non-Hindus alike. The legendary argument between the two sects have become popularised throughout South India in legends likeYali and Gandaberunda. Haridasa's Irusamayavilakkam, which tries to establish the superiority of Vaishnavism over Shaivism, is one of a few literary contributions. For instance, Vedanayagam Sastriar, a Christian poet in the Court of Serfoji II was inspired by it so much, that he composed Christian hymns based on it.

In the first half of the 7thcentury, the most popular faiths in south India were Jainism and Buddhism. When the Pandyan king crossed over to Jainism, it is said that his queen Mangayarkarasi (மங்கையர்கரசி) sent of Sambandhar.^[28] As a wandering minstrel Campantar sang hymns opposing Jain and Buddhist thought and is credited with the conversion of a Pandya king from Jainism.^[29] By the advise of Campantar the king Koon Pandiyan ordered to kill 8000 Jain saints. And they were killed accordingly.^[30][31] But only as a repayment to Campantar, for curing the King's illness. Koon Pandiyan also donated land to Hazrat Kazi Syed Tajudin to build a mosque.^[32]

Dravidian food

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Rice is the primary staple of Dravidians. Other grains include pearl millet, maize, semolina, finger millet, barley and milo. The variety of rice consumed various within regions and socioeconomic status. Rice is also processed into puffed, pressed, boiled and raw. Rice is also cooked at home into noodles, crepes, rice buns and rice balls depending on the region.

Wheat was traditionally shorn, as it was considered very menial, so much so that even prisoners were never given them. Although, due to the influx of northern culture, young people have resorted to consuming flat breads.

Meat was traditionally consumed by the rich nobles who hunted, while the Brahmins were pure vegetarians. Most people nowadays consume meat, poultry, fish and eggs. Due to religious reasons, Beef and pork products are usually not consumed.

Eating is very communal for Dravidians, and is a sign of hospitality and culture. A traditional Dravidian family will not send away any guest without at least one meal.

Loan words

Some of the most commonly used Dravidian loan words in other languages are about food: orange, mango, candy, curry, mulligatawny soup, ginger, rice, moringa, chapati are noteworthy examples. The word India is also of Dravidian origin.

Alcoholic drinks

Palm wine and rice wine have traditionally been consumed in South India, Sri Lanka, and the ancient Chitty people.

Social order

According to the Tolkappiyam, the ancient Tamil order was much like any other society: priests, merchants, farmers and kings.^[17] While this may seem like the caste system, it is not. The society was much less rigid, and there were no orgnaised 'untouchables' like the Sudra. The Purananuru anthology's much quoted verse says, 'யாதும் ஊரே, யாவரும் கேளிர்' meaning 'everywhere is my home, and all are my kindred'. In the following kural, Thiruvalluvar shows the rationale and logic behind Dravidian culture:

உழதுண்டு வாழ்வாரே வாழ்வார், மற்றுஎல்லாம் தொழுதுண்டு பின் செல்பவர்.

— குரல் ௲௩௰௩

He who ploughs and eats, truly he lives; all others, they beg of him and follow him.

— Kural 1033

Theory that mankind is divided into four varnas or groups of caste, such as Brahman, Kshatrya, Vaisya, and Sudra was wholly foreign to the Southern Dravidians. Caste was non-existent. Until the rediscovery and publication of the ancient Sangam poems in 1880s, [Tirukkural] was considered the oldest extant Tamil text, composed before northern influences were said to have produced, as some people may term it, rigid caste inequality, priestly domination and ritualised superstition. The value of the Tirukkural was not that it railed against these practices, which were yet to consolidate, but that it presents an ethical system devoid of them.^[17]

Women

The key difference in finding a definition for Ancient Dravidian culture, or as Ka. Pa. Aravanan puts it rather bluntly:

The matriarchal tradition is the special feature of Dravidians or non-Aryans. This system is still in vogue in the Southern part of Tamilnad, Kerala and South Karnataka of Dravidian India.

— Ka. Pa Ar̲avāṇan̲

^[3]

Although historically this is accurate, but modern South India is patrilineal, much like their northern and European counterparts. Dravidians had huge respect for women, especially mothers. This is why people living in rural areas in South India often worship 'Amman' (mother). Amman was also known as Kottravai or Kali,^[33] and later became the concept of Shakti and Durga. The Dravidians originally worshiped the gods in their child forms like Kannan and Mayon (Krishna). The Dravidian support of Shaivism emerges from the familial nature of Shiva and his promise to give half of himself to his wife. The Tamils worship the language as 'Tamil Thai' or 'Mother Tamil'.^[34]

According to the Sangam literature, a woman had to play different roles in the family such as a dutiful wife, responsible mother and an ideal hostess to guests. Women’s education was also insisted during the Sangam Age. We come to know a few women poets like Avvaiyar, Kakkai Padiniyar and Nachchellaiyar, whose verses are found in the Sangam literature. Sangam women were also known for their courage. However, from the post-Sangam period, there was a decline in the status of women.^[35]

Folklore

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Muttupattan

The story of the Ballad of Mutuppattan is as follows: Mutuppattan, one of five Brahmin brothers, quarrels with his family and leaves to seek his fortune elsewhere. After finding employment in a nearby kingdom, his brothers seek him out to marry him off to a particular girl so that the family will acquire certain property rights. They find him and convince him to return. On his return, however, he is mesmerized by the singing of two women. He runs to them, declaring his love for them, and pleads with them to marry him. As members of an untouchable caste, Paraiyar, they are shocked and, since he could only be joking, insulted at his play. The energy of the narrative, which has building up to this scene, bursts with their dramatic reply, "You are like the great Siva himself, my Lord! Would the earth bear our impurity?" With this, they run away and tell their father who, angry at the Brahmin's joke, starts out to punish him. He comes upon Muttuppattan who has fallen down with despair and exhaustation after unsuccessfully chasing the women. Mutuppattan explains that he is serious. The father is shocked, but moved by his sincerity and agrees to the marriage if Mutuppattan performs certain tasks: cutting off his sacred thread and top knot (the symbols of his Brahmin birth), transport the carcass of a dead cattle, skin the body and sew sandals from the hide (all the work of the Paraiyar untouchables). Muttuppattan completes the tasks, in effect renouncing his Brahmin birth and becoming an untouchable, and marries the women.^[36]

Nandanar

Women

Kannagi defended justice, and cursed the city of Madurai for the injustice she had been subjected to.

The heroine of Silappathigaram, Kannagi had been hailed for her chastity and worshipped by the people. The women were given freedom to choose their life partners during the Sangam period. The concept of love had been elaborately discussed in Agananuru.

Martial arts

From the Indian Folklore Research Journal,^[37] Cross-Cultural Relations between Dravidian India and Central China: New Evidences from the Tradition of Martial Art, Mathew Varghese opines out:

The tradition of martial arts is seen only in the Dravidian region.

— Mathew Varghese, Cross-Cultural Relations between Dravidian India and Central China: New Evidences from the Tradition of Martial Art

This opinion is further supported by others due to the strength of the martial traditions present in South India and North-east Sri Lanka,^[38] and also because the two earliest discussed topics of Tamil poetry was mating and fighting.^[39]

Varmakalai (Marma ati)

Often called the art of vital points, this method of using minimal force at vital points (marma points) of the body helps a practitioner disarm or dissuade an opponent with minimal force and effort, as he uses his fingers or a small stick to strike at these points to generate severe pain, which results in partial paralysis or severe pain in the attacker’s body.^[37]

Jallikattu

Jallikattu, or bull fighting, is an ancient Dravidian tradition that was practised about 4,000 years ago during the Indus Valley civilisation. A seal found at Mohenjodaro in the 1930s attests to this.

This seal shows a vigorous scene of bull-fighting. It portrays a ferocious bull in action, several men or a single man (according to two different interpretations), thrown in the air by it as they try to control it. The bull is shown to be the victor. This seal, made of stone, is on display in the National Museum, New Delhi. It can be dated to 2,000 B.C.^[40]

References