India’s scientific heritage continues to inspire modern minds”)

Sayana Acharya and the Speed of Light in the Rigveda

There are moments in history when science and spirituality seem to meet at a mysterious crossroads. One such wonder comes from 14th-century India, where the great Vedic scholar Sayana Acharya, minister and commentator in the Vijayanagara Empire, left behind a statement in his commentary on the Rig Veda that has astonished modern thinkers for generations.

The Remarkable Verse

In his exposition on Rig Veda 1.50.4—a hymn in praise of Surya, the Sun—Sayana writes:

 “तथेमे सूर्यस्य रश्मयः निमेषार्धेन योजानानि द्विसहस्राण्येकविंशतिः च यान्ति।”

Tathemé Sūryasya raśmayaḥ nimeṣārdhena yojanāni dvisahasrāṇyekaviṃśati ca yānti.

“The rays of the Sun travel 2,202 yojanas in half a nimeṣa.”

On the surface, this seems a poetic image describing the Sun’s swift light. But when those ancient measures are converted into modern units, the result is astonishingly close to the speed of light known today.

To understand this claim, we must first decode the two units used by Sayana Acharya:

1. Yojana — Measure of Distance

A yojana is an old Indic measure of length. Depending on the period, its value ranged between 5 and 9 miles.

For astronomical calculations, it is most often taken as about 9 miles (≈ 14.5 km).

2. Nimeṣa — Measure of Time

A nimeṣa literally means a “blink of the eye.”

Traditional texts describe:

1 nimeṣa = 16⁄75 of a second ≈ 0.213 s.

Therefore, ½ nimeṣa ≈ 0.1065 seconds.

 Calculation

Given:

Distance = 2,202 yojanas

Time = ½ nimeṣa

Convert to modern units:

1. Distance:

2,202 yojanas × 9 miles = 19,818 miles

2. Time:

½ nimeṣa = 0.1065 seconds

3. Speed:

19,818 miles ÷ 0.1065 s = ≈ 186,000 miles per second

That figure is practically identical to the modern measured speed of light—186,282 miles per second (≈ 299,792 km/s).

How could a 14th-century scholar arrive at such a number?

Interpretations vary:

1. The Traditional View

Some believe Sayana was recording knowledge preserved from far older Vedic sources—perhaps insights of ancient astronomers or seers who perceived cosmic principles through intuitive or observational means.

2. The Scholarly View

Others suggest the statement was a poetic hyperbole, expressing the divine swiftness of sunlight rather than a literal measurement. The apparent accuracy could be a numerical coincidence, since ancient units like yojana and nimeṣa varied greatly across regions and eras.

The Rig Veda’s 50th hymn in its third mandala is dedicated to Surya, the source of life and illumination. It praises the Sun’s brilliance and the spread of his rays through the cosmos. Sayana’s comment thus belongs to a spiritual and philosophical framework rather than a laboratory context.

Yet, his choice to quantify the motion of sunlight shows that Indian thinkers had already begun linking cosmic divinity with mathematical description—a mindset that later inspired India’s long tradition of astronomy, from Aryabhata to Bhaskara.

Whether coincidence or conscious calculation, Sayana Acharya’s words remind us of the deep curiosity and intellectual precision that existed in India long before the modern scientific era. His commentary stands as a bridge between Vedic symbolism and scientific inquiry, proving that observation, wonder, and reverence can coexist within a single verse.

 “The rays of the Sun travel 2,202 yojanas in half a nimeṣa.”

— Sayana Acharya, Commentary on Rig Veda 1.50.4

When translated into today’s language of physics, this gives the speed of light—a value incredibly close to modern science.

Whether by coincidence, preserved wisdom, or sheer brilliance, Sayana Acharya’s insight continues to evoke awe, pride, and respect for India’s ancient pursuit of cosmic truth.

Mechanics.

The Evolution of the Vimāna.

From Divine Chariot to King Bhoja’s Flying Machine

The Indian imagination has always reached for the skies — from hymns that praised the flight of the gods to the later dreams of mechanical birds and flying palaces. The Sanskrit word “Vimāna” (विमान) captures this upward vision perfectly.

Over centuries, its meaning evolved — from a celestial chariot of the gods in the Vedas to a mechanical flying craft in King Bhoja’s Samarāṅgaṇa Sūtradhāra, and later to a symbol of rediscovered heritage in the modern Vaimānika Śāstra.

The journey of the vimāna mirrors the journey of Indian thought itself — from myth to mechanics, from spirit to science.

The Vedic Roots — Chariots of the Gods

In the Rigveda (c. 1500–1200 BCE), the idea of flight was already alive, though the word vimāna was not yet used.

The gods — Indra, Agni, and the Aśvins — are described riding celestial chariots (rathas) that move “swift as the mind.”

“Indra’s ratha moves swift as thought.” — Rigveda 3.38.2

These chariots are divine metaphors, not mechanical vehicles. They represent the mobility of consciousness, speed of divine action, and the mind’s power to traverse realms.

In this earliest vision, flight was not a feat of engineering but a symbol of illumination — a movement between the earthly and the cosmic.

The Epic Age — The Pushpaka Vimāna of the Ramayana

By the time of the Ramayana (c. 500 BCE–200 CE), the concept of the vimāna had become more defined.

The famous Pushpaka Vimāna, “the flowery aerial car,” belonged to Kubera, the god of wealth, but was seized by Ravana and later used by Rama after the great war.

“The Pushpaka vimāna, shining like the sun, vast and swift,

can travel anywhere at the will of its master.” — Ramayana, Yuddha Kāṇḍa 123.1.

Here, the vimāna is a celestial vehicle, powered not by fuel or fire, but by divine will.

It reflects the freedom of the soul — the ability to move unhindered between realms.

The Pushpaka symbolizes grace, kingship, and liberation, rather than invention or technology.

King Bhoja’s Samarāṅgaṇa Sūtradhāra — The Vision of a Mechanical Sky

A thousand years later, India’s golden age of scholarship gave rise to King Bhoja of Malwa (11th century CE) — a ruler, poet, and polymath.

His encyclopedic treatise, the Samarāṅgaṇa Sūtradhāra, covers architecture, sculpture, urban design, iconography, and mechanics (yantra-vidyā).

In Chapter 31, Bhoja takes a remarkable leap — describing machines and aerial craft built by human hands.

Definition of a Machine

“Yantraṃ nāma calana-sthāpanād-upakaraṇa-saṃyoga-viśeṣaḥ.”

“A machine (yantra) is a special combination of parts designed for movement and stability.”

This is one of the earliest mechanical definitions in world literature — precise, functional, and scientific in tone.

 Construction of the Vimāna

“Vimānaṃ tu laghu kartavyaṃ dṛḍhaṃ susaṃhataṃ śubham,

Vāta-yantra-samāyuktaṃ tu gati-śakti-yutaṃ bhavet.”

“The vimāna should be light, strong, well-joined, and fitted with air mechanisms to gain motion.”

Bhoja imagines a lightweight, air-powered craft.

He even describes chambers of fire (agni-koṣṭha) and mercury mechanisms (rasa-yantra) to generate motion — suggesting an intuitive grasp of propulsion and balance.

“When the mechanism, filled with fluid and aided by the force of air, is set in motion,

the vimāna moves swiftly in the sky.”

Bhoja also mentions self-moving chariots, mechanical birds, and yantra-puruṣas — humanoid figures that could hold lamps or mirrors.

“Svayaṃ-cālita-yantrāṇi calanti hi nabhaḥ-sthale,

Yantra-puruṣa-vad vastra-gṛhīta-darpaṇādikam.”

“Self-moving machines roam about, like mechanical men holding garments and mirrors.”

These marvels were created, Bhoja says, “for royal amusement and the wonder of people.”

He ends the chapter by praising this science:

“Yantra-vidyā ca vipulā sarva-loka-vismaya-pradā…”

“The science of machines is vast and inspires wonder throughout the worlds.”

Thus, in Bhoja’s world, the vimāna is no longer divine — it is human imagination reaching the heavens through art and engineering.

The Vaimānika Śāstra — A Modern Revival

In the early 1900s, a text named Vaimānika Śāstra appeared in Mysore, said to be a revelation of Sage Bharadvāja to Pandit Subbaraya Shastry.

It describes four kinds of flying machines — Shakuna, Rukma, Sundara, and Tripura vimāna — complete with designs, materials, and operating manuals.

“The Shakuna vimāna moves by mercury engines and solar heat.”

Though presented as ancient, modern scholars and a 1974 IISc (Indian Institute of Science, Bangalore) study found its aeronautical principles scientifically unfeasible and linguistically modern.

Still, it symbolizes India’s continuing yearning to rediscover her lost scientific heritage — a poetic bridge between faith and invention.

From Myth to Mechanics — The Evolution of the Vimāna

Vedic Age Rigveda Celestial chariots (rathas) Power of the mind, divine mobility

Epic Age Ramayana Pushpaka vimāna (divine craft) Grace, kingship, liberation

Medieval Age Samarāṅgaṇa Sūtradhāra (Bhoja) Human-built machine Fusion of science, art, and spirituality

Modern Age Vaimānika Śāstra Symbolic aircraft Cultural pride, national rediscovery

Across time, the vimāna has never been merely a vehicle — it is a metaphor for transcendence.

Each era reimagined it according to its vision of human possibility:

The Vedic seer saw it as the chariot of the mind.

The epic poet turned it into a vehicle of dharma and divine will.

The medieval king built it from art and engineering.

The modern dreamer sought it again in memory and myth.

Through all, one truth shines — the Indian spirit has always sought to bridge the earth and the sky, to make imagination a form of knowledge and wonder.

King Bhoja’s Samarāṅgaṇa Sūtradhāra stands as a monument to a civilization that saw no divide between art, science, and divinity.

Its vimāna verses reveal a vision both poetic and technical — where geometry mirrors the cosmos, and mechanics becomes meditation.

“By combining air, fire, and liquid power, the vimāna flies —

a creation of divine art and human intellect.”

From Indra’s chariot to Rama’s Pushpaka, from Bhoja’s mechanical birds to modern dreams of flight —

the vimāna remains a timeless Indian symbol of the urge to rise, to imagine, and to unite heaven and earth. 

Sequence.

 The Fascinating World of Fibonacci Sequences

The Fibonacci Sequence is one of the most intriguing and beautiful patterns in mathematics. It appears not only in numbers but also in nature, art, architecture, and even music. Named after the Italian mathematician Leonardo of Pisa, known as Fibonacci, this sequence has fascinated scientists and thinkers for centuries.

What Is the Fibonacci Sequence?

The Fibonacci Sequence begins with 0 and 1, and each subsequent number is the sum of the two preceding numbers.

So, the sequence goes:

0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, …

Mathematically, it can be expressed as:

F(n) = F(n–1) + F(n–2)

where F(0) = 0 and F(1) = 1.

This simple rule leads to an infinite sequence with deep mathematical properties and surprising natural connections.

The sequence was introduced to Western mathematics in 1202 by Fibonacci in his book Liber Abaci (The Book of Calculation). He used it to solve a problem involving the growth of a population of rabbits — each pair producing a new pair every month, leading to exponential growth. The pattern of this growth followed what we now call the Fibonacci Sequence.

Interestingly, similar patterns were known earlier in Indian mathematics, especially in works related to prosody — the arrangement of syllables in Sanskrit poetry. Mathematicians like Pingala and Virahanka had already described similar numerical patterns centuries before Fibonacci.

One of the most fascinating aspects of the sequence is its connection to the Golden Ratio (φ), an irrational number approximately equal to 1.618.

When we divide one Fibonacci number by its immediate predecessor (for example, 34 ÷ 21 = 1.619), the ratio approaches φ as the numbers increase.

The Golden Ratio is often associated with harmony, proportion, and beauty, and it appears in art, design, and even the human body.

Nature seems to love the Fibonacci Sequence. It appears in:

Flower petals: Many flowers have 3, 5, 8, 13, or 21 petals — Fibonacci numbers.

Pinecones and sunflowers: The spiral patterns follow Fibonacci numbers.

Shells and galaxies: The shape of a nautilus shell and the spiral of galaxies follow the Fibonacci spiral, based on the Golden Ratio.

Tree branching: The pattern of leaves and branches often follows Fibonacci growth to maximize sunlight exposure.

These natural occurrences show how mathematics and biology are deeply connected.

Beyond nature, the Fibonacci pattern is found in:

Art and architecture: The Parthenon, Da Vinci’s Vitruvian Man, and modern design use Fibonacci proportions.

Financial markets: Some traders use Fibonacci ratios to predict stock movements.

Computer science: Fibonacci numbers are used in algorithms, data structures, and programming techniques.

The Fibonacci Sequence is not just about numbers; it is about patterns and relationships that reveal the inherent order of the universe. Its presence in diverse fields — from poetry to computing — shows how interconnected all forms of knowledge can be.

As Fibonacci himself might have said, mathematics is not only a tool for calculation but also a language of nature and beauty.

The Fibonacci Sequence reminds us that simple beginnings can lead to infinite complexity. From the petals of a flower to the spirals of distant galaxies, it mirrors the rhythm of life itself — a quiet, elegant harmony written in the language of numbers.

God resides here.

 

 https://youtu.be/kvW5Hc9dWXc?si=cUn1js5tH_AF6Ucz

Nepal, nestled in the lap of the majestic Himalayas, is not only famous for its natural beauty but also revered as a land of deep spirituality. It is one of the few countries in the world where Hinduism remains the major religion, practiced by nearly 80% of its people. The culture, architecture, festivals, and daily life of Nepal are closely tied to the worship of Hindu gods and goddesses.

Nepal is often called the Land of Shiva. The sacred Pashupathi nath temple in Kathmandu is one of the holiest shrines dedicated to Lord Shiva, known as the protector of all living beings. Devotees from India and across the world visit this temple, especially during mahashivaratri to offer prayers and witness the grand celebrations.

The Kathmandu Valley is home to countless temples dedicated to deities like Vishnu, Lakshmi, Durga, and Hanuman. The changu narayana temple, a UNESCO World Heritage Site, is one of the oldest Vishnu temples, with exquisite sculptures that date back to the 4th century.

Nepal has a rich tradition of goddess worship. The kumari, or living goddess, is worshipped as an incarnation of the Divine Mother Durga. She is chosen from the Newar community and honored in processions and festivals, especially during Indra Jatra.

Hindu festivals like dashain and Tihar (Deepavali) are celebrated with great enthusiasm across Nepal. Dashain honors the triumph of Goddess Durga over evil, while Tihar celebrates the bond between humans and animals—especially cows, crows, and dogs, each worshipped on special days.

Though predominantly Hindu, Nepal harmoniously blends Hinduism and Buddhism. Many temples, such as Swayambhunath and Boudhanath, show the intermingling of both traditions, symbolizing spiritual unity.

Nepal is truly a living museum of Hindu faith and devotion. Every mountain, river, and temple tells a story of divine presence. It is a land where gods and humans seem to walk side by side, preserving ancient traditions that continue to inspire spiritual seekers worldwide.

Jal narayana temple Nepal

Nestled at the foothills of the Shivapuri mountain range, about 8 kilometers north of Kathmandu, lies the serene and divine Jal Narayan Temple, also called Budhanilkantha Temple. It is one of Nepal’s most sacred Hindu sites, dedicated to Lord Vishnu, the preserver and protector of the universe.

The Sleeping Lord Vishnu

At the heart of this temple lies a majestic black stone statue of Lord Vishnu reclining on the cosmic serpent Anantha shesa, floating gracefully on a pool of pure water. The name Jal Narayan literally means “the Water God,” symbolizing the eternal, peaceful rest of Vishnu amidst the cosmic ocean.

The statue, about 5 meters long, is carved from a single block of black balast stone and believed to date back to the 7th century CE during the reign of the Licchavi kings. The image depicts Vishnu in a calm meditative state, holding his four divine symbols — the conch (shankha), disc (chakra), mace (gada), and lotus (padma).

Our journey to Nepal was a deeply spiritual and unforgettable experience. We visited the sacred Pashupatinath Temple, the majestic Mahadev Temple, and the serene Jal Narayan Temple, along with many other ancient shrines scattered across Kathmandu and Pokhara. The sight of the Everest and the surrounding annapoorna ranges added grandeur to the journey, blending nature’s majesty with divine presence.

At the temples, the monkeys mingled freely with the devotees, calm and unbothered, as though they too were part of the sacred rhythm of the place. The atmosphere was quiet, peaceful, and filled with a deep sense of serenity — a feeling that truly made one believe God resides here.

Equally memorable were the simple, honest, and kind-hearted people of Nepal, whose warmth and humility left a lasting impression on us. The entire experience felt almost surreal — a beautiful blend of devotion, nature, and peace.

Bilva

The significance of exchanging bilva leaves (bael leaves) during Dasara (Vijayadashami), especially as observed in Telangana and parts of Andhra Pradesh.

In Telangana, Karnataka, Maharashtra and some surrounding regions, there is a well-known custom of exchanging “gold” (sona) on Vijayadashami.

But instead of actual gold, people exchange bilva leaves (bilvam), sometimes also Apta tree leaves (called “sona patta” or “maratham” leaves in Maharashtra).

In Telangana, the tradition has taken the form of bilva leaf exchange, seen as an auspicious substitute for gold.

Why Bilva?

1. Sacredness of Bilva in Hinduism

Bilva (bael) leaves are sacred to Lord Shiva. Offering bilva is believed to destroy sins and bring prosperity.

During Dasara, bilva leaves symbolize divine blessings, wealth, and victory.

2. Symbol of Gold (Swarnapatra)

Just as in Maharashtra people exchange apta leaves calling them “sona” (gold), in Telangana bilva leaves are seen as equivalent to gold.

Exchanging them is like wishing each other prosperity, good fortune, and richness for the year ahead.

3. Victory of Dharma

Vijayadashami is the day of Rama’s victory over Ravana and also Durga’s victory over Mahishasura.

The exchange of bilva symbolizes sharing in the fruits of victory, goodwill, and wealth.

Local Belief in Telangana

Families and neighbors greet each other with “Subhakankshalu” (good wishes) while giving bilva leaves.

The belief is that those who give and receive these leaves will have health, wealth, and harmony in the coming year.

In rural Telangana, this exchange is also linked with the idea of harvest prosperity, since Dasara marks the transition to new agricultural activities.

Ritual Process

1. After worship (Durga Puja, Ayudha Puja, or Saraswati Puja), elders collect bilva leaves.

2. In the evening of Dasara, people visit relatives, friends, and neighbors.

3. They offer bilva leaves as “sona”, wishing:

“Ayudhamulu anugraham, dhanam dhanyam sampoorna saukhyam kalugunu”

(May you have weapons for protection, wealth, grain, and complete happiness).

n essence:

Exchanging bilva leaves during Dasara in Telangana is a symbolic act of sharing gold, blessings, and prosperity, rooted in the sacredness of bilva to Shiva and the spirit of victory associated with Vijayadashami.

In Nepal today for Dashami.  Will update their custom soon.

Ethics.

When we speak of public money (whether collected from citizens through taxes, or raised from donors through a public appeal), there are strict principles and rules that govern its collection and use. Misusing or diverting funds, even for a “good cause,” can create a breach of trust and sometimes legal violations.

Here’s a structured answer:

1. Importance of Purpose Adherence

Trust factor: Donors or taxpayers give money with the understanding it will be used for the announced purpose. Using it elsewhere (even for another noble cause) is a breach of trust.

Accountability: Every rupee must be traceable to its intended outcome.

Transparency: If purposes change, donors/citizens must be informed and, ideally, their consent taken.

2. General Rules for Collection and Disbursement of Public Money

A. Collection Rules

1. Clear Objective Stated – Any fundraising appeal must specify the purpose (education, health, relief, infrastructure, etc.).

2. Authorized Channel – Funds must be collected only through official, auditable channels (government treasury, approved bank accounts, registered trusts/NGOs).

3. Receipting – Every contribution should be receipted and accounted for.

4. Segregated Accounts – Separate accounts for different projects to prevent mixing of funds.

B. Disbursement Rules

1. Use Only for Stated Purpose – The money must be spent strictly for the project announced.

2. Approval Mechanism – Any change in purpose requires approval by the governing body or authority.

3. Donor Consent (in voluntary donations) – If diversion is necessary, donors should be informed and given an option to approve or request refund.

4. Auditing – Regular independent audits to ensure compliance.

5. Public Disclosure – Periodic reporting of how funds were used (government publishes budgets/expenditure statements; NGOs publish annual reports).

3. Legal/Policy Framework (India as example)

Government/Public Funds → Governed by Constitution of India, Comptroller and Auditor General (CAG), General Financial Rules (GFRs), and budgetary approval by Parliament/Assemblies.

Charitable Donations (NGOs/Trusts) → Governed by Societies Registration Act, Indian Trusts Act, FCRA (if foreign funds), and mandatory audits under Income Tax Act.

CSR or Institutional Funds → Regulated under the Companies Act 2013.

4. Key Ethical Principles

Transparency: Always disclose.

Consent: Don’t assume—ask.

Accountability: Be ready to show records.

Fiduciary Duty: Treat public money as sacred—it belongs to the people, not the collector.

 In short: Diverting funds without disclosure and consent is a breach of trust and often unlawful. Even if the alternative project is deserving, rules and ethics demand that money collected for “X” must be spent on “X,” unless formally re-approved.

Can't collect Guru dakshina during navratri and use the money for another project  specify why the collection and follow rules . Many people do this especially now during Dasara.  Totally wrong. 

Day 7

Our young ladies from RMT dressed as Warrior woman depicting the bold responsible great woman of earlier times. While they walked the ramp they also educated the children. They each contribute and donate a  fixed amount towards educating the challenged children supporting a great cause while they host the navarathri day 7 celebrsted today..they put a coin for each visitor who comes for haldi kumkum and totaling the foot falls then decide on the donation. Each group comes up with interesting themes all through the festival.

My grand daughter too walked in in the end depicting operation sindoor stealing the show with her army uniform. Her mother was velu nachiyar. 

Rani Laxmi Bai - Padmini

Rani Abbaka Chowta - Malathy

Rani Velu Nachiyar - Nandhini

Rani Ahalyabai Holkar - Sudha

Rani Rudramma Devi - Veena

Rani Kittur Chennama - Lalitha

Rani Durgavathi - Anu

Rani Mangammal - Krithika

Operation sindoor_ Kadambari

1. Krithika – Mangammal

"I am Rani Mangammal of Madurai, famed for my wisdom and statesmanship. I ruled as regent and ensured peace and prosperity in my land. I built roads, tanks, and temples that still stand as my legacy. I balanced diplomacy with valor, protecting my kingdom while fostering trade and culture. I am remembered as a just and visionary queen."

2. Nandhini – Velu Nachiyar

"I am Velu Nachiyar, the lioness of Sivaganga. Long before the Sepoy Mutiny, I raised arms against the British. I was the first Indian queen to wage war against colonial rule. With courage and strategy, I led my people, trained women warriors, and reclaimed my throne. I live forever as the Veeramangai – the brave woman of India."

3. Veena – Rudramadevi

"I am Rani Rudramadevi of the Kakatiya dynasty, one of the few women to ascend the throne in medieval India. I ruled with strength, dressed as a man in battle, and led my armies to victory. My reign was marked by prosperity, justice, and fearless leadership. I proved that power and wisdom are not bound by gender."

4. Padmini – Rani Lakshmibai

"I am Rani Lakshmibai of Jhansi, the symbol of resistance and freedom. With sword in hand and my son on my back, I fought valiantly against the British in 1857. I chose death over dishonor and became an immortal icon of courage. Jhansi ki Rani will always live on in the hearts of India."

5. Padma – Kittur Chennamma

"I am Rani Chennamma of Kittur, among the earliest to rebel against the British. I stood tall when they tried to annex my kingdom, leading my soldiers into battle. Though I was captured, my spirit never bowed. I lit the torch of freedom long before it became a movement, inspiring countless warriors after me."

6. Anu – Rani Durgavati

"I am Rani Durgavati, the warrior queen of Gondwana. Trained in archery and horseback, I defended my kingdom against the Mughals with unmatched valor. Even when outnumbered, I chose to fight till my last breath. My sacrifice became a beacon of bravery for generations of women warriors."

7. Krishma – Rani Tarabai

"I am Rani Tarabai of the Marathas, a queen who refused to surrender. After my husband’s death, I took charge of the empire, led armies, and challenged the mighty Mughals. I kept the Maratha spirit alive through my courage and sharp political acumen. I am remembered as the savior of Swaraj."

8. Malthy – Rani Abakka Chowta

"I am Rani Abakka Chowta, the fearless queen of Ullal. I fought against Portuguese colonizers with unmatched valor on land and sea. Known as the 'first woman freedom fighter of India,' I inspired my people to resist foreign domination. My name still echoes along the coasts as the warrior queen of the sea."

9. Sudha – Ahilyabai Holkar

"I am Ahilyabai Holkar, the philosopher queen of Malwa. I ruled with compassion, justice, and devotion. I built temples, ghats, and roads across India, nurturing both spirituality and prosperity. My reign was marked not by conquest, but by service to my people. History remembers me as the beloved queen who ruled like a mother."

Soldier Kadambari.

We salute Colonel Sofiya Qureshi and Wing Commander Vyomika Singh — the heroines of Operation Sindoor, who brought justice and victory with discipline, courage, and dignity, proving that the battlefield knows no gender."

Sweetest entry though. My pride.

Indian Warrior Women who fought the East India Company

When the East India Company (EIC) invaded the South Indian kingdom of Sivaganga in 1772, they met with opposition from Indian warrior women.  These women were a diverse group from different walks of life - royal household, rural areas, across all caste groups.  Although many of their names and stories have not found a place in history, they have survived in local folklore, songs, bharathanatyam performances, and have been immortalised as deities in the local temples.

Here is the story of three of these early female freedom fighters: Velu Nachiyar, Udaiyaal and Kuyili.  As the earliest women to rise against the EIC, their lives offer a glimpse into the beginnings of the anti-colonial movements, evoking an image of resilience and fortitude.

Rani Velu Nachiyar was a formidable Tamil Queen, who was both admired and vilified by the British for her valour and bravery in defending her kingdom.  She was born in 1730 to the Raja and Rani of the Ramnad kingdom. Skilled in the art of warfare and weaponry, Velu Nachiyar was also a scholar, and mastered several languages including English, French and Urdu.  At the age of 16, she married the prince of Sivaganga, Muthuvadugananthur Udaiyathevar. In 1750, Velu Nachiyar and her husband became monarchs of the Kingdom of Sivaganga.

In 1772, EIC troops, alongside the Nawab of Arcot’s son, invaded Sivaganga and marched towards the Kalaiyar Kovil Fort.  The Raja of Sivaganga was killed at the Battle of Kalaiyar Kovil on 25 June.  The kingdom fell under enemy control and the Kalaiyar Kovil Fort was plundered.  Rani Velu Nachiyar and her daughter Vellachi escaped capture through the sacrifice of Udaiyaal, a village woman who refused to reveal their secret hideout during interrogation and who was killed for her insubordination.  Rani Velu Nachiyar and Vellachi fled Sivaganga and sought refuge near Dindigul.

During her eight-year exile, Rani Velu Nachiyar acquired influential alliances with neighbouring rulers (e.g. Gopala Nayaker, Hyder Ali) who supported her preparations for battle against the EIC, providing additional soldiers, weapons, resources and training. Rani Nachiyar built an army of fierce female warriors that she named after Udaiyaal.

In 1780, Rani Velu Nachiyar and the Udaiyaal army skilfully infiltrated Sivaganga.  Aware of the superior military prowess of the British, Rani Nachiyar used her knowledge of the terrain and employed guerrilla warfare tactics - spies, sabotage, ambush.  Rani Nachiyar’s military advisor was Kuyili, a woman from a lower caste background.  As a spy for the royal household, she had protected the Rani’s life on multiple occasions and soon rose to the rank of commander-in-chief of the Udaiyaal women’s army.  At the Battle of Sivaganga, Kuyili devised a strategy to attack the EIC’s weapons storage.  Disguised as a rural woman, Kuyili entered the secure storehouse unnoticed and set herself ablaze, destroying the EIC’s weapons and ammunitions.  The EIC and the Nawab fled from Sivaganga in defeat and Rani Nachiyar regained her Kingdom.  The Tamil Queen ruled Sivaganga for another decade before handing the kingdom to her daughter.

In recent years India has honoured the memory of these women warriors through issuing commemorative stamps, installing monuments and memorials.

Rani Velu Nachiyar on Indian postage stamp 2008- Wikimedia Commons

The contribution of these women as warriors vanished at the intersection of colonialism and patriarchy, instead brown women were recast as helpless and in need of saving. I hope this blog post creates curiosity and the excavation of more stories of Warrior Women!