Satyalu+Kristi Films: The Lost Kingdoms of Ancient India

The Lost Kingdoms of Ancient India

A Documentary Anthology in Ten Episodes

Come travel with us into the lost dramas of antiquity -- where once, legendary kings indulged in extravagance,

intrigue, and war, over land, love and immortality -- the lost kingdoms of India

The Indian history is a vast theater of the ancients, full of dramatic facts, legends and myths ‐‐ fed on love and friendship, intrigue and mayhem. It contains the action of a thousand movies like Romeo & Juliet, Ben Hur, Hercules, Braveheart, Caligula, Gladiator, Kingdom of Heaven, and the Clash of the Titans.

‐‐ Raju Peddada

Narrating our documentary anthology is Playwright, Theatrical Producer-Director, and Actress; Ms. Lillette Dubey

Background picture is scratched graffiti on a 14th century wall of an Indian monument.

“I wish there was a knob on the TV so you could turn up the intelligence.

They got one marked “brightness” but it don’t work, does it?”

~Leo Anthony Gallagher , Contemporary TV personality.

Relevance: an overview

Why such a documentary? The Indian history, as it is constituted and presented today, does not focus much on the indigenous kingdoms, before the advent of foreign rule on the subcontinent. A time when legendary kings and their capitals flourished in the golden age of the indigenous cultures. The objective of this anthology is to present the golden age of their indigenous antiquity -- ancient kingdoms, lost to time in fading memories.

Ancient Indian History has global relevance that addresses the universal desire for social and cultural progress and peace. Especially, at a time when sectarian friction permeates the Middle-east, Asia, and parts of the west, as intolerance spreads. India is the largest democracy in the world, with over 200 distinct languages and as many subcultures that have, become over the centuries, seasoned in the art of coexistence, especially in diversity. The interaction and intercourse of cultures have given us precepts on an inclusive way of life that professed living in, and with diversity, and respecting the laws of nature that govern not only our existence, but our environment.

Cultural relevance is amplified in a plethora of books like the recent one titled “American Veda” by Phillip Goldberg, which highlights how the ancient Vedic ways pervade the American way of life, with thousands of Yoga centers, alternative Ayurvedic medicine, and meditation academies. This is a voluntary exploration of the Vedic way of life by the west, where millions of intellectually savvy and the culturally sophisticated are willing to explore and experience freedom, in making their lifestyle choices, and mix and match their values from all religions -- exactly like one chooses the options and capabilities of their laptops or iPads. Another recent example that again brings to fore a whole different perspective on Indian spiritual life is the book titled “India-A Sacred Geography” by Diana L. Eck. These and other books are about how freedom flourishes in open, diverse and tolerant societies, and how it arguably originated in ancient India -- it’s golden age.

The west alone has a $100 plus billion trade interaction with India, which drives not only interest and curiosity, but the desire and eagerness for cultural exploration, exchange of ideas, and know more about what was deemed for centuries, an exotic and profoundly mysterious place. This documentary on ancient Indian Kingdoms and it’s geography would fill a huge information gap, with enormous entertainment value that is intrinsic to it. India is the hottest region of the world today. Ancient Indian history is packed with dense action in dramatic events that had a huge impact on the world. It’s about time, to turn our cameras onto the vast theater of adventures that we call ancient India. It has never been done before.

Anthology (Series) concept This documentary anthology, “The Lost Kingdoms of Ancient India” will be presented in ten episodes . All episodes would be presented from point of view of their main character(s), who had authored the drama of their kingdoms. Key Kingdoms covered (below) would in the north, middle and the south, from 350BC through 1700AD. Kingdoms that had a substantial impact in the shaping of the subcontinent, and the various regional cultures, right into the present. Every one hour episode would unfold from the perspective of it’s main character, a king or a queen, starting with the foundation--rise--apex--conflict--dissolution into the present, as narrative curve.

This documentary anthology, would encompass the following elements: 1. The ruler and his kingdom 2. Dramatization of 3-4 pivotal scenes from the ruler’s life/conflict 3. All locations (setting/franchise) -- monuments/ruins of the kingdom 4. Their condition and their preservation 5. The narration of crucial events of history (on & off location) by a celebrity 6. The temples complexes and their history 7. Ancient ceremonies & festivals that still shape the present 8. Interviews with key field authorities & the Archaeological Survey of India 9. The present sate of Indian history - Q&A with historians.

10. Interviews with the locals (optional) 11. How Progress/neglect encroaches upon the Indian heritage 12. Records & material evidence at the Museums and conservatories Characters/Kingdoms 1. The Mauryas: The Empire of Chandragupta (340-298BC) 2. The Mauryas: Ashoka The Great (269-232BC) 3. The Guptas: The Empire of Samudragupta (335-375AD) 4. The Guptas: Vikramditya The Magnificent (380-415AD) 5. Pushyabhuti Dynasty: The Empire of Harsha (606-647AD) 6. The Chalukyas: The Reign of Pulikesin II (610-642AD) 7. The Cholas: Raja Raja the Great (985-1014AD) 8. Prithviraj Chauhan: His Lost Citadel (1149-1192AD) 9. The Kakatya Dynasty: Rudrama Devi & Son (1259-1289AD) 10. Vijayanagara: The Empire of Krishna-Devaraya (1509-1529AD)

Extent of the Realm

The Mauryas: The Empire of Chandragupta A young aspirant, with the help of his minister, usurps an empire from the Nanda dynasty, then becomes a great conqueror expanding farther west by defeating Alexander’s generals. Still not content, as if there was more to life than conquests, abdicates the throne, divorces himself from violence, disappears into the forest as a Jain asceptic, and fasts to death.

Setting: The main setting is the capital was at Patliputra, in present day Bihar.

Relevant locations/monuments would be matched with the narrative and dramatization.

Lead Character / Summary: Chandragupta Maurya, 340-298BC and the shrewd Chanakya (Kautilya 370-283) machined in the Maurya empire, after displacing the powerful Nanda Empire, when Chandragupta was a young man. Chanakya was a professor of economics and political science, and was the author of the seminal “Arthsastra” a treatise on statecraft that is a classic, standing the test of time. Chanakya was Chandragupta’s chief adviser, and was in the same mold as Machiavelli, at the court of the Medicis.

It is told that Chanakya administered small doses of poison with food to Chandragupta, to render him immune to the many poisoning attempts by his enemies. Chandragupta once fed some of his food to his queen, Durdhara, who was seven days away from delivery. The queen, not immune to the poison, collapsed and died within a few minutes. In order to save the heir to the throne, Chanakya cut the queen’s belly open and extracted the fetus just as she died. The baby was named Bindusara.

Chandragupta became the first unifier of India -- the largest empire yet seen on the subcontinent. He expanded the empire west by defeating Seleucus I Nicator, annexing Alexander’s eastern most satrapies. He stimulated trade and contact with the Hellenistic world, where he was known as Sandrokottos. He established strong central administration based on Chanakya’s treatise, that led to a large civil service and structure that fostered trade, low crime, resulting in high standards of living. He became a legend in his own life time.

He abdicated the throne -- and spent his last years as a Jain aseptic living in a forest -- eventually fasting to death. Chandragupta’s life and sagacious statecraft supports the premise that character strength resides not in accumulation and abuse of power, rather in relinquishing it. Chandragupta was the greatest conqueror of ancient India. He’s considered still greater, for conquering himself.

Other Characters in the Drama: Megasthenes, Seleucus Nicator, and Alexander.

Extent of the Realm

The Mauryas: Ashoka The Great A hunter, known to have killed a lion with a wooden club, a fierce warrior and heartless general, who admired female divinities. Claws to the throne, rules from three capitals, and wages bitterly destructive wars -- only to realize the futility of it. He recasts himself into a Buddhist pacifist and messenger. His empire covered the whole subcontinent -- and, his Buddhist missions and edicts have transformed Asia forever.

Setting: Capitals, Taxila, Ujjain, and Patliputra -- Ashokan edicts, in Delhi, Buddhist stupas in Sanchi, Varanasi and Delhi. Relevant material and monuments would be used to tell the story.

Lead Character / Summary: Ashoka Maurya’s (269BC-232BC) story is actually a story of two human beings -- before and after. He possessed a wicked and wrathful temperament, and was known for his torture chambers.

Yet, from being predatory to becoming pious and peaceful -- what shaped this man and what reshaped him again? In the answer to this question we will find his ascension, his empire, his rule and his release. Ashoka is the most enigmatic personalities of history, perhaps the reason for our fascination.

He was a bloodthirsty hunter and warrior -- brutal and destructive battles, especially with one state, Kalinga, that stayed independent during his grandfather (Chandragupta) and father’s (Bindusara) time.

Massacre, it seems, was his forte -- but then, after a series of battles, and after seeing the brutality, and suffering up close, he realized the futility of wars and conquests -- he discovered Buddhism in 263BC -- he regarded Buddhism as a doctrine that could serve as a cultural foundation for political unity.

Ashoka is now remembered as a philanthropic administrator. In the Kalinga edicts, he addresses his people as his “children”, and mentions that as a father he desires their good. His Buddhist messages are strewn across from Iran’s eastern border and Afghanistan to Thailand and Sri Lanka. The story of his transformation is the universal story of transcending our differences and savage instincts.

Other Characters in the Drama: Bindusara as father, Queen Subhadrangi, Chanakya; arrogant brother of Ashoka, Sushim, who was slated for the throne by his father, Ministers supported Ashoka, especially Radhagupta, who becomes prime-minister under Ashoka

Extent of the Realm

The Guptas: The Empire of Samudragupta How does one reconcile the humanistic passion for literary and performance arts, with the greatest military genius of the age -- hell bent on subjugating every territory? Well, the answer embodying this paradox is Samudragupta -- who ushered in the Golden Age of India. He was a poet of dichotomy -- a benevolent patron of arts, who stood for war and agression.

Setting: Magadha, Patliputra, Bodh Gaya, and Allahabad. Relevant material and monuments would be the quarry for the narrative and dramatization.

Lead Character / Summary: Samudragupta (335-375AD) was the descendant of Chandragupta I, the founder of the Gupta Empire that materialized few hundred years after the collapse of the Mauryas. Every ascension is fraught with contention -- no different for Samudragupta. His policies differed vastly from Ashoka’s. Ashoka evolved for peace and nonviolence, while Samudragupta was addicted to war and aggression -- one developed contempt for conquests, the latter had a passion for it. Conquests made him the supreme lord of Indian subcontinent -- never once defeated in any battle. The only king to have a powerful navy, to match his indomitable army.

Samudragupta’s reign was one vast military campaign. Then, how was he able to usher in the Golden Age? The answer to this lies in the binary contradictory personality of Samudragupta, who it seems invested his passion in whatever he did. He was brusque as well as benevolent. In the north, he adopted a policy of “Digvijaya,” meaning conquest and annexation of all territories. In the south, it “DharmaVijaya,” implying conquest but not annexation -- like what Alexander the great did with his Greek conquest. He set up a tributary system by defeating the kings of the south, and reinstating them.

His was a reign of tolerance after conquest. Matrimonial alliances played a prominent part in the foreign policy of the Guptas.

Samudragupta became the father of the monetary system, coins commemorate not only his conquests, but the arts as well. He was a man of culture: patron of learning, celebrated poet and musician, and was welcoming of other belief systems, allowing the king of Ceylon (Sri Lanka) to build a Buddhist monastery near his capital.

Samudragupta epitomized the spirit of learning -- he was the renaissance man, thousand years before it was even idea. This is the story of paradox itself.

Other Characters in the Drama: Father, Chandragupta I, mother Lichhavi Princess, Kumardevi of Bihar, Harisena and Vasubandhu patronized poets of the court, and King Mahendra of Ceylon.

Extent of the Realm

The Guptas: Vikramditya The Magnificent Ramagupta, his shadowy brother, who ascended Samudragupta’s throne, decided to trade his queen to the victorius Saka monarch to keep his crown. Appalled at this humiliating arrangment, Chandragupta Vikaramaditya, with the help of soldiers dressed as maids, and himself disguised in the queen’s attire, gained entrance to the king’s bedroom and assasinated him -- ripping his belly open, to rescue the Gupta honor. Pride and honor mark Chandragupta Vikaramaditya’s reign -- the pinacle of culture and arts.

Setting: Ujjain, Patliputra and Allahabad, and other locations, with monuments and material evidence, like Delhi and Mathura.

Lead Character / Summary: Culturally, the reign of Chandragupta Vikaramaditya (380-415AD) II marked a Golden Age. He subjugated Gujarat, Saurastra, Western India and Malwa, with Ujjain as the capital. Kalidasa, the great poet and writer credits Chandragupta Vikaramaditya of having conquered 21 kingdoms, in and out of India, including eastern most Persians.

Faxian (337-422AD) was the first Chinese pilgrim to visit, in search of knowledge, manuscripts and relics, who commented on the general condition of northern India during the reign of Chandragupta Vikaramaditya. No Poll or land tax, and no capital punishment. Most did not consume meat and wine.

People were rich and prosperous and seemed to emulate each other in the practice of virtue. Charitable institutions were numerous and rest houses for travelers were provided on the highway. The capital possessed an excellent hospital. This was indeed the golden age of India -- when most of the pure gold coins were issued, and the first Silver coins were issued, after Hellenistic precedent.

What really characterized this golden period were the nine intellectuals referred to as the 9 gems “Nava-ratna” of the emperor’s court. Chandragupta Vikaramaditya commissioned all nine men of letters to work in his court. Scholars like Kalidasa, an epic writer and poet, Dhanvantri in medicine, Varruchi, expert linguist, Shanku, the geographic expert, and Ghatakpar, the sculptor and architect. Artists were highly valued at his court and were paid for their work -- a rare phenomenon in ancient civilizations.

Chandragupta Vikramditya’s daughter, Prabhavati-gupta was married to Vakataka king, Rudrasena II. The Vakataka dynasty became one huge family of the Guptas, and along with this came the awesome culture of arts and architecture of the Vakatakas -- monuments that are wonders to behold.

Other Characters in the Drama: Samudragupta and Datta Devi father and mother; brother, Ramagupta; Saka monarch; kalidasa, the scholar; Chinese pilgrim, Faxian; Prabhavatigupta, daughter --widow of Rudrasena II.

Extent of the Realm

Pushyabhuti Dynasty: The Empire of Harsha War raged on two fronts, father dies while the elder son is at the western front, the brother-in- law dies on the eastern front, leaving his wife, the sister, at the risk being shamed -- and, the elder brother dies, when he left the west, to battle those in the east, who killed their brother-in- law. This is what a sixteen year old Harsha faced in the year 606AD. Even Alexander the Great did not face such odds! Yet, Harsha, carves out an exemplary kingdom, and vanishes into immortality.

Setting: Thanesar, Kannauj and the Indo-Gangetic plain. Other locations in Punjab, Rajasthan, Bengal.

Lead Character / Summary: Harsha-vardhana (606-647AD) was the singular force of nature that took root in the debris of the Gupta empire. No coherent history of north India can be narrated of this period, without the brief but dazzling reign of Harsha.

His is the tale of ascension within extreme turmoil, and the story of stability during his reign, and the saga of a man, redeemed by history.

Harsha, at the raw age of sixteen, loses his father and his only brother -- yet he manages to not only quell the fronts, but gain another capital Kannauj, which became a model. Most of his reign he was engaged in military campaigns. At seventeen, he issued a proclamation to submit to his suzerainty or confront him in the battlefield. And, the only time he was defeated was by Pulisekin II, of the Chalukyas, from the Deccan, around 630AD. Harsha failed to gain any foothold on the peninsula.

We are fortunate with the surviving written records of his court poet, Bana, and the Chinese Buddhist pilgrim, Huen Tsang, who extolled his supremacy. Harsha’s own literary achievement as the author of three Sanskrit plays: Ratnavali, Priyadarsika, and Nagananda renders him a standout among the monarchs of the age. He was a liberal patron of learning and arts, and was a generous benefactor of the University of Nalanda -- where he built a great Buddhist monastery and shrine. He emptied his treasury to charity every 5 years, with an assembly of 20 odd kings called “Moksha.” He was a man humbled by his empire and his responsibilities: “I must therefore heed the opinion of the world and forget my own insufficiency!”

Harsha’s empire did not survive him -- he died in 647AD, which remains a mystery. His empire crumbled immediately -- and the Pushyabhuti Dynasty just vanished into thin air.

Other Characters in the Drama: Father, Prabhakara-vardhana; brother, Rajya-vardhana; sister Rajyasri, who co-ruled Kannauj with Harsha; Court-poet, Bana; and Chinese Budhhist pilgrim, Huen Tsang.

Extent of the Realm

The Chalukyas: The Reign of Pulakesi II Bilhana, the 11th century court poet of the Chalukyas, claimed that the Chalukyas were poured out by Brahma himself from his pitcher, on Indra’s supplication to create a dynasty of heroes to suppress the evildoers on earth. Pulikesin II (Lion-maned), like Henry V of England, ascended the throne at an early age -- quelling a civil war, and quashing aggressive kingdoms, to usher in the golden age of the south. Cultural arts like Poetry, literature, performing arts and architecture took flight to new heights. And, like all rulers, he also fell and faded away.

Setting: Badami, Vengi, Aihole, Pattadakal, and Mahakuta -- nearly hundreds of monuments and rock cut structures dot the Malaprabha river basin in the modern Bagalkot region of Northern karnataka.

Hoysala architecture of the 13th century, Dravidian temples of the Tungabhadra region, including Haveri and Gadag districts for medieval workshops responsible for numerous monuments.

Lead Character / Summary: Immadi Pulikesin (610-642AD), right after his ascension, was tested on all sides by aggression from his neighbors, and a civil war. But, the young king extracted his kingdom from darkness, by prevailing over his adversaries, raising his kingdom to heights previously unknown.

The Aihole inscription states that the dust raised by his immense army on the march turned day into night. He confronts Kannauj’s great king, Harsha of the north, who barred his advance -- a great battle ensued on the banks of Narmada, where Harsha was routed.

More than anything, Pulikesin’s reign, like that of Chandragupta II, was about cultural and literary celebration of the south. The rule of Chalukyas mark the important period of South India -- and is the golden age of Karnataka. Pulikesin consolidated the whole region between rivers Kaveri and Narmada under a centralized administration, with a fair justification in the title: “Lord of the eastern and western waters.”

This period also marked the origination of Chalukyan-Dravidian architecture, and Kanada literature, which was passionately patronized by the western Chalukyas. It was also the birth of Telegu literature under the eastern Chalukyas. Tolerance played a huge part in Pulikesin’s success -- as corroborated by Chinese traveler of the 7th century, Xuanzang, who claimed him as a “man of farsighted resource and astuteness who extends kindness to all”.

Pulikesin unfortunately had to bite the dust in his later years, as he was repeatedly attacked by the Pallava kings, Narsimha-varman, and Mahendra-varman. Badami was sacked eventually, and remained in Pallava control for many years.

Other Characters in the Drama: Father, Kirtivarman; brother, Mangalesa; Harsha of Kannauj, Aihole inscriptions by court-poet Ravikirti in Sanskrit. Scholar, Vijnaneshwara for writing “Mitakshara” on Hindu law. Also King Someswara III, the noted scholar who compiled the encyclopedia of arts and sciences called “Manasollasa.”

Extent of the Realm

The Cholas: Raja Raja the Great Peaceful ascension to the throne belies the scores of military campaigns to consolidate his Kingdom. Raja Raja Chola was the ultimate empire builder -- arguably, the greatest of ancient India -- for one fact alone: extending Indian culture across the oceans, far into south-east Asia. His is the only empire that still flourishes in the present, in Tamil literature, arts and architecture -- in the great living Chola temples.

Setting: Madurai, Poompuhar, Urayur, Tiruvarur, Pazhaiyaarai, Thanjavur, Gangaikonda, and Cholapuram. Numerous temple complexes, UNESCO Heritage sites served as cultural-economic centers in ancient medieval south.

Lead Character / Summary: The Cholas were the longest ruling dynasty of ancient India. Their rule of the Indian peninsula lasted for a thousand years (3rd AD through 13th century AD). They reached the ultimate extent of the empire, 3,600,000 square km., under the medieval Cholas, starting with Raja Raja Chola the great. Leaving behind substantial living evidence of their military, cultural and economic sophistication.

Raja Raja Chola I (985-1014AD) was the third prince in line to the throne. Unlike the bloodthirsty northern ascendants to their thrones, he waits patiently for his turn, and is elected to the throne in a democratic process at his middle-age of thirty-eight. Thirty-eight was middle-age for most rulers, who died at or before the average age of sixty.

Having peaceful and stable family circumstances afforded the king to focus outward -- with seminal results: *Military expeditions against the substantial Chalukyas and Pallavas

for consolidation *First naval expeditions to conquer parts of Malaysia, Indonesia,

Phillipines, & Maldives *First large canals for agrarian use, expanding farming and cultivation *Southern India was managed by a central audit and public

administration system *Merchant guilds, water system, maritime & trade activities overseas

brought prosperity *Religious tolerance created a harmony, unseen in the north after the

7th century. *Chola school of literature, arts and architecture spread throughout

south-east Asia *First innovations in scripts and letters for record lithic keeping The age of the imperial Cholas (850-1250AD) was the age of cultural resplendence. Raja Raja Chola and descendants, presided over the most enduring golden age of the southern and Tamil culture -- still flourishing today.

Other Characters in the Drama: Father, Sundara Chola; elder brother Aditya Chola; Cousin, Uttama Chola; Son, Rajendra Chola I. Many neighboring adversaries.

Extent of the Realm

Vijayanagara: The Empire of Krishna-Devaraya He was the last Indian ruler to rout the Sultans of Deccan. Mughal Dynasty founder, Babur, taking stock of the northern potentates, gathered that Krishna-Devaraya was the most powerful ruler of a vast southern empire. The poet, Muku Timmana referred to him as the destroyer of the Turks. A physically and mentally fit, he did not let up in military campaigns till the year of his sudden illness and death. His end marked the death of a glorious epoch of cultural achievements -- Hampi, even as ruins today, is alive with tales to tell.

Setting: Vijayanagara, Hampi -- UNESCO World Heritage site, and various locations within the kingdom.

Lead Character / Summary: The Hindu states of the Deccan: The Yadava Empire, The kakatya dynastystystysty, The Pandyan Empire and the kingdom of Kampili slowly dissolved under the constant attacks by Delhi sultans, Alauddin-Khilji and Muhammad-bin-Tughlaq. Only the Hoysala empire resisted, till the death of their leader, Veera Ballala, in a battle against the sultan of Madurai, in 1343. Later, Hoysala coalesced into the Vijayanagara empire, which was, founded by Harihara I, as defense against Islamic invasions.

Krishna-Devaraya (1509-1529AD), the third ruler of the third dynasty, in mere twenty years, carved out a defensive empire that still reverberates within the citizens of the southern India, with their living literature and poetic traditions. The witnesses to his magnificent empire were European travelers, Domingo Paes, Fenao Nunes and Niccolo da Conti. They reported that Krishna-Devaraya’s efficient administration, vigorous overseas trade and importation of new technology for water management matched that of ancient Rome.

Under this king, a new architectural form originated, “Vijayanagara acrhitecture style,” a consequence of mingling faiths and vernaculars.

It was recorded that the Vijayanagara experience, under KrishnaDevaraya, formed an epoch in south Indian history that transcended regionalism by promoting Hindu ideals as a unifying factor. New and dizzying heights were achieved in poetry and literary pursuits -- and even the king got into the act, by authoring works like “Jambavati Kalyanam” and “Vasu Charitamu.”

It was inscribed that the king was assisted by his cabinet ministers, a secretariat, where scribes and lawyers were busy with recording the proceedings of the kingdom. The palace administration employed beautiful maidens to run the 72 departments -- in the belief that beauty always fetched good fortune. Like all kingdoms, Vijayanagara, slowly dissolved away after Krishna-Devaraya’s sudden illness and demise. Vijayanagara at Hampi is still a powerful statement of the old magnificence.

Other Characters in the Drama: Travelers, Domingo Paes, Niccolo da Conti; Father, Tuluva Narasa Nayaka; Founder of Tuluva Dynasty, Saluva Narasimha Deva-Raya; Sultans of Bahami, Bijapur and Golconda; and Poet Tenali Rama Krishna.

Extent of the Realm

The Kakatya Dynasty: Rudrama Devi & Son A queen at fourteen -- In the vast theater of male egos, she was a rare phenomenon. In the waning years of indigenous Indian kingdoms, she was the last fortress, to stand and defend, not only her gender’s dignity, but, the rampaging Sultanate of Delhi.

Setting: Orugallu -- now Warangal in Telengana. Nidadavolu, and other locations in Andhra Pradesh. Forts of Siripur, Hanumakonda, Warangal. Also, Upparapalli, Ramappa temple, and Kammanadu.

Lead Character / Summary: Rani Rudrama Devi (1259-1289) and son Prataparudra are almost obscure, but mighty personalities of the medieval Indian Kingdom of the Kakatyas (1083-1323AD). The story goes that the early ruler, Ganapathideva, did not have any son to ascend the throne. His daughter, Rudramba, upon his prime minister’s suggestion, was designated as a son, after an ancient esoteric “Putrika” ceremony. She was given a male name: Rudradeva -- and declared queen at the age of fourteen. She ran her father’s administration till 1261, but took total control after being crowned in 1269AD --and was married to an eastern Chalukyan prince, from Nidadavolu.

This ascendance of a female ruler did not sit well with the nobles, the military officials and even her husband. At at early age she proved her mettle -- by not only quashing internal rebellion, but external incursions as well, in a vigorous manner. As a ferocious fighter and an able ruler, she earned grudging respect from the neighboringg Cholas and Yadavas. Due to her upbringing as a boy, she never became inclined to the arts, other than “Sivatandam,” an ancient male war dance -- and she proceeded to institute this dance as an exercise for her troops.

All her nobles and generals fell in line after seeing this iron fist master.

She waged successful battles against Kalinga’s rulers. She died of wounds suffered in a battle in 1289. It was during her adopted son, Prataparudra’s rule, that Kakatya kingdom attracted the attention of the Delhi sultanate, for its glory and vast wealth. And, down came the Khiljis and the Tughlaqs to lay claim on this kingdom. Prataparudra, valiant throughout his defensive campaigns, finally fell to the Tughlaqs.

On his way to Delhi as a prisoner, he committed suicide by drowning in the river Narmada. It would take another 300 years of bloodbaths by the sultans, to take control of India -- starting with the Kakatyas, and ending with the Vijayanagara empire, in the mid 16th century.

Other Characters in the Drama: Father, Ganapathideva; son, Prataparudra; Kalinga king, Narsimhavarman, Ala-uddin-Khilji, Muhammad-bin-Tughlaq and his general Malik Khafur.

Extent of the Realm

Prithviraj Chauhan: His Lost Citadel He was young, dashing, idealistic, romantic and aggressive. He inherits a vast kingdom from his maternal grandfather, and expands his realm, with brutal battles against neighboring states. He even elopes with a 17 year old princess, daughter of an antagonized ruler, setting up the biggest betrayal in Indian history. His is the legend that refuses to dissipate -- his last two battles would go down as most pivotal moments of indigenous Indian history. His capture and generous release of a grizzled Islamic warlord -- sets up his own capture a year later, leading to his decapitation..

Setting: Delhi, Kannauj, Thanesar, Hansi, Ajmer, Ghazni, Tarain and Mehrauli Lead Character / Summary: Prithviraj Chauhan (1149-1192AD) was of the Chauhan dynasty -- coming to power in 1149, assuming control of his maternal grandfather’s realm known as Lal Kot. Lal Kot (Mehrauli is one of the 7 ancient medieval cities) was chosen by Anangpal Tomar I as his capital in 731AD, and was expanded by Anangpal II, and further expanded as Qila-Rai-Pithora after 400 plus years by Chauhan. Lal Kot was more than a location for a capital, it was the germinal of an idea, an identity, the Vedic culture, nurturing a diverse, secular and tolerant way of life at the center of the kingdom, a thousand years ago.

456 Years, the period of 736-1192AD, was the last summit of the Hindu rule of northIndia. The beginning of the end was in 1191AD when Chauhan, after winning the first battle Tarain against Mahmmud of Ghor, let him go -- who returned, defeated and captured Chauhan, later killing him. Ghor’s Turkish-slave general Qutb-uddin-Aibek took over Chauhan’s capital and established the first sultanate of Delhi. This was the beginning of the Islamic rule of India.

There was a forum of ancient medieval Hindu temples within the Lal Kot for various gods, that the pilgrims came to, from all corners of the kingdom, as well as outside ‐‐ and they did it walking to their pilgrimage. Temples were believed to be existing well before Anangpal I had decided to build the citadel surrounding the temples. These temples were methodically dismantled by the new regime, and using the same stones, built the Qutb Minar complex as their capital. The indigenous history became a defaced history.

The citadel of Lal Kot is critical to the understanding of Indians, and to the Indian history, who like to coexist in a democratic and tolerant society, and find unity against intolerant ideas and forces. Lal Kot was the last stand, a symbol of resistance. Lal Kot was the turning point in the Indian-Hindu history, for it was the last time that an indigenous Indian king reigned over Delhi.

Other Characters in the Drama: Chauhan’s lover, Sangyucta; Anangpal Tomar, founder of Lal Kot; Jaichand, father of the princess; Poet Chand Bardai; Mohammad of Ghor; Qutb-uddin-Aibek, first sultan of Delhi.

Come travel with us into the lost dramas of antiquity -- where once, legendary kings indulged in extravagance, intrigue, and war, over land, love and immortality -- the lost kingdoms of India