r/Imperial_Karnataka

via:- https://x.com/teulu\_dewr/status/1845845947106095412?s=20

Singhana (1210-1246) was the most powerful ruler of the Kannada Seuna (Yadava) dynasty of the Deccan region of India. He expanded his kingdom to the south at the expense of the Hoysalas, and fought the Chaulukyas and the Vaghelas for the control of the Lata region in the north. He also defeated the Paramaras of Malwa, the Shilaharas of Kolhapur and the Rattas of Belgaum. His generals subjugated several insubordinate feudatory chiefs, and the Yadava territory reached its greatest extent during his reign.

His reign saw the prominence of Kannada scholar Kamalabhava, the composition of Vachanas by Amugideva, and the work of eminent astronomer Changadeva.

It's also fascinating to know that both Singhana II and his father Jaitugi's names as pure Kannada names indicating why they continued Patronising and identifying with Kannada despite ruling from the Marathi heartland.

https://en.wikipedia.org/wiki/Simhana

Found this picture on internet.

A historically significant hero stone (Veeragallu) dating back nearly 1,000 years to the Rashtrakuta period has been found in a state of neglect at Manchirevula village in Gandipet mandal of Ranga Reddy district, alarming historians and heritage conservationists.

The sculpture, located beside the Beerappa temple along a service road, was inspected by noted archaeologist Dr. E. Sivanagireddy, CEO of Pleach India Foundation. The visit followed inputs from Sriramoju Haragopal, convenor of Kotha Telangana Charitra Brundam, who brought the neglected artifact to attention.

According to Dr. Sivanagireddy, the hero stone depicts a warrior richly adorned with ornaments and poised in alidhasana, a classical combat stance. The figure is shown holding a sword in his right hand and a shield in his left, signifying bravery and readiness for battle. A unique feature of the sculpture is the presence of a serpent with a raised hood over the warrior’s head, which suggests Saivite affiliation and adds symbolic depth to the depiction.

Based on its iconographic and stylistic characteristics, the sculpture has been dated to the 10th century CE, during the rule of the Rashtrakutas, a dynasty known for its patronage of art, culture, and temple architecture. Despite its historical and cultural importance, the sculpture remains exposed to the elements, with no protective structure in place. Continuous exposure to sun, rain, and environmental factors is accelerating its deterioration, raising fears of irreversible damage.

“These hero stones are invaluable cultural markers that reflect the martial traditions, beliefs, and social history of the period. Preserving them is crucial to understanding our past,” said Dr. Sivanagireddy. He further stressed that neglecting such artifacts could lead to the permanent loss of heritage.

Appealing for immediate action, he urged local temple authorities, including priests Parameswar and Siddheswar of the nearby Virabhadra temple, to take steps to safeguard the sculpture by providing shelter and ensuring its upkeep.

Heritage activists have also called for greater awareness and official intervention to protect such lesser-known but significant relics scattered across Hyderabad’s outskirts. Others present during the inspection included P. Srinath Reddy, Sivakrishna, and Sagar.

https://www.metroindia.net/news/articlenews/neglect-threatens-year-old-hero-stone-in-ranga-reddy-36909

https://www.deccanchronicle.com/southern-states/telangana/rashtrakutaera-hero-stone-at-manchirevula-in-neglect-1945646

Maharashtri Prakrit was the elite language in Karnataka from the 2nd century BCE to the 3rd century CE. However, once the Chalukyas took over Maharashtra in the 6th century, Maharashtri Prakrit lost its status and became a commoner's language. It remained as such for the next 1,000 years until the Maratha Empire (Confederacy) emerged in the 17th century.

History remembers the strong, not the well-intentioned.

As the popular saying goes- “Those who do not learn from history are doomed to repeat it.”

Context-

https://timesofindia.indiatimes.com/india/army-delayed-strike-during-op-sindoor-at-terror-camps-to-respect-namaz-reveals-general-dwivedi/articleshow/130179917.cms

Rashtrakuta dynasty is the most studied and explored by historians for its warfare, expansion, administration and trade. Yet the subject of Rashtrakuta coinage is not explored on a large scale due to the few varieties and types of coins available. In recent archaeology excavation new scope to study and research the monetary system of India during the Imperial Rashtrakuta has opened.

Rashtrakuta coinage is distinguished in three metals: gold, silver and copper. Amongst these gold coins are much rare in comparison to the other two metals. There are also a few coins available in potent metal. The coinage denomination is known through different inscriptions and copper plates of the Rashtrakuta dynasty, the different denominations of the coins go as dramma, Suvarna, Gadayana, Pana, Ponnu, Kalanju, Kasu, Manjadi.

Through Rashtrakuta charters (inscription) it is clear that coins were used for a variety of transactions. Gadayana denomination was used for giving donations to the temple, construction of the building and paying the fee of the priest. Gold Dramma was donated to the needy for the purchase of clothes, health expenses and for procuring religious books. Ordinary drama minted in silvers and Panna minted in gold was used to pay tax, fines and donations. Suvarna is used for donation. The loan, taxes or fines were paid through the Kalanju or Dramma.

The coinage of Rashtrakuta is quite complex and scary, most of the coins of the Rashtrakuta dynasty consist of an epithet or Birudu, it’s the title of kings mentioned on the coin. A few famous epithets are Prithvivallabha, Vallabharaja, Maharaja, Khadgavaloka, and Akalavarsha. Kings like Dantidurga or Dantivarman have epithets like Prithvivallabha or Vairamegha, Krishna I is also tilted has Akalavarsha or Srivallabha, King Amoghavasha I bear the epithet like Nripatunga or Lakshmivallabha. Each of the Rashtrakuta branches had more than five epithets, it is the tradition followed by the Imperial Rashtrakutas and its branches.

Yet there were many kings of the Rashtrakuta lineages whose epithets are not deciphered like those of Shubhatunga, Amogavarsha Nityadeva, Vikramaloka, Shubhatunga, Dhora, and etc. A few of the best examples of the undeciphered Birudu on the Rashtrakuta coinage is of kings like Gunatunga, Nirupama and Sankaragana.

While studying Rashtrakuta coinage researchers and numismatics found different variations, it was assumed that this difference was due to the widespread of the empire or the different minting units. There can be many reasons, but these coins followed a certain pattern that connects them to Rashtrakuta dynasties like the legend, the title adopted by the king or crest. Hence, when we talk about the systematic classification of the coins, they are differentiated on the basis of metal, type and variety. Type is based on the obverse design and varieties are based on the reverse design.

As far as the discussion of the scholars on the coinage of the Rashtrakuta dynasty, they have agreed about the various coins issued by the kings without the deciphered title. These coins are a major part of the coinage studied today. But there are also coins issued by the anonymous Rashtrakuta rulers, their title name is unknown. Many of these anonymous rulers issued the coins in gold. This anonymous coinage depicts one of the finest designs and craftsmanship of the Rashtrakuta dynasty.The gold coin depicted the crest Garuda seated in padmasana position (cross-legged) with Anjalimudra (folded hands) in the centre within the floral whorl. The reverse of the coin depicts a temple in the centre, a crescent is shown above it. The swastika is depicted at the top with the two lamp posts on either side within the line shaped border. This coin is attributed to Rashtrakuta on the ground of the typical depiction of a seated form of Garuda.

It is understood that sometimes connecting coins to a certain ruler is difficult, so it becomes important to connect its attribute to a dynasty. So in these circumstances, the script plays an important role. Hence, around the early medieval period, there was a transition from late Brahami to regional scripts like Sharda, Nagari, Kannada etc. The two types of transition that can be seen in the script when focusing on the Rashtrakuta period are the transition of Gupta Brahmi to Nagari Script and the Kadamba script to Kannada Script. Hence, many coins become unreadable, but the typology still can help attribute the coins. The anonymous issues as connected to the same second method (typology), but they’re also other factors that help in recognising the coins.

The first coin in the image belongs to the Rashtrakuta king from the Achalpur branch. This coin was issued by Druva Dharavarsha. The obverse of this coin depicts the bust of a king facing right. It is slightly titled 3/4 axis with a long moustache. The reverse side depicts a Garuda in the centre facing left with a dotted halo. It is seated in padmasana on a blossomed lotus flower. The hair is tied high-up with Brahmi legends ‘Shree Dho’ within the dotted border.The final junction of the Rashtrakuta coinage belongs to the contemporary ruler of the Rashtrakuta dynasty. This coin is counted within the Rashtrakuta coinage under the assumption that they are either feudatories of this dynasty or the ruled side by side to them. The probability of their ruling under the Rashtrakuta is more possible due to the strength that the Rashtrakutas exerted in the region.

This copper coin was issued by King Madhavaman, he was a contemporary ruler to the Rashtrakuta kings. The obverse of this coin depicts a horse prancing towards the right with a rider/king holding a spear in the right and rein in the left hand within the dotted border. The reverse of this coin depicts a three-letter characteristic Brahmi legend in the centre. It reads ‘ Sri Mu//Mha Va/Dha’ ( Ma Shri) within the dotted border.

To study and understand Rashtrakuta coinage, one has to under the geographical making of the region they ruled. The widespread of this empire and the constant power struggle in the north had a heavy impact on the Rashtrakuta coinage. The coins that we discussed today are segregated according to the typology, metal and epithet illustrated on them. The anthropomorphic seated and standing Garuda is the most common image on the Rashtrakuta coinage followed by Garuda with wings spread or the Garuda face. The Rashtrakuta coinage also has portraits of the king depicted on the coins. The animals that appear on this coinage are a lion, elephant, elephant rider, bull, and horse rider. Even lotus is also depicted in this fascinating coinage. There is more to study and explore in this section of Indian coinage, as new archaeology excavations are taking place many sites with Rashtrakuta coins are coming out. In the coming decade, there will be advanced study about this dynasty coinage. Hence, one can also say what we know today about Rashtrakuta coinage may be a tip of the iceberg.

Source:

https://www.mintageworld.com/blog/rashtrakuta-coinage-2/

"pleasant and rich, and its beautiful fields and meadows gave delight to the heart of the be¬ holder ; that moderate rain fell there for six months in every year, which gave life and verdure to the hearts of the withered vegetation and the animal creation ; that the trees of the forest and gardens were mostly coconut and date, like the stature of the lonely with their heads great"

-Mir Hussain Kirmani(Iranian in Mysuru court)

Kingdom of Keladi was founded by the chiefs of Vijayanagra empire after its fall, it was a large kingdom with a standing army of 40,000 to 50,000 men and Rulers of this dynasty were Lingayats. The history of the Keladi kingdom is rich because so many different travellers and historians wrote about it from the seventeenth century onward.

One of the earliest European visitors was Pietro della Valle, an Italian traveller who visited Ikkeri(former capital) in 1623. In his travel account, Travels in India, he described the Keladi country as flourishing, peaceful, and safe for long-distance movement.

Another important early observer was Father Leonardo Paes, a Portuguese missionary whose mid-seventeenth-century travel narrative speaks directly about the wealth and military power of Sivappa Nayaka. Paes wrote that Sivappa had accumulated enormous treasure and maintained a standing army of forty to fifty thousand men, a scale possible only for a strong and prosperous state.

By the eighteenth century, writers like Jacobus Canter Visscher further reinforced this image. In his work Letters from Malabar, Visscher called Bednur(Capital of Keladi kingdom) the granary of all southern India. He described The city (Bednur) where the Raja holds his court lies some leagues inland, and is connected with the sea port by a fine road, planted with trees, which the inhabitants are obliged to keep in excellent order.” “ The Bednur Prince,” he says, “is much 'more magnificent and powerful than those of Malabar(Kerala). the Keladi region received heavy rainfall for nearly six months of the year, and dense clouds often covered the sky and the sun for long periods, creating a landscape of constant greenery and high agricultural output.. And have had rivaled VIjayanagara empire in terms of wealth.

Colonial historians also commented extensively on Keladi. Mark Wilks, in Historical Sketches of the South of India, argued that the treasure Hyder Ali obtained from Bednur might have been worth twelve million pounds sterling. Though this figure appears enormous, Vincent Arthur Smith in The Oxford History of India wrote that Wilks was in a position to judge and that no more accurate data existed to contradict him.

Colonel Miles, who translated the History of Hydur Naik, was more cautious but still emphasized that Bednur had a long-established reputation for fertility and wealth. His work records a striking comparison, saying the richness of Bednur made it “the envy of Kashmir,” a phrase that conveys how observers saw the natural abundance of the western karnataka landscape.

Later scholars such as Lewis Rice in his Mysore Gazetteer highlighted how the agricultural output and forest resources of South Canara and Shimoga made Keladi one of the richest regions in southern India. Administrative documents collected by Colonel Colin Mackenzie, preserved in the Mackenzie Manuscripts, also provide internal evidence about Keladi land grants, temple endowments, and the functioning of local governance. These Indian sources, combined with European travel accounts, create a consistent picture of the kingdom’s prosperity and political importance.

This kingdom was patron of art and architecture evident by the temples they built, The largest fort in the kerala was built by this Kingdom.

Recently our Army Chief General Upendra Dwivedi shared that while the military had the flexibility to strike at any time, they chose not to target terrorist camps when individuals might have been offering prayers. Explaining this ethical approach, he stated, "sabka malik ek hai".

This reminded me as to how Portuguese and Islamic invaders differed from Indians when it comes to the respective moral compass when it comes to war. There is no surprise why a lot of battles were lost simply because we were naive. It's sad to see we have not learnt anything from our past.

As the saying goes-

"Those that fail to learn from history are doomed to repeat it."

Source-

https://archive.org/details/dli.jZY9lup2kZl6TuXGlZQdjZI8lJxy.TVA\_BOK\_0008179/page/176/mode/1up

POV: Vijayanagara Empire (Karnataka Samrajya) rising from the ashes to pull off the impossible.

Pride, Pragmatism and self respect in display.