History
of Thanjavur Maratha Royal Family-Part II
Tulja ji’s
compositions in Marāthi and Sanskrit are evident in the texts authored by him:-Sangīta
Sārāmritam, Nātya Vedhagama, Mantra Jyothisa, Dhanvantri
Vilasa, Vyāakhyanive are texts of a high standard of scholarship.
The Punnainallur Māriamman temple was built by him and consecrated by his
spiritual guru Sadaśiva Brahmendra.
Tulaja I’s works
consists of 13 padas in praise of Chandramouliswara, the family deity.
He moved to Mahādevapattinam. Here he built a temple to Varahāswami.
He authored Śivakāma Sundari Parinaya nātakam which recounts the story
of Parameswara’s marriage with Parvati.
Ekoji II was the fifth king to ascend the
throne. He was the eldest son of Tukkoji I Mahārājā and Hamsāmbā. Ekoji II was
named after his grandfather. Also known
as Bavasaheb, he wrote the Marathi yakshaganam ‘Sakuntalnatak’. This
yakshaganam was revived when the Sangam staged my production in 2001 with
collaboration of a Mumbai ensemble. Ekoji also composed Ramayana in Dwipadas or
couplets. He ruled only for one year and despite ill health bravely fought and
won a battle with Chanda Sahib. His wife Sujan Bai ruled for two years after
him before falling victim to political enemies.
After Sujan Bai’s
death, the kingdom was in chaos. The next heir Pratapasimha Raje devoted his
life to restoring stability in the kingdom and was involved in major conflicts
with the British and the French. A
scholar of Sanskrit and Marāthi he wrote on Puranās, Bhāgavatam,
theatre, and Kāmaśāstra.
He has eleven nātakas in Marāthi to his credit. Melattur
Vīrabhadrayya, the prime composer of Swarajati and Thillana, and
Mātrubhuta Kavi were his cherished proteges. Muddu Palni, a famous dancer, poet
and scholar wrote the erotic work Rādhika Santavanam and Saptapādalu,
a translation of Āndal’s Thiruppāvai also
attracted great honours and lavish gifts. His son Tulaja II ascended the throne
after him.
A warrior and scholar like his ancestors,
Tulajā II patronised scholars of Sanskrit, Telugu, Marāthi and Tamil literature
and poetry. He was an accomplished Veena player. Considered the golden period
of Carnātic music and dance, the court was shining with composers like
Arunāchala Kavi Rāyar, Veenā Kālahasti Iyer, Rāmabrahmam, Rāmaswāmi Dikshitar,
Sonti Venkataramanayya, Mahādeva Annāvi and Subbarāya Oduvar (father of the
Tanjore Quartet) enjoyed patronage and honours in the Marātha court. His
adopted son Serfoji II aka Sarabhoji II was declared his heir. The musical Trinity
Syama Sastri, Muthuswami Dikshitar and Tyagabrahmam lived during this time.
The most
accomplished and versatile Raja of the Thanjavur Marātha line, Serfoji II
ascended the throne when the British had reduced Indian kingdoms to
tribute-paying servants of the East India Company. Apart from his varied
interests like medicine, allopathy, āyurveda and alternative systems
like Unāni and Siddhā, he patronised all the fine arts. His most
valued contribution to our country was the expansion of the Saraswati Mahāl
Library established by Sevappa Nayak, which now became stocked with texts, manuscripts,
and printed books from all over the world. He enrolled for western music and
his lessons used to arrive from London. He included western musical instruments
and commissioned a band which played his own compositions. He encouraged
Vadivelu to learn the violin which came back to our country in its westernised
form. He made extensive expansion and renovation in the Brihadīswara temple,
including building the Vināyagar shrine. He also built a printing press in 1805
witthe fonts made in stone. He composed many pieces for dance and had notations
written for each. Serfoji Maharaja ‘s accomplishments need an entire volume. He
ruled for 34 years and died at the age of 54 years.
Serfoji II’s son Shivaji
II ascended the throne. At this time the British had closed in completely
leaving the Rajas as mere vassals. Shivaji II was a lover of music and dance.
He encouraged Tamil literature. His court honoured many dancers despite the
stringent rules regarding performance by temple dancers. He was the hero of many
dance compositions. He was fond of Marathi folk music like #Lavanis and was
bestowed the title of #Shahir. He had no heir, so the British slapped the #Doctrine
of Lapse, meaning he had to surrender the throne to them. His wife Kamakshi had
adopted a boy, but the British refused to accept him. As soon as he was
dismissed, The British began to loot the Saraswathi Mahal Library. Kamakshi
fought them bravely and forced them to return the treasures. The royal
Thanjavur Maratha’s active rule came to an end in 1855 CE.
We must remember the
brave Ranis, women behind the kings who commanded respect and were good
administrators. The patriarch Shahaji Bhosle I, father of Sambhaji and
Shivajiraje married Jijabai who was their mother. Circumstances forced Shahaji
to engage in battles and finally he settled in Bengaluru. Jijabai remained in
Pune to groom her son Shivaji who was showing potential to become a great
warrior. Sambhaji spent his growing years in Bengaluru with his father and
stepbrother Vyankoji. Shahaji married second wife Tuka Bai, mother of Vyankoji.
Vyankoji married Dipamba who became an able guide and administrator in the
Thanjavur court. She was diplomatic, intelligent, and eased the relationship
between Shivajiraje and Vyankoji. Sujan bai, wife of Bavasaheb Ekoji II stepped
into her husband’s shoes and ruled for two years facing threats and
machinations against her. The internal politics and enemy forces finally
eliminated her. Kamakshi the last royal wife of Shivaji II fiercely protected
the Saraswati Mahal library from the British who looted the treasures after her
husband’s death.
This is just an
introduction to the #GoldenEra which our history books do not feature. The
wealth of literary and cultural works left behind by these magnificent rulers is
not seen in mainstream Indian history. WHY? The descendants of the Bhosle royal
family continue to live in #SadarMahalPalace. The #ThanjavurMarathacommunity
continue to preserve the ancient language. You will find some of them on social
media quietly and modestly upholding the dignity of their ancestors. Bharata
Natyam dancers and Carnatic musicians from the last three centuries till today
have always paid homage by performing their compositions.
The #BhagavataMela is a
tradition that has been honoured and supported by the Maratha royals. The
yakshaganams composed by the rajas are fascinating pieces and specially written
for dancer/actors. I realised that when I produced and staged the Marathi #Sakuntalanatak’
by #EkojiII in 2002. My current research
project (2021-2022) is translation of two Marathi yakshaganams into English
with analysis and annotation. This may help those who do not understand the Sanskrit-Marathi
of the beautiful Darus. I am looking forward to presenting an introductory lecture
with dance and music later this year.
Key
words
#TulajaI,#
SarabhojiI #Pratapsinh # SerfojiII #ShivajiII
#PratapsinhSerfojiRajeBhosle
#ShivajirajeBhosle #thanjavurMarathaPalace #SumitraRajeBhosle #RamachandraBKeskar
#MarathiPandit
