{"id":3542,"date":"2025-12-09T09:53:50","date_gmt":"2025-12-09T04:23:50","guid":{"rendered":"https:\/\/vajiramandravi.com\/upsc-exam\/?p=3542"},"modified":"2025-12-09T18:03:39","modified_gmt":"2025-12-09T12:33:39","slug":"art-architecture-literature-of-sangam-age","status":"publish","type":"post","link":"https:\/\/vajiramandravi.com\/upsc-exam\/art-architecture-literature-of-sangam-age\/","title":{"rendered":"Art, Architecture &#038; Literature of Sangam Age"},"content":{"rendered":"<h2><strong>Sangam Literature<\/strong><\/h2>\r\n<p>According to Tamil scholars,\u00a0<strong>three sangams\u00a0<\/strong>(academies of Tamil poets) existed in ancient Tamil Nadu, also known as\u00a0<strong>Muchchangam<\/strong>. Under the Pandyan dynasty's royal patronage, these Sangam flourished. These Tamil literary works remain essential resources for rewriting Sangam era history.<\/p>\r\n<ul>\r\n\t<li><strong>First Sangam: Legendary gods and sages\u00a0<\/strong>attended the first Sangam held in\u00a0<strong>Madurai<\/strong>, although there are no recorded accounts of it.<\/li>\r\n\t<li><strong>Second Sangam:\u00a0<\/strong>It was held in\u00a0<strong>Kapadapuram<\/strong>\u00a0in Tamilnadu. With the\u00a0<strong>exception of Tolkappiyam<\/strong>, none of the literary works survived composed during this Sangam.<\/li>\r\n\t<li><strong>Third Sangam:<\/strong>\u00a0The third Sangam was established in\u00a0<strong>Madurai by Mudathirumaran<\/strong>. Although many poets participated and created substantial work, only some persisted.<\/li>\r\n\t<li>The corpus of Sangam literature includes\u00a0<strong>Tolkappiyam, Ettutogai, Pattuppattu, Pathinenkilkanakku<\/strong>, and the two epics\u2013\u00a0<strong>Silappathigaram and Manimegalai<\/strong>.<\/li>\r\n\t<li>Ettutogai and Pattuppattu are the part of\u00a0<strong>Pathinen Melkanakku.<\/strong><\/li>\r\n<\/ul>\r\n<h2><strong>Earliest literature<\/strong><\/h2>\r\n<p><strong>Aham and Puram concept<\/strong><\/p>\r\n<p>An important feature of Sangam literature is the use of the poetic form. According to the ancient Tamil treatise,\u00a0<strong>Tholkappiyam<\/strong>,\u00a0<strong>poetry\u2019s\u00a0<\/strong>subject matter is categorised under two heads:\u00a0<strong>Aham and Puram.<\/strong>\u00a0These two are\u00a0<strong>mutually\u00a0<\/strong>related in terms of being the\u00a0<strong>opposite\u00a0<\/strong>of the other and simultaneously complementing each other.<\/p>\r\n<figure>\r\n<table>\r\n<tbody>\r\n<tr>\r\n<td class=\"tb-color\"><strong>Aham (Agam)<\/strong><\/td>\r\n<td class=\"tb-color\"><strong>Puram<\/strong><\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Stands for the\u00a0<strong>interior<\/strong>, the individual, the feminine, and the varied phases of love.<\/td>\r\n<td>Stands for the\u00a0<strong>exterior<\/strong>, the world, the masculine, violence and heroism.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Women dominated<\/td>\r\n<td>Male-dominated<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Concerns on subjects such as love and sexual relations.<\/td>\r\n<td>Concerns many issues, such as wars, kings, poets and personal virtues<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n<\/figure>\r\n<p><strong>Table - Aham and Puram<\/strong><\/p>\r\n<p><strong>Agattiyam (Akattiyam)<\/strong><\/p>\r\n<ul>\r\n\t<li><strong>Agattiyam\u00a0<\/strong>was The earliest book on\u00a0<strong>Tamil grammar<\/strong>\u00a0according to Tamil tradition.\r\n\r\n<ul>\r\n\t<li>This book was a\u00a0<strong>non-extant text (not existing)<\/strong>, written and compiled by sage\u00a0<strong>Agattiar\u00a0<\/strong>(Agastya) during the First Sangam.<\/li>\r\n<\/ul>\r\n<\/li>\r\n<\/ul>\r\n<p><strong>Tolkappiyam<\/strong><\/p>\r\n<ul>\r\n\t<li><strong>Feature:\u00a0<\/strong>It was written by\u00a0<strong>Tolkappiyar\u00a0<\/strong>and is considered the first Tamil literary work.\r\n\r\n<ul>\r\n\t<li>First mentioned by name in\u00a0<strong>Iraiyanar's Akapporul<\/strong>\u00a0as an authoritative text on Tamil grammar.<\/li>\r\n\t<li>This was the most ancient Tamil grammar text and the\u00a0<strong>oldest extant long work of Tamil literature.<\/strong><\/li>\r\n\t<li>Arranged into three books \u2013\r\n\r\n<ul>\r\n\t<li>Eluttatikaram<\/li>\r\n\t<li>Sollatikaram<\/li>\r\n\t<li>Porulatikaram<\/li>\r\n<\/ul>\r\n<\/li>\r\n<\/ul>\r\n<\/li>\r\n\t<li><strong>Source<\/strong>: It also gives an insight into the\u00a0<strong>political and socio-economic<\/strong>\u00a0conditions of the time.<\/li>\r\n<\/ul>\r\n<p><strong>Ettuttogai<\/strong><\/p>\r\n<p>Ettuttogai is a classical Tamil poetic work consisting of eight works long and short, both or eight anthologies. It is a part of\u00a0<strong>Pathinen Melkanakku\u00a0<\/strong>(Eighteen Greater Texts).<\/p>\r\n<figure>\r\n<table>\r\n<tbody>\r\n<tr>\r\n<td class=\"tb-color\"><strong>Eight anthologies<\/strong><\/td>\r\n<td class=\"tb-color\"><strong>Significance<\/strong><\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Natrinai<\/td>\r\n<td>Mentions the Tamil legend about\u00a0<strong>Kannagi\u00a0<\/strong>(Kannaki) to protest against her husband's unjust execution.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Kurunthogai<\/td>\r\n<td>The influence of Kuruntokai can be seen in contemporary Tamil movies.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Aingurunuru<\/td>\r\n<td>Compiled by\u00a0<strong>Kudalur Kilar<\/strong>\u00a0and includes a colophon that states it to be a Chera (Kerala) text rather than the more common Pandyan kingdom-based.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Patitruppathu<\/td>\r\n<td>About ten decades of Chera kings, known as\u00a0<strong>Cheramals<\/strong>.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Paripadal<\/td>\r\n<td>Expresses love in the form of religious devotion and includes\u00a0<strong>dialogue-based poems.\u00a0<\/strong>These poems are longer than the poems in other major Sangam anthologies.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Kalithogai<\/td>\r\n<td>Compiled by\u00a0<strong>Nallantuvanar<\/strong>, notable for the relatively higher number of Sanskrit loan words, categorised into the five tinais conforming to the Sangam landscape.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Akananuru<\/td>\r\n<td>Notable for its\u00a0<strong>mathematical\u00a0<\/strong>arrangement, it has a reference to the Ramayana.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Purananuru<\/td>\r\n<td>Information on the political and social history of ancient Tamil Nadu<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n<\/figure>\r\n<p><strong>Table - Eight anthologies<\/strong><\/p>\r\n<p><strong>Pattuppattu<\/strong><\/p>\r\n<p>It is an anthology of ten longer poems in the Sangam literature \u2013 the earliest known Tamil literature.<\/p>\r\n<figure>\r\n<table>\r\n<tbody>\r\n<tr>\r\n<td class=\"tb-color\"><strong>Poem<\/strong><\/td>\r\n<td class=\"tb-color\"><strong>Meaning<\/strong><\/td>\r\n<td class=\"tb-color\"><strong>Author<\/strong><\/td>\r\n<td class=\"tb-color\"><strong>Source\/ Information about<\/strong><\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Thirumurugatrupatai<\/td>\r\n<td>Guide to Lord Murugan<\/td>\r\n<td>Nakk\u012brar<\/td>\r\n<td>Murugan<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Porunaratrupatai<\/td>\r\n<td>Guide for the war bards<\/td>\r\n<td>Mutattamakkanniyar<\/td>\r\n<td>Karikal<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Sirupanatruppatai<\/td>\r\n<td>Guide to bards with small lutes<\/td>\r\n<td>Narrattanar<\/td>\r\n<td>Nalliyakkotan<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Perumpanatruppatai<\/td>\r\n<td>Guide to bards with large lutes<\/td>\r\n<td>Uruttiran Kannanar<\/td>\r\n<td>Tontaiman Ilantiraiyan<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Mullaipattu<\/td>\r\n<td>Song about the forest<\/td>\r\n<td>Nappitanar<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Maduraikanchi<\/td>\r\n<td>Reflection on Maturai<\/td>\r\n<td>Mankuti Marutanar<\/td>\r\n<td>Netunceliyan<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Nedunalvadai<\/td>\r\n<td>Good long northern wind<\/td>\r\n<td>Nakkirar<\/td>\r\n<td>Netunceliyan<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Kurinjipattu<\/td>\r\n<td>Song about the hills<\/td>\r\n<td>Kapilar<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Pattinappalai<\/td>\r\n<td>Poem about the separation and the city<\/td>\r\n<td>Uruttiran Kannanar<\/td>\r\n<td>Karikal<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Malaipadukadam<\/td>\r\n<td>Poem of the sound about the mountains<\/td>\r\n<td>Perunkunrur, Perunkaucikanar<\/td>\r\n<td>Nannan<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n<\/figure>\r\n<p><strong>Table - Ten Idylls<\/strong><\/p>\r\n<h2><strong>Later Sangam Literature\u00a0<\/strong><\/h2>\r\n<p>The Sangam period was a time of great literary achievement, where poets and scholars thrived, creating a vibrant literary tradition.<\/p>\r\n<ul>\r\n\t<li>The works produced during this era continue to be revered for their poetic excellence, imaginative storytelling, and cultural significance.<\/li>\r\n\t<li>This includes mainly poetic work\u00a0<strong>Patinen Kilkanakku<\/strong>, also known as the \u201cThe Eighteen Lesser Texts\u201d, and\u00a0<strong>five great epics,\u00a0<\/strong>extensive narrative Tamil epics according to later Tamil literary tradition.<\/li>\r\n<\/ul>\r\n<p><strong>Patinen Kilkanakku (The Eighteen Lesser Texts)<\/strong><\/p>\r\n<p>It is a collection of eighteen poetic works created during the post-Sangam period. It mainly deals with morals and ethics.<\/p>\r\n<figure>\r\n<table>\r\n<tbody>\r\n<tr>\r\n<td class=\"tb-color\"><strong>Book<\/strong><\/td>\r\n<td class=\"tb-color\"><strong>Author<\/strong><\/td>\r\n<td class=\"tb-color\"><strong>Significance<\/strong><\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Naladiyar<\/td>\r\n<td>Various poets (mainly Jain monks)<\/td>\r\n<td>The most important ancient didactic text in Tamil is next after\u00a0<strong>Tirukkural<\/strong>.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Nankakatigai<\/td>\r\n<td>Vilambi Naganaar<\/td>\r\n<td>Contains one hundred songs, and each poem has four ideas.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Inna Narpathu<\/td>\r\n<td>Kapilar<\/td>\r\n<td>Describes the most undesirable things one should avoid.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Iniyavai Narpathu<\/td>\r\n<td>Putham Sernthanar<\/td>\r\n<td>Explains the most desirable things in life.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Kaar Narpathu<\/td>\r\n<td>Kannankoothanaar<\/td>\r\n<td>Deals with the intangibles of life, such as human emotions, love, separation etc.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Kalavazhi Narpathu<\/td>\r\n<td>Poigayaar<\/td>\r\n<td>Deals with the puram (external) subjects.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Ainthinai Aimpathu<\/td>\r\n<td>Kannankoothanaar<\/td>\r\n<td>Deals with the aham (internal) subjects<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Ti\u1e49aimozhi Aimpatu<\/td>\r\n<td>Kannan Chenthanaar<\/td>\r\n<td>Deals with the aham (internal) subjects<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Aintinai E\u1e3bupatu<\/td>\r\n<td>Muvathiyaar<\/td>\r\n<td>Deals with the subjective (aham) concepts.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Ti\u1e47aim\u0101lai N\u016b\u1e5f\u1e5faimpatu<\/td>\r\n<td>Kanimeytaviyar<\/td>\r\n<td>Deals with the subjective (aham) concepts.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Thirukkural<\/td>\r\n<td>Thiruvalluvar<\/td>\r\n<td>Discusses epics, love, polity and governance.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Tirika\u1e6dukam<\/td>\r\n<td>Nallathanaar<\/td>\r\n<td>Uses the analogy of traditional herbal medicine.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Acharakkovai<\/td>\r\n<td>Peruvaayin Mulliyaar<\/td>\r\n<td>Concerned with personal rituals and the correct method to follow.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Pazhamozhi Nanuru<\/td>\r\n<td>Munrurai Araiyanaar<\/td>\r\n<td>Employs old Tamil proverbs to illustrate its messages.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Siruppanchamulam<\/td>\r\n<td>Kariyaasaan<\/td>\r\n<td>Uses the analogy of traditional herbal medicine.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Muthumozhikkanchi<\/td>\r\n<td>Mathuraikkoodalaar Kilaar<\/td>\r\n<td>Employs a simple poetic style to enable the layperson to understand the messages.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Elathi<\/td>\r\n<td>Kani Methaviyar<\/td>\r\n<td>Uses the analogy of the traditional herbal medicine known as elathi.<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Kainnilai<\/td>\r\n<td>Pullangkaathanaar<\/td>\r\n<td>Deals with the subjective (agam) concepts.<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n<\/figure>\r\n<p><strong>\u00a0Five great epics<\/strong><\/p>\r\n<figure>\r\n<table>\r\n<tbody>\r\n<tr>\r\n<td class=\"tb-color\"><strong>Epic<\/strong><\/td>\r\n<td class=\"tb-color\"><strong>Author<\/strong><\/td>\r\n<td class=\"tb-color\"><strong>Feature<\/strong><\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Silappadikaram<\/td>\r\n<td>Ilango Adigal<\/td>\r\n<td>\r\n<ul>\r\n\t<li>Describes the\u00a0<strong>story of\u00a0<\/strong><strong><u>Kovalan<\/u><\/strong><strong>\u00a0and Kannagi<\/strong>.<\/li>\r\n\t<li>Gives insight into contemporary Tamil\u00a0<strong>society<\/strong>,\u00a0<strong>polity\u00a0<\/strong>and\u00a0<strong>social\u00a0<\/strong>life of the people.<\/li>\r\n\t<li>Called the\u00a0<strong>Iliad of Tamil Literature.<\/strong><\/li>\r\n<\/ul>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Manimekhlai<\/td>\r\n<td>Seetalaisattanar<\/td>\r\n<td>\r\n<ul>\r\n\t<li><strong>Sequel to Silappadikaram<\/strong>, where Manimekhlai is the daughter of Kovalan, born to Madhavi (she becomes a Buddhist monk).<\/li>\r\n\t<li>Provides valuable information on the Sangam\u00a0<strong>polity and society<\/strong>.<\/li>\r\n\t<li>Related to philosophical topics and\u00a0<strong><u>Buddhism<\/u><\/strong>\u00a0in South India.<\/li>\r\n\t<li>Called the\u00a0<strong>Odissi of Tamil literature.<\/strong><\/li>\r\n<\/ul>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Jivaka Chintamani<\/td>\r\n<td>Tiruttakrdeva<\/td>\r\n<td>\r\n<ul>\r\n\t<li>Related to the life of Jivaka, who marries eight queens and later becomes a<strong>\u00a0Jain monk.<\/strong>\u00a0(associated with\u00a0<strong><u>Jainism<\/u><\/strong>)<\/li>\r\n\t<li>Also called the Book of Deity and\u00a0<strong>Manannul (Book of Marriages).<\/strong><\/li>\r\n<\/ul>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Valayapathi<\/td>\r\n<td>Tamil Jain monk<\/td>\r\n<td>\r\n<ul>\r\n\t<li>Story of a son and father, where the father left before the birth of the son, and the son seeks his father<\/li>\r\n\t<li>Supported the ideologies found in early\u00a0<strong>Jainism<\/strong><\/li>\r\n<\/ul>\r\n<\/td>\r\n<\/tr>\r\n<tr>\r\n<td>Kundalakesi<\/td>\r\n<td>Nathakuthanaar<\/td>\r\n<td>\r\n<ul>\r\n\t<li>A story about love, marriage, getting tired of the married partner, murder and then discovering religion.<\/li>\r\n\t<li>Related to\u00a0<strong>Buddhism<\/strong>.<\/li>\r\n<\/ul>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n<\/figure>\r\n<p><strong>Table: Five Sangam epics<\/strong><\/p>\r\n<h2><strong>Other literary sources of the Sangam Period<\/strong><\/h2>\r\n<ul>\r\n\t<li>Greek authors like\u00a0<strong><u>Megasthenes<\/u><\/strong>,\u00a0<strong>Strabo<\/strong>,\u00a0<strong>Pliny and\u00a0<\/strong><strong><u>Ptolemy<\/u><\/strong>\u00a0mention the commercial contacts between the West and South India.<\/li>\r\n\t<li><strong><u>Asokan\u00a0<\/u><\/strong><u>inscriptions<\/u>\u00a0mention the Chera, Chola and Pandya rulers in the south of the Mauryan empire.<\/li>\r\n\t<li>The\u00a0<strong>Hathigumpha\u00a0<\/strong>inscription of Kharavela of\u00a0<u>Kalinga<\/u>\u00a0also mentions Tamil kingdoms.<\/li>\r\n<\/ul>\r\n<h2><strong>Art and architecture<\/strong><\/h2>\r\n<p><strong>Art<\/strong><\/p>\r\n<ul>\r\n\t<li><strong>Poetry, music and dancing<\/strong>\u00a0were popular among the people of the Sangam age.\u00a0<strong>Liberal donations<\/strong>\u00a0were given to poets by the kings, chieftains and nobles.<\/li>\r\n\t<li>The royal courts were crowded with\u00a0<strong>singing bards called Panar and Viraliyar.<\/strong>\u00a0They were experts in folk songs and folk dances.<\/li>\r\n\t<li>The arts of music and dancing were\u00a0<strong>highly developed.\u00a0<\/strong>A variety of<strong>\u00a0Yazhs and drums<\/strong>\u00a0are referred to in the Sangam literature.<\/li>\r\n\t<li>Kanigaiyar performed dances.\u00a0<strong>Koothu\u00a0<\/strong>was the most popular entertainment of the people.<\/li>\r\n\t<li>Sangam\u00a0<strong>painters\u00a0<\/strong>employed the painting guidebook\u00a0<strong>Oviya Nul\u00a0<\/strong>to direct their creative endeavours.\r\n\r\n<ul>\r\n\t<li>Their sculptures were made of\u00a0<strong>plaster<\/strong>, and the Pallava stone architecture's brick and timber precursor should have been the start of the architectural tradition.<\/li>\r\n<\/ul>\r\n<\/li>\r\n<\/ul>\r\n<p><strong>Architecture<\/strong><\/p>\r\n<p>Information and documentation regarding the architecture of the Sangam ages are limited. However, it can be inferred from literary references.<\/p>\r\n<ul>\r\n\t<li><strong>The Hero Stone or Nadu Kal worship:\u00a0<\/strong>Nadu Kal worship was significant in the Sangam period. The Hero Stone was erected in memory of the\u00a0<strong>bravery shown by the warrior in battle<\/strong>. Many hero stones with legends inscribed on them were found in different parts of Tamil Nadu.<\/li>\r\n\t<li><strong>Port cities:\u00a0<\/strong>Pattinappalai refers to the seaport of\u00a0<strong>Puhar<\/strong>. Other seaports during the Sangam period are Tondi, Musiri and Korkai.<\/li>\r\n\t<li><strong>Construction of irrigation tanks:\u00a0<\/strong>Karaikala built Kallanai across the river Kaveri and constructed many irrigation tanks.<\/li>\r\n<\/ul>\r\n<p><strong><u>Keeladi Excavation<\/u><\/strong><strong>:\u00a0<\/strong><\/p>\r\n<ul>\r\n\t<li>A tiny hamlet in the Sivaganga district in south\u00a0<strong>Tamil Nadu.<\/strong><\/li>\r\n\t<li>The Findings here prove that an\u00a0<strong>urban civilisation\u00a0<\/strong>existed in Tamil Nadu in the Sangam age on the banks of the Vaigai River.<\/li>\r\n\t<li>Excavations at Keeladi have pushed the Sangam age back about\u00a0<strong>300 years earlier than the previously believed\u00a0<\/strong>third century BCE.<\/li>\r\n\t<li>The unearthing of heaps of pottery suggests the existence of a\u00a0<strong>pottery-making industry.<\/strong><\/li>\r\n\t<li>Findings of inscribed potsherds suggest the<strong>\u00a0long survival of the script.<\/strong><\/li>\r\n\t<li><strong>Presence of the weaving industry:\u00a0<\/strong>Spindle whorls, copper needles, terracotta seals, hanging stones of the yarn, terracotta spheres and earthen vessels to hold liquid.<\/li>\r\n\t<li><strong>Dyeing industry and glass bead industry<\/strong>: There is evidence of existence of a\u00a0<strong>dyeing industry and a glass bead industry<\/strong>\u00a0in the Keeladi finding<strong>.<\/strong><\/li>\r\n<\/ul>","protected":false},"excerpt":{"rendered":"<p>Sangam Age played a pivotal role in the history of South India with Chera, Chola &#038; Pandyas as ruling powers.<\/p>\n","protected":false},"author":6,"featured_media":8188,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[173],"tags":[40,681],"class_list":{"0":"post-3542","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-quest-level-3","8":"tag-quest","9":"tag-sangam-age"},"acf":[],"_links":{"self":[{"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/posts\/3542","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/comments?post=3542"}],"version-history":[{"count":1,"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/posts\/3542\/revisions"}],"predecessor-version":[{"id":22069,"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/posts\/3542\/revisions\/22069"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/media\/8188"}],"wp:attachment":[{"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/media?parent=3542"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/categories?post=3542"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/vajiramandravi.com\/upsc-exam\/wp-json\/wp\/v2\/tags?post=3542"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}