Tandu, Siva’s disciple narrated the description of Siva’s dance to Bharata Muni and he is believed to have compiled the Natyasastra, the world’s first treatise on dramaturgy, dance and other performing arts. All dramaturgy and dance traditions emerge from Siva’s cosmic dance. Siva, according to Hindu Mythology, was the very first dancer in the world.
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The Nataraja sculpture also occupies a pride of a place at CERN, the European Centre for Research in Particle Physics in Geneva. It has evoked highly advanced discussions among scientists, philosophers, performing artists, art critics, art collectors, historians, archaeologists and mythologists. Nataraja, the dancing Siva sculpture, is perhaps the most well-known among all Hindu sculptures, and rightly so. Karnataka's Rich Heritage – Temple Sculptures & Dancing Apsaras Married to Uma who is an accomplished translator of French and Tamil books and Managing Trustee of the SOS Children's Villages of India-Chatnath Homes and the Karna Prayag Trust, KN has a son Ramgopal, daughter Gayathri and a granddaughter Niveditha. KN is also an enthusiastic traveller, trekking in Himalayas being a favourite hobby.
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Steeped in South Indian history, its arts and culture, KN is an avid reader of all the novels “Kalki” wrote, and is an accomplished player o of the percussion instrument the mridangam. He has occupied a number of important positions like the President of the Association of Indian Automobile Manufacturers, President of the Automobile Research Association of India, Chairman of the Southern Region of the Association of Indian Engineering Industry, Member of the Senate of the Annamalai University.
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He is an industrialist and heads companies that manufacture automobile components. “It was as if Kalki himself rendered his great work in English.” Temples of BengalĪn engineer by profession, Karthik Narayanan (1938) was born in Calcutta and had his early education in Tuticorin. They did and said “This is the best you can do in English.” The work culminated not when the book was released by a former Central Minister in 2016, not even when it went for three editions but when an ardent fan of Kalki sent a mail to me in 2019. I gave it to two of my friends, who had read the original more than sixty times, with a mandate to read them in one go. We got ready rough copies of two volumes. Finally the hard copy was ready for publication in 2016. There were issues where we could not reach a consensus easily.
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I read and re-read the first draft a dozen times before handing it over to my editors. That explains the six long years I spent for this project. I let the translation work progress in its own pace. But most of them, though done with utmost sincerity, failed to create the emotional bond with the readers which the original author had effortlessly done in the Fifties when Ponniyin Selvan was serialised in a popular magazine. Reason: there were already many translations around. One potential publisher even lured me with an offer to translate another work of Kalki. When I started translating Kalki’s Ponniyin Selvan in 2010, blissfully unaware of the depth and the magnitude of the work, several people tried to dissuade me.