{"id":1492,"date":"2021-11-20T14:19:34","date_gmt":"2021-11-20T14:19:34","guid":{"rendered":"https:\/\/scimonk.com\/?p=1492"},"modified":"2021-12-07T04:25:31","modified_gmt":"2021-12-07T04:25:31","slug":"tallapaka-annamacharya-sankeerthanas-1408-1503-a-d","status":"publish","type":"post","link":"https:\/\/scimonk.com\/index.php\/2021\/11\/20\/tallapaka-annamacharya-sankeerthanas-1408-1503-a-d\/","title":{"rendered":"TALLAPAKA ANNAMACHARYA SANKEERTHANAS (1408 \u2013 1503 A.D.)"},"content":{"rendered":"\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_83 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\"><p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<\/div><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/scimonk.com\/index.php\/2021\/11\/20\/tallapaka-annamacharya-sankeerthanas-1408-1503-a-d\/#Brief_Biography_of_Annamacharya\" >Brief Biography of Annamacharya<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/scimonk.com\/index.php\/2021\/11\/20\/tallapaka-annamacharya-sankeerthanas-1408-1503-a-d\/#Medieval_Indian_History_and_Bhakti_Movement\" >Medieval Indian History and Bhakti Movement<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/scimonk.com\/index.php\/2021\/11\/20\/tallapaka-annamacharya-sankeerthanas-1408-1503-a-d\/#Annamacharya_Devotional_Compositions\" >Annamacharya Devotional Compositions<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Brief_Biography_of_Annamacharya\"><\/span><strong>Brief Biography of Annamacharya<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>In the <em>sankeerthana <\/em>copper \u2013 plates and epigraphs of Tirupati devasthanam, four cohorts of the Tallapakam family, who grew up in the fifteenth and sixteenth centuries A.D., come to prominence. Tallapakam poets were <em>Nandavarika <\/em>Brahmins, including Allasani Peddanna, the graceful poet in the court of Krishnadeva Raya. Annamacharya is the first member of the family masterpiece, and they are careful \u2013 guarded on copper \u2013 plates in a small room in the temple of Lord Sri Venkateswara at Tirumala, and the works that he wrote are categorized primarily into three categories. <em>Adhyatma Sankeerthanalu<\/em>, <em>Sringara Sankeerthanalu<\/em> and <em>Sringara Manjari<\/em>. Annamacharya composed <em>Sankeerthanas<\/em> in the name of Lord Sri Venkateswara for eighty years, from 1424 to 1503 A.D., and sung numerous songs and at least one song every day in His godly companionship. Thus he is contemporaneous with <em>Adi Van Sathakopa Jiyar <\/em>and<em> Kandadai Ramanujayyangar,<\/em> having existed throughout the time in power of the concluding kings of the former dynasty of Vijayanagara from Devaraya II, Virupaksha, Saluva Narasimha, and his son Immadi Nrisimha, and witnessed the two expected invasions of the Vijayanagara empire by the Tulavas and Saluvas during the fifteenth and the early sixteenth centuries. The theme of <em>Adhyatma Sankeerthanalu<\/em> is the installation of <em>bhakti<\/em> as well as a commitment to Lord Sri Venkateswara&#8217;s worship. In his other work <em>Sringara Vrittapadyala Satakamu<\/em>, Annamacharya is known as <em>Sankirtanacharya, Dravidagama Sarvabhauma, Andhra Pada Kavitha Pithamaha, <\/em>and <em>Panchagama Chakravarti<\/em>, and he is said to have written hundreds of Telugu stanzas describing the love between Lord Sri Venkateswara and His consort Alamelumanga in his another work <em>Sringara Vrittapadyala Satakamu<\/em>. Annamacharya&#8217;s sensual and philosophical works are etched on copper plates, which consist of a variety of <em>ragas<\/em> followed by <em>talas<\/em> addressed to Lord Sri Venkateswara. The major aim and focus of this research article is to re-examine the cultural richness of the Tirupati region by examining vernacular Telugu language traditions, then exploring historical perspectives and Annamacharya <em>Sankeerthanas<\/em> translation from 1403 to 1503 A.D., by selecting a few <em>Sankeerthanas<\/em> from the <em>Adhyatma <\/em>\u2013 devotional genre.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"593\" src=\"https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.32.56-1024x593.jpeg\" alt=\"\" class=\"wp-image-1496\" srcset=\"https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.32.56-1024x593.jpeg 1024w, https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.32.56-300x174.jpeg 300w, https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.32.56-768x445.jpeg 768w, https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.32.56-389x225.jpeg 389w, https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.32.56.jpeg 1280w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>Annamacharya Project, Tirumala Tirupati Devasthanam<\/figcaption><\/figure><\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Medieval_Indian_History_and_Bhakti_Movement\"><\/span><strong>Medieval Indian History and <\/strong><em><strong>Bhakti<\/strong><\/em><strong> Movement<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>Following the establishment of Buddhism, the medieval <em>bhakti<\/em> movement was extensively spread and accomplished as a diverse movement across India from the sixth century B.C. to the second century A.D. Aside from religious ideas, ethical ideals, and admired faiths, culture is also important.(The development of regional languages, music, dance, painting, sculpture, and devotional literature \u2013 a massive corpus of religious works closely linked to the <em>bhakti<\/em> movement \u2013 are all examples of culture) as well as arts <em>Bhakti<\/em> was prevalent and far-reaching in India at various times, and had a significant impact on the medieval state structure and ruling classes. The historical context of the establishment of <em>bhakti<\/em>, on the other hand, differs from one place to the next. The notion of the <em>bhakti<\/em> movement in India (growth of <em>bhakti<\/em> endowed and governed the changes in different places which impacted on society, politics, and culture of the medieval state in India) can be broadly grouped into two primary types in south India: Saivism and Vaishnavism. (&#8220;The southern <em>bhakti<\/em> movement was inherently egalitarian in spirit, and it hardly opposed caste or Brahmanical privileges as such&#8221;) The <em>Nayanars<\/em> are Saiva saints, while the <em>Alvars<\/em> are Vaishna saints. &#8220;From the sixth to the ninth centuries, a religious movement known as the <em>bhakti <\/em>movement took place in Tamil region, in which Saiva devotees known as <em>nayanars<\/em> or <em>nayanmars<\/em> (63 canonized) and Vaishnava devotees known as <em>alvars <\/em>(12 canonized) played an important role. The <em>nayanars <\/em>and<em> alvars<\/em> visited many temples and sacred places singing the <em>hymns<\/em> they composed in praise of the deities (Siva and Vishnu respectively) of those areas or, according to tradition, by performing miracles as a result of their entire devotion.&#8221; Several <em><a href=\"https:\/\/scimonk.com\/index.php\/2021\/08\/01\/bhakti-yoga\/\" data-type=\"post\" data-id=\"1110\">bhaktas<\/a><\/em> are reported to have appeared simultaneously in several centers, and the movement&#8217;s individuality grew by the ninth century. By this time, <em>Alvars <\/em>and <em>Nayanars<\/em> (Sundarmurthi Nayanar and Nammalvar are the two saints who first stepped forward to emphasize the importance of saints and temples in their works, and this tradition was carried on by Nathamuni in the tenth century and Nambi Andar in the eleventh century. The <em>Bhakti<\/em> Movement in South India defined their individuality through substantial literary works in the form of <em>hymns <\/em>written specifically for deities, resulting in great spiritual outpouring. The Sanskrit term <em>bhakta<\/em> is translated as &#8220;to rule&#8221; or &#8220;to preserve.&#8221; The word <em>Alvar<\/em> means &#8220;to govern&#8221; or &#8220;to preserve.&#8221; Because <em>bhakta<\/em> was initially used to refer to a servant or retainer who shared his master&#8217;s riches, the same word must have come to be used for a devotee over time, given the <em>dasyabhava<\/em> or attitude of service.&#8221;<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"870\" height=\"580\" src=\"https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.31.21.jpeg\" alt=\"\" class=\"wp-image-1497\" srcset=\"https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.31.21.jpeg 870w, https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.31.21-300x200.jpeg 300w, https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.31.21-768x512.jpeg 768w, https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.31.21-338x225.jpeg 338w\" sizes=\"auto, (max-width: 870px) 100vw, 870px\" \/><figcaption>Annamacharya Sankeerthana&#8217;s Bhandagaram, Tirumala Tirupati Devasthanam<\/figcaption><\/figure><\/div>\n\n\n\n<p>The word <em>Nayanar<\/em>, on the other hand, means &#8216;leader.&#8217; &#8220;The title <em>Nayanar<\/em> could be a Tamilized variant of Sanskrit <em>nayaka<\/em>, which means leader,&#8217; and is likely to allude to the Saiva belief that the sixty-three leaders were incarnations of Siva&#8217;s <em>bhutangas.<\/em>&#8221; <em>Bhakti<\/em> spread across the east coast, particularly in and around prominent temples like Tirupati and Kanchi. Tirumala or Tirupati is described in early Tamil Sangam literature as the northernmost point of Tamilakam, and Tirumala or Tirupati is also referred to as Venkatam, which is the primary cite of Vishnu. (During the Sangam period, <em>Pulli<\/em>, a leader at Venkatam, is mentioned as a distant ancestor of the Pallavas, suggesting that the tribal name was Sanskritized for their dynasty title.) The relationship between Tamilakam&#8217;s Aryanization and the Venkatam is crucial. &#8220;Since Venkatam, the earliest northernmost center of Vaisnava <em>bhakti <\/em>cult, appears closely associated with the Pallavas, the <em>bhakti <\/em>movement was a byproduct of the Aryanizing or Sanskritizing influence,&#8221; says the author, &#8220;the northernmost point of Tamilakam was also the point of contact between the Aryan and Tamil ways of life.&#8221;<\/p>\n\n\n\n<p>By the end of the ninth century, the <em>bhakti <\/em>movement had navigated the Tamilakam and occupied the three most important kingdoms \u2013 Cola, Pandya, and Cera. <em>Alvars <\/em>and<em> Nayanars<\/em> completed the first edited volumes of their Vaishnava and Saiva canons, which are now ready for use in temples. During the eleventh century, the movement had firmly entrenched itself in the community. <em>Bhakti<\/em> functioned as a personal and central faith to Lord Vishnu in Sri Vaishnavism. (<em>Bhakti<\/em> is fundamental in Sri Vaishnavism, and salvation is the ultimate way of <em>bhakti<\/em>.) According to Ramanuja, there is a God who oversees the world&#8217;s processes. As a result, Sri Vaishnavism has a huge religious consciousness. Ideas for such religious realizations can be found in a range of <em>Puranas, agamas, Upanishads, <\/em>and<em> Divya prabhanda<\/em> stories. The saints of Sri Vaishnavism at Tirupati Temple, the <em>alvars, prabhandakartas, <\/em>and <em>acharyapurushas<\/em>, absorbed the <em>bhakti<\/em> movement&#8217;s tenacity. Between the fifteenth and sixteenth centuries in India&#8217;s history, <em>bhakti <\/em>literature reigned dominant. Poets like Meera Bai from Rajasthan, Guru Nanak from Punjab, lyricists such as Sree Chaitanya Prabu from Bengal, the <em>&#8216;Abhang <\/em>\u2013 poets&#8217; Tukaram from Maharastra, Hari \u2013 Dasa from Karnataka like Vyasaraya, Kanaka Dasa and Purandara Dasa, Tallapakam musicians and poets like Annamacharya, Peda \u2013 Tirumalacharya and Chinna \u2013 Tirumalacharya from Andhra Pradesh bestowed to the highest form of <em>bhakti<\/em> through their works to the society.<\/p>\n\n\n\n<p>They are surrounded by the highest values, purity, simplicity, virtues, ethics, code of conduct, and religious components throughout their life. As a result, the religious literature of the time provided comfort to people, and the factor of trust influenced people&#8217;s thoughts to gravitate toward devotion, which led to salvation. <a href=\"https:\/\/www.jstor.org\/stable\/23329258\">Telugu literature<\/a> has a special place for poetic \u2013 lyrics. These poetic \u2013 lyrics act as a link between classical and folk literature. For the first time in Telugu literature, Sree Krishnamacharyulu&#8217;s four lakh poetry &#8211; lyrics, written in free verse, are a milestone. Moving forward, Tallapakam Annamacharya <em>Sankeerthanas<\/em>, which are sung in the Kannada <em>&#8216;Devaranamagalu&#8217;<\/em> style, with <em>Pallavi <\/em>and<em> charanam<\/em>, that is, the opening and closing lines of <em>Sankeerthanas<\/em>, and dedication called <em>&#8216;Ankita padaalu,&#8217;<\/em> established Annamacharya as the progenitor of poetic \u2013 lyrics, also known as <em>&#8216;Pada Kavitha Pithamaha,&#8217; <\/em>and also<em> Vaggeyakara<\/em> that is, <em>&#8216;vak&#8217; \u2013 <\/em>wordsof lyrics and <em>&#8216;geya&#8217;<\/em> \u2013 musical settings. As a result, the glory of Tallapakam musicians and poets spans around one to fifty years of Telugu literature.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"976\" src=\"https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.30.17-1024x976.jpeg\" alt=\"\" class=\"wp-image-1498\" srcset=\"https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.30.17-1024x976.jpeg 1024w, https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.30.17-300x286.jpeg 300w, https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.30.17-768x732.jpeg 768w, https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.30.17-236x225.jpeg 236w, https:\/\/scimonk.com\/wp-content\/uploads\/2021\/11\/WhatsApp-Image-2021-11-20-at-17.30.17.jpeg 1280w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>Annamacharya Project, Tirumala Tirupati Devasthanam. (Author in the left)<\/figcaption><\/figure><\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Annamacharya_Devotional_Compositions\"><\/span><strong>Annamacharya Devotional Compositions<\/strong><span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Song composition \u2013 01<\/strong><\/h3>\n\n\n\n<p><em>nAnATi batuku nATakamu<\/em><\/p>\n\n\n\n<p><em>kAnaka kannadi kaivalyamu ||<\/em><\/p>\n\n\n\n<p><em>puTTuTayu nijamu pOvuTayu nijamu naTTa naDi kAlamu nATakamu<\/em><\/p>\n\n\n\n<p><em>yeTTa neduTa gala dee prapanchamu<\/em><\/p>\n\n\n\n<p><em>kaTTa gaDa paTidi kaivalyamu ||<\/em><\/p>\n\n\n\n<p><em>kuDi chEdannamu kOka chuTTEdi<\/em><\/p>\n\n\n\n<p><em>naDi mantrapu pani nATakamu<\/em><\/p>\n\n\n\n<p><em>voDi gaTTu konina vubhaya karmamulu<\/em><\/p>\n\n\n\n<p><em>gaDi dATi napuDe kaivalyamu ||<\/em><\/p>\n\n\n\n<p><em>tegadu pApamu teeradu puNyamu<\/em><\/p>\n\n\n\n<p><em>nagi nagi kAlamu nATakamu<\/em><\/p>\n\n\n\n<p><em>yegu vane Sree vEnkatESwaru DElika<\/em><\/p>\n\n\n\n<p><em>gaganamu meedidi kaivalyamu ||<\/em><\/p>\n\n\n\n<p>This song is sung by Annamacharya in <em>Vyragyam<\/em>, which means asceticism. He claims that all occupations and attachments are delusions, and he cautions that the repercussions of our misdeeds will not go away and that only faith in Venkateswara and the quest for salvation would save us.<\/p>\n\n\n\n<p><em>Every day&#8217;s existence is a dramatic event. Salvation is the ultimate, whether you see it or not.<\/em><\/p>\n\n\n\n<p><em>Birth and death are unavoidable. The time in between is filled with drama. This life is an illusion, and liberty is the ultimate goal.<\/em><\/p>\n\n\n\n<p><em>It is commonplace to eat meals and dress in clothes.<\/em><\/p>\n\n\n\n<p><em>You will be accompanied by the ultimate consequences of your good and evil activities.<\/em><\/p>\n\n\n\n<p><em>There is only release after passing that stage.<\/em><\/p>\n\n\n\n<p><em>No one can be separated from his or her sins or virtues. It&#8217;s all a trick of the light. Sri Venkatesawara is the supreme ruler. Emancipation is a long way off.<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Song Composition \u2013 02<\/strong><\/h3>\n\n\n\n<p><em>nitya pooja livigO nErichina nO hO<\/em><\/p>\n\n\n\n<p><em>pratyaksha mainaTTi paramAtmuniki ||<\/em><\/p>\n\n\n\n<p><em>tanuvE guDi yaTa talayE SikharamaTa<\/em><\/p>\n\n\n\n<p><em>penu hrudayamE hari peeThamaTa<\/em><\/p>\n\n\n\n<p><em>kanu kona choopulE ghana deepamulaTa<\/em><\/p>\n\n\n\n<p><em>tana lOpali antaryAmikini ||<\/em><\/p>\n\n\n\n<p><em>palukE mantramaTa pAdaina nAlikE<\/em><\/p>\n\n\n\n<p><em>kala kala manu piDi ghanTa yaTa<\/em><\/p>\n\n\n\n<p><em>naluvaina ruchulE naivEdyamulaTa<\/em><\/p>\n\n\n\n<p><em>talapu lOpala nunna daivamunaku ||<\/em><\/p>\n\n\n\n<p><em>gamana chEshTalE anta ranga gati yaTa<\/em><\/p>\n\n\n\n<p><em>tamigala jeevuDE dAsuDaTa<\/em><\/p>\n\n\n\n<p><em>amarina voorpulE yAla paTTamulaTa<\/em><\/p>\n\n\n\n<p><em>kramamutO Sree vEnkatarAyaniki ||<\/em><\/p>\n\n\n\n<p>Annamacharya believes his body to be a temple and the functioning of his sense organs to be various services to Lord Venkateswara in this <em>hymn<\/em>.<\/p>\n\n\n\n<p><em>In front of me is my usual worship of my Lord.<\/em><\/p>\n\n\n\n<p><em>The body is a temple, and the head is its tower. To the conscience, his elegant eyes are like temple candles.<\/em><\/p>\n\n\n\n<p><em>Speech is a Mantra in and of itself. The buzz of the globe is similar to the ringing of bells. All excellent tastes are sacrifices to the God within one&#8217;s soul.<\/em><\/p>\n\n\n\n<p><em>Conscience is expressed in all motions and deeds. This life is dedicated to His service. Lord Venkataraya enjoys deep sighs as much as he enjoys devotees.<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Song Composition \u2013 03<\/strong><\/h3>\n\n\n\n<p><em>AntaryAmi alasiti solasiti<\/em><\/p>\n\n\n\n<p><em>intaTa nee SaraNide jochchitini||<\/em><\/p>\n\n\n\n<p><em>kOrina kOrkelu kOyani kaTlu<\/em><\/p>\n\n\n\n<p><em>teeravu neevavi tenchaka<\/em><\/p>\n\n\n\n<p><em>bhArapu paggAlu papa puNyamulu<\/em><\/p>\n\n\n\n<p><em>nErupula pOneevu neevu vaddanaka ||<\/em><\/p>\n\n\n\n<p><em>janula sangamula jakka rOgamulu<\/em><\/p>\n\n\n\n<p><em>ninu viDuvavu neevu viDi pinchaka<\/em><\/p>\n\n\n\n<p><em>vinayapu dainyamu viDu vani karmamu<\/em><\/p>\n\n\n\n<p><em>chana dadi neeviTu SAnta parachaka ||<\/em><\/p>\n\n\n\n<p><em>madilO chintalu mailalu maNugulu<\/em><\/p>\n\n\n\n<p><em>vadalavu neevavi vaddanaka<\/em><\/p>\n\n\n\n<p><em>yeduTanE Sree vEnkaTESvara nee vade<\/em><\/p>\n\n\n\n<p><em>adana gAchitivi aTTiTTanaka ||<\/em><\/p>\n\n\n\n<p>Annamacharya expresses his philosophic dissatisfaction with existence in this composition. He advises that everyone take action to avoid becoming enamored with worldly pleasures and instead surrender to Sri Venkateswara for emancipation.<\/p>\n\n\n\n<p><em>My conscience, oh, I&#8217;m fatigued. I place myself at your feet and surrender.<\/em><\/p>\n\n\n\n<p><em>Desires are boundless ties. They will cling to you until you snap. All crimes and piety bind us tightly. Unless you refuse, they will not leave you.<\/em><\/p>\n\n\n\n<p><em>Human ties and difficulties will not vanish unless you remove them. You&#8217;ll be plagued by misery and the effects of karma as long as you don&#8217;t find serenity.<\/em><\/p>\n\n\n\n<p><em>You will not be free of mental anguish and sinful thoughts unless you reject them. Sri Venkatesawara is in front of you, ready to protect you without hesitation.<\/em><\/p>\n\n\n\n<p>You might also be interested to read about <a href=\"https:\/\/scimonk.com\/index.php\/2020\/11\/09\/andal-womens-mystical-poet-from-south-india\/\" data-type=\"post\" data-id=\"340\">Andal<\/a> and <a href=\"https:\/\/scimonk.com\/index.php\/2021\/11\/16\/matrusri-tarigonda-vengamamba\/\" data-type=\"post\" data-id=\"368\">Vengamamba<\/a>. Follow the link to read more. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Brief Biography of Annamacharya In the sankeerthana copper \u2013 plates and epigraphs of Tirupati devasthanam, four cohorts of the Tallapakam family, who grew up in the fifteenth and sixteenth centuries A.D., come to prominence. Tallapakam poets were Nandavarika Brahmins, including Allasani Peddanna, the graceful poet in the court of Krishnadeva Raya. Annamacharya is the first [&hellip;]<\/p>\n","protected":false},"author":7,"featured_media":1494,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15],"tags":[],"ppma_author":[334],"class_list":["post-1492","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-civilisational-india"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>TALLAPAKA ANNAMACHARYA SANKEERTHANAS (1408 \u2013 1503 A.D.) - Scientific Monk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/scimonk.com\/index.php\/2021\/11\/20\/tallapaka-annamacharya-sankeerthanas-1408-1503-a-d\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"TALLAPAKA ANNAMACHARYA SANKEERTHANAS (1408 \u2013 1503 A.D.) - Scientific Monk\" \/>\n<meta property=\"og:description\" content=\"Brief Biography of Annamacharya In the sankeerthana copper \u2013 plates and epigraphs of Tirupati devasthanam, four cohorts of the Tallapakam family, who grew up in the fifteenth and sixteenth centuries A.D., come to prominence. 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