{"product_id":"fragrant-garland-biographical-dictionary-of-carnatic-composers-and-musicians-nam164","title":"The Fragrant Garland (Biographical Dictionary of Carnatic Composers and Musicians)","description":"\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Specification\u003c\/h2\u003e\u003ctable\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eItem Code:\u003c\/td\u003e \u003ctd\u003eNAM164\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eAuthor:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/fr\/book-author\/n%20rajagopalan\" class=\"underlined\" title=\"N. Rajagopalan\"\u003eN. Rajagopalan\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePublisher:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/fr\/book-publisher\/carnatic%20classicals%20chennai\" class=\"underlined\" title=\"Carnatic Classicals, Chennai\"\u003eCarnatic Classicals, Chennai\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eLanguage:\u003c\/td\u003e \u003ctd\u003eEnglish\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eEdition:\u003c\/td\u003e \u003ctd\u003e2013\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePages:\u003c\/td\u003e \u003ctd\u003e425 (23 Color Illustrations)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eCover:\u003c\/td\u003e \u003ctd\u003eHardcover\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eOther Details\u003c\/td\u003e \u003ctd rel=\"product-dimensions\"\u003e9.5 inch x 7.5 inch\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eWeight\u003c\/td\u003e \u003ctd rel=\"product-weight\"\u003e900 gm\u003c\/td\u003e \u003c\/tr\u003e \u003c\/table\u003e\u003cbr\u003e\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Description\u003c\/h2\u003e\u003cdiv class=\"product-details-description\" style=\"max-height: 63rem; overflow-y: auto;\"\u003e\n\u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164a.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cb\u003ePreface\u003c\/b\u003e\n\u003c\/center\u003e \u003cp\u003e “Posterity will surely be grateful to you for your Garlands which adorn the neck of Sri Matangl Devi, the Goddess of Music. God seems to get specified jobs done by His chosen people”\u003c\/p\u003e \u003cp\u003e So wrote T.S. Parthasarathy, the eminent musicologist and Secretary, Music Academy, Madras on July 6, 1992, When I commenced the yagna of bringing out the first-ever Biographical Dictionary of Carnatic Composers and Musicians of the past and the past and the present in English uninhibited by constraints of geography, race, caste or creed in 1988. I was not fully aware of the full implications. I had not the remotest idea, nor was ever there the possibility, of my pursuing relentlessly this massive and multi-dimensional work of bring out such a publication. The need for such a book has been felt for long and it has been the Divine will as T.S. Parthasarathy avers that I should take it up, who else could?\u003c\/p\u003e \u003cp\u003e This assumes particular significance in the context of men of eminence having made references to the lives of some composers and musicians though very briefly in their works. The venerable Subbarama Dikshitar, author of Sangita Sampradaya Pradarsini, the eminent Dr. U.Ve. Swaminatha Ayyar, father of Tamil Research, M. Abraham Panditar, author of the colossal work Karnamrta Sagaram, Prof. P. Sambamurti and Dr. V.S. Sampathkumaracharya had all moved in the direction in some way or other but in a highly restricted way.\u003c\/p\u003e \u003cp\u003e \u003cb\u003eBernard M. Baruch said:\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e ‘Millions said that apples fall, but\u003c\/p\u003e \u003cp\u003e Newton was the one to ask why.\u003c\/p\u003e \u003cp\u003e In this view, again, one has to accept the statement of T.S. Parthasarathy. I offer my humble thanks to the Lord for having selected me among the millions of robust souls that inhabit this planet and entrusted the arduous task. I d not have the merit to approach anywhere near the Himalayan stature of the Bard of Tiruvaiyaru but none need grudge me the opportunity to avail of a passage from his song Daya Juchuta kldi velara (Ganavaridhi) which marks a watershed in his effulgent life (and incidentally mine too):\u003c\/p\u003e \u003cp\u003e The Garland series cover as many as one thousand four hundred lives and rightly the pioneering work has been described as a ‘treasure-house of information’, ‘a source book’ and a ‘vital book of reference’. There is none else of such magnitude and perhaps there may be none! Sunil Gavaskar proudly claimed that he was the first to reach the ten-thousand runs mark but mark but Allan Border crossed it soon after and it may be a distant day for any to break it! They say records are meant to be broken! How I wish that the record of the Garlands is broken!\u003c\/p\u003e \u003cp\u003e It has indeed a challenging herculean task to do the job alone, like the proverbial Ekantapuram Station Master, without help –governmental or institutional, monetary and secretarial. By its nature, the work is one of colossal dimensions involving heavy correspondence, visits, contacts, etc. Artistes too have little time to respond to requests. The four volumes have consumed nine years of my brief tenancy on this great land, the Bharat!\u003c\/p\u003e \u003cp\u003e Science or Art, noting attains its sampurnatvam, culmination of glory, acme of excellence or the grandeur of its inherent sublimity in the absence of great masters, maestros and wizards who contribute its soul and substance. One lacks the will to ignore the urge to admire once more their enduring contribution and the effulgent legacy they have graciously legated. (Do not rasikas relive the experience of an enthralling concert and do they not long to hear their favourite artiste sing a particular place over again? Does not Nandanar of Gopalakrishna Bharati long and sing for just another vision of the Lord-yes, just one more!) Not that what had been said earlier was defective but what has already been said just tickles the conscience to feel that sufficient story had not been reeled out yet and it yearns for more! God is one, religion protest; but does not man create different gods highlighting individual aspects of his choice Even so, the lives of a few, who have left impressionable imprints in the sphere of the oldest living science and without whose advents art would have surely been the poorer, find a place herein but from different angles.\u003c\/p\u003e \u003cp\u003e There has often been a suggestion to limit the dictionary to the all-time greats and the stalwarts of the day only. But it is unfair to exclude those in the second-line who are to ascend the ladder to occupy the top slots tomorrow. It is also a perplexing job to draw the dividing line. What is popular may not also be the traditional. Audience-response too gives little guidance. Critics laud the performance of most of them even as they express their dismay at and lament vociferously over the fall in standards! Some musicians give prominence to lakshana while others to lakshya. Some suggested separate volumes for composers and for musicians Were Maha Vaidyanatha Ayyar, Patnam Subramania Ayyar and the like composers or performing artistes? The same issue confronts many cases such as those of Gopalakrishna Bharati, Harikesanallur Muthiah Bhagavatar, Lalgudi Jayaraman, Thanjavur Sankara Ayyar and scores of multi-dimensional lives. Thus the suggested classification has not been found easy to implement.\u003c\/p\u003e \u003cp\u003e The society owes a deep debt of gratitude to those masters of the glittering galaxy of the past who rejuvenated and revitalised the art from time to times ignoring personal pangs and pains, hunger and pains, hunger and privations in a greater or lesser degree. What were their lives like? It was succinctly by Sangita Kalanidhi T. Chowdiah that many villages had boasted of musicians of eminence but that many of them did not know where the next meal would come from! Simizhi Sundaram Ayyar and many others are hailed as titans but they were all left severely alone. Mudicondan Venkatarama Ayyar was described by Dr. Semmangudi Srinivasa Ayyar as ‘musicians’ but the hard fact remains that he was not supported well. The Prince of Karnataka vainikas, Shamanna in his early days had ‘roamed about the streets carrying the vina on his shoulders (like wood-cutters ploughmen) looking for homes with festoons for a chance invitation to play!’ What had Tyagaraja or Dikshitar got in material terms for the glittering legacy they left behind? Maha Vaidyanatha Ayyar starved to preserve and insure his golden voice though he could have commanded a royal table. What were indeed the private lives of Mahakavi Subramanya Bharati or of his mentor Gopalakrishna Bharati like? Their cerebral and effulgent poetical and musical fires ahd learnt to stifle the pangs of physical hunger and wants. Of course, conditions were similar and perhaps worse in the West too. Mozart could not provide for a decent burial to his beloved nor for his own but his manuscripts were sold for a hefty 2585000 recently Beethoven did not stir out of his only pair of shoes repair! The simple lives of most musicians and composers did not see milk and honey flowing in their homes. Musical affluence was in inverse proportion to material prosperity. And they bore with equanimity all sufferings to promote, enrich and ennoble art; (it was all Krisnarpanam) and they knew not what else to do! Their commitment and marriage to the fine art were as irrevocable as hindu marriages were them! How many Tyagarajas, Dikshitars, Bharatis Rajarathinams should have languished in chill penury! Why all the jayantis, aradhanas, etc. now? One sees fascinating photos with fragrant garlands on and witnesses memorial functions aesthetically arranged. Pious tributes are paid since man has not learnt of any other mode or means of honouring and remembering the remarkable legacy of the great and discharging the great and discharging the deep debt of gratitude he owes! ‘On some fond breasts the departed souls rely! Some pious drops the departed require! Large was their bounty and their souls sincere. They gave to art all they had perhaps they gained from Heaven (was it all they wished?) immortality and a silent rest!’ (Thomas Gray as modified.) I have hastened to include as many of the past veterans as possible before the ravages of man, memory and time obliterate the frugal information now available. They canalized their energies and the glittering ingenuous flame in them to promote sublime, soulful music, arts, emotion-packed paintings and speaking sculptures, ageless architecture, etc. What a magnificent array of creative assets have they legated!\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003ccenter\u003e \u003cb\u003eContents\u003c\/b\u003e\n\u003c\/center\u003e \u003cp\u003e \u003c\/p\u003e \u003ctable width=\"100%\"\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd width=\"10%\"\u003e 1\u003c\/td\u003e \u003ctd width=\"70%\"\u003e Prayar\u003c\/td\u003e \u003ctd width=\"20%\"\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 2\u003c\/td\u003e \u003ctd\u003e Preface\u003c\/td\u003e \u003ctd\u003e 1\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 3\u003c\/td\u003e \u003ctd\u003e Acknowledgements\u003c\/td\u003e \u003ctd\u003e 8\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 4\u003c\/td\u003e \u003ctd\u003e Dedication\u003c\/td\u003e \u003ctd\u003e 9\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 5\u003c\/td\u003e \u003ctd\u003e List of illustrations\u003c\/td\u003e \u003ctd\u003e 10\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 6\u003c\/td\u003e \u003ctd\u003e Table of contents\u003c\/td\u003e \u003ctd\u003e 11\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e\u003cspan style=\"line-height: 19.6px;\"\u003ePart I\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e i\u003c\/td\u003e \u003ctd\u003e Tyagaraja, Saint or Poet?\u003c\/td\u003e \u003ctd\u003e 15\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ii\u003c\/td\u003e \u003ctd\u003e Sri Tyagaraja Astottara Sata Namavali (By Bangalore Nagaratnammal)\u003c\/td\u003e \u003ctd\u003e 33\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iii\u003c\/td\u003e \u003ctd\u003e Pancharatna Kritis of Tyagaraja-An Eye-\u003c\/td\u003e \u003ctd\u003e 38\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iv\u003c\/td\u003e \u003ctd\u003e Mystery behind the Epic Success of Syama Sastri Tectical manoeuvre and Underlying significance\u003c\/td\u003e \u003ctd\u003e 44\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e v\u003c\/td\u003e \u003ctd\u003e Mahakavi Subramania Bharati-A Colossus of Bhava and Rasa in Melody\u003c\/td\u003e \u003ctd\u003e 47\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e vi\u003c\/td\u003e \u003ctd\u003e Travails and Ytribulations of an Artiste It was not all brhmanandam to sing!\u003c\/td\u003e \u003ctd\u003e 60\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e vii\u003c\/td\u003e \u003ctd\u003e Sringara in Bhakti in Dance\u003c\/td\u003e \u003ctd\u003e 64\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e viii\u003c\/td\u003e \u003ctd\u003e Ranjayati iti Raga\u003c\/td\u003e \u003ctd\u003e 67\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e ix\u003c\/td\u003e \u003ctd\u003e Pre-eminece of the Cultural Heritage of Chola Desa\u003c\/td\u003e \u003ctd\u003e 73\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e x\u003c\/td\u003e \u003ctd\u003e Voice of Melody cries\u003c\/td\u003e \u003ctd\u003e 76\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e\u003cspan style=\"line-height: 19.6px;\"\u003ePart II-A: \u003c\/span\u003eThe Cavery flows westwards!\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 1\u003c\/td\u003e \u003ctd\u003e Tyagaraja, Saint or Poet?\u003c\/td\u003e \u003ctd\u003e 84\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 2\u003c\/td\u003e \u003ctd\u003e Wallajahpet Venkataramana Bhagavatar\u003c\/td\u003e \u003ctd\u003e 102\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 3\u003c\/td\u003e \u003ctd\u003e Mysore Sadasiva Rao\u003c\/td\u003e \u003ctd\u003e 105\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 4\u003c\/td\u003e \u003ctd\u003e Bakshi Subbanna\u003c\/td\u003e \u003ctd\u003e 107\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 5\u003c\/td\u003e \u003ctd\u003e R.K. Venkatarama Sastri\u003c\/td\u003e \u003ctd\u003e 109\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 6\u003c\/td\u003e \u003ctd\u003e R.K. Srikantan\u003c\/td\u003e \u003ctd\u003e 111\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e\u003cspan style=\"line-height: 19.6px;\"\u003ePart II-B: \u003c\/span\u003eThe Tamil Pancharatnas\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 1\u003c\/td\u003e \u003ctd\u003e Muthu Tandavar\u003c\/td\u003e \u003ctd\u003e 116\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 2\u003c\/td\u003e \u003ctd\u003e Papanasam Mudaliar\u003c\/td\u003e \u003ctd\u003e 124\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 3\u003c\/td\u003e \u003ctd\u003e Arunachala Kavirayar\u003c\/td\u003e \u003ctd\u003e 126\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 4\u003c\/td\u003e \u003ctd\u003e Marimutha Pillai\u003c\/td\u003e \u003ctd\u003e 129\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e 5\u003c\/td\u003e \u003ctd\u003e Gopalakrishna Bharati\u003c\/td\u003e \u003ctd\u003e 135\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e\u003cspan style=\"line-height: 19.6px;\"\u003ePart II-C: \u003c\/span\u003eComposers, Musicians, Musicologista, etc,\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e 141\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e\u003cspan style=\"line-height: 19.6px;\"\u003ePart II-D: \u003c\/span\u003eBiographical Touches \u0026amp; Embellishments\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e 276\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e\u003cspan style=\"line-height: 19.6px;\"\u003ePart III\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e A\u003c\/td\u003e \u003ctd\u003e A peep into the World of Hindustani Music\u003c\/td\u003e \u003ctd\u003e 321\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e B\u003c\/td\u003e \u003ctd\u003e Great Events, Memorable incidents \u0026amp; Unique Records\u003c\/td\u003e \u003ctd\u003e 332\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e C\u003c\/td\u003e \u003ctd\u003e Thoughts and Sayings\u003c\/td\u003e \u003ctd\u003e 354\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e D\u003c\/td\u003e \u003ctd\u003e Interesting incidents and Notes\u003c\/td\u003e \u003ctd\u003e 370\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e \u003cstrong\u003e\u003cspan style=\"line-height: 19.6px;\"\u003ePart IV\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e I\u003c\/td\u003e \u003ctd\u003e Bibliography\u003c\/td\u003e \u003ctd\u003e 399\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e II\u003c\/td\u003e \u003ctd\u003e Chronological Table of Compossers, Musicians, etc,\u003c\/td\u003e \u003ctd\u003e 402\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e III\u003c\/td\u003e \u003ctd\u003e Addenda, Corrigenda to Books I, II \u0026amp; III\u003c\/td\u003e \u003ctd\u003e 405\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e iv\u003c\/td\u003e \u003ctd\u003e Index to individual composers, musicians, etc.\u003c\/td\u003e \u003ctd\u003e 407\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003e \u003c\/p\u003e \u003ccenter\u003e \u003cb\u003e\u003cu\u003e\u003cfont color=\"red\" size=\"5\"\u003eSample Pages\u003c\/font\u003e\u003c\/u\u003e\u003c\/b\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164b.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164c.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164d.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164e.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164f.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164g.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164h.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164i.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164j.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164k.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164l.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164m.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164n.jpg\"\u003e\n\u003c\/center\u003e \u003cbr\u003e \u003ccenter\u003e \u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nam164o.jpg\"\u003e\n\u003c\/center\u003e\n\u003c\/div\u003e","brand":"Occultnthings","offers":[{"title":"Default Title","offer_id":44613517607213,"sku":"NAM164","price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2094\/2117\/products\/nam164.jpg?v=1677709335","url":"https:\/\/occultnthings.com\/fr\/products\/fragrant-garland-biographical-dictionary-of-carnatic-composers-and-musicians-nam164","provider":"Occult-N-Things","version":"1.0","type":"link"}