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Lit. 'Turkic Goddess', this is a formal Tamil & Malayalam term for any of several defied Indo-Muslim ladies who historically abandoned their own Irano-Semitic heritage in order to marry a Dravidian man. Their statues are worshipped across Dravida Nadu & legends of their Inter-Zat Marriages are celebrated as a potent reminder of South Indian phallic magnitude & Dravidian Pride. To be distinguished from the non-deified & more contemporary 'Thulukkachi Pondatti'.

For centuries the most beautiful of our Indo-Muslim women have exhibited a marked sexual bias in favour of Black Dalit-Dravidian men. Thus, the fairest Shahzadis of the Sultans & Caliphs of Delhi are recorded to have deliberately selected the darkest Malabari or Telinga prince from scores of suitors' paintings. Simultaneously, the most aristocratic Banos, Bibis & Begums of the Nawabs of Hindustan are reported to have eloped with these 'Negroes of India'. In S. India such Interzat Couples have been deified, the man venerated as a divine reincarnation & the lady as a 'Muslim Goddess'.

Traditionally both Islamic & Dravida histories ascribe this preference to the mythical size of the 'Andhra Black Cobra'. Scientifically, the Dravidian Penis indeed dwarfs the Indo-Aryan Penis, volumetrically averaging twice the Indian Muslim Penis & thrice the Brahmin Penis. Hence 'Ali-Lingam' (Hermaphrodite Penis) & 'Mukkal' (3/4) are jocular S. Indian synonyms for the Muslim Penis.
1) "THE TULUKKA NĀCCIYĀR'S STORY: In the Srirangam temple chronicles, the Kōyil Oḻuku, the story opens during the 14th-century invasion of S. India by the ... Delhi Sultanate. The Turkic army plunders the Srirangam treasury & takes away ... the main processional idol of the temple, known as Aḻakiyamaṇavāḷa Perumāḷ, Viṣṇu as the 'Handsome Bridgegroom.' As the troops head back N., a woman ... disguises herself & follows their camp ... {p 138} Meanwhile the Sulṭān's daughter discovers the handsome image of Viṣṇu lying in the storeroom & takes it to her room as a plaything. While the temple elders negotiate with the Sulṭān, the village woman gains entry to the women's quarters & discovers that Viṣṇu is 'playing with the princess during the day in the form of an icon, & at night in his full splendor as a human incarnation.' (Hari Rao 1961: 26). The chronicles are too discrete to describe just what they do at night." - 'A Muslim Princess in the Temples of Visnu' Richard H Davis. Int J Hindu Studies 8.1-3 (2004) 137-56: 138

2) "The love of the princess from Delhi for Viṣṇu is also remembered around Melkote in folk songs. According to these retellings, Viṣṇu ... heard of the princess' great beauty & travelled to Delhi ... he went to her palace & fell in love with her ... & she with him. Beloved Son would pose as a beggar during the day, while at night he would revert to his real form to enjoy the princess' company." (Davis: 140)

3) Khushboo Khan is a Thulukkachi Nachiyar
by Moollah_Do_Pyaza August 31, 2012
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