India Immemorial by Narayan m

India Immemorial Cover Story

September, 2009 • Rs. 75/- • Issue 1 • Vol 1

ch n u a L e Issu

India’s first monthly heritage magazine

DURGA POOJA Propitiation of Shakti, the Goddess

DASARA Recapturing the royal splendour of Mysore

RAM LEELA

Celebration of the triumph of good over evil

an India Inc.IndiaGroup Immemorial Publication • September 2009 • 1

India Immemorial • Vol-1 • Issue - 1 • September 2009

Editorial

• Heritage Matters

Editor Vijay Madhav Chief Features Editor Chethana Dinesh Associate Directors Anushree Das - Mumbai Rajini N - Bangalore Business Development Sonali Shinde - Mumbai 099874 03467 Aiyesha Farheen.A.P - Mysore 97400 55591 Photographers D C Nagesh Design Anekal Narayana Circulation Kumar 9731356593 website: www.indiainccom.com e-mail: iicomm_bby@yahoo.co.in iicomm_blr@yahoo.com iicomm_mysore@yahoo.com karnafeatures@gmail.com Advertisement & Enquiries Mumbai :

022-22642477 09324035043

Bangalore : Mysore :

080-26676064 9900948514, 9844040469, 0821-2341737 97400 55591

India Inc. Communications MUMBAI #134,1st Floor, Ashoka Complex, Lokamanya Tilak Marg, Mumbai - 400001 Tel: 022-22642477 BANGALORE No.37, Ist Floor, II Main Road, N.R.Colony, Bangalore - 560019, Tel: 080-26676064, Fax: 080-26676065 MYSORE #375,14 Main Road, Saraswathipuram, Mysore - 570009, Tele Fax: 0821-2341737 CHENNAI Block C-9, Flat No 16, South Asian Federation Village, Koyambedu, Chennai - 600170

From time immemorial…

ndia is a mesmerising country, a land of charming features and an amalgamation of several cultures in diversity. Down the lane from Indus Valley to present day, India has excelled with tradition in modernity and many cultures have evolved and contributed in their own way for the growth of art, architecture and literature. Perhaps, after the United Kingdom, India is only the second country to bring out a monthly heritage magazine, India Immemorial, which is a maiden attempt to showcase the country in the right perspective and bring awareness of its cultural vivacity in diverse dimensions. The magazine seeks to present its readers a wide variety of native and indigenous issues that seek to highlight places of historical importance and heritage sites, and folk and cultural practices. It also offers to showcase traditional products, traditional food delicacies and specialties, traditional/ ancient medicinal practices, naturopathy and fitness programs like Yoga. In today’s world, people are looking for natural remedies and India’s age-old medicinal practices come in handy to seek instant solutions. While Ayurveda, no doubt, continues to play a major role in ensuring good health, many other traditional and ancient household practices are helpful in natural healthcare. Manufacturers of lifestyle products are not lagging behind either. Even to this day, India’s indigenous products like diamonds, jewellery and handicrafts are in great demand the world over for their intricate designs, magnificent artistic qualities and elegance. India Immemorial is the right platform to showcase these product profiles in all their uniqueness and distinct identities to gain more acceptance and popularity globally. On this occasion, it would be imprudent not to mention the brain behind India Immemorial, Mr P Vijayan, former Managing Director of Karnataka Silk Industries Corporation, who inspired and set the roadmap for conceptualising this magazine. The present Managing Director, Mr M K Baldevkrishna, is equally supportive. Also, my sincere thanks to Mr Nikhil Gandhi, Group Chairman, SKIL Infrastructure Limited, Mumbai, for his consistent support and encouragement to our initiative. Dear Readers, we have just started our journey and still have a long way to go. We look forward to your bouquets, brickbats and suggestions to make this journey fruitful. Our special thanks to Canara Bank and to all our advertisers in making this magazine a reality. We seek their continued support for its progress. - VIJAY MADHAV

Cover paper artwork design ‘Ninth Day of Dasara’ by Kevin Kidney. American artist Kevin Kidney creates parades and stage shows, toys, books, and other fun things. A Walt Disney designer for over twenty years, he is currently co-owner of the Southern California– based creative company Kevin & Jody Co. Enjoy more of Kevin Kidney’s fanciful art online at www.kevinandjody.com.

Printed and Published by Vijay Madhav on behalf of India Inc. Communications wide DM order MAG(2)CR/PRB/137/07-08. Printed at Onyx Printers, #21, III Main Road, B.S.K. III Stage, Bangalore-560085. Worldwide rights reserved. Reproduction or translation in any language in whole or in part without permission is prohibited. Opinions carried in India Immemorial are the writers’ and not necessarily endorsed by the publisher. The publisher assumes no responsibility for the return of unsolicited material or for material lost or damaged in transit. All disputes are subject to the exclusive jurisdiction of competent courts and forums in Bangalore only.

India Immemorial • September 2009 • 3

We express our

profound thanks and gratitude to

Mr Nikhil Gandhi,

Group Chairman, SKIL Infrastructure Limited, Mumbai, for his support, inspiration and guidance in making

India Immemorial

a successful initiative...

Management & Staff

India Inc. Communications Mumbai • Bangalore • Mysore • Chennai

Contents COVER STORY

The Royal Splendour of Dasara It’s that time of the year again when Dasara is celebrated with much pomp and gaiety all over the country. India Immemorial takes a sneak peek into nine days of Dasara celebrations.

HERITAGE MONUMENT

LOOKING BACK 16

Revisiting the ruins of Nalanda, the first international residential university

EXCLUSIVE 20

Akbar’s mausoleum in Sikandra

IN FOCUS 32

Shantiniketan: Where peace once reigned

The magnificent Vishnu temple in Mannarkovil

ART & CRAFT 36

The allure of centuries-old Madhubani paintings

ARTEFACTS 40

ARCHITECTURE

MASTERPIECE 26

The Victoria Memorial in Kolkata cries for attention

6 • September 2009 • India Immemorial

The many murals and royal memorabilia at the Mattancherry Palace in Kochi

Splendour of Pallava architecture uncovered in Mahabalipuram

MILESTONE 46

The Indian Institute of Science in Bangalore completes 100 years

PHOTO FEATURE 50

The many faces of Ganesha, the Lord of Success

TRADITIONAL HEALTH PRACTICES 58

Rediscover tulsi, the woder herb

THEATRE 74

PEAKS OF INDIA 76

On top of the world in Pelling

TRAVEL 78

On a moonscape pilgrimage to snow-covered Ladakh

MUST-VISIT

SHOPPING Losing oneself in the colourful and chaotic streets of Jaipur

Theatre as a popular form of entertainment

Palamau Tiger Reserve in the Chotanagpur plateau

SPIRITUALITY 62

Lord Buddha, the Enlightened One

HOSPITALITY

CULTURAL FABRIC

The Lake Palace in Udaipur offers a glimpse of aristocracy

Baisakhi means different things to different people

TRIBES OF INDIA

ART & CULTURE 68

Chhau dance, a fine combination of dance and music

IN MEMORIAM

ANCIENT ART 72

Is there hope for puppetry?

The rituals, practices, crafts and culture of Nagas

Remembering the creative genius of Guru Dutt

REGULAR FEATURES 52 MONTHLY FORECAST 56 YOGA

86 CUISINE 59 VAASTU

India Immemorial • September 2009 • 7

In Brief

Touring the farms

n a bid to attract tourists to the villages, the Punjab Government has launched a farm tourism scheme in Rupnagar district. Detailed guidelines have been chalked out to rope in progressive farmers and farmhouse owners in the district. Under the scheme, a farmhouse owner plays host and guides the visitors. Those who have enrolled under the scheme provide clean, hygienic environment, equipped with modern facilities that meet the standards defined by the Punjab Heritage and Tourism Promotion Board. A farmhouse owner also provides home cooked food, comfortable accommodation and tell visitors about local agricultural practices like floriculture, harvesting, bee-keeping and dairying. Besides the farm experience, visitors will be exposed to local festivals and marriages. The quality of services offered by the farm owners will be verified by the district authority as well as the Tourism Department. The department provided mandatory training and technical know-how to the farm owners. Preference is given to farms which have agricultural land attached and only farmhouses with minimum two rooms are registered.

Shimla’s British heritage losing sheen

he imperial grandeur of buildings that were once institutions of power when this hill town was the summer capital of British India is slowly fading into oblivion. Some of the monuments and buildings constructed by the British in typical Tudor style - all wooden frames and shingled eaves - have been damaged or refurbished, while others have simply vanished. The ‘Queen of Hills’, as Shimla was fondly called by the British, is a picture of fallen glory, inflicted with the malaise of overpopulation, deteriorating civic amenities and haphazard construction.

Taj is safe

The people here consider that the buildings not only reflect the British era but are an important part of India’s own history - particularly its freedom struggle.

inister of State for Planning and Parliamentary Affairs V Narayanasamy has said that the Taj Mahal is in a good state of preservation. The scientific studies carried at the behest of the Archaeological Survey of India (ASI) on various structural aspects of the Taj Mahal by the Survey of India, Dehradun, and the Central Building Research Institute, Roorkee, have shown that the foundation of the monument as well as its super structure are stable and secure.

Shimla has a population of nearly 2,00,000 and hosts hundreds of tourists during the summer and weekends. The historic Ridge, an open space just above the Mall, has also become a hub of commercial activities. A large number of structures have come up on the Ridge after independence, tarnishing the regal magnificence of the hill town.

Heritage status to Pankaj Roy’s house

Many relics of the bygone era have either disappeared or are in ruins. The authorities concerned are now looking for solutions to check haphazard constructions in and around the town. They are also faced with the task of preserving the past. Plans are also afoot to conserve some historical buildings like Ellerslie (housing the state secretariat), Vidhan Sabha, Peterhoff (which was completely renovated after being devastated in a fire nearly two decades ago and now serves as the state guest house), United Services Club, Town Hall, Barnes Court (housing Raj Bhavan) and Gordon Castle.

ormer India cricket captain Pankaj Roy’s house in the northern part of Kolkata was accorded heritage status by the Kolkata Municipal Corporation (KMC). The KMC would now bear expenses for protecting and preserving the three-storied building that houses many memorabilia of Roy’s cricketing career. Roy (1928-2001), who became a legend after creating a world record of first wicket partnership of 413 runs in Test cricket with Vinoo Mankad against New Zealand in Chennai, lived in this house till his last days. 8 • September 2009 • India Immemorial

The town has 91 British-era heritage buildings that are in bad shape. Sadly, the government appears to bypass the important issue of conserving heritage buildings and that too after the 105-year-old KalkaShimla rail line has been chosen by Unesco as a world heritage site.

Hampi ruins - no longer in the red

he ancient ruins of Hampi in Karnataka have been taken off the list of world heritage sites in danger after a UN committee felt it was ‘no longer under threat’ following reduction in motor traffic around the site and the decision not to proceed with a planned shopping centre there. Hampi, also known as the City of Ruins, is the site of the oncemagnificent capital of the Vijayanagar Empire. Built between the 14th and 16th centuries, Hampi is among four world heritage sites removed from the danger list. To quote a Unesco statement, “Improved conservation has allowed the World Heritage Committee to remove Cologne Cathedral (Germany), Djoudj National Bird Sanctuary (Senegal), the Group of Monuments at Hampi (India) and Ichkeul National Park (Tunisia), from the list of world heritage in danger.” Being put on the danger list is aimed at encouraging support for the sites and for its preservation. “Reductions in motor traffic and the decision to change the location of a planned shopping centre enabled the committee to determine that the Group of Monuments at Hampi, inscribed on the World Heritage List in 1986 and on the Danger List in 1999, was no longer under threat,” the statement said. Spread over 25 sq km, the ruins include many beautiful temples and palaces. The World Heritage Committee has also accepted the recommendations formulated by 50 international experts on ways to respond to the threat of climate change to many World Heritage sites, including Mount Everest (Sagarmatha National Park in Nepal), Australia’s Great Barrier Reef and Venice (Italy). International experts had submitted their recommendations in March.

Gurudwara in Leh

Welcome to the heritage sites in J&K

eople interested in enlightening themselves about the rich history of Jammu and Kashmir can now enjoy it to their heart’s content, as several old monuments and heritage sites have been thrown open for public viewing by the State Government. The government has formally unveiled the heritage sites, monuments, artefacts, manuscripts and even literature of the state for all visitors. The novel initiative has come up as a part of the State Government’s attempt to promote many monuments other than the already popular attractions like the 17th century Mughal Gardens, the Nishat Bagh, the Shalimar Bagh and the famous Dal Lake. Monuments like the Pari Mahal (Palace of the Fairies) and Hari Parphat Fort have been given façade lightings so that tourists can appreciate the beauty of the old relics, even at night. Pari Mahal, which was initially a royal observatory, built by Mughal Emperor Dara Shikho, is a 17th century monument. Whereas the Hari Parbat Fort, which was built by Atta Mohammed Khan, is an 18th century monument and is located at the top of Hari Parbat, a mountain. Officials, along with locals, hope the ‘heritage tourism’ will create awareness about the State’s rich culture and encourage the younger generation to cherish the legacy.

uilt by Buddhist Lamas nearly five centuries ago to commemorate the visit of Guru Nanak, the founder of the Sikh religion, to Ladakh, the Gurudwara Pathar Sahib is visited by Hindu and Sikh devotees, besides tourists. Although Ladakh’s culture and religion are deeply influenced by Buddhism, the existence of Gurudwara Pathar Sahib adds to the region’s religious history and identity. Legend has it that many centuries ago a demon had terrorised the people of Leh. Baba Guru Nanak, who visited the region around 1516 AD, came to know about the problem and decided to bless them with his sermons. Locals welcomed him with open arms. His growing popularity angered the demon and in a fit of rage, he decided

to kill Guru Nanak with a large boulder. The boulder, however, turned into wax as soon as it touched Guru Nanak. Thinking the Sikh Guru must have got killed by the boulder, the demon appeared only to be shocked to find Guru Nanak Dev meditating. He pushed the boulder with his right foot, but as it had already melted into wax, his foot got embedded in it. Realising Guru’s enormous powers, the demon fell at his feet and sought forgiveness. Since then, resident Lamas revere the boulder and offer prayers to it. In 1948, the Gurudwara Pathar Sahib’s maintenance was taken over by the Army. The region has a sizeable Sikh population and devotees visit the site to have their wishes fulfilled.

India Immemorial • September 2009 • 9

Mysore Palace

The Royal Splendour of

Mysore Dasara Dasara celebrations in the Royal City of Mysore are a show of royalty, splendour, music, dance and sports. Being the State Festival of Karnataka, it receives much patronage. 10 â&#x20AC;˘ September 2009 â&#x20AC;˘ India Immemorial

Cover Story Jamboo Savari in its full glory

ome September and the Royal City of Mysore wakes up to its royal past, highlighted with pomp, grandeur and vibrancy. Well! It’s Dasara time folks. While Jamboo Savari will take one to the bygone era of the kings, the dance, music, theatre, sports and literary events held during the festival will acquaint one with not just the culture and heritage of Mysore but that of Karnataka too. The State Festival of Karnataka, Dasara is an event that is celebrated with much pomp and gaiety.

IAF. Jaguar fighters, Chetaks, MI-8s, Kiran and Deepak set the skies roaring. The icing on the cake comes in the form of mock attacks performed on enemy targets by commandos who descend from helicopters, and skydiving done by paratroopers. Flower show, an annual feature, is also sure to leave people enthralled. Each year a huge statue

is made with flowers and displayed. Dry flower, Japanese, Dutch and Western styles of flower arrangements are also seen here. Various varieties of vegetables and fruit plants are displayed. Stalls selling horticultural products are also put up. Bonsai, ikebana, vegetable carving, flower rangoli and drawing competitions

The nine-day Dasara celebrations are kicked off with a traditional pooja offered to Goddess Chamundeshwari, the presiding deity of Chamundi Hills. The following days, right up to Vijayadashami, are no less than a carnival as the Royal City plays host to a variety of activities like music, dance and sports. Adding zing to the celebrations is ‘Yuva Dasara’ when top music and dance performers from across the country are invited to present shows as part of the event. Apart from biggies in the Kannada entertainment world, the likes of Hema Malini, Usha Uthup, Shaan, Sonu Nigam, Shreya Goshal and Kunal Ganjawala are roped in year after year to entertain the Dasara crowd. Added very recently to the list of ‘must-see’ is the air show. Mysore skies are hijacked by remote controlled tiny planes and helicopters. However, the star attractions are the metal birds from

Dasara Flower show India Immemorial • September 2009 • 11

Cover Story Gombe Habba, a tradition that is of great relevance in Tamil Nadu and Andhra Pradesh apart from Karnataka, dates its origins back to the Vijayanagara kingdom. Dasara marked the triumph of good over evil. Since kings fought to protect their people and ensure peace, people worshipped them. But as not everyone had access to kings, they started making dolls that represented the king and queen and worshipped them, thus heralding the tradition of doll keeping. Even today, the king and queen dolls assume prime position in the arrangement that is placed on temporary steps. Dolls representing Chamundeshwari are also kept as she signifies the triumph of good over evil.

Jumbo event After the world of dolls, it is time to witness the majestic jamboo savari. The procession that marks the end of the nine-day festival dates back to Vijayanagar empire. It is held on Vijayadashami, the day when the kings used to launch wars or expand their territories. Wadiyars who ruled Mysore brought this tradition to Mysore.

Dasara Exhibition are held as part of the event.

is a large variety to choose from.

Pet show, film festival and adventure sports activities are also part of the itinerary. While on sports, try and catch a wrestling competition. This particular sport was patronised by the Wadiyars who ruled Mysore. These matches were of great significance during those times and thus continue to be held even today.

The exhibition was started in 1877 to showcase the achievements of the State. While government departments continue to put up their stalls, over the years artisans from across India started participating in the expo to sell their goods. Children will surely enjoy a visit to the expo as many joy rides are offered here.

Don’t also forget to drive through the city as prominent roads, government and private establishments, shops and even homes are lit up. The illuminated Mysore palace (over 90,000 bulbs are used for lighting) where classical music and dance performances are arranged, and Chamundi Hills make for the best views. Rides in traditionally decorated tongas (horse carriages) or heritage walks are also a good way to explore the city.

Dolled up

Dolls on display called Gombe Habba Food forms an integral part of any culture and having stressed yourself out with explorations, hitting the annual food fair would be a good idea. Along with delicacies specific to Mysore, famous food items from across the State are also on offer.

Exhibition A consumer fair organised as part of the festivity is another place where you will experience Brand Mysore. Products, be it silk or sandal soaps - there 12 • September 2009 • India Immemorial

Gombe habba (Doll festival) is another Dasara tradition that will entice the young ones. Dolls depicting Gods, Goddesses and scenes from epics such as Ramayana and Mahabharatha are arranged in most houses. But in an attempt to popularise this tradition, some institutions and galleries arrange public display of dolls across nine days or navaratri.

While durbars (they are held to this day at the palace by royal scion Srikantadatta Wadiyar and passes are issued to view the same.), cultural and sports events are being held over nine days, the most distinctive feature of dasara is the procession that is held on a grand scale. In those days, the king would start his Vijayadashami day by worshipping the royal sword and offering pooja at the Bhuvaneshwari temple. He would then sit on the golden howdah that is placed on an elephant and go on a procession. A 21-cannon salute marked the beginning of the event that culminated at Bannimantap where the present day torchlight parade is held. After reaching Bannimantap, the king performed pooja to the Banni tree there. It is believed that the Pandavas had hidden their arms during their incognito life and also that it was from here that Arjuna had retrieved his bow – Gandiva -

This tradition is particularly helpful in reliving the past and informing the younger generation of their culture, heritage and mythology. Dasara festival, the procession in particular, forms an integral part of any arrangement. To contemporise the arrangements, modern themes such as sports, famous monuments, recreational facilities and important events are recreated. From the traditional soft wood and mud dolls to papiermâché, clay, plastic, plaster of Paris, dolls come in all sizes, shapes and textures.

to defeat the Kauravas. Thus, worshipping the tree before launching a war was important for kings. After the pooja, the king received a guard of honour from his soldiers and then watched the torch light parade that ended with fire works. The procession that included camels, horses, elephants, musicians and the army then returned to the palace. The king used to interact with people on his way and also distribute sweets and gifts to the needy.

Post 1969, Dasara is being celebrated as a State festival by the government. Since then the route and composition of the procession have changed. The idol of Goddess Chamundeshwari is placed in the 750 kg howdah. The chief minister inaugurates the procession and the royal scion is invited to view the procession. After performing the Nandi dwaja pooja and seeking the blessings of Chamundeshwari, cannon shots are sounded and the procession begins from the palace premises. Today’s procession includes tableaux, folk dance troupes, music bands, elephants, horses and camels. Among the prominent participants is the police band. Set up in 1865 with the patronage of the kings and the British, the band was divided into Carnatic and western divisions. Later it was merged and was handed over to the Police Department. Nearly 500 members take part in the procession. Adding star value to the procession are the elephants. Twelve trained jumbos participate in the event. They are given a royal treatment right from the word go. The elephants are brought from forests around Mysore and on their entry into the city, they are given a grand welcome. Roads are decorated with buntings, banners and rangoli. Dances are performed in their honour. They are also offered a pooja. Once in the city, they are taken to a camp and trained everyday. They are also on a strict diet. The mahouts and their families accompany them. On the D-day, the camp turns into a beauty parlour and the pachyderms are painted in vibrant hues. They are even decked up with jewellery such as rings, anklets, neck pieces and bells. They are an interesting sight to watch.

Tableaux as part of the Dasara procession The procession also serves as a platform to showcase the State’s culture, heritage and tourism as several tableaux are taken out in this connection. Seating arrangements have been made to witness the event in the palace and on the roads through which the procession passes.

Parade Torchlight parade comes as the grand finale. You may have to deal with the push and the pull of the crowd, but the procession and the parade are totally worth it. In the past, the parade registered the participation of the king’s military only. It was held to show their enemies the capabilities of the ruling king’s army. Fireworks were a part of the programme and it was a huge hit with foreign visitors. Today’s parade sees the participation of police, home guards, scouts and guides, army service corps, among others, and includes a laser show on the history of Mysore, dance programmes to patriotic songs, equestrian show, torch light show, motor cycle stunts, tent pegging, march pasts and fireworks. So, this holiday season, if you are wishing to pamper yourselves with some royal treatment, you surely know where to head!

- Shruti I L India Immemorial • September 2009 • 13

Cover Story

The many moods of

Dussehra in Kullu

Garba in Gujarat Colour ful treat for the senses

avratri is surely one of the world’s most celebrated festivals. Millions dance, sing, pray and fast to evoke the blessings of God on the nine nights of Navratri. In Gujarat, the excitement of Navratri begins long before the festival. People, irrespective of age and gender, ready themselves for the garba and dandiya nights by designing, stitching or buying the best of clothes. All the major towns and cities of Gujarat like Ahmedabad, Vadodara, Surat, Rajkot, Bhavnagar and Jamnagar are filled with vendors selling colourful costumes embellished with embroidery, morror inlay, applique, tieand-dye and prints. So also with ornaments that are designed to cover everty part of the body from head to toe. While women wear chaniyas, ghagras and odhnis, men turn out in colouful turbans, jackets and shoes. As the festival begins, each and every housing colony is soaked in revelry and celebration. Sheri garba dance programmes are organised when people attired in bright costumes dance to their heart’s content. The dances are usually centred around mandvi, a structure erected for holding diyas. The popular garba dance gets its name from the perforated, iluminated pot called garbi that is placed on the floor of every house and lit on the first night of Navratri, also known as Norta, or the victory of women power. While the garba is a dance for women, the dandiya ras is performed by men. On Dussehra, the tenth day, people queue up in front of sweetmeat shops to buy fafda and jalebi.

14 • September 2009 • India Immemorial

Paying obeisance to Lord Raghunath

ussehra celebrations in the beautiful valley of Kullu begin on Vijaya Dashami and go on for about seven days. The distinctive feature of Dussehra in Kullu is colourful processions when people from all over the valley carry images of gods in gold and silver and converge on Kullu’s Dhalpur Maidan. These celebrations, however, are not directly related to the Ramayana, but to the story of King Jaganand who ruled the valley in the 17th C and established an idol of Raghunath (Lord Rama) on his throne. Hence, on the first day of the seven-daylong celebrations, Raghunathji, the reigning deity of the valley, is placed in a well decorated chariot and is attended by village deities mounted on colourful palanquins. This chariot is pulled by thick ropes from its fixed place in Dhalpur Maidan to another spot across it. The pulling of this rope is considered to be sacred. On the rest of the days, all the gods of the valley visit Kullu to pay their respects to Raghunathji. On the last day, the chariot is taken near the bank of River Beas where a pile of wood and grass is set afire symbolising the burning of Lanka. The chariot is then brought back to its original place and the idol of Raghunathji is taken back to its temple in Sultanpur, where it rests till next Dussehra. As in most parts of the country, Dussehra celebrations in Kullu are marked with pomp and gaeity. People of the valley seek Lord Raghunathji’s blessings by staging graceful performances. Choliya and natti dances and songs sung by Gaddi shepherds add colour to the festivities of Dussehra. While the valley is at its colourful best during Dussehra, traders too have a boom time setting up temporary stalls offering woollen shawls, caps, blankets, pullan (traditional footwear made from plant fibre and goat hair) and handicrafts.

Dasara Ramleela

Celebration of the triumph of good over evil

Durga Pooja Propitiation of Shakti, the Goddess

urga pooja, also known as Durgotsab, is observed in honour of Goddess Durga. It is widely celebrated in West Bengal, Assam, Bihar, Jharkhand, Orissa and Tripura. Nepal and Bhutan also celebrate it with some variations. The poojas are held over ten days. It signifies the home coming of married daughter, Durga, to her father’s home. Bengalis celebrate the festival with new clothes and gifts. Families go out to see the pandals (temporary structures in which the idol of the Goddess is placed). Celebrated across religions, the pooja is no less than a carnival. Pandals are beautifully done and are, in fact, no less than art pieces. The idols have also been undergoing a makeover.

amleela is an integral part of Dasara fesivities in the North. It is an enactment that signifies the victory of Lord Rama over Ravana. On the tenth day, effigies of Ravana, Kumbhakarna and Meghnath are erected and burnt to establish the victory of good over evil. Ramleela translates into Rama’s play and includes songs, narration and dialogues. It is based on Ramacharitamanas and the best place to witness Ramleela is Varanasi. Many sadhus land in Varanasi to see and recite Ramayana. Ramaleela has even been considered one of the masterpieces of ‘oral and intangible heritages of humanity’.

Flowers and prayers are offered to the Goddess. An important part of the festival is the dance performed by traditional drummers during the pooja. At the end of the festival, the idol is taken for immersion in a procession amid loud chants. It signifies her return to her husband’s house. This is followed by Vijayadashami, wherein families visit each other and offer sweets. It is during this time that the pooja annuals are published. Durga Puja assumed great importance during British rule in Bengal. Durga was considered the icon of Indian independence by reformists. To bring people together, community poojas were also held.

India Immemorial • September 2009 • 15

Looking Back Nalanda was the first international residential university with 2,000 teachers and 10,000 students. A walk in the ruins of the university takes you to an era that saw India leading in imparting knowledge to the world, the era when India was a coveted place for studies.

owards the Southeast of Patna, the capital city of Bihar, is a village called the ‘Bada Gaon’, in the vicinity of which are ruins of the world famous Nalanda University. The university flourished from 5th to 12th century. Nalanda is known as the ancient seat of learning where 2,000 teachers and 10,000 students from all over the Buddhist world lived and studied. Nalanda is one of the few places distinguished as having been blessed by the presence of Buddha; it later became the site of the great monastic university. In fact, this university became the crown jewel of the development of Buddhism in India. The name – Nalanda - derives from one of Shakyamuni’s former births, when he was a king whose capital was here. Nalanda was one of his epithets, meaning “insatiable in giving.” This place saw the rise and fall of many empires and emperors who contributed to the development of

Revisiting the ruins of

Nalanda University. They built many monasteries and temples. Nagarjuna, a Mahayana philosopher, Dinnaga, founder of the school of logic, and Dharmpala, a Brahmin scholar, taught here. Excavation at this place has unearthed many stupas, chaityas, ancient Buddhist establishments, temples, monasteries, hostels, staircases, meditation halls, lecture halls and many other structures which speak of the grandeur this place enjoyed, when it was the centre of serious study. They also highlight the significance this place carried, as the most important Buddhist centre of worship and culture. According to Jain scriptures, Vardhamana Mahavira spent as many as fourteen rainy seasons in Nalanda. Pali Buddhist Literature has ample references to Nalanda, which used to be visited by Lord Buddha. During the days of Mahavira and Buddha, Nalanda was apparently a very prosperous temple

an ancient university

16 • September 2009 • India Immemorial

India Immemorial • September 2009 • 17

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onwards per room / per night

Rs. 3000/-

Looking Back there was an increase in the study and propagation of tantric teachings. Pandit Abhayakaragupta, a renowned tantric practitioner, evidenced this. Nalanda was the largest residential centre of learning that the world had ever known. There were thousands of students and teachers. The subjects taught at Nalanda University covered every field of learning. The courses offered at Nalanda included the study of scriptures of the Mahayana and Hinayana Schools of Buddhism, Brahminical vedic texts, philosophy, logic, theology, grammar, astronomy, mathematics and medicine. city, a great place of pilgrimage and the site of a celebrated university. Nagarjuna, the famous Mahayana philosopher of second century AD, studied at Nalanda. The Gupta kings patronised these monasteries, built in old Kushan architectural style, in a row of cells around a courtyard. King Harshavardhana has gifted a 25 m tall copper statue of Buddha.

There are many versions of what the term Nalanda means. One is that ‘nalam’ means lotus and ‘da’ means to give. Both combined together, Nalanda means the ‘Giver of Lotus’. Since Lotus is supposed to represent knowledge, Nalanda means the ‘Giver of Knowledge’. According to a Chinese legend, a naga was

Since the time of Buddha, bhikkus were encouraged to study various arts and sciences. Learning was greatly encouraged, as it served the dual purpose of knowledge gain and practice. Monks from across the world came to the university seeking admission. They took to learning so that they might practice it, realise Dhamma and thereby enrich the masses. The old and incapable were suggested to attach more importance to the practice of meditation. Following Hieun Tsang’s departure, eleven Chinese and Korean travellers are known to have visited Nalanda. I-Tsing, who travelled to India by the sea route and spent over ten years in the same monastery, observes that the learned priests of Nalanda used to ride in sedan chairs and never on horseback. He mentions eight monastic buildings and over 300 apartments. These apartments were small, rectangular cells serving as single and double seated rooms for students. From these accounts, we

Famous Chinese traveller and scholar HieunTsang who stayed here had left ecstatic accounts of both the ambience and architecture of this unique university. Nalanda was a flourishing centre of learning in many ways like a modern university. There was a rigorous oral entry examination conducted by erudite gatekeepers and many students were turned away if found unsuitable. To study or to have studied at Nalanda was a matter of great prestige. However, no degree was granted nor was a specific period of study required. Monks measured time by a water clock, which was divided equally for study and religious rites and practices. Nalanda eventually developed into the greatest centre of Buddhist learning. Students from China, Korea, Sri Lanka, Indonesia and from various regions of India came to Nalanda to study. The libraries were vast and widely renowned, although there is a legend of a malicious fire in which many texts were destroyed and irrevocably lost. During the Gupta age, the practice and study of the Mahayana, especially the madhyamaka, flourished. However, from 750 AD, in the Pala age,

injured while digging the earth to lay the foundation for a monastery. Soothsayers observed - “This is a very superior site. If you build here a sangharama (monastery), it will become highly renowned throughout the five Indies. For a period of a thousand years it will flourish. Students of all degrees will accomplish their studies here. But many will spit blood because of the wound given to the naga.” A long succession of kings from the 5th to the 12th century, including the great emperor Harshavardhana of Kannauj and the Pala kings, extended their royal patronage to ensure the progress and prosperity of the university. The town is depicted as prosperous and accounts for numerous buildings. One of them was a beautiful bathing hall supported by a hundred pillars. Buddha’s favourite disciple, Sariputra, was born here and he died preaching in this place. In the third century BC, Mauryan emperor Ashoka honoured the famous monk with a grand stupa. Individual monks and scholars often gathered here for discourses.

18 • September 2009 • India Immemorial

learn about the craze of Asian students to qualify for admission at Nalanda. Normally, not more than two or three out of ten candidates were selected after routine screening that lasted for weeks. All the admission seekers were lodged in guest houses where the Dwar Pandits (gate professors) who guarded entry to the institution’s numerous courses, studied the personality, behaviour and intellect of the candidates. Close scrutiny of candidates was necessary to maintain the high standard of learning for which the university was famous for. Students seeking admission were supposed to have attained a degree of proficiency in Sanskrit grammar, Vedas, Upanishads and, of course, the canons of Buddhism. The Nalanda method of teaching was based on the concept of discussion and debate among the scholars under the guidance of respective teachers, something akin to today’s seminars. Freshers were lectured by teachers but more advanced students worked in smaller groups and there are even references of one teacher for a single student.

The student-teacher relationship was based on reverence, respect and affection. In case of sickness, students and teachers took care of each other. Students were responsible for the overall care and maintenance of the university. Sweeping the floor, organising the kitchen, maintaining discipline, allotment of rooms and residential arrangements were the responsibilities of the monks. On completion of their studies, pupils paid as much as they wished, to their teachers. Award ceremonies were periodically organised to honour meritorious students. After finishing their education in the University, scholars proceeded to the kingâ&#x20AC;&#x2122;s court and presented themselves for appointments or assignments. Scholars from Nalanda went to far off places to preach and propagate Buddhism. At times, they were invited to countries like Ceylon, China, Tibet, Java and Korea to translate the leading works of Buddhism into foreign languages, to establish monasteries or simply for royal consultation. A walk in the ruins of the university takes you to an era that saw India leading in imparting knowledge to the world, the era when India was a coveted place for studies.

How to reach Nearest airport: Patna, 93 km. Nearest railway station: Bakhtiyarpur, 38 km. Well connected by road to Patna, Rajgir, Gaya, Delhi and Calcutta.

India Immemorial â&#x20AC;˘ September 2009 â&#x20AC;˘ 19

Shantiniketan, which was once an abode of peace, is now a mindless tourist hotbed and a real estate paradise. It has given a quiet burial to traditional values and Tagoreana.

aharshi Debendranath Tagore, father of Nobel laureate Rabindranath Tagore, wanted it to be a retreat for those pursuing meditation. Gurudev, the visionary, saw in it an immense possibility of a different experiment. He set up a small school with only five boys so that they could grow up with Nature, beyond the restrictions of an urban lifestyle. And Gurudev christened it as Shantiniketan, literally meaning an abode of peace, a place where turbulent minds and scorched hearts would get Nature’s balm and comfort and, above all, peace of mind. That was on December 22, 1901. More than a century later, a devout Tagorean visiting Shantiniketan would only ferry back bagful of angst, despair and painful memories of the

travesty of a dream. It is as if a ruthless plunderer has run amok and let loose his men to perpetuate a loot of treasure India was once proud of. There cannot be two opinions on the need to move with the times, but the moot question that remains, and has been mightily trampled by powers-that-be, is whether the present dose of mindless urbanisation being carried out in utter disregard of the tranquil ambience of the place by the Sreeniketan & Shantiniketan Development Authority (SSDA), a Marxist-ruled municipal board, is in consistence with the modernisation and development of institutes of international repute. But first, the dream. Tagore had envisaged the place, about 180 km from Kolkata, differently “…I felt an urge to do something creative. With that, I came to Shantiniketan. At its southern

Shantiniketan:

Where peace once reigned 20 • September 2009 • India Immemorial

In Focus extremity, rows of sal trees… behind, in the east, a mango grove, some palm trees in the west and an old chaatim tree in the north-west. In front of the ashram, there were only open fields, stretching far into the horizon. There was rest and a strange but total quiet all around the place.” It was in these quiet, sylvan surroundings that Gurudev set about his task of establishing an ideal school. In many respects, it was a fulfillment of what the poet himself had missed out in his childhood. The poet’s own school, Brahmacharyashram, was modeled on the forest schools of ancient India, the hermitages. Gurudev taught under the shade of the tree while the students sat close to his feet; Nature around - wind, sun and sky - lent a different dimension to learning. Visva Bharati came into being in 1918. In

the poet’s own words, this was to be the world’s guest house, a place where students would come from all over the world `to realise in common fellowship of study the East and the West, and thus ultimately strengthen the fundamental condition of world peace through the establishment of free communication of ideas and knowledge between the two hemispheres.’ The process of transformation from the meditators’ ashram to Brahmacharyashram and finally to Visva Bharati took its own time. The need for meditation in tranquility having been served, the school did a wonderful job of preserving Indianness in turbulent Swadeshi times. And Visva Bharati, coming as it did after the Great War, was a reassertion of the values that bound all societies, specially the diverse cultural

ethos of India. In fact, faded photographs of young girls in long sleeves and saris and sober-looking boys in dhotis singing in clusters under the shade of trees often remind us what Visva Bharati used to be in Tagore’s times. Over the years, this university has evolved and is now one of the most prestigious universities in India offering degree courses in humanities, social science, science, fine arts, music, performing arts, education, agricultural science and rural reconstruction. “Graam chara oi ranga matir poth, amar mono bhuloy re (The red street which takes off from the village, captivates my soul)...” The red top soil of Shantiniketan inspired Tagore to write those memorable lines and, of course, Geetanjali, a

India Immemorial • September 2009 • 21

spring festivals are held; Dinantika - the tea club where teachers and staff would gather for a chat and Tin Pahar - where infant Tagore had once made three tiny hillocks of pebbles. Following Tagore’s demise, Visva Bharati was upgraded to a Central University through an act in 1951. Before its inglorious desecration leading to the most notorious heist of Tagore memorabilia in March 2005, the Rabindra Museum was once home to some priceless artefacts. Inaugurated by Jawaharlal Nehru in 1961, the Bhavan had on display manuscripts, letters, paintings and gifts presented to Gurudev by various foreign dignitaries, his handwritten letter refusing to accept the knighthood, the Nobel medallion and citation, and personal items of the poet. In the video parlour, Tagore’s voice can be heard.

collection of songs which earned him the Nobel Prize. It is only but natural that Shantiniketanis are far more possessive of Tagore and Tagoreana than Kolkatans are. The landscape is presently sparsely dotted with

palm, eucalyptus and sal trees. Among some of the notable places of historical and cultural interest are the Shantiniketan Ghar (room) - the place that saw the composition of several poems of Gitanjali; Upasana Ghar – the famous deityless Belgium glass temple; Amra Kunja (mangrove) where

Art lovers will enjoy the Kala Bhavan (art gallery) where works of famous Indian artists like Rabindranath Tagore, Abanindranath Tagore, Nandalal Bose, Binod Behari, Ramkingkar Beij, Asit Haldar, Mukul Dey, Nisikanta as well as foreign painters are on display. The Black House has unique sculptural designs of Bhar-hut Mahaballi Puram, Assyrian and Egyptian schools. Linguists can visit the China Bhavan and Hindi Bhavan. Visva Bharati has, in fact, already started offering degree

Faded photographs of young girls in long sleeves and saris and sober-looking boys in dhotis singing in clusters under the shade of trees often remind us what Visva Bharati used to be in Tagore’s times. Over the years, this university has evolved and is now one of the most prestigious universities in India.

22 • September 2009 • India Immemorial

In Focus

courses in modern Indian, European, Asian and classical languages. Tagore’s vision of universalism also found a unique reflection in music. Visva Bharati University is more than just an exponent of Rabindra Sangeet. Sarod player Ustad Ali Akbar Khan inaugurated its Allauddin Music Centre. Pandit Ravi Shankar performed in Shantiniketan. Hindustani classical music is also offered as a degree course. Among the illustrious alumni of the university are film maestro Satyajit Ray, Mrs Indira Gandhi and Amartya Sen. Tagore fondly called Mrs Gandhi Priyadarshini who hesitated little to eat the same food as the other girls did, cooked meals at the hostel and dressed in the coarsest khaddar, with a natural ease. A visit to Shantiniketan without a trip to Amar Kutir (My Hut) will be incomplete. Initially developed for tribals to provide them with gainful employment and to enable them to sell their products, this unique enterprise has not only financially strengthened the position of tribals but also attracts a lot of tourists. Here, one can choose from a variety of things like leather bags, jewellery boxes, handloom and batik printed clothes. But little did Tagore foresee that his dream project would degenerate into a mindless tourist hotbed and a real estate paradise, giving a quiet burial to traditional values and Tagoreana. The burglary most foul - the Nobel medal heist - has blown the lid off of the darker sides of the place that is increasingly being turned into Ashantiniketan (abode of disturbance). When the plunder transcends its physical barriers and encompasses the soul, spirit and vision of a man who is considered by all and sundry as the most prolific literary mind of all times, heads ought to hang in shame. Unfortunately though, it’s not happening! Instead, excuses have been cooked up and the vested groups are working overtime to take a potshot at saner elements and the media. Many old ashramites raised an alarm in the early 80’s when a precious musical Java Bell, an important part of the Tagore treasure trove, disappeared under mysterious circumstances from the Kala Bhavan. They were later persecuted by the Visva Bharati authorities for being “too outspoken.” The Nobel heist, they point out, is just a natural corollary.

India Immemorial • September 2009 • 23

In Focus

Art lovers will enjoy the Kala Bhavan where works of famous Indian artists like Rabindranath Tagore, Abanindranath Tagore, Nandalal Bose, Binod Behari, Ramkingkar Beij, Asit Haldar, Mukul Dey, Nisikanta as well as foreign painters are on display. The pristine green and sylvan atmosphere has now made room for Western villas and resorts. “The surrounding was once full of tall sal trees punctuated by large water bodies that, besides being home to a variety of aqua species, used to house a motley group of migratory birds,” recalled an ashramite in her late 80’s. The care that ought to have been taken in preserving the rich heritage and tradition of Tagore and his lofty ideals for the spread of mass education, especially among the womenfolk in rural areas,

has been carefully given a backseat to promote real estate. According to a majority of ashramites, developers with strong political connections now enjoy the patronage and not scholars. “Classes that used to be held in the open, under the natural shade, have now mostly been moved into rooms while the construction of several bhavans for housing Tagore’s legend followed in great haste and without any planning. Industrialist-turned-donors made a creeping entry and many guest houses came up in their names in serious breach of Tagoreana, they rue.

These ashramites who spoke on condition of anonymity arising from apprehensions of a political backlash, fondly recalled the days when they used to sing together ‘Amader Shantiniketan / Amader Sab Hote Apan’ (Our Shantiniketan/The dearest to all of us) and stroll around tall sal trees in the windy mornings or evenings and commune with Nature. For them, the steady and increasing erosion of tradition and heritage all around is extremely painful. According to Magsaysay winner and eminent litterateur Mahasweta Devi, Shantiniketan is fast going Western and changing into an Indian edition of Las Vegas. Her concern has been shared by other leading intellectuals. Just take another instance. Already, large water bodies have been filled up and the latest move to fill up Lalbandh, a huge water tank, and convert it into an amusement park with artificial watery waves, and recovery of wine bottles from the Upasana Ghar (Prayer Temple) of Tagore only speak volumes about efforts to preserve Gurudev’s heritage. When Karate exponent from Chennai, Shihan Hussaini, gave a ‘bloody’ tribute to Tagore (shortly after the Nobel heist) and painted a 10 ft high portrait of Tagore with blood donated by 36 students, he might have indulged in a gimmick. However, his work acts as a reminder that the nation may have to pay a ‘bloody’ price for the restoration of Tagoreana at Shantiniketan. All one can do at the moment is to take a vow against compromising with the loot around and join the ashramites in their silent prayer for justice.

- Sudipta Paul 24 • September 2009 • India Immemorial

The Victoria Memorial in Kolkata is a magnificent edifice bearing a striking resemblance to the world-renowned Taj Mahal. Unfortunately, poor upkeep and utter disregard to environmental issues is threatening the very existence of this historic monument.

ictoria Memorial, a splendid architectural marvel in white marble and a shining relic of the British Raj, is the finest and most prominent of buildings and art museums in the City of Joy. Modelled on Taj Mahal, it was built in the early 20th C, between 1906 and 1921, in memory of Queen Victoria after her death at 94, following an order of the then Viceroy of British India, Lord Curzon. Set in beautiful, sprawling garden grounds, the Memorial was designed by Sir William Emerson. King George V laid the foundation stone in 1906, while it was formally inaugurated in 1921 by the Prince of Wales who later became Kind Edward VIII of England. However, Lord Curzon, the brain behind Victoria Memorial, could not see its completion, as he had to leave for Britain soon after the construction work began. The magnificent edifice houses a large bronze statue of the Queen just at the entrance while the dome is inscribed with the text of her imperial proclamation speech. Crowned with a moving angel on top, the Memorial faces the Calcutta Maidan. Ferried from Italy, the statues of Motherhood, Prudence, Learning, Art, Justice, Architecture and Charity lend further elegance. It houses one of the world’s longest paintings - an elephant procession - among some 3,000 exhibits in 25 galleries. It also has a five metre tall bronze winged figure of Victory, weighing 3 ton. The colourful lights dotting the memorial that are lit up every evening and a fairy tale ‘Fountain of Joy’ facing the main building cast a magical spell on the surrounding atmosphere.

A relic of the

British Raj 26 • September 2009 • India Immemorial

The Memorial is situated on 64 acres of land with the building covering 338 ft by 228 ft. In fact, the stately building is 184 ft high. The groups of figures above the north porch represent Motherhood, Prudence and Learning. Surrounding the main dome are figures of Art, Architecture, Justice and Charity. The bronze angel holding a bugle in her hand has always been one of the major draws of the Memorial as it demonstrates contemporary engineering marvel. Whether in motion or otherwise, it has been the cynosure of all eyes over the years. It continues to be viewers’ delight as it pirouettes atop the Memorial. It is fixed to its pedestal with ball bearings and can rotate when the wind speed is relatively high. Italian craftsmen have sculpted various statues that adorn the large garden of this monument. It is said that a goods train as long as 17 miles would be required to dispatch the total building material at one go. In fact, the total weight of the structure has been calculated to be around 80,300 ton and the quantity of marble for it measured around 16,080 cubic ft. The British engineers were so obsessed with quality that they ordered excavation of marble from the same quarries of Makrana in Rajasthan which had been accessed by Mughal emperor Shah Jahan for the Taj Mahal. The cost of marble, including freight charges, was initially estimated at around Rs 2.5 million. Later, the expenses were reduced by two lakh rupees after the Indian Railways, in a rare decision, waived the transport costs and offered free carriage. In the later part of 1917, construction was temporarily suspended as heavy rains flooded the Makrana region.

Masterpiece New quarries were opened in the adjoining areas to maintain an uninterrupted supply of marble for the edifice. The construction, which began after laying of the foundation stone in 1906, took 15 years for completion. The building was formally inaugurated on December 28, 1921. What had prompted Lord Curzon to build the memorial? The history is fascinating. Lord Curzon, who was the viceroy from 1899 to 1905, secretly nurtured the vision of building a magnificent edifice that would not only be a tribute to his English masters, but would also get him a place in the annals of Indian architectural history. It was the death of the popular British monarch, Queen Victoria, which gave him an opportunity to build the monument of his dream. Lord Curzon proposed the construction of a mausoleum in the centre of a garden in her memory and also a museum in the same complex, aimed at housing artefacts pertaining to British rule in India. A democrat at heart, he sought advice from various quarters regarding the probable site and the nature of construction. Following his appeal for funds for the dream project, Lord Curzon received a massive response from the growing mercantile class in India and also from a number of princely states. Incidentally, the response had been so huge that he never had to ask for any financial assistance for the Memorial from anyone outside the Indian subcontinent. The construction work proceeded in the absence of the chief architect who provided guidance from Britain. The job was entrusted to Sir William Empson, president of the British Institute of Architects, who drafted the plan, modelling the building on the tradition of the Italian renaissance architecture, though its resemblance to the Taj Mahal is unmistakable. Still, Sir William described his model as one following an occidental design. It was decided that he would visit the work site annually if necessary. Robert Lyons Serenoaks, the superintending architect, oversaw the day-to-day functioning and was responsible for the execution of the project and sent photographs of the progress made in the construction work to Sir Williams every month. However, poor upkeep of this historic monument triggered a lot of heat among environmentalists who claimed that the Memorial suffered several cracks, plasters had peeled off and the white marble changed colour and turned yellowish due to rising pollution. According to Bimal Bandyopadhyay, a senior archaeologist, this is not the first Indian monument to face problems from growing air pollution. A parliamentary report had earlier cautioned that the Taj Mahal was turning yellow due to pollution. It was followed by another bad omen – the angel, the cynosure of all eyes, stopped twirling, raising hackles among environmentalists, architects and the judiciary. The first hiccups occurred in the 1980’s when even the strongest gales could not get the heavy angel (with its accessories) standing on ball bearings, to budge. Experts were summoned and technicians deployed to get it to rotate, till it became stationary once again in 1999. The story of its plight travelled far and wide — from the office of the British prime minister, to the

UK government’s India and Bhutan desk officer, to South Asian countries, and even the Buckingham Palace. This came in the wake of a public interest litigation filed by a city environmentalist in the Calcutta High Court in June 2002 on the matter of the stationary angel.

contended in his petition and sought a directive from the court to create a green belt around the Memorial and stop vehicular traffic and new industries from coming up in the area of its location.

“It has started moving slowly, but for normal rotation there is need for wind with a minimum velocity of 25 km per hour which should be blowing horizontally and not in a vertical slant,” Prof C Panda, curator, Victoria Memorial, pointed out.

Finally, acting on a six-month-old court order, the State Government issued a notification end of March 2008, banning the use of charcoal-fired ovens to barbecue meat or fish or cooking of tandoori food in pavements, hotels and restaurants within a three-km radius of Victoria Memorial. While issuing the order, West Bengal environment principal secretary M L Meena argued that this relic of the British Raj needs to be protected from defacing fumes that tandoors and barbecues emit. In trouble will be such 7-star hotels as Taj Bengal and Park Hotel (as the hotels fall within the radius) where tandoori food is a special attraction.

Having tasted victory in the angel episode, environmentalists began pushing for more concessions to preserve the Memorial. They began demanding that the premises of the Memorial should not be rented out for public and private functions in view of the risk of damage to this historic building. They cited the instance when the Memorial was rented out for the wedding ceremony of the son of NRI steel tycoon Lakshmi N Mittal, about four years ago.

- Sudipta Paul

However, hopes of seeing the angel twirling once again were rekindled following the formation of a special team of engineers who found that the ball bearings of the statue had got jammed by marble dust and iron powder which required a thorough cleaning and proper maintenance.

“The issuance of a notification six months after a court order shows how ill-equipped the environment department is,” a disgruntled Dutta said.

Environmentalists alleged that the authorities have kept no proper record of artefacts. Subhas Dutta, the main spokesman, blamed the authorities for neglect. “This historical monument will be history if this state of affairs continues for another 25 to 30 years. It’ll be a dilapidated historical monument if the present rate of erosion continues unchecked as several cracks have already appeared in the building because of misuse.” According to him, there was no proper record of the possessions of the Victoria Memorial. It was a regular practice to loan out the artefacts for exhibitions - but it was not clear whether all the artefacts were returned to the Memorial authorities. “It is a matter of regret that there is no inventory of the possessions, of the objects of the Victoria Memorial. And there is no physical verification of the possessions,” Mr Dutta India Immemorial • September 2009 • 27

SIKANDRA -

RESPLENDENT

GLORY

Southern gateway 28 • September 2009 • India Immemorial

Akbar’s mausoleum in Sikandra ranks amongst the finest architectural compositions of Mughal era, making it a must-visit heritage monument.

Heritage Monument

ikandar Lodi founded the suburb of Sikandra in 1504 A.D. after shifting his capital from Delhi to the vicinity of Agra in order to be nearer to the eastern provinces of his kingdom. During the Mughal times, the entire stretch of land as far as 9 miles away from Sikandra, was thickly populated and contained a series of parks and gardens. The remnants and barest traces of these gardens are said to have existed as later as 1925. Akbar, the Mughal Emperor, who ruled from Agra, started building his mausoleum at Sikandra during his lifetime. But, luck had something else in store for him! He died in 1605 A.D., leaving it incomplete. His son, Jehangir, who had inherited his father’s love for art in abundant measure, wished his father’s mausoleum to be “without any parallel in the world”. So he took up its construction and completed it in 1613 A.D. Today, Akbar’s mausoleum ranks amongst the finest architectural compositions produced during the Mughal age and is a must-visit heritage monument on tourists’ itinerary. Sikandra serves as the gateway to Agra for tourists travelling by bus from Delhi to Agra. They catch an enchanting view of this monument just before entering into the city. The original mausoleum building is placed in the centre of a huge garden, which is enclosed within a 25-feethigh perimeter wall. In the middle of each side of this perimeter wall is a gatehouse. Among them, the only one on the southern side is the principal entrance; the other three being false gateways, were added for symmetry. The southern gatehouse is an elegant monument in itself due to its noble proportions and bold ornamentation. It is built of red sandstone and rises to a height of 74 feet. Buff stone, marbles of black and white colours are used to decorate its surface with floral and geometrical designs of astounding beauty. The arches of the gateway are painted with floral details, which are more decorative than any earlier ornamentation of its kind under Akbar. A graceful minaret of red sandstone, with shining inlay of marble, is placed at each corner of the gatehouse. Each minaret is reached to its summit by 93 stairs within. This was an ‘original contribution’ and ‘an innovation’ of Akbar, who dared to experiment with the building art. This is the first time in the history of Mughal architecture that a marble-minaret of this nature emerges in its well-developed and mature form, an element that was repeated after two generations with little modifications, in the design of the Taj Mahal! After crossing the imposing southern gateway, a picturesque panorama unfolds before your eyes! The area opens up into a huge garden, called Bahishtabad. A stone causeway runs directly from the southern gateway to the ornamental alcove of the mausoleum building. The plinths of the causeways are expanded at intervals into square terraces, containing fountains in sunk basins of red sandstone. Projecting rings, big enough to hold stout poles, are built into the outer edge of the causeways at regular intervals. These were perhaps used to erect awnings over the causeway. The garden is alive with deer and langur monkeys. The mausoleum building is a truncated pyramid

Central alcove entrance in pyramidal tomb building of five storeys. It stands on a huge platform of stone and is approachable from all the four sides by stone causeways forming a cross axis meeting at the centre. The ground storey of the mausoleum building, measuring more than 300 feet each way and a little over 30 feet in height, has spacious cloisters on all the four sides, except in the centre of each side. A large arched ornamental alcove, placed within a tall rectangular frame, is accommodated in the centre of each side. The central alcove is recessed to accommodate a latticed marble screen, which leads into a vestibule. But before entering inside, let us first visit the side-rooms attached to the vestibule.

Two western bays and one eastern bay, attached to the central vestibule, are converted into marble chambers by placing delicate marble screens in front of them. These chambers contain the tombs of Akbar’s daughters. These are always cool, even in hot summer! Small mihrabs are also built into the walls of these rooms. Possibly, these were used to keep lighted candles to illuminate the interiors. The geometric patterns of the carved decoration, the stars and the floral designs, all repeated at regular intervals, make the marble screens a work of sparkling beauty! The decorative patterns on their surface also bring to memory the red sandstone screen of the Diwan-i-Aam in Fatehpur Sikri. India Immemorial • September 2009 • 29

Heritage Monument

Geometric patterns in the marble chamber The first marble room on the west (adjoining the central vestibule) contains three tombs. The big marble tomb (raised high above the ground) is that of Shukrunnisa Begum. Famous verses (Ayatal-Kursi) from the Holy Quran and rich floral designs are carved over her marble tomb. The northern side of this tomb contains an inscription ‘Allahum’agfirli Zunubi’ and the southern side is inscribed with ‘Haaz’al qabr Shukrunnisa Begum. Shukrunnisa was the daughter of Akbar. She was married to Mirza Shahrukh, the son of Ibrahim Mirza. Her mother’s name was Bibi Daulat Shah who died at the age of 93 in Mathura, during the reign of Shah Jahan. The second tomb (central tomb) is that of Prince Sulaiman Shikoh. It is inscribed with the names of God, Prophet Muhammad (PBUH) and members of Prophet’s family. The names inscribed here are ‘Allah, Muhammad, Ali, Fatima, Hussain

Pyramidal tomb building 30 • September 2009 • India Immemorial

Persian inscriptions

and Hasan’. There is one more tomb (at the ground level) which has no names inscribed on it. The second western marble room contains a big tomb. It is inscribed with the name of Prophet Muhammad (PBUH). The northern wall of this room is inscribed with 99 names of Allah (God) and the Holy Kalima ‘Kalima-e-Tayyiba’ which forms the basis of Muslims’ faith all over the world. The inscriptions on the tomb are not clear. The Arabic verses (Ayat’ul Kursi) of Holy Quran are also carved along the length of this tomb. The first marble room to the east of the central vestibule contains two graves. The big tomb is of Aaram Bano. It is inscribed with famous verses (Aayat-ul-Kursi) of Holy Quran and an Arabic text ‘Allahumma’gfir-li-Zunoobi’ at its northern end. An Arabic text read as ‘Haaza’l qabr Aaram Bano’ occupies its southern side. The second tomb in

this room is ascribed to some other princess of the Mughal family. Moving further on the east side, a little ahead, you find an unnamed tomb, slightly raised above the ground level and it is not enclosed within any marble screens. The central southern alcove is recessed to accommodate a latticed marble screen. A doorway pierces the marble screen, through which one enters into a wide hall (vestibule). It is virtually a hall of paintings. Every inch of its surface is embellished with rich colorful decoration, arabesques, floral patterns and lovely mural paintings, which give it a charming look. The painted hall contains a small door, above which are inscribed in golden colour, verses from Chapter 67 (Sura-e-Mulk) of the Holy Quran. The bold Arabic inscription starts from just above the doorway, traverses the surfaces of the west wall,

Arabic calligraphy: Colourful painting in the hall of paintings runs along the ceiling of the arched opening, and then the east wall, and finally ends at its starting point! A narrow sloping corridor from the small door leads to the burial chamber. The slope was deliberately introduced, to compel the visitor to lower his head, as a mark of respect, while approaching the tomb of the Great Mughal. A resonance effect begins from this point, and even gentle walking movements will echo! This echoeffect grows larger as one approaches the tombchamber. At the end of the narrow passage stands a big hall, in the centre of which lies the tomb of Akbar the Great. Both the hall and the tomb are perfectly plain, devoid of any ornamentation. The tomb chamber is perfectly dark and only a small hole is left open in one corner, just to let the air in.

Akbar's tomb

a vigorous nature whereas the architecture under Jehangir was inclined to assume a pretty delicate character. The dominating influence of Jehangir’s ideals and the “clash of temperaments” between the father and the son are clearly visible in the design of the three middle sandstone storeys. A flight of 39 steps leads to the first storey of the mausoleum. It consists of a range of sandstone pavilions, and an elegant arrangement of arcades and kiosks. Another flight of 14 and 15 steps gives access to the second and third storeys respectively. These are smaller in size than the ones below it. They have an identical arrangement of arches, supported by pillars and kiosks, attached to the exterior of each facade. One can enjoy spectacular views of River Jamuna, Taj Mahal and Fatehpur Sikri from here. The upper-most storey, entirely in white marble,

The mausoleum building is a truncated pyramid of five storeys. It stands on a huge platform of stone and is approachable from all the four sides by stone causeways forming a cross axis meeting at the centre.

Occasionally the man standing near the tomb, raises his head, calls Allah-u-Akbar, and demonstrates the echo-effect to you! It is a good idea to walk around the monument to get a feel of the surroundings. The area behind provides a cool shade to relax particularly in afternoons, when the sun is hot and blazing. The peacocks call from a distance in the bushes, and little birds - especially parrots - fly around you as you go around the building.

Upper storeys of the mausoleum The upper storeys of the mausoleum are now closed to tourists but one can get a fairly good idea from the ground level. The buildings of Akbar symbolized

presents a marked contrast to the rest of the whole building. It is open to the sky. It consists of a marble courtyard paved with marble pieces in colour. A cloister having fretted marble screens surrounds it, while above each corner rises a tall and graceful kiosk. Nine small rooms on each side surround the courtyard. Persian rhymes are carved on the arches of the rooms. In the centre of this room is placed the cenotaph (false-tomb) of Akbar, carved out of a single block of marble, representing the real grave beneath in the mortuary chamber. The inscriptions “Allab-O-Akbar” (God is Great) and “Jall-OJalalahu” (Magnificent is His Glory) are carved on its northern and southern faces respectively,

amidst beautiful floral designs. Ninety-nine names of the Almighty are also carved on the surface of the cenotaph.

Other monuments in Sikandra Another interesting monument is the Jehangiri Kaanch Mahal, just outside Akbar’s Mausoleum, in the south-east of the southern gateway. It is one of the finest existing specimens of domestic Mughal buildings. Jehangir built it for his wife Noor Jahan. Although small in size, this beautiful two-storeyed palace has an exuberant display of many Mughal patterns like wine vessels and floral designs characteristics of the Jehangir era. A few bright turquoise tiles still remain. The beauty and grandeur of this building during the Mughal days was indescribable. At a little distance from the Akbar’s tomb on Mathura Road is the Mausoleum of Mariam Zamani, the mother of Jehangir. She was the daughter of Raja Behari Mal Kachhwaha, and was married to Emperor Akbar. She died in Agra in 1623 in the time of her son Jehangir. Jehangir built this mausoleum for her over the remains of an old Baradari. Her marble grave is placed in the middle vault. The building clearly reflects the design of a Jehangiri palace. Entered through a small garden, the structure is full of arches and the white washed interiors of the palace are devoid of any ornamentation. But still, the structure is worth a visit. It teems with hordes of parrots. A visit to Akbar’s mausoleum at Sikandra is an enchanting and memorable experience for tourists, by all means.

How to reach •

Nearest convenient tourist base is Agra. Akbar’s mausoleum is 12 km from Agra.

•

Agra’s Kheria Airport is 9 km from Agra city and Agra itself is well connected to all the big cities of India.

For details, contact: Uttar Pradesh Tourism, 64, Taj Road, Agra 282 001; Tel: +91-562-2226431.

- Md. Masarrath Ali Khan India Immemorial • September 2009 • 31

The magnificent Vishnu temple in Mannarkovil, near Tirunelveli, stands as a mute testimony to the glory of a bygone era. With its exquisite architecture and history, the temple is a pleasure to visit. It is high time the authorities concerned adopted appropriate measures to restore the temple to its original glory.

ulasekhara Alwar gave up his Tiruvananthapuram throne to serve Lord Ranganatha. However, he spent his last days in Mannarkovil near Tirunelveli. In this place known as Vedapuri in ancient times, Kulasekhara Alwar lived quietly, worshipping Lord Vedanarayana and reached paramapada in his sixty-seventh year. The day (Ani-Uttaram) is observed every year with special worship and recitations of scriptures in Mannarkovil. It is also the birth place of renowned commentator Alakiya Manavala Jeeyar, author of the commentary, Pannirayirappadi. The legend of Mannarkovil takes us to Vishnu beheading with his discus Sage Bhrigu’s wife Khyati, for she had sheltered asuras. Bhrigu countered with a curse that Vishnu would be born on earth and lose his wife. Later, Bhrigu realised his folly and

Kulasekhara Alwar

performed tapasya. Vishnu, who had taken the avatar of Rama to make good Bhrigu’s curse, appeared near the Podikai hill as Vedanarayana and made it his permanent residence. Bhrigu decided to stay here along with his grandson Markandeya. In the pages of history also, the temple is important as it has been served by the Chera, Chola and Pandya dynasties. While Kulasekhara was a Chera king, Rajendra Chola’s services gave the name Rajendra Vinnagar to the place and Jatavarman Sundara Pandyan donated large tracts of land. They were followed by the Nayak kings of Madurai, who were also great builders. Sprawling over an acre-and-a-half, with Tamraparni streaming on the south and Karuna on the north, the temple lies five kilometers to the north-west of ambasamudram. It must have been quite prosperous in earlier times.

abides here

32 • September 2009 • India Immemorial

In Focus The very entrance sports a huge mandapam built by the Nayak kings with high rise pillars, aptly called Pandhalkaal Mandapam. There are statues here which are of Muthukrishna Nayak and his commander, Dalavai Ramappayyan. We walk through to come to the main entrance which has a five-tiered gopuram that is now unfortunately overgrown with weeds. From here, yet another large mandapam confronts us where we have two exquisitely sculpted yakshis offering welcome with a lamp and plate of betel leaves and nut. Sadly, the plate is now gone. Looking up at the sculpted plantain flowers, it comes as a pleasant surprise to see a parrot pecking at one of them, hanging upside down. Such imagination and ability in that unknown artist of a bygone day! It is now time to salute the flagstaff and balipeetha and move into the maha mandapa which is of sumptuous proportions. Obviously, when it was built, the crowd of devotees was

such as to need ample space for conducting festivities. In the sanctum, the standing image of Vedanarayana is an impressive presence, flanked by Sridevi and Bhudevi. The sages Bhrigu and Markandeya are seated at the feet of the Lord, reciting the Vedas. The walls of the sanctum have Surya, Brahma and Shiva as images serving the Lord. This is Lord Vedanarayana, holding the five armaments (discus, conch, mace, sword and bow) in full regal attire who fascinated Kulasekhara and made him spend his last days here. The young bhattar, Sri Narasimha Gopalan, is all enthusiasm waving the camphor lights and explaining the features of the temple with pardonable pride. To a pointed question as to why the temple seemed to be barely self-supportive when the kings of the past had donated whole villages for its upkeep, his cryptic reply is that the temple is under the Hindu Religious and Charitable

the chendu weapon in his right hand. He has Andal to his right and Garuda to his left, just as in Srivillipputtur. The Alwars and Acharyas with Kulasekhara at the centre as also the utsava vigraha of Kulasekhara are in this mandapam. The most moving moment is certainly having the darshan of Rama, Sita and Lakshmana, the images worshipped by Kulasekhara himself, according to the local legend. In the outer parikrama we have the shrines of Yoga Narasimha, Arangathu Appan, Vedavalli and Bhuvanavalli among others as also the Paramapada Vasal which is opened only on Vaikunta Ekadashi. The Vishwaksena image of Mannarkovil is all authority, exhibiting real command from within, a power that shines through the clear features, a pose of total unflappability. We can also go up a flight of steps (Yaanai Mudukku) to enter the first floor of the sanctum where the Lord is found seated as Paramapadanatha. Going up another narrow pathway (Poonai Mudukku) to the second storey, we can worship the Lord in yoga nidra resting on Adisesha. This is a rare construction found in very few places like Tirukoshtiyur and Parameswara Vinnakaram. Kulasekhara’s independent sannidhi with its own flagstaff stands out, stark, independent. In keeping with his renunciation, we see him only as a bhakta with folded hands. The bhattar recites from the Vitruvakkodu decad to underline the prefect similes Kulasekhara had used to explain the act of surrender. Then to the Venkatam decad: “To watch the feet of the Lord who rests In the milky ocean that has waves of coral, I would like to gain the privilege of being a Champak tree In Venkatam where the bees drone musical notes.”

Endowments Administration Department. He gets a monthly salary of Rs 350, inclusive of the amount needed for preparing bhog, oil for lighting lamps and for keeping the place clean. A private Trust set up earlier has also been taken over by the government and no money comes from that source either. The local residents chip in with the help they can and so the puja goes on. A graduate of the M.I.T., he is himself a descendent of Peria Nambi who had been deputed by Sri Ramanuja to serve this temple a millennium ago, and so it is a matter of soul-satisfaction that he has been given this sacred service. History does lie thick in this temple, especially around the inner parikrama with a low ceiling and walls that are literally studded with inscriptions. Coming out of the sanctum into the Kulasekharan Mandapam, we can worship the utsavar who is found on the Viswanatha Seat. He is a charming image of Rajagopala carrying

“We are trying to make Kulasekhara’s wish come true with the help of our gardener Mooka Thevar,” the bhattar says and introduces a selfeffacing, gentle person. “Thanks to him, we never have a dearth of flowers and tulsi leaves for daily worship. Here is the portion of the nandavana where he is nursing champak plants,” he murmurs and leads me to the land on the side of the temple of Kulasekhara, immediately adjacent to the fort wall. Not one or two! From whence this greenery of nearly sixty champak trees which have already grown to a height of 3 to 4 feet? It is an emerald flying carpet, a tangible shape given to Kulasekhara’s hymn. There is no mistaking the settled joy in Mooka Thevar’s face, reminding one of Perialwar and Tondaradippodi Alwar who had engaged themselves in life-long pushpa kainkaryam. As I come out of the temple to walk through Pandalkaal Mandapam, I see above the pillars framing the doorway eight elephants, with four women mahouts leading two each. Well, I had heard of women pilots and women astronauts, but apparently Tamil Nadu was in the forefront even earlier with women mahouts! This is a temple that ought to have a samprokshanam at the earliest to safeguard some of the richest treasures of Tamil Nadu.

- Prema Nandakumar India Immemorial • September 2009 • 33

Incredible India!

It sure is a ratty issue Here, rats are considered to be auspicious and regarded as the descendents of Goddess Karni! Welcome to the Karni Mata Mandir in Deshnok, Rajasthan.

arni Mata Temple is a popular and unusual holy shrine of India. This Temple is in a small town of Deshnok, which is located at a distance of 30 km in south of Bikaner, Rajasthan. Karni Mata Mandir is easily accessible by regular buses from Bikaner and Jodhpur. To ensure a comfortable journey, one can also opt for taxis that can be availed from anywhere in Rajasthan. The temple is dedicated to Goddess Karni, who is regarded as the incarnation of Maa Durga.

In the 14th century, Goddess Karni is said to have lived and performed many miracles during her existence. Karni Mata was a mystic, who led a virtuous life committed to the service of the poor and the oppressed of all communities. The goddess is said to have laid the foundation of Deshnoke. As per the stories, once when her youngest son drowned, Goddess Karni asked Yama (the god of death) to bring him back to life.

assert to be the descendants of Karni Mata.

Temple attracts numerous tourists and pilgrims throughout the year.

Lord Yama replied that he cannot return her son’s life. Thus, Karni Mata, being an incarnation of Goddess Durga, restored the life of her son. At this point of time, she announced that her family members would die no longer, but would incarnate in the form of rats (kabas) and ultimately, these rats would come back as the members of her family. In Deshnok, there are around 600 families that

The present temple dates back to the 15th century, when it was built by Maharaja Ganga Singh of Bikaner. The striking façade of the temple is wholly built in marble. Inside the temple complex, one can see a pair of silver doors before the main shrine of the Goddess. These solid silver doors were donated by Maharaja Gaj Singh, on his visit to this temple. In the main shrine, the image of the goddess is placed with holy things at her feet. Surrounded by rats, Karni Mata is holding a trishul (trident) in one of her hands. The image of Karni Mata is 75 cm tall, decked with a mukut (crown) and a garland of flowers. On her either side, images of her sisters are placed. Karni Mata

The temple has around 20,000 rats that are fed, protected and worshipped. Many holes can be seen in the courtyard of this temple. In the vicinity of these holes, one can see rats engaged in different activities. They can be seen eating from huge metal bowls of milk, sweets and grains. To keep the holy rats safe, wires and grills are fixed around the temple to avoid birds of prey and other animals.

34 • September 2009 • India Immemorial

At this temple, it is regarded auspicious if a rat runs across one’s feet. Even the glimpse of a white rat is considered to be a sing of good fortune. Twice a year, a festival is celebrated in the honour of Karni Mata when a grand fair is organised. People come here from various parts of the country to seek the blessings of the Goddess.

Madhubani:

Painting expressions & emblems The art or Madhubani painting, the traditional style developed in the Mithila region of Bihar, is passed on from one generation to another. This centuries-old art form is today one of the most celebrated folk arts of the world. 36 â&#x20AC;˘ September 2009 â&#x20AC;˘ India Immemorial

ndia is endowed with a rich cultural legacy of art and architecture. The numerous beautiful temples and monuments bear testimony to this rich cultural heritage of art and architecture. Indian arts and crafts have a number of aspects to them, varying from region to region, with every region having a unique art form of its own. The arts and crafts of India include painting, sculptures and handicrafts. Painting as an art form was quite popular during ancient times. Indian paintings can be divided into two main categories - murals and miniatures. While murals are large works of art on walls and solid structures, miniature paintings are the works of art executed on paper or cloth. Some popular

painting forms include the Tanjore paintings of Tamil Nadu, Madhubani paintings of Bihar, Kalamkari paintings of Andhra Pradesh and Pithoro paintings of Gujarat. Madhubani paintings are an indigenous art form of a quaint village in Bihar. It is their creative expression of day-to-day experiences and happenings. It is practiced as a part of daily rituals. It is a centuries-old craft, designed as a welcome to deities who visited the homes of their devotees every morning. Here, the women of the village maintain a matriarchal dominance over the craft. They paint figures from nature and popular myths on household and village walls to mark seasonal

Art & Craft Madhubani paintings, which were originally done in Mithila to adorn the walls of mud houses, came to be commercialised when the entire Mithila region faced drought and people had to think of an alternative source of income. Thanks to their effort for survival, they found selling Madhubani paintings on handmade paper to be the best. festivals and special events of the life cycle. During marriages, they also make intricately designed wedding invitations. Originally, women in North Indian villages painted in the Madhubani style. This art form belongs specifically to the Mithila region. However, this art form was not practiced as a vocation; rather, every woman in the village used this intricate method to adorn the walls of the mud houses they built and lived in.

While Brahmins prefer bright hues, Kayasthas opt for muted ones. In another class called the Harijan style of painting, handmade paper is washed in cow dung and used. Once the paints are ready, two kinds of brushes are used - one made out of bamboo twigs for tiny details, and the other made from a small piece of cloth attached to a twig for filling in the space. The technique of painting is safely and zealously

From the mud walls of Mithila to the walls of the rich and famous, paintings from Madhubani have come a long way. Traditionally, most paintings from Madhubani were based on religious themes. The idea was to use the paintings to seek the blessings of gods and to ward off evil spirits that may lurk around the house. Most of the Madhubani canvas was figures of gods and goddesses from the Hindu pantheon, with the backdrop covered by motifs from nature. In the beginning, only homemade natural colours, obtained from plants like henna, flowers, bougainvillea, neem, etc. were used. These natural juices were mixed with resin from banana leaves and ordinary gum in order to make the paint stick to the painting medium. Homemade paints, though cheap, were time consuming and insufficient. The solution was to switch to synthetic colours available aplenty in the market. Now, colours come in a powdered form, which are then mixed with goat’s milk. However, black continues to be obtained from the soot deposits of diyas, dissolved in gum. The colours used are usually deep red, green, blue, black, light yellow, pink and lemon. They create the mood required and hence play an important role. For instance, energy and passion find expression through the use of red and yellow, concentration of energy and the binding force is best reflected in red, while green governs natural leaves and vegetation.

from Madhubani as their livelihood. These paintings from Madhubani can now be seen on canvas, parchment and cloth, since these are easier to mount on walls. Also, with growing global demand for paintings from Madhubani, an increasing number of artisans are adapting their style to create more secular artworks to suit the taste of their clientele. With increase in handicraft exports, art enthusiasts can now admire paintings from Madhubani even if they live thousands of miles away from India or Mithila.

Themes of Madhubani paintings

guarded by the women of this village, for it is to be passed on from a mother to her daughter. Madhubani paintings were very popular among the British who were stationed in India during the imperial days. Paintings from Madhubani are one of the most intricate forms of art found anywhere in the world and they received due recognition in the last few decades. Though the women in these villages had been practicing this art form for centuries now, it came to the forefront only in the 1960’s, when their area was severely affected by drought and they had to think of an alternative, non-agricultural source of earning. Selling these traditional paintings on handmade paper was the best alternative. And now, they are one of the most celebrated folk arts of the world. Today, with growing commercial demands, some artisans have taken to creating paintings

Most Madhubani paintings mostly feature naturerelated themes. Mythological figures also find great prominence in these paintings. Hindu deities like Krishna, Rama, Shiva, Durga, Lakshmi and Saraswati are the most common subjects of Madhubani painters. Apart from deities, the sun, moon and the holy tulsi plant are also regularly featured in these paintings. These paintings also act as a visual record of scenes from the court, weddings and social happenings. Intricate floral, animal and bird motifs, and symmetrical geometric

designs fill up the gaps. Since this intricate skill is handed down the generations, traditional designs and patterns are widely maintained. Initially, walls and floors on which these paintings were to be done were first coated with cow dung and mud paste. On drying, they were India Immemorial • September 2009 • 37

Art & Craft

painted with rice paste. Now the art is practiced on handmade paper coated with a layer of cow dung. Earlier, only rice paste and vegetable colours were used. Now, with changing trends and requirements, poster colours are also used. These paintings appear three-dimensional. It can commence with the story of Sitaâ&#x20AC;&#x2122;s marriage or the Krishna-Radha episode. Maithilis are Shakti worshippers with the influence of tantric rituals and so Shiva-Shakti, Kali, Durga, Ravana and Hanuman also appear in their murals. Symbols of fertility and prosperity like fish, parrot, elephant, turtle, sun, moon, bamboo tree, lotus, etc. are more prominent. The divine beings are positioned centrally in the frame while their consorts or symbols and floral motifs form the background. The human figures are mostly abstract and linear in form; the animals are usually naturalistic and are invariably depicted in profile. They are generally done with the flow of the brush, without any preliminary sketching. Though natural colours and twinges have given way to brushes and artificial paints, the subject of Madhubani paintings remain unchanged. The central theme is invariably Hindu Gods and Goddesses. The main theme is supported by traditional geometric patterns. Goddess Lakshmi is repeatedly drawn from the door to the prayer room in traditional floor paintings, signifying prosperity walking in. Lord Ram, with his consort Sita, is another common theme as Sita is supposed to be born in that region, also known as Mithila, and hence the other name of the art form is Mithila paintings. 38 â&#x20AC;˘ September 2009 â&#x20AC;˘ India Immemorial

Each symbol used by the Madhubani artists symbolizes specific things. For instance, fish symbolizes good luck while serpents are the protectors. Other geometrical patterns also signify auspice. These paintings, though developed in the rural areas, are much cherished even by the urban elite.

Traditional wall paintings The tradition of painting walls for beautification of dwellings in Mithila is believed to have survived from the epic period. Tulsidas gives a vivid account of Mithila, decorated for the marriage of Rama and Sita. These decorations are mythological murals, added with deities of Hindu pantheon, besides regional flora and fauna. The earthquake of 1988 devastated parts of Darbhanga and Madhubani. Perhaps, the greatest damage caused was in the palace complex, replete with paintings done two centuries ago, as per the Mithila traditions.

As a commercial activity

The Mithila pride The people of Mithila in northern Bihar stick to their centuries-old custom and orthodox belief that the land of Mithila or Mithilanchal is holier when compared to the other parts of Bihar. The belief possibly stems from the historic fact that Mithila was first to be brought under the influence of Aryan culture. And, to this day, Maithilis take pride in their continuity of language, custom and culture. They are known to adhere to the minutest details in rituals from birth to death, according to the dictates of the shastras (sacred texts on ritual worship).

The chief exponents of these paintings are the Maithili Brahmins and Kayasthas. In the villages of Jitwarpur (a stronghold of Brahmins) and Ratni (dominated by the Kayasthas), Madhuani paintings have emerged as a commercial activity where children can be seen engaged in arranging handcrafted paper or fetching colours. The commercialization of Maithili art took place in 1962 when the murals attracted an artist touring this village. He persuaded the women to paint in their traditional way on paper. This was a great success and a ticket to trade. Since then the painting medium has diversified. Wall paintings were transferred to handmade paper (which was of poster size) and gradually it preyed for other media and motifs like greeting cards, dress materials, sun mica, etc.

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Artefacts

The gift of the Dutch The Mattancherry Palace, built by the Portuguese, stands majestically by the panoramic Kochi backwaters. Fashioned into a museum now, it houses an exquisite collection of murals and royal memorabilia.

he Mattancherry Palace near Ernakulam is one of the oldest examples of Portuguese architecture with oriental influence and has a unique architectural structure. The palace was built around 1545 AD by the Portuguese. It was presented to Veera Kerala Varma to pacify him and to compensate for having plundered a temple in the vicinity of the palace. The palace represents a fine blend of European and indigenous styles of architecture. The credit for building this landmark monument partly goes to the Dutch, who captured the Cochin city of Kerala during pre-British period. The Dutch renovated the palace after 1663 and hence the palace is also known as the Dutch Palace. This two-storeyed quadrangular building has long and spacious halls. The central courtyard enshrines the tutelary deity of the 40 • September 2009 • India Immemorial

royal family, Pazhayannur Bhagavathi (the Lord of Pazhayannur). The Mattanchery Palace, one of the most

prominent tourist attractions of Kerala, is located on Palace Road, Mattanchery, and is famous for housing some of the best mythological murals in India. The palace has two temples dedicated to Lord Krishna and Shiva respectively. The upper storey of the palace, where the museum is housed, comprises a coronation hall, bed chamber, ladies chamber, dining hall and other rooms. There is a chamber midway between the first floor and the ground floor which functioned as the “harem” of the rulers. The upper storey is built of teak wood beams, rafters and planks. The first floor, especially the coronation hall, sports a unique ceiling adorned with some intricate carvings. The Mattanchery Palace was built in typical Kerala style, featuring four separate wings meant as the home of the

nobility, opening out onto a central courtyard. The centre of attraction of the Mattanchery Palace is not its ceilings, but splendid murals on the walls of the rooms. These murals, covering an area of nearly 300 sq m, are executed in three phases. Depicting scenes from Hindu mythologies like the Ramayana, the Mahabharata and the Puranas, these murals are counted as amongst the best in India. Themes from the contemporary literature of Kerala are also depicted. The Dutch Palace of Kerala has many more elements of surprise for its visitors. Thereâ&#x20AC;&#x2122;s an entire gallery of royal memorabilia that consist of attires, turbans and weapons from the days of the rajas of Kochi. While the murals in the royal bed chamber depict scenes from Ramayana, the second set of wall paintings, mounted in the staircase room depict various deities. The lower rooms intended for the royal ladies display line drawings depicting the marriage of Shiva and Parvati, and the adjoining room has five major panels depicting Krishna Leela and Siva Leela.

The flooring at Mattanchery Palace is also evocative of traditional Kerala style, wherein the floor appears to be polished black marble but is actually a mixture of burnt coconut shells, charcoal, lime, plant juices and egg whites. The present museum was established in May 1985, housing a variety of exhibits such as portraits of the Cochin kings, palanquins, weapons, royal umbrellas, canopy, dolis, swords, ceremonial dresses of the kings, royal caps worn by the Cochin kings, and coins and stamps issued by them. Also on display are important plans of Cochin drawn by the Dutch in the 17th and 18th centuries. In the long hall that originally served as the coronation hall, life-size portraits of the kings of Cochin from 1864 onwards, are displayed. The weapons on display are sheathed swords, daggers and axes, besides ceremonial spears decorated with feathers. There are five palanquins, including a doli, displayed in three different galleries. Of this, the most attractive one is the ivory palanquin made of wood and laminated in ivory.

Travel tips How to reach: The Mattancherry Palace is located at a distance of 12 km from Ernakulam in Kerala. Once you land in Cochin, you can take a taxi, auto-rickshaw, ferry or even hire bicycles to reach the palace. Nearest airport: The Cochin International Airport, about 20 km from Ernakulam. Nearest railway station: Ernakulam, about 10 km away. There are frequent bus and boat services to Mattanchery. Visiting hours: 10 am to 5 pm (Except on Fridays and National Holidays) Entrance fee: Rs 2 (not charged for children up to 15 years of age)

India Immemorial â&#x20AC;˘ September 2009 â&#x20AC;˘ 41

The winding, picturesque road lined with trees, sandy beaches and blue seas leads to the once thriving city port of Mamallapuram (Mahabalipuram), just 60 km south of Chennai. The city was once a part of the territory of the great Pallava dynasty and was named after Mamalla, ‘the great wrestler’.

ahabalipuram, lying on the Coromandel Coast, facing the Bay of Bengal, is a pleasure to visit. The rich architecture of the place, innumerable casuarinas trees, the silvery sandy beaches and colourful handicrafts that are available around has lent Mahabalipuram its beauty. In fact, it is no exaggeration to say that any visitor to Mahabalipuram will be startled by the collective splendour of the place. The grandeur of this port city is simply intoxicating. Mahabalipuram has an interesting history too. It was the second capital of the Pallavas who ruled Kanchipuram from 7-10th century. The story behind the name is quite fascinating. Long, long ago, the place was ruled by a cruel king named Mahabali. In a fierce battle, Lord Vishnu killed King Mahabali and the place was named Mahabali, after the dead, arrogant king.

Splendour of

Pallava

architecture

42 • September 2009 • India Immemorial

Architecture However, it was during the reign of King Narasimha Varman I that the place was renamed Mamallapuram. There is a story behind this renaming too, according to which King Narasimha Varman I, a valiant warrior, was given the title ‘Mamalla’ (meaning ‘the great wrestler’) and hence the place got the name Mamallapuram, considering the great king’s achievements. After the decline of the Gupta Dynasty in North India, the Pallavas rose to power in south India. The best period of their rule was between 650 and 750 AD and this period was called the Golden Age of the Pallavas. The Pallavas were profound thinkers and quite powerful too. It was during the reign of the Pallavas that great poets, dramatists, artists, artisans, scholars and saints emerged. In fact, it can easily be said that Pallavas were the pioneers of new styles in both art and architecture and Mahabalipuram stands witness to their skill and talent. Making the best use of the resources available to them, they gave shape to their dreams and directed their creative energies in the right direction. Mahabalipuram very soon witnessed innovation in all styles. The shore temple in Mahabalipuram is a magnificent piece of architecture, offset by the sea to create a dramatic visual. The early morning light and the rising sun also make a stunning picture. It

was constructed during the 7th century and was later renovated during the reign of Narasimha Varman II. This is one of the oldest south Indian temples constructed in the Dravidian style of architecture. While there are two Shiva temples built by Narasimha Varman I facing east and west respectively, there are two Vishnu temples built by Narasimha Varman II. One can find beautifully carved dwarapalakas (gate keepers) at the entrance of the east-facing Shiva temple. Apart from Lord Shiva’s idol, one can also find the idols of Lord Narasimha and Goddess Durga. The central shrine is in the form of a rectangle. It has a magnificent statue of Lord Vishnu, known as Sthala Shayana Perumal or Ananthashayana (sleeping Vishnu). The statue of Vishnu is found in segments, which has to be seen through various doors. The grand temple is surrounded by many mantapas. There is a rock-cut sculpture of a lion rode by two young women. The lion has a small, square shaped cut in its belly. On the northern side of the temple is an interesting carving of a buffalo demon running with a stick in his hand.

Arjuna’s penance It is the world’s largest bas-relief, also known as ‘The Descent of the Ganges’ - the meditative Arjuna standing on one leg, praying to Shiva. This elaborately carved wall depicts the sacred penance of Arjuna, one of the Pandava brothers. All around him are representations of gods, celestial deities, monkeys, elephants, wild boar, deer and a cat. Down the centre of the rock is a natural cleft portraying River Ganges that comes to life during the monsoon when the tank below the relief fills up. King Narasimha Varman I built this rock basrelief. This rock is shaped like a huge whale. The sculpture is carved at the rear end of the whaleshaped stone. It measures 27 m in length and 9 m in height, with a crack in the middle of the rock. The figures are carved in such a way that it appears as if the figures were in a hurry to witness a miracle. Figures of Sun and Moon are also seen. The other celestial beings seen are the Yakshas, Gandharvas, Vidyadhars and attendants of Gods who could sing, dance and perform. The other figures are that of Siddhas, Charnas, Kimpurushas and Kinnaras with musical instruments like cymbals and veenas in their hands. Carvings of hunters with bows and arrows, rabbits, deer, tiger and a herd of elephants are also seen. There is also a figure of a saint in deep meditation. There’s another portrait of a temple where Lord Vishnu and four saints are seated. However, the heads of all three saints have eroded due to the lashing of waves. However, there is a lot of confusion around this rock sculpture. While some believe it to be the depiction of an episode from Mahabharata where Arjuna prays to Lord Shiva on the banks of River Krishna, others believe it to be the depiction of Bhagiratha’s (an ancestor of Lord Rama) penance, who was sent to redeem the souls of his ancestors, as mentioned in the Ramayana.

Krishna Mandapam This mandapam picturises beautifully the myth of Lord Krishna in his brave and energetic adulthood. The pastoral life of the people in Krishna’s time is carved inside the mandapam. The sculptures that are beautifully portrayed constitute that of a shepherd milking a cow while the cow licked its calf, a farmer walking with his child seated on his shoulder, a shepherdess carrying a pot of curds on her head, a woman with a rolled mat on her head and a tier of pots in one hand, and that of a young couple.

Mahishasuramardhini Mandapam It has three small shrines in the inner hall, typical of Pallava art and architecture. On the northern wall, the battle between Goddess Durga and Mahishasura, the buffalo–headed demon, is beautifully depicted. Mahishasura symbolises strength, ignorance and egoism, all rolled into one. Also found is a fine sculpture of Somaskanda, where Lord Shiva as Somaskanda is shown with four hands. While his hands projected upwards are shown holding a snake and a beaded chain each, his two other hands are in abhaya and yoga mudras. Goddess Parvati is seated beside him, holding little Skanda on her lap, while a Nandi (bull) is found beneath. Lord Brahma and Lord Vishnu are picturized in the background, representing power, wisdom and peace. On the southern wall is a sculpture of Lord Vishnu reposed on his seven-headed cobra couch ‘Adisesha’. The sculptures on the western and southern walls relate episodes from Devi Mahaturya, the celebrated Sanskrit poem, which is recited by the followers of tantric school.

Varaha Mandapam This is fine, completed architecture, which lies right next to Arjuna’s penance. The entrance has two pillars engraved with two-horned lion bases and a cell protected by two gatekeepers. The southern wall portrays Lord Vishnu’s Vamana avatar. Vamana approaches emperor Bali, requesting him to grant land that enables him to cover three steps. Emperor Bali grants him the wish and Vamana covers the earth in one step, the heaven with the second and keeps

India Immemorial • September 2009 • 43

Pallavas were the pioneers of new styles in both art and architecture and Mahabalipuram stands witness to their skill and talent. Making the best use of the resources available to them, they gave shape to their dreams and directed their creative energies in the right direction. Mahabalipuram very soon witnessed innovation in all styles.

44 â&#x20AC;˘ September 2009 â&#x20AC;˘ India Immemorial

Architecture

his third step on Bali’s head with his permission. Lord Vishnu is portrayed in his cosmic form with eight hands and eight legs. Along with Vishnu stand Lord Brahma, Lord Shiva, the Sun and the Moon. The eastern wall portrays Goddess Lakshmi with two maidens and two elephants in the background.

Nakula - Sahadeva Ratha

Pancha rathas or the five rathas

One who enters the Pancha Rathas can visualize the back portion of elephants and hence they are also known as Gajaprishthakara (meaning the elephant’s rear side). The elephant sculptures are huge and are the highlights of the Pancha Rathas.

The five rathas are a set of magnificent, monolithic rock temples, which explain the evolution of the Dravidian style of architecture. These rathas, termed as Pancha Pandava rathas, are called Draupadi Ratha, Arjuna Ratha, Nakula – Sahadeva Ratha, Bhima Ratha and Dharamraja Yudhistira Ratha.

Draupadi Ratha This ratha, located near the entrance, is spectacular and is shaped like a hut. It is dedicated to Goddess Durga. Female door keepers stand on either side of the rath, one holding a bow and another, a sword. At the eastern wall is a bas-relief that portrays Goddess Durga standing on lotus with two worshippers offering flowers at her feet. The other walls have carvings of the great goddess, and at the front of the temple is a lion, which is the celestial vehicle of the goddess.

Arjuna Ratha Arjuna Ratha, dedicated to Lord Shiva, has a small portico and carved pillars. Though there are no inscriptions or figures inside the shrine, the outer walls have beautiful carvings of Lord Vishnu and Garuda. On the eastern wall are carved dwarapalakas, while the middle wall has the portrait of Lord Indra riding an elephant.

In front of Arjuna Ratha is the Nakula – Sahadeva Ratha. This is a double-decored building, dedicated to Lord Indra, the god of rain. There is also some proof that this ratha might have been dedicated to Lord Subramanya.

Bhima Ratha This ratha, facing west, is the third of the rathas. This temple is gorgeous as it measures 42 ft in length, 24 ft in width and 25 ft in height. While the pillars have carvings of lion on them, the other portions are plain.

Yudhistira Ratha Of all the five rathas, this ratha is the biggest with innovative and well-carved designs. Like the Arjuna Ratha, this ratha too is dedicated to Lord Shiva. Above the ground floor stands the minutely designed double floor. The peculiarity of this

monumental construction is that there are no stairs from the ground floor to the first floor, though there is a staircase from the first floor to the second floor. There are eight panels in the ground floor. While one panel has carvings of a king, the rest have carvings of gods and goddesses. On one particular wall is the depiction of Lord Shiva as Ardhanarishwara.

Ganesh Ratha This ratha lies west to the Bhima Ratha and resembles Arjuna’s Penance. It was earlier dedicated to Lord Shiva, but is now the shrine of Ganesha.

Festivals The Tamil Nadu Tourism Department conducts world famous dance festivals every Saturdays and Sundays and also during holidays in the months of December and January. This festival is celebrated for four weeks when dancers from across the country participate and dance with Arjuna’s Penance as the backdrop. Classical dances, music, tribal dances and puppet shows also entertain the mass gathering.

Getting there By Air: The nearest airport is at Chennai (58 km). By Rail: The nearest railheads are Chennai and Chengalpattu (29 km). By Road: Mahabalipuram is less than two hours from Chennai by road. Buses are available from Chennai, Pondicherry, Chengalpattu and Kanchipuram.

India Immemorial • September 2009 • 45

Century of a Vision

100 Years of IISc

46 • September 2009 • India Immemorial

Milestone It’s 100 years since the Indian Institute of Science came into existence, giving shape to the extraordinary vision of J N Tata. As a premier research Institute since 1909, IISc has contributed immensely to the scientific and technological growth of India and has produced outstanding leaders and creative geniuses.

Sri Jamsetji Nusserwanji Tata Founder of IISc

Morris Travers First Director of IISc

he Indian Institute of Science (IISc), Bangalore, popularly called the TATA Institute, was conceived as a “Research Institute” or “University of Research” by Jamsetji Nusserwanji Tata, towards the end of the 19th century. The early history of the Institute is a fascinating chapter in the story of higher education and scientific research in India, which led to the establishment of the Institute and includes among others, the charismatic and generous founder J N Tata, Swami Vivekananda, Nalvadi Krishnaraja Wadiyar, the Maharaja of Mysore, and his mother Her Highness Kempananjamani Vanivilasa Sannidhana Avaru, then Queen Regent acting on his behalf, and Lord Curzon the Viceroy of India. The Institute came into being on the issuance of the Vesting Order on May 27, 1909 by the British Government, after a long gestation period of about thirteen years, since it was first conceived in 1896. The history of IISc is intimately linked with the story of the evolution of higher education, research, science and technology in India, over the course of the turbulent years of the 20th century. It is a story that begins in the high noon of the British Empire and spans the entire period of the nationalist movement that culminated in Independence. It is also a story of the birth and growth of the science and technology enterprise over the last half a century. It is a story that begins with an act of philanthropy, unprecedented for its vision and unmatched for its generosity in the years that have followed. The Institute occupies nearly 400 acres of prime land in Bangalore, generously donated by the Maharaja of Mysore in March 1907. Indeed the contribution from the princely state of Mysore was the decisive element in determining the location of J N Tata’s proposed Institute in the city of Bangalore. Mention must be made of the contribution of Dewan K Seshadri Iyer who ably assisted the Maharaja on this issue. Among the many factors that favoured Bangalore were its salubrious climate, availability of abundant natural mineral resources and unlimited power from the Shivanasamudram Power Station. J N Tata did not want his name to be associated with the Institute; his dream was to create an institution that would contribute to the development of India. The name Indian Institute of Science was finally chosen, reflecting in every way the wishes of J N Tata.

H H Sri Krishnaraja Wodeyar IV Maharaja of Mysore (1902-1940)

The Institute began with two departments - General & Applied Chemistry and Electro Technology - and the first batch of students was admitted into the Institute in 1912. The departments of Organic Chemistry and Biochemistry were among the earliest to be established. Early research work in these departments focused on several local industrial problems – such as sandalwood India Immemorial • September 2009 • 47

oil, lac and so on. In fact, records available at the IISc Archives show that the Bangalore Water Supply and Sewage System was the outcome of the research work carried out in the 1920s at IISc by Prof Gilbert J Fowler of the Biochemistry Department. The Physics Department came into being in 1933 when C V Raman became the first Indian Director of the Institute. As the Institute has grown, several new areas of research have been established. The Institute’s departments in fields ranging from Aerospace Engineering and High Voltage Engineering to Biochemistry, have served to nucleate research and development in both public and private sectors in the country. The faculty and alumni of the Institute have been responsible for establishing and spearheading many new Institutions and programs across the country.

Raman in Bologna, 1937

Photo of the Department of Electrical Technology, 1920s

Gandhiji’s visit to IISc

Photographs: Copyrighted – IISc Archives and Publications Cell.

Homi Bhabha conceived the idea of the Tata Institute of Fundamental Research (TIFR) while working at IISc’s Department of Physics. Vikram Sarabhai, the founder of India’s space program, worked under Prof C V Raman at IISc. The Central Power Research Institute (CPRI), Bangalore, the Hindustan Aeronautics Limited (HAL), Bangalore, the National Aerospace Laboratories (NAL), Bangalore, the Central Food and Technological Research Institute (CFTRI), Mysore, the Karnataka Soaps and Detergents Limited, Bangalore, to name a few, owe their origin to the Institute. Many of India’s most distinguished scientists have been associated with the Institute. Notable among them are G N Ramachandran, Harish Chandra, Satish Dhawan, Arcot Ramachandran, Roddam Narasimha and C N R Rao. A large number of the alumni of the Institute have gone on to head several major organisations, institutions and companies both in India and abroad. Over the past one hundred years, several prominent citizens of Bangalore have served in an official capacity on the Institute’s governing bodies. They include, among others, Dewans T Ananda Rao, V P Madhava Rao, Sir Mirza Ismail, Sir M Visveswaraya, to name a few. In the century that has passed since its inception, IISc has grown to become India’s premier centre for research and postgraduate education in science and engineering. The evolution of the Institute over the past hundred years has mirrored the development of science and technology in India. In the last decade, IISc has initiated many new academic programs; notable among them are the interdisciplinary PhD programs in Mathematical Sciences, Chemical Biology, Earth Sciences, Nanosciences, Nanotechnology and Nano-engineering for integrated systems. An MTech program in Climate Science has also been introduced and new Centres for Earth Sciences and Climate Change have been established. A silken connection to Bangalore and IISc was established early in its history when the elder son of J N Tata – Mr Dorab Tata, married a Bangalore girl – Meherbai, the daughter of H J Bhabha the then Inspector General of Education for Mysore and Coorg. In summing up, I quote from the editorial “The Birth of the Indian Institute of Science” by Prof P Balram, that appeared in the journal Current Science, Volume 94, No.1, 10 Jan 2008, “The full story of IISc and the men who built it is yet to be written. If the right scribe is found, it should be a tale worth reading”. As we complete one hundred years, the good news is IISc will soon have a 1,500 acre second campus on the outskirts of the city of Chitradurga (Karnataka).

- Sharath Ahuja

Nehru and Indira at the Institute 48 • September 2009 • India Immemorial

(The writer is Co-ordinator, Archives and Publications Cell, and Technical Officer, Department of Instrumentation, IISc)

The God of Prosperity & Success

n the Hindu pantheon, Lord Ganesha is a very popular deity who is adored and worshipped all over India. Like Shiva, Ganesha holds an important position since time immemorial. But, unlike Brahma, Vishnu and Maheshwara who are treated as the ‘Divine Trinity’ or principal deities of the Hindus, Ganesha is a subsidiary deity, but still has the status of a first deity to be worshipped at the beginning of every religious ceremony. According to shastric injunction, the order of invocation of the deities starts from Ganesha, then Surya, Vishnu, Shiva and

Durga. This reminds us of Ganesha’s important position as a deity. According to the Mahabharata, Ganesha was first the Lord of the Rudras or Rudra Gana. Later, he came to be known as Rudra-Shiva and then as the son of Shiva. Legend has it that Ganesha was born of Parvati’s body and mind. The puranic conception of Ganesha has become much familiar with idol makers. In the Agnipurana, there is a chapter on Pratima-Lakshana or the forms of different idols. The dancing Ganesha,

50 • September 2009 • India Immemorial

otherwise known as Rudra Shiva or Natya Ganapati, assumes the form of six-armed or eight-armed deity. This form is in a dancing pose on a rat, which is his carrier. To indicate the dancing style, one arm of this image is left empty, while the left leg is lifted in a dancing posture and the right leg is placed upward. Of the two main

According to the Mahabharata, Ganesha was first the Lord of the Rudras or Rudra Gana. Later, he came to be known as Rudra-Shiva and then as the son of Shiva. arms, the right one indicates abhaya mudra and the left one is stretched outwards and is suspending. The latter looks like Gajahasta or the trunk of an elephant. The other arms hold various weapons and objects like a club, aksha mala, axe, mulaka and serpent. Sometimes, Ganesha is seen as dancing on a bull. Again, three types of Ganesha idols are found: standing, sitting and dancing figures. The latter two are seen in large numbers, while the first one is rarely seen. Again, the four-armed Ganesha figures are

plenty, but the two-armed figures are few. According to a puranic legend, Ganesha is a proficient scribe, holding in two arms a pad and a pen that indicate his taking down oral dictation or notes of the Mahabharata by Vyasadeva. But, such a style is not depicted in any of the Ganesha figures found in various places. The puranic conception of Ganesha became popular in later period and innumerable images started to be built for the worship of this deity. The images were installed in the temples. Ganesha

was symbolised as a deity who wards off obstacles to bestow success and good fortune to people who pray to him. He is very fond of sweets or modaka. In Bengal, he is invoked on the first day of the Bengali New Year, while in other states, Ganesha Chaturthi is observed before Dasara, in the month of Karthika (just celebrated this year on August 23). The worship of Ganesha, according to some scholars, started not earlier than the last part of 6th century A.D. A brick shikara temple

at Bhitargaon (5th century A.D) near Kanpur retains an image of Ganesha on its wall. A naked image of Ganesha, carved in red stone and discovered in Mathura, belongs to 4th century A.D. All these testify to the existence of Ganesha in the early Gupta period. Ganesha commands devotion and worship from people all over India. He is prayed to ward off obstacles and for success and prosperity.

Text & Photos: Dilip Banerjee

India Immemorial â&#x20AC;˘ September 2009 â&#x20AC;˘ 51

Shri Bejan Daruwalla with Panch Mukhi Vishnu Ganapati at Shirdi

Shri Ganeshaya

Namaha! India Immemorial is blessed by Lord Ganesha through his ardent devotee and world-renowned astrologer Bejan Daruwalla. Our sincere thanks to this great astrologer, who is revered and respected by one and all.

52 â&#x20AC;˘ September 2009 â&#x20AC;˘ India Immemorial

Astrology

e Indians do not say astrology. We say jyotishi. Jyot means light and ish means God. Therefore, jyotishi is the light of God. Bejan Daruwalla was invited by R H Sharma and H P Sharma of the Shri Ganasai Trust to help in the installation of the seven-and-a-half foot statue of Panch Mukhi Vishnu Ganapati on June 13, 2002 at Shirdi. It was the greatest moment of Bejan’s entire life. It really showed that Ganesha, his Lord and Master, loved and cared for him. It also showed the great generosity and tolerance of Hindus. Today, it is a full-fledged temple. Bejan’s name is inscribed on the tablet along with that of others. The trust feeds 100 people everyday, free of cost. It also proposes free marriages for the poor. It welcomes one and all.

About Bejan Daruwalla An ardent and faithful devotee of Lord Ganesha, the author is Asia’s most widely read astrology columnist. He combines Indian and Western Astrology, I–Ching, Tarot cards, Hebrew Kabala of numbers, Palmistry and colours for his predictions. Bejan Daruwalla is probably India’s largest selling author today. A professor of English for 27 years at Ahmedabad and Mumbai, Bejan was included in the ‘Who’s Who’ in International, London. His anthology, I Am The Sky, won the first prize for Paperbacks at the Delhi Book Fair.

Bejan Daruwalla’s predictions that have come true… Bejan predicted the success of Shilpa Shetty in two newspapers - The Bombay Times and DNA - and remarkably enough, got interviewed on Shilpa Shetty’s Channel 4, in Mumbai, on March 2, 2007. In the November 1 issue of Bombay Times, Bejan said, “The next 21 days will be most important in Aishwarya Rai’s life”. And it was in November itself that the world got to know of Aishwarya Rai and the Bachchans doing the temple rounds and religious ceremonies together. He writes in his 2007 (2007 annual horoscope was released in July 2006) forecast book, on Page 21, “Before September 2007 I see the end of Premier Tony Blair, the Taurean”. The book says that this prediction was written on Hanuman Jayanti, May 27, 2006, a Saturday. He also writes on Page 16 of 2007 annual, “2007 shows financial gusts of good fortune in the economy, stock market, bullion, metals, technology and the country’s infrastructure. An astrologer relies upon God’s Grace, intuition and expertise in dealing with planetary interplay. But that does NOT mean he should not take an avid interest in the world. Yes, I did come dead right about the stock market’s tremendous tumble in May 2006 (P 21 of my 2006 annual) – I talked of ‘nose dives,’ ‘aberrations and I have used the very words ‘stock market’ and ‘bullion’. See it for yourself and verify! The nuclear deal between India and US may

be in the spotlight now but Bejan Daruwala had predicted the deal as early as February, 2006 in Bombay Times. This is what he said about Bush. “He is the right person at the right time. The last day of February is the new moon which is placed with Jupiter. Therefore, this man’s visit will be fruitful. Ganesha says, that by the end of October and beginning of November, 2006, it is a favourable time for America and India to come together.” The actual nuclear deal was November itself. The 2006 Annual was released in July 2005. Hit the international news in January 2001. He had predicted it way ahead in April 2000 in indiatimes.com. Bejan Daruwala’s most famous past prediction, subsequently supported by the fall of Indira Gandhi (Illustrated Weekly of India), V P Singh’s premiership and accident of Rajiv Gandhi (Midday); Premiership of Indira Gandhi and Morarji Desai. Mumbai Mirror, July 25, 2005 acknowledged Bejan’s correct prediction of the second London Bomb Blast. In the 1999 Annual Horoscope, Page 360, he had said, “I do not see a war and certainly not a nuclear holocaust involving India and Pakistan or a World War Tension is possible, though of the limited, controlled variety.” He actually predicted Kargil!!! Daruwalla’s future prediction is that - “India will be the Superpower of the 21st century”.

Achievements Acknowledged as one of the hundred great astrologers in the last thousand years in the great Millennium Book of Prophecy, published by Harper Collins, USA. Awarded the highest degree of Vedic astrology, Jyotishi “Mahahopadhaya” by the federation of Indian Astrologers. He was the astrologer in residence at Manila Hotel, Philippines. Bejan featured on the BBC in Hard Talk India, August, 1999. Bejan was born on the 11th of July, 1931. He has a family of five, including his wife and 3 children. He loves them more than his life. The Financial Times, London, October 9, 2007, has mentioned 3 corporate astrologers from the entire sub-continent and Bejan Daruwalla is one of them. He is the only one from India. The BBC featured Bejan in its Business India programme three times on December 30, 2007! Hobbies: Cartoons, sports, music, jokes, philosophy and laughing at himself. Those who are interested in donating to Shri Ganasai Trust may send contributions to: Shri Ganasai Trust, Panch Muki Vishnu Ganpati Shiridi, Kankuri Village, Shiridi - 423109 Contact: H.P.Sharma - 09822441777.

An ardent and faithful devotee of Lord Ganesha, the author is Asia’s most widely read astrology columnist. He combines Indian and Western Astrology, I–Ching, Tarot cards, Hebrew Kabala of numbers, Palmistry and colours for his predictions. India Immemorial • September 2009 • 53

Monthly forecast - September ARIES Time to reiterate your faith in Ganesha. Household matters, familial relations, dealing with bosses, superiors, and people in power will keep you busy. It is not good to be careless regarding personal health and diet. I foresee trouble there if you’re careless, though some of it could well be a false alarm. This is not as contradictory as it may seem. A certain kind of preoccupation with yourself is to be seen this month. It may range from just taking care of your health to total hypochondria on the physical plane, and from pursuing alternative healing practices to sports and diet. Whatever the reason is, a lot of stress seems to come to you and you may find it difficult to handle it all. Objectivity will be your strongest and best bet this month. Cares and worries seem to be attacking you and you have to strive to be balanced and calm. Definitely avoid any risk taking, especially at work. Take care, warns Ganesha, and learn to cope. You may merely feel – or actually be – overburdened by others’ affairs, or suffer from neglect and lack of interest. Subordinates, pets, servants - all who depend on you – require attention, and you’re confident of your ability to do your best for them.

TAURUS I must warn you that you have a lot to learn about getting your ideas across without stirring up a hornet’s nest of contention and rivalry, of strife with your mate or loved one. You should avoid gambling with both love and money, as either could put you in the loser’s corner. Avoid confrontations and conflict situations at work too, but most particularly with your mate or partner. Don’t grudge the attention that others get – you get plenty of your own. That holds good for money, contracts and assets. Trouble with close associates may develop if you bicker over material things. Ganesha issues a further warning. He tells you that this is a time not to be hasty in dealing with people at work, or in important meetings. Also, not the time to disappoint either your family and loved ones, or your colleagues. I’ve given you the downside in great detail but it is not all negative. There is excitement, thrill and passion galore. In fact, you’re actually pursuing all of the above. A fine month, full of several factors that are good. It is a great phase that favours joy, entertainment, inventions, sex life, creativity, children, hobbies, playmates, leisure activities, romance, holidays, sports and strangely and paradoxically, tantra and mantra. But the fact remains that enjoyment rather than joy is what you will target. You are tempted to exhaust all kinds of sensual pleasure. You should also note that I have NOT talked of money and home. Right now, you’re focusing on 54 • September 2009 • India Immemorial

other things, chasing them, obsessing about them, so practicalities are on the backburner.

GEMINI You want to work towards a definite goal and orientation. You want to live life a particular way, yet be true to yourself. It is in this context that house or office may require renovation, refurbishing or expansion. Perhaps, even a shift for office/ home/ factory/ workplace. You want working conditions that satisfy you in every way, physically, technically and in the prevailing atmosphere and will take pains to achieve just that. You may also decide to invest in labour-saving devices/ gadgets to streamline your efficiency both at home and in the office. At the same time, there is a desire to retrace your roots and origins, to go back in time. As in July, some financial matters are again important, but the focus is a more long-term one. You will concern yourself with planning for the future, especially financially. Retirement benefits, insurance, net-eggs for the future, monthly income or old-age plans will be important. But you want to enjoy your money while you can, as well as put some money away for a rainy day. Money has to mean something, not just fulfill financial needs. Questions about moral values, spiritual matters and standards, your emotional bonds will also be thought about, planned, and dealt with in the overall scheme. You envisage a more relaxed, laid-back and thinking way of life than you have hitherto pursued.

CANCER This month you need to put the brakes on, in more ways than one. You’ve on a roll and could easily get carried away, and make some wrong moves and/ or decision. It’s money, funds, finances that will be the main focus this month. Valuables – whether property, jewels and gold, assets and funds – will all be handled/ acquired. Property and money matters need careful consideration and judicious handling though. A certain over-confidence may creep in, so be careful that you don’t come a cropper. Dear ones and well-wishers should be handled with gentleness and tact, not taken for granted. Appreciation is as welcome to others as it is to you, remember. Overlooking this will make both losses and hurt likely. The best results come by not relying too much on others, not from delegating responsibility or barking up the wrong tree career-wise. Diplomacy and humility are both very necessary, most particularly with bosses and superiors at work and with parents, elders, even in-laws at home. Publicity-related enterprises and the media are favoured, too. All in all, a busy and very productive phase that will last till the end of the year. Your people-skills and core values will come into play. Meeting new and interesting people

• Bejan Daruwalla and a thorough review of your finances will pay dividends. Building up joint-funds, counseling and therapy, tax-benefits and legacies are all very possible, and will bring you huge benefits.

LEO Your creative output was tremendous, and the rewards were bound to happen. Good luck comes to you from Ganesha- it manifests itself primarily (and gloriously) in the realm of finance. Taxes, rentals, funds, capital raising, even gold, valuables, property, assets come to you. But they do not drop into your lap from the heavens. Clashes/ conflicts would have to be dealt with, especially if it’s either family money or an inheritance or even a raise, promotion, a new post at work. These latter benefits will be more than well-deserved, so also praise, kudos, credit, popularity. What could be a casualty are your own personal equations and family bonding. It’s a lucky time in terms of all these financial moves described above but a risky one too. It is better to proceed with caution. Not rush into high-risk investments/ ventures which could even impact your personal and domestic finances. Friendship and family love are far reaching, vitalising and uplifting. It is your greatest asset, you realise, now that the spillover of frenetic activity from your birth month settles down, towards the month-end. You find time for children, their activities, your own interests and pursuits. You just might get side-tracked to wrong objectives in your career, focus on wrong values in family life, under some anxiety over household conditions or an explosive family situation. Health could be a casualty; or certainly stress and exhaustion could happen, as a result of taking on too much at the cost of family life. The inner search continues, but you are motivated now by the desire to improve your image in the eyes of others, your own self-image, so that you can shine and be successful in a way that is distinctly visible to yourself as well as others.

VIRGO You will experience a boost in will-power and mental energy, and will be able to slay the dragon of doubts and misgivings that were bothering you. This is the month when you have the confidence, the savvy and the panache to go out and be a winner. And that’s what counts when you need to go out and flatten the opposition. The fields that are specially favoured will be communications, information, research and new inventions and the tinkle of money in the till. You will peak in terms of both credit and productivity. The patience and tact that you have displayed in the face of adverse circumstances in the past few weeks will be amply rewarded. Some kind of wish-fulfillment may also happen. Remember,

Forecast this is your birth-phase, which is typically full of heightened activity, for all signs. The unique thing is that right now, you are the one who is making it all happen with your own inspiration, initiative and energy. You will be inventive, even brilliantly creative, making inspired moves. Your angst and gloomy mood of the past will melt away. This month emphasises the superior mind, the higher consciousness, and how to improve your mental world vision. And from this are bound to come the right motivation as well as the right moves. Personal relationships will therefore prosper. Romance will blossom, under the onslaught of your charismatic appeal to members of the opposite sex, though the appeal will be more of the mind than a physical one. All for good, chuckles Ganesha. It will last!

LIBRA You might feel that too many involvements exhaust you (perhaps emotionally they do – for all of us). Ganesha warns you however not to carry this tendency too far. Strike your famous Libran balance. You might need to deal with restrictions, hospitals, or there could confinement to take care of, or sickness and medicare. Not just for yourself – you could be the care taker and comforter rather than having to lean on others. You move on/ ahead/ away - strange as this may sound. You should still be feeling on top of the world, but while you’re not depressed, you certainly crave solitude, even find some things painfully limiting; perhaps you feel restless, wanting to change even the world around you. Once again, healing, meditation, contemplation are more than attractive. They help you to centre and focus your ambivalent feelings and thoughts. Deep, profound benefits accrue to you now. Friendship and fulfillment are both yours, and are replete with shared ideals, thoughts and values. Even new attachments can be made and they’ll be made to last! In fact, you need warm interactions, almost like you need air to breathe. People always help you towards deep insight. You have been thoroughly involved in travel, or are even now, and in broadened interests which take you far beyond your usual boundaries. And I’m talking of both personal and professional frontiers, despite the angst and ennui that could have gripped you earlier in the month. You have dealt with them all and come out on top. Truly so!

SCORPIO Right now, you’re good to know, to be with - and it shows in your activities and interactions. Your personality and persona certainly have an aura, magnetism; you draw people towards you. An excellent time for going out of the usual orbit, connecting with people you like, doing new things for entertainment, visiting unusual places off the beaten track, and also for games. Play, pleasure and total self-expression make you enjoy love, laughter, joie de vivre. It’s certainly a welcome interlude, provided, of course, that you stay within limits. There is a certain devil-may-care feeling

within you, a sense of adventure. The danger is that you could be tempted to carry this mood too far. You could be living dangerously in terms of affairs, liaisons. Astro-indications are there. It could be because you yourself have learnt to reconcile your interests and advancement with your image in other people’s perceptions. What you experience this month is a certain sense and mood of relaxation, easing of tensions. All kinds of relationships are bound to improve. In fact, if you’re footloose and fancy-free, you can have a lot of fun with friends; and love is certain to make its appearance while you go off, seeking adventure. Perhaps love itself is an adventure, certainly a mood-lifter for you.

SAGITTARIUS Your self-belief and confidence are back with a bang! You want the freedom to express yourself in your profession - not merely do a job, or work as a cog in an organisational wheel. You want to be doing your own thing, very frequently indeed, and definitely now. This is a strong Sagittarian trait, perhaps the hallmark that stamps them. In this month, you will relate this to the sphere of money matters, though other angles come in for their share of attention and effort. Along with professional considerations, you realise the need to weigh up financial options carefully, too. Actually, I would say, this entire month is about finances, ways and means, finances, plans and finances! Initially, avoid money transactions in this month, but then make your well-planned, well-executed manoeuvres and moves. Ganesha will take care of the results! Self-employment, your own business/ office/ property will attract you immensely. At the same time, there are household responsibilities, emotional issues and philosophical concerns to cater to, before your final decision can be made. You may have a lot on your plate work-wise, but your appetite for work and creativity is phenomenal. Ganesha guarantees spectacular results. All the Ps – power, publicity, parents, prestige, precision, planning, come to you in a blaze of glory. Riches fall into your lap - excitement, loving vibrations, maturity, thrills, even stability. Love and utter fulfillment are bestowed upon you magically by Ganesha, and you feel truly blessed.

CAPRICORN You power-drive yourself to success. While on the topic of dedication, it applies equally to the areas of family interactions, love and romance. A truly spectacular phase in terms of being - perhaps the most go-ahead and progressive time that you have experienced recently. In many ways, you will feel you’re really coming into your own now! You pursue your goals with single-mindedness, zest and energy that yield spectacular results. Additionally, you are also eager and willing to help others, to do your bit for the common cause and public well-being. This is always a deep concern for you and so too now. You power ahead this month. It’s really a time of “All systems go” for you now. There

is a spirit of not just determination but dedication in your handling of work and assignments as well as finances. New projects, ventures and plans will all pan out beautifully under the renewed onslaught of your winning moves.

AQUARIUS Now the glamour and sparkle are a bit dimmer, but they are still very much there. The money scene will be steady rather than spectacular, as it was last year. You can’t have it that way for long, anyway. What you do no lose are entertainment, a touch of romance or pleasure from children. Your own creativity remains as sharp as ever. It helps you rejuvenate your surroundings, even get over the bad vibes. If Ganesha so wills it, you’ll take care of your health and your relationships – He’ll make sure of that. You’ve toiled too sincerely and too long for it to be otherwise. Your brilliance and sheer joy must have aroused a lot of envy. Whatever the reason, the astro-indication is there for your competition revving up, your rivals getting active. This may have started in August itself; you’ll definitely see it now! Ganesha advises you – let family interactions and connections be free. Some of your ideas may not gel with a partner, but sensible co-operation is possible. There is no need to get dejected and/ or disheartened. A slowing down is almost inevitable, after the razzmatazz of last month, if not a touch of sadness, ennui, angst. Moving away, separation, even the breaking up of a relationship could happen. Friends may turn into enemies, but you have to watch that your personal interactions do not slip and perish. And learn to deal with let-downs and disappointments if they happen. Wrong ideas and opinions may even be jettisoned, in your desire for personal freedom. Togetherness, companionship and warmth are your gains this month, despite the negative factors I described.

PISCES Ganesha has given you a capacity wherein you know that you can create beauty even from chaos. It will be a delight to share, to listen, to soothe with patience and sensitivity. These will be your major strengths. So cash in on them! You will find that there are things working for you now. There is a shift in emphasis. The personal angle yields place to the intellectual and professional one in your mind. Now, it will be your career and profession - not just your job/ work. You analyse and assess long-term goals. It gives you a greater degree of satisfaction than any other benefits. It is usually the case – it must give a sense of accomplishment, please your sensibilities, not just fill your pockets with money. The money comes through from the clever, intuitive decisions and actions that you take this month. There is no doubt that you can earn well. Doubts arise about your ability to do it on a regular, sustained basis. You may once again be tempted to take shortcuts, even do the wrong thing if it gets the right results. India Immemorial • September 2009 • 55

Masterpiece

inety years ago, a sickly boy was born in a small non-descript village in South India. Afflicted by tuberculosis, typhoid, and malaria in his childhood, that too in an era when there were no antibiotics, his survival itself was a big question. It may seem like a miracle that today, this sickly boy has evolved into a living legend, giving life to millions across the world. This boy is none other than Yogacharya B K S Iyengar. Today, the name Iyengar has become synonymous with yoga. The fact that the 2004 edition of the Oxford English Dictionary defines Iyengar as “a form of yoga” stands testimony to his remarkable achievement. How a boy struggling for survival created such a niche in this world is a remarkable story. A story of what grit, determination, hard work, persistence, faith, devotion, intense study and total surrender can result in. How he was recognised as one of the 100 most influential people in the world by the Time magazine. Sundararaja was born as the eleventh child of a school headmaster but death snatched the support of his father when he was just nine. His formal education was disrupted by persistent ill-health and he turned out to be a back bencher in school. As destiny would intervene, his elder sister married T Krishnamacharya, a very learned scholar of his times, who taught yoga and scriptures at the palace of the Maharaja of Mysore. One summer vacation, Krishnamacharya asked Sundararaja to spend his vacation in his house as Krishnamachar was travelling and did not want to leave his wife alone. He asked Soundararaja to “do yoga” to improve his health. Thus, Krishnamacharya became his Guru and yoga crept into his life, a subject which gave him his life, a livelihood, an identity, and transformed the lives of millions across the world. After two years of informal education with his Guru, he was deputed to teach in Pune. Little did he know then that this city would become his “karmabhoomi” and a

BKS Iyengar

The

Legendary Yogi 56 • September 2009 • India Immemorial

Yoga Masterpiece place of pilgrimage for yoga enthusiasts from America to Australia and Sweden to South Africa! He was totally ill-equipped in this city. He had very little knowledge about yoga, he did not have much of a formal education, he did not speak the local language, he did not have a physique or personality that he could boast of and, most of all, he did not have any money in his pocket! Life could not have been worse. But, what he had was determination and an incessant zeal to bring yoga closer to people. He still recollects how people would laugh and make fun of him, calling him a madman, when he came to Pune! This humiliation ignited his passion for yoga. He practiced hard, trying to understand each aasana (posture), which part of the body it worked on, how he could improve it, the effect it has on his body, mind, emotions and intelligence. He often missed his meals but never missed his practice. This regular practice not only worked wonders on his self but also on his students. When he was approached by individuals, often suffering from chronic ailments, whose symptoms conventional medicine could not alleviate, he was able to give them the much needed relief. He corroborated what he experienced with the ancient texts. Those who came in his contact and learnt under him benefited and word soon spread about the benefits of yoga and the number of his students increased. Not only did he gain respect, but the subject of yoga also got the much deserved credit, or rather, it was re-discovered. A chance meeting with Yehudi Menuhin, the great violin maestro of the 20th century, introduced yoga to the western world. Menuhin found that the practice of yoga improved his performance. He therefore invited his yoga teacher to visit Europe every summer to teach him and his family. Over the years, more and more people started learning under Mr Iyengar (as he was then known). His fame started spreading in India too. People reported miraculous recoveries from illnesses which even the best doctors could not treat. His magnum opus, Light on Yoga, brought yoga to people’s homes. The book with 600 photographs with precise instructions to perform 200 aasanas became what the Times of India called, “The Bible of Yoga”. Even today, after 45 years, the book continues undergoing reprint after reprint and has been translated into various languages. It is already translated into 18 languages including European, Persian, Hebrew, Russian, Chinese and local Indian languages. Since then, he has authored nearly 20 books, each touching a unique aspect of yoga. His latest book, Light on Life, just saw the light of the day two years ago. The 12th century yogic text, Hatha Yoga Pradipika, states that yoga is meant for the young, the old, the diseased and the disabled, and Yogacharya Iyengar has been able to demonstrate this statement. His teachings are based on tradition and the scriptures. He confirms his experiences with that given in the scriptures. One of his greatest contributions has been the discovery of props. These props include the use of belts, chairs, pillows and many wooden tools which support and help attain perfection in a given aasana. It is because of these props that even the disabled and the diseased can perform yogic postures and attain benefits from their practice. It is not surprising that the popularity of these props has led yoga to become an industry! It is said that there are a few million yoga practitioners in US alone and yoga studios abound in every street corner. As the popularity of yoga grows, he has remained unfazed in his sadhana. Even today, at the age of 89, it is a common sight for his students to see their Guruji practice quietly in a corner of the yoga hall in Ramamani Iyengar Memorial Yoga Institute, an institute which he built in memory of his beloved wife. His daughter Geeta and son Prashant Iyengar teach regularly at this institute. It is quite an inspiration for his students to see him in a state of meditation in any yogic posture, be it shirsasana, sarvangasana or setu bandha sarvangasana.

- Rajvi H Mehta

India Immemorial • September 2009 • 57

Masterpiece

Traditional Health Practices

Tulsi

The Wonder Herb Our country has a long history of traditional health practices. They are a sum total of knowledge, skills and practices based on the theories, beliefs and experiences of our esteemed ancestors. They are used to maintain health, as well as to prevent, diagnose, improve or treat physical and mental illnesses.

ne of the most popular features of traditional health practices is the use of herbs, herbal materials, herbal preparations, and finished herbal products that contain parts of plants or other plant materials as active ingredients. One such wonder herb is tulsi or basil, which is not only worshipped by Hindus as an important symbol in the Hindu religious tradition, but also used widely in traditional medicines for its medicinal properties. In fact, to this day, people believe that the members of a family that grows tulsi in its courtyard do not fall sick. Such is its reputation.

Tulsi protects against and reduces stress, enhances stamina and endurance, increases the body’s efficient use of oxygen, boosts the immune system, slows aging, and provides a rich supply of antioxidants and other nutrients. Listed below are some more uses of tulsi as an effective herbal remedy: Fever & Common Cold: During the rainy season, when malaria and dengue fever are widely prevalent, tender leaves, boiled with tea, prevent these diseases. In case of acute fevers, a decoction of leaves boiled with powdered cardamom in half a liter of water and mixed with sugar and milk brings down the temperature. The juice of tulsi leaves can be used to bring down fever. Extract of tulsi leaves in fresh water should be given every 2 to 3 hours. In between, one can keep giving sips of cold water. In children, it is every effective in bringing down the temperature. Coughs: Tulsi is an important constituent of many Ayurvedic cough syrups and expectorants. It helps to mobilise mucus in bronchitis and asthma. Chewing tulsi leaves relieves cold and flu. 58 • September 2009 • India Immemorial

Sore Throat: Drinking water boiled with tulsi leaves relieves a sore throat. This water can also be used as a gargle. Healing Power: The leaves of the tulsi plant have many medicinal properties. They are a nerve tonic and also sharpen memory. They promote the removal of the catarrhal matter and phlegm from the bronchial tube. They also strengthen the stomach and induce copious perspiration. Respiratory Disorder: The herb is useful in the treatment of respiratory system disorders. A decoction of the leaves, with honey and ginger, is an effective remedy for bronchitis, asthma, influenza, cough and cold. A decoction of the leaves, cloves and common salt also gives immediate relief in case of influenza. They should be boiled in half a liter of water till only half the water is left and then taken. Kidney Stone: Tulsi has strengthening effect on the kidney. In case of renal stones, the juice of basil leaves and honey, if taken regularly for 6 months, will expel them via the urinary tract. Heart Disorder: Tulsi has a beneficial effect on those suffering from cardiac diseases and the weakness resulting from them. It reduces the level of blood cholesterol. Children’s Ailments: Common paediatric problems like cough, cold, fever, diarrhoea and vomiting respond favourably to the juice of tulsi leaves. If pustules of chicken pox delay their appearance, tulsi leaves taken with saffron will hasten them. Stress: Tulsi leaves are regarded as an ‘adaptogen’ or anti-stress agent. Recent studies have shown that the leaves afford significant protection against stress. Even healthy persons can chew 12 leaves of tulsi, twice a day, to prevent stress. It purifies blood

and helps prevent several common ailments. Mouth Infections: The leaves are quite effective for ulcers and infections in the mouth. Chewing a few tulsi leaves will cure these conditions. Insect Bites: The herb is a curative for insect stings or bites. A teaspoonful of the juice of the leaves is taken and is repeated after a few hours. Fresh juice must also be applied to the affected parts. A paste of fresh roots is also effective in case of insect bites. Skin Disorders: Applied locally, tulsi juice is beneficial in the treatment of ringworm and other skin diseases. It has also been tried successfully by some naturopaths in the treatment of leucoderma. Teeth Disorder: The herb is useful in treating teeth disorders. Its leaves, dried in the sun and powdered, can be used for brushing teeth. It can also be mixed with mustard oil to make a paste and used as toothpaste. This is very good for maintaining dental health, counteracting bad breath and for massaging the gums. It is also useful in pyorrhea and other teeth disorders. Headaches: Tulsi makes a good medicine for headache. A decoction of the leaves can be given for this disorder. Pounded leaves mixed with sandalwood paste can also be applied on the forehead to get instant relief from heat and headache. Eye Disorders: Tulsi juice is an effective remedy for sore eyes and night-blindness, which are generally caused by the deficiency of vitamin A. Two drops of black tulsi juice are put into the eyes daily at bedtime.

Vaastu for

health,wealth and

happiness

“Vastshpart Prati Jati Hachasman Tva Vesho Atbhivo Bhavatah Yat Tvameh Prati Natro Jushsvshan No Bhav Dvipad Sha Chatushpade” (Oh, God of structures and buildings, we are your devotees. Listen to our prayers, free us from diseases, give us health, wealth and prosperity; look after the well-being of everybody living in the building)

his prayer to Vaastu Purusha, as found in the Rig Veda, signifies the importance attached to Vaastu Shastra, the ancient Indian science of architecture. Though Vaastu Shastra is as old as the earth itself, it gained prominence only in the late 80’s. According to Vaastu Shastra, Vaastu Purusha is present in each and every plot, irrespective of its size and location. He, with a peculiar body, has to be worshipped for the well-being of all those living in the building to be constructed on that plot. Legend has it that Vaastu Purusha was born out of the sweat drops of Shiva while the latter was fighting with a demon. The cruel-looking Vaastu Purusha, thus born, was very hungry and began a penance to appease Lord Shiva. Lord Shiva, pleased with his penance, appeared before him and asked him to make a wish. Vaastu Purusha immediately asked Shiva to grant him the boon of devouring all three worlds. Shiva granted him the boon and then there was no holding back Vaastu Purusha. Learning about this boon granted to Vaastu Purusha, both the celestial beings and demons got worried. They caught hold of Vaastu Purusha and pinned him down to the ground. A helpless Vaastu Purusha pleaded them to let go of him, but they wouldn’t. Finally, he asked them how he would survive and then they said – “You will be known as Vaastu Purusha. You have the authority to devour people who do not worship you and appease you in the form of homas before commencing any construction work.” Hence, in any construction site, it is Vaastu Purusha who is first appeased by performing homas. The basic principles of Vaastu Shastra are also followed, which rest on the premise that the world is made up of five fundamental elements comprising earth (bhumi), water (jala), fire (agni), wind (vaayu) and sky (akasha), and that they should be arranged in a proper order for the well-being of people who undertake the construction.

The basic premise of this belief in Vaastu Shastra also rests on the fact that there exists a strong correlation between human behaviour and the built environment around him. Further, unseen forces like solar, lunar, magnetic, gravitational, molecular, fire, wind, microwave, electrical, light and sound energies affect human body and behaviour.

Vaastu Shastra combines all the five elements of nature and balances them with the man and the material. It takes advantage of the benefits bestowed by the five elements of nature to create a good atmosphere, thereby facilitating the well-being of residents of a building by conferring on them good health, wealth and prosperity. India Immemorial • September 2009 • 59

Shopping in the Pink City

eyond its well-known tourist spots, Jaipur candidly tempts tourists to splurge. Many are lured to the town by the vivid flavours that linger in its exquisite areas and crafts. The city is a favoured destination with both domestic as well as foreign tourists. Jaipur, right from its inception, was planned by its founder Maharaja Swai Jai Singh, to provide prefect environs to inspire craftsmen. The builders of Jaipur took special care to provide ample space and facilities for the production and marketing of handicrafts which made the place famous throughout India and abroad. An entire street and several city sectors were earmarked for artisans and traders. In the walled city, these traditions continue to flourish as Brand Jaipur is endorsed by thousands of people across the world. Many craftsmen and artists have found glamorous celebrities at their doorstep. Jaipur’s hand cut and polished jewels, as well as ceremonial jewelry, have been patronised by the rich and the famous. The gems and jewelry of Jaipur are renowned the world over, be it hand–cut and polished stones or stone-inlaid Kundan jewelry. Even though Jaipur imports raw materials for its innumerable crafts, the tremendous skill involved in cutting and polishing by hand lends Jaipur jewels that phenomenal magnetic pull that draws buyers from across the world. 60 • September 2009 • India Immemorial

Lose yourself in the colourful and chaotic streets of Jaipur as you indulge in some retail therapy. Shopping in Jaipur is as much an adventure as an activity.

Shops specialising in precious and semiprecious stones, ornaments and jewelry are found all along the Jauhari Bazar. Jaipur enjoys a good reputation for the manufacture of jewelry. It is one of the most active jewelry markets of the world and is famous for precious and semi-precious stones and also for the cutting, polishing and setting of these stones, particularly diamonds, topaz and emeralds. Jaipur brass work is of immaculate quality. The Jaipur brass worker is successful in infusing lifelike charm into the dull metal. Two kinds of work are done in Jaipur on brass - lacquered brass and carved brass. Jaipur enamel or Minakari, mostly

Shopping

done on gold and silver, has always been in a class of its own. Jaipur artists are renowned not only for the purity of colours, but also for its evenness. Jaipur is also famous for its textiles. Sanganeri and Bagru block prints are the fashion designer’s craze these days. The Bandhej (tie and dye) print is very typical of the region. Kundan jewelry, once the preserve of the Mughal emperors, has over the years become synonymous with Jaipur. Embellished with enamel, this jewelry is a unique piece of craftsmanship. The designs in Kundan jewelry relive the royal ensemble of yore. Jaipur is also famous for its stone and marble carving industry. The stone used is either procured from within Jaipur or from the marble mines of Makrana, the famous quarry that provided all the marble stone for the Taj Mahal in Agra. The carvings, portraits and busts created in Jaipur are held in high esteem everywhere.

brand appliqué famously known as Gota work. Jaipur’s embellished bridal dresses are widely patronised. People not only buy from the readily available collection, but also place an order to get their dresses customised. Jaipur is also a haven for colourful carpets and beautifully designed wooden furniture. It is the ultimate destination for enamelled brassware, gold painted marble showpieces and blue pottery. One can pick up pots in shapes and sizes of their choice. The well-known Jaipur shopping markets are Jauhari Bazaar, Bapu Bazaar, Nehru Bazaar, MI Road, Tripolia Bazaar, Ramganj Bazaar, Kishanpol Bazaar and Chaura Rasta. While the Jauhari Bazaar is famous for its jewelry, ethnic saris and dress materials, the Bapu

and Nehru Bazaars are ideal for shopping footwear made out of camel skin. Other items of interest at these bazaars include textiles, perfumes, bags and belts. The MI Road market is famous for ethnic Kundan jewelry, earthen pots, articles made out of brass and wood; the Ramganj Bazaar is known for embroidered shoes and Kishanpol Bazaar for tie and dye garments. If looking for beautiful carpets, then a visit to the Achrol House and the Subhash Chowk are a must while the Saganer village is the best place for block printed garments and blue pottery. Shopping in Jaipur is not only great fun but an art as well, as your bargaining skills are called into question. The best tip for shopping in Jaipur is to browse, bargain and then buy!

In the last few decades, Jaipur’s silver jewelry has become a trendsetter. Here, you can buy ethnic as well as contempory designs. Many Western designers come here to work with silver jewellers, giving both an opportunity to experiment. The range of textiles available at Jaipur are vibrant, ranging from tie-and dye, block print and gold thread embroidery, together with the gold India Immemorial • September 2009 • 61

Lord Buddha renounced the pleasures of life in search of truth, for the salvation of mankind. 62 â&#x20AC;˘ September 2009 â&#x20AC;˘ India Immemorial

Spirituality

Lord Buddha:

The Enlightened One B

uddha, the enlightened one, and his spiritual attainment are landmarks in the cultural history of India. An embodiment of renunciation, austerity and eternal truth, Siddhartha Gautama transformed into Buddha to seek solutions to man’s misery and suffering. Renouncing a life of luxury, Siddhartha took to severe austerity in search of truth and finally found supreme enlightenment under the sacred Bodhi tree at Uruvela in Bodhgaya. Buddha first taught the principles of enlightenment to his five disciples at Saranath, where he founded the Buddhist Order of Monks. His five disciples were at first disrespectful towards him, but were later impressed by his stately appearance. He explained to them the efficacy of the middle path, which involves avoiding extremes in life. This is the noble eight-fold path in Buddhism. He then explained to them the four noble truths which are reckoned as the first sermon. The discourse opened up the knowledge of his five disciples who then accompanied Buddha to Benaras. For over forty-five years, Buddha wandered about from town to town and village to village throughout Central India to propagate his mission and to save humanity from worldly suffering. His commanding personality, self-sacrifice, strength of super sensual vision and the excellent technique of proselytizing art won him the patronage of kings and widespread awe and reverence from commoners. During his lifetime, the Buddhist Order of Monks was established in all the states of Central India. He dedicated himself to the propagation of his teachings and Buddhism spread rapidly. After Lord Buddha’s demise, his holy relics were claimed and shared by his devotees. Places associated with events in Buddha’s life became centres of pilgrimages. In Bihar, Bodhgaya is a place of pilgrimage for centuries. Many sacred shrines and stately monuments mark the sanctity of this ancient site. Rajgir and Nalanda are also centres of Buddhism and Buddhist learning, which are associated with the memories of Buddha. The advent of Buddha served as an inspiration for the creation of new art and architecture. Beginning from Stupa architecture for the proper enshrinement of Buddha’s relics and rock-cut monastery, Indian art and architecture ultimately reached its zenith in the creation of many beautiful temples and edifices. The visual approach of art, depicting episodes in Buddha’s life during different periods of time also gained popularity. Innumerable representations of Buddha can be seen in different archeological sites and temples all over India. With the spread of Buddhism beyond the territory of India, legends associated with Buddha got wide currency outside India too, resulting in the creation of artistic representations in foreign countries. In modern India, Buddha is still worshipped in temples and monastries where devotees from all over the world come to pay their respectful homage to the Great Master. In most travellers’ itinerary is included the great centres of Buddhist art - Sanchi, Bharhut, Amarvati, Nagarjuna Konda, Ajanta, Ellora, etc. They represent a wealth of sculpture and architecture, paintings and carvings. The splendour and magnificence of these art works attract visitors, regardless of their faith. They are, in fact, monumental testimonies to the creative force of Buddhism.

- Dilip Banerjee India Immemorial • September 2009 • 63

ne of the major festivals observed by the people of Punjab is Baisakhi. Celebrated with much enthusiasm and gaiety, Baisakhi festival marks the time for the harvest of rabi crops for the large farming community of Punjab who spend the day performing the joyful dances of bhangra and gidda. This festival holds tremendous religious significance for the entire Sikh community as it was on a Baisakhi Day in 1699 that Guru Gobind Singh, the 10th Sikh Guru, laid the foundation of Panth Khalsa - the Order of the Pure Ones.

month (April-May) according to Nanakshahi or the Sikh calendar. However, according to the English calendar, the date of Baisakhi corresponds to April 13 every year and April 14 once in every 36 years. This difference in dates is due to the fact that the day of Baisakhi is reckoned according to the solar calendar and not the lunar one. The auspicious day of Baisakhi is celebrated all over India under different names and a different set of rituals. Baisakhi coincides with Rongali Bihu in Assam, Naba Barsha in Bengal, Puthandu in Tamil Nadu and Pooram Vishu in Kerala.

Baisakhi Festival is also popularly known as Vaisakhi as it falls on the first day of Vaisakh

On the day of Baisakhi, people wake up early, take a dip in the holy river, visit their

neighbourhood gurdwara and take part in the special prayer meeting organised for the day. After the prayers, all the devotees receive the kara prasad or sweetened semolina, followed by a guru ka langar or community lunch. Later in the day, a Baisakhi procession under the leadership of Panj Piaras is taken out, when the participating crowd moves through the major localities of the city amidst the rendition of devotional songs. Mock duels, bhangra and gidda performances make the procession joyous and colourful. However, the large farming community of

Celebration, no bar Baisakhi is celebrated by members of the Sikh community with much pomp and gaiety. Loaded with significance, the day means different things to different people, the bottomline being celebration.

64 â&#x20AC;˘ September 2009 â&#x20AC;˘ India Immemorial

Cultural Fabric Punjab and Haryana has a distinctive manner of celebrating Baisakhi as it is their harvest festival. On Baisakhi, they thank god for the bountiful crop and pray for a good yield in the year to come. They wear new clothes and make merry by singing, dancing and enjoying the best of festive food. Cries of Jatta aai Baisakhi rent the skies as joyous farmers break into bhangra and gidda dances when the everyday farming scenes of sowing, harvesting, winnowing and gathering of crops are expressed through zestful movements of the body to the accompaniment of ballads and dhol music. In several villages of Punjab, Baisakhi fairs are organised where besides other recreational activities, wrestling bouts are also held.

Historical perspective The story of Baisakhi Festival began with the martyrdom of Guru Teg Bahadur, the ninth Sikh Guru who was publicly beheaded by Aurangazeb, the Mughal emperor, for fighting for the rights of Hindus and Sikhs when he wanted to spread Islam in India. After the death of Guru Teg Bahadur, his son, Guru Gobind Singh, became the next guru of the Sikhs. In order to instill courage and the spirit of sacrifice among his fellowmen, Guru Gobind Singh called the historic Baisakhi Day congregation of Sikhs at Keshgarh Sahib near Anandpur on March 30, 1699.

At the congregation, Guru Gobind Singh emerged out of a tent with an unsheathed sword and delivered a powerful speech. At the end of the speech he said that every great deed was preceded by an equally great sacrifice and demanded those willing to sacrifice their life to step forward. On the Guru’s third call, a young man came forward. The Guru took the man inside a tent and reappeared alone with a bloodied sword. He then asked for another volunteer. This was repeated another four times until a total of five Sikhs had gone into the tent with the Guru. Everyone present at the congregation thought that Guru Gobind Singh had killed all the five volunteers.

India Immemorial • September 2009 • 65

Cultural Fabric Guru Gobind Singh discontinued the tradition of gurus and asked all Sikhs to accept the Granth Sahib as their eternal guide At this point, to the surprise of one and all present there, Guru Gobind Singh presented all the five men alive in turbans and saffron-coloured clothes before the people. These five men were called Panj Piara or the ‘Beloved Five’ by the Guru and blessed with a Pahul ceremony. In an iron vessel, the Guru stirred with a sword called Khanda Sahib, the batasha that his wife Mata Sundari Ji had put into water. The congregation recited verses from scriptures as the Guru performed the sacred ceremony. The water was now considered the sacred nectar of immortality called amrit. It was first given to the five volunteers, then drunk by the Guru and later distributed amongst the crowd. With this ceremony, all those present,

66 • September 2009 • India Immemorial

irrespective of caste or creed, became members of the Khalsa Pantha (the Order of the Pure Ones). The Guru regarded the Panj Piaras as the first members of the Khalsa and the embodiment of the Guru himself. With the constitution of the Panj Piara, the high and low castes were united as among the original Panj Piara comprising one khatri, shopkeeper; one jat, farmer; one chhimba, calico printer; one ghumar, water-carrier; and one nai, a barber. The Guru gave the surname of Singh (lion) to every Sikh and also took the name for himself. From Guru Gobind Rai, he became Guru Gobind Singh. This was seen as a great step in national integration because society at that time was divided

on the basis of religion, caste and social status. Guru Gobind Singh also bestowed on Khalsa, the unique Sikh identity. He directed Sikhs to wear the five K’s - Kesh or long hair, Kangha or comb, Kripan or dagger, Kachha or shorts and a Kara or bracelet. Guru Gobind Singh also discontinued the tradition of gurus and asked all Sikhs to accept the Granth Sahib as their eternal guide. He urged them to come to him with their hair and beard unshorn to get baptised by the sword.

Legends of Baisakhi There are various other legends associated with the colourful and vibrant festival of Baisakhi. According to one such popular legend, it was on the day of Baisakhi in 1567 that Guru Amar Das had first institutionalised Baisakhi as one of the special days when all Sikhs would gather to receive the guru’s blessings at Goindwal. Yet another legend related to Baisakhi says that on the day of Baisakhi Guru Arjan Dev was martyred by Muslim rulers. It is said that in an act of barbaric cruelty Muslim rulers threw the Guru alive into a cauldron of boiling oil. The day of Baisakhi is equally important to Hindus as it on this day in 1875 that Swami Dayanand Saraswati founded the Arya Samaj - a reformed sect of Hindus who are devoted to the Vedas for spiritual guidance and have discarded idol worship. For the Buddhist, the day of Baisakhi festival is significant, as according to a popular legend, it was on this auspicious day that Gautam Buddha attained enlightenment or nirvana under the Mahabodhi tree in the town of Gaya. For this reason, the day of Baisakhi is celebrated as Buddha Purnima is several parts of the country.

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hhau, which has traces of tribal, folk and classical dances, appears to be a rendition of non-verbal theatre, with legs and body moving flexibly to convey the themes drawn from Ramayana and Mahabharata, the great Indian epics. An all time favourite theme in Chhau is Krishna and the gopis. The core theme of Chhau dance revolves around love, romance, chivalry and the victory of good over evil. The Chhau dance is native to the eastern parts of India. It originated as a martial art, which is why it comprises vigorous movements and leaps. During the 18th and the 19th centuries, many of the princely rulers of Orissa evinced a keen interest in the development of this art. They maintained troupes that performed on special occasions and during festivals. The origin of the word ‘Chhau’ is shrouded in mystery. Chhau might have originated from Chhaya (shadow) or dancing masks (locally known as Chhau) used by the performers of Purulia Chhau. Some opine that Chhau has got its name from chhauni - camps organised during military operations. It is likely that Chhau dancers entertained the troops resting at these camps during intervals between battles and campaigns. Basically, Chhau has its deep-seated roots in the ‘Tandava’ dance of ancient India. Incidentally, ‘Tandava’ means destruction and devastation. The techniques and style of Chhau is very similar to

Chhau dance, which originated as a martial art, is indigenous to the eastern part of India. A fine combination of dance and music, it involves vigorous movements and leaps. It sure is a treat to the senses!

Fascinating princely 68 • September 2009 • India Immemorial

Art & Culture ‘Tandava’ dance, as described in Natya Shastra (science of dance). Chhau dance is performed in open air and has a touch of nature to it. All the customs, style and techniques of dance have been formulated accordingly, keeping in mind the open-air system. Instead of any stage or dais, this dance is generally performed on ground or hard soil of Puruliya and Bankura, in the bosom of nature. In fact, this soil is very different from the soft soil in West Bengal. There are several occasions when Chhau dancers spring up to a height of 4-5 ft from the ground and

sit on their knees as they drop on the ground. Chhau dance is primarily a summer dance. It starts after 10 pm and continues throughout the night. In early days, torches were lit up to illuminate the place where the dance was to be performed. At present, bright lamps are used for this purpose. However, this nocturnal dance is best performed in dim light where shades of light and darkness create a dreamy atmosphere. Even today, people in rural areas do not attach much importance to lights, which is secondary, while performing this dance. The place where Chhau dance is performed is

usually round in shape and musicians sit around the place in clusters. In a Chhau performance, the depiction of birds and animals is a distinctive feature; there are also heroic dances with swords, bows or shields, by means of which dancers demonstrate their dexterity. The themes often revolve around mythological heroes and warriors from the Mahabharata and the Ramayana. There are three recognised schools or styles of Chhau. They are Seraikella Chhau, Purulia Chhau and Mayurbhanj Chhau.

martial art India Immemorial • September 2009 • 69

The use of vocal music is very rare in Chhau dance. The jhumar folk song of the area has played an important and effective role in heightening the emotional impact of the dance. Jhumar songs inspire most of the tunes played on mohuri in different stages of Chhau dance. Seraikella (Bihar) Chhau flourished under royal patronage. Its vigorous martial character made it suitable only for male dancers. The princes were not only patrons but also dancers, teachers and mask-making experts. The Seraikella masks are similar to those used in the Noh dance of Japan and the Wayang Wong of Java. Purulia (West Bengal) Chhau uses huge, colourful masks, the making of which is a highly developed craft in the region. The barren region, with a mainly tribal population, multi-layered influences of Vedic literature, Hinduism, and martial folk-lore are the influences which have all blended and fused to mould the Purulia Chhau dances, conveying the message - the triumph of good over evil. Mayurbhanj (Orissa) Chhau dancers do not

70 • September 2009 • India Immemorial

wear masks. The Mayurbhanj repertoire treasures the highest number of dance items, rarely found in any other dance form of the world. Solo items include Dandi, Mahadev, Sabar Toka, Nataraj, etc., while group items include Kirat Arjun, Mayasabari, Tamudia Krishna, Matrupuja, Kelakeluni, Dhajatal, Bainshi Chori and Kailash Leela among others. The presiding deity of Mayurbhanj Chhau is Bhairab (a fierce manifestation of Lord Shiva). The quintessence of Mayurbhanj Chhau is visual poetry; it is set in a style that is free, intense, tempestuous and lyrical. The music accompanying the dance is vibrant and invigorating. The components of the orchestra are mohuri, chad-chadi, dhol (a drum hung around the player’s neck and beaten with two

sticks), dhumsa (kettle drum) and conch shells, to name a few. The grammar of Mayurbhanj Chhau comprises six chalis or topka (basic steps) and 36 uflis (jumping locomotion). These movements are imitations of rural household activities, antics of animals and birds, besides postures and poses used in warfare. The use of vocal music is very rare in Chhau dance. The jhumar folk song of the area has played an important and effective role in heightening the emotional impact of the dance. Jhumar songs inspire most of the tunes played on mohuri in different stages of Chhau dance. Jhumar is the heartbeat of the Mayurbhanj Chhau dance, while the dance is the modern edition of jhumar culture. Various types of jhumar music are composed

for different types of dance items. Based on the styles of composition of these music items, Chhau dance is broadly divided into four groups: (a) Folk and Tribal Form: Some dance items like Dhwajatal, Kalachakra, Tamundia, Krishna, etc. Chhau dance is purely based on folk and tribal forms of music. (b) Traditional Form: Dance items like Dandi, Kelakeluni, Madhurmilan, Nithurkalia, Odiya, Rasala, etc. are basically composed on traditional Oriya music like Odissi and Champu. Besides these traditional forms of Oriya music, the application of Oriya and the folk music (mainly jhumar) of Orissa and West Bengal in a hybrid form is also noticed in some (Bal Krishna, Mahadev, Nataraj, etc.) dance items.

(c) Classical Form: Ragas and Ragini of classical Hindustani music play an important role in Mayurbhanj Chhau dance. Many dance items like Kailashlila, Nataraj, Geeta, Kirat, Arjun, Garuda, Holi, etc. are composed on it. Ragas like Malkhous, Bhairon, Sdarang, Bhageshree, Lait Vairabi, Jogiyaa, Kamaj, Bhinpalas, Desh, Ashobari, etc. are basically used in Chhau dance. (d) Mixture Form: A mixture of music from India and the West is also presently noticed in Chhau dance. This mixture of music is used in some dance items like Taasa Nrutya, Desh Bidesh, etc. Musical instruments Folk musical instruments play an integral part in Chhau. Though modernisation has led to the introduction of Western musical instruments into

the territory of Chhau dance, they have not been able to replace traditional folk musical instruments like dhumsa, dhol, mandal, etc. However, the use of modern musical instruments in Mayurbhanj Chhau dance is a rarity. In order to maintain originality, only traditional folk musical instruments are used in Mayurbhanj Chhau dance. Depending upon the shape, size, material and technique of playing, these traditional musical instruments are divided into two categories, namely anaddha (percussion instrument) and susuri (wind instrument). The fast foot work, mellow classiness and the lyricism involved make Chhau dance a rare treat to the senses.

India Immemorial • September 2009 • 71

uppetry is one of the most ancient forms of entertainment in the world. Besides providing entertainment, this visual art form is also used to convey meaningful messages. Over the years, puppetry has developed into a powerful media of communication. Puppetry offers a real challenge to the imagination and creative ability of the individual and of all art media, it is probably the least restricted in its form, design, colour and movement. It is also the least expensive of all animated visual art forms. Traditionally, India has a rich heritage of puppetry. The history of puppetry in India dates back to around 5th century B.C. The

72 â&#x20AC;˘ September 2009 â&#x20AC;˘ India Immemorial

early puppet shows in India mostly dealt with histories of great kings, princes and heroes and also political satire. Religious portrayals in puppetry developed in South India with shadow puppets performing stories from Ramayana and Mahabharata. BesidesÂ dealing with religious themes, Indian puppetry also conveys useful messages from Panchatantra and other mythological and historical epics.

In Kundhei nacha, the glove puppets are made of three wooden pieces consisting of the head and two hands with holes to insert fingers. The wooden pieces are joined in a long flowing costume. The costume or the dress also hides the hands of the puppeteers. Glove puppeteers in Orissa are of two types - single and double handed. In case of single-handed puppets, the puppeteer is a solo puppeteer.

There are four forms of puppetry prevalent in the state of Orissa. They are the glove (Kundhei-nacha), shadow (Ravanachaya), rod (Kathi Kundhei) and string (Gopalila kundhei) forms.

He manipulates the puppet with one hand and plays the dholak (a musical instrument) with the other. These puppeteers hail from Tarkio in the Cuttack district of Orissa. In case of doublehanded puppets, two puppeteers jointly conduct the show. Here one person manipulates two

Ancient Art

Playing with

dolls Puppetry, the most ancient form of entertainment dating back to 5th century BC, is fast fading into oblivion. There is an urgent need to revive this powerful media of communication.

puppets while the other person plays the dholak but both of them sing and render the dialogues. The puppeteers do not hide themselves behind a screen. They hail from Mantripada in the Cuttack district of Orissa. In Ravanachhaya, leather cut-out figures are used. Held close to a white cloth screen against an oil-lamp, shadows are distinctly visible to spectators who sit on the other side. No manipulation of limbs is made. The cut-out is fixed to a piece of stick which the manipulator holds below the lower edge of the screen, thereby allowing only the shadow of the puppet to fall on the screen. While the scenic decorative pieces are kept steady, the character cut-outs

are made to move sideways as per the demands and the tempo of the sequences. Episodes from Ramayana are shown. Shadow puppeteers hail from Odasa in the Dhenkanal district of Orissa. In the Kathi Kundhei form of puppetry, puppets are stuck to rods, held aloft and manipulated from below by string. Besides the head, both hands and sometimes the legs are also manipulated. Stories from mythology, fantasy and social themes are adopted for the rod puppet plays while a group of musicians provides the musical interludes. There exists only one group of rod puppeteers in Orissa located at Keonjhar. In the Gopalila Kundhei form of puppetry,

string puppets are wooden half-dolls from head to waist with detachable arms. Down from the waist, there is only a flowing dress. Formerly a mat made of peacock feathers used to be the only backdrop but now painted draperies are being used. String puppetry adopts versedramas based on mythology, fantasy and social themes, with plenty of interludes of dance and humorous skits. There are string puppeteers in Cuttack, Puri, Ganjam and Dhenkanal districts. However, in recent times puppetry is losing its popularity due to lack of patronage. Will somebody look into the revival of this popular form of entertainment?

India Immemorial • September 2009 • 73

Theatre Theatre is an integral part of our cultural fabric. Witness to many changes down the ages, theatre continues to be a popular form of entertainment, technological advancements notwithstanding.

In tune with the times T

heatre is one of the constants that have been present in almost every society down the ages, from Romeâ&#x20AC;&#x2122;s tragedies to the ceremonial dances and plays of Africa and the puppetry of the Far East.

Indian theatre is an old and variegated art form. Bharata wrote Natya Shastra (200 BC - 400 AD), a dissertation on the structure and purpose of theatre in society. Medieval India experienced a grand fusion with invaders from the West Asian countries. India, as a colony of the British, used theatre as one of its instruments of protest. To resist, the British Government had to impose the Dramatic Performance Act in 1876. However, from the last half of the 19th C, theatre in India experienced a boost in both numbers and practice. Post-independence, the popularity of theatre rose, as it was the only source of entertainment available. Indian theatre underwent many changes according to the influence it came under. For instance, during the period of colonisation, the British took it upon themselves to teach Indians a more refined culture that heavily influenced theatre. Beginning in the second century BC, there was a new kind of theatre in India called Sanskrit. This type of theatre was aristocratic and religious. The basic idea of this art form was derived from the Greek comedies. This form of theatre combined dance and drama, making them almost inseparable. In India, both dialogues and movements were taught simultaneously. Sanskrit consists of five acts divided by intermissions. However, during the 17th C, this art form began to lose popularity and 74 â&#x20AC;˘ September 2009 â&#x20AC;˘ India Immemorial

by the 18th C, it had evolved into “Indian classical dance”. By then, India officially had its own traditional theatre. The dramas of later India were called sangeets or musicals. Since the beginning of Indian theatre until the early 19th C, all folk plays were entirely written in songs. Sangeet is actually a combination of a comedy and a musical. Early theatre in India not only contained songs and humour, but also romance and dance. Dancers would always have painted faces with special accents around the eyes, usually done in red. Singing was also a large part of folk theatre in India, and on many occasions, the line between the opera section of this art and theatre became blurred. However, sangeet was not the only type of theatre in India. The development of theatre in India was very slow. Much of the developments that took place were influenced by the countries that ruled India. Folk theatre was forgotten by many, for years, while freedom was the issue that took centrestage. Folk theatre in India has become a rude and improper art, unlike the rigid division of Indian theatre known as classical. It has become unacceptable for women to be seen at a folk theatre because of the language used in these plays. Folk theatre has turned into a vulgar art form, a path much different from that of classical Indian theatre. Even if folk theatre in India is not the art that it once was, it is still popular. Folk theatre exists mostly in rural areas. It still contains the song, dance and comedy that it is known for, but not at the same quality and classical level that these arts were once known for. Folk theatre has, instead of being preserved in its original form, changed with the times. This change has been both positive and negative. Change has also led to the corruption of this art. Fortunately, classical theatre still exists in India, quenching the thirst of people with refined tastes. Puppetry, which started as an entire village event, is still popular today. Puppetry is the most prominent division of theatre in India. Because of its popularity, many schools of puppetry can be found in the major cities of India. The most popular form of puppetry in India is shadow puppetry. Shadow puppetry is an age-old art that has been practiced for thousands of years. Most shadow puppet plays are based on two important epics from India, the Ramayana and the Mahabharata. Though shadow puppetry is an art which has been passed down from the older generation to the younger one, it is now a dying art because of the lack of teachers and the unwillingness of the young to learn it. Shadow puppetry was invented even before the fifth century AD and was a favourite with the kings and queens. Because of its popularity,

small bands of puppeteers travelled across the country, performing to the wealthy Indian society. This popularity also took shadow puppetry beyond the boundaries of India. Now shadow puppetry is undergoing a slow revival with small theatres popping up throughout India. It will not be long before shadow puppetry is as popular as it once was. However, if it was not for royal patronage, shadow puppetry would not have developed into

the art form that it is today. Though theatre is fighting a battle for popularity with technology, all hope is not lost. In the recent years, numerous agencies have begun work on rebuilding the popularity of Indian theatre and its popularity is slowly on the rise, lending credence to the fact that theatre is an integral part of our cultural fabric.

India Immemorial • September 2009 • 75

On top of the world

If the mesmerising sight of snow-capped mountains is your idea of bliss, then head to Pelling which offers fabulous views of the mighty Himalayan range, including that of Kangchendzonga, the highest peak of India. 76 â&#x20AC;˘ September 2009 â&#x20AC;˘ India Immemorial

Peaks of India

Pelling, which is just another unassuming town, was nothing more than a crossroad till recent times. Its vantage position at 6,800 ft on the western edge of a high ridge affording the most panoramic view of the entire range of mountains was what made it find a place on the tourist circuit. Despite the fact that the mountains could be seen from many other towns too, Pelling is where mountain lovers and photographers head to, to get an uninhibited view and capture some of the best photographs. Of late, numerous hotels and resorts have come up rapidly to cater to the growing number of visitors each year. Most of the lodges have wide balconies strategically positioned to view the peaks. Some of them boast of glass paneled walls to offer ‘Rooms with a view’! The best part of viewing the Himalayas is to get yourself ready for the task at unearthly hours. Though the mountains can be viewed all through the day, it is at the crack of dawn, when the first rays of sun drench the snow white peaks in a mellow golden light that the most spectacular sight can be seen. The splendour lasts for a minute or so when viewers look at it with dropping jaws while shutterbugs click away relentlessly. This is the moment for which tourists travel all the way to the Himalayas and wake up in the dark, cold night to view the spectacle. Very soon, the play of light will get over but the snow peaks begin to dazzle in pure white. Apart from Kangchendzonga, one can see all the other peaks too, like the Kabru North & South, Rathong, Pandim, Janu, Kumbhakarna and the needle sharp Siniolchu. Visitors would be treated to another bout of mesmerising scenery towards the evening when the setting sun casts a spell from a different angle. Mountain views are not the only attraction in Pelling. This small township has quite a few wonderful sights spread around and conveniently reached by a car. And it would be worthwhile taking one of those organised day tours from travel agents to fill the day with activity. A typical guided trip takes one to a couple of waterfalls, a rock garden and a sacred lake. To begin with, the 12 km drive down brings you to a simple streak of a waterfall. Called Rimbi, this waterfall coming down in gentle cascades is very much on the roadside. If not impressed, go further down a few kilometers more to Kangchendzonga waterfalls. The first of the two falls near the bridge is moderate, but the second cascade reached by a series of steps is truly spectacular. The white, frothy mass of water thundering down through the lush green foliage and rockbands is breathtaking. You can spend enough time here appreciating the beauty of nature while

Photos by author

ome states in the northern border of the country have become little mountain kingdoms with the great Himalayan range passing through them. The tiny state of Sikkim, snugly placed between Nepal on the west, China/ Tibet on the north, Bhutan to the east and West Bengal on the south, has been copiously endowed with some towering peaks including the highest peak of India and the third highest in the world, the 28,169 foot Kangchendzonga. The highlight of any visit to Sikkim invariably is the fabulous views of the mighty mountain range from fairly close quarters. And the best place to do that is Pelling in west Sikkim.

sipping tea or a fruit drink from the many shops around. Back in the car, the journey goes further up to Sewaro, a unique rock garden sprawling beside the river. The numerous rocks and boulders sculpted by the river currents have been kept as objects’de art. The green lawns have been laid out profusely. The colourful flowers along the walkway make it more attractive. To add to the manmade beauty, the river and hills extending on the horizon complete the scenery. The next point of interest is the Khecheopalri Lake, also called the Wishing Lake. It is not only the most sacred lake for both Buddhists and Hindus, but is also well maintained. An interesting legend is linked to this lake. Once upon a time, the area was a flat grazing ground. One day, a Lepcha couple who were engaged in routine work suddenly saw a pair of conch shells come down speedily from the sky and embed into the ground. The earth shook violently and a huge lake was formed at once. People took it as Godsend and began worshipping the lake, believing it to be the abode of Tshomen Gyalmo, the protective nymph in Buddhist dharma. The shape of the lake was thought to be the footprint of Tara, the Goddess. It is also said that the birds here never allow even a leaf to float in the lake and remove it the moment it falls. The huge lake cupped in by the hills all around does have a religious appeal. The innumerable colourful prayer flags with holy scriptures flutter away constantly. Taking a leisurely

stroll along one can offer obeisance at the temples and walk to the edge of the lake turning the series of prayer wheels along the path. The whole area has been kept very neat and the profound silence around makes the atmosphere blissful. One can also visit the brightly coloured monastic house where the monks live. Khecheopalri means the Mountain of Blissful Heaven and the place deserves the sobriquet in every sense of the term. This marks the end of the first half of the tour and you drive back to Pelling for a well deserved lunch. In the latter part, tourists are taken to the Pemayangtse monastery a few kilometers away. Located on a hill, this monastery, founded by the Nyingma-pa sect, was meant for Ta-sang lamas or pure monks. The three-storeyed structure has a few sculptures and paintings. A short walk away from here are the ruins of Rabdentse, which was the second capital of Sikkim. Here, the remains of a palace complex, religious complex and a few chortens can be seen. The other monastery in Pelling is the Sanga Choeling on a high ridge and can be reached by a 40 minute trek. Though the sights can be done in a day, staying a couple of days here helps to get a better feel of the place. FACT FILE Getting there: The nearest airport is Bagdogra from where jeeps and taxis cover the 120-odd km to Pelling. Nearest train station is Siliguri, 133 km away. Buses and shared taxis ply regularly from Siliguri. Food & Accommodation: Innumerable hotels and resorts suiting different budgets are available. Best time to visit: March to May (rhododendrons bloom but the sky may be foggy). October to December is ideal for clear skies.

- B V Prakash India Immemorial • September 2009 • 77

Travel

y first impression is that everything here seems in sharper focus, larger than life. The sky is so blindingly blue, it dazzles. The rarified air up in Leh, at 11,500 feet above sea level, is one that carries unseen icicles, caressing the face with a cold, bristly glove. The dogs prowling about, handsome pariahs all, seem to be at least double the size of the largest German Shepherd seen down in the plains; the same goes for the choughs, the loud-mouthed local crows. And at night, the stars

shine like moonrocks in a midnight blue sky and a huge fat moon skims the rooftops. This is beauty seen up, close and personal. ``But of course,’’ laughs Rinchin, my new Ladakhi friend, delivering the line beloved to people of the hills all across India. ``Up here everything is bigger. You see, up here we are that much closer to God.’’ And somehow, you cannot argue with such simple profundity. As the daughter of an army engineer who served many a tenure in this area and constructed

Moonscape Pilgrimage It’s been called the moon desert, Desolation Station, the last outpost. The truth is, there isn’t quite another place like Ladakh in all of India. 78 • September 2009 • India Immemorial

roads and bridges to connect parts of Ladakh with one another, this journey is a sort of pilgrimage for me. I decide to head to Leh by road from Delhi via Udhampur, crossing the spectacular Jawahar Tunnel at Banihal, attempting to drink in every little visual vignette glimpsed on the trip. The forest line of pine and fir, the gurgle of the many silver-tipped streams, the umpteen picnic spots of

mossy boulders continue to form a hedging pattern alongside the road past postcard-pretty Sonmarg, right up to the Zojila Pass, and to Dras, which ranks as the second coldest place in the world, the first being Verkoyansk in what was formerly the Soviet Union. Even in summer, Dras is an icy hell with banshee winds shrieking and rattling the window panes; in winter temperatures dip to –50 degrees C. In sharp contrast, Kargil is a lush, verdant valley, with the muddy Suru River gushing through the village in full spate, leaping, twisting, turning, a wet fury, awesome to behold. It is also a place where snaps of the Dalai Lama hang alongside those of the shrine at Mecca, a silent tribute to peaceful religious co-existence. All the excitement of a few years ago has subsided, Kargil is back to its paced existence again. Immediately after the fabulous Hang Roo loops, hairpin curves that would make a hairpin seem ramrod straight in comparison, it is as if the traveller has crossed some unseen Rubicon into another dimension. The topographical changes become more marked, with a gradual lessening of vegetation, a steady encroachment of desolation. This is craggy austerity,

startling landscape, long stretches of navy-ribboned road with dust bowls on either side, the mountains looming brown and purple on the horizon. Before we touch base at Leh, though, we take a diversion and go to Batalik, the hamlet rumored to be the last bastion of the true-blue Aryan. Stories abound about the fertility festivals and about a brace of German girls who came looking for consorts to sire a new Aryan bloodline! To reach the minuscule plateau of Batalik, one has to climb a sheer cliffface, with the Indus roaring like a dervish below, a thoroughly intimidating journey. At this time of the year, apricot trees are in fill bloom, and here and there, one glimpses rugs of red on black boulders, apricots drying in the sun. These villagers lead an insulated, isolated life in stone dwellings, marrying within themselves to preserve the purity of their race, with no tangible signs of outside influence having penetrated here yet. And to pre-empt the reader’s question, I didn’t see any `noble Aryan’ about, just the archetypal Ladakhi in his grimy goncha robes, smiling eyes disappearing into slits in a leathery, weather-beaten face. Leh itself could easily belong to some spaghetti Western, a bleak barren stretch nestling in the folds of softly-contoured hills with the Himalayas looking down impassively… except, no Western

India Immemorial • September 2009 • 79

Travel

outpost has temperatures dipping to –15 degrees C in winter. In June though, after the mandatory three to four days of acclimatisation, one finds light woollens are adequate for roaming the town itself. The acclimatisation period is important for those who would journey on ahead because, with the body’s intake of oxygen being cut down by as much as 50 per cent, physical performance, too, comes down, sometimes by as much as 60 per cent. All over Ladakh, you see chortens or burial mounds, the size of which varies according to the importance of the person buried inside with his relics. As befits a people who are still largely animistic in their beliefs, in many parts of the region one comes upon piles of animal skin, teeth and horns, usually just outside villages, an ancient form of appeasement to the unseen powers. There is much to see in this moonscape. There are the winding mani walls, the brooding gompas, monasteries, almost all carved out on steep cliffsides: Tshe, Theksey, Spituk, all calm repositories of the world of the Buddha. With colourful pennants flying in the ever-present breeze, giant prayer wheels being spun continuously by many an orange-robed hand, the life-size statue of the Padmasambhava, lamas moving about in their version of the moonwalk, cloth tankhas (paintings) that depict the life and times of both the Enlightened One and Buddhism, scores of lamps filled with yak butter and lit as votive candles, these monasteries seem to hang suspended, caught in a time warp. Further north is the Alchi gompa with an 800-yearold mural; the Hemis gompa, known the world over for its annual festival; and the picturesquely located Lamayuru gompa, the oldest in the central Ladakhi region. To one side of the town lies the local Crafts Centre where Ladakhi women can be seen weaving 80 • September 2009 • India Immemorial

distinctive rugs and shawls; the District Jail which wears an appropriately deserted look for a place with near-nil crime rates (long may it stay that way) and the highest polo grounds in the world, where frequent matches draw large crowds of locals and tourists alike. Further ahead is the Field Research Laboratory where the greenhouse holds some fascinating specimen of plants, vegetables and fruits which are trained to withstand the often cruel climbdown of temperatures.

Chusul has what must arguably be one of the world’s highest hot springs; huge outsize yaks graze on the marshlands and once a year, the black-necked crane comes to nest here, a fact that was a source of much delight to the late ornithologist Salim Ali. The Indus slows to a sluggish crawl in Leh, almost as if going in for an enforced rest but quite a few other rivulets lend charm to this cold desert. The Namgyal Palace, the residence of the Gyalmo (queen) once no doubt a well–appointed manor, now sports a shabby-genteel look and one feels the mandatory forking out of an entrance fee is just not worth it when weighed against the commonplace artifacts within the wooden multi-storied structure. Unless you discount the lovely view of the Stok Kangri, the highest peak in the Ladakh range, seen silhouetted in one the many windows in the palace.

There is only one main bazaar but the town is chockablock with winding, cobbled lanes where the seeker will find all sorts of silver jewellery, coral, turquoise, silks from China, strands of rice pearls, velvet the colour of blood and midnight, gailyhued sashes for the Ladakhi robes, Tibetan masks, the mini bazaar where suddenly impecunious Westerners sell their clothing, all of them a bargainer’s paradise. And, of course, there are all those little stalls where you can take in a plate of steaming hot momos. Ladakhi food is not for the conventional eater, the yak butter flavours the food in a strong manner; even the momos in Momoland aren’t as tangy as say, the ones to be found at Vasant Vihar in Delhi! The elaborately studded headgear (perak) of a passing Ladakhi woman, the archery contest being held in a town square and a hastily gulped cup of tea flavoured with yak milk (another acquired taste, if ever) or chang, the local barley beer, all lodge itself in the mind’s eye as Lehscapes. Just outside Leh town lies the tsos, still, translucent lakes packed with snow trout that makes for a delicious al fresco lunch before the next trip on bone-jarring travesties of roads cut into mountainsides. We are off to Darbuk, en route to the border. However, one needs to cross Zingral and press on to stop at the roadside shrine of Chang La (`la` is pass in Ladakhi) at the height of 17,350 feet, which, with its fluttering prayer flags, is a sharp burst of colour in that mind-numbing whiteness. And in what seems like divine intervention, in order to show me the not-so-benign face of Ladakh, a blizzard has started up even as we draw near Chang La, a vicious slurry of brittle snow and sleet, whipped by howling gales of incredible velocity. The ominously looming snow-covered peaks of the Himalayas look positively forbidding. There is, of course, no going ahead without murmuring a plea

for safety to the indeterminate deity at the shrine, where passers-by of all religious persuasions bow their head. Our prayers are heard, the snowfall imperceptibly lessening and drying up as we reach Darbuk which is most picturesquely placed inside the cup of a valley, the Tangste Bowl. Here, the scenery is straight out of one of Ram Kumar’s Leh paintings, with patches of green co-existing amiably alongside stretches of sand, a stream packed with trout, daisies and violets pushing through in patches on the hillsides. Onto Chusul and historic Rezang La, site of the 1962 carnage when the hopelessly outnumbered Kumaon regiment put up a valiant, if desperate, defense against the marauding Chinese. Chusul has what must arguably be one of the world’s highest hot springs; huge outsize yaks graze on the marshlands and once a year, the black-necked crane comes to nest here, a fact that was a source of much delight to the late ornithologist Salim Ali. Ahead of Chusul, the Chinese outposts are mere kilometres away and it is a passing rite for visitors to wave to the imperturbable Chinese guards who do not wave back. Of course. En route to Chusul, at Lukung lies an unforgettable sight: the Pangkong tso, a 136-km saltwater lake of almost indescribable beauty which we share with China. The waters of this lake perched at a height of 14,500 feet above sea level, defy imagination with bands of Prussian blue, turquoise, indigo, emerald, amber segueing into one another, gleams of gold and silver streaking the waters. Even as we watch, flocks of wild geese take off in perfectly synchronized formation and fly off China-wards. The lake meanders between brown, russet and jade hills, one of which is the Garnet Hill, where the instantly enthralled visitor can pick up uncut chunks of garnets embedded in grey rock. Ladakh has other lovely tsos - Tso Morari, Tso Kar - but Pangkong is surely the queen of them all. To the north lies the fabled Nubra Valley, which requires a whole article for itself! Where the Kashmir valley offers a riot of colourful flora, exotic fauna abounds in Ladakh. Snow leopards, civet cats, orange-beaked chakors, herds of ibex and kyangs (wild asses), curious-eyed marmots have all made this terrain home. Of course, stripped of the overpowering opulent trappings of its natural beauty, Ladakh is a region which is wretchedly poor. This is a people who till recently bore their poverty with a stoic pride that bordered on arrogance. This is also a place which is slowly, inexorably changing with the steady influx of tourists; satellite TV has arrived, the Ladakhi will offer you a packet of French-made Gitano cigarettes with nonchalance and if you catch a glimpse of photographs of the Dalai Lama, you will perchance also stumble across heated arguments about the politics of Tibet. Tragically, priceless antiques are slowly being smuggled out of the gompas. This, then, is our very own Shangri La. Go, check it out before it joins mainstream India, and loses its exotic, alien feel.

- Sheila Kumar

India Immemorial • September 2009 • 81

Must-see

Palamau Tiger Reserve

he Palamau Tiger Reserve lies in the western part of the Chhotanagpur plateau in Bihar. The forest stretches from the edge of the Netarhat hill range in the south to the Auranga river in the north and from the Latehar-Sarju road in the east to Madhya Pradesh border in the west. The forest of Palamau is the catchment of the River North Koel. Palamau Tiger Reserve was created at the time when Project Tiger was in India in 1973. The present area of the Reserve got duly constituted either as Protected Forest or Reserved Forest under the Indian Forest Act, 1927 way back in 1947. The verdant landscape is clothed with stately Sal in the valleys and lower slopes, and with dry deciduous forests on the upper slopes and on the mound caps in the northern part. Copious bamboo and scattered open grassy patches are common. Almost pure patches of Bel (Aegle marmelos) are unique vegetation types mostly found in the northern part of the reserve. 82 • September 2009 • India Immemorial

Other places of interest The track is undulating and the important hills are Murhu, Netarhat, Huluk and Gulgul. Gulgul is the highest hill. Hill slops are steep in the southern part and gentle in the northern part of the Reserve. There are many water falls. A few of them - Mirchaia Water Fall near Garu, Suga Bandh Water Fall near Baresand and Lodh Fall, which is the highest water fall in the Bihar State — are tourist attractions. Animals Tiger, leopard, cheetal, sambar, barking deer, wolf, wild dog, elephant, mouse deer, pangolin, four-horned antelope and Indian ratel. Best time to visit All round the year. How to get there By rail: The nearest railway station is Daltongunj, connected to many places in the region with regular trains.

Ranchi and Gaya are convenient for tourists coming from Delhi and Kolkata respectively. By air: Ranchi, situated around 140 km away, is the nearest airport. By road: The sanctuary is well connected to other cities in the region by regular buses run by the state transport corporation and private companies. Where to stay There are accommodation facilities available at Betla, including a three star hotel, tourist lodges, log huts and tree houses. Also available is a doll-like tree house, made of wood, with fully furnished bedroom suites. The tourist complex offers a lodge with fully furnished rooms as well as a canteen. For details, contact: Field Director, Palamau Tiger Reserve, P.O. Daltonganj District, Palamau, Jharkhand-822101. Ph: 06562-22650 or e-mail : root@fdptr.b.nic.in

Travel Karnataka

April 1, 2009

Heritage Hospitality

Tasting the

R oya l e

The 17th century Lake Palace in Udaipur provides an opportunity for guests to have an inimitable glimpse of the lifestyle that was once associated with aristocracy. 84 â&#x20AC;˘ September 2009 â&#x20AC;˘ India Immemorial

Hospitality

he Lake Palace is one of the most beautiful palaces in the world. Arising out of Lake Pichola is a dream of white marble and mosaic, glistening in the moonlight. The palace was built in the 17th century on a natural rock foundation of four acres, set against the backdrop of the majestic Aravalli Mountains on one side and lofty palaces on the other. The palace faces east, allowing its inhabitants to pray to Sun god at the crack of dawn. It was initially called Jag Niwas, after its founder Maharana Jagjit Singh, the 62nd successor to the royal dynasty of Mewar, believed to be the descendants of Sun God. The palace had many peepholes, secret passages and secret chambers. It also had a room that could be entered only through a trap door at the top! The Lake Palace Hotel caught the fancy of several distinguished guests including Queen Elizabeth II, Jacqueline Kennedy, the Shah of Iran and the King of Nepal. The hotel provides an opportunity for guests to have an inimitable glimpse of the lifestyle that was once associated with aristocracy. Successive rulers used this cool haven as their summer resort, holding their regal durbar in its courtyards. The rooms are decorated with cusped arches, inland stones of pink and green lotus leaves and painted mirrors. Apartments like the Bada Mahal, Kush Mahal, Ajjan Niwas, Phool Mahal and Dhola Mahal enhance the romance of the elegant setting. The palace underwent major renovations and extensions in 1970. Earlier, Jag Niwas was more a garden with several pavilions. However, recent additions on the island palace are modern in style. In 1971, The Taj Group of Hotels took over the management of the hotel and they have made the water palace one of the most attractive Indian tourist sites with its fantastic amalgamation of courts, apartments and gardens. Just behind the Lake Palace is a small island, proud with its own palace called the Arsi Vilas, built by one of the numerous maharanas of Udaipur to enjoy sunset

on the lake. It is also an attractive bird sanctuary catering to a variety of birds, including tufted ducks, coots, egrets, terns, cormorants and kingfishers. The Lake Palace houses 84 rooms, including 17 beautiful suites and 53 deluxe rooms. The rooms and the suites of the hotel are beautifully designed, with each having a particular theme and decorated with textiles and handicrafts of the region. The royal banquet rooms are now reception rooms, bars and restaurants. Names of the various apartments, like the Bada Mahal, Khush Mahal, Sajjan Niwas, Phool Mahal and the Dhola Mahal add to the romantic setting and give a taste of the regal splendour of a bygone era. They also boast of a restaurant, a coffee shop and a well appointed lobby with jewellery and souvenir shops. Besides, the hotel offers facsimile/ round-the-clock copier facilities, secretarial service, swimming pool, mini gym, travel desk, car rental, shopping arcade, currency exchange, safe deposit lockers, doctor-on-call and baby sitting. Events can be organised at the Lily Pond and at Baragae Gangaur.

Sarva Ritu Sarva Ritu or the ‘All Seasons’ suite is a seamless blend of royal living and contemporary luxury. The interiors are embellished with charming beds with decorative silver headboards, rich furnishings, a brilliant waterford chandelier and engravings. Enclosed in the corner is a semi-open pavilion to enjoy the view and breeze, enhancing the beauty of the suite. With a flick of a switch, the glass panel changes from frost to clear, allowing one to enjoy the spectacular view of the lake and mountains.

Kamal Mahal Kamal Mahal or Lotus Palace eludes the beauty of the lotus flower, traditionally regarded as the symbol of purity in India. The pristine beauty of the suite, with its select artefacts, paintings, furniture

Rooms & suites Khush Mahal Khush Mahal, tucked away in the rear of the palace, was once the chamber of one of the two queens. The spectacular suite with its aesthetically furnished interiors, subtly divided by cusped arches, is evocative of an understated elegance. An antique swing, suspended by decorative gleaming brass chains, invites you to sit back and enjoy the charm of this beautiful suite as coloured glass panels transform sunrays into a kaleidoscope of colours, infusing the room with an enchanting ambience.

India Immemorial • September 2009 • 85

Hospitality of Jagmandir, the neighbouring island palace; and the hills, that can be enjoyed from the snug alcove.

Dining Experience The Taj Lake Palace offers a distinctive dining experience, one that explores the nuances of finest Indian and international cuisine, serving a mouth watering medley of traditional and contemporary favourites. The royal butlers can create magical dining moments wherever you desire – whether it is within the luxury of your suite, a sit-down dinner by the Lily Pond, a romantic dinner on the Mewar Terrace overlooking the lake, dinner on the marigold decked royal barge, pontoon in the middle of the lake or a romantic dinner in the candle-studded courtyard.

Recreation

and carpets, conveys a warm and welcoming ambience. The Pichwai, a revered hand painted cloth traditionally crafted in Nathdwara to be hung behind idols, adds beauty to the suite.

Sajjan Niwas The Sajjan Niwas suite, built by Maharana Sajjan Singh between 1874-1884, retains an old world charm in its lamps, portraits, glass mosaic inlay, traditional cloth fans, doors surfaced with mirrors and furniture. The bedroom of the suite, decorated with frescoes depicting the Hindu deity Krishna, is suffused with romance. The Sajjan Niwas suite opens onto the Sajjan terrace, overlooking the lake with spectacular views of the Jagmandir Island and the Aravallis.

Chandra Prakash The Chandra Prakash suite, the Luster of the Moon suite, glows like a celestial orb with golden-yellow chandeliers and lamps softly lighting the decorative gilt moldings, sinuously sculpted marble, fine fretted screens, floor inlaid with yellow, diamondshaped tiles and the ceiling embellished with frescoes.

Mayur Mahal Mayur Mahal or Peacock Palace is inspired by the resplendent beauty of the iridescent blue, green and bronze hues of the peacock. In India, the beautiful bird has traditionally been regarded as a symbol of royalty, love, fertility and the rains. Artistically crafted peacock motifs embellishing the walls of this exquisite suite and its rich interiors create a regal ambience. The coloured glass window panels change the mood in the room with shifting sunrays.

Sandhya suite Sandhya or evening, a time suggestive of beauty and tranquility, is embellished in rich emerald green and royal blue. The suite is perfect for savouring sunsets that are always special by the side of the shimmering waters of Lake Pichola and 86 • September 2009 • India Immemorial

the spectacular Aravalli Mountains. Soft sunrays, slipping in through aquamarine windowpanes, light the ornate antique gilt furniture, casting a magical ambience in the room. Guests can enjoy the changing colours of the sky and waters in the privacy of this beautiful suite.

Machla Magra Machla Magra, as the name suggests, offers a magnificent view of an unusual mountain that outlines the form of a fish. This wooded hillside was once the favourite hunting ground of kings, and even today, the shooting box seen amidst its foliage recounts the days of royalty, as does the stone city wall that gently meanders up the slope. The compact suite also offers views of the lake;

The Taj Spa offers a Royal Indian Spa experience. The treatment suites are embellished with heritage frescos evocative of the sensuous and romantic Rajasthani Royal leitmotif. Signature Taj Spa experiences draw from the ancient Indian technique of wellness and healing. Other than signature treatments, the spa also offers the best in Indian aroma therapy, body scrubs, body wraps, ayurveda, yoga and meditation as part of its extensive menu.

Conference and Banquet At Lake Palace, each room has a capacity ranging from 35 to 60 persons. If the Lily Pond is for outdoor functions, the Baragae Gangaur is for parties on the lake.

Location The Lake Palace Hotel is located in Lake Pichola. It is 25 km from the Maharana Pratap Airport, 3 km from the Udaipur Railway Station and 2 km from the State Roadways Bus Stand.

Cuisine

Murgh Achari A North Indian Mughlai Delicacy

This is a curd based chicken dish, seasoned with spices that generally go into the making of pickles. The fine combination of these spices lends it a distinct flavour. Serves: 4

Ingredients: • • • • • • • • • • • •

A North Indian vegetarian delicacy that is made rich with khoya and cashewnuts Serves: 4

750 gm chicken thighs or drumsticks 500 gm yoghurt, well beaten ½ cup chopped coriander leaves 3 tsp ginger garlic paste ½ tsp turmeric powder 1 tsp coriander powder 1 tsp red chilli powder 2 tsp aniseeds (saunf) 1 tsp cumin seeds 1 tsp nigella (kalonji) 1 tsp mustard seeds 1 tsp fenugreek seeds

• • •

Process:

• • • • • • •

Wash and chop the cauliflower, onion, ginger and green chillies. Cut the tomatoes into small pieces. Take a pan and heat oil. Add jeera first and then add turmeric powder, red chilli powder and coriander powder. Then add onion, ginger and tomatoes. Fry till the texture becomes smooth.

• • • • • •

Badam Halwa A North Indian Mughlai Dessert

3 green chilies 1 tbsp salt 2 tbsp chopped coriander leaves ¼ cup oil

Process: Heat oil in a cooking pot and add fennel, cumin, mustard, fenugreek and nigella seeds. When they splutter, add chicken and fry for a few minutes. Add ginger garlic paste, turmeric, coriander and red chilli powders. Add a little water and fry the chicken. Add yoghurt and salt, cover and cook on moderate heat. Increase or decrease the quantity of yoghurt according to the amount of gravy desired. When the chicken is almost done, add the green chillis and coriander. Cover and cook the chicken completely. Serve hot, garnished with coriander leaves.

Shahi Gobi Kheema

½ tsp turmeric powder 1 tsp cumin seeds 2 tbsp refined oil

Ingredients: 500 gm cauliflower ½ inch ginger 1 cup peas 2 tomatoes 1 onion 2 green chillies 1 tbsp chopped cashewnuts and makhana ½ cup khoya 1 tbsp chopped coriander leaves ¾ tsp salt 1 tsp red chilli powder 1 tsp coriander powder 1 tsp garam masala

• • • •

A North Indian Mughlai Delicacy

Add green peas and simmer for at least a minute. Add cauliflower and mix gently. Add salt. Cover for about 10 minutes. Add khoya, cashewnuts and makhana. Simmer for another 10 minutes. Garnish with tomatoes, green chillies and coriander leaves.

Almond, the basic ingredient of this dish, being expensive, suitably reflects the opulence and splendor of the bygone Mughal era. Serves: 4-6

Ingredients: •

500 gm almonds, soaked overnight and peeled

•

250 gm ghee (clarified butter)

•

200 ml milk

•

1 tin of condensed milk (small)

•

2 tbsp slivered almonds, chopped

•

pistachios and raisins for garnish

•

5 strands of saffron

•

1 edible silver paper (chandi wark)

Process: Blend almonds coarsely without any water. Heat ghee in a wok. Add almonds and fry slowly on low heat till golden brown. Dissolve the saffron in a little warm milk. Add the remaining milk and bring it to a boil. Reduce heat and cook till the milk reduces to half. Add condensed milk, little by little, till the desired sweetness is reached. Add saffron and cook for a few minutes. Remove from heat and allow to rest for about five minutes. Garnish with chopped nuts and silver paper. Serve hot.

India Immemorial • September 2009 • 87

In Brief

Dump this idea, please! Bridge of contention

new bridge being constructed in Vrindavan has come in for criticism from local environmental activists, who term it a threat to Kesri Ghat - the only remaining ghat in Vrindavan. They also contend it will obscure the magnificent panoramic view of the Yamuna River and affect its flow. Mathura-Vrindavan Development Authority’s plan to link the disconnected portions of Vrindavan Parikrama Marg (circumference road) by constructing a bridge across the Yamuna would seriously affect the river’s flow along Vrindavan’s banks, local residents claim. They also say the livelihood of hundreds of boatmen will be endangered as the free passage of boats across the Yamuna would get hindered. Kesri Ghat, constructed by Rani Laxmi of Bharatpur, remains the only boating spot in Vrindavan. While environmentalists feel that ‘developmentalists’ are destroying nature, culture and the rich heritage of India, ‘developmentalists’ claim that these protests have been raised by people who do not understand both development and environment.

he Roman Catholic church in Goa is drumming up support amongst its followers and politicians against the state government’s decision to develop a garbage dumping site near the historic Old Goa church complex. The Old Goa complex, located nearly 10 km from here, served as the capital of Portuguese India in the 16th Century and has the remains of Spanish missionary saint Francis Xavier. It is of immense religious and tourist significance to Goa and draws millions of visitors each year. The complex is listed as a world heritage site by United Nations Educational Scientific and Cultural Organisation (Unesco). According to the Diocesan Council of Priests (DCP), the government’s decision to start a garbage disposal site could result in Old Goa losing the heritage site tag. “The absurd project will have grave repercussions not only on the Kadamba Plateau and Old Goa, but the whole state, presenting the people of Goa as incapable of protecting their heritage. We are assured that you will do everything necessary to

stop this outrage,” says the letter signed by 400 Roman Catholic priests from the archdiocese of Goa and Daman sent to Chief Minister Digambar Kamat. “The proposed landfill and waste management site is just 500 metres from the historical ‘Shiva Temple of Bramhapuri’, 700 metres from ‘Cruz dos Milagres’ (Church of the Miraculous Cross), and just 1.5 km from the Churches of Old Goa, St. Augustine Tower and other historical monuments,” the priests have said. The letter further states, “Old Goa is visited by thousands of tourists and pilgrims every day because of the historical monuments. Having a waste management site within such an area will certainly cause nuisance to tourists and create a bad image for the state. Besides, Old Goa is a sacred place for all the people in Goa, irrespective of their religious faith.”

For better museums… M useums in India will no longer be boring, thanks to a series of projects between India and Australia which will help Indian museums conserve their art and heritage and become more culturally involved.

The AusHeritage Ltd., a network of more than 40 Australian heritage conservation institutions, supported by the Government of Australia, is lending its expertise to the Indian culture ministry. It will help in capacity building and conservation projects in museums this year, beginning with Kolkata. According to Vinod Daniel, chairman of AusHeritage, work will begin at the Victoria Memorial Museum in Kolkata in October on a preventive conservation project of paintings and artefacts both on permanent display at the memorial galleries and in storage.

88 • September 2009 • India Immemorial

Built between 1906 and 1921 as a tribute to Queen Victoria of England, the Victoria Memorial Hall has a large collection of East India Company or British Raj paintings in oil, water colours and aquatints by European painters like Charles D’Oyly, Johann Zoffany, William Hadges, Thomas Hickey, Bultzar Silyyns, Thomas Hickey and Emily Eden, who documented life in India under British rule.

In 2007, the Indian National Trust for Art and Cultural Heritage (Intach) organised a three-day seminar on managing and conserving cultural heritage in India with AusHeritage, following which both signed an MoU (memorandum of understanding) for the promotion of heritage in South Asia. Since then, AusHeritage has been working with Intach and also with the Indira Gandhi National Centre for Arts.

AusHeritage is also collaborating with the Indian Museum in Kolkata on a textile conservation project and conducting capacity building workshops in all the museums in the north-eastern states of India. Besides, talks are also on with the Indian Government to explore the need for training and workshops on adaptive reuse of heritage buildings for sustainable tourism in Kolkata, Delhi and Mumbai.

According to AusHeritage, India has the ‘strength to add more capacity to its museums and that Indian universities could include heritage studies in its regular module.’ The Australian network is working with Chennai-based Hindustan University for education programmes in heritage and conservation designed towards better delivery initiatives and is building skilled museum faculties.

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An India Inc Group Publication For agency, advertisement & subscription, contact Mumbai: 022-22642477 / 09324035043 • Bangalore: 080-26676064 • Mysore: 0821-2341737 India Immemorial • September 2009 • 89

Smiles & cheers across the hills

They are ever-smiling and cheerful. They have a colourful history, as colourful as their attire. Their rituals and practices, their crafts and culture, make them a unique tribe. They are the Nagas. Welcome to the hill state of Nagaland, where hospitality and cheerfulness are the order of the day.

90 â&#x20AC;˘ September 2009 â&#x20AC;˘ India Immemorial

agaland is a vivacious hill state in the northeastern part of India. With a total area of 16,579 km and a population of nearly 2 million people, it is the smallest state of India, inhabited by the Naga tribes. While some believe that the word Naga was derived from ‘nagna’ (meaning naked), others believe it to have been derived from ‘naga’ (meaning snake or the king of snakes). Originally, Nagas were known by the name of a group of villages. The Naga tribes were linked with the tribes in Assam and Myanmar.

Tribes of India Christian missionaries played an important part in transforming Nagaland and many Naga tribes embraced Christianity. Nagaland borders the State of Assam in the west, Arunachal Pradesh and parts of Assam in the north, Myanmar in the east and Manipur in the south. The region bustles with animal life as most parts are covered with forests. The birds found here are white vulture, black partridge, grey Partridge, common peafowl, blue rock pigeon, spotted dove, hoopoe, Malabar pied hornbill, common babbler, Mahratta woodpecker, koel, spotted owlet and the

great horned owl, among others. Among the animals found here, the most common ones are wild boar, barking deer, Himalayan black bear, wild goat, jackal, jungle cat, royal Bengal tiger, wolf, leopard, wild dog, python, stag, elephant, land tortoise and other snakes. The Nagas belong to the Indo-Mongoloid family. The fourteen major Naga tribes are the Angami, Ao, Chakhesang, Chang, Khemungan, Konyak, Lotha, Phom, Pochury, Rengma, Sangtam, Sema, Yimchunger and Zeliang. The Chakhesangs were earlier known as Eastern Angamis and are a

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hair and brownish yellow skin. Their eyes do not show Mongolian form. The Nagas are hardworking and sturdy with a strong sense of self-respect. The Angamis are politically the most conscious group. The Zeliang and Pochury tribes in Kohima district are comparatively simple and unsophisticated. The Tuensang tribes are unspoilt children of nature. A striking characteristic of the Naga tribes is their hospitality and cheerfulness. To be greeted with a smiling face while travelling on the roads is a common experience. Besides the Tenyidie language, which is almost a common language of the Nagas, they speak 60 different dialects of the Sino-Tibetan family of languages. A small segment of the population converses in Assamese, while English, the official state language, is widely spoken.

combination of the Chakri, Khezha and Sangtam sub-tribes. Each tribe has its own specific language and culture. Though there is no caste system prevalent among the Nagas, the Naga tribes are divided into several clans. The bigger the tribe, the more the number of clans. The Nagas have different stories about their origin. The Angamis, Semas, Rengams and the Lothas subscribe to the Kheza-Kenoma legend. It is said that the village had a large stone slab with magical properties. Paddy spread on it to be dried doubled in quantity by evening. The three sons of the couple who owned the stone used it by rotation. One day, there was a quarrel among the sons as to whose turn it was. The couple, fearing bloodshed, set fire to the stone and it cracked. It is believed that the spirit in the stone went to heaven and the stone lost its miraculous properties. The

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three sons thereafter left Kheza-Kenoma, went in different directions and became the forefathers of the Angami, Sema and Lotha tribes. According to another legend, to which the western Angamis subscribe, the first man evolved from a lake called Themiakelku zie near Khonoma. The Rengmas believe that until recently they and Lothas belonged to one tribe. The Aos and the Phoms trace their origin to the Lungterok (six stones) on the Chongliemdi hill. People of Nagaland are of sub-medium height, with very low facial index, medium nose, straight

All the tribes of Nagaland have their own festivals, and as such, the whole year is replete with festivals. They celebrate their distinct seasonal festivals with much fanfare. Over 85 per cent of the population of Nagaland depends on agriculture directly and therefore most of their festivals revolve around agriculture.

The predominant theme of their festivals is the offering of prayers to the ‘Supreme Being’, hailed by different names in diverse Naga dialects. They start with the Chakhesang Sukrunye festival in January, followed by Kuki Mimkut; Angami Sekrenyi is celebrated in February. The month of April begins with Konyak Aoling and Phom Monyu festivals in the first week. Ao Moatsu and Khiamniungan Miu festivals are celebrated in May; Sumi Tuluni and Chang Nkanyulum festivals are celebrated in the month of July. In the months of August and September, the Yimchunger Metemneo and Sangtam Mongmong festivals are celebrated. The month of November witnesses the celebration of Lotha Tokhu Emong and Rengma Ngada

loops. Adults wear the belt, and once it is worn, it is not removed till their death. Nagas also make many traditional musical instruments out of bamboo, buffalo horns and mithun horns. The most prominent among them are the flute, trumpet, mouth organ and cup violin.

is restricted to men. All Naga men know how to weave mats of split bamboo, which is the chief material besides wood for constructing walls and floors of houses. Very important is the production of finely woven mats for drying paddy. They also prepare different kinds of arm chairs, sofas, tables and cradles for babies. Apart from baskets, Nagas also make mats, shields and different kinds of hats from bamboo. They make attractive chungas or drinking cups, and mugs made of bamboo with pokerwork. festivals. In December, Zeling Nga-Ngai festival is celebrated with much pomp and gaiety, as it marks the completion of a year and the beginning of the next year. The predominant religion of Nagaland is Christianity. It is one of the three Christian-majority states in India. The largest of Asia’s churches dominate the skylines of Kohima, Dimapur and Mokokchung. Among Christians, Baptists are the predominant group, constituting more than 80 per cent of the state’s population. Catholics are found in significant numbers in parts of Wokha district, as also in the urban areas of Kohima and Dimapur.

Cane & bamboo culture Nagas start life “in a cradle of bamboo and end in a coffin of bamboo”. The forests of Nagaland are rich in bamboo and cane, accounting for Nagas’ expertise in basket making. Though basket making is highly developed among the Nagas, the craft

All tribes make picturesque cane craft comprising bowls, mugs and containers with multicoloured engravings on them. Other varieties such as fillets as part of ornamentation have elaborately worked out designs. Among the Nagas, a cane rainproof hat is also made. Men of some tribes weave very attractive neckbands, armlets and leggings from fine strips of cane, dyed red, and stems of the yellow orchid in combination with cowries. Mats woven out of cane strings with fine textures have decorative value. Cane furniture is also quite popular.

The most important species of bamboo found in Nagaland are Dendroclamus Homiltonii, from which the best type of splints for basket work are extracted, Bambusa bamboo, best suited for house construction, Melocana Bamboo Soides, suitable for making floor and walls of a Naga house, and Bambusa tulda and Teinostachyum. The Chang Naga crossbow is a powerful weapon made of bamboo, wood, fibre and bone. It is made of a thick and strong bamboo beam, wider at the centre than at the ends, held in a slot in the wooden crossbeam. Small decorative combs of bamboo splits are made by Chang men as gifts for girls. The Konyak Naga men wear a tight cane belt around their waists. These are made of half splits of cane, wound around the waist in about seven or eight India Immemorial • September 2009 • 93

Cane ornaments such as headbands, bangles, leg-guards, etc., constitute other models of workmanship. Baskets are usually of two kinds, one to be kept in the house for storage purposes and the other to be carried on the back for day-to-day use. Baskets of very fine designs are in wide range with different shapes and sizes, used for different purposes. The Nagas are versatile artisans. The type of clothes worn by them differs from one Naga group and clan to another. Spinning, dyeing and weaving is performed by women and every Naga woman is supposed to weave the clothes of her family. Only the Lothas, Aos and Rengmas practice painting on clothes. The Ao art of painting resembles that of the Rengmas, although the conventional pattern is different. Aos paint the white band of their famous warrior shawl, which can be worn only by one who has taken heads in war or who has performed feats of merit. Figures of elephant, tiger, cock, dao spear and human heads are painted in black on the white median band. The colour is prepared from the sap of a tree. This is mixed with very strong rice beer and the ash of its own leaves. Sometimes, the ash of bamboo leaves is used in place of Tangko leaves. Naga designs vary from a formal arrangement of lines to elaborate patterns in different shapes. Simple straight lines, stripes, squares and bands, varying in width, colour and arrangement are the most traditional designs and motifs. The Naga shawls are very famous. They come in bright colours and various patterns. The decorative warrior shawl Tsungkotepsu is one of the most characteristic clothes of the Aos. Rongsu shawl is one of the most decorative Ao cloth. The right to wear this cloth is the most difficult to earn, as it can be worn only by a man who has performed the mithun sacrifice feast and whose father and grandfather have also done it. The other shawls comprise Tiongkong su, Tabensa su, Lungkhum subang, Keyi su and Bangmerem su. Though pottery is not widely practiced in Nagaland, some tribal women do practice it and have their own unique method of making pottery with hands. These techniques vary according to the tribes and the geographical areas they inhabit. The most peculiar feature of Naga pottery is that the designs and motifs have been inspired by the designs of their textiles. Traditionally, both sexes enjoy wearing colourful ornaments. Naga warriors wear miniature trophy masks as pendants in necklaces. They are symbolic of their bravery as headhunters. Broken tumblers of thick glass are turned into ornaments for the ear and colourful glass beads are strung on cords of local fibres fastened by coins. The different coloured beads in indigo, orange and purple, blend well with other ornaments. Naga bracelets and bangles are exquisite. Sawed from the wide end of tusks, then shaped and stained to bring out the superb grain of ivory and rubbed against the wearerâ&#x20AC;&#x2122;s skin until the inner edges take on a jewel-like transparency. Shells are also an inseparable part of Naga culture and they are used to make different ornaments. 94 â&#x20AC;˘ September 2009 â&#x20AC;˘ India Immemorial

In fond memory of a tragic

hero Guru Dutt was not only a great actor but also a unique director. A perfectionist who never compromised on quality, he was a creative genius whose contribution to Hindi cinema is beyond measure.

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In Memoriam

he 50’s were undoubtedly the golden era of Hindi films, blessed with directors and artistes who could stamp their individuality in their work. One such personality who carved a niche for himself as a director, actor and producer, was Guru Dutt Shiv Shankar Padukone, or more popularly known as Guru Dutt. His films had uniqueness - a brooding intensity about it that a single frame of his work could identify its creator. Ironically, his films earned recognition and interest much later in the 70’s and the 80’s and even now his films, whenever they are rereleased, run full houses.

in photography, had a natural inclination for dancing and emoting and loved music, especially Hindi and Bengali folk film music. Guru Dutt joined the ‘Uday Shankar India Culture Centre’ in Almora on a fiveyear scholarship with the help of his uncle B B Benegal who was a pillar of support financially and was an artistic influence to the Padukone kids. In between, he took up a job as a telephone operator in a mill for a short spell of time. Gradually, Guru Dutt began to organise his own dance compositions. After his dance training at Almora, he got a break in films as a dance director on a three-year contract at Prabhat films, Pune. Along with choreography, he assisted directors and even acted in small roles for some films at Prabhat. In 1944, he acted in

Illustrated Weekly for publishing. It was then that he wrote his first draft of Pyaasa (Thirst), which was later to become one of his masterpieces. He then managed to get a job as assistant director to Amiya Chakravarthy, a leading director at the time in his film Girls School and in 1950, he assisted Gyan Muherjee in the Bombay talkies film Sangram. Finally, in 1951, he was called to direct his friend Dev Anand’s second production Baazi, a crime thriller based on a promise made when they worked together at Prabhat that he would give a film produced by him to Guru for direction. Baazi was a huge success and was a trendsetter for several similar crime films that followed. It was during the recording of the song

Guru Dutt was born on July 9, 1925 in Bangalore, Karnataka to a middle class Brahmin Saraswat family from Mangalore. His father Shivshanker Padukone worked as a school headmaster and then in a bank in Bangalore and his mother Vasanthi taught in a school, gave tuitions and also wrote short stories and translated Bengali novels into Kannada. Vasanthi was only 16 when Guru Dutt was born. He had a tough childhood with financial difficulties and the strained relationship between his parents worsened the situation. As a child he had bad experiences; the hostility from his mother’s brother’s family, a frightening encounter with an insane uncle and the death of his seven-month-old brother. Young Guru was affected by all which may explain his introvert nature, later reflected by the tortured characters in his films. He had two brothers and two sisters. One of his brothers, Atmaram, became a producer and director later in life and his sister, Lalitha Lajmi, a famous painter. Guru Dutt’s family moved to Calcutta and he had his basic education there. Financial constraints did not allow him to study beyond matriculation which he completed in 1941. Guru Dutt was creative from a young age, was interested

a small role as Sree Krishna in Chand, in 1945 he acted as well as assisted director Vishram Bedekar in Lakhrani and in 1946 he worked as an assistant director and choreographed dances for the film Hum Ek Hain. Then in 1947 he assisted Director Anadinath Banerjee for the film Mohan produced by the Famous Pictures and Studios at Mumbai. After his contract with Prabath was over, Guru Dutt returned to his family in Matunga. He was out of work for almost a year. During this time, Guru Dutt, who had a flair for writing in English, used to write short stories and send them to The

Tadbeer se bigdi hui of Baazi that Guru Dutt met the famous playback singer Geeta Roy. There blossomed a romance between them which culminated in marriage on May 26, 1953 at Geeta’s mother’s home in Santa Cruz, Mumbai. The couple had two sons Tarun and Arun and a daughter Nina. But by 1957, their marriage was on the rocks. They were not at par intellectually and Guru being a workaholic was not meant to have a family or to take the subsequent responsibilities. Dutt’s alleged affair with his leading lady Waheeda Rehman also worsened matters. As a director, Dutt was a perfectionist who never compromised on quality.

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Guru Dutt’s Popular Movies • • • • • • • • • • • • • •

East Is East, Picnic, Sanjh Aur Savera Suhagan, Bahurani, Bharosa, Shahib Bibi Aur Ghulam, Chaudhvin Ka Chand, Kaagaz Ke Phool, 12 O’Clock, Pyaasa, Mr. & Mrs 55. Aar Paar, Suhagan

Award:

Filmfare award for his film Sahib Bibi Aur Ghulam in the year 1963

He was a genius who created a unique atmosphere through his sense of music, unique picturisation of songs, subtle but intelligent dialogues, novel themes, depth of his characters, excellent use of lighting with light and shade, and superb shots sometimes followed by close ups of actors highlighting their expression which go beyond their narrative function and makes an impression of their own. He was also the one to introduce the use of long focal-length lenses, and 100 mm as 75 mm for close-ups in Indian films. The 50’s and early 60’s saw him as a director as well as an actor and producer of a number of films. After the success of Baazi, he directed Jaal (1952), another success, especially in the picturisation of its songs, then Sailab (1956) which was a flop, and also acted, directed and produced Baaz (1953) which was his first film as an actor but a great flop except for its songs which became popular; then Aaar Par (1954) and Mr. and Mrs. 55 (1955) categorised as his comedies which had a slick pace and intelligent banter, especially the latter where the heroine (Madhubala) is a woman struggling for independence and her rights; and then came Pyaasa (1957), a real masterpiece which elevated him to the height of his career in which he played the introvert poet Vijay. Technically, the black and white shots in the film depicting the dark moods were perfect. His next and last movie as a director was Kaagaz ke Phool (1959). Technically, the film was perhaps his best draw with some remarkable visuals, but it failed miserably at the box-office.

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He also lost heavily financially and a dejected Dutt never directed a film again. But soon after he produced and acted in Chaudhvin Ka Chand (1960), based on the Muslim culture of Lucknow, and got it directed by Saddiq Sahib, which was a huge success. Then the impressive Sahib Biwi Aur Ghulam (1962) which won the President’s Silver Medal as well as the Best Film of the Year award from the Bengal Film Journalists’ Association, besides going to the Berlin Film Festival and being India’s official entry for the Oscars. He passed away during the making of the film Baharein Phir Aayengi, which was completed by his brother Atmaram with Dharmendra in the lead. Along with his own productions, Guru Dutt acted in outside productions like Twelve o’clock (1958), Sautela Bhai (1962), Bahurani (1963), Bharosa (1963), Suhagan (1964), Sanjh Aur Savera, etc. with almost all the famous heroines of the times. In 1952, days before Jaal was released, Guru Dutt had started a production company in partnership with Haridarshan Kaur, actress Gita Bali’s elder sister, but they separated soon after, due to heavy financial loss after Baaz (1953). With Aar Par, he started his own production company and a studio and produced many successful films like CID (1956), in which he introduced Waheeda Rehman, and then in many movies thereafter. He was incidental in making her a big star. Even though he had his share of success and failure in his work, his personal life was a mess. By early 1964, he was separated from his wife and was living alone and had also started drowning himself in alcohol. On October 10, 1964 Hindi film world suffered a great loss. Guru Dutt at the young age of 39, succumbed to an overdose of sleeping pills although doubts still linger as to whether his death was accidental. The prevailing magic of his films, even now, decades after his tragic end, testifies the skill of this genius who lived much ahead of his times.

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