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Monthly March 2012 Vo l I V Issue II
An Official Magazine Of Airports Authority Of India
Monsoon Special Airport
Framing Mumbai Expectations 2012
CONTENTS
04 WANDERLUST
Adorned with beautiful forts, magnificent palaces and lush gardens, Deeg is a quaint reversion to the bygone era
08 CONNECT
Celebration the birth of Lord Buddha in a different land turned out to be an
04 Timeless
10 INTERVIEW
Changing avatars Kalki Koechelin emerges as the new face of art house cinema.
12 ,d
Horizons
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08
In touch with spirituality
15 AVIATION NEWS
Stay ahead, stay informed with the latest buzz from the aviation industry
16 HERITAGE
From the pristine but faded history of Kangra valley evolve the Kangra miniature paintings.
19 GASTRONOMY
Move away from spicy and oily food. Chew your way to good health with delicious and crunchy salads.
Presented By
16 Exquisite Artform
MaXposure Media Group (I) Pvt. Ltd Le Meridien Hotel, 2nd Floor, Old Business Center, Windsor Place, Janpath, New Delhi- 110001 Ph: 011-43011111, 47411100 www.maxposure.in
The writing, artwork and/or photography contained herein may not be used or reproduced without the written permission of MaXposure Media Group Pvt. Ltd.
WANDERLUST
Timeless Horizons Adorned with beautiful forts, magnificent palaces and lush gardens, Deeg is a quaint reversion to the bygone era Text: Anil Purohit
4 | March 2012
T
he late afternoon sun in Deeg filtered through the trees as we as approached towards palaces built by the Jat rulers in early 18th century. After Maharaja Badan Singh’s formal ascension in 1722 to the newly founded Jat princely state of Bharatpur, Deeg served as the capital of Bharatpur, ruled by Jat kings. Hues of golden lit the purlieu as we saw the palaces made in traditional Rajput and Mughal architecture. Easily reachable from Agra and Delhi, the seat of the Mughal Empire at the time, Deeg survived inevitable attention Delhi invited from the Mughal armies.
The panorama In the square fronting the main entry there were a few middle-aged men looking for
Airports Authority of India | 5
WANDERLUST
Rajasthan (Left) Local women fetching water with a backdrop of the Pavillion roof; (right and facing page) the palace is known for its beautiful Rajput and Mughal architecture
The elegant and exquisite Gopal Bhawan was named in reverence of Lord Krishna by Raja Surajmal, the ablest of Jat rulers
6 | March 2012
outstation visitors to guide around the palace complex, sparking an unseemly melee at the sight of one. Spotting few or no visitors as we made our way to the gate, I resisted thoughts questioning our wisdom in making the journey from Bharatpur. And it was just as well, for I was only moments away from registering what would rank among the most memorable of my experiences with palaces from travelling around India, their grandeur, if not the scale, rivalling those built by the Rajput kings. Excepting the succession of arches rising immediately upon entering the palace complex, meeting the open sky as would arches in most ruins that barely survived their fall from grace, I was unprepared for the sheer scale of artistry the edifices within presented the visitor with, almost all of it the way it was meant to be. If men of royal bearing were to suddenly materialise in robes befitting their stature and gait, they may need only a step to enter Gopal Bhawan. The most elegant and exquisite of the six Bhawans (or palaces in the complex), Gopal Bhawan was named in reverence of Lord Krishna by Raja Surajmal,
the ablest of Jat rulers of Bharatpur. Converted into a museum, Gopal Bhawan is now home to artefacts of personal use left behind by the kings. As evening approached, outer courtyard was beginning to bustle with locals out for an evening stroll. Balancing steel and brass pots on the head, local women in colourful headed back home carrying water as they walked past ornamented windows of the two pavilions named after rainy months – Sawan and Bhadon. The sun glinted off the shiny pots in the backdrop of birds perched on spikes rising from the pavilion’s Bengal roof along the curve tracing an invisible line through the middle. While the curvature of the Bengal roof was originally structured to drain off the rainwater in heavy monsoons along the Ganges river delta, the pavilions offered architectural highlights. Buttress supported stairways descended inside the step-well ending in openings that led back to the arcaded pavilions extending over Gopal Sagar, one of the two reservoirs in Deeg; the other being Rup Sagar, named after Badan Singh’s brother. It was not until I decided to walk across
Attractions around Deeg •
• •
The Bharatpur Fort and Keoladeo Ghana National Park are the primary attractions around Deeg. Alwar, a former Rajput state is at three hours distance by bus. Bala Qila is an imposed fort, located 300 metres above the city.
Reaching Deeg • •
•
By Air: Nearest airports are Delhi and Jaipur By Road: It takes five hours from Delhi and an hour from Mathura. By Train: Bharatpur Junction is located 35 kms from Deeg
the courtyard fronting Gopal Bhawan, past the east-facing central projection relieved by arches and sculpted pillars looking over a fountain fed by twin canals extending through a garden modelled on the Mughal Charbagh, and round the corner to the south, did I begin to comprehend the sheer scale and majesty of the palace architecture, its reflection in the waters freezing me midstep. The pavilions, Sawan and Bhadon, now revealed their lower storeys that were hidden from view from the front. Lit up by the setting sun, Gopal Bhawan reflected in the still waters the kiosks, the balconies with Bengal roofs extending over the sides, and the two pavilions flanking it, their arcaded lower storeys fenced with decorative screens extending over the waters, together combining to whip up an exquisite tableau conjured up by a magician. I could have sat there for a long time if there wasn’t more to explore. Only missing were white clouds sailing in the skies over Deeg. Their moving reflections in the water where the mirror images meet at
their own horizon, would’ve lent my stunned eye the necessary stimulus to pull away and go looking for the other five Bhawans, comparable in intent to Gopal Bhawan, but only complementing in their effort to match the former’s grandeur. Only Keshav Bhawan came close. Constructed as an open pavilion it was built to recreate the effect of the monsoons. Stone balls located in the ceiling were placed in cavities and violently disturbed by water forced at great pressure through canals perforated at fixed intervals in their hundreds, forcing jets of water out to the accompanying thunder affected by rolling stone balls. Soon we followed directions to the four remaining Bhawans – Suraj Bhawan, Hardev Bhawan, Kishan Bhawan, and Nand Bhawan. I wondered at the good fortune Deeg enjoys with exquisite edifices ranging from archways, alcoved balconies, terraced fountains and panelled facades to sculpted pillars and arcaded pavilions overlooking the water tank.
Airports www.incredibleindia.com Authority of India | 7
CONNECT
In touch with
spirituality Celebrating the birth of Lord Buddha in a different land turned out to be an eye opener Text: Anil Purohit
F
or Indians, Poornima or a full moon night is something that they are aware of since childhood. Many of our religious rituals are celebrated during these days and are generally considered auspicious. Buddha Poornima holds a special interest for all Buddhist as this day commemorates the birth of Lord Buddha. Staying in Bengaluru I had often heard about the Namdroling Monastery in the Coorg district and thought this would be the best time to visit the monastery.
8 | March 2012
Seat of Buddhism Located in Bylakuppe near Kushalnagar in Karnataka, the Namdroling Nyingmapa Monastery, also known as the Golden Temple, assumes significance for its role in helping uphold the ancient Nyingma School of Tibetan Buddhism in the Palyul tradition. As the second seat of the Palyul Monastery of the Nyingma School of Tibetan Buddhism, the oldest of the four schools of Tibetan Buddhism, the Namdroling Monastery, established in 1963 by HH Pema Norbu Rinpoche, is revered by Tibetan Buddhists
who arrive at the monastery in great numbers, with over 5,000 monks and nuns in residence to learn and uphold Buddha’s teachings in the Palyul tradition. Sauntering along after getting off the bus in the mid-day sun I saw few monks in the street. It was nearing lunch time when we made for the gate of the Tibetan monastery. Past the gate the wide approach flanked by fenced-off gardens quickly shrunk the moment the Golden Temple emerged in the distance, drawing the eye up its tiered levels rising three-floor high. Each storey glinting gold in
(Below) Murals in the Namdroling Nyingmapa Monastery; and (right) a temple in Thrissur
Karnataka
Monks clad in robes, each holding large bowls of food, simple to the eye yet commensurate with a spartan life
the sun before tracing the chakra emerging in protective embrace of the flat roof surmounted by the tapering chorten. Stepping inside was like entering a jewel box encrusted with motifs, murals and frescoes before presenting oneself in the comforting presence of the Buddha flanked by Padmasambhava and Amitayus, the forty-feet high statues resplendent in form.
past in silence, each holding large bowls of food, simple to the eye yet commensurate with a spartan life. They wore robes in the Mahayana tradition, the colours complementing flowers of various hues dotting the lawn. A board above a wash where several Buddhist students had gathered to fill their water bottles reminded visitors not to pluck the flowers as “they are for the viewing pleasure of everyone.�
Living traditions
Getaway of a different sort
A Buddhist family from Arunachal Pradesh was visiting their youngest son studying at the monastery. They stood in silence facing Padmasambhava, Buddha and Amitayus rising to the ceiling of the vast hall that can seat thousands. Bowing their heads to receive holy water dispensed by a monk on the platform they gathered around their young son in traditional robes, talking in whispers. Around me the wooden carvings, exquisitely detailed statues and intricate designs of Thangka paintings spun me in a slow circle, the large wall paintings merging as if in a slideshow. Stepping outside later I walked under leanto roofs shading shuttered windows, relieving the austere walls of the adjoining building. In a first floor room a wall lamp lit up a room. I lingered on anticipating a face in the window. None appeared. At the college the monks study Buddhist Sutras and Tantras over a nine year period under the guidance of experienced Khenpos and Lopons. Offset by neat lawns the religious college was a picture of studied calm. Monks clad in brightly coloured robes filed
It was winter and the sights around the monastery had only added to the pleasant feel of the open road we had come from and would soon take to. Standing there I was conscious that I was an outsider looking in. The culture while not entirely alien was nevertheless uncommon from where I came from, so while I was surprised at the ease with which I came to relate to it even if more out of awe of its art, I was nonetheless pleased at the inclusiveness of the whole experience. With Buddhist places of teaching and worship few and far between, much of the imagery that Buddhism conjures up in the average Indian traveller is the of images of smiling monks in colourful robes with racial features distinct from those of much of India. In short they conjure up images from the north and the north east of India, helped no doubt by photographs from Ladakh and elsewhere, with the serenity of the monks strangely complementing their austerity to serve up a heady mix of the spiritual that is at once alien and familiar to the viewing eye.
Airports Authority of India | 9
INTERVIEW
changing avatars With the box office success of her recent film, The Girl in Yellow Boots, Kalki Koechelin emerges as the new face of art house cinema, placing her in the same league as Smita Patil, Nandita Das, Tabu and Chitrangada Singh. Words Supriya Sinha
K
alki Koechelin, after the acclaimed film The Girl in Yellow Boots (directed by hubby Anurag Kashyap), has emerged as the new face of art house cinema. Indeed, she has come a along way since her debut in the film Dev D where she played the new-age Chandramukhi-Chanda (the tormented MMS victim who is forced to take up prostitution) to playing an abandoned girl Ruth, raised in Britain, who comes to India in search of her father in That Girl in Yellow Boots. She has also played Amy, a girl with psychotic childhood who has bouts of insanity in the thriller Shaitan. The variety in characters and her effective portrayal of grey shades has brought Kalki in the same league which was once occupied by Smita Patil, Nandita Das, Tabu and Chitrangada Singh, from the recent generation. Only difference is that while Tabu and Chitrangada restricted themselves only to serious kind of films, and refrained from taking up conventional roles offered to Bollywood leading ladies, Kalki went on to prove that she can play the role of glamorous snobbish, super rich South Mumbai girl as well: Natasha in Zoya Akhtar’s blockbuster Zindagi Na Milegi Dobara is a good example. A self-confessed rebel, 27-year old Kalki was considered an odd-ball when she first appeared as Chanda. She was unconventional in many ways: She is not a quintessential glamour queen, she is a non-dancer, still doesn’t have command over Hindi language (in fact, she speaks Tamil better) and according to her, the only connection with Bollywood is acting. “Anurag Kaskyap is incidental,” she laughs. Another factor which separates her from the league is her whiteskin, which automatically categorises her to play the role of a ‘foreigner’ in a film, instead of a mainstream role. “We are actors and all that we are supposed to do is perfect acting and try out different roles. I don’t understand the big hoopla over image and living with an image,” she said matter-of-factly, when she was asked if she was taking a break from her
10 | March 2012
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“Anurag forced me to write the script of The Girl in Yellow Boots. It was his idea, but he forced me to write the script because I was unemployed.” — Kalki Koechelin
serious image built in the film Dev D. She is a thinking actress, a skill which she claims she gathered while studying theatre in Goldsmiths, University of London, and while polishing her art with a London-based theatre group, Theatre Relativity. This is where she polished her natural flair for writing stories and poetry. She made a perfect use of it in writing the script of the film, The Girl in Yellow Boots. But she is modest about her writing abilities. “Anurag forced me to write it. It was his idea, but he forced me to write the script because I was unemployed,” she says. “For me, I have to keep getting better and better with everything I do. You can never be perfect,” feels Kalki. Never mind, if she doesn’t know dancing, something which is a must in most of the Bollywood film. Thankfully for Kalki, she hasn’t been offered films where she needs to dance. In fact, in her next film My Friend Pinto where she stars opposite Prateek, she plays a comic character in a Goan village. She is known to break rules: Despite being married she has not put any such conditions of no-kissing, no steamy scene to acquire Goody Two Shoes image. Kissing and intimate scenes have been part of her recent films, which she feels is only “part of her acting profession.” So, for an actress with just two years in the industry and only half a dozen films, the tag of thinking man’s sex symbol is a big deal.
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Airports Authority of India | 11
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12 | March 2012
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dk ,d HkkbZ fey x;k jkLrs eas vkSj lq/kk vkSj jek nksukas #ddj mlls ckr djus yxhaA rHkh ns[kk lkeus ls firkth pys vk jgs Fks lkbZfdy ijA ge nksuksa dks ,d yM+ds ds lkFk [kM+s ns[kdj mUgksua s lkbZfdy /kheh dj nh vkSj fcYdqy gekjs ikl ls xqtj+ As dqN nwj tkdj os okil ykSV vk,A igys rks eSa ldidkbZ] tSls dqN xyr djrh gqbZ idM+h xbZ FkhA fQj mudh x+yrQgeh nwj djus ds
fy, lq/kk vkSj jek ls dqN nwj gVdj [kM+h gks xbZ vkSj ,d izdkj ls Lo;a dks ml n`”; ls gh dkV fy;kA firkth ,d ckj fQj gekjs lehi ls xqtj+ ]s /kheh xfr lsA eSa ikuh&ikuh gks xbZA lq/kk vkSj jek D;k lkspx sa h ge yksxksa ds ckjs eas \ ml fnu ,d ckr le> eas vk xbZ] dksbZ yM+dk esjk nksLr ugha gks ldrkA ,slk gqvk rks eSa dV?kjs eas [kM+h dj nh tkÅaxhA eq> ij ut+j j[kh tk,xhA ,d jks’k lk eu eas Hkj x;kA esjs fy, ,d ydhj r; dj nh xbZ Fkh vkSj eSua s fcuk ,d “kCn Hkh dgs ml ij pyuk Lohdkj dj fy;k FkkA eSa rqEgkjh rjg lkglh ugha FkhA fookg dk le; vk;k rks tks eka&cki us dgk] flj >qdkdj eku fy;kA vkSj eSa djrh Hkh D;kA t; ds dne rks chl&iPphl gt+kj fMxzh dh vksj c<+ x, FksA ml tekus eas chl&iPphl gt+kj Hkh cgqr cM+h jkf”k Fkh vkSj esjs eka&cki ds ikl bruk /ku ugha Fkk t; dks [kjhnus ds fy,A t; ds ckn tks pht+ eq>s vkdf’kZr djrh Fkh] og Fkk vfHku;A vius dkWyt s dh LVst ij cgqr dke fd;k Fkk eSua s vkSj cgqr Ikz”kalk Hkh ikbZ FkhA ,d fnu fQYeQs;j eas foKkiu ns[kkA fQYeQs;j dh vksj ls flusek ds :igys insZ ds fy, u, psgjs <w<a us ds fy, ,d izfr;ksfxrk vk;ksftr dh tk jgh FkhA ,d fnu cSBh izo”s k i= Hkj jgh Fkh fd eka us ns[k fy;kA firk dks f”kdk;r dh xbZA eq>ls tokc&ryc fd;k x;k rks eSua s dg fn;k vius cM+ksa ds lEeq[k fd] ^eSa ,DVªl s cuuk pkgrh gwAa ^ tokc&,d lululrk FkIiM+A eap esa #fp gkus ds dkj.k esjh igyh jpuk ,d ukVd FkhA ,d fnu eSa dejs eas pqipki cSBh fy[k jgh Fkh] est+ ij >qdh gqbAZ ^;g rw D;k fy[k jgh gS\^ ihNs ls vkrh galh mM+krh gqbZ vkokt+ us eq>s pkSd a k fn;kA esjh cM+h cgu esjs ihNs [kM+h dqN >qdh gqbZ lh esjh dkWih i<+ jgh FkhA esjk gkFk dkairs gh ,d O;aX;e; Bgkds dk fo’k iwjs dejs esa xwt a x;kA vijk/k djrs idM+ yh xbZ Fkh tSlAs ml fnu ds ckn ls eSua s Nqidj fy[kuk “kq: dj fn;kA eauS s cM+h rjrhc ls viuk fy[kk lc QkM+ MkykA fuBYykas dk dke gS i<+uk&fy[kuk vkSj eSa nqfu;k dh lcls fuBYyh vkSjrA [kwc xkfy;ka [kkrhaA ^pUnjh lkjk fnu fdrkcka foPp eqga A^ ;g ljklj >wB Fkk vkikA eSa fnu Hkj [kwc esgur djrh FkhA ukSdjh djrh Fkh] ?kj dk dke vius gkFk ls djrh Fkh vkSj cPpkas dks vius dysts ls yxkdj j[krh FkhA mUgas ,d ^flaxy iSjVsa ^ dh rjg ikyk gS eSua As lnk /;ku j[kk] dksbZ vHkko] fdlh deh dk lk;k mUgas Nw u tk,A ml lc ds ckn tks Hkh le; feyrk] eSa “kkafr
ls viuk le; fdrkckas ds lkFk fcrkuk pkgrh ysfdu ;g esjs vklikl ds yksxkas dks eatjw ugha FkkA cgqr eu pkgrk fdlh if=dk ds laikndh; foHkkx eas ukSdjh dj ywAa ysfdu eSa viuh ifjfLFkfr;kas eas dsoy vk/ks fnu dh ukSdjh dj ldrh FkhA esjs cPps eq>s tku ls I;kjsA mudh dher ij dqN Hkh djuk eq>s eatjw ugha FkkA eu ekjdj ,d VªoS y ,tal s h eas vk/ks fnu dh ukSdjh dj yhA cPps Ldwy tkus yxs rks ,d ekfld if=dk eas dke “kq: fd;kA vkt ogka lgk;d laiknd gwAa laiknd lsokfuo`Ùk gks jgs gSa vkSj iwjh vk”kk gS fd eq>s og LFkku fey tk,xkA ,d dgkuhdkj ds :i eas Hkh fiNys nks pkj lky ls mHkj jgh gwAa cgqr dfBukb;kas ls ik;k gS ;g lc vkSj vc ;gh lc esjh dfBukb;kas dks c<+k Hkh jgk gSA ysfdu eSa ;g lc [kksuk ugha pkgrhA tc mlus viuh dkyh tqcku ls eq> ij maxyh mBkbZ Fkh rks ,dckjxh rks th pkgk Fkk ,d t+kjs dk FkIiM+ tM+ nwa mlds eqga ijA ,d xwt a rk gqvk FkIiM+A ysfdu esjs dne ugha mBs mldh vksj D;kafs d og vLlh lky dh cqf<+;k FkhA vkSj Fkh bl ?kj ds Lokeh dh ekaA ;g og cqf<+;k Fkh ftls chekjh eas csMiSu Hkh esjs gh gkFkkas ulhc gksrk Fkk vkSj tks Hkyh&paxh gksrs gh fcLrj ls mBrs gh Nkrh fiVrh gqb]Z eksVh&eksVh xkfy;ka nsus yxrh Fkh eq>As laLdkj gh ,sls feys FksA lnk cM+& s cw<k+ sa dk vknj djksA ysfdu laLdkj nsus okys eka&cki us ;g dHkh ugha crk;k fd cM+& s cw<s+ uhp gks]a vU;k;h vkSj Øwj gksa rks D;kA D;k laLdkj O;fDr dks ;kas gh cqtf+ ny cuk nsrs gSAa lkgl dh deh gh D;k ,d lqlLa d`r O;fDr dh igpku gSA vkik] D;k eSa ;wa gh ej&ejdj thrh jgwx a hA rqe gksrh rks eq>s thuk fl[kk nsrhaA rqels] rqEgkjs ys[ku ls lnk izjs .kk ikbZ gS eSua s --- vkSj rqEgkjh thouh ds dqN va”k i<+dj muls HkhA “kk;n rqe eq>s thou ls tw>uk fl[kk nsrhA >wBs nksLr ] esjs vfLrRo dks udkjrs esjs rFkkdfFkr viusA vkt eq>s cgqr lh ckrkas ij i”pkrki gSA fdlh cqjkbZ dk ugha ij ml HkykbZ dk tks eSa bu yksxkas ds lkFk djrh jgh vkSj ftlds cnys eas ;s eq>s Nhyrs jgs vkthouA ^gSyksA^ ^gSyks] eSa dqekj cksy jgk gwa vki rks dHkh feyrh ughaA lkspk vkt “kke dh pk; vkids lkFk gh ihrs gSAa eSa vkSj felstA+ “kke ikap ctsA^ gn gks xbZ f<BkbZ dhA eq>ls iwNk rd ugha fd esjh lqfo/kk bleas gS ;k ughaA [kSjA pk; ihus D;k vk, os yksx esjs izfr f”kdk;rkas dk ,d iwjk fiVkjk vius lkFk ysdj vk,A ^D;kas thA vki D;k bruh fct+h jgrh
gSa fd feyrh gh ugha fdlh lsA fdruh ckj fMuj ij cqyk;k ysfdu vki rks n”kZu gh ugha nsrhaA^ eSua s galh ls ckr Vkyuk pkgkA ^vki rks tkurs gh gSa fnu Hkj dke ij jgrh gw]a ?kj vkdj ---A^ ^th gka] th gkaA eSa tkurk gwAa ?kj vkdj vki fdrkckas vkSj dkx+tk+ sa dk <sj ysdj cSB tkrh gSAa bruh cM+h gks xbZ gSa fd gekjs nksLr ds fy, gh le; ugha gS vkids iklA^ eSa LrafHkrA fdl vf/kdkj ls ;g O;fDr bl <ax ls ckr dj jgk gS\ fdlds fy, le; ugha gS esjs ikl\ml vkneh ds fy, tks thou Hkj f/kDdkjrk jgk eq>As D;kafs d dqlhZ ds u”ks eas Fkk vkSj eSa mls ,d cgqr rqPN pht+ yxrh FkhA vkSj vkt dqlhZ NwV xbZ rks og thou ckaVuk pkgrk gS esjs lkFkA viuk ugha] esjk&D;kafs d thou dh rjktw eas vc esjk iyM+k /khjs&/khjs >qd jgk gSA ogh O;fDr tks tks NksV& s NksVs fujhg cPpkas dks dgk djrk Fkk] ^esjs in ds dkj.k Qkbo LVkj eas jgrs gks rqe yksxA^ ljdkjh caxyk Fkk ysfdu og ,sls O;ogkj djrk Fkk fd futh laifÙk gks tks ge yksx mlds lkFk ckaV jgs Fks] mlds pkgs fcukA lekt esa viuh Nfo ds izfr csgn ltx] og geas dHkh ml Qkbo LVkj ls ckgj fudyus ds fy, ugha dg ik;kA mldk nqHkkZX;A bu lcdk ifj.kke&vkt nksukas yM+ds vesfjdk pys x, gS]a vius cycwrs ij ekSdk ikrs ghA vdsyh rks eSa jg xbZ uA ^og cspkjk rks dgrk gS fd vc fjVk;jeaVs ds ckn og viuk iwjk le; vkidks nsuk pkgrk gS ysfdu vki gh ---^ lkeus okyk cksy jgk gSA viuh Le`fr;kas ij ceqf”dy dkcw ikdj eSa dVqrk ls cksyh] ^;g mudk pkguk ugha etcwjh gS bl vk;q eaAas ^ etcwjh dks ^oP;w^Z dgus okykas ls f?ku vkrh gS eq>]s vkikA fQj Hkh ;g ckr dgrs gh eSua s t+cku dkV yhA ckgj okykas ls dHkh bl izdkj eu dh ckr ugha dgh ysfdu tc ckgj okys gh e;kZnk Hkax djus ij rqys gkas rks eSa D;k d:aA ^vth] vki nksukas gh rks gSa ?kj eas [kwc ?kwek dhft,A mlds lkFk vkidks ckgj vkuk&tkuk pkfg,A yksxkas ls feyuk pkfg,A^ esjs jx&jx eas ,d rh[kh dM+okgV nkSMu+ s yxhA pwHw krs Loj eas dg fn;k] ^eSa ugha tkurh Fkh vki esjs brus cM+s “kqHkfpard gSAa dk”k] vkius rhl o’kZ igys esjh bruh fpark dh gksrhA tc ;g vkneh ns”k&fons”k dh bruh ;k=k,a dj jgk Fkk] fcuk ?kj&ifjokj dh fpark fd,] lkjk cks> eq>ij Mkydj] fcuk dHkh >wBs ls Hkh eq>ls iwNs fd D;k eSa Hkh pyuk pkgrh gwa blds lkFk--- ml le; ;fn vki tSls “kqHkfpard feys gksrs rks eSa Hkh vkt^--- esjk xyk vo:) gks x;kA dqekj rS”k eas vk x;kA ^okdbZ vki cM+h ?kfV;k vkSjr gSAa bruk vkyk
Airports Authority of India | 13
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vQlj] bruk cM+k vkneh vkSj vki ,slh ckras dj jgh gSa mlds ckjs eaAs vkius ftan+ xh cckZn dj nh gS mldhA ;fn og vkSj vf/kd rjDdh ugha dj ik;k rks eSa ;g fo”okl ds lkFk dg ldrk gwa fd vki gh ds dkj.kA vki lks”ky gksrha rks tkus og dgka gksrk vktA^ ^vkSj tks bruh rjDdh dj ikbZ gS mlus D;k og Hkh esjs dkj.k---^ ^vkids dkj.k! cqyf”kVA^ ^xsV vkmVA^ eSa fpYyk mBh] ^Iyht+ xsV vkmV vkWQ ekbZ gkmlA ^rHkh dqekj ds nksLr] ?kj ds Lokeh us ?kj eas izo”s k fd;kA mls ns[krs gh rstdqekj dqN dgus dh dksf”k”k djus yxkA eSua s xqLls eas gkFk esa idM+k pEep est+ ij ns ekjkA ^vkidh fgEer dSls gqbZ esjs ?kj esa vkdj esjk gh vieku djsAa eSa tkurh gwa fdlds “kg ij vki bl rjg dh ckra dj jgs gSa eq>lsA ^rstdqekj vius nksLr dh vksj ns[kdj cksyk] ^okg lkgc eq>s ugh ekywe Fkk ;gka gkykr bru [kjkc gSAa cgqr nq[k gksrk gS vkids fy,A^ eSa Øks/k eas mcyrh gqbZ dejs ls ckgj vk xbZA rstdqekj vkSj mudh iRuh ds tkrs gh Hkwpky vk x;k ?kj eaAs ^ D;k gd+ Fkk rqEgas esjs ifjfprkas dk vieku djus dk\^ ^og vkneh vieku dj jgk Fkk esjkA esjs gh ?kj eaAas ^ ^rqEgkjk ?kj \ vius cki ds ?kj ls ykbZ Fkh rqe ;g ?kjA dku [kksy dj lqu yks gjk--T+;knk cksyh rks ;g ?kj csp nwx a kA fQj ns[kwx a k dkSu lk ?kj gS rqEgkjkA --- oSls Hkh eSa nsgjknwu eas laifÙk [kjhndj ogka jgus dh lksp jgk gwa vkSj mlds fy, “kk;n ;g ?kj cspuk gh iM+As ^ 14 | March 2012
^;g ?kj Tok;aV use eas gSA eSa cjkcj dh fgLlsnkj gwAa eSa gLrk{kj gh ugha d:axh rks dSls cspksxAs ^ eSua s /kedh dk mÙkj /kedh ls nsuk pkgkA ^oks rks eSa ns[k ywx a k dSls ugh djksxh gLrk{kjA dqekj dks rks rqe tkurh gh gks uA --- vkSj eSa Hkh cgqr cqjk vkneh gwAa ^ ^og eq>ls csgrj dkSu tkurk gSA^ thou Hkj dk fo’k esjh galh esa ?kqy x;kA viuh gh galh dh vkokt+ vifjfpr yxh eq>As ,d ikxyiu dk iqV lqukbZ fn;k mleaAs thou eas dbZ ckj ,sls {k.k vk, gSa tc yxk gS eSa ikxyiu dh dxkj ij [kM+h gwAa dHkh js[kk ds bl ikj ls ml ikj gks ldrh gwAa “kk;n esjs ys[ku us gh eq>s cpkdj j[kk gS vc rdA ysfdu vc dSls cpwx a hA esjk ?kj gh fNuus dks gSA thou Hkj [kVrh jgh] [kwu &ilhuk cgkrh jghA ?kj ij viuk lkjk iSlk [kpZ djrh jghA blesa viuk iSlk] laifÙk yxk;kA ---rks D;k vc ml laifÙk ij esjk dksbZ vf/kdkj ugha\ iwjh “kke eSa lksprh jgh D;k d:aA gLrk{kj djus ls euk dj ldrh gwa ij og dc rd pysxkA ;g vkneh dbZ dkuwuh nkoaip sa tkurk gSA dbZ ennxkj Hkh [kM+s gks tk,axs bldsA jkr nsj rd lks ugha ikbZA ;g dksbZ ubZ ckr ugha FkhA ysfdu vkt cspuS h vf/kd FkhA fdlh izdkj vka[kas can djds ysVh rks dqN gh nsj eas dkWycsy ct mBhA og rks fdlh fMuj ij x;k Fkk] jkr ds Ms<+ cts Fks] vk/kh txh] vk/kh lksbZ eSua s njokt+k [kksy fn;k] lkeus rhu yac& s pkSM]s+ gV~V& s dV~Bs vkneh [kM+s
FksA ,d us eq>s gkFk ls /kDdk nsdj ihNs /kdsy fn;kA eSa yM+[kM+kdj tkdj nhokj ls VdjkbZA nwljs us gkFk ls esjk eqga can dj fn;k vkSj eq>s csM:e esa ?klhVus yxkA fQj eq>s iyax ij iVd dj esjs gh nqiV~Vs ls esjk eqga cka/k fn;kA ,d jLlh ls esjs nksukas gkFk ihNs djds cka/k fn,A vc rhljk uis&rqys dne ls esjh vksj c<+kA mlds gkFk eas pedrk pkdw Fkk] mldk psgjk fod`r FkkA esjk eqga ca/kk Fkk ph[k ugha ik jgh FkhA mlus pkdw ls eq> ij rhu ckj okj fd,] jDr dh /kkjk,a esjs “kjhj ls cg fudyhaA eSua s lkspk vc os ?kj ywVx as s exj ugha] os njokt+k m<+dkdj rst+ dnekas ls fudy iM+As rHkh eSua s vk”p;Z ls ns[kk] dqekj esjs lkeus gal jgk FkkA mldh galh ls ngydj eSa iwjh rkdr ls fpYykbZ exj og csvkokt+ FkhA eSua s mBus dh ps’Vk dhA mBdj vklikl ns[kkA dgha dksbZ ughaA ”kjhj ij dksbZ ?kko ds fu”kku ugha FksA eSa fcYdqy Bhd FkhA dsoy ilhus ls Hkhxh gkaQ jgh FkhA nks o’kZ igys dh ?kVuk ;kn gks vkbZA dqekj ds nksLr “kgj ds izfl) Mk- lsu dh iRuh dh Bhd blh izdkj gR;k dh xbZ FkhA ftl le; og MkWDVjh lsok ds vHkko esa og viuh vafre lkalsa ys jgh Fkha] ml le; Mk- lsu jaxjsfy;ka euk jgs FksA dbZ fnuksa rd ;g [kcj v[kckjkas dh lqf[kZ;kas esa jgh] efgyk laxBukas us dkQh vkokt+ mBkbZ] ukjs yxk,A Mk- lsu ds lkFk dqekj Hkh bl gR;k ds yisV eas vk,] dgrs gSa HkkM+s ds gR;kjkas dk bart+ke dqekj us gh fd;k Fkk ij os lkQ NwV x,A Mk- lsu dks lt+k t+:j gqbAZ ysfdu dqN o’kksaZ ckn os tc tsy ls NwVdj vk, rks mudh izfS DVl fQj py fudyhA ] muds nksukas csVs ml le; vesfjdk eas MkWDVjh dh i<+kbZ dj jgs FksA okil vk, rks firk ds tes&tek, Dyhfud ij dke djus yxsA eka\ og rks ejus ds ckn muds fdl dke vk ldrh FkhA viuk LoIu esjh le> eas vkus yxk gSA ogh rstdqekj eq>ls uQjr djrk gSA ,d ckj fQj mldh nksLrh dk loky gSA ,d ckj fQj ,d vkSjr vkokt+ mBk jgh gSA vkokt+ gh ugha flj Hkh mBk jgh gSA vkSj vkt Hkh lekt ;g Lohdkj ugha dj ikrk gSA vkt Hkh vkSjr iwjh rjg lqjf{kr ugha gSA mlh vlqj{kk dh Hkkouk dk f”kdkj gks jgh gwa eSa HkhA ,d Mj dk lk;k eq>s xzlus yxk gSA lksprh gw]a ,sls eas rqe gksrha rks D;k djrha vkik\ D;k eSa fdlh dkydksBjh eas Nqi tkÅa tkdj tgka eq>s dksbZ ns[k u ik,A ysfdu ugha--- eSa vkSj vU;k; ugha lgwx a hA eSa yM+x aw h vkik] th&tku ls yMax w+ hA vius ?kj ds fy,] vius thou ds fy,---vkSj vius vf/kdkjkas ds fy,A
AVIATION NEWS
Now fly to Dublin on Emirates
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mirates has added Dublin in its network, after launching Rio de Janeiro in Brazil and Buenos Aires in Argentina in January 2012. The Irish capital is Emirates’ 118th destination and has opened up new channels to Australia, India, Thailand, China and the Philippines via Dubai. The airline will serve Dublin daily with an A330-200 with a choice of first class, business
class and economy class travel. EK 0161 will leave Dubai at 0700hrs daily and will arrive at Dublin Airport’s Terminal 2 at 1130hrs. EK 0162 will depart Dublin at 1255hrs and land in Dubai at 0025hrs the next day. This route will also improve connectivity with India, Australia and New Zealand strengthening tourism from these countries. More than 70 passengers on the 237-seat
inaugural flight came from bookings in Australia. Emirates has received an enthusiastic response to its Ireland launch after announcing the new service in September 2011. Along with new routes to Dublin, Rio and Buenos Aires, Emirates will start flights to Lusake and Harare on February 1, Dallas from February 2, Seattle effective March1 and Ho Chi Minh from June 4, 2012.
Selection of wine and champagne on Japan Airlines The airlines is set to get its passengers the best of liquors and best of hospitality too.
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he passengers travelling first class and executive class on Japan Airlines (JAL) can now enjoy a new line up of wine and champagne onboard its international flights. The new selection has been served for first class passengers from January 11, while executive class will roll out between the end of January and middle February 2012. The new list of wine and champagne was created in collaboration with various master chefs like Seiji Yamamoto from 3-star Michelin restaurant ‘RyuGin’ in Roppongi, Tokyo. In a thorough selection process focused on finding compatible wines that complement and enhance flavours of meals served onboard, 19 types of wine, including New World wines, were singled out from 90 shortlisted labels narrowed down from an initial choice of 600. Some of champagnes served are Champagne Salon 1999, Champagne Dom Perignon Vintage2003, and wines from overseas Japanese winemaker Hiroyuki Kusuda, who’s Kusuda Wines Martinborough Syrah will be available on flights to Europe. On flights to the US and Jakarta, Japanese owner of California winery, Kenzo Tsujimoto’s Kenzo Estate ‘Rindo’ will be served. In Executive Class, customers will have nine distinguished wines from around the world to choose from, including Champagne Joseph Perrier Cuvee Royale Brut.
Airports Authority of India | 15
HERITAGE
e t i s i u xq
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ry histogra d e an fad but e the K e n i v ol ist e pr alley ev h t s Fromangra v ainting of K iature p r ga min atna : Text
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heltered by the sublime Dhauladhar hills, Kangra is home to Kangra miniature paintings. This Pahari style of paintings first appeared in Guler and then in Kangra. Once at their peak in the 18th century, arts of Kangra continued to be a rich centre of Pahari culture till late in the 19th century, after which it declined in its importance and went into an oblivion.
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Evolving tradition The pictorial art of Kangra originated in a small hill state â&#x20AC;&#x2DC;Gulerâ&#x20AC;&#x2122; in the lower Himalayas in the first half of the eighteenth century when few Kashmiri painters versed in Mughal Style of painting arrived and mingled with the local artists. Since Bhakti cult was the driving force in that period, the artists adopted themes of eternal love between Radha and Krishna unlike the portraits of the kings and royalty. This style reached its zenith during
the reign of Maharaja Sansar Chand Katoch who was a great patron of Kangra art and an ardent devotee of Krishna. However, fall of regimes and loss of patrons pushed the art form to extinction and very few hands were left to keep it alive. A true Kangra miniature painting is a journey of many stages like preparation of handmade paper, preparation of natural colours, sketching and colouring. It is the art of drawing and the drawing is so precise and fluid, lyrical and naturalistic that the faces possess almost porcelain-like delicacy. Even the brushes are made in a very unique way from the hair of squirrels and bird feathers. The sentiment of love remained the inspiration and the central theme of Pahari painting where Krishna Leela predominated the shades. Many themes from legends of classical Indian literature like the Bhagwata Purana, Gita Govinda and the Bihari Sat Sai of Nala-Damayanti were portrayed in
these paintings. Another prominent subject of the Kangra paintings was the “Baramasa” (Twelve Months), inspired from Kavipriya written by poet Keshavdas who described the effect of seasons round the year on the emotions of human beings. Skilfull use of brilliant pigments prepared from mineral and vegetable extracts give an enamel-like lustre and freshness to colours and delicacy in execution.
Skillful hand Presently, very few painters are practising this pictorial art. Many of them work in obscurity without any means of recognition or hope of sponsorship. Kangra Arts Promotion Society (KAPS), is an NGO started by like-minded group of people working to promote and protect the world famous art to restore to its original splendour. “The purpose of KAPS is to ensure that the tradition of Kangra miniature paintings and other arts passes
on to the future generations. In order to encourage existing artists and hone new talent, the society started the Chitera School of Art to build a treasure of old and new paintings for posterity,” says B K Agarwal, president KAPS. The institute functions as training schoolcum-workshop-cum-sales centre to train budding painters in the tradition of Kangra School of painting in the Guru-Shishya parampara and also to provide a centre for the sale of authentic and quality Kangra paintings. Situated at the premises of the Museum of Kangra Art at Dharamsala, the institute selects students after assessing their basic skills and aptitude toward this art. “The students are made to undergo one-year intensive training under the master artists. Each society member sponsors one candidate which comes to `30,000 per student annually. Each student is also given a monthly scholarship of `1,500 and free art material,” says Agarwal.
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HERITAGE
The purpose of KAPS is to ensure that the tradition of Kangra miniature paintings and other arts passes on to the future generations Beaming culture Without any proper opportunity of marketing their art, the handful of painters making Kangra paintings were unable to make contact with potential buyers, who in turn did not have a place from where they can buy authentic and quality miniatures. “When it is revival of some product, there is no ready market. Through KAPS we are providing recognition and market to the Kangra miniature paintings within India and abroad. Moreover, our aim is to make the artist get a living from his art which he has failed to do so far. Money should not be blocked at any level,” he says. Isn’t it the revival of an almost extinct art form subject of state’s concern? Agarwal’s reply to this comes that the Himachal Pradesh government has been providing moral support to the movement but no direct financial aid. At the most, the state government departments buy paintings for gift purposes and interiors. At present three master artists, including a national awardee, teach at the school and efforts are on to tie up with other schools of art and institutions to start a student knowledge exchange programme. KAPS has been working closely with Voice of Himachal (VOH), a group of professionals working for sustainable development in Himachal Pradesh, to explore marketing opportunities for promotion and sale of Kangra art. Plans are afoot to rope in big hotel chains and corporate houses as bulk buyers besides supplying the paintings to handicrafts handlooms, cottage emporium and other such outlets.
18 | March 2012
GASTRONOMY
Move away from spicy and oily food. Chew your way to good health with delicious and crunchy saladsâ&#x20AC;Ś
runchy
salads Text: Nitika Bajpayee
Q
e it oily chole bhature, spicy butter chicken or greasy shahi paneer, we Indians love our food. We go overboard to satiate our taste buds, which irreverently add pounds around our waistline. Indian mothers are fascinated by dietary supplements of ghee in the daily meals they serve to their children. Chappatis and parathas are topped with hearty quantities of ghee and humongous amount of oil and cream is added in curries. All of this is just enough to make you sick eventually. Indulgence is fine, but not at the cost of health. Keep dreaded ailments like cholesterol, diabetes, and hypertension at bay with healthy eating habits. Ever since the fitness revolution hit the country, dieticians and fitness gurus are urging people to adopt a healthy lifestyle. Regular exercise is one part of the coin while healthy and balanced diet is the other to maintain a healthy lifestyle. Adopt healthy eating habits by looking no further than your kitchen cabinet and refrigerator. Learn to like greens, learn to
like salads.
Crunch your meal Bundled with incredible health benefits, tossed vegetable salads offer so many possibilities. You would be surprised to know so many good reasons to eat a garden fresh salad. As you pile your plate high with iceberg lettuce, crunchy carrots, shredded red cabbage, fresh cucumbers and juicy plump tomatoes, you are taking in a hefty dose of vitamins, antioxidants and minerals. The trend to binge on salads is now catching up in the country. Ask a fitness guru and he will recommend adding adequate amount of veggies and fruits to your diet. This is because vegetables and fruits come with certain nutrients, which are valuable for health and maintenance of a healthy body. How many of us actually eat raw vegetables and fruits? Not many! Now is your chance to protect your good health by eating enough vegetables. According to Ritika Samaddar, HOD Dietician, Max Healthcare, the reason for high blood pressure is stress, faulty diet intake, high salt intake and consumption of
Airports Authority of India | 19
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