Monthly Archives: November 2020

Syeda Beenish

Things to remember:

❏     A duty-free island

❏     Can be reached by sea and air Delhi – KL – Langkawi

❏     Offers Beaches, Geo forest Parks, Rope cable, Underwater Wildlife, Museums, Bird Park, traffic-less roads.

❏     Always carry a water bottle as it’s humid and you will feel dehydrated often.

❏     No public transportation, only vehicle renting.

Is vacation with friends or family on the mind, Malaysia has all the flavors in store for you. Though pandemic has slowed down our spirits, but very soon we will be out of this situation, and would be ready to pack bags and hit the road. Just to share, it is truly one of the favorite destinations for Asians along with Singapore, Indonesia, and Australia amongst others on the list. Malaysia always means Petronas Towers and Genting and Cameroon Highlands. Let me share one of my trips to Malaysia where I explored one of its virgin islands Langkawi, also known as, the Jewel of Kedah.

I visited it around Christmas, and along with Langkawi, Kuala Lumpur was also a part of my itinerary. We used Malindo Airlines for our travel and also it was the cheapest. The staff at the airport was outstanding and helpful, and since I was traveling alone along with my 2-year-old daughter, one of the airport staff guided me to the metro bay and helped in boarding the metro to transfer from one terminal to another.

Due to time constraints, we missed visiting some pretty Malaysian fountains, scenic bridges of the area. Some private tour operators also helped arrange water sports like Snorkeling and a romantic dinner at the yacht. Though we could not taste it all, whatever we did was nothing less.

Day 1

The driver who took us from the airport to the hotel. He suggested us to start our day with a boat ride in mangroves, which was considered the best activity to do in the morning.

The Kilim Karst Geoforest Park

Langkawi has three Geoparks, namely Machincang Cambrian Geoforest, Kilim Karst Geoforest, and Dayang Bunting Marble Geoforest. We visited, The Kilim Karst Geoforest Park. At the entrance, they usually click your family or group photograph which one can buy later at the time of leaving. We also did the same. This area is rich in wildlife with hairy nosed sea otters, and brown winged kingfishers. Our boat slowed for a minute as we were shown the King Kong Hill. My daughter loved the macaque monkeys playing on the sides while our steamer passed them. There was also a point where the Eagles were flying very low. We were asked to throw the food at them. Worth mentioning is the bat cave within the Geoforest Park. We even cited a snake outside the caves. The boat also stopped at a fishermen’s area where they had large fish compartments for us to feed and touch the fishes. People usually stop here to enjoy seafood that has a local Malay tast

This boat tour lasted for around 3 hours, we bought our family picture at the exit and started heading towards the Oriental Village.

The Cable car and Langkawi Sky Bridge

The start off for the next big attraction – the cable car ride was located in the Oriental Village that was full of local restaurants and shopping arcades, including a 3-Dimensional art museum known as Art in Paradise. Almost at the end of the village were the ticket counters. The Langkawi Cable Car took the visitors up to the peak of Gunung Mat Chinchang, where the Langkawi Sky Bridge is located. The bridge stretched for an impressive 125 meters and was basically a long-pedestrianized bridge that offered amazing views of the surrounding countryside. At the end of the Cable car (last stop), was a coffee shop along with a small platform where people put locks to make a wish.

Langkawi Wildlife Park

Your trip to Langkawi is incomplete if you do not visit this wildlife park. Perfect for birds, and animal lovers, as it houses some 150 species of colorful birds, and feeding sessions are held throughout the day. This five-acre animal sanctuary also features a walk-in aviary with a 15-meter manmade waterfall and a duty-free retail outlet. Within the complex were several retail outlets, including a duty-free zone, a souvenir kiosk, and a crystal store. For the first time in my life, I saw a Peacock dance showing off its beautiful feathers wide open.

Day 2

The Langkawi Underwater World

The day began with Malaysia’s largest aquarium, spread across nearly six acres. Housing 1000 plus different species of marine and freshwater fish. The complex is divided into three sections: Tropical Rainforest, Temperate, and Sub-Antarctic. There were regular shows of Penguin feeding and a performance rich American fur seal show. Lastly, there was a giant walk-through, which was a six million liter underwater tunnel tank that housed an extensive number of fish including sharks, giant stingrays, and green turtles.

Eagle Square

Next in our itinerary was one of the most iconic spots of Langkawi, Eagle Square. As the name suggests, It was a huge statue of an eagle about to take flight. Also called Dataran Lang in Malay. The eagle stands at a height of 12 meters approx. The square is located in Kuah which is the main town of the island. Along with some souvenir shops, you will find very neat and hygienic home-made food being sold in packets by the families stacked in their cars.

At our driver’s suggestion, we went to watch Sunset at Chenang Beach (Pantai Cenang). Known both for sunrise and sunset, we were lucky to enjoy the sunset. I wish I could pause the time and breathe in the moment and the cool breeze for longer. 

We had bought many mementos like Eagle from Eagle Square, magnets and keyrings from Oriental Village, and Langkawi wildlife park for my family members and close friends. To keep the memories fresh forever, we tried to capture the island in our cameras. Four days passed at the wink of an eye. Wish I could stay more as there was so much more to feel and taste. But KL was calling me and I now wanted to taste the hustle-bustle of a cosmopolitan Christmas celebration. Today, when my travel deprived daughter (thanks to Covid19) on seeing the pics says, “Mumma ye animals dekhna hai!” I reply, “Yes” hoping this Pandemic disappears and traveling begins soon.

Mesmerising Peacock dance at the Wildlife Park

Kids enjoying site of various colorful fishes.

For Pingu Cartoon lovers, seeing Penguins in real was worth the visit.

Shivangi Naithani Devrani

Amidst all the chaos, decided to leave the city behind and head to Dehradun, a 250 km journey with fear in mind of the Covid it was the month of September 2020, but as I noticed the world is coping up with the new normal, masks, sanitizer and the social distancing to help survive the situation. This time it’s the corona time, though that didn’t stop me from travelling, my grandparents live in Dehradun had a plan to stay and enjoy the blissed weather and nature of our very own dun valley.  An escapade near Dehradun, to the Queen of Hills called Mussorie, in midst of the Uttarakhand ‘Devbhoomi’.An easily accessible, affordable and what we describe as a couple’s paradise. As I hail from the very place, though being a Garhwali I always keep coming to the roots, I make sure I visit my native state of Uttarakhand once or twice a year.

To be so near and not visit the place would be injustice to me and to Queen of Hills herself. Mussorie the hill station – heard, seen and even visited the place before. But I was like do I ‘KNOW’ the place, what it holds and instils , most important as a hill station what does it offer. I am familiar with the culture and cuisine since childhood, perks of being a Garhwali. This was a post lockdown Vacay, left the home after a 7 months long gap, felt the jitter and nervousness. Mall road is what essentially adds the exuberance to the Town, being one the oldest road built by Britishers. The road straight ahead cuts through the Heart of the town, bustling with people, shops, restaurant, street vendors and on road small games centre – it provides us all.

The Mall Road, Mussorie

We planned to stay in the property of Club Mahindra, which is situated on the Gun Hill. I was taken aback with arrangements they had supplied in Covid era – on the entrance before heading towards the reception shoes sanitizing UV machine, our luggage was automatically sent to our room after a thorough sanitization, every employee wore masks and at every point sanitizers were provided. The view was serene from our room;our eyes were blessed to gaze upon the majestic hills- what I so longed for!!

View from the Balcony of Club Mahindra, Mussorie

In evening we stepped down, locals assure us to watch the lustrous sunset on the camel back road. We trekked the path, ‘Quiet and Peaceful’ it felt as divergent from the hustle-bustle of the Mall road. After walking some steps further, we reached the mid-point, having some benches and a shed for on goers to enjoy the blissful hills. A well lay out, neat and clean small shoprun by elderly couple, they had an innocent smile on seeing us approach their way. Nevertheless, they kept the minimum but the best – Maggi,Momo’s, kadak chai, and basic provisions to present. In weather so amiable with tranquil vibe, we sat for a while before we made our way back to the resort. Our evening was blessed by Momo’s and Chai; we paid our gratitude and headed back.

Momo’s point on Camel Back Road

  Camel Back Road

Mall road is overflowed with location to eat catering for all pockets, taste and people – out ofwhich i had a chance to dine and relish few meals. Of which Raj Kamal Restaurant is one of the historic places of Mussorie, offering services since 1956 with same love and dedication. Though renovated but kept the antique yet modern spirit alive in it, food matched the whole character and quality of the restaurant.

Interior of the Raj Kamal RestaurantRaj Kamal historic Restaurant since 1956

A hidden gem you may find a few steps down on Mall Road, Café Teatotaler is perfect tiny place to spend time with your family. The café serves variety from Mexican, Italian, Mediterranean, fried snacks, hot & cold beverages and some sumptuous deserts. Café in a well-lit location, while enjoying a meal you are kissed by sun through the glass panels on the top & open on three sides with picturesque view.

Café Teatotaler on Mall Road

Mahesh Kumar – the Owner of this small humble shop with his Special Amritsari choley kulcha and Special Bombay Pav Bhaji. It reminds you of the desi-tadka, which one craves to have – street style choley kulcha and Pav Bhaji offered in the most hygienic yet tasteful way. Though his business was affected due to Covid issue, although situation has improved with unlock down. People again have instilled their faith in traveling,he hopes to catch up soon for the losses for last 6 months, he in business for last 10 years, he is native to Mussorie.

The name says it all, ‘Chick chocolate’ – the café, has the jazz and panache to it. It even has a story to say, run by 3^rd generation he said the name is of a famous Jazz artist who used visit Mussorie in 1940s and 1950s.During that period, Jazz was quiet the appeal for the people. It was established in the year 1940, offering the most authentic wooden-fried pizza, and but well famous for their handmade mouthful chocolates and pastries. The ambience friendly, vibrant and cheerful – it adds to your dining experience.

Interior of the Chick Chocolate – the café

View from the Gun Hill top

We can never perceive it all; but one should try to transcend the most one can behold. These are few anecdotes that I share for anyone planning for post lockdown Vacay.  These are challenging time, but our life is in our hand – take your precautions and follow the rules. I feel the world cannot stop, life and time goes on –rather it’s us who needs to cope up with the changing scenario. I encourage you to travel, experience the post Covid Vacay, I offered just a glimpse through it, with my parting words to you are ……….

“Travel to see better,

Dream to feel better

And

Listen to know better”

By Aadya Baoni

The backwaters of Kerala, coupled with a frothing cup of filter coffee greeting you with its pungent yet comforting aroma lulled the broken heart into sleeping well. A heavy curtain of humidity hangs over the city threatening to drench an individual without any discrimination. The streets are flooded with intellectuals armed with their little red books (Communist Manifesto) and a pleasant smile that permanently seemed to be painted on their faces.

As one treads foot into Fort Kochi and the adjacent streets of Mattancherry, there exists the artists’ fiery palette of ochre and red. Every object that a brush could touch its tip on is covered with bold strokes from walls to tyres of the cars.  This is largely owing to Kochi Muziris Biennale spread over multiple venues. You will be charged a humble fee of Rs 100 that allows you to explore the festival for 3 says. However, a spin wall house acts as the primary collection of the installations and art pieces. One is flooded with all forms of creativity being served to you on a platter to feast your eyes on.  But you must keep a respectful distance from these works of art irrespective of how tempted you may be to touch them. The ideology of Freedom of expression is seen to be personified by various artistic practices displayed.

After three hours of religiously consuming art I found myself strolling through the streets of Kochi, responding to my gastric juices begging for food. I stumbled into ‘Kashi Art Cafe’ which too had a collaboration with the Biennale and had massive displays of art. Going into the depths of the cafe I found myself cocooned in a welcoming environment with nooks and crannies.  The food does justice to the amount of money charged for it.

The venues of the Biennale enhanced the art installations and art works to create a holistic experience. This extended through the streets of Mattancherry.

The rustic streets interspersed with huge wooden structures displaying the students’ art biennale. Multiple hues of color remained a constant treat for the eye. Antiquities and Kerala Folk Art was sold generously throughout.   The Paradesi Synagogue and its stained glass windows simply adds to the experience.

I walked away from my art excursion with a sense of fulfilment.

A sense of brotherhood resides in the crevices of Kochi. ‘Chetta’ or brother and ‘Chechi’ or sister is all one could possibly need to win over and communicate in Malayalam effectively.

Urmila Banu

The millennial architecture of the quaint town Bishnupur, an ethno-archeological place has many unfolded stratums of various narrative delineations; a justification to the theory of time – from the bygone medieval history to the clandestine engraved within the ruins.

Figure 1 (Source: Research Paper & Edited): Veranda opened by three ornamented arches, ShyamRai Temple, Bishnupur (photo credit - Source: traveltear.com)

A hamlet, beholding its legacy of rich cultural infusions through art and architecturesince the pre-colonial era, located on the south of the river Dhalkisor, embraced by meadows of golden paddy, amidst the periphery of low hillscape and lagoons, situated in the western part of West Bengal, a historical and archeological place – Bishnupur, geographically, forms part of the eastern perimeter of the Chotanagpur plateau and also, expands in the west to the lower Gangetic delta. The place and its adjacent region are impregnated by its indigenous cultural aesthetics and opulence, often considered as an epitome of ‘cultural hybridity’, rooted in unfathomable cultural derivation of Bengal.

The cultural landscape of Bishnupur, a part of Rarh Bengal is ranging from handloom and cottage industries (Baluchari, Tasar etc.) to Conch shell carvings, Bell metal, Patachitra and so on, however, the iconic verse of the place, mostly lies within its terracotta sculptures and relics, the outcome of permutation-combination of tangible natural resources (locally obtainable laterite soil) and intangible resources (socio-religious belief system, influences of political and economical structure etc). The small town of Bankura district widely acknowledged as ‘the town of temples’; the architecture of the temples has evidenced the historical proscenia of cultural amalgamation, untold narrations of the patronage of Bengal in the field of art and culture. The significance of Bishnupurlies within its long historical roots since c. 695 CE; it was a part of Mallabhum (comprised the entire Bankura district and extensive regions of Midnapur and Burdwan districts).

“The history of Bankura, so far as it is known, prior to the period of British rule, is identical with the history ofthe rise and fall of the Rajas of Bishnupur, said to be one ofthe oldest dynasties in Bengal.” (O’Malley, 1908)

‘… When Rajas of Bishnupur were powerful in western Bengal and had assumed Hindu civilization, and were anxious therefore to make out a respectable royal descent for themselves. … the fact that the Rajas of Bishnupur called themselves Mallas (an aboriginal title) for many centuries before they assumed the Kshatriya title of Singh, the fact that down to the present day they are known as Bagdi Rajas all over Bengal, as well as numerous local facts and circumstances – all go to prove that the Rajas of Bishnupur are kshatriyas, because of their long independence and their past history, but not by descent…….the country over which these Rajas ruled is called Mallabhum, a term now used for the tract of country comprised in the thanas of Bankura (excluding the Chhattna outpost), Onda, Bishnupur, Kotulpur and Indas. Originally, however, the term was applied to a more extensive tract of country. To the north it is believed to have stretched as far as the modem Damin-i-koh in the Santal Parganas; to the south it comprised part of Midnapore, and to the east part of Burdwan; and inscriptions found at Panchet in the Manbhum district show that on the west it included part of Chota Nagpur…….the term Mallabhum is said to mean the land of i wrestlers, and is explained by the legend that the first Raja received the title of AdiMalla from his skill of wrestling”. (O’Malley, 1995)

The throne of Mallabhum had witnessed the rules of several kings and had experienced diverse socio-political changes that contoured the augmented cultural history of the place since its medieval Bengal. The most noteworthy expansion of art and culture in the region was ensued during Malla dynasty. Bishnupur was the capital of Malla kings (the local chieftain); it burgeoned as a monumental expression of terracotta art during the 16^th and 17^th century. During this time period, Bengal had experienced a reflective and philosophical political, social, cultural and religious revolution that upraised a distinctive culture all over Bengal; Bishnupur was not excluded indeed.

Figure 2: Brittle Temple, Bishnupur (photo credit - Source: Late Mediaval Temples of Bengal, Origin and Classification, by Devid, Mc.C)

The architecture of Bishnupur temples has profound influences of Orissa, Mughal and South Indian structural designs and patterns; rationale lies within its direct and indirect connection to theseparts of India since ancient time. Tracing back to Bishnupur’s ancient history, mentioned in the books of Cunningham (Cunningham, 1871), cartographically, the Ancient Commercial route to Kalingawent through Kanksa – Sonamukhi – Abantika – Bishnupur – Dandabhukti(Ghosh,1976); the route had evidenced the cultural diffusion from north to south India. Besides, the place is situated on the thoroughfare to Puri, Orissa and often a place for sojourn; hence, the specific location of Bishnupur might be one of the most significant catalysts in the process of cultural infusion. Furthermore, along with geographical root, it has socio-political influence as well to the cultural integration. Founded by AdiMalla (Raghunath), known as ‘Bagdi Raja ‘to the locals, the Malla dynasty was profoundly remarkable for its aesthetics of art and culture. Unlike other rulers of that time, Malla kings had a tenet to rule being secluded from the outside forces, without having political affairs with other territory. However, during the reign of DhariMalla, Mallabhum had been incorporated in the Mughal terrain; the integration had given birth to a new age of affluent socio-cultural brilliance that took its enthralled form under the patronage of BirHambir, son of DhariMalla. His court was enriched by the footprints of acclaimed artists, musicians, scholars.

Figure 3 (Source: Sahapedia & Edited): Outer circumambulatory, Rasa Mancha, Bishnupur (photo credits - Source: Sahapedia)

Apart from terracotta (baked earth), stones were also tangible resources of some temple construction, the most fascinating about Bishnupur temples. The architecture of the temples has a deep narrative history of cross-culture and cultural hybridity. The Kalinga School of temple architecture is found in the structures of various terracottatemples, built in the early stage, memento of 10^th -11^th century. A few temple architectures have a lineage to the Pira temple style of Odisha, like Kiosk (A light open pavilion), Ratna (Pinnacle) style (Mc.Cutchion, 1964&Santra, 1998). Later on, the structure and ornamentation of the temples were influenced by Islamic architecture after the rising correlation with Mughal. Khilan (Pillar), Volt, Trikhilan doors (Piers and pillar).

(photo credit - Source: commons.wikimedia.org)

Beside, Indo-Islamic, Indo-Persian, Buddhist and Classical Hindu architecture, the influence of Portuguese architecture is distinguished as well. Hence, the cultural assimilation is in the core of Bishnupur terracotta temples. Later on, after the conversion of Malla kings into GaudiyaVaishanavism, the profound impact of the cult was highly become visible.  Structurally, Hut style (Chala) and Rekha style, also known as Nagara style in Indian aesthetics are the two fundamental architectural patterns in terracotta temples.  The Rekha deul or temples are slender, taller, and curvilinear, built on a square platform, an amalakasila or kalasa on the top of the structure, influenced by Gothic architectural design. The hut or chala temples have resemblance with the thatched roof.  The arched entrance with intricate carved terracotta panels engraving geometric and floral patternsare the key exponents of Islamic architecture, especially visualizes in the Sultanate architecture of Bengal.

Figure 4 (Source: Research Paper): Arch in Madan Mohan Temple    (photo credit – Source: commons.wikimedia.org)

Figure 5 (Source: Research Paper): Eklakhi Tomb -  (photo credit – Source: Role of Culture in the Process of Resource Creation: A Case Study on Temple Town Bishnupur, Journal of Social Review)

Indo-Islamic style of temple has mostly two major superstructures, Ratna (temple structure on roof top) and domed form.Temples with porch, under one roof are driven its influence from Odishan temple architecture. During the 18th and 19th centuries, being influenced by Vaishnavism ‘Rasa mancha’ had become common,a composite form of ‘Ratna’ and ‘Rekha’ style. Structurally, it is octagonal, built on the high platform; the towers are embellished by naba-ratna (nine pinnacles)or pancha-ratna (five pinnacles) with rekha turrets.

The Terracotta Temples of Bengal are recognized ‘as one of the most original and unique expressions of decorative temple art in the latemedieval period of Bengal’ (S.Haldar & M. Haldar, 2011). Along with figurative sculptures of deities, flora and fauna and human various erotic postures floral designs are also the part of ornamentation, resemble to arabesque designs of Islamic architecture. In Madan Mohan Temple, arabesque designs, covering the corner elements of terracotta panels have a similarity to the design found on the Eklakhi Tomb. Besides, lotus motif terracotta reliefs works at the entrance of the Garbhagriha of the temples has a lineage to the lotus medallion, often used in the mihrabs of Islamic architecture.

Central Arch Stucco of Madan Mohan Temple (photo credit – Source: chinmaye.com)

The influence of Vaishnavism was also found in the theme of terracotta sculpture, directly derived its affluence from Patachitra painting of Bankura region, centering on this cult. Narrative depictions of Srimad Bhagbat Gita, Gitagovinda, various stories of Krishna are featured in Shyamrai temple, Jorbanglo temple. The episode of Kaliya Daman (Lord Krishna killing a snake named Kaliya), Jalakeli (Lord Krishna playing with the mates of Radha in a pool), Noukalila (Lord Krishna in a boat with friends of Radha) were sculpted on some of the temples, rendering its influence from Vaishnav culture. With the increasing assimilation of Indian culture with Portuguese culture, the artisans of Bishnupur temples incorporated the blend in their works, such as Dagon with a guitar and Portuguese war ship etc.

The terracotta temples of Bishnupur are not only an epitome of religious pictogram, rather a quintessential part of socio-cultural expression of ‘Bengalscape’, within the roots of cultural integration, a symbol of culmination of myriad influential components; a new vocabulary of architectural embellishment, still exists as vernacular architecture of Bengal.

References

Dasgupta, C., (1980) BishnupurerMandir Terracotta, Kolkata, S.M.Prakasan

Devid, Mc.C. (1971) Style of Bengal Temple Terracotta: A Preliminary Analysis of South Asian Archaeology, ed. N Aamoud: London, 205-278

Devid, Mc.C. (1972) Late Medieval Temples of Bengal, Origin and Classification, The Asiatic Society Monograph Series, Vol: XX, Kolkata

Chatterjee, Das, N. (2014) Role of Culture in the Process of Resource Creation: A Case Study on Temple Town Bishnupur, Journal of Social Review Volume 3 (1) December 2014 Department of Social Sciences

Michell, G. (2009), ‘Iconography’, Brick Temples of Bengal,p. 139. 15 Mohammed Yamin, Impact of Islam on Odishan Culture, New Delhi, p. 249

Biswas and Haque, Terracotta Temples of Bengal, p. 12

O’ Malley, L.S.S. (1995): Bengal District Gazetteer, Bankura (1908), Government of West Bengal, Calcutta

O’ Malley, L.S.S. (1997): Murshidabad, Bengal District Gazetteers, Government ofWest Bengal, Calcutta

Md. Masarrath Ali Khan

Those are the early hours of a breezy morning and there is a thick fog all around. Armed with cameras, many tourists are silently marching towards the camel grounds. The caravans of camels have majestically ambled their way through the golden sands and converged at the sand dunes.  Their owners – dressed in soiled white attire, capped by bright colorful turbans and sporting big moustache – squat in circles sharing stories and warming over small orange bonfires, while the moon and the stars create a canopy of heavenly illumination above them.

As the morning sun of Prabodhini Ekadashi dusts the sands with gold and thin layers of mist peel away, the landscape undergoes a time warp. Some traders light up a small fire in sand and make tea from camel’s milk in brass vessels, while their womenfolk take the camels to the water tank. The camel-pulled carts surmounted with red, pink and green canopies start moving in a file to the town to fetch tourists for the day.

Far away, two hot air balloons rise in the air, drift over and disappear from sight.  The aroma of fresh roses, the fragrance of incense sticks and the mellifluous sounds of temple bells – all seem to weave magic. You are transported into a different world.

This is Pushkar Camel Fair that draws huge crowds of tourists from all parts of the world. It has a magnetism of its own that defies description. It is like travelling back a hundred years in time. Though camels are an integral part of the celebrations, the fair is more about the joys of self discovery, rejuvenation and revelling in the small pleasures of life.  You get to see innocent beautiful and radiant smiling faces, all diffused in a romantic burst of colours. Brightly turbaned men with impressive moustaches and womenfolk in vibrantly coloured lehengas and odhnis lend a majestic air to the fair. Village girls in intricately embroidered, swirling skirts, can be seen pulling the ghunghat (veil) spontaneously over their faces at the first sight of a stranger!

The fair is a rich blend of trading, commercial activities, social gatherings, fun and frolic, music, songs, folk dances, play and amusement, cultural performances, religious rituals and pilgrimage to the temples, all distinct yet thinly overlapping over each other in perfect symphony!

It all starts 3-4 days after Diwali, with the camel traders arriving and setting up camps at the sand dunes. Lively trading of camels takes place. During the next couple of days, livestock and their traders continue to flock into Pushkar as the sand dunes get overcrowded with animals.

Matka race, turban tying competition, acrobat shows, tight rope balancing acts by young girls, snake and mongoose fights, draw huge crowds in the morning hours at the fair ground.

Pushkar is one place where man-animal relationship acquires a new meaning. The camels are lovingly sheared, scrubbed, washed and perfumed. Symbolic hair motifs called moondra are carved onto the fur. Tattoos are stamped on their sheared skins using black henna and heated ladles. Then they are bedecked in their best finery, silver bells and silver jewellery for the beauty contest! Tourists also enjoy the camel dance competition to their heart’s content.

The huge area around the fairground transforms into a shopper’s paradise. Traders set up stalls selling virtually everything….. Odhnis, ghagras, leharia fabrics, embroidered shawls, clothes embedded with mirrors, lovely colourful bangles…. the list is endless! And if tourists enjoy going on a shopping spree, can the camels be far behind? There are a series of shops which sell items ranging from saddle straps, saddles, beads, strings and cowries exclusively for decorating the camels!

Colorfully dressed pilgrims, sadhus and saints begin to gather in the many temples and ghats all around and the town gets drenched in a religious flavour.  Just as Brahma performed yagna at the Pushkar Lake from Kartik Shukla Ekadashi to Kartik Purnima, so also millions of pilgrims perform a Kartik Snan in the lake during this period, mainly on the full moon night.  Then they pay a visit to the Brahma Temple. The festival comes to an end after the Kartik Purnima.

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Legend and history

Lord Brahma slew a cruel demon Vajranabha with his weapon – the lotus flower, which fell and struck the earth at three places within a radius of 9 kms, creating three lakes. Brahma named the place Pushkar (=lotus), and the lakes, Jyeshtha (elder), Madhya (central) and Kanishtha (younger) Pushkar. Then Brahma performed yagna at the Pushkar Sarovar from Kartik Shukla Ekadashi to Kartik Purnima. So, an annual festival is celebrated in honour of Brahma. This coincides with the camel fair.

Legend apart, the antiquity of Pushkar and its environs goes back several millennia. The great Hindu epics Mahabharata and Ramayana call it the Adi Tirtha (King of pilgrimages).The Vedas and Puranas, record that Rishi Vyas undertook penance at Pushkar and Shri Balram visited Pushkar more than 5000 years ago. The Harivansha Purana says that Lord Krishna spent some time here. The Ramayana mentions that the sage Vishwamitra performed penance (tapa) here and the celestial enchantress Menaka came to bathe in its serene waters. Kalidasa immortalized Pushkar in his classic Abhijñâna Sâkuntalam. Historical works like Prithviraj Vijay (by Jayanaka); Hammir Mahakavya (by Nayachandra Suri), and Surjan Charitra (by Chandrashekhara), suggest that an ancestor of the Chauhan dynasty Rishiraj Shri Chahaman, was born in Pushkar. The Chauhan queen Rudrani, also known as Atma Prabha used to light 1000 lamps daily before the Shivalinga at Pushkar. One of the first contacts between the Mughal and the British took place in

Pushkar when Sir Thomas Roe met Emperor Jahangir in 1616 AD.

The Pushkar Sarovar (lake)

There are 52 holy ghats (lakefronts) around the holy Sarovar. It is believed that the Nag Kund cures infertility, the Roop Tirth Kund enhances beauty, and the water of Kapil Vyapi Kund cures leprosy while a dip in the Mrikand Muni Kund grants the boon of wisdom!  Brahma Temple is the star attraction of Pushkar.