Category: History and Heritage

Md. Masarrath Ali Khan

We were little aware of the surprises in store for us when we decided to visitHampi last month. Our train chugged into Hosapete Junction at 5 am. and we boarded a bus to Hampi. Its window panes were wet with mist and allowed a hazy picture of the dark surroundings. When we opened the windows, cold breeze slapped our faces. After a 12km drive, we alighted at the Hampi Bus Station, sipped a tea at a small cart, and occupied our room (booked in advance) in Rashmitha Guest House.

Virupaksha Temple

When we set out for sight-seeing at about 8 am, we saw manywomen selling garlands of jasmine flowers and bananas to pilgrims outside Virupaksha Temple. The temple elephant was taken out for a bath in the river and scores of children followed it.Women were selling breakfast (idli, dosaiand mirchi) in baskets outside Hampi Bazar. We tasted delicious idli and dosai. These small vendors serve these items with chutney and yes, withlots of love and affection!Hampi is a place where life remains simple and you can still experience the unalloyed joy of pleasant human relations!

Virupaksha Temple Interiors

Located on the southern bank of the Tungabhadra River in Bellary district of Karnataka, Hampi has been an important pilgrimage centre since ancient times. Nature has been kind to this ancient city. With Granite boulders of varying tones of grey,ochre, and pink, spreading all over as hills and long ridges or as piles of rock, Hampi’s mythical landscape is simply a visual magic.It was the Imperial capital of Vijayanagara Kingdom from 1343 AD to 1565AD.It became a centre of architectural and sculptural excellence and some of the best and magnificent specimens of Dravidian temples were produced during the reign of Sri Krishnadevaraya. He beautified the entire city with a glittering series of monuments temples, palaces, pavilions, gateways, baths, tanks, and ancient bazaars.

Lotus Mahal

Our vehicle dropped us nearly a kilometer away from Vijaya Vithala Temple. We boarded a battery-run vehicle that took us to the main temple. This temple is the crowning glory of Hampi and represents the culmination of the Vijayanagara style of architecture.In front of the main temple is the famous stone chariot.The outermost pillars of its Maha-mandapa are called musical pillars. They emit the seven notes (Sa, Ri, Ga, Ma, Pa, Dha, and Ni) of the Indian classical music when gently struck. But these have been cordoned off and are out of bounds for t

                                                                                                                    Hazara Rama Temple

We relished manyglasses of delicious buttermilk outside the temple, and then headed for the Queen’s Bath, a square building with a plain exterior and an ornate interior. It has a bath (pond) surrounded by decorated corridors and projecting balconies. We climbed theMahanavami Dibba; a huge stone platform built by Krishnadevaraya, and enjoyed panoramic views of the Pushkarini and surrounding ruins.

Hampi’s Mythical Landscape

The next place on our itinerary was Hazara Rama Temple. In this temple, the long lines of carved reliefsshow scenes from the Ramayana, incidents like the birth of Rama, his exile into the forest, the abduction of Sita, the fight between Rama and Ravana, women playing drums, dancing with sticks and enjoying water sports; animals, soldiers and women, all marching towards seated kings.

Hampi’s Landscape

A narrow gate admitted us into the Zenana Enclosure bounded by huge walls and the Lotus Mahal made a magical appearance. This two-storeyed structure is a blend of Indian and Islamic architectural styles. The king is said to have spent times with scholars in this palace.

Sunset view from Hemakuta Hill

Our next stop was at Krishna Temple, built by Sri Krishnadevaraya in 1513 AD to commemorate his victory over Prataparudra Gajapati, the ruler of Orissa. During this battle, Sri Krishnadevaraya seized an image of the infant Krishna (holding butter in his right hand), brought it as a war trophy to Hampi and enshrined it in the Krishna Temple in 1515 AD, but the sanctum is now empty. That image of Krishna is now placed in the Government Museum in Chennai!

We witnessed a wonderful sunset from the sunset view point atop the Hemakuta Hill. As the sun went down, spreading a crimson glow, the real beauty of Hampi emerged in all its glory.

Sunset view point atop Hemakuta Hill

Our tour ended with a visit to Virupaksha Temple, one of the most famous, ancient and spacious shrines of Hampi. A 9-storeyed tower (known as Bistappa Gopura) forms the main entrance to this temple. We experienced perfect peace and tranquility at the shrine, as we went around taking pictures of some ancient beautiful paintings.  Hampi is a magic that never seems to end.

Temple’s Elephant blesses the Pilgrims

Small houses, guest houses, restaurants and fancy shops coexist in perfect harmony at Hampi Bazar. These streets also provide space to local children to play around and cows to roam freely.From textiles, toys and bags to traditional jewelrysets, handmade wall decors, trinkets, ancient coins and guidebooks…everything is sold here.  We left Hampi that night vowing to return soon for a more leisurely visit.

A small hotel in Hampi Bazar

Local women sell Flowers and Banana outside Virupaksha Temple

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

Image Courtesy: WikiMedia

“Bajeecha-e-atfal hai duniya mere aage
Hota hai shab-o-roz tamasha mere aage”

This sher of Ghalib is the perfect representation of the beautiful architectures of Lucknow. The giant architectures around Lucknow along with residential and isolated areas are the silent observers of change with passing time. They have seen all the changes silently as they played the role of parents for different generations. The architectures have been a great source of inspirations for artist, writers, craftsmen, musicians and dancers of the city.

Lucknow is considered as one of the paramount cities of India, and is really appreciable for its beauty, culture, tehzeeb, food and attire. This city has been populated since ancient times on the bank of river Gomati and is also known as ‘The City of Architecture.’ All the architectures of Lucknow are very remarkable. These statues have different kinds of designs, shapes and ornamentations in them. Most of the architectures have Indo-Islamic styles. Its historical importance cannot be articulated enough. There are more than hundred monuments in Lucknow. These monuments are seen as important symbols of unity in diversity in our way of life. The city is known for its Ganga-Jamuni tehzeeb which means love and unity of two cultures.
Cultural amalgamation brings out an amazing feature of the monumental heritage of Lucknow, as it has been ruled by three cultures: Hindus, Mughals and Britishers; and each one of them have contributed something towards the architectural styles of this city. Most of the buildings have a mixture of Indian and Islamic styles which is called Indo-Islamic architectures, but Lucknow has witnessed the European influence also on its buildings during British raj. Charbag Railway Station, Clock Tower, Residency and Christ Church are some examples of the Indo-British style.

Image Courtesy: Google Images

Along with these architectures, there are several kind of filigree embroideries famous in Lucknow, but Chikankari is the most well known. It is famous across the world for its elegant features. Its Indian origin goes back to the days of Nurjahan, who brought the chikankari tradition from Persia to India. Chik is a Persian word which means ‘embroidery’ and Kari is a Sanskrit word that means ‘To Do’. There is a great influence of architectural patterns and motifs of chikankari clothes. There is a magical relation between architectures and textiles of Lucknow.

For example, the white on white nakkashi on the walls and white on white embroidery or, tint shaded embroidery on white cloth look similar to each other.

Nakkashi on the walls of Chhota Imambara, Lucknow

A typical Chikankari embroidery
Image Courtesy: Aditi Raman’s image stock

The shapes of tomb and chatris are similar to the neck patterns in chikankari dresses.


Image Courtesy: Aditi Raman’s image stock

The karigars of Lucknow are doing same motifs somehow taken from these buildings in a new style and new material for different purpose. There are many current designs of chikankari which are taken from the framed traditional buildings.

Image Courtesy: Aditi Raman’s image stock

For example, the ‘Nakkasi’ and the ’Mihrab’ of the architecture are very close to chikankari Bel or border motifs. One may feel an embroidered cloth covering the wall while looking at the outside view of architecture.

The floral patterns on the architecture and embroidered cloth
Image Courtesy: Aditi Raman’s image stock

For instance, Jaali stitch looks like the Jharokha of the monuments. My interest and involvement are taken over by the following points to find the relational context between architecture and textiles:

1. The reflection of light in architectures and its idea in embroidery.
2. The relation between Jaali stitch of Chikankari and the Jharokha of the architectures.
3. The similarities between the shape of the dome and arches with patterns of embroidered garments.

There are countless number of designs, ornamentations, motifs and color combination we can see in both architectures and chikankari fabrics of Lucknow.
The basic theme however remains same in both cases that design flows on the surface with a rhythmic movement to give the impression that carries this movement to infinity. These monuments have served as constant learning areas for us until now and they shall continue to remain interesting and inspiring to us in future as well.

In the elder days of Art,
Builders wrought with greatest care
Each minute and unseen part;
For the gods see everywhere.
- H W Longfellow

Historical relics, remains and ruins, art and architecture, customs and traditions, have always fascinated and enthralled the human kind. People take keen interest to know about ancient places especially those which are on the threshold of losing its name and existence in the sands of time. Khaspur is one such village which is home to the ruins of one of the oldest kingdoms, the century old Dimasa Kingdom.

Khaspur is a picturesque village, located just 20 kms from Silchar, in the Cachar district of the state of Assam. Though the kingdom is in ruins and the king’s palace is slowly going to be fictional and nonexistent, the entrance gates have passed many suns and storms. It is still there standing tall and magnificent. One can however find the centuries old king’s temple, the Sun gate and the Lion gate. The gates have been modeled on the shape of an elephant.

Dimasa kingdom was an influential, powerful and dominant kingdom. Located in Assam, the rulers of the kingdom were from an ethnic group – Dimasa. Remnants and relics of this mighty kingdom remained till the arrival of the British. It was this kingdom that named the two districts of Assam, Cachar and North Cachar Hills (Dima Hasao district). Owing to the lack of recorded documents in the form of manuscripts, pamphlets or any other such paraphernalia, the origin of Dimasa is vague, misty, mysterious and mystifying. Legends have it that in ancient period, the Dimasas were forced to leave Kamrupa kingdom because of political turmoil and chaos. Many Kacharis failed to cross Brahmaputra and remained there. But those who could cross the mighty and great river were named as Dimasa which means ‘sons of the river’. Kachari Ghat which lies on the river banks of Brahmaputra is a testimony of the above mentioned fact.

Worshipping has been one of the most integral and inseparable aspect of our culture and Dimasas were no exception at all. They had the custom and tradition of worshipping Kechai Khaiti. It was at Maibong where the royal family became Hindu. Since there is no vital record preserved, one has to fall back on legends and folklores.

According to one such legend, the royal family is believed to be the descendants of Ghatotkacha, who happened to be the son of Bhima from the epic Mahabharata. Hidimba, Bhima’s wife and Ghatotkacha’s mother, was a princess of the Dimasa people. It is held that when the Pandavas were on exile, they reached Kachari kingdom. Bhima, it is believed, fell in love with Hidimba, the sister of Hidimbo, and married her. A son, Ghatotkacha was born to them who ruled the kingdom for several decades.

There is also a strong belief that the Kacharis took an active participation in the war saga of Mahabharata. If one goes by Hindu mythology, Dimapur was named after the princess Hidimba and Assam was probably the first capital of the Kachari kingdom before Dimapur was. Dimasa Kachari rule was extended to, and remained unconquered, to the pains of Cachar.

Khaspur is the place where ruins of this mighty kingdom still exist. In the 16th century, Khaspur, originally a part of Tripura kingdom, was won over by the legendary Chilarai. Khaspur became independent only after the decline and weakening of Koch power as the Koch rulers passed way sans a successor. Thus, Dimasa Kachari kingdom’s capital moved to Khaspur, in Silchar. It is also locally known as Rajbari, which means the ‘King’s Palace’. The ruins in disperse inside Pathimara tea estate can be easily accessible. A walk around the tea gardens gives a good view of the remnants of this majestic kingdom.

Khaspur is not only a place of attraction in and around Silchar and Cachar. A host of temples, educational institutions, historical sites and spots, lakes and rivers, picturesque hills, hillocks, low lying basins known as beel, anwa or howar have also been pulling people towards this part of the North Eastern belt. Shon beel, Rata beel, Chatla howar, Ramnagar anwa are the some of the water bodies supplying fish. Nrimata temple at Barkhola, Bhubaneswar Shiva temple at Chandragiri in Sonai, Badarpur Fort in Badarpur, tea gardens, Siddeshwar temple in Badarpur, Bhuban Hills in Cachar, Malegarh at Latu in Karimganj, Rengti Hills in Cachar, Silchar railway station which is unofficially known as Bhasha Shaheed Station, Rantilla at Mohanpur Mouza in Hailakandi and Kachakanti temple in Udharbond are some of the important landmarks, temples and historical sites which can be counted among the top sites for visiting and taking a slice of history. Each and every aspect of Cachar is dipped in history. Even a seminal tome on Cachar district may not be enough to do justice to this place and its historical significance.

“Inscribed, propagandized the teachings of Mahabharata”: Emergence of Vaishnava edifices

Apurva Sinha is an Archaeologist and an ardent lover of the ancient past explores the Vidisa region, junction point of ancient Indian trade route.

Road transport is the best way to get acquainted with the local traditions. With local music, dialect and delicacies, my mind and soul was filled with vibrant energy. I started off on the SH 9 of Madhya Pradesh to turn another page of our rich past. The scorching heat of the month of May had already made me nauseous but the uncontrollable eagerness to locate one of the earliest remnants of ‘Vaishnava edifices’ propelled me to explore the ‘Heliodorus Pillar’ and its surroundings at Vidisa, Madhya Pradesh. In the midst of a hamlet is located the famous pillar and my destination point.

The ancient city popular for many aeons is credited for the nascence of Vaishnava edifices, testified by the colossal, ‘Garuda-Pillar of Heliodorus’ of 2^nd century BCE, locally known as ‘Khambaba’. It is the most important surviving record of the political and social history of ancient India and is a momentous traceable evidence of the Vaishnava sect of Hinduism. The slender pillar, fashioned in the Mauryan style, once was surmounted by a Garuda (‘vahana’of Vishnu). The inscription in Brahmi script and Prakrit language speaks about Heliodorus, an ambassador from the court of Antialkidas (Greek ruler), Taxila. He starts with Vishnu’s incantation, ‘Devadevasa Vasudevas’ and further claims to have erected the pillar during the regime of 14^thSunga ruler, Bhagbhadra, showing a sheer devotion toward the Bhagwat sect. The notable feature present in the second part of the inscription is the verse from Mahabharata, “Trini amutapadani‹[su] anuthitani nayamti svaga damo chago apramado” that can be translated as “Three immortal precepts (footsteps), when practiced lead to heaven: self-restraint, charity, consciousness”. It clearly indicates towards the prevalence of the teachings of Mahabharata and leaves us with a valuable message that the epic played pivotal role in the ancient Indian society and Vidisa marks the emergence of Vaishnava edifices.

The pillar stood in front of a Vaishnava temple, no more into existence. A team of Archaeologists, from the Archaeological Survey of India, Bhopal Circle carried out excavations and unearthed few sculptures of deities of which some can be seen displayed in its precincts. After a deep study, an apsidal plan of the temple was derived. Apart from the Garuda pillar, there were seven other pillars of which only the capital remains.

The popularity and expanse of Vaishnava tradition cannot be dismissed as a Greek envoy from the north-west frontiers of the Indian subcontinent (Taxila) practised Vaishnavism that led to the erection of a commemorative pillar. Vaishnavism is a sect of Hinduism in which Vishnu and Dasavatara (ten-incarnations) are of central importance. Now the question is what could possibly be reason of erection of pillar at Vidisa?

Vidisa (Vaishyanagar) or ‘Vedisgiri’, located at the confluence of river Betwa & Bes, in the ancient times was a junction point of the trade routes going to-and-fro from north to south and was also a hub for ivory carvers. It held an important position during the Mauryan times (3rd Century BCE), the Great Emperor Asoka was its governor before ascending over the Mauryan throne at Magadha and his chief queen too hailed from here.

By the crack of dusk, the urge of an explorer was fulfilled and the mind was in sync with the philosophical leaning. Hare Ram !!! Hare Krishna !!!

Dr. Ardhendu Ray, Research Associate at National Mission on Monuments & Antiquities, ASI,  aims to bring to light the early historic archaeology, trade & trade routes, heritage management, museum studies, history and archaeology of Bishnupur region, Bankura Dist. West Bengal.

The town derives its name from Lord ‘Bishnu’ in the name of whom have been devoted a good number of temples. In the days of its glory, Bishnupur was the capital of the ancient kingdom of the legendary kings of the Malla dynasty. The religious contour of Bishnupur is closely associated with the rise of Vaishnavisn in Bengal, post-Chaitanya era. The relevance of Vaishnavism and the religious character of the Bishnupur are the most significant feature, so far as the rise and development of Vaishnavism in Rarh of Bengal is concerned. To investigate the rise of Vaishnavism through this temple is a humble endeavor for archaeological sources of the Bishnupur sub-division.

This region still retains a wide-recognised reputation as a living centre of folk crafts in terracotta, metal, cotton weaving, and is also associated with its repository of the world famous Baluchari and Swarnachari silk sarees, which are exquisite handloom creations of master weaver’s of Bishnupur, and preserve a local style of classical music known as the Bishnupur gharana.

In Bishnupur, there are about 30 temples, dated to medieval times based on their inscription. The chronology of the temples is 16^th century CE. to early 19^th century CE. Most of the temples are built in brick, and a few in laterite based on the availability of material, and are mostly square on plan with a few exceptions in rectangular.

Since ancient times, Mallabhum has been well recognized as the seat of art and culture. Bishnupur, the capital of the Malla kings, has a long history since 695 CE. and was a seat of the throne for many kings. Besides their political and socio-cultural interest, they spread their spiritual spirit, and believed among their subjects. Moreover, the conquerors expressed thought, beliefs, and socio-cultural interest, by building up archaeological temples, and bestowed kingly patronage for the advancement of music, literature and art of Rarh area.

The temples of Bishnupur mainly follow a style exclusively developed inBengal with a slight variation of north Indian type. Here, there are also some deul type temples showing how the Bengal sthapatis(architect) had acquired considerable proficiency in erecting temples in different style. The monumental temples which are magnificent in their architectural style, and the terracotta decoration formed upon the walls of most of these temples, are preserved in an excellent state. McCutchion gives a descriptive list of no less than thirteen main variations of the late mediaeval temples of Bengal which evolved throughout Bengal during the Sultanate, and early Mughal rule. These were: Rekha, Pirha, Bangla, Chala,Ratna, Spired, Octagonal, Flat-roofed, Porched, Mancha, Rasamancha, and anomalous combinations. These main types had 53 variants. The Vaishnava kings of Bisnupur patronized the evolution of the Bisnupur style. The use of laterite made the temples more lasting and massive than the older brick built temples. The Bisnupur style was characterized by the Ekaratna, or the uninspired temple. Terracotta sculpture was also developed in a big way in Bishnupur.

Late mediaeval terracotta art in Bengal was leavened with Vaishnavism. The Radha-Krisna legend became the favourite subject of the unknown terracotta artists. In magnificent detail, marked by wonderful variegation, they sculptured the following subjects: The legend of Krisna‘s birth; the destruction of tyrant kamsa by Krisna and Balarama; the killing of Putana; the subjugation of the hydra-headed and monstrous snake Kaliya by adolescent Krisna; the charming pranks of Krisna the toddler. The various aspects of Krisna’s amours; The ten incarnations of Visnu etc. The principal legends of the Ramayana, including the exploits of Hanumana are also depicted.

In the context of literary activities, the development of music with its classical identity also supplemented the overall development of cultural status of the region including the music school of Bishnupur gharana. Their involvement of ruling families that is the Mallas, for the upliftment of socio-cultural status including the religion, and other traditions could not be ruled out.

References:

Banerjee, Amiya Kumar, 1968, West Bengal District Gazetteers, Bankura, The State Editor, Calcutta.

Biswas, S.S., 1992, Bishnupur, Archaeological survey of India, New Delhi.

Biswas, S.S., Haque Z., 1995, Terracotta temples of Bengal, Friend Publisher, Calcutta.

Mallik, Abhayapada, 1921, History of Bishnupur Raj, Published by the Author, Vishnupur.

Malley, L.S.S. ‘O’, 1908, Bengal District Gazetteers, Bankura, the Bengal Secretariat Book Depot, Calcutta.

McCutchion, David J. 1967, The Temples of Bankura Districts, Writers Workshop, Calcutta.

McCutchion David J. 1972, Late Medieval Temples of Bengal: Origins and Classification, The Asiatic Society Monograph Series, Vol.XX, Calcutta.

Michell, George (ed.), 1983, Brick Temples of Bengal (from the archives of David McCutchion), Princeton University Press, Princeton, New Jersey.

“Nearer the city, to the West of Sabzi Mandi, the suburb of the vegetable market, is Roshanara Begam’s garden. Visiting the garden would make you feel a part of the mughal history..roshanara the second daughter of the Mughal Emperor, Shah Jahan and his Empress consort  Mumtaz Mahal, lies buried in the middle of the garden

The ramshackle tomb, known as Baradari meaning ‘open pavilion’, has a roofless grave surrounded by intricately carved screens made of marble, and a hall, which had apartments with arched openings. The interior of the hall was beautifully decorated with paintings, some of which can be seen even today on the ceilings of the hall.As per history,.Governorship of Gujarat was taken away from Murad,shah jahan’s youngest son, and offered to the eldest and shah jahan’s favourite son Dara Shikoh, due to Murad’s efficiency to control the province. Shah Shuja, the second son and Aurangzeb, the third son had open intentions of seizing the throne for themselves. During this power struggle, Dara Shikoh received the support of his oldest sister ,Jahanara Begum ,while Roshanara Begum sided with Aurangzeb.

Roshanara became a powerful figure when she successfully foiled a plot by her father and Dara Shikoh(her elder brother)to kill Aurangazeb Shah Jahan sent a letter of invitation to Aurangazeb to visit Delhi, in order to peacefully resolve the embittered rivalry amongst the sons for the peacock throne. Shah jahan’s true intentions were to capture, imprison and kill him.When Roshanara got cue of her father’s plan, she sent a messenger to Aurangazeb, outlining Shah Jahan’s true intentions, and warning Aurangazeb to stay away from Delhi.When the war of succession was resolved in favour of Aurangazeb, she quickly became a powerful figure at court.

Roshanara resorted to untraditional and corrupt methods..owing to her greedy nature she accumulated wealth on a large scale, and had also earned hatred of her brother’s wives and people and. Roshanara, who was obliged to remain single, as was the tradition with Mughal princesses, instead took many lovers, some openly, some secretly. Aurangazeb ,being a very strict Muslim, did not approve of  Roshanara’s lifestyle and her greedy nature. He stripped Roshanara of her powers, banished her from his court, and ordered her to remain in seclusion and live a pious life in her garden palace outside of Delhi.As per few historians Aurangazeb poisoned Roshanara  in 1671 when she was caught with her lover in the garden.

In 1923, a European club known as Roshnara Club was established here and is today one of the most prestigious clubs of the capital.

The city of Bombay has always attracted me because of its fast-paced ness, independence and rich colonial history. It is a city to get lost in, to be one with, and yet discover oneself in the process. Bombay’s colonial architecture had a tremendous appeal to me. It is an exciting blend of Gothic, Art Deco, Victorian, Indo-Saracenic and Contemporary styles– tracing the story of the city’s growth from a British trading post to one of the biggest metropolises of the country. And yes, I am going to refer to the city as “Bombay” and not “Mumbai”, as what follows is from the times when the city was called so.

In my quest, I decided to focus on lesser known historical buildings in South Bombay.  I found a Pandora’s box – a store of rich architectural heritage hidden under the chaos of city-life. Against the test of time, these buildings stood by, acting as silent witnesses to the unfolding of the grand story of Bombay.

The above comment is best exemplified by the Watson Hotel located in Kalaghoda District of South Bombay. It is now called the Esplanade Mansion, and is in complete ruins, the rooms being divided and given on rent to shopkeepers, tailors and even families. Built in February 1871 with a “Europeans only” clientele, it was the pride of Bombay. Visiting dignitaries included the likes of Mark Twain and Richard Burton. It is India’s oldest cast iron building, the frame being fabricated in England and put together in Bombay. What remains of the hotel’s grandeur today is only this cast iron frame with the “W” logo peeping out from under the overgrown shrubs and overflowing garbage. The decline was gradual beginning with its sale to another owner and the growing competition from J.N.Tata’s Taj Mahal Hotel in 1903.

I found some other interesting architectural marvels in the same vicinity of Kalaghoda, one of the easiest to spot being the David Sasoon Library. Built in the Venetian Gothic style around 1870, the purpose of the building was to function as a museum and library for the Royal Mint and Government Dockyard. The architectural style combined Gothic arches with Byzantine influences, the desire for lightness and grace in the structure being extremely important. This characteristic is easily visible in the building – being adorned by intricate details and yet not giving the impression of heaviness.
An influential

I found some other interesting architectural marvels in the same vicinity of Kalaghoda, one of the easiest to spot being the David Sasoon Library. Built in the Venetian Gothic style around 1870, the purpose of the building was to function as a museum and library for the Royal Mint and Government Dockyard. The architectural style combined Gothic arches with Byzantine influences, the desire for lightness and grace in the structure being extremely important. This characteristic is easily visible in the building – being adorned by intricate details and yet not giving the impression of heaviness.

An influential banker, Sir David Sassoon, later funded the completion of this building. It is an active library and reading room today.

On the other side of the road is the lane that passes by Rhythm House and leads to another beautiful building contributed by the Jewish Community to the city– The Keneseth Eliyahoo Synagogue. Another such synagogue stands in the area of Byculla, called the Megan David Synagogue. These buildings hint towards the presence of an abundant and rich Jewish population in Bombay, now no longer so. The former of the mentioned synagogues is an aesthetically pleasing building coloured in aquamarine blue, standing two floors tall. The stained glass windows and carved wooden doors give away the colonial influence. Once there, one should not miss the Kalaghoda Café – a quiet, little nook to escape the heat and the city noise.

Bombay’s day-to-day life holds a storehouse of historical buildings – in the form of movie theatres, libraries and coffee houses. The most well-known of these being the Eros Cinema, situated at Churchgate, built around 1935-38. It is in the Art Deco style as is evident from the cylindrical spire with rings around it. It used a range of materials from Red Sandstone from Agra to Black Marble and Gold. Other than Eros, the first of Bombay’s Art Deco cinema theatres was Regal Cinema (Colaba) and the Metro Cinema (Princess Street), built and run originally by Metro-Goldwyn-Mayer (MGM), now transformed into a multiplex.

Another section of south Bombay abounding in Colonial Architecture is Horniman Circle, in the Fountain District. Originally called the Elphinstone Circle, it was renamed to commemorate the Editor of The Bombay Chronicler, Benjamin Horniman. The area houses a large garden originally called the Bombay Greens (now The Horniman Circle Gardens) constructed in the Neo-Classical style, surrounded by commercial buildings. Most interesting are the elegantly curved Neo-Classical buildings built in accordance with the turn of the streets. Some of the buildings today house leading banks, international brands like Hermes and India’s first Starbucks Coffee Shop.

Overlooking the Horniman Circle Gardens is the Asiatic Society of Bombay, located in the Town Hall. The Society has had associations with the Royal Asiatic Society of Britain, and the Literary Society of Bombay, but is today run by the Central Government. The library boasts of a huge collection of rare manuscripts, two original remaining copies of Dante’s “Divine Comedy” being one of the most valuable. The Town Hall that houses the library was built around 1804, around the same time of the formation of the Literary Society of Bombay. Its architecture is heavily influenced by Greco-Roman style evident in the eight Doric columns, a large flight of 30 stairs leading to the loggia, topped by a cornice and frieze at the entablature.

Bombay has been the cultural hot-plate of India since its birth for reasons of inter-continental trade. This cross-cultural germination is as evident in the architecture as much in the lifestyle of its residents. Bombay today is home to a cosmopolitan crowd, ranging from the old “bawa” reminiscing about days gone by, to the French traveller who fell in love with the city at first sight.

Intriguing about Bombay’s history is how its heritage lies hidden amongst our everyday lives – moving along with us, changing with the times, fulfilling their present duties. Today they serve all kinds of purposes – from police headquarters to lavish restaurants for the rich to homes to the poor.

It is only when one stops awhile to ponder, one sees how these buildings mean so much more – like those old Banyan trees which have stood at the same place for years, seen a People grow and die, and when you look up at those strong branches and dropping roots in awe, they look down at you with a knowing smile.

- Shubhasree Purkayastha

It was a Sunday afternoon inside one of the colossal, cool, half-dark room of the Fort St. George museum at Chennai. Perhaps it’s the only place where I felt the existence of soft winter in entire town during my visit. There, in the late afternoon light I was amazed to observe an early colonial map showing Pulicut as a flourished port town, which has reduced to a small fishing town now. The ambiguity of the room must have added to my surprise.  The pale yellow tinted page had definitely sprung up my imagination to create an image of the fort city. How the artist imagined aerial view of the area in 17^th century? I try to look into the city through the eye of the unknown map-maker… How far the image has changed in last three hundred years?

My fellow travel-mates, who came all the way from Japan for tracing the Dutch trade connection between Japan and India, were busy pointing at the fort, churches, and cemetery at Pulicut, the headquarter of Dutch Coromandel in 17^th century. Comprised of a square structure with projection in its four corners, the structure of Fort Geldria is very similar to that of Fort St. George, though the earlier was essentially a Dutch one and the later-English.

When the next day we arrived at the site, no one could say us about the fort there except Mr Benedict. “There, across the moat…the whole fort area is covered under layers of thick bush”, as he explains the history almost comes alive in front of us. The fort was destructed during the Anglo-Mysore war and then by the British. Around the fort area, irregular settlements came up over the ages. Adjacent to the bus stop, appears the “new” Dutch cemetery (which was in use from 17^th century). The gateway, with an arch and intricately carved skeletons in both the sides had certainly shocked me out. Last few months, I was a visitor of temples and forts, where the doorways are guarded either by muscular guardians or sensuous river goddesses. Comprising of seventy seven graves, the cemetery is a land of astonishment! The tomb-stones, each carved with different themes and patterns have stories deep-buried about their time, patronisers and obviously the artists. According to Mr Benedict, some stones might have been carved in this region, which show the ease of dealing with Indian design patterns. One of the tombstones carved out of black granite, has a syncretic image of cherubs with earthen lamps in their hand. I wonder how the communication between two distant countries had resulted in creation of these imageries. While our way back to Chennai, I observed the pot-bellied, fierce-looking guardian sculptures with earthen lamps in their hand, placed over the roof of temples.

AARDE foundation has a small, well-maintained interpretation centre there, few steps ahead the cemetery. A number of objects including pieces of pottery, glass jars, maps, and an intact bed, collected from the neighbourhood. Definite evidences of Dutch trade in Coromandel, lot of these objects were accidental find. The earthen jars were used for storing crops or water, even somewhere as garbage bin. The bed was lying in a household, who were looking for replacing it with a new one. The ultramarine blue glass jars have their ancestry in Middle East. The most interesting for me was a map. Very similar to what I found in Chennai, the map is etched and hand coloured, manufactured in 18^th century, showing a very different Pulicut from what I see today. Local members of the organization do basketry and mat-weaving during the off-time which partially support them financially and also keeping the local craft practice alive.

A short tour through the roads around fort area was full of exploration. Portuguese and Dutch churches and houses share space with their Indian neighbours here. St. Anthony’s church, a white-and-blue structure, in the bright sunny day and middle of a fishermen’s settlement looked altogether an alien. Inside the double folded blue doors, there’s a small hall-cum-store room. A wooden chariot with cylindrical base and pyramidal roof was kept there, possibly for the processional purpose. What a shared culture we belong to! Similar chariots in larger scale are part of almost every Hindu temple in this part of the country, which serve similar purpose.

Finally we entered fort area (though only the name remains) facing the blue Pulicut lake. Reminiscent of the golden era of this port town, an old house remains in the fort area (or perhaps the only house). With simple Doric pillars supporting the slanted tiled roof, the house was once used as a trading post. Now the house is situated in compound of the local health centre. Health of these falling houses and architecture needs to be taken care of. In the night, the cemeteries are dug up for seeking hidden treasure, which, if not anything else, destroying these structures. A navy blue blue board with “protected monument” written over were seen more than one places, I hope the words come true in near future.

Often majestic trade ships are drawn in the maps. In the blue lake before my eyes, I see spindle-shaped boats, made out of tree trunks. The simple engineering of making them are continuing till ages, from long before the trade ships reached this land. While the map-maker was busy documenting the grand ones, the small ones got ignored. Through the passage of history, these modest fishing boats made its way, which the grand ones had failed. I decide making a map based on my experience; is this the way they started thinking? But I shouldn’t forget to draw the bunch of lively boats beside the lost landscape!

Rajarshi Sengupta