Tracking the Supreme Saraswatimea.gov.in/Uploads/PublicationDocs/230_aug-2004.pdfINDIA PERSPECTIVES...

INDIA PERSPECTIVES AUGUST 2004 2

Tracking theSupremeSaraswatiText & Photographs: KUMUD MOHAN

“Bharat ki akhri chai” read thebanner on a dilapidated tea stallbeside a footpath leading uphill,There was nobody behind thecounter, so we just took a breatheron a boulder and trudged ontowards the gufa (cave) of VyasMuni – the same legendary Vyaswho will be remembered eternallyfor writing the Mahabharata.

But Vyasji had a problem. Hecould not concentrate – with afrothing, foaming, furiouslygushing river within hearing range.So, he prayed fervently to MotherSaraswati, begging her to calmdown and assist him in his creativepersuits. Lo! The river Saraswatichanged her course and wereunderground, only to emergehundreds of miles away at theSangam (confluence) at Allahabad,as goes the legend.

Vyas Muni’s hallowed cave wasbarely 100 sq. ft. in area. At oneend was a rounded stone withfaint markings, described as “3,000year old inscriptions” by the localguide. We paid obeisance to thegreat saint and walked down therough pathway towards thewaterfall. On the way was BhimPul, a 20 ft. wide bridge standingon a huge one-piece boulder.According to legend, Bhim (one ofthe five Pandava brothers) with hisunparalleled might had rolled thisstone over to form a passage for

The “Saraswati” in all its splendour (left) andthe Badrinath peak (facing page).


the Pandavas on their journey toheaven. (There was actually asnow-covered peak in the vicinityknown as “swarg aropan”,meaning stairway to heaven,which only the truly honestYudhishthir – the eldest of them –is believed to have conquered).

As we crossed the Bhim Pul, wewere struck by the rocky wall ofthe deep chasm facing us. Thecrevices of the rock-face weredripping with diaphanous veilsover fresh green flora.

A hundred feet further we cameacross the most awesome sightever. Powdery sheets of purewhite emerged from the mouth ofa dark cavern, to cascade down ahundred feet into a swirling,churning mass on shining blackboulders, before disappearing

somewhere deep down below. Wedared not peep too far beyond theprotected precipice, as we’d beenwarned by the locals that someyears ago a photographer hadvanished there forever while tryingto get better pictures.

The Saraswati waterfall lies at10,000 ft. above sea level, aboutfour km from the holy shrine ofBadrinath. It is very close to theIndo-Tibetan border.

Was this indeed the legendarySaraswati river, believed to havebeen borne of Brahma the CreatorHimself, to descend from thecelestial ocean to purify andfertilise the earth below?

(In the ancient Aryan culture,characterised by a stableagricultural society, rivers – which

nourished and enriched land sothat it could produce food andfodder – performed an importantrole in sacred rites and weretherefore worshipped as holyincarnations).

The original concept of Saraswatiwas therefore of a feminine waterdeity. The Vedas describeSaraswati as supreme amongstrivers, distinguishing “herself” byher splendour and sublimity, gloryand majesty. At times she iscompared to an ocean, “so large,so mighty, so strong and swift inits current that it evokes fear inone’s heart”.

In contrast, the personified, deifiedimage of Saraswati evokes serenityand asceticism by her dignity andgrace. According to one shloka(couplet), she is the experience of


bliss, fulfilment of all desires andgladdening of the soul. The word“Saraswati”, as derived fromSanskrit, stands for an ever-flowing, ever-affluent sheet ofpure and clean water, as also forthe clarity of speech arising fromgracious thought.

Commanding a unique solitarystatus amongst female deities forembodying spiritual perfection,Saraswati is worshipped byBrahma, Vishnu and Mahesh (theCreator, Preserver and Destroyer),as well as several other deities inthe Hindu pantheon. She iscredited with having invented formankind reputedly the first knownlanguage, Sanskrit, as well as thescript, Devnagri, in which it iswritten.

Saraswati is manifest whereverhuman culture exists. Representing

the peculiar human ability tothink, which sets the human raceapart from all other creatures andgives it dominion over them,inspiring and embodying both thearts and the sciences, shesymbolises the greatness of humancivilisation in all its richness anddiversity.

After the Vedic era, the importanceof Saraswati the river wasincreasingly overwhelmed by herimage as the Goddess of speech,learning, literature, culture,wisdom and eloquence. Hymnsdescribe her as the inspiration ofall pleasant songs and piousthoughts.

In the classical era, Saraswatibecame the essence and epitomeof Hindu thought and culture. Sheis variously described as Vagdevi,Vageshwari (Goddess of speech),

Above: The “Vyas Cave” whereMahabharata was conceived 3000 years ago.Facing page: “Vyas Shila” – a 3000-yearold inscription found inside the Cave (top)and a marble icon of Goddess Saraswatifrom Rajasthan (below).


Sharada (dweller of snowyabode), Gyanashakti (power ofknowledge), Vidyadaani(bestower of education),Buddhishaktisvarupini,kalpanashakti, pratibha andsmritishakti (embodiment of thepowers of intellect, imagination,intelligence and memory), aswell as Vedagarbha (the wombor the source of the Vedas),Sarvavidyarupini (embodimentof all education) andSarvashastravasini (one whodwells in books).

The blessings of Saraswati areinvoked at the commencement ofeducation of children. Particularlyon Basant Panchmi, the first dayof Spring, all aspiring studentsof the sciences and fine artsenthusiastically worship Saraswatialong with their books, pens,

musical instruments and otherequipment.

Stone sculptures of GoddessSaraswati from the medievalperiod onwards depict her withfour arms carrying a pen and abook (knowledge and intellect),a rosary (asceticism) and a pitcherof nectar (source of blessing).Clad in glowing white garments,the fair Saraswati astride her divinevehicle, a swan, suggests adimension of existence thattranscends the physical humanworld. When at leisure, she playsthe veena, the progenitor of allstringed instruments, seated on alotus – signifying purity, divineaspiration, and the ever-renewingbeauty and freshness of Creation –and raising her above the muddyimperfections of a mundaneworld. To ever strive for the


unattainable must remain themotto of the true devotee ofSaraswati.

And her devotees are to be foundwherever followers of Indianculture have left their mark: be itBuddhism, Jainism or Shaivism. Anexquisitely painted scroll ofSaraswati with European facialfeatures occupies a place of pridein the Aginsky monastery inSiberia. Some 30 years ago, RagaSaraswati, an amalgamation ofragas reminiscent of the strength,security and serenity experiencedby her blessed devotee, as well asthe lifting beauty of her whitewaterfall, was composed as ahomage to Saraswati.

In all this imagery, one wonderswhat exactly happened toSaraswati, the river?

According to the analysis ofancient data available, a mightyriver arising in the heart of theHimalayas and traversing thewestern desert did exist in theVedic times. Some time later,cataclysmic changes forced itunderground. Modeminterpretation of satellite images bythe Bhaba Atomic Research Centrehave revealed buried courses ofthe river Saraswati runningbetween north-east and south-westRajasthan. The study shows thatthe area through which the river-bed is traced supports vegetationround the year even when there islittle or no rainfall.

There is also archeologicalevidence to suggest the existenceof planned and fortifiedhabitations covering over 1,200kms along the Saraswati basin.Some 300 mature sites have been

The Bhim Pul (left) and the Swarg Aropan(facing page).


discovered so far, some being full-fledged cities with elaborate watermanagement systems. A highlyevolved culture is believed to haveflourished here between 3,500 BCand 1,500 BC.

Recently, new hopes were raisedwhen a 100 km long and 80 metrewide fresh water river sprang tothe surface in the arid and salineregion of the Rann of Kutch after adevastating earthquake that shookBhuj in Gujarat on January 26,2001. The energy released by thetectonic upheaval at that time wasequivalent to 224 hydrogenbombs, according to a seniorscientist from the NationalGeophysical Research Institute,Hyderabad.

Although science has yet to reacha satisfactory conclusion about theantiquity of the water, the devoutwould like to believe that theSupreme River Goddess Saraswatihas come back to the earth forthe beneficence and solace ofmankind.◆The author is a noted freelance writer.


Terracotta or clay craft symbolizes one of man’s first attemptsat dabbling in art. This is borne out by the fact that not onlyin India but also in different parts of the world beautiful

earthenware found in excavations are stored and displayed in someof the best museums of the world. In the Indian subcontinent, vessels,toys, coins, terracotta jewellery and the idols of deities of the IndusValley civilization remind us of our glorious past.

Though there are many techniques to prepare clay articles, but thepotter’s wheel is the most commonly used all over the world. With hisbare hands, the potter creates a variety of forms. The articles and toysmade with clay find different manifestations in different regions ofIndia on account of local cultural influences and availability of certaintype of clay. In some regions the process involves making of clayitems which are later baked in fire, whereas in other regions they aredried in the sun and painted without being baked in fire. Mother clay

TerracottaCLAY CREATION

Text & Photographs: JITENDRA SINGH


is used for making kitchenware,both big and small, for storinggrain, water, buttermilk, curd andutensils for cooking and eating.Idols of gods and goddesses,variety of folk toys and differenttypes of earthen lamps are alsomade.

Barielly in Uttar Pradesh isfamous for wheel toys. Mathura

and Agra are known for verylight-weighted paper mache’ orclay toys. These are verycolourful and artistic. The claytoys of Lucknow reflect thehighest order of excellence in thisfield. Gorakhpur is famous for itselephants, goddess Durgamounted on a tiger, horses, bullsetc. Azamgarh is world famousfor black pottery.

The potters belonging to Golpara,Assam, are famous for creatingthe image of mother and child.Bankura in West Bengal is widelyknown for Bankura Horse andKishannagar for clay models.Though millions of potters in therural and tribal areas still use thepotter’s wheel and preparearticles in the age-old style, butmodern designers are now usingmodern methods of moulding,baking, coluring and creatingabstract and decorative designs.◆The author is a freelance photographer.


Somehow the awesomely maleriver Brahmaputra had alwaysmanaged to throw up a wall

to my rail journeys beyondGuwahati in Assam. The centenarycelebration of the Lumding-Badarpur Hill Railway and acommemorative run in its honournegotiated for me an expertpassageway.

‘Amar sonar harin chai / toraje ja bolish bhai / amar sonar harinchai’, a musical composition ofRabindranath Tagore (I want mygolden deer, whatever you saybrother, I want my golden deer)became the wings of my fancy onthis journey. The melodycelebrating childlike insistence washenceforth both, my companionand temptress. Large open spaces,huge ponds and small hillsovertook the landscape as thecement buildings of Guwahatidwindled.

Old banana leaves had becomeshrivelled by the attack of thewinter sun. The brown earth lookedeager to welcome these limp andexhausted soldiers back in its folds.The regenerative process was on.Only, precious time was flowingby, never to return. Even endearingmelody could not hold thesemoments in its passionate embrace.Paddy shoots braved the water inwhich they stood. It was mid-February. They could never hope togain the length of neighbouringbamboo groves. But the grain,which they would yield, wasdestined to become a symbol of

Rail to HaflongTHE BAMBOO COUNTRY!

Text & Photographs: SANDEEP SILAS

The Lower Haflong station.


prosperity and also the staple dietof local people. Unlike the longbamboo, usually employed to holda thatched roof or stand guard in afence.

Tagore’s ‘Klanti amar khama karoprabhu / Pathe jadi pecheye, pecheyepari kabhu’. (Forgive me O lord,if I deviate from the path ofrighteousness / If in this tired ageI drift, forgive me O Lord) on theaudio system of the train broke myreverie. And the train to Lumdingcontinued to thunder onsmoothened tracks. At least thisone knew its charted course!

The brightness of the sun wasdiminishing. Birds had started to flyback to their nests. The train was ina hurry. Guwahati to Chaparmukhrailway line came up in 1899 ADand was extended to Lumding in1900 AD. Ahead is the Lumding-Badarpur Hill Section connectingthe enchanting valleys of Assam,Brahmaputra and Barak, runningover 73 major bridges and

negotiating 37 tunnels. Jatinga isthe highest station situated at 2157feet above sea level and the traintouches 32 stations, located at aheight ranging from 336 to 1886metres. The longest tunnel is 587metre long. The north-eastern Statesof Manipur, Mizoram and Tripuraare connected by this line with theweb of other railway network.Survey for this line was completedin 1887 by Mr. John Buyers, thethen Chief Engineer of the IndianPublic Works Department. Acompany was formed in London forconstruction and labourers werebrought from as far as Persian Gulfand Afghanistan! Supplies frombase camps came up on camel andelephant back. The railway line wasfully opened for use in February,1904, by Lord Curzon.

The dawn greeted us at LowerHaflong railway station. All aroundstood the high North Cachar Hillswith a playful river Dyang in lap.A fabulous site far in the valley was

Shadpliang dance – balancing of plates(top); the bamboo tea cups (above) and thefamous bamboo dance (facing page).


of the Dyang Railway Bridge builton a curvature. It bridges a river,then pushes the train into a tunnel,before it allows it to emerge outagain on the hilly track. Haflongappeared untouched by hand.There were roads but not manypeople to walk. There were hillcottages but only cock’ a doodledoo’s to hear. Occasionally apainted wall sign, ‘Call Army’ withsome telephone numbers recordedbelow disturbs you.

Go ahead eight kms. to Jatinga andsee children perform Shadpdung -a harvest dance. Jaintia is the tribethat inhabits the village of Jatinga.Originally established as a panvineyard it now producespineapple. Its journey from pan topineapple is amazing. The nextdance called Shadpliang, set to thetune of guitar, was performed bygirls balancing one plate on theirforehead and another sucked onthe mouth. Pure innocence peepedout of their smiles and steps, and

the courtyard tree, the forests in thedistance, the mighty hills, all stoodcharmed. In this remote, back ofthe beyond place there is anenviable literacy rate of above 95%.Jatinga is a 100% Christian village.Walk on the winding road of thisvillage and you may find littlechildren queued up with shinyaluminum pots before a water tap.A smile is hard to come by on theirfaces hardened by the force ofliving. You may have to make facesfor a ‘smiley photo’. Women appearshy and vanish into their dwellingswhose walls are made of mattedbamboo peels. Only the largehibiscus blossoms are not behavingcoy as they populate the roadside.

Jatinga is infamous for a strangephenomenon, mysterious in itsenactment and ghastly in result. Inthe hills of Jatinga lies a ‘pocket ofdeath’ for migratory birds. FromAugust to October every year thevalley lives a dance of death. Thenight must be dark for the grisly to

happen. The wind should flowfrom the south to the north. Theextreme cold weather, fog anddrizzle to aid and abet, the valleysucks in flying birds from eveningto early dawn, silencing themforever. The only respite is for an-hour-and-half immediately pastmidnight. The species, which comeover the red blood patch to perishthe most, are Indian Pitta and theKingfisher. There are others too onthis chartered flight of death – theSiba Brata Goswami, Blue-breastedBanded Rail, Green Pigeons, CattleEgret, Pond Heron, Hooded orGreen-breasted Pitta and theThree-toed Kingfisher. The flow iscontinuous and in good numbers.The eye cannot see more than threefeet in the mist, but death knowswhom to fall upon with precision!

A school of thought says that thevillagers light bamboo torches inlarge numbers to blind the birds intheir flight. They fall prey to greed.But what remains unexplained is


that the entire north-eastern regioneats birds, then why only at Jatingado they fall and in such quantity?Whether this harakiri is deliberateor engineered only the birds cantell. Whatever be the truth, the factremains that the Jatinga BirdGraveyard, to the north of Haflong,is a place in the Barail Hillswitnessing an unusual occurrence.

Originally the Nagas populated theBarail hill regions. An epidemic inearly 1900s forced them to quit andfind shelter elsewhere. Now, thepresent North Cachar Hill districthas a vast number of Dimasatribesmen and seventeen others likethe Jaintias, Khasis, Kukis, Biates,Jemi Nagas, Karbis, Hmars,Hrangkhols and Mizos. They live inthe inhospitable terrain practisingJhum cultivation i.e. cultivating apiece of land only once, thenmoving off to another. Vast tracts ofland on which bamboo plantationshad been felled or burnt testified to

this lifestyle. In all there are morethan 1.31 lakh people of differenttribes living here. Marriage ismostly within their tribes and triballaws govern their actions. Thevillage headman is still a voice tobe heard! Education however isslowly breaking down tribal lawsand matrimony outside the tribe isjust no more a possibility; it hascome to stay.

We turned to the forests of Jatingato see pineapple gardens. A thickforest cover stopped us in ourtracks and a paper signboardreading ‘Munik Sinchiang Garden’greeted us. I jumped over a lot ofshrubs, waded through bushes,balanced my feet on uneven stonesand finally arrived at an alcovewhere two attractive bamboobenches were waiting for visitors.Making myself comfortable I lookedaround and saw a bevy of freshlycut bamboo placed on a squarestone. These were to serve as tea

Muri -pipe and Kharam drum players at Haflong.


glasses! Quickly came an attendant,busily lighted a fire using leavesand dry sticks, and placed longhollow bamboo sticks over theclumsy flame. These were filledwith water and tea-leaves had beensprinkled in each hungry hollow.As the fire rose in intensity, thegreen bamboo exterior gatheredsoot and the tea in its womb itsflavour. Downloaded from acontainer to our bamboo cups ittasted of fresh bamboo shoot. Oneof the most unusual tastes of tea Inow associate with Jatinga. Thepineapples grew in large numbers.The garden almost appeared as ifan army of pineapples wascamping there!

The prospects of watching the folkdances of North Cachar Hillsbrought us to the Circuit Houseprecincts. The first to perform werethe Dimasas. Baidima dance,usually performed after harvestduring the Buhu festival, set to theaccompaniment of the Muri pipeand Kharam drum enthralledonlookers. Then came the JemiNagas enacting the Naga dance,which is rendered during theHeleingi spring festival. They hadfeathers in their headdress and atightly strung overall covered theirthin frames. The shouldershowever, were sensuouslyrevealed. The slow thanksgivingtone and mood was changed by theperformers of the Hmar Bamboodance. As the bamboo polesclapped in the skilled hands of themen, the women dexterouslyjumped in and out of the vanishingsquares the bamboo created.

The Biate danced their Meburlamdance clapping with bamboo cups,keeping their date with musicaldrums. This too was a harvestdance. The Karbi tribe enacted themotions of Jhum cultivation activity

in their traditional Ritnon Chindidance. So much of variety in aremote corner of India, so much oflife in their steps, so much of hopein their eyes, and I looked uptowards Hempeopit, the highestpeak of Barail mountain range, andprayed for peace in the lives ofthese tribal folk.

A pretty Dimasa girl explained tome in English that the nameHaflong actually came out of theDimasa word Haphlau, meaninghills and valleys. What is known asHaflong today, is so full of strangelife, I wondered.

We boarded three coaches of thespecial Centenary Celebration Train,to be pulled by a puffing steamengine. It was sure makingsufficient noises, letting out steamat intervals in a display of youthfulvigour. Its vitality was, however, tobe tested on the 100 year-oldtracks. The train chugged merrily.I was sorry to leave the beautifulDimasa girl, our guide, behind inHaflong. Bamboo forest, rivulets,and long valleys populated thejourney to Maibong.

The train runs into 37 tunnels asit goes through to Badarpur, thefarthest point of the hill section.As it was engulfed by darkness,sucked into the next tunnel, it gotfilled with smoke. So did thenostrils. The heady smell of firedcoal, which so many steam buffsconsider better than the bestperfume, hung in the strands of hairon my balding head, and stayed inthe air pockets of my clothing for awhile. Past Haflong, the Dyangriver bridge became a hauntinglybeautiful stop for everyone. Thebridge is high, and built on a curve.The train came out of a tunnel,panted on the bridge as it ran overand halted the other side unable toclimb up any further. It had to go

back thrice over the bridge to gainthe desired momentum for theuphill task!

Beyond the Migrendisa station longcultivated valleys became thelandscape. And Wadrengdisa stationwas not noticed as the trainthundered without bothering for theamused look in the eyes of localchildren who stood as bystanders.Trains in this area are symbolic ofmovement, of change, and of thegreat wheel of time. They denoteauthority and bring before thetribals the immense possibilities ofbeing connected with the rest ofthe country. However, their flight ofimagination, as their physicaljourneys in one life span, areshortened by the force ofcircumstance and penury. Theyremain tied to their roots and thedictat of their tribal law.

This is definitely bamboo country:bamboo on the hills, bamboo in thevalley, bamboo poles for the hutroof and peels for the walls,bamboo cups to serve tea, bamboopieces to clap in a dance, bamboobenches to relax and bambooshoots on your plate to relish.Bamboo is all pervasive andbenevolent. If you love to live here,you have to have bamboo for alifestyle.

These godly people live with theirbamboo an ‘abandoned’ life inthese hills, just like the statue of‘a prayed upon goddess’, standinguncared for on a hill slope longafter the festival, waiting for therain showers to melt it away.

Ever wondered the differencebetween Haflong and Long?◆The author, a civil servant, is a noted travelwriter.


Satellite Technology forBetter Healthcare

RADHAKRISHNA RAO

Right since its inception theIndian space programmehas been driven by its

commitment to exploit thepotentials of satellite technology toimprove the lot of the masses. Thetelemedicine initiative, madepossible by the capability builtinto India’s INSAT series ofdomestic spacecraft, is a glowingtribute to the Indian spaceprogramme which has achievedtotal self reliance in designing andbuilding world class satellitesduring its four decades ofoperations. Thanks to the supportof the Indian Space ResearchOrganisation (ISRO), Karnatakabecame the first Indian state toenter the operational phase of thetelemedicine project that connectsall the hospitals at the district andtaluk levels with five super-speciality hospitals. This is a jointventure between ISRO and theKarnataka government.

Mr. G. Madhvan Nair, Chairman ofISRO, has stressed the need tolower the cost of treatment to helptelemedicine become a popularand easily accessible instrument ofhealthcare. He also pointed outthat ISRO’s role in thetelemedicine projects was initiallyenvisaged to be just theconnectivity provider. But now ithas taken on the task of providinghigh quality diagnostic inputs andtheir software too. “We are drivingthe industry to make it low costand affordable”, observed Nair.

And when India launches itsexclusive healthcare satellite“HealthSat” by the end of 2005through the highly successful fourstage Polar Satellite LaunchVehicle (PSLV), those in remoterural areas of the country wouldbe able to access to thesuperspeciality expertise availablein the urban centers of thecountry. Significantly, Healthsatwould help extend thetelemedicine network to thelength and breadth of the country.Thanks to the telemedicinenetwork, Narayana Hrudayalayahas been able to diagnose thecardiac problems affecting poorrustics in the remote parts ofKaranataka. Obviously, theserustics otherwise don’t have accesseven to the basic healthcarefacilities.

Since the resumption of rail linkbetween India and Pakistan, manyPakistanis have started takingadvantages of the world classcardiac healthcare facilitiesavailable at Naryana Hrudyalaya.Thanks to the efforts of ISROtoday telemedicine facilities arealso being made available to theinhabitants of Ladakh, parts ofNorth East India, Andman andNicobar islands and Lakshadweepislands. Telemedicine network isalso being extended to other partsof the country in a phasedmanner. Significantly, ISRO haslent its wholehearted support tothe statewide telemedicine


PSLV with its satellites.

network being implemented bythe Orissa government. Atelemedicine network put in placemoments after a killer earthquakehit parts of Gujarat in 2001,helped save many lives. Similarlyduring the Kumbha Mela held in2002, Online TelemedicineResearch Institute (OTRI) incollaboration with the SanjayGandhi Post Graduate MedicalInstitute, Lucknow, established atelemedicine network for thebenefit of 25 million pilgrims whohad congregated at the holy spotof Allahabad.

Indian telemedicine venture is anindigenous enterprise with theIndian-built spacecraft andcomputer software engineered byIndian experts. A telemedicinesystem mainly consists of acustomised software packageintegrated with computerhardware along with medicaldiagnostic instruments connectedto the commercial VSAT (VerySmall Aperture Terminal) at eachlocation, which in turn, is linkedto a superspeciality hospital

through the satellite high up in thespace. The health status of thepatient under observation in theform of medical images are sent tothe specialist, who in turn studiesthem, diagnoses and advises onthe course of the treatment to befollowed. The specialist doctorcould even guide doctor at thepatient’s end during a surgery.Thus the patients in distant, ruralareas can avail themselves of thetimely consultation of specialistdoctors without going through theordeal of travelling long distancesat a huge cost. Telemedicine isthus the most ideal route to boosthealthcare facilities in India.◆The author is a noted freelance writer onscientific subjects.


The fifteenth century in Indianhistory is traditionallyreferred to as the ‘Dark

Century’. But it is better understoodas a period of historical transition inmedieval India. The invasion byTimur in AD 1398-99 left the DelhiSultanate in tatters, diffusing thecentre of political power to variousregions of India such as Jaunpur,Malwa and Gujarat. It was followedby great political turmoil as strugglefor the Delhi throne continuedbetween the Rajputs, the Sayyidsand then the Lodis. However, theseturbulent times also witnessed theflowering of regional languages, therise of Hindi poetry and thesynthesis of several rich culturaltraditions in the field of languageand religion. One such uniqueblend – that of Yoga and Islam – isto be found in the personality ofShaikh Abdul Quddus Gangohi.

Shaikh Abdul Quddus hailed from adistinguished family of Ghazni thatcame to settle in the metropolitancity of Delhi, probably in theGhazanavid times. Its memberswere known for their learning inthe traditional Islamic sciences.Following disturbances in the wakeof Timur’s invasion, one ShaikhNizam al-Din moved eastwardstowards the rising Sharqi kingdomof Jaunpur. His son, Shaikh Nasiral-Din, was given lands atPhagwali, very near to Rudawli inthe present-day Barabanki districtof the Indian state of Uttar Pradesh.These lands were enjoyed by hisson Safi al-Din and then hisgrandson Muhammad Ismail. It was

Shaikh Abdul Quddus GangohiSYNTHESIS OF ISLAM & YOGA

Text & Photographs: MADHURI GUPTA

Ahmad Haqq who traced hisspiritual lineage to Shaikh ’Alaal-Din ’Ali Ahmad Sabir, a nephewof Baba Farid of Punjab. AbdulQuddus devoted himself to worshipand austerities, keeping awakethrough the nights on religiousvigils. During daytime, heassociated with Shaikh Piyare, anold servant at the khanqah. It wasPiyare who encouraged him tolearn both Persian and Hindipoetry.

In the last decade of the 15thcentury, when political climatedeteriorated drastically due toaccession wars between the Rajputsand the Lodis, Umer Khan Sarwani,one of the disciples of ShaikhAbdul Quddus, persuaded him tomigrate to Shahbad in theThaneswar tehsil (sub -division) ofKarnal district (in the present-daystate of Haryana). It was inShahbad that Shaikh Abdul Quddusspent three and a half decades ofhis life.

From Shahbad, he often travelled toDelhi where his son Rukn al-Dinstudied. By the 1520s, there waswidespread alarm about theimpending threat of Mughalinvasion. It led the Shaikh to decideto move away from Shahabad alsoas it lay on a direct route to Delhi.This time he moved his residenceacross the Jamuna to Gangoh,about 40 miles south-east ofShahabad, in district Saharanpur ofUttar Pradesh. Shortly after hisarrival in 1525, there was adisastrous fire in Gangoh in which

the last to whom was born ShaikhAbdul Quddus in AD 1456, thethird of four sons, from a motherwho hailed from an equallydistinguished family of hakims(administrators) of Rudawli.

Befitting the status of his family,Abdul Quddus began thecurriculum of formal Islamiclearning, but he had not pursued itfar when the love of God overtookhim. He destroyed the books hehad been learning from. It is saidthat his later ability to teach andwrite upon the ’ulum-i-zahiri, thenon-Sufi branches of Islamictheology, came about as a divineinspiration.

After much opposition from hisfamily members, he joined theChishti-Sabri silsila, of Shaikh

Plaque in Hindi at the Gangohi tomb.


he narrowly escaped. The samenight he heard the voice of Godurging him not to lose hope andproclaiming that He had bestowedon him the rank of Qutb (Pole ofthe World) and made him Qutbal-Aqtab (The Pole of Poles of theWorld).

The Shaikh composed seventeenworks, of which only a few areextant. His Rushd-nama is a shortSufi tract, interspersed with hispoetic compositions. Collections ofhis letters also survive. His eldestson Shaikh Rukn al-Din recordedhis conversations and biography asLata’if-i-Quddusi. Although theorthodox Islamic element isstrongly attested, there is also asurprising blend of Vedantic andNathpanthic beliefs in his Suficexpositions. One such elementis his strong advocation of thesalat-i-ma’kus – prayer performedwhen hanging upside down, theheels tied with a rope. This postureis akin to that practiced by theYogis. Among Chishti Shaikhs,Baba Farid is said to haveperformed this posture-prayer.

Abdul Quddus quotes a coupletfrom Bu’Ali Qalandar in supportof this practice:

A prayer, which I, who am drunkfrom the taverns, perform;It has in it neither standing, norkneeling nor prostration.

It is said that Shaikh Abdul Qudduswould spend the entire nightpraying hanging upside down. Healso practised more such practicesthat were quite akin to the yogicexercises.

Shaikh Abdul Quddus died atGangoh in November 1537. Histomb was probably built byHumayun. His khanqah is still inthe possession of his descendents.His tomb is a large square structure,much in vogue in the early16th century, and houses ninegraves – all of family members.◆The author is a research scholar at theJawaharlal Nehru University, New Delhi.

Tomb of Shaikh Gangohi.


After his personal physicianhad failed to diagnose hisailment, he was advised to

get admitted to the Miraclehospital. But there too all that thedoctors could say was that he wassuffering from some kind of viralinfection. They said they’d be alittle more definite only after aseries of clinical tests.

Rajesh felt a little uncomfortableduring the first three days. A heavydosage of antibiotic and othermedicines had almost benumbedhis sensibilities. The only solace ofcomfort for him during the daywas his deluxe room on the ninthfloor, which overlooked theHussain Sagar Lake and the TankBund. Whenever his bed wasraised during the day, he couldlook at the boats sailing in the lakeand the giant Buddha statuepoised on a granite rock.

But at night, he often feltdespondent and lonesome.Nostalgically, he conjured upimages of his bungalow onBanjara Hills – the rose garden,the Ashoka trees standing watchalong his front compound wall,the waterfall from a huge bouldernear the porch, and the terraceon the third floor from wherehe could see Charminar – amonument to the love ofMohammed Quli Qutub Shah forBhagmati, his beloved.

For the first three days, he wasserved by a nurse who wore thestern expression of a matron.Pock-marked, short-statured, withnarrow Mongolian eyes, she

Fiction

To Nurse with Love(For Sharad Dutt)

SHIV K. KUMAR

looked forbidding. But what reallypiqued him was the abrasive toneof her voice, like two metal barsgrinding against each other.

Then, on the fourth day, he almostfelt rejuvenated as a new nursewalked into his room – soft-pacedlike a swan. Tall, olive-complexioned, moon-faced, shelooked like a character from TheArabian Nights. In a voice, huskyand sensuous, she said, ‘I’ve takenover the ninth floor.’ To him, thestethoscope round her necklooked like a diamond pendantand the BP case in her left handlike a jewellery box.

Then, bending over his bed, sheadded, ‘I have to take your pulse-beat and BP’.

He just nodded his head, his eyesriveted on her face. In his mind’seye, he’d taken off her cape to seeher dark hair, soft and flaxen likecashmere wool. She then held hisright wrist to feel his pulse, whichwas now racing like a steed justunbridled and unsaddled. Then,as she took his BP, her foreheadwrinkled.

‘Hypertension,’ she said, in agentle voice. ‘Due to your viralinfection, I guess’.

‘But there may be some otherreasons too,’ he said, smiling.‘There was no such problemyesterday’.

She looked a little mystified, notsensing what he really meant.Announcing that she’d be back inan hour for his sponge bath, she


walked away. Rajesh felt as thougha dark tunnel that had suddenlybeen lit up with a match-stick, hadlapsed into darkness again.

A little later, she returned with asmall plastic bucket, a towel and asponge. As she started to spongehis back, chest and face, he felt asthough he was being abluted forsome retrial. Occasionally, hernaked fingers touched his bodyonly to stoke up the blood in hisveins. He felt tempted to hold herhand and say: ‘You are like a highpriestess to me. Let me kneelbefore you for your benediction’.

After she was gone, he asked hisward-boy what her name was.‘Marianne’, he replied. He then

took up the hospital pad andstarted to write a letter.

Dear Marianne,

Please forgive me for addressingyou by name – which I’ve justpicked up from my ward-boy.

I don’t know if you could fathoma look of deep yearning in myeyes when you were feeling mypulse. Maybe I should have toldyou then that I’ve fallen for you.But to me a spoken word alwayssounds crass, wooden andinsensitive, utterly incapable ofcapturing the invisible, and theinaudible. On the other hand, thewritten word operates in theprivacy of one’s soul. So, I

couldn’t bring myself to sayingyesterday that my hypertensionwas an entirely new phenomenonfor which you should blame yourbeauty. How could my pulse-beatbe normal when my heart wasgalloping forth like a stallion?

I’d come to the Miracle hoping tobe cured and discharged as earlyas possible. But now I wish to stayon here as long as possible. I’drun away from here if they transferyou to some other floor.

Last evening, as I was gazing atthe Buddha’s statue in the lake,I recalled his sermon at Sarnath.‘The way to happiness is throughvanquishing one’s desires.’ But Iwouldn’t care for such happiness.


please, read it only when youreturn to your quarters’.

As she took the cover, she lookedconfused. The whole night Rajeshwondered how she’d respond.

But when she entered the roomthe next day, smiling, he knewthat the gods had blessed him.That day, she sat on his bed as shesponged his body. And she alsopressed his hand impetuouslybefore feeling his pulse.

Just then, the Head Nurse walkedin and saw Marianne sitting on apatient’s bed. Menacingly, shestrode towards the bed and saidto Marianne:

‘Would you come out for a

moment? I want to talk to you’.

Rajesh at once understood that theHead Nurse would now let looseher fury. Marianne may either befired, or transferred to some otherfloor. He held himself guilty forwhat he’d led her into.

It was from the ward-boy that helearnt about her transfer to theground floor. He also learnt fromthe new nurse, a dark snippetycreature, that Marianne might evenbe fired for some lapse.

Rajesh decided to write heranother letter, and send it throughhis ward-boy who always felthappy to receive generous tipsfrom this patient.

I want you near me – all the time.Even at the risk of unhappiness.

I know this letter will embarrassyou. You may even ask for a newposting on some other floor toavoid me. But if you stay on, I’llthink that you too... There, yousee, how even the written wordhas failed me.

– Rajesh

When she returned to his roomthe next day for the same ritual –pulse-beat, BP, and the sponge-bath – he again said nothing. Onlywhen she was about to walk way,he said, handing over the closedenvelope:

‘Here’s something for you... But,


Dear Marianne,

I seek your forgiveness forpushing you into this terriblemess. I hear from the new nursethat you may even be fired. Goodfor both of us!

In a sense, I feel happy that thingshave come to this. I may not bethe Prince Charming in a fairy-tale,but I do propose to carry away myprincess to the land of my dreams.

Marianne, I love you more thanyou can imagine. Let me seekrefuge, once again, in the writtenword as I’d have felt somewhatdiffident proposing to you orally.

Now that you have been takenaway from me to the ground floor,I plan to get myself discharged,somehow. In any case, I amfeeling cured – though onlyphysically. Else, I am in a stateof turmoil.

If you are fired, you’d be welcometo join me at:

Road No. 3Bungalow No. 7Banjara HillsHyderabad.

I know my parents are likely tohaul me over the coals for wantingto marry a Christian, but I’ll sort itout, somehow. As chairman of myown company, I am notdependent upon anybody’.

Only yours,

– Rajesh

Two days later, he managed to gethimself discharged. As expected,his parents turned against him. Butthey gave in when he threatenedto marry her secretly, and moveinto a rented apartment.

A week later, as Marianne taxiedin through the front gate, she felt

overawed to see the bungalow.On seeing her, Rajesh knew thatshe’d been fired.

As his fiance, she was to stay inthe Guest Room, near the frontgate, even though his parents hadstill not quite reconciledthemselves to this relationship. Tohis brother, Suresh, however, shewas just a nurse – and nurses, hethought, always flirted with theirdoctors and patients.

As night fell, a storm gatheredover the Banjara Hills, and a windbegan to howl like a wraith in agraveyard. With the moon veiledby clouds, a shroud of darknessdescended all over the place.Suddenly, a shriek from the frontgate rent the air. Rajesh at oncerushed outside to see what hadhappened. As he got to the GuestRoom, he was stunned to seeMarianne standing near the door,in tears, her blouse partially tornoff. Suresh stood close-by with agrin on his face.

‘She’s just a nurse’, he said.

‘This house is not safe for us,Marianne’, Rajesh saidcontemptuously, his eyes flashingat his brother. ‘We’ll leave theplace first thing tomorrowmorning’.◆The author, a former vice chancellor of theHyderabad University, is a much decoratedwriter.


Once upon a time, manycenturies ago, across thevast Thar Desert came a

caravan. It was a small group ofsingers from Sindh (now inPakistan). After days and nights oftravelling they settled down in avillage along the western part ofRajasthan. These were the SindhiSarangiyas. All they had withthem were their sarangis and anenormous wealth of music andmusical talent. Today they areknown as the Langas, and theirhomes are villages in the desertwastes between Jodhpur, Barmerand Jaisalmer, just short of theIndia-Pakistan border. One of themore important centres is a villagecalled Burnawa.

Burnawa is a magical village.Every home here reverberates tothe sound of music. The soaringvoice of the singer, the notes ofthe Sarangi, the beats of the

dholak and kartal – all cometogether to form an eternal cycleof night and day, summer andwinter, life and death. Melody andrhythm are the very warp and weftof Langa life.

There is of course the business ofday-to-day living – work to bedone, chores to be performed. Butit is all done to the background ofmusic, and for the Langa men,music is both their life andvocation.

Music is such an intrinsic part oftheir life that it may not be anexaggeration to say that Langachildren sing before they speak.The songs are a part of all theirchildhood games. The words maybe incomprehensible, but themelody is a loved and familiarone. Deeply imprinted on theirpsyche – it is a memory of a timeunremembered, unrecognized.Traditionally, only the boys and

The Desert RhapsodyText & Photographs: JUHI SINHA


men take up music as a vocation,and even for them, there is noformal training. But sometimeswhen a child shows exceptionalpromise, he is taken as a pupil bya senior Langa. There is aninitiation ceremony and the boyaccepts a guru to guide him.

The ceremony is an amazingamalgam of Hindu, Muslim andthe local Rajasthani traditions. Ifthe blessings are those of Ali, thesymbols are the auspiciouscoconut and coloured thread,sacred to the Hindus. Thecolourful costumes, language andmusic are pure Rajasthani. It is amoment of piety and joyfulcelebration, and the entire villageturns out in strength to participate.At the end of the ceremony, rocksugar ‘Mishri’ is distributed to all.

The young boy has no formallessons, even from his guru. Hemust learn to observe, and toimbibe the technique and thenuances that will make him amaster of the craft. And the first

step towards this is the mastery ofthe Sarangi, the eponymousinstrument of the Sarangi Langas.

The Thar Desert is their classroom,with its searing heat and freezingcold and strong winds that mouldand shape both man and dune.The stark landscape is reflected inthe plaintive strains of the Sarangi,and man’s resurgent spirit findsexpression in the resonant voiceof the Langas. There is a richtreasure trove of Langa music toinherit, but it is an inheritance thateach has to earn.

Folk tales and legends are the veryfabric of Langa life and music.One such story tells of how thefirst Langa came to be. Centuriesago, a young Rajput boy saw aprocession of musicians go by.Fascinated by the music, he askedto be allowed to join them. Hewas told that only a Muslim couldlearn. Enthralled by the music, theboy converted to Islam. It is saidthat the Langas are descendants ofthat boy who loved music.

Traditionally the Langas haveearned their livelihood by singing

Photographs in the article capture the lifeand profiles of “Langas”.


at the home of their jajman orpatrons, a tradition that hascontinued to this day. Theirpatrons are the Sindhi-sipahis.For them, no celebration iscomplete without the Langas.Their music is an integral part ofevery occasion, births, weddings,religious ceremonies and allfestivals.

The Langas also recite thegenealogy of their patrons, whichgoes back to hundreds of years. Ithas been memorized by each

Langa, and his father andgrandfather, before him. And asthey fluently trace the familyancestry down 17 generations,Rajput names appear, suggestingthe time of conversion to Islam.Since the Langas also help toarrange marriages for theirpatrons, a knowledge of the familyhistory proves invaluable. TheSindhi-sipahis are connoisseurs ofmusic, and when the Langas singbefore them, they know that theyhave an informed, aware andmusically literate audience.


The Langas are followers of Islamand they regularly offer Namaazfive times a day. But like theirmusic, which is free fromconventional classical boundaries,so too is their religion. It is deeplyinfluenced by Sufism which is themystic aspect of Islam. The Langaspay homage to the Sufi saintKhwaja Moinuddin Chishti ofAjmer, but their repertoire hasverses from many Sufi poets suchas Amir Khusro and Bulleshah.

Sufism accepts that there is onlyone universal Truth – but it alsoaccepts that the paths to God maybe many and varied. The DivineEssence is present in all. Andwhen you love God with apassionate intensity – or one castin His image, the emotionbecomes sublime. Love is a forceso powerful that God himself mustbow before it.

As the Langas sing, the fluidity ofSufi thought, rich in imagery andemotion, moves freely frommosque to temple. From thedivine munificence of Allah, to thedivine love of Krishna and Radha,

the music is a bridge that connectsall religions. Whether it is theMeera Bhajans, or the colourfulsongs of Holi (the festival ofcolours) and Sawan’(the songs ofthe monsoon) the mellifluousvoices of the Langas give a specialmeaning to them all.

Over the years, and specially inthe last decade, many of thejajamans left the desert to seektheir fortune in the bigger cities ofRajasthan. The desert was harsh,often inhospitable – and once thejajmans left, many Langas fell onhard times, and they too decidedto look beyond the dunes of theirvillage.

Most of them spread out toJodhpur and Jaipur. Unused to citylife and its people initially, life washard. But their music kept themgoing as they sang at weddings,festivals and celebrations of allkinds. It was a ‘language’ thatreached out and touched thehearts of all who heard it.

And suddenly, somewhere in the1990’s, the Langas wereeverywhere, for everyone. They


sang in forts, palaces and havelies.The tourists discovered them, andthen the media. The words of thesongs were unimportant – it wastheir tremendous zest for life, theirdelight in their music – that foundan instant rapport with thelisteners.

The five star hotels, wealthyconnoisseurs of music, seniorofficials and decisions makerstook note of the Langas. Theirmusic was unique. Although in thefolk tradition, it was often basedon pure classical styles. And therange, depth and virtuosity of thesingers was unparalleled. Withoutany formal training, and with a gfftfor improvisation that addedtremendously to the composition,the Langas became trendsetters.They travelled to Europe, the USAand the world. And wherever theywent, the world welcomed themwith open arms. Their musictranscended mere rhythm andmelody – it was evocative of hopeand joy, love and grief – universalemotions that touched a chordeverywhere they went.

After having conquered the world,many of the Langas came back toBurnawa, for their hearts are stillrooted in the golden sands of theirvillage home. The conical shaped,thatched hut is both dwelling andhome. Many left their stone andconcrete houses in Jodhpur andJaipur and chose to live in thedesert. Although some of theirchildren were studying in cityschools, they knew that it wasmusic that would shape theirdestiny and their lives. And inBurnawa there are many youngboys eager to hear tales ofJodhpur, London and Paris, so asto find their place before theworld. They know that they arethe inheritors of a priceless legacy,and that their talent will ensure aresplendent future for the Langas.◆The author, a noted travel writer, is afilmmaker too.


Being the largest state inIndia, Madhya Pradesh(central state or region) is

aptly named being more or less inthe middle of the country.Romantics often call it the “heart ofIndia”, also because of itsunmatched variety in the form ofart, culture, nature, religion anda vast repertoire of historicalmonuments. Covering an area ofaround four hundred and fiftythousand square kilometers, thismesmerizing land was in the pasthome to a large number of Hindukingdoms and valiant warriors.

Madhya Pradesh is largely aplateau, streaked with the Vindhyaand Satpura mountain ranges,which give rise to its main riversystems – Narmada, Tapti,

INCREDIBLE INDIA

Madhya PradeshText: ASHWANI LOHANI

Photographs: PHAL S. GIROTA

Chambal, Sone, Betwa, Mahanadiand the Indrawati.

“A virgin tourist paradise” isperhaps the best description of thisstate which has so far not beenadequately explored by the rovingtourist. It has everything that atourist looks for to satiate hishunger of sensory experiences.Innumerable monuments,exquisitely carved temples, stupas,forts and palaces are tantalizingreminders of a glorious era ofmaharajas and their kingdoms, ofbuilders, poets and musicians, ofsaints and philosophers of variousfaiths. This state has been home toTansen, one of the legendarymusicians of this nation. Beingadequately forested MadhyaPradesh also offers a unique and

Cave paintings at Bhimbetka.


exciting panorama of wildlife in thenational parks of Kanha,Bandhavgarh and Shivpuri,where one can see the tiger, bison,deer and antelope in sylvansurroundings. A land of many tribesand rich cultural beliefs andcustoms, Madhya Pradesh is theplace to witness colourful fairs andfestivals that include theRamnavami of Chitrakoot,Dussehra of Bastar, Shivratri andthe annual internationally renowneddance festival of Khajuraho.

Located around 170 kilometers fromJhansi and well connected by air,road and rail, the internationally-acclaimed temples of Khajuraho, aworld heritage site, are India’sunique gift to humankind. Theyrepresent life, in every form andmood, testifying not only to thecraftsman’s artistry, but also tothe extraordinary expanse of visionof the rajputs of Chandela dynastyduring whose rule the templeswere built between 95 to 1050 AD.Of the original 85 temples, the 22remaining temples are recognized

as one of the greatest artisticwonders of the world.

The Buddhist pilgrim town ofSanchi, located close to the capitalcity of Bhopal, is known for itsstupas, monastries, temples andpillars dating from the 3rd centuryBC to 12th century AD. The mostfamous of these, the Sanchi Stupa Iwas built by the Mauryan EmperorAshok, then the Governor of theprovince of Ujjayini. A chunarsandstone pillar fragment lying nearthe Stupa I carry the famous edictof Ashoka warning againstschism in the Buddhist community.A Buddhist pilgrimage to the landof the Buddha would beincomplete without a visit to theworld heritage site of Sanchi.

On the other hand, Bhimbetka –surrounded by the northern fringeof Vindhyas, lies 46 kilometerssouth of Bhopal. Over 600 rockshelters belonging to the Neolithicage were discovered here. Detailedpaintings depicting the life of theprehistoric cave dwellers werefound in these caves. The paintings

The Gwalior Fort (above); a Buddhist monkat the Sanchi Stupa (right) and the marblerocks along Narmada river in Jabalpur(facing page).


usually in red and white depictscenes of hunting, dancing, music,horse riding, elephants, fightinganimals, honey collection andhousehold scenes. Religious andritualistic symbols can also befound painted frequently. Encryptedas a World Heritage Site byUNESCO in 2003, these cavepaintings are a unique heritage ofhumankind and a must -seedestination for a tourist visitingMadhya Pradesh.

The state also boasts of the only hillstation in the country which isliterally an architectural paradise.Pachmarhi, located around 200kilometers from Bhopal, is a lovelyhill resort girdled by the Satpuraranges. At around 3000 feet abovethe sea level, it has a very pleasingclimate, placid forest glades, grovesof wild bamboo and jamun anddense sal forests. The valley,

favourite hunting grounds for thekings of Rewa. The fort ofBandhavgarh is almost 2000 yearsold and was under the control ofvarious royal dynasties.Bandhavgarh is around five hoursdrive from Khajuraho. The KanhaNational Park, also located in theSatpura ranges and spread over 446square kilometers is home to avariety of deer, blackbuck, gaur,leopard and the striped hyena,besides the tiger.

The capital of the State, Bhopalitself is a conglomerate of a uniqueculture, heritage and modernity.King Bhojpal set up this city in theeleventh century, but its realfoundations were laid by a valiantAfghani soldier called DostMohammed during 1708 to 1740.The twin lakes around which thecity has developed are its uniqueattraction; it is also called the city of

ravines and maze of gorges allsculpted in red sandstone by thewind and weather adds their owncolour to the environment. Withfabulous opportunities for watchingwildlife and the bird kingdom,Pachmarhi is a tourist paradise. Thecave shelters in the Mahadev Hillshave an astonishing richness inrock paintings, mostly of the periodbetween 500 and 1000 AD, butthere are some masterpieces as oldas 10,000 years.

For the nature and wildlifeenthusiast, the state hasBandhavgarh and Kanha NationalParks. Bandhavgarh is known for itsvery high density of tigers, and alsofor being the breeding place forwhite tigers. Spread over an areaof 448 square kilometers at anaverage height of 811 meters abovethe mean sea level, the areasurrounding Bandhavgarh was the


lakes because of them. There aremany historical mosques in the citywith tremendous touristic appeal,besides its palaces and forts. Themuseum of mankind spread over200 acres of land preserves andshowcases the lifestyles of as manyas 32 different tribes. It is also theonly museum of its kind in Indiaand a must-see for the visitorsto Bhopal.

How can one not mention Manduhere. Located 100 kilometers fromIndore at a height of 2000 feet inthe Vindhya ranges in the Malwaregion of the state, Mandu is knownfor love, the love story of poetprince Baj Bahadur and his queenRoopmati. Originally the fort capitalof the Parmar rulers of Malwa, itwas occupied by the Sultans ofMalwa in the late 13th century. Ithad a pervading spirit of gaiety and

The Lake at Indore (above); a beautifully-illustrated panel at the Khajuraho templecomplex (right); the Bhedaghat Falls(facing page, top) and the Scindia chhatriat Shivpuri (below).


glory shall live forever in itsmonuments, legends and songschronicled for posterity.

Shivpuri, the summer capital of theScindia rulers of Gwalior, the fortsand palaces of the Bundela kingsat Orccha, the religious town ofAmarkantak located at the sourceof river Narmada, the sacred islandof Omkareshwar shaped like“Om”, the auspicious Hindureligious symbol, the holy town ofMaheshwar on the banks of riverNarmada, the holy city of Ujjain arethe other destinations that beckonthe tourist.◆The author is a civil servant.its rulers built exquisite palaces like

the Jahaj and Hindola mahals,ornamental canals, baths andpavilions, graceful and refinedin tune with the peacefulenvironment of those times. The

Jami Masjid and Hoshang Shah’stomb provided inspiration for thebuilders of the Taj Mahal centurieslater. Under Mughal rule, Manduwas a pleasure resort withextravagant festivities. Mandu’s


The White-Eye (Zosteropspalpebrosa) is a tiny restlessolive-green bird – 10 cm in

size, with a greyish-white breast.Its under-tail coverts are yellow,and its chin and throat are abrighter yellow. The conspicuouswhite ring around the eyes is itsdistinguishing feature. Both thesexes are alike.

The bird is practically distributedthroughout India except desertregions. In the Himalayas, it isfound upto 8000 feet elevation,and in peninsular hills upto their

JEWELS OF INDIAN SKY

White-Eyetops. It inhabits groves of trees,gardens, orchards and forestedareas and woods. It also likeshumid evergreen forests.

The White-Eye is entirelyarboreal, and hardly descends tothe ground. Its pointed, slenderand slightly curved bill isespecially adapted to reach deepinto blossoms to draw nectar. Inthe process the bird alsopollinates the flower. The bird,therefore, is also known as a‘flower bird’. It spends its timehunting for food amongst the

Text & Photographs: BHAGAT SINGH


foliage of lofty trees as well as inbushes, often clinging upsidedown or sideways like tits topeep into sprigs and buds forinsects. Its food consist of tinyinsects, spiders, fruits and berries.

White-Eye emits a short nasal-toned call- ‘twee-twee-twee’. ItsSanskrit name ‘Saranga’ in allprobability is derived from itscall.

The breeding season is practicallyfrom April to July. The male birdin this season warbles a prettylittle tinkling song from someexposed tree-top. The nest is acup made of finer grasses, lichenand fibres neatly bound withcobwebs, and slung in the forkof some thin twig at the extremityof an outhanging branch. It isplaced in a bush or tree betweenthree to ten feet from the ground.The normal clutch consists of twoor three eggs of pale-blue colour.Both the parents participate inbuilding the nest, incubating andtending the young. Incubationtakes ten to eleven days, and theyoung leave the nest in a likeperiod.◆The author is an eminent wildlife writer/photographer.


The Andaman & NicobarIslands have for long beenknown as the ultimate penal

settlement for India’s freedomfighters who were incarceratedhere during the country’s freedommovement. They were subjectedto all kinds of brutalities andindignities here as the question ofany escape from these islands wassimply ruled out – as one couldgo nowhere from here exceptseeking refuge in death!

However, in recent times, theseislands have attracted world-wide

Andaman & Nicobar IslandsFRESH FOCUS

Text & Photographs: JOGINDER CHAWLA

attention for entirely differentreason: anthropologists, socialscientists and researchers havebeen wondering as to how, andwherefrom the prehistoricaboriginal Negroid and Mongoloidtribes came here to inhabit theseislands? How have they been ableto preserve their culture, lifestyleand identity even centuries afterthey first set their foot on theseislands? Are they the last survivingancestors of human race?

The Andaman & Nicobar consistof 572 islands of which only 36


are inhabited. Adrift in the Bayof Bengal, these are spread over8249 sq. kilometers; 86 percent oftheir land is under forest cover.

Though the historicity of theseislands is shrouded in mystery, butit is gathered from many sourcesthat Nicobar was known to man inthe 5th Century BC and Andamancame to be known in AD 100.These islands of the naked, asthey have been known, have beenhome to the Negroid natives rightfrom the very beginning. They arestill living in the same fashion.When Marco Polo sailed pastthese islands, he thought thenatives here were cannibals! Eventhe locals here had shutthemselves off from the outsideworld till the 17th century when

incarcerate the rebels and to instillfear in the minds of Indianfreedom fighters. This isolated, faroff place with no escape routewas selected as the penalsettlement. The Jail here wasnamed the Cellular Jail, because itonly had cells, 698 in all, and nodormitories. It was so designedthat a single sentry could controlall the seven massive wings. Allthese wings were three-storiedand spread like a big star fish.Each wing faced the back of theother, with no opening in the rearexcept a ventilator at a height often feet, which was inaccessible tothe solitary prisoner. At presentthere are only three wings left,others have given way to ahospital. The Jail was declared aNational Monument in 1979.

The first batch of the 1857 rebelsoldiers was brought here on the

missionaries from France,Denmark and Austria tried toestablish contact with them butfailed.

In 1777, John Ritchie, a Britishadventurer, realized the strategicimportance of these islands so asto gain control over the oceanicroutes. The British forces thusstarted the first settlement as aharbour at Chatham Island inAugust, 1790. It was soon shiftedto the west coast of NorthAndaman, in November 1792, as itlacked even the basic facilities likewater and arable soil. Ultimately,it was abandoned on the 8th ofFebruary, 1796.

The importance of these islandswas again realized when in 1857the Indian soldiers revolted againstthe British rule. These islandswere found to be an ideal place to

A panoramic view of Port Blair, capital ofAndamans (facing page) and an Indian shipapproaching the port (above).


10th of March, 1858, under fourofficers and 60 guards. Thesuperintendent of this penalsettlement first hoisted the Britishflag on 22nd of January, 1858, andthe place was named as Port Blair,notoriously remembered as

The Swami Vivekananda memorial is a bigtourist draw (top) and the underwater life(above & right).


Kalapani, the dark dungeon. Theliving conditions here were sobarbaric that one Sher Ali, anex-convict, took revenge bymurdering the visiting Viceroy ofIndia, Lord Mayo, in February,1872. He could not bear the day-to-day injustices meted out notonly to the freedom fighters butalso to the innocent tribals whowere living here.

When the British penal settlementwas set up, there were about tenclosely- linked tribes living here; inthe Andamans they were calledgreat Andamanese, Ongese,Jarawas and Sentinalese, all ofNegroid origin. In the Nicobar,they are of Mongoloid origin,known as Nicobarese andShompens. They all spoke

different dialects but were able tounderstand each other. A linguisticgenius, Joseph Greenberg ofStanford University, was unableto find anything common thesedialects had with other knownlanguages, except with asmattering of the extinct“Tasmanian”.

The Islanders were less than tenthousand, and they fiercelyresented the intrusions of theBritish in their area. With theirprimitive arrows and spears, theyraided the penal settlements butdid not kill the prisoners.However, their raids were nomatch to the British might andthey were brutally repulsed. TheBritish later did try to entice themwith the goodies but failed. Andall subsequent efforts to assimilatethem in the mainstream met thesame fate.

It was only around 1970 thatS. Bhaktawar Singh – a tall Sikhpolice officer – (now about 90years of age) could win the trustand affection of the Jarawas whoalso treated him like a fatherfigure. He just loved theirinnocence and treated them asnaughty little children. He saysthey have an unwritten but strictcode of conduct. There is no rape,adultery or theft in their area. Theunmarried and widows liveseparately and children are treatedindulgently.◆The author is a freelance writer.

A painting at the local museum depicts therevolt by the tribesmen against the British.


PHOTOGRAPHY

Derivative TechnologyText & Photographs: N.K. SAREEN

Photography is just abouthundred and fifty years old,but it has already pervaded

our lives in such a way that noaspect is left untouched by itssweep. From our birth to thegrave, not a single event in ourlives passes without facing thecamera. Who does not want toget photographed or take picturesof his marriage, a new-born babyor the places one visits with one’s

family and friends for preservingmemories or just for posterity.Even for getting a passport or adriving licence – one has to facethe camera.

The basic function of photographyis to record, as it is wherever it is.It can be anything from our faceto any inanimate object. While aphotograph is considered a truedocumentary evidence of any

Multiple exposures of a jazz singer made on a single negative, then solarised and toned.


event – in the belief that thecamera cannot and does not lie –it is a revelation in modern timesthat the camera can bemanipulated and made to lie.This is primarily due to the factthat the camera and the film donot see or adjust the way ahuman eye can!

For many photographers, bothprofessional and amateur,photography is an art. Whilemany would describe themanipulation of camera ascreative photography, for me it isboth. There are several methodsand techniques by which acompletely ordinary image can beconverted into a creative image ofgreat visual impact. Like greatmasters of painting there are very

many great photographers allover the world who have workedvery hard and achieved legendrystatus by mastering some of thesetechniques and proved thatphotography is not just aboutrecording events but it can beboth creative and an art.

Posterization, solarisation, lineconversion, bas relief etc.areknown as derivative techniquesor processes which have greatpictorial possibilities. They derivefrom the basic negative foraltering the original image andneed a special film called line orlith film which requires a specialcontrast developer and can onlybe practiced in one’s dark room.Lot of patience and hard work isneeded to practice and master the

Outcome of the posterisation technique.


technique to get reasonably goodresults. Printing through texturescreens or sandwiching twodifferent negatives can producesome great pictures too. Two ormore techniques can also becombined to attain some reallystartling results.

Then there are in-cameratechniques which can be usedvery imaginatively andsuccessfully either to control thefinal picture or produce acompletely different picturewhich never existed before thelens. This can be achieved byusing different types of lenses,filters and films. Many years agoI had successfully tried andconverted simple and ordinaryblack and white images intocolour pictures only by usingchemicals, thus creating animpression of brush strokeswhich looked like the portraitspainted by a painter. Reproducedhere are some of those pictures.◆The author is a noted lensman/writer.

A black & white photograph solarisedand red-dyed (top) and the pelicans’black & white photo solarised andthen dyed in red polychrome.


The late 18th and early19th centuries saw theemergence of Pahari

paintings, more specifically theKangra School of Art. So robust isthis art form that artists inChamba, Nurpur, Kulu, Mandi andKangra in Himachal Pradesh areworking to keep it alive bycreating replicas of the originals.Art observers have taken note ofthis novel and interesting trend interms of its artistic and commercialvalue.

The contemporary Kangraminiatures executed by artists inthe hilly towns are available in

Kangra MiniaturesINSPIRED REPLAY

R.L. SAGGAR

original format at the network ofstate emporia and leading artstores. They reflect the sameinspiration, themes and subjectmatter that had flourished duringthe era gone by. Critics call thefreshly done miniatures as “Therevived version of heritage art”.Like the originals, they do nothave the artists’ signature.However, their close resemblanceto the Mughal and later periodminiatures is not difficult to discern.

Radha and Krishna, easy - to -recognise motif of Man andWoman – find portrayal in thepresent day Kangra paintings.

Women in them are perfectionpersonified – lotus eyes, flowingtresses, slender waists, delicatehands and fingers and the bodyhaving an arresting grace. Slightvariations in themes in someexecutions notwithstanding, theyhold the same powerful appeal.

Early miniatures were producedwith great enthusiasm, eachschool having its own distinctstamp of individuality. Like thelyrical Kangra pieces, the colourfulBasohli could add clippedbutterfly wings to impart brillianceto its texture; Chamba with largeand wonder-filled eyes, and the

“Couch of Love”

Kishengarh paintings had thedistinction of curved and longisheyes.

The themes centred on seasons,landscapes, festivals, sports ofKrishna, episodes of Ramayanaand Bhagwad Gita highlightinglove, duty, valour, devotion andcommitment. Animals, pets andbirds, trees, plants and flowershave also been stunninglyrendered and lovinglyrepresented.

Heritage preservation measures,acting as a catalyst, have resultedin extensive renovation of havelisand mini-palaces built bynoblemen. Some of these havebeen transformed into heritagehotels and museums standingout as grand examples of hillarchitecture.

Local artists and painters havecontributed their talent through

Kangra and Mughal style paintingsthat decorate these palaces. Largehalls, baithiks and wide corridorsdisplay these brilliantmasterpieces. The intricatecarvings and paintings don thedoors, windows, galleries,verandahas and walls. With thepassage of time the paintings ondoors and windows had faded.Restoration work on some of thesehave brought them alive, revivingtheir original captivating appeal.Perforated jalis and jharokas andmotifs impart exclusivity to eachpalace, fort and haveli. The creditto a large extent goes to artistsand painters in the small hillytowns for bringing to life the pastglory, through the freshlyexecuted series of motifs andminiatures.◆The author is a senior journalist and art critic.


“Princess in Garden” (above) andthe “Ragini Gandhari” (facing page).

ISSN 0970 5074

India PerspectivesAUGUST 2004

From the Editor…

The giant strides that India has been making in the

applications of its advanced satellite technology in

nation-building projects has started yielding rich

dividends. This technology is now being applied in promoting

healthcare facilities in the country – particularly in the

far-flung and remote areas where medical facilities are not

too developed. Karnataka has become the first state of India to

launch the Telemedicine project that connects all the hospitals

at the district and taluk levels with super-speciality hospitals.

Efforts are underway to help Telemedicine become a popular

and easily accessible instrument of healthcare. “HealthSat” to

be launched next year (in 2005) would help extend the reach

of Telemedicine throughout the country.

That India is a country of continental proportions with a

mind-boggling diversity in its culture, topography and climate

is too well known. Every state of the Indian Union has

something unique to offer to the visiting tourist. This issue

carries an illustrated article on Madhya Pradesh – home

not only to the world-famous Khajuraho temples but to many

other breathtaking and ‘virgin’ destinations that await

exploration! Be it the wildlife sanctuaries at Bandhavgarh

and Kanha, or the Buddhist site at Sanchi, or the intriguing

Bhimbetka paintings by the caveman – Madhya Pradesh

has them all and much more.

At the other end of the spectrum are the mesmerisingly

beautiful Andaman & Nicobar islands. These are in focus

now for the tribes that have been inhabiting these islands.

Anthropologists from the world over are now trying to unravel

the mystery that surrounds their ethnicity, and that how have

they successfully insulated themselves for so long from the

onslaughts of modernity.

AUGUST 2004 VOL 17 NO. 8

EditorBharat Bhushan

Assistant EditorB. Bhushan

India Perspectives

This edition is published for the Ministry of ExternalAffairs, New Delhi, by Navtej Sarna, Joint Secretary,External Publicity Division, and printed atAjanta Offset and Packagings Ltd., Delhi-110052.This edition is designed by PTI for theMinistry of External Affairs.

India Perspectives is published every month in English,French, Spanish, Arabic, Urdu, Hindi, Portuguese, Russian,Bahasa Indonesia and German. Views expressed in thearticles are those of the contributors and not necessarily ofIndia Perspectives. All original articles, other than reprintspublished in India Perspectives, may be freely reproducedwith acknowledgement.For obtaining a copy of India Perspectives, pleasecontact the Indian Embassy in your country.Editorial contributions and letters should be addressed tothe Editor, India Perspectives, 149 ‘A’ Wing,Shastri Bhawan, New Delhi-110001.Telephones: 23389471, 23388873, Fax: 23782391email: [email protected]: http://www.meadev.nic.in

TRACKING THE SUPREME SARASWATI Kumud Mohan 2

TERRACOTTA: CLAY CREATION Jitendra Singh 8

RAIL TO HAFLONG: THE BAMBOO COUNTRY! Sandeep Silas 10

SATELLITE TECHNOLOGY FOR BETTER HEALTHCARE Radhakrishna Rao 16

SHAIKH ABDUL QUDDUS GANGOHI: SYNTHESIS OF ISLAM & YOGA Madhuri Gupta 18

FICTION: TO NURSE WITH LOVE Shiv K. Kumar 20

THE DESERT RHAPSODY Juhi Sinha 24

INCREDIBLE INDIA: MADHYA PRADESH Ashwani Lohani 29

JEWELS OF INDIAN SKY: WHITE-EYE Bhagat Singh 34

ANDAMAN & NICOBAR ISLANDS: FRESH FOCUS Joginder Chawla 36

PHOTOGRAPHY: DERIVATIVE TECHNOLOGY N.K. Sareen 40

KANGRA MINIATURES: INSPIRED REPLAY R.L. Saggar 43

Front cover: Terracotta jewellery from West Bengal.Transparency: Jitendra Singh.

Back cover: The Indore Fort by night.Transparency: Phal S. Girota.

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