Taking the 100-odd participants through the majestic channels of the 19th century canal, Venkatesh’s talk explored the heritage of the areas through which the canal passes. Madras Top, the Madras open cargo, dinghies and the northern Rahadaree — from different boats transporting goods and passengers up and down the coast through the waterway from the 1800s, the canal network enabling cultural and educational advancement in the 1900s to the channel turning into a saviour in times of calamities (2004 tsunami and 2015 flood) — over 200-odd-centuries of history flows through the banks of the Buckingham Canal. To celebrate its role in the city’s growth and development, and to mark Madras’s 381st birthday, INTACH Chennai Chapter organised an hour-long webinar by historian and author Venkatesh Ramakrishnan. Taking the 100-odd participants through the majestic channels of the 19th century canal, Venkatesh’s talk explored the heritage of the areas through which the canal passes. Channel for growth “Digging a canal through Madras had a major impact on the areas around it. From 1880 to 1960, the Buckingham Canal moved goods and passengers right through the city. The channel introduced trade, making places like Mylapore and Triplicane the entry point of goods. This accrued prosperity attracted migrants and increased the chance for culture and education to grow,” he said, adding that it most importantly enhanced the chance of different layers of a highly stratified society in Madras to interact on a day-to-day basis, perhaps for the first time. This resulted in great political realignments that went on to influence the politics of the state. “The canal ran through Mylapore, Triplicane and Chepauk. These were already established villages gobbled up by an ever-growing city. So when the canal came into the picture, the existing population began making use of the canal to grow economically. Around 1900, to see a ‘Brahmins only’ board in eateries, especially in Triplicane and Mylapore, was common. In such hotels, even those from the community had to show their sacred thread to enter. To counter that, in 1914, C Natesa Mudaliar ran a Dravidian hostel in Akbar Sahib Street in Triplicane for non-Brahmin students. Not stopping with lodging, he conducted debates and discussions and soon the hostel became a nerve centre of political activity, urging all communities to unite under one umbrella to fight Brahmin domination,” he said, pointing to possibly the earliest movement of Dravidian politics in the state. Changes were inevitable and despite two world wars, bombings, and evacuations that disrupted supply chains, Madras’s population too grew in number. “When the roadways was underdeveloped or wasn’t something one could rely on, the city was able to supply its population with enough food grains, firewood and fodder with the help of the canal, which was the primary logistics provider for over half a century,” he said, musing about the canal that runs from Pedaganjam in Andhra Pradesh to Marakkanam in Tamil Nadu. While the boats carried cargo like firewood, coconuts, vegetable and grains, it also ferried passengers, including eminent personalities like Henry Steel Olcott, Annie Besant, Edward Lear and their ilk. Indigo was also ferried from Nellore when the canal was extended beyond Dugarajapatnam in 1856

Former glory To a captivated audience, Venkatesh read out excerpts from Lear’s travelogues, about his boat rides on the canal in its heyday. “Canal boat, covered, low, and not at all too comfortable; I doubt if I can bear being inside it for long, yet must go… Tracking along with the canal is quite work enough; as yet no sail is put up…a distant line of coco-trees, flat green fields near at hand…beautiful parrot green foliage of coco-trees and bamboos to the water’s edge… The noise made by the older boatman drove me almost mad, coming as it did after bad thumps on the head,” he read, allowing us to paint a visual image of the canal’s former glory. In the 1940s, boat rides in the canal were open to school excursions and tourists. Vintage vestiges and imageries of the city’s architectural marvels like the Senate House, Chepauk Palace complex, Kalas Mahal; places of education like Presidency College, Queen Mary’s College and Madras Sanskrit College; Gosha Hospital and the Chepauk stadium along which the canal flows, among others, were also presented. Today, the waterway is clogged with silt, industrial effluents and sewage, and has been encroached for more than half its width. “If not for the imageries that exist and the documents that are available, it’s tough to imagine the Buckingham Canal as a scenic place. Competition from rail and later, road transport diminished its importance, and during the 20th century, portions of it became unusable and badly polluted. The MRTS pillar footings have also blocked the water flow. An important geographical feature that contributed to the growth of the city and its prosperity now lies wrecked,” he said. In a talk orgnaised by INTACH Chennai chapter to mark Madras Day, historian Venkatesh Ramakrishnan explored the heritage of the areas and natural backwaters that the 19th century Buckingham Canal connects

https://www.newindianexpress.com/cities/chennai/2020/aug/31/intach-chennai-organises-webinar-by-historian-venkatesh-ramakrishnan-to-celebrate-role-of-19th-century-canals-2190359.html, August, 31, 2020

Prime Minister Narendra Modi, in his monthly 'Mann Ki Baat' broadcast on Sunday, mentioned Etikoppaka toys, bringing into focus Andhra Pradesh's famous craft and the efforts of local artisan C.V. Raju to bring innovations and restore the past glory of this 400-year-old art. Etikoppaka, a village 80 km from this coastal city, is famous for the trademark wooden toys. As Modi mentioned in his speech, these toys have no sharp edges. They are rounded on all sides and hence present little chances of an injury to children. Etikoppaka toys are known for their softness, rounded contours, polished colours and the overall craftsmanship. The artisans make wooden bowls, toy trains, idols of gods and goddesses, wooden cannons, bullock carts, spinning tops and many other toys. The mention of Etikoppaka by the Prime Minister is significant in the wake of growing demands for a ban on import of Chinese toys and the government's thrust on promoting local toys. Despite several challenges including the drop in demand due to the Covid-19 pandemic, the artisans in Etikoppaka are hoping that a ban on Chinese toys would revive the demand for their unique craft in the market. The pandemic has hit hard the traditional and eco-friendly wooden lacquer-ware and toy craft industry of Etikoppaka. About 300 families from the village, located near the banks of the Varaha river, have been dependent on the profession for over four centuries. Already facing numerous challenges, including competition from plastic toys and flooding of Chinese products in the market, they were hit hard by the pandemic with no fresh orders from traders and online retailers for the last five months. The artisans in the village used to produce toys worth Rs 20 to Rs 30 lakh every month but production came to a complete halt with the outbreak of Covid and resultant lockdown. The artisans are now looking for support from the government, and want it to extend financial assistance on the lines of 'Nethanna Nestham', a scheme for handloom weavers. The tensions with China and the demands from various quarters for ban on Chinese imports have given fresh hopes of revival to Etikoppaka artisans. With the Prime Minister stressing on local manufacturing of toys, they feel that Etikoppaka can regain its past glory by again emerging as a key hub of toy-making as they expect renewed demand for their products. The dumping of identical cheap Chinese wooden toys was a big challenge for the traditional artisans of this Andhra village as they could neither compete with their pricing, nor their marketing. The wooden lacquer craft toys or 'Etikoppaka Bommalu' has a long history said to be dating back to Bahamani times. The craft was originally started in Nakkapalli village but was later moved to Etikoppaka after the area's landlords resettled the artisans there. The artisans mainly use the wood from trees locally known as 'ankudu' (Wrightia Tinctoria) and lacquer, a colourless resinous secretion of a certain species of insects, collected by tribals from surrounding forests. Clarified lac is blended and oxidised with natural dyes and is applied to lathe turned wooden articles. However, the mushrooming of plastic toys, fierce competition from China and scarcity of raw materials such as wood due to shrinking forests threatened the very survival of this craft. Raju is one of the artisans who came forward to save the craft with their efforts to procure raw materials from the Forest Department. A local landlord himself, Raju negotiated with the forest authorities to make the wood more accessible. He encouraged the artisan families to participate in the government sponsored community forest management programme to grow more ankudu trees and other dye bearing species. He went to greater lengths to find organic dyes suitable for blending with lac and succeeded in obtaining a new range of attractive blends. Raju's innovations which also helped in product diversification, have been documented by the National Institute of Design (NID), Ahmedabad. According to the document, Raju initiated the process of creating a separate co-operative association of the artisans called "Padmavati Associates". His key strategy has been to strengthen local knowledge traditions of making vegetative dyes, develop new tools, techniques and methods for increasing shelf life of the dyes and generate new uses. In addition, he has also received the vegetative dying traditions for local textiles. He has developed many new toys for which market is slowly emerging in India and abroad. In 2002, Raju received the President's Award. He also won the National Innovation Foundation Award from the Union Department of Science and Technology, the Centenary Awards, the UNESCO Seal of Excellence and Lifetime Achievement Award from INTACH for reviving the Etikoppaka craft of making toys. Raju mentored and trained several artisans and continues to do this. He is now training tribal youths from Araku as the area has natural resources such as black berry and jackfruit trees for the wood and natural colours. Raju, who is the director of Padmavathi Associate of Artisans, has set a target of training 100 skilled artisans to produce Araku crafts using local material and native talent. One of them will be selected as master craftsman who will train more locals.

https://www.sify.com/finance/andhras-400-yr-old-etikoppaka-toys-craft-seeks-to-regain-past-glory-news-topnews-ui5jdAibgfegc.html, August 31, 2020

The Ministry of Tourism organised their latest webinar titled Hampi- Inspired by the past; Going into the future on 29th August 2020 under Dekho Apna DeshWebinar series.The webinar was focused on an integrated approach that addresses the needs of Hampi as both heritage site and tourist destination, and addresses social, economic and ecological concerns.Dekho Apna Desh Webinar Series is an effort to showcase India’s rich diversity under Ek Bharat Shreshtha Bharat programme. Presented by Ms. Shama Pawar, Founder, The Kishkinda Trust and Convenor, Intach Anegundi Hampi , the webinar showcased the austere, grandiose site of Hampi which was the last capital of the last great Hindu Kingdom of Vijayanagar. A UNESCO World Heritage site, Hampi?s spectacular setting is dominated by river Tungabhadra, craggy hill ranges and open plains with widespread physical remainsa. The sophistication of the varied urban, royal and sacred systems is evident from the more than 1600 surviving remains that include forts, riverside features, royal and sacred complexes, temples, shrines, pillared halls, mandapas, memorial structures, gateways, defence check posts, stables, water structures etc. The presenter started with Hampi?s history. Its name is derived from Pampa which is the old name of the Tungabhadra River on whose banks the city is built. In 1336 CE, the Vijayanagara Empire arose from the ruins of the Kampili kingdom. It grew into one of the famed Hindu empires of South India that ruled for over 200 years.The Vijayanagara rulers fostered developments in intellectual pursuits and the arts, maintained a strong military and fought many wars with sultanates to its north and east. They invested in roads, waterworks, agriculture, religious buildings and public infrastructure. The site used to be multi-religious and multi-ethnic; it included Hindu and Jain monuments next to each other. The buildings predominantly followed South Indian Hindu arts and architecture dating to the Aihole-Pattadakal styles, but the Hampi builders also used elements of Indo-Islamic architecture in the Lotus Mahal, the public bath and the elephant stables. Vijayanagara Empire flourished as it controlled cotton and spice trade routes of Southern India. Medival historians refer to Hampi as an important center of trade. However, the glory of Vijayanagara was short lived. With the death of Krishnadevaraya, the combined armies of the five muslim kingdoms- Bidar, Golconda, Ahmednagar and Berar destroyed this might empire in 1565. The Kishkinda Trust was established in 1997 to work towards integration of heritage conservation with the lives of the local people, striving towards the socio economic and cultural enhancement of Anegundi village. Since its inception, the trust runs programs integrating heritage conservation with crafts, rural tourism, organic farming and other locally developed skills that benefit the community socially and financially. The presenter while highlighting the important attractions of Hampi, spoke about the 15th Century Virupaksha temple which is one of the oldest monuments of the town. The main shrine is dedicated to Virupaksha, a form of Lord Shiva. Hemkunta Hill, south of the Virupaksha temple contains early ruins, Jain temples and a monolithic sculpture of Lord Narasimha, a form of Lord Vishnu. At the eastern end, there is the large Nandi in stone; on the southern side is the larger than life Ganesha. Large single stone carvings seem to have been the fashion of the day in Hampi, for there is a large image of Narasimha (6.7m high), the half lion half man incarnation of God, as well as a huge linga. Hampi Bazar street also known Virupaksha Bazar begins in front of the Virupaksha temple and ends at the foothill of the Matanga hill. As Rama and Lakshman continued their search for Sita, along the way they found this Matanga Hill where Sugriva lived with his Minister Jambavan and associate Hanuman. Two kilometers east of Hampi Bazaar, one can see the Vittal temple built in the 16th Century, and now a World Heritage monument. The carvings on this temple give an insight into the architectural splendor achieved by the artisans of Vijayanagara empire. The columns of the temple are so balanced that they have a musical quality. Queen?s bath, Hazara Rama temple, Lotus Palace, Elephant quarters are other attractions which cannot be missed. Hampi is a place for meditation and looks like a miniature painting. While going around Hampi one can feel the sense of timeless journeys. Hampi?s natural heritage comprise of bolders, scrub and marshy lands, Tungabhadra river, birds and wildlife, otter reserve and diverse flora and fauna. Some trees like sandalwood grow naturally. Irrigation system is good and assists in rice cultivation. People visit Hampi to watch birds, pristine landscape, blend of river, rock and ecology showcasing a beautiful scene. Under Cultural heritage conservation, the Kishkinda Trust in collaboration with INTACH has worked towards the revival of folk traditions and folk arts while activities under nural conservation include avenue plantation awareness campaigns and workshops on nature conservation, documentation of the available birds species of the area, photo documentation of the landscape etc. Anegundi village- In the year 1334, Anegundi?s Chief Minister Deva Raya, became the first ruler of Anegundi. It is also believed to be part of the mythical city of Kishkinda, home to the mighty Indian monkey God Hanuman. Anjunadri, Hanuman?s birthplace lies a few kilometers away from Anegundi. A walk around Anegundi streets will present women grinding spices, decorating their houses with rangoli, or weaving banana fiber into bags for the Kishkinda Trust?s art and crafts shop. Conservation is a progressive concept and the community is involved and proper documentation of village homes, ruined houses are maintained with suggested plans that relate to the current needs and materials. Few examples of living projects such as heritage homes as tourist accommodation, village library, Public spaces, proper sanitation plans etc have been achieved by the Kishkinda Trust. In order to develop local livelihood opportunities for women, with focus on blending locally available materials and skills, a range of banana fibre products were developed which provided employment to 150-200 women in the village. All proceeds from product sales support these livelihood initiatives and help the women of the village to earn an independent income, creating confidence which further help to share their experiences and learn from one another as a family, and this reflects the core values of creativity, friendship and community. Education through performing Arts? has been one of the most effective programs where the children get an opportunity to learn dance, music, theatre from various specialized artists. Children also get to learn the concept of conservation, ecology etc which in the long run help them to get involved in social projects and contribute to community living. Program under sanitation includes providing tools and training workers, regular sweeping, collection and segregation, composting of bio waste, dissemination of dry waste such as plastics etc. Regular awareness program are held for local school children, guest house owners and people of the village and cleaning drives are regularly held to ensure community participation. Summing up the webinar Rupinder Brar , Additional Director General stressed the importance of using the mother earth in a responsible way to preserve and save for future generations. Hampi is well connected by air, rail and road. While concluding the session an announcement was made regarding 5 questions related to the webinar will be asked and the viewers can participate through mygov.in and e certificate will be issued to the successful viewers. The questions related to each webinar will also be posted on Ministry of Tourism social handles. The Dekho Apna Desh Webinar Series is presented in technical partnership with National e Governance Department, Ministry of Electronics and Information Technology. The Sessions of Webinar are now available on the https://www.youtube.com/channel/UCbzIbBmMvtvH7d6Zo_ZEHDA/featured and also on all social media Handles of Ministry of Tourism, Government of India. The next webinar titled Punjab is scheduled on 5th September 2020 at 11.00 am.

https://indiaeducationdiary.in/ministry-of-tourism-organises-a-webinar-titled-%C2%93hampi-inspired-by-the-past-going-into-the-futureunder-dekho-apna-desh-webinar-series/, August 31, 2020

Omaxe Connaught Place in Noida draws its name (and little else) from Delhi’s famous colonial shopping plaza. Inside, Oh!Max, billed as the country’s largest indoor theme park, has a replica Taj Mahal, a holographic show about Shahjahan, a ‘6D’ movie theatre and a Mughal garden. Fifty kilometres away in Shahjahan’s actual capital, Omaxe is building Omaxe Chowk, a mall justified by its multilevel parking, a major requirement for old city traders and residents. When one contemplates Omaxe Chowk’s made-up mélange of “Mughal, British and Indian” architecture, the recent unveiling of Chandni Chowk’s first phase of pedestrianisation seems like a tiny footnote on the changing landscape. Yet this pedestrianisation, which will stretch from the Red Fort to Fatehpuri Masjid by November, is a significant first step in the redevelopment of the old Mughal capital. Once a 17th-century high street, Chandni Chowk had become a traffic-choked thoroughfare, and the retrofitting project recasts it as a promenade with limited and light vehicular access. Major achievements include burying cables, paving wide walkways, and adding street furniture like jaalis, lampposts, signage, and planters. If the new design, red sandstone, low benches, looks familiar, it’s because architect Pradeep Sachdeva (who died this year) is also behind landmarks like Dilli Haat and the Connaught Place State Emporia “In the grand scheme of things, we should just be thankful that at least something is being done,” says A.G.K. Menon, architect and former convenor of INTACH’s Delhi chapter. Though the Shahjahanabad Redevelopment Corporation was established in 2008, its work existed mostly on paper, in “files full of proposals at the MCD,” as Menon says, until Manish Sisodia kickstarted the stagnant body in 2015. Heritage experts were cautiously optimistic, but not fully on board. “Even we felt a bit guilty about putting our foot in it and objecting in court,” says Menon, who was friends with Sachdeva. The main issue the petitioners had was over a wall-like central ‘verge’, which would ruin the sightlines from Fatehpuri to Red Fort with toilets, police posts and large transformers in the middle of the road. “Chandni Chowk cannot be treated like a highway,” says conservation architect and petitioner Smita Makhija, stressing that one-size-fits-all refurbishing, like an earlier proposal to impose uniform shopfronts on buildings from different centuries, was misguided. “There has been continuous change,” says Swapna Liddle, convenor of INTACH’s Delhi Chapter. “So when you ask which point of history, to some extent we need to allow for all of them.” Because of the case, some elements of the project were renegotiated (existing toilets incorporated, for example) after a survey of the area by various stakeholders. There was also a feeling that heritage experts, some of whom have put decades into documenting the architecture of Shahjahanabad, ought to have been included seriously in the planning stages. Makhija says, “We need designers who have the sensibility to work within the historical parameters, to make a contextual solution that will stand the test of time.” So, for example, as history buff Sohail Hashmi observes, “The paving stones and bollards they have put are all sandstone, which Chandni Chowk never had. All the paving in Delhi was done with Delhi quartz.” He added, “There has been systematic neglect for 60 years now. I’m not saying go back to the 17th century, but take it into account. And the 19th, and 20th.” “On one level it is the problem of working without documentation,” says Makhija. “But with the digital technology and tools we have now, I can survey a whole street in one day and generate plans. Conservation can be done in a much more scientific and sustainable way. Information management has become easier. I don’t have to carry a letter to the transport guy, the electricity guy, the Jal Board, it is all on one email.” At times, says Menon, Delhi’s “fragmentation of authority complicates the story”, when “each autonomous agency, and the fiefdoms of the MCD, the state and even central government” are involved. “One thing we have learned is, it’s not my point of view that will prevail, it’s going to be negotiated,” he adds. “But this opportunity is not going to come again, so let’s have a more inclusive dialogue.” This means involving residents as well. With the delays around the case and coronavirus, the project was a nightmare for locals, says Abu Sufiyan, founder of Purani Dilli Walon Ki Baatein, a cultural organisation. “For the last two years, residents have been discussing it. The elderly and children especially face problems related to accessibility. It’s the backbone of the city.” “Any civilised country has incentives for residents of a heritage area,” says Ratish Nanda, head of the Aga Khan Trust for Culture. “Here it’s only penalties. Heritage and development are like a horse and carriage.” Specific bylaws, transferable development rights (so people could convert havelis into hotels, for example), tax incentives and access to funds for maintenance work better, experts say, than poorly enforced encroachment rules. “Bringing different stakeholders together is very important,” Liddle says. “Government bodies have that potential, though they don’t always utilise it. They are ideally placed to bring everybody together, and they should try more.” With the Central Vista and Pragati Maidan projects ripping out New Delhi’s colonial and modern roots in other parts of the city, and with Omaxe Chowk next door, experts and residents hope Chandni Chowk’s pedestrianisation opens a path to more informed, inclusive and incremental “custodianship” of heritage, as Makhija puts it. “The memories embedded in our heritage give you an identity,” she adds. “And you want that multicultural, shared identity. Look at Shahjahan. How many cultures did he draw upon to create a style?”

https://www.indiatoday.in/magazine/leisure/story/20200907-walk-the-chowk-1716433-2020-08-31, August 31, 2020

From Lohe Ka Pul, built in 1866, to iconic Signature Bridge, opened 14 years after the idea for India’s first asymmetrical bridge was proposed, most Delhi links over Yamuna have their unique history.

After setting off a mutiny against the British rule in Meerut in May 1857 — often referred to as the first war of Independence — the Indian soldiers quickly reached Delhi crossing the river Yamuna through the bridge of boats (pontoon), located behind the Lal Qila (Red Fort). It is believed that the link, originally constructed by Jehangir, was rebuilt by last Mughal emperor Bahadur Shah Zafar. It took the British several days before they could assemble an army and defeat the rebels to recapture the capital. The British decided to destroy the bridge to prevent further influx of the sepoys from the east. One such effort was recorded by Charles John Griffiths, a British Army official, in his memoirs. Describing an attempt made on August 5, 1857, he wrote that the responsibility to blow up the bridge was given to engineers. To witness the pulling down of the facility, some of the officers went to the rooftop of the Flagstaff Tower (now located in Kamla Nehru ridge in the North Campus area of the Delhi University). Griffiths’ account is part of a compilation — ‘Letter of spies: And Delhi was lost’ — edited by Shamsul Islam. “Two rafts filled with barrels of powder (gun-powder) with a slow match in each were sent down the river….. One blowing up half a mile from the bridge. The other continued its course, was described by some mutineers on the opposite bank, who sent off men to the raft on massaks (Mashak—water bag made of sheepskin used to carry water). It was a perilous deed for the men, putting out the fuse towed the engine of destruction to shore. The attempt was never made. The bridge remains intact to last,” it said. Later, the bridge witnessed the residents of Delhi fleeing the city. On October 7, 1858, Bahadur Shah Zafar left Delhi over this bridge in a bullock cart that led him to the journey of his banishment in Rangoon. It remained the only link to commute between the eastern bank and the city until 1866 when Bridge No 249 (in technical railway parlance), commonly known as ‘Lohe ka Pul’, was constructed.Thus began the story of modern bridges — rail, road, and metro — over the Yamuna in Delhi. As many as 14 more bridges on 52-kilometre stretch of the Yamuna in Delhi — between Palla and Badarpur — passing through the city have come up since then — the iconic Signature Bridge being the latest. The Signature Bridge was inaugurated in November 2018 after 14 years it was conceptualised. Earlier this month, the Delhi Metro Rail Corporation (DMRC) commenced preliminary work of the fifth Metro bridge over the river, which is part of the Majlis Park–Maujpur Metro corridor under phase-4. The Metro link will connect Soorghat station with Sonia Vihar station in north-east Delhi. First modern bridge The construction of Lohe-ka-Pul (two-level rail-road bridge) or the Old Yamuna Bridge was started in 1863, a year after the death of Zafar in Rangon. It is the most iconic reminder of the early engineering capability of Indian Railway companies. Before its construction, passengers travelling to Delhi from Lahore and Calcutta were ferried across the Yamuna in boats. Earlier, the king had opposed the idea of its construction behind the fort. The bridge’s was expansion was done in 1913, following the rise of rail traffic on this route. “Lohe Ka Pul was the first bridge over the Yamuna in a true sense because two previous bridges — Wazirabad and Mangi bridge — connecting Lal Qila and Salimgarh Fort were constructed over the braided Yamuna. Lohe Kal Pul was constructed over the full span of the river,” says Swapna Liddle, convener, the Indian National Trust for Art and Cultural Heritage (INTACH), Delhi chapter. The Britishers did not make the second link in Delhi over the Yamuna. After Independence, a second bridge over the river was planned. Hence, the Wazirabad Barrage Road Bridge came into being in 1957 that served as a significant connection between north-east Delhi and north Delhi. The two-lane stretch is frequented by thousands of vehicles plying between Uttar Pradesh (UP) and Haryana or Punjab daily. “The bridge was secondary. The main purpose was to provide adequate water to Chandrawal Water Treatment Plant (the oldest facility in Delhi) because the population of the city had increased manifold by then, and the demand of the water was increasing,” AK Jain, former commissioner (planning), Delhi Development Authority, says. The construction was done by the National Project Construction Corporation. The last time it was repaired and rehabilitated in 2019. Linked to trans-Yamuna Around 10 years after the Wazirabad bridge, two barrage-cum-road bridge — Indraprastha (old ITO bridge) and Nizamuddin — were constructed over the river. The function of the ITO bridge was to hold water in the Yamuna, while Nizamuddin bridge was built for road traffic. Both are still vital connections between east Delhi and central Delhi.The Nizamuddin (on National Highway-24) bridge assumed significance when Mayur Vihar, Patparganj and adjoining localities were developed in the 1980s. Expansion of these bridges, parallel road links were also added in 1998. With the development in north-east Delhi, another road bridge was planned near Inter State Bus Terminal (ISBT) Kashmere Gate. About 2.5 kilometre-long facility over the Yamuna connects Central Delhi to Shastri Park, Seelampur, and Shahdara further. At present, this one of the important connections between Delhi and Ghaziabad. It was thrown open to the public in 1990. The Geeta Colony bridge was created in the run-up to the Commonwealth Games (CWG) in 2010. Second rail bridge To decongest the Old Delhi Railway Station, the second rail bridge in the city — on the New Delhi Railway Station-Ghaziabad route — was constructed across the Yamuna in 1969. The initiative was part of the ‘Goods Avoiding Project’ for goods trains plying from Sahibabad to Tughlakabad station. Then came the Kalindi Kunj bridge or the Okhla barrage road in 1984. It was redeveloped in 2013. This route was used by the majority of the commuters travelling between South Delhi and Noida for years. Another important link between Delhi and Noida over the Yamuna was the Delhi-Noida-Delhi (DND) Flyway which was started in 2001. A six-lane bridge parallel to the existing Okhla barrage, by the Noida administration, was opened in January 2019 to ease commuting between Delhi and Faridabad or Noida. Metro links The first Metro bridge over the Yamuna was constructed in 2002 on the Kashmere Gate-Shastri Park stretch (Red Line). In 2009, the stretch connecting Indraprastha and Yamuna Bank stations on Blue Line was completed. The fourth bridge connecting Janakpuri with Botanical Garden was opened in December 2017. Jain, however, says the construction of bridges exclusively for the Metro over the Yamuna is a result of lack of forethought of the authorities as they should have planned properly with provision for road traffic. “The present authorities lack vision. They are shortsighted. Instead of only the Metro, they should have planned road links, too, along with these bridges. The Britishers had thought about it 150 years ago. The Lohe Ka Pul has dual-level (for trains and vehicles) — when there were hardly a few vehicles on the city roads. They had planned it keeping in mind the future of the city,” says Jain. Proposals for more projects The third phase of the Barapullah elevated corridor will connect Mayur Vihar in east Delhi to Sarai Kale Khan and INA Market in the south. It aims to provide seamless connectivity between Mayur Vihar-I and Sarai Kale Khan, making the nearly 9.5 km journey to the AIIMS signal free. According to the Delhi Traffic Police and the Public Work Department (PWD), the city requires at least 30-40 more facilities given the flow of traffic to ensure faster mobility. “The existing bridges over the Yamuna are not sufficient. The government should plan more interlinks especially towards the northern part of the city,” says a former PWD official. Another project — the East-West corridor for signal-free connectivity from Anand Vihar in the east to Tikri in the west is also in the pipeline. In 1997, the railways had conceived a new bridge to replace the Lohe Ka Pul, parallel to it connecting the Old Delhi Station to the Shahdara Station on the Delhi-Howrah route. The project is delayed due to several hurdles. The contract was given to the IIT-Delhi to provide technical expertise in the matter. The new deadline is December 2020.

https://www.newindianexpress.com/cities/delhi/2020/aug/31/lohe-ka-pul-and-more-a-history-of-bridges-in-delhi-2190559.html, August 31, 2020

Architecture, said American architect Frank Gehry, should speak of its time and place, but yearn for timelessness. It not only aids in illustrating myriad facets of time and history but also assists in discerning the trajectory of its pattern. It has perpetually demanded care and maintenance because art has to survive in order to demonstrate the past to the present. Rajeev Bhargava, a noted Indian political theorist, has aptly propounded, that it “contributes to and enhances our collective self-understanding; it touches our identity, evokes strong feelings and is the source of pride”. It seems true that it is like a kaleidoscope with which one can decipher numerous colors of history whether custom, values or civilization; hence one can comprehends world view with a single lens. It echoes the stories of a particular time period and accentuates the experience of being human. It is in this context one can recall the artistic valley enveloped by natural pegs – Kashmir. Kashmir is a treasure house not only to the prominent snow-capped mountain range, ‘margs’, flora, and fauna, but is also home to a unique culture-curated wazwan (Kashmiri feast) or the diaphanous pashminas, the rich heritage and vibrant architecture. It has remained a “melting pot” for a multitude of traditions and cultures in the past. It is a testament to blended traditions and beliefs of ancient Hinduism, Buddhism and Islam; thus has truly exhibited a specimen of tolerance and pluralism of a diverse society. The amalgamation occurred due to the Silk Route which connected Kashmir with Central Asia as it brought with it its diverse aesthetics. This inclusivity has remained a key trait of Kashmir; it has been under various rules, which include -Buddhist, Hindu, Turkish, Mughal, Afghan and Dogra rule. Furthermore, the rulers of their respective periods maintained unprecedented influence over art and architecture.

Historical Background

The Buddhist rule which commenced in the 3rd century AD set its mark on the stone architecture in the form of monasteries, stupas, etc. From 4th to the 11th century, that is, during the period of medieval architecture, Hindu rule began and it promoted stone architecture, mainly in the form of temples. Later, Turkish rule (from the 14th to the 16th-century) left its impressions on brick and wooden architecture (pinjirakari, hammam, etc), generally seen in shrines and mosques. The art of naqashi (painted lacquer) and khatamband (woodcraft in which wooden pieces are fitted into one another) was initiated by Persian and Central Asian craftsmen in Kashmir. The wooden and stone architecture (khatamband, pinjirakari) was also emphasised by the Mughal and Afghan rule. But not much architectural work was witnessed under Dogra rule. Hence, it is palpable how numerous rules in Kashmir embellished its syncretic beauty. The robust edifices configured as shrines, temples, mosques, houses and houseboats illustrate the lambency of art and architecture in the valley. The well-known shrine Charar Sharief which is in Budgam district of Kashmir was built to commemorate a renowned poet and Sufi saint of Kashmir, Sheikh Noor Din, also known as Nund Resh. This shrine illustrated architecture in the form of Pinjra Qari, Zoone Dab (a cantilevered balcony designed to view the moon). Another notable structure, Jama Masjid, which is situated in Srinagar, is Indo-Saracenic style architecture. This structure depicts the medley of two cultures, that is, it has been erected in Persian style but its minar is topped with umbrella-shaped finial, which is in similitude with Buddhist pagodas. One can learn that unlike Islamic mosques of the world which are designed as domes and minarets, this mosque is adorned with pyramidical rooftop. Another captivating mosque in the old city of Srinagar is Khanqah-i-Maulla; it represents wooden architecture and is decorated with papier -mache. It resembles Buddhist chaitya halls. Like Jama Masjid it is structurally conical on the top of the roof while the wooden columns are used for substantiating the ceiling; something similar was seen in temples of medieval Kashmir. Not only prominent structures were testifying the traditions of time, but even common houses and “palatial floating houses” vouched “a moving diorama of architecture soaked in the past”. Every house had a wooden balcony attached with a room called dub. Taq, Dhajji Dewari, wood, mud and bricks (including khaam seari) were prominently representing the magnificence of architecture. Likewise, houseboats echo the detailed designs of Kashmiri architecture which entail double arcaded wooden cloisters with pinjra-kari (geometric wooden latticework) screens and khatamband (wooden pieces fitted into one another) ceilings. Therefore, one can assume that all the shrines like Khanqahi Mualla, Naqshband Saheb, Dastgir Saheb including mosques, temples, houses, houseboats symbolise the intricate and refined testimony of architectural styles.

Where are we at present?

One will concede with the fact that Kashmiri architecture is at the verge of extinction. As we have inferred that art speaks about time but when it is perishing, it can’t even speak for itself. One recognizes the concoction of faith and culture in consensus with each other. Furthermore, ignorance and disconnection with history have profoundly amounted in ravaging Kashmiri art and culture. Ostensibly, one can assert that we are lagging behind in imbibing and cherishing our intriguing culture and heritage just because of our silo mentality. Modernization and technology have been the primary factors for the shift in taste among the natives. The transition from a mud and wood house to cement and brick at the expense of vernacular architecture has consumed the valley in its grip, although this step was in direction for structural stability. Even insulation and comfort were trampled for the “cold modernity”. According to the study titled “Financial evaluation of different space heating options used in the Kashmir valley”, published in the International Journal of Ambient Energy, modern houses in the Valley had “poor insulation levels and loose-fitting doors and windows, thereby contributing to huge heat losses”, and which, in turn, leads to the long-term costs of heating during the harsh winters. The alteration also took place amongst prominent architectural structures. Saleem Beg, convener of the Kashmir chapter of the Indian National Trust for Art and Cultural Heritage (INTACH), lamented while referring to the reconstruction of the Chrar-i-Shareif shrine. He called it “inappropriate interventions” and “perennial infirmities” to the structure. Natural calamities such as floods, earthquakes, water logging due to heavy rainfall, snowstorms, and windstorms too account for obliterating the heritage of the valley. The other issues faced by these edifices include theft, burglary, vandalism, deterioration due to age, electrical hazards, and decay due to lack of maintenance. For instance, Khanqah-e-Moula was damaged in 2017 due to fire. Chaar -e -sharif was gutted to ashes in 1995. The traditional pattern of the shrine was altered with a concrete structure which had no similarity with the old one. At many places, Mehrabs had been replaced with glass in the wooden frame and even paintings, carvings were battered due to new layers of paint. Temples are also in a shabby condition. The construction of modern structures by totally dismissing the rich culture is a gigantic boondoggle. It is imperative for the people to re-analyze what they are trading for their syncretic beauty because Kashmir, according to many, is a place which teaches the world about the balance of life with nature. Our smidgen effort to mitigate the lacuna created by us can be valuable in resuscitating our heritage. We have to focus on 3R’s—Restoration, Resurgence and Resurrection—in order to reconstruct our art and architecture. Our lives will be barren and desolate if we continued with the same attitude without any compunction. There is a dire need to address and come up with the measures for rebuilding our regional gem. Government and we as individuals should collaborate to bring our spiritual and vibrant Kashmir back. We know the fact that if history gets erased, one loses one’s identity. Therefore, it is crucial for us to rejuvenate our pride. And it is worth mentioning what Leonardo da Vinci has propounded, “Beauty perishes in life, but is immortal in art”.

https://kashmirobserver.net/2020/08/31/kashmiri-architecture-from-syncretism-to-dilapidated-edifices/, August 31, 2020

Monuments always stand as an aide-memoire of history and Ashur Khanas in Hyderabad too marked their recognition. Soaked in the aura of Nizam’s magnificent dynasty and shaded with the reverence of maternal endearment, Aza Khana-e-Zehra stands as the epitome of love and bemoan. The historical architecture symbolizes Nizam Mir Osman Ali Khan’s regard for his mother Amtul Zehra Begum also known as Madar-e-Deccan (Mother of Deccan). The monument is used by the Shia community of Muslims for mourning the death of Imam Hussain Ibn Ali in the battle of Karbala. Though the Nizam himself was Sunni, he commissioned this appealing building for his mother who was Shia, thus communicating how religious barriers were once indisputably blended in Hyderabad. Despite owning a region of 86,000 square miles of the princely state, Nizam had chosen the land at the northern bank of Musi (now Dar-ul-shifa) for the construction of this Ashur Khana, noting its potential to withstand Thughyani Sithambar – the Great Musi Flood which occurred on 1908 and killed 50,000 people. Though it washed away the three bridges – the Afzal, Musallam Jung and Chadeghat – the Puranapul survived the flood to become the only link between two parts of the city. Amjad Hyderabadi, an Urdu poet was one of the 150 people who saved their lives by hanging on the branches of a Tamarind tree, which till date, 107 years after the incident stands strong in the Osmania Hospital. Since the land, now adjacent to Salarjung Museum, pulled through the torrent, Nizam laid the foundation of the Aza Khana-e-Zehra, on it, in 1930. As one enters the heavily built structure, a massive space of estimated 4,500 square yards is the first view. The hall can accommodate 25,000 people, usually mourners. The teak rafter ceiling 45-feet high without supporting pillars exhibits robustness of establishments made during Nizam’s dynasty. With sheer delicacy of design, the walls are ornately crafted with light green and yellow colors on them, beaming throughout the hall. Artistic calligraphy of Quranic verses are positioned on the walls. The upper story of the building is beautified with exquisite yet sturdy Jaali for women mourners. The intricate chandeliers made of glass showcase the indulgence of royalty. The chandeliers are rarely lighted and mostly during the days of Ashura – the 10 days of Islamic month Muharram in which Shia Muslims around the world commemorate the mourning custom over the death of Hussayn Ibn Ali. Then, comes the most dominant element of the Ashur Khaana – The Alams! Made of gold and studded with diamonds, Alams are the integral unit of the mourning place, the symbolic representation of the martyrs who died in the Battle of Karbala. These are heavy metals filled with intricate figurines and engraving. In the centre of the Alam stands the Tique, a long sword-like structure engraved with poetry about Hussain Ibn Ali, the names of the prophet Muhammed and his children, and verses from the Holy Quran.

The Alam has a variety of figurines, including lions, birds, flying horse, dragon etc. each symbolising a story. Dhatti, a gesture of respect towards martyrs is offered by the representative of the Nizam family and others. Syed Ali Naqi Moosavi, General Secretary of Tanzeem-e-Jafferi says: “Alam means a flag and ideology of symbolising the martyrs has turned into tradition now” Aza Khana-e-Zehra was conferred the Intach Heritage Award in 1999. Telangana comprises 11,000 Ashur Khanas, many of which are being maintained by Hindus.

https://www.siasat.com/aza-khana-e-zehra-with-love-from-nizam-to-madar-e-deccan-1960247/, August 29, 2020

Over 30 organisations in India, working in the field of biodiversity conservation, have come together to host a national event on various aspects related to butterflies starting September 5, one of its organisers said on Saturday. During the event named 'Big Butterfly Month: India 2020', which will continue till September 20, various activities like online workshops on butterflies, photography and videography contests and butterfly count, will be held, he said. "Butterfly experts, enthusiasts and organisations across the country are joining hands for this first of its kind event in India," said Parag Rangnekar, president of Goa-based Foundation for Environment Research and Conservation (FERC), which is the coordinating the programme, said. "As part of this event, activities like butterfly count, online workshops on butterflies, contests on butterfly photography and videography, will be held across India," he added. Rangnekar said, "More than 30 organisations working in the field of biodiversity and its conservation have come together to organise this event." These include the Bombay Natural History Society (BNHS), the National Centre for Biological Sciences (NCBS), Dehradun-based Titli Trust. "The 'Big Butterfly Count' would be held on an all- India level from September 14 to 20, wherein participants would be encouraged to send their submissions to our well- established citizen science digital platforms- Butterflies of India, iNaturalist, and India Biodiversity Portal," he said. Through the event, people would be educated and sensitised about butterflies, he added. Participants are expected to send information and other material related to the butterfly species that they spot in their backyard, Rangnekar said.

https://www.deccanherald.com/national/pan-india-online-event-on-butterflies-in-september-879526.html, August 29, 2020

It was once the toast of millionaires and the city’s swish list. Mark Twain was a guest. Its ballroom hosted massive gala events. Then, as its owners began to face financial issues in the early 20th century, and as it changed multiple hands, Watson’s on Esplanade, as it was known then, ceased to be Bombay’s premier luxury hotel. Now, a raging legal impasse continues over Esplanade Mansion between its current landlord, tenants, and members of the heritage community who are fighting to save the over 150-year-old building from being demolished. Join Rajan Jayakar, Bombay HC advocate and INTACH Convenor (Mumbai chapter), as he takes participants through an engaging session about the historicity and challenges that face this landmark, which is part of a UNESCO World Heritage Site.

On Today, 4.30 pm

Email [email protected] to register

https://www.mid-day.com/articles/saving-history/22959221, August 28, 2020

Patel said that the Ministry of Culture has taken this step in accordance with Prime Minister Narendra Modi’s call to facilitate and strengthen the process of preservation and registration of archaeological monuments. The Ministry of Culture on Wednesday announced seven new circles of the Archaeological Survey of India (ASI). Union Minister of State for Culture and Tourism Prahlad Singh Patel in a video message tweeted by him. Patel said that the Ministry of Culture has taken this step in accordance with Prime Minister Narendra Modi’s call to facilitate and strengthen the process of preservation and registration of archaeological monuments along with registration of artefacts with self-declaration. The Minister informed that new circles have been created in Madhya Pradesh, Tamil Nadu, Uttar Pradesh, Karnataka, West Bengal and Gujarat. He said that Trichy, Raiganj, Rajkot, Jabalpur, Jhansi and Meerut have been announced as new circles.

https://zeenews.india.com/india/ministry-of-culture-announces-seven-new-circles-of-archaeological-survey-of-india-2305597.html, August 26, 2020

According to a report in The First News, carefully buried monkeys uncovered in an animal cemetery at the Red Sea port city of Berenice have been identified as rhesus macaques, likely to have been imported by the Romans from India. It had been previously thought that the monkeys were guenons, which are local to the region, until zooarchaeologist Marta Osypińska of the Polish Academy of Sciences and her colleagues used 3-D scans of the bones to compare them with those of other species. “This is a unique finding,” Osypińska said. “Until now, no one has found Indian monkeys in the archaeological sites in Africa. Interestingly, even ancient written sources don’t mention this practice.” After surviving the weeks-long journey across the Indian Ocean and the Red Sea, she added, the rhesus macaques died young, probably because the diet they were fed in Berenice lacked necessary nutrients. All of the rhesus macaques in the cemetery were arranged in their graves as if they were sleeping. One had been covered with woolen fabric. Shells from the Indian Ocean, amphora fragments, a piglet skeleton, and three kitten skeletons were also recovered from the monkey burials. To read about the 4,500-year-old burial of a pet rhesus macaque unearthed at the Shahr-i-Sokhta necropolis, go to "World Roundup: Iran."

https://www.archaeology.org/news/8979-200825-berenice-rhesus-macaques, August 25, 2020

The Oriental Research Institute (ORI), a treasure trove of priceless palm scripts and paper manuscripts of many centuries, is embarking on an ambitious project of creating a Fumigation Chamber to improve longevity of these manuscripts. With this, ORI has become the first institute in South India to adopt this technology. This method was very important before going for digitisation of manuscripts. Though University of Mysore (UoM) was granting this fumigation process, students of Department of Ancient History and Archaeology and Museology and Department of Sanskrit, Maharaja’s College, have come forward to do this work as part of internship. Prof. S. Shivarajappa, Director, ORI, told SOM “We have thousands of palm-leaf and paper manuscripts dating back to several centuries. However, the condition of these manuscripts had deteriorated due to various factors despite regular maintenance by staff. The existing manuscripts will be placed inside the Fumigation Chamber to make them free from dust and termite. At one time, around 20-25 manuscripts could be fumigated. With this simple technology, these manuscripts may be preserved for another 400-500 years. It is a continuous process and our staff will be imparted training to undertake this task.” He said a proposal to set up a state-of-the-art laboratory for the chemical treatment of palm scripts and manuscripts would be submitted to the Government. This would help in the conservation of thousands of manuscripts for many centuries to come. Annual maintenance cost of the proposed laboratory may come around Rs. 5 lakh. The Government of Karnataka would be requested to fund for this project, he added. The Director said the Institute has palm leaves dating back to the 4th century and Kautilya’s ArthaShastra. Prof. R. Shyama Shastri published a book on Kautilya’s contribution to economy, social life and nature way back in 1908. It would be much helpful for research scholars to study palm leaves to understand the life of people during those days, he added. Concerted efforts Dr. Rohitha Eswer, Assistant Professor, Department of Ancient History and Archaeology and Museology, said he had a passion for the manuscripts since his College days and would visit the ORI regularly. During this time he found that the condition of manuscripts was deteriorating and wanted to do something to preserve them. Upon approaching Prof. Shivarajappa and the UoM authorities, they gave a green signal to use the Department students in this task. Subsequently, he contacted Dr. S. Subbaraman, former Superintending Archaeological Chemist, Archaeological Survey of India (ASI), Government of India and former Director, INTACH, Bengaluru, who personally visited ORI to share his experience in conservation of manuscripts. Dr. Subbaraman is an authority in conservation activities and has played a vital role in preservation of Ajanta and Ellora sites. He said Dr. Subbaraman was kind enough to give suggestions regarding conservation of manuscripts without damaging its original contents. A number of varieties of chemicals will be used for treatment of fungus infested palm scripts and for insects. More importantly, at least a dozen students will be put on this fumigation job daily as part of an internship as well as to gain experience. The fumigation process was like a pre-preparation for digitalisation of palm scripts. Only naturally available materials are being used in this process. Once cleaned, it would be easy to read the content.

https://starofmysore.com/hi-tech-technology-to-increase-longevity-of-palm-leaf-manuscripts/, August 25, 2020

With rapid urbanisation and concretisation across the city, Delhi is increasingly restricting the recharge of its groundwater reserves. The Master Plan of Delhi 2021 estimates that by 2021, around 921 of the capital’s 1,483 square kilometres will be urbanised. With the increasing rate of groundwater extraction to meet the demand-availability gap, the water table has gone down 0.2-2 metres every year. The only solution to arrest this slide is to tap what the capital can of the average 611 mm of annual rainfall. But Delhiites have a lot of ground to cover in this direction. Delhi Jal Board claims that as many as 7,373 rainwater harvesting (RWH) recharge points have been created in the city, with 544 DJB buildings, 1,305 government buildings, 3,675 schools and colleges and 1,869 private buildings installing RWH infrastructure. Private complexes are still lagging and the full potential remains untapped, despite incentives, revealed a DJB official. While DJB claims it has achieved a near completion of installation of RWH systems in all its own buildings, experts feel focusing on often ill maintained and expensive RWH structures cannot lead to a substantial amount of water percolating underground. A recent report prepared by Intach states that not only is there a need to reduce the cost of RWH units for households, but they also need to be made simpler and require fewer inspections and less demanding maintenance. “In the absence of monitoring and motivation, the recharge structures are ill maintained and are mostly found to be non-operational,” the Intach report says. “The design of recharge structures can be simplified, made economical, accompanied by lower maintenance cost. At plot level, there is no need of filter material as fine material is filtered out by the bed soil of recharge pits and there is no need for bore pipe as once the water has gone 2 metres below the soil, it will percolate on its own.” Manu Bhatnagar, principal director (natural heritage), Intach, explained, “The more complex RWH units require gravel and silt to be removed periodically. The simple need is simply to channel the run-off water to a pit and allow it to percolate naturally into the ground.” A report prepared by South Delhi Municipal Corporation showed that between 2012 and 2019, as many as 11,342 building plans with RWH provisions were sanctioned in south Delhi alone. DJB too has more than 15,706 such plots of 100-500 sq m registered in its revenue management system for whom it is mandatory to install RWH systems. Under regulation 50 of Delhi Water and Sewer (Tariff and Metering) Regulations, such plots can be given a rebate of 10% in the water bill if they installed RWH, while those that didn’t faced a penalty 1.5 times the bill amount. In August last year, DJB amended the rules to make it mandatory for all properties 100 sq m and above to have functional RWH systems. Compliance, however, has been much lower than the expectations. The Jal Shakti Abhiyan action taken report and Delhi’s economic survey of 2019 revealed a very low level of compliance, with just 1,559 consumers availing the 10% water bill rebate by installing RWH systems, and 11,958 consumers being penalised for non-compliance. Experts attribute the repeated deadline extensions given to enforce the penalty for the poor show. A DJB official said that the board in its meeting on 12 June has decided again to extend the deadline for levying the RWH noncompliance penalty till December 31. “Nine rain centres have been opened in each district to encourage owners of property of 100 sq m or more to comply,” the official said. It is estimated that Delhi’s annual RWH potential is 900 billion litres of water, while that for rooftop harvesting is 27 million litres per day. If Delhi wishes to be hydrologically sustainable, rainwater harvesting has to become a part of the agenda.

https://timesofindia.indiatimes.com/city/delhi/why-rain-only-hope-for-delhis-water-table/articleshow/77699060.cms, August 23, 2020

Built in 1784, along with the Bara Imambara, this 236 year old archway is as pivotal to Lucknow as India Gate is to Delhi. Rumi Darwaza is one of the most popular heritage structures of the city and is truly counted amidst Lucknow's pride. The magnificent structure, the intricate design and the peculiar name of this giant doorway, have a story to tell. The Nawabs appointed by the Mughals as governors in the yesteryears, have left an artistic stamp on the architecture of the city and Rumi Darwaza is a towering witness to it. If you're visiting Lucknow, you'll definitely be advised to visit the Rumi Darwaza and if you don't understand why this place should be on your itinerary, we'll tell you. The Rumi Darwaza stands as a 60ft tall doorway in the middle of the Bada Imambara and Chhota Imambara in the city of Lucknow. This imposing structure is in the middle of a busy road and now marks the entrance to the old city.

Designed on the lines of the Turkish gate

The Rumi Darwaza is designed after the Sublime Porte, Bab-iHümayun in Turkey (erstwhile Constantinople) and therefore is sometimes referred to as the Turkish gate. The marvellous door in Lucknow has also inspired a similar gateway in Istanbul.

Food-for-work Programme

The Rumi Darwaza was built during the rule of Nawab Asaf-ud-Daulah in 1784 under a food for work programme. The Kingdom of Awadh was hit by a major famine and the self-respecting people of the province refused to take help from the Royal Treasury. So, instead of handing out a dole, the Nawab initiated the construction of Rumi Darwaza and Bara Imambara in the city- the two most exemplary and striking models of the Awadhi architecture.

The Nawabi touch

The Rumi Darwaza was different from all other Mughal structures which were usually built in red stone or marble. The famine had left the province with lesser resources and thus the Darwaza was constructed out of bricks and lime. This was not only an economical choice, it also laid down the foundation of what today is called as typical Awadhi or Lakhnawi architecture.

Beamless structure

Like the Bara Imambara which was also built during the same era, the Rumi Darwaza is a beam-less structure.The doorway has been standing for 236 long years, just with the use of lintels!

Detailed architecture

The gateway is an example of Awadhi school of architecture, with hints of Turkish and Roman designs. Carved with stones, the details of this monument are so much more defined than those built in stone and marble. Stucco ornamentation or gajkari has been used to ornamentalism the monument, giving it a deep relief effect even on flat walls. It was later coated with lime!

What's in the name?

The word "Rumi" is derived from the modern day Rome that used to be Istanbul, the capital city of Eastern Roman Empire. The Rumi Darwaza is one of the finest gateways that has been built in Lucknow and is highly inspired by a similar gateway in Istanbul.

Intricate design that shows eye for detail

The gateway is characterised by the eight-faceted chattri or umbrella that could be accessed by a flight of stairs. During the rule of the fourth Nawab Asaf-ud-Daulah, a huge lantern was lit here which illuminated the entry to the Nawabi Palace. Today, access to the chattri is prohibited, however, new light instalments keep the door lit! Little jets of water would rush out of the sides of the arch from beautifully carved flower buds thus making it look like a gateway to Paradise. The beautifully carved flowers and designs speak volumes about the unique architectural style and eye for detail.

Have you noticed the gateway in the metro logo?

The Rumi Darwaza has become so significant to the city of Lucknow and its pan India and global identity, that the door has been adopted as a symbol for both, the logo of the city and that of the metro corporation! So whenever you find yourself in the older parts of Lucknow, do make sure to stop by. Stand at the entrance, soak up the charms it exudes and get clicking! Perfect spot for an evening stroll or a midnight drive, Rumi Gate will leave you enchanted with its artistic brilliance and royal grandeur every-time you visit. To know more such quirky facts about the city and its wonders, follow Knocksense Lucknow on Instagram!

https://www.knocksense.com/lucknow/marvel-in-wonder-facts-about-lucknows-doorway-to-heaven-the-rumi-darwaza/intricate-design-that-shows-eye-for-detail, August 22, 2020

A representation of the architectural excellence of the Marathas, Krishna Chattris or Krishnapura Chattris in Indore are a fine specimen of the Hindustani-Marathi architecture. Standing as the symbol of courage, bravery and the glorious past of the Holkar dynasty, this red stoned monument attracts thousands of tourists and visitors every year.

Krishna Chattri

Built in the 1800s, this marvellous stone monument is an evidence of the grandeur of the Marathas. With a three chatri structure that stands here, Krishnapura Chattri in Madhya Pradesh certainly stands as a great tourist attraction.

The Krishna Chattris: a token of the Maratha pride

The architectural heritage stands on the banks of River Khan(Kahn), overlooking a picturesque view. The grandeur of these Chattris is at its prime during the festive season in the city, highlighting the enigmatic glory and culture of the ancient Indreshwar city.

Holkar Chattri

The Krishna Chhattris were built as cenotaphs to honour the remains of the Holkar dynasty's rulers, which is why it is also known as the Holkar Chhatris. All three of the Chhatris are located at a distance of 500 m from the palace of Rajwad, which was also built by the Holkar dynasty.

The Architecture

The grand yet intricate architecture of the Krishna Chattris is a testimony to the fact that Marathas had both the resources to create magnificence and the taste to create a masterpiece. Though a signature style of the Indo-Islamic school of architecture, the Chattris- Umbrella like structures gel well with the Marathi designs, temple and carvings, giving it an exquisite look.

The Triplet Chattris

The 3 Chattris are said to be dedicated to Maharani Krishnabai Holkar as it houses a Krishna temple built specifically for the queen. The other two Chattris are dedicated to Maharaja Tukoji Rao Holkar II and his son Shivaji Rao Holkar and are connected through a passage.

Token of Respect

The most surprising feature of this monument is the fact that the carvings of soldiers, courtiers and musicians that stand here, besides the statues of rulers. This honorary token is an example of the generosity of the magnanimous Marathas!

Intricate carvings

The details of the Krishna Chattri is something that leaves every tourist in wonder. Carvings of Gods and Goddesses sculpted on the outer walls of this structure are breathtaking in both design and precision. To know more such quirky facts about your city, follow Knocksense Indore on Instagram!

https://www.knocksense.com/indore-city/7-interesting-facts-about-indores-krishna-chattri-a-symbol-of-courage-and-bravery/intricate-carvings, August 22, 2020

Sa, Re, Ga, Ma pillars? Yes! That is what the famous musical pillars in the Vittala Temple in Hampi are called. This temple is an ancient structure, well-known for its architecture and unmatched craftsmanship. The monument is easily one of the largest and most famous structures in the group of monuments in Hampi. Located in the northeastern part of Hampi near the banks of the Tungabhadra River, it is difficult not to be affected by the stunning beauty and workmanship that is showcased on these stones.

HAMPI

This area has many other beautiful stone structures too, like the stone chariot, the Goddess’s shrine in the northwest, the 100-pillared hall in the southwest, the Kalyana Mantapa (the ceremonial marriage hall) in the southeast and the pillared cloisters all around the enclosure wall. But the temple remains the major draw amongst tourists who come from across the globe to glimpse the once-glorious Vijayanagara capital, which lies in ruins now. Schools nearby also organize cycle rides to this monumental outdoor museum. Just imagine what it must have been like to be living there, so many years ago. The monuments take you back to the early 15th century, when the structure was built during the rule of Deva Raya II (1422–1446), who was one of the more famous rulers of the Vijayanagara Empire, and sensitive to the arts and crafts. Krishnadevaraya (1509– 1529), the most famous ruler of the Vijayanagara kingdom, expanded the temple during his reign. Hampi falls within the state of Karnataka, about 350 kilometres from Bengaluru. It is an absolute delight for any student or lover of history, archaeology, architecture or religion. Spread over 25 square kilometres, one would probably need a whole week to do proper justice to its many temples, palaces and other awe-inspiring stone monuments. On top of that, you have giant boulders strewn all over the terrain, as well as a river that bisects the area… No wonder it is on the list of UNESCO’s World Heritage Sites. One of the best ways to enter the Hampi grounds is from the eastern entrance tower. Very soon you will come upon the famous stone chariot, which shows up on practically any poster or book cover of these world-famous ruins. One look at that image and one immediately knows that Hampi is being referred to. The chariot is actually a temple, albeit a very unusual one. The stone chariot temple was dedicated to the Eagle God, Garuda, who is the vahana (vehicle) of Lord Vishnu. So, it is indeed befitting that this temple faces the main temple. If you lie down and peep under the chariot, you will be rewarded with the sight of a relatively well-preserved painting, typical of those times when art, music and dance flourished in the Vijayanagara kingdom. Being underneath the chariot, the painting was protected better than the rest of the sculptures of the Vittala Temple, which are said to have been covered with similar paintings. Can you imagine that these large wheels of the chariot would be turned by visitors a long time ago?

VITTALA TEMPLE

This temple, also known as the Shri Vijaya Vittala Temple, is proof of the immense creativity and architectural expertise possessed by the sculptors and artisans of the Vijayanagara Empire. The temple is built in the Dravidian style of architecture. One can imagine the sight of so many skilled sculptors chiselling away at massive chunks of stone, slowly turning them into the masterpieces that we see today. The temple stands in a large rectangular enclosure of 164 metres by 94.5 metres. Aim to reach the main Mahamantapa (the Great Hall) as soon as possible. After all, for many it is the highlight of the visit. The hall, it is said, had been partially damaged by Mughal conquerors in 1565. Obviously meant for the mighty and important, the Mahamantapa is literally on a higher plane — elevated and special.

Four open halls fall within the Mahamantapa. While the southern, northern and eastern halls are quite intact, the main hall has caved in a bit. The central western hall has collapsed. The main highlight of the Mahamantapa is its richly carved giant monolithic pillars. The outermost of the pillars are called the musical pillars. The musician’s hall, which is the eastern hall, has elaborate sculptures of musicians and dancers on its walls. For some unknown and slightly bewildering reason, the southern hall is covered with sculptures of mythical creatures called Yalis — part lion, part elephant and part horse — somewhat incongruent to the rest of the art around. Legend has it that this temple, which is dedicated to Vittala, an incarnation of Lord Vishnu, was originally built to serve as a home for Lord Vishnu in this particular incarnation. However, it is said that when it was completed, he found it much too grand for him and chose to return to his simple home in Pandharpur.

MUSICAL PILLARS

The large Ranga Mantapa, with its famous fifty-six musical pillars, emits musical notes when the pillars are gently tapped with one’s thumb. Sa, Re, Ga, Ma are four of the seven musical notes as per Indian classical music, the rest being Pa, Da, Ni. Each pillar is 3.6-metres high and made of solid granite. These huge pillars also provide vital support to the roof of the mantapa. The main pillars are designed as musical instruments and every main pillar has seven minor pillars that emit musical sounds. Every note coming out of these pillars varies in its sound quality and also changes as per the percussion, string or wind instrument being played. Now let us think aloud: How do these pillars of the same material create different sounds? Were holes created in the granite? If so, that would explain the various sounds that the pillars produce. The British tried to figure this mystery out by cutting one of the larger pillars and one of the smaller ones too, to get to the bottom of this mystery. But there was no revelation, because all the pillars were the same— solid rock! If the height, weight or diameter had been altered, the chances of the pillars making different sounds would be high. But no, no, no. All the columns are of the same height, weight and diameter. And still they produce these musical notes! No credible explanation! However, tapping the musical pillars has now been prohibited, as tapping over the years has caused some damage to the musical pillars.

FINALLY, RESEARCH!

Scientists from the Indira Gandhi Centre for Atomic Research in Kalpakkam, Tamil Nadu, conducted the first scientific investigation on the acoustic properties of the musical columns in the pillars around 2006–07. The study was concentrated on the eleven most popular pillars. Non- destructive techniques such as low-frequency ultrasonic testing and in-situ metallography were used. The in-situ metallography revealed that the microstructure of the pillars were similar to a typical granite microstructure. The low-frequency ultrasonic and impact echo testing showed that all the musical columns are solid shafts. Most of the musical instruments that the sounds from the pillars correlated to were percussion instruments like the Kerala mridangam, tabla, ghatam and damaru. The other musical sounds were that of the veena, jaltarang, shankha, ghanta, panchtala and saptaswara.

Excerpted from A Dozen and a Half Stories - Strange and Mysterious Places the World Forgot by Arti Muthanna Singh and Mamta Nainy, with permission from Rupa Publications

https://www.tribuneindia.com/news/schools/the-temple-with-musical-pillars-129855, August 21, 2020

It’s a relatively lesser-known fact about British rule in India that Lord Curzon, the architect of the partition of Bengal in 1905 was also the architect of the first major legislation pertaining to built heritage preservation in India. Driven no doubt by imperial considerations, Curzon gave a big impetus to the preservation of monuments, infused new energy into the Archaeological Survey of India, and created a policy framework for heritage preservation. The Ancient Monuments Preservation Act of 1904 forms the foundation for post-independence legislations. It defined a monument as “any structure, erection or monument, or any tumulus or place of interest, or any cave, rock sculpture, inscription or monolith, which is of historical, archaeological or artistic interest”, as also “such portion of land adjoining the site of an ancient monument as may be required for fencing or covering in or otherwise preserving such monument”. The Act provided for the compulsory purchase of a building by the government if it felt the monument was threatened, put restrictions on any alteration in such monuments, and fixed boundaries around monuments within which mining, quarrying or construction activity was strictly controlled by the government. The Ancient and Historical Monuments and Archaeological Sites and Remains (Declaration of National Importance) Act, 1951 was the first legislation for heritage preservation in independent India. It bestowed “national importance” status upon all the monuments and archaeological sites and remains that had been originally included in the 1904 Act. More monuments have been added to this list, adding up to a total of 3,700 monuments-all of national importance. In 1958, the Ancient Monuments and Archaeological Sites and Remains (AMASR) Act was enacted, which, taking on from the 1904 Act, introduced the notion of “prohibited” area around a monument, in which no construction work was allowed except under the supervision of an archaeological officer; and a further regulated area, in which too restrictions would apply. This was followed up with the Ancient Monuments and Archaeological Sites and Remains Rules, 1959, empowering the Central Government to specify the exact prohibited and regulated area around national monuments. Under these rules, it was in May 1991 that the Central Government specified 100m area around the monument as a prohibited area, and further 200m, as regulated area. Navin Piplani, Principal Director, INTACH Heritage Academy, told The Leaflet: “Most of the provisions of the Act resonate with what was happening during the British colonial period. Many of the monuments that have been declared monuments of ‘national importance’ are not isolated structures. These are surrounded by people. In our cultural context, these were not ‘monuments’; these were part of the settlement. But when you bring in an Act, you bring in bureaucracy and control.” Piplani questions the treatment of a monument as an ‘island’ that creates a disconnect with the people living around these monuments. As an alternative, he cites examples of several international practices. In Rome, there are monuments you can pass by in a car or live in a hotel next to it. It does not have strict boundaries. In Paris, heritage is integrated within the fabric of the city and you can’t distinguish between old and new. In the archaeological city of York, you have an archaeological excavation and right next to the site you can develop a whole new housing complex. Piplani also questions the rigidity regarding the 100m prohibited area. “You can do the grading. For a structure like the Taj Mahal, even 100 or 200m will not work. Maybe 500m or more is needed. On the other hand, a structure like Kos Minar which are milestones set up on the Grand Trunk Road by Sher Shah Suri does not need 100m protected area. Maybe 50m or 30m would suffice.” In 2010, the AMASR Act of 1958 was amended. The Ancient Monuments and Archaeological Sites and Remains (Amendment and Validation) Act, 2010 provided for the creation of a National Monument Authority for grading of monuments, and further, the Ancient Monuments and Archaeological Sites and Remains (Framing of Heritage Bye-laws and Other Functions of Competent Authority) Rules, 2011, empower this body to prepare bye-law for each monument of national importance.

This could perhaps address the issue of flexibility that Piplani has raised, but it will only work if bye-laws are framed and approved speedily. The AMASR Act ensures protection to the monuments of national importance, though courts have on several occasions expressed anguish about the apathy towards heritage preservation, noticeably in the case of a deterioration of marble of the Taj Mahal due to industrial emissions. Also in the case of construction of high-rises in close proximity of Jantar Mantar, New Delhi, and in undermining the heritage value of heritage buildings of Mumbai, due to billboards and neon signs. But there are a large number of non-monument heritage buildings, which come under the protection of municipal bodies. These buildings, a majority of them residential, would have unique architectural features, historical significance or a cultural connect with the city or neighbourhood. Maharashtra was a pioneer in framing the rules for these buildings —the Heritage Regulations for Greater Bombay in 1995, under the Maharashtra Regional and Town Planning Act, 1966. Buildings and precincts, depending upon their importance, were divided into Grade I to III; while in Grade I no alteration was allowed except for strengthening of structure, in Grade III, some changes were allowed, subject to the approval of the Heritage Conservation Committee. The conservation-development debate comes into play in full force at this level, with the scarcity of housing, pressures from real estate, and political forces being at loggerheads with conservation needs. There is real estate greed at work no doubt, but there is also the plight of owners. Heritage tag, rather than being a matter of pride, is a sour point with property owners as they don’t have a free hand to renovate structures. Piplani echoes a common feeling when he says: “A building cannot be frozen in time. And the owner of that property should be able to enjoy modern comforts just as others do, like a car, air conditioning, etc. Give them those enabling laws that they don’t feel that heritage is a burden, but a boon.” And Mumbai is the most glaring example of these contrary pulls at play. In fact, the Development Control and Promotion Regulations (DCPR) 2034 has diluted the Heritage Regulations of 1995, primarily by undermining the role of the Heritage Conservation Committee. For Grade III buildings and precincts, the Plan states that for minor repairs and maintenance like plumbing and repair to the roof, the Commissioner can grant approval without the No-Objection Certificate of the Heritage Conservation Committee, on the condition that there will not be any change in the façade. In case of reconstruction or redevelopment of Grade – III buildings, the Commissioner can grant approval for a height of up to 32 m. Even if the height exceeds 32 m, there is provision for special permission from the Commissioner. Vikas Dilawari, eminent conservation architect and UNESCO award winner, who has renovated or restored numerous structures of historic significance in Mumbai, like the Flora Fountain, Army & Navy Building, Esplanade House, J N Petit Library, says that the impact of DCPR-2034 on Grade III buildings and precincts will be grave. “Grade III constitutes the bulk of the heritage listing. And no one is going to touch Grade I buildings.” He further expresses concern: “Once the balance between development and heritage is tilted towards the former, landmarks will start losing context. A good urban design will go for a toss.” Similar concerns are being voiced in other cities as laws are tweaked to the detriment of heritage structures. In Kolkata, a builder consortium managed to have the Old Kenilworth Hotel downgraded to Grade III, which facilitated its demolition. In Hyderabad, when the state of Telangana was formed, a 19th Century mansion called Irrum Manzil lost the legal protection it had enjoyed due to a new law. So, the state government planned its demolition to make way for a new legislative assembly on the spot. It was the judicial intervention that saved the structure from getting demolished. In Bengaluru, a citizen group called Heritage Beku has been formed to fight the threat to build heritage and green cover. The stark reminder of what the citizens are pitted against is the demolition plan of the old Election Commissioner’s Office, a colonial-era bungalow in the Cubbon Park, to make way for a seven-storey annex of the Karnataka High Court. Prabha Dev, a member of Heritage Beku, says, “Citizens have stepped in as the Opposition is silent. When it comes to loot both the ruling party and opposition are on the same side. And the team has campaigned relentlessly, besides engaging with the administration and government to protect the heritage. We made good use of social media to spread awareness. This mobilised the citizens and put pressure on the establishment.” The concerns raised by the pressure group have yielded results, with the Karnataka Government bringing in Zonal Regulations (Amendment) 2020. This regulation provides for the composition of the heritage conservation committee, creation of heritage listing, and puts restrictions on redevelopment in heritage properties and natural features. A new dimension that has been added to the preservation discourse is the trend of preserving entire cityscapes, streets, or neighborhoods as they reflect the historical or cultural ethos of that place. While Lutyens Delhi and Shahjahanabad’s candidature for the status of UNESCO World Heritage City was put on hold by the Indian government in 2015, two other cities, the walled city of Ahmedabad and Jaipur have bagged the coveted tag in 2017 and 2019 respectively. This comes with strict international norms regarding the façade, repair, renovation, and reconstruction of any structure in an entire area. The heritage city tag needs to be accompanied by enabling laws, adequate civic infrastructure, and economic incentives for an entire populace. Otherwise, the heritage status will suck the vitality out of these cities.

(Meha Mathur is a senior Delhi based independent journalist. All images courtesy the author. Views are personal.)

https://theleaflet.in/heritage-laws-british-bulwarks-well-preserved/, August 21, 2020

Yashpati of SD Vidya School here won first prize at a national-level painting competition which was organised by the Indian National Trust for Art and Cultural Heritage (INTACH). The INTACH Ambala Chapter organised the national painting and essay writing competition ‘Gandhiji at 150’ to mark the 150th birth anniversary of Mahatma Gandhi in December 2019. The results of the competition were announced recently. Yashpati bagged the first position by beating 104 selected entries out of 12,000 across the country. Students of classes VII, VIII and IX participated in the event. Director-Principal of SD Vidya School Neelinderjeet Kaur Sandhu congratulated Yashpati and his parents for the achievement. She said the students of the school were provided with all opportunities to explore and polish their hidden talents.

https://www.tribuneindia.com/news/haryana/webinar-on-job-opportunities-124447, August 20, 2020

According to the government officials, the coronavirus outbreak has compelled the authorities to suspend the plan at least for a year. With the Delhi government primarily focusing on the revival of the economy and placing all projects under ‘abeyance’ because of the coronavirus pandemic, uncertainty looms large over the tourism department’s ambitious project — installation of signages at locations and landmarks, which are extinct or forgotten. As part of corporate social responsibility (CSR) Initiative by Delhi Tourism and Transportation Development Corporation (DTTDC), information panels comprising brief history, archival images and maps have already been placed at over 30 locations; mainly in Shahjahanabad and its vicinity. According to the government officials, the coronavirus outbreak has compelled the authorities to suspend the plan at least for a year. Sanjay Goel, managing director of DTTDC confirmed that funds wouldn’t be released for the project this year. “It was a CSR initiative under which signages were being installed at Archaeological Survey of India (ASI) protected sites and places which are with the state archaeology department. We have decided not to release money or the project this year. The funds will go to coronavirus funds,” he said. Initially, about 60 locations including less popular sites in villages along the Delhi-Haryana border were chosen. However, given the paucity of resources, it was resolved to take up 32 points--most of them are in and around the Walled city — under phase I. The project was launched in 2019 and the task was handed over to Indian National Trust for Art and Cultural Heritage (INTACH). “There are historical sites, which are still unknown to many and the majority of people even locals don’t have any idea about their significance and history. About 55-60 such places have been identified for the project, where no built heritage exists at present or the site is in a dilapidated state,” said an official, associated with the project. The list of 32 spots, where brief history display signs have been installed, includes extinct gates of Shahjahanabad-- Nigambodh Darwaza, Kela Ghat Darwaza, Raja ghat Darwaza, Mori Darwaza, Kabuli Darwaza, Calcutta Gate, Kirlokari village, Jor Bagh, Said ul Ajaib, old Subzi Mandi, Begam Ka Bagh and Sarai (Town Hall), Feroz Shah Kotla, Roshanara Bagh, and Faiz Bazaar (Dayraganj). Ajay Kumar, director (projects) at Delhi chapter of INTACH termed the initiative a ‘useful’ tool to disseminate lesser-known facts or untold stories of Delhi.

https://www.newindianexpress.com/cities/delhi/2020/aug/11/tourism-departments-plan-to-install-signages-in-capital-delayed-due-to-pandemic-2181819.html, August 20, 2020

As Chandni Chowk gets a makeover, the process should not overlook the unique identity of the heritage edifices on this stretch. Many commercial, historical and residential edifices at Chandni Chowk, with their Mughal-era style of architecture, exude a distinct charm. Now, as the revamp of the stretch from Red Fort to Fatehpuri Masjid in Chandni Chowk nears completion, historians insist that facades of these heritage buildings also need restoration, but keeping in place their unique identity.Historian and Convener of INTACH-Delhi chapter, Swapna Liddle, in a conversation with The Morning Standard, notes: “To truly revive the beauty of this road would mean repairing the heritage buildings here, and revealing their unique features, often hidden behind encroachments and inappropriate signboards. Thought should also be given to those buildings which are not strictly heritage. Are the upcoming structures here in tune with the character of the area? For example, buildings with huge glass fronts may be very incongruous here. There is urgent need not only for restoration, but for special regulations that will conserve the area as a whole. This is a process in which organisations and individuals with special expertise in heritage should be involved.” Below, Liddle identifies a few heritage buildings at Chandni Chowk and the restoration plan for each.

Katra Dhuliyan

The entrance to Katra Dhuliyan is through a beautiful Mughal-style doorway. The stone carving has intricate floral patterns and the door is a heavy wood and metal one. Unfortunately, the green enamel paint that now covers it is damaging the materials and also obscuring its original character. The gate can hardly be seen because of the encroachments that have come up in front of it.

Allahabad Bank

The Allahabad Bank building has some very attractive decorative features, such as the concrete jaalis in the balcony balustrade and the wrought iron arcade on the ground floor. Repairing these elements and removing some of the redundant signage will reveal these better.

No. 681 & Mercantile building

Broken wooden eaves boards, badly placed air conditioning units and haphazard arrangement of signage detracts from this building.

https://www.newindianexpress.com/cities/delhi/2020/aug/10/special-regulations-needed-to-conserve-chandni-chowks-unique-heritage-says-expert-2181287.html, August 20, 2020

The Kolkata Municipal Corporation will expand the heritage list that has been lying static since 2000 to add more buildings of historical, cultural and architectural significance so that they can be conserved for posterity.

The civic body has also inducted an architect and a structural engineer in its Heritage Conservation Committee and put the list of members as well as minutes of its meetings in public domain, ending the practice of downgrading heritage buildings without public knowledge to enable their demolition.The Kolkata Municipal Corporation will expand the heritage list that has been lying static since 2000 to add more buildings of historical, cultural and architectural significance so that they can be conserved for posterity. The civic body has also inducted an architect and a structural engineer in its Heritage Conservation Committee and put the list of members as well as minutes of its meetings in public domain, ending the practice of downgrading heritage buildings without public knowledge to enable their demolition.

https://timesofindia.indiatimes.com/city/kolkata/citys-heritage-bldg-list-to-be-updated-after-20-yrs/articleshow/77620896.cms, August 19, 2020

The country’s first document museum on the premises of Rajasthan State Archives Bikaner (RSAB) will be inaugurated by chief minister Ashok Gehlot on August 20, said RSAB director Mahendra Khadgawat. Spread across 10, 000 square-feet and built at a cost of Rs 4.12 crore, the museum has a collection of farmans (royal decree issued by emperor), copper plates, nishans (issued by the royal family), patta (land records) and legal decrees of erstwhile 107 princely states including two from present-day Pakistan and Afghanistan. A total of 3,000 historical articles have been kept on display at the museum. Khadgawat, who was in Jaipur on Monday, told TOI that the state has approved ticket rates for the museum. The state-of-the art museum is divided into eight categories— document gallery, Chattrapati Shivaji Maharaj Gallery, copper plates gallery, Maharana Pratap Gallery, exhibition gallery and Dr LP Peffitorie gallery, conservation gallery and state freedom fighters gallery. Two more additions—cartography and an auditorium — will come up in the next phase. Archival documents have been inscribed on the termite-free wooden walls. “A special type of chemical has been used to ensure that it remains termite-free for 3 years. Thereafter, another coating will be required. Also, there is a limit to the number of visitors in a day as all these original documents are maintained under controlled environment and are sensitive to CO2 and oxygen,” said the director. The museum has already received an expression of interest or collaboration on sharing historical records by the University of Pennsylvania (USA), British Library (London), University of Exeter (London), IIT-Kharagpur, CEPT University (Ahmedabad). “For an Indian adult, the ticket rate is Rs 50, while for a student it is Rs 10. And for a foreign national the ticket rate is Rs 100 and for a foreign national student the ticket rate is Rs 50,” said the director.

https://timesofindia.indiatimes.com/city/jaipur/document-museum-to-display-history-of-107-princely-states/articleshow/77626382.cms, August 19, 2020

The country’s first document museum on the premises of Rajasthan State Archives Bikaner (RSAB) will be inaugurated by chief minister Ashok Gehlot on August 20, said RSAB director Mahendra Khadgawat. Spread across 10, 000 square-feet and built at a cost of Rs 4.12 crore, the museum has a collection of farmans (royal decree issued by emperor), copper plates, nishans (issued by the royal family), patta (land records) and legal decrees of erstwhile 107 princely states including two from present-day Pakistan and Afghanistan. A total of 3,000 historical articles have been kept on display at the museum. Khadgawat, who was in Jaipur on Monday, told TOI that the state has approved ticket rates for the museum. The state-of-the art museum is divided into eight categories— document gallery, Chattrapati Shivaji Maharaj Gallery, copper plates gallery, Maharana Pratap Gallery, exhibition gallery and Dr LP Peffitorie gallery, conservation gallery and state freedom fighters gallery. Two more additions—cartography and an auditorium — will come up in the next phase. Archival documents have been inscribed on the termite-free wooden walls. “A special type of chemical has been used to ensure that it remains termite-free for 3 years. Thereafter, another coating will be required. Also, there is a limit to the number of visitors in a day as all these original documents are maintained under controlled environment and are sensitive to CO2 and oxygen,” said the director. The museum has already received an expression of interest or collaboration on sharing historical records by the University of Pennsylvania (USA), British Library (London), University of Exeter (London), IIT-Kharagpur, CEPT University (Ahmedabad). “For an Indian adult, the ticket rate is Rs 50, while for a student it is Rs 10. And for a foreign national the ticket rate is Rs 100 and for a foreign national student the ticket rate is Rs 50,” said the director.

https://timesofindia.indiatimes.com/city/jaipur/document-museum-to-display-history-of-107-princely-states/articleshow/77626382.cms, August 19, 2020

August is synonymous with Madras Month — filled with vibrant walks, talks, quizzes and exhibitions. But in this era of the pandemic, in joyful defiance of the virus, celebrations have been moved to the digital space. In a first, Madras Week, like all other good things in the world, will have a quarantine 381st birthday. Here’s how!

Madras Inherited

● Madras Inherited, a social initiative started by a team which is passionate about making significant changes in the domain of heritage, will be curating a series of social media live sessions & walks.

● Tales of Madras — a Facebook live session with Delhi Food Walks on August 19.

● A virtual scavenger hunt on August 20.

● A virtual walk; a webinar on the Heritage of Moscow and Madras in collaboration with the Russian Center of Science and Culture, Chennai on August 22.

● Memoirs from Madras: A social media project involving people from the creative field, who have taken inspiration from Chennai to produce their art/craft on August 25.

Aalayam Kanden Trust

Padmapriya Baskaran, writer-historian and founder of Aalayam Kanden Trust will be creating a series of 10-minute-long video snippets on ‘The Saints of Madras’ through the course of Madras Month celebrations. The videos, focusing on the life, times and history of saints and their associations with different pockets of the city including Mylapore, Tiruvottiyur and Velachery, will be uploaded on her YouTube channel: Padmapriya TS. The videos will be interspersed with anecdotes, trivia and visual imageries, says Padma. “Interested viewers can watch these videos on-the-go, and learn whenever they get the time,” she says. For details, visit Facebook page: Aalayam Kanden Trust.

Indian National Trust for Art and Cultural Heritage (INTACH), Chennai Chapter

● Talk on Heritage of Buckingham Canal by author and historian Venkatesh Ramakrishnan on August 27, 5 pm. Zoom ID: 89357323868

● Talk on Temples of Madras by Temple historian Chithra Madhavan on August 20 at 5.30 pm. Zoom Id: 85474535191.

● For details, visit Instagram page Intach_chennai_chapter

Chennai Photo Biennale

CPB Learning Lab, the educational wing and a resource hub of the Chennai Photo Biennale Foundation for emerging photographers and lens-based artists will be curating photographic works, conversations and reading material around photography.

● A conversation between Aditya Arya, founder of Museo Camera and Varun Gupta, co-founder CPB — 'Museo Camera - The Journey' will be held on August 19 from 5 pm to 6.30 pm. He will also walk the audience through the halls of the first-of-its-kind museum on his journey of discovery into the Kulwant RoyarchivesToregister,visit https://us02web.zoom.us/webinar/register/4315973073916/WN_FtYzHk2GS9qWNbmn (You will receive the link to join the session via email.)

● Discussion on poster, banner & cut-out culture in Tamil Cinema with a panel including Preminda Jacob, author of Celluloid Deities; Rajiv Menon, filmmaker; Theodore Baskaran, film historian and author, on August 29 from 4 pm to 6 pm. The panel will be moderated by Uma Vangal, filmmaker and film professor at LV Prasad Institute.

Nam Veedu Nam Oor Nam Kadhai

Madras Household Heritage Exhibition with the collections of architect T Sivagamasundari and Akshayaa Selvaraj. On
August 22 and August 29 from 11 am to 12.30 pm; and from 5 pm to 6.30 pm. On Zoom. To register, call: 9176030811.

● Make your social history scrapbook or album or competition. From 8 to 16 years. On August 22. To register, call: 9176030811.

● Video or PowerPoint presentation competition on how your family history is related to Anna Nagar. Madras Inspired — Art and Design trails by Aafreen Fathima. On August 23 from 7 to 8 pm. Instagram live on Nam Veedu, Nam oor, Nam Kadhai.

YOCee

The second in the series of the 12th annual photowalk conducted by YOCee will go online this year.

A virtual photo walk on Chintadripet on August 23.

● A virtual photo walk on Soundarapandiyanar Angadi on August 30. The sessions will start at 9.30 am on Google Meet and will be led by N Ramaswamy of Chennai Daily Photo and Chennai Photowalk. Participants can also share photographs of the neighbourhood. To join the virtual walks, register at yocee.in

● Thematic photo book-making contest: Chennai-related water bodies; nature and green; heritage — pick a theme, organise the photos in a word document along with information about the picture, as a caption below each of them. You can make up to 10 pages.

● Send a word document to [email protected]. The best 10 entries will be published on yocee.in. Last date for submission is August 23.

The Chennai Photowalk

A photography competition on the themes: Kollywood, Hidden History, and The Chennai Bond. The last date for submission is August 20 by 10 am. Rules and details can be found on their Instagram and Facebook page: The Chennai Photowalk.

Roja Muthiah Research Library

RMRL in association with Foundation for South Indian Studies will be curating a series of Madras Month lectures.

A lecture on Print culture in Tamil Nadu by professor V Arasu (in Tamil). On August 19 at 6.30 pm. Zoom ID: 89298273935 and Facebook (live) – www.facebook.com/rmrl.in

● Film historian S Theodore Baskaran will present a talk on Sabha Nadagangalum Tamil Cinemavum on August 26 at 6.30 pm. Zoom ID: 89575354784.

● Visual artist CP Krishnapriya will be in conversation with curator, researcher and art programme manager Bhooma Padmanabhan, discussing ‘The School of Arts, Madras: Imagining a museum of labour’ on September 9 at 6.30 pm. Zoom ID: 83320171132.

● A talk on Making a Dravidian voice by Amanda Weidman, associate professor of Anthropology at Bryn Mawr College, the USA on September 2 at 6.30 pm. Zoom ID: 857 7692 7793.

● All the talks by RMRL will also be live on their Facebook page Roja Muthiah Research Library

Madras Literary Society

● A talk on ‘Madras trams and my Boyhood’ by Padmashri Manohar Devadoss. On August 21 from 6 pm to 7 pm.

● A talk on ‘Indian troops and British victories’ by Capt Ramachandran, Colors of Glory. On August 23 from 11 am to 12 pm.

● A talk on the trigonometric survey by KRA Narasiah. On August 29 from 11 am to 12 pm.

● To register, mail to [email protected], and a link will be sent. Or call: 9176030811.

Quaide Milleth International Academy of Media Studies

QIAMS in association with Foundation for South Indian Studies will curate online talks and lectures.

● A talk on Rejuvenating the city — Penang and Chennai by A Srivathsan, professor, CEPT University and Hamdan Abdul Majeed, managing director of Think City, today.

● Lecture on Company paintings of Madras, portraying the picturesque and the prosaic by Swapna Sathish, faculty, Fine Arts, Stella Maris on August 19.

● A talk on Arcot Nawabs in Madras by Kombai Anwar, director of QIAMS on August 20.

● A talk (in Tamil) by poet T Parameswari, ‘Madras Manadhe — Thalai Koduthenum Thalainagar Kappom’ on August 21.

● All events will be held at 7 pm as Facebook Live sessions.

Press Institute of India

A lec-dem by Nivedita Louis and Monali Bala on Gujili, subaltern literature, comprising short songs. On August 22 at 6 pm. On Zoom.

Tamil Heritage Foundation

Launch of Digital Madras Project, followed by a special lecture on culture and history of Madras by KRA Narasiah. On August 22 from 11 am to 12.30 pm.

● Gana Kavi and team will perform Gana songs. On August 22 from 2 pm-5 pm.

● A gallery launch of historical monuments followed by a lecture. On August 22 from 5.30 pm to 9 pm.

● A panel discussion on Madras then and now. On

● August 23 from 11 am to 12.30 pm.

● A Gana concert and Silambam demonstration by the World Silambam Sports Association Team. On August 23 from 2 to 5 pm.

● Gallery launched on three themes — historical monuments, indigenous sports, and the economy of fishing and boat making community. On August 23 from 5 pm to 9.30 pm.

● All events will be held online.

● To register, call: 7358700167/6382632153

A 2,400-year-old mummy at the Albert Hall Museum in Jaipur was taken out from its box for the first time in the past 130 years to save it from drowning. Torrential rains flooded Jaipur streets on August 14, the water also entered the museum. As the floodwater reached knee-length, the mummy preserved in the box had to be taken out to a safe place, said Dr. Rakesh Chholak, Superintendent of Central Museum. Had there been a delay of even a few minutes, this mummy which was brought from Egypt to Rajasthan more than a century ago would have been destroyed forever. Therefore, it’s glass cover was smashed and the mummy was put in a safe place. The mummy displayed at the Albert Hall Museum was brought from Cairo 130 years back. It is of a woman named Tutu. It was found in the Akhmin area of the ancient city of Panopolis in Egypt. In April 2017, the mummy was shifted to the basement of the Albert Hall in Jaipur and all related details of its history, birth-death relationship, the method of making mummy and X-ray of this mummy were presented to the people here. Even the Archaeological Department head office was flooded with water, department files were drenched. The officials, since the last four days, have been trying to dry these files by spreading them in open spaces. The tourist’s entry has been closed for seven days, said Prakash Chandra Sharma, Director, Department of Archaeology and Museums, Government of Rajasthan. He said, “All files were drenched due to water rising up to five feet in the office. Office laptops, printers, computers and stationery have become unusable and non-functional. Hundreds of soaked files are being dried and tourist entry is closed for seven days. If conditions do not improve, it can be extended further.”

https://timesofindia.indiatimes.com/city/jaipur/document-museum-to-display-history-of-107-princely-states/articleshow/77626382.cms, August 18, 2020

In a development that came as a surprise for many local history aficionados and philatelists, the historic Sarkhej Roza monument found a place in the five-stamp set released by India Post on the occasion of 74th Independence Day. The set themed ‘Unesco World Heritage Sites in India-III,’ also has the Church of Bom Jesus in Goa, monuments at Pattadakal, Javeri temple at Khajuraho and Qutb Minar.

Ironically, while Sarkhej Roza is a significant part of Ahmedabad’s history, it is not part of the inscribed ‘Historic City Of Ahmedabad’’ which got the tag of India’s first Unesco World Heritage City in July 2017, said Abrar Ali Saiyed, Sarkhej Roza Committee chairman. Sources at Archaeological Survey of India (ASI) too confirmed this and said that while the Roza complex is among the ASI protected monuments in Ahmedabad, it has not been part of the World Heritage City. ‘Postal stamp will give impetus to Roza’s conservation’. Abrar Ali Saiyed, Sarkhej Roza Committee chairman, said that the Roza getting place on a postal stamp would put the monument in focus nationally. “The image of a mandapa used on a postal stamp itself is representative of unique Indo-Islamic architectural style, which to date amazes the students and masters alike,” said Saiyed. “We hope that the recognition will prompt the authorities to take up its much-needed conservation.” Mainak Kathiara, president emeritus of Gujarat Philatelists’ Association (GPA), said that the Roza was the third Ahmedabadbased monument after Sabarmati Ashram and Dada Harir Vav to find a place on a postal stamp. After issuance of the postal stamps, some of the philatelists pointed out the ‘mistake’ of terming the Roza as part of the UNESCO World Heritage Site. While senior India Post officials could not be contacted, sources in the department pointed at the wording of the leaflet, claiming that the monument could be ‘representative’ of the Heritage Site – in this case, the city. The leaflet issued by India Post with the stamps terms the Sarkhej Roza as ‘one of the prominent landmarks of Historic City of Ahmedabad, a UNESCO World Heritage Site’ for its rich history and reverence. ‘Like many monuments built during that period, the Sarkhej Roza fused both non-Indian and Indian principles of architecture... It fused Islamic stylistic influences from Persia with Indian Hindu and Jain features to form a composite Indo-Saracenic architectural style.’ Experts said that the Roza had an important place in the city’s history with the Roza associated with Sultan Ahmad Shah’s spiritual guide Ahmad Shaikh Ganj Baksh Khattu and several of the important figures of the city’s history including Mahmud Begada.

https://timesofindia.indiatimes.com/city/ahmedabad/ahmedabad-not-inscribed-yet-sarkhej-roza-gets-world-heritage-site-stamp/articleshow/77582184.cms, August 17, 2020

Archaeologists at Konthagai site near Keeladi in Tamil Nadu on Wednesday unearthed the first intact adult skeleton, measuring about six feet in height. Konthagai -- believed to be the burial site of Keeladi civilization -- was taken up for excavation for the first time in March this year along with the sixth phase of the Keeladi excavation. Deputy director of state department of archaeology R Sivanandham said that this was the first adult skeleton to be found in Konthagai. The gender of the skeleton could not be determined. Samples from it were collected and sent to Madurai Kamaraj University (MKU) for DNA analysis. Twenty seven quadrants were dug in Konthagai so far, and six skeletons were found. Of the six, five were those of children. The latest adult skeleton measured 183cm in length and 35cm in breadth. The Konthagai site proved that both surface and urn burials were common among the people of the Keeladi civilization.

https://timesofindia.indiatimes.com/city/madurai/keeladi-excavations-intact-adult-skeleton-unearthed/articleshow/77510082.cms, August 12, 2020

Historians, preservationists and scholars have expressed "deep concern" over the newly-constituted Bihar heritage commission, alleging that the panel has "no representation" from conservation architects and other independent domain experts. The Bihar government, however, has said that the panel has been set up as per the norms under the Bihar Urban Planning and Development Rules, 2014. The Bihar Urban Arts and Heritage Commission has been recently set up by the state government, after a plea by heritage organisation INTACH in the Patna High Court. The state government, in its additional response to the two PILs filed in August 2019, has said that in the light of the directions of the court, the "commission has been constituted with a notification dated March 30" this year "under the provision of the rule 85 of the Bihar Urban Planning and Development Rules, 2014". The seven-member panel is headed by the principal secretary, Department of Art, Culture and Youth of the Bihar government, with other members represented from the Department of Urban Development and Housing, Building Construction Department, Tourism Department, and the state''s Directorate of Archaeology, among others, according to the additional response filed by it. Historians, conservation architects, scholars, preservationists and other domain experts have taken strong exception to "no external members being made part of the heritage commission" with many alleging that it reduces the panel to a mere "rubber stamp of the state government". They pitched for including eminent people and independent experts from various fields related to art, history, architecture and urban planning in the new commission. Noted historian and author Surendra Gopal, who has been advocating for long for a heritage conservation policy in Bihar and pitched for preservation of the centuries-old Patna Collectorate, said, "The government wants to change the face of Patna, and historical buildings are being erased year after year in the name of development." The 84-year-old author of ''Patna in the 19th Century'' urged the government to include historians and architectural history scholars also in the heritage commission, saying "a few government members cannot decide the fate of built heritage" of Patna and rest of Bihar. Historian Irfan Habib said he was "deeply concerned" over the issue and alleged that independent domain experts are "deliberately kept away" from such heritage commissions so that the "government can carry out demolition in the name of development and no one opposes". Renowned author Amit Chaudhuri, who himself is a petitioner in a PIL filed last year in connection with the Heritage Conservation Committee of the Kolkata Municipal Corporation, said, "A heritage commission decides the future of the heritage fabric of a city, so it must be broad-based." "The Bihar heritage commission must include a lot of eminent personalities, conservation architects, historians, building preservation experts, and others to make it a holistic body that will make sound recommendations to the government with proper scientific approach, not driven by prejudice about the colonial past of a building," he said. In 2016, a proposal was made by the Bihar government to demolish the iconic Patna Collectorate to make way for a high-rise complex. The Patna Chapter of Delhi-based Indian National Trust for Art and Cultural Heritage (INTACH) had filed two PILs on August 30 last year on preservation of the Collectorate and other heritage landmarks of the city, and constitution of the Bihar Urban Arts and Heritage Commission. After hearing the two PILs jointly, the Patna High Court had last September stayed the proposed demolition of the government complex while restraining the state authorities from "causing any harm to the collectorate building until further orders", bringing some relief to the heritage lovers. Sanket, who is an advocate from the INTACH Patna team, said "the heritage commission has been set up, but it only has members from the government and added "that it should have representation from noted domain experts to present independent views". The Collectorate is one of the last surviving signatures of Dutch architecture in the Bihar capital, especially the Record Room and the old District Engineer''s Office. Other buildings in the Collectorate complex include the British-era DM office building and the 1938-built District Board Patna building. Some of the key scenes of Oscar-winning film ''Gandhi'' were shot in the Dutch-era Record Room and British-era DM Office. "As per the supplementary counter affidavit filed in the court by the Bihar government, the commission was set up in March. Then an inspection of the Collectorate was held on May 12 by its members and subsequently by its head on May 27, following which a meeting was held by the commission on June 1," Sanket said. The commission after the meeting came to a conclusion that the "structure-in-issue at Collectorate is not important from the point of view of history, architecture, aesthetics" and hence, "need doesn't seem to arise to preserve it", according to the supplementary counter affidavit filed by the government. Kolkata-based conservation architect Manish Chakraborty who has worked on conservation and restoration projects of the St Olav''s Church and the Danish Tavern, which was reduced to less than a skeletal state, in Serampore in West Bengal welcomed the formation of the heritage commission. "However, heritage buildings and their preservation is a complex and technical subject. So, a lot of technical experts from the field of art and architecture, and representatives from ASI and also independent organisations working on conservation, should be included in it," he said."Inspection of a heritage building is a scientific process and needs a proper survey by experts following norms. In Bihar heritage commission case, the norm seems to have been not followed, before making the judgement on the building," Chakraborty said. Patna High Court advocate and PIL activist Kumar Shanu alleged that the "new commission has been constituted with only government members to lay grounds to justify the old proposal of the government to demolish the Collectorate". "While Bihar has been struggling with COVID-19, the state government instead of making preparations during lockdown was busy making a heritage commission and doing inspection," he said. Author Chaudhuri said, "A heritage commission''s job is to preserve the heritage of a city. In an era of greedy development, such a commission cannot become a tool to facilitate demolition". PTI KND SNE

https://www.outlookindia.com/newsscroll/historians-architects-express-concern-over-new-bihar-heritage-commission/1912451, August 9, 2020

Ever since the country went into lockdown due to COVID-19, the sound and light shows at heritage monuments have remained suspended. Now they seem to be back with a bang. The Archaeological Survey of India (ASI) has announced musical shows in 12 new places in India. Of the heritage sites which have sound and light shows, the memorable ones include the Golconda Fort in Telangana, Chittorgarh Fort in Rajasthan and Purana Qila in Delhi. Among the 12 new locations approved by the Ministry of Culture, worthwhile mentions are the Leh Palace in Ladakh, Shore Temple in Tamil Nadu and Raigad Fort in Maharashtra. The new events will take place every week to attract more tourists. Reports indicate these can be held in ticketed monuments only which account for about 143 sites out of the total 3,691 monuments managed by the ASI. The proposal for this initiative includes amenities such as food kiosks for encouraging the tourists. Currently the search is going on for a private company to arrange the events along with maintaining the sites. The rich culture and heritage of India will come alive through these musical shows. The revenue generated from this initiative will go into the maintenance of the heritage sites. Only 13 heritage sites in Delhi need an entry ticket from the visitors out of the 170 sites. This includes Red Fort, Qutub Minar, Purana Qila, Humayun’s Tomb and Hauz Khas. The Department of Archaeology under the Delhi government had similar initiatives planned for places under it as a way to promote heritage. The ASI hopes that increasing the frequency of such events will get these the attention of people and the monuments will not be neglected.

https://www.outlookindia.com/outlooktraveller/travelnews/story/70479/asi-to-conduct-musical-shows-at-12-new-heritage-sites, August 8, 2020

In light of the challenges being faced during Covid-19, The Heritage Education and Communication Service Division at the Indian National Trust for Art and Cultural Heritage, New Delhi, has been organising fun online challenges for students. They are using online platforms -- Instagram and Facebook -- to interact with students by developing weekly challenges on various themes of heritage. Till now, they have organised over 70 challenges on themes ranging from art, paintings, music, nature, yoga, seasons, communities, museums, food, personal heritage. These are interesting activities that students can do along with their parents while at home to discover and explore the wide heritage of the country. Some fun challenges include recreating old paintings, making a short film on the birds and animals that visit their birdbath in the scorching heat, cooking a traditional dish with the family, going on a virtual treasure hunt to a museum and quizzes. The division has encouraged students to send entries in regional Indian languages to promote India's diversity and multicultural nature. Along with this, they also regularly update their website with useful resource material, such as worksheets, activity ideas, their quarterly newsletters, visual aids for social science lessons, videos, quizzes, that can be used by parents as well as teachers for children. For further details, you can write to us at [email protected]. You can visit their social media pages and website to follow their work and participate!

Instagram: https://www.instagram.com/intach_hecs/

Facebook: https://www.facebook.com/youngintach/

Website: http://www.youngintach.org/

https://timesofindia.indiatimes.com/home/education/news/intach-organises-fun-online-challenges-for-students/articleshow/77352438.cms, August 4, 2020

The renovation and restoration of the 120-year-old Dr John Berry White Medical School building at Dibrugarh – a keenly awaited project – has gained momentum after being slowed down by the disturbances last year and the pandemic this year.

The Indian National Trust for Art and Cultural Heritage (INTACH), New Delhi is executing the restoration work with funds provided by Oil India Limited under its CSR scheme. The building, which was lying in a state of disrepair not so long ago, will be converted into Dr John Barry White Medical School Heritage Museum Complex. Dr Aradhana Kataki, convenor of INTACH Dibrugarh Chapter whose sustained campaign helped in getting the project approved, signed the MoU on behalf of INTACH, New Delhi. “While INTACH Delhi executes and handles funds, we voluntarily keep a watch on how things are shaping, consult members of the public, particularly those from the medical fraternity, and seek suggestions from them. INTACH Delhi has designed the layout with inputs from the local chapter,” Dr Kataki told The Assam Tribune. Dr Kataki added that the restoration work was being done by using traditional methods of plastering without using cement and sand. “However, certain materials and techniques could not be found or followed. For instance, the size of the original bricks used in the interior walls were about slightly more than an inch and these bricks were joined together by means of wire mesh. Since this could not be replicated, I have asked the supervising architect to preserve samples of this unique brickwork,” she said. During restoration, thrust has been put on retaining as much of the original style as possible. The delicate pointing work done by skilled craftsmen brought from outside Assam has brought back the feel of the early 19th century. The colonial flavour is enhanced by the solid sal wood used for the ceiling, doors and windows. “It is immensely encouraging that organisations like Assam Charity Trust, the UK and distinguished doctors and members of civil society have written to us appreciating our efforts,” Dr Kataki said. An alumnus of the AMC and former Deputy Registrar, The Royal College of Psychiatrists, London who did his pre-med in the Berry White School, Dr Ranjit Barua of the UK said, “INTACH, Dibrugarh Chapter deserves credit for making the restoration of a very important historical landmark a reality. It is wonderful that Dr Kataki sought the help of former British High Commissioner to India Sir Dominic Asquith to connect with the British Library in order to locate and acquire materials like the complete will, pension records and other documents related to Dr Berry White for the proposed museum. What’s most exciting is that, with Dr Kataki’s initiative, it has been possible to trace and contact one of the living descendants of Dr Berry White.” Dr Taufiq Rahman Borbora, former Principal (AMC), who himself had urged the Government repeatedly to restore the building, termed it as a big gain for the people. “I began my medical career from Berry White hostel. The dilapidated building was in the same condition till 2010 when I retired. In a happy coincidence Dr Kataki, who has been campaigning for the restoration of this building consistently for about 10 years, is the convenor of INTACH Dibrugarh Chapter which is monitoring the project. Associate Professor of Dermatology and an alumnus of AMC Dr Shyamanta Barua and Dr Nirpen Borkotoky of the UK, former alumnus of AMC and retired GP of NHS, UK also lauded the work, saying that a world class institution would keep alive the legacy of Dr Berry White for posterity. Built with a sum of Rs 50,000 set aside by Dr Berry White in his will for a charitable hospital in Dibrugarh, the Berry White Medical School was completed in 1900. The building appeared to have been on the verge of collapse when the restoration work was initiated in January 2018 after intense campaigning by individuals and organisations like Assam Science Society and Policy Group for Peoples’ Rights, Dibrugarh.

http://www.assamtribune.com/scripts/detailsnew.asp?id=aug0220/state052, August 6, 2020

One of the first cities to get power supply for domestic use, Bengaluru is now home to several buildings which were built as substations established years after the city received power in 1905 to tell the tales of the then Mysore State though their heritage value is to be recognised by the government. When Prince and Princess of Wales (George V and Queen Mary) visited Mysore State back in 1905-06, they were surprised by the farsightedness of the then Mysore Government, which "used part of the surplus funds in its treasury" to establish a "great power station" and supplied electricity to Bengaluru. "This bold and rather speculative enterprise could hardly have been initiated by a British province which has no money save what it raises by taxation," noted Sidney Low, who chronicled the visit. G L Swamy, a compiler at Tourist Bureau of the Mysore, attributed the origin, growth, and development of electricity in the state to Dewan K Seshadri Iyer, who deputed Captain A J De Lotbineiere, then Deputy Chief Engineer of Mysore, to visit Europe and America to obtain necessary information on the venture. Interestingly, western accounts call De Lotbineiere, who rose to the rank of major, as the mastermind whose "western training and imagination" benefitted Mysore state. While De Lotbieniere helped in bringing the knowledge as well as the people to get the work done, there was a new challenge. Charles M Pepper, who wrote about "Electricity: The New Force in Old Lands" Though the Cauvery course was favourable for harnessing electricity, "the territorial jurisdiction was an impediment since from just about 10 miles up from Sivanasamudram falls, the right half of the river course belongs to Madras Government"The "Mysore Durbar", however, realised the work's importance and purchased the "rights of utilisatisation of water". By 1902, the Kolar Gold Fields was getting electricity. Gajanana Sharma, author of 'Belakaitu Karnataka' which deals with the history of electricity in the state, said it is time to recognise the value of the buildings. "Power was brought to Bengaluru on August 5, 1905. Since then we have come a long way. A substation built near Victoria Hospital has already disappeared with no explanation. That should not happen to our heritage structures," he said. There are three other substations that are still standing, the B station at MG Road built in 1907, B station at Cantonment station built during the same time, and the C station at Anand Rao Circle. Meera Iyer of INTACH said the government can showcase the heritage value of the structure in simple and eective steps. "Providing information on its heritage value is the first step. Simple signboards and plaques with historical information will help people realise its value. Come evening, all the malls in the city light up but heritage buildings are drowned in the darkness. We have to take up simple measures first, which will go a long way in preserving heritage," she said.

https://www.deccanherald.com/city/top-bengaluru-stories/time-to-throw-light-on-bengalurus-power-heritage-870403.html, August 6, 2020

In the midst of Covid-19, the Central Vista redevelopment project in Delhi made jarring news. The Indian National Trust for Art and Cultural Heritage (INTACH) defines the Central Vista as the “ensemble with main axis Rajpath (originally called Kingsway) radiating from the Rashtrapati Bhavan at Raisina Hill, flanked by the Secretariat building (North and South Blocks) and ends in the Princes’ Park… Vijay Chowk marks the beginning of the Rajpath and forms a cross-axis at the foot of Raisina Hill. The road perpendicular to Rajpath at this point leads to the Parliament House towards the north. Rajpath sweeps eastward to a hexagonal round-about that has the India Gate and the Canopy….” This remarkable and historical precinct was built during the British Raj, but nurtured, savoured and celebrated largely in the post-Independence era. The Central Vista area has been accorded Grade 1 heritage status under the extant Unified Building Bye Laws for Delhi. Construction and redesign on the scale planned in the redevelopment project will significantly affect the heritage aspect of this precinct and destroy it irrevocably. And on July 29, the Supreme Court, which is hearing a challenge to the Central Vista project, said it would examine the validity of the June 17 environmental clearance given to it. There are already two petitions before it on the legality of the change in land use. There is a great deal wrong with the conceptualisation of the project. To start with, the necessity of the project has not been established with sound prior studies on administrative, heritage, environmental and technical parameters. There was no parliamentary debate or discussion that preceded the decisions taken. Moreover, the redevelopment plans were not substantiated by any meaningful public consultation or expert review. Instead, a hastily drafted and inappropriate tender was rushed through in record time to select an architectural firm through a flawed process. Six proposals were submitted and the Ahmedabad-based HCP Design, Planning and Management Pvt Ltd won the project. It is likely to cost around Rs 25,000 crore and could double by the time it is completed in 2024 when India commences celebrating the 75th year of its Republic. The master plan presented by this firm suggests razing of several existing structures and rebuilding some new ones. Rashtrapati Bhawan, North Block and South Block would be spared. The current Parliament would become the “Museum of Democracy” and the new Parliament will be where the Annexe is. The fate of several heritage buildings abounding the Central Vista is not known. The selected novice design firm from Gujarat appears to have been given a carte blanche to make whatever changes it wishes, with all government departments seemingly mandated to do whatever is required to enable the firm’s actions. The selection of the firm and the processes employed to do so leave a lot of questions unanswered. It is also pertinent to note that there has been no explicit exhibition of the scheme drawings, data or preceding studies for domain experts or common citizens to understand what exactly is planned in this public space of great historic and heritage value. This goes against all democratic norms. The master plan of HCP Design envisages constructing the new Parliament building next to the existing one and an ultra-mega Common Central Secretariat. It also involves revamping the 3-km-long Rajpath—from Vijay Chowk to India Gate. The Prime Minister’s Office will be at the end of South Block. HCP Design is the only firm that suggested a brand new and palatial residence for the prime minister as part of the project. This is strange because the PM’s residence was not even mentioned in the CPWD tender to redevelop the Cen­tral Vista. Eminent professional bodies such as the Council of Architecture, Indian Institute of Architects, INTACH, Institute of Urban Designers India and the Indian Society of Landscape Architects have written numerous letters with sound and detailed advice on various aspects of the redesign plan to the minister of housing and urban affairs. Unfortunately, these letters have been ignored. The project’s proponents and advocates say that the new Parliament Complex will stand out as an iconic and modern edifice of democracy. It will be a triangular-shaped building, symbolising the Trinity in Indian culture. It will have two separate Houses for the Lok Sabha and the Rajya Sabha with a provision for the use of the Lower House for joint sittings of Parliament. The seating capacity of the Lok Sabha will be up to 876 from 552 and the Rajya Sabha from 250 to 400. For a joint session (in the Lok Sabha Chamber) up to 1,224 members could be accommodated. Ironically, the colossal Common Central Secretariat would be designed and built to enable the “people of India” to have easy access to the corridors of power to get their grievances redressed. One wonders how many of India’s 1.35 billion citizens, except the very privileged, ever go to the Central Secretariat to meet the mandarins and get their grievances redressed. Bereft of any rationale—political, administrative, heritage, environment, architecture—this big-ticket project hopes to capitalise on the “romanticism of democracy”. Romanticism is dealing with or describing things in an idealised or unrealistic fashion, making it look better or more appealing than it really is. This is what is happening to India’s democracy. Soon enough, like “romance” that has been ensconced in the edifice of the Taj Mahal, democracy may be “romanticised” within the confines of this multi-billion rupee monument in the Central Vista. We are also heading for a massive construction project for the Ram Mandir at Ayodhya. Ram Rajya envisages a society in which virtue, morality and justice are the core ideals around which day-to-day interactions between citizen and citizen and state and citizen occur. But there is no semblance of these in today’s governance. Like democracy, Ram Rajya will now be confined to a mandir block built on a long-disputed site. Looking at it from every dimension, the poser of a CPWD architect fits the Central Vista Project superbly: “Could it be that the entire project is a self-serving, vanity project akin to those undertaken by medieval emperors rather than modern democratic leaders? The project appears to create even greater distance between the head of the government and the people through the clever use of architectural design. The question to ask is whether the PM will next plan Diwan-e-Aam like gatherings outside his new residence.” It is inhuman to indulge in such outrageous vanity at the taxpayer’s expense when millions of Indians live in fear of life and livelihood from Covid-19. But then, with “Ram Rajya”, “National Unity” and “People’s Democracy” all bottled-up in structures and monuments, aren’t we living in a “New India”?

—The writer is a former Army and IAS officer

https://www.indialegallive.com/special-story/central-vista-project-romancing-the-stone, August 2, 2020

Weaving cloths of increased widths that would lend khun fabric to be made into clothes other than saree blouses, khun weavers move beyond rural patronage and into the fashion world. Guledagudda, a small town has less than 1,000 houses that are built of stone and painted white. The hot and dry town, with some dilapidated and broken wooden handlooms seen in the courtyards of a few locked houses, does not reflect the scintillating colours of the famous hand-woven khun of the region. Known as Dharwad khun and also as khana, the fabric is woven only in pit looms in Guledagudda of Bagalkote district, in the state of Karnataka. This hand-woven fabric, used only to make saree blouses, is easily identified by the small white intricate motifs and its very unique reddish-purple border. Till the 1990s, Guledagudda was known as one of the highest tax-paying towns, only by the sale of khun fabric. For generations, the only occupation the residents knew was weaving. With modern dressing and lifestyle changes, khun fabric lost its market and Guledagudda its source of revenue. By weaving khun fabric of increased widths so that clothes other than saree blouses can be made, and with the patronage of designers who showcased the fabric in fashion shows, the weavers hope to regain their place in the handloom world.

Ancient Weaves

None of the weavers knows when khun style of weaving came to Guledagudda and its neighbouring Illkal town where well-known Illkal saree is also woven. According to a research paper Khana: The blouse material of north Karnataka, published in 2017, the style is believed to have come into being around 8th century A.D. From then to about two decades ago, it was only hand-woven as a saree blouse material. Rural women and farm hands in northern Karnataka, southern Maharashtra and some parts of Madhya Pradesh used the fabric to stitch blouses. Till today it is the only fabric offered to Devi Yellamma temple in Saundatti located in Belgaum district.

Market loss

Just as the other hand-woven fabric in the country lost markets, khun also faced challenges of escalating production cost and a shortfall in demand. Many set up power looms to increase production and cut cost by using less labor and turning to cheaper yarns like viscose and polyester. Guledagudda has 200 power looms at present, and only about 50 pit looms or hand looms. With the use of cheaper raw materials and the ability to weave faster, power looms present a stiff competition to the pit loom weavers. While many fashion designers worked with handloom fabrics such as Chanderi, Jamdhani, Ikat, Benarasi and Kanjeevaram, khun did not find any patrons in the fashion world. The reason could be the width of the fabric being only 32”, meant as it was, for making saree blouses.

Livelihood shift

These blouse pieces, displayed in a unique folding style, were so much in demand that there were more than 50,000 pit looms till the end of the last century. But then the khun started losing its sheen and today there are only around 100 handlooms. “Majority of us are educated at least till class X, but we never thought of training for any other profession, as weaving was a family business and since childhood, we used to sit in the pit looms and weave,” said Rajshekhar Kollude, a fourth generation weaver in Guledagudda. “Earlier my family had 20 looms. But now I can hardly manage three looms, as most of my helpers and other family members have migrated in search of other livelihoods,’’ Kollude told VillageSquare.in. Small unskilled jobs like a helper in a hotel and sales person in malls or textile shops, which assured them of a definite income in big cities such as Bengaluru, Hubli, Pune, Mumbai, etc. lured the weavers away from the uncertainty of an income from weaving the khun fabric.

New patrons

The situation is changing very slowly. Mumbai based fashion designer Vaishali Shadangule of Vaishali S. brand, Bengaluru based Janhavi Kulkarni of KalaNele, Jui Tawade, co-convener of Indian National Trust for Art and Cultural Heritage (INTACH) Pune chapter and Jaya Jaitly, founder of Dastkari Haat Samiti, an art and craft market, have stepped in, to help the khun weavers. The gorgeousness of the khun is the contrast of the border with the main fabric of brilliant jewel colours like electric blue, emerald green, ruby red, golden yellow, etc. with its own unique small motifs. The small irregularities, little unevenness of the handloom weave using only pure silk and cotton yarn make khun one of its kind. “It was the sight of the sheer rustic beauty with such brilliant colours and the contrasting border of the blouse worn by a vegetable vendor on the streets of Mumbai that made me hunt for the origin of the almost forgotten fabric,’’ Shadangule told VillageSquare.in. Shadangule’s quest led her to Guledagudda. She started working with a few weavers, urging them to change loom size and introduce new colours. Last year she took an entire collection comprising only of the khun, to the ramps of New York Fashion Week and got a good response. She showed the collection later at India Fashion Week, Delhi “I invited the Maharashtra INTACH to take part in our annual crafts bazaar at Dilli Haat in early January this year where they exhibited khun and got a very good response,” said Jaya Jaitly, who has been working for nearly four decades for the upliftment of grassroots workers of traditional arts and crafts of India and handloom sectors. “I think the time for the revival of khun has certainly started,” she said. “The exhibition at the Dilli Haat helped us spread awareness of the beauty of hand-woven khun. Now more people understand the detailing that goes into this weaving, plus the comfort of wearing this slightly thick and coarse fabric made with only natural fiber. That is the first step,’’ Tawade told VillageSquare.in. The Dilli Haat stall also had products of designer Janhavi Kulkarni’s KalaNele. Besides the blouse pieces, she exhibited sarees, bags, cushion covers, lampshades, stoles, salwar suits, accessories and even footwear made of khun fabric. “I learnt that khun was on the verge of extinction. So much was the neglect that people whom I approached for sponsorship to revive the fabric, refused to do so but assured me of all help if I wanted to begin some other business!” Kulkarni told VillageSquare.in.

Khun makeover

Shadangule and Kulkarni have adopted some weavers and helped them change the loom size. Weavers have increased the loom size to weave 36” and 45” width fabric needed to make salwar kameez, dupattas, a dress or a saree. As installation of new looms costs between Rs 70,000 and Rs 80,000, the weavers decided to change the dimensions of the loom. Redesigning costs them only Rs 6,000 per loom, they said. The weavers have changed two looms each. In power looms, it is easy to switch between different widths. But in pit looms, the weavers will need to spend money again, if they wish to return to the original size. The weavers learnt that a saree woven in a pit loom was sold for Rs 6,000 to Rs 12,000 in cities like Bengaluru and Pune. Given such demand for fabric of 32” to 36” width for duppata and 45” for saree, most of the weavers wanted to remodel their looms. Their plan to change more looms this year got stalled as their business has been hit by the coronavirus pandemic.

Slow comeback

Though there were efforts and consultations with NGOs and designers earlier, the attempts to give a boost to khun weaving started in 2018. “If these changes and awareness had started a decade ago, we wouldn’t have lost our artisans to cities,’’ Siddaramappa Maligi, a fourth generation weaver of Guledagudda, told VillageSquare.in. “To revive khun we need more customers.” Earlier, the weavers sold the fabric for Rs 300/m. They sell the new wider fabric for Rs 400 to 450/m. The weavers weave 15 to 20 meters per week in one loom, by working for 12 to 14 hours a day. For the designers, they weave 500 to 600 m per assignment, which may be once a year or more depending on the designers’ market. The designers’ support has started the trend of experimenting with dyeing the yarn with new colors and using only natural silk and cotton yarns. The weavers continue to sell in their regular markets in Pune, Sholapur, Mumbai, Kolhapur, Bengaluru, Dharwad and Hubbali also. The slow transformation of khun as the mainstream fabric was manifested when Maharani Radhikaraje Gaekwad of Vadodara sported a khun saree. So the humble khun used by farmhands has reached the royals. But more planning is needed, to keep the hand-woven khun alive. “The urban elite are always on the lookout for something new from traditional sources and khun will be the latest to join other handloom fabrics that have caught the attention of those working in the sector either in promotion, design or marketing,’’ Jaitly told VillageSquare.in.

https://thewire.in/the-arts/with-urban-patronage-khun-weavers-hope-for-a-better-market, August 2, 2020

As the nation is all set to celebrate the historic moment of bhoomipuja of Lord Ram Mandir in the holy city of Ayodhya on Wednesday, a numismatist from the city claims he has a rare gold coin from the 12th century depicting the most revered deity of India. According to Ashoksingh Thakur, convener of the Chandrapur branch of Indian National Trust for Art and Cultural Heritage (INTACH) and a member of Indians Coins’ Society, only two such coins are available in the world, dating back to the rule of the Chahmanas of Sakambhari (Sambhar) during reign of Vigraharaj – IV, who ruled from 1153-1163 AD. “The observations about this extremely rare coin say that it has a nimbate figure of Lord Ram standing and facing to the left holding a bow and an arrow in each hand. “Sri Ra Ma” is written in Deonagari on both sides. It has a floral border with decorative motifs of lotus flowers and a bird (Hans) around. It weighs 4.02 grams,” Thakur told TOI.He added that the Devanagari script was encrypted in three lines – ‘Shri Madvigra / harajade / va’ on both sides of the coin. “This depicts the earliest labelled numismatic portrait of Lord Ram. Its design and decoration follow a monumental style comparable to architectural depictions seen in temples,” Thakur said, while refusing to divulge information on its source. Over four centuries later in 1585, Moghul King Akbar had introduced gold coins having images of Lord Ram and wife Sita inscribed on them, which became popular among the masses at that time. “Many of those coins are available at various museums, but those introduced by Vigraharaj–IV are only two of its kind in the world. The other is at the Mumbai museum,” said Thakur, having a vast collection of such rare and ancient coins numbering about 27,000. Explaining the reason behind sharing information on the rare coin, the veteran, who’s into the hobby of collecting such coins since over two decades, said since the 500-year- old dream of a Ram Temple at his birthplace in Ayodhya was all set to become reality after Wednesday’s bhoomipuja, he thought that it would be an appropriate moment to share facts about it as it had the deity’s image inscribed on it.

https://timesofindia.indiatimes.com/city/nagpur/numismatist-claims-rare-12th-century-coin-having-lord-ramas-image/articleshow/77360385.cms, Augusr 5, 2020

The famous Mata Vaishno Devi Shrine in Jammu’s Katra town is visited by more than ten million pilgrims each year. The economy of Jammu region is linked with this cave shrine and hospitality industry as well as many small traders, taxi operators, shopkeepers, pony wala, palki walas and vendors earn their livelihood from pilgrims visiting the shrine. However, during COVID-19 lockdown all the religious shrines in India were closed and now after staying shut for almost 3 months many shrines have reopened for the public. On the contrary, Vaishno Devi Shrine hasn’t opened yet and its impact these days is visible even on the empty shops of Jammu and Katra. While across the world coronavirus is being discussed and similarly in India along with it traditional ways of living, eating and old habits are also being propagated as a way to beat coronavirus. As we are thinking of a post-lockdown India so interestingly here in Jammu it would be the right time to highlight the traditional route to the holy cave shrine from Jammu to Katra. Most of the pilgrims visiting the shrine aren’t aware of this route and even the new generation of Jammuites lack its idea and importance. There was a time when this route was used by the devotees as the preferred primary route to reach the holy shrine. As times changed and with the construction of the National Highway, a faster and more convenient motorable route to Katra is being preferred these days. This route starts from Kolkandoli temple (first darshan) Nagrota passing through Jagti – Pangali – Bamyal of Jammu district climbing up to Deva Mai temple of Reasi district and then to Nomain village 4 km short of Katra. Nowadays, this route is used only by local travelers such as nomads, businessmen from surrounding villages, ponywalla’s and pithoos etc who live in nearby villages and travel to Katra to earn their livelihood. Besides, this route is very important from a heritage point of view. It is a treasure of built, natural and cultural heritage which lies unexplored and ignored. On this route various villages showcase the rural life with natural beauty of indigenous trees, streams, nallahs, walkways, hilly as well as small plain meadows, agriculture and horticulture produce. Interestingly, many remnants of the pre-partition era can be found on this route. While preparing vision document on this route for Indian National Trust for Art and Cultural Heritage (INTACH) by Jammu chapter we found temples, stepwells, pacca talabs (ponds), bowlies, resting shelters, drinking and bathing water sources, abandoned sarais etc constructed by the devotees who use to come from Lahore, Delhi and other parts of the country. We were also told by locals that the devotees on this route used to move in large groups and most of the infrastructure was built by them for their annual pilgrimage. The famous temples of historical value enroute are:

a) Temple at village Pangali with sarai shed, step well with chambers to store water, large size pond.
b) Shiv Temple at village Thandapani.
c) Kalika Mata Temple at village Gundla.
d) Remains of Thakurdwara at village Bhamyal near Bus Stand
e) Shiv Temple with wall painting at Upper Bhamyal.
f) Oli Temple at tail end of District Jammu(Bhamyal)
g) Shiv Temple with sarai building at Phayadya falling in Reasi district ( 500 mtrs from Oli Temple)
h) Deva Mai ji Temple at hilltop of Nomain village
After visiting this route, we were sure that the historical significance of this route with abundance of heritage points is likely to attract millions of pilgrims once it is promoted and developed on priority by the government, shrine board and host communities. This entire heritage should be conserved, preserved and restored to its pristine glory. The villages along 22km road are likely to get economic thrust and day won’t be far when this entire area could flourish as a part of yatra from Nagrota to Katra to Bhawan. It would also reduce the travel time as this route is 5 km short from the existing NH road to Katra. It is the value system which acts as the backbone for any healthy society. For this immediate steps to conserve this heritage should be taken as because of neglect shown to this entire area all things have taken bad shape. With help of conservation steps we would be able to make aware our future generations about our traditional values. These rich heritage components have historical, architectural, social/ associational values which were given to us by the pilgrims visiting the holy cave shrine. The developmental plans as per the requirement of the pilgrims with self-sustained modules without compromising the original architectural features and designs should be taken up. At the same time, emphasis should be on local materials to preserve heritage character by minimizing use of cement and concrete with uniform facade, colour schemes for host community in association with departments such as Rural Development Department, Forests, Environment, Jal Shakti, Health, PWD, PDD, Flood Control and Irrigation, Housing and Urban Development Department, Housing Board, Jammu Development Authority, Agriculture, Horticulture, Handloom, Handicrafts and finally the Tourism and Culture Department. This route is old but could make new fortunes for numerous people once it becomes a destination for tourists who want to experience rural life. The rural fairs, festivals, customs, rituals and celebrations could become an added attraction along with traditional ethnic foods of the area. The master plan as well as conservation plans with an integrated developmental approach needs to be prepared through the expert agencies with uniform patterns for all the built-up areas by the respective departments. Either JDA or RDD should be made as a nodal department to prepare the development plan. It is worthwhile to mention here that as part of nationwide efforts of INTACH to protect heritage of the nation, INTACH Jammu chapter submitted copies of prepared vision document to the authorities through the then MLA Nagrota constituency for advice to concerned authorities in the government as well as in Shri Mata Vaishno Devi Shrine Board for revival of this traditional route. This crucial work should be started and completed within a fixed deadline in order to make this route more enjoyable. Post lock down world would be different and we hope so for this route having tremendous tourism potential with a ready-made market which is more than any other pilgrimage route of the region. (The authors are (KAS Retd), Convenor INTACH, Jammu Chapter) and (Programme Coordinator, INTACH Jammu Chapter)

https://www.dailyexcelsior.com/unexplored-heritage-traditional-route-to-vaishno-devi-shrine/, Augusr 2,2020

Sambalpur town houses the historically famous Dasamahavidya Mahal, also known as Raja Bakhri (king’s palace). This monument stands testimony to several historical events in the town of western Odisha. However, Raja Bakhri is left in a sorry state. Walls and ceilings lying broken and creepers running wild all over them speak volumes about the monumental neglect to the place. Over years, the government has not taken note of its maintenance and preservation. Raja Bakhri is spread over 0.93 decimal of land near Kunjelpada Chhak.The old palace consists of 30 chambers while one is known as Rani Uas (queen’s place) complete with a verandah and a yard. The ceiling of one of the chambers is safe and its Sukla paintings are intact. Sadly, major parts of the palace are tottering on the brinks. Many residents observed that if the king’s place is restored, olden artifacts can be conserved. The place can be developed into a tourism centre with the facility of a park, they added. As the sun sets down, anti-social elements throng here. Besides, many people have encroached upon parts of Raja Bakhri. In the early parts of 17 century, Maharaj Chhatra Sai had got the two-storied Dasamahavidya Mahal built. By 1852, the place had been abandoned as the Sambalpur royals had no inheritor to look after the kingdom. Later, the royal properties were entangled in disputes after small kings, landlords and some gontias of Sonepur, Barpali and Jharsuguda staked their claims on the royal property. They moved the court. The royals of Sonepur won the legal battle on the property and sold it to their counsel Nityananda Majhi. The people of Sambalpur were culturally attached to the royal palace. They sought to reclaim the property. The place could be developed as a tourist site. Unfortunately, nothing has been done to preserve and protect the historical monument,’ some locals lamented. They demanded that urgent measures were needed to preserve the monument while a park is needed to attract people and highlight the palace. They pointed out that people from across the state come to Sambalpur to visit Samaleswari temple, Ghanteswari Pitha, Huma temple and Hirakud dam. If this historical monument is renovated, tourists will get an opportunity to know about the history of this old city. The local municipality or the Sambalpur Development Authority should take the responsibility to preserve the structures, others said.It may be noted here that the education department reclaimed the property September 25, 1962 by paying compensation. Nityanada alleged that the compensation was too meager and moved the court. The court came out with an order March 9, 1974, directing the government to pay Rs 1.63 lakh to Nityananda. Due to the protracted legal battle, the education department took no steps to pay the compensation. As a result, the palace was left to wallow in neglect and reduced to ruins. Valuable assets and articles were stolen.According to history, Veer Surendra Sai and his brother Udant Sai had escaped from Hajaribag jail and reached Sambalpur. He and his brother stayed in this palace for a few days. Sai came to Sambalpur October 7, 1857 with 1500 supporters and the British government did not dare to stop him. He stayed at Raja Bakhri during that period. Freedom ghters had waved the national ag from the Raja Bakhri here during the freedom movement. While the Quit India Movement was at its peak, freedom ghters waived ags at the façade of the place in August 1942, giving an open challenge to the British government. Raja Bakhri is witness to many historical events. Considering its glorious history, the state archeological department carried out some restoration work of the place at cost of Rs 1 lakh in 2001. However, no follow-up work was taken up. Later, Sambalpur Press Club and some other cultural outts cleaned the palace. In 2016, a technical team – Intach conservation head Jive Gupta, Intach state head Mallika Mitra, Amiya Bhusan Tripathy – took stock of the possible conservation measures, restoration of old paintings and peripheral development. Rs 7 lakh was spent on restoration of a ceiling of one chamber. Intach had prepared a DPR for its restoration with an estimated cost of Rs 3 crore. The tourism department carried out restoration of Rani Bakhri at Kamali Bazar at a cost of Rs 1 crore. But the Raja Bakhri has been left in ruins, locals rued.

https://www.orissapost.com/raja-bakhri-wallows-in-monumental-neglect/, Augusr 6, 2020

As the 130-year-old historic Saifabad Palace was reduced to debris to make way for a new secretariat complex, heritage lovers and historians expressed worry over the fate of two cannons, which are believed to be over a century old. The cause of concern for many is that the government has neither approached the department of archaeology nor made any move to shift them to the Telangana Archaeology Museum. Mounted on wooden wheels just before the main entrance of the erstwhile Andhra Pradesh secretariat building, the cannons used to be a visual spectacle for visitors. Historians are urging the government to shift them to the museum at the earliest so that the cannons remain intact. Ever since the government barred entry to the secretariat in September last year, little is known about the antique weapons. “These cannons were built with heavy metals...Due to poor maintenance they have lost sheen. Moreover, authorities used enamel paint to refurbish them which is not advisable,” said Indian National Trust for Art and Cultural Heritage (INTACH), Telangana convenor, Anuradha Reddy. “It is the responsibility of authorities to shift them to the museum by following safetyAnother historian opined that the state government has to preserve the originality of these cannons and display the historical facts about them, so that scholars and researchers can understand their significance. A senior general administration department (GAD) official said that authorities may shift the cannons after the demolition of the complex is completed.

https://timesofindia.indiatimes.com/city/hyderabad/hyderabad-100-year-old-cannons-now-forlorn-figures/articleshow/77344182.cms, Augusr 4, 2020

Many prominent heritage buildings across the country and protected sites in the national capital will soon be featuring sound and light shows. Regarding this, the Archaeological Survey of India (ASI) is planning to take this proposal up and organise weekly ‘musical events’ in a move to attract more tourists. At present, around 12 sites, including the Purana Quila in Delhi, hosts these sound and light shows, which have been suspended since March as the country went into lockdown to contain the spread of Coronavirus. As per the ASI officials, the ministry has already given in-principle approval for musical shows at 12 other locations, including the Shore Temple in Chennai, Raigad Fort in Mumbai, and Leh Palace in Leh. Referring to this, a government official in the know-how stated that the proposal to conduct regular musical programmes has already been sent to the Culture Ministry some time ago. The proposal also defines provisions for food kiosks, and added that their policy has been framed to promote the rich legacy of the country and not to discourage visitors. He further emphasised that there are some good examples from other countries, and this plan will likely help them to generate revenues.Reportedly, such programmes can be conducted at ticketed monuments. As per the records, as of now, the ASI manages 3691 monuments, of which only 143 are ticketed sites. Also, there are around 170 sites in Delhi with ASI, of which only 13 are ticketed sites, such as Safdar Jung’s Tomb, Humayun’s Tomb, Red Fort, Qutub Minar, Hauz Khas, and Purana Qila. Experts are also of the view that ASI and other agencies need to change their mindset, and conduct frequent programmes at historic buildings, so as to enable people enjoy and celebrate heritage. The archaeology department of Delhi government has also planned similar activities at sites under its jurisdiction, so as to promote the sites as centres of arts and cultural heritage.

https://timesofindia.indiatimes.com/travel/travel-news/asi-plans-to-conduct-weekly-musical-events-at-its-sites-to-promote-countrys-rich-cultural-heritage/as77389733.cms, August 6, 2020