Researcher from Tirupati has a rare volume of Telugu author Nannaya's "Adi Parva" printed in 1843

The thrill of holding a 169-year-old book in one's hands is unparalleled, especially if it is the first edition of famous Telugu author Nannaya'sMahabharata, printed in a modern press in India.

While printing machines came to India during the British regime, only religious literature was printed by the missionaries and 'Sathakams' and poems by local units. "Nannaya's Mahabharatain Telugu was first published in the then Madras city in the year 1843," says K.V. Raghavacharya, a septuagenarian researcher of Tirupati and proud owner of the copy. This 'Royal edition' was made of handmade paper and Indian ink, known for durability. No wonder then that the alphabets are clearly visible even today.

The book containing the first part 'Adi Parva' of the Andhra Mahabharata, saw the light of day in the Subhakruth Year 1765 of the Salivahana Saka, which is equivalent to 1842-43 AD of the modern calendar. It was published by Poombavai Srungara Modalari and Poigai Appaswamy Modalari (the erstwhile equivalent of the surname 'Mudaliar') at the 'Saidapuram Umapathy Modalari Kalvi Kalanjiyam' printing press in Chennai.

"Even an advertisement about the book was carried those days in Varthamana Tharangini, a Madras-based newspaper edited by Puvvada Venkata Rao. It also directed readers to visit the Hidayathullah book store in Park Town (the present Chennai Central railway station area) for the copies," notes Dr. Raghavacharya, recalling the day when he bought the book as a high school student in Madras.

In tune with religious principles and habits, such revered literary works are bound by jute strings, instead of leather.

The Hindu, 23rd December 2012

Did you know that the great inventor Thomas Edison (1847-1931) made a film called Hindoo Fakir in 1902 which is widely regarded as the first movie ever produced by the West about India? The film's protagonist displays a variety of tricks for the camera quite a few of which could be classified as yogic postures. This film will now find a place in one of the most prestigious exhibitions about India that opens in Washington DC in October next year, called Yoga: The Art of Transformation.

The first major exhibition on the art of yoga and its depiction through various forms of art through centuries, it has been designed to mark 25 years of the Arthur M Sackler Gallery on the National Mall, Washington DC. The National Mall is home to the Smithsonian, the world's largest museum complex where the Arthur M Sackler Gallery complements the older Freer Gallery in serving as Smithsonian's museums of Asian Art.

The exhibition will feature more than 100 works on the theme, sourced from 25 museums and private collections in India, the US and Europe, according to Debra Diamond, associate curator, South and South East Asian Art at the Freer Gallery of Art and the Arthur M Sackler Gallery. "I've been working on it since 2008 and have been joined by many scholars on the project. It brings together works created between 3rd century CE and 20th century CE. Yoga is a household word the world over, but no one has looked at its visual culture holistically before; we think the exhibition will delight and inform broad audiences," says Diamond.

Besides Edison's film, some other highlights of the exhibition are three monumental stone Yogini goddesses from a 10th century Chola temple and 10 folios from the first illustrated compilation of asanas made for Mughal emperor Akbar in 1602. Besides temple sculptures, illustrated manuscripts and court paintings, the selection will also feature ephemera, books, photographs, missionary postcards, magic posters, medical illustrations, iconographic manuals and early films.

Diamond says she got hooked to the subject of yoga while she was researching for her earlier critically acclaimed 2008 exhibition, Garden and Cosmos: The Royal Paintings of Jodhpur. "I became interested because I had questions about Jodhpur artworks that weren't answered in the available literature. As I looked at more yoga-related objects from other places and periods, I saw that the scholarship on yoga's history and meanings often seemed to contradict the evidence of material culture," says Diamond.

Garden and Cosmos helped in changing quite a bit the way Indian art was viewed in the US until then and Diamond feels that through exhibitions on Indian art, Freer-Sackler galleries have helped in raising awareness about art from the country. "Americans are much more sophisticated about India and Indian art today than they were twenty-five years ago."

Talking about yet another recent exhibition from India, Diamond says, "This past summer's exhibition, Worlds within Worlds: Imperial Paintings from India and Iran, looked at the relationship between Mughal and Persian paintings; it revealed what the Mughals borrowed from Persia and what was distinctly Indian. Many visitors were particularly interested in these historical inter-connections." Besides historical exhibitions, the galleries have also begun showcasing contemporary art from India. Informs Diamond, "We have presented contemporary artists like Ravinder Reddy, Anish Kapoor and Simryn Gill. Ten years ago, audiences seemed to focus on the national origins of artists - now there is a more profound appreciation of contemporary Indian and Indian-origin artists as participants in a global conversation."

The Sackler gallery, set up by American physician, medical publisher and philanthropist Arthur M Sackler with a donation of 1000 works of Asian art, had opened weeks after the patron had passed away in May 1987. To mark its silver jubilee this year, the gallery was gifted $5 million by the founder's widow, Dame Jillian Sackler.

The Times 0f India, 23rd December 2012

The cultivation of sesame oil, commonly known as til ka tel or gingelly oil, is believed to have started in China. Now, native to India, Burma and Mexico, sesame oil owes its unique properties to its balanced fatty acid profile, its powerful antioxidants and high vitamin E and phyto-estrogen (lignan) content. It also renders itself easily to cold pressing, which allows maximum retention of its goodness.

What makes it so special is its fatty acid profile. It is it is low in saturated fats (14.6 per cent) and equally rich in mono-unsaturated fatty acids (41.5 per cent) and polyunsaturated acids (43.8 per cent)—the good kind of fats that lower bad cholesterol and may even increase good cholesterol.

Sesame's anti-ageing effect and its role in the prevention of cancer and heart disease is due to its high content of vitamin E (40 milligrams per 100 gm), which also protects the oil from rancidity, thus contributing to a long shelf-life.

Cold-pressed sesame oil is almost colourless, the Indian gingelly or til oil is golden and the Chinese one is dark brown. Sesame oil has a high smoke point and is suitable for frying while heavy (dark) sesame oil (from roasted sesame seeds) has a low smoke point and is unsuitable for frying. It is used for seasoning in East Asian cuisine.

The Japanese prepare a mix of table salt and crushed sesame seeds called gomasia, which is an excellent salt substitute that can help lower blood pressure. Even refined sesame oil is fine oil because of its high level of stable antioxidants (lignans such as sesamol and sesaminol). These antioxidants give the oil a longer shelf life and improve its flavour and taste. Interestingly, roasted sesame oil resists rancidity due to antioxidants formed during roasting.

Evidence suggests that sesaminol and sesamin offer anti-inflammatory benefits and immuno-boosting effects. Sesame oil is also known to help painful menstruation, fight depression, fatigue and insomnia and ease muscle spasms and joint pains. It influences blood glucose, glycosylated hemoglobin and antioxidant levels. Sesame lignans have also been helpful in decomposing alcohol in the liver and improving liver functions with alcohol.

Studies show that cooking with this oil helps reduce blood pressure and lower the amount of medication needed to control hypertension. Researchers have attributed reduction in blood pressure to the presence of PUFAs, vitamin E, and sesamin. Sesamin, in combination with vitamin E, also lowers serum cholesterol concentration.

Sesame oil is not popular in the north, but it is as good as olive oil and must be cold-pressed and introduced as a cooking medium. Better still, add sesame seeds to your spice rack and use it liberally in just about everything you cook. Wherever possible, choose organic sesame oil as pesticides are usually fat-soluble and concentrate in oilseeds. So, look for cold-pressed organic sesame oil, next time you go grocery shopping.

The Indian Express, 23rd December 2012

Our school Hillwoods Academy organised a trip to Rahim Khan-i-Khana's Tomb in Nizamuddin on Mathura Road, New Delhi. It was built by Abdul Rahim, who was the son of Barium Khan. This tomb was built after the death of his wife in 1598 and Rahim was buried there in 1627.

Mirza Abdul Rahim was born in Lahore in 1556. Popularly known as Rahim, he was one of the navratnas in the court of Akbar. He was a learned man with great command over Persian, Turkish, Arabic, Hindi and Sanskrit. He was famous for his couplets . Akbar made him commander of 5,000 soldiers. His two sons were hanged at Khooni Darwaza because Rahim was not in favour of Jehagir's accession after Akbar's death.

Gauri Sharma, VIII-C

Our school Hillwoods Academy, Preet Vihar and The Indian Express organised a heritage walk to Khan-i-Khana Tomb, Nizamuddin on December 12, 2012. The visit to the tomb was an unforgettable experience. The walk helped students understand the importance of preserving monuments and informed us about the history of such an old monument. The place is still well-maintained. The credit goes to ASI (Archaeological Survey of India) and Aga Khan Foundation Trust. This beautiful monument was built by Mirza Abdur Rahim Khan for his wife in 1598.

He never looked at the poor people while giving them alms. He always gazed downward in humility. When Tulsidas heard about Rahim's strange method of giving alms, he promptly wrote a couplet and sent it to Rahim. The tomb is a beautiful example of early Mughal architectural style. The structure, originally built using extensive Delhi quartzite, red sandstone and white marble, has beautiful symmetrical designs in stucco. Inside the tomb, there is a huge dome. We also saw the grave of Abdur Rahim Khan and his wife Maushah Rahim. His remains lie in a large red sandstone mausoleum surrounded by gardens. As I walked around the structure, I saw the remains of what mu he guide told us that the structure of the tomb is quite similar to that of Humayun's tomb. The plinth on which the tomb has been constructed had waterways replicating the ones in Humayun's tomb. Unfortunately, at the time Safdarjung's tomb was being built near Lodhi Gardens, Abdur Rahim Khan-i-Khana's tomb was stripped off a considerable amount of red sandstone and marble to decorate the new tomb. Today, the tomb lies neglected and in bad shape. I am very thankful to The Indian Express and my school for giving me an opportunity to visit the tomb.

Khyati Garg, VIII-C

Students of Class VIII visited the tomb of Akbar's Prime Minister Abdur Rahim Khan-i-Khana. It is a historical place. After Humayun's tomb, it is the second marble structure in India. Rahim was inspired by the architecture of Humanyun's tomb. It consists of two storeys. There are five arches on each floor. These arches provide support to the dome. The architecture of the tomb is beautiful. Floral motifs, reservoirs and fountains were eye-catching. The Charbagh (garden) which surrounds it is very beautiful. This place has been conserved by Indian Government. This visit was very enjoyable and informative.

Mansi Jaiswal, VIII-B

We visited an amazing archaeological site in Delhi — Khan-I- Khana tomb in Nizamuddin. The structure of the tomb can be described in one word: marvellous. The architecture of the tomb is very graceful. The tomb is huge and impressive. Abdur Rahim Khan-i-Khana constructed this tomb in memory of his wife. It resembles Humayun's Tomb. The peace and the calm shows that the monument not only carries its beauty but also many memories.

Mehul Dhawan, VIII-E

I was always fascinated by the idea of visiting the heritage monuments of the golden triangle of Delhi, Agra and Jaipur. Visiting the monuments in Delhi, my hometown was always a charm. My desire of visiting a historical monument came true when my school planned for an exciting trip to an old 16th century monument: Khan-i-Khana, named after the famous composer Abdur Rahim Khan. This monument can be called little Humayun's Tomb. We were also told that later in 1753, red sandstones and marble were removed from this monument by King Safdarjung for making of the Safdarjung tomb. We had a good time and the cool interior was really astonishing. It was fun sitting in the lush green gardens of the tomb.This trip was very exciting and it enriched our knowledge.

Hannu Sharma, VIII-E

The date 12.12.12 has become memorable for me. The Indian Express took us for an educational excursion to Khan-i-Khana, situated in Nizamuddin. As soon as I entered the monument, I was lost in the Mughal world. It is hard to believe that the architecture at the time was so advanced. This really forced me listen to the guides. I was enthralled by tale of the tomb. There is an extremely sad story behind the construction of this tomb. We were surprised to know that Mughal Emperor Jahangir killed Rahim's sons at Khooni Darwaza and this was the reason for the death of Rahim's wife. During the construction of the tomb, Safdarjung tried his best to destroy it but was unsuccessful. He took away one of the chhatris. The charbagh, water channels, chhatris, etc, were memorable. This trip made me realise the advancement and the beauty of history and Mughal architecture.

Nitya Gupta,VIII-E

Our school organised a heritage walk at the ruins of Abdul Rahim's tomb in Nizamuddin. The tomb is a beautiful specimen of Mughal architecture. Khanzada Mirza Khan Abdul Rahim Khan-i-Khana, the son of famous Bairam Khan was a composer during the time of Mughal Emperor Akbar and Jahangir. He was a well-known scholar, and spoke several languages including Sanskrit. He has written couplets in Hindi under the name of Rahim. Though a Muslim by birth, he was a great devotee of Lord Krishna. Besides this, he was also a noted astrologer.

The massive double-storey structure is on a platform with a series of arched cells just like the pattern in Humayun's tomb. The interior is well-decorated. It was indeed a remarkable experience and a golden opportunity for all of us to have an insight into the glories of Mughal architecture and the life of Abdul Rahim Khan-i-Khana.

Charvi Manocha, VIII-E

Tombs have always fascinated me. We were taken to Khan-i-Khana's tomb on December 12. It has a great historical value as it was built by Abdur Rahim Khan-i-Khana in the memory of his wife. It was surrounded by gardens, fountains to enhance its beauty. One of the striking features of Islamic architecture is that each structure is a mini-town with almost everything in it. We were told that many things were taken from this tomb for the construction of Safdurjung's Tomb.

Tanmaiy Sethia, VII-B

Our school organised a trip to Khan-i-Khana's tomb on 12.12.12. We reached at 11 am. All the children got a great opportunity to know about the history of this tomb. It lies on the east of Mathura Road, opposite Nizamuddin dargah. There are two graves inside this tomb. Rahim was the son of Bairam Khan. Akbar married Bairam Khan's wife after Khan's death. Abdul Rahim Khan thus became Akbar's stepson. He was given the title of Khan-i-Khana by Akbar. He was a famous sufi saint and used to write poetry, command of 5,000 soldiers and give secret donations. He was hanged to death in 1627 by Jahangir at Khooni Darwaza.

Samridhi Gupta, VIII-E

In the cold and fresh morning of the last triplet date 12.12.12, we went to Khan-i-Khana's tomb. We got to know a lot about him. It is a monument protected by ASI. It is the second marble structure in India. It is 500 years old. The main feature of its architecture is that it is a two-storeyed dome structure. It is decorated with several arches. It is made of red sandstone, rubber masonry and white marble. It was built by Abdur Rahim Khan-i-Khana in the memory of his wife. Rahim himself was buried here in 1627. The Charbagh pattern has been followed here. The pen name of Abdur Rahim Khan-i-Khana was Rahim Das. He was one of the nine courtiers of Mughal king Akbar. He was a great poet, the main commander of the army and a good soldier. He was the son of Bairam Khan. Rahim Das is most popular for writing Hindi couplets. He belonged to Nirgun Dhara, people who followed secularism. He was one of Salim's tutors.

Dhriti Arora, VII-B

Our class was thrilled to know that The Indian Express had planned a trip to Khan-i-Khana's tomb located in Nizamuddin. As we entered through the gate, the sunlight welcomed us. We were curious to know more about the tomb. As it was built by Abdur Rahim Khan-i-Khana, who was a renowned composer during the time of Mughal emperor Akbar. It was originally built with red sandstone, buffed stone and white marble. It was built by Abdur Rahim Khan-i-Khana in the memory of his wife in 1598. The tomb was surrounded by fountains and gardens. We enjoyed this educational trip very much.

Aviral Srivastava, VII-B

Mirza Khan Abdul Rahim Khan-i-Khana was a Sufi saint and writer. He was one of the navaratan in the court of Akbar. He was a well-known linguist who mastered four languages. Rahim Khan was the son of Bairam Khan. Mughals and Bairam were from Persia. Bairam Khan was the chief of military of Humayun's army and Akbar's caretaker. When Jahangir was about to take over the throne, Rahim was against him as he felt that Jahangir was not a good ruler. Due to this, Jahangir ordered the execution of both of the sons of Rahim and they were hanged at Khooni Darwaza. Then, in the memory of his wife, Abdur Rahim constructed the tomb in 1598.The tomb is a good representation of Islamic architecture at the time.

The trip was quite good, helpful and informative.

Jayant Jain, VIII-D

The Indian Express, 24th December 2012

The book, Sikh Heritage Ethos & Relics, brings you images from the tangible history of the ten Sikh Gurus. The author duo spoke to Ektaa Malik

A look at the book, Sikh Heritage Ethos and Relics, reveals that it has come out of great reverence. It bears the responsibility of carrying forward a legacy. Sikh Heritage Ethos and Relics(Rupa), takes one into the world of tangible history and the legacy left to the religion by the Gurus.

The glossy rich pictures do justice to the attachment and the devotion to the relics of the Gurus. The author duo of Bhayee Sikandar Singh and Roopinder Singh spent about five years researching on the topic and then finally putting it down.

The idea of the book came about when Paul Taylor, the director of Asian Cultural History programme at the Smithsonian had conducted an exhibition on Sikh Art. "Sikandar Singh's relics were also displayed there. His family has had a long association with the Gurus — from the sixth to the tenth. His family had served the Gurus. The idea of the book was discussed then and this is how it all came about," shared Roopinder Singh.

The 10 Sikh Gurus have lived on this very earth and roamed in these very surroundings. Their lives have left tangible imprints, which contribute a great deal for their legacy to continue. Also they make it more believable — as they are not just relegated to mythology. The relics that have been showcased and discussed in the book are largely sourced from private collections. They have been in the family since generations, that have translated the reverence from father to son.

"It was difficult to first get access to the relics. For one — because of the reverence attached to them. And second they came with limitations as to how they can be handled," shared the writer duo. Roopinder Singh, has photographed most of the pictures in the book.

The book is divided in two parts. "First is the Ethos of Sikhism. And the second is the relics. The relics have been placed within the context of the ethos, that will make the people understand the cultural history attached with each one of them.

The custodians have a lot of reverence for these artefacts. The families don't earn any money out of them. For them it's a blessing of the Gurus," informed Roopinder Singh.

The book is replete with pictures and illustrations, that make it a visual treat. It's not just the text of the book that forms the narrative — but the visuals of the book enhance the experience. Many of the pictures have been displayed here for the first time. The book is simply written and yet does a commendable job in making a lesser-known piece of history more accessible. Though well researched , it's not heavy on the academic jargon. "Obviously we have less material on the early Gurus. There is this one picture that has Guru Nanak Dev, speaking to Behlol a Muslim seer, in Baghdad, on his trip to Mecca. The expression on the Guru's face is so soft and mellow. It's humbling. There is the prayer book that Guru Gobind Singh had, which had Japji Sahib written by his father Guru Teg Bahadur," shared the writers. Those relics inform a lot about the individualistic nature of the Gurus. "Guru Har Rai had such profound love for horticulture, that even the tailors went out of their way to put flowery motifs on his clothes," added the duo. On their journey they encountered many people who consider themselves fortunate to be carrying on the legacy of the gurus. "The Maharaja of Patiala had built a Gurudwara on the roof of the Royal Palace, so that the blessings of the holy sanctum can flow down. Each custodian family has their own traditions and rituals. This is how they have cared for the relics. The custodian at Bhairupa, had maintained a special room in their house — where they have safeguarded the artefacts in glass cases. The house had such a nice feeling to it, being a typical village house. That feeling was the embodiment of the simplicity that Sikhism is all about, which has now been lost by the Nouveau riche," concluded the writers.

- The Pioneer, 24th December 2012

The decrepit beauty of Mandu can make the beholder go weak in the knees

A two-hour ride from the city of Indore can take you to a land where layers of time seem to have been compressed in graceful ruins. This is Mandu— the largest fortified city of medieval India. During monsoon, Mandu is most romantic. The loveliness of the pastel shades of the monuments of the Mughal era set off against the brilliant green scenery is doubled as it gets reflected on the ubiquitous water bodies. There are very few places in Central India with such pleasant weather that can match the artistic appeal of Mandu. But don't come here for ruins, come here for stories— stories of unparalleled love of Baz Bahadur and Rani Roopmati.

You feel intoxicated as you ascend to this height of about 2000 feet. Who can describe the beauty of this place better than Jahangir who said— "What words of mine can describe the beauty of the grass and the wildflowers? They clothe each hill and dale, each slope and plain, paying his rich tributes to the beauty of Mandu."

The picture of a fort city shrouded in an indecisive monsoon mist is hard to fade. One can book a room in the MPTDC resorts which are usually better than the others. Quietly elegant and beautifully carved, the resorts offer perfect harmony with nature. One can also book tents.

Mandu has many stories. One of the weirdest is of Ghiyas-ud-din Khilji. Ghiyasuddin became the king of Mandu at the age of 55 after murdering his father. He maintained an entire inner city of women— there were 15,000 in his harem. But this pleasure loving king should rather be remembered for the greatest monuments in Mandu— one of them being the Jahaz Mahal, a palace sandwiched between the Manao taal and the Kapur taal lakes. This four-storeyed structure, with two storeys underground, boasts of an efficient Persian wheel system for hot and cold water. The beautiful water filtration system, shaped like a serpent, shows the proficiency of the architecture of that time. The monument is said to have been first used by a Hindu Parmar king. The amalgam of Hindu-Islamic and Jain architecture in the monuments is obvious in the ruins. Hindu beams artfully merge with Islamic arches.

The synthesis is best expressed in the Hindola Palace which was used as a conference hall by Ghiyasuddin. One can also find some Rajputana style of architecture in the palace. The sloping walls of Hindola palace with its perceptible tilt of walls creates an illusion that it is swaying. The air-conditioned walls of Champa-Baondi and the Royal palace – Jahaz Mahal are all monumental efforts for leisure. Another notable monument is the Hammam— the royal sauna. Amongst these lie some ruined monuments in disarray that gives no clue of their original layout.

At a little distance from the Royal Palace comes the village group of monuments – the Jami Masjid and the Hoshenshah's tomb. The Jami Masjid is said to be modelled along the lines of the great mosque at Damascus. Its western wall bears 17 inches of lovely design and carving. There is a beautifully ornate marble pulpit next to the central niche. The perfectly proportioned domes of the mosque will surely arrest you with its magnificence.

The architectural beauty of this place reaches its pinnacle as one takes a look of the Hoshanshah's tomb, said to have inspired the magnificent Taj Mahal. The tomb was the first marble structure in the country showcasing the supreme elegance of the Afghan architecture. The tomb has a very soothing interior with jaliis to let the sunshine in.

At a distance of about 2 kms from the tomb lie the Sagar Talo group of monuments. Set against the backdrop of the sagar taal, the monuments present a prosaic feel of history and art. It is a set of far flung buildings amidst water and greenery with a certain lack of grandeur but beatified with a hypnotic appeal. There is Dai ka Mahal (wet nurse's palace) and the Dai ki Bahen ka Mahal, a very picturesque little eight-sided structure. The Malik Mughith Mosque, built in 1432, has an ingeniously made porch in the front and copious Hindu temple pillars inside, which give an impressive effect. A must at this place is the Echo point – an amazing exhibition of acoustics of the 15th century.

The next group of monuments is the Rewa Kund monuments. Adjacent to the water body is the palace of the then ruler of Mandu Baz Bahadur. On the lofty crest of the hill, some meters away from the Rewa Kund stands the pavilion of Rani Roopmati. This is the place from where she used to offer prayers to the river Narmada. The kund itself is considered to have the sacred waters of the river. A complete parikrama of the Narmada is said to take 3 years, 3 months and 3 days, culminating in a dip in Rewa Kund.

The Rupamati Pavilion offers the viewer a panoramic view of the entire Nirmar plains. The royal residence has been witness to the glorious love story of Baz Bahadur and Rani Roopmati, the tales of which have got deeply ingrained in the folklore of the place. The beautiful love story of the two can still be felt in the surrounding silence. This is a love story of an ordinary village girl, extraordinarily beautiful and blessed with a divine voice, and a Sultan— handsome, a lover of music and poetry, and content in his small fort kingdom up on a hill. In the natural frame of dark, looming clouds; the monuments stood like an apparition in the distance singing the tragic tales of this love story. The old walls tell tales of the tragic war between Akbar's army and Baz Bahadur's and the suicide of Rani Roopmati to save her chastity.

The beauty of the place has been captured and made immortal in the beautiful song of the movieKinara 'Naam gum jayega, chehra yeh badal jayega'. The beautiful lines of the song personify the eternal glory of this beautiful land. This is a land of kings and queens, of love, lives and lies – a land where history is shrouded in the myriad mosaics of nature. Even after spending days in Mandu, one will always find stray jewels one missed to see. The elegant contours of the caravan serai, the enormity of the Hathi Mahal, where hordes of elephants were kept, the Gada Mahal and other such monuments capture your imagination with their anonymity and streaks of history trapped in them.

Mandu is poetry in stone, a song of life, and an elegy of death. The very lights of the rising sun opens the gate to a a land caught in an eternal time warp– a land of a beautiful queen, a besotted king, a land of music, love and joy.

How to Reach: Mandu is 100 km from Indore, where one can hire a taxi.. One can take a taxi from Indore to reach Mandu

Where to stay: MP tourism department has some very beautiful budget resorts in Mandu. The resorts are located near the two Taals and offer a panoramic vista and some unforgettable monsoon views.

When to go: The best time for visiting Mandu is the monsoon season when it seems that the clouds have come down to play with you. However any time from between July and February is good.

- The Hindu, 24th December 2012

This obscure village in Karnataka holds some clues to the origins of the Hoysala dynasty

Every journey has a beginning; a milestone, a map or a moment that inspires you to travel. When I started on the quest of traversing across rustic Karnataka to look for lesser known Hoysala temples, little did I know that I would stumble upon an obscure village that may have some clues to the origins of the dynasty. I am not referring to Angadi where myth and history converge, where legends say that Sala slayed the tiger and founded the dynasty at the behest of his guru or where historians claim that the oldest ever Hoysala monuments were built. I learnt about Angadi or Soseyur much later in my travels, but my trail of 30 or more Hoysala temples started with this picturesque village called Marale.

I drove from Belur towards Chikmagalur, often referred to as the town of the younger daughter. My destination was however Marale, located at a distance of 10 km from Hiremagalur, the town of the older daughter and which was home to one of the earliest twin temples of the Hoysala dynasty.

The village was virtually empty. The fields were harvested. The lake beds were dry. I was looking for two ancient temples built adjacent to each other. A lone lady tending her flock of cattle told me to go down a small path that took me into a vast open space. Surrounded by coconut trees and hidden behind them were two petite temples — one dedicated to Shiva and the other to Vishnu. Adorned with a single tower each, the Ekakuta temples were called Keshava and Siddeshwara.

A priest had just visited them and had left the lamps burning. The bright yellow flowers stood out in comparison to the dark idols. Two beautiful carved elephants with lotuses in their hands greeted the visitor at the entrance of the Keshava temple. The ceiling and the outer walls were carved with floral motifs and sculptures, although they were not as ornate as the other temples. A stone carving of Ganesha stood at the Siddeshwara temple. The guardians who protect the various directions, the Ashtadikpalakas were carved as well.

It was absolutely silent but for the birds. As I looked around, a twelve feet stone inscription stood amidst the temples, but the information was lost on me. I spent some time sitting besides the temples, hoping a priest would come by to throw some light on it, but only a few cattle grazed around. I finally walked up to the village but no one seemed to have any thoughts on the inscription. Marale seemed to be another quaint village with a piece of antiquity lost in the wilderness.

I continued my journey and later spent some time researching on the Hoysalas. And that is when I came to know that Marale had an interesting tryst with the origin of the dynasty. An inscription here did throw some light on the history of the Hoysalas who were referred to as Male chiefs or "chieftains of the hills" and were considered vassals of the Chalukya kings. Although the temples were built at a much later date during the era of Vishnuvardhan who had built the Belur temple, the village was once the home of the early chieftains and the name "Poysala" for the first name is recorded in history here.

An inscription here says that Poysala Maruga, grandson of the chieftain Arakalla fought a war against his contemporaries. The year is mentioned around 940-950 AD. Although historians are still divided over the findings, the origins of the dynasty are still mired in myths and legends and clues from inscriptions. Meanwhile, an ancient beautiful twin temple, probably the first such built by the Hoysalas lie lost in the woods at an obscure village called Marale.

- The Hindu, 24th December 2012

Though calligraphy classes hardly have any students today, the art has touched modern typography in a distinct manner People believe that cultural nostalgia can be counterproductive to the climate of technological progress. The past seems so much more vivid and exciting that one is constantly reminded of the harshness and tastelessness of the present but more often than not the longing to belong to a different time disappears with the cold touch of reality. But how much have we lost as we drown in the sea of relevance and utilitarianism is worth considering.

Calligraphy is loosely stated as beautiful handwriting, but it's more than just that, it is an art. Writing is about the expression of ideas but with calligraphy the rendition of letters adds to the meaning. And it is an art which has flourished in the country for many generations, especially Persian calligraphy.

The prohibition against idols in Islam is taken very seriously even now.

Historically, this is what gave calligraphy its biggest thrust as artists diverted their attention to the beauty of the written word. Though calligraphy was initially used in sacred texts, its transition to secular texts and later broadly spreading to every branch of artistic expression was smooth.

However with the advent of computers and other electronic media, it is facing a sharp decline, with the art itself gradually disappearing from the mainstream. From being practised in every other household, it now has difficulty even finding space in the academic curriculum. Many academies have decided against continuing their two-year programmes in calligraphy.

The director of the Urdu Academy (which continues to have the programme) Anis Azmi, says, "I'm an old fashioned kind of guy, which is why I'm holding on to this course, but otherwise the pressures are very hard to ignore." He informs us that the students who opt for the course in such academies come from humble backgrounds. Clearly the numbers are falling, indicating that people are not willing to spend their time in learning an art they once cherished because it is no longer connected to their livelihoods and it is not prudent to continue with something which the economic pressures have rendered useless.

Waseem Ahmed, a calligrapher from the Urdu Academy, is fond of the art and feels unhappy about the sorry state it has been reduced to. He mentions that calligraphy is now found only as a hobby.

But not all seems to be lost, as some organisations are stepping forward to preserve the art. Qamar Dagar a pictorial calligrapher and founder of the Qalamkari Calligraphy Trust feels the art of calligraphy is definitely losing its shine but simultaneously there are brand logos being designed in an extended form of calligraphy. The recently concluded One Asia festival in the Capital hosted an exhibition called Ek Sutra, displaying works of calligraphers from across the globe. But the audience at such exhibitions is limited.

One must worry at the rate at which the human civilization and its capitalist economic structure are making the arts obsolete. Are we too quick and presumptuous in deciding the fate of traditional arts and crafts? Should calligraphy be forgotten and preserved only through such exhibitions and other esoteric equivalents?

As an answer to this question, is was pleasant to discover that Steve Jobs, the poster boy of modernity and all that it stands for, wasn't much interested in the modern mantra of relevance and utilitarianism. In fact, his success was founded on a discipline thought stunningly irrelevant: calligraphy. In 2005, Jobs addressed Stanford University, a centre of scientific and cultural excellence, and recalled an episode from his time at Reed College in Oregon, where, even though he had dropped out, he attended classes in calligraphy. "None of this had even a hope of any practical application in my life," he said. "But 10 years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, it's likely that no personal computer would have them. If I had never dropped out, I would have never dropped in on this calligraphy class, and personal computers might not have the wonderful typography that they do. Of course it was impossible to connect the dots looking forward when I was in college. B

- The Hindu, 24th December 2012

The century-old one-horned Asiatic rhino habitat in Terai Arc is turning into rehabilitation zone for the threatened species. Enthused by the success of the first phase of the Rhino Reintroduction Programme in Dudhwa Tiger Reserve, the second phase is in the offing covering a bigger area than used in the first programme.

The objective behind the programme is to bring in rhino from outside to check inbreeding. The process is on to acquire six rhinos from Pobitara sanctuary in Assam. Dudhwa along with Kaziranga and Manas in Assam is rare tiger reserves where tigers and rhinos co-exist.

According to field director Shailesh Prasad, the second phase of the programme is being proposed in an area of 90 sq kms. This is in the south-west part of the park comprising South Sonaripur and South Bellarian Ranges. The area has been found suitable due to the presence of a 15-km long tract of grassland on the southern boundary of the park bordering the Suheli River.

Fifty per cent of the area is subject to seasonal floods and an area of 560 hectares is permanently swampy and water logged, ideal for the growth of the special variety of grass favourable for rhino diet.

"Initially six young adults with two males and four females would be introduced," pointed out Prasad. The State Government is in the final stages of completion of procedural formalities of acquisition. National Tiger Conservation Authority has also given its consent and in the given situation the project is expected to kick off early next year, added Prasad.

The first ever reintroduction programme of one-horned Asiatic Rhino was done in the Tiger Reserve in an area of 27 sq kms with six rhinos from Pobitara and Royal Chitwan National Park, Nepal. Male calves born in rhino area are now mature enough to breed but are driven out by the dominant surviving founder male. All the calves born till date are progeny of this dominant male.

Pointing to the urgency of the second reintroduction, Prasad said, "There is an urgent need to introduce some other male with different genetic base." Further a new sector is also required to avoid the chances of infighting among them.

Due to lack of escape space inside the existing rhino area male rhinos usually go out of the fenced-in area or shifting the area frequently to avoid mutual conflicts, thereby necessitating the need of enlarging rhino habitat

According to experts, the Terai Arc extending upto Nepal was once the traditional home of the rhinos. In the last 200 years, over-hunting, fragmentation of habitat among other causes have resulted in their disappearance from the area. However, the given efforts are bringing back these endangered species to their erstwhile home turf, they added.

- The Pioneer, 24th December 2012

The Parliament Library, the Asian Games Village, and now Paris. Raj Rewal, architect of many landmark buildings in modern Delhi, will be occupying an entire monographic room of Paris's celebrated Pompidou Centre come October.

"I think my architecture which is modern and yet rooted in Indian sensibilities has appealed to them as modern architecture is usually based on European aesthetics," says Raj Rewal, adding that a formal letter has been sent to him by the museum. According to the letter, the exhibition will be up for at least nine months and is meant to be representative of the richness of Indian architecture for the past 50 years.

"Most of the architecture of the 1970s and 1980s in India was original concepts. My Nehru Pavilion which was built some time during the 1970s is hugely appreciated and will form part of the exhibition, as will some of my other works like the Indian National Science Academy," he says, adding that the building was one of his biggest challenges but he was able to carry it off because he had a more labour intensive work force. "India's biggest advantage is its labour intensive industry and its highly skilled craftsmen," he says.

He also says that there was a bigger challenge when the buildings he was commissioned to do was next to some other landmark building which meant that his work had to be "harmonious with the other building but with a different ethos".

Although Mr. Rewal admits that he admired one or two of his contemporaries in the modern architecture genre, it was the older "moderns" that were his true inspirations. "Jaisalmer, Fatehpur Sikri and Jantar Mantar are the most modern buildings yet and are my constant inspiration," he says.

He points out that he had showcased some of his works earlier in Holland and Italy but that this exhibition is more special. "I am the only Indian so far to have been given this honour," he adds.

The Hindu, 24th December 2012

Through Paani Panchayat and training in hand pump repairing, women of Malhanpura village in Uttar Pradesh have ensured water security

As one enters Rampura block of Uttar Pradesh's Jalaun district that falls in the Bundelkhand region, there is a magnificent canal brimming with water that glistens like a polished mirror under the mid-day sun. Turning off on to the almost non-existent roads that lead to Malhanpura village, a mere two km further on, and the canal appears to be only a mirage. For the 272 families of this village, especially for its women, getting water for daily household requirements is a struggle that has aged their bodies and tormented their minds.

Malhanpura's residents are generally poor, largely illiterate, and eke out an existence by farming small, unproductive plots of land or by fishing. Some supplement their earnings by making ropes out of themoonj grass that grows on the banks of ponds, or fashion baskets out of the dried stalks of the arharplant. As is the case elsewhere in Bundelkhand, many men in this village, too, have migrated to cities in search of work.

It is in such an unlikely scenario that one meets a team of women who are looking at ways to make their lives somewhat less burdensome by working on issues of water access. About a year ago, they decided to form a 'water committee' or Paani Panchayat with the help of a local organisation, the Orai-based Parmarth Samaj Sevi Sansthan.

Somwati, one of the leaders of the Paani Panchayat, which has a membership of about 20 local women, says: "Whenever we sat down to talk, it was almost always about the problems of water collection. So we understood the need to come together on the issue. For the last year, we have been meeting every month as part of this panchayat. The first thing we did was to petition the authorities for more water sources."

In this way, Malhanpur managed to get some extra hand pumps sanctioned. However, these hand pumps often broke down, bringing the situation back to square one and this is where Parmarth came in. The organisation is presently anchoring the European Union-supported 'Women's First Right to Water Resources' project in the districts of Jalaun, Hamirpur and Lalitpur in Uttar Pradesh.

To address the regular breakdown of hand pumps, Parmarth decided that the women themselves should be trained in the technology of pump maintenance so that they can handle minor problems. But first they had to understand the basic structure of the hand pump, which the men in the village generally knew much more about, because repairing things was strictly considered a man's business.

In order to assist women in this task, Parmarth made available a hand pump repair kit (which costs around Rs. 6,000) in the village. It is kept in a room in volunteer Shyam Singh's home, which is now called the Jal Soochana Kendra. The key to this room is always available to anyone who needs to repair a hand pump. To borrow the kit, the Paani Panchayat member is required to enter her name into a specially maintained register, and make sure that it is returned with all its instruments intact.

Thanks to this initiative, when small things go wrong with a hand pump in Malhanpur the women now have a much better idea about how to fix hand pumps. Somwati says, "When the bolts in the the handle of the pump get loose, for instance, we fix it with a spanner from the tool kit. Previously, when a hand pump would break down, we had to depend on the repair man from the Jal Board to come and he could take ages to make an appearance!"

She adds: "Earlier, we didn't perceive the hand pumps as ours. Now we believe each one of them is our own and it is our duty to see that they are in running condition. We have also laid down rules for everybody to observe, like keeping cattle away from the hand pump because they could break the cement lining around it."

During the Uttar Pradesh Assembly elections held earlier this year, Somwati and others in the Paani Panchayat decided to highlight the lack of water and electricity in Malhanpur and when candidates came to ask for votes, the women roundly told them, "Agar light aur pani nahi hain, toh vote nahin hain (no light and water, no vote)."

(Women's Feature Service)

The Hindu, 25th December 2012

Tourists flocking to Guatemala for "end of the world" parties have damaged an ancient stone temple at Tikal, the largest archaeological site and urban centre of the Mayan civilization.

"Sadly, many tourists climbed Temple II and caused damage," said an official. "We are fine with the celebration, but [the tourists] should be more aware because this is a [UNESCO] World Heritage Site."

He did not specify what was done but said it was forbidden to climb the stairs and indicated that the damage was irreparable. Temple II, which is about 38 metres high and faces the central Tikal plaza, is one of the site's best known structures.

Friday marked the end of an era that lasted 5,200 years, according to the Mayan "Long Count" calendar. Some believed the date also marked the end of the world as foretold by Mayan hieroglyphs.

More than 7,000 people visited Tikal on Friday to see native Mayan priests hold a colourful ceremony and light fires as the sun emerged to mark the new era.

Critics complained that the event was really for tourists and had little to do with the Mayans.

The ancient Mayans reached their peak of power in Central America between the years 250 and 900 AD.. — AFP

The Hindu, 25th December 2012

Take a walk down the aesthetic lane of India's ancient art heritage and we bet your eyes will be wooed with the shiny pearls of a rich cultural treasure-trove. Skim through the racks at a glance and a gallery of golden arts from the olden era will unwrap its beauty and splendour in a colourful elegance. Well, if some still continue to gain supremacy in the court of art and crafts, then others simply languish in the menace of their speedy extinction.

Standing on such a threshold of crumbling decadence, the fate of clay-modellers or doll-makers of Krishnanagar (in West Bengal) conveys a telling tale of neglection and apathy on the part of the concerning authorities. The reality is that this ethnic style of handcrafted art is seriously facing a threat of decay in due course of time. To spread the word around and achieve wide acceptance among a multitude of art enthusiasts, an exhibition was recently thrown open for all and sundry to indulge in to an encouraging dekko. Titled Forms of Clay & More, the absolutely amazing display focused on the dying art of traditionally hand-crafted Krishnanagar dolls, terracotta craft items, ceramic ware, wood craft, et al. The exquisite showcase took place at the Design Studio of south Kolkata's posh Ballygunge Place. Interestingly, a live, authentic demonstration of terracotta and clay works by a battery of artisans from Krishnanagar was also hosted at the venue.

History evinces that King Rudra Roy, son of King Raghab Roy, the former ruler of Nadia (now a district in West Bengal province) had christened its capital Rayui, which was originally an idyllic village surrounded by the beautiful rivers Anjana and Jalungi respectively, as Krishnanagar after the name of Lord Krishna. The nomenclature happened in around 1685 AD according to chronicled records. In fact, regaled by the natural beauty of this place, the senior king had shifted his capital from Matiari to Krishnanagar. Now it is after the succession of his son to the throne who was an avid art patron in himself that the clay art flourished in the place. And it further rose to a vigorous prominence during the reign of his dynastic descendant, Raja Krishna Chandra Roy.

"This art is centuries old and dates back to almost 250 years. Under the auspices of Raja Krishna Chandra Roy in the 18th century, a bevy of potters and craftsmen were ferried in from across-the-border areas like Natore and Dhaka, which were situated in the then East Bengal (now in Bangladesh). You see, in those days, it was a usual practice by the zamindars (landlords) and traders to predominantly promote different branches of art and learning," shares communication consultant and researcher Arundhati Gupta. She has jointly researched on this field with Urvashi Basu, the interior designer of Design Studio, where the exhibition was put up. Dwelling on the subtle finesse of flawless artistry and an intricate craftsmanship, Gupta notes that the artisans had originally belonged to a community of idol-makers before they transformed their skills into clay-modelling. The finished products are also widely witnessed during the famous Rath Yatra Mela (chariot-festival fair) in Orissa and elsewhere in India.

"They gradually improvised their dexterity to diversify into other avenues like shaping up animals and aves, making tribal artefacts, folk art specimens and figurative compositions of humans figurines, which by and large soared to popular demand with the passage of time. Later, their products got exported to Europe and other western lands under the aegis of the East India Company merchants. Grabbing an enormous exposure, the array of handmade fare was expansively exhibited with the artisans participating in person at the showcase . Besides Europe, the goods were shipped to other foreign shores like Australia and the US. With a steady source of income flowing in from the sale proceeds of their painstaking work, the artisans and their art thrived immensely," informs Basu. But as they say that every honeymooning phase comes to a screeching halt in mid-way, this glorifying saga of doll-makers too seems to be hurtling towards an inevitable decline, which is unambiguously distressing. With only a handful of shops lined up in the erstwhile village of Ghurni (now a municipal town in Krishnanagar), where the seed of this art form was sown, the story of clay-artistes evokes a sorry picture. "If you gaze carefully, then you'll spot a qualitative difference between the past and present craftsmanship. The minute, hairline detailing on the statues has decreased to a great degree. It is vanishing fast with each passing year only to spell out a complete degeneration of the art form which is an alarming situation I must say," warns Gupta.

There is another striking reason for the art to prosper in Krishnanagar in particular, feel the experts. "The answer lies in its soil, which is very soft and moist in texture. Well, the right combination of sand inside it makes it ideally suitable for such an art to blossom there," concedes ace contemporary artist Kaushik Biswas, who thinks the need of the hour is an all-round support from the government level to recover the deteriorating health of this indigenous, desi craft. This apart, "a helping hand from a non-profit, voluntary organisation who would look into the welfare of artistes and resuscitate their vastly ignored vocational trade is also a vital requisite for this funds-starved native art. We are currently standing at a nascent stage where we are just testing the waters. And if the initial response from both the upmarket clients and mid-income group purchasers is pretty satisfactory, then our next stepping stone will be to escalate the standard of exposition to a higher scale from next edition onwards," he sums up.

Incidentally, another potent cause being cited behind the lackadaisical approach is the dearth of any concrete association of clay-modellers which would be capacitated to fight its own battle and make the world known about its dwindling plight.

- The Asian Age, 26th December 2012

The State bird of Rajasthan, the Great Indian Bustard (GIB), was recently poached and killed in its home State. The bird being very rare and on the brink of extinction, its poaching could be far more critical than that of tiger. There are still 1,700 tigers in India and just 150 GIBs.

The 2011 red list of birds, released by the International Union for Conservation of Nature (IUCN), had enlisted the GIB in the 'critically endangered' category. In India, the bird is now restricted to Gujarat, Maharashtra, Karnataka, Andhra Pradesh and Rajasthan. According to reports, the incident had occurred during daytime near Barna village in Jaisalmer last week. A group of people had come in two vehicles and shot dead the bird. A blood-stained wing of the bird and feathers were found on the spot. An FIR has been lodged by the local forest officials on complaint by a cattle grazer, an eye witness.

"When a tiger is killed or poached, it instantly catches nation-wide attention; however, unfortunately, in this case there is hardly any awareness. In terms of conservation, the killing or poaching of GIB is much more serious," Dr Asad Rahmani, ornithologist and director, Bombay Natural History Society, said.

Hunting of threatened species was a favourable sport in the Arab nations. However, the present incident shows that the practice still exists and such occurrences probably do not come to light. He has called for patrolling squads, besides ensuring more connectivity and awareness campaigns amid local persons, said Dr Pramod S Patil whom is currently working for conservation of bustards.

The experts also regretted the apathy of the Government towards the endangered bird. Pointing to the winter count of the bird in Rajasthan, they said that it stands at mere 89. It is a shadow of the pride that the State held once for having more than half of the entire population in the country, they added.

- The Pioneer, 26th December 2012

Despite repeated orders by the National Green Tribunal since February this year, land-owning agencies in Delhi and Uttar Pradesh have failed to clear the Yamuna riverbed of debris.

While Delhi has only stopped dumping fresh debris, its neighbouring state has expressed helplessness and cited in the tribunal that it needs Rs.47.3 crore and 200 days to do the job. The tribunal, which has been coming down heavily on the authorities for non-compliance of its orders, has decided to hear the matter next on January 31.

Manoj Mishra of a civil society group, Yamuna Jiye Abhiyan, and also the petitioner in the case, said, "This (the estimation) is not only to delay the process but also present some kind of a fait accompli with little workable solution in sight. It's a case in which the Delhi government, Delhi Development Authority, UP and union ministry of environment and forests must take blame."

In its latest order dated December 19, the tribunal has said, "…Illegal dumping, unless stopped, would create a menace. … It not only causes pollution but also is hazardous to the river ecosystem and affects free flow of water. On October 10, UP asked for four weeks to remove the debris in its jurisdiction… We granted time with the hope that authorities will take steps."

Mishra said, "The state government has huge annual budgets. It doesn't have enough money for the river? Why cannot either Delhi or UP do the job and share the cost later?"

In September, the tribunal told UP to remove all the debris, within their jurisdiction, irrespective of who had dumped it. In October, the tribunal said, "It appears that no steps have been taken by the state to comply with the order and gave four weeks."

"The department has scant regard to the rule of law. The inaction is in flagrant violation of the order passed by this tribunal. Non-compliance could lead to punitive action," the tribunal had said.

The case was filed by Misra vs Union of India and others in February this year.

The Hindustan Times, 26th December 2012

The political system and the people too seem largely unconcerned about the large-scale environmental destruction around us. Forests are shrinking and wildlife is being hunted down. Bright spots are exceptions

The onset of a new year is a time for reflection, of looking back, and forward. As we bid farewell to 2012, I would like to bring up some landmark 'wild' events, and some points to ponder.

Top of the mind is Union Minister for Finance P Chidambaram's brainchild, backed by the Prime Minister: The National Investment Board, a superpower of sorts, to expedite, even take, decisions on environment, forest and wildlife clearances (among others) for major infrastructure projects like coal, mining, roads, ports, etc (in summation, projects that are environmentally most damaging). What ultimately came through — due to rebellion within, and perhaps the outrage at the sheer audacity of dismissing laws and even Supreme Court orders — was a Cabinet Committee on Investment, aimed to fast-track clearances.

This space will not be devoted to shattering the myth that environment concerns have stalled double-digit growth. My question is, why must we pitch environment against growth, conservation against development? Can we afford to ignore environmental concerns, indeed treat them as irritants? Who will drive our growth if we are an ailing people, with poison in our food, lead in our air and toxic material in our rivers? How will we grow if we exhaust our finite natural resources: Coal, gas, minerals — and the most precious of them all, water?

Strange as it may seem, the tiger and the elephants, the gharial and the waterfowl, they are the keepers of our nation, the key to a secure future. They are the symbols of healthy forests, clean rivers and ecosystems which are central to our survival.

Fast-tracked economic growth cannot trample over ecological concerns. Next, consider the word 'sanctuary' in all that it means and implies. Are our sanctuaries a haven for our wildlife as they are intended to be? Endangered wildlife enjoys strict protection in India's legal, regulatory framework, and about five per cent of our geographical area is classed 'protected areas'. To put this in a global perspective, nearly 12 per cent of the world's land surface is protected for nature conservation. If we look across the border, Pakistan has set aside about nine per cent, and Bhutan a grand 42 per cent.

More importantly, even this barely five per cent is not pristine or sacrosanct. Sanctuaries are criss-crossed by highways, railway lines, electric wires and canals, submerged and fragmented by reservoirs, degraded by cattle grazing, extraction of forest produce and pillaged by the construction of dams and mines. The demand to 'free' more of such natural habitats for 'development', is only increasing.

Why must a ropeway drilled into the cliffs where vultures —whose population has fallen by over 95 per cent — nest? Why are we struggling to stop a six-lane highway to bisect a viable tiger population, when saving the national animal is a national priority? Why can't we consider alternative alignments, for highways and railways cutting through sanctuaries?

What does it say of us, as a people, that we gun rare helpless animals as they flee to save their lives from a rising flood — as we saw in Kaziranga? Or burn a hapless leopard trapped in a cage, for straying into a village inside a reserve? How can we stand by and watch a tiger reserve emptied of its tigers, and not hold those responsible, accountable?

Another very shocking incident occurred recently: A Great Indian Bustard was gunned down near Sudanshri, the best protected part of the Desert National Park in Rajasthan. The GIB is the rarest of the rare, and endemic to India. Barely 300 remain in the wild, in the world. Yet, we fail to protect them. So vulnerable are they, that two (one escaped) bustards were shot at in broad daylight.

Barely five per cent of India's land is set aside for wilderness. Shouldn't here, at least, they be safe? Protected. Accorded priority? Shouldn't they be the main stakeholder? Not people, politics, industry, development.

But, despite the bleak scenario painted above, I will end this narrative, and ring in the new year, with an incident which gives me much hope: In early December, the villagers of Nidugumba, about a mile from Nagarahole in Karnataka, to their utter surprise, found a tigress whose left leg was snagged in a barbed wire fence of a coffee estate.

Acting with great responsibility, the coffee planter and the community as a whole, kept the crowds at bay and prevented any mobbing and harassing of the struggling tiger. They also contacted the forest staff of Nagarahole, who arrived with veterinarians to tranquilise the animal. They worked efficiently and effectively to untangle her leg, and transport her to the Mysore zoo — which may not be the perfect ending, but it is heartening that people co-operated and worked together to help save the tiger.

(The author is a member, National Board of Wildlife)

- The Pioneer, 27th December 2012

A group of Israeli archaeologists has discovered a 2,750-year-old temple and religious figurines at Tel Motza on the western outskirts of the capital, going back to the Judean period.

"The ritual building at Tel Motza is an unusual and striking find, in light of the fact that there are hardly any remains of ritual buildings of the period in Judea at the time of the First Temple," excavation directors Anna Eirikh, Hamoudi Khalaily and Shua Kisilevitz Anna Eirikh explained in a statement.

Among the newly discovered artefacts are ritual pottery vessels with fragments of chalices, pottery figurines and decorated ritual pedestals.

A statement from the Israel Antiquities Authority reportedly described the walls of the structure as massive, built like traditional temple construction of ancient times. Motza and the surrounding region have a reputation for their archaeological importance according to the Times of Israel. Many discoveries dating back to different periods have been made at the site, including a public building, a large structure with storehouses and a considerable number of silos used to store grain supplies. Some experts suggest linking the site with the Biblical settlement of Motza mentioned in the Book of Joshua.

The Hindu, 27th December 2012

After giving Delhi a miss for two years, the Greater Flamingos seem to have put the Okhla Bird Sanctuary back on their migratory itinerary. Nine flamingos have come to the sanctuary this year. Bird watchers had anticipated their visit this season as a group of these birds had come for a recee earlier in July.

The Greater Flamingo is a native of South East Asia including India, Sri Lanka and Bangladesh. In India, it is a coastal bird and, is found along the Rann of Kutch in Gujarat, Maharashtra and Orissa. For the past many years, it has been a regular visitor at Okhla Bird Sanctuary and Sultanpur Bird Sanctuary in the winter months.

However for two years, the flamingo was not spotted in Delhi and adjoining areas till the monsoon earlier this year. "Apparently they had come for a recee to see if the sanctuary was habitable. Seeing their sudden visit at Okhla then, it was expected that they would come in the winter," said conservationist and environmentalist TK Roy.

Over the years, the number of flamingos visiting Okhla Bird Sanctuary has gone down. The Asian Waterbird Census had recorded about 200 flamingos visited Okhla in the year 2003. Their number came down to 52 in 2005 and further fell to seven in 2009. This year too only nine flamingos have come to the bird sanctuary. The environmentalists feel that the overall global warming and state of affairs at the Okhla Bird Sanctuary have resulted in the overall fall in the number of birds visiting the bird sanctuary. "Probably this flock during their visit in the month of monsoon had found Okhla Bird Sanctuary a favourable habitat, so they have made a return," adds Roy.

Besides the flamingos, several other local migrants are nesting inside the sanctuary. A flock of Red Crested Pochard which breeds in the west part of central Asia, Comb Duck resident of India, Bangladesh and Nepal has also arrived at Okhla Bird Sanctuary. While some have already started nesting the visit of some water birds has been delayed. The sand piper, little ringed clover, river lapwing and white tail lapwing are some of the birds that are expected to come to Okhla by this time of the year has given it a miss so far.

- The Pioneer, 27th December 2012

Muktapur, is located a kilometre away from Pochampally village, Andhra Pradesh - a place famous for its sarees. Predominantly a fishing hamlet, the local fishermen rear fish in local water bodies that are quite numerous in the area. The income from the sales is distributed amongst the village community.

But come monsoon, the several fish growers in the village face a problem of a different kind, and that is dense growth of Hyacinths (weeds) on the water surface. The dense growth of the weeds chokes the oxygen supply in the water, killing the fishes.

Every year, hyacinth grows wildly in water bodies and hampers the growth of the fish. The cost of removing the weeds is the responsibility of the locals, and about 50 people labour intensively for 2-3 months to remove the weeds. The cost of labour alone comes to Rs. 3 lakh rupees annually.

Removal of the aquatic weed has always been a manual job in the country and nowhere here has a machine been developed to do this work. It was left to Mr. Godasu Narasimha, a member of the fishing community, to develop a machine that could easily remove the noxious weeds.

Using a special tool he cuts the internal root network of the hyacinth. Bamboos placed on three sides of the cut network are connected to the machine using ropes. "The ropes will give way if the hyacinth network is pulled. So the bamboos are pulled [instead]," says Mr. J. Durga Prasad, CEO, Creative Minds, and member of honeybee network. The network has volunteers all over the country to scout and document local grassroot innovators.

One end of the rope is tied to a conveyer belt that pulls the plants into a rotating shaft that moves into a chute provided with eight cutters positioned diametrically. The hyacinths are then cut into pieces 3-4 inches in length by the cutter. A tractor is positioned under the cutter and the cut pieces drop directly into the vehicle.

When full the tractor dumps the cut pieces into an open ground for reuse later as manure for fields.

Four men for a period of five days use this machine to remove the weeds, which otherwise require nearly 50 people to do manually for 2-3 months.

The cost incurred comes to Rs. 2,000 for labour and Rs.1,500 for diesel to run the engine for a water body covering nearly two acres. Besides the huge savings in removal of hyacinth, an additional income from the better growth of the fish was also generated.

Recently, under orders from Greater Hyderabad Municipal Corporation (GHMC), Kummari Kunta lake in Hayatnagar and Shatan talab lake near Golkonda Fort area, Hyderabad were completely cleaned with the help of this device. Presently the machine is being run to clean the Huda lake which is a famous landmark in the region.

Considering the quality of work, savings on labour, and speed of cleaning GHMC has placed orders worth Rs. 70 lakh for cleaning similar lakes in and around Hyderbad city.

According to Mr. Narasimha the machine can remove about 50 tonnes of hyacinth in a day. NABARD has also provided some financial assistance for development of the machine.

"Mr. Narasimha devised a simple but very effective device for easy removal of hyacinth from water bodies deploying minimal manpower. By cutting the hyacinth to pieces, he reduced the weight of the debris by 85 per cent and volume by 80 per cent. This makes the disposal very easy," says Mr. J.Durga Prasad.

Hyacinths are considered to be a big problem in the country. Especially for those rearing fish in open water bodies, the presence of the aquatic weed is a cause of worry. The weeds grow fast during and immediately after the monsoon.

"Till date there is no permanent remedy for this weed. The seeds sprout even after years of dormancy," says Durga Prasad.

The Hindu, 27th December 2012

Rajasthan is one of the most popular tourist destinations in India. The state, with attractions like deserts, sparkling lakes and imposing forts and palaces, coupled with colourful fairs and festivals has fascinated both domestic and foreign tourists.

Just next to the much-explored capital city, Jaipur, Alwar and its surroundings boast of some mesmerising forts and palaces with magnificent architectural embellishments from various tradition. Alwar is just two-and-a-half hours drive from Delhi on Delhi-Jaipur road, National HW-8 via Bhiwadi-Tijara 137 kms.

The palaces here offer a splendid fusion of Mughal and Rajput style. Its picturesque ambience is made up of hills, valleys and placid lakes. Alwar, during the ancient period, was occupied by Matsya king, Virata. It became an important post of Mughal Empire in the medieval period. Later, it was annexed to the Jat rulers of Bharatpur.

Today, it has developed as an industrial district, but reminders of its rich historic past are strewn all over the region. There are a number of places of tourist interest that are still unexplored.

Bala Quila, also known as The Alwar Fort that is situated 1,000 feet above the city of Alwar has five kms of ramparts from north to south and 1.5 kms from east to west. It has 15 large and 51 small towers that contain 446 holes for musketry and eight large towers around it defend it. There are six entrances to the fort — Chand Pol, Suraj Pol, Jai Pol, Kishan Pol, Andheri Gate and Laxman Pol.

Unfortunately, the fort houses a radio transmitter station and one can go inside it only after special permission from the superintendent of police.

City Palace, built by Maharaja Vinay Singh in the 18th century, is one of the most beautiful palaces of Rajasthan. Its architecture is a blend of Rajput and Mughal style. Today, most of the palace is occupied by government offices, but upper floors are used as a museum. The museum houses one of the finest collection of ancient Sanskrit and Persian manuscripts, archeological finds, paintings from Mughal and Rajput school, armory and royal silver dining table used to entertain the nobility of the royal era, ivory slippers, musical instruments and many more beautiful articles.

Kankwari fort is another picturesque fortress overlooking a rain fed lake. Yet another attraction is Vijay Mandir Palace, an imposing structure overlooking a picturesque lake that was the royal residence of Maharaja Jai Singh. A 16 feet tall idol of Pasharvnath, also known as "Naugaja" is also an attraction for the tourists.

The authentic Rajasthani cuisine can be enjoyed at Prem Pavitra Bhojnalaya, a restaurant near the old bus stand. Milk cake of Alwar is famous all over north India so don't forget to buy some.

- The Asian Age, 28th December 2012

At a time when poaching of tigers continues to be on the rise, India has joined hands with Interpol and 11 big cat Asian range countries for intelligence-led enforcement as core approach to crack down on their illegal trade.

The emphasis to combat this is on internal sharing of cross-border information which is also one of the objectives of the special programme of Project Predator launched by Interpol recently.

The decision has emerged as one of the key outcomes of a recent meeting that concluded in Kathmandu last week. Conducted within the framework of this ambitious Project Predator, it was also collaborated by the South Asia Wildlife Enforcement Network (SAWEN).

India was represented in the meeting by members from Wildlife Crime Control Bureau (WCCB) under the Environment Ministry besides the head of TRAFFIC India. Amongst the other big cat range countries that took part include Afghanistan, Bangladesh, Bhutan, China, Indonesia, Malaysia, Maldives, Nepal, Pakistan and Sri Lanka.

"Wildlife crime is one of the most organised and lucrative crimes in the world today," pointed out Khalid Pasha, Head of TRAFFIC India who had been invited by Interpol to conduct training session on the occasion. "The objective of the exercise is to increase the efficacy of internal communication between respective agencies across the borders through sharing and enhancing information," he pointed out. This will certainly lend more consistency in enforcement efforts to fight wildlife crime in the region.

The efforts would be further strengthened with Interpol playing the pivotal role, facilitated by its recently launched Project Predator, added Pasha. The project also has similar objectives of organising collaborative international efforts that deploy advanced, intelligence-led methods of investigation and the engagement of the various agencies involved in this regard.

Stressing on the importance of intelligence-based enforcement, Shyam Bhagat Negi, Additional Director (WCCB) pointed out that intelligence based enforcement can largely help in prevention of wildlife crimes. "Most of our investigations are incidental oriented based on what we see and our actions rely on backward information. But the worst has already occurred — information-based enforcement on the other hand can help in saving the animal," he said.

- The Pioneer, 28th December 2012

In the heart of Vienna stands a monument against war and fascism, warning the world of the horrors perpetuated by dictatorial whims and territorial greed

"Fascism is not defined by the number of its victims, but by the way it kills them," philosopher Jean Paul Sartre has said. The world has time and again been witness to and a victim of this destructive force which has since been established as a common enemy of humanity and civilisation, in the words of author and journalist, Christopher Hitchens.

In order to remember the horrors of fascism and warn the coming generations of its dangers, memorials and monuments against war and fascism have been built across the world, especially in places that have borne the brunt of fascist regimes.

In the heart of Vienna in Austria, stands one such monument against war and fascism, in remembrance of the victims of the Nazi regime in Austria (1938-45) and those killed in air raids of World War II.

Designed by Austrian artist Alfred Hrdlicka (1928-2009) the granite, sandstone, marble and bronze walk-in memorial is dedicated to all victims of war and fascism everywhere.

During World War II, Vienna was bombed 52 times and 87,000 houses of the city were lost (20 per cent of the entire city). The Philipphof, an imposing block of apartments built during the prosperous final quarter of the 19{+t}{+h}century near the iconic State Opera House was hit on March 12, 1945. Around 300 people who had taken refuge in its cellars, died in the air raid. The exact number of the dead has never been verified as bodies could not be recovered from the rubble. For this reason, it was deemed during the commemorative year of 1988, to be an appropriate site for the city of Vienna to place a Monument against War and Fascism.

At the front of the square, stands the Gate of Violence, constructed from Mauthausen granite, identical to the stone that thousands of prisoners were forced to carry up the Steps of Death at Mauthausen Concentration Camp. This split-gate structure - sculpture Hinterland Front - is made of white Carrara marble and recalls the Nazi mass murders in other prisons and concentration camps. It also perpetrates the memory of those killed while working for the Resistance and of those victimised on the grounds of their national, religious or ethnic membership as well as of their mental and physical disability or their sexual orientation.

The second monument at the square, a group of figures - Hero's Death, is also made from white Carrara marble and is dedicated to the memory of all victims of war.

Behind the structure is the kneeling figure of The Street-washing Jew in bronze. National Socialist leaders began by terrorising Jews and political opponents. With Nazi Germany's annexation of Austria on March 12, 1938, Jewish men and women were forced to clean the streets and buildings of graffiti and slogans. The 'Street-washing Jew' recalls the degradation that foreshadowed persecution and murder.

Behind it, the Stone of the Republic bears excerpts from the declaration of reestablishment of the Republic of Austria in 1945.

About the fourth monument, Orpheus entering the Hades', the artist is reported to have said that it refers to the bombing of victims in the cellars of Philipphofs. "Who has sought refuge there, enter hell. Secondly, Orpheus is a salute to opera, theatre and Albertina Museum…As for the road washing Jew, anyone can tell what happened in Auschwitz, I do not know…but what happened in Vienna, the Viennese have the need to know...the gate of violence is about back country and front war…And finally a very optimistic thing, Declaration of Independence of Austria, carved into large granite," the artist said.

- The Hindu, 28th December 2012